03:361 Computers

Orff and Kodály Elementary Music Methods

Carrie Elliott (050014)

1/30/2009

Contents

Orff ................................

Kodály

Philosophy

Tools and Techniques

A Kod

References

Orff and Kodály in Action: A Happy Grade 2 Music Cl ass

Music Methods

Contents

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Kodály ................................................................................................

Philosophy................................................................

Tools and Techniques ................................................................

A Kodály Sequence for Melody in Grade One ................................

References .............................................................................................

Orff and Kodály in Action: A Happy Grade 2 Music Cl ass

Music Methods 2

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Orff and Kodály in Action: A Happy Grade 2 Music Cl ass

Music Methods 3

When teaching elementary music classes, several philosophies

and programs help direct teachers in each class. The most popular

methods are Orff and Kodály. Orff is a philosophy that teachers apply

in their everyday life, whereas Kodály provides a learning sequence

for the music curriculum. Teachers may choose to implement none,

only one, or aspects of both. However, completely combining both

Orff and Kodály is not recommended, as trying to order Orff destroys

its philosophy and Kodály is pointless without its sequence. Educators

should examine Orff, Kodály, and the other programs, like Dalcroze

Eurhythmics, choose what aspects suit them best, and see if it works in

the classroom.

Orff The German composer, Carl Orff, is mainly known for

designing his instrumentarium, which is used in his Orff-Schulwerk

courses. More importantly, Carl Orff developed the technique behind

music education during the 1920's and 1930's. The Orff philosophy

became extremely popular in the 1960's. A basic understanding for

music, as outlined by Orff, can be established from a child's inherent

abilities for melody and rhythm. In addition, the Orff method is closely

linked to a child's world of play and allows students to explore musical

aspects, naturally leading to a more complex understanding of music.

This carefully planned program reflects a child's natural development

and discourages adult influence. Children acquire a musical

Orff Kodály

Dalcroze Eurhythmics

“A basic understanding for music can be

established from a child’s inherent abilities for melody and rhythm.”

Music Methods 4

understanding by infusing the use of instruments with improvisation.

Orff recommends beginning with non-pitched percussion and

progressing to pitched instruments, such as recorders. The Orff system

advances through speech patterns, moving rhythmically, simple tunes,

pentatonic melody, and concludes with major/minor scales. Each step

of the technique also follows a process: imitation,

exploration, improvisation and literacy. Overall, the main premise of

the Orff Method is for children to have opportunities to explore before

literacy is studied.

Kodály

Philosophy Zoltan Kodály was a composer and educator who collected

authentic Hungarian folk songs with Béla Bartók in the early 20th

century. He generated principles to use in music education. These

principles include:

1. Beginning music education as early as possible

2. Using the highest quality music possible

3. That music is for everyone, not just the elite

4. Music programs should begin with their culture’s folk songs

5. The voice should be the foundation of music learning

6. Literacy is the primary key for vocal independence

7. Experience a topic before introducing notation

8. The learning sequence should be child-centered

Orff Process: Imitation

Exploration Improvisation

Literacy

Music is for everyone, not just the elite.

Music Methods 5

Tools and Techniques The Kodály system uses songs from students’ own cultures.

The original Hungarian curriculum uses many folk songs that Kodály

collected and composed. Authentic classical music of superior quality

is also used, but in higher-level classes. Kodály uses the Curwen Hand

Signs with the Dalcroze solfege symbols to teach relationships

between pitches, and eventually melody and sight singing. This

program moves through sol-fa in a specific sequence beginning with

so, me, la, and then progressing through do, re, and the remaining

tones. Kodály also employs the Chêvé rhythm syllables of ta, ti-ti, and

to-o to teach note values. Singing is critical to this philosophy and

instruments are not introduced until students have a solid

understanding of music by way of vocalization. Like Orff, when

teaching via the Kodály method, there is a four-step process to follow:

preparation, awareness, reinforcement, evaluation. There is a learning

progression for students as well; hear/perform – infer/derive –

hear/construct/notate – read – create. Kodály is sequential in all areas

of teaching music yet emphasizes opening the beauty of music to

children. The Kodály method is easy to implement and can provide

structure in a curriculum that lacks it.

Kodály uses: Curwen Hand Signs

Dalcroze solfege symbols Chêvé rhythm syllables

Teaching Process: Preparation Awareness

Reinforcement Evaluation

A Kodáááály Sequence for Melody in Grade One Month Prepare Make Conscious Reinforce

September Higher and Lower October So-Mi Higher and Lower November La-So-Mi Highest and Lowest Higher and Lower December La-So-Mi So-Mi on staff January La-So-Mi Staff Higher and Lower Staff, hand signs So-Mi on staff February So-Mi-So -(So)-Mi Full Staff C,F,G do on staff March S-L-S-M; SSLLSSMM La on staff; hand sign SMS(S)M staff April SMLSM; SSMLSSM Mi-La SLSM; SSLLSSMM on staff May Do, Re M-L on staff

Adapted from: Choksy, L. (2000). The Kodály Method I: Comprehensive Music Education. New Jersey: Prentice Hall.

Orff and Kodály have greatly affected the way music is taught.

Orff encourages a free-flowing application of his philosophy. Kodály

is structured and very strict about his sequences. Aspects of both

methods can be related to teaching elementary music, however trying

to use Orff and Kodály in totality is not recommended. If this is the

case, it will be to the detriment of either Orff or Kodály, and possibly

both. It is suggested that teachers review both methods and decide

what facets suit them best.

“Orff encourages a free-flowing application of his

philosophy. Kodály is structured and very strict

about his sequences.”

Music Methods 8

References Bacon, D. (1970). Kodály and/or Orff? [electronic version]. Music

Educators Journal, 56(8), 17-18.

Boshkoff, R. (1991). Lesson Planning the Kodály Way [electronic

version]. Music Educators Journal, 78(2), 30-34.

Campbell, P. (2006). Music In Childhood: From Preschool Through

the Elementary Grades, Third Edition. Boston: Schirmer.

Choksy, L. (2000). The Kodály Method I: Comprehensive Music

Education. New Jersey: Prentice Hall.

Choksy, L. (2001). Teaching Music in the Twenty-First Century. New

Jersey: Prentice Hall.

Comeau, G. (1995). Comparing Dalcroze, Orff and Kodály: Choosing

Your Approach to Teaching Music. Vanier, ON: Centre

Franco-Ontarien de Ressources Pédagogiques.

Sinor, J. (1986). The Ideas of Kodály in America. Music Educators

Journal, 72(6), 32-37.

Szonyi, E. (1973). Kodály’s Principles in Practice: An Approach to

Music Education through the Kodály Method. New York:

Boosey & Hawkes.

Turpin, D. (1986). Kodály, Dalcroze, Orff, and Suzuki: Application in

the Secondary Schools [electronic version]. Music Educators

Journal, 72(6), 56-59.