When teaching elementary music classes, several philosophies and programs
help direct teachers in each class. The most popular methods are Orff and Kodály
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03:361 Computers
Orff and Kodály Elementary Music Methods
Carrie Elliott (050014) 1/30/2009
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Contents Orff ................................................................................................ ................................ ........................................ 3 Kodály ................................................................................................ ................................... 4 Philosophy Philosophy................................................................ ......................................................... 4 Tools and Techniques ................................................................ ....................................... 5 A Kodály Kod Sequence for Melody in Grade One ................................. ................................ 6 References ............................................................................................. ............................. 8
Orff and Kodály in Action: A Happy Grade 2 Music Class
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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 Orff Kodály Dalcroze Eurhythmics
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 “A basic understanding for music can be established from a child’s inherent abilities for melody and rhythm.”
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
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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, Orff Process: Imitation Exploration Improvisation Literacy
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:
Music is for everyone, not just the elite.
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Beginning music education as early as possible
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Using the highest quality music possible
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That music is for everyone, not just the elite
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Music programs should begin with their culture’s folk songs
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The voice should be the foundation of music learning
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Literacy is the primary key for vocal independence
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Experience a topic before introducing notation
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The learning sequence should be child-centered
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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 Kodály uses: Curwen Hand Signs Dalcroze solfege symbols Chêvé rhythm syllables
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:
Teaching Process: Preparation Awareness Reinforcement Evaluation
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.
A Kodály Sequence for Melody in Grade One Month September October November December January February March April May
Prepare Higher and Lower So-Mi La-So-Mi La-So-Mi La-So-Mi Staff So-Mi-So -(So)-Mi S-L-S-M; SSLLSSMM SMLSM; SSMLSSM Do, Re
Make Conscious Higher and Lower Highest and Lowest So-Mi on staff Higher and Lower Staff, hand signs Full Staff La on staff; hand sign Mi-La
Reinforce
Higher and Lower So-Mi on staff C,F,G do on staff SMS(S)M staff SLSM; SSLLSSMM on staff 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 “Orff encourages a freeflowing application of his philosophy. Kodály is structured and very strict about his sequences.”
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.
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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.
