Kodaly's Method

Pedagogy

Using these principles as a foundation, Kodály’s colleagues, friends, and most talented students developed the actual pedagogy now called the Kodály Method (Choksy 1981:8). Many of the techniques used were adapted from existing methods (Choksy 1999:15). The creators of the Kodály Method researched music educational techniques used throughout the world and incorporated those they felt were the best and most suited for use in Hungary (Choksy 1981:9).




Child-developmental approach
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The Kodály Method uses a child-developmental approach to sequence, introducing skills in accordance with the capabilities of the child (Choksy 1999:10). New concepts are introduced beginning with what is easiest for the child and progressing to the more difficult (Landis 1972:56). Children are first introduced to musical concepts through experiences such as listening, singing, or movement (Wheeler 1985:12). It is only after the child becomes familiar with a concept that he or she learns how to notate it (Landis 1972:46). Concepts are constantly reviewed and reinforced through games, movement, songs, and exercises (58).
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Rhythm syllables
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The Kodály Method incorporates rhythm syllables similar to those created by nineteenth-century French theoretician Emile-Joseph Chêvé (Choksy 1999:16). In this system, note values are assigned specific syllables that express their durations (12). For example, quarter notes are expressed by the syllable ta while eighth note pairs are expressed using the syllables ti-ti. Larger note values are expressed by extending ta to become ta-a or "ta-o" (half note), ta-a-a or "ta-o-o" (dotted half note), and ta-a-a-a or "ta-o-o-o" (whole note) (Wheeler 1985:13). These syllables are then used when sight-reading or otherwise performing rhythms.





Rhythm and movement

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The Kodály Method also includes the use of rhythmic movement, a technique inspired by the work of Swiss music educator Emile Jaques-Dalcroze (Choksy 1981:10). Kodály was familiar with Dalcroze’s techniques and agreed that movement is an important tool for the internalization of rhythm (Landis 1972:42). To reinforce new rhythmic concepts, the Kodály Method uses a variety of rhythmic movements, such as walking, running, marching, and clapping. These may be performed while listening to music or singing. Some singing exercises call for the teacher to invent appropriate rhythmic movements to accompany the songs (43).
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Rhythm sequence and notation
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Rhythmic concepts are introduced in a child-developmentally appropriate manner. The first rhythmic values taught are quarter notes and eighth notes, which are familiar to children as the rhythms of their own walking and running (Choksy 1999:10). Rhythms are first experienced by listening, speaking in rhythm syllables, singing, and performing various kinds of rhythmic movement. Only after students internalize these rhythms is notation introduced. The Kodály Method uses a simplified method of rhythmic notation, writing note heads only when necessary, such as for half notes and whole notes (13).

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Melodic sequence and pentatony​

 

Scale degrees are introduced in accordance with child-developmental patterns. The first Kodály exercise books were based on the diatonic scale (Choksy 1999:3), but educators soon found that children struggled to sing half steps in tune and to navigate within such a wide range (11). It is thus that the pentatonic scale came to be used as a sort of stepping stone (9-10). Revised Kodály exercises begin with the minor third (so-mi) and then, one at a time, add la, do, and re. Only after children become comfortable with these pitches are fa and ti introduced, a much simpler feat when taught in relation to the already established pentatonic scale (12).
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Hand signs

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Depiction of Curwen's Solfege hand signs. This version includes the tonal tendencies and interesting titles for each tone.
Hand signs, also borrowed from the teachings of Curwen, are performed during singing exercises to provide a visual aid. This technique assigns to each scale degree a hand sign that shows its particular tonal function. For example, do, mi, and so are stable in appearance, whereas fa and ti point in the direction of mi and do, respectively. Likewise, the hand sign for re suggests motion to do, and that of la to so. Kodály added to Curwen’s hand signs upward/downward movement, allowing children to actually see the height or depth of the pitch (Wheeler 1985:15). The signs are made in front of the body, with do falling about at waist level and la at eye level. Their distance in space corresponds with the size of the interval they represent (Choksy 1999:14).

From: http://en.wikipedia.org/wiki/Kodály_Method.