Jenő Ádám’s Church Music Compositions

"In the present study I intend to present the church music compositions of Jenő Ádám. I will analyze the choral works of the composer that were based on the melodies of Protestant church hymns. The composer was also active as a conductor, but his name is primarily known in the field of music pedagogy. He played an important role in the elaboration and implementation of the Kodály method. In his works pertaining to church music, he adapted the melodies of the most representative church hymns of different ages. He uses both homophonic and polyphonic approaches with his works that have strophic structure or are through-composed. Keywords: Genevan Psalter, Protestant hymn, Kodály method, strophic form, through-composed works, homophonic and polyphonic approaches in composition."

Carabo-Cone, Dalcroze, Kodály, and Orff Schulwerk Methods

This study emphasizes findings from literature reviews that aimed to describe and present the current teaching strategies in Music education. These teaching strategies are one of the needed primary skills of Music teachers to address the learning challenges, competencies, and diverseness of the existing curriculum, help them to explore the needs of the students, and give them a framework of what could be the best and appropriate strategy in delivering a lesson. This study employed a descriptive method to gather information about present conditions through a library method and literature review. The data were analyzed using explanatory synthesis. Based on the literature review, the researcher identified four well-known teaching strategies in Music education: the Carabo-Cone Method, Dalcroze Method, Kodaly Method, and Orff Schulwerk Approach. The researcher used four criteria in synthesizing reviews such as the proponent, foundation, philosophy, and methodology. Conclusion of the results and discussions, the four teaching strategies also varied in four indicators, yet similarly focused on using the senses for holistic growth and development and providing all students with the opportunity to be successful. The quality of education depends mostly on the part of the teacher. The different Music teaching strategies serve as a guide to fulfilling the purpose satisfactorily that a teacher and a student needs. It is recommended to analyze its implications towards different modes of learning as global education facing numerous challenges in terms of economic crisis, pandemic, and educational incapability and inequalities that could affect the educational system.

Speaking the Same Language: How the Kodály Method Promotes Disciplinary Literacy

Educators are consistently asked to show their students’ literacy levels; however, the traditional definition of literacy is typically limited to a strict interpretation of reading and writing using text rather than notation. Disciplinary literacy expands the definition of literacy, allowing music educators to teach disciplinary-specific symbology. This article describes how the Kodály concept helps students process sound into symbol, which provides students with specific literacy strategies to convert sound into developmentally appropriate visual representations.

The Challenges Encountered in the Application of Kodaly Method in Turkey

Kodaly is a method used in many countries, particularly in Hungary. The method is based upon the introduction of singing and the applied aspect of music with children at early ages, by which they are ensured with a more qualified and permanent music education.This research focuses on possible actions to be taken in order to increase the quality of music education; as well as the opportunities offered by Kodaly method within this framework. With this in mind, the question “What are the challenges encountered in the application of Kodaly method?” is tried to be answered. The aim of this study is to point out the difficulties in the application of Kodaly Method, which is effectively applied in many countries, in Turkey and provide suggestions regarding its utilization. The study is based on descriptive methods and has been conducted by means of reviewing the relevant literature. Besides, opinions of an instructor using this method for five years have been consulted and several problems have been identified in line with these opinions. The research is considered significant in terms of identifying difficulties in the application of Kodaly Method in Turkey and suggesting solutions to them. It is also believed to shed light upon those who are willing to apply this method. In that sense, this study is believed to serve as a guideline in music education.

Reaching the effective Music literacy: Kodaly methodEtkili müzikal okuryazarlığa ulaşmak: Kodaly yöntemi

Kodaly method, which did not commonly used in Turkey and known less when compared to other music methods, is important and distinctive because of being a system instead of an approach. One of the most important factors creating this difference is Kodaly’s effectiveness on solmization education. This method’s effectiveness on range thinking and perceiving harmonic structure compared to classical solmization education is being supported by findings of varied studies. Kodaly method is a whole in which every need adressed meticulously and stages edited in order to fulfil indicated needs. Kodaly, which based on assumption that every individual’s instrument is her voice, emphasized the importance of active participation in music education, aimed to develop hearing ability and musical literacy, does have an important place in early music education. In music education, it is aimed to train individuals who have musical literacy from childhood to adulthood. Music educators’ and music teacher candidates’ knowledge and adoption of practices such as Kodaly method, integration of these practices with their prior knowledge and own methods, would help next generation to approach music and life more actively and lively. Therefore, aim of this study is to present knowledge about Kodaly method, philosophy and method tools and also present a sample solmization course prepared according to Kodaly systematic.Extended English abstract is in the end of Full Text PDF (TURKISH) file. ÖzetÜlkemizde yaygın olarak kullanılmayan ve diğer müzik eğitimi yöntemleriyle kıyaslandığında daha az tanınan Kodaly yöntemi, bir yaklaşım değil, bir sistem olması nedeniyle farklılık ve önem taşır. Bu farklılığı yaratan en önemli unsurlardan biri, solfej eğitimi konusunda etkili olmasıdır. Yöntemin, aralık düşünme ve armonik yapıyı algılamada, klasik solfej eğitimine göre daha etkili olduğu çeşitli araştırma bulgularıyla da desteklenmiştir. Kodaly yöntemi, müzik öğrenimi yolunda her gereksinimin titizlikle belirlendiği ve bu gereksinimlere yanıt vermek üzere her aşamanın özenle kurgulandığı bir bütündür. Temel çalgısının her bireyin kendi sesi olduğu görüşü üzerine oturtulan, müzik eğitimine aktif katılımın öneminin her zaman vurgulandığı, işitme becerisinin geliştirilmesi ve müzikal okuryazarlığın artmasının amaçlandığı yöntemde, erken dönem müzik eğitimi önemli bir yer kaplar. Çocukluktan başlayıp yetişkinliğe kadar uzanarak müzikal anlamda okuryazar bireylerin yetiştirilmesi hedeflenir. Müzik eğitimcileri ve müzik öğretmeni adaylarının Kodaly yöntemi gibi uygulamaları tanıyarak ve benimseyerek kendi yöntemleri ve var olan bilgileriyle harmanlamaları, gelecek nesillerin müziğe, dolayısıyla yaşama daha aktif ve sevgi ile yaklaşmalarına yardımcı olabilir. Bu nedenle, bu çalışmada, Kodaly yöntemi, felsefesi ve yöntem araçları ile ilgili bilgilere yer verilmiş, solfej eğitimine katkıda bulunmak amacıyla Kodaly sistematiği gözetilerek örnek bir solfej dersi sunulmuştur.

The Kodály and Rajkó Methods: Voices, Instruments, Ethnicity, and the Globalization of Hungarian Music Education in the Twentieth Century

Music is one of the fields in which Hungary has distinguished itself around the world, and music education is an arena in which Hungarian methods have had a profound impact. The basic principles of Hungarian music-pedagogical methods, developed by Zoltán Kodály (1882–1967) and his disciples and thus known as the Kodály method, are systematic instruction in sight-singing using “movable-do” solfège and rhythmic syllables, with the ideal of developing music literacy in all children through high-quality music, mainly classical and folk repertoire for choirs. Another type of well-known Hungarian music, so-called “Gypsy music,” is specifically denied legitimacy both in Kodály’s writings and those of some of his students, for two reasons: much of it is primarily instrumental instead of vocal, and it is considered “bad.” Yet Romani (Gypsy) musicians from Hungary have also become famous internationally, some from quite a young age. The Rajkó Ensemble, established in 1952 as the Gypsy Orchestra of the Young Communists’ League, brought Hungarian and Hungarian-Gypsy music to over a hundred countries over the years. Interviews with Rajkó members, some conducted by the author and some previously published, reveal those musicians struggling to claim the legitimacy not only of their music but of their music pedagogy, implicitly comparing the Rajkó method to the Kodály method. After a brief discussion of the Kodály method and its history, this essay gives some examples of how that method has dealt with talented Romani youth in Hungary; compares the Kodály method to methods of teaching instrumental music in Roma communities and in the Rajkó Ensemble; and considers how American ideals of multicultural education challenge some of Kodály’s tenets.