Kodály, Literacy, and the Brain

Abstract

The principles of Hungarian music educator Zoltán Kodály can be particularly useful not only in teaching children how to read music notation but also in creating curiosity and enjoyment for reading music. Many of Kodály’s ideas pertaining to music literacy have been echoed by educators such as Jerome Bruner and Edwin Gordon, as well as current brain researchers. Specifically, Kodály’s emphasis on sound before sight, going from known to unknown, use of moveable do solfège, use of various learning modes, and the importance of providing adequate preparation of pitch concepts can all be useful in our approach to preparing students to read pitch on the music staff. Various vertical as well as vertical/horizontal “pre-staff” activities, including melodic contour, body signs, visual icons, and the solfa tone ladder help to build children’s understanding of pitch placement and create curiosity for seeing how familiar sounds will look on the staff.

Music learning in preschool with mobile devices

“…This is the reason why they like them. In the case of SAMI technology, the lateral intonation bar where children place the notes is based on the Kodály Method (Jacobi 2011). This vertical intonation line gives children the possibility to relate the deepest notes to the lowest positions in the bar, and the highest notes to the highest positions.…”

Integrated Music Literacy: Sound, Symbol, and Action in the Beginning String Orchestra

“…Hand staff rap and games. This activity is borrowed from the Kodaly community and is a beautiful way to connect the sound to the symbol using the body (Jacobi 2012). Hold up one hand with your palm facing your face, your thumb facing the ceiling and your fingers parallel to the floor.…”

Student Perceptions of Glover/Curwen Hand Signs in the Elementary Music Classroom

“…Stene (1969) proposed that if children “can follow the melodic contour and the rhythm of the words accurately, their singing should improve” (p. 48). Jacobi (2011) suggested that various movements, including hand signs, could help prepare students for reading notation on the staff. Students can also express what they are thinking or hearing without involving the vocal mechanism (Reifinger, 2013) and keep time in the air while engaging with melodic content (Sanders, 2015).…”