1.2.2. Kodály
The Kodály concept emphasizes aural skills as the foundation of musical literacy and expression. Rooted in the belief that music learning should begin with the voice, it follows a progression similar to language acquisition—starting with listening, then singing, and eventually reading and writing music. Through singing, solfège, and the use of folk songs, students internalize pitch and rhythm, developing a strong musical ear. This approach not only fosters deep musical understanding but also enhances the ability to play by ear, as students learn to recognize and reproduce music from sound before engaging with notation (Choksy, 1999; Forrai, 1988).
Foundational Elements of Aural Skills in the Kodály Approach:
1. Singing as the Primary Instrument: Kodály advocated for singing as the most natural and accessible instrument, asserting that it develops the inner ear and lays the groundwork for all other musical skills. He believed that the voice fosters inner hearing, helping students internalize pitch, rhythm, and musical structure before encountering notation (Choksy, 1999). Singing allows learners to engage aurally and intuitively with music, promoting deeper understanding and retention. Using folk songs as core material reinforces cultural identity while providing familiar, melodic, and rhythmic patterns that support musical development (Forrai, 1988).
2. Movable 'Do' Solfège System: The use of a movable 'Do' solfège system helps students grasp the relationships between pitches within a key, enhancing their ability to sight-sing and develop relative pitch. This system reinforces the understanding of tonal functions and intervals, which are crucial for aural recognition and musical interpretation (Kodály, 2019).
3. Rhythm Syllables and Movement: Assigning specific syllables to rhythmic values and integrating movement activities help students internalize rhythmic patterns and develop a strong sense of timing and meter. This kinesthetic involvement supports the embodiment of rhythm (Choksy, 1999).
4. Inner hearing: Kodály defined inner hearing as the ability to mentally imagine and process musical sounds without external input. This cognitive skill is essential for a deeper musical understanding. A vital strategy for cultivating inner hearing is the use of hand signs corresponding to solfège syllables (do, re, mi, fa, sol, la, ti). These signs offer both a visual and kinesthetic representation of pitch relationships. This multisensory approach strengthens memory, enhances pitch accuracy, and helps students internalize melodic contours (Houlahan & Tacka, 2007). Closely related to inner hearing is the concept of sound imagery—the mental visualization of musical sounds and structures. This process enables students to form internal representations of rhythms, intervals, and melodies, fostering both musical comprehension and memory (Choksy, 1999).
Together, the integration of hand signs and sound imagery within the Kodály approach nurtures inner hearing by engaging the senses, reinforcing cognitive connections, and enabling students to experience music internally before it is produced externally (Choksy, 1999).
5. Active Listening: In the Kodály concept, active listening is developed through singing, movement, and purposeful engagement. Kodály distinguished between merely listening to music and truly receiving it—a deeper process that involves emotional connection and conscious attention. Rather than treating listening as a passive act, Kodály emphasized that students should internalize musical elements by actively decoding them through singing or moving. This multisensory involvement transforms listening into a dynamic, embodied experience, fostering both understanding and emotional resonance (Kodály, 2019).
6. Sequential and Developmentally Appropriate Learning: The Kodály method follows a logical sequence that aligns with children's cognitive and physical development. Starting with simple musical elements and gradually introducing more complex concepts ensures that students build a solid foundation in aural skills before progressing to advanced musical tasks (Kodály, 2019).
7. Creativity in the Kodály Method: Once students have developed a strong aural foundation through singing, they are encouraged to create and explore their own musical ideas. This approach supports both musical intuition and structural awareness, allowing students to engage deeply with the elements of music through personal expression. As Houlahan and Tacka (2008) explain, improvisation and composition in the Kodály classroom are grounded in aural and kinesthetic experiences, reinforcing the connection between what students hear, sing, and create.
By integrating these elements, the Kodály approach cultivates a comprehensive set of aural skills. But, what about the use of instruments? Zoltán Kodály believed that music education should begin with singing, not with instruments. He saw the voice essential for developing inner hearing. Kodály was not opposed to instruments but insisted they should not be the starting point. He argued that the ear must be trained before the fingers, and that a child who cannot sing cannot truly play musically (Houlahan & Tacka, 2008). In short: first the voice, then the instrument. A strong foundation in inner hearing and musical understanding leads to more expressive and meaningful instrumental performance later on (Kodály, 2019).
1.2.3. Gordon
Although this research does not explore Edwin Gordon’s Music Learning Theory in depth, it is important to briefly highlight his foundational concept of audiation, as it provides a powerful framework for understanding how music is mentally processed and learned—closely related to Kodály’s concept of inner hearing.
Audiation is the cognitive process by which we hear and understand music in the mind, even when no physical sound is present. It goes beyond mere inner hearing to involve comprehension, retention, prediction, and creative manipulation of musical patterns (Gordon, 2012). Through audiation, musicians are able to mentally grasp tonal and rhythmic relationships, anticipate musical progressions, and internally reconstruct or invent music—skills essential for playing by ear. Gordon identified sequential stages of audiation that mirror natural language learning: from momentary retention of sound, to imitation, to understanding and predicting musical structures, and ultimately to internalization and creative application (Valerio et al., 2019). These stages describe how musicians come to think in music. It shifts the focus from notation or technique to musical thinking, emphasizing that true musicianship begins with the ability to audiate. As such, it serves as a powerful educational tool, offering educators a deeper insight into the mental processes that underlie meaningful musical engagement (Gordon, 2012).
Gordon’s ideas are particularly valuable because they expand upon Kodály’s concept of inner hearing by introducing a clearly defined sequence of developmental stages, offering a detailed and systematic understanding of how musical thinking evolves. Audiation not only involves mentally hearing music but also includes musical prediction, anticipation, and the internal reconstruction of sound. These subtle but significant elements could be essential for developing the ability to play by ear, as they train the mind to actively engage with music - not merely to recall it, but to anticipate and recreate it with understanding and intent.