b. Observations of music lessons
Throughout this research, numerous observations have been carried out, with the following documented and included as part of the study. After fulfilled the observation sheets or logbooks (see below and please click on the PDF to access the complete document), I have included below brief summaries of the key insights related to the topic of playing by ear.
1. Kodály Tour in Hungary
Involving one week of observations in Hungarian primary and music schools, these observations brought the core principles of the Kodály approach to life in a very real and inspiring way. Singing was always at the center, as the starting point for developing musical understanding. I saw how inner hearing, focus, and musical memory were strengthened through structured activities, and how solmisation helped students truly understand pitch and tonal relationships. Another eye opener was the use of movement, hand signs, and visual cues—music was not just heard, but felt and experienced through the whole body.
Even though the lessons took place in very different settings—from Hungarian primary schools to specialised music schools—they all helped children grow musically through singing, step by step, and always with joy. What impressed me most was the balance between discipline and play. Students were challenged, but they were also fully engaged, often working both individually and in groups. It became clear to me that musical learning doesn’t begin with an instrument—it begins in the mind, the body, and above all, the voice.
I also discovered a wide variety of creative exercises (see Appendix), which can be a great source of inspiration for any music teacher. These experiences have reshaped the way I think about music education and what truly matters in the learning process.
2. Piano lessons based on the Kodály method in Amersfoort (NL)
In Amersfoort, I had the opportunity to observe how the principles of the Kodály method are applied in one-on-one piano lessons (as reflected in the earlier interview). These sessions were a vivid example of how Kodály-based teaching can be adapted to the instrument in a personal and engaging way. The lessons were dynamic and flexible, yet carefully structured, with most instructions conveyed through singing and musical interaction rather than spoken explanation. Playing by ear was a central focus, developed through regular use of echo patterns, call-and-response, and imitation exercises.
What stood out to me was the teacher’s thoughtful preparation—each exercise and piece of repertoire was carefully chosen to match the student’s level and interests, keeping them motivated and involved. It was clear that even in an individual setting, the lessons could be full of fun, energy, and deep musical learning.
3. Additional observations were made in other subjects, though they were not formally documented due to the limited scope of this research. For instance, I had the opportunity to observe lessons by Erik Albjerg or Ida Vujovic, both experts in music theory and music education (in the Royal Conservatory of the Hague). Their classes offered a variety of valuable exercises and teaching strategies, which provided inspiration and practical ideas for my own project.
Synthesis of the observations:
Throughout the observations I carried out alongside my experiment, I was able to gather valuable tools and strategies to enrich my teaching. The Kodály Study Tour, in particular, taught me how to apply core Kodály principles effectively and how to place the voice at the heart of the learning process. Although none of the classes were piano-based, they offered a powerful insight into the role of inner hearing. Even without instruments, embodiment was always present—initial body movements that could later be translated into the more refined gestures required at the piano. Another key takeaway was the strength of group work: how collective musical experiences can enhance focus, motivation, and musicality in ways that individual work sometimes cannot.
In contrast, the one-on-one piano lessons I observed in Amersfoort—more closely aligned with my own experiment—showed how these same principles can be adapted to individual instruction. They demonstrated how to maintain structure and creativity while responding to each student’s unique needs and motivation. Additional observations in other subjects also provided useful exercises and strategies that complemented and expanded my perspective.
These experiences lead me to pose a second hypothesis: after immersing ourselves in Kodály-inspired training and fully developing the musical ear, will that be enough to play fluently by ear, or is there still a gap between hearing and immediate physical response? Is all this knowledge helpful in bridging that gap—or could it actually slow down the instinctive sound-to-hand process? Should we begin with the voice and let the fingers follow, or explore both paths in parallel? These questions remain open and form the basis for the experiment of the research.