Winter 2025 President’s Message

By Tom Michalek

OAKE Advocacy: What is Kodály?

“What is Kodály?” It’s a question we’ve all faced, whether from friends and family unfamiliar with music education or colleagues outside the Kodály community. The question offers an excellent opportunity to advocate for what we do. 

My understanding of Kodály teaching continues to evolve, and will likely continue to do so for the rest of my life. A philosophy / approach / method / technique / practice / process. Prepare – Present – Practice. Singing-based. Folk music from around the world. Only the best is good enough. Development of the ear. In-tune singing. From the known to the unknown. Of course, there’s much more.

This article aims to help Kodály educators like us distill our philosophy into a concise and accessible definition that resonates with any audience. An “elevator speech”, so to speak. Something memorable that one could effortlessly retrieve and offer in casual conversation to answer the question, “What is Kodály?” Taking the time to reflect, consider, and articulate what we do and how we do it not only will help us be advocates for our approach, but will help us become better music educators.

We could begin with the tenets of the approach, as articulated by Lois Choksy:

1. That true musical literacy – the ability to read, write, and think music –  is the right of every human being. 
2. That, to be internalized, musical learning must begin with the child’s own natural instrument – the voice. 
3. That the education of the musical ear can be completely successful only if it is begun early – in kindergarten and the primary grades – even earlier, if possible. 
4. That, as a child possesses a mother-tongue – the language spoken in his home – he also possesses a musical mother-tongue in the folk music of that language.  It is through this musical mother-tongue that the skills and concepts necessary to build musical literacy should be taught.  
5. That only music of unquestioned quality – both folk and composed – should be used in the education of children.

Our own organization, OAKE, has provided a beautiful mission statement that could serve us well on the elevator:: 

Inspired by the vision of Zoltán Kodály, the mission of the Organization of American Kodály Educators is to support music education of the highest quality, promote universal music literacy and lifelong music making, and preserve the musical heritage of the people of the United States of America through education, artistic performance, advocacy and research.

Whether through Choksy’s tenets or OAKE’s mission statement, key themes emerge: music literacy, the voice as the natural instrument, early and sequential learning, folk music as the foundation, and the pursuit of excellence.

My students in Kodály certification programs are tasked with crafting such a definition each year, and have come up with the following answers to our question, “What is Kodály?” 

Answer 1: Through joyful music-making incorporating folk songs, and fostering creative exploration, students engage in a sequential and discovery-based learning process, blending conscious and unconscious learning, to cultivate a deep love of music and music literacy.

Answer 2: It’s educating all children through singing high-quality music, emphasizing folk songs of many cultures through the use of dances and games, while focusing on music literacy to instill the life-long enjoyment of music.

Answer 3: A sequential, student-centered methodology of teaching music literacy, to ALL children, by singing quality music from one’s culture, through joyful experiences starting at an early age. 

Answer 4: A philosophy of teaching music literacy, using music of unquestionable quality, to all children through holistic, joyful, authentic music experiences.

Answer 5: A sequential approach to teaching EVERY child music literacy using the child’s own beautiful and natural instrument, the voice, through folk songs and masterworks of the highest quality, starting as young as possible. 

Answer 6: Through joyful music-making incorporating folk songs, and fostering creative exploration, students engage in a sequential and discovery-based learning process, blending conscious and unconscious learning, to cultivate a deep love of music and music literacy. 

Armed with these wonderful definitions, several years ago I decided to simply choose one, memorize it to the point of being able to speak it on command, and be ready to advocate at the drop of a hat. 

But just between you and me, I must confess my reality: I stink at memorization. The older I get, the more difficult it becomes. So any of these wonderful definitions, particularly when I’m caught off-guard, are very challenging for me to speak with confidence and eloquence. Over the years, what has often come out: “What is Kodály? Well, it’s a way to teach music. It’s a little hard to explain… We teach our students how to read music, and um, sing folk songs from around the world, and uh… What about you? What did you do this summer?” Advocacy opportunity blown.

So in 2024, after 25+ years of calling myself a Kodály-inspired teacher, I decided it was time to figure this out for myself. What parts of the approach are important to me? Music literacy… Sequential… The use of folk songs… Joy… Playful… Child-centered…  

Thus, I unveil to you today:

What is Kodály? 

Teaching music literacy

In a sequential way

Through folk music

And musical play.

Does this rhyme encompass everything about the Kodály philosophy? Not even close. But I can remember this one. It suits me and my communication style. More importantly, it opens doors—to conversations, to curiosity, to advocacy. That’s the beauty of a well-crafted elevator definition: it invites others into our world of music-making.

Which parts of the approach resonate most with your teaching philosophy? Or, how might you adapt anything here to suit your context? When I see you at the National Conference in Chicago this March, let’s trade elevator definitions. Let’s inspire each other to advocate for Kodály with clarity and confidence.