The Orff music education system was created by German composer Carl Orff (Carl Orff, 1895-1982). Orff music education advocates elemental music thought. He believes that elemental music is by no means just a separate piece of music, but a holistic art that integrates music, dance, and language. Through these holistic arts activities, along with rhythmic instruments such as drums, wooden hammers, blocks, and bells, children learn musical structure and how to keep the same beat. This approach is a team experience where children learn to participate in team work through singing, games, rhymes, dancing and other activities. On this point, Kodaly and Orff are surprisingly consistent, both for the all-round development of human beings and the progress of society. Orff believes that in music education, music is only a means, and educating people and cultivating talents is the purpose. Music is the natural expression of human thoughts and emotions. Everyone has potential musical instinct. Therefore, music education should be open to all people. Originality is the core idea of ??Orff's music education.

Kodaly's goal is to "make music belong to everyone." This educational goal is based on his understanding of the relationship between music and people's comprehensive development. He believes that music is closely related to the essence of human life. Human life cannot be without music. Without music, there will be no complete life. Music education in schools is even more important than music itself. Cultivating music listeners is cultivating a society. The two countries are in different countries and have different nationalities, so the content and focus they propose are different. However, in terms of the fundamental goal of music education, they both stand at the height of anthropology and sociology and express the role of music education. nature. This is also the direction that every music educator needs to adhere to unswervingly. Kodaly believes that creative ability is actually an innate potential of human beings. As long as there is a suitable environment and methods, this ability can be tapped. He emphasized that only works created on the basis of national folk music can have global charm. The teaching practice of the Kodaly system mainly focuses on two aspects of cultivating creativity: the perceptual accumulation of national music tones and the preliminary perception and practical application of musical structure. And in practice, let the children improvise and sing to the tunes of songs they are familiar with.

The most prominent and important one in Orff’s system is the principle of improvisation. Orff believed that improvisation was the oldest and most natural form of musical expression and the most direct form of emotional expression. Orff's teaching activities develop children's musical experience and ability to create music in the form of improvisational activities through children's active participation and singing practice.

The methods used by the two are different, but they both emphasize that music education should pay attention to the impact of the creative process on people and the feelings and experiences that aesthetic experience brings to people. This is exactly the difference from professional music education. There is no right or wrong in musical creative activities, but it allows them to experience the fun of discovery and exploration, the joy of success, express their originality and personality, and enrich their experience. In research on creative activities, we have also found that children who can express themselves freely and fully vent their emotions can easily relieve psychological stress and gain emotional freedom and adaptability to the environment. And this will bring them a lifetime of happiness, confidence and success. This is also the most valuable revelation brought to us by the creative musical activities of Kodaly and Orff. The use of national folk music is what Kodaly emphasized most. Together with the famous Hungarian composer Bartók, he did a lot of work to collect national folk music materials. Afterwards, a large part of Kodaly's education was to hand over these excellent works to children. Kodály also emphasized that music education must first be firmly based on the music of the nation. This is one of the important principles of Kodály’s educational thought. At the same time, Kodaly also attached great importance to the extensive study of music from other ethnic groups in the world. He emphasized that ethnic music is the basis and starting point. It is not narrow and closed, but that its roots must first be rooted in the soil of ethnic music, and then accept human beings in a broader field. All good music culture. Kodály has always regarded music education as a cultural position and made it clear that music education has the mission of cultural development.

And Orff’s elemental thought makes music truly return to the pursuit of human nature. Orff's hometown is Germany, so many teaching activities are based on the language, nursery rhymes, proverbs, folk songs and dances of his hometown as basic teaching materials. He proposed that every different nation and region should adopt this approach. It seems that both of them pay great attention to the use of national and folk music. The two education systems have many similarities, such as high standards of education, art, and aesthetic requirements. But there are also significant differences:

The Orff system does not strictly require teachers to teach according to prescribed teaching progress and fixed teaching materials. He emphasizes the creativity and flexibility of education and teaching, and believes that each country, Teachers from all nationalities and regions can conduct personalized teaching based on their own understanding of the Orff system. Therefore, Orff's teaching quality is directly related to the quality of teachers.

With the support of the state, the Kodály system comprehensively implements Kodály’s educational reform ideas from kindergarten to primary and secondary schools. Through systematic and comprehensive music education, Hungary has leapt into the world in just a few decades. Advanced ranks in music education.

It has a large number of high-quality teaching materials and relatively strict artistic standards. Kodály also emphasized the training of teachers, but unlike Orff, the Kodály system was supported by a large number of high-level music teaching materials. From a practical perspective, the issue of teaching material construction is particularly urgent when implementing distinctive early childhood music education.