As the whole Hungarian country has adopted Zoltan Kodaly's educational philosophy and promoted music education, it has achieved fruitful results after more than half a century's development. Personally, I will explain the value of Zoltan Kodaly's music teaching method in music education from the following points. When Kodaly first went to collect folk songs with another musician, Mr. bartok, the main reason and motivation were: he found that no matter in school or concert hall, he could not hear the voice of his own nation, and the whole country was submerged by German and French music; Only in rural and remote areas, children can be heard singing Hungarian nursery rhymes in games, or people can use their music when dancing folk dances. Later, many students, musicians and folklorists in Zoltan Kodaly devoted themselves to collecting, sorting out and compiling folk songs. In order to make children sing "their own songs", Zoltan Kodaly used many folk songs to write cappella songs for students to sing in school music classes. At the same time, other composers, such as bartok and Bardos, also wrote many cappella songs so that children and adults can sing their own music. As a result, it not only preserves its traditional music culture, but also inspires many composers to use folk materials to create music with its national style, improve the level of music and promote the vigorous development of music.

As we all know, China has a long history, culture and rich folk songs, and each place has its own characteristics. If Kodaly's teaching philosophy is adopted in music education in China, folk songs should be compiled. Music courses in schools at all levels; In this way, we can not only maintain traditional culture, but also encourage composers to create music with national style, which can be used in music courses of schools at all levels. In Kodaly's teaching philosophy, he once said: "The carefully arranged music ideas and materials are not intellectual, but come from the meaning to children." Yes, in Zoltan Kodaly's tongue music teaching method, every step has its own conditions or abilities, which must come from children's experience. However, once you pay attention to its curriculum, you can also find that it is very academic. For example, in the teaching of tunes, the first thing to learn is S-M (from daily life experience and speaking habits, such as mother's "S-M"), followed by La, then do, and then re. When these five sounds are learned, do's pentatonic scale will be taught immediately. According to the personal collection of Hungarian elementary school textbooks and the teaching visits, the students at the second grade of primary school have learned the names of the tunes of do, re, mi, fa, sol, la, ti and do', and learned the fixed names in addition to the first-tone roll-call method. By the fourth grade of elementary school, they began to teach students to sing various medieval church modes in their music textbooks, such as Gregor Saint-name. In the fifth and sixth grades, he began to teach all kinds of harmony and foreign music works; Therefore, when I graduated from the eighth grade of primary school, I not only had the ability of listening, calling, reading and writing in music, but also had a certain degree of understanding of music knowledge and common sense.

The above examples show that Kodaly's music teaching method is academic, and its curriculum and learning process have been carefully designed by musicians and educators, which has a theoretical basis. In addition to being academic, Kodaly's music teaching method also attaches great importance to students' improvisation ability in the process of learning. Here are some examples:

[Example 1] Rhythm Q&A

Teaching steps:

1. Teachers and students read the nursery rhymes of "tricycle"

2. Teachers beat the rhythm of a group of four beats, name a student to imitate it, and add the improvisation of the same group of four beats. According to the teaching progress, let students use what they have learned to create their own works. )

3. Repeat steps 1 and 2.

example 2: questions and answers (do pentatonic scale)

teaching steps

1. Solfeggio score for all

2. The teacher asked, "Are the two phrases in this tune exactly the same? "(exactly the same, except for the ending sound).

"why? "(because this is a musical question and answer)" What is the ending sound of the question? (mi)

"Why is the ending sound of the sentence do? (because it is a do pentatonic scale)

3. One student solfeggio questions and one student solfeggio answers sentences.

4. The teacher erases the second half of the answer sentence, and then says to the students, "You already know the types of questions and answers in the music, and you also know that it is a do pentatonic scale. Please improvise the second half of the answer sentence with the do pentatonic scale.

5. The teacher sings the questions, and then names a student to sing the answers (the second half of the phrases are created by the students improvisation).

6. Repeat step 5.

"The teacher will distribute the music homework printed with this score to the students (the second half of the answer is blank), so that the students can write their own answers in the music homework book.

From the two simple examples mentioned above, it can be seen that students are required to use what they have learned to do simple improvisation from the moment they come into contact with music. The cultivation of this creative ability, in addition to laying the foundation for students to engage in composition in the future, is also of great help to all kinds of creative thinking abilities needed in modern society. According to my personal visit to the third-grade piano group of barto Conservatory of Music in Budapest, I saw a male student using a hundred simple songs to accompany Mozart on the spot and let all the students sing (because the teacher knew the student's creative talent, he was appointed to improvise); If you didn't see this scene with your own eyes, you might think that it was the work of a famous artist, but you don't believe that it was just an improvisation by a high school music college student. This shows that Kodaly's music teaching method attaches great importance to the cultivation of creative ability. It is no wonder that since the implementation of this music teaching method, Hungarian music talents have emerged in large numbers and become one of the world's major music towns in the 2th century. As mentioned earlier, at the end of the 19th century and the beginning of the 2th century, Hungarian music was totally submerged by German and French music. Music teachers in general schools are proud of teaching German and French music, and performers are also fashionable in playing their music, and rarely hear their national voices. After Kodaly applied its educational philosophy and promoted music education for all, the Hungarian music environment was completely changed. First, they used the collected folk songs to edit teaching materials suitable for children in Taiwan according to their life experience and growth process. At the same time, well-trained teachers (because Kodaly believes that only the best trained teachers can teach the best music. ) Use the first tune roll-call method and rhythm language to teach students, and use unaccompanied singing teaching to train students' sense of sound, so that every student has the opportunity to learn and approach music (Kodaly emphasized that learning music is not the patent of a few geniuses. )

Because Kodaly advocates that human voice is the most impressive musical instrument, children begin to sing from kindergarten. After twelve years of study and contact in primary and secondary schools, everyone has considerable vocal skills and singing ability, so regardless of gender, old and young, they just need to get together and pick up music scores to sing; Therefore, its chorus level is second to none in the twentieth century.

In addition, Kodaly's music teaching method is also a comprehensive music education. In the Kodaly Music School visited by individuals (these students have been selected through examinations and received special training from the first grade of primary school), students not only learn general music courses and join the school choir, but also practice different musical instruments and join the school orchestra according to their personal interests and abilities. At the beginning of this year, when I was in Budapest, I went to the Concert Hall of Liszt Conservatory of Music on January 28th to enjoy the performance of KarlOrff's poem "Bran's Poetry" by students of bartok Conservatory of Music. Apart from conducting, the musical instruments and chorus were all performed by students. "It's equivalent to the students from Grade Three to Grade Three in Taiwan Province"

Kodaly said: "Children should not approach any musical instrument before they learn to sing. He also said, "Everyone should learn to sing on musical instruments. Kodaly's music teaching method takes the human's most natural musical instrument, the human voice, as the threshold to contact music, and then leads it into the world of instrumental music. Therefore, in Hungary, not only can everyone sing, but more importantly, he makes everyone know how to appreciate music, injects their desire for music into their lives and becomes their light and blood.