Zoltán Kodály (1882-1967) was a great educator, composer and scholar as well as a man of determination, compassion and courage.

While studying composition at the Academy of Music with János Koessler – who also taught Dohnányi and Bartók – Kodály also studied philosophy and languages (earning him a PhD) at the University of Budapest. To conclude his formal studies, Kodály trained at the Eötvös College for exceptionally gifted teachers; he gained his teaching diploma in 1905.

Folksong and its collection was of importance for Kodály from the outset. At university his diploma thesis dealt with ‘The Stanzaic Structure of Hungarian Folk Songs’. He started folk song collecting trips in 1905; subsequently collecting and classifying the vast material became central to Kodály’s life. Bartók, one year older than Kodály, recognised Kodály’s expertise and sought his guidance in 1905. Their working relationship and friendship lasted throughout their lives.

By the age of 25 Kodály was Professor of Composition and Chair of Musical Theory at the Academy of Music. Among others, his students throughout the years included Antal Dorati, Ivan Engel, Géza Fried, Pál Járdányi, Pál Kadosa, György Ligeti, Ödön Pártos, György Sándor, Mátyás Seiber, Tibor Serly, Georg Solti, Zoltán Székely and Sándor Veress. Kodály also taught László Weiner whom he tried to save from the horrors of the Holocaust but, tragically, in vain.

Kodály’s compositions are much larger in number than is generally known. Many of his works are influenced by Hungarian folk song but they also incorporate much of our universal musical language. For example, the Sonata for Solo Cello provides great challenges to cellists and is a cornerstone of the cello literature. The Duo for Violin and Cello, the Serenade for two violins and viola, furthermore the String Quartet No. 2 are classical pieces on their own merit.

The so-called Kodály Method can be summarised in three words: ultimate musical literacy. This means ‘to hear what you see’ and ‘to see what you hear’. The written musical score translates into sounds in one’s mind without the aid of any musical instrument and the sound in the mind can be visualised (thus notated) without any mechanical aid. In order to achieve ultimate musical literacy, seventeen years of training is required. Polyphony is essential from an early age, sight-singing is a regular activity. Singing is the basic requirement for instrumental studies. Kodály does not insist on instrumental studies. On the contrary: he states that ‘if two fourteen-year olds can sing a two-part Bach invention, they achieved more than if they had been banging the piano from morning till night’.

Kodály insisted that only well trained teachers should teach music on any level: even ordinary Kindergarten trainee teachers completed five years of rigorous musical training in order to obtain their basic diplomas. Kodály composed teaching material for little children as well as for postgraduates at music colleges. He insisted on the use of the relative sol-fa, which he adopted from the systems of the Italian Guido of Arezzo (c. 1000) and the English John Curwen (second half of 19th century). However, the use of relative sol-fa does not equate with the Kodály Philosophy which focuses on a fully comprehensive education.