COMPARISON TABLE

DIFFERENCES
Zoltán Kodály Jacques Dalcroze Carl Orff
 Zoltán Kodály was a Hungarian  Émile-Jacques Dalcroze, Swiss  German composer who developed a
composer, great pedagogue, pedagogue and composer. system of musical education based on
musicologist and folklorist of great  He was opposed to the mechanical rhythm.
importance. exercise of learning music, so he  He founded a school of music,
 It was based on peasant music, which, devised a series of activities for the gymnastics and dance that represented
according to the author, should begin education of the ear and for the a new conception of musical
to be introduced into children's family development of the perception of education in the world.
environments. rhythm through movement.  His method was created for the
 Kodály's value lies fundamentally in  Dalcroze's purpose is to beat time with musical education of children,
his musicological work carried out in his arms and take steps according to providing a true alternative to
the double aspect of folklore and the value of the notes, while he traditional music theory and with a
pedagogical research. improvises on the piano. marked emphasis on percussion and
 The Kodály method is based on music  Dalcroze's method involves teaching rhythm.
as necessary, where the authentically musical concepts through movement  Carl Orff's method aims to teach
artistic is valuable for children. to boys and girls. musical elements in their most
 Music is an indispensable part of  Education by and for rhythm is primitive state.
universal human culture. capable of awakening the artistic  For Carl Orff, musical education must
Beginning: sense of all people. start from home.
 Music is as necessary as air.
Beginning: Pedagogical ideas:
 Only what is authentically artistic is  All rhythm is movement  Give importance to the child's way of
valuable to children.  All movement is matter. being and behavior.
 Authentic folk music must be the  Every movement needs space and  Disdain for excessive theorizing.
basis of national musical expression at time.  Insistence on three concepts: word,
all levels of education.  Children's movements are physical music and movement.
 Know the elements of music through and unconscious; Physical experience  The basis of his method is the word,
vocal and instrumental practice. is what forms consciousness. the language, so the words will
 Achieve musical education for all,  The regulation of movements become generators of the rhythm,
considering music on an equal basis develops the rhythmic mentality. which for Orff must be the beginning
with other subjects in the curriculum. of music.
 His method is not about “rhythmic  Melodic training is carried out from the
 His method, from a pedagogical point gymnastics” but about basic musical rhythmic recitation of rhymes, riddles,
of view, is based on reading-writing, training that allows the acquisition of which they sing using the simplest and
rhythmic syllables, phononymy and all the elements of music. most common interval in children's songs.
relative music theory.  The children walk freely, and then the  Motivate musical education in
 With rhythmic syllables, Kodály aims to piano begins to play a soft and slow children through music, language and
relate each figure and its value to a march, without warning them anything, dance together, working on rhythm
syllable, thereby obtaining a certain the students gradually adapt their march together.
phonetic sensation and, consequently, a to the beat of the music.
 First practice and then theoretical
 relative agility or slowness in the  Musical education through rhythm, reflection, to ensure the transfer of
development of the different rhythmic body movement is coupled to the knowledge.
formulas and their global context. rhythm of music.  Use of school musical instruments,
 He implemented the games, rounds  Develops rhythmic sense, attention, and their teaching in primary and
through didactic strategies for music. memory, control and self-control. secondary school.
 Good music forms disciplined and  Stimulates expressive and creative  Support the student's initiative to
noble men. capacity. make their own contributions or
 He proposes the use of phonominia.  Develops rhythmic sense, attention, creations.
 Integration of music in general memory and self-control.  Imitation, representation and creation
education.  It allows you to develop fine and gross of own melodies.
 Singing, reading and musical writing motor skills and gestural mimicry.  Part of triple creativity: word, sound
for the development of musical  This method works through Eurythmy and movement.
culture. (brain-body).  The method is based on children's
 Musical concepts through the body. songs and rhymes.
Reflection:
 The nursery teacher must implement
these methods seen to achieve the
appreciation of music in boys and Reflection:
girls of all ages.  The teacher must work this method Reflection:
 What caught my attention the most in
 The Kodály method is a very good with the body because if we only
his method is musical improvisation
method to be able to work on reading teach purely auditory music, boys and
since with boys and girls we can
 and writing together with music, so girls will not be able to know the true develop creativity when executing the
we can relate each figure and its value meaning of music. Orff method.
with a syllable and in this way we will  Boys and girls must experience music,  The teacher can use the rhymes,
be able to complement the learning in this means that to carry out this proverbs, and songs of our nation
boys and girls. method we do not need to have any orally and with all these resources we
 The preschool teacher must work with prior knowledge but on the contrary, are being part of the musical
the voice since this is the first we can all work on it. education of our boys and girls.
instrument that we all have and in the  Eurythmy trains the body of boys and  This method is very simple to use,
same way singing since it is girls to consciously feel the muscular which is why the kindergarten teacher
considered the basis of all musical sensations of time; The body becomes must carry out activities with the Orff
activity. an instrument and performs some method, giving importance to
aspect of the music in movement. improvisation and musical creation.

APPLICATION

 The nursery teacher must carry out activities in which they work with the body and likewise with folk music, to develop in boys and
girls a love for our music and to be able to differentiate “good” music from “bad” music.
 The preschool teacher will stimulate concentration, the ability to listen and imagine by using the Dalcroze method with different
activities that will be carried out in the classroom and equally at home.
  The nursery teacher must integrate the whole body in the learning process of the boys and girls, feelings, movements, time, space, etc.;
in order for boys and girls to learn in a more fun way.

SIMILARITIES

 All people, regardless of their initial musical aptitudes, can and should acquire musical training, so the idea that a person is good or not
good for music is spread and is totally denied.
 Understand the importance of the first steps of music education,
 Value the contribution of the great creators of these methods with regard to the educational value of music and musical education.
 The three authors respect the evolutionary development of boys and girls.
 The methods are related to each other because they speak of a total and complete development of Psychomotor Skills.
 Both Kodály, Dalcroze and Orff take musical concepts and likewise use the body as a mechanism for boys and girls to understand
tonalities.
 The three authors use folklore to be able to work on the essence of each town, in order to make a cultured town.
 All these methods are considered holistic, participatory which allow constructivism.
We conclude that these three methods are of utmost importance for our boys and girls since we as nursery teachers are in charge of suppressing
musical ignorance, so we must intervene by preparing the boys and girls, through adequate teaching so that they can write and read the music
and not only represent it through the body.