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  • Josephine Brereton


This semester we have begun learning about the Kodály Method. My theoretical understanding of Kodály by week two is that it presents a more rigid and structured program than that of the Orff approach and once you complete one stage, you progress to the next in a sequential fashion. However in practice (at least in the context I have experienced Kodály in), it seems to be Orff with Curwen hand signs. I understand that the similarities between these two styles are numerous, but I think for the Kodály Method to be truly understood and appreciated, it has to be observed in its entirety as a method. Understanding the central principles of the Kodály has been quite useful to my understanding of the method and I find myself in strong agreement with most of them The Central Principles of the Kodály Method

  1. Music should be taught from a young age.

  2. Music should be taught in a logical and sequential manner.

  3. There should be a pleasure in learning music; learning should not be torturous.

  4. The voice is the most accessible, universal instrument.

  5. The musical material is taught in the context of the mother-tongue folk song.

I agree entirely with these principles, although I do believe that learning songs from all over the world in various languages is not only beneficially to a students understanding of music, but also of different cultures, a factor I think is very important in our increasingly multicultural world. However in saying this, I do understand that much Kodály's purpose in developing his philosophy of music education was to preserve Hungarian culture in a time of political unrest, which most certainly influenced the significance of folk music in the mother-tongue in the Kodály method. While I appreciate the Kodály Method and it's principles, I'm not sold on its rigid structure and still need to consolidate exactly how students move through the stages and sequences of the Method. Musical U Team. (2019). What is the kodály method? | musical u. Retrieved from

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  • Josephine Brereton


This week I found that the reading really demonstrated the importance of music in our lives. Music is more accessible than ever and we listen to it wherever we go. The reading states the importance of music to teenagers, who use it as a source of identity, use it to manipulate and reflect moods and emotions and use it as a coping mechanism. Despite this, music education is not experiencing the same popularity, as James highlighted in our lecture. During this lecture we were asked to defend music education and validate it as a significant part of the school curriculum, and while the importance of music is clear to us as music students, we were able to understand that it might seem irrelevant to people focused on achieving results through standardised testing on STEM subjects. However, I think that music education is only further validated by the importance of music in society today, however the ways it is being presented in classrooms might not be suitable or engaging for students. Hallam, S. (2015). The Power of Music. Great Britain: International Music Education Research Centre

  • Josephine Brereton


This lecture gave me the opportunity to reflect upon myself as a music teacher and how my own beliefs about music education have changed as a result of what I’ve learned throughout this semester through this unit, the readings provided and my own research. The reading this week and my experiences over the semester have indicated the importance of learning by doing. In the case of Orff music, children are encouraged to learn music by making music, while Rowley highlights the importance of real world experiences in educating tertiary music students and assisting them in the transition between student and professional. Furthermore, she emphasises the importance of ePortifolios and their role in assisting students to reflect on their learning and develop critical thinking skills. I think this has emphasised the importance of this ePortfolio in my own learning as I think it will help me not only track my progress and growth as a music educator, but allow me to reflect more thoroughly on what I am learning throughout my degree. Rowley, J (2019). The musician as teacher: Early career experiences of music teaching and leadership explored through an ePortfolio learning space. Leadership of Pedagogy and Curriculum in Higher Music Education. DOI: 9780367077334 ​ Skills every music teacher needs - primary and high school | insidethismusicbox. (2019, Jan 11) [Video file]. Retrieved from

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