Zoltán Kodály in The Hague

Muziek als Vak was established in 2009 as a project within the framework of ‘Krachtig Meesterschap’ (Powerful Mastery), a development initiative of the Dutch Ministry of Education, Culture, and Science (OCW). The aim was to develop new methodologies for school subjects in primary education. The Royal Conservatoire in The Hague (KC), in collaboration with five primary schools in The Hague, submitted a proposal for this project. As part of the initiative, the Hungarian Kodály approach was adapted to the context of Dutch primary education.

Since 2012, the Kodály methodology has been actively applied at the Royal Conservatoire in The Hague. Not only has the methodology been increasingly integrated into theory education for conservatoire students, but teacher training courses were soon introduced as well. With two annual Masterclass Weekends, a Saturday course, and, since 2014, an accredited Master in Music Education According to the Kodály Concept, Muziek als Vak has grown into the leading platform for Kodály methodology in the Netherlands.

The Kodály Approach and Vision for Music Education

In music lessons following the Kodály approach, learning music through singing takes center stage. Teachers are required to possess strong musical skills (Musicianship Skills) to facilitate this process. Traditional repertoire (Songs & Games) and newly composed music form part of a musically challenging and active learning trajectory. Tools such as relative solmization, hand signs, and rhythm syllables are used to foster the development of musical literacy. Students gain confidence as they improve and acquire skills that enable them to make independent musical choices later in life.

The Kodály approach, also known as the Kodály concept or Kodály method, was developed in Hungary in the mid-20th century. The vision of composer, educator, and ethnomusicologist Zoltán Kodály (1882–1967) inspired his students and collaborators to create a long-term curriculum starting from an early age. Quality music-making and enjoyment are the core principles of this approach.

Kodály became interested in music education when he heard his students singing songs they had learned during their school years. Both the repertoire and the quality of the singing made him realize the need for a new approach to music education in Hungary. Kodály wrote articles, columns, and essays to raise awareness of the issues in school music education. He pointed out the lack of focus on music during primary school years, which left secondary school music education without a solid foundation. He also criticized the quality of the repertoire and the way children were performing music. Kodály advocated for music education for all children, starting from the beginning of primary school, with better teachers, an improved curriculum, high-quality repertoire, and structured, preferably daily, music lessons.