Kodaly Method (1882-1967) Hungary.
- execution of a song chosen by the teacher for a specific didactic reason.
- auditory analysis of a particular element of the song: rhythmic difference between the note movement of different durations, or the distinction between melodic intervals.
- once these differences are recognized, a series of games and improvisations are started, practicing these musical elements using chironomy, body movement, instruments, spoken and sung voices, until the new elements are well understood and internalized by the boys.
- new inventions or compositions, using the new musical symbols, oral and written dictations that contain the new musical element.
With this path of work we already have a scheme to teach any element of musical language: starting from the musical performance, we then move on to analysis, and finally to practice in various ways, it should be noted that the writing of the new musical figure, which will eventually lead to reading, is the last step in learning. The teaching process goes from the known to the unknown, from the simple to the difficult, in a gradual, progressive and planned way: the new elements must have a reference to those already known. The feeling of the pupil must be to apply what he already knows to learn what he does not know. The process is therefore inductive and gradually develops in the pupil a rhythmic, melodic, formal knowledge, starting from his innate knowledge, from his musical native language, bringing to a conscious level what is already present at an unconscious level, making discover, in active way, what is emotionally already known. Only later does one arrive at the abstraction of the sensitive data, elaborating the formation of a concept, codified at a later time into a sign, but already possessed at the level of concrete experience. In this way, significant and lasting learning is achieved.