Chapter 1
The Beginnings
of the Method in Hungary
and Its International Spread
“asic seems to be part of the very fiber of Hungarian life, Hungary, anation the size
of Indiana, with a population of ten million people, has eight hundred adult concert
choirs, fifty ofthe first rank and another one hundred of radio or public performance
quality. There are four professional symphony orchestras in Budapest alone and five
incountry towas, as well as numerous amateur orchestras. A person without a musi-
cal education is considered iliterate. Almost all play instruments; almost all sing.
‘Concert halls are ful
The situation was not always so. Barly in the 1900s, Zoltin Koddly, the noted
‘Hungarian composer and educator, was appalled at the level of musical literacy he
found in students entering the Zencakademia—the highest music school in Hungary.
Not only were these students unable to read and write music fluently, butin a
they were totally ignorant oftheir own musical heritage. Since they hed grown up in
the aftermath of the Austro-Hungarian Empire, « time when only German and Vien-
nese music were considered “good” music by the elite the only exposure these stu-