The concept of "ludicity" in the Kodály method: Origin, meaning and projection.

Abstract

The ludic factor is one of the basic premises of the educational methods which changed music teaching since the beginning of the 20th century. All the methodological contributions that have been successful in recent times have emphasized, in one way or another, this element. The article addresses the antecedents of this tendency around the game in the method of Zoltán Kodály, to argue that, in its day, ludicity had a sense of rupture with previous models but that, at present, this element requires a new point of view. The ludic approaches are rooted in generalist models that, in turn, had as references the ideas, among others, of Rousseau, Pestalozzi or Froebel. In music pedagogy, a progressive adoption of some of the notions of these pioneers can be traced from Chevais, Jaques-Dalcroze or Montessori, which supporting this new educational philosophy. The analysis of some reflections about Kodály will serve to highlight, on the one hand, its past value and, on the other hand, the need to accommodate it to the school of the present. Consequently, it is discussed the possibility of ludic adaptation of the pedagogical strategies outlined by the Hungarian pedagogue in current educational contexts. In this sense, ways of adjusting the criteria of gamification to traditional playfulness are proposed, exploring possibilities based on teacher training.