Abstract
Adhering to the enjoyment-based music teaching, Kodaly tended to let children’s hearts accept the irrigation of music spring, and to give a good bud of the innate musicality. Kodaly's teaching philosophy was derived from the principles of his music creation, and once influenced by the European musicians. He believes that music is the treasure which belongs to all people, and the right belongs to every child, rather than the exclusive of some musical geniuses.  Music education should start early. School music education ought to become a separate discipline.  Music education should be based on national culture as the carrier. Children’s enlightenment education curriculums should contain as much as the songs in mother tongue, so that they can fully appreciate their own culture and experience Aesthetic appreciation from their own culture first. Singing is the basic and easiest way for children to experience music and pass pleasure. The singing of children should take the form of acappella, and allow them to experience the most original happiness in the pure voice. The period of Children's Musical Enlightenment is very important, and it must be professional music educators who lead them to comprehend the music.

It is based on a profound understanding of national music and culture that Kodaly, as an educator and musician, clear recognized the great significance of national music for national development and children’s early education. He also understood that the national folk music is often a microcosm of the characters and culture of a nation, and is prone to arouse a strong national emotional resonance. Kodaly thinks that national culture is the cohesion of the national character, national dignity and national will in its long-term development. National music culture is the perfect musical expression of the national essence. They not only have civil significance, but is more of a wealth of national significance. It belongs to all people.

Key words: Kodály teaching system, national music, children's music, universal music

摘        要

柯达伊秉承以享受为主的音乐教学，让儿童的内心接受音乐源泉的浇灌，让与生俱来的乐感有个良好的萌芽。柯达伊的教学理念源自于他在音乐创作上的原则，并一度受到欧洲音乐家的影响。他认为音乐是为全民所有的，是每个小孩的权利，而不是某些音乐天才的专属品。音乐教育应及早开始，学校音乐教育需成为一门单独的学科。音乐教育应该以民族文化为载体，儿童的启蒙课程里应包含尽量多的母语歌曲，让他们充分体会本国的文化，从自己的文化开始进行审美鉴赏。歌唱作为体验音乐最简单的方式，是儿童传递快乐的基本途径。儿童的歌唱应采取无伴奏形式，让他们在纯净的声音中体会最原始的乐趣。儿童音乐启蒙时期很重要，带领他们领悟音乐的人一定要是专业的音乐教育者。

正是基于对民族音乐和文化的深刻认识，柯达伊作为一个教育家和音乐家，清醒的认识到了民族音乐对于民族发展和儿童早期教育的重要意义，看到了民族民间音乐往往也是一个民族性格与文化的缩影，在本民族中很容易产生强烈的感情共鸣。柯达伊认为民族文化是一个民族在长期的发展中所凝聚的民族性格、民族尊严、民族意志，民族音乐文化是民族本质最完美的音乐表现。它们不仅具有民间意义，而且是更具有民族意义的一项财富，它是属于全体人民的。（上述文字是柯达伊对民族音乐的认识。关于柯达伊的音乐教育方法，你为什么没有在此概括？？）

关键词：柯达伊教学法，民族音乐，儿童音乐，全民音乐