The basic pillars of Hungarian music education are based on the principles of the Kodály concept which is part of the National Core Curriculum. The music pedagogical trends dealing with the music education of children show fundamental differences in their basics and methodological considerations. Other music pedagogical concepts from the twentieth century, which are more widely used in Western European countries, are used only in a few home institutions at both curricular and extracurricular levels such as Orff-Schulwerk (Andorka, 2013). The Kodály concept approaches the musical education of children on a vocal basis, while the Orff concept places greater emphasis on improvisation and rhythm, as well as music-related movements (Comeau, 1995). The Kodály concept and the Orff concept have been combined in Hungary, but music pedagogy does not pay much attention to this process. The combined or mixed use of the two music pedagogical trends has an innovative potential to stimulate the effectiveness of vocal music education (Turpin, 1986; Scott, 2008).

In our research, the population was made up of teachers whose classes include the methodological elements of the Orff concept and instruments of the Orff instrumentarium. We are invastigating the form in which the two music pedagogical trends appear within the area of the classroom, which methodological elements will be applied. Qualitative methods have been used in our research. The data collection was made using semi-structured and depth interviews. The analysis of the information obtained from them yields the use of the Orff concept in the domestic educational arena.

Future goals of the research include further in-depth and wide-ranging investigations in the light of the Orff concept in Hungary. During the examination of the Orff concept, we came to the conclusion that it is not a widespread alternative music pedagogical in Hungary, only a few pedagogues dealing with this method. On the one hand, teacher training is difficult on both Hungarian and European level, and the other hand the financing of Orff instruments also causes problems for educational institutions in many cases. The integrity of the Kodály concept and orff concept is an existing phenomenon not only in Hungary but also internationally.

Andorka, P. (2013): Az Orff-koncepció bemutatása. Thesis. http://www.andorkapeter.hu/letoltes/andorka_peter_szakdolgozat.pdf (2016.05.14.) Comeau, G. (1995): Comparing Dalcroze, Orff and Kodaly: Choosing your approach to teaching music. Centre Franco-Ontarien de Ressources Pedagogiques. Scott, S. (2008): Kodaly? Orff?. Early Years Music Methods. 65. 365. http://carrieelliott.weebly.com/uploads/3/0/3/4/3034331/kodaly_and_orff_comparison.pdf (2016.10.16.) Turpin, D. (1986): Kodály, Dalcroze, Orff, and Suzuki: Application in the Secondary Schools. Music Educators Journal. 72. 6. pp. 56-59.