Kodály made an indispensable contribution in the field of music not only through his compositional, educational and scientific work but also through his personal health conscious lifestyle. He emphasized the importance of regular exercise along with maintaining a good diet. For example, he himself skated, swam, walked, did yoga and climbed mountains on a regular basis. His health consciousness was well known among his followers. He modeled his life in such a way as to inspire others to follow in his footsteps. “He gave countless advice regarding healthy lifestyle,” testifies world- renowned pianist and conductor Tamás Vásáry, “and I did not even have to listen to his advice, it was enough for me to see him reading as he walked the street Andrássy. Following Kodály’s example became a blessing for me especially when I started to conduct. I learn all my scores by walking.”[1] With his knowledge and health centered lifestyle Kodály impacted not only his generation but also generations to come. As a result, Kodály’s influence continues in the different areas of music and in many different ways. This article endeavors to set forth one of the many ways in which Kodály continues to have an effectual influence, namely, the physical well-being as it pertains to musicians and to the various aspects of their profession. This effectual influence continues to introduce new horizons to present day musicians giving new dimensions to their professional life.

At the end of the 1950s, Kodály was a supporter of a movement in Budapest, Hungary that addressed the problems of physical conditions of students at the Ferenc Liszt Academy of Music. Dr. Géza Kovács was asked by the Hungarian government to give direction to this movement. In 1959, Kovács began to work on his special assignment and spent the next forty years of his life researching and developing a special program, The Care of Musicians’ Work Capacity[2]. At the celebration of the 35th year of his leadership, Kovács made a speech at the Academy of Music outlining the history of the movement and of his research. This history was also described in an interview that Kovács gave on this occasion to one of his students, Zoltán Gyöngyössy, a flute player.[3]

Dr. Kovács, scientific researcher, developed his special program for musicians based on research findings that he did together with his associate Dr. Zsuzsa Pásztor, pianist, during forty years (1959-1999) at the Ferenc Liszt Academy of Music focusing on musicians’ occupational-related problems.[4] International physical wellness literature reveals that research in the same area started in different countries at the same time.[5] The center of these activities was the United States. While all of this important research in the field of music medicine focused mostly on diagnosis and treatment of occupational injuries, Kovács’ program was aimed toward preventing occupational-related problems and designing a lifestyle that helped to meet the continually intensified and broadened professional demands made upon musicians.

Surveys of various health problems among musicians were conducted not only by Kovács and Pásztor but also, for example, by the organization of the Medical Problems of Performing Artist and by the International Conference of Symphony and Opera Musicians that studied 48 different orchestras and 4,025 symphony musicians in the US.[6] Also, the incidence of occupational-related problems was surveyed by the author of this article among 500 harp players in 47 countries.[7] In addition, information was calculated from data collected over 14 academic years by Cayea and Manchester reporting instrument-specific injury rates of 513 students at a university-level music school in the US.[8] The American String Teacher Association surveyed string players whose answers were summarized by Anne Mischakoff as to clarifying the nature, causes, and potential treatments of various medical and psychological problems that affect them.[9] These studies support the need for further research.

Brandfonbrener summarized her research with the Medical Program for Performing Artists Clinic, where musicians in nine major orchestras added daily warm-up exercises away from the instrument.[10] However, the musicians did not comply with the daily physical exercise program, citing lack of time, not being paid for exercise time, and the belief that they did not need the exercise. This lack of compliance occurred despite the accompanying educational session in which musicians learned how exercises help prevent injuries. Brandfonbrener concluded that education must start much earlier, that is, before musicians are set in their routine and before injuries could begin to develop.

Kodály emphasized that music education needs to start even before birth. Along with music education, Kovács emphasized that health care education must start with the first music lesson and be nurtured continuously throughout a professional life. Based on this author’s research, there are a number of broadly applicable mind-body and alternative healing therapy techniques that musicians have adopted. However, it would appear that what is needed is a therapy program of a broader scope for musicians. This would address, for example, developmental approach in physical skills, teaching physical wellness at every level, including beginning level, and would focus strictly on musicians’ needs. As Dr. Ethel Smith, emeritus vocal professor, Indiana State University, expresses the complexity of the need “…teaching diaphragmatic breathing and vocal tone and the role of posture and the abdominal muscles. Singing requires total body energy. Singing must be cultivated. Learning how to sing is mental discipline over the physical body. Singing makes one healthy.”[11] The Care of Musicians’ Work Capacity program, developed by Kovács and Pásztor, takes such an all-inclusive approach.

The Kovács Method program, as it is briefly named after its founder, is trying to address each of the different needs that musicians face.[12] One of the basic purposes of the Kovács Method is to prepare musicians to achieve and maintain a work capacity level that meets the anticipated demands and specific tasks. This is realized through:
• Laying a foundation for a balanced posture and movements that are involved in music making
• Improving speed and strength needed in performing
• Improving proper breathing required for making music
• Building up stamina and endurance for practicing
• Increasing the musician’s performing ability and effectiveness in professional activities

Another purpose of Kovács’ program is to prevent occupational-related injuries through:
• Preventing the overuse of the muscular system
• Relaxing strained muscles
• Correcting an asymmetrical body posture
• Balancing the physical inequities that are inherent with playing an instrument
• Overcoming tiredness
• Protecting and relaxing the auditory system
• Preserving the stability of the autonomic nervous system
• Helping the synchronization of the visceral system

A third goal of the program is to help restore the work capacity and physical condition in cases of exhaustion, overexertion with a:
• Practice plan adjusted to individual needs
• Gradual progression in physical training
• Daily routine that helps to restore the normal work capacity

The Kovács Method proved to be a pedagogical approach for improving physical, mental, and spiritual capacities of musicians as a balanced unit. In bringing these traits to their highest level and keeping them in constant equilibrium, it enables musicians to achieve their utmost performance in their challenging life and work. In this regard, Kodály and Kovács had a very important thing in common, namely, they both emphasized in their teaching the whole man consisting of mind, body and spirit.

During the forty years while Kovács faithfully served musicians, many outstanding Hungarian professionals, performers, composers, professors, and students attended his classes and sought his advice regarding their well-being. These musicians and professionals shared common observations regarding Kovács’ teaching. World-renowned composer, György Kurtág, and his pianist wife, Márta Kurtág, wrote in one of their letters to Kovács, “What you offer is much more, much richer and more important, than the unassuming name of your classes: ‘Conditioning’. What you represent is a system of thought, a pedagogical concept, and a way of living that is not limited to gymnastic exercises.”[13] Dr. Miklós Réthelyi, Professor and Director of the Anatomy Institute of the Semmelweis Medical University, Budapest, emphasized the same wholeness in Kovács, “Professor Géza Kovács was a complete person. How wonderful was the physical, mental, and spiritual integrity that he exemplified for us. Nowadays most life systems are on the verge of falling apart and disintegrating. Very hard work is required for integrity to develop, persevere, and flourish: it is something that must be created and striven for. In this, he gave us a beautiful example.”[14] The comprehensiveness that Kovács exemplified in his personality was also present in his teaching. Borbála Dobozy, harpsichord player, recording artist, testified that “Professor Géza Kovács’ classes were not simply gymnastics lessons, but they were also heartwarming opportunities for relaxing, unwinding, and replenishing oneself physically, emotionally, and intellectually.”[15] Dr. Klára Kokas, well-known music pedagogue, explained the complexity of Kovács’ teaching, “We learn about the body's functions, its rules of operation, the circulation and ventilation of fluids, and a thousand other important details about ourselves. … From him I learn the sure human prerequisites for the art of teaching.”[16] Some participants later made a career outside of Hungary who recognized the uniqueness of Kovács’ teaching in the area of physical wellness for musicians. For example, Valéria Szervánszky, pianist in London, UK, stated this recognition “Anyone can give workout classes, but he [Kovács] deals not only with physical movement, but with the complete person; and that I have never experienced anywhere else with anyone.”[17]

The author of this article has never found a comprehensive course either such as the The Care of Musicians’ Work Capacity program while studying and working in the United States, and traveling to different countries. In addition to integrating this method into her performing career, she also adopted this method along with the Kodály Concept into her harp instruction. The results were beyond expectation. For example, the quality and the volume of the harp sound depends very much on the physical condition of the harp player, including the strength of the body, the proper use of each muscle of the arms, the flexibility of the wrists, the suppleness of the hands, the dexterity of the fingers, the sensitivity of the fingertips, and the inner hearing. With regular use of full body warm-ups away from the instrument, and special balloon and ball exercises in training and conditioning particularly the arms, hands, and fingers, it was possible to achieve a harp sound that was not comparable to the harp sound of players who did not use the Kovács Method in the preparation of their work. A tool such as a jump rope became part of the basic contents of beginning harp players music bag. Likewise, these exercises and preparation habits would become part of the routine of their music activities and would remain there for the rest of their life.

After Kovács’ death, the program continues to grow under the direction of Pásztor, which can be seen in the increasing number of published research articles, the rising number of lectures, continuing education programs, higher education courses, and the expansion of this physical wellness program. The DVD program, Harp Playing for Life, a result of the work done by the author of this article in collaboration with Pásztor, illustrates the practical application of the Kovács Method giving examples, for instance, how music lessons can incorporate important elements of the Kovács Method beginning with the first music lesson and following the development of a musician. In addition, the whole scale of ages is represented in this educational video program showing the versatility of the method.[18]

The Kovács Method program continues to bring success in the lives of many people. Krisztina Wehner, pianist, teacher at the Graz Music Academy, Austria, shares that “Slowly I gathered strength as I learned how to walk and breathe correctly and to use my energy efficiently. … In this very demanding sphere of work, it no longer poses any difficulty for me to be able to play evening concerts, making music with full strength and freedom even after a full day's work at the piano. … Thus it is that these workout sessions have become my life's most solid, indispensable pillars.”[19] The same positive experience that Gábor Kósa, percussionist and composer, reports “Back in my college days even a half-hour's work was difficult for me. A few years later, the mornings of my solo percussion recitals would be spent moving and unpacking instruments, preparing the stage, and practicing. Following this I would eat lunch at around 5 p.m., rest for one or two hours, and then play my entire program from memory. I was able to handle the day's tasks gracefully without getting tired.”[20] One of the high school teachers, Franciska Érháti-Antal, supports the same thought, “The effect of all of these things has been that my unbearable back pains quickly disappeared, I gradually was able to discontinue blood pressure medication, and my general state of health and work capacity level have improved enormously. My colleagues inquire how I am able to still smile after teaching a 12-hour day.”[21] Moreover, age has no limit regarding the help of this program as S.Z., horticultural engineer explains “Even today, at age 74, I continue the workouts, and thanks to this I enjoy solid good health, a good work capacity level, and graceful movement. The classes are always happy occasions; we arrive tired and leave refreshed.”[22]

Today, the Kovács Method program is the only existing physical wellness program in the world that emphasizes the total human development in a musician to follow the example set by Kodály. It is most important therefore that the three aspects of human development, body, mind and spirit, be fully trained in order to become a well-rounded musician. To neglect even one of the three aspects or not keeping them in balance can prove to be a hindrance in excelling professionally and becoming the best musician possible. There is more than one parallel in the life and work of both Kodály and Kovács. In addition to emphasizing the total human development, they also presented their ideas and developed their methods through an amalgamation of education and science. Therefore, their teaching is still most relevant to our day and time. Moreover, as the Kodály Method, so likewise the Kovács Method uses a sequential approach in teaching that builds on successive experiences. These successive experiences involve suitable material introduced at proper stages of development and presented in adequate fashion. The Kovács Method is the only existing physical wellness program in the world devoted not only to total human development but also to a structured pedagogical system in its entirety from early childhood through professional level.

As the professional demands upon musicians continually rise, it is imperative that musicians meet this demand and enjoy a long and productive life, as did both Kodály and Kovács. Dr. Ágnes Gáti, psychologist stated, “He [Kovács] was a living example of the fact that the passing of time does not necessitate deterioration.”[23] Kodály and Kovács both were men of whom it might be said today that their work is very much alive and their method is far ahead of their time. They uncovered new horizons fulfilling a universal need required by present day musicians.



References:

¹ Vásáry, T. A zenén túl…, Vásáry Tamás zenés beszélgetései. [Beyond Music…, Musical Conversations of Tamás Vásáry]. Budapest, Hungary: Nap Kiadó, 2003.
² The Care of Musicians’ Work Capacity is a physical wellness program for musicians founded and developed by Dr. Géza Kovács. It is well documented mostly in Hungarian publications. It is taught by Dr. Zsuzsa Pásztor, Director of the Kovács Method Studio, at the Academy of Music and the Eötvös Lóránd University, Budapest, Hungary.
³ Zoltán Gyöngyössy: Meghívó egy ünnepi koncertre. Beszélgetés dr. Kovács Gézával. [Invitation to an Anniversary Concert. Interview with Dr. Géza Kovács] Parlando Volume 36, Number 12 (1994), 31.
⁴ Udvari, K.K. Psalmus Humanus, Hagyomány és megújulás a kodályi zenepedagógiában. [Psalmus Humanus, Tradition and Innovation in the Kodály Music Pedagogy.] Budapest, Hungary: Püski Kiadó, 2002.
⁵ Lederman, R. “An Overview Of Performing Arts Medicine”. American Music Teacher Volume 40, Number 2-3, (1991), 12-71.
⁶ Fishbein, M., S. Middlestadt, V. Ottati, S.Strauss, and A. Ellis. “Medical Problems Among ICSOM Musicians: Overview of a National Survey”. Medical Problems of Performing Artists Volume 3, Number 3 (1988), 1-8.
⁷ Gaál, E.“Incidence of Occupational-Related Problems Among Harpists”. D.M. Document, Indiana University, 2000.
⁸ Cayea, D. and R. A. Manchester. “Instrument-specific Rates of Upper-extremety Injuries in Music Students”. Medical Problems of Performing Artists Volume 13, Number 3 (2004), 19-25.
⁹ Mischakoff, A. Sforzando! Music Medicine for String Players. USA: Tichenor Publishing Group, The American String Teachers Association, (1985).
¹⁰ Brandfonbrener, A.G. “The Orchestral Injury Prevention Study”. Volume 12:1, Number 3 (1997), 9-14.
¹¹ Lane, L. “Smith Finds Music is Her Ministry”. The Herald Times, June 14, 2004. Bloomington, Indiana.
¹² Zenei munkaképesség-gondozás, Kovács módszer. [The Care of Musicians’ Work Capacity, The Kovács Method.] Budapest, Hungary: Fövárosi Pedagógiai Intézet, 2002.
¹³ www.kovacsmethod.com/english/testim.htm
¹⁴ ibid
¹⁵ ibid
¹⁶ www.kovacsmethod.com/english/testim.htm
¹⁷ ibid
¹⁸ ibid
¹⁹ www.harpahungarica.com
²⁰ www.kovacsmethod.com/english/testim.htm
²¹ ibid
²² ibid
²³ ibid

Copyright © 2005, International Kodály Society
Printed originally in the Spring 2005, Vol. 30, No. 1 issue of the Bulletin of the International Kodály Society.
Used by permission.