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Kodály began to see the value of teaching musical skills through the medium of folk music that students had been exposed to from an early age. He felt he could teach musical literacy and ear training through sight-singing, solfège, and lyrics from his students’ mother tongue. As Kodály developed his teaching methods, he settled on a social, kinesthetic approach to music that could work in both a primary school and a conservatory.

 In 1945, Kodály's ideas became part of the official curriculum of Hungarian schools, and music primary schools that taught the Kodály method spread rapidly over the next decade. In the years since, Kodály’s approach to teaching music has gained international recognition and won adherents around the world.

The Kodály concept has similarities with another style of musical education developed by the German Carl Orff in the early- to mid-twentieth century. Kodály and Orff both sought to teach music in a social, exploratory way. Yet the Orff method emphasizes improvisation while Kodály training still emphasizes existing pieces from the musical canon—albeit presented in a different way than in traditional musical education. Kodály also took a notably Hungary-centric approach to his teaching while Orff emphasized Germanic culture and heritage.

Music teachers typically use the Kodály method in classrooms, where groups of students learn core musical elements like major scales, minor scales, and rhythmic patterns. The goal of Kodály music education is to give students a first-hand connection to music and to never make it seem like a dry academic exercise. Even fairly advanced topics like syncopation, counterpoint, and improvisation can be taught via the Kodály concept. Kodály education societies provide literature and exercises to help music teachers design a Kodály curriculum for their own music students.