The modern training of educators of young children involves the preparation for independent creative activities. Another indispensable methodological requirement is the close connection between theory and practice while paying attention to students’ special requirements (Falus, Golnhofer, 2001). The successfulness of the teaching process mainly depends on the creation of applicable knowledge. (Deli–Podráczky, 2005) In the process of changing students to experts it is worth using methods that help students in identifying and analysing practical problems so that they can become active participants in the process of their own personal and professional development. (Szivák, 2003) The aim of the research performed between 2010 and 2016 (attitude research, narrative essays, questionnaires on satisfaction, metaphor analyses) and the methodological inventions based on these (portfolio, pair work, simulations, and teaching musical instruments based on adaptivity) was to support the more intensive development of the competences necessary for their profession as well as the organisation of their practical knowledge and the implementation of the theoretical knowledge.

In my research I would like to introduce how the portfolio technique is used in singing/music teaching methodology, the functions of the documents included in the portfolio and students’ reflections to this technique. The successfulness of the use of the portfolio method is apparent in several fields including the development of competences; the more appropriate use of academic terminology; the development of students’ self-assessment; and the identification of the ways of the individuals’ further development. As regards the development of students’ pedagogical skills it results in the formulation of a more realistic career plan; the internalisation of practical experience in planning, methods and assessment; and the development of certain elements of reflective and analytical thinking.

When revising the methods of singing/musical training in higher education institutions it became evident that it is also necessary to deal with the special characteristics of learning in adult age. It is worth examining individual and group requirements, identifying realistic aims and considering the fact that adults make decisions consciously to begin learning; they learn in a logical and rational way; differentiated didactics and methodology is necessary during their training; and the lecturer must possess special competences in the field of adult education.

"Busy with Music" is a music educational method which was developed in 2010. The method was developed by me and I am constantly working on its further development. The novelty of the method lies in the fact that it enriches musical education and musical skills development of the given age group – early childhood, kindergarten and primary school – by the purposeful inclusion of objects that can be found in the children’s environment (toys, everyday tools, sports equipment, reusable objects). The theoretical background of the method from the perspectives of general didactics and music pedagogy, presents pictures that illustrate activities with various objects and highlights their objectives and their impacts on children’s development. This activity-oriented method can easily be adapted to the concept of everyday singing and it can also support children’s self-expressive, cognitive, affective and social competences and therefore their success at school.

In my research I explore Katalin Forrai’s legacy, which is of utmost importance for education, including written documents held in archives as well as voice and video recordings. While processing the material I categorize and catalogue the documents relevant to early childhood musical education and digitalize as much of it as possible.

A disciple of Zoltán Kodály, Katalin Forrai was a decisive figure in early childhood musical education for more than fifty years, a pioneer in the practical implementation of Kodály’s concepts. She worked out her own pedagogical methodology for musical education in childcare centres and preschool, and she was a major figure of pedagogical training between 1951 and 2004. The Music Pedagogy Archives of the Kodály Institute in Kecskemét and the Katalin Forrai Memorial Museum in Táplánszentkereszt keeps the so far unresearched written, vocal and video material of her invaluable pedagogical work, which determines the concepts and methodology of musical education today. Hundreds of hours of recordings of singing and music activities in kindergartens, material of methodological training courses for kindergarten teachers and early childhood educators, handwritten documents of her observations carried out among young children, video material and drafts of her open lessons, preparatory material of her books on her methodological concepts Music in Childcare and Music in Preschool, which were published a number of times, the preparatory material of the enlarged and revised editions as well as her journals and correspondence.

Katalin Forrai travelled around the world as an ambassador of Hungarian music pedagogy, promoting Kodály’s concepts and drawing the attention of Hungarian and international experts to music education in the preschool age. She was a member and president of the International Society for Music Education and the Hungarian Council of Music and vice president of the International Kodály Society. About half of her legacy comprises of the written material of her professional activities in the international scene.

By exploring and publishing her legacy, I aim to pay a tribute to the greatness of Katalin Forrai as a music pedagogist and improve early childhood singing/music education using the concept of renewal with preservation.

The research was initiated in the Department of Singing and Music at the Faculty of Pre-School and Primary Education of ELTE as it was realized that the length of the programme is not sufficient to (1) make future preschool educators and primary school teachers become committed to singing and music in education, and (2) relieve the barriers and compensate the deficiencies students have when entering the BA programme. We do not seem to reach our aims in taking students to the level where they are capable of enhancing their repertoire with valuable musical material independently, exploiting the opportunities offered by the internet and developing their competencies in singing, music and playing musical instruments. A high degree of uncertainty has also been observed among graduates.

The research team plans to conduct an exploratory research among graduates, which will be followed by the establishment of problem-oriented workshops.

In addition to a continuous diagnostic development study of the graduates participating in the workshops, a four-year-long emancipated action research will also be implemented with the purpose of improving the training in the workshops and establishing a training scheme supporting ideal development.

In order to ensure the validity and reliability of the action research, the participants will be offered the opportunity to reflect in interviews, reflective diaries and focus group conversations. The training programme will be closed with efficiency examination by means of output measurement.

The research can possibly result in a novel theory-practice relationship, providing opportunities for a market-oriented improvement of preschool educator and primary school teacher training, and it would help graduates in their successful self-development and efficient work. It can also improve the quality of the singing-music development of children in preschool and primary education.