Halasz was a unique gentleman. He was in reality a Renaissance
man: a musician, a mathematician, a composer, a teacher, an
organist, a concert pianist, and a teacher of the Kodaly Method.
had one Hungarian who arrived in 1957 and was the one who
introduced us to the Kodaly concepts of ear-training and
sight-reading. His name was Istvan Szelenyi.
two years we learned of yet another Hungarian in New York City
who had studied with Zoltan Kodaly, and in fact had taught in
the Royal Conservatory, where he taught teachers how to teach
the Kodaly Method. We began negotiations immediately. Within two
months he had joined the staff of the Texas Boys Choir.
Halasz, who had been an organist at the Cathedral of Pecs, was a
contemporary and a friend of Gyorgy Ligeti another composer of
renown. Mr. Halasz had an opera of his performed at the State
Opera . He spent ten years sharing his wealth of knowledge and
the brilliance of his intellect with the members of the Boychoir
before he died of cancer.
Halasz, through the Kodaly Method, developed for our choristers
an "inner ear" awareness : an ability to hear a pitch
mentally and silently in pre-phonation phase of vocal process.
Eventually, there was added the ability to correctly tune pitch,
and to conceive the tone quality to be sung. It is a phase of
training that we have come to know, in developing the student's
"inner space" as training the "silent
the establishment of the hand-signs or symbols, we were able to
give to our pupils an entrance into a world of abstraction. We
were able to teach the students to hear through sight, and to be
able to visualize what he heard. This Method then became the
path toward perfecting the pupil's total relationship to the
world of muic which surrounded him: the non-vocal musical
disciplines, the theoretical knowledge, and a dynamic creative
"The Big Book"