For over a century, music education has been widely recognized as being in a state of crisis. In the aftermath of World War I several reform pedagogies were emerged, which tried to counterbalance the socio- cultural alienation, the bad feeling of bourgeois society referred to as the „malaise of culture” by Siegmund Freud. This bad feeling was generated by the passivity which characterizes the connection of the contemporary audience with its own classic musical heritage. The construction of European concert halls during the first half of the 19 th century further exacerbated this passivity. The slogan "let music be for everyone,"  popularized later by Zoltán Kodály, symbolized the enormous social expansion of music. As a result, music transitioned from being solely contemporary and an expression of human life and cultural identity to becoming museum pieces with lost social functions. These works now held only a dead aesthetic value, evident in their passive reception within concert halls. Various " reform pedagogies" emerged before and after World War I, aiming to revive the vital connection with music. These included the methods of Kodály and Fritz Jöde, both of whom emphasized the importance of singing as the primary musical expression of humanity, as well as the Dalcroze method, which sought to harmonize Dolinszky The Forced Creativity 2 the emotional world of human beings with body movement through the liberation of improvisative imagination. While these reform pedagogies shed light on renewing our connection with music in general, they fail to address the alienation from premodern European musical heritage.