The beginning of the 20th century was a very inspiring time for music pedagogues. Even then, it was clear that music education should be taught in a different, freer way than regular education. All music-pedagogical concepts of the 20th century are characterized by openminded pedagogues. This is evident in the belief that every student has musical potential. Emil Jaques-Dalcroze, although he established a detailed musical-pedagogical approach, is best known for his eurythmic and for teaching music through dance or movement with an emphasis on developing improvisation. Improvisation is also the foundation of Orff's method, where Orff's instrumentarium is used in development. Zoltan Kodály was based on music education through singing, with an emphasis on Hungarian folk songs. Edgar Willems' music-pedagogical approach, although the least known, is extremely interesting and comprehensive. He observes man holistically, in a connected relationship with nature and the cosmos, and seeks to discover talent from each student. The last in line is music educator Shinichi Suzuki. Although his music-pedagogical approach is primarily designed to teach violin playing, in line with advanced ideas and pedagogical optimism, the model is applicable to all instruments and used everywhere in the world. Music-pedagogical ideas and approaches from the beginning of the 20th century are still fresh and creative and are certainly applicable in today's practice.