Introduction hythm syllables and hand signs are well-known pedagogical tools of the Kodály method. However, the use of rhythm syllables used in the western societies can also be found among other cultures around the world—extending from Asia to Africa. This paper investigates these pedagogical tools of music education by examining how music educators specifically use rhythm syllables and hand signs in South Korea and Kenya. The research examines the use of rhythm syllables and hand signs especially as used in two ensembles:(1) Samulnori,(or Pungmulnori), an indigenous polyrhythmic percussion ensemble of the Korean people; and (2) Mukanda, an indigenous Kenyan musical ensemble of the WaKamba people of Kenya. Like other folk music found around the world, the Korean and the Kenyan folk music have been transmitted by oral traditions even though these traditions have become points of contention. It is true that the relevance of oral traditions has been questioned given that we are in the era of accelerating professionalization, institutionalization, and formalization (Åkesson 2012). In spite of these fundamental questions, both Korean and the Kenyan music educators partially subscribe to the indigenous education through which various types of cultural heritage are passed on to the next generations through informal education (Ani, Nwakego & Umezinwa 2015). In South Korea and Africa, music education is transmitted through the various traditional media such as traditional festivals, work songs, moonlight plays, lullabies, and children’s nursery rhymes, and apprenticeship under well-known traditional musicians (Andrew 1998; Ekwueme 1983; Euba 1982; Nketia 1974). In the case of apprenticeship, following the expert’s teaching demonstrations of various sections of the music and rhythms, the student is required to repeat and memorize them. In Korean and Kenyan traditional music education practices, the process is as important as the result. In these traditions the rhythm syllables and/or hand signs have played important roles in the music teaching-learning dyad. In Samulnori percussion ensemble of South Korea, different rhythm syllables are assigned according to instruments because the rhythm syllables mimic the sounds and timbres produced by each instrument. The mimicked syllables have a duo function:(1) to represent both the rhythms to be played; and (2) to provide structural interpretation of the music and expressive dynamics. For instance, the syllables may indicate that the passage be played loud or soft or with a mute and so forth. The mimicked syllables may also indicate to the performer to play with the left hand, or the right hand and so on. Even though the rhythm syllables mimic the rhythmic patterns, they, however, do not represent the exact note durations or values like the Kodály method. In view of this divergence, it is important to note that repetitive rhythmic pattern is one of the most authentic and significant musical features of the Korean traditional music. In Samulnori ensemble for instance, the rhythm syllables help to enhance recallthus effectively returning information learned during a musical performance. In Kenyan Mukanda music melodies are cyclic with repetitive patterns that incorporate rhythm syllables which simulate the KiKamba, a tonal language of the WaKamba people.