Throughout the 20th century, education in schools and music education have developed enormously. New educational approaches have emerged centred on children, adolescents and young people, which were influenced by advances in Psychology, Sociology and Educational Sciences. Those approaches were also influenced by artistic, philosophical and political movements that emphasised the value of the arts, dance, and sports (Boal-Palheiros, 1999).In music education, the so-called active “methods” by music pedagogues - mostly European and a Japanese (e.g. Dalcroze, Kodály, Orff, Willems, Suzuki), became increasingly popular among music teachers. For example, Dalcroze claimed that students learn and understand music best through their body, listening and responding to music through movement (Juntunen, 2004). In turn, Orff advocated an “elemental” music with simple forms, created by the children, which integrates movement, dance and speech (Wuytack, 1993).Inspired by those ideas and putting in practice his own thoughts as a music teacher educator, Wuytack, who studied with Orff, believes that all children and young people should have access to music education, regardless of their musical ability or development and of their family background. In teacher education, both initial education and professional development, he has developed a music pedagogy that emphasizes learning music through experience, involving mind and body (Boal-Palheiros & Bourscheidt, 2011).Wuytack teaches various musical activities (listening, singing children’s songs and choir, playing instruments, dancing, improvising, and creating) and uses diverse musical repertoires both for their intrinsic value and as teaching strategies to enhance musical experience and understanding. Furthermore, Wuytack’s pedagogical principles (e.g. Activity, Creativity, Community and Totality, among others) - which he proposed and developed since the 1970’s make completely sense in current musical education and practice (Wuytack, 1972).In this study, we analyse Wuytack’s principles and practice as a music pedagogue, which he has shared throughout more than fifty years, directly with hundreds of music teachers, and indirectly, with thousands of children around the world. We also analyse the impact of the Wuytack Pedagogy upon music teachers of different ages and years of teaching, through content analysis of their written comments, after a course. Beyond teaching strategies, the most relevant aspects that participants valued is making each teaching and learning experience a significant, musical and emotional experience.