Lifetime Achievement Award for David Vinden

The British Kodály Academy is delighted to announce that one of its long term members, David Vinden, has been awarded the Lifetime Achievement Award in the Rhinegold Music Teacher Awards for Excellence.

David has worked tirelessly for the Kodály cause for most of his adult life. He is one of the BKA’s most popular tutors, always giving generously of his time and immense knowledge.

Accepting the award, David said, “If I could bring about one thing in education it would be the belief that all children should have music and that it should start as early as possible through singing.”

Huge congratulations to David from everyone at the BKA. You rock!!

First Thing Music

BKA Member Lindsay Ibbotson has been successful in gaining funding for “First Thing Music”, an exciting research project which will run during the school year 2018/19,  jointly supported by The Education Endowment Foundation and The Royal Society of Arts in partnership with, Tees Valley Music Service, the Institute of Education and the British Kodály Academy.

Primary Schools in Teeside and the North East are invited to consider taking part in this exciting and important project.  Please see FTM Info Pack Jan 2018 for details.

For more information please contact Lindsay on

Sing ARound


Sing ARound – Sunday 4th March 2018 and Tuesday 6th March 2018
2017 saw the start of the special memorial year – 135 years of the birth of Zoltán Kodály and 50 years since his death. As we near the end of this special year the British Kodály Academy would like to organise Sing ARound events around the country – it would be great to have 50 events! Even better to have 135!

How can you help?
Simply organise a local event in your area:
It can be any kind of event you want – provided there is singing involved! An informal gathering to sing a few canons, a group of children or adults having fun playing singing games or a full day training event. The choice is yours.

Why Sing ARound
The British Kodály Academy would like to promote the importance of singing and Kodály education especially in this special commemoration year. It would be great if a donation from each event could be sent to the British Kodály Academy to raise funds – any donation from the event is valuable to us in order to help us continue to offer training around the country. (If you would like us to organise a training event in your area, please let us know. Contact for any further information)

Can schools get involved? 
Absolutely – this is why we have suggested Tuesday 6th March as an alternative date – It’s a school day! We don’t expect a donation from any school event – just have fun singing!

Please send us a photo of your event – we would love to see what happened around the country. Send any photographs you have to

To help you advertise your event we have made a generic leaflet. Download here
Simply add description of event, time and venue!


Kodály on the BBC!


Update: Watch again on BBC iPlayer

In a very exciting move for the BKA, this Tuesday, 28th November, the BBC’s One Show will feature one of our members, and the great success he has had teaching music in a school in Bradford.

Jimmy Rotheram is the music coordinator in Feversham Primary School, an inner-city school, which was in special measures five years ago. Their success is down to one thing – the Kodály concept of music education. By giving all pupils access to this incredible way of teaching music, they have improved attendance, creativity, concentration and confidence, and produced some musicians of exceptional quality.

But it is not just in music that they have seen this success. Just as was seen in schools in Hungary, there has been a knock-on effect in other academic subjects. The improvements in mathematics and literacy have lifted the school out of special measures, and they are now significantly above the national average.

Following a recent article in The Guardian, which has been shared almost 200,000 times on social media, there was so much interest that the school had to run a conference to showcase their music making.

Happy children, great academic results, fabulous music-making. This is a real success story we can all be proud of.

Find out more about the Kodály Approach with our “Your Questions Answered” page

The One Show – BBC1 Tuesday 28th November 2017 at 7pm

View The Guardian article here:

Plus a feature on Adrian Chiles’ BBC Radio 5 Live programme – the feature is about 1 hour in

BKA Patron Bob Chilcott

The BKA are pleased to welcome the renowned composer and conductor Bob Chilcott as our new patron.

bobchilcottThe BKA commissioned Bob Chilcott to write a new choral piece for children called “A Tree of Song” for the Kodály Celebration Concert in March 2017. The concert marks the 50th anniversary of the death of Zoltán Kodály and celebrate 50 glorious years since the introduction to Britain of the Kodály approach to music education.

Bob ran a workshop in January for the BKA, featuring “A Tree of Song”. After the workshop the BKA were delighted when Bob agreed to be our newest patron.

Composer and conductor Bob Chilcott is one of the most widely performed composers of choral music in the world. He has a large collection of works published by Oxford University Press which reflects both a wide taste in music styles and a deep commitment to writing music that is singable and communicative. After a career as a singer, and twelve years as a member of The King’s Singers, he turned to conducting, and between 1997 and 2004 conducted the chorus of The Royal College of Music. Since 2002 he has been Principal Guest Conductor of The BBC Singers. He has conducted choirs in 30 countries over the last decade, recently in Russia, Canada, USA, Japan, Czech Republic, Germany, Netherlands, Italy, Poland, Sweden, Iceland, Denmark, and Norway.

See profiles of all the BKA Patrons here

BKA Residentials by Charlotte Brennan

Charlotte Brennan Insert

At the BKA courses, you find yourself surrounded by people who love making music with others and want to learn more. People come from so many different musical backgrounds and levels of experience – the courses really embrace the philosophy ‘music should belong to everyone’. The music you can make collectively on the courses can be so simple, but really stunning – since everyone allows themselves to be so immersed.

Charlotte Brennan Confident PurpleAs a primary school music teacher, I have found the BKA courses invaluable for helping me develop more structure to my teaching. The Kodály approach works on the premise that music is a skill that everyone can learn when they are taught effectively – the courses offer such great training in music pedagogy, and are led by very inspiring tutors. There are sessions specifically on methodology, where you can learn how to break the skills down and teach them in a way that is progressive. I quickly found myself armed with new songs, games and teaching ideas that I couldn’t wait to try out with my classes – and gaining the knowledge of how to present these in a structured way left me feeling much more confident and professional at what I do.

Kodály Lightbulb Moments by Matt Brewster

Matt Brewster InsertMy journey into the world of Kodály began because I had the chance to be a ‘stay-at-home Dad’ for the best part of a year. I had been taking my one-year-old son to his ‘Mini Musicians’ class, initially thinking it would just be nursery rhymes. After a couple of weeks, I realised that there was something unusually clever and structured going on in these classes, and the older toddlers in the group had some quite amazing skills for their age – such as being able to beat a drum in perfect time to music – both crotchets and quavers! This had me intrigued, and when I was told that there was a shortage of teachers on the Isle of Man to run these groups, I jumped at the chance to learn more.

The Summer School was recommended to me by a couple of people who were involved in those groups. The reports I had received from those who were previous attendees were that this was to be a very intense, brain-melting week and I would be utterly exhausted – but that I would enjoy it.

As a result, I journeyed to England with a large degree of trepidation. I had looked at the timetable issued to me and it looked extremely full, including optional classes in the evening! I made a decision to just try to launch myself into everything, and just power through the tiredness. I am so glad I did.

The first thing you notice at Summer School is that you are suddenly surrounded by truly inspirational people, staff and students alike. There is so much talent that the music just seems to burst through the seams of the buildings and fill every space, including outdoors. Musical groups seem to materialise out of thin air and all of a sudden you are playing jazz (for the first time) with an ensemble of people you’ve never met before, but it feels like you’ve known them forever.

Our Early Years sessions were great fun, and really got us to think carefully about the reasons why we teach in a particular way, and to critically evaluate whether or not it is working. I came back with a huge raft of ideas for my toddler group!

I had a go at conducting for the first time (absolutely terrifying!) but through some excellent teaching I was quickly put at ease and since the summer school I have even conducted a church choir – something I never thought I would be able to do.

Matt MusicianshipI learned all about the science of the voice, how the vocal cords work and how to use different techniques to safely achieve the notes and volume required. Did you know that singing at full volume requires far less breath than singing quietly, because your vocal cords spend more time in their closed position? Fascinating!

There were some truly moving moments. Singing ‘The River is Flowing’ with all of the students during James Cuskelly’s session was an almost spiritual experience.

‘Lightbulb’ moments
But for me, the true highlight of Summer School were the musicianship sessions. They provided some extremely taxing mental exercise, challenging me to totally rethink how I approached my understanding of music. These sessions have huge potential to cause your head to spontaneously explode from all of the intense concentration, but Cyrilla did an incredible job of guiding us through it with immense patience. I looked forward to every single session, and at the end of it all I came out with a very good idea of every gap in my musical understanding. I discovered a lot of gaps! But rather than this being frustrating, I found it utterly inspiring. Things I had found difficult for years suddenly clicked into place like a light being switched on, and there were so many ‘lightbulb moments’ I lost count. I got so used to saying the words ‘Wow… of course, that makes so much sense!’ that I drew a picture of a lightbulb so that I wouldn’t ever forget that Kodály feeling.

I returned to the Island utterly exhausted and my brain had melted as I was promised it would – but I also felt like a child who had been taken home after a week at Disneyland. I really didn’t want to leave. I could have stayed in that environment for months and never got tired of it!

Since returning, I have started using Kodály in my own violin lessons, I’m now leading my toddler sessions on my own, and have noticed that my sight-singing is improving immensely.

I am very much looking forward to returning to another Summer School soon!

Matt started learning the piano at the age of four, before beginning a lifelong relationship with the violin aged five. After completing his degree he spent nearly four years working at Avid Technology on the market-leading score-writing software, Sibelius. Since moving to the Isle of Man he has worked as a secondary school teacher, a private violin teacher, and a teacher of Kodály-based toddler classes, while managing to fit in four different choirs and running a public board gaming group!

Sir Peter Maxwell Davies 1934 – 2016

With deep sadness we report that Sir Peter Maxwell Davies died on Monday, 14 March. The BKA has been honoured to have him as one of our Patrons.

Sir Peter was a great composer of music for children. From 1959 he taught music for three years at Cirencester Grammar School, where he wrote specific pieces for the pupils.

In 1981 the International Kodály Society commissioned Sir Peter to write for the centenary of Kodály’s birth. The resulting set of songs, to texts by the composer, was given its world première performance in Budapest on 13 December 1982, by a Hungarian children’s choir conducted by Janos Remenyi.

On that occasion Sir Peter’s description of his songs included homage to Kodály:

“Seven Songs Home was commissioned by the International Kodály Society and first performed in 1982 in Budapest on the occasion of the Kodály centenary. The work is a tribute to the great composer of music for children. It is scored for unaccompanied children’s voices, and the story line concerns events and adventures experienced by an island child between leaving school and arriving home for tea.”

For more details on Sir Peter’s life please visit his website at

BBC Radio 3 interview with Gilbert De Greeve

BBC Radio 3 interview with Gilbert De Greeve, then President of the International Kodály Society
Interviewer: Ms. Rachel Hopkin

In the following interview, Mr De Greeve addresses important questions and concerns facing Kodály educators in the 21st century. The future of Kodály music education is just one of many topics for discussion scheduled during the 17th International Kodály Symposium and 24th BKA Summer School, 13th-20th August 2005.

How did Kodály’s ideas come to international prominence?

The first question is WHAT does that mean: Kodály’s ideas? In fact, it is a “vision” (or it can also be called a “concept”) that ‘music ought to be an integral part of universal human knowledge” and that a thoroughly trained teacher, using the best available materials, should teach it on a daily basis as a normal school subject. It is very important to understand that the Kodály concept is not ONE specific method.

In 1964, when the world congress of ISME was held in Budapest, the international music world witnessed with growing astonishment the incredible results of Kodály’s vision on Hungarian schools and on the humanitarian upbringing of Hungarian children and youth. From then on it became a renowned example for the rest of the world. 1964 was 14 years after the first so called music-primary school had started in Kecskemét.

Immediately afterwards many musicians and music educators from abroad started to come to Hungary and to observe and study the, in the meantime, so called Hungarian Model. It resulted in study-groups staying in Hungary for a whole year and in the first Kodály programs outside Hungary. It also, necessarily, led to the first adaptations. To assist in these programs abroad very often so called Hungarian “master-teachers” were engaged for a certain period or sometimes even on a permanent basis.

That process emerged into the organization of the ‘First International Kodály Symposium’ in Oakland (California) in1973, followed by the ‘Second International Kodály Symposium in Kecskemét (Hungary) in 1975. It was at that Symposium that the foundation of the International Kodály Society took place.

Since then an International Kodály Symposium has been organized every two years: (1977 Wolfville, Nova Scotia, Canada, 1979 Sydney, Australia, 1981 Sapporo, Hokkaido, Japan, 1983 Antwerp, Belgium, 1985 London, United Kingdom, 1987 Kecskemét, Hungary, 1989 Athens, Greece, 1991 Calgary, Alberta, Canada, 1993 West Hartford, Connecticut, USA, 1995 Assisi, Italy, 1997 Manila, Philippines, 1999 Kecskemét, Hungary, 2001 Helsinki, Finland, 2003 Newcastle, Australia.) In the past 30 years many books about Kodály and his music education vision were published and numerous articles appeared in scientific- and music magazines.

The International Kodály Society is a worldwide forum bringing together all working in the fields of music, musical research and music education. It supports their efforts to ensure children and youth the so necessary, and too often lacking, balance between the development of intellectual potential and emotional growth, through education in general and through music education in particular. At this moment the International Kodály Society has members in 34 countries, but the concept is applied in many more.

A very important factor in the success of the concept is of course Kodály’s fame as composer and researcher.

How relevant (or not) are the ideas in the ‘global classroom’ today?

The methodological concept (the use of folksongs, good materials, the teaching always starting from the musical source, etc.) is used worldwide and on a large scale. Unfortunately the philosophical vision (that music ought to be taught on a daily basis and as a normal school subject) is less relevant, due to educational options, subsequently budget cuts for art education, of governments.

Are any cultures particularly suited (or not) to the ideas? It is again a matter of making a distinction between the philosophical and the methodological side of the concept?

Philosophically the concept is not at all Hungarian. It is simply ‘universal’ and suitable for any culture. However, the methodological part is so to speak “local”, the result of research on the specific elements of the culture. But that issue is a “technical” one that only requires capable authorities to draft it. I think that it is rather a question of “society” circumstances. For instance a society focused primarily on the material and the vocational, won’t be interested much in adapting an educational system that requires time and space for a daily music lesson.

And there is also the misunderstanding that the Kodály concept would not be suitable in countries that use the so-called “absolute solfege”. It is not correct but it is hard to convince those that do not want to or cannot understand.

With the right attitude and the professional know-how the Kodály concept is adaptable to any culture.

Difficulties encountered by trying to use the ideas internationally (for example, the mother tongue issue, particularly in mixed classrooms)?

The mixed classroom is a real challenge, but again, it concerns the methodological side and not the philosophical vision. In Hungary, great attention was paid from the beginning to introduce the children also to songs from other countries as well as to the “great” music.

By the way, the extensive report of the First International Conference on “The Role and Place of Music in the Education of Youth and Adults”, held in Brussels in 1953, sponsored by UNESCO and the International Music Council, already mentioned the following: ‘as a step towards understanding between the peoples, school songbooks should contain songs selected from all over the world’.

Thus it is a matter of finding the greatest common devisor among the various cultural traditions present in the class. As I said already it is a real challenge because it requires great craftsmanship of the teachers and their principals, as well as the flexibility to adapt their materials every year again. But it is not an insuperable problem.

Difficulties encountered by trying Kodály’s vision in modern music?

Well, the Kodály concept is not used IN certain kinds of music. It USES music to start up a process of music education. However, I assume that with modern music you are referring to the different kinds of pop; rock; etc., the so called “entertainment music” and that the question is whether this music (in fact we should rather speak of “musics”) can be used as materials to teach the Kodály concept. Strangely enough, and many may be surprised, I would say yes. But, for a number of reasons it would not be “wise” to use entertainment music for teaching purposes. For instance, because even the best of these “musics” are usually very “time-linked”, containing often one aspect of a fugitive musical expression. Besides these musics are usually conceived following commercial intentions and, certainly nowadays, rather focusing on rhythmical patterns than on genuine emotional expressions.

So, the question should not so much be whether it is good or bad to use modern music but rather how “suitable” this music is in a music education program. And then the answer is that much better materials can be found in the folk music and in the so-called “serious” music.

How do you decide what is good music?

Music nor art in general are exact sciences. It is impossible to define in a formula what is good and what is bad music. On the contrary music is subjective and whether it is experienced as good or bad is a matter of taste. It is perfectly possible – how unthinkable it may be – that someone does not like Beethoven, or Mozart or Bach, not to speak about Schoenberg or Hindemith.

The only trustable judge is time. We often seem to forget that Mozart and Haydn, for instance, to name just a few, had hundreds of colleagues’ composers. Yet their colleagues creations have not sustained the time in the same way. Folk music, however, often passed on orally before it was finally produced in written form, has been purified by the time. On top of it, it mostly has texts referring to historical, social or professional happenings, introducing the children to the history of their own culture and many of the songs for the very little children are also plays, facilitating the learning process. That is why they make so good materials.

So, I would not dare to say that this is good and that is bad music. In every genre are good and less good. And although there are certain criteria that cannot be neglected, it remains a matter of personal taste.

What kind of opposition does face Kodály’s vision?

Every creation always also creates opposition. If I would list the major reasons for criticism I would say that the top three are “ignorance”, “misunderstanding” and “envy”.

– For instance the thesis that Kodály’s vision could only prosper in a totalitarian regime, which is, of course, completely wrong.

– The discussion about what is the best, “relative so-fa” or the “absolute solfege”. There are even people who think that Kodály “invented” the relative so-fa or the so-called “hand-signs” or “rhythm-syllables”.

– One of the most incredible statements I recently heard is that the Kodály concept is an “historical” one that is not suitable for the modern time.

So, to answer your question, to my knowledge there is no opposition that is grounded on scientific research or that should be taken seriously. By the way, what opposition could there be against the idea that music should be a part of the general education of every human being? Opposition is nothing to worry about. The greatest danger for the Kodály concept, as far as I can see it is in its permanent evolution. Many outstanding ideas have been ruined at the end through so called “amelioration” and “personal interpretation”. The challenge will be to never loose sight on the sources of the concept, which can be found in the Selected Writings of Zoltán Kodály and, in a simplified form, also in ‘Music Should Belong to Everyone’, a recently published book by Ildiko Herbóly-Kocár and the IKS.

Where next?

Unfortunately that is a question that is depending on the statesmanship and brightness of many. It is not a favorable time for the arts and certainly not for art education. That is a great pity because the most important remains of any civilization are its expressions of art.

So, if “where next” means “quo vadis musica” I would like to quote one of my dear friends, the late Professor Alexander Ringer, who once referred to the famous sentence “can art save the world” as being totally wrong. It should be, he said, “can the world save the arts?” It will be an enormous responsibility for politicians and other responsible in the educational field to care for programs that not only develop the brains but also the human feelings. If that will be their concern, which it should be, the arts and music in particular will have to be taken as seriously as the ancient Greeks did it.

But if “where next” is referring specifically to the Kodály concept, I am convinced that the musical world will continue to have great interest in his compositions, in his unique research and in his humanitarian vision on the importance of music as a cornerstone of the entire humanistic enterprise.

A Year in Kecskemét by Barbara Jenkinson

from BKA Newsletter, Summer 2004

I first visited Kecskemét over ten years ago, and although I had already heard of the Kodály Institute, after looking around it, I realised how much I would like to study there. It was only after several subsequent visits, the summer school in 2001, and the award of the IKS scholarship, that I could finally achieve this ambition. I took the advanced pedagogical course there between September 2003 and May 2004, and have just returned to England. It was a great experience. The solfege class of Zsuzsa Kontra proved to be quite demanding and yet there were many times when I thought how lucky I was to be sitting within the walls of this beautiful old Franciscan monastery singing Renaissance motets and much more besides! Somehow there is a timeless quality to life in Kecskemét and long may it last. Of course as a new student I had to follow the whole pedagogical programme and one of the things that struck me first was how full that programme was compared to an English university or music college course. Well over twenty hours of classes a week in both semesters meant a busy schedule and lots of work! At the same time I was really impressed by the real love of good music that all the teachers demonstrated. (NB. Kathy Hulme described the contents of the course in detail in the last issue of the newsletter).

Of course Kodály’s approach means that all the areas of study are integrated, and through singing comes the development of musical skills and inner hearing. The study of conducting, for example, is so sadly neglected from most English music teachers’ preparation and yet here it is not only central but taught with an emphasis on good and exacting technique. I feel we have gone far too far down the road here in England of allowing students (at 16, 18 and beyond) to opt for areas they feel are their strengths, thus allowing such things as aural skills to be sidelined. It was a most salutary experience to see children in the third grade at the Kodály School memorising easily and in the sixth grade (our Yr7) being able to do tasks many of my A level students would have found a struggle. The standard of musicianship demonstrated by the children at this school is breathtaking, to say the least, and their dedication even more so.

My previous association with the Kodály School meant that they invited me to stay in a small flat in the school. As well as the many concerts that all the students are openly invited to, I often found myself in other interesting situations as well. For example, the auditions for entry into the school’s first grade, the kindergarten after-school music class, numerous choir rehearsals and concerts, lessons in the Gimnasium (secondary school) and the specialist music school. Here I could watch conducting classes for the pupils and the Music in English Class, an option for the oldest pupils (age15-18), where Kata Ittzes teaches a most impressive syllabus of English music repertoire and history, from the Old Hall manuscript to Elgar, Vaughan Williams, and Britten and beyond. Later in the year, the János Starker cello competition occupied a whole weekend with outstanding cello students from all over Hungary taking part and a few weekends after, a seminar on music education took place with demonstration classes and concerts.

Another fascinating experience was accompanying the Miraculum Children’s Choir to Budapest to rehearse with the conductor Iván Fischer in songs for a memorial concert of music by the composer Pál Kadosa (1903-1983) in the new Millennium Concert Hall. Just before Christmas another trip with the choir was to the Austrian Embassy to sing seasonal music in the most beautiful setting, and in March I was fortunate to be invited to the performance of some works by Emma Kodály at the Kodály Museum.

There were many other concert trips, notably to hear András Schiff at the Jewish synagogue in Szeged, the Tallis Scholars and the Robert King concert at the Mathias Church in Budapest, the St Matthew Passion at the Liszt Academy, and in Kecskemét, the Banchieri singers, the Japanese Radio Children’s Choir, the Bohem Jazz Festival, the Spring Festival, Marta Sebestyen and a wealth of fantastic choral and instrumental concerts in the school. There always seemed to be something interesting happening even in the depths of the Hungarian winter!

The eminent composer Miklós Kocsár (born 1933) celebrated his eightieth birthday by a series of concerts across Hungary. The concert in Kecskemét in January consisted of choral and instrumental works, including the Salve Regina and Four Madrigals sung by the Miraculum Children’s Choir and culminating in a performance of his Magnificat for choir and orchestra with the Institute’s Pedagogical Choir and the Kecskemét Symphony Orchestra under the baton of Petér Erdei.

In June it was the turn of Erszébet Szönyi (born 1934). Two of her children’s operas were performed for a whole week in the Cultural Centre by the children of the Miraculum Choir, and a wonderful celebration concert (including a superb performance of her songs, by Katalin Szutrély) was given in the school as well.

The Ars Nova Choir was founded in Kecskemét by Dr Katalin Kiss and although the choir now performs more regularly in Budapest, on 16th March the choir gave a concert in the old Kodály School, celebrating the fiftieth birthday of Miklós Csemiczky. He is one of a group of ‘four’ composers whose work Dr Kiss champions, and the evening ended with three pieces written for the occasion by the other three (György Orbán, János Vajda and György Selmeczi).

With this feast of music making, I am wondering how I managed to do any work! But all these experiences seemed to enhance the coursework somehow. Seeing the practical implementation on a day-to-day basis made it all come to life. In any case, I did manage to do plenty of study and one thing of particular interest was the individual class I had with Kati Kiss, studying the choral music of ‘The Four’, and with Mihály Ittzes, studying other contemporary Hungarian composers.

It is most interesting to see how the work of Kodály has developed over the past fifty years, not only in the music of contemporary composers, but in the ‘Singing Youth’ Festival for Secondary school choirs (featuring eleven choirs just from the town!), the Bacs-Kiskun (County) Festival for primary school choirs (featuring even more but from a wider area), and two festivals I attended in the Hungarian-speaking part of Slovakia, where it is continuing energetically as well. There are so many excellent children’s and girls’ choirs in Hungary, and some boy’s choirs as well.

Ironically, it was Kodály’s visit to England in the 1920’s, when he was so impressed by the standard of choral singing and music training in schools, that led him to start his pedagogical movement. Drawing on his already established position as folk-music researcher and composer, he was in a unique position to establish a system that was all-embracing. Fifty years on the Hungarians have the advantage that their music education is now a strong and unfaltering tradition and whatever is happening elsewhere in Europe, they, at least, continue to train and develop good musicians in the most musical way.

So to Éva Vendrei, Sarolta Platthy, Orsolya Szabo, Roland Hajdu, János Klézli and those I already mentioned, enormous thanks for a ‘wonderful’ year and my thanks to László Durányik for inviting me to absolutely everything at the Kodály School. Check out the new website for more information, including a reunion of old Kodályan students in August 2005.

Congratulations to Barbara for being awarded an Advanced Diploma from the Kodály Pedagogical Institute! Barbara has over twenty years experience of music teaching at primary and secondary levels. She is now hoping to continue teaching part-time, whilst developing a free-lance career with Kodály workshops, classes, inset etc. She is also planning another tour for the Aurin Girls’ Choir, June 2005 and the Miraculum Children’s Choir, June 2006 If you are interested in hosting the choir(s) or with any other aspect of her work, including workshops etc please contact her on 01749 812708 or by email