Here are some ideas for your classroom

 This video shows Martha Healey (KSC registrar) teaching participants at the AKA Singposium in February the Nova Scotian folksong/singing game “Bog Down in the Valley.”  This is a singing game easily taught to elementary students. Take a look!



Find out what students taking a summer course do! Below are the Kodaly Institute Informance videos at University of Victoria, British Columbia. The videos includes a demonstration of the work achieved during a two week course in pedagogy, music literature, musicianship, conducting and choir.

University of Victoria Kodaly Summer Institute 2013 INFORMANCE

University of Victoria Kodaly Summer Institute 2014 INFORMANCE

University of Victoria Kodaly Summer Institute 2015 INFORMANCE




Prentice-Hall Canada Inc.
1870 Birchmount Road
Scarborough, Ontario,
M1P 2J7

Pro Canto Press
7 Brady Road
Westborough, MA 01581

Revels Inc.
One Kendall Sq., Bldg. 600,
Cambridge, MA
Tel: (617)621-0505.,

Schott/Magnamusic Baton (MMB)
P.O. Box 32410
10370 Page Industrial Boulevard
Saint Louis, Missouri

Southern Music Company
1248 Austin Highway, Suite 212
San Antonio, Texas
78209 U.S.A.

Gordon V. Thompson Music
29 Birch Avenue
Toronto, Ontario,
M4V 1E2

World Around Songs, Inc.
Rt. 5, Box 398
North Carolina

Zoltán Kodály Pedagogical Institute of Music
Distributed by Capital University Bookstore

Recommended Publishers for Choral Music

Boddington Music Ltd./
St. John’s Music
1650 Avenue Road, Toronto, Ontario M5M 3Y1 – Tel: (416) 785-5000, 1-800-387-8575

Boosey & Hawkes, Inc.
52 Cooper Square,10th Floor, New York, NY 10003-7102
Phone: 212-979-1090, Fax: 212-979-7056, Email:

Canadian Choral Centre Inc.
380 – 550 Century Street, Winnipeg, Manitoba R3H 0Y1 – Tel: (204) 786-6758 or 1-800-665-8995

Carl Fischer, Inc.

Choristers Guild
2834 West Kingsley Road, Garland, Texas 75041

Concordia Publishing House
3358 South Jefferson Avenue, Saint Louis, Missouri 63118

Cypress Choral Music – 1702-1408 Strathmore Mews, Vancouver, BC V6Z 3A9

220 NW 29th Street, Corvallis, Oregon 97330

Frederick Harris Music Company Ltd.
Unit 1, 5865 McLaughlin Rd., Mississauga, ON L5R 1B8

Gordon V. Thompson Music
29 Birch Avenue, Toronto, Ontario, M4V 1E2

Harold Flammer, Inc.
Delaware Water Gap, Pennsylvania 18327

Hinshaw Music, Inc.
P.O. Box 470, Chapel Hill, North Carolina 27514

Hysen Music Ltd.
146 Dundas Street, London, Ontario N6A 1G1 – Tel: (519) 433-6173 – Fax: (519) 645-1762

Lenel Music Publishing
P.O. Box 35427, Vancouver, British Columbia, V6M 4G8

Leslie Music Supply   Box 471, Oakville, Ontario, L6J 5A8

Mark Foster Music Co.
Box 4012, Champaign, Illinois 61820

McGroarty Music Publishing Co.
241 McRae Drive, Toronto, Ontario, M4G 1T7

Neil A. Kjos Music Co.
P.O. Box 178270, San Diego, CA 92177-8270 – Tel: (858) 270-9800

Northwest Musical Services
1991 Main Street, Vancouver, British Columbia, V5T 3C1 – Tel: (604) 877-1991 or 1-800-663-6797

Oxford University Press
70 Wynford Drive, Don Mills, Ontario, M3C 1J9

Plymouth Music Co., Inc.
170 N.E. 33rd Street, Ft. Lauderdale, Florida 33334

Pro Canto Press
7 Brady Road, Westborough, MA 01581 – Tel: 508-836-3753 – Email:

Rideau Music Ltd.
110 – 11th Avenue SW, Calgary, Alberta, T2R 0B8 – Tel: (403) 261-5916 or 1-800-661-6874

Royal School of Church Music
Cleveland Lodge, Westhumble, Dorking, Surrey, RH5 6BW  UK

Stuart D. Beaudoin
629 Queen Street, Newmarket, Ontario, L3Y 2J1

The Choral Store
241 McRae Drive, Toronto, Ontario M4G 1T7-Tel: (416) 422-4065 or 1-800-624-2748

Walton Music Corp.
PO Box 167, Bynum, NC,  27228 – Tel: 1-800-554-0626


Alfred Publishing
15335 Morrison Street
Sherman Oaks, California

Amsco Publications
A Division of Music Sales Corporation
24 East 22nd Street
New York, New York

August House, Inc.
P.O. Box 3223
Little Rock, Arkansas

The Avondale Press
Box 451
Willowdale, Ontario,
L3P 3J3

Belwin Mills (CCP/Belwin, Inc.)
15800 N.W. 48th Avenue
Miami, Florida

Boosey & Hawkes, Inc.
52 Cooper Square,10th Floor,
New York, NY
Phone: 212-979-1090,
Fax: 212-979-7056, Email:

Breakwater Books
100 Water Street
P.O. Box 2188
St. John’s, Newfoundland,
A1C 6E6

Canyon Press, Inc.
Box 1235
Cincinnati, Ohio

Capital University Bookstore
2199 East Main Street
Columbus, Ohio

Choristers Guild
12404 Park Central Drive, Suite 100
Dallas, TX 75251-1802

Distributed by Boosey & Hawkes

Doubleday Canada Ltd.
105 Bond Street
Toronto, Ontario,
M5B 1Y3

Dover Publications
General Publishing Co. Ltd
39 Lesmill Road
Don Mills, Ontario, M3B 2T6

Editio Musica Budapest
Distributed by Boosey & Hawkes

Formac Publishing Company Ltd.
5502 Atlantic Street
Halifax, Nova Scotia,
B3H 1G4

David R. Godine, Publisher, Inc.
306 Dartmouth Street
Boston, Massachusetts

Goose Lane Editions
469 King Street
Fredericton, New Brunswick,
E3B 1E5

Hancock House
19313 Zero Avenue
Surrey, British Columbia,
V4P 1M7

Frederick Harris Music Company Ltd.

High/Scope Press
High/Scope Educational Research Foundation
600 North River Street
Ypsilanti, Michigan

Hinshaw Music, Inc.
P.O. Box 470
Chapel Hill, North Carolina

International Kodály Society
P.O. Box 8 / H-1502
Distributed by Capital University Bookstore
E.C. Kerby Ltd.
198 Davenport Road
Toronto, Ontario,
M5R 1J2

Kodály Center of America
15 Denton Road
Wellesley, Massachusetts

Ladyslipper, Inc.
P.O. Box 3124
Durham, North Carolina

Libana, Inc.
P.O. Box 530
Cambridge, Massachusetts

Lorenz Publishing Co.
501 East Third Street
Dayton, Ohio

Maxwell Macmillan Canada
1200 Eglinton Avenue East
Suite 200
Don Mills, Ontario
M3C 3N1

McClelland & Stewart
The Canadian Publishers
481 University Avenue, Suite 900
Toronto, Ontario
Canada M5G 2E9

McFarland & Company, Inc.
Box 611
Jefferson, North Carolina

National Association for Music Education
1806 Robert Fulton Drive
Reston, Virginia

New Canada Publications
A Division of NC Press Ltd.
Box 4010, Station A
Toronto, Ontario,
M5H 1H8

Organization of American Kodály Educators
823 Old Westtown Road
West Chester, Pennsylvania

Oxford University Press
70 Wynford Drive
Don Mills, Ontario,
M3C 1J9

Parker Publishing Co.
Distributed by Prentice-Hall Canada

Penguin Books Canada Ltd.
10 Alcorn Avenue
Suite 300
Toronto, Ontario,
M4V 3B2

Perry Publications, Inc.
P.O. Box 204
Whitewater, Wisconsin


Kodály quotes


kodály quotes

The following “Kodaly” quotations were compiled by KSC board member Connie Foss More, from The Selected Writings of Zoltan Kodaly, Boosey & Hawkes, 1974.  They affirm the importance of the work of music educators. When you’ve had a frustrating or tiring day … read and enjoy!

p. 148:  Let us take our children seriously! Everything else follows from this…only the best is good enough for a child. (1941)

p. 151:  And I would advise my young colleagues, the composers of symphonies, to drop in sometimes at the kindergarten, too.  It is there that it is decided whether there will be anybody to understand their works in twenty years’ time.  (1957)

p. 126:  That the economic crisis is the cause of everything?  Everything will be set right as soon as the economy is in order?  I do not think so.  Penury may hamper development but wealth does not always promote it either.  Money does not produce ideas.  Anyhow, there would be sufficient money here if only it were always spent on what is needed.  However, the most valuable things cannot be bought with money.  The greatest trouble is not the emptiness of the purse but the emptiness of the soul.  And of this we have got more than our share.  (1929)

p. 127:  We put up the fancy spires first.  When we saw that the whole edifice was shaky, we set to building the walls.  We have still to make a cellar.  This has been the situation, particularly in our musical culture. If in 1875 instead of establishing the Academy of Music, we had laid the foundations for the teaching of singing in schools, today’s musical culture would be greater and more general. (1941; 1957)

p. 124:  It is much more important who the singing master at Kisvarda (small village) is than who the director of the Opera House is, because a poor director will fail.  (Often even a good one.)  But a bad teacher may kill of the love of music for thirty years from thirty classes of pupils. (1929)

p. 197:  The characteristics of a good musician can be summarized as follows:

1.  A well-trained ear
2.  A well-trained intelligence
3.  A well-trained heart
4.  A well-trained hand.

All four must develop together, in constant equilibrium.  As soon as one lags behind or rushes ahead, there is something wrong.  So far most of you have met only the requirement of the fourth point:  the training of your fingers has left the rest far behind.    You would have achieved the same results more quickly and easily, however, if your training in the other three had kept pace. (1954)

p. 145:  To write a folksong is as much beyond the bounds of possibility as to write a proverb.  Just as proverbs condense centuries of popular wisdom and observation, so,  in traditional songs, the emotions of centuries are immortalized in a form polished to perfection.  (1941)

p. 122:  Let us stop the teachers’ superstition according to which only some diluted art-substitute is suitable for teaching purposes.  A child is the most susceptible and the most enthusiastic audience for pure art; for in every great artist the child is alive – and this is something felt by youth’s congenial spirit. Conversely, only art of intrinsic value is suitable for children!  Everything else is harmful.  After all, food is more carefully chosen for an infant than for an adult.  Musical nourishment which is “rich in vitamins” is essential for children. (1929)

p. 206:  If one were to attempt to express the essence of this education in one word, it could only be –singing.  ….Our age of mechanization leads along a road ending with man himself as a machine; only the spirit of singing can save us from this fate.  …. It is our firm conviction that mankind will live the happier when it has learnt to live with music more worthily.  Whoever works to promote this end, in one way or another, has not lived in vain.  (1966)

p. 120:  Teach music and singing at school in such a way that it is not a torture but a joy for the pupil; instill a thirst for finer music in him, a thirst which will last for a lifetime.  Music must not be approached from its intellectual, rational side, nor should it be conveyed to the child as a system of algebraic symbols, or as the secret writing of a language with which he has no connection.  The way should be paved for direct intuition. …..  Often a single experience will open the young soul to music for a whole lifetime.  This experience cannot be left to chance; it is the duty of the school to provide it. (1929)

p. 46:  Children’s singing games allow a more profound insight than anything else into the primeval age of folk music.  Singing connected with movements and action is a much more ancient, and, at the same time, more complex phenomenon than is a simple song. …. In the same way as the child’s development repeats in brief the evolution of mankind, his forms of music represent a history of music; indeed they afford a glimpse into the prehistoric period of music.  From the reiteration of the smallest motif, comprising but a couple of notes, we can observe all grades of musical development up to the average stage of the European folksong… Here the child’s music often touches that of adults.  (1951)

p. 161-162:  Nobody wants to stop at pentatony.  But, indeed, the beginnings must be made there; on the one hand, in this way the child’s biogenetical development is natural and, on the other, this is what is demanded by a rational pedagogical sequence. ……Pentatony is an introduction to world literature:  it is the key to many foreign musical literatures, from the ancient Gregorian chant, through China to Debussy.  (1947)

p. 221:  Nowadays it is no longer necessary to explain why it is better to start teaching music to small children through pentatonic tunes:  first, it is easier to sing in tune without having to use semitones (half-steps), second, the musical thinking and the ability to sound the notes can develop better using tunes which employ leaps rather than stepwise tunes based on the diatonic scale often used by teachers.  (1947)

p. 204:  We should read music in the same way that an educated adult will read a book:  in silence, but imagining the sound.  (1954)

p. 196:  Today there is much talk of overburdening the students. It is true that the musician finds burdensome the learning of subjects whose direct use in his career he cannot see.  If he realized, however, how much easier it is to learn every music subject, and how much time is won if he first trains himself to be a quick and sure reader, he would not rest day or night until he had achieved this.  To teach a child an instrument without first giving him preparatory training and without developing singing, reading and dictating to the highest level along with the playing is to build upon sand.  (1953).

p. 199:  Real art is one of the most powerful forces in the rise of mankind, and he who renders it accessible to as many people as possible is a benefactor of humanity.  (1954)