Singing in Early Childhood

Singing in Early Childhood

By Marissa Curry, Ingrid Ladendorf, and Caroline Moore

 

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.” -Zoltán Kodály, 1929

 

 

When you sing, you use an instrument that belongs only to you. You open and share a part of yourself through its use. We know that early childhood presents a window of opportunity when children are open to all experiences, as they explore their voices and their relationship to the world around them. They are actively forming organized pathways for current and future thinking.

 

Many music pedagogues and philosophers agree that music experiences play an active role in the development of engaged individuals, who think and engage effectively with the world around them. And we know today–as we have for thousands of years–that singing continues to be an active part of building strong communities.

 

The Impact of Music

 

Every song we share in our classrooms, every game, welcome or goodbye, presents an opportunity for our students to connect and interact with their whole self. How are we to know when a child’s music experience will be transforming–for a lifetime? How can we mindfully cultivate our children’s transformative experiences?

 

Ever find a group of kids on the playground, singing songs you’ve sung with them, and spontaneously making up their own song? Or playing that favorite musical game, or putting together a band? Research confirms the intrinsic and extrinsic value of school music learning, but hey, don’t we already intuitively know quite a bit on our own as well?

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Current and past research supports the early elementary years as critical in the musical life of a child. In the classroom, each music experience needs to be approached with artistry and sensitivity, connecting what we teach in school to what children already intrinsically know. And, these first educational experiences are essential in building the foundations of our middle school, high school, and adult students. Each early ensemble experience helps to develop stronger individuals, as well as eclectic musical communities, as people have all over the world for thousands of years.

 

As music educators, we accept the charge to develop the “tuneful, beatful, and artful” (as per Dr. John Feierabend) in our everyday teaching. It is never too early to encourage the development of beginning vocal technique through healthy age-appropriate singing. To support this development, we consider what young children can do well, the natural stages of a child’s vocal development, and how to maximize their natural musicality at each stage of that development.

 

Choosing the Repertoire

 

When choosing repertoire, we all consider things like theme, meter, key, interval difficulty, and diction. For those of us who teach very young children, these considerations are the same, but we also see musical experiences as opportunities to work on many other valuable skills: working within a group, taking turns, listening to each other and to the characteristics of a song, developing their ears, building self-awareness, and supporting the young child’s growing confidence.

 

Young singers are at their best when they encounter repertoire that shows what they can do well, but is also musically interesting. The international folk catalogue holds a bottomless well of material that satisfies all of our musical goals as teachers, while also leaving us plenty of room to be flexible, and to adapt material to the ages, abilities, and strengths of our students.

Eyematrix/iStock/Thinkstock
Eyematrix/iStock/Thinkstock

Through folk music, we explore mode, meter, language, and rhythm patterns, which may later be tied to music literacy. We can introduce and encourage our students to explore simple melodies, gradually building that most essential skill inherent to all musicians: the ability to revisit a piece over a lifetime, finding the complex beauty within the simplest pieces. Over their musical lives, students may hear these same melodies nestled within the larger classical works.

 

Just Sing!

 

So, sing often. Sing what you love, and share repertoire of lasting quality. Look for the Newberry and Caldecott equivalents of music repertoire. Mindfully cultivate and model with your own healthy teaching and singing voice. Facilitate active music-making. Be inspiring and teach with joy. Listen.

Enjoy your students, and the process. Endeavor to cultivate each and every class with artistry and focused skill development. Cultivate the humanity in your conversations, both verbal and musical. Share your musicianship and artistry through your passion for teaching. The children will remember how these music experiences felt– perhaps, for a lifetime.

 

About the authors:

Marissa Curry

Marissa Curry is the Director of the Early Childhood Program at The Diller-Quaile School of Music. She holds a Bachelor of Music degree from New York University and Master of Arts in Music Education and K-12 certification in Music from Teachers College Columbia University.   At Teachers College Marissa was awarded the Arthur Zankel Fellowship.   Prior to her current position, Marissa taught early childhood music classes at Diller-Quaile from 2006-2011. Most recently, she was the head music teacher at the Success Charter Network (Success Academy Harlem 3), where she originated a general music program and curriculum for children in kindergarten-4th grade, as well as a choral program for children in grades 3 and 4.   Additionally, she organized professional development experiences for music teachers across seven schools, and now does so for the entire early childhood faculty at Diller-Quaile.   She received Kodaly method, Level 1 Certification from NYU and has studied Dalcroze and Orff approaches.

Caroline Westbrook Moore

Caroline Westbrook Moore holds a B.A. from New York University’s Gallatin School, an M.A. in Music and Music Education from Teachers College at Columbia University, and is currently a PhD student in Music and Human Learning at the University of Texas. Caroline is the  Summer Music Study Program Director, the Early Childhood Preschool Music and Art June Program Director, and an Early Childhood Advisor at The Diller-Quaile School of Music in New York City. She has also been on faculty at LREI, The Little Red School House and Elisabeth Irwin High School, in private stud io, the University of Texas String Project, and is the Children’s Choir Director at First Unitarian Universalist Church of Austin. A researcher and advocate for teacher training and experiential professional development, Caroline conducts clinics and workshops for early childhood faculty and pre-service teachers, and presents research at both national and international Music Education and Education conferences.

Ingrid Ladendorf

Having taught students of all ages, from very young children through the older adult, Ingrid truly values the benefits of music for all.   As a dedicated teacher, she is a passionate advocate for the role she believes the arts play in education.   Since 1996, she has served in various capacities at The Diller-Quaile School of Music in NYC including:   Musicianship Department Head, Curriculum Development Specialist, Early Childhood Advisor, Rug Concert Program Director, and Teacher Training Course Instructor. She was on faculty of the First Presbyterian Church Nursery School in Greenwich Village, where she regularly taught inclusion music classes with children on the autism spectrum. She has training in the pedagogical approaches of: Kodaly, Orff, Dalcroze and Suzuki, and FAME certification in Conversational Solfege I & II.    She received a B.M. in vocal performance and music education from Ithaca College, and a M.A. in music education from Teachers College, Columbia University.   She most recently taught at The College of New Jersey where she taught K-8 Music Practicum and served as a Student Teacher Supervisor.

 

Caroline, Ingrid, and Marissa will be discussing these topics and more in their session, Singing with Young Children: Using Folk Music to Enhance and Develop Curriculum, at the 2015 NAfME National Conference. They will present expressive vocalizations, unexpected repertoire, and inventive games, challenging you to look creatively into healthy singing with young children. Come prepared to make music!

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Don’t miss the In-Service EARLY BIRD RATE. The deadline is July 31! Join us for more than 300 innovative professional development sessions, nightly entertainment, extraordinary performances from across the country, a wild time at the Give a Note Extravaganza, and tons of networking opportunities with over 3,000+ other music educators! Learn more and register today: http://bit.ly/Nafville2015

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Brendan McAloon, Marketing and Events Coordinator, July 28, 2015. © National Association for Music Education (NAfME.org).