Kierstin Berry MUSE258 Voice Tech Citation Teaching Kids to Sing: Chapter 1 Kenneth H. Phillips 2014 Summery Outline Philosophical and Historical Perspectives Children should be taught to sing safely using age appropriate oval techniques There are benefits from teaching children to sing All children (free of physical or physiological problems) can learn to sing Children are not expected to endure long periods of intense vocal instruction Discourage loud screaming Why Sing? Benefits include personal, social, and educational outcomes Everyone can participate Feel better in mind and body Creates a community or bond Systemic Vocal Instruction vs. The Song Approach Bel canto developing the voice through exercises Most of class time is vocal exercises in the beginning stages Song Approach primary emphasis on song Learn to sing by singing songs Only teaches repertoire Unconfident singers are neglected Most common reasons children stop singing: 1) lack of vocal development 2) peer pressure when children compare their singing to others Children can develop poor vocal habits At one time teachers believed it was harmful to teach children to sing A cappella choir movement (F. Melius Christiansen) spent little attention to music- reading skills because musical was largely taught by rote. Choir was not viewed as an academic subject Kodaly vocal music literacy proves successful in Hungary elementary schools Orff an approach that emphasized child- suitable instruments (Germany) Dalcroze Swiss educator that involved the relationship of movement to music learning All stressed music- reading skills that should also develop alongside singing techniques 1960s song approach was considered the best form The Roots of Systematic Vocal Instruction
Lowell Mason (1792-1872) Americas first public school music teacher Taught in Boston Public Schools Created a manual with Part 1 & 2) learning to read music, Part 3) vocal exercises Systematic vocal instruction singing technique serves as the foundation for the singing of songs Singing instruction should begin when a child begins reading Late Nineteenth- and Early Twentieth- Century Writers Advocated for systematic singing Benke and Browne same training for boys and girls prior to puberty Howard- every music teacher should know vocal production, children should only sing at a soft dynamic and in their head register. Curtis half the class should be spent on vocal instruction Dawson disordered muscular conditions were among the greatest causes for poor singing, shallow upper- chest breathing a mean reason for inadequate singing. Deeper breathing means improved vocal production Bates breathing management Rix vocal training in public schools Giddings proper breathing from kindergarten on In this time much emphasis is on learning to read music with a dual program of vocal technique instruction and sight reading A Misguided Philosophy The shift to song approach Early music education was drill oriented Pendulum swung from a systematic approach to a more creative one centered on song for art s sake The song approach became and approach to teaching songs The shift toward singing instruction was the most misguided effort ever Singing must be learned Advocates of Systematic Vocal Instruction Johnson and Dann (1935, 1936) children acquire good habits more easily and quickly than adults Children could be taught deep breathing Ross - from IU, singing is an art and science Dykema and Cundiff proper breathing exercises in the form of games Swanson instructional techniques that are age appropriate Reemergence of Systematic Vocal Instruction 1980s saw the reemergence of systematic vocal instruction Bartle, Goetze, and Rao brought the choral world to a renewed awareness of singing by children, demonstrating what children could achieve with proper voice instruction Systematic group vocal instruction was appropriate for improving the singing accuracy of children Research on child an adolescent singing expanded in the 90s and 00s
A Psychomotor Skill Some children develop naturally most require some type of instruction to learn to sing well The 5 Component Parts of the Method Respiration, Phonation, Resonant Tone Production, Diction, Expression 5 Component Parts: energize the Body, Breath, Ear, Voice, Song Groundwork is laid in the first 4 parts, song serves as the medium for teaching diction and expression Today, pitch ranges generally have been lowered When, Who, and How Long? Adult modeling of techniques can begin during infancy Vocal instruction should begin around the age of 8, preferably in a group setting Now the lungs are fully developed Poor pitch matching may not be the result of poor aural acuity of pitch discrimination but may result from the inability to coordinate the vocal mechanism Systematic voice instruction should be no more than 5-6 minutes or approx. 10% of rehearsal time It should NEVER be the full class time, children get bored and voices get tired The Select Choir They do have a place but not if these provide the only opportunity for experiencing a choral ensemble. Try doing a training choir Do not overlook the needs of disabled children The Case of Justin He dislike singing, instructor asked, will he learn to drive a car? Singing is like driving, everyone has to learn Laughing at a child s weak or inaccurate singing should never be permitted Discussion Bel canto and song approach are 2 philosophies regarding vocal instruction for children and adolescents. The author suggests bel canto over song approach but advised not to do only vocal techniques all class. Ultimately the author is suggesting a combination of both philosophies. As a teacher I need to not work on repertoire only, I need to develop vocal techniques alongside teaching through song. Song approach is when you learn to sing by singing songs, but the method only teaches repertoire and children can develop poor singing habits. Singers can also be neglected and compare themselves to others discouraging participation. Teaching only the song approach I would be teaching kids each song, not giving them the tools so they can learn music on their own. Lowell Mason (1792-1872) was Americas first public school music teacher who taught in Boston Public Schools. He created a manual with Part 1 & 2) about learning to read music, and Part 3) vocal exercises. He started the idea of systematic vocal instruction, where singing technique serves as the foundation for the singing
of songs. He also said singing instruction should begin when a child begins reading. When I teach I need to realize his idea will work best for all ages and will reinforce good, healthy singing habits if taught correctly. In the late- nineteenth and early twentieth century common themes were systematic singing and breathing. Howard had said children should sing soft and only in their head register which was a new idea. Eventually I have learned it exerts more effort to try and sing softly for children. Another unique idea from Benke and Browne was that boys and girls should have the same training before puberty. This is how I was taught in elementary and I will probably use the same training for all pre- puberty students if I teach elementary. Bates was an advocate to train children according to the English choirboy model, and believed all children could do it. A stressed area in this method is proper breathing, which then influenced many other authors to incorporate breath management into their methods. As a teacher I should spend a minute or two every class period working on breath management. Around the 1930s music education switched to the song approach because Gehrkens and others suggested children can learn to sing well by singing beautifully written songs. New teachers did not know how to teach sight singing methodology, so the song approach was basically teaching children the song. This was not successful because children were not learning how to sing and most likely were developing bad habits, and were only learning different repertoire. As a teacher I need to pick songs that have value in teaching and also pick song that are pretty so students can enjoy singing them. Systematic vocal instruction then became popular with much help from Johnson, Dann, Ross, Dykema, Cundiff, and Swanson. Deep breathing and age appropriate instructional techniques were emphasized. Again, I can use a minute or two of every rehearsal for breath management. In 1957 Sputnik the first satellite was launched by Russia. This called for a complete restructuring of Americans education curriculum. Schools pushed the STEM areas to catch up in knowledge. Music also looked at European ways like Kodaly, Orff, and Delcroze. Because of this there was more of a renewed interest in music literacy and not singing well. I need to be an advocate for STEAM which includes the arts. Arts are known to teach creativity and divergence with helps with the other STEM areas. 1980s saw the reemergence of systematic vocal instruction led by Bartle, Goetze, and Rao. They brought the choral world to a renewed awareness of singing by children, demonstrating what children could achieve with proper voice instruction. Systematic group vocal instruction was appropriate for improving the singing accuracy of children and research on child an adolescent singing expanded in the 1990s and 2000s. Teaching kids technique is important and can drastically improve their performance. Five Component Parts of study are Energize the Body, Energize the Breath, Energize the Ear, Energize the Voice, and Energize the Song. The groundwork is laid in the first 4 parts, and Energizing the Song serves as the medium for teaching diction and expression covered in the original five components of Respiration, Phonation, Resonant Tone Production, Diction, Expression.
Five to six minutes should be spent on systematic vocal instruction for elementary 30 min blocks. Middle school classes may be longer so you can generally spend around 10% of class time on systematic vocal instruction. Never spend an entire class period on systematic vocal instruction because students will become bored and their voiced will get tired. In choir we always did some vocal techniques before singing the repertoire every day, and I will also be doing this for my choirs, but vary the exercises to engage all the 5 component parts from above. Today s song ranges have been lowered. It used to be believed that children should only sing in their head voices. The ranges have been lowered because of poor instruction on vocal technique, now children can work on singing over the break. Working in the upper register by itself is good, but I need to learn how to help kids switch registers so they are not pushing or yelling for the high notes. Adult modeling of techniques can begin during infancy, but vocal instruction should begin around the age of 8, preferably in a group settings. At this time the lungs are fully developed and they can generate the correct pressure to sing in their head voice. This means that younger classes can be spent on music literacy and rhythmic exercises while not putting too much pressure on the youngest students singing well yet. Select Chorus has a place, but not if this provides the only opportunity for experiencing a choral ensemble. All students of the same age should be part of one choral ensemble, and then having an advanced audition choir is okay. You can also try doing a training choir for students who are having more trouble and they do not feel left out. Do not overlook the needs of disabled children either. I was part of a select chorus as an elementary student so I need to make sure all students get a chance to be part of a choral emsemble. Singing is threatening to students because it is a complex skill. We often ask students to sing right away and those that can t sing as well hide and try not to be heard. When a child sings they share the inner self, which is intimidating especially if they lack confidence. To encourage confident singers I need to create a safe environment and explain that laughing at students should never be tolerated.