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Dispelling the Myth of the Non-Singer: Changing the Ways Singing Is Perceived, Implemented and Nurtured in the Classroom Louise M

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Dispelling the Myth of the Non-Singer: Changing the Ways Singing Is Perceived, Implemented and Nurtured in the Classroom Louise M Lesley University DigitalCommons@Lesley Educational Studies Dissertations Graduate School of Education (GSOE) 2002 Dispelling the Myth of the Non-Singer: Changing the Ways Singing is Perceived, Implemented and Nurtured in the Classroom Louise M. Pascale Lesley University Follow this and additional works at: https://digitalcommons.lesley.edu/education_dissertations Part of the Education Commons, and the Music Education Commons Recommended Citation Pascale, Louise M., "Dispelling the Myth of the Non-Singer: Changing the Ways Singing is Perceived, Implemented and Nurtured in the Classroom" (2002). Educational Studies Dissertations. 85. https://digitalcommons.lesley.edu/education_dissertations/85 This Dissertation is brought to you for free and open access by the Graduate School of Education (GSOE) at DigitalCommons@Lesley. It has been accepted for inclusion in Educational Studies Dissertations by an authorized administrator of DigitalCommons@Lesley. For more information, please contact [email protected]. / iUDCKE UBHAHY 30 Mellen Street For Reference Not to be taken from this room Digitized by the Internet Archive in 2010 with funding from Lesley University, Sherrill Library http://www.archive.org/details/dispellingmythofOOIoui DISPELLING THE MYTH OF THE NON-SINGER: CHANGING THE WAYS SINGING IS PERCEIVED, IMPLEMENTED AND NURTURED IN THE CLASSROOM A DISSERTATION Submitted by LOUISE M. PASCALE In Partial fulfillment of the requirement for the degree of Doctor of Philosophy LESLEY UNIVERSITY May 20 2002 © Louise M. Pascale 2002 All Rights Reserved ACKNOWLEDGMENTS There is a wise African saying that reminds us that "it takes a village to raise a child." Throughout the process of writing this dissertation, I was similarly reminded that it takes a village of family and friends to "raise this dissertation." There are many in the village I would like thank. A huge bundle of gratitude goes to the village elder, my mother Marian Gamble. She instilled in me a life-long love of music, supported me emotionally and financially, held a never-faltering belief that I could do it, and relentlessly pushed me to finish so she could sit in the front row at graduation. A great deal of thanks goes to the village "wise ones," Mary Clare Powell, Shabaash Kemeh and Tony Barrand who provided expertise, insight, wisdom and encouragement. Thank you to Mary Clare who provided exceptionally brilliant feedback and editing, encouragement, and genuine friendship, to Shabaash who gently kept me on track, shared his cultural stories and provided his insightful Ghanaian perspective, and to Tony who generously offered his wit, wisdom, and wondrous passion about singing as well as passion about my passion about singing. Thank you to the loyal family members: Jennifer and Jason, Piper, Alisa fed heart and Ann Carol who always knew I could do it and continuously my and soul. To Carol who reminded me to laugh, and to Richard who shared Pescadero and molasses chips, both of which filled me up with nourishment and love. Thank you to the village friends; Catherine for "stair time," my dear friend Susan who tirelessly listened to me and provided gifts from the heart, and to Stefano, who continued to encourage and remind me of the importance of this work. Finally, an enormous thank you goes to the teachers who inspired and continue to inspire this work. It is their energetic spirits and their dedication to teaching and learning that make the songs worth singing. ABSTRACT DISPELLING THE MYTH OF THE NON-SINGER: CHANGING THE WAYS SINGING IS PERCEIVED, IMPLEMENTED AND NURTURED IN SCHOOLS Many American classroom teachers fervently claim not to be able to sing and are considered "non-singers." Studies reported here reveal a paradox: put in a context where singing is approached from another perspective, those same people can and do sing. How did they come to think of themselves otherwise? A close look at the terms "singer" and "singing" reveals the ways in which the meanings of these words are socially and culturally constructed. The consequences of the teachers as "non-singer" is examined, particularly as it relates to music education and general singing in school. Some of the problem lies in the roots of music education, based in a western classical music tradition reflecting an aesthetic that values improving vocal technique, reading notes and performing. My study shows that when singing is redefined in broader terms derived from community singing (a new aesthetic) the "non-singer" becomes a myth. Approaches are suggested for creating schools that nurture and thrive on an environment in which everyone sings and everyone is a singer. TABLE OF CONTENTS ACKNOWLEDGMENTS ABSTRACT INTRODUCTION SECTION ONE The Essential Meaning of Being a Non-Singer Chapter 1 . 1 Examination of the Words "Singer" and "Non-Singer" SECTION TWO Singing in Cultural Contexts 32 Chapter 2.1 Analyzing Singing from Four Cultural Perspectives: 33 Chapter 2.2 Reflections on Ghana: Experiencing Another 48 Cultural Perspective of Music-making SECTION THREE Singing in Public Education 60 Chapter 3.1 The Roots of Singing in America's 61 Public Schools SECTION FOUR Community Singing 92 Chapter 4.1 The Community Singing Movement 93 Chapter 4.2 Singing: Two Aesthetics 115 SECTION FIVE Dispelling the Myth of the Non-Singer 128 Chapter 5.1 A Teaching Model for Singing Together: 129 Presenting a "Virtual" Master Class Chapter 5.2 Key Considerations in Building a Singing 166 Community Chapter 5.3 Creating Dynamic Schools Where Everyone Sings 190 APPENDICES A. Responses from Survey on Meaning of Singer/Non-Singer 223 B. Description of Phenomenological Method Used in 231 Singer/Non-Singer Research Study C. Description of Phenomenological Method Used for 248 Cultural Context Research Study D. Indexof songs from 55 Community Songs and Choruses 265 and Twice 55 Community Songs, The Green Book E. Indexof songs from Get America Singing AGAIN! 267 F. Annotated Bibliography of Recommended Songbooks 268 BIBLIOGRAPHY 272 Introduction I entered the Music Worksliop course with trepidation. Of all the courses in the Creative Arts in Learning IVlaster's program, I feared this one the most. IVIy experiences with music have always been negative ones. As I entered the classroom, memories surfaced of the time I was told to mouth the words so I would not throw the rest of the class off key and when I was laughed off the stage after and friend and I attempted a rendition of "Rolling Over the Billows." After that, was convinced I should not sing. (K. Gillette, fifth grade teacher, final paper, March 25, 2001, Boise, ID.) Purpose of This Study Everyone has strong feelings about "singing."^ It is not a neutral subject. In my experience, the minute the concept of "singing" is brought up, anyone involved in the conversation personalizes it and is eager to share stories about their singing ability and to express their opinions about whether or not they qualify as a "singer." It is common for the reactions to be extreme. Some people shy completely away from singing, to the point of running from the room at the mere suggestion that they might be asked to participate in singing in public. Others have an opposite reaction and experience singing as an enjoyable activity. These people "know" they can sing and are confident they are "singers." This research study stems from a paradox with which I was confronted. In my experience working with teachers, most of whom are the ones who "run from ^ meanings of singing. "Singing" (in quotes) refers to the larger concept of I differentiate two singing and how people conceive singing. Singing (without quotes) refers to the activity itself. the at room" the thought of having to sing, I discovered, that after a short time, they were singing despite the fact that they kept telling me they couldn't. It occurred to me that this "phenomenon of the non-singer" was, in fact, simply a that it myth and would be, for many reasons, beneficial to dispel it. I created this ^ study partly to do just that. The primary purpose of this study is to present a case and a viable process for changing the ways "singing" is perceived and implemented in schools across the United States. Classroom teachers, music specialists and their relationship to each other and to singing in schools are my focus. This study creates, through the research presented and literature reviewed, a strong argument for making significant pedagogical and philosophical shifts in ways singing in schools is currently considered. In order for this change to occur and the paradigm shift to become a reality, the first step to take is to understand the phenomenon of the "non-singer." What does "non-singer" mean? Where do beliefs about singing originate? Why do the majority of classroom teachers not sing with their students? "Singing," as it applies to education, must be conceived in broader terms, viewed through multiple perspectives, and valued in aesthetic terms that go beyond the traditional framework. Historically, music education has defined "singing" through the perspective of western classical music that values The term "non-singer" is not exclusively mine. It is referred to at times in music education books, such as Get America Singing... .Again, (MENC, 1996) but rather than considering it, as I do, as a phenomenon that deserves further investigation, research and study, it is thought of in most sources as a problem that needs fixing. performance, perfection and virtuosity. I'm suggesting another aesthetic for "singing" which values diversity, individuality, group collaboration and relationships. I want to dispel the myth of the "non-singer." This other aesthetic eventually leads to the creation of a school community where everyone sings because everyone knows she/he is a singer. The implications are far-reaching. An educational community is created where every voice can be heard, every perspective appreciated, and every member of the community valued.
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