,---------------.. -------- CALIFORNIA STATE UNIVERSITY, NORTHRIDGE A HANDBOOK FOR TEACHING VOCAL :tv1USIC TO CHILDREN II IN A PROTESTANT CHURCH SCHOOL A thesis project submitted in partial satisfaction of the requirements fo7 the degree of Master of Arts in Husic by Ramona Jean Whitson I I ! l l I January, 1974 l i' ! l Ii , ' ! L-----ft--·---~· ..... --··-··~·· ··-~--~ ... -· - ----...----~·----..... ~~---~ --·-------·~-~ ~---~------~ ... ·--~-.. -~~_...-----~---~- --........ ., .. -. _J The thesisnf()Ramona Jean li~on is approved: California State Univers~ty, Northridge December, 1973 i '~.--u~,•--~~---••~•..........,·--~-~---~-~-·-•-------·-·~--.-----·-·---------~----·--·•------·••••..._.-~-.....--·--••~ I ii TABLE OF CONTENTS Page lifo<!:~······~·, ... ,., ...•. .iV CHAPTER I. INTRODUCTION . 1 A Phllosophy foT Teaching Music 3 A Psychology for Music Teachers . 7 Ob j ec ti ;·es for Teaching Vocal Music to Cb.ildren 9 Footnotes for Chapter 1 11 II. METHODS FOR TEACHING VOCAL MUSIC TO CHILDREN . 12 Levels, Goals, and Materials 12 The Inaccurate Singer . 19 Methods of Teaching Singing 27 Footnotes ·for Chapter II 47 III. THD FUNCTION OF THE CHURCH SCHOOL CHOIR 48 The Organization and the Membership of the Church Choir . 51 Teaching Correct Vocal Habits 55 The Rehearsal and its Preparation 60 Footnotes for Chapter III . .. 68 IV. VOCAL LITERl\TURE FOR CHURCH SCHOOLS 69 i Music for the Weekly Chapel :t-.·Ieeting 69 I Programs for Christmas . 77 v. CONCLUSIONS AND RECOMMENDATIONS 89 BIBLIOGRAPHY 93 APPENDICES . 94 l' I ~ l L.·--··--·----------·--·--·------------·------·-------·--·------------' iii ABSTRACT A HANDBOOK FOR TEt\CI-U:NC.~ './OCAL MUSIC TO CHILDHE.r-J IN A PROTESTANT CHURCH SCHOO!_, by Ramona Jean Whitson Master of Arts in Music DecembeT: 1973 Classroom mus:ic is for :11 "!. chiJ.d.-ren and should be taught wi~h the srune priu~icy 3Itd goals as languag~, art, or any other subject. This handbook--a guide designed basically for the church school ~1sic instructor and choir! I director on the elementary and junior high school level-- 1 is written to supply the guidelines necessary to build a foundation which will ultimately rssult in a successful music program. A repertoire of anthems, books a.nd mate- rials available on the market today, is included in ttis work. The material covered in this handbook is an accu- mulation of the author's experiences with vocal music in Ithe classroom and in the church. I The needs of two Lutheran Schools of different . I I Lsizes have been studied and a.r f.: incorpo-rated herein. I • -~--"M""" -·-··----~-~- .. •··--··~--~--"·--•- -·---~---~---- ••• ___ ....__.., __ ~---·---·-·------""···-··-·----------- --~-·--····~----~-·- ·~-· -- ~'-""'-""~ --~···---·~~] iv r-·--------------·---------~----------------------·-----····--·1 j Motivation and inspiTation came from the awareness I . I : of the decline ih music being offered to children in pub~ I I lie schools today on the elementary and junior high school 1 I level. Financial cuts have almost deleted the music pro- gl'am from the curriculum. This omission and neglect has l become frightening to choral teachers on the secondary I level as well as to choir directors in the churches. It i appears that it will be some time before the full music program is restored in the public school system. I Music has not been cut from the curriculum in most I Church Schools. It is still vital to the church supporting! i the school. Therefore, the classroom teacher in a church ~ school situation has a duty and obligation to teach music to every child on an every day basis. i Consciously or unconsciously, the child in a choir I I or a classroom reflects characteristics of their teacher. j It is important then that the teacher has an enthusiastic and cheerful attitude toward the children. His charm or personality has much to do \\'i th the success of the music program. He should conduct all lessons and all rehearsals with enthusiasm. In order to teach a lesson or to direct a choir 1.vi th this kind of spirit and enthusiasm, ·one must know what he is· doing. He must be confiden.t that he k:noNs the material he is teaching and how to present it in the most , effective way. The teacher must also inspire confidence j I •~--.......--~------~ .. ----·-····--~-~---~-~----------·-·------------------·--····----~-~~-------- ·--~-·-7-·&----~- ......... ~-----... t v r·-~--·----------------------------------------.--·-·-----·------------·-··-·-----····----·---·-----------------~ ' ! Iin the children and thereby command their attention and ! I respect. This handbook includes the objectives and goals, ' I I the methods of teaching to achieve these goals, and a !psychology and a philosophy that will not only teach the j • I ! basic skills in a pleasa:at ~·Jay: but will also contribute I I Ito building character and the confidence of each child. l ! I Teaching children to sing is a most gratifying l 1exper1ence.I • The author trusts this handbook will assist i !the reader with the challenge he has undertaken, so he I Iwill Teap the rewards offered f_rom his ~-..rorthwhile efforts. I ! I I l l L------·------·······----·--:...·--·-------·-·--------····-------------' vi CHAPTER I INTRODUCTION v,.--- f.Ve1T c..!;ild i:n class should be given the ! opportunity tD ci.8velop .into a person 1t•l10 likes music and I l one who knows the feeling of being thrilled and mad0 happy! I I l either by listening or by participating in the performancel II! j of music. .t\1 thnugh some s tud'::!nts •:Till a,:.tually become ! l perfonners of m>..!Sic > the majority of the children wi11 be I consumers of mus1c. These consumers, as well as the pe·:c- I ; l for1ners should erlj oy axd be m.a.C-0 to feel comfortable I music. vThrougn an organized classroom experience, tho I child should be happier and more deeply and aesthetically I I I responsive to the beauty of music. i ~· /. r"T'!.. 1 ,.. .. j t.. ........ .. 1 rhe genera.~. purpose o:t mus1c e(tUCa J.on 1s ,_o a.eve cp l aes~hetic sensitivity to music in children, that is, I to heighten the quality and impact of their musical expe:riences. In the music program, therefon;, exneriencinrr music is central and studvinQ music is su~portive.~ If music is to be a valuable~part of a studellt's general education, he must first learn to enjoy it and~recognize it as a significant factor I 1 ! j n his l i :f e . · I <reaching r.usic in a classroom situation then I ! becomes a great--almost frightening--responsibility. To . tu-rn a~,,ray Bven one· child from music would \veigh heavily on I the conscience of a teacher who has ~ real feeling and I i I l_cte ~i c ~~~~:~~~~-_!~ r -~~ach i~ g--~~~~-~~~ en -~~~~1 o v~ mu ~ i -~·---------·---~--J 1 r-·-·--·-·----·----·----·-·--···.. --------·----~·---- ------·------------------------1 I v""Every child is born with thr3 innate ability to j 1-r·espon.d to music. The degree of response varies with the i j individual. It is that inborn~ natural response that.th.e 1. l . ~ I nrus:tc t\;:acher vall want to cultivate and develop, strlVJ.ng 1i ' l to offer experiences that >d.ll lead t(i musical growth. ! I j IThe, amount of :4rowth will ''"'Y with each individual. The I I amount of musical grGwth of the class will varv >dth each I i -- . I I class and with each teacher. The quality of the music I I I class should be judged by the children's. habits, their l,. l perforn•.ances, and ·their attitude toward mu:ic. l If v'.,.,The· music program on the elementary level should l 1 give all childi"CD. tfte opporttlr:.ity to becotne 110t mere lis·.. \ Iteners., but to know th~ joy of p::trtic:ipB.ting :tn a.ncl enjoy- ! J ing musical experiences. It is one thing to love music as ! a listener but quite a different experience to actually Ising or to play an instrument. The number of children l enjoying this participation will be greater on the elemen- 1 I tary level. If the oppcTtunity to sing or play an instru- ) ~1~•ent ~is ; delayed until the high school level, the numbe:r I l l 1nvo~ved and attracted to the program is far less. i Children don't improve their singing by just sitting .and listening to others; they learn by singing and by playing tunes on instruments that have accurate pitch, such as bells. It is very important that I they build up self-confidence and that good <ltti·· I tudes. be.., maintained toward their participation in . l 1TlUS1C.~ Although you will want to teach the child basic I I t musical skills and music theory, as a teacher in a chu.Tc.h I -----·-----------.. ·-··-·---·-----~·-.·-·"'-----·-·-- --------·-------J 3 r::::~:::~::~::.e :::~::::h:~:::::u :h ::::t:: ~ :ym:: ic .l j l j1n a church school situation~ the author 1vould rate the I Iimport.::mce of teaching music in the follow·ing manner: l I L f.fusic is communication. I I 1 . Z. Hu~ic is entertainment. I ;! !~ 3. Music is educational .!~. 1 The meMory of a single hymn learned in childhood ! has often proved decisive in the spiritual crises i of late yeaTs. Sermons often fly over the people's j j heads; prayers uttered in their name often fail to / carry their hearts and even their intelligence with 1 them; but their songs sink into the memory, color l their thought, and fashion their,.,.theology much more ! I than any deliberate instruction.~ i I i I i It is the duty of every educator to develop his II own. philosophy of ~1sic education. A thorough background l t I and understanding of existing philosophies, theories and I I I I methods, should help the educator to formulate his own I . I j ~h~l:~:P~Y- This philosophy should guide, direct, and I ll.n~p;.I t:: ... he ·Hork of the music teacher. I Pragmatism, which cl~ims to be an expression of .