This is a paper I wrote as a graduate student at Samford. Children's choir has always been a passion of mine but I struggle now with how it fits in our current world, how I can make a meaningful and relevant experience for my students, and how I must adapt and identify the most important elements in church, worship, and faith. At least as a start, I know this paper could use a much bigger concentration on worship objectives and goals as it focuses mainly on music education objectives and goals. As I continue cultivating my thoughts by reading, experiencing, and listening, I plan to write further on this topic.
Developing a Children's Choir Curriculum
Introduction
A
children’s choir is a wonderful opportunity for students to be involved in
their church, develop a sense of community with their peers, learn to be
worship leaders, and also to have fun learning. All of these aspects are very
important, but a children’s choir can also provide a solid music education
experience for the students. It is important that children’s choirs be learning
experiences instead of solely performing organizations (Sobel 57.1.14). A successful music education has been proven
to benefit students both intellectually and socially but most students only
have music classes in their schools once or twice a week and sometimes only once
every other week. A church’s children’s choir should either augment an already
established music education program or fill the void of a lack of a proper
music education program through the use of an organized sequential curriculum.
A properly planned and well organized curriculum would integrate spiritual
development, worship leading training, and a high quality music education while
still being enjoyable for the students. The only way a children’s choir can be
effective is through proper organization and planning.
Organization
Organization
is extremely important in an effective children’s choir curriculum. The
curriculum should be organized not only within each grade level but
sequentially between grade levels as well. Students will better learn musical
concepts if they are provided with a solid foundation and do not skip over
important elements along the way. The Kodály Method is a well established
sequential music education plan used in many schools throughout the world. This
method is based on the teachings of the twentieth century composer and teacher,
Zoltán Kodály. The Kodály method patterns the subject matter to follow normal
child abilities at different ages (Choksy 12). A curriculum designed using the
Kodály Method ensures that students will receive a quality music education. The
Kodály Method requires extensive planning from the teachers. All of the lessons
for a year must be planned in advance; having a general plan for all the skills
and concepts to be learned in that grade and also a more specific plan showing
which skills and concepts will be taught on a lesson-by-lesson basis.
The
children’s choir curriculum should also be well organized within each year as
well. Unit based organization is common in Sunday school curriculums, other
children’s choir curriculums, and music education curriculums in schools. These
units are usually theme based instead of concept based. Theme based units can
add a level of interest to the curriculum while still including important
spiritual and musical concepts. Four or five weeks is a good length for a unit
and many of the activities included in that time frame should be related to the
theme, but not every song or activity should revolve around the theme. August
and September are the beginning months of the school year and of the church
choir year, so a good theme for these weeks is “Getting to Know You.” This
enables the students to get to know each other better, for them to get to know
their teachers, and for the teachers to get to know them. October, November,
and December themes can be based on holidays. October is the beginning of
Autumn and activities can revolve around different aspects of this season.
November’s theme is Giving thanks, and December’s theme is Christmas. January’s
theme is “Getting to Know Myself,” February is “God’s Love,” March is “God’s Creation,”
April is “Easter”, and May’s theme is “My Family.” Organizing materials around
Unit based themes provides further structure to the curriculum (Stilwell,
Scoggins, Williams, Robinson 40).
It
is also important for each weekly meeting to have a well organized structure.
Students respond well to consistency; knowing what to expect when they walk
into the classroom is very important. As soon as a student enters the classroom
there should be something for them to do: these activities are the “early-arriver”
activities (Allcock, Bridges 194). These activities need to be independent
activities that do not require a teacher, allowing the teachers to continue
setting up the classroom. (Allcock, Bridges 194). Coloring sheets and other
worksheets are good independent activities. Students should each have a folder
with their name clearly written on it, and these folders should be put in
assigned places at the tables before choir begins. This way, the students know
exactly what to expect when they walk in the classroom: they will go to their
spot, open their folder, and work on the worksheets inside. The early-arriver
activities are a great time to use theme based materials. Once choir officially
begins, a large group time is a good way to start. Assigned seating is
important and this gives the students consistency because they know where to
go, and also gives the teacher an opportunity to separate potential behavioral
problems. Large group time should include a variety of teaching methods but
should mostly be activity based instead of lecture based. Using a variety of
different activities on a week to week basis keeps the interest of the students
(Butler ,
Jackson,Woodward 117). Each activity
should last only six to nine minutes because of the attention spans at the
different ages of the students (Allcock, Bridges 199). One benefit of large
group activities is that it teaches students to work together in groups instead
of individually (Allcock, Bridges 198).
After the first large group time, there should be a small group time.
Students should be assigned to a group before the choir year begins and their
groups should stay the same throughout the year. Small groups should be no
bigger than about seven students (Butler ,
Jackson, Woodward 116). Depending on the size of the choir, students should be
divided into either two or four small groups. The students rotate to a
different activity each week, but each teacher retains the same activity each
week (Allcock, Bridges 197). If the choir is large enough for four small groups,
the teacher will teach the same activity for four weeks, to a new group each
week, but if the choir is only big enough for two small groups, the teachers
will teach the same activity for only two weeks, and then move on to the next
activity. The choir class will conclude with another large group time. This
large group time will be more game based, which allows the students to leave
choir having fun. These game based activities can be shortened or lengthened
depending on how much time is left in the class.
Organization
is essential to a well developed children’s choir curriculum but the content
material of the curriculum is vital to its success. The Kodály Method is an
effective sequential way of teaching music to young children. It is important
to have goals and objectives for each grade level. These goals and expectations
guide the teaching process during the year. The Kodály Method indicates which
musical concepts are presented in each grade level, and the ways in which they
should be taught. If the Kodály Method is used, students will meet the national
standards for music education.
Music Education Content
The
content in the Kodály Method is presented in a child developmental appropriate
way instead of a subject logical sequence. This is why quarter notes are
presented first instead of whole notes, and the pentatonic scale is presented
before the diatonic scale. Even the pentatonic scale is broken down in its
presentation. Because minor thirds are universally found in children’s chants,
the solfa so-mi is presented first. La is the next to be introduced, then do,
and lastly re, completing the pentatonic scale. After these notes are
presented, low la, then low so, and then high do. The half steps of fa and ti
are the last to be presented because minor seconds are difficult for children
to sing, but once these last notes are presented students can sing in both the
major and minor diatonic keys. The movable-do system originated by Guido
d’Arezzo in the eleventh century is a key part of the Kodály Method. The major
scale begins on do and the minor scale begins on la, this way the intervals
between solfa syllables always remains the same giving consistency to the
students. The Kodály Method also assigns syllables to rhythmic units. The
quarter note is ta, the eighth note is ti. These syllables reflect the duration
of the note and are written in stick notation. Another tool used in the Kodály
Method is the use of the hand signs attributed to John Curwen. These signs help
students visualize the high-low relationship within the scale. Kodály insisted
that all music presented to students were authentic children’s games, authentic
folk music, or music written by recognizable composers. This is one of the most
distinguishing factors of the Kodály Method (Choksy 11-19).
In
first grade the Kodály Method emphasizes aural, oral, and kinesthetic
approaches to learning music rather than through symbolic associations. At this
level, students should be able to sing well, keep an accurate steady beat, clap
rhythms, adjust dynamic and tempo levels in songs, and distinguish between high
and low sounds. After first grade, students should be able to sing songs of
either two or three notes in tune, with proper rhythm syllables, and with
appropriate solfa syllables with corresponding hand signs. The students should
be able to follow the teacher’s hand signs. The range of the songs presented to
first graders should be expanded beyond that of the preschool level. Games that
accompany the song should be used frequently in the first grade curriculum, and
musicality should be emphasized such as dynamics, phrasing, and tempo changes
(Choksy 19-50).
In
second grade the Method focuses on developing individual responses both
melodically and rhythmically among students. By this point, if the students
have been given enough individual attention, they should all be able to sing in
tune. In this grade, students should be lead to discover the subdivision of the
beat in both simple and as the tie and half note introduced as well (Choksy
50-68).
In
third grade, students begin to learn absolute note names. The “G” Clef is
presented and students learn letter names to go with the corresponding solfa
syllables. Students begin to learn “uneven arrangements of sounds over beat”
rhythmically, such as the dotted quarter note, or a quarter note tied to an
eighth note, or two eighth notes tied over a down beat. Students also learn the
dotted quarter note in compound meter along with the rhythmic unit
quarter-eighth note. Rhythmic dictation exercises become longer and more
involved in the third grade. The solfa syllable of low “la” is introduced in
third grade, extending beyond the pentatonic scale. The concept of upbeats is
also learned. Since the students have now learned low “la” they can begin to
differentiate between major “do” based songs an minor “la” based songs (Choksy
68-92).
Activities
Both
small group and large group times should include a variety of activities
designed to teach both music and worship concepts. It is important to include
both new and familiar activities in each rehearsal (Vandewalker 57.2.13). These
activities should be both fun and educational. Incorporating different types of
activities into the rehearsal not only makes the lesson more interesting but it
also ensures that the lesson caters to all types of learners. Each rehearsal
should include visual, aural, tactual, and kinesthetic activities (Vandewalker
57.2.13).
The first type of activity that should be used
is singing activities. Singing activities will mostly be presented in the large
group times. Singing can teach the musical concepts of rhythm, melody, harmony,
form and expression (Stilwell, Scoggins, Williams, Robinson 56). Songs used in
the choir setting should be developmentally appropriate and reinforce the
musical concepts taught at each stage of development. Range is another
important factor when picking songs. The best range for young students is
middle c to the d one octave above (Vandewalker 57.3.8). All types of songs
should be used in the rehearsal, not just anthems. Students should learn to sing
folk songs, hymns, scale songs, echo songs, repetitive songs, and vocal
exploration songs (Vandewalker 57.3.8). Singing games are another important
type of activity used in the choir setting. Students first learn the song and
then incorporate the game or the action that accompanies it (Stilwell,
Scoggins, Williams, Robinson 59). When teaching songs it is best to use
repetition. Repetition can help when there are problems that need to be
corrected or when additional reinforcement is needed (Henneberger 55.5.24).
Other important techniques when teaching new songs are echo singing and using
solfege (Henneberger 55.5.24). There are different methods for teaching new
songs to students. One method is the Whole-Song Method. In this method the
whole song is sung over and over until the students can sing it by rote
(Stilwell, Scoggins, Williams, Robinson 61). This method should be used
sparingly. Singing the song all the way through is a great way to introduce the
song and allows students to be active listeners, if questions about the song
are asked after hearing it. A more effective way of teaching songs is the
phrase method. In this method the song is taught phrase by phrase by rote
(Stilwell, Scoggins, Williams, Robinson 61). Students should be taught to sing
without piano accompaniment because the piano can confuse and overpower them as
they are trying to listen to the melody (Allcok, Bridges 76). It is best for
the choir to sing in unison as much as possible (Harley 55.5.27). Singing is a
very important aspect in both music education and a children’s choir. Students
should leave their children’s choir experience as confident, pitch matching
singers.
Another
type of activity that should be presented frequently in children’s choir is
rhythm activities. The beginning foundation of understanding rhythm is the
ability to understand the steady beat (Butler ,
Jackson, Woodward 61). Students can practice keeping the steady beat by
clapping, tapping parts of their bodies such as head, shoulders knees, or
marching or walking on the steady beat (Butler Jackson, Woodward 61). Another way of approaching the concept of
rhythm to young students is by using activities designed to help them
distinguish between long and short sounds (Allcok, Bridges 87). Echo clapping
using the Kodály rhythm syllables is another way to use rhythmic activities in
the rehearsal (Allcock, Bridges 88). Students should also be able to read
rhythms as well as echo them. Stick notation should be used to represent the
rhythms but other creative symbols may be substituted as well. An example of
another symbol is a whole heart for ta (quarter note) and half a heart for a ti
(eighth note). Creative rhythm symbols are a good way to incorporate theme
based materials. Movement is another important way for students to experience
rhythm (Stilwell, Scoggins, Williams, Robinson 86). Students should have
opportunities to march on the steady beat or play instruments in different
rhythmic patterns. Dictation and composition activities are a good way to
advance a student’s understanding of rhythm. Students should also be able to
begin identifying the rhythms in the songs used in the rehearsal. Steady beat
and rhythm activities are essential to developing young musicians, and these
activities should be presented in a well organized, sequential manner.
Listening
Activities are another important activity to include in a yearly children’s
choir curriculum. Two main goals of listening activities should be to help
students develop their perceptual skills so they can experience music as more
than just back ground music and to experience the power of music (Atterbury,
Richardson 96). Musical selections presented to students should clearly
demonstrate one musical concept that is that activity’s focus (Atterbury,
Richardson 96). Listening maps are a good way to focus students’ attention
while listening to music. Listening maps are graphic representations of the
musical elements found in the selection (Atterbury, Richardson 100). Another
way to use listening activities in a rehearsal, is by using follow-the-leader
games that require students to follow the directions presented in a song
(Stilwell, Scoggins, Williams, Robinson 106). Identifying the sounds of
different, hidden instruments is a fun way for students to practice their
listening skills, and can also reinforce the musical concept of timbre.
Students should also have opportunities for non-directed listening experiences
where they are able to demonstrate the way the music makes them feel (Butler , Jackson, Woodward
49).
Activities
involving instruments are important to include in a children’s choir
curriculum. Playing instruments can improve a student’s ability in the musical
concepts of pitch and rhythm (Stilwell, Scoggins, Williams, Robinson 116).
There are three basic types of instruments that should be used in a children’s
choir: body instruments, environmental instruments, and classroom instruments (Butler , Jackson, Woodward
53). Body instruments such as clapping hands, snapping fingers, stomping feet,
and slapping thighs should be used before playing real instruments (Butler , Jackson, Woodward
53). Environmental instruments, sometimes referred to as found sounds, are
every day items that students can turn into instruments (Butler , Jackson, Woodward 54). Classroom
instruments should include both pitched and non pitched instruments (Allcock,
Bridges 80). Non pitched instruments include rhythm sticks, woodblocks, tone
blocks, claves, drums, triangles, finger cymbals, cymbals, wind chimes,
maracas, sand blocks, guiros, and tambourines (Allcock Bridges 80). Pitched
instruments include mallet instruments and the autoharp (Allcock Bridges 81).
Experiencing instruments at a young age can inspire students to later study
other instruments either in a school program or through private instruction.
Hymn Study
It
is important to include hymn study in a church children’s choir setting.
Learning hymns is a good method for teaching truths of the Christian faith
(Music 57.1. 30). Knowing the hymns used in the Sunday worship service also
promotes active participation for the students in the worship service (Music
57.1.30). There are many hymn selections that can be used to teach the concepts
of rhythm, steady beat and form. Hymns have varied ranges, so it is important
to look at the range of a hymn before presenting it to a particular grade
level. In upper grades it is important to also introduce the actual hymnal.
Students should have opportunities to practice finding hymns in the hymnal and
singing the hymns out of the hymnal. Hymns are an important part of the worship
service and the church’s history, it is essential that they are integrated into
a children’s choir curriculum.
Conclusion
Organization
of a children’s choir should happen on three levels; overall organization from
year to year, organization within the year, and weekly rehearsal organization.
Goals are essential in guiding the format and organization of the curriculum.
The end goals are what a student should know by the time they leave the
children’s choir at the end of third grade. There should also be goals for what
students should know at the end of second grade and first grade. Each weekly
rehearsal should work to meet these year end goals. It is also very important
to remember that unlike a school setting, Wednesday night children’s choir is
optional. If the choir is not a fun or enjoyable experience, students will not
return. The variety of activities that should be offered weekly not only teach
the musical concepts needed to become a musician, but they should also be
interesting and fun for students. Every lesson should be planned before the
year begins, only this way can the students be ensured of a quality education
in a low stress, enjoyable environment. Teachers are more effective when they
have a clear thought out plan, and they know what they are doing and what is
happening next. If the lesson is not planned, teachers often get flustered and
the rehearsal pace stops. When students are not actively engaged, behavioral
problems will arise. A well planned children’s choir curriculum will prevent
this; activities will run seamlessly together keeping the students actively
engaged the whole rehearsal, reducing behavioral problems and promoting a
learning environment.
Bibliography
Bibliography
Allcock, Mary
DeLaine; Bridges, Madeline. How to Lead Children’s Choirs. Nashville , Tennessee
Atterbury, Betty
W.; Richarson, Carol P. The Experience of Teaching General Music. New York : McGraw-Hill
Inc., 1995.
Choksy, Lois. The
Kodaly Method; Comprehensive Music Education from Infant to Adult. Englewood Cliffs, NJ:
Prentice Hall, 1988
Harley, Linda.
“Sing! Children, Sing!” The Chorister. 55.5. (2004):26-27
Henneberger, Judy.
“Transfer to Learn, Part Two: Rehearsal Strategies That Transfer.” The
Chorister. 55.5 (2004):23-25
Music, David W.
“Why Hymns with Children and Youth.” The Chorister. 57.1 (2005):30-31
Sobel, Yvonne.
“Children’s Choirs-Yes!” The Choister. 57.1. (2005):14-16
Stilwell, Martha
Ellen; Scoggins, Roy T.; Williams, Ruth Eaton; Robinson, J. Kenneth. Music
Making With Younger Children. Nashville ,
Tennessee
Vandewalker,
Pamela Clampitt. “ARM Your Teaching for Success.” The Chorister. 57.2.
(2005):13-14
No comments:
Post a Comment