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Views from the Choir Loft

Teaching the Very Young

Dr. Lucas Tappan · May 24, 2016

LMT Kodaly Classroom T SEEMS TO BE the common experience of a number of musicians today who are very dedicated to realizing the Church’s high ideals for sacred music that they find themselves in the employ of a young (or young at heart) pastor who is only able to offer full time work if said musician is willing to play the organ at Mass, direct the choir, start a children’s choir and teach music in the school to grades pre-k through 8. First of all I want to thank those same pastors who are willing to go the extra mile to bring the greatest of arts to their young parishioners. Secondly I want to thank those musicians who are willing to embrace such a position simply because they love what they do.

It seems that I have received a number of emails of late from such musicians with questions regarding the musical training of the very young, especially pre-school aged children, kindergarten and lower level grade school students. Today I would like to share with you a few resources for those who might find themselves in front of a group of young children unsure of how best to proceed. Hopefully this post helps.

The first resource I would look into if I had to teach pre-k and kindergarten is Kindermusik. Kindermusik is based on a number of teaching philosophies, two of which are favorites of mine, those of Zoltan Kodaly and Maria Montessori. I do not profess to know everything about Kindermusik, but I have heard nothing but positive comments from those involved in the program. It engages the entire child vocally, intellectually, physically (and spiritually if done correctly, especially withing the context of a Catholic school). Music should primarily be enjoyable for children this age and Kindermusik makes that possible.

For those working with children in kindergarten through grade school (before junior high), I would heartily recommend the Kodaly Method of teaching music. It is primarily a vocal model for teaching music (although one could easily incorporate the use of instruments) and music literacy. Children sing lots of folk songs, which the teacher uses to carefully prepare, present and reinforce musical concepts. Be aware that this method requires a lot of preparation time on the part of the teacher, especially the first year, because the teacher has to make a number of manipulatives for use by each student and then make enough for each child in the class. If you go this route, purchase An American Methodology and its companion book of yearly lessons plans for grades k through 6 here. Be sure to include a lot of sailing songs and drinking songs (yes, I know) for the boys—they really like these.

To be honest, the hardest part about teaching is often how to teach, and the great thing about Kindermusik and the Kodaly Method, especially if you attend summer training sessions in them, is that you learn the art of teaching. I would also seek out the best teachers in your school and plaster them with questions continually. As long as you let them get home to supper each night, they usually enjoying passing on their knowledge. Anyway, I hope this helps.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Dr. Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“In all this mediaeval religious poetry there is much that we could not use now. Many of the hymns are quite bad, many are frigid compositions containing futile tricks, puns, misinterpreted quotations of Scripture, and twisted concepts, whose only point is their twist. But there is an amazing amount of beautiful poetry that we could still use. If we are to have vernacular hymns at all, why do we not have translations of the old ones?”

— Fr. Adrian Fortescue (d. 1923)

Recent Posts

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