Musicing

This morning our new baby was propped up in a chair and the other three kids and I were dancing around trying to get her to smile. It was working. I noticed that as they were dancing the kids were making up their own music (each their own tune). So was I. I thought of traditions in which people sing to accompany dancing and wondered if there are any revivals of these practices in North America. I see contra-dance clubs advertised here and there; I wonder how a play party club would fare. At any rate, dancing and singing simultaneously seems to be a “natural” human expression. Music is inextricably connected to the body, whether in the “aesthetic” realm in which movement is conceptualized/remembered or in “real-time” where the body moves with the music (or the music moves with the body!). Of course, I sincerely doubt that the kids were thinking about this kind of stuff and for me it was just a passing thought–we were just enjoying dancing for the baby.

Yesterday evening Kristin was singing with the our three children. They sang “If You’re Happy and You Know It” with a bit of a twist that I hadn’t thought of before: at the end of each verse they would repeat the action from the previous verse which resulted eventually in a long line of actions to remember (like “She’ll Be Comin’ Around the Mountain). The kids were choosing the actions and really having a good time. This would be a great song for elementary teachers, too. The other song was “Do as I’m Doing.”

Do as I’m doing. Follow, follow me. Do as I’m doing. Follow, follow me. I can do it high or low. I can do it fast or slow. (repeat the first line)

This song involves one child performing an action that the rest follow. It’s pretty simple, but engaging for children. A fun part is the high and low and fast and slow.

It is surprising to me that more elementary teachers don’t simply throw songs like these into their day with the children.  Folk songs and dances are naturally engaging and enjoyable–viable reasons for including them even aside from their specific cognitive and social benefits.

We received a sweet new addition to our family this week, Audrey Elizabeth. As my wife was nursing the baby, she sang to her as she has done with our other three children. It’s no wonder that they naturally learn to match pitch and develop, without formal instruction, the ability to sing melodies. When our oldest was born, it was around the time that the ‘music makes you smarter’ idea was becoming popularized and we played quite a bit of classical music for him. For the others we didn’t play so much classical music and they seem to be just as bright as the first and just as ‘musical.’ It seems that singing and moving (rhythm-ing) with the kids is what really has an impact. And, it goes beyond the ability to sing–encompassing a much broader definition of being musical to include the ability to be musical in everyday life as a source of joy and a mode of human interaction.

I wonder about the elitism of encouraging parents to play classical music for children. Doesn’t it send the message that those who have listened to classical music since they were children are somehow smarter than children who listen to country music, for example? However, ‘exposure’ to classical music is related to social class. I’m sure that a research study could be devised that would show that, indeed, people who listened to classical music as children did better in school than other students. Of course, this would simply underscore the many social ‘advantages’ of the upper and middle classes that allow them to excel at the expense of others; it would have very little to do with what genre of music they listened to.

The other day I came across a microphone that we bought for one of the boys a couple of years ago and I hooked it up to my keyboard amp. It’s just a cheap American Idol mic, but the kids had a great time with it. Sophie (she’s three now) sang into it for quite a while. She sings songs that she knows, but she’s also pretty good and making up her own stuff. As she was singing I started playing some ‘rhythm changes’ (I, iv, ii, V) on the keyboard in the key of E flat and eventually she gravitated to the Eb major scale (with that chord progression any note from the major scale works). What fun! William (5) and Landon (8) were more into improvising rhythmic sounds (beat box?). That was fun to listen to as well.

I imagine that with an inexpensive karaoke machine with a mic and a set of headphones, an elementary teacher or parent could set up a microphone/karaoke music station in the classroom or at home. I think kids could have a great time and develop some practical musical/creative skill. Also, if the environment is free from judgment, kids might stay comfortable with their voices as they become teenagers and eventually adults.

When I was teaching elementary music we used to pass the mic when we were singing with pre-recorded accompaniments. Some students really enjoyed it, although there were a few that chose not to sing in the mic (and I never forced them). When we sang concerts for the community all students had the option to sing a solo or duet into the microphone. The ‘problem’ was that most of them wanted to sing a solo! So, we ended up with 5 or 6 students singing ’solos’ all at the same time.

I’m at the 5th International Symposium on the Sociology of Music Education in Newfoundland. What a beautiful place! John Kratus just gave an excellent, moving presentation about a songwriting class that he teaches at his university. From the quotes that he shared, the students valued this experience immensely to the point of ignoring their other coursework. I recommend to anyone ‘out there’ to find some of John’s published articles and learn more. I think that songwriting classes in K-12 courses could be very appropriate, too. Bernadette Colley talked about alternative ensembles including Mariachi and bluegrass. I know that Mariachi is gaining popularity in schools, but I don’t think bluegrass ensembles have and I wonder why not given their popularity. Maybe we don’t want to do popular things in school. I think that we should do those things in school that our students will likely find joy in doing long term. Someone mentioned a study done in Texas that measured what percent of all-state band members (the best of the best) continued to play after graduating from high school. It was only 7%! Interesting . . .

We had an evening program at our annual Bates Reunion in Gandy, Utah a couple of evenings ago. It included a few songs accompanied by guitar, one story, skits and jokes, a poetry reading, and one solo song. My sister and her family sang “If I had a Million Dollars”; she sang and played guitar and her husband played djembe and harmonized. Their two sons played egg shakers and sang along. It was awesome. My soon-to-be sister-in-law played guitar and sang (beautifully) “When You Say Nothin’ at All.” Grandpa, in his 93rd or 94th year, sang his “Bumble Bee Song.”

I was tickled by a wasp; I was tickled by a flea; But, the thing that really tickled me was a yellow bumble bee (followed by a chorus of laughter)

Pretty sweet! Grandpa used to play harmonica and guitar at the same time. He also played accordion back in the day.

My cousin’s husband writes cowboy poetry and he read a couple of them, my brother did his annual one-man version of “Who’s On First” and my aunt told “Little Bunny Foo Foo” (we make her do it every year). Mom, of course, sang a song and played the guitar. I can’t remember the title of the song she sang–something about dealing with the changes in our lives. My other cousins husband, who spent some time trying to make it big in Nashville, sang a couple of songs (hey, Romeo? something about going down to Mexico, sha-la-la. . .)

This was pretty authentic, true-to-life, applicable-outside-of-school, musicing. I wonder whether schools can and/or should foster this kind of stuff. I could have pulled out my French horn and played a tune or two, but it would have seemed rather out-of-place. I’m not sure that the music that is emphasized in school (classical, some jazz, classic folk) lends itself well to performance at family gatherings–at least not my family gatherings. Growing up, I remember my mom and others singing what was on the radio and accompanying their singing on guitars and other social/portable instruments (mandolin, accordion, ukulele, etc). That still seems to be a rather common way to make music. . .

Technology is pretty cool. (I like the things that Evan Tobias writes on his blog.) But there is still something to be said about taking an instrument along on a camping trip or jamming with others in the backyard or on the front porch or in the front room. I don’t think technology will replace these “unplugged” musicings.

Sophie is at that stage where a lot of kids make up their own songs (she’s almost three). Sometimes if kids know that someone is listening, however, they will stop singing. So, it’s important to go on about your business and just let them sing. In fact, it doesn’t seem to matter that I am in the same room as long as I don’t acknowledge what she’s doing. It’s hard to resist, though, and today I was actually able to enter her song world. I started singing the same sorts of things she was singing, in a soft voice and using the same pitches (a lot of mi-re, not so-mi, sometimes ‘resolving’? to do). We carried on this sort of dialog or “singalog” (I think I just made that word up) for about a minute and it was magical for me anyway. I wonder if, for Sophie, it seemed rather normal.

Kristin has been successful a few times at getting the kids to participate in a sort of mini-opera/sung dialog. They really get into it with screechy voices and crazy vibrato–the whole bit. It’s funny that even at a young age they have picked up (probably via TV) that opera stereotype. I wonder how old they will be when they lose interest in making operas on the spot. I know back in Utah there was a program for opera in the elementary schools that involved a facilitator/accompanist spending a week or so at the school to help the kids make their own opera. What a great creative outlet! I have no real interest in whether or not kids will learn to “appreciate” opera (I have a difficult time with it myself unless it is in English), but as an extension of what seems to be a natural impulse to express oneself musically I think a program like that is a good idea.

Yesterday we participated in Kristin’s grandma’s funeral. I accompanied a couple of songs on piano, one song with guitar, and played the organ for a congregational hymn and for the postlude. I also played a medley of a few of Grandma’s favorite songs that she used to play using what she called the “chord method.” For me, musicing at funerals is a beautiful experience; songs can mean so much when considered in light of a life well-lived, temporary loss of a loved one, and the reunion of family members. Our seven-year-old son, Landon, sang a solo, I Know Heavenly Father Loves Me by Clara W. McMaster, and really touched the hearts of those in attendance.

Whenever I hear the song of a bird or look at the blue, blue sky

Whenever I feel the rain on my face or the wind as it rushes by

Whenever I touch a velvet rose or walk by our lilac tree

I’m glad that I live in this beautiful world Heavenly Father created for me.

He gave me my eyes that I might see the color of butterfly wings

He gave me my ears that I might hear the magical sound of things

He gave me my life, my mind, my heart. I thank him reverently

For all his creations of which I’m a part

Yes, I know Heavenly Father loves me. 

Landon hasn’t had formal vocal instruction, but we sing a lot at home and he has developed a nice, clear, relaxed voice.

 There’s a connection here to music education: We ought to consider the long-term uses our students will find for the musicing that we teach. Funerals are one such application. Are we teaching our students to sing the types of songs that people would find meaningful in such a setting? Are we teaching them to accompany themselves and others on guitar or piano? One of the most requested performers for funerals in the small town of Eureka, Utah where I used to teach was a middle-aged, blue-collar, “manly man” who sang country songs (Tears in Heaven, for example) accompanied by his Karaoke machine. Do we encourage this type of singing in school? I think it would make sense to do so as part of the general aim to foster lifelong musicing.

We were visiting friends the other day and their 8-year-old daughter was playing tunes on a lap harp. It was sorely out of tune, so I offered to tune it for her. It took about five minutes to tune it to the piano. Then I noticed that some of her playing cards were in G and others were in C. So, she had to make a choice which repertoire she preferred. I’ve never really taken this instrument seriously, but after some exploration on the internet I found one site that is especially interesting and has some custom lap harps (plucked psaltery) for sale (http://craggymtnmusic.com/lap_harp.html). I think there are some wonderful possibilities here for elementary music education and more. With some more searching, I found that it’s actually quite an ancient instrument from Biblical times (http://www.earlymusic.i12.com/general/prod_11.htm).

I was invited to spend half an hour with the kindergarten class today as part of their luau–end of year activity. They wanted some island-themed musical activities. So, I learned Lovely Hula Hands on the ukulele (following some uTube clips) and made up some hula-type movements to go along with the words of just the first two stanzas. We also sang Down By the Bay and Mama Don’t ‘Low. Of course, these aren’t “authentic” island songs, but currently my island repertoire is somewhat limited. I was surprised at how old the students seemed; already I have forgotten a bit about what it’s like to teach kindergarteners. It isn’t the same to interact with my own kids at home and teaching college doesn’t really keep me in touch with public school realities. So, I value this type of opportunity. A couple things that I didn’t like about the experience were, first, the teaching space was rather small so that when we played On the Bottom of the Sea it was difficult to “swim” around amongst the “seaweed” and, second, because it was an end-of-year activity there were a lot of parents there watching. Even after so many years of teaching music, it’s still more comfortable to teach when there aren’t a number of other adults around. Teaching is an art, but not necessarily a performance art. I mean, it wasn’t a big problem and I am confident in my abilities, it’s just nice to interact with the students w/o the issue of what others might think–positive or otherwise.

I’m really hoping to get a new ukulele for my birthday. I bought a $15 one a while back and I would like to play something now that has a fuller tone. I was amazed by this uTube clip: http://www.youtube.com/watch?v=puSkP3uym5k . I don’t know why, but when I see someone playing like that I want to be able to do it too. Oprah had William Macy on her show a while back and he played his uke. It was pretty cool and now Oprah, so I hear (http://nashukes.blogspot.com/), will be starting a uke club this fall. This, they say, will be the third wave of ukulele popularity within the past 100 years. It might be time for elementary teachers and middle school teachers to gear up for teaching this delightful and versatile instrument. In fact, someone will probably make some money providing materials and in-service training to music teachers…