Transcript Encouraging Adolescence to Sing

Encouraging Adolescents to Sing in General Music
Strategies that Work!
Kevin W. Gerrity
Assistant Professor of Music Education
Ball State University
Why Adolescents Don’t Sing
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They are uncomfortable with their own voice.
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They feel self-conscious around their peers.
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They feel disconnected from “classroom” music.
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They are programmed to believe that you only sing in choir or other
vocal performance classes.
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Low expectations of music educators.
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They don’t know the words (aka the most often invoked excuse among
adolescents for not engaging in a singing experience).
Singing on Day 1
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Especially important for 6th grade (or the first grade level
within your building).
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Choose a familiar, well-liked song, perhaps in
consultation with the elementary music teacher.
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Establishes the expectation that students will sing.
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The longer you wait, the more difficult it will be to
engage adolescents in singing experiences.
Singing as a Means to an End
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Avoid the Whoopi Goldberg strategy.
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Focus on Comprehensive Musicianship. Always plan to
address specific musical content through a singing
experience. Students should never respond to the
question “What did you learn in music class today?” with
the title of a song.

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Literature as content.
Remember to always hold your students to high musical
and vocal standards.
The Magnificent Seven
1.
2.
3.
4.
5.
6.
7.
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Model
Lyrics
Rhythmic Integrity
Tonal Support
Practical Purpose
The “right” Song
Options
The more you provide for your students, the more likely
they are to participate in a singing experience.
The Magnificent Seven: Model
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You remain the best resource for helping your students to engage in,
learn from, and enjoy singing experiences.
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Remember to check your ego at the door.
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Modeling facilitates the creation of a safe psychological environment in
which students are more likely to take risks.
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Use recordings and allow students to provide a model for their peers.
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Never ask your students to do something that you will not do yourself.
The Magnificent Seven: Lyrics
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Choose songs the students already know.
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Consider using the lyric dictation tool.
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Choose songs with especially simple lyrics.
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Eliminate the lyrics and sing on neutral syllabus.
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Even at the middle-level, the rote method of learning songs is still quite
effective.
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Have students create their own lyrics.
The Magnificent Seven: Rhythmic
Integrity

Always provide some sort of rhythmic integrity when students are
singing.

Body percussion may be a good and easy way to start, but adolescents
will quickly become bored with this strategy.
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Consider using classroom instruments. Even at the middle-level,
students still enjoy this often-relegated-to-the-elementary-school
experience.
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Singing with recordings can also provide needed rhythmic integrity.
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Consider using new technologies like GarageBand or SmartMusic to
provide rhythmic integrity for your students. This may also be a great
way to get your students to engage in creation activities.
The Magnificent Seven: Tonal
Support
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Always provide tonal support for your students when they
sing. At a minimum, be sure they have an appropriate
model to lead the experience.

Recordings may be used to provide tonal support for your
students.
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You must be capable of providing appropriately
interesting accompaniments on one or more social
instruments (e.g. guitar or piano).
The Magnificent Seven: Practical
Purpose
COMPREHENSIVE MUSICIANSHIP
Never plan to sing just for the sake of singing, but
enjoy the experience when adolescents allow it to happen.
The Magnificent Seven: The Song
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Short is better than long.
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Upbeat is better than slow.
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“Familiar” is better than unfamiliar.
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Don’t feel like you have to sing the entire song. Portions of songs may
be more effective (e.g. just the chorus).
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Be sure the song can be related to students’ lives and experiences.
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Pair songs together for greater acceptance.
The Magnificent Seven: Options
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Always provide multiple vocal lines so students may
choose their level of participation.
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Consider melody, harmony, bass lines, ostinati, descants,
or spoken lines.
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Be aware of changing voices in your class. Consider
composing appropriate vocal lines for individual students.
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Remember that achieving 100% participation in every
singing experience is very unlikely. Be flexible.
Thank You
For more information:
Dr. Kevin W. Gerrity
Assistant Professor of Music Education
411 C Hargreaves Music Building
School of Music
Ball State University
Muncie, Indiana 47306
O: 765-285-5425
F: 765-285-5401
H: 765-216-7276
[email protected] or [email protected]
http://kwgerrity.iweb.bsu.edu/HOME.htm