A movie musical night can be one of the most enjoyable ways for families who love music to spend time together. Particularly when a child in the house takes voice or movement lessons, or plays an instrument, musicals can open up new doors for musical understanding and creativity. Whether you rent, buy, or stream them, these old-fashioned classic musicals offer great lyrics and danceable tunes, as well as engaging storylines that are suitable for all ages.
1. The Sound of Music
Richard Rodgers’ and Oscar Hammerstein II’s The Sound of Music (1965), starring Julie Andrews and Christopher Plummer, will likely top the list of favorite movie musicals for many families. One of the most recognizable and beloved of the great movie musicals, it tells the story of Maria, a young novitiate in a convent who starts work as a governess for a widower and his large family, only to fall in love.
Set in Austria at the time of the Nazi invasion that led into World War II, the plot offers a clear contrast between good and evil as the von Trapps struggle to remain true to their values and stage a perilous escape. The musical is based on the real-life experiences of Maria von Trapp, as told in her 1949 book The Story of the Trapp Family Singers.
The many well-known songs from the musical include “Do-Re-Mi,” (“Do, a deer, a female deer…”). In addition to being one of the liveliest and easiest musical numbers for a young child to learn, the song is a great way to teach solfege, the art of training the ear to distinguish musical tones.
Other wonderful pieces on the soundtrack include the poignant coming-of-age love song “Sixteen Going on Seventeen,” the raucously funny “The Lonely Goatherd,” and the poignant “Edelweiss,” a folk song that the von Trapps use to express their love of their homeland and their sorrow at leaving it.
2. The Wizard of Oz
The Wizard of Oz (1939), based on the series of children’s novels by L. Frank Baum, is another widely beloved family classic, with a score by Harold Arlen and lyrics by E. Y. “Yip” Harburg.
Dorothy, who was whisked away from her home in Kansas by a tornado, finds herself in the magical Land of Oz. She makes friends with the Tin Woodsman, the Scarecrow, and the Cowardly Lion, and together they make their way down the Yellow Brick Road to find the wizard who can give each of them their heart’s desire; and in the case of Dorothy, a return to her home.
The Wicked Witch of the West does her best to thwart them, sending an army of flying monkeys to attack in a harrowing scene. However, after Dorothy and her friends defeat her, they reach the Emerald City and unmask the great wizard as a bumbling, ordinary man, with goodness triumphing over both the wizard’s cowardly bombast and the witch’s evil.
The now-iconic songs that Arlen and Harburg composed for the film include the sweeping ballad “Somewhere Over the Rainbow,” which became not only the centerpiece of the movie, with its theme of love and longing, but a lifelong theme song for star Judy Garland.
3. Singin’ in the Rain
Singin’ in the Rain (1952), starring the phenomenal dancer and singer Gene Kelly, alongside comic master Donald O’Connor and the multitalented Debbie Reynolds, offers a warm-hearted story, memorable protagonists, and plenty of exuberant songs that have captivated generations. As the late movie critic Roger Ebert wrote, there are few rivals for Singin’ in the Rain as a viewing and listening experience of pure fun.
The musical is set in Hollywood in the late 1920s, when silent films were being outclassed by the new “talkies,” leaving numerous former stars literally speechless when their real voices couldn’t match their onscreen images.
Kelly plays a matinee idol who dislikes his co-star and falls in love instead with the ingenue played by Reynolds. Arthur Freed’s lyrics and Nacio Herb Brown’s music enhance the charm of the book by Betty Comden and Adolph Green. The film also offers O’Connor’s bouncy, show-stopping rendition of “Make ‘Em Laugh,” a lively trio performance by the three leads in “Good Mornin’,” and the kinetic magic of Kelly in the title number, sloshing, dancing, and singing his way against the shadows of a dark and rainy street.
4. The Music Man
The lively sound of “76 Trombones” is only one of the highlights in The Music Man (1962), created by Meredith Willson for the stage and later for the screen.
Robert Preston plays the title character, a traveling salesman—more aptly, a charming con man—named Harold Hill. In the sleepy days of 1912, right before the town’s Independence Day celebrations, Hill descends on River City to persuade residents that only he and the new marching band he is forming can—at the town’s expense—save them from modern corruption, such as a newly installed pool table.
“Ya Got Trouble,” Preston sings in one memorable song in his portrayal of Hill, as he tries to scare and con the town. “Right here in River City....With a capital ‘T,’ and that rhymes with ‘P’ and that stands for pool!”
Hill mesmerizes everyone in the town, with the sole exception being young “Marian the Librarian,” portrayed by Shirley Jones. As the holiday nears, the completely unmusical Hill is about to be discovered. But before he can take his ill-gotten receipts and flee the town, he realizes that he’s fallen in love with Marian. He also suddenly finds it in himself to actually do the thing he only pretended to be able to do—lead a band—and he and the town are saved.
Any family hoping to introduce their children to the wonders of onscreen musical theater will find much to enjoy in these four classics and in the many more made during this same era of the great movie musicals.
When children or adults learn music theory, one of the basic concepts they have to master is musical scales. A scale, simply put, consists of a graduated and organized set of tones that span and divide up an octave. By selecting a specific series of notes, as well as the intervals between them, a composer is setting up a pattern that he or she will use to express a full range of thought and emotion.
Scales are at the core of musical keys. If, for example, a piano teacher refers to Ludwig van Beethoven’s “Moonlight Sonata” No. 14 in the key of C-sharp minor, the student will immediately understand that this particular classic work is built on the C-sharp minor scale.
Check out the following list of interesting facts for more about the history of musical scales.
Just how many scales are there?
There are actually hundreds of musical scales that people around the world have used at one time or another. Musicologists, in fact, point out that—theoretically speaking— there is an almost infinite number of scales that can be formulated.
Historians of music observe that the scales that develop within individual cultures tend to provide a glimpse into those cultures, with the most basic and straightforward scales associated with early or pre-literate societies, and the more sophisticated scales working their way through later and more complex societies.
Doing the math
As an example of the possibilities of building scales, we can consider the fact that there are 12 major scales in the Western musical tradition, each built on one of the 12 distinct pitches in an octave.
But there are also 24 minor scales—12 melodic and 12 harmonic—and a further 72 additional modes, which are simply scales that start out on different pitches. The Dorian mode of the ancient world is one of these—it begins on the note of D and includes, as the C-major scale does, no sharps or flats. Ancient musicians similarly built the Phrygian mode on the note of E. In total, there are seven modes that can be made based on the seven notes in an octave.
Additionally, there are chromatic, diminished, blues, and other distinctive types of scales that have emerged over time and in a variety of cultures.
How scales are built
The common denominator is that nearly every known musical scale is built on the strengths of between six and eight individual notes (five to seven intervals). And the tones included in each scale typically also all display a frequency ratio connection to the very first tone of that scale. Students of guitar and piano will find that they can adapt most of the world’s known scales to be played on their versatile instruments.
With this wide-open ground for the development of scales, musicians in the traditions most familiar to Western audiences have developed and popularized only a relative handful.
An ancient example that still rings true
Scholars believe that the pentatonic scale is among the oldest in the world. Based on five intervals dividing six notes, it can be found today incorporated in much of the music of the world. In its common anhemitonic form (meaning it contains no semitones), it consists of notes in the major scale at positions 1, 2, 3, 5, 6, and 8.
In the key of C-major, this would include the notes C, D, E, G, A, and back to C. This absence of half-steps gives the pentatonic scale a harmonious, immediately pleasing sound. Some of the music in the tradition of medieval Gregorian chant is based on the pentatonic scale.
A distinctively American scale
The blues scale is, arguably, the one on which much of today’s popular music is based. Anchored in African-American popular music of the Southern United States in the 19th century, the blues scale began with the human voice, as everyday people composed working songs, folk songs, and more.
The blues scale is musically complex. Some experts believe it is based on six notes, while others say seven. Some even count as many as nine notes on the blues scale.
In general, however, music theorists believe that the blues scale is a different version of the traditional minor and major pentatonic scales. One way to turn a regular scale into a blues scale is by adding “blue” notes—commonly a flat fifth-degree on the scale that lies next to the natural fifth on that scale. For example, a blues scale built on a minor pentatonic scale might include the following note sequence: A, C, D, E-flat, E, G, A.
Great blues singers like Robert Johnson and Ma Rainey made this form familiar to listeners through early 20th-century recordings of their performances.
A rainbow of musical color
The word “chromatic,” derived from the Greek word chroma (color) immediately gives a clue to the sounds of the chromatic scale. The chromatic scale employs all 12 notes in the Western musical tradition, and proceeds from one semitone to the next, leaving out none of the half-tones in its climb up the sequential ladder. Thus, in the chromatic scale built on the note of C, the sequence would be C, C-sharp, D, D-sharp, E, F, F-sharp, G, G-sharp, A, A-sharp, B.
Many composers have used chromaticism to bring color to passages of larger works built on more traditional scales. This scale is particularly associated with the atonal and experimental music that came to prominence in the 20th century.
Composer Arnold Schoenberg achieved renown as the originator of the serial 12-tone row, based on the chromatic scale. This key-less method requires a piece of music to deploy all 12 tones in the scale equally often, and it achieves this goal by a systematic ordering of the 12 tones.
For many young children, the percussion instruments are the most fun to play and learn. Striking, shaking, or clanging these instruments produces an immediate response that the child can hear or sometimes even see. This easily grasped one-to-one correspondence between the child’s actions and the instrument’s sound is a big part of the appeal.
Playing a percussion instrument is also valuable because it helps people of all ages improve their physical coordination, dexterity, and motor skills. In addition, percussion instruments give music students the chance to let loose creatively in ways that few other instrument types can equal. Researchers have even learned that drumming and practicing other percussion instruments can reduce stress and even improve the immune system.
For all these reasons and more, percussion instruments are justifiably popular with student musicians, professionals, and audiences around the world.
The following is a closer look at a few members of this truly global family of musical instruments. This list focuses on some of the more seldom-discussed instruments in the percussion family, and thus omits the piano and the many types of acoustic and electronic drums that are popular in the U.S.
The boom of the timpani
In Sergei Prokofiev’s classic Peter and the Wolf, an imaginative musical romp through the instruments of the orchestra, the crash of the timpani announces the arrival of the hunters.
Timpani, also known as kettledrums, entered the Western musical world during the Middle Ages, imported by returning Crusaders and Arabic warriors arriving in western and southern European ports. Timpani came to be used in connection with trumpets to herald the arrival of aristocratic cavalry troops onto a battlefield.
Timpani consist of large, round, copper-bodied drums shaped like half of a sphere. Their drumheads consist of sheets of plastic or calfskin stretched tight across the opening. A player produces sound by striking the instruments with sticks or mallets made of wood or tipped in felt.
Timpani can be tuned to produce a variety of pitches when their drumheads are loosened or tightened via an attached foot pedal. In a typical orchestra, a single musician will play four or more timpani in a range of sizes and pitches. Playing the timpani calls on all the performer’s skills of attention and sense of pitch, since a typical orchestral piece calls for multiple tuning changes.
The xylophone’s flexible range
The xylophone’s early history lies in Asia, most scholars believe, before it spread to Africa and then to Europe. The instrument’s name derives from an ancient Greek word that refers to its wood-like tones.
The common denominator among the many types of xylophones available today is that the typical xylophone consists of a set of keys, or bars, organized in octaves, like piano keys. Affixed beneath the keys are a series of resonators, or metallic tubes, which produce the sound. Xylophones can be simple toys for the youngest children or sophisticated, multi-octave orchestral instruments.
The xylophone player strikes the keys with a mallet. Mallets are produced in varying degrees of softness or hardness; changing the pitch of the xylophone involves using a different type of mallet or changing the way one strikes the keys.
The xylophone’s close relatives in the percussion family include the larger and more mellow-toned marimba, the smaller and jingly-voiced glockenspiel, and the vibraphone.
The Jazz Age vibraphone
Invented in the 1920s, the vibraphone is distinguished by its metal keys and resonators and by the addition of little spinning discs, or fans, in its interior. These small discs are electrically powered and are arranged under the keys and over the resonators.
A player uses felted or wool-tufted mallets to strike the keys. He or she tunes the vibraphone by means of a motor that turns a rod connected to the discs. The resulting sound is the type of shifting, sliding pitch that’s referred to as vibrato when produced by the human voice.
The vibraphone has found extensive use in the popular jazz repertoire of artists such as Lionel Hampton. The instrument’s first appearance in an orchestra was in the 1937 Alban Berg opera Lulu.
The cymbals – the orchestra’s alarm clock
The crashing of the cymbals in the orchestra makes everyone take notice. A set of these ultra-loud percussion instruments consists of a pair of large discs, ranging in size from 16 to 22 inches in diameter. These discs are typically fashioned of spun bronze.
A player hits the cymbals together, or in the case of suspended cymbals, strikes them with a mallet. In general, larger cymbals produce lower sounds.
The waterphone’s New Age appeal
The waterphone is a newer innovation in percussion. Patented in the 1970s and based on a Tibetan water drum and other instruments, the waterphone consists of a bowl of water, a resonator, and a series of differently sized metal rods. A player uses a mallet, bow, or his or her own fingers to produce sound by striking the rods.
The vibration causes the water to shift in the bowl, thus altering the shape of the resonance chamber and creating a whole range of gliding sounds and echoes. Musicologists have described the waterphone’s sound as mysterious and otherworldly, and the instrument is noticeable in many television and film soundtracks.
The triangle’s thousand-year-old lilt
The triangle is a simple steel bar bent into the shape of an equilateral triangle, with part of one corner left open. The player strikes the instrument with a simple steel rod.
In use at least since the Middle Ages, the triangle often featured an attached set of jingly rings until the early 19th century. As European audiences of the 1700s demanded music in the Turkish style, Western musicians paired the triangle, the cymbals, and the bass drum into an ensemble with the aim of replicating the popular Turkish Janissary sound.
The triangle’s piercing pitch is audible even over the sounds of a full orchestra. Accordingly, classical composers tend to use the triangle sparingly, often to add punctuation to a composition.
At Music Training Center (MTC) in Philadelphia, children can take lessons in music and voice training. They can also participate in an a cappella vocal ensemble, Rock Band classes, or a number of high-quality musical theater productions. Over the years, Music Training Center has nurtured the talents of a number of promising young musicians and performers.
The musical theater component is one of the organization’s signature programs. Kids in the upper elementary, middle school, and early high school grades can participate in its Main Stage musical production. Younger kids work on their own Junior Stage and Mini Stage productions. Popular musicals serve as an excellent way to engage kids with learning the basics of musical theater stagecraft.
Experts in the performing arts have noted musical theater’s ability to develop a wide range of essential talents and skills in children who are considering making any branch of acting or performing a lifelong career. Further, musical theater training can lay the foundation for the kind of self-confidence, physical and mental stamina and agility, and personal presentation skills that will enhance a young person’s performance in any other type of career later on.
There are many reasons to encourage your child to participate in musical theater. Here are four:
1. Musical theater programs are available throughout the country
The MTC program is only one of many across the country that focus, either year-round or as a special summer experience, on the wealth of benefits that participation in a musical theater production can provide for children.
The Performers Theatre Workshop in New Jersey, the Music Institute of Chicago, and San Francisco Children’s Musical Theater are only a few more examples of organizations that offer this kind of vibrant and engaging—and potentially life-changing—programming.
2. Musical theater helps teach movement, communication, and confidence.
For example, kids who participate in musical theater training learn a whole set of movement skills. These skills can improve coordination, kinetic awareness, and overall fitness. In addition, training the voice to perform songs in a musical theater production tends to strengthen the vocal chords. They also benefit the performer’s overall voice presentation. This is a helpful tool for leaders and communicators in any field.
Experts in teaching musical theater additionally point out that confidence is among the main takeaways from participation for many kids. Musical theater can take performers far beyond their familiar comfort zones. A student who primarily views herself as an actor might be asked to sing in a particular production. Another who thinks of himself only as a dancer might be called on to learn and speak lines of dialogue to convey an emotional experience.
These activities might at first give young performers a case of nerves. Ultimately, however, this type of multifaceted training can open doors onto new ideas, build new skills, and create a sense of accomplishment in ways that stay meaningful over a lifetime.
3. Musical theater boosts self-esteem.
One dissertation-related study, published in 2017 under the auspices of Concordia University-Portland, found that music and theater studies, individually, offer enormous potential. They can help middle school students develop their self-esteem and their scholastic achievement.
The study goes even further by exploring the ways in which the combination of the two subjects in musical theater can lift up middle school students’ sense of self-worth and facilitate their achievement in a number of ways.
In this particular study, about a dozen suburban private school students in Minnesota took part in staging a musical theater event. The researcher used direct observation, interviews, school records, and Likert scale surveys to gauge the degree to which the students engaged in a positive or negative way with the experience.
The study concluded that if a student came into the production with already-high levels of self-esteem, he or she did not experience an additional boost of self-esteem from participation. On the other hand, if a student had a lower level of self-esteem before the production, he or she was more likely to develop more openness to being flexible and taking on novel tasks during the course of the production. These students also showed increased comfort with the process of change during the production.
4. Musical theater is fun!
One remaining important aspect of performing in musical theater: it's fun. Kids of all ages enjoy meeting familiar or intriguing characters from movies, books, or TV shows translated onto the stage.
When they take on the personas of these characters themselves, they can find creative new ways to express themselves. They can also deepen their awareness of their own emotions and let their imaginations take them on new adventures.
According to the National Association for Music Education, there are a few important qualities that make for an outstanding music teacher. These include strong communication skills, an understanding of how to make learning the rudiments of music worthwhile, the ability to command respect, and a capacity for forging emotional connections with students.
Any list of the world’s notable music teachers throughout history would include the following talented individuals, who were also accomplished composers. Read on to learn about their lives, their music, and what they taught their students.
Antonio Vivaldi – Leader of a girls’ orchestra
By the time of his death in the mid-18th century, Italian composer and priest Antonio Vivaldi had authored hundreds of pieces of church music, concerti, operas, and other compositions. Best known today as the composer of The Four Seasons series of concerti, he exemplified the Baroque sensibility. His music is filled with complex, bravura passages that highlight the solo capabilities of individual instruments.
Vivaldi was also a teacher, working at several different schools of music over his career. When he was just 25 years old, he became master of violin with the Ospedale della Pietà, a Venetian school for orphaned children. While serving in this capacity over some 30 years, he managed to compose the bulk of his major creative works.
At the Ospedale, the boys were taught skilled trades, and the girls learned music. Vivaldi’s leadership of the girls’ orchestra and chorus brought international fame to the school. The group performed at religious services and often at special events intended to make an impression upon powerful visitors. The girls performed, however, concealed behind a set of gratings, supposedly for the purpose of safeguarding their modesty.
Antonio Salieri – Villainous or defamed?
Thanks in part to Milos Forman’s movie Amadeus, the dominant image of Antonio Salieri is a jealous villain who helped to drive his rival Wolfgang Amadeus Mozart to an untimely death—or possibly poisoned him. But recent investigations have shown that there was likely far less substance to the feud between the two men.
Newer biographies and recent performances and recordings of his music, including an album by Cecilia Bartoli, are beginning to show us that Salieri was a talented composer, with a personality that may have been cantankerous. Newer research also shows that he was viewed by contemporaries as a generally friendly, industrious, and occasionally even humorous man.
Salieri’s creative output includes several operas in multiple languages, as well as chamber music and works for sacred occasions.
Only six years Mozart’s senior, Salieri would live to the age of 74 and eventually see his powers as a composer dwindle, though he took on a roster of exceptionally gifted pupils. These included Ludwig van Beethoven, the German operatic composer Giacomo Meyerbeer, Franz Liszt, and Franz Schubert. Historians recount the story of how Salieri spotted the seven-year-old Schubert’s talent and began teaching him the basics of music theory. After Mozart’s death, Salieri even instructed Mozart’s young son.
In 2015, a short composition created jointly by Mozart, Salieri, and a third composer was unearthed from the archives of the Czech Museum of Music. The following year, a harpsichordist in Prague gave the work its first public performance in 230 years.
Nadia Boulanger – A “hidden figure” in music
Nadia Boulanger earned international fame as a conductor and teacher of musical composition. Born in 1887, she was the daughter of Ernest Boulanger, a renowned voice teacher at the Paris Conservatory. She studied at the conservatory with composers Charles-Marie Widor and Gabriel Fauré, then began a career teaching both private lessons and classes. At age 21, she received a second place honor in the Prix de Rome competition for a cantata she had composed.
Boulanger’s sister, who died young, was also a talented composer. In fact, after her sister’s death, Boulanger deemed her own work as a composer to be of no further use and stopped creating entirely. However, she continued to both promote her sister’s work and to teach others. By the early 1920s, she was working at the American Conservatory at Fontainebleau.
Boulanger went on to become the first female conductor to work with the New York Philharmonic and other American orchestras. She taught in the Washington, DC area during the Second World War. In 1949, she earned the position of director of the American Conservatory.
Boulanger’s first American student was Aaron Copland, and she later taught Virgil Thomson, Leonard Bernstein, Philip Glass, and a host of other noted composers. She lived to be 92 years old, but never in her long life wrote a textbook outlining her ideas on music theory. Rather, she exerted a strong and nurturing personal influence on her pupils. She worked to give them an in-depth understanding of the technicalities of music while enhancing their individual gifts of composition and expression.
Zoltán Kodály – The centrality of the voice
Zoltán Kodály, one of the best-known 20th century Hungarian composers, was also a scholar of the folk music of his country. Along with his contemporary Béla Bartók, he became one of the foremost collectors of traditional Hungarian songs. Kodály’s own creative compositions include the massive Psalmus Hungaricus, first performed in 1923 to celebrate the 50th anniversary of the joining of the cities Buda and Pest.
Kodály was also a contemporary of Boulanger and studied with Widor in Paris. He achieved renown for establishing the building blocks of what is today known as the Kodály Method, used by music teachers around the world.
The Kodály Method works with the understanding that young children learn music best by doing, and that the body of traditional songs and dances of their own countries should form the core of their musical education, supplemented with the folk music of numerous other cultural traditions.
Kodály’s system additionally puts great emphasis on the power and flexibility of the human voice as the first musical instrument. His method stresses singing as the best way to develop musical understanding and skill.
Plato wrote that, in addition to teaching science and philosophy, he wanted to ensure that every student in Greece had access to a high-quality program of music instruction. The philosopher noted that learning musical skills prepares students for success in a full range of other subjects.
Gottfried Wilhelm Leibnitz, German philosopher of the Enlightenment, noted music’s complexity and its potential to elicit insight and creativity. He referred to it as a type of “hidden arithmetic” working in the soul.
Contemporary expert opinion echoes these great thinkers, citing the numerous benefits of music instruction for brain development. These include the fact that performing or composing music engages all the regions of the brain, making it unique among school subjects.
Today’s parents and teachers have an increasing number of anecdotes and studies to draw on in their support for the value of a strong program of music instruction. Here are just six of the reasons that music is an important component of primary education.
1. Music helps to develop social skills.
Students who participate in school bands and orchestras improve their musical acuity as well as facilitate their academic, emotional, and social development. Strong and lasting connections often form not only between students and their peers but also between students and their instructors and mentors.
Playing an instrument in a band teaches students to engage in collaboration and mutual assistance. For instance, in order to play together well, students need to learn to listen to one another. They must develop self-discipline necessary to count their own time and perfect their own performances. Additionally, they learn to modulate their own instruments' voices in order to harmonize with others.
If they notice that another student is having trouble mastering a certain passage, fellow students learn that they need to step in with advice and encouragement. This way, they help not only that one individual, but contribute to the success of the group. Life skills such as these are among the major benefits to participation in a musical ensemble.
2. Music supports academic gains.
The correlation between music instruction and academic achievement is well-established.
One 2007 study was conducted at the University of Kansas under the auspices of the NAMM Foundation. Researchers found elementary school students enrolled in schools with adequate music education programs tested significantly higher in English language and math skills than students in schools with music programs of lesser quality.
Schools with good music programs had test scores that were on average 20 percent higher in math and 22 percent higher in English than students whose schools did not have excellent music programs. This was the case even when researchers took social and economic differences among student demographics into account.
3. Music improves speaking and listening skills.
Other studies confirm that elementary-age kids who participate in music training programs develop better listening skills than peers who lack such training. Experts have found that well-developed listening skills help children in a variety of ways. They are more able to recall specific sounds, focus their attention, and understand human speech even against a background of noise.
Studies have also shown that children who were actively engaged in music-related learning over two years demonstrated greater improvements in their reading and in their speech-processing abilities.
4. Music enhances neural function.
Additionally, when students begin a program of music education in early childhood, they tend to exhibit larger gains in motor and auditory functioning. Early childhood is the ideal time to begin music instruction. This is because it is the age when the brain’s plasticity is at its highest.
Research has also demonstrated that even a moderate amount of musical education begun in the teen years, or even well into adulthood, can increase neural functioning. For many people, these gains are lifelong.
5. Music programs in public schools are often inadequate and underfunded.
The Give a Note Foundation published a report on the state of public school music education in 2017. The researchers confirmed that large-scale group performance-instruction programs, such as band, orchestra, and chorus are the most common forms of school-based music education. In elementary schools, a generalized music program is also often front-and-center.
Only about one-quarter of the public schools surveyed offered focused instruction in music subjects—for example, guitar or music theory. Music teachers across the country reported feeling that fundraising simply to support their general and ensemble programs was essential to those programs’ survival.
The federal Every Student Succeeds Act lists music as among the 18 essential subjects in a well-rounded general education program. However, many public schools today failed to provide a quality music program.
In 2012, the United States Department of Education published a report stating that, for the 2009 to 2010 school year, most of the public elementary schools in the country offered music education programs. But those statistics missed something important.
There were significant discrepancies in quality and access among schools based on school size, budget, and other factors. Large numbers of teachers quoted in the report stated that they lacked both time and resources to deliver an adequate program of music instruction.
6. Music education facilitates achievement.
Thomas Südhof, a 2013 Nobel laureate in Physiology or Medicine, is only one example given by the National Association for Music Education of an accomplished adult who traces much of his success to a music teacher. Südhof said in an interview that his bassoon teacher’s instruction on the value of practice, focus, listening, and consistent application influenced his own later creativity and capacity for study in the laboratory.
In the United States, the Emmy Award-winning Children’s Music Workshop points out that schools with strong music programs have consistently shown attendance rates of about 93 percent and graduation rates of more than 90 percent.
Can the study of music, or a program of music therapy, help children struggling with emotional or behavioral disorders? A growing number of experts say it can.
Emotional disorders in children and adolescents can have a number of negative or potentially dangerous consequences. These can include a chronic lack of academic success, aggression against peers, isolation from others, substance abuse, running away from home, and even violence against oneself or others.
Children with emotional and behavioral disorders may have extremely limited functioning in one or more areas. This can prevent them from engaging in a healthy way with their families, schools, or communities.
A comprehensive plan of general psychological or psychiatric therapy is likely to be the lynchpin of any successful program to treat these conditions. However, such a plan can be enhanced considerably by the incorporation of music.
Music can help in a variety of ways.
Music therapy can improve a child’s self-image, and can help him or her develop much-needed self-esteem and a clearer and stronger personal identity. For any child or teen who has experienced abuse, this type of therapy has the potential to promote positive new attitudes about themselves and their worth.
Recent research has demonstrated the capacity of music therapy to help in several specific ways in working with children with emotional disorders. These involve the regulation of the child’s own emotions, developing communication skills, and addressing challenges with social functioning.
Music therapy has proven extremely useful in decreasing children’s levels of anxiety and developing their ability to be emotionally responsive. Young people who have difficulty controlling their impulsivity have also been helped by music therapy.
In fact, a carefully structured and appropriately repetitive series of experiences that engage multiple senses, presented within a context of acceptance and support, can be of immense value in a variety of clinical settings. Some research has even suggested that the use of music can even produce a sense of relaxation that leads to improved performance on a range of assessment metrics.
Music fosters positive social interactions.
The use of music in therapy provides young people with a topic of conversation. This makes it an excellent starting point for establishing comfort within a social group and for fostering healthy self-expression.
Music can help a child experiencing social challenges to gain greater awareness of the presence and feelings of others. It can also facilitate greater levels of cooperation with peers and adults. Children who participate in music therapy have also shown a decreased level of disruptive incidents as reported in psychological studies.
Music’s value as a social harmonizer in the general classroom becomes especially important when working with children with emotional and behavioral dysfunction. This is because it can help establish a positive atmosphere and encourage the development of cooperative skills. Experts point out that, once such a foundation is laid, it can be used to build a child’s social skills out still farther.
Music teaches new skills and builds confidence.
At least one researcher in this field has reported that a series of carefully-structured experiences with music, supported by targeted and easily understood reinforcement, enabled children labeled “delinquent” to gain a positive self-concept.
In one study, a 12-year-old with significant behavioral issues who learned to play the piano gained constructive new communication skills, made measurably fewer negative statements about themselves, and showed notable motivation to continue learning music.
Music improves verbal and nonverbal communication skills.
Songwriting, or communicating through the lyrics of a song, can offer a non-threatening means of communication. For many children with emotional difficulties, speaking through lyrics makes self-expression much easier.
Music also has an appeal beyond the realm of the verbal. This makes it an ideal tool for connecting with young people who may be hard to reach, who may themselves be non-verbal, or who may feel threatened by engaging in direct, one-to-one conversation.
One perhaps underappreciated benefit of music therapy as a non-verbal means of communication is that it is nonthreatening. When listening to music, a child may feel they have a safe space in which to engage with emotional issues that might otherwise feel too complex or unsettling to confront. A skilled music therapy practitioner can even tailor-make a program to assist a child in coping with overwhelming emotions such as grief, anger, or trauma.
Experts point out that for many young people with serious emotional issues, music can become both an outlet for expression as well as a core therapeutic component. For many children in this population, it serves as an effective way for them to establish communication channels with therapists, parents, teachers, and peers.
Music has significant short-term gains.
In a study based in Northern Ireland, a cohort of some 250 school-age children and teens exhibiting a range of emotional and behavioral challenges were divided into two groups. One received treatment via music therapy. The other received the current standard of care. More than half the total cohort had exhibited significant levels of anxiety.
The young people who participated in the music therapy program explored improvisation and music creation through singing, movement, and playing musical instruments. The therapist worked with the youth for half an hour at a time, for 12 weeks total. Through these sessions, the therapist was able to contextualize the experience and provide a supportive atmosphere with the ultimate goal of improving communication and social skills.
The study showed that, in the short term, the group that received music therapy showed decreased levels of depression and increased feelings of self-esteem. Communication skills appeared unchanged.
Longer follow-up studies showed that the improvement in other areas eventually dropped off. The conclusion: at least on a short-term basis, music therapy may be helpful for young people with a range of behavioral and emotional challenges.
Zoltán Kodály ranks among the foremost music educators of all time. He was born in what is now Hungary in 1882, and, well before his death in 1967, had earned an international reputation as a composer of highly original pieces, a scholar of folk music, and the originator of the method of music instruction that continues to bear his name.
The Kodály Method has become widely known among music educators for its dynamic, interactive, and movement-oriented approach to instruction for children. It incorporates a set of proven techniques that foster the unfolding of a child’s natural gift for musicianship. The approach, which focuses on creativity and expressiveness, has demonstrated its relationship to the traditional ear-training method.
During Kodály’s lifetime, his influence was felt throughout Europe and the world as an instructor who taught numerous teachers, and his method continues to be popular today.
A young composer and teacher finds his vocation.
In his youth, Kodály studied the piano, cello, and violin. When he was in his teens, his school orchestra performed several of his compositions.
In 1900, he enrolled at the University of Sciences, located in Budapest, and became a student of contemporary languages and philosophy. He went on to study composition at Budapest University, but before graduating, he spent a year criss-crossing Hungary on a search for sources of traditional folk songs. He then centered his university thesis on the structural properties of Hungarian folk songs.
Shortly after graduating in 1907, Kodály accepted a position in Budapest teaching the theory and composition of music at the Franz Liszt Academy of Music. He would remain on the school’s faculty for 34 years. Even after retiring, he returned to the school in 1945 to serve as a director. His dedication was driven by a desire to preserve his country’s musical culture, particularly in light of the unrest that characterized its political scene in his time.
Before he entered into his duties at the Liszt Academy, Kodály met fellow Hungarian composer and folk music collector Béla Bartók. Together they published, over a span of 15 years, a folk song series based on their research. The series became the core of Hungary’s authoritative corpus of popular music.
A 20th century master of styles.
Kodály’s own style as a composer was anchored in the folk music that he loved and had a richly Romantic tone, while incorporating classical, modernist, and impressionistic techniques, as well.
His best-known works include a concerto for orchestra, chamber pieces, a comic opera, groups of Hungarian dances, and the 1923 work Psalmus Hungaricus, which was created to honor the 50-year anniversary of the fusion of Buda and Pest into a single city. The piece brought him international fame and conferred upon him the mantle of musical spokesman for the culture of his country.
As both a scholarly writer and musician, Kodály in his later years penned numerous books and articles on Hungarian folk songs.
An evolving method.
One story, perhaps apocryphal, has it that Kodály was so disappointed when he heard a group of schoolchildren perform a traditional song that he decided to improve the state of Hungarian music instruction himself.
Kodály put nearly as much emphasis on developing his music education program as on his own creative works of composition. His interest in the issue of music teaching was intense, and he produced a variety of educational publications designed to expand the horizons of teachers.
Kodály thought that music was among the vital subjects that should be required in all systems of primary instruction. He further stipulated that it be presented in a sequential framework, with one step logically leading to the next.
He believed that students should enjoy learning music, that the human voice is the premier musical instrument, and that the most accessible teaching method incorporates folk songs in a child’s original language.
Kodály himself was primarily the originator of his eponymous method, generating numerous ideas and principles that now form the basis of its core teachings, as used in classrooms today. However, it was left to the Hungarian teachers that he trained and inspired to fully develop it over time, often under his direct guidance.
The Kodály Method serves as a comprehensive system of training musicians in the reading and writing of musical notation, as well as the acquisition of basic skills. In doing so, it draws upon proven techniques in the field of music instruction. It is also in itself a philosophy of musical development that emphasizes the experiences of each learner.
The importance of the human voice.
One of the basic principles of the method is singing, which Kodály himself viewed as the core of his system. The Kodály Method stresses that, first, a child should learn to love music for the sheer fact that it is a sound made by other human beings, and one that makes life richer and happier.
Teachers of the method also emphasize the human voice as the one musical instrument accessible to most people around the world as a common means of expression.
One reason why singing has such a central role in the method is the idea that the music one creates by oneself is better retained and provides a greater feeling of pride and personal accomplishment. The Kodály Method therefore places singing—and reading music—ahead of any sort of training on an instrument. Kodály also believed that singing was the best means of training the inner musical ear.
The content of any classroom based on the Kodály Method will consist largely of folk songs from a child’s own heritage, as well as those of other cultures. Classic childhood rhymes and games will also be included, as will pieces of great music produced in any time and place.
Continuing the work.
Since 2005, the Liszt Academy has hosted the Kodály Institute, which provides advanced-level music education training for teachers, based on the Kodály Method. The institute works as the guiding force for the entire set of music instruction programs of the academy.
In addition to its teacher-training programs, the institute offers the International Kodály Seminar every two years. Participation in the seminar is open to music teachers around the world and coincides with an international festival of music.
The next seminar is scheduled to take place in July 2019. For more information, visit Kodaly.hu.
Folk songs in the classroom offer numerous ways to build a strong and engaging music curriculum.
Recent surveys by the National Association for Music Education (NAfME) show that its members are in near-unanimity in favor of teaching American heritage folk songs as a major part of the music curriculum.
Zoltán Kodály, an early 20th-century Hungarian musicologist and music educator, held folk songs in the highest esteem as musical teaching tools. Today, teachers around the world make use of folk songs either through lessons based on the Kodály method or informally, as a means of enhancing the music curriculum and the study of other subjects.
At the heart of the Kodály method is instruction in singing, movement, and playing musical instruments, with folk songs as the core content. This helps children to learn the traditional songs of their own cultures, and develop an appreciation for the richness of other cultures as well.
Read on for some more interesting ways to use folk music in the classroom and beyond.
Simple examples to inform music lessons
Folk songs, with their simple, repetitive musical phrasing, can serve as excellent means for teaching the basics of musical notation, harmony, tempo, rhythm, pitch, and artistic expressiveness.
A wealth of classroom uses
Folk songs also afford an opportunity to enrich STEM- and STEAM-focused learning. They can be used in physics classes to illustrate the science of sound, in art programs in conjunction with an activity involving making musical instruments, or as examples of various points in American and world history.
With their catchy, easy-to-remember lyrics and rhythms, folk songs have become key components of popular repertoires for school bands, choral groups, and dance troupes.
A springboard for creativity
Because they’re highly adaptable, folk songs can accompany any number of games or playground activities. They encourage movement and the physical joy inherent in music.
Children can enhance the experience themselves by creating their own dances and games to accompany the songs. They can write pastiches that employ similar themes, or update the songs’ historical themes in amusing ways.
A way to strengthen memory and memorization skills
Their easy-to-recall rhythms and refrains make folk songs excellent tools for training the memory, as well as helping with recall. For instance, in adults with dementia and other cognitive disorders, the simple, familiar lyrics and melodies of traditional folk songs can bring about pleasant and soothing associations with their childhood.
Refining children’s ear for language
Folk songs can help children to expand their vocabulary through the use of rare and unusual words. Students may not immediately understand some of the dated language in a song, but once they learn the new words, they will have added to their store of language, as well as to their ability to express themselves and communicate within a new framework of ideas.
A number of researchers have drawn a strong connection between learning folk songs and learning the finer points of English grammar and syntax. Thanks to the memorable patterns of rhyme, rhythm, and repetition found in folk songs, this learning technique can be especially useful and meaningful for English language learners.
Additionally, folk songs can help listeners to mirror and model correct word pronunciation and accent, while repeated singing or listening to a folk song will continue to reinforce the grammar and articulation of that particular song.
A web of historical connections
Through folk songs, students learn not only about their musical heritage, but about the historical events that have shaped this heritage—and their own lives. These songs connect children to generations of people—in their culture and in others—who have come before them, and whose lives made the world what it is today.
On its website, NAfME lists a number of American folk song genres that have developed over time, each deserving a closer look from teachers and students. These include African-American spirituals, Shaker tunes, songs of the Civil War, and work songs sung by railroad workers, seamen, and cowboys. Each can provide an intimate insight into what the lives of a wide range of Americans were like.
A few historical examples
Teachers who devote time to teaching some of the history behind folk songs have found that it often piques their students’ interest in learning more about the historical topics addressed. Children often enjoy hearing about the origin of a song and its history as played, sung, and danced to by various peoples over time.
Some teachers find that folk songs are a good fit with material geared to meeting state core educational standards. For example, many states’ official state songs are folk songs comprising multiple historical references, and as such are culturally, musically, and historically a part of every American child’s history.
For example, “Yankee Doodle,” sung during the American Revolution by British and Colonial soldiers alike, is the state song of Connecticut. The official state gospel song of Oklahoma is “Swing Low, Sweet Chariot,” attributed to the former slave Wallace Willis, who, upon seeing Oklahoma’s Red River, is said to have been reminded of the Jordan River and the Bible story of the prophet Elijah being lifted into heaven in a chariot.
The song “Shenandoah,” also known as “‘Cross the Wide Missouri,” is said to have originated with the French adventurers and fur traders, called voyageurs, who traveled along the Missouri River in the early days of the European push westward in North America. The song references a voyageur who fell in love with a Native American woman. It later was widely adopted by American sailors. Its mysterious references and simple, haunting melody have kept it at the center of the American folk song corpus for generations.
Recordings of songs like “Shenandoah” can additionally serve to acquaint children with great singers in the American popular canon, such as Paul Robeson. In the 1930s, Robeson recorded a number of versions of the “Shenandoah” tune. Pete Seeger, Arlo Guthrie, Bruce Springsteen, and Tom Waits have also recorded their own versions. Comparison of the various versions of the song could be particularly instructive for older students studying vocal interpretation.
The study of an instrument is a long-term commitment. Students will need to feel comfortable with their choice and dedicated to getting the most out of their studies. With hard work, focus, and diligence, however, learning to play an instrument can be a way to enrich a child’s life well into adulthood.
The following seven tips can help parents, educators, and children identify the instrument that will be the best and most enjoyable fit.
1. Consider the child's age and development.
First, consider the child’s age. For particularly young children, consider the physical and developmental demands of each instrument. Children of this age may not have the physical strength, dexterity, or muscle fluency to manage certain instruments.
2. Consider the piano and the violin, particularly for younger children.
Expert teachers typically recommend the violin and the piano for children under 6 years of age. Both of these instruments serve as excellent building blocks for learning music theory and practice. They also assist with learning to play additional instruments.
The Suzuki Violin Method is one of the teaching practices that focuses specifically on the qualities of the violin as a young beginner’s instrument. Learning violin is made easier for younger children because the instrument can be fashioned in very small sizes. This makes it simpler and more intuitive for a child this age to manage fluidly and naturally.
The violin is also an excellent choice of instrument for teaching young music students to play in tune. Another advantage is that the act of bowing provides a kinetic manner through which students can learn the concept of musical phrasing. And, because the violin has no keys or frets, a young player can concentrate completely on the sounds he or she is creating.
The piano offers its own plusses as a first instrument. A child learning to play the piano picks up foundational skills of musicianship by becoming proficient in harmony and melody at one and the same time. Piano students gain experiential knowledge that will help them to better understand music theory.
3. Consider the child’s physical abilities and limitations.
An instrument’s design and its fit with a child’s physicality is also an important consideration. If a child’s hands are relatively small, for example, he or she may not have the finger span to become an accomplished pianist or a player of a larger stringed instrument.
For woodwinds and brass instruments, make sure that the embouchure—the place where the child places his or her mouth to produce sound—is a good fit. Keep in mind that some students take time to learn the best way to address this. The oboe has a double read mouthpiece and the French horn has a slender tube mouthpiece. As a result, these instruments present particular challenges regarding their fit against a player’s mouth.
For children who need orthodontic help, it can be better to select a stringed or percussion instrument. This is because blowing through any sort of embouchure may be uncomfortable or even painful.
4. Consider which instruments the child enjoys listening to.
Sound is an important quality as well. A child should enjoy the sound her instrument makes. Otherwise, he or she may be reluctant to continue practicing and playing it.
Experts point out that it is unrealistic to believe that, over time, a child will come to like the sound of an instrument he or she dislikes. Such a child may, instead, neglect lessons and resent practicing.
This is particularly important for parents to remember, because band directors sometimes encourage children to take on specific, less-popular instruments simply because one is needed in the ensemble.
5. Consider the child's temperament.
A child’s personality is another good indicator of the best instrument to select. For example, an outgoing child who enjoys being the center of attention will likely gravitate to an instrument that offers greater potential for front-of-the-band performance and solos. These instruments include the flute, saxophone, and trumpet. All are made to carry a central melodic line, rather than to play supporting roles.
6. Consider the social implications of the selected instrument.
One factor sometimes swept aside by adults can have a big impact on children. This factor is the social image of an instrument, and what that says, by implication, to peers about a child’s own image and personality.
Many children gravitate toward the instrument they perceive as having the most status among their peers. Unfortunately, that instrument may not be the best fit. Adults should encourage each child to take a fresh look at the instrument that actually seems best for him or her.
7. Consider your budget as well as any maintenance commitments.
Practical issues of cost and maintenance will also be on most parents’ lists when choosing an instrument. Take some time to go over a realistic timetable of maintenance with a child’s music teacher. A piano, for example, is one of the most expensive instruments, and needs to be tuned twice annually by a professional.
Remember that many music vendors offer monthly payment programs. A trial rental may also be a good option until a child is certain that he or she really likes an instrument. Some schools will facilitate free long-term loans of instruments for their band members.
It may also be worthwhile to explore options provided by nonprofit groups. For example, Hungry for Music supplies children in financial need with donated and carefully refurbished instruments.