Teach Them to Sing

Posted By Guest on May 25, 2015 | 6 comments

by Rebekah Talbot

Alabama summers: hot, humid days where there’s little left to do than to sit under a fan, staring at the heat waves hovering over the sizzling pavement. By the time night fell, this curly-headed girl and her sisters were stir crazy to say the least. These were times when my wise mother would sit down at our antique, upright piano and pull out her childhood hymnal. We’d hear the melody from a distant room, and one by one we four girls would end up singing and laughing around the piano. What my mom knew, and I was to learn later, was that these impromptu singing times were more than a time killer. My mom shared with us biblical truths that would be trapped in our minds’ melody forever.

Several studies show music’s powerful effect on the brain. When listening to or playing music, the nucleus accumbens and amygdala produce emotional reactions; our prefrontal cortex contemplates behavior and decision making; the hippocampus reflects on and creates memories, experience, and context; and this is only the beginning!^[1]

Even without scientific studies, each of us could testify to music’s powerful role in educating us. Subconsciously we’ve memorized commercial jingles, TV theme songs, and unfortunately catchy songs. Consciously, we’ve memorized the books of the Bible, even and odd numbers, and United States presidents through song. We can all agree that music is not benign; it is always teaching us or impressing something upon us.

Why, if we have such a powerful tool in our churches, do we leave it uncultivated? Often, music is left for those who are “naturally gifted.” We often think that only a select few will understand music and be able to utilize musical skills. Quite the contrary! As a music educator and a product of music education, I beg to differ. Similar to how we equip congregants to minister to the hurting, make meals for the needy, and understand theological terms, I believe the church can equip its congregation to be musical. More specifically, I believe the church can teach the body how to utilize the powerful tool of music education for the benefit of sharing God’s truth. By looking at our rich musical history, we can apply practical principles to educate our churches musically.

Singing “fasola”

I grew up hearing stories about my great grandmother’s “fasola” (fa-sol-la) version of “Amazing Grace.” What in the world is “fasola”? As a child, I pictured a comical scene of a woman flapping her arms and singing baby gibberish. Fortunately, my Mama’s patient explanation soon wore in. The notes for this rendition of “Amazing Grace” were shape notes—musical notation used as a guide for singers to recognize pitch.^[2] Each shape represented a pitch and was sung by a syllable: fa, sol, la, or mi.

William Little and William Smith first introduced shape notes in 1802 in their compositional book The Easy Instructor.^[3] This book contained a majority of American compositions with an apparent pedagogical emphasis. Their goal was for shape notes to aid singers in learning new melodies to songs. For years, many congregations sang various hymns to the same common melody. Little and Smith, as well as other musicians, desired for the church to sing well with excellence. They believed congregants could learn and perform more challenging music if they had the ability to read music. The key to musical skill, however, was music education specifically through singing schools.

Singing schools were developed in New England in the early 17th century “to remedy declining musical skills in the church.”^[4] Based on the method of Regular Signing, these schools “worked from the outside, designed to improve worship indirectly by developing musical skill.”^[5] Shape note singing was used in these singing schools for years to teach church members how to sing excellent music as a congregation. After attending singing schools, common folk could learn new melodies, sight read new hymns, and compose their own music. The ability to participate in and make music with excellence was highly valued in this era.

It was at these singing schools that my ancestors learned to sing in church. Shape note singing found a safe home in the American south, including my family’s home place of Winston County, Alabama. The famous Sacred Harp singing family, the Densons, led my great, great grandparents in learning to sing. Music education did not stop there, but carried its way on to my great grandmother Taylor, my grandfather Lonnie, and my mother Lynn. It was at these singing schools that my mom learned time signatures, notes, and how to (one day) teach her four daughters the hymns of our faith.

What We Do Now

Lowell Mason, often called the father of American music education, was profoundly perceptional regarding church worship music. While visiting the Reformed Church in Leipzig, Germany, he thoughtfully noted,

For good music the people go to a concert or to the opera; or perhaps to a choir and orchestral performance in the church; but in the singing of the chorale by the people, good music is not looked for or expected. So it must be everywhere, unless such an attention is given to the subject in the way of cultivation, as can hardly ever be expected.^[6]

Mason wrote this in 1852, never looking at our current churches. Unfortunately, his analysis remains painfully accurate. Why do we often expect the most excellent musical performances to be performed outside of the church? Similarly, why do we reserve the musical talents our church does possess for a select few worship leaders? Often, we only recognize the natural musical talents of a few, and in turn direct the majority of the opportunities toward them.

Throughout Scripture, all of God’s people are commanded to sing, not just the naturally gifted (Col. 3:16-17; 1:24-29; Deut. 31:19-21; Ps. 119:172). Unfortunately, though, we spend very little time cultivating our congregation’s musical ability. By reserving musical opportunities for those who have educated themselves, we miss the opportunity to have all of God’s people participating with musical excellence. Rather than the eclectic mix of the early, musical American church—singing farmers, bankers, children, and housekeepers—we have performance themed praise bands or pseudo-celebrity leaders. We should be equipping our entire church family to not only obey the commandments to make music unto the Lord, but to obey them with excellence, for God deserves our best.

There are several ways in which this can be accomplished. First, using sheet music during church is a great way to teach! While I know it is increasingly unpopular, allowing congregants to be familiar with sheet music, as found in a hymnal or songbook, will expose them to the basics of music and theory. Without significant effort, congregants are shown how a melody is traced and how rhythms are dictated. If hymnals or books are unavailable, project the music on the screen or print it in the program.^[7]

Secondly, the church can provide intentional opportunities for music education. Take a note from singing schools and set apart time for teaching. Offer weekly music classes, organize community singing retreats, and provide vocal or instrumental lessons to educate congregants in music theory and technique. Teach theory during 15 minutes of choir practice, lead your small group in writing a song based on Scripture, or teach a new song to your Sunday school class that corresponds with study material. Taking the time to implement these suggestions and educate the entire church allows for more participation in congregational singing while also fostering appreciation and understanding for worship music.

Thirdly, music education must start young. While old dogs can learn new tricks, nothing can replace early education. Fortunately, the majority of children are ready and willing to learn music. After teaching music to kindergarten through fourth grade students, I can speak from experience that children enjoy exploring music and creating their own. Children’s choirs, Vacation Bible Schools, and children’s worship times provide the perfect opportunities to teach music. Beyond teaching songs, leaders can teach children to feel the rhythm of the music, trace a melody, and recognize intervals. While this takes strategic instruction, it is not impossible to learn. For those teachers seeking more skills, there are several trainings and online programs that can be beneficial.^[8]

Conclusion

Donald Hinkle, author of Music in Christian Education, recognizes the value of music education in the church: “[M]usic in Christian education can do two things: It can impress and it can express. As a hymn is sung, for instance, it impresses on our minds and hearts the biblical teachings or concepts of our faith. At the same time, the singing of a hymn gives Christians a chance to express their faith in a way which might otherwise be impossible.”^[9]

Hinkle helps us see that music is a vital aspect of the church. Through music we learn, share, memorize, and express Scriptural truths. By reserving musical talents to our church music leaders, we do our congregations a disservice. Let’s use every opportunity to educate our people to thoughtfully appreciate, participate and create music. We can agree music powerfully educates. Let’s learn to use this tool with wisdom and excellence. If we do, today’s church will be teeming with Martin Luthers, John Newtons, and Isaac Wattses—men and women who are theologically trained and musically excellent.

____________________

^[1] National Association for Music Educators, http://www.nafme.org/musics-effect-on-the-brain-an-infographic/, accessed April 17, 2015.

^[2] The Sacred Harp melody of “Amazing Grace” was first titled “New Britain.” To see sheet music of this tune, visit the Library of Congress at http://www.loc.gov/resource/ihas.200038829.0.

^[3] John Bealle, Public Worship, Private Faith: Sacred Harp and American Folksong (Athens: University of Georgia Press, 1997) 1.

^[4] Ibid., 6.

^[5] Ibid.,11.

^[6] Lowell Mason, Musical Letters from Abroad (New York: Da Capo Press, 1967), 125.

^[7] For a great example of printing music in a church program, visit Redeemer Presbyterian church’s website http://www.redeemer.com.

^[8] Kodaly, Orff, and Dalcroze are all music teaching methods that provide training courses. These are often offered at local colleges and universities. Kindermusik is another musical program that offers training for teachers without a music degree.

^[9] Music in Christian Education, Donald Hinkle, (Philadelphia: Lutheran Church Press, 1969) 8.

____________________

About the Author: Rebekah Talbot received a Bachelors of Music Education from Welch College in 2012. She served as a music educator in the public schools for two years and has enjoyed participating in and sharing music since she was a child. Rebekah lives in Nashville, Tennessee with her husband Chris where they are are anticipating the arrival of their first child. Beyond preparing for the arrival of her son, Rebekah enjoys spending time outdoors, talking over good coffee, and laughing with her family.

The best way to stay up-to-date with HSF

SUBSCRIBE!

You have Successfully Subscribed!