The Power of a Song

Abstract

The 4-year-olds gathered on the rug in response to the teacher’s singing cue (see Figure 1). Savannah, however, got distracted by a tambourine and spontaneously began tapping the rhythm while the rest of us sang (see Figure 2). This is not an unusual event when music is a regular part of the preschool environment. But it always feels like a small miracle when—without formal instruction in meter, beat, rhythm, or tambourine playing—a young child, caught up in the excitement of the moment, performs them all. Savannah was demonstrating examples of emerging music literacy. But of equal interest is that at the same time, each tap on the tambourine represented one syllable in language (syllabication). The heavier and lighter taps represented stress patterns in language. In one simple, spontaneous act, a 4-year-old child was demonstrating not only emerging music literacy but also emerging language literacy. And it all began with a song. A careful study of folk songs is revealing. Generally, it is the language that determines how the music will go. The rhythm, stress patterns, and phrases of the words dictate the rhythm, meter, and phrases of the music. Often the vocal inflections of the spoken words are imitated in the pitch direction of the melody. At the same time, the music intensifies the language. Each syllable of every word is strengthened by the music. The music also gives power to the meaning of the words. The children demonstrate their awareness of meaning by responding in movement. The phrase structure of the words is intensified by the musical phrases, and the natural inflections of the words are often enhanced by the melodic direction. Think of traditional children’s songs such as “Teddy Bear” or “The Wheels on the Bus.” Speak the words and notice the natural rhythm of the words. The rhythm of the song reflects the spoken language. The flow of the language is also represented in the music. “Wheels” has more emphasis than “the” when spoken. The pick-up in the music emphasizes that stress pattern. Notice that the vocal inflection when you say “teddy bear” descends or “the wheels” ascends or “round and round” descends. The melodies take the same spoken shape. Finally, consider the vocabulary and meaning taught through the singing and acting out of the words. One might say that song is simply language intensified. Helping early childhood teachers understand that singing is language development as well as music development may encourage them to provide more singing experiences with those for whom they care. Songs can also be a bridge to reading. Just as reading stories to children prepares them to understand that words can be written, so exposing them to actual music symbols helps them come to understand that songs can be written. But because the song is really language enhanced by music, beginning symbols for songs provide opportunity for language reading. One of the many ways to encourage “reading” of songs is to combine pictures, icons, and words on a mat for child exploration. The first “Teddy Bear” mat (Figure 3) provides an example. After children know the song well, show them the mat asking them what they notice. Recognize each response, and then sing the song while following the symbols. Place the mat in the free-play General Music Today Volume 21 Number 2 Winter 2008 35-38 © 2008 MENC: The National Association for Music Education 10.1177/1048371308317050

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