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music (both print and recorded) from across the globe. Young
composers, emerging choral groups (check out Room Full of Hymns: A New/Old Resource
Teeth, the Lorelei Ensemble or Tenebrae, just to name a few), for Teaching Choral Music
and fresh, creative music is literally only a click away!
As a choral editor, I admit that I love the new—the
Jody Blake
excitement of fresh concepts, the juxtaposition of different
Baldwyn School District
pallets, texts, and timbres. I am always excited when I see
Baldwyn, Mississippi
new manuscripts with poignant and intriguing texts from
recognized composers and those whose names are new. Often,
(Used with permission of the author)
just their birthdates are enough to amaze me. However, over
the past few years, it has become a concern for many in the
profession that the “standards” from the choral canon are be-
ing performed less frequently—if they are performed at all. As choral music educators, we are constantly looking
Often, this is because they are either unavailable/out of print for ways to improve our teaching, spending countless hours
or they are becoming progressively unknown to many choral searching for new ideas and hundreds of dollars on new sight-
directors. Some young teachers are not aware of much of the singing and warm-up books. However, there is a resource with
repertoire that was commonly found in the choral libraries of nearly endless possibilities for enhancing the choral music
schools, churches, and collegiate choirs for decades. curriculum, a resource that has been used by countless music
As educators, conductors, and mentors of potential choral educators for generations. Whether it is an old, dusty Baptist
music educators, we must ask ourselves the following impor- hymnal or a brand-new Catholic hymnal, there is a treasure
tant question: With all the new music available, do we have a trove of musical examples for teaching musicianship, vocal
responsibility to include music from the past, the “tried and technique, and performance repertoire.
true” jewels from years gone by? I would argue unequivocally, I explored the possibility of integrating hymns into the
yes! The great masterworks and choral jewels that have been choral music curriculum in a recent research project. By re-
shared with generations of listeners deserve to be brought into searching the history of hymnody in music education and ex-
the lives of our singers in the twenty-first century. The music tracting strategies from three approaches to learning/teaching
of today is influenced by the music of the past. To sing these music, I developed curriculum suggestions that could be help-
splendid choral works connects us with our choral heritage. ful to many choral music educators. In the research project,
Most importantly, there is an artistic thread that ties the hu- hymns are presented as a resource for teaching musicianship
man heart of today with those from hundreds of years ago. and performance.
With all of the wonderful new literature we see in read- Why use hymns for teaching and performance? There
ing sessions each year, let us not become so enamored of the are many reasons, but the practical ones should be discussed
“new” that we lose sight of the intrinsic beauty and worth of first. Hymns are an economical investment for music educa-
works that have stood the test of time. Let us not forget that, tors. Most of the “great” denominational hymns are in the
whether through experiencing the innocent beauty of Bach’s public domain. Using online resources such as hymnary.org,
Bist du Bei Mir as a member of a children’s choir or the beauti- they are easy to find and free, meaning no royalty or printing
ful, waltz-like quality and dignity of Handel’s And the Glory of fees. Educators are free to make arrangements and altera-
the Lord from Messiah as a high school singer, or the playfulness tions of hymns. A second reason for the use of hymns is that
of Certon’s chanson, Je ne l’ose dirai as a middle school chorister, most hymns are relatively simple to learn. Since hymns were
our students can learn a great deal as singers and musicians. originally intended for use in corporate worship, most hymn
Their lives are made richer by experiencing the ageless beauty tunes are simple, containing few skips and leaps in the melodic
of the tapestry known as the choral art! line. This fact makes it easy for even a novice singer to learn a
hymn melody (whether it is for sight-singing or performance).

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Historical Significance of Hymnody today. They published hymnbooks, many of which had in-
in Music Education structions for singing properly and “singing by note.”9 During
From a historical perspective, using hymns for teaching the early nineteenth century, in an effort to align hymns with
musicianship is not a new idea but one that has been present the Common Book of Prayer, the Anglican Church started the
since biblical times. The Bible provides evidence that musi- Oxford movement, which bridged the gap between evangeli-
cians were highly trained. In early Hebrew worship, the Lev- cal and “churchly” hymns and birthed the famous hymnal,
ites were charged with providing music for worship services in Hymns Ancient and Modern, in 1861.10
the temple and synagogues.1 The Bible mentions Chenanaiah, When the Puritans first arrived in America in 1630, they
the chief Levite appointed to train singers and choirs, pro- brought with them the Ainsworth Psalter containing thirty-
viding evidence of musical instruction.2 During this period, nine tunes.11 Later in 1640, the Bay Psalm Book would be
musical instruction consisted of teaching music and theology printed; however, the state of singing in early America was
from the book of Psalms.3 That book (from the Bible) was the declining due to the practice of “lining out” the tunes.12 To
primary source for both theological and musical instruction remedy this situation, singing schools were established around
and is the earliest example of Christian hymns for the church. 1720.13
At the dawn of the medieval period, the church was the Using hymns as primary teaching material, many tune
primary center for education, responsible for spiritual, educa- books would be published for the purpose of teaching music
tional, and political leadership. Sacred music was at the heart literacy in the singing schools, which became the first formal
of musical instruction. Under the leadership of Pope Gregory, music education institution in America. With singing teach-
the church streamlined church music with the organization of ers such as William Billings, who wrote curricula based on
plainsong, or Gregorian chant (named in honor of the pope).4 hymns, the singing school became an important educational
Later, Guido d’Arezzo, an Italian monk, would use chant as and social venture in eighteenth-century American society.14
the impetus for the development of solmization. Using the The singing school was particularly prevalent in the American
hymn Ut queant laxis (Hymn to St. John), d’Arezzo developed a south where shaped-notes were used in tune books and folk
system of teaching music literacy that is still in use today. He hymnody flourished.15
is also credited with the creation of the musical staff.5 As his- Known as the “father of music education,” Lowell Mason
torical evidence suggests, hymnody was the primary resource began teaching music in Boston public schools in 1838. Lay-
for teaching music in the medieval period. ing the foundation for music education in America, Mason
Martin Luther helped begin the protestant reformation, composed many hymns and wrote music instruction books
which would change not only religion but education. Known that included exercises based on Christian hymns.16 Based on
for the great protestant hymn, “A Mighty Fortress is Our the sheer number of his publications that include hymns as
God,” Luther advocated congregational singing of hymns. teaching examples, it is clear that Mason supported hymnody
Active congregational participation in worship was at the and music education.
center of his ideology. This led to an increase in hymn-writing
activities for the protestant church and an increase in the use As historical evidence suggests, hymnody and
of hymns for musical instruction.6 Luther strongly encouraged music education ran parallel on the same plane.
musical instruction and even assisted with printing songbooks Throughout history, the church had close ties to
for churches and schools.7 Similarly, protestant reformer John music education and education in general. Hymns
Calvin made a lasting impact on hymnody and music educa- became the songs of the people. Congregations
tion. While Calvin used only the Psalms in worship, it was the were musically literate, and children were taught
hymns he derived from the Psalms, called psalmody, which to read music using hymns. Great music educators
would be carried to America. Hymns made up the hymn- from Guido d’Arezzo to Lowell Mason used hym-
books that were used in early American music education.8 nody as the primary vehicle for teaching music.
The hymns of eighteenth-century England provide The hymnal was the music textbook.17
some of the finest examples of Christian hymnody. John and
Charles Wesley composed many hymns that are still in use

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The Decline of Hymnody in Modern Repertory • Melodic shapes that are easily memorized
How does all of this history relate to choral music educa-
tion today? Hymns have been around for hundreds of years • Singable yet simple in structure
and are tried and true resources as demonstrated by the
historical narrative above. So why are hymns being removed • Opportunities to increase vocabulary and to study poetry
from the repertory for choral musicians, both in the education
and sacred settings? • Teach intervallic relationships
Choral singers in churches and classrooms alike are un-
familiar with even the most basic hymns. Hymns are being While the theological and spiritual dimensions of hym-
erased from worship services in churches and from choral nody are numerous, these factors can be applicable to any
performances at schools. David Gordon suggests contempo- choral setting—public, private, or church. Hymns are a cor-
raneity is the primary cause of this decline. In his book Why nerstone of choral music literature and should not be allowed
Johnny Can’t Sing Hymns, Gordon describes contemporaneity as to disappear into the folds of history. Choral music educators
“a value, or a value system, that prefers what is new to what must keep them alive so these great examples of repertoire
is old.”18 This value system is common in modern society will be preserved for generations to come.
where emphasis is placed on the new and fresh, as opposed
to the traditional. Commercialization of Christian music has
been detrimental to the survival and growth of hymnody.19 Hymnody in the Choral Music Curriculum
Most of the great hymns are performed less in the church Using concepts from the Kodály approach, Compre-
and more in the concert hall. As a result, fewer music students hensive Musicianship through Performance (CMP), and
are exposed to traditional hymnody. Singing hymns in church Music Learning Theory, the author has developed a theoreti-
encourages communal singing and provides young singers cal framework for teaching musicianship and performance
with knowledge of the standard repertoire of quality music. through hymnody.
Without these experiences, students are lacking a foundation
for singing in choir. 1) The Kodály approach, a method of teaching music
developed by Hungarian composer and educator, Zoltán
Kodály, focuses primarily on teaching music literacy. For
What is the Solution? more information on this approach, educators may refer to
Choral music educators are the solution! We should be Lois Choksy’s The Kodály Method: Comprehensive Music Education.
sure to introduce hymns to our singers. Whether the choral
director teaches in a public, private, or church setting, hymns 2) Comprehensive Musicianship through Performance
can be used as instructional material. While teachers in private (CMP), a method of teaching music based on the Contem-
schools and churches have more license to incorporate the porary Music Project (1965), was developed by the Wisconsin
theological aspects of teaching hymnody, there is a precedent Music Educators Association. For more information on this
for teaching hymns in the public school. Reasons to include approach, educators may refer to Patricia O’Toole’s Shaping
hymns include: Sound Musicians.

• Providing a wealth of musical knowledge, including basic 3) Music Learning Theory, a set of theories focusing on how
concepts in music theory and history people learn music developed by Edwin Gordon, posits the
idea that sound should be introduced before symbols (like
• Easy arrangement of four-part (typical) hymns to fit any a language is learned by children) in learning music and is
educator’s classroom needs (two-part and three-part) based on the development of audiation skills (inner hearing).
For more information on this approach, educators may refer
• Excellent resource for music theory analysis (e.g., chords, to Eric Bluestein’s The Ways Children Learn Music: An Introduction
inversions, form, etc.) and Practical Guide to Music Learning Theory.

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These three concepts were found to be complimentary usage (Table 1).

and appropriate for teaching hymnody in a choral setting. Us- Based on the CMP model, the strategies and outcomes
ing them as a theoretical framework for teaching, hymns were are intended to provide choral music educators with ideas for
selected based on historical importance and denominational integrating hymnody into the choral rehearsal. Each strategy
Table 1. Theoretical Framework

Kodály Comprehensive Music Learning

Approach Musicianship Theory

• Uses the voice as primary • Rehearsal oriented • Highly structured approach

instrument – singing is most • Provides students the opportunity • Focuses on patterns in music
important to be listeners, performers, • Based on audiation & teaching
• Moveable-do composers, and scholars. sounds before teaching symbols
• Curwen hand signs • Curriculum based on performance • Uses six stages of audiation and
• Rhythm syllables repertoire and elements of music seven types
• Authentic folk music and good • Performance and written assess- • Whole/part/whole curriculum
quality composed music ment with three types of learning
• Focus on teaching music literacy • Comprehensive: analysis, out- sequences: skill, tonal, and
(sight-singing) comes, strategies, assessment rhythm
• Mostly performance-based • Physical movement may be
assessment (teacher observation) included while teaching rhythm
• Rote teaching may be used

Synthesis

• Use of moveable do and Curwen hand signs to enhance music literacy and sight singing skills.
• High quality Christian hymn literature will be used in teaching
• Strong focus on teaching comprehensively using the elements of music
• Performance and written assessment
• Focus on developing audiation (hearing in your head)
• Develop whole/part/whole curriculum using teaching musical patterns

Christian Hymnody

• Sight-sing hymns using Curwen hand-signs

• Quality hymn literature
• Isolating melodic and rhythmic patterns
• Text and music: spiritual and historical foundations
• Use audiation to comprehend sounds of hymns
• Analyze a work based on the elements of music

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and outcome is categorized by one of the three outcome do- two-part harmony. For the CMP component, students will
mains: skill, knowledge, and affect. The theoretical framework read music notation, recognize and define historical themes
is integrated into the strategies and outcomes. and people, and demonstrate appreciation of hymns. In the
For the Kodály component, students will demonstrate Music Learning Theory component, students will develop and
music literacy by reading music notation using moveable do enhance audiation skills by recognizing and analyzing melodic
(doh) and Curwen hand signs and demonstrate singing in and rhythmic patterns using hymns (Table 2).

Table 2. Suggested Outcomes

Kodály Comprehensive Music Learning

Approach Musicianship Theory

The student will sight-sing hymns in Skill Outcome: The student will develop enhanced
two-part harmony. The student will read music notation audiation skills by singing and
within the context of hymns. listening to hymns.
The student will read music using
moveable-do and Curwen hand Knowledge Outcome: The student will recognize and
signs. The student will recognize and analyze melodic and rhythmic
define historical themes and patterns used in hymns.
The student will sing/perform people within the context of
hymns with melodic and hymns.
rhythmic accuracy.
Affective Outcome:
The student will learn to appreciate
hymns and use them in
corporate and private worship.

Synthesis

• Reading notation
• Singing two-part harmony
• Recognize and analyze patterns in the music
• Develop audiation skills
• Hymn literature appreciation and application
• Define historical and spiritual themes

Christian Hymnody

• Scriptural/theological analysis
• Simple rhythmic and melodic patterns
• Analyzing harmonic structures
• Recognizing poetic rhyme schemes
• Defining important hymn writers and composers

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Skills and Strategies 7. Have students incorporate movement and keep a steady
Following are three skills (Melodic/Tonal, Rhythmic, beat while teaching rhythms.
Technique and Expression) and strategies to deal with each:
Technique and Expression
Melodic/Tonal
1. Emphasize the importance of breath control by demon-
1. Teach melodic patterns first. Displaying the melodic pat- strating diaphragmatic breathing. Students should imitate
terns in small groupings on flash cards may be helpful. teacher.

2. Emphasize melodic and intervallic relationships. 2. Have students place check marks or breath marks between
musical phrases to show where to breathe.
3. When teaching melody, have students use Curwen hand
signs. 3. Have students write in slur markings above legato phrases.

4. Sing the melody alone, allowing students to listen. (whole) 4. Emphasize the importance of dynamics by teaching dy-
namic symbols with meanings.
5. Sing partial phrases of the melody, allowing students to
echo phrases. (part) 5. Many hymns do not have dynamic markings. Teach
students to write in dynamic markings that reflect and
6. Sing the melody in its entirety, allowing student to sing complement text meaning.
along. (whole)
6. Teach students to make score markings by circling impor-
7. Students should write in solfège syllables as needed after tant musical symbols.
learning the melody. If students have not learned solfège
syllables, neutral syllables may be used.
Knowledge and Strategies
Rythmic Following are two areas of knowledge and strategies to
deal with each:
1. Teach rhythmic patterns first. Displaying rhythmic patterns
in small groupings on flash cards may be helpful. Music Theory

2. Emphasize macro and micro beats. 1. Teach students to recognize and define basic harmonic
structures within the melody and harmony.
3. Clap/tap/count the rhythm alone, allowing students to
listen. (whole) 2. Students can practice analyzing basic harmonic structures
by labeling chords using both Roman numerals and chord
4. Clap/tap/count partial phrases of the rhythm, allowing symbols.
students to echo. (part)
3. Have students label intervals within the melody, identifying
5. Clap/tap/count the rhythm in its entirety, allowing stu- both quality and numeric distance (e.g., M3, P5, m2, etc.).
dents to perform. (whole)
4. Teach students to recognize and define key signatures
6. Students should write in counts or rhythm syllables as and common chord progressions. Many follow a circle
needed after learning the rhythms aurally. progression.

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5. Have students circle and label non-chord tones within the Affective Areas and Strategies
harmony so that they may identify which voice part has a Following are two affective areas and strategies to deal
non-chord tone. with each:

6. Teach students to recognize and define melodic themes, Appreciation

motives, and sequences.
1. Teachers should encourage students to express their feelings
7. Students can complete both micro and macro analyses of about the music and text of the hymn through oral and
the hymns by labeling harmonic structures and recogniz- written discussions.
ing the form employed.
2. Students can respond to and evaluate the text and music
8. Have students compose their own hymn tune. Be sure to of a hymn by describing the appropriateness of musical/
set clear parameters and goals. (Example: Write a hymn text setting.
tune in the key of C major using common time and whole,
half, and quarter notes only.) 3. Teachers may ask students to write an appreciation for a
hymn (lyricist and/or composer).
9. Teach students to recognize and label scale patterns within
the hymn tune melody. 4. Students should develop a personal philosophy about the
importance of singing and learning hymns.
Music History and Listening
5. Teachers may have students write a journal about the value
1. Students should learn basic biographical facts about hymn of hymns in both corporate and private worship.
composers and authors of texts.
6. Teachers may have students complete a project on their
2. Help students recognize and define the major periods of favorite hymn by having them describe how the hymn’s
music history, identifying the period of music to which music and text inspires them.
each hymn belongs.
Connection
3. Teach students to relate hymn composers and text authors
to major composers throughout music history. 1. Students should develop an awareness of hymnody’s rela-
tionship with other subjects.
4. Have students learn the tune name and the title of each
hymn. 2. Teachers may have students answer questions such as:
“How are hymns related to history, religion, art…?”
5. Students should learn and define the elements of music and
describe their use in hymns. 3. Teachers may have students write a modern hymn text and
melody incorporating various modern topics.
6. Be generous in allowing students to actively listen to qual-
ity hymn recordings with the goal of recognizing musical 4. Teachers may encourage teachers from other disciplines to
elements and structures. use hymns in their classroom as a teaching tool.

7. Compare and contrast the compositional style of hymn Based on the curriculum planning method used by CMP, I
composers with major composers of a particular musical selected hymns for teaching. The example hymn data includes
era. the following:

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 CHOR EACH

Title – hymn name • Additional suggested teaching strategies/goals vary based

Tune name – name of the melody on curriculum topics such as history and culture or choral
Composer – person who wrote the music musicianship.
Lyricist – person who wrote the text
Origin – place where the hymn originated
Historical information – pertinent facts about the hymn’s Table 3. Example Hymn
history
Holy, Holy, Holy
The data collected can also include major concepts from the Hymn: Holy, Holy, Holy
elements of music. Composer: John B. Bykes (1823-1875)
Lyrics/Text: Reginald Heber (1783-1826)
Melody – listing of primary intervallic relationships Tune Name: Nicaea
Harmony – listing of major harmonic structures Origin: Great Britain
Rhythm – listing of rhythms used within the hymn Difficulty: 1
Expression/technique – listing of teaching techniques within Denominations: B, C, E, L, M, P
the hymn
Timbre – description of overall tone quality exemplified by
the hymn
Form – overall structure of the hymn Background and Teaching Information
Difficulty level – three levels of difficulty were employed, one
being the easiest, with few skips or leaps in the melody and Historical Background
three being the most difficult, with several skips or leaps One of the most widely sung hymns in Christendom, Holy,
within the melody. Holy, Holy and its tune, Nicaea, are inseparable.
Denomination – listing of denominations using the hymn. The tune, named for the Council of Nicaea, which formu-
Baptist (B), Catholic (C), Episcopal (E), Lutheran (L), lated the doctrine of the Trinity, was composed by
Methodist (M), and Presbyterian (P) were the major John B. Dykes, who wrote the tune specifically for Reginald
Christian denominations included. Heber’s text, which refers to the Trinitarian doctrine
of God in three persons.
Hymn meter – listing of the meter (poetic) for the text. Num-
bers represent syllables per line of text. Each number
represents one line and is separated by a period. Multiple Elements of Music Concepts
hymn tunes may be used for hymn texts.
Biblical references – listing of references on which the text Melody
is based. Intervals: 3rds, 4ths, 5ths
First verse – listing of the first verse of hymn text for poetic
study. Harmony
Key: D Major
The example hymn also includes three teaching applications Harmonic structures: major/minor triads
and additional teaching suggestions.
Rhythm
• Teaching music literacy using melodic patterns Meter – common time
Quarter vs. half (Short, short, short, short, long, long)
• Teaching music literacy using a two-part exercise Dotted quarter followed by eighth
Whole, half
• Choral warm-up to improve vocal technique

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Expression and Technique Text

Diction – [o], [i]
Musicality – Legato vs. staccato Hymn Meter
11.12.12.10
Timbre
Holy, Holy, Holy has a darker sound due to the First Verse
rounded vowels and exclamatory mood of the hymn. Holy, holy, holy! Lord God Almighty!
Early in the morning our song shall rise to thee;
Form holy, holy, holy! merciful and mighty,
Strophic God in three persons, blessed Trinity!

Figure 1. Applications for the Choral Education Setting

Warm Up
1. Practice singing crescendos and decrescendos
2. Use caution with the word “Almighty” at the end of the phrase. Emphasis should not be placed on [ti].
3. No breath should be taken between the second and third measures.

#
& # 44 œ œ œ œ Ç Ç Ç œ œ Ç Ç
Ho - ly, ho - ly, ho - ly! Lord God Al - migh - ty!

Interval Study
NOTE: X note-heads indicate key teaching patterns or intervals.
Diamond note-heads indicate a “caution” pattern or interval.

# œ œ
& # ¿ ¿ ¿ œ œ œ œ œ ‚ ‚ ‚ œ œ
œ œ œ œ œ œ ‚ ‚ œ œ œ
D M S L S M S D T S R S L S D M S L S D S L M F R D

Sight-singing in Two Parts

Original melody has been rhythmically altered to exclude dotted rhythms.

#
S & # 44 œ œ œ œ Ç Ç Ç œ œ Ç Ç œ œ œ œ Ç œ œ
œ œ
œ œ w
#
& # 44 Ç œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ Ç œ œ œ œ w
A

# Ç
S & # œ œ œ œ Ç Ç œ œ œ œ Ç Ç œ œ Ç Ç œ œ œ œ w
#
& # Ç
œ œ œ œ œ œ œ œ œ œ œ œ Ç Ç œ œ Ç Ç œ œ œ œ w
A

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Biblical References gestions provided will give choral music educators fresh ideas
Isa. 6:3, Rev. 4:8 for achieving this goal. Happy hymn-hunting!
Isa. 6:2-3, Rev. 4:6-10
Isa. 6:3-4, Rev. 4:11, Rev. 15:4
Rev. 4:8, Rev. 5:13
Suggested Resources
Additional Application— Goals and Objectives
Beamer, Chris. Standards for the Singing Church: A Guide to Musical
Music Theory Worship. Belleville, Ontario: BMR Publications, 2004.
The student will circle the pitches that outline the G major
triad within the melody of the hymn tune. Bluestine, Eric. The Ways Children Learn Music: An Introduction
and Practical Guide to Music Learning Theory. Chicago: GIA, 2000.
History and Culture
1) The student will research the Council of Nicaea and the Choksy, Lois. The Kodály Method; Comprehensive Music Education
Nicaean Creed and 2) the student will explain the from Infant to Adult. Englewood Cliffs, N.J.: Prentice-Hall, 1974.
relationship of the Council of Nicaea and the Nicaean
Creed to the text of the hymn. Dowley, Tim, and Sugu J. M. Chandy. Christian Music: A Global
History. Minneapolis: Fortress Press, 2011.
Spiritual and Poetic
The student will read the Bible verses related to the text of Eskew, Harry, and Hugh T. McElrath. Sing with Understand-
this hymn and summarize the meaning of the text. ing: An Introduction to Christian Hymnology. Nashville, Tennessee:
Bradman Press, 1980.
Aesthetic
The student will evaluate the hymn tune’s relationship to the Gordon, T. David. Why Johnny Can’t Sing Hymns: How Pop
text Culture Rewrote the Hymnal. Phillipsburg, N.J.: P & R Pub, 2010.

Hymnary.org: A Comprehensive Index of Hymns and Hym-

nals. Accessed November 5, 2016. http://hymnary.org.
Hymns: A Flexible Curriculum
Ultimately, the choral music educator knows his or her HymnSite.com - Christian Online Music. Accessed November
choir best. It is up to the educator to make solid decisions when 5, 2016. http://hymnsite.com.
selecting literature for teaching. The Kodály Approach, CMP,
and Music Learning Theory are educational approaches that Jones, Paul S. Singing and Making Music: Issues in Church Music
lend themselves to effective teaching practices. As demonstrat- Today. Phillipsburg, N.J.: P & R Pub, 2006.
ed, hymns can be a valuable tool for utilizing these practices
and effectively enhancing the choral music curriculum. O’Toole, Patricia Ann. Shaping Sound Musicians: An Innovative Ap-
Not only do hymns provide fresh opportunities for teach- proach to Teaching Comprehensive Musicianship Through Performance.
ing new concepts, but they also are historically important in Chicago, Ill: GIA Publications, 2003.
choral music history. It should be our job as choral music
educators to keep these great treasures alive in our schools Reynolds, William Jensen, Milburn Price. A Survey of Christian
and churches. Hymnody. Carol Stream, Ill: Hope Pub. Co., 1987.
While the theological value of hymns cannot be under-
stated for churches and private schools, it is reiterated that Free Music Backing Files for Churches - Piano, Band, and Pipe
public school music educators can use hymns as historically Organ. Accessed November 5, 2016. http://smallchurchmu-
based resources and as a tool for teaching music literacy and sic.com.
vocal technique. The author hopes that the curriculum sug-

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NOTES
The Complexity of Singing
1
Michael L. Mark and Charles L. Gary, A History of American Music
Education (New York: Schirmer, 1992), 5. Gabriela Hristova
2
Paul S. Jones, Singing and Making Music: Issues in Church Music Today University of Michigan-Flint Flint, Michigan
(Phillipsburg: P&R Publishing, 2006) 34.
3
William J. Reynolds and Milburn Price, A Survey of Christian (Used with permission of
Hymnody (Carol Stream: Hope Publishing, 1987) 2. ACDA Michigan, September, 2016)
4
Ibid., 5.
5
Mark and Gary, A History of American Music Education, 23.
6
Harry Eskew and Hugh T. McElrath, Sing With Understanding: An Teaching and making music with a choir is a complex
Introduction to Christian Hymnology, (Nashville: Church Street process. I would compare it with the playing of an instrument,
Press, 1995), 100. except that the instrument in our case is a group of people
7
Mark and Gary, A History of American Music Education, 28-29. with various personalities and emotional sensitivities, different
8
Ibid., 30. life experiences, and individual understanding of music as an
9
Eskew and McElrath, Sing With Understanding: An Introduction to art. We then add factors such as musical skill levels, singing
Christian Hymnology, 136-140. experience, vocal health, and commitment to the goals of the
10
Ibid., 153. ensemble that are inevitable and playing a significant role in
11
James A. Keene, A History of Music Education in the United States the overall process. While the two music-making processes
(Hanover: University Press of New England, 1982), 4. might be different on many levels, they are also the same on
12
Edward Baily Birge, History of Public School Music (Philadelphia: many levels.
Oliver Ditson Company, 1928), 5-8. When I reflect on my piano practice sessions and the
13
Harold F. Abeles, Charles R. Hoffer, and Robert H. Klotman, habits developed over the years, I also think of my teaching
Foundations of Music Education (New York: Schirmer Books methods, various techniques, and approaches that I use to
1994) 9. cultivate musicality, expression, and healthy technique in the
14
Keene, A History of Music Education in the United States, 19. singers. The teaching of basic musicianship, singing skills,
15
Reynolds and Price, A Survey of Christian Hymnody, 88-89. ensemble habits, and understanding of interpretation, which
16
Keene, A History of Music Education in the United States, 106. we all repeatedly do in our rehearsals semester after semester,
17
Jody N. Blake, Hymnody in Music Education: Integrating Hymnody into season after season, often makes me compare what we do with
the Music Curriculum (Educational Specialist project, Auburn what athletes do. The number of years devoted to our craft,
University, 2016), 38. the commitment, discipline, and perseverance required by
18
T. David Gordon, Why Johnny Can’t Sing Hymns: How Pop Culture demanding rehearsal schedules and performances, are similar.
Rewrote the Hymnal, (Phillipsburg: P&R Publishing 2010), 103. They are meant to build, develop, and strengthen us and our
19
Marilyn Houser Hamm, “Exploring Communal Song and students, not only as skilled musicians, but also as teachers and
Memory Through Historical Hymnody,” Choral Journal 53, performers in tune with their inner selves. Then we are able to
no. 9 (2013), 48. communicate the finest nuances of musical context through
singers’ hearts and souls.
As I reflect on my years of training, teaching, and per-
forming, I realize that the amount of information that needs
to be transmitted, cultivated, and assimilated in the choir room
is vast. The gradual steps required for building healthy vocal
technique and ensemble awareness, the depth of musical de-
tail explained, the motivation and encouragement involved in
the singing process, are infinite. Yet, there is a magical simplic-
ity in all of this, a simplicity that makes the process enjoyable
and fulfilling. I ask myself these questions: a. What are the

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