Singing, Playing, & Creating with Joyful Expression

Music must not be approached from its intellectual, rational side, Nor should it be conveyed to the child as a system of algebraic symbols, Or of a secret writing of a language with which they have no connection. The way should be paved by direct intuition.

(Zoltan Kodály)

Singing, Playing & Creating with Joyful Expression

Introduction

In an increasingly technological age, music educators must engage students with music-making that captures their imaginations and sparks their creativity. As Zoltan Kodály makes clear, the path is paved by intuition rather than knowledge, and music-making must come before the technicalities of symbols. Music-making begins with singing, which involves the ear, while playing instruments engages both the ear and hands. Creativity comes from the mind and our experiences, but the most important element—joyful expression—originates in the heart. It’s essential to nurture music-making in our students, allowing their musicality to blossom as literacy develops.

This blog will highlight the importance of establishing a diverse repertoire of songs for joyful expression in schools, families, and communities. We will discuss how to introduce notation to joyful singing and playing—focusing on “sound before sight.” Additionally, we will present practices that allow all students to experience music before introducing notation. We will also explore opportunities for creating and improvising in both classroom and ensemble settings.

It All Begins with Singing

We sing to our children, nurturing them with stories and songs infused with meaning. We sing within our families and communities, weaving music into the fabric of our daily lives. In schools, churches, athletic events, and community gatherings, singing brings us together, creating shared experiences and memories that last a lifetime. The repertoire of songs we learn in school stays with us, offering a means to express a range of emotions in various settings.

Our musical playlists become the soundtrack to our lives, helping us navigate everything from joy to profound loss. At the heart of it all, music and singing are central to how we express ourselves, connecting us to one another and to the world. Furthermore, learning a repertoire of songs from around the world deepens our connection to the diverse cultures and ethnicities across the globe, enriching our understanding and appreciation of the human experience.

Singing through an Instrument

When it's time to play an instrument, we need to guide our students in the experience of singing through an instrument. By beginning with the idea of singing songs that the students know, we allow them to enjoy the sound of a new instrument while drawing on familiar repertoire. The songs that students have learned to sing using solfège are easily transferred to playing, using a sound-before-sight approach. As students practice fingerings while singing with solfège, they naturally connect their musical voice to the instrument. Singing and then playing is the most natural and musical way to learn to play an instrument.

In contrast, a traditional approach to instrumental music instruction often starts by teaching students notation, fingerings, and the techniques of breathing and sound production. This approach, focusing on sight before sound, can be counterproductive to learning to play with joyful expression. By the time students reach a point where they can express joy through their playing, many are already frustrated by the complexity of notation and the technical demands of a new instrument.

Music-Making at the Heart of Music Education

Everyone can sing, play, and create music with joyful expression throughout life. If we are successful as music educators, then twenty years from now, our students will still be singing and playing a diverse repertoire of songs that they learned in school. Some will play in professional or community bands and orchestras, but everyone can carry a diverse repertoire of songs with them for life.

When music-making comes before literacy, we give students the opportunity to enjoy singing and playing songs before introducing musical literacy. When notation comes first, students often become reliant on the sight of music rather than the sound and expression of it. Instead of the common saying, “If you can’t read it, you shouldn’t play it,” I say: “If you can’t sing it, you shouldn’t play it!”

Creating as a Priority in Music Education

Inspiring students’ creativity means inviting them into the process of creating music. When students are given opportunities to create and improvise within an ensemble, music-making becomes more innovative and personal. They begin to see themselves not just as performers but as creators.

Encouraging creativity in music education has benefits that extend far beyond instrumental music. By fostering imagination and creative thinking, we equip students with the ability to think critically, collaborate, and approach challenges from multiple perspectives. These skills are essential for solving complex problems in areas like science, technology, and the arts, making creativity in music a foundation for innovative thinking in the broader world.

Students at any grade level can start creating. From the very beginning, using just three notes—mi, re, and do—students can craft their own melodies. As they advance, they can create more complex melodies, arrangements, or compositions as part of the ensemble experience. Providing structures like the pentatonic or blues scales can open the door to improvisation, allowing students to explore their creativity within guided frameworks.

Introducing Notation

We capture the imagination of our students by singing, playing, and creating with joyful expression. It’s not through reading notation that we ignite students’ imaginations, but by adding notation to singing, playing, and creating, we expand the possibilities for music-making. At its best, notation enhances the opportunity for deeper and richer music-making.

Today, with our overemphasis on notation in beginning classrooms and instrumental ensembles, we leave many students behind who struggle to grasp the complexity of the symbols before associating them with joyful music-making. If whole classes are to experience joyful expression in music, we must begin with music-making and then add notation.

Musical Literature PLUS…

Musical literature often takes center stage in our instrumental and choral ensembles, leaving limited time for exploring a diverse repertoire of songs or engaging in creative activities like improvising. While instrumental and choral directors focus on notation and technique to bring composers' works to life for audiences, this is only part of the responsibility of a music educator. Every music classroom, even at advanced levels, needs to immerse students in singing and playing a diverse repertoire of songs. It should also encourage creating with joyful expression.

It’s not a matter of either-or but both-and: we teach a repertoire of literature while also ensuring that students carry with them a diverse repertoire of songs for life. By learning from composers' creative processes and fostering opportunities for students to create and improvise, we make music education a deeply personal and lasting experience, promoting individual self-expression.

Conclusion

Music educators must engage students with music-making that captivates their imaginations in an increasingly technology-driven world. We are the ones fostering creativity in a landscape dominated by machine learning, where human expression remains essential. As artists, we portray emotion and expression through sound and rhythm, fostering singing, playing, and creating as the foundation of human expression—just as it has been throughout history.