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Another Singing Time: Songs for Nursery and School

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Another Singing Songs for Nursery and School offers a practical, homespun collection of songs designed for children ages two to seven.

It extends the approachable, kid‑friendly format that started with the first volume, focusing on songs that reflect the moods and interests of young children.

Designed for busy teachers and caring adults, the book provides piano accompaniments for all songs but can be used without the piano. It includes songs meant to accompany rhythmic activity and encourages children to interpret stories through movement and drama. Many songs reward repetition and active participation, making it easy to fit singing into daily routines at home, in nursery schools, and in early grades. Offers piano accompaniments for all songs, with options to sing without the piano Includes songs that align with rhythmic activities for movement and play Encourages repetition to build familiarity and joy in singing Suggests dramatic interpretation and kid‑led storytelling in performances Ideal for readers seeking a ready‑to‑use, kid‑centered singing resource for home or classroom settings.

44 pages, Hardcover

Published August 24, 2018

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About the author

Satis N. Coleman (1878–1961) was an influential progressive music educator. In her 2010 induction in the National Association for Music Education (NAfME) Hall of Fame.

She taught in rural Texas, Washington D.C. and in New York City at Teachers College, Columbia University (where she earned her Ph.D. in Educational Psychology) and the Lincoln Lab School; and she published 33 books with major publishers.

Because of the environmental element of her music education philosophy, her work was a historical precedent for eco-literate music pedagogy, and may have been the first non-jazz improvisation approach. Her Creative Music for Children was very influential, incorporating anthropology, improvisation, instrument construction, and alternative notation. She may have been the main proponent of Recapitulation Theory in music education, and her philosophy had a distinctively spiritual aspect, which can be seen as connected to instrument making as a spiritual practice.

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