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Another Singing Time: Songs for Nursery and School
Excerpt from Another Singing Time
Children like much repetition, and they may hnd pleasure in sing ing the short songs over and over, many times without stopping. Some of the songs may be dramatized by the children who should give, in every case, their own dramatic interpretation to the story, and act it accordlng to their own plans....
Children like much repetition, and they may hnd pleasure in sing ing the short songs over and over, many times without stopping. Some of the songs may be dramatized by the children who should give, in every case, their own dramatic interpretation to the story, and act it accordlng to their own plans....
44 pages, Hardcover
Published August 24, 2018
About the author
Satis N. Coleman
27 booksSatis 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.
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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