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From Groans to Grins: A Play-Based Approach to Teaching Music Literacy

This approach aligns with principles of construc- developmentally appropriate practices for building mu-
tivist learning, which suggest that students learn best sicianship. For example, many elementary music teach-
when they can actively engage in their learning and ers refer to methodological practices derived from Orff,
receive feedback that they can implement immediate- Dalcroze, Gordon’s Music Learning Theory (MLT),
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ly. Through musical play, students might internalize Kodály, and Suzuki. Each of these methodologies rec-
music literacy skills more efficiently as they engage in ognize play and social interaction as a fundamental as-
real-time problem solving and expressive collabora- pect of how students learn and construct meaning in
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tion, creating a positive and productive environment music. An Orff or MLT approach might incorporate
that contrasts with a potentially more traditional, static games, stories, and imagination to build on the learn-
method of literacy instruction. This article introduces ing styles of emerging musicians. Similarly, a Kodály
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a framework for conceptualizing literacy in three do- or Suzuki methodology prioritizes a playful approach
mains: rhythmic, melodic, and harmonic. Directors to develop strong musicianship while fostering a love
will then explore how to use pedagogical games and for music.
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play-based learning to practice these domains while
applying three specified learning modalities: aural, vi-
sual, and synthesized. Although these activities are de- What is Music Literacy?
rived from elementary methods, they are applicable to The National Association for Music Education
secondary choral ensemble classrooms, with a particu- (NAfME) adopts a broad conception of music literacy
lar focus on high school students. as a musician’s ability to create, perform, and respond
to music, yet many teachers define music literacy pri-
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marily as one’s ability to read Western classical music
What is Musical Play? notation. Choir teachers might align state and nation-
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Kathryn Marsh and Susan Young defined musical al standards for music literacy toward teaching nota-
play as “the activities that children initiate on their tional literacy, therefore building learning sequences
own accord and in which they may choose to partici- that center decoding notation. However, some teachers
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pate with others voluntarily.” These activities balance have broadened their definitions of music literacy.
challenge and ease, empower the players, and spark joy. For example, some scholars define music literacy be-
Marsh and Young also emphasized that a key compo- yond reading and writing to include the ways in which
nent of play across all ages is multimodality or blending people use sound and symbols to communicate. Ac-
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movement with singing and using objects like props, cording to Edwin Gordon, “Music literacy goes beyond
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toys, or instruments. Musical play not only engages reading and writing music notation … one must be
children aurally but visually and kinesthetically. Social able to listen to music with meaning.” Teachers using
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interactions are also an important part of play. Stu- a more comprehensive approach to teaching literacy
dents can share musical ideas, practice and refine skills, may find lesson planning and instructional delivery to
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and imitate and create patterns. In 2017, Lisa Koops be overwhelming. It is, therefore, important to break
researched factors leading to student enjoyment, find- down music literacy into smaller parts and consider ac-
ing that “children’s musical enjoyment occurred when tivities to build skills through musical play.
there was a balance of structure and freedom, novel- Researchers have compared music literacy to the
ty and familiarity, and individual expression within an process of learning a language. Language acquisition
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established community.” Researchers have linked mu- scholars break down communication into smaller do-
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sical development and enjoyment to the exploratory mains such as vocabulary, grammar, and syntax, which
practices in musical play, which led to the question: operate both verbally and in writing, and generally oc-
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how might the concept of music literacy be reframed cur through immersion. Teachers can approach music
using musical games? literacy in a similar way by disaggregating literacy into
Music pedagogues have discussed musical play as an an aural pedagogy and a visual one. Many agree that
important pedagogical component, which aligns with a sound before sight approach to literacy is an effective

8 CHORAL JOURNAL October 2025 Volume 66 Number 3