|Why sing with Solfège?||Theory Things William Wieland|
|From Leonard Bernstein — In the olden days, everybody sang. You were expected to sing as well as talk. It was a mark of the cultured man to sing.|
|From a jazz musician — If you can't sing it, you don't know it.|
|From Teaching Approaches in Music Theory, 2nd ed. by Michael Rogers, pp. 127 and 128:|
To be able to sing—to develop a well-supported, controlled voice that is reasonably attractive and accurate—is one of most useful tools of practical musicianship. For any teacher or conductor it is almost indispensable for quick demonstrations of style and interpretation, or of pitch and rhythm. For just simple communication with another person it is often handy or even necessary to illustrate a point musically through vocal means. But for the theory class it remains secondary to internal hearing.|
For testing—to make oral the aural—singing is the teacher's window into the mind and ear.
|P.S. Please learn and teach piano lessons as well.|