5ART TO HEART TRAINING: Music PARTICIPANT … HANDOUT 5ART TO HEART TRAINING: ... vocabulary and...

Art to Heart Training Series • © 2009 KET • Module 5 Handout • 1

OverviewThis is the fifth of eight training modules in theArt to Heart Training Series. This moduleexplores music and the importance of providingyoung children with opportunities to exploremusic and to make music.

Workplace OutcomesWhen you return to your workplace, you will beable to: • help families and others understand the

value of musical experiences for young chil-dren.

• provide opportunities for children to exploreand experiment with the elements of music

Training OutcomesBy the end of this session, you will be able to:• identify two ways music promotes learning

and development.• distinguish between beat and rhythm and

demonstrate each.• explain why it is important to provide children

with opportunities to play with sound.• identify at least five elements of music and a

classroom example of each.

Art to Heart Training SeriesThis training series was developed by KET (KentuckyEducational Television) and the University ofKentucky Human Development Institute. Funding forits development was provided by the KentuckyDepartment of Education using KIDS NOW fundsfrom the proceeds of the Master TobaccoSettlement and by the W. Paul and Lucille CaudillLittle Arts Endowment for KET.

Content developed by Nicki Patton Rowe, HumanDevelopment Institute, UK, with contributions by VickeBowman, Kim Buckner, Rena Hallam, Chris Kelley, and NancyNewberry. Edited by Teresa Day and Ben Allen, with graphicdesign by Missy Miller, and Sara O’Keefe, and CD-ROM designby Dave Hamon, all of KET.

The Art to Heart: Early Childhood Creativity television serieswas produced by KET with support from the W. Paul andLucille Caudill Little Arts Endowment for KET and the NationalEndowment for the Arts.

Music PARTICIPANT HANDOUT5A R T T O H E A R T T R A I N I N G :

2 • Module 5 Handout • © 2009 KET • Art to Heart Training Series

This training is one part of an eight-part training seriesbased on an award-winning national public televisionseries entitled Art to Heart: Early Childhood Creativity. Thetelevision series was produced by KET (KentuckyEducational Television) and has aired on PBS stationsacross the United States.

Each program shows model activitiesin schools, child care centers, andhomes and features interviews withresearchers, teachers, parents, andother advocates of early arts activities.

This training module uses brief segmentsfrom the Art to Heart program on Visual Arts.You may enjoy and benefit from watching theentire program and other programs in the series.Check the KET schedule for broadcast times onKET. The Art to Heart series can also be purchasedon DVD.

To find out the broadcast schedule or about pur-chasing the series visit the web sitewww.ket.org/arttoheart. This web site includes adownloadable Viewing Guide and additional ideasand information.

Additional Uses for the Art to Heart DVDand Viewing GuideEarly childhood education programs could use the DVDand Viewing Guide to provide additional professionaldevelopment opportunities for staff. For example:• Use individual segments to initiate discussion during a

staff meeting.• Encourage staff to view segments using a laptop com-

puter with DVD during naptime.• Encourage families to check out the DVD and Viewing

Guide to watch at home.• Plan a parent meeting/training around one or more

Art to Heart segments.

The Training ModulesThe Art to Heart TrainingSeries is designed for child careprofessionals and consists ofeight training modules explor-ing the arts in early child-hood. Modules provide afoundation of understanding

of brain development and theconnection of creative activities

such as visual art, dance and move-ment, music, and drama to earlylearning.

Each of the eight training modules takesa hands-on, active approach giving earlychildhood educators an opportunity toexplore different aspects of the arts andgain practical ideas for their classroom.

AArrtt ttoo HHeeaarrtt explores the importance of visual arts,music, dance, drama, and literature in the lives of infants,toddlers, and young children. There are eight half-hourprograms in the series:

Program 1: Children’s First LanguageProgram 2: Visual ArtsProgram 3: MusicProgram 4: Movement & DanceProgram 5: Drama & the Literary ArtsProgram 6: The Artful EnvironmentProgram 7: Arts for LearningProgram 8: Arts Everyday

ABOUTthe Art to Heart Training Series


Module topics include:

Module 1: The Arts & EarlyBrain DevelopmentAn overview of the arts and therole the arts play in brain devel-opment. Participants gain a deeperunderstanding of brain developmentand the importance of teaching about thearts and through the arts.

Module 2: The Arts & Early LearningAn overview of the ways in which youngchildren learn. Participants learn pro-gramming approaches to enhanceyoung children’s learning aboutthe arts.

Module 3: Visual ArtsAn overview of visual arts inearly learning and an explo-ration of the importance ofscribbling and its relationshipto reading and writing.Participants learn the stages ofdrawing and gain ideas for provid-ing appropriate drawing materials.

Module 4: The Language of Visual ArtsAn exploration of visual arts concepts and termi-nology. Participants learn how to talk to children abouttheir artwork using terminology that will build children’svocabulary and awareness of the elements of art.

Module 5: MusicAn exploration of music and the role it plays in earlylearning. Participants learn how to build children’s vocab-ulary and awareness of musical concepts as well as waysto encourage exploration of sound through singing, lis-tening, and playing with instruments.

Module 6: Movement and DanceAn exploration of movement and dance concepts andterminology. Participants learn how to use movementand dance activities to promote development of basicmotor skills and early learning.

Module 7: Literacy and DramaAn overview of storytelling and drama and its role in

early learning. Participants gain a deeper appreciation forsocio-dramatic play and the role of narrative and text insupporting development. They also learn strategies toenhance dramatic play scenarios, link dramatic play withtext, and enhance the reading of text to support literacydevelopment.

Module 8: The Arts at HomeDesigned for use with parents, this module shows ways tohelp parents learn how the arts stimulate brain develop-

ment and to encourage arts activities in the home.Participants learn how to conduct parent

workshops on practical ways parentscan promote learning at home using

the arts.


MUSIC FOR LEARNINGWhat is Music?________________________: a wave of energy created by a vibratingobject that can be detected by the ear.

________________________: organized sound; the art of arranging sounds inan organized pattern using musical elements such as pitch, melody, and rhythm.

Some musical activities: singing, tapping or clapping a rhythm, playing clapping games, playing an instrument, listening todifferent kinds of music, making up melodies and lyrics, reading highly rhythmical poetry and nursery rhymes, reading andlearning about music

Making the Case for Music“Compelling evidence supports the hypothesis that musical arts may provide a positive, significantand lasting benefit to learners. There is no single piece of evidence, but the diversity and depth ofsupporting material is overwhelming. If this were a court case, the ruling would be music is valu-able ‘beyond reasonable doubt.’” Eric Jensen, author of Arts with the Brain in Mind

Music in the NewsAs you watch the PowerPoint presentation, make notes of benefits of music that stand out to you from the headlinesshown.____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Video Segment: The Value of MusicYou will watch a segment from the Art to Heart series. In it, a variety of experts discuss the value of music during earlychildhood. Take notes as you watch and think about which statement most stands out to you and why:____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________


Musical Self-Reflection

How do you use music in your classroom? The following questionnaire will help youreflect on the types of activities you currently do and on the access to musicalactivities your classroom environment provides.

Does your class:1. Have a favorite song or musical activity? Yes No

If yes, what is it?

Why do you think children enjoy this song or activity?

Do you:2. Frequently sing with children without using recorded music? Yes No

3. Use songs to make transition time easier (e.g., a clean-up song)? Yes No

4. Make up new songs using familiar lyrics? Yes No

5. Invite families to share music from their culture (e.g., instruments, recorded music)? Yes No

6. Use recorded music to encourage movement and dance? Yes No

7. Sing and/or use recorded music OTHER than children’s music (e.g., different styles of music such as jazz, music fromother cultures)? Yes No

8. Play listening games that encourage children to name sounds and match objects to the sounds they make? Yes No

9. Sing or use music during outdoor play time? Yes No

10. Use musical terms to label and describe children’s musical behavior (e.g., “Bill, you are singing in a really low voice.”“Let’s march to the beat of this music.”)? Yes No

Does your classroom environment include:11. A music learning center where children can freely choose to play with sound and music (similar to the way they can

choose to play in the block or dramatic play area)? Yes No

12. A variety of homemade and purchased instruments (e.g., drums, xylophones, bells, keyboards, triangles, rhythm sticks)?Yes No

13. Music-related pictures (e.g., pictures of instruments) and print (e.g., words to songs, picture song books, musicalscores)? Yes No

Ideas compiled fromAchilles (1999); Kemmple, Batey, & Hartle (2004); Kentucky Department of Education (2004); Moravcik (2000);Volkmann (2007)


Language Development and MusicSinging and listening activities promote ____________________ development and ____________________ awareness which leads to improved ____________________ skills (Gromoko, 2005).

Traditional nursery rhyme and clapping games give children opportunities to detect the ____________________ and____________________ of music and language (Goswami, 2003).

Math and MusicMusic is organized around ____________________ concepts. Its melodies and rhythms are “built on recurring mathe-matical patterns and sequences” (Sawyers & Hutson-Brandhagen, 2004).• Learning rhythmic patterns builds foundation for learning ratios, fractions, and proportions (BBC News, 1999).• Music experiences provide opportunities for classification, comparison, ordering, measuring, and graphing (Shilling,

2002).

Music lessons (e.g., piano lessons) appear to “hard wire” the brain for ____________________-____________________ reasoning (Graziano, Peterson, & Shaw, 1999).

Terms to Knowbeat: the steady, underlying pulse of music, language and chants rhythm: the pattern created by combining sounds and silencesphonemic awareness: the ability to segment and manipulate the sounds of oral language

Why Is Phonemic Awareness So Important?

The International Reading Association (IRA)’s position statement on phonemic awareness states:

Phonemic awareness refers to the ability to segment and manipulate the sounds of oral language. It is not the sameas phonics, which involves knowing how written letters relate to spoken words. Activities that develop phonemicawareness in children provide practice with rhyme and with beginning sounds and syllables.

Research has shown that a child’s awareness of the sounds of spoken words is a strong predictor of his or her latersuccess in learning to read. Teachers of young children can encourage play with spoken language as part of a broad-er literacy program. Nursery rhymes, riddles, songs, poems, and read-aloud books that manipulate sounds are alleffective vehicles.


For More Information on the Benefits of Music

• Read the chapter on Musical Arts in Eric Jensen’s book Arts with the Brain in Mind. • Read the Research Briefs at the American Music Conference web site: www.amc-music.or/research_briefs.htm• Read about studies exploring the impact of music on development and learning in the Critical Links survey at

the Arts Education Partnership web site: http://aep-arts.org/files/research/CriticalLinks.pdf. The sectionon music is found on pages 101-137 of the study.

• Read ideas geared to infants and toddlers in the article “Getting in Tune: The Magic of Music in Child Care”at the Zero to Three web site: www.zerotothree.org/site/DocServer/music.pdf ?docID=961. (This article isalso available in Spanish: www.zerotothree.org/site/DocServer/music_sp.pdf ?docID=962.

Video Segment: The Brain on ArtYou will watch a segment from the Art to Heart series. In it, Lise Eliot, AssociateProfessor of Neuroscience at Rosaland Frankin University, and author of the bookWhat’s Going on in There? How the Brain and Mind Develop in the First FiveYears of Life, explains how the arts-learning connection actually relates to the waythe brain develops. Listen for and note the answers to the questions below.

Developing the Brain and Auditory System

Each musical activity a child experiences creates new neural connections and strengthens existing ones. The more these neu-ral connections are used, the stronger and more efficient they become, increasing a child’s ____________________ to____________________.

What is prosody?

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According to Dr. Eliot, what do music learning and language learning have in common?

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Is it important to sing and listen to music in an infant room? Why or why not? ______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Key PointsEarly ____________________ experiences will influence the range of ____________________ sounds heard andspoken by a child.

Early ____________________ experiences will influence a child’s ability to hear and make ____________________.


Video Segment: Finding Your Singing VoiceYou will watch a segment from the Art to Heart series. In it, Martha Glaze-Zook,teacher at the Settlement Music School in Philadelphia, discusses music and itsrelationahip to two types of auditory development. She also discusses the connec-tion between music and language development. As you watch, listen for and notethe answers to the questions below.

Canadian psychologist Sandra Trehub has studied infant perceptions of melodic and rhyth-mic elements. She says, “Babies cannot understand the meaning of words, but mothersspeak to them anyway, and the baby talk they instinctively use is drenched in musicality:higher pitches, big, sweeping pitch contours; simple, melodic little ups and downs; singsongrhythms; and drawn-out vowels rich in overtones.”

Fox, 2000

What are the two functions of the ear?

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What are some reasons children are being deprived of opportunities to sing?

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What are the implications of this information for your classroom?

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Get Ready to Sing!

Researcher Thomas Moore (2002) points out that because of television and the recordingindustry, we, as a culture, don’t sing as much as we used to. As a society, we’ve gone frombeing active music makers to passive music listeners. As a result, many early childhood teach-ers who didn’t grow up singing and making music think they can’t sing, so they don’t. Instead,they rely on recorded music (Weikart, 2003). While recorded music should be a component ofan early childhood program, it should not replace teacher singing. Remember that children aremore interested in a teacher who sings enthusiastically than a teacher who is a gifted singer (Schirrmacher, 2002)!


Key Points

What others should know about the importance of music: ______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

How Do We Hear Music?

According to Eric Jensen (2001), “we hear with our ears and listen with our brain.”

Hearing is what the ear does when it perceives sound waves. The job of the ear is to turn allthese signals into electrical nerve signals that are sent to the brain. If your ears work properly, you automatically hear. Thebrain’s job is to make sense of the sounds transmitted by the ear. The brain has to pay attention so it can distinguishamong the different sounds. So listening is a more active process that requires focused attention.

Paul Madaule, author of the book When Listening Comes Alive, says that the inner ear, the sensory part of the ear, seems to beperfectly conceived for the integration of music. “The inner ear is actually made up of two parts: the vestibular system andcochlear system. The vestibular system controls balance and body movements. It also allows for the integration of move-ments which make up the rhythm of music. The way the body expresses musical rhythm is seen clearly in its response torhythmic dance music or military marches. It is because of the vestibular system that music seems to have an impact on thebody. The cochlear system enables the transformation of acoustic vibrations…allow[ing] the perception of melody.”

Developmental Sequence of Singing Development

ListeningChildren learn to sing first by listening to songs sung to them. Even though infants don’t sing along, they interact with youby making sounds and eye contact. It is very important for infant caregivers to take advantages of opportunities through-out the day, such as diaper changing to interact with infants by singing.

Tagging OnThen, as toddlers, they begin to “tag on,” singing familiar words or phrases. So, even though toddlers aren’t yet “singing,”it’s important that teachers of toddlers sing simple songs with repetitive phrases that encourage toddlers to sing along.(Older toddlers can sing along.)

Joining InAs preschoolers, children begin to join in and sing as a group. Preschoolers will often enjoy singing familiar and repetitivesongs with their friends and caregivers. Preschoolers can benefit from singing as an integral part of their day, such asaccompanying daily routines (e.g., cleanup) and as a classroom community (e.g., circle time).

Independent SingingEventually young children become comfortable enough with singing that they will sing by themselves. Preschool and pri-mary-aged children will often sing along when songs have “individual parts” for each person (for example, the song “WhoIs at School Today?”). Children should not be made to sing alone if they are anxious or self-conscious. Singing should bejoyful for children.

Singing with young chil-dren is interactive, but the

nature of the interaction differsdepending upon the child’s ageand where they are in the singingprocess.

Wolf cited in Schirrmacher,2002.


Learning begins with exploration and experimentation.

____________________ leads to talking.

____________________ leads to drawing.

____________________ leads to writing.

____________________ leads to becoming musical.

Key Points

Children need:

opportunities to ____________________ with sound time to ____________________ what kind of sounds can be

made with their voices, bodies, objects, and instruments.

LEARNING ABOUT MUSIC

“In many early childhood classrooms, the melodies teach-ers sing with children are composed by other people, thelyrics are written by other people, and the instrumentsare made by other people. If there are hand movements,they are usually created by other people as well. Unlikeother areas of the curriculum, where exploration andexperimentation are encouraged, the main focus of musictime is often to get everybody to do the same thing atthe same time and do it well. Even though many teacherswould like to believe that they are using music as a vehi-cle for creative expression, what they are actually doing isusing music to control children’s behavior.”

In the article Creativity in Music and Early Childhood, CarolynHildebrandt acknowledges that most early childhoodprograms use songs “…to greet children…to create cer-tain moods… to ease transitions…to attract children’sattention…to help children learn letters, numbers, ani-mal sounds, colors…to celebrate ethnic diversity…”However, she goes on to question whether or not thesemusical experiences actually encourage exploration andplay with sounds and music:

“How do these musical activities compare with the activi-ties children engage in at the art center water table, sand-box, dress-up center, science table, and with the blocks,trains, cars, Legos, and other toys? How much room isthere for musical exploration and discovery? How muchroom is there for asking musical questions and seekingsolutions to musical problems posed by the childrenthemselves? How much room is there for just plain mess-ing around?

Is Music Play in the Typical Classroom Teacher-Directed or Child-Directed?From Young Children, NAEYC, Nov 1998


Self-Reflection: Teacher-Directed Versus Child-Directed

Consider how closely Carolyn Hildebrandt’s description of the “typical”

early childhood classroom reflects the musical experience of children in

your classroom.

1. How would you describe musical experiences in your classroom?

(Circle one.)

teacher-directed child-directed appropriate combination of both

2. Does your classroom include a music center that offers children the

opportunity to play with sound?

Yes No

3. If your classroom leans toward the teacher-directed end of the contin-

uum, how can you, as Hildebrant would say, “put music back in the

hands of children?”

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Music in the Early Childhood Classroom

According to the National Association for Music Education (MENC), a

music curriculum for young children should include:

• Opportunities to explore sound

- Singing

- Moving

- Listening

- Playing instruments

• Opportunities to explore musical ideas

12 • Module 5 Handout • © 2009 KET • Art to Heart Training

Use handbells or a xylophone to play a range of pitches:high, medium, and low. Encourage children to make stat-ues with their bodies that match the sound you play (e.g.,they crouch when you play a low pitch, stand and stretcharms up when you play a high pitch, etc.). Collect a vari-ety of bells of different types and different sizes.Encourage children to experiment with the bells. Then,extend their play by encouraging them to compare, con-trast, categorize, and sequence the bells. Show them howto graph their results.

What Makes UpMusic?Pitch

“pitch” vocabulary: high, higher, highest, low,lower, lowest

What it is: Pitch refers to the frequency of the sound, which we hearas high or low notes. Instruments and the human voicehave a range of pitch—think of how high you can sing anote and how low you can sing a note. In general, smallerobjects have a higher pitch.

Instead of describing pitch in terms of frequency, musi-cians use the letters A, B, C, D, E, F, and G when refer-ring to pitch.

Be aware that identifying high and low pitches can bedifficult for children to learn. When they hear a highnote, it sounds softer to them, so they think it is low.The low pitches sound loud to them because of the tim-bre (tone quality) of the voice, so they think they arehigh. They also confuse pitch with volume, which is nat-ural because adults tell them to turn up the radio or turndown the radio. Therefore, it takes a while for them tohear the really high pitches and realize that you can playeither soft or loud on that pitch, but the pitch doesn’tchange.

Ideas for exploring pitch: Create a set of water chimes. Fill four to five identicalglass containers with different levels of water. Whentapped, each glass will produce a different pitch. Use todiscuss “higher” and “lower.” Ask children to guess whatwill happen to the sound a glass makes if you add morewater or remove water.

Place different size drums in the music learning center.Talk about which drums sound high (small, shallowdrums) and which drums sound low (large, deep drums).


Harmony

“harmony” vocabulary: notes (pitches), parts; chords

What it is:Harmony is the simultaneous sounding of two or morepitches. This vertical aspect of music is often character-ized as the music that supports the tune. Ideas for exploring harmony:A way to reinforce this aspect of music is to provideopportunities to sing songs like “Row, Row, Row YourBoat” in rounds (school-aged children). This activity willalso reinforce listening skills and sharpen attention.

Tempo, Beat, and Rhythm

“tempo” vocabulary: slow, slower, slowly, slowest, quick, quicker, quickest, fast,faster, fastest

“rhythm” vocabulary long, short, silence, rest

What they are:The tempo of music refers to how slowly (andante) orhow quickly (allegro) the music is played; the termtempo comes from the Italian word tempus, which meanstime. Tempo is the speed of the music.

The beat is the underlying pulse of the music. Like aheartbeat, it can be fast or slow.

Rhythm in music is created by combining sounds andsilences (notes and rests) of various durations. The beatprovides the foundation over which rhythm is organized.

Being able to keep a steady beat helps children feel thecadence (rhythm) of language and involves the vestibularsystem (Harmon, nd). Weikart (2003) points out thatsteady beat is felt, not seen or heard. Understanding andresponding to both beat and rhythm are fundamentalskills that play an important role in the development oflanguage and math skills. Beat and rhythm activitiesshould be started early and practiced often.

Ideas for exploring tempo, rhythm and beat:Tape a variety of short (less than one minute) music

Melody

“melody” vocabulary: tune, compose

What it is: Melody is the combinationof pitch and rhythm that weusually refer to as the tune ofa song. To help children understand thatmusic is composed and can be written down, includemusical print in the classroom environment (words tosongs, picture song books, musical scores).

Ideas for exploring melody: Create a story song using familiar tunes and books. Forexample, try singing the words of the book Brown Bear,Brown Bear to the tune of “Twinkle, Twinkle, Little Star .Or, change the words and sing “Brown Bear, Brown Bear,what do you HEAR?

As children’s language skills develop, encourage them tomake up new words to familiar songs. In the classroom,this activity can be tied to a variety of subject areas—forexample, making up new words to help remember scienceconcepts or to practice the alphabet or numbers.

Hum the first line of a song children know. Ask them toguess what it is. As soon as someone guesses the song,have everyone join in to sing it.

As children listen to a familiar tune, use your hands toshow how the melody goes up and down (higher andlower). Encourage children to usetheir hands to imitate themelody. Then show chil-dren how the melodycan be drawn. Using acrayon, start a line onone side of the paper(or chalk on chalkboard). As you listen,move your handacross the page (leftto right), going up anddown with the notes inthe melody.


selections, mixing up slow and fast tempos. Leave a 10second pause between each section, and begin and endthe tape with slow selections. This provides a naturalwarming up and cooling time. Give children scarves andencourage them to move to the tempo of the music. Talkabout how music can be fast or slow, just like when chil-dren run or walk.

Begin with a movement (e.g., clapping your hands or pat-ting your knees). Add a chant or rhyme with a steadybeat. Then encourage children to clap their hands or pattheir knees to the beat (not the rhythm), patting onetime on the accented syllable. For example (accented syl-lable is underlined):Jack be nimble. Jack be quick.Jack jump over the candlestick.

Use drums to play different beats or different rhythms atdifferent tempos. To encourage listening, have childrenmove when you play the drum, but stop when the drumstops.

Clap out a rhythm using your hands. Ask the children torepeat, or “echo” the pattern back to you.

Encourage children to use their bodies as instruments toproduce rhythm. For example, have them clap hands, slapthighs, rub hands together, stomp feet, tap head, and claphands with a partner.

Say a child’s name while simultaneously clapping the syl-lables in the child’s name (e.g., Su-san, clap-clap). Matchclaps to the number of syllables. After children have lotsof experience clapping their name, clap the pattern of achild’s name and encourage the children to guess whosename you are “saying with no words.”To extend this, askchildren to “find a name twin”—another child whosename has the same clapping pattern. Finally, encouragechildren to create a bar graph grouping children’s namesinto 1 clap patterns, 2 clap patterns, 3 clap patterns, etc.

Encourage children to draw and/or move to the tempoof music.

During a unit on animals, discuss how fast different ani-mals move. Then play selections of music with differenttempos. Encourage children to decide which animalwould like each selection of music.

Encourage children to make rhythmsthat sound the way an animalwould when moving. For example,a horse galloping, a snail crawling.

Give each child a rhythm stick.Encourage children to experiment

with all the different ways they can“play” their sticks. Then, make up words to

the tune of “Here We Go ‘Round the Mulberry Bush.”For example: This is the way we tap our sticks, tap oursticks, tap our sticks. “This is the way we tap our sticks,so early in the morning.” Other verse ideas include:“This is the way we tap the floor…” “This is the way wetap them soft…” And so on.

Dynamics

“dynamics” vocabulary:volume, loud, loudly, loudest, soft, softest, softly (Note:Do not use the terms high and low to refer to dynamics.)

What it is:Dynamics is the relative loudness or softness of sound.Think of dynamics as the volume button on your radio.You can reinforce this concept by asking students to sing,play instruments at different volumes. Dynamics canchange suddenly or gradually.

Ideas for exploring dynamics:Encourage children to recite rhymes in a whisper sayingthe rhyming word loudly. Then, do the reverse. Recite therhyme in a loud voice and whisper the rhyming word.

Use your hands to show how music can be very soft(hands fairly close together in front of chest) or veryloud (arms stretched wide, hands very far apart). Askchildren to sing a favorite song (e.g., Row, Row, RowYour Boat or Twinkle, Twinkle, Little Start) while you“show” with your hands how loud (what dynamic level)at which to sing. Let children take turns“conducting” as they use their ownhands to show how loud or soft tosing.

Play music in which the dynamicschange.


Timbre

“timbre” vocabulary: color, reedy, brassy, mellow, harsh, warm (This list identifies just a few of the many words thatdescribe timbre)

What it is:Timbre (pronounced tam-bor) is the tone color or uniquesound created by an instrument (including the voice).Timbre is what makes one instrument sound differentfrom another.

Ideas for exploring timbre:Rather than putting all the instruments into a learningcenter at once, introduce the instruments one at a time.As you introduce an instrument, talk about the soundeach instrument makes. Give children lots of time toexplore all the ways the instrument can be played, thesounds it makes, etc. After several instruments have beenintroduced, talk about the sound each instrument makes.Discuss how the timbre of one instrument is differentfrom another.

Create an area where two children can sit without seeingeach other (e.g., hang a “curtain”). Show children how toplay a guessing game with different instruments. Onechild plays an instrument while the other child guesseswhat instrument it is.

Look for opportunities for children to hear and exploredifferent musical instruments. Some orchestras and phil-harmonics hold “instrument petting zoos” or other spe-cial events for younger children.

As you read stories, choose instruments to play for eachcharacter. Ask children to decide which instruments“sound like” the different characters in the story. Orencourage children to use instruments to add soundeffects to stories that are read aloud.

Ask parents to visit and demonstrate use of instrumentsfrom their culture.

Obtain recordings that use a variety of instrumentsfamiliar to the children, such as Peter and the Wolf. Make agame out of identifying instruments on the recordings.

Provide opportunities to make musicalinstruments. Encourage children togroup instruments that soundalike together.

Form

“form” vocabulary: verse, chorus, respond

What it is:Form is the plan or structure of a piece of music. Formsof music appropriate for young children include: call andresponse, AB, and ABA.

In call-and-response form, one person or group sings onepart (usually longer), then another responds by singinganother part (usually a shorter phrase). “Hole in theBucket,” “The Other Day I Met A Bear,” “Bill Grogan’sGoat,” and “Old MacDonald” are examples of a call-and-response songs.

In AB form, there are two parts; a song with verses and achorus (such as “Jingle Bells”) would be in AB form.

In ABA form, there are two parts, with the first part (A)repeated after the second (B), as in “Twinkle, Twinkle,Little Star.”

Ideas for exploring form:Sing call-and-response songs such as the ones listedabove.

Encourage children to listen to repeating parts of a song.Then, ask them to do something (e.g., stand up) whenthey hear the repeating part.

Miscellaneous Music IdeasTurn your dramatic play area into a concert area. Addmicrophones, tickets, seating for the audience, etc.Encourage children to take on different roles: performer,ticket collector, member of the audience, etc.

These ideas came from KET (2006), Kemple, Batey, & Hartle(2004), Ringgenberg (2003), Achilles (1999), Cornett (1999),Schilling (2002), Weikart (2003), Booth (2001), Isbell & Raines(2003), Connors (2006), and Billhartz (nd.)


Action Plan

1. Identify two or three things you want to begin doing or do differently as a result of this training.

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2. Identify two or three points you want to share with a co-worker..

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Check Out These Music Resources

Don’t remember the tune to a children’s song? Go to the NationalInstitute of Environmental Health Sciences (NIEHS) Kids Pageshttp://kids.niehs.nih.gov/music.htm. The site has midis (down-loadable sound files) and lyrics for many sing-along songs.

NAECY’s Young Children web site has an excellent article on howto create music play centers. Find “Inventing Music Play Centers”from Beyond the Journal atwww.journal.naeyc.org/btj/200407/InventingMusicPlayCtrs.pdf.

The National Network for Child Care web site offers great ideas formusic activities in the article “Good Times with Music & Rhythm” fromthe Colorado State University Cooperative Extension. The link iswww.nncc.org/Series/good.time.music.html.

A great resource to suggest to or share with parents is “Getting in Tune: The Powerful Influence of Music on YoungChildren’s Development.” It’s available in English and Spanish at the Zero to Three web site. The link to the English ver-sion is www.zerotothree.org/site/DocServer/music.pdf ?docID=961. The Spanish version is found at www.zero-tothree.org/site/DocServer/music_sp.pdf ?docID=962. The Zero to Three web site also offers “Songs, Rhymes, andFingerplays,” with English and Spanish words to songs, atwww.zerotothree.org/site/DocServer/songsengspan.pdf ?docID=2682&AddInterest=1145.

“…all babies and children,not just those perceived to be

‘talented,’ should be given theopportunity to be who they were born

to be: sound-makers, who, by playingwith sound, become music-makers.”

Kenneth Guilmartin, composer, earlychildhood educator, and founder of

the Center for Music for YoungChildren


Achilles, E. (1999, January). Creating music environments in early childhood programs. Young Children. 54(1), 21-26. American Music Conference. (2000). Piano and computer training boost student math achievement, UC Irvine study shows. Retrieved on

December 2, 2007 from www.amc-music.com/news/pressreleases/shaw.htm. Bales, D. (1998). Better brains for babies: Building baby’s brain – the role of music. The University of Georgia College of Family and

Consumer Sciences. Download from www.fcs.uga.edu/ext/pubs/fam/brain.php. BBC News. (March 15, 1999). Learning maths through music. Retrieved on December 1, 2007 from

http://news.bbc.co.uk/2/hi/uk_news/education/297073.stm. Billhartz, P. (nd). Let’s make music. Early Childhood News. Retrieved on August 28, 2007 from

www.earlychildhoodnews.com/earlychildhood/article_print.aspx?ArticleID=214. Booth, E. B. (2001, December/January). Math and music: The magical connection. Scholastic Parent and Child.Carlton, E. (2000, May). Learning through music: The support of brain research. Child Care Information Exchange, 53-56.Connors, A. (2006, October). The magic of rhythm instruments. Teaching Music, 14(2), 40-43.Cornett, C. (1999). The art as meaning makers: integrating literature and the arts throughout the curriculum. Upper Saddle River, NJ:

Prentice-Hall, Inc.Davis, M. (May 17, 1994). Tapping into the process of learning: Class links mastery of musical beat to academic skills.

Los Angeles Times, B-1.Edelson, R. J., & Gretchen, J. (2003/2004, Winter). Music makes math meaningful. Childhood Education. Retrieved on May

30, 2007 from http://findarticles.com/p/articles/mi_qa3614/is_200301/ai_n9226284. Eliot, L. (1999). What’s going on in there? How the brain and mind develop in the first five years of life. New York, NY: Bantam BooksFeldman, J. (nd). Keep a song in your heart. Early Childhood News. Retrieved on August 28, 2007 from www.earlychildhood

news.com/earlychildhood/article_print.aspx?ArticleID=341. Foundation for Music-Based Learning. (2003, Spring). Bringing music home. Leadership Bulletin, 8(2). Retrieved on

November 29, 2007 from www.ecmma.org/readings/lead7.pdf. Fox, D. (2000, September). Music and the baby’s brain: Early experiences. Music Educator’s Journal, 87(2), 23-27, 50.Geist, K., & Geist, E. (2008, March). Do re me, 1-2-3-. That’s how easy math can be. Young Children, 63(2), 20-25.Goswami, U. (2003, September). How to beat dyslexia: The Broadbent Lecture 2003. The Psychologist, 16(9), 462-465.

Retrieved on December 2, 2007 from www.bps.org.uk/publications/thepsychologist/search-the-psychologist-online.cfm?fuseaction=inc_getFile&ID=598&Publication_ID=1.

Goswami, U. (2006, April). Rhyme, rhythm and dyslexia. Poster session presented at the International Reading Association Annual Convention, Chicago, Il. Retrieved on December 2, 2007 from www.educ.cam.ac.uk/download/ug/Goswami_IRA2006poster.pdf.

Graziano, A., Peterson, M., & Shaw, G. (1999, March). Enhanced learning of proportional math through music training and spatial-temporal training. Neurological Research, 21(2), 139-152.

Gromko, J. (2005, Fall). The effect of music instruction on phonemic awareness in beginning readers. Journal of Research in Music Education, 53(3), 199-209.

Harman, M. (nd). Music and movement: Instrumental in language development. Retrieved on November 20, 2007 from www.earlychildhoodnews.com/earlychildhood/article_print.aspx?ArticleID=601.

Hildebrandt, C. (1998, November). Creativity in music and early childhood. Young Children, 53(6), 68-74.Hill-Clarke, K., & Robinson, N. (2004, September). It’s as easy as A-B-C and Do-Re-Mi. Young Children, 59(5), 91-95.International Reading Association. (1998). Phonemic awareness and the teaching of reading: A position statement from the board of directors

of the International Reading Association: Summary Statement. Retrieved on December 1, 2007 from www.reading.org/resources/issues/positions_phonemic.html.

Isbell, R., & Raines, S. (2003). Creativity and the arts with young children. Clifton Park, NY: Delmar Learning.Jensen, E. (2000). Music with the brain in mind. San Diego, CA: The Brain Store, Inc.Jensen, E. (2002). Musical arts make sense! Retrieved from www.songsforteaching.com/ericjensen/2.htm

References and Additional Resources


Kelly, S. (1998, August). Preschool classroom teachers’ perception of useful music skills and understandings. Journal ofResearch in Music Education, 46(3), 374-383.

Kemple, K., Batey, J., Hartle, L. (2004, July). Inventing music play centers. Beyond the Journal. Retrieved on August 27, 2007 from www.journal.naeyc.org/btj/200407/InventingMusicPlayCtrs.pdf.

Kemple, K., Batey, J., Hartle, L. (2004, July). Music play: Creating centers for musical play and exploration. Young Children, 59(4), 30-37.

Guilmarten, K. (Fall 1998/Winter 1999). Center for Music and Young Children, Does Music Make You Smarter? Music Together Newsletter.

Kentucky Department of Education. (2004). Building a strong foundation for school success: Kentucky’s early childhood standards. Retrieved on April 23, 2005 from www.education.ky.gov/KDE/Instructional+Resources/Early+Childhood+Development/Building+a+Strong +Foundation+for+School+Success+Series.htm.

Kentucky Educational Television. (2007). Music Toolkit. Lexington, KY: Author.KET. (2006). Exploring the elements of music. Retrieved on December 1, 2007 from

www.ket.org/arttoheart/program3/basics.htm. KET. (2006). Music basics and terms. Retrieved on December 1, 2007 from www.ket.org/arttoheart/program3/basics.htm. Levinowitz, L. (2007). The importance of music in early childhood. Retrieved on March 29, 2007 from

www.musictogether.com/ImportanceOfMusic. (Reprinted from General Music Today, Fall 1998, Music Educators National Conference.)

Mandaule, P. (1997). Music: An invitation to listening, language, and learning. Retrieved on December 3, 2007 from www.listeningcentre.com/pdf/06music.pdf. Published initially in 1997 in Early Childhood Connections: Journal for Music and Movement-Based Learning, 3(2).

MENC – The National Association for Music Education. (nd). The benefits of the study of music: Why we need music education in our schools? Retrieved on November 30, 2007 from www.menc.org/information/advocate/benefits_of_music.pdf.

Moore. T. (2002, July). If you teach children you can sing. Young Children, 57(4), 84-85. Moravcik, E. (2000, July). Music all the livelong day. Young Children. 55(4), 27-29. Mueller, R. (nd). Music and the brain. Available online at the Shumei Arts website: www.shumeiarts.org/article_mueller.htm. Music Educators National Conference (MENC). (1994). The school music program: A new vision [The k-12 national standards, preK

standards, and what they mean to music educators]. Retrieved on March 23, 2007 from www.menc.org/publication/books/prek12st.html.

Neely, L. (2001, May). Developmentally appropriate music practice: Children learn what they live. Young Children, 56(3), 32-37.

Ohman-Rodriguez, J. (2004, July). Music for inside out: Promoting emergent composition with young children. Young Children, 59(4), 50-55.

Palmer, H. (2001, September). The music, movement and learning connection. Young Children, 56(5), 13-17.Rauscher, F. (2003). Can music instruction affect children’s cognitive development? ERIC Digest. Retrieved on December 2,

2007 from www.eric.ed.gov/ERICDocs/data/ericdocs2sql/content_storage_01/0000019b/80/1b/62/05.pdf.

Rauscher, F., Shaw, G., Levine, L., Wright, E., Dennis, W., & Newcomb, R. (1997, February). Music training causes long-term enhancement of preschool children’s spatial-temporal reasoning. Neurological Research, 19(1), 2-8.

Ringgenberg, S. (September, 2003). Music as a teaching tool: Creating story songs. Young Children, 58(5), 76-79.Sawyers, K., & Hutson-Brandhagen, J. (2004, July/August). Music and math: How do we make the connection for

preschoolers. Child Care Information Exchange, 46-49.Schellenberg, E. G. (2004). Music lessons enhance IQ. Psychological Science, 15(8), 511-514. Retrieved on Dec 1, 2007 from

www.psychologicalscience.org/pdf/ps/musiciq.pdf.


Schiller, P. (nd). Songs and rhymes as a springboard to literacy. Early Childhood News. Retrieved on August 28, 2007 from www.earlychildhoodnews.com/earlychildhood/article_print.aspx?ArticleID=478.

Schirrmacher, R. (2002). Art and creative development for young children. Albany, NY: DelmarShilling, W. (2002, Spring). Mathematics, music, and movement: Exploring concepts and connections. Early Childhood

Education Journal, 29(3), 179-184.Shore, R., & Strasser, J. (2006, March). Music for their minds. Young Children, 61(2), 62-67. Snyder, S. (1997). Developing musical intelligence: Why and how. Early Childhood Education Journal, 24(3), 165-171.sound. (n.d.). The American Heritage® Dictionary of the English Language, Fourth Edition. Retrieved November 18, 2007, from

Dictionary.com website: http://dictionary.reference.com/browse/soundSousa, D. (2001). How the brain learns. Thousand Oaks, CA: Corwin Press, Inc.Stephens, K. (1999, March). Primed for learning: The young child’s mind. Child Care Information Exchange, 126, 44-48.Trehub, S., Bull, D., & Thorpe, L. (1984, June). Infants’ perception of melodies: The role of melodic contour. Child

Development, 55(3), 821-830.Volkmann, R. (2007). A musical journey. Early Childhood News. Retrieved on August 28, 2007 from www.earlychildhood

news.com/earlychildhood/article_view.aspx?ArticleId=480. Weikart, P. (2003, September/October). Value for learning and living: Insights on the value of music and steady beat. Child

Care Information Exchange, 153, 86-88.Weinberger, N. (1998, November). The music in our minds. Educational Leadership, 36-40.Zero to Three. (1999). Songs, rhymes, and fingerplays. Retrieved on December 1, 2007 from

www.zerotothree.org/site/DocServer/songsengspan.pdf ?docID=2682&AddInterest=1145. Zero to Three. (nd). Frequently asked questions [about brain development]. Retrieved on August 14, 2007 from

www.zerotothree.org/site/PageServer?pagename=ter_key_brainFAQ.

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