‘Something is better than nothing’: Early childhood caregiver–child music classes taught remotely in the time of COVID-19

2020 ◽  
Vol 15 (2) ◽  
pp. 135-156 ◽  
Author(s):  
Lisa Huisman Koops ◽  
Samantha C. Webber
Keyword(s):  
Early Childhood ◽  
Screen Time ◽  
Music Teachers ◽  
Future Research ◽  
Online Classes ◽  
Early Childhood Music ◽  
Music Class ◽  
Better Than ◽  
Parents And Caregivers

Many early childhood music teachers suddenly shifted to remote teaching in March 2020 due to the COVID-19 pandemic. The purpose of this intrinsic case study was to gather information about parents’ and caregivers’ perspectives on and reactions to remote teaching of caregiver–child early childhood music classes. The participant families were enrolled in an on-site music class when the switch in format happened due to COVID-19 and were given the option of continuing with instruction via Zoom or receiving a refund for the remainder of the semester. All families were invited to complete a survey with questions about their decision to participate or not and suggestions for ongoing remote programming. Families who chose to participate in synchronous online classes were invited to complete interviews. Eleven adults, representing nine enrolled children, offered their perceptions of the affordances and constraints of the remote caregiver–child music class and suggestions for improvement of remote teaching. Four themes arose in the interviews: (1) the centrality of interaction, (2) the need to support families, (3) the kids & screens paradox and (4) something is better than nothing. Families who chose not to do remote classes in the spring reported they were not interested in trying Zoom classes in the fall either. The main reason families gave for not wanting to participate was concerns about children and screen time. We share implications for teaching and suggestions for future research.

Listening Lessons in the Early Childhood Music Classroom

2019 ◽  
Vol 32 (3) ◽  
pp. 26-28
Author(s):  
Lisa Huisman Koops ◽  
Ken Wendt
Keyword(s):  
Early Childhood ◽  
Music Teachers ◽  
Music Listening ◽  
High Quality ◽  
Early Childhood Music ◽  
Music Classroom ◽  
Guiding Principles

In this column, we encourage early childhood music teachers to include music listening lessons in their teaching. We suggest five guiding principles for music listening lessons: selecting varied repertoire, using high-quality recordings and playback, communicating with families and teachers, incorporating movement, and considering the broader importance of repertoire selections. We conclude by sharing four listening lesson ideas. Detailed information is provided on considerations for speakers to use in the classroom.

Images of the child in preschool music education: Case studies in Australia and China

2019 ◽  
Vol 14 (2) ◽  
pp. 147-165 ◽  
Author(s):  
Xiangyi Tao ◽  
Robyn Ewing
Keyword(s):  
Early Childhood ◽  
Music Education ◽  
Data Gathering ◽  
Future Research ◽  
Sociocultural Perspective ◽  
Teachers Perceptions ◽  
Official Policy ◽  
Children’S Voices ◽  
Preschool Music

This article explores images of young children in preschool music curricula in an Australian and a Chinese preschool. The ‘images of the child’ relevant to each country are presented by including children’s voices, teachers’ perceptions of children’s personalities and their ways of learning, and children’s roles in learning as designated in official documents on early childhood education. Framed by a sociocultural perspective, this qualitative case study responds to the changing contexts of early childhood music education (ECME) in both countries. Crystallization as a methodological lens is applied to shed light on the variations and complexities from the teachers’ and the children’s perspectives. Data-gathering methods include document analysis, classroom observations, teachers’ interviews and conversations with children. This article particularly reflects the images and experiences of the children through their own lenses and enriches the scope of current ECME research.The main findings suggest the existence of both alignment and gaps, in varying degrees, between the official policy documents, the teachers’ perceptions, and the children’s understandings of their musical experiences. First, images of the child in the policy articles are interpreted differently in Australia and China, and there is a marked difference between the countries in their definitions of child-centred learning in specific contexts. Finally, implications and directions for future research are suggested to facilitate children’s musical exploration in preschools.

scholarly journals The Effects of Children’s Literature on Preservice Early Childhood Mathematics Teachers’ Thinking

2018 ◽  
Vol 18 (1) ◽  
pp. 96-114 ◽  
Author(s):  
Christopher Jett
Keyword(s):  
Preservice Teachers ◽  
Early Childhood ◽  
Children's Literature ◽  
Teaching And Learning ◽  
Children’S Literature ◽  
Future Research ◽  
Education Majors ◽  
Childhood Education ◽  
Mathematics Teaching And Learning

In this article, the author shares an intervention of using children’s literature as a pedagogical frame for an undergraduate mathematics content course with early childhood education majors to influence their thinking about mathematics teaching and learning. With this case study of 29 preservice teachers, the author found that literature increased preservice elementary teachers’ excitement about mathematics, heightened their self-efficacy in mathematics, and motivated them to design innovative mathematics lessons. By elaborating on these findings, the author makes a case for the continued need for mathematically competent teachers in elementary classroom spaces, and the author advocates for the incorporation of literature as a means to do this work. Finally, the author provides implications for future research and practice with other SoTL-related projects involving children’s literature.

Pitch Error Coding the Sight Read, Practice, and Performance of an Elite Oboist

2016 ◽  
Vol 34 (2) ◽  
pp. 132-151
Author(s):  
Deborah L. E. de Graaff ◽  
Emery Schubert
Keyword(s):  
Cognitive Theory ◽  
Schema Theory ◽  
Future Research ◽  
Sight Reading ◽  
Reading Practice ◽  
Pitch Error ◽  
Error Coding ◽  
And Performance ◽  
Better Than

This paper presents a developing Pitch Error Coding Protocol for assessing the accuracy of a musician’s performance. The protocol organized performance errors into any of three main categories, each based on an established cognitive theory of music memory and processing: (1) the Serial Distance Hypothesis (SDH); (2) the Implication Realization (I-R) model; and (3) the mental organizing principle of the Schema Theory (SCH). An elite oboist formed the basis of a detailed case study where his sight reading, practice, and performance of a challenging excerpt of music were examined. These data were used to: 1) investigate the protocol; 2) ask whether any protocol components could explain errors better than others; 3) and show where improvements after practice occurred. The results revealed that the SDH accounted for the majority of pitch errors, these originated in a three-note proximity of the target and some SDH errors overlapped with the I-R category errors. Although final counts for SDH and I-R are similar, SDH uniquely identified errors more frequently than the I-R. Future research and development of the protocol might look at combinations of pieces and performer to determine whether SDH may be a dominant source of error.

scholarly journals Practicing with Respect: What Does that Mean for Teachers Working with Infants

2021 ◽  
Author(s):  
◽  
Toni Christie
Keyword(s):  
Early Childhood ◽  
Focus Group Interview ◽  
Qualitative Case Study ◽  
Data Interpretation ◽  
Freedom Of Movement ◽  
Semistructured Interviews ◽  
Main City ◽  
Limited Period ◽  
Better Than

<p>This qualitative case study examines the teaching practices, inspired by the Pikler approach and RIE philosophy, in one infant and toddler centre in a main city of New Zealand. Specifically the practices studied were primary caregiving, freedom of movement and respect for infants’ confidence and competence. Recommendations for practitioners are made at the conclusion of this thesis. Data were collected through non-participant observations, semistructured interviews with teachers, a focus group interview with parents, and collation and analysis of relevant documentation. The framework for data interpretation and analysis was based on a thematic coding of observations and interview data. The findings indicated that a culture of respect was embedded throughout all aspects of teachers’ interactions with children, colleagues and parents within the centre. Respect, defined as treating with consideration, was the overarching feature underpinning the values and actions of teachers. Teachers engaged in ways that would suggest they accept each person as an individual with rights and freedoms. Teachers invited children to engage with them and no action would be initiated for or with a child without his or her agreement. This agreement was shown through cues and gestures, to which the teachers were all highly attuned. Teachers slowed their pace intentionally and offered children choices in their care and education. Peaceful observation from teachers enhanced their ability to interpret individual children’s needs and wants and they would provide support for children rather than intervene unnecessarily. Limitations to this research included the fact that I only studied one early childhood centre and completed observations over a limited period of two weeks. The centre studied had ratios better than the minimum ratios required by early childhood regulations, which means</p>

scholarly journals Practicing with Respect: What Does that Mean for Teachers Working with Infants

2021 ◽  
Author(s):  
◽  
Toni Christie
Keyword(s):  
Early Childhood ◽  
Focus Group Interview ◽  
Qualitative Case Study ◽  
Data Interpretation ◽  
Freedom Of Movement ◽  
Semistructured Interviews ◽  
Main City ◽  
Limited Period ◽  
Better Than

<p>This qualitative case study examines the teaching practices, inspired by the Pikler approach and RIE philosophy, in one infant and toddler centre in a main city of New Zealand. Specifically the practices studied were primary caregiving, freedom of movement and respect for infants’ confidence and competence. Recommendations for practitioners are made at the conclusion of this thesis. Data were collected through non-participant observations, semistructured interviews with teachers, a focus group interview with parents, and collation and analysis of relevant documentation. The framework for data interpretation and analysis was based on a thematic coding of observations and interview data. The findings indicated that a culture of respect was embedded throughout all aspects of teachers’ interactions with children, colleagues and parents within the centre. Respect, defined as treating with consideration, was the overarching feature underpinning the values and actions of teachers. Teachers engaged in ways that would suggest they accept each person as an individual with rights and freedoms. Teachers invited children to engage with them and no action would be initiated for or with a child without his or her agreement. This agreement was shown through cues and gestures, to which the teachers were all highly attuned. Teachers slowed their pace intentionally and offered children choices in their care and education. Peaceful observation from teachers enhanced their ability to interpret individual children’s needs and wants and they would provide support for children rather than intervene unnecessarily. Limitations to this research included the fact that I only studied one early childhood centre and completed observations over a limited period of two weeks. The centre studied had ratios better than the minimum ratios required by early childhood regulations, which means</p>

Songs From the Car Seat

2014 ◽  
Vol 62 (1) ◽  
pp. 52-65 ◽  
Author(s):  
Lisa Huisman Koops
Keyword(s):  
Early Childhood ◽  
Children's Music ◽  
Early Childhood Music ◽  
Car Seat ◽  
Sibling Interaction ◽  
Music Making ◽  
The Family ◽  
Field Notes ◽  
Research Questions

The purpose of this qualitative case study was to investigate the musical “place” of the family vehicle by describing the music making of nine young children, ages 10 months to 4.5 years, that occurred in vehicles over the course of 9 weeks during which the children were enrolled in a researcher-led early childhood music course. Research questions examined the qualities of children’s music making in the car, optimal activities, and comparison of in-car and at-home music spaces. Data included parent journals on music activities that occurred in a vehicle, parent-filmed videos of children’s music-making activities both in and out of vehicles, videos of early childhood music classes, researcher field notes of music classes, and exit interviews with parents regarding their perceptions of music-making in the vehicles. The children sang, moved, listened to music, composed, and improvised while in the car, with activities mostly similar to those that occurred inside of the home. The family vehicle provided several advantageous characteristics as compared with the home, including reduced distractions; proximity to siblings, leading to increased sibling interaction at times; and opportunity for parent and child reflection.

Music-Play in the Guided Music Setting

2021 ◽  
Vol 34 (3) ◽  
pp. 20-28
Author(s):  
Gina J. Yi
Keyword(s):  
Early Childhood ◽  
Music Teachers ◽  
Natural Form ◽  
Children's Play ◽  
Practical Applications ◽  
Early Childhood Music ◽  
Children’S Play ◽  
Design Activities ◽  
Musical Understanding ◽  
Musical Sounds

Given its importance in children’s development and learning, researchers have rigorously studied play, and many teachers have used it as a classroom tool. Music researchers have observed that music regularly accompanies children’s play because music is part of their culture, and “playing with music” is the most natural form of expression of their existence as musical beings. Hence, play is at the heart of early childhood music, and music teachers design activities that are playful using manipulatives, instruments, movements, and musical sounds to engage children. However, scant research has explored the types of play enacted in guided music settings and how children construct musical understanding through play. This article discusses children’s play and related theories, illustrates how children “play with music” in the guided music setting, and offers practical applications of play in guided music activities.

Building a future through multicultural early childhood music classes in a conflict-affected city

2021 ◽  
Vol 16 (1) ◽  
pp. 71-87 ◽  
Author(s):  
Michal Hefer ◽  
Claudia Gluschankof
Keyword(s):  
Early Childhood ◽  
The Other ◽  
Structured Interviews ◽  
Negative Stereotypes ◽  
Early Childhood Music ◽  
Positive Attitudes ◽  
Open Coding ◽  
Ethnic Biases ◽  
Music Class ◽  
At Home

The aim of this exploratory study was to understand the experience of several Palestinian and Jewish parents participating in a culturally mixed early childhood music class, held in a conflict-affected city. Collective music-making is considered to be a powerful way for people to connect and socialize, regardless of their backgrounds, and for them to get to know each other through music. It also has the potential of reducing stereotypes, which is especially needed in a conflict-affected area. Data sources included records of the classes (videos and a field diary), parents’ sharing of audio and video recordings of musical episodes at home through the music class WhatsApp group and semi-structured interviews with three parents. Data were analysed inductively through open coding and three themes emerged: why music and music classes?; the music class experience; and music at home. These themes reflect the reasons for participating in the programme and the contexts in which the children and their parents experience music. Findings show that those families who chose to participate in this programme hold positive attitudes towards the Other and reported neither observable nor vocally expressed prejudice of their children against the Other. The toddlers who participated in the classes have the potential to not develop negative stereotypes towards the Other (Arab or Jewish), since their families do not expose them to such stereotypes. Nevertheless, they are members of societies (East and West Jerusalem) holding systemic ethnic biases, and therefore joint music classes may strengthen positive attitudes.

Active music listening: Promoting music and movement in early childhood music education

2019 ◽  
Vol 14 (2) ◽  
pp. 211-223 ◽  
Author(s):  
Tiago Madalozzo ◽  
Vivian Dell’ Agnolo Barbosa Madalozzo
Keyword(s):  
Early Childhood ◽  
Music Education ◽  
Lesson Plan ◽  
Music Appreciation ◽  
Music Listening ◽  
Music Learning ◽  
Early Childhood Music ◽  
Musical Structures ◽  
Early Childhood Music Education ◽  
Music Class

This article’s premise is that listening can be an engaging and important way for children to interact with music, using movement and their entire bodies, leading to music learning. We present the concept of active music listening defined by different authors, as a strategy for working with music appreciation involving a completely active attitude of the listener ‐ linking a cognitive process of interpretation with the fundamental use of movement to reflect musical aspects of a determined piece. In the first section, we propose that listening is an important part of music learning, examining Swanwick’s and Boal-Palheiros and Wuytack’s works, presenting active music listening as an appreciation mode that involves high levels of attention, intention and activity from the listener. In the section that follows, we introduce active music listening as a part of the music class, reporting Zagonel’s as well as Wuytack and Boal-Palheiros’ approaches, defining musical structures that can be activated with listening exercises by more than twenty ways of activation. We discuss our way of locating these exercises on a music lesson plan. The mentioned strategies are illustrated in four ideas of active music listening exercises directed to children, selected from our daily practices. Finally, we discuss the main concepts and practices presented, with concluding remarks and implications for early childhood music education.

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