Music Education for Young Children in Scandinavia: Policy, Philosophy, or Wishful Thinking?

2008 ◽  
Vol 109 (3) ◽  
pp. 47-54 ◽  
Author(s):  
Sven-Erik Holgersen
2019 ◽  
Vol 91 (4) ◽  
pp. 1166-1182
Author(s):  
Adrienne O. Wente ◽  
Mariel K. Goddu ◽  
Teresa Garcia ◽  
Elyanah Posner ◽  
María Fernández Flecha ◽  
...  

2005 ◽  
Vol 22 (1) ◽  
pp. 21-46 ◽  
Author(s):  
Anna Rita Addessi ◽  
François Pachet

The relationship between new technology and learning is gaining increasing relevance in the field of music education (Webster, 2002; Folkestad et al., 1998). However, only a few studies have considered the nature of the interaction between children and musical machines. This article describes an observation study of children aged 3–5 years confronting a particular interactive musical system, the Continuator, which is able to produce music in the same style as a human playing the keyboard (Pachet, 2003). The analysis of two case studies suggests that the Continuator is able to develop interesting child/machine interactions and creative musical processes in young children. It was possible to observe a ‘life cycle’ of interaction, as well as micro-processes similar to those observed in child/adult interactions (Stern, 1985; Imberty, 2002). The ability of the system to attract and hold the attention of children has been interpreted through Csikszentmihalyi's (1990) ‘flow theory’.


2013 ◽  
Vol 61 (3) ◽  
pp. 280-302 ◽  
Author(s):  
Hyun Kyung Youm

The purpose of this study was to explore South Korean parents’ understanding of and desires for music education for their children. Following a constructivist paradigm and qualitative research methodology, data collection involved in-depth interviews, observations, written questionnaires, family music materials, and the researcher’s journals. The participants were 22 South Korean mothers whose children (younger than 5 years old) attended music programs in the Seoul metropolitan area. Data were analyzed by coding, description, constant comparison, inductive analysis, contextualization, negative case analysis, classification, and interpretation. Analyses revealed that these parents’ goals for their children’s participation in music programs included facilitating the child’s development, enriching the child’s life, preparing for future learning, and providing opportunities to play through music. They described the music programs according to the activities they observed or experienced but did not show deeper understanding about a program’s philosophy or history. Family music practices indicated that the primary activities were singing, listening to music, playing instruments, and dancing/movement. Participants expressed the desire to learn music skills and knowledge not only for their children but also for themselves. The findings of this study demonstrate the necessity of education for parents of young children relating to various aspects of children’s music education.


2014 ◽  
Vol 3 (3) ◽  
pp. 314-335 ◽  
Author(s):  
Claire Hollingsworth ◽  
Avis Ridgway

Increasingly researchers are trying to show how new technologies can be used to provide opportunities for creative and more expansive music education for young children. Accepting that young children’s capacity for self expression is vastly underestimated, two young students and I set about musicking through an example of collaborative songwriting. Drawing on case study methodology using digital visual and audio technology, I offer the reader and listener an experience of the affective dimensions involved in composing music with two preschool-aged children. I challenge preconceived notions of music pedagogies for young children, and provoke implications for generating far greater vitality, self expression, and imagination in music education.


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