The emergence of musical structures in instrumental free play of toddlers

The field of children’s free play instrumental musical expression seems to lack a theory on the developmental aspect in toddlerhood. The case studies presented here were part of a larger study aimed at helping to fill that gap. In the present study, five children aged 14‐22 months played freely on a metallophone and a pair of bongos in six sessions over nineteen months. The results exemplify the toddlers’ process of developing the ability to structure well-formed musical ideas, starting with short patterns that gradually grow and using repetition-based structures. The insights can contribute to the fields of early childhood musical development, music education and childcare.

Does the body count as evidence? Exploring the embodied pedagogical content knowledge concerning rhythm skills of a Dutch specialist preschool music teacher

In educational research, the teacher’s body tends to be neglected as a source of evidence of pedagogical content knowledge (PCK). The music teacher’s body might, however, communicate knowledge about teaching that is key to the profession of music teachers. This qualitative single case study set out to explore what the embodied PCK of a music teacher regarding teaching rhythm skills could be. Through a stimulated recall interview, two video analysis tasks, a digital notebook and a semi-structured interview, the PCK of a Dutch specialist music teacher teaching rhythm skills to preschoolers was mapped. The findings show that physical modelling, but also instructional, guiding, representational gestures and embodied ways of assessing, reflect embodied aspects of a music teacher’s PCK regarding rhythm skills. This research study illuminates the role of the music teacher’s body in PCK and provides a starting point for developing a body-based pedagogy for (future) music teachers.

The validity and efficacy of ‘Spheres of Musical Understanding: A Fluid, Situational and Context-Specific Model’

The purpose of this article is to propose a model for the development of musical understanding that is fluid, situational and context-specific and to investigate the model’s validity. The model was developed through observations while teaching, viewing video recordings of young children in interactive music environments, analysing other models and theories of development of musical understanding, and discussion and reflection on our own practice and that of others. In this article, we present the model, comparing and contrasting it primarily with Gordon’s theories of Preparatory Audiation and Audiation and Voyajolu and Ockelford’s Sounds of Intent model. For this initial validation of the model, two early childhood music researchers independently observed a video recording of one 3-year-old child during a 60-minute preschool music class, documenting his musical responses and initiations as well as periods where there was seemingly a lack of musical engagement. We labelled each response in association with the model, as appropriate. Through this study, we were able to explain the child’s engagements through the lens of the model; it was clear the hypothesis of a fluid model was supported. Refinements to the model for easier use were recommended as well as conducting observations of children in other situations and contexts.

New discovery of ‘inspiration’ from the old treasure chest: An initial report on the Lexington Early Childhood Music Project

The Lexington Early Childhood Music Project aimed to improve the quality of musical experiences of young children living in Lexington, Kentucky, a mid-size US city. Classroom teachers collaborated with teaching artists, music therapists and music teachers on the development of a music programme that served thirty 3- and 4-year-old underprivileged children and their parents at the Family Care Center. The pedagogical approach of the project included: (1) helping children relate to an unfamiliar culture through music made familiar; (2) creating mediational tools for traditional songs and movements; (3) teaching children how to play musical instruments; and (4) attending participatory concerts. Collaborative efforts of the participants were found to enhance young children’s musical experiences. Shared inspiration played a critical role as the teachers and children voluntarily and creatively enriched their musical cultures.

The influences of teacher aspirations and practices for children’s inclusive music education: The case of Muziki Changa

This article explores the concept of inclusion within a music education programme called Muziki Changa based in Kenya. Through the lenses of Vygotsky’s sociocultural learning theory and Wenger’s communities of practice, the article explores the aspirations and practices of one of the founders and two teachers at Muziki Changa, an informal music education programme, and their impact on children’s inclusive music education. Findings indicate that teachers’ informal learning practices within communities of practice inspire them to pursue children’s social inclusion in music education and to utilize inclusive pedagogies in teaching. The study concludes that early childhood music education through informal education initiatives is contributing significantly to increase opportunities for children’s inclusive music education in Kenya.

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

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.

Strengthening empathy in children with autism: A single-case study of a music and movement programme

Children with autism spectrum disorder (ASD) have difficulty recognizing subtle expressions of feelings, identifying and understanding various other states of emotion expressed by others, and knowing what to do in a set of conditions that exist at a particular time in a particular place. The purpose of this study was to examine the effects that a music-movement programme can have on a 6-year-old girl with ASD ‐ specifically her ability to recognize and understand the feelings of others, communicate clearly about her personal emotional states and build stronger relationships. Results showed that the programme appeared to enhance empathic development for the young girl with ASD and reduced the frequency of difficulty in determining emotional reactions in others, describing emotional states, and difficulty thinking and feeling about a situation. These initial results support the use of the programme to reduce maladaptive behaviours of children with ASD and increase their awareness of and sensitivity towards others.

Early childhood fieldwork for music education majors

Fieldwork experiences for undergraduate music education majors provide opportunities to gain pedagogical content knowledge as well as a deeper understanding of child development and musical behaviour. Early childhood music fieldwork experiences are vital to preservice music educators in order to gain insight into the specific needs of young learners and increase preparedness to teach in a variety of musical settings. Critical examination of the fieldwork opportunities provided to undergraduate music education majors in the early childhood music setting could benefit all preservice music educators. This article will describe one early childhood fieldwork placement and its impacts on the preparation of three undergraduate music education majors. Implications related to the importance of early childhood music education fieldwork experiences for preservice music educators are discussed.