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WG8-Music - Copia Buona
WG8-Music - Copia Buona
INTRODUCTION 07
(MICHAEL DARTSCH AND NATASSA ECONOMIDOU STAVROU )
ACTIVITY FORMS
> THE ACTIVITY OF SINGING FOR YOUNG CHILDREN 10
(ULLA PIISPANEN)
DESIGNING LESSONS
> INTRODUCTION TO THE LESSON PLANS 52
(MICHAEL DARTSCH, NATASSA ECONOMIDOU STAVROU AND ULLA PIISPANEN)
AUTHORS BIOGRAPHIES 82
4
EARLY CHILDHOOD
MUSIC EDUCATION
ECME
GUIDEBOOK
INTRODUCTION:
WHY MUSIC IN EARLY YEARS MATTERS
If you have this book in your hands, or on your screen, it means that you have an interest in early childhood music
education. This book has been written in an attempt to offer some ideas from literature and our own experience
as early childhood music practitioners and researchers with the hope that it will stimulate your interest in
this magical world of music in early years. Why not think about early childhood music education as a career
prospective and look into it further?
A m o n g the benefits listed, m a n y are non-music related. through collaborative m u s i c making; they develop their
T h i s is n o t b e c a u s e m u s i c is t a u g h t i n o r d e r t o t e a c h communication skills a n d learn to act responsibly as
n o n - m u s i c a l skills, attitudes, a n d b e h a v i o u r s . R a t h e r, members of a music ensemble and experience the
while a child is actively involved in the musical activities feeling o f be lon g ing . I n addition, t h r o u g h m u s i c , t h e y
of singing, listening to music, moving, dancing, playing are given ample opportunities to express themselves
instruments, improvising a n d more, besides enjoying a n d s h a r e their feelings, d e v e l o p c o n f i d e n c e , c o n c e n -
their time and developing their musical skills, little learn- tration, a n d u s e multiple aspects o f ‘ m u s i c k i n g ’ at the
ers build p a t h w a y s i n their brains that benefit t h e m for s a m e time (i.e., read notation, play the ukulele and sing
a lifetime. T h r o u g h m u s i c a l p lay, active participation, the lyrics at the s a m e time). Be s id es acquiring musical
a n d e n g a g e m e n t in m u s i c e x p e r i e n c e s in a rich, m u s i - k n o w l e d g e a n d skills, children d e v e l o p a great dea l of
cal environment filled with stimuli, little ”musicians” be- attitudes a n d b e h a v i o u r s i n re la tio n to m u s i c : F o r e x -
gin to learn a n d absorb information w h i c h not only ha s a m p l e , t h e y l e a r n t o r e s p e c t o t h e r c h i l d r e n ’s m u s i c a l
m u s i c a l v a l u e b u t facilitates t h e d e v e l o p m e n t o f skills pr efe re n ce s , t o b e g e ntle w i t h m u s i c a l instruments, t o
that are related to various p ar ame te rs o f their d e v elo p- wait their turn, to pass o n instruments t o others, to col-
ment. Accordingly, music instruction in early childhood l a b o r a t e i n a g r o u p w h e n w o r k i n g t o g e t h e r o n a task,
is f o u n d to contribute to the physical, social, e m o t i o n - to b e c o m e g o o d audiences, a n d s o forth. F u r t h e r m o r e ,
al, linguistic, c o g n i t i v e , a n d c r e a t i v e d e v e l o p m e n t o f m a n y o f the p r e v i o u s l y m e n t i o n e d be n efits for b a b i e s
young children. Yo u n g learners m a k e their first friends, and toddlers continue to enrich children’s d eve lop me nt
learn to co-exist w i t h others, wait for their turn, a n d and de v el op further.
follow routines. M o r e o v e r, through free a n d structured
musical play, children
explore s o u n d s a n d
Especially w h e n w e
material, c o m m u n i c a t e A s described above, developing mus ic al capabilities teach babies and tod-
with their parent/care- stimulates o t h e r fields of d e v e l o p m e n t b e c a u s e o f dlers t o g e t h e r with
giver a n d other chil- the m a n y intersections b e t w e e n musical activities their parents, w e also
a n d general aspects:
dren, bu i l d confidence, bring music into the
develop concentration, > “The comprehension of musical structures a n d playing families and enrich
and – most important- w i t h m u s i c a l c o m p o n e n t s r e q u i r e s a c o g n i t i v e p e r f o r- their e v e r y d a y l i v e s a s
ly – experience enjoy- mance. well as their possibili-
ment because music ties o f interacting w i t h
> T h e m u s i c a l re p r es e nt at io n o f e m o t i o n a l c o n t e n t c a n
classes a r e f u n – f u n e a c h oth er. T h u s , w e
help to broaden the s p e c t r u m of expression a n d feeling.
but w i t h a p ur po se . strengthen m u s i c in the
> Playing on instruments will always involve skilful motor- whole society.
A s they g r o w older, ic handling.
children continue to ex- This guidebook was
> T h e b re ad th o f s e n s o r y impressions experienced, a n d
perience all the afore- written as a result of a
appropriate g a m e s c a n lead to a s h a r p e n i n g a n d enrich-
mentioned benefits, working group within
m e n t of perception.
w i t h s o m e o f t h e m tak- the f r a m e w o r k o f the
ing n o w a m o r e import- > Matching each other in playing, singing, and moving to- pr oje c t “ S t r e n g t h e n i n g
a n t ro l e i n c h i l d r e n ’s gether is a challenging form of social behaviour. Music in Society,” which
musical d e v e l o p m e n t . w a s financially s u p -
> Finally, there will be regular discussions in class about
Children m a y expand, ported b y the E U and
the impressions that certain pieces o f m u s i c a n d actions
to an impressive extent, carried o u t b y the “ A s -
leave o n the children, a n d agreements will be m a d e
their musical skills in sociation Européenne
about creative activities; v e r s e s a n d s o n g texts will also
singing a n d performing des Conservatoires,
be the focus again a n d again, s o that a lesson without
both percussion as well Académies de Musique
language a n d s p e e c h w o u l d s i m p l y b e unthinkable.”
as melodic instruments, et Musikhochschulen”
(Dartsch 2010, p. 17 (translation), the last point refers to
learn to read rhythmic (AEC) in cooperation
children w h o can already speak).
a n d m e l o d i c notation, with t h e “European
listen to m u s i c p u r- Music School Union”
posefully, improvise (EMU) and the “Euro-
a n d c o m p o s e their o w n
p e a n A s s o c i a t i o n for
music, imagine, respond, a n d create, using the concepts M u s i c in S c h o o l ” ( E A S ) . T h e b o o k is intended t o help
and skills learnt; they m o v e fro m enactive to iconic and establish m u s i c lessons for y o u n g children all over E u -
symbolic representation of music and learn to follow rope. Last, b ut no t least, for teachers w h o h a v e to earn
musical structures/forms. A s they are introduced to a their livings w i t h their p ro fe ss io n , this b o o k c a n o p e n
great variety of genres and styles, they gradually devel- u p a n e w facet in their professional portfolio.
o p m u s i c appreciation a n d start f o r m u l a t i n g their m u -
sic identities. They develop their social skills even more
9
INTRODUCTION > WHY MUSIC IN EARLY YEARS MATTERS
I n t h e n e x t c h a p t e r s , w e f o c u s o n d i ff e r e n t f o r m s o f f o r t e a c h i n g m u s i c i n t h e e a r l y y e a r s . T h i s is t h e a i m
musical activities w i t h y o u n g children: singing, listen- a n d topic o f t h e s e c o n d p ar t o f the b o o k . A f t e r g i v i n g
ing, moving to music, instrumental playing, a n d impro- s o m e basic hints, w e present lesson pl ans for different
vising a n d c o m p o s i n g . C o n c e r t s for a n d w i t h children a g e g rou ps , in w h i c h the re a de r c a n dis c o ve r different
c o m p l e m e n t these activity forms. A t the e n d of this styles of designing lessons. This results from our differ-
section, pedagogical principles are reflected as they ent provenance, educational contexts, a n d professional
are rel ev a nt f o r m u s i c l e s s o n s a n d w o r k i n g w i t h chil- backgrounds a n d m a y s h o w y o u the range of peda-
dren in general. gogical approaches. We encourage you to find your
o w n w a y b as e d o n the fundamentals set forth here. We
It is also important to think about h o w the suggestions w i s h y o u m u c h joy a n d m a n y personal benefits in yo ur
w e m a k e in the chapters o n musical activities are c o m - work!
bined a n d interrelated w h e n designing lesson plans
> REFERENCES
> Dartsch, M . (2010). Musikalische Bildung in der Elementa- > Pitt, J. & Hargreaves, D. J. (2017). Attitudes towards and per-
rstufe/Grundstufe. Grundlegende Aspekte der Elementaren ceptions of the rationale for parent–child g r o u p music m a k i n g
M u s i k p ä d a g o g i k . I n Ve r b a n d d e u t s c h e r M u s i k s c h u l e n ( E d . ) : with y o u n g children. M u s i c Education R e s e a rc h , 1 9 (3), 2 9 2 -
Bildungsplan Musik für die Elementarstufe/Grundstufe (pp. 308.
13-15). Bonn: VdM 2010.
> Rodriguez, M.A.V. (2019). Parents’ perceptions of early child-
> Economidou- Stavrou, N . & Ntani, E. (2021). Mothers’ per- h o od music participation. International Journal of C om m un ity
spectives on the value of early childhood music classes for Music, 12 (1), 95-110.
their toddlers. P a p e r pr e s e n t ed at the 1 2 t h International C o n -
ference for Research in Music Education, April 6-9 2021. > S a v a g e , S. (2015). U n d e r s t a n d i n g mothers’ perspectives o n
early childhood music programmes. Australian Journal of M u -
> Ilari, B. (2005). O n musical parenting of young children: M u - sic Education, 2, 127-139.
sical beliefs a n d behaviors of mothers and infants. Early Child
Development a n d Care, 175 (7), 647-660. > Youm, H. K. (2013). Parents’ goals, knowledge, practices, and
n e e d s r e g a r d i n g m u s i c e d u c a t i o n fo r their y o u n g c h i l d r e n in
> Koops, L. (2011). Perceptions of current and desired involve- South Korea. Journal of Research in M us i c Education, 61 (3),
ment in early childhood music instruction’. Visions of Research 280-302.
in Music Education, 17 (1).
10
ACTIVITY FORMS > THE ACTIVITY OF SINGING FOR YOUNG CHILDREN
ULLA PIISPANEN
S i n g i n g is a v e r y personal w a y to m a k e m u s i c b ec a us e T h e a g e at w h i c h c h i l d r e n b e g i n t o s i n g is v e r y i n d i -
the instrument is o u r o w n b o d y, a n d contrary t o p o p u - vi dua l. W h i l e s o m e children start s i n g i n g b e f o r e t h e y
lar belief, e v e r y o n e c a n learn h o w to sing ( N u m m i n e n , s p e a k , s o m e c h i l d r e n n e e d m u c h l o n g e r. It is i m p o r t -
2 0 0 5 ) . It is a l s o a v e r y n at u ra l w a y t o start p r a c t i c i n g ant for an early childhood m u s i c teacher to be aware
melodies. that y o u n g c h i l d r e n h a v e v e r y d iffe re n t b a c k g r o u n d s
w h e n it c o m e s t o s i n g i n g a n d t h a t v o i c e o r g a n s d e -
T h e d e v e l o p m e n t o f t h e m e l o d y b e g i n s a l r e a d y i n the velop at different times. F o r small children, learning to
w o m b o f t h e e x p e c t a n t m o t h e r. O u t s i d e s o u n d s a n d sing should be joyful and should a w a k e their inner m o -
rhy thm s create a s o u n d environment i n w h i c h the child tivation.
g r o w s f o r t h e first n i n e m o n t h s . T h e r e f o r e , t h e k i n d
o f m u s i c p a r e n t s listen t o a n d t h e s o n i c l a n d s c a p e o f S i n g i n g to a child is also g o o d for parents. T h e y beg in
the child’s first m o n t h s o f life are quite relevant. After to create a relationship w i t h their o w n child while they
the birth, the child’s learning o f the m e l o d y continues sing during the pregnancy. D u r i n g the first m o n t h s a n d
through the singing of mother o r father w h i c h comforts years o f life, singing is a g o o d w a y to connect a n d cre-
a n d creates a s e n s e o f safety t o the child. ate a positive relationship w i t h their baby.
If a child has been singing since
Children learn music and dif-
his or her birth and its sound has S i n g i n g is a g o o d w a y to learn t h e ferent sounds based o n what
b e e n r e s p o n d e d to w i t h various language because they have heard. Their singing
expressive s o u n d s , s i n g i n g is ability c a n n o t d e v e l o p u n l e s s
almost as natural as speaking. > it i n c l u d e s a lot o f repetition they hear singing. Thus, it is im-
T h e m o t h e r ’s s o n g is k n o w n to > it o ff ers t i m e to h e a r a n d p e r c e i v e portant for children that their
h a v e a positive effect o n the the words parents sing a n d interact w i t h
child during pregnancy. T h e fe- t h e m whatever their singing
tus c a n react t o the first s o u n d s > w e sing b y using syllables skills are.
at 1 6 w e e k s , although the sense > pronunciation i n singing is
of h ea ri ng o n l y d e v e l o p s in the exaggerated T h e w o r l d has c h a n g e d a lot
23rd w e e k (Vihman M M , 1996). f r o m the t i m e o f o u r ancestors:
P e o p l e are onl y s u p p o s e d to re- > listening t o v a r i o u s s o n g s increases Grandparents n o longer live
m e m b e r events f r o m their third knowledge of vocabulary
together w i t h their fa mi l ie s, s o
year onwards, but researchers singing is not passed o n f r o m
have found that babies h a v e a one generation to the next.
“musical m e m o r y ” (Partanen
Therefore, early childhood m u -
E, Ku j al a T, Ter va n iem i M , 2 01 3 ). It has also b e e n n o - sic e d u c a t i o n , s c h o o l a n d d a y c a r e s h a v e a n i m p o r t a n t
ticed that if a particular s o n g is s u n g to the fetus during role to play in conveying singing traditions. Voice train-
preg na n c y, t h e child will r ec o g n ize t h e s o n g a n d c a l m ing begins in family groups in which the parents are
d o w n a f t e r h e a r i n g it a t l a t e r s t a g e o f h i s o r h e r life, also e n c o u r a g e d to s i n g . T h e i m p o r t a n c e o f h o m e f or
even after several years (Krokfors, 2017).
early childhood m u s i c education is crucial.
11
ACTIVITY FORMS > THE ACTIVITY OF SINGING FOR YOUNG CHILDREN
> EXAMPLES OF TEACHING MOMENTS the word “squirrel”. The bird lives in the highest branch-
es and has the highest tune (G1). T h e teacher and the
Example 1: 0–18 months children illustrate is tune b y putting their h a n d s o n
P a r e n t s are sitting i n a half c u r v e w i t h their b a b i e s o n the t o p o f their h e a d s a n d s i n g i n g “bird.” T h e t e a c h e r
their l a p s . T h e t e a c h e r a s k s t h e p a r e n t s t o s i n g a l o n g m a k e s easy melodies b y h u m m i n g a n d s h o w i n g differ-
a Yo i k f r o m L a p l a n d * . T h e t e a c h e r also e x p l a i n s that ent tunes b y changing the height of her hands. Addi-
if t h e b a b i e s f e e l like m o v i n g , t h e p a r e n t s a r e f r e e t o tionally, t h e t e a c h e r a s k s t h e c h i l d r e n t o m o v e l i k e a
m o v e around the classroom while singing, swaying, bear, jump like a squirrel, and fly like a bird. The teacher
a n d rocking. T h e parents k n o w their babies best, s o a c c o m p a n i e s all the m o v e m e n t s w i t h a piano.
they are instructed to b e sensitive i n h o w they act w i t h
their b a b i e s a n d t o b e a w a r e h o w their b a b i e s re a c t t o In the classroom, there is also a picture of a big tree
the music. S o m e babies are just listening a n d relaxing; a n d these three animals ( m a d e of pa p er or carton), a n d
s o m e of them feel like m o v i n g around. the children p l a c e t h e m at the right he igh t o n the tree.
Later, the teacher can start using d o – m i – so symbols.
*Notes for the songs “Hei luulillan” and “Hanene laillal”
on page 1 2 Example 5: 5-year-olds
The children have hobby horses, and the teacher ac-
Example 2: 18–36 months companies their riding with the piano*. The children are
Parents a n d children are sitting in a half curve. T h e riding freely with their horses in Part A . In Part B, they
teacher asks the parents to d o a w a r m - u p exercise w i t h s t o p to f ee d a n d take care o f their h ors e s a n d return to
their children i n t h e f o l l o w i n g w a y : U s i n g a d o g p u p - riding o n c e A - p a r t starts again. I n the n ext ro unds , the
pet, the tells a story o f a s m a l l d o g w h o w a k e s u p a n d children c a n decide, w h a t kind of m o v e m e n t s they will
does a morning exercise while singing* (hands raise up u s e in the different pa rts of the s o n g .
a n d d o w n a s w e l l a s w i d e o p e n a n d across). T h e n t h e
d o g o p e n s a n d closes the curtains (glissando v o i c e s u p A f t e r riding, children d is c us s o f h o rs es a n d w h a t k i n d
a n d d o w n ) ; after that t h e a l a r m c l o c k r i n g s (imit ation o f c a r e d o h o r s e s n e e d a n d w h a t d o t h e y eat.
of a l a r m clock). T h e n t h e d o g f a m i l y h a s its b rea k fa s t
(different k i n d of voices that imitates eating a n d drink- Next, the children learn to sing the “horse riding” song.
ing voices). A f t e r breakfast, the d o g r u n s to the m u s i c First, t h e teacher sings the s o n g a n d w h e n children
s c h o o l ( r u n n i n g in their o w n p lac e s ) a n d starts t o s i n g k n o w the song, they will join to sing it with the teacher.
welcome song*. Finally, children are singing the song without teacher.
Notes for the songs, “Streching S o n g ” and ” To the M u - In following lessons, the teacher c a n use the s a m e song
sic School” on pages 12–13 a n d a d d i n s t r u m e n t s to it.
Exa mp l e 4: 4-year-olds
T h e children a r e s t a n d i n g in a half curve. T h e teacher
tells a story o f three a n i m a l frie n d s w h o live in a n o l d
tree in the forest: a bear, a squirrel a n d a bird. T h e bear
lives at the base of the tree and, thus, has the lowest
tone/pitch (C 1) . T h e teacher a n d the children s h o w its
tune b y put ti ng their h a n d s o n their k n e e s a n d s i n g i n g
the tune b y using the w o r d “bear”. T h e squirrel lives
in t h e m i d d l e b r a n c h e s o f t h e tree a n d h a s t h e m i d d l e
tune (E1). T h e teacher a n d the children s h o w this tune
b y p u t t i n g their h a n d s o n their s t o m a c h s a n d s i n g i n g
12
ACTIVITY FORMS > THE ACTIVITY OF SINGING FOR YOUNG CHILDREN
Hei luulillan
&43 œ œ œ œœ ˙ œ ˙ œœ œ œ œ œœ ˙ œ ˙ œ
Hei luu - lil - lan luil - lan lui - lai hei luu - lil - lan lul - l a n lui -
H a n e n e laillal
laa, ˙ lai ˙
laa. Traditional Finnish Yoik
F C F
&b42 œ œ œ œ œ œ 43 œ œ œ œ œ œ œ 42 œ œ
lail - lal lail - lal lu - a, h a - n e - n e lail - lal lail - lal lu - a,
Ha œ - -
C F
&b ne ne œœ œ œ œ œ œœ œœ œ œ œ
- ha - ne - n e lail - lal lu - a.
Ulla Piispanen
D A D
j œ œj œ œj œ
&##86 œU p jœ jœ œ j
a nœ
up and down and
and down d up and down and round and round.
5 D A D
&# œ œj œ œj
œ œj œj
œ œœ œ
Hands to the side and
cross your arms and
side
œ
and cross
j
and round and round.
9 D A D
œ œœj œ œ
&## H eœ œj œ œ
a d a n d sto-m a c h a n d
h e a d a n d sto-m a c h a n d
œ œj
head and œ œ
œ œj
sto-m a c h a n d r o u n d a n d round.
13
ACTIVITY FORMS > THE ACTIVITY OF SINGING FOR YOUNG CHILDREN
Ulla Piispanen
D G D A D
&##42 œ œ œ œ œ œ œ œ œ œ œ œ
To the mu - sic school, Ot - to came by wal - king.
5 D G D A D
&## œ œ œ œ œ œ œ œ œ œ œ œ œ
All of us say hel - lo, nice to have you here, hip
hei!
A Mole
Ulla Piispanen
1. 2.
D A D G G D A D A D
&##42 œj .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ.. œ œ œj
A m o l e is p e e -king f r o m the
h o l e , w h o is w a i - t i n g on the ground? A on the ground.
Hobby horse
&b42
œ. œ œ . œ œ
Ri
5 A7
œ. œ œ. œ. œ œ.
&b . œ œ. œ œ œ
When
we’ll end
our
ri
d i n g d a y,
we’ll
say hip
h u r
-
-
Dm A7
9
œ. œ œ.
&b . . œ œ h o.b
œ œ
Ri
w i th
-
ding with
my
-
b y h o r se ,
m y friend,
14
ACTIVITY FORMS > THE ACTIVITY OF SINGING FOR YOUNG CHILDREN
15
ACTIVITY FORMS > THE ACTIVITY OF SINGING FOR YOUNG CHILDREN
changes b y changing the height of the hands ( E x a m - > PEDAGOGICAL TIPS AND REFLECTIONS
ple 4). After “singing hand” the teacher can also use
solmization w h i c h w a s u s e d b y H u n g a r i a n Zoltan K o - > Small children learn better if learning is joyful. It is a
daly. rewarding to have a sense: “I am already able to sing this
song!” It is helpful and motivating, if the song relates to
It is g o o d t o u s e d i ff e r e n t t e a c h i n g m e t h o d s t o h e l p something meaningful and familiar in the child’s life.
children to r e m e m b e r songs and melodies. O n e rec-
o m m e n d e d w a y t o start l e a r n i n g m e l o d i e s , is that t h e > T h e n e w s o n g c a n b e introduced t o children first b y
teacher asks questions and the children answer by listening. T h e teacher s h o u l d s i n g w i t h a natural v o i c e
singing. a n d it is g o o d to a v o i d s i n g i n g t o o loudly, a s this m a y
p r e v e n t c h i l d r e n t o l e a r n s o n g , a n d it is g o o d t o k e e p
T h e parents c a n c o m m u n i c a t e w i t h their b a b y b y sing- in m i n d that s o m e children a r e v e r y sensitive f o r l o u d
ing and responding the baby´s joggling. This is the first voices.
f o r m o f c o m m u n i c a t i o n b e t w e e n p are n t a n d child a n d
it h e l p s c h i l d t o l e a r n a n d s e p a r a t e d i ff e r e n t s o u n d s > We c a n n o t o v e r e m p h a s i z e the i m p o r t a n c e o f repeti-
and words. Parents should not dominate the situation tion in the early c h i l d h o o d m u s i c education. It is g o o d
b y talking constantly b u t also give time for the b a b y to to repeat the s a m e songs a n d musical elements long
give her or his expressions a n d answers. enough, so that everyone can learn the song and the
n e w elements. Teaching melody relies o n repetition and
For m a n y children, passing o n from one to the next so the same familiar songs and words are repeated to
subject/situation is of t en challenging (e.g. g e t d r e s s e d the children. I n addition to the repetition o f lyrics a n d
or undressed, collect the instruments b a c k to instru- songs, it is of course go o d to learn something n e w every
m e n t b o x or m o v i n g f r o m o n e p la c e to another). S i n g - lesson. Tw o - t o n e m e l o d i e s c a n b e u s e d to e x p a n d t h e
i n g o f t e n h e l p s t h e s e transitions a n d child learns, that repertoire b y g ra du al ly increasing the difficulty o f the
the particular s o n g is the sign that o n e situation is end- songs – but with fun a n d expressiveness in the singing,
ing a n d s o m e t h i n g n e w is coming. the singing is as natural as talking.
> It is important to ask, w h a t are the children’s o w n fa- > T h e best motivation a n d e n c o u r a g e m e n t are the pos -
vorite s o n g s a n d take t h e m to repertoire a s w e l l as en- itive f e e d b a c k f r o m t h e t e a c h e r a n d there is n e v e r t o o
c o u r a g e a child to create h i s o r h e r o w n m e l o d i e s a n d much of it!
stories. It is a l s o i m p o r t a n t t o i n c l u d e f o l k m u s i c a n d
e a c h country’s o w n m u s i c a l h erita g e in s i n g i n g reper-
toire.
18
ACTIVITY FORMS > THE ACTIVITY OF SINGING FOR YOUNG CHILDREN
> A l r e a d y a t h r e e - m o n t h - o l d b a b y starts p l a y i n g w i t h > With five- and six-year-olds one can also practice lon-
his or her o w n voice a n d enjoys it. T h e child s h o u l d b e ger s o n g s w i t h m o r e verses. Their m e m o r y has already
e n c o u r a g e d t o m a k e s o u n d s a n d v o i c e s a n d listen t h e d e v e l o p e d a lot, a n d it c a n b e fur th e r d e v e l o p e d w i t h
voices around. T h e m o r e the child sings, the m o r e they longer songs.
l e a r n to e n j o y their o w n v o i c e a n d a r e a b l e t o i m i t a t e
small melodies. > The children should sing alone and together, with and
without accompaniment. It’s also good to improvise and
3–4-year-old let children to create their o w n songs.
> It m a y b e difficult f o r a child to s i n g a n d p l a y at the
same time or combine the movement with the song. > The child m a y be silent for years, listening w h e n other
The more familiar the song is, the easier it is for the child children are singing. T h e y can b e encouraged to partic-
to d o things at the s a m e time. ipate in singing a n d other activities, but every child has
the right to d o a n d experience m u s i c in his or h er o w n
> The child may also still have difficulties in singing with way.
others. S o m e children m a y sing songs fro m a very low,
while others are singing high and s o m e children are not
a b l e to c h a n g e t h e tone. K e e p i n g t h e s a m e t e m p o c a n
also be challenging and s o m e children tends to sing in a
different t e m p o than the others in the group. Ti m e nor-
m a l l y fi xe s t h e s e p r o b l e m s a n d a p p r o p r i a t e e x e r c i s e s
are helpful to develop these skills.
Melodies Repeat small melodies and Imitate, sing longer melo- Sing more challenging
imitate adult´s voices dies a n d sentences as well melodies a n d repeat earlier
as repeat earlier learned learned small melodies in
small melodies o r d e r to d e v e l o p better
singing technic
Improvisation and Sing freely by using Sing freely and with simple Sing freely and with rules,
c o m p o s ing different feelings, emotions rules, improvise in a group, improvise I a group as well
a n d images m a k e o w n stories and o w n as c o m p o s e
s o ngs
Singing alone and Sing easy songs and little Sing alone and in a group Sing independently without
in a group melodies alone a n d with with adult´s h e l p adult´s h e l p a n d in a g r o u p
p a r ents
> LITERATURE
> Hongisto-Åberg, M . , Lindeberg-Piiroinen, A . & Mäkinen, L. > N u m m i n e n , A . (2005). Laulutaidottomasta kehittyväksi lau-
(1993). Musiikki varhaiskasvatuksessa: H i p hoi, musisoi! Espoo: lajaksitutkimus a i k u i s e n laulutaidon lukoista ja niiden a uka i-
Fazer Musiikki. semisesta. Väitöskirja. Helsinki: Sibelius-Akatemia.
> Krokfors, M . (2017). Laulaminen, in: Teoksessa Linde- > Partanen E., Kujala, T. & Tervaniemi M . (2013). Prenatal Mu-
berg-Piiroinen, A . & Ruokonen, I. (Eds.), Musiikki varhaiskasva- sic Exposure includes L o n g - Te r m Neural Effects, P L o S O N E
tuksessa-käsikirja. Helsinki: Classicus, 143–178. 8(10): e78946. doi: 10.1371/journal.pone.0078946.
> Lindeberg-Piiroinen, R . (Ed.). (2017). Musiikki varhaiskasva- > Vihman M M . (1996). Phonological Development: T h e Origins
tuksessa-käsikirja. Helsinki: Classicus.
of Language in the Child. Cambridge, M A : Blackwell.
20
ACTIVITY FORMS > MOVING TO MUSIC AND DANCING IN EARLY CHILDHOOD MUSIC EDUCATION
Muoversi con la musica combina diverse attività Le personalità chiave dello sviluppo dei movimenti
come l'ascolto, il canto, i movimenti del corpo e musicali riguardanti l'educazione della prima
la creatività. Da un prospettiva pedagogica, infanzia sono Emile Jacque-Dalcroze (1865-1950) e
l'insegnamento della musica deve essere C a r l O r ff ( 1 8 9 5 - 1 9 8 1 ) . L a p e d a g o g i a O r ff è
approcciato attraverso attività che combinano un'educazione olistica che combina musica,
musica, movimento e le esperienze corporee che movimento, teatro e parlato in lezioni che si
sono rievocate. L'obiettivo dei movimenti avvicinano al mondo dei giochi del bambino. Gli
musicali è di attivare i corpi dei bambini a elementi principali consistono in ascolto,
percepire, ricevere e interiorizzare la musica. movimento e danza, canto, parlato e gioco. La
Differenti percezioni, attività, ascolti, emozioni e pedagogia Dalcroze invece ha un approccio giocoso
modi di pensare vengono combinati in modo da all'insegnamento della musica e combina musica e
rafforzare la connessione del corpo e della mente movimenti del corpo.
(Juntunen, 2010). Uno degli obiettivi
dell'utilizzo dei
Nell'atto di muoversi con movimenti
la musica il nostro corpo nell'educazione della
divent a u n v e r o e p ro p ri o prima infanzia è quello di
strumento. Mentre molte abituare i bambini a
famig l i e ha n no m o lt e lavorare e giocare
attività fisiche, altre insieme, questo è il primo
pos so r i sul ta re p i ù step per imparare a
pas si v e p er q u e st o g l i suonare in un ensemble. I
educatori della prima movimenti a ritmo della
infanzia hanno un ruolo musica combinati con i
importante diversi music making
nell' i nf l u en z a r e u n sviluppano un senso del
comportamento positivo ritmo e la coordinazione.
rigu a rd o l a d a n z a e i l
movimento.
La musica combinata ad i movimenti gioca un ruolo centrale Oltretutto l'utilizzo della body percussion aiuta lo
nell'educazione della prima infanzia in quanto sviluppa sviluppo del ritmo. Il primo anno di vita del
l'espressione musicale dei bambini ed aiuta a comprendere i bambino è importante per lo sviluppo del cervello
vari elementi musicali come cambi dinamici. Oltre i movimenti m a è a n c h e i l p r i m o p e r i o d o d e l l a s e n s i b i l i t à r i t m i c a
guidati i bambini però, devono avere l'opportunità di
(che si incrementa dallo sviluppo del feto fino al
sviluppare la loro creatività attraverso l'improvvisazione ed i
movimenti liberi. primo anno di vita), per queste ragioni è molto
importante che i bambini ripetano i movimenti ed è
anche la ragione principale del perché oscillare e
Per le ragioni menzionate precedentemente, muoversi d o n d o l a r e s o n o e s s e n z i a l i ( K i v e l ä - Ta s k i n e n , 2 0 0 8 ) .
e danzare sono mezzi essenziali per lavorare nel
campo dell’educazione della prima infanzia
Il tocco e il movimento istintivo giocoso dei genitori nei
confronti del bambino a ritmo di musica comunica in
maniera non verbale „il tuo corpo è accettato e tu sei valido
come essere umano“ (Huhtinen-Hildén, Pitt, 2018).
21
ACTIVITY FORMS > MOVING TO MUSIC AND DANCING IN EARLY CHILDHOOD MUSIC EDUCATION
> ESEMPI DI MOMENTI DIDATTICI una canzone per ogni orso, l'insegnante e i bambini
si alzano e fanno la canzone e il movimento
Esempio 1: neonati e bambini piccoli (0–18 mesi) camminando. Infine, i bambini e l'insegnante
I genitori stanno uno dietro l'altro portando i loro bambini suonano la stessa canzone con i tamburi.I bambini
in braccio. L'insegnante dice loro che oggi il gruppo andrà sono seduti a mezza curva e l'insegnante racconta la
a l l a " f a t t o r i a " . Q u a n d o i n i z i a l a m u s i c a c o u n t r y, i b a m b i n i storia di tre orsi che vivono nei boschi. Ogni orso si
possono sentire il ritmo mentre si muovono con i genitori o muove a modo suo. Daddy Bear è il più lento e
mentre camminano mano nella mano con i genitori. Per pesante; Anche Mommy Bear è piuttosto lenta e
prima cosa, ai genitori viene chiesto di fare una fila, poi un pesante mentre Little Bear è il più veloce e il più
cerchio e poi una linea. Infine, i genitori e i bambini sono leggero. L'insegnante canta una canzone per ogni
liberi di muoversi come vogliono e sentire lo spazio e gli orso ed i bambini ripetono i movimenti e le parole
altri membri del gruppo intorno a loro. Musica: Frigg, dopo l'insegnante. Dopo aver cantato una canzone
H a l l i n g ( Yo u t u b e ) . per ogni orso, l'insegnante e i bambini si alzano e
fanno la canzone e il movimento camminando.
Esempio 2: bambini piccoli (18–36 mesi) Infine, i bambini e l'insegnante suonano la stessa
In questo esercizio, il gruppo sperimenta la pausa nella canzone con i tamburi. Possono anche guardare i
musica. Genitori e bambini camminano, corrono, saltano e simboli della notazione che descrivono ciascun
ondeggiano liberamente in classe. L'insegnante sta cantando e orso, ad esempio a-a, ta e ti-ti. "La famiglia degli
accompagnando una canzone "Ciao, amico mio!" Quando i orsi".
genitori e i bambini sentono la parola "Stop!" nella canzone,
devono fermarsi e stare fermi. Non appena la canzone Esempio 5: bambini di 5 anni
continua, tutti possono muoversi di nuovo. Notazione "Hello, Il gruppo parla del circo. L'insegnante dice che la
my Friend".n questo esercizio, il gruppo sperimenta la pausa parata del circo sta arrivando in città ed i bambini
nella musica. Genitori e bambini camminano, corrono, saltano possono improvvisare i movimenti di tutti gli animali
e ondeggiano liberamente in classe. L'insegnante sta cantando della sfilata. L'insegnante chiede ai bambini di
e accompagnando una canzone "Ciao, amico mio!" Quando i ascoltare la musica mentre gli animali e i personaggi
genitori e i bambini sentono la parola "Stop!" nella canzone, cambiano. L'insegnante dice al gruppo ogni volta che
devono fermarsi e stare fermi. Non appena la canzone arriva un nuovo personaggio. Prima vengono i cani
continua, tutti possono muoversi di nuovo. Notazione "Hello, del circo ("The Children's Marching Song"), che
my Friend“. marciano con orgoglio e, man mano che la musica
diventa più forte, le ginocchia si alzano. Poi vengono
Esempio 3: bambini di 3 anni gli orsi pesanti ("The March of the Siamese
L'insegnante racconta una storia delle talpe mentre i bambini Children"), le scimmie ("The Mickey Mouse March",
sono in piedi in cerchio. In primo luogo, le talpe sbirciano "All Around the Mulberry Bush"), le principesse del
da lle lor o tane mentre gl i u c c e l l i c a n t a n o ( i n t r o d u z i o n e) . circo ("Mary Had a Little Lamb", "London Bridge ”),
Successivamente, le talpe iniziano la loro danza primaverile e infine i gloriosi cavalli (“Alouette”). Classici per
in cui camminano 16 passi in senso orario e 16 passi in bambini: Kid Stuff Medley Boston Pops Orchestra.
senso antiorario (parte A). Gli stessi passaggi vengono
ripe tuti du e volte. Dop o di c h é, l e t a l p e s m e t t o n o d i Esempio 6: bambini di 6 anni
camminare e battono le mani otto volte. Successivamente, I bambini sono in piedi in una "stazione ferroviaria" ed
ba tton o i piedi otto vo l t e ( p ar t e B) . I l b a t t i t o d e l l e m a n i e i l in attesa di un treno per iniziare il loro viaggio.
colpetto saranno ripetuti due volte. In una parte centrale più L'insegnante racconta loro che è un vecchio treno a
lenta della canzone, le talpe riposano sedendosi sul vapore e che ha bisogno di un piccolo aiuto per avviare
pa vimento e as coltand o l a m us i c a ( p a r t e C) . Qu a n d o la p a rt e i suoi motori, quindi i bambini devono battere le mani
A ri c omin cia, g li stessi p as s i c o sì c o m e i l b a t t i t o d e l l e m a n i e battere i piedi. Nella parte A, i bambini battono i
e il battito (parte B) verranno ripetuti come prima. Dopo il piedi sul pavimentondue volte (due mezze note nella
ba llo, i bambini vengono di vi s i i n t r e g r u p p i . I l Gr u p p o 1 prima battuta), quindi battono le mani tre volte (tre
suona il ritmo di base usando le maracas (parte A), il Gruppo semiminime e una pausa nella seconda battuta). I
2 suo n a le claves (par t e B) e i l Gr u p p o 3 s u o n a i l t r i a n g o l o bambini possono andare avanti solo al ritmo delle
in minime (parte C). Musica: Alfvén, “Polka Roslagen”. minime (Due passi, e poi si fermano e applaudono le
mani tre volte). Questo dovrebbe essere ripetuto fino a
E sem pio 4: bambini di 4 anni quandola parte A continua. Un bambino del gruppo è il
I bambini sono seduti a mezza curva e l'insegnante racconta macchinista, e gli altri bambini lo seguono.
la storia di tre orsi che vivono nei boschi. Ogni orso si Quando inizia la parte B, il treno inizia ad andare
muove a modo suo. Daddy Bear è il più lento e pesante; veloce. Il macchinista inizia a correre, e gli altri
Anche Mommy Bear è piuttosto lenta e pesante mentre provano ad andare veloce come lui o lei. Quando la
Little Bear è il più veloce e il più leggero. L'insegnante parte A più lenta riparte, il macchinista prende il suo
canta una canzone per ogni orso ed i bambini ripetono i posto alla fine del "treno" ed il secondo della fila
movimenti e le parole dopo l'insegnante. Dopo aver cantato diventa il nuovo macchinista. Dopo alcuni giri,
22
ACTIVITY FORMS > MOVING TO MUSIC AND DANCING IN EARLY CHILDHOOD MUSIC EDUCATION
> TIPI DI ATTIVITA’ PER MUOVERSI E DANZARE È importante che l'insegnante sia a conoscenza dello
CON LA MUSICA sviluppo musicale e generale del bambino in quanto
l'obiettivo è quello di supportarlo senza accellerarlo. Le
Ci sono vari motivi per i quali danzare e attività motorie sono particolarmente importanti per
muoversi con la musica sono importanti famiglie in cui le attività fisiche o fuori casa sono
nell'educazione della prima infanzia e, come pressoché assenti.
tutte le attività didattiche, i bambini imparano
meglio quando ricevono riscontri positivi. Quando insegna a muoversi e danzare con la musica
L'obiettivo principale è quello di sviluppare le i l d o c e n t e p u ò c o m b i n a r e d i v e r s e a t t i v i t à (Grafico).
capacità cognitive e sociali del bambino,
muoversi e danzare però, contribuisce anche allo Nell'ascolto attivo i bambini hanno la possibilità di
sviluppo della consapevolezza corporea, il comprendere ed ascoltare la musica con l'aiuto di diverse
controllo e la coordinazione del corpo, le quali immagini che amplificano la profondità dell'ascolto, tutti
risultano importanti anche quando si canta o si i bambini hanno la possibilità di esprimere come sentono
gioca. L'obiettivo generale del muoversi e se stessi e la musica attraverso i movimenti. Questo
danzare con la musica consiste nel risveglio metodo è un ottimo modo per insegnare anche le strutture
della musicalità dei bambini. e le forme musicali.
I giochi musicali o le storie con
movimenti vengono utilizzate
Con l'aiuto del Quando insegna a muoversi e danzare con la musica per ispirare i bambini ad
movimento i bambini il docente può combinare diverse attività imparare, per esempio, le parti
imparano gli del corpo e differenti attività
elementi musicali e motorie, sviluppate
comprendono forme Ascolto principalmente attraverso la
musicali, atmosfere e attivo mano cantante. I giochi musicali
colori della musica.
con aiutano anche l'insegnamento di
movimenti
melodie che si muovono sulla
È necessario però Lavorare scala.
con Storie con
che il docente tenga movimenti
conto dell'età dei elementi
musicali
bambini i quali, non
riuscendo a MUOVERSI Le coreografie ed i
concentrarsi per movimenti guidati
E
molto tempo, hanno possono e s s e r e
necessità di attività DANZARE sviluppati solo
fisica piuttosto che dall'insegnante oppure con
Lavorare con Coreografie
ascoltare seduti l'aiuto dei bambini anche
elementi e danze guidate
l’insegnante. In altre della danza
utilizzando brani provenienti
parole bisogna
da culture e paesi differenti.
sempre dedicare del
tempo alle attività in Creare
cui i bambini possono ed
improvvisar
utilizzare la loro
e
energia illimitata ed
è anche il motivo per
cui i bambini
dovrebbero avere
anche dei momenti di movimento dopo attività che
richiedono molta concentrazione. La creatività e l'improvvisazione andrebbero incluse
in ogni lezione in cui i bambini dovrebbero avere la
Quest'ultima può essere migliorata aggiungendo po s si bil ità d i e s pri me re s e s te s s i l ib e ra me nt e.
diversi tipi di movimento durante l'ascolto di un
brano musicale. I bambini piccoli possono È anche importante lavorare su elementi musicali e
sperimentare la musica con gli adulti, per esempio, de ll a da nz a in mo d o d a s v ilup p are a b il it à f is ich e e
attraverso la danza o il dondolio mentre per i musicali
bambini tra 1-2 anni muoversi con la musica si
concentra principalmente sul camminare, o attività
simili, che non hanno una durata troppo elevata.
23
ACTIVITY FORMS > MOVING TO MUSIC AND DANCING IN EARLY CHILDHOOD MUSIC EDUCATION
Le capacità motorie fini dei bambini piccoli si Ci possono essere molte ragioni per cui alcuni dei
sviluppano più tardi di quanto non facciano le loro bambini vanno incontro a delle sfide quando
capacità motorie grossolane, quindi inizialmente il iniziano la loro strada nel mondo della musica.
movimento musicale si concentra sullo sviluppo delle Alcuni bambini possono avere difficoltà di
capacità motorie grossolane, che richiedono l'uso dei concentrazione, altri possono essere dentro i propri
muscoli più grandi. pensieri e preoccupazioni, un giovane
"perfezionista" può essere frustrato se le cose non
Esercizi motori grossolani: funzionano come vogliono o un bambino potrebbe
> gattonare; essere timido. Naturalmente, non bisogna mai
colpevolizzare i bambini ma l'insegnante dovrebbe
> Correre e camminare;
cercare di farli reagire e godersi la musica come
> Saltare (con una o due gambe, da un piede all'altro, a preferiscono. Il principio di base è che ciò che
piedi uniti); funziona e non disturba il resto del gruppo è
> Lanciare e afferrare.
consentito.
24
ACTIVITY FORMS > MOVING TO MUSIC AND DANCING IN EARLY CHILDHOOD MUSIC EDUCATION
25
ACTIVITY FORMS > MOVING TO MUSIC AND DANCING IN EARLY CHILDHOOD MUSIC EDUCATION
MUOVERSI CON LA
MUSICA 0–36 MESI 3 E 4 ANNI 5 E 6 ANNI
Attività motorie di base Usa esercizi adatti allo Usa diversi esercizi (ad Usa esercizi più avanzati
sviluppo del bambino esempio, saltare, camminare, con coreografie e
piccolo (ad esempio, g at t o n ar e , r o t o l ar e , l a n ci ar e e musica(saltare, camminare,
gattonare a quattro zampe e afferrare). galoppare, oscillare).
iniziare a camminare).
> LITERATURE
> Green Gilbert, A . (1992). Creative d a n c e for all ages: a con- > Huhtinen-Hildén L., Pitt J. (2018): Taking a Learner-Centred
ceptual ap proa ch. Reston, Va.: A m e r i c a n Alliance for Health, Approach to Music Education: Pedagogical Pathways . Abing-
Physical Education, Recreation, a n d Dance. don: Routledge.
> Hannaford, C . (2002). Viisaat liikkeet (T. Salminen, transl.). > Juntunen, M.-L., Perkiö, S. & Simola-Isaksson, I. (2010). Mu-
Helsinki: Kehitysvammaliitto ry. siikkia liikkuen, Musiikkiliikunnan käsikirja. Helsinki: Sanoma
Pro.
> Hongisto-Åberg, M . , Lindeberg-Piiroinen, A . & Mäkinen, L.
(1993). Musiikki varhaiskasvatuksessa: H i p hoi, musisoi! Espoo: > Kivelä-Taskinen, Elina (2008). Rytmikylvyn Pikku-kuplat. Es-
Fazer Musiikki.
poo: Kultanuotti.
BUONE PRATICHE
Età 5-6 anni: i bambini accompagnano riconoscendo degli schemi ritmici, i cambi
dinamici e le variazioni del tempo
MUOVERSI E DANZARE 5 E 6 ANNI
Percezione della forma I bambini dovrebbero
musicale comprendere la teoria e la.
scrittura musicale con l'aiuto
del movimento.
Link del video (dal minuto 1.17 al minuto 1.52): https://youtu.be/EOEditUWK54
Età 5-6 anni: i bambini recitano una filastrocca mentre si accompagnano seguendo
una coreografia con la body percussion
MUOVERSI E DANZARE 5 E 6 ANNI
MICHAEL DARTSCH
It is n ot w i t h o u t r e a s o n that parents o fte n h a n g a rattle The force which one uses on the instrument usually
over the b e d o f the b a by. C h i l d r e n p a y attention t o the influences the volume of the sounds. T h e duration of
s o u n d s w h i c h t h e y i n a d v e r t e n t l y p r o d u c e , , a n d later the m o v e m e n t s o m e t i m e s c o r r e s p o n d s w i t h the length
they try to repeat the m o v e m e n t that caused the s o u n d . o f t h e s o u n d . H o w e v e r, w h e n a b e l l is s t r o k e d , t h e r e
Thus, movement is crucial to is a l o n g s o u n d after a s h o r t
i n s t r u m e n t a l p l a y i n g , a n d it
m o v e m e n t . Ins tr um ent s r e-
lies at the basis of produc- To give children the o p p o r t u n i t y to learn a c t i n d i ff e r e n t w a y s t o t h e
ing sounds using no other m u c h a b o u t different p l a y i n g m o v e m e n t s a c t i o n s o f t h e p la yer s. Wi t h
i n s t r u m e n t t h a n t h e b o d y it- a n d different instruments, there should b e digital instruments, the rela-
self. First movements include a w i d e range of instruments integrated i n tion b e t w e e n m o v e m e n t a n d
tapping/drumming (either the lessons: sound can be fundamentally
a body part or an everyday different f r o m traditional in-
object), snapping a n d rub- > b o d y percussion o f all kinds: clapping, s t r u m ents.
bing, w h i c h produce noise, slapping, stamping, snapping, rubbing …
sounds, and tones. M o r e - Yo u n g children can discover
o v e r, t h e r e a r e m a n y t h i n g s > everyday materials used to produce all this. F o r t h e m it is entire-
in t h e s u r r o u n d i n g s that s o u n d s : p a p e r, furniture, cutlery, b ran c hes , ly n e w. W h a t they learn c a n
invite a y o u n g child to try to leaves … b e d i v i d e d into t w o aspects:
imitate their s o u n d s w h e n First, t h e y l e a r n t o p e r f o r m
they are hit, rubbed, or shak- > s e l f - m a d e instruments: rattles o f b e a k e r s different w a y s o f m o v e -
en. and boxes with different filling materials, ka- ments. Second, they devel-
z o o s o f c a r d b o a r d rolls w i t h a h o l e a n d t h e op inner concepts of the
B a s e d o n similar experi- d i a p h r a g m o f g r e a s e p r o o f p a p e r, d r u m s o f instruments, f o r instance, o f
e n c e s , p e o p l e o f all cultural fl o w er po t s a n d m a n y layers o f g r e a s e p r o o f the relation be tw e en w a y s of
backgrounds have devel- paper as a skin … behaviour a n d the resulting
oped instruments, produc- sounds. T h e y learn h o w to
i n g s o u n d s t h a t a r e l o u d e r, > s m a l l p e r c u s s i o n instruments: d r u m s , play instruments, a n d they
p u r e r, a n d m o r e c h a r a c t e r - rattles, claves, bells, cymbals, mallet l e a r n s o m e t h i n g a b o u t in-
istic t h a n t h o s e o f just a n y instruments, xy lo pho n es , metallophones, s t r u m ents.
piece of w o o d or stone. individual x y l o p h o n e a n d metallophone
Flutes m a d e of bones from bars for free combination …
vultures, m o r e than 35,000
years old, are fascinating > instruments from different regions:
examples of early instru- djembes, darbukas, gongs, lutes, flutes …
ments. Bl owi n g , pressing,
pulling a n d p u sh i n g , as w e l l > w e s t e r n classical instruments: strings,
as plucking are movements w o o d w i n d s , b r a s s instruments, p l u c k e d
that c o m p l e m e n t p er cu ssi v e instruments, be llo ws -d riv en instruments,
w a y s o f h a n d l i n g a n instru- keyboards …
ment. U s i n g a b o w increases
the effect of rubbing.
> electronic a n d digital instruments.
27
ACTIVITY FORMS > THE ACTIVITY OF INSTRUMENTAL PLAYING FOR YOUNG LEARNERS
Dealing with instruments in the classroom can m e a n Exploring c a n m e a n to act very freely w i t h instruments
quite d iffe r en t activities. F o r e v e r y a g e g r o u p , e x p l o - or sounding materials trying what can be done with
ration is f u n d a m e n t a l for further activities w i t h instru- it a n d h o w it c a n s o u n d ( S c e n e 1). F o r e x a m p l e , old er
ments. For babies that is the m a i n activity with in- children could explore flowerpots with different beaters.
s t r u m e n t s a n d s o u n d i n g materials. E x p l o r a t i o n m e a n s
g i v i n g t h e s e n s e s t h e o p p o r t u n i t y t o g e t in t o u c h w i t h Exploration can easily turn into improvisation when chil-
s o m e t h i n g – w h i c h really includes t o u c h i n g a s a n i m - dren begin to create certain sounds o n purpose. Musical
por ta nt f o r m o f exploration especially fo r y o u n g chil- creativity is already at work here! The more familiar or easy
dren, b u t also for older ones. T h e experiences children to play the instruments are, the more the children can con-
can ga i n here are necessary f o r building u p instrumen- centrate o n a story or an extra-musical idea, w h i c h they
tal t e c h n i q u e s a s w e l l a s c o n c e p t s a b o u t t h e effects o f then put into practice with sounds (Scenes 3 and 5).
certain m o v e m e n t s .
For this, it is very use-
Children c a n t h e n I n s u m m a r y, t h e f o l l o w i n g activity t y p e s a n d c o n t e n t s o f ful to b e able to rely
u s e their e x p e r i e n c e s instrumental playing c a n b e distinguished:
o n certain instrumen-
and concepts in im- tal skills. T h e s e are
provisations. Simple
developed a n d dif-
rules, s u c h as a dia- ferentiated gradually.
logue between two Explo re In the beginning, the
children, can help the instruments and difference b e t w e e n
sounding
children to create an m a t e r i als pl ay ing a n d s t o p p i n g
exciting piece o f m u - a n d b e t w e e n differ-
Learn and
sic. Moreover, imagi- Improvise with ent v o l u m e s is a n ap-
practice a n
nations of processes certain ru le s o r propriate task ( S c e n e
instrument
in nature or in stories imaginations 4) . F r o m t h e r e , c h i l -
c o n t i n uosly
can be represented dren can go forward
through music. INSTRUMENTAL to diffe re nt s o u n d s ,
articulations and
With instruments,
PLAYING rhythms.
it i s a l s o p o s s i b l e t o Play easy
accompany a song Accompany Rhythms are espe-
m e l o di es ,
songs, verses
s u n g at t h e s a m e songs, and cially well suited to
and recordings
time. T h e easiest w a y pieces
accompany songs,
is just t o p l a y s t e a d y verses (Scene 2), or
Master musical
b e a t s . Similar, b u t re c ord ing s . T h e b a s e
demands with
more demanding instruments
of every r h y t h m is a
are certain patterns, s t e a d y pulse, w h i c h
w h i c h c a n b e re p e at - c a n also b e pr act i ced
e d o n a n d on . Differ- through movements
ent patterns can be (Gordon, 2007).
stacked on top of
each other. B e si d e s a c c o m p a n y i n g s o n g s a n d verses, it Besides rhythms, children can also play easy melo-
c a n b e attractive t o pl ay together w i t h suitable rec o rd - dies or even songs and pieces in which rhythms and
ings. A c c o m p a n y i n g o f t e n requires certain instrumen- pitches are c o m b i n e d (Sc e ne 6). Typically, y o u n g chil-
tal skills. Musical d e m a n d s such as rhythms, dynamics, dren in a group change the instrument from task to
a n d articulation h a v e to b e m a s t e r e d . A s the d e m a n d s task a n d f r o m lesson to lesson. Nevertheless, a contin-
grow, instrumental skills b eco me more and more differ- uous learning a n d practicing of a suitable instrument
entiated. A f t e r h a v i n g g a i n e d s o m e e x p e r i e n c e s w i t h is also p os s ibl e i n g r o u p s w i t h y o u n g children. I n this
certain instruments, children c a n p la y uncomplicat- case, it is h i g h l y r e c o m m e n d e d n o t to u s e p re ssu re o n
e d m e l o d i e s , s o n g s , a n d p i ece s also. Finally, t h e y c a n the children, but to proceed in a playful m a nn e r and
practice a n d learn continuously t o p la y a n instrument, to integrate singing, moving, listening a n d improvising
w h i c h c a n also b e g i n at a n early a g e a n d in g r o u p s . If into the lessons.
t h e p r i n c i p l e s o f m u s i c e d u c a t i o n c o n t i n u e t o b e fol -
lowed, a n d singing, moving, listening a n d improvising
are integrated into the lessons, o n e can also speak of
early childhood m u s i c education here.
29
ACTIVITY FORMS > THE ACTIVITY OF INSTRUMENTAL PLAYING FOR YOUNG LEARNERS
> PEDAGOGICAL TIPS AND REFLECTIONS > Let the children play spontaneously a n d according
to their o w n n e e d s . I n t h e b i o g r a p h i e s o f p rof ess i onal
> G i v e the s a m e instrument to every child in the begin- musicians, there is also a phase of spontaneous musical
ning of w o r k i n g w i t h a group. T h a t helps t h e m to con- expression at the beginning (Manturzewska, 1 9 9 0 ) .
centrate o n the specific sound and to c o m e to k n o w
t h e i n s t r u m e n t a n d its p o t e n t i a l . W h e n a g r o u p u s e s > D o not try to teach the “right w a y ” of playing too ear-
d i ff e r e n t i n s t r u m e n t s i n a n e a r l y s t a g e , t h e d i ff e r e n t ly. It is fascinating to see which ways of playing children
stimuli c a n c o m p e t e w i t h e a c h other a n d k e e p the chil- can find. T h e y should not be afraid of making mistakes
dren f r o m b e c o m i n g e n g a g e d in the activity. b u t s h o u l d b e e n c o u r a g e d t o t r y w i t h o u t a n x i e t y. A
w i d e r r a n g e o f w a y s to p l a y c a n also e n r i c h t h e s p e c -
> P r o v i d e children w i t h t h e op po rtun ity t o explore in- trum of sounds especially for improvisations.
struments before giving a special task to children. T h e y
are usually curious and eager to explore and will not > D o n ot g ive negative c o m m e n t s , w h e n children pl ay
be ready to perform the task before exploring the in- in an individual w a y. Invite them to d o so and s h o w in-
s t r u m ents. terest a n d s y m p a t h y for that.
> U s e i n s t r u m e n t s a n d sizes w h i c h c a n b e h e l d b y the > Imitate w h a t y o ung e r children play, a n d let t h e m an-
children without cramping due to the heaviness or s w e r a g a i n . I n this w a y, a n alternate p l a y i n g ( Yo u n g ,
awkwardness of the instrument. For example, bigger 2 0 0 9 ) a n d a real m u s i c a l c o m m u n i c a t i o n c a n e m e rg e .
f r a m e d r u m s a r e n o t e a s y t o h old . W h e n t h e y a r e laid The psychological importance of this musical exchange
o n t h e f l o o r, t h e s o u n d c a n n o t d e v e l o p o p t i m a l l y. A s h o u l d n o t b e u n d e r e s t i m a t e d . It c a n h e l p t h e i n f a n t
g o o d solution for y o u n g e r children c a n b e small d j e m - to build u p an inner representation o f his or her o w n
bes or darbukas. mental state. M o r e o v e r, the feeling arises, that the oth-
er person is in harmony with him or her. Ultimately, this
> U s e a w i d e r a n g e o f instruments o f all b a c k g r o u n d s is also a precondition for the development o f a sense of
a n d types. T h e set o f i n s t r u m e n t s w h i c h C a r l O r ff as- be in g together w i t h others (Stern, 1 9 8 5 ) .
sembled include mallet instruments such as xylo-
phones and metallophones, drums, small percussion > Tr y to r ea c t to t h e p l a y i n g o f o l d e r children, a s k i n g
such as maracas, claves, triangles, a n d cymbals a n d w h a t they w a n t e d to express, or telling t h e m w h a t y o u
finally flutes a n d string instruments. To d a y, m a n y dif- felt a n d thought w h i l e listening. T h i s c a n he lp t h e m to
f e r e n t i n s t r u m e n t s f r o m d i ff e r e n t p a r t s o f t h e w o r l d b e c o m e m o r e a w a r e o f their o w n p l a y i n g . It c a n a l s o
are available. I n addition, western classical instruments p r o v i d e o p p o r t u n i t i e s t o g e t t o k n o w t h e c h i l d better.
c a n b e integrated in the lessons. Electronic a n d digital I n this w a y, f o l l o w - u p t a s k s f o r t h e c h i l d c a n a l s o b e
instruments as w e l l as a p p s offer attractive n e w possi- selected m o r e specifically. Finally, yet importantly, this
bilities. interaction c a n d e e p e n the relationship w i t h the child.
> Reflect o n improvisations after the playing. P e r h a p s > Invite the parents w h e n y o u want to build instru-
listen to a recording taken o f the g r o u p playing before. m e n t s . T h e y c a n h e l p a lot a n d s e e h o w e a s y a n d h o w
Then ask the children what the group could improve, m u c h fun it can b e to w o r k with self-made instruments.
a n d a s k it to p l a y a s e c o n d t i m e w i t h that intention. I n A f t e r t h e lesson, t h e y c a n t a k e their i n s t r u m e n t h o m e
this w a y, t h e re su l t re al ly m a t t e r s a n d b e c o m e s m o r e a n d p la y together w i t h their child there.
i m p o r t a n t a n d p r e c i o u s . It is w o r t h b e i n g w o r k e d o n
until the gr ou p is satisfied. > W h e n t h e w h o l e g r o u p is g o i n g t o p l a y o n i n s t r u -
ments, give everybody the opportunity to choose a
> T h e g r o u p s h o u l d b e silent for a m o m e n t be fo re a n d p a r t a n d a n i n s t r u m e n t w h i c h is a t t r a c t i v e f o r h e r o r
after a n i m p r o v i s a t i o n . It s h o u l d b e a p i e c e o f m u s i c , h i m a n d w h i c h c a n b e m a s t e r e d b y h e r o r h i m . I n this
w h i c h n e e d s concentration, a n d w h i c h is separated w a y, it is possible to p la y o n instruments w i t h a g r o u p
f r o m everyday n o i se through the silence. Setting on e’s m a d e u p o f different levels o f skills – as is the c a s e in
self apart f r o m everyday life is a n important character- almost every group.
istic of art in general ( L u h m a n n , 20 00 ).
> W h e n strings, w o o d w i n d s , plucked a n d bellows-driv-
> E n c o u r a g e the children to perceive differences in e n instruments, a n d k e y b o a r d s a r e u s e d to a c c o m p a n y
sound and expression. A phase of sensory and emo- s o n g s , verses, o r re c or din gs w i t h o lde r children, try to
tional sensitization c a n also b e fou nd in biographies o f find suitable w a y s of playing such as open strings or
professional musicians in the early years (Manturzews- e a s y pa tte rn s w i t h o n l y f e w diffe re n t t o n e s . If c h o r d s
ka, 1990). s h o u l d b e p l a y e d w i t h o p e n s t r i n g s , it i s p o s s i b l e t o
tune ukuleles or small
> Tr y h a r d to f i n d fitting guitars i n certain h a r m o -
instruments for certain nies for that: Ukuleles can
intentions. T h e children be tuned to g – c’ – e’ – g’
should explore the pos- or to a – d’ – f ’ sharp – a’.
sibilities, c o m p a r e t h e Guitars can be tuned to
sounds, and decide what D – A – d – f sharp – a –
fits b e s t i n their o p i n i o n . d’ or to D – G – d – g – h
T h e r e m i g h t b e different – d’ for example. If older
opini ons i n the g r o u p , s o children should change
the g r o u p h a s to c o m e t o chords, choose chang-
a n a g r e e m e n t . A n d their es between t w o or three
opini on m i g h t also differ easy chords o n mallet in-
f r o m t h e t e a c h e r ’s p r e f - struments, keyboards or
e r e n c e , b u t it s h o u l d b e F i n n i s h kanteles, w h i c h
respected a s their deci- are well suited for that.
sion. With older children,
the teacher c a n never- > W h e n a group plays
t h e l e s s a r g u e a n d let w i t h a r ec ord ing , d e -
t h e m argue, too. pending o n the piece,
they might be able to
> D o n o t let the g r o u p play freely or h a v e cer-
wait too long while you tain patterns to play for
w o r k o n the playing of certain p a s s a g e s i n t h e
one child – for example piece. Listen to the p ie ce
o n playing a melody. Tr y carefully b e f o r e h a n d a n d
to involve everybody so c h o o s e a suitable a c c o m -
that the children also support e a c h other. F o r example, p a n i m e n t , w h i c h d o e s n o t d is tur b t h e m u s i c b u t t a k e s
w h i l e o n e c h i l d is p l a y i n g , t h e o t h e r s c a n s i n g , s p e a k u p the character o f the pie c e .
or w h i s p e r t h e text o f a s o n g , listen carefully, p l a y the
pulse on small percussion instruments or drums, con- > W h e n you have to explain playing movements or
duct, or m o v e . b o d y postures, c h o s e c o m p a r i s o n s f r o m e v e r y d a y life.
Practice these movements or postures also playfully
> W h e n traditional classical instruments are explored, it w i t h o u t the instrument a n d u se y o u r imagination.
is s o m e t i m e s r e c o m m e n d a b l e to h elp the children. S e e
whether they can hold and m a n g e to produce tones > D i r e c t t h e c h i l d ’s a t t e n t i o n m o r e t o t h e r e s u l t o f a
o n it a n d a s k t h e m w h e t h e r t h e y w a n t s o m e help. S t o p certain pla y ing m o v e m e n t t h a n to the m o v e m e n t itself
helping w h e n they are satisfied with their activity.
(Wu lf, M c N e v i n & S h e a , 2 0 0 1 ) . T h e b o d y c a n fi nd its
w a y then.
31
ACTIVITY FORMS > THE ACTIVITY OF INSTRUMENTAL PLAYING FOR YOUNG LEARNERS
Improvise with Play freely and with Play freely and with Play freely with
instruments imaginations/associations imaginations/associations; imaginations/associations;
play with simple rules; play play with rules;
improvisations i n the g r oup play long improvisations in
the g r o u p r e ac t i n g to e a c h
other
Play patterns on Tr y to play steady beats P l a y s t e a d y b eat s ( e s p e - Play rhythm and melody
instruments with b o d y percussion a n d cially with 3-year-olds) and patterns;
p e r cu s s i on instruments; easy r h y t h m i c patterns stack different patterns o n
try to play r hy t hm s of w i t h b o d y percussion a n d top o f e a c h o t h er
certain w o r d s percussion instruments
Build instruments Use various fillings to fill Build kazoos of cardboard Build m o r e d em a nd i ng
different be a ke r s a n d bo x es rolls with a hole and a instruments like m o n o -
to build rattles d i a p h r a g m o f greaseproof chords – with a piece of
paper; w o o d and strings o r w i n d
build small percussion instruments
instruments f r o m everyday
materials
> LITERATURE
> G o r d o n , E. E. (2007). L e a r n i n g Se quences in Music. A Contem - > Stern, D . N . (1985). T h e interpersonal w orld of the infant. N e w
porary Music Learning Theory. Chicago: GIA. York: Basic Books.
> L u h m a n n , N . (2000). Art as a Social System. Stanford: Stanford > Wulf, G., McNevin, N . H . & Shea, C. H. (2001). The automaticity of
University Press. c o m p l e x m o t o r skill learning a s a function o f attentional focus,
Quarterly Journal of Experimental Psychology, 54A (4), 1143-1154, doi:
> Manturzewska, M . (1990). A Biographical Study of the Life-Span 10.1080/02724980143000118
D e v e l o p m e n t of Professional M u s i c i a n s , Psychology of M u s i c , 1 8
(2), 112-139.
> Young, S. (2009). Music 3–5. London, N e w York: Routledge.
32
ACTIVITY FORMS > LISTENING ACTIVITIES FOR YOUNG LEARNERS
> ACTIVITY TYPES AND CONTENT OF MUSIC > PEDAGOGICAL TIPS AND REFLECTIONS
LISTENING
> U s e short extracts, especially in w o r k i n g w i t h babies
T h e activity o f listening i n e a r l y y e a r s m a y i n c l u d e a a n d toddlers. T h e s e c a n b e c o m e longer a s the children
great r a n g e o f possibilities o f m u s i c a l e x p e r i e n c e s f o r b e c o m e older.
the y o u n g learners, a n d it is so m u c h m o r e than pulling
up an m p 3 file and asking children to passively listen to > M a k e sure that the music is not too loud.
it. Wi t h listening activities, w e aim to develop listening
skills a n d h e l p s t u d e n t s a c q u i r e k n o w l e d g e a n d culti- > Include music featuring a variety of orchestrations
vate attitudes in the following areas (Graphic): a n d pieces with solo instruments a s well as live music,
recorded music, mu-
We could use a mu-
sic o f different tonal-
sical piece to help Wi t h listening activities, w e a i m to develop listening skills ities, meters, etc.
children develop a n d h e l p s t u d e n t s a c q u i r e k n o w l e d g e a n d c u l t i v a t e atti-
perce pt iv e listening tudes in the following areas: > U s e a w i d e selec-
skills (Scene 1) and tion of repertoire
i n t r o d u c e o r further from a variety of
explore the various ge n res , historical p e -
musical elements Identify riods, a n d m u s i c a l
(S cene s 2 a n d 3). We musi cal cultures to be intro-
elements
could include in our
duced to children.
lessons listening ac- Wi t h older children,
tivities to familiarize Develop set a n d discuss the
Develop
perceptive
children with a wide audiation skills context o f the music.
listening skills
range of genres and
styles o f music o r > Not all children
a variety of music MUSIC c o m e to class with
f r o m various cultures LISTENING t h e s a m e listening
a r o u n d t h e world experiences, beliefs
Become
a n d different p e r i o d s Respond to familiar w i t h a b o u t , a n d attitudes
(Scene 5). Listening musical pieces a varied towards music.
activities are also es- in a variety o f repertoire of
ways
music
sential in a.) develop- > Yo u n g children are
Imp rovise
ing students’ a u d i a - music with r e m a r k a b l y o p e n to
tion skills in relation musi cal all k i n d s o f m u s i c a s
to r h y t h m a n d m e l - pieces as their m u s i c a l t a s t e s
o d y a n d b.) helping stimuli
are not as firmly de-
them identify, recall, v e l o p e d a s in o l d e r
and decode simple children, w h o m a y
melodic and rhyth- have already formed
mic patterns (Scene
their musical iden-
4). M o r e o v e r, musical pieces could serve as stimuli for tities a n d w h i c h h a v e o f t e n b e e n i n f l u e n c e d b y t h e i r
y o u n g learners’ creating s o u n d s a n d m u s i c ( S c e n e 6). peers. T h i s a l l o w s the early c h i l d h o o d m u s i c educator
to include repertoire from various genres, styles and cul-
Besides the development o f listening skills a n d the tures. It is t h e i d e a l t i m e t o e x p o s e s t u d e n t s t o m a n y
acquisition o f musical k n o w l e d g e , w e a i m to cultivate different types o f m u s i c a n d introduce t h e m to a w i d e
children’s audience behavior. Moreover, w e should sup- range of repertoire.
port t h e m in creating their o w n musical identity while,
at the s a m e time, r e sp e ct in g their classmates’ m u s i c a l > G i v e c h i l d r e n t h e o p p o r t u n i t y to listen to a m u s i c a l
preferences a n d teach t h e m to respect their musical piece several times, r es p ond ing t o it in different w a y s ,
culture as well as other people’s m u s i c cultures. M o r e - b o t h d u r i n g a n d after t h e listening activity. R e p e a t e d
o v e r, i n t e r m s o f attitudes, l i s t e n i n g activities s h o u l d l i s t e n i n g is e s s e n t i a l f o r d e v e l o p i n g “ d e e p ” l i s t e n i n g
a r o u s e c h i l d r e n ’s c u r i o s i t y a n d cultivate a n o p e n n e s s skills ( C a m p b e l l 2 0 0 5 ) as it increases their familiarity
to something n e w and unfamiliar.
with the music and helps them b e c o m e friends with
the m u s i c (C am pb e ll, 2 0 0 5 ) . T h e y s h o u l d listen to
t h e p i e c e f r o m d i ff e r e n t p e r s p e c t i v e s , g o d e e p e r a n d
identify other prominent characteristics or parame-
ters o r d e t a i l s o f t h e m u s i c t h a t w e r e n o t n o t i c e d b e -
fo re a n d r e s p o n d i n di ffe re nt w a y s ( K e rc h n e r, 2 0 1 0 ) .
35
ACTIVITY FORMS > LISTENING ACTIVITIES FOR YOUNG LEARNERS
Free response to a Re s po n d freely to a musical R esp o n d freely to a musical Respond freely to a musical
musical piece without piece in a variety of w a y s piece in a variety of w a y s piece in a variety of ways
focusing o n specific (moving, dancing, playing (moving, dancing, playing (moving, dancing, play-
instruments). instruments, creating d ra w- ing instruments, drawing,
musical elements
ings, describing the music). describing the music, dra-
matizing the music, creating
a story about the music).
Describing music and R e s p o n d emotionally to Talk about music listened Express feelings and views
expressing individual music b y facial expressions, to a n d describe verbally o n a n d preferences for
thoughts, emotions gestures, a n d willingness to images that m u s i c brings musical works.
participate i n the activities. about b y associating it with
and attitudes regarding
a story, character, etc. a n d
musical pieces
musical preferences.
Using musical Describe music as happy, Describe a musical piece Describe a musical piece or
vocabulary scary, or sad. with the use of simple compare two musical pieces
musical terms in regard to with the use of appropriate
dynamics, tempo, etc. musical vocabulary.
37
ACTIVITY FORMS > CREATIVE MUSICAL ACTIVITIES FOR YOUNG LEARNERS
S c e n e 4: 4-year-olds
T h e teacher m a k e s musical dialogues w i t h children us-
ing the neutral s y l l a b l e “la” (instead o f the n o t e s “sol,
m i , la”) i n t h e m e l o d i e s . A t t h e b e g i n n i n g , t h e t e a c h -
er s i n g s a m e l o d i c p a tt er n , w h i c h t h e c h i l d r e n re p ea t.
After echoing several melodic patterns introduced b y
the teacher, the children, o n e b y one, take the teacher ’s
role a n d s i n g their o w n m u s i c a l p atte rn s , a n d t h e rest
of the class echoes.
39
ACTIVITY FORMS > CREATIVE MUSICAL ACTIVITIES FOR YOUNG LEARNERS
> ENCOURAGING CREATIVITY IN MUSIC SETTINGS: bilities are endless. Moreover, the music teacher’s creativity
CREATIVE MUSICAL ACTIVITIES AND CONTENT alone can open multiple pathways for musical creativity
in early childhood to be explored and experienced.
There has been an increasing n u m b e r of music prac-
tices leading t o creative m u s i c a l activities in the early
years, starting f r o m w h a t the children themselves bring > PEDAGOGICAL REFLECTIONS
w i t h t h e m i n t h e m u s i c s e t t i n g t o t h e t e a c h e r ’s u s e o f
a variety of stimuli, p r o p s a n d activities. Wi t h creative > A s m u s i c teachers, w e s h o u l d a c k n o w l e d g e t h e
activities, w e aim to develop children’s creative skills in “rich reservoir o f m u s i c experience a n d und e r sta nd ing
m u s i c , offe ri ng t h e m a variety o f possibilities a n d e x - that children b r i n g to their s c h o o l i n g ” (Barrett, 2 0 1 2 ) .
periences, focusing o n imagination, exploration, impro- A c c o r d i n g l y, w e c o u l d initially e n c o u r a g e children t o
visation, a n d composition. Improvisation is the sponta- bring their o w n experiences i n the music classroom.
neous creation of m u s i c w h e r e a s composition involves After w e ob s er ve w h a t they bring f r o m h o m e , w e
t h e c r e a t i o n o f m u s i c t h a t c a n b e r e v i s e d u n t i l it g e t s can then gradually create an environment that allows
its final f or m , often notated. I n the d i a g r a m b e l o w, the children to guide their o w n musical explorations. W h e n
t y p e s a n d c o n t e n t o f m u s i c a l creativity i n early child- children feel comfortable, w e m o v e to child-teacher
h o o d are captured, s u m m a r i z i n g the possibilities o f or- musical dialogues (vocal, instrumental, and through
ganized activities for children: (Graphic).
movement).
*For children aged 0 – 3 6 months, the adult’s role is to step in and, in the form of a dialogue, interact with the child by
following the child’s ideas or b y initiating ideas him/herself.
Material and sound Explore a n d discover m a - Explore, discover, and Explore, discover, select,
exploration terials a n d s o u n d s through c o m p a r e materials a n d a n d organise alternative
a variety of offered s o u n d s o u n d s through a variety w a y s to p r o d u c e s o u n d
sources. of s o u n d sources. through a variety of s o u n d
sources.
Musical instrument and Explore possible w a y s to Explore alternative w a y s Explore, discover, and
voice exploration a n d produce sound with to p r o d u c e s o u n d w i t h combine various s o u n d s
b o d y percussion voice, body, and musical voice, body, and musical with voice, body, and
instruments. instruments. musical instruments.
Rhythmic improvisation Improvise simple rhythms Improvise simple rhythmic Improvise rhythms in a
an d composition with b o d y percussion patterns c o m b i n i n g crotch- variety o f meters us ing a
or classroom rhythmic ets a n d quavers. variety of rhythmic values.
percussion. C o m p o s e a n d no t a t e
r h y t hm i c patterns u s i n g
crotchets a n d q u av e rs .
Vocal improvisation Improvise freely with Improvise melodies freely Improvise melodies using
sounds and syllables. with individual voices using n o t e s o f the p e n t a t o n i c
Improvise with voices s o m e or all notes of the scale, minor or major scales
individually t w o or three pentatonic C scale in simple in a variety of meters a n d
tone melodies. Improvise meters. Improvise freely tonalities. Improvise lyrics
individual songs. individual songs. individually to a known
melody. Improvise freely
individual songs.
Melody improvisation Improvise freely melodies Improvise simple melo- dies I m p r o vi s e and/or c o m p o s e
an d composition o n tuned percussion instru- o n tuned p er cu s si o n simple melodies o n tuned
ments. instruments following s o m e percussion instruments or
guidelines. other instruments, following
guidelines.
ULLA PIISPANEN
If t h e c h i l d r e n a r e i n t h e In m y experience, for
audience, and they are T h e following questions are important: t h e 0 - 3 - y e a r- o l d s , t h e
not performing them- m a x i m u m length o f the
s e l v e s , it w o u l d b e g o o d > W h a t is the timetable o f the project, including concerts is a r o u n d 3 0
to prepare t h e m for the rehearsal times? minutes. A s the children
concerts b y teaching g e t o l d e r, t h e y a r e a b l e
s o m e of the songs be- > H o w m a n y h o u r s a r e n e e d e d fo r p l a n n i n g a n d t o c o n c e n t r a t e a n d lis-
forehand. T h e m o r e the executing the concert? ten for longer periods of
teacher prepares the time. C hil dre n o ld er than
children beforehand, the > W h a t are the pedagogical aims and goals of 3 years are usually able to
m o r e children c a n benefit t h e p ro je c t? listen f or a r o u n d 4 5 m i n -
f r o m the concert. utes. T h e length o f the
> W h a t k i n d o f c o n c e r t w i l l it b e ? F o r e x a m p l e , c o n c e r t is n o t t h e o n l y
In interactive concerts, is it a listening o r a n interactive concert? A r e the factor, however, w h e n
the children m a y use c h i l d r e n t h e p e r f o r m e r s ? Wi l l t h e p e r f o r m a n c e considering children’s at-
their voices o r b o d ie s include d an ce , a story w i t h dialogues, visual ele- tention spans. T h e right
w h e n participating i n the ments, and so on? duration of the concert
concert. Wi t h the h e l p o f d o e s n ´ t h e l p if the c o n -
the interactive concerts, > A r e there professional m u s i c i a n s and/or teach- cert is n o t interesting f o r
children can learn various ers w h o are g o i n g t o participate in the c o n c e r t ? the child or suitable for
rhythms, melodies, and his o r h e r d e v e l o p m e n t
musical movements. In > W h o is expected to participate in the project, and s t age.
this w a y, children can ac- what are the participants’ roles in the project?
quire m a n y other useful O n e of the key elements
skills and knowledge. > W h o is g o i n g t o b e a p r o d u c e r / l e a d e r o f t h e in inspiring concerts - be-
g r o u p a n d take overall c h a rg e o f the project? s i d e t h e r i g h t l e n g t h - is
I n t h e listening c o n c e r t s , an interesting structure
teachers can also intro- > W h o is g oi n g to b e a n artistic supervisor? a n d the set-up o f the per-
duce a n d arouse interest formance (story, visual
f o r d i ff e r e n t k i n d s o f in- > W h o is m a k i n g the a r r a n g e m e n t s a n d no te s ? aspects, a n d m o v e m e n t s
struments that children as well as highlights and
m a y later take up. > W h o is g o i n g to d o the c h o r e o g r a p h y ? surprises).
MICHAEL DARTSCH
PEDAGOGICAL PRINCIPLES
As early childhood music education is a pedagogical domain, it is appropriate to consider pedagogical principles
which are discussed in educational science and in pedagogical professional discourse. On the one hand, they could
be essential for ethical reasons. Moral foundations of living together in society should also shape pedagogy.
The second aspect goes beyond the mere presence of Diversity a m o n g h u m a n s m e a n s that they are different
c h i l d r e n a n d adults. I n this r e g a r d , t a k i n g p a rt m e a n s f r o m each other. F r o m this perspective, there is always
having a responsible role to play in m a k i n g the les- d i v e r s i t y w h e n p e o p l e c o m e t o g e t h e r. H o w e v e r, t h e
s o n s s u c c e s s f u l . I n fact, t h e attitude a n d t h e activities concept o f diversity is referred t o in particular w h e n it
of the p a r en t s are crucial in d e t e r m i n i n g h o w children c o m e s t o cultural b a c k g r o u n d s a n d g e n d e r ; t h u s , it is
c a n e n g a g e w i t h a n d b e ne fi t f r o m w h a t is h a p p e n i n g . of te n associated w i t h the triad o f race, class, a n d g e n -
Therefore, they should b e allowed to modify a n d adapt der ( K n a p p 2 0 0 5 ) . B u t it c a n also b e u s e d for different
the suggestions in view of their children. However, every attitudes, beliefs, a n d values. A l l these differences c a n
c h i l d a n d e v e r y c h i l d ’s b e h a v i o u r s h o u l d a l s o p l a y a b e s e e n a s b o t h a p r o b l e m a n d a n o p por tu n it y (Ferris,
decisive role in shaping the lessons together with the Frink & Galang 1993).
gro up . N o o n e s h o u l d b e
left o u t a n d u n n o t i c e d . I n t h e first c a s e , e m p h a -
Nevertheless, o n e could sis is p l a c e d o n the chal-
s p e a k o f a g u i d e d partic- lenges o f a d a p t i n g to the
ipation here because the diversity of people. F o r
children and the parents e x a m p l e , teachers s o m e -
take part in and observe t i m e s f i n d it d i ff i c u l t t o
t h e activities a l o n g s i d e t e a c h p u p i l s w i t h di ff e r-
a n e x p e r i e n c e d t e a c h e r. ent preconditions at the
In addition, the cultural s a m e time. H e r e , o n e
a n d s o c i a l v a l u e s u n d e r- d a n g e r is that t h e y f o c u s
lying the activities give o n the majority of pupils
direc t i on t o t h e p ar tic - and do not adequate-
ipants’ actions. In the ly address the others. If
p r o c e s s o f a p a r t i ci p a - t h i n g s g o b a d l y, m i n o r i -
tory appropriation, the ties c a n e v e n b e m a r -
participants acquire skills ginalized w h e n teachers
and develop personally ignore their potential
(Rogoff 1995). Especially and needs. The reasons
t h e artistic p r e s e n c e o f t e a c h e r s c a n i n s p i r e c h i l d r e n f o r this m a y a l s o lie i n b i a s e s t o w a r d s c e r t a i n g r o u p s
a n d p a r en t s a n d s h o w t h e m that artistic activity is n o t o r g e n d e r. A s t e a c h e r s t e n d to u n i n t e n t i o n a l l y t r a n s -
arbitrary. fer their o w n prejudices to the children they teach,
it is i m p o r t a n t t o r e c o g n i z e a n d e x a m i n e o n e ’s o w n
T h e t h i r d a s p e c t g o e s e v e n f u r t h e r. P a r t i c i p a t i o n i n prejudices a n d biases. A c c o r d i n g l y, t h e so-called anti-
this context m e a n s the active co- determination of bias approach is concerned with overcoming stereo-
the design of the lessons. These are then not planned t y p e s a n d d i s a d v a n t a g e s a n d e m p o w e r i n g e v e r y child
a n d carried out for the children a n d their caregivers s o that s h e o r h e c a n d e v e l o p a s t r o n g s e l f - c o n f i d e n c e
but s h a p e d w i t h t h e m . It is o b v i o u s that flexibility a n d a n d self-esteem ( D e r m a n - S p a r k s & A.B.C. Ta s k F o rc e
agility o n t h e pa r t o f t h e t e a c h e r a r e just a s n e c e s s a r y 2 0 0 1 ) . In practice, this m e a n s that teachers h a v e to b e
a s it is t o t a k e t h e c h i l d r e n a n d t h e a d u l t p a r t i c i p a n t s cautious a b o u t the religious content o f s o n g s , general-
seriously in the sense of interpersonal contact at a n isations such as “all African children can drum”, or pic-
equal level.
tures s h o w i n g s u c h cultural o r g e n d e r clichés. R a t h e r,
teachers s h o u l d b e attentive t o individual abilities a n d
needs. Instead of seeing diversity as a burden, teach-
e r s c a n a p p r e c i a t e a n d w e l c o m e it. A c c o r d i n g t o t h e
50
ACTIVITY FORMS > PEDAGOGICAL PRINCIPLES
“ C o n v e n t i o n o n the P r o - t h e m a n d c a n t h u s in-
tection a n d P r o m o t i o n o f troduce them to music
the D i v e r s i t y o f C u l tu r al in its full variety. Musi-
E x p r e s s i o n s ” o f the U N - c a l traditions f r o m t h e
E S C O , “cultural diversity participants’ countries
is a defining character- s h o u l d b e integrated into
istic o f h u m a n i t y ” c r e - the lessons, t h u s b e c o m -
ating “a rich and varied ing more appreciated.
world, w h i c h increases F u r t h e r m o r e , t h e learn-
the range of choices and ing strategies o f various
nurtures h u m a n capaci- cultures, s u c h a s a u r a l
ties and values” (General learning, imitation, a n d
Conference o f the United improvisation ( C a m p b e l l
Nations Educational, Sci- 2003, p. 27), s e e m to b e
entific and Cultural Orga- particularly suitable for
nization, 20 0 5, p. 1). T h e early childhood m u s i c
pluralism o f perspectives education. M u s i c e d u -
is o f c r u c i a l i m p o r t a n c e cation can contribute
f o r t h e p r o g r e s s o f d e m o c r a t i c s o c i e t i e s . S i m i l a r l y, a to social cohesion a n d sensitivity in interacting with
variety of backgrounds a n d views also enriches the others (Yo un g 2018, p. 131) and encourage cultural un-
t e a c h i n g o f t h e arts. E a r l y c h i l d h o o d m u s i c e d u c a t i o n de rs ta nd ing a n d “ b r i d g i n g cultures a n d c o m m u n i t i e s ”
can begin with the stylistically rich experiences that (Campbell 2018).
paren ts , b u t a l s o e v e n children, f r e q u e n t l y b r i n g w i t h
> LITERATURE
> Arn, C. (2016). Agile Hochschuldidaktik. Weinheim: Beltz Ju- G e n e r a l C o n f e r e n c e o f the U n i t e d N a t i o n s Educational, S c i -
venta. entific a n d Cu l t u r al O rg a n i z a t i o n ( 2 0 0 5 ) . C o n v e n t i o n o n t h e
Protection a nd Promotion of the Diversity of Cultural Expres-
Blaschke, L. M . (2012). H e u t a g o g y a n d Lifelong Learning: A sions. Paris: United Nations Educational, Scientific and Cultur-
R e v i e w of Heutagogical Practice a n d Self-Determined Learn- al Organization.
ing, T h e Inter na tional R e v i e w o f R e s e a rc h i n O p e n a n d D i s -
tance Learning, 13 (1), 56-71. K n a p p , G . - A . ( 2 0 05 ) . R a c e , Class, G e n d e r. R e c l a i m i n g B a g -
g a g e in Fast Travelling Theories. E u ro p e a n J o u r n a l of Wo m -
B r a n s f o r d , J., Vy e , N . & B a t e m a n , H . ( 2 0 0 2 ) . C r e a t i n g
en’s Studies, 12 (3), 249-265.
High-Quality Learning Environments: Guidelines form Re-
s e a r c h o n H o w P e o p l e L e a r n . I n P. A l b j e r g G r a h a m a n d N . Lave, J. (2004). Situated learning in communities o f practice.
S t a c e y (Eds.), T h e K n o w l e d g e E c o n o m y a n d P o s t s e c o n d a r y In L. B. Resnick, J. M . Levine & S. D. Teasley (Eds.), Perspec-
Education. Report of a Wo r k s h o p (pp. 159-197). Washington: tives o n Socially S h a re d Cognition: Revised Papers Presented
National A c a d e m y Press. at a C o n f e re n c e , Entitled S o ci a l ly S h a re d C o g n i t i o n , h e l d at
the University of Pittsburgh, 1 9 8 9 (4th ed.) (pp. 63-82). Wa s h -
Brown, J. S., Collins, A. & Duguid P. (1989). Situated Cognition
ington: A m e r i c a n Psychological Association.
a n d the Culture o f Learning. Educational R e s e a rc h e r , 1 8 (1),
32-42. P a r s o n s , D . & M a c C a l l u m K . ( 20 19 ). A g i l e Education, L e a n
Learning. In D. Parsons & K. MacCallum (Eds.), Agile and Lean
Bruner, J. (2006). In Search of Pedagogy Volume I: The Select- Concepts for Teaching a n d Learning. Bringing Methodologies
ed Wo r k s of Jerome Bruner. Abingdon: Routledge. from Industry to the Cl a ss ro o m (pp. 3-23). Singapore: Spring-
C a m p b e l l , P. S. (2003) . E t h n o m u s i c o l o g y a n d M u s i c E d u c a - er.
tion: Crossroads for K n o w i n g M u s i c , Education, a n d Culture. Rogoff, B. (1995). O b s e r v i n g Sociocultural Activity o n Three
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ing C ultures a n d C o m m u n i t i e s . N e w Yo r k : Te a c h e r s Co l l eg e Sociocultural studies of mind (pp. 139-164). Cambridge: C a m -
Press. bridge University Press.
INTRODUCTION TO THE
LESSON PLANS
We would begin the second part of this book with the following statement:
“There are no recipes for designing music lessons for early years.”
Music lessons in early years can be planned and designed children c a n also articulate themselves those things
in different w a y s , h a v e a different d u r a t i o n a c c o r d i n g that they w o u l d like to repeat.
to the age of the children (usually lasting between
3 0 – 5 0 m i n u t e s ) o r the educational context, a n d b e d e - A n exciting m o m e n t of the lesson is the introduction of
veloped for different starting points and focus. Planning a new topic. This can be done, for example, with a story,
should take into consideration the current situation a n d a ve rs e , a s o n g , b u t a l s o a n o b j e c t o r a picture, w h i c h
the de ve lo p me nt a l s t a g e of each group, a n d the specif- gives older children an opportunity to talk about it. With
ic a n d m e a s u r a b l e o b j ect i ve s s h o u l d b e set according- yo un ge r children, the emphasis is o n perception and, if
ly. O b j e c t i v e s c o u l d b e r el at ed t o t h e d e v e l o p m e n t o f possible, exploration. B a s e d o n this approach, different
musical ( s o m e t i m e s g en - activities can b e initiated,
eral) skills and abilities; each of w h i c h relates to
encounters with songs, certain c h a l l e n g e s . T h e
musical pieces a n d danc- teacher c a n alternate b e -
es f r o m different cultural tween singing, playing
contexts, h i st o r i c a l p e ri- with instruments (most-
ods, and genres; the fa- ly improvising), moving,
miliarization o f children a n d listening. A b a l a n c e
w i t h musical concepts a s b e t w e e n action a n d quiet
well as the development t i m e is a l s o d e si ra bl e. A
of their creative ideas. kind of joint performance
c a n r o u n d off the activ-
ities b e f o r e a f i n a l s o n g
> THE SEQUENCE OF m a r k s t h e transition t o
LESSONS everyday life.
ULLA PIISPANEN
F o c u s : E x p e r i e n c i n g t h e s t e a d y b e a t in s l o w a n d fast t e m p o a n d rests in m u s i c b y r o c k i n g ,
d an ci n g, a n d playing, a n d experiencing t h e m u s i c a l f o r m A B .
S u n is shining
&##42 œ œ œ œ œ œ œ œ œ Œ
Sun is shin - ing, well - come to sing!
here to play!
Sun is shin - ing, well - come
here
6. Parents sing the song, “Row, R o w, R o w Yo u r Boat,” 10. Wi t h older children o f toddler age, w e play the pre-
with their children o n their laps, or sit face to face with v i o u s s o n g w i t h h a n d d r u m s b y d r u m m i n g a n d lifting
their c h i l d r e n o n t h e f lo o r. T h e y “ r o w ” h a n d i n h a n d t h e d r u m s u p w i t h t h e s e n t e n c e : “It j u m p s u p h i g h ; it
s l o w l y o r fast w i t h the idea in m i n d o f big, s l o w b o ats jumps up high!”
or small, quick ones.
11. We sing the g ood -b ye song, “ T h a n k y o u ” (notation
( “ R o w, r o w, r o w y o u r b o a t g e n t l y d o w n t h e s t r e a m . o n p a g e 5 8).
Merrily, merrily, merrily, merrily. Life is but a dream.”)
N ow it’s time to thank you all; it is time to go back home.
After r o w i n g a n d singing, children c a n a c c o m p a n y t h e Thanks for all m y dearest friends; w e will meet again!
s o n g o n x y lo p ho n e s (e ach child h as o n e x y lo p h o ne : C ,
E, o r G a n d a mallet), w h i c h they play in a steady b e a t
while the parents continue singing.
Thank you
Ulla Piispanen
C F C G F C G C
Hello m y friend
&##44 œ œ œ œ œ
Hel
œ -
œ
lo my friend, H e l - lo
œ jœ œœ m y friend,
œ now it’s time to walk.
œ
Hel -
3 D A D G D
œ œ œ œœ œ œ
&## lo m y friend, H e - lo m y friend,
œJ œj œ œjœœ Waœl -kingœ a nœd wŒ
n o w it’s t i m e t o w a l k . a l -k i n g and
6 A D G D A D
œ œ
&## then
œj œ œj
we’ll stop!
œ Ó Jœ œ œ Jœ œ
w a l -k i n g a n d w a l - k i n g
œ Œ
and then we’ll stop!
ŒŒ
A little fish
&##42 œ œ œ
Once there was ‰Aj litt - l e
œ fish.
Œ œ Veœ- ry,œ v eœ- ry,œ vœ œ œœ
e - r y, v e - r y
7 1. 2.
&# œ œ œ Œ . ‰ œ œ œ œ
litt - le fish. œ
fish. It
j jumps u - p high. It
11
œœŒ œ œ œ œ œ œ œ œ œ œ œ Œ
&## œ œ
high.
Ve - r y, v e - r y, v e - r y, ve - ry litt - l e fish.
jumps u - p
59
DESIGNING LESSONS > LESSON PLAN FOR 0–36-MONTH-OLD INFANTS OR TODDLERS
N i c e to s e e y o u h e r e
Ulla Piispanen
&##42 œ œ œ œ œ œ Œ
Hey dear Hen
-
ry, it’s nice
œ
to see
œ you œ
here!
&# œ œ œ œ œ œ œ Œ
What have you been do - ing, be - fore
œ œ
you came œ
h er e?
&# œ œ œ œ œ œ Œ
Hey dear Hen - ry, it’s nice
œ
to
œ
see you œ
here!
13
&# œ œ œ œ œ œ Œ
Hey dear Hen -
ry, how are
œ
you to - œ
day?
Railway band
&##42
œ œ œ
œ œœ lit - t l e t r a i n ,
œ œ ..œ œ œ œ
Choo, choo says my
hop in now and start to p l a y.
&## . œ œ œ œ œ œ œ œ œ œ œ
œ œ
.
Through the fields and
through the land,
please join to the
rail - w a y b a n d !
&## . œ œ œ œ œ œ œ œ .
Choo, choo
œœ
says my
lit - tle train,
hop in now and
œ œ play.
start to
13
&## . œ œ œ œ œ œ œ œ œ œ œ
œ œ
.
Slow down, slow down
lit - t l e t r a i n ,
we will end our
rail - w a y day.
60
DESIGNING LESSONS > LESSON PLAN FOR 0–36-MONTH-OLD INFANTS OR TODDLERS
b y singing, p l a y i n g i n s t r u m e n t s , listening t o m u s i c ,
moving, and improvising.
61
DESIGNING LESSONS > LESSON PLAN FOR 0–36-MONTH-OLD INFANTS OR TODDLERS
Natassa E c o n o m i d o u S t a v r o u
&42 œ œ œ œ œ œ œ œœœœœ œ œ œ
Wa k e u p (name) here w e are m u - sic has be - g u n clap your
hands
Little fly
Flies a n d bes (chant)
Natassa E c o n o m i d o u S t a v r o u
&42 œœ œ œ ˙ œ œ œ
Littd-bees,le fly
œ œ
g o es,a - w a y
œ
this is
œ
not your
lunchhe flow ers,
litt - leourflyfood,
œ œ œ
glissandihe waydown œ œ œ
& œ œ
y comea-round.with us
œ œ œt o
if you’d like dance.
Clap your hands
with your friends
11
&
œ œ œ œ ˙ œœœ
fly up in the
sky
litt - le fly
œ œfly
litt - le
œ œ d o nœ
come and ’t be
˙
shy.
Natassa E c o n o m i d o u S t a v r o u
42
œ œ œœ œ œœ œ œœ œ œ œ œ œ œœ
œ Flies and bees, f l i es a n d b e e s , f l y a -r o u n d , up and down, on t h e f l o w - ers, on
œ
our food,
up up
œ
œœ alllllllglissandithewaydown alllllllt h e w a y u p alllllllglissandithewaydown
fly
down down
a -r o u n d .
©
63
DESIGNING LESSONS > LESSON PLAN FOR 0–36-MONTH-OLD INFANTS OR TODDLERS
H i g h a n d low
Natassa E c o n o m i d o u S t a v r o u
&42 œ œ œ œ œ œ ˙ œ œ œ œ œ œœ
go up try reach - ing the sky. We go down o w laying on the
W
e œ
& ˙ ˙ œ œ
˙ ˙
sky ground Hi low Hi
ground and
Goodbye
Michael Dartsch
&#c
˙ œj œ. œj œ. œj œ œ œ œ low.˙ œ œ
&# bye,
œ œg o oœ œ
d -bye
œu n œ- til œ. next
œj time!
œ. œj œ
We’ll
œwe’ll œ.play, we’ll
sing,
6
MICHAEL DARTSCH
Hello, hello
Michael Dartsch
&b42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
H e l - lo, hel - lo,
nice to see you!
H e l - lo, hel - lo,
how are you?
W h e n y o u sing the s o n g the s e c o n d time, put in the n a m e o f the child instead o f the s e c o n d “hello”!
The duck
Michael Dartsch
œ œ œ œ œ œ œ
*
œ t hœ œ œ 83œ œ
Duck, w a d d - les
throuh the m e a - d o w,
on e a l - l e y,
through the v a l - l e y.
5
œ œ œ œ. œ œ œ œ. œ. œ.
 œ. œ.
up in the
fly,
fly!
Fly,
fly,
sky!
Up in the
sky,
> ACTIVITIES 8. W e c o m b i n e t h e w a d d l i n g a n d t h e s w i p i n g m o v e -
m e n t s o n t h e d r u m s w i t h t h e text o f t h e s o n g , m a t c h -
1. Wi t h t h e g r o u p , w e s i n g t h e g r e e t i n g s o n g “ H e l l o , ing the respective meter.
Hello”, w h i c h is s u n g at the beginning o f every lesson.
T h e c h i l d r e n / We a r e sitting i n a circle, s w i n g i n g f r o m 9. We i m p r o v i s e m u s i c , w h i c h c h a n g e s b e t w e e n t w o -
the right t o the left s i d e to e v e r y q u arte r n o te. a n d three-part t i m e , a n d e n c o u r a g e t h e participants t o
m o v e freely to the music.
2. We listen to a duck’s voice from a recording together.
10. We listen together to the duck part of Sergei Proko-
3. We s h o w a d u c k p u p p et w a d d l i n g a n d flying. fie v’s P e t e r a n d t h e Wo l f , sitting c o m f o r t a b l y s p r e a d
ou t a r o u n d t h e r o o m .
4. We s p e a k t h e text o f the s o n g together.
11 . W e listen t o a f e w t o n e s p l a y e d o n t h e o b o e b y a
5. We s i n g t h e s o n g “ T h e d u c k ” together, re p ea ting it guest – if this is possible – sitting close b y her or him.
as often a s n e e d e d for the caregivers t o feel confident.
12. Together, w e sing the final s o n g “Goodbye”, w h i c h
6. We s t a n d u p a n d s i n g the s o n g together, c o m b i n i n g is s u n g in at the e n d o f e v e r y lesson (notation o n
it w i t h m o v e m e n t s w h i l e staying in place. We encour- page 63).
a g e the caregivers t o s w i n g the children o n their a r m s
when we sing “Fly.”
ULLA PIISPANEN
> p la y d y n a m i c c h a n g e s w i t h the d r u m s
Troll S o n g
Ulla Piispanen
&##42 œ œ œ œ œ œ œ œ œ œ œ œ
Here is a m u - sic troll and her name is For - te.
Here is a m u - sic troll and his name is Pia - no.
&## œ œ œ œ œ œ œ œ œ œ œ œ Œ
When she is play - ing drum, the s o u n d is big and loud.
When he is play - ing drum, the sound is gent - ly small.
4. We listen to the recording Water Droplets by Sibelius. N ow it’s time to thank you all; it is time to go back home.
Thanks for all m y dearest friends; w e will meet again!
5. We play the rhythmic pattern, Lit-tle wa-ter-drop
(ta-ta-ti-ti-ta) w i t h o u r fingers a n d chopsticks to Wa t e r
Droplets.
7. We f i n d t h e trolls d a n c i n g i n a circle in t h e w o o d s ,
a n d w e join t h e troll d a n c e : I n t h e first e i g h t b ars , w e
walk 16 steps clockwise; in the next eight bars, 1 6 steps
c o u n t e r c l o c k w i s e ; i n the n e x t eight bars, to the center
a n d ba c k; a n d in the final eight bars, w e w a l k a g a i n to T h e teacher c a n take f e w e r things in the first
the c e n t r e a n d b a c k . lesson a n d concentrate o n those parts that chil-
d r e n a r e i n s p i r e d b y. A t t h e e n d o f t h i s l e s s o n ,
(Music: Peikkokansan tanssi Hilla ja Liisi, Troll People´s the teacher will h a v e ideas f or the f o l l o w i n g les-
Dance, available o n Spotify). s o n s . A l t h o u g h t h e p a i n t i n g t a k e s q u i t e a lot o f
t i m e , it is w o r t h d o i n g ! It is g o o d t o r e m e m b e r
8 . W e f i n d t h e h o u s e o f t h e t w o little trolls f r o m t h e that there should always b e time for “ m o v i n g
w o o d s , a n d w e visit them. T h e trolls are called Forte ja m o m e n t s ” after activities w h i c h r e q u i r e a lot o f
Piano, and the teacher sings a song for both of them, concentration.
w h i c h the children imitate.
68
DESIGNING LESSONS > LESSON PLAN FOR 3–4-YEAR-OLD CHILDREN
Surprises and contrasts in music are often present in 1. Children are sitting in a circle, a n d w e tell t h e m that
musical pieces in terms of dynamics, metre, tempo, it’s a great day, so w e will go o n a “parade” in the park.
articulation, o r f o r m . I n this lesson p lan , w e a p p r o a c h T h e s u n is shining, a n d s u m m e r is coming. We say the
contrast t h r o u g h d y n a m i c s , fo cu s in g a l s o o n r h y t h m i c following r h y m e a n d ask the children to tap the steady
c o n c e p t s . T h i s is just a n i n t r o d u c t o r y u n i t t o c o n t r a s t b e a t o n d i ff e r e n t p a r t s o f t h e i r b o d y e a c h t i m e u n t i l
d y n a m i c s ; t h e r e is a g r e a t a r r a y o f activities t h a t c a n t h e y learn s o m e o f the w o r d s (ti-ti-ti-ti-ti-ti-ta o r ti-ti-
b e o rg an i z e d i n o r d er to w o r k in-depth w i t h d y n a m i c s ti-ti-ta).
in music.
Such a sunny day outside; let’s go for a little ride.
Sun is shining in the sky; birds sing all along.
> OBJECTIVES Let’s go on a big parade; put a big smile o n your face.
S u m m e r n o w is o n the w a y ; put your swimsuits o n !
C h i l d r e n a r e e n g a g e d i n a ctiv itie s t h a t e n c o u r a g e
t h e m to 2. W e a s k t h e c h i l d r e n t o s t a n d u p a n d f o l l o w us . W e
w a l k in a line around the r o o m while w e say the r h y m e
> p e r f o r m t h e r h y m e a n d t h e n s i n g the lyrics w i t h the a n d p l a y the s t e a d y b e a t o n the h a n d d r u m , a n d all the
m e l o d y o f t h e m a i n t h e m e o f H a y d n ’s S u r p r i s e S y m - children fol low u s m a r c h i n g to the steady beat.
phony;
3. W e t h e n c h a n g e f r o m m a r c h i n g t o t h e s t e a d y b e a t
> m a r c h to r e c o r d e d m u s i c o n the s t u d y beat; to w a l k i n g o n e v e r y syllable o f the r h y m e ( w a l k i n g t o
t h e r h y t h m i n s t e a d o f t h e s t e a d y b ea t). S o , at t h e e n d
> play the rhythm of crochets and quavers on claves of each phrase, w e stop longer to show the quarter
and boomwhackers; note. We repeat several times using b o th the lyrics a n d
the syllables ti-ti-ti-ti-ti-ti- ta or ti-ti-ti-ti-ta.
> w a l k a n d s p e a k the r h y t h m o f a r h y m e a n d m e l o d y ;
4 . W e sit d o w n i n t h e circle, a n d w e g i v e e a c h c h i l d
> i d e n t i f y t h e d i ff e r e n c e i n d y n a m i c s a n d b e a b l e t o claves to play the r h y t h m o f the r h y m e .
respond accordingly through movement and playing
instruments; 5. We n o w s i n g the m e l o d y o f the r h y m e b a s e d o n the
m a i n t h e m e o f H a y d n ’s S u r p r i s e S y m p h o n y a n d t h e n
> play a melody from a graphic notation score on teach the “ s o n g ” w i t h the m e t h o d “ f o l l o w the leader,”
boomwhackers singing one phrase and then having the children echo
the phrase. In the various repetitions, w e either tap
b y singing, p l a y i n g i n s t r u m e n t s , listening t o m u s i c , t h e s t e a d y b e a t , c l a p t h e r h y t h m , s a y it s o f t l y, p a s s a
moving, and improvising.
p u p p e t t o o n e ’s n e i g h b o u r o n t h e s t e a d y b eat , a n d s o
forth.
69
DESIGNING LESSONS > LESSON PLAN FOR 3–4-YEAR-OLD CHILDREN
Surprise Symphony
œ.œ.
&42fœ. œ. œ.œ. œ.œ. œ> œ.œ. œ.œ. œ.œ.œ> œ.œ.œ.œ. œ.œ. œ>
#œ.œ. >˙
9
œ.œ.
&pœ. œ. œ.œ. œ.œ. œ> œ.œ. œ.œ. œ.œ.>œ œ.œ.œ.œ. œ.œ. œ>
#œ.œ. >˙
6. We listen to the b e g i nn in g o f the recording Surprise dren that w h e n w e see smaller shapes, the s o u n d is
S y m p h o n y b y H a y d n . We ask children to c o m m e n t o n shorter, and w h e n w e see longer ones, the s o u n d is lon-
t h e m u s i c h e a r d . It is e x p e c t e d t h a t t h e y i d e n t i f y t h e ger. We a t t e m p t t o p l a y t h e b o o m w h a c k e r s f o l l o w i n g
rhyme/song taught and c o m m e n t o n the dynamics, the g r a p h i c s c o r e . We p ra ct ic e m a n y times, a i m i n g at
especially t h e loud, s u r p r i s i n g s o u n d at t h e e n d o f the the e n d to play the m e l o d y o n b o o m w h a c k e r s a n d sing
main melody. at t h e s a m e t i m e . T h e t e a c h e r p l a y s t h e c l a v e s a t t h e
final phrase, and the children shout “Storm!” at the end.
7. We listen again, s t a n d u p in the circle, a n d tiptoe t o
the rhythm, singing softly the w o r d s taught. We ask the
children w h a t could possibly h a p p e n in o u r w a l k w h e n
t h e r e is t h e u n e x p e c t e d l o u d s o u n d i n t h e m u s i c , a n d
w e suggest that one possible idea could be thunder
revealing that a s t o r m is c o m i n g . We d e c id e that w h e n
w e hear the loud s o u n d , w e will s a y the w o r d “storm,”
a n d w e repeat the activity.
10. We listen to the recording “March Past of the Kitch-
8 . W e t h e n t a k e a n u m b r e l l a a n d tell t h e m t h a t t h e y e n U t e n s i l s ” f r o m t h e p i e c e T h e Wa s p s c o m p o s e d b y
should attempt to continue their walk, but because Va u g h a n Wi l l i a m s , a n d w e a s k t h e c h i l d r e n t o m o v e
they had already had hints about the storm coming, freely to the music and listen carefully. I n the end, they
they should be precautious since the weather is not sit i n t h e circle, a n d w e a s k t h e m t o m a k e their c o m -
stable. W e p u t h u l a - h o o p s ( o n e for e v e r y child o r o n e ments about the piece. We ask them what the story
for t w o c h i l d r e n a c c o r d i n g t o t h e n u m b e r o f t h e chil- might b e in this piece.
dren in the class) d o w n o n the floor and explain that be-
cause w e do not have enough umbrellas to give them, 11. T h e teacher tells children that last n i g h t in his/her
the h u l a - h o o p s will b e their h o m e s t o r u n to w h e n the h o u s e all t h e k i t c h e n u t e n s i l s w o k e u p v e r y l a t e a n d
r a i n s t a r t s t o fall. W h e n t h e m u s i c t h e y a r e l i s t e n i n g wanted to have fun. T h e y w a n t e d to m a k e a parade like
t o is s o f t , t h a t m e a n s t h a t t h e s u n is o u t , a n d t h e y g o the children t h e m s e l v e s d i d be fo re , but t h e y h a d to b e
o u t w i t h their f r i e nd s, d a n c i n g a r o u n d w i t h c o l o u r f u l quiet a s they did not w a n t to w a k e a n y o n e up. So, they
scarves. W h e n the music b e c o m e s loud, they need tip-toed, but, unfortunately, there w e r e s o m e m o m e n t s
to run very quickly to one of the hula-hoops (home) that t h e y w e r e n o t s o careful. T h e y fell o n t h e s p o o n s
to pr ot ec t t h e m s e l v e s f r o m g e ttin g w e t . T h e y s h o u l d , a n d forks in front o f t h e m , a n d there w a s a loud noise.
though, c o n t i n u e d a n c i n g w i t h their s c a r v e s inside the T h e teacher w o k e u p b u t p r e t e n d e d s / h e d i d not, s o a s
h u l a - h o o p . T h i s p r o c e d u r e i s f o l l o w e d t h r o u g h o u t the no t to disturb the m a r c h i n g party.
piece, Slavonic D a n c e op.46, N o . 8 by Dvorak.
12. We give children plastic or w o o d e n spoons or other
9. Children return to the circle. We s h o w the following ki tc he n utensils to u s e as m u s i c a l instruments a n d a s k
graphic representation o f the melody o f H a y d n ’s theme t h e m to pretend they are the kitchen utensils marching.
to b e p l a y e d w i t h b o o m w h a c k e r s a n d c l a v e s , a n d w e T h e t e a c h e r s u g g e s t s that t h e y s a y the w o r d “ B o o m ! ”
give o n e b o o m w h a c k e r t o e a c h child. We tell the chil-
along with the loud sounds. T h e children try to fin d the
right m o m e n t to c h a n g e f r o m soft to loud.
70
DESIGNING LESSONS > LESSON PLAN FOR 3–4-YEAR-OLD CHILDREN
MICHAEL DARTSCH
T h e d i f f e r e n c e b e t w e e n a p u l s e a n d its d o u b l e t i m e C h i l d r e n a r e e n g a g e d i n a ct iv itie s t h a t e n c o u r a g e
pulse is applied to different m e d i a a s singing, m o v i n g t h e m to
a n d p e r c u s s i o n . It c a n a l s o b e p e r c e i v e d b o d i l y. T h i s
p r e p a r e s c h i l d r e n t o learn traditional r h y t h m s y m b o l s > sing their n a m e s o l o in the greeting s o n g ;
for crotchets a n d q u av er s.
> m o v e f o r w a r d w i t h little a n d b i g s t e p s a n d a d a p t
these to the m u s i c ;
> listen and sing the song “Steps” (notation o n page 72);
N o w w e are together
Michael Dartsch
&bbb 44 œ. œœ œ œ œ œ œ œ ‰œ
J œ œ
are to ge ther, what e v er the wea ther!
Now we
3 rit. U
&bbb œ. œœ œ œ œ œ ‰ œ
J œ Œ
Now w e are to ge ther: we and Till!
you and me!
T h e last t w o w o r d s (or the last word, w h i c h is the n a m e of the child) is sung as a solo b y the child. In the
last verse everybody sings the end making gestures for “you” and “me”.
Steps
Michael Dartsch
&##42 œj œ œ œ œ œ œ œ œ œ œ œ œ
With lit tle steps I go way, I go a w i th
my head
4
2
&## œ œ œ œ œ œ œ œ œ œ œ œ œj
out de lay. With big steps I go, with fun I do so.
lSteps als K a n o n
M i c h a e l D a r t s M i c h a e l M i c h a e l D a r t s c h D a r t s c h
Alt 1 lt 1
&## 42 42#œ œœœjœœœ œ œjœœœœœœœ œ œœ œœ œœ œ œœœœ
Alt 2
Alt 2
&## 42 42#œj œj œ œœ œ œ œœ œ œœ œœ
5 ##5 œj
œœ œ œ
& &œ# œ # œ œj œ œ œ œœ œ œ œj
## œœ œœ œœ œ
j œ
œj
&œ## œœ œœœjœ œœœœœœ œ
&
œœ
Let’s s a y g o o d b y e
Michael Dartsch
U œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Let's say g o o d -bye! Let's s a y g o o d -bye. Next w e e k we'll s a y hel - lo and hi!
&# œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ‰
We ' l l m e e t a - gain, this will be, w h e n s e - v e n d a y s h a v e p a s s e d by!
73
DESIGNING LESSONS > LESSON PLAN FOR 3–4-YEAR-OLD CHILDREN
T h e be ar f a m i l y
D A7 D
œ œ œ
&##42 Ta-a,
˙
t a -a,
œ
dad
-
dy
-
bear
œ
is
wal
-
5 D A7 D
&# œ œ Œ
˙
Ta-a, ˙
t a -a,
wal - k i ng
in
œ
the
w oœ
ods.
9 D A7 D
œ œ
&# œ œ œ
œ
Ta,
œ
ta,
œ
ta,
œ
ta,
m o m - m y - bear
is
wal
-
king.
13 D A7 D
&# œ œ Œ
œ
Ta,
œ
ta,
œ
ta,
œ
ta,
wal - king
in
œ
the
œ
woods.
17 D
&# œ œ œ
œ -
œ
Ti
ti, ti
-
œ
ti,
œ œ
ti
-
ti, ti
-
œ
21
D A7 D
&# œ œ inœ Œ
œ- ti,œ œ
Ti ti - ti,
œ œ œ
ti - ti, ti - ti,
wal - king the
w oœ
ods.
74
DESIGNING LESSONS > LESSON PLAN FOR 5–6-YEAR-OLD CHILDREN
ULLA PIISPANEN
b y s i n g i n g , p l a y i n g i n s t r u m e n t s , listening, m o v i n g ,
and improvising.
75
&b42
œ. œ œ . œ œ
Ri
5 A7
œ. œ œ. œ. œ œ.
&b . œ œ. œ œ œ
When
we’ll end
our
ri
d i n g d a y,
we’ll
say hip
h u r
-
-
Dm A7
9
œ. œ œ.
&b . . œ œ h o.b
œ œ
Ri
w i th
-
ding with
my
-
b y h o r se ,
m y friend,
( M u s i c c a n b e s o m e t h i n g that h a s a g o o d s t e a d y b ea t,
such as the ”Pie in the Face Polka” by Mancini.
4. W e t a l k a b o u t life o n t h e f a r m a n d s i n g “ O l d M a c
Donald.” T h e teacher c a n take f e w e r things in the first
lesson a n d concentrate o n those parts that chil-
5. We learn rh yt h m i c patterns a n d u s e b o d y percussion d r e n a r e i n s p i r e d b y. A t t h e e n d o f t h i s l e s s o n ,
to m a k e t h e m . the teacher will h a v e ideas f or the f o l l o w i n g les-
s o n s . A l t h o u g h t h e p a i n t i n g t a k e s q u i t e a lot o f
( C o w s a n d pigs, h o r se a n d chicks/ ti-ti-ta, ti-ti-ta) t i m e , it is w o r t h d o i n g ! It is g o o d t o r e m e m b e r
(O ld M a c d o n a l d h a d a F a r m / ta ta ti-ri-ti-ri ta) that there should always b e time for “ m o v i n g
m o m e n t s ” after activities w h i c h r e q u i r e a lot o f
6. We play the s o n g w i t h patterns w i t h d ru ms . concentration. T h e idea is that the next t h e m e
of the l e s s o n will b e the s e a a n d its habitants,
7. We p l a y the h a r m o n y o f “ O l d M a c D o n a l d ” o n t h e so the teacher can lead the children to the n e w
kantele, x y l o p h o n e o r other h a r m o n y instrument.
t h e m e g rad ua lly.
76
DESIGNING LESSONS > LESSON PLAN FOR 5–6-YEAR-OLD CHILDREN
La Raspa
V œj œ œj œ œj œ ‰Œ œj œ œ œ œ œj œ ‰Œ œj
A
&# œ œj œ œj œ ‰ Œ œj œ œ œ œ œj œ ‰ Œ .
5
MICHAEL DARTSCH
Title: Pastoral
Duration: 45 minutes
F o c u s : A c t i n g musically i n the six-eight t i m e
signature and getting to k n o w the scale.
H a v e a gr eat t i m e
Michael Dartsch
&b86 œ œj œ. œ œj œ. œ œ œ œ œ œ ˙.
Have a great, have a great, have a great, h a v e a great time!
5 1. 2.
&b œj œ œ. œj œ œ. œ œ œ œ œj œ œ œ œ œ œ .. ˙ . .
Get h o m e safe, get h o m e safe! H a v e a great time, g o o d - b y e -y e - ye-y e - y e ye! bye!
3. We teach the m e l o d y a n d s i n g the s o n g together. 12. Together, w e sing the final song “Have a great time,”
w h i c h is s u n g at the e n d of every lesson.
4. We encourage the children to explore guitars, w h i c h
a r e t u n e d t o d a n d a, o r i n d i v i d u a l m e t a l l o p h o n e b a r s
for a while.
5. We s i n g t h e s o n g a g a i n w i t h t h e g r o u p a n d a c c o m -
p a n y it t o g e t h e r o n t h e g u i t a r s o r i n d i v i d u a l m e t a l l o -
p h o n e bars.
7. W e w r i t e a D m a j o r s c a l e o n a b l a c k b o a r d , w h i t e -
board, o r paper. O n e child m a y point to the notes while
the o t he rs s i n g the scale. We talk a b o u t the n u m b e r o f
the notes in a scale.
8. We g i v e s o m e s h o r t i n f o r m a t i o n a b o u t B a s t i e n a n d
Bastienne c o m p o s e d b y M o z a r t .
W h o is he r e?
Michael Dartsch
&## .˙ œ œ œ ‰ œj œ œ œ
Say! Ul - la is here! N a - tas - sa is here!
10
&## œ œ œ œ œ œ œ ‰ œjŒŒ ‰
Till is here! M i - c h a - el is here! Hi, h e l - lo! How
13
&## œ œ œ œ œ‰j Œ
œ œœ œœœ œœœ œœ œj œ‰jœ
œ hel-lo!
are y o u to-day? W h o is here, w h o is here, w h o is here, w h o is h e r e ? Hi, How
16
Michael Dartsch
œ œj œ.
&##86 œ jœjœ sheep with you!
œ Jœ œ jœ œ
She - pherd, take your
Lead them where the
grass is g re e n! To -
5
œj œ œj œ. œ œj œ œ œ
&# œ œ œ Œ.
d a y is a bu
-
sy
day f or y o u !
Ma
-
ny sheep I have
.
s een!
9
œ. œ. œ. œ. Jœ œ œ.
&# œ.
.
O n e,
tw o,
three,
four,
five,
six,
se - ven
times
13
œ. œ. œj œ
&# œ. œ. œ. œ.
o n e,
tw o,
t h r ee,
four,
five,
six
se - ven
sheep!
.
82
AUTHORS BIOGRAPHIES
IMPRINT
This project is fu nd ed with support f r o m the European Co mmis s ion. T h i s publication reflects
o nl y the v i e w s o f the authors a n d the C o m m i s s i o n cannot b e he ld responsible for a n y u s e
w h i c h m i g h t b e m a d e of the information contained herein.
© European Music School Union, 2022. All rights reserved.
This project is f u n d e d with support f r o m the European Co mmis s ion. T h i s publication reflects
o nl y the v i e w s o f the authors a n d the C o m m i s s i o n cannot b e hel d responsible for a n y u s e
w h i c h m i g h t b e m a d e of the information contained herein.
IS B N 978-3-925574-99-3