DEVELOPMENT OF A MUSIC CURRICULUM

FOR AN EARLY CHILDHOOD NON-MUSIC

MAJOR COLLEGE LEVEL COURSE

by

JENNIFER JAHNKE DEES, B.M.Ed.

A THESIS

IN

MUSIC EDUCATION

Submitted to the Graduate Faculty

of Texas Tech University in
Partial Fulfillment of
the Requirements for
the Degree of

MASTER OF MUSIC EDUCATION

Approved

Chairperson of the Committee

Accepted

Dean of the Graduate School

August, 2004
 Copyright 2004

Jenny Jahnke Dees

 ACKNOWLEDGMENTS

It is with gratitude that I acknowledge the generous support of my husband and

my family, without whom I would not have been able to complete this project. I would

like to dedicate this paper to my parents who made my education possible, and who,

through example and patience, are the best teachers I have ever knovra.
 TABLE OF CONTENTS

ACKNOWLEDGMENTS ii

TABLE OF CONTENTS iii

ABSTRACT vi

CHAPTER

I. INTRODUCTION 1

Statement of the Problem 2

Purpose ofthe Study 3

II. REVIEW OF LITERATURE 4

MENC Guideline #2- Value music and recognize that an early

introduction to music is important in the lives of children 11

MENC Guideline #3- Model an interest in and use of music in

daily life 12

MENC Guideline #4- Be confident in own musicianship, realizing that

within the many facets of musical interaction there are many effective
ways to personally affect children's musical growth 14

MENC Guideline #5- Be willing to enrich and seek improvement of

personal musical and communicative skills 16

MENC Guideline #6- Interact with the children and music in a playful
manner 17

MENC Guideline #7- Use developmentally appropriate musical

materials and teaching techniques 19

MENC Guideline #8- Find, create, and/or seek assistance in acquiring

appropriate musical resources 21

MENC Guideline #9- Cause appropriate music leaming environments to

be created 21

in
 MENC Guideline #10- Be sensitive and flexible when children's
interests are diverted from an original plan 23

III. REVIEW OF AVAILABLE TEXTS AND SUPPLEMENTARY

MATERIALS 24

"Integrating Music Into the Elementary Curriculum" (5* ed.) 25

"Music For Young Children" 26

"Music, A Way ofLife For the Young Child" (4'*^ed.) 27

"Music Play" 28

"The Classroom Teacher^s Guide To Music Education" (2""*^ ed.) 29

"Music In Childhood: From Preschool Through the

Elementary Grades" 30

"First Steps In Music For Infant and Toddlers" 31

"Music In Preschool" (3'^ ed.) 32

"Leading Young Children To Music" (6* ed.) 33

"The Musical Classroom: Backgrounds, Models, and Skills

For Elementary Teaching" (5^ ed.) 34

"New Approaches To Elementary Classroom Music" (3^^ ed.) 35

"Music In the Elementary Classroom: Musicianship and

Teaching" 36

"Music In the Elementary School" (5'^ed.) 36

"Music In Prekindergarten: Planning and Teaching" 37

"Music Fundamentals, Methods, and Materials For the Elementary

Classroom Teacher" 38

IV. INTRODUCTION TO THE CURRICULUM 40

V. CONCLUSION 45

IV
REFERENCES 47

APPENDIX 54

A. THE CURRICULUM 54

B. CURRICULUM MATERIALS 76

C. DEFINITION OF TERMS 115

 ABSTRACT

Instmctors of music courses for undergraduate early childhood education majors

face many challenges when designing a one-semester music curriculum. Few music

textbooks specific to early childhood are available. Many more music texts geared for

elementary majors are available but include little information of early childhood years

(birth - 8 years old). In addition, these elementary music texts often place a major

emphasis on the fundamentals of music. Studies show this focus may not be the most

productive in developing generalists who will provide quality musical experiences in

their classrooms. Students would benefit greatly from a sequential, experiential, and

applicable music curriculum that includes song materials, age appropriate activities,

pertinent readings, valuable resources, and experiences interacting musically with

children.

The purpose of this study was to develop a music curriculum designed for

undergraduate early childhood majors in the study of early childhood music. The

curriculum was based on studies ofthe practical music skills and understandings of

classroom teachers, studies of musical self-perceptions of non-music majors, studies of

sequence, the MENC position statement on early childhood music (MENC, 1993), and a

review of available texts.

The prescribed sequential curriculum provides a weekly format of in-class topics

and activities, as well as homework assignments. Although the curriculum described in

this paper is specific to a particular one-semester, three-credit-hour, early childhood

VI
major music course, the ideas and activities could be adapted to meet the needs of another

course.

Vll
 CHAPTER I

INTRODUCTION

The difficulties in designing a music curriculum for early childhood education

majors are substantial. A practical and applicable curriculum would be based around a
core text and guidelines provided by Music Educators National Conference. It would
include a comprehensive course work comprised of (A) successful music making in a
safe atmosphere, (B) designing and implementing developmentally appropriate music
activities, (C) gaining knowledge ofthe young child's musical growth, (D) researching
helpful music resources, (E) observing young children in a musical setting, and (F)
practicum teaching experiences.
More traditional courses of this kind are theoretically based with an emphasis
being placed on music theory, notation, as well as instrumental performance, as many
texts are geared toward this type of instmction. However, to teach these students
effectively, one might consider the students' prior knowledge, experience, and
confidence with music. In most cases, these attributes are minimal at best. Music literacy
and music theory are useful tools but may not be a requirement for creating successful
and meaningful musical experiences. Given the limited time period of one semester, the
goal of creating a music specialist out of a non-musician seems ineffective (Gauthier and
McCrary, 1999). The students' semester might best be spent in comprehensive course
work comprised of relevant methods, pertinent studies, and active-based experiences.
In its "Position Statement on Early Childhood Education," Music Educators'
National Conference (1993) provides a framework for those who are "responsible for
guiding the musical experiences of young children. These persons should:
(1) love and respect young children
(2) value music and recognize that an early introduction to music is important in
the lives of children
(3) model an interest in and use of music in daily life
 (4) be confident in their own musicianship, realizing that within the many facets
of musical interaction there are many effective ways to personally affect
children's musical growth
(5) be willing to enrich and seek improvement of personal musical and
communicative skills
(6) interact with the children and music in a playful manner
(7) use developmentally appropriate musical materials and teaching techniques
(8) find, create, and/or seek assistance in acquiring and using appropriate musical
resources
(9) cause appropriate music learning environments to be created
(10) be sensitive and flexible when children's interests are diverted from an
original plan" (p. 72).

Early childhood majors presumably are prepared to work in daycare, preschool, or early
elementary school settings. Therefore, these students should be instmcted on how to
implement these factors into "activities in which music is the primary focus of attention
for its own value", as well as "to facilitate the accomplishment of non musical goals"
(MENC, 1993, p. 71).

Statement ofthe Problem

Textbooks of early childhood music pedagogy most often attempt to develop a

comprehension of music theory fundamentals, instmment proficiency and the application

of those skills to teaching music. While these texts are wonderful resources for music

majors, the typical early childhood major might not have sufficient background or

confidence to comprehend the information and course work that is based around such a

text during a one semester course. Knowledge of music theory fundamentals and

instmment proficiency may not be applicable for the early childhood teacher. The
non-musician early childhood major then, would perhaps require an experiential and

applicable music curriculum that includes song materials, age appropriate activities,

pertinent readings, and valuable resources. Song materials might be best presented

aurally, as most of these students are not musically literate. Appropriateness of activities

can perhaps best be understood and experienced by interaction with children in a

supervised atmosphere. The most pertinent readings could include information on child

development, children's musical development, and justification of music education. The

best practical resources could be researched and could include reviews of quality

repertoire, recordings, web sites, references, and materials. Music fundamentals and

instmment technique might best be a secondary focus.

Purpose ofthe Study

The purpose of this study is to develop a music curriculum designed for

undergraduate early childhood education majors in the study of early childhood music.

To achieve this aim, the author will include studies of what has been done in the field, as

well as a review of elementary and early childhood textbooks currently available. The

resulting curriculum, in the form of a three credit hour university course, will need to

provide repertoire, age appropriate activities, pertinent readings, and research of valuable

resources, while allowing students to musically interact with the young child. The

implications of this curriculum are that students may: develop effective teaching skills

and musical behaviors, develop an understanding ofthe child's musical development, and

have the ability and willingness to incorporate appropriate musical activities into their

classrooms.
 CHAPTER II

REVIEW OF LITERATURE

Perhaps the greatest challenge in designing a music education course for non-

majors is in determining the desired outcome. Two approaches could be considered. The

first approach could be to consider the course as a music fundamentals class taught

through curriculum based on theoretical fundamentals, notation, and classroom

instmment technique. The second approach could be to consider the course as a

supplement to the future classroom teacher's overall abilities to provide musical

experiences as an integral part ofthe daily curriculum.

Traditionally, a large focus of elementary music texts, and thus the course work,

is on music fundamentals, theory, notation, and classroom instruments technique and

performance (Gauthier & McCrary, 1999; Saunders & Baker, 1991). From this, the texts

draw some actual music materials, activities, and teaching techniques. A main focus in

the area of music fundamentals seems conceivably appropriate for a two-semester course

geared towards creating more of a "music specialist." However, tme "music specialists"

are teachers who have at least four years of formal music ttaining, in addition to

numerous years of musical experience prior to college (Steinel, 1990). Gauthier &

McCrary (1999), Bowers (1997), and Byo (1999) agree that the situation is difficuh for

the non-specialist in a methods course. It seems ineffective and unrealistic to expect that

a one-semester course is sufficient time for the student to develop competence in music

fundamentals, theory, song materials, development of instrument technique, lesson

planning, resource awareness and application, and other factors. Regardless ofthe
method course focus, it is extremely important that in addition to what a music specialist

brings to children's lives, the generalist involve music in his/her classroom, so that the

children will benefit from the long-range development of musicality (Aronoff, 1974).

Instructors of an early childhood music education course for non-majors, typically

trained musicians, might wonder why seemingly simple music fundamentals are so hard

for the students to comprehend and why these skills should not be a main focus. It can be

easy for the ttained musician to underestimate the time involved in teaching these skills,

even though these fundamentals are the equivalent to a freshman music theory course. It

can also be difficult for a musician to remove oneself from music fully enough to think

like a non-musician. Typically ttained musicians might prefer to leam songs from

notation, as that is most often the way they were trained to leam music. Sadly, the

increasing majority of students seem to be non-musicians, with CDs and radio being their

only musical experiences throughout their lives. John Feierabend (1996) describes the

societal phenomenon.

One hundred years ago, many families instinctively engaged their very young
children in activities that were ideal for developing musicality. No one studied
early childhood music education, and there was little need for classes to be
offered to infants and toddlers with their parents. Today, we are discovering that
during the past one hundred years the musical sensitivities of each generation
have been gradually devastated by the side effects of an increasingly sophisticated
technological environment. Instead of making music, most only consume it- and
the nutritional value of much of that musical consumption has become
increasingly empty. While research is piquing our interest and is supporting a
variety of reasons why music and movement experiences are important in the
earliest years, it is interesting to note what previous generations did. Long before
research advised us about what might be appropriate musical stimulation in the
early years, parents were naturally sharing music activities with their infants and
toddlers. These activities provided ideal experiences for nurturing a healthy
neural network, which is so necessary to fostering musical comprehension,
coordination, and expressive sensitivity. I have conducted interviews with many
senior citizens who were asked to recall a song, rhyme, or game that could be
 played with a baby on their lap. Those citizens over 80 were able to offer a
remarkably diverse repertoire. When others in the 60-80 year old bracket were
asked the same question, only some repertoire could be delivered. A third group
between 40 and 60 recalled very little, and people who were 40 years old and
younger knew nothing, (p. 19)

The students who are presently in college are the sons and daughters of these 40-

60 year-olds. They are, with few exceptions, only music consumers. In a class of 25 early

childhood majors, when asked for a show of hands from people who "consider

themselves to have a pleasant singing voice", rarely do more than two or three hands go

up (Austin, 1995). When pre-service teachers are asked about their own musical

experiences from childhood, the majority of songs or activities remembered are of

"teaching songs" or performance in a PTA or Christmas program. Kritzmire (1991)

explains teachers' attitudes toward music as adults are often reflective of their elementary

experiences (Austin, 1995). Many students remember few, if any, positive musical

experiences from childhood, and even fewer positive experiences from adolescence

(Richards, 1999). Students often complain that they were told they had bad voices, so

they stopped singing. Sims (1993) cautions that "singing is a very personal skill, and it is

easy to do long-lasting damage to an impressionable young child's self esteem through

misguided criticism" (p. 19). The same may hold tme ofthe college students' musical self

esteem. Feierabend (1995) goes so far as to say that because of "musical neglect in the

early years, most school age children in the United States are musically retarded" (p. 12).

It's no wonder that, years later, these students feel paralyzed when asked to sing on the

first day of class or panic when asked to look at a piece of music.

 The need for development of a beneficial curriculum is necessary and relevant,

not only from personal experience of working with in-service early childhood educators,

but on the evidence found by Kelly (1998). His study was designed to "identify the music

skills and understandings taught during their pre-service training that in-service preschool

classroom teachers believe were practical and beneficial" (p. 375). His survey material,

sent to public and private preschool programs, focused on four questions:

(1) What music skills and understandings studied in pre-service teacher education
courses are pre-k teachers using?
(2) What music skills and understandings would in-service pre-k teachers use if
the topics had been studied in the pre-service courses?
(3) What useful music skills and understandings have pre-k teachers gained from
sources other than undergraduate teacher training courses?
(4) What are the subjects' basic educational backgrounds, self-perceptions of
music ability, and awareness ofthe pre-k "Performance Standards for Music
(MENC)?" (Kelly, 1998, p. 376)

The results of this research were:

-The five skills and understandings that the respondents most indicated they had
studied and have used in their classrooms were developing movement
activities (54.3%), using rhythm instmments (51.4 %), leading and
teaching songs (47.1%), providing creative musical experiences (44.3%),
and developing listening lessons (42.9%)
-Additionally, the skills and understandings that were not studied, but would be
used in their classrooms are knowing characteristics of children's voices
(42.9%), selecting recordings for children (24.3%), and developing
listening lessons (28.6%)
-Some skills and understandings perhaps considered more traditional in the
preparation for teaching music were not necessarily found to be useful in
the preschool classroom. These topics included music history (40.0%),
playing the recorder (34.3%), music theory and music reading notation
(31.4%), and playing piano or other type of keyboard (24.3%)
-The five skills and understandings that most respondents did not study and would
not use were music composition (42.9%), developing music reading
activities (40.0%), using basal textbook series (35.7%), integrating music
computer activities (35.7%), and playing the autoharp (34.3%). (Kelly,
1998, p. 377)
 It seems the most relevant and useful skills came from instmction of direct music

experiences. Other studies are consistent with Kelly's findings (Saunders & Baker, 1991).

These researchers also found that "when classroom teachers are given the opportunity to

identify activfries they would be able and/or are willing to implement within the

classroom, they more commonly mention teaching activities based upon singing,

listening, movement, and integrated music with other subject areas," (Austin, 1995

paragraph 9). According to Young (1975) and Jalongo (1996), the surveyed classroom

teachers' ideas about what will actually be useful is consistent with experts who also feel

that teachers with little performance skill can achieve a quality early childhood music

program. Often times, it could be the presentation and direction ofthe students' college

experiences that heavily influence the student attitudes. Instmctors should be ready to

motivate the students musically and pedagogically (Kvet & Watkins, 1993). If the non-

musician student has an enjoyable class with positive relevant musical experiences,

he/she will probably develop a positive impression and will later be more confident in

performing activities with children (Richards, 1999). Without a sense of confidence, the

student may not use these activities later.

Perhaps the greatest stmggle in course work of this nature lies in the confidence in

and comfort factor, or lack thereof, ofthe pre-service teacher. Ideally, the pre-service

teacher would feel confident in his/ her music ability upon completion ofthe required

music course. The following research shows, however, this is not always the case. The

results of this study might bring into question the amount of musical experiences these

students will provide for their students in the future. The purpose of a study done by

James Austin was to examine the "effects of music fundamentals class experience on
future classroom teachers' attitudes and motivations" (Austin, 1995, paragraph 1). His

study measured in part the self-perceptions of 360 future classroom teachers and the

effect of those self-perceptions after completion of a music fundamentals class.

In this study, two intact groups of classroom teachers were compared—students

who had already completed a music fundamentals course and students who had
just enrolled in a music fundamentals course. Students' beliefs about the strength
of their music abilities, their recollection of important failure experiences in
music, and their interpretations about why important failures occurred were
assessed to determine whether completing a music fundamentals course had any
short term effect on attitudes and motivation. Overall, future classroom teachers
who participated in this study did not feel very confident in their music abilities.
Regardless ofthe activity area, subjects tended to rate themselves as only "good"
or "fair". They felt most confident about their ability to move to music and least
confident about their ability to create music (perhaps reflecting how little creative
activity is encouraged or fostered within music classrooms at all institutional
levels, with the other ability self-perceptions clustering somewhere in the middle.
More importantly, the pattem of adjusted means for comparison groups revealed
that music ability self-perceptions did not improve as a result of music
fundamentals class experience and, when adjusting for initial differences in music
achievement, self-ratings of singing ability actually declined significantly with
experience. (Austin 1995, paragraph 29)

It appears from this study that a music fundamentals course does not necessarily

increase students' confidence in music abilities. Perhaps this is a contributing factor to

the low number of classroom teachers who teach music in their classrooms (Saunders &

Baker, 1991; Austin, 1995). Of course, other factors (e.g., time restraints, the presence of

a music specialist, feelings of indifference) may contribute to the low number as well.

Further studies might investigate the effects that a music course based on pedagogy and

methods experience has on future classroom teachers' attitudes and motivations.

What is important to remember is that because a course is based on methods and

pedagogy, does not mean that music fundamentals are neglected. Perhaps it should be

considered a reprioritization of course work. Basic singing skills, notation, and theory can
be addressed, but only after the students have acquired an adequate amount of musical

language or repertoire. Temmerman (1998) agrees by stating, "tt is recognized that adult

beginners, like children, need to be involved in doing, perceiving, and internalizing music

experiences before they can successfully represent what they have leamed." These

developmental skills could be drawn out ofthe activities and repertoire used in the

course. Instmctors might teach students the way those students will teach children.

Andress (1998) describes this approach to music education.

A curriculum that attends to basic musical understandings can be playful, yet it

must include meaning-centered activities that have the potential to promote a
sensitivity for and understanding about music. Meaning-centered activities should
be planned so that they are easily carried out by novice music teachers or care
givers. The teacher models a musical sensitivity to qualities heard and performed,
such as volume, timbre, and tempo. When appropriate, the teacher introduces
labels that describe music and musical ideas. (Andress, 1998, p. 39)

Andress also cautions about applying this approach too harshly.

There are risks associated with implementing a conceptually based or meaning-

centered early childhood music curriculum. An overzealous approach that presses
the leaming of musical elements or the development of performance skills may
diminish the child's joyful knowing and playful interaction with musical ideas.
However, if lessons are well conceived and implemented in a developmentally
appropriate manner, a meaning-centered approach will help teachers become
more musical in their presentations and will provide effective guidelines for
planning early childhood music experiences that don't dettact from the joy ofthe
experience. (Andress, 1998, p. 40)

It might be effective to acknowledge these same ideas in a college music course for non-

majors.

This review will continue with an investigation ofthe musical responsibilities and

characteristics of early childhood educators according to MENC, research implications of

these responsibilities and characteristics, and methods that can be implemented.

Temmerman (1998) explains why this approach is important, "Matching curriculum to

10
the professional characteristics and competencies needed by beginning teachers may help

guarantee that novice teachers provide an effective school music programs for future

generations."

Perhaps a student centered curriculum could be based on the characteristics and

competencies provided by MENC's Position Statement on Eariy Childhood Music for

those who are "responsible for guiding the musical experiences of young children"

(MENC, 1993, p. 72). The first of these guidelines, "love and respect young children,"

may best be addressed by modeling behavior. This guideline has such broad implications

that it will not be addressed in this paper. The other nine could be addressed directly in a

non-major course. Examples of assignments to implement these guidelines will be

provided in Chapter TV.

MENC Guideline #2. Value music and recognize that an early

introduction to music is important in the lives of children.

If the teacher understands she/he has a sense of responsibility to include music,

but also a personal interest in it, the effectiveness of music use will be influenced (Byo,

1999; Saunders & Baker, 1991). Many classroom teachers might be much more open to

using music in their classrooms if they understood how relevant and meaningful it is in

children's early years. This is particularly tme if they think the activities will be

successful (Cameron & Bartel in Richards, 1999).

Students could study the available research and studies, as well as read numerous

articles by various authors on the importance of music in early childhood. Research has

shovm that by age seven, children have formed musical preferences and singing voices

11
(Scott, 1989). Findings like this might be stressed to pre-service teachers of young

children, so they can help form musically nourished children.

MENC Guideline #3- Model an interest in and use of music

in daily life.

As previously stated, most students remember music in terms ofthe "teaching

songs" or special programs for PTA or Christmas. McCarthy (1994) found that

generalists most often used music for special occasions (Byo, 1999). Teaching songs are

probably the most commonly found repertoire when reviewing the music literature of

non-music early childhood publications. "Early childhood specialists most commonly

consider music activities in light ofthe ways they benefit the extramusical skills rather

than for the development of musical skills for their own sake" (Feierabend, 1990/1992,

p. 16). Early childhood specialists should comprehend that singing a song about a

stoplight is not music education even though the process might be a memorable

experience. This is not to say that teaching songs are completely taboo. They are often a

way to show children that music can be made in and about every day life, and can get the

children singing and moving. Feierabend (1990/1992) says, "If music activities are to be

vehicles to facilitate "extramusical" learnings, care must be given to develop primary

music skills; comfortable singing and rhythmic moving. Furthermore, music must not be

solely justified for its development in other areas. Nurturing music skills should be

considered essential in early childhood simply because ofthe richness it brings to one's

life," and he cautions to "use teachings songs to teach concepts, but use inspired repertory

to enhance a child's artistry" (p. 16). The use of music is encouraged with young

12
children simply because it is so natural for them. Eariy childhood teachers often use

music for circle time, but music should also be used throughout the day (Baney, n.d.).

Many instmctors of early childhood music education classes agree that one of

their objectives is to teach how generalists to include music across the classroom

curriculum (Gaulthier & McCrary, 1999). In terms of implementing the national

standards, generalists feel that collaboration with music specialists is needed, although

the generalists do feel somewhat capable to implement two ofthe integrated standards:

understanding music in relation to other subjects and understanding music in relation to

history and culture (Byo, 1999). Another way for music to be part of everyday life,

especially in the non-music classroom is for "children to develop experience with rhythm

and movement in naturally occurring situations through early gross motor development

and language interaction" (Levinowitz, 2001, p. 47). Many classroom teachers often have

music playing in their classroom which is a step in the right direction, but "these

recordings should be played throughout the day with the parent or caregiver making sure

to sing and move with the music as an accompaniment" (Levinowitz, 2001). Pre-service

teachers could be given experience in music-guided groups and integrated musical

experiences. These experiences could occur in the college classroom, as well as with

children in a practicum setting. Students' assignments could include research of

children's literature that incorporate music naturally, or categorization of repertoire into

subjects.

13
 MENC Guideline #4- Be confident in own musicianship,
realizing that within the many facets of musical
interaction there are many effective ways to
personally affect children's musical growth.

As discussed in previously mentioned studies, this might be the biggest obstacle

to overcome. It might also be the most important in order for successful music making to

occur. Eariy childhood educators could be reminded that good music modeling behaviors

include rhythmic moving, a pleasant singing voice, and enthusiasm. However, one may

not need to have an extensive music background to interact musically. Feierabend

(1990/1992) agrees.

Attention to singing development and rhythmic moving is fundamental to the

development of music aptitude. Still, music is more than tones and rhythms. It is
spirit. No musical performance could be considered successful if only the tones
and rhythms were present- those tones and rhythms must be performed with a
deeply felt message. The ability to perform tones and rhythms with spirit is the
direct outcome of music at any age. (p. 18)

Others echo the same idea. Greenberg (1976) believes that non-musicians can

provide a successful program, equal to those provided by musicians, if the non-musicians

are conscientious and enthusiastic (in Jalongo 1996). CampbeU & Scott-Kassner (1995)

describe the three qualities of good music teachers as: knowing and liking the subject

matter, modeling musical behaviors, presenting with energy and enthusiasm (p. 37-38).

Although there are many ways to affect children's musical growth, the most

readily available is the human voice and body. Sims (1993) states that "singing is the

most intimate way for children to make music and to express themselves through music.

Developing singing skills is important because singing provides a direct way to

experience and leam about music" (p. 19). Others agree that singing is critical to music

development (Wilcox, 1995; Baney, n.d.; Feierabend, 1990/1992). Pre-service teachers

14
could be taught to use the voice appropriately to provide the best model possible.

Petzhold (1966) found that children responded with more pitch accuracy to the human

voice than an instrument. Children echo with greater accuracy when the model's voice is

female rather than male (Sims, Moore & Kuhn, 1982), although the female voice should

be without vibrato (Yarbrough, Bowers, & Benson, 1992). Green (1989) found that a

child's voice is a better model than an aduU's voice. Talent a person might lack in singing

ability can be made up for in spirit and energy (Feierabend, 1990/1992). This may be tme

ofthe music teacher and the classroom teacher. Pre-service classroom teachers could be

encouraged in their college music course to sing and could be taught that singing is a

leamed process. Children's singing voices can be developed if the opportunities to sing

are designed along an appropriate continuum (Ponick, 1999). The same might be tme for

the pre-service teacher. Many students find, through class participation, that their singing

voices have potential. Jalongo states that one ofthe goals in early childhood music is to

"avoid feelings of musical inadequacy in future generations" (p. 8).

Although having skills on an instrument could be quite useful, it is not a necessity

in the early childhood classroom. Piano is generally not encouraged because it can

overwhelm small voices. In addition, a study by Atterbury & Silcox (1993) found "no

significant differences in singing ability between one group of kindergarteners who had

piano harmonic accompaniment and one group with no accompaniment during one year

of instmction" (p. 45). Guitar or autoharp could be used appropriately, although "it is not

necessary to use accompanying instmments with prekindergarten children- a cappella

singing is very appropriate" (Sims, 1993, p. 21). Time could be spent helping students

feel confident and positive about using their voices with children.

15
 The use of movement has also long been a natural vehicle for children to develop

musical skills. In fact, according to McDonald & Ramsey (1978) "Studies by Greenburg,

Romanek, and Belyayeva-Ekzemplyarskaya show that concepts of beat, tempo, and

dynamics may develop before those of pitch, melody, harmony, and firm" (p. 60). Pre-

service teachers could be made aware of and have experience observing movement

development in children. Just as a teacher should use age-appropriate songs and

materials, the teacher should use developmentally appropriate movement activities. Sims

(1993) states that "teachers must keep in mind that younger children and older children

move differently with respect to type, quality, and quality of movemenf (p. 22). The

methods Metz (1989) describes as being important for teachers are describing,

suggesting, and modeling. Pre-service teachers may feel more confident in this area if

they receive instmction in the college classroom and have experience leading children

through movement activities.

MENC Guideline #5- Be willing to enrich and seek

improvement of personal musical and
communicative skills.

This directly correlates with the previous guideline of confidence. If a teacher

does not feel confident in music, or has had a negative experience in a college methods

course, it is doubtful she/he will try to improve these skills. However, authorities agree it

is important for teachers to expand their repertoire. A study performed by Gharavi

(1993) of 173 preschool teachers revealed that "in terms of repertoire, most learned songs

they knew during their own childhoods, from recordings, song collections, or the radio"

(Jalongo, 1996, p. 9).

16
 It seems unlikely that an instmctor can force the pre-service teacher to be willing

to seek improvement. However, the instmctor can create assignments where students

research music workshops in the area, so students are aware of oppormnities for

improvement. Pre-service teachers can be reminded that efforts to improve are important

on resumes. The instructor could also create assignments where students communicate

with in-service teachers, thus creating the opportunity to establish a network system.

MENC Guideline #6- Interact with the children and music in

a playful manner.

Levinowitz (1999) says, "Understanding the play process is of utmost importance

if we consider that play begins in delight and ends in knowledge" (p. 18). The idea that

play should be a main focus of a child-centered curriculum came in the eighteenth

century by Froebel, who said that "Play is the highest expression of what is in a child's

soul" (Frost and Sunderlin in Littleton, 1989). Teachers could understand that playful

experiences are not a free-for-all and that children pick up cues from adults during play.
The Russian social psychologist. Lev Vygotsky (1978) established that the adult,
primarily the parent and teacher, is the primary influence on a child's
socialization process. During musical play, the teacher or parent delivers to the
child cultural 'sign'- such as verbal comments, facial expressions, or indicatory
gestures- that direct the child's attention to specific elements of an experience and
that activates appropriate leaming behaviors. According to Vygotsky, these signs
provide the means for drawing children into their culture (in this case, musical
culture) while also shaping and coloring their perceptions and eventual
understanding ofthe cultural object- the music. (Campbell & Scott-Kassner,
1995, p. 22)

The perceptions and understandings can be thwarted however, if the nonmusical

early childhood teacher interacts solely through recorded lessons, musical video, or CD.

17
Feierabend (1990/1992) encourages the use of recorded music "not as a substitute but as

a partner. The children will be provided with a model of tonal and rhythmic accuracy

from the recording and the spirit or joy ofthe activity from the eyes, face, and gestures of

the aduh" (p. 19). If the only music in the environment is on video or CD, the child may

perceive that music making is only for others. Studies have shown that language must be

"live" or have an emotional content to stimulate language development. "Only live

language, not television, produces these vocabulary- and syntax-boosting effects.

Huttenlocher (University of Chicago) suspects that 'language has to be used in relation to

ongoing events, or it's just noise.' That may hold for other sorts of cognition, too"

(Begley, 1997, p. 31). This raises questions about the ramifications for the musical

language. Perhaps later studies could investigate this. Begley (1997) reinforces

Feierabend's argument that our society has lost the music traditions once central to our

culture. With videos replacing musical play and songs, children need "significant adults

in their lives to provide them with the opportunities to experience music firsthand"

(Baney, n.d., paragraph 16).

"During early childhood, children leam about their world primarily through the

magical process of play. The substance of this play is usually made up ofthe

environmental experiences to which they have been exposed" (Levinowitz, 2001, p. 46).

Therefore, if we desire our children to be music makers, we must surround them with and

guide them through playful musical experiences.

Skillful interaction might not be developed however, without significant practice

and implementation with real children. American folk song writer. Woody Guthrie said

"You'U be healthier. You'U feel wealthier. You'll talk wiser. You'll go higher, do better,

18
and live longer here amongst us if you'll just jump in here and swim in these songs and

do like the kids do" (1956/1992). Comparatively, if learning to swim without water were

difficult, then it would seem equally challenging to leam to teach without children.

Observation and practicum teaching seem to be a necessity for future teachers. Campbell

(2000) explains one reason observation is so important: "If teachers are to be responsible

for children's education and welfare, there ought to be occasions for us to sit back and

watch children at musical play and to leam about their knowledge and regard for music"

(p. 36). Barry explains that "researchers have identified six experiences that promote

reflective teaching for pre-service teachers: (1) peer teaching experiences, (2) joumal

writing, (3) peer observations, (4) receiving formal feedback from peer observations, (5)

self assessment, (6) consultation with university supervisor" (Gaulthier & McCrary,

1999, p. 126). Perhaps these experiences are needed for pre-service teachers and could be

incorporated into the college curriculum.

MENC Guideline #7- Use developmentally appropriate

musical materials and teaching techniques.

The National Association for the Education of Young Children defines

developmental appropriateness.

The concept of developmental appropriateness has two dimensions; age

appropriateness and individual appropriateness:
-age appropriateness- Human developmental research indicates that there are
universal, predictable sequences of growth and change that occur in
children during the first none years of life. These predictable changes
occur in all domains of development- physical, emotional, social, and
cognitive.
-individual appropriateness- Each child is a unique person with an individual
pattem and timing of grow1:h, as well as individual personality, leaming
style, and family background. (NAEYC, 1986/1992, p. 16)

19
 Mistakes are often made by inexperienced teachers who "dumb down" or attempt

to simplify songs and singing games, originally intended for older children, to suit the

needs of their young children. What is so unfortunate about this practice is that the

teacher and her charges can become fmstrated or bored. The teacher, in turn, decides that

the students just don't enjoy music. She/he then stops utilizing music in the classroom. If

the teacher is instmcted how to properly implement the muhitudes of developmentally

appropriate musical materials, the music program might be sound.

Authorities agree that the pre-service teacher should study child development and

music development of children. Knowing the stages of child development and musical

development can help teachers make informed decisions about selecting activities

(McDonald, 1993; Scott-Kassner, 1993; Andress, 1989; Kenney, 1989).

Andress (1998) explains that teachers should offer experience in three musical

environments that are developmentally appropriate: guided groups, "permeable" leaming

(integrating music into daily activities), and areas of special interest to individual

children. Teachers could also be aware that children are "global learners" (Palmer, 1993,

p. 3), and that children "acquire leaming holistically" (Alvarez, 1993, p. 32). Perhaps

lessons should not be created to experience rhythm one day and melody another day.

Teacher education could provide opportunities for students to experience

activities themselves, then try implementation with children. Children don't hide the fact

that they are bored or confused. It becomes readily apparent that the activity is not

working. Observing and working with children of different ages may give the pre-service

teacher an excellent start for understanding how to choose appropriate activities.

20
 MENC Guideline #8- Find, create, and/or seek assistance in
acquiring and using appropriate musical resources.

Pre-service music education might provide the student opportunities to research

and experience implementation of appropriate musical resources, such as CDs, children's

books, manipulatives, homemade instmments, song collections, web sites, etc. Pioli

found that "providing appropriate materials and equipment for the instmction of

elementary music represents one ofthe greatest challenges in our schools" (Byo, 1999,

p. 114), It seems then, that the pre-service teacher should spend sufficient time creating

materials.

Through various assignments, the pre-service teacher can create an assistance

network of mentors. These mentors could be feUow students who have music

backgrounds, teachers met through practicum and observation, and/ or instmctors at

researched future workshops.

MENC Guideline #9- Cause appropriate music leaming

environments to be created.

The environment in the college classroom could often mimic the early childhood

classroom. Often the best education comes through experience. "It is the teacher's

responsibility to prepare the environment both in its physical aspects and the more subtle

psychological manifestations. The two are intertwined and one cannot function well

without the other" (Andress, Heimann, Rinehart & Talbert, 1972/1992, p. 43). Pre-

service teachers could visit music classrooms and regular classrooms to consider how

various settings affect children's leaming. Environmental preparation may not be

addressed in many methods courses, as time is more likely spent on the subject ofthe

21
course. However, environmental preparation, both physically and psychologically is so

important to the success ofthe teacher and the children.

One helpful resource for information of this kind is The First Days of School by

H. Wong and R. Wong (1998). It describes characteristics of effective teachers and then

explains ideas and techniques to achieve these different aspects ofthe profession. A few

examples that coincide with the MENC guideline are listed here: "The Effective Teacher:

Has a statement of positive expectations. Creates a classroom that communicates positive

expectations. Creates an inviting classroom. Maximizes proximity to the students. Has a

discipline plan posted" (Wong & Wong, 1998, p. 44, 68, 100, 126). Students could be

given experiences to prepare the music environment not only for the physical and

psychological nature, but to leam how to guide students through the environment. The

NAEYC states that "Teachers prepare the environment for children to leam through

active exploration, and interaction with adults, other children, and materials" (NAEYC,

1986/1992, p. 17). Some of these materials can be music centers and music games.

Music centers and music games are highly recommended for early childhood

classrooms, regardless of whether or not a music specialist is on staff Early childhood

educators could be educated in preparation ofthe appropriate musical environment, and

just as importantly, the guidance of these centers and games. Achilles (1992) says "a

primary goal for effective use is that music centers attract children to the area and

stimulate music making" (p. 71). Davis, Tower, & Parker (1989) and Palmer (1993)

describe appropriate design and implementation of many music centers.

22
 MENC Guideline #10- Be sensitive and flexible when
children's interests are diverted from an original plan.

As authorities describe below, the teacher must be able to think quickly on his/her

feet when the children's interests are not compatible with the planned lesson.

The teacher also must be prepared to create an environment on the spot for that
unplanned teachable moment. While the children are busy at play, the adult is
constantly alert observing them for cues to determine their readiness for
appropriate musical experiences. The teacher does not feel bound to the stmctured
plan, but is prepared to seize the moment when the child's interests changes or
curiosity is piqued during random play, conversations, or investigations.
(Andress, Heimann, Rinehart, & Talbert, in Andress &Walker, 1973/1992, p. 44)

Levinowitz (2001) and Campbell & Scott-Kassner (1995) agree that teachers should be

able to strike a balance of stmctured activities and the opportunities to follow children's

spontaneity. Teachers should have knowledge and experience with many activities and

repertoire in order to stray from the planned lesson (de I'Etoile, 2001). If the teacher has a

large pool from which to draw, she/ he may not feel glued to the lesson. Although it

might be difficult to teach someone how to think quickly, teacher education can possibly

prepare the student for this spontaneity through planned role-playing activities,

observation, and practicum.

Previous information attests that development of an experiential and applicable

music curriculum is warranted. Chapter III ofthe paper will review available texts and

supplementary materials used in early childhood music courses. Chapter IV will describe

an appropriate curriculum design that is based on the findings of this paper.

23
 CHAPTER III

REVIEW OF AVAILABLE TEXTS AND

SUPPLEMENTARY MATERIALS

According to the findings presented in this paper, and based on the personal

experience of teaching eleven semesters of this course, the author offers the following

outline of appropriate course work for a non-music major "Music for Young Children"

course. The course work would include:

- Information and theories of child development from birth through age 8 mentally,

emotionally, physically, intellectually, and most importantly, musically

- A brief history of music education and justification of its role in the educational society

- The role of music in guided music classes and as an integrated part of daily activities

- Appropriate amounts of song material, in written form and on recordings

Appropriate amounts of age appropriate activities (ie. movement, games, centers,

listening, instmments)

- Resource research of quality materials, recordings, children s literature, songs, games,

and web sites

- Peer teaching experiences and practicum teaching

- Development of appropriate music modeling characteristics

An appropriate early childhood music text would be included in the course work,

and should address most ofthe items listed in the above outline. However, few texts are

written strictly for early childhood methods. Most are intended for elementary methods,

but are often used in non-major music courses for early childhood majors. Many early

24
childhood resources are simply repertoire. The texts and supplementary reading

collections reviewed in this paper were found on the Intemet through an extensive search

of university syllabi of "music for young children" courses.

The following frequently used texts and supplementary reading collections are

reviewed (alphabetically by author) in this paper according to guidelines listed above.

"Integrating Music Into the Elementary Classroom" (5^ ed.)

Authors Anderson and Lawrence from Kent State University state that this 500-

page text is "comprehensive, covering music fundamentals as well as materials and

methods for teaching music in the elementary classroom." A few paragraphs describe

psychomotor, cognitive, and affective leaming. No information is included about the role

or justification of music education. Since the text is dedicated to integrating music, many

examples are given. Chapter 5 topically categorizes all song material in the text.

Subsequent chapters provide ideas and activities for integrating music through

instrumental and listening experiences, but most of these are for fourth through sixth

grades. The text does include specific music lessons, but the lessons consist of one song

and eight to ten procedures. The complementary CD includes 40 ofthe 160 songs

included in the text, most of which are not appropriate for eariy childhood. The same is

tme ofthe activities. No resources are given for materials, recordings, children's

literature, games, or web sites. The bibliographic infonnation is listed here: Anderson,

W.M. & Lawrence, J.E. (2001). Integrating music into the elementary classroom (5^

ed.). Belmont, CA: Wadsworth/Thompson Leaming.

25
 "Music For Young Children"

Author Andress is professor emeritus at Arizona State University. She has

experience in music teaching, as well as primary classroom teaching experience. She has

many publications to her credit. Andress states "The author must offer a model that

reflects exemplary early childhood music experiences, and educators at all levels must

take and implement whatever they can from the model. The purpose of this book is to

inttoduce, explain, and clarify new techniques, terminology, and concepts through

definition and example." The text includes information on developmental and

instmctional theories, the implications for music education, and how to put those into

practice. Examples of exploratory-level play are provided for each ofthe musical ideas

(volume, tempo, articulation, timbre, rhythm, melody, form, style). Chapter 4 discusses

how to set the environment for musical leaming in three ways: permeable leaming,

special interests, and guided group. Chapter 5 explains the teacher's role as curriculum

designer, evaluator, materials seeker, facilitator, and continuous learner. The majority of

the text focuses on models, materials, and methods for the areas of singing, playing

instruments, and movement Other information includes description and design ideas for

play centers, music for children with special needs, multiculutural music, and integrating

music throughout a curriculum. The text does not come with a CD. The bibliographic

information is listed here: Andress, B. (1998). Music for Young Children. Oriando, FL:

Harcourt Brace College Publishers.

26
 "Music, A Way of Life For the Young Child" (4^^ ed.)

Authors Bayless and Ramsey were both university professors. Bayless, former

professor at Kent State, served on the NAEYC commission. Ramsey, former professor at

Georgia Southwestern College, brings experience from being a classroom teacher and

principal to her publications. Part I discuses infancy to three years old, part II discusses

preschool and kindergarten, and part III emphasizes music in an integrated curriculum.

The text also includes information on music and children with special needs and

multicultural music. Further readings and resources are listed. Information in this text

presented in comprehensible manner. Information on behavioral characteristics of each

age group, considerations for musical lesson planning, and suggested activities. Song

material is notated and with each song ideas for movement and other suggestions are

listed. Each chapter includes summary, questions, references and suggested readings. The

text includes information on children with special needs. The appendix briefly covers

music terminology, resource materials, listening activities, and instmction of autoharp,

guitar and recorder, and classroom instruments. No CD is available to accompany this

text. Many some songs that are "adapted" may just as easily be used in original form,

remaining tme to their original form. Many songs have been simplified in rhythmic

notation. Some listed resources are out of print or no longer available. The bibliographic

information is listed here: Bayless, K.M. & Ramsey, M.E. (1991). Music, A Way of Life

For the Young Child (4^ ed.). Upper Saddle River, NJ: Prentice Hall.

27
 "Music Play"

Music Flay is an eariy childhood music curriculum guide for teachers, parents and

caregivers. It is part ofthe Jump Right In series published by GIA. Authors Wendy

Valerio, Alison M. Reynolds, Beth Bolton, and Cynthia Taggart eamed degrees with

Edwin Gordon, also an author of this text, at Temple University. The curriculum is based

on Gordon's ./4 Learning Theory for Newborn and Young Children. Music Play is a

compilation of music and movement activities which will ideally "lay the foundation for

a lifetime of music and movement participation, understanding, and enjoyment for the

children." It is divided into nine parts, including sections on song and chants with words,

as well as songs and chant without words. "The purpose of including songs and chants

without words is to encourage adults to create an environment in which young children

and their caregivers can focus on the content of music- its tonality and meter. The authors

have found that young children who hear many songs, chants, and tonal and rhythmic

patters without words in a variety of tonalities and meters, may begin to develop a

context for building a vocabulary in music, in a way similar to that in which young

children hear many words, sentences, thoughts, and ideas expressed by adults around

them as they build a language vocabulary." Suggested movements, flow, weight, space,

and time, are based on the ideas of Laban. For each song or chant, the music is notated,

and the process for acculturation, imitation, and assimilation are described. Music

content, movement content, and materials needed are listed for each song/chant as well.

This text comes with a CD. The songs are organized by tonality (major, harmonic minor,

aeolian, dorian, mixolydian, phrygian, lydian, and locrian) while chants are organized by

meter (usual duple, usual triple, unusual paired, unusual unpaired, and muhimetric). No

28
specific information on child development or developmental theories is included. The

text does not explain methods of integration into other areas. Guidance of center-

development, instrument activities, and other resources are not listed. The bibliographic

information is fisted here: Bolton, B., Gordon, E., Reynolds, A., Taggart, C , & Valerio,

W. (1998). Music Play Chicago: GIA Publications.

"The Classroom Teacher's Guide To

Music Education" (2"^ ed.)

Bumsed is professor of music and coordinator of music education at Virginia

Polytechnic Institute and State University. Referring to the text, he states "Its

major purpose is to develop an understanding of why music education is important, how

music education works, and how music can be a powerful force for the classroom

teacher." Information of Piaget, Gardner, and Gordon is included. Some information of

the history and justification of music education is included. Instmction of guided music

classes is the major part of this text, while only a few integration ideas through language

arts and social studies are given. The text includes about 60 songs, but has no CD. The

text includes three to five class activities for each element of music, but with no

indication of age appropriateness. Theoretical information is given with each element.

The only resources listed are suggested recordings. One page is dedicated to early

childhood. The bibliographic information is listed here: Bumsed, C.V. (1999). The

classroom teacher's guide to music education (2^"^ ed.). Springfield, IL: Charles C.

Thomas.

29
 "Music hi Childhood: From Preschool Through the
Elementary Grades"

Campbell and Scott-Kassner are professors of music at the University of

Washington and University of Central Florida, respectively. Both authors have lectured

and written on music and children. Music in Childhood: From Preschool through the

Elementary Grades is a thorough and comprehensive text designed as a "core text for

music education students, as a supplementary text for general education students, and as a

professional reference for student and practicing teachers." This text covers such topics

as theories of instmction, use of technology, multiculturalism, curricular innovation,

assessment and meeting the needs of exceptional children. The first two chapters discuss

historical and theoretical information regarding music education. The inclusion of

Chapter 3, "Methods of Teaching Music to Children", can be helpful and troublesome. It

is important for the classroom teacher to be aware ofthe methodologies, Dalcroze,

Kodaly, Orff, and Comprehensive Musicianship, however it is, perhaps, too much to

expect the non-musician to fully comprehend the techniques and applications of these

methodologies. Students should not leave a one-semester course thinking they are

capable "Kodaly teachers" or "Orff teachers", as these methodologies require years of

study and implementation. In addition, instmctors ofthe non-major music education class

for young children may not have the sufficient training in each of these methodologies to

appropriately apply them, even with the explanations and samplings given in the book.

The text is extensive in its information and instmction of non-pitched percussion

instmments (body percussion, woods, gourds, skins, metals), pfrched instmments (barred

30
percussion instmments, recorder), harmony instmments (autoharp, guitar, keyboards).

Chapters 4 through 10 include teacher directed musical experiences and educational

sequences, although many are for older children. The text includes a chapter on

integrating music into the curriculum. The text has limited repertoire; song material is

limited to about 30 songs and few are appropriate for birth through second grade. The

book does not come with a CD. The resources listed are for catalogs. The bibliographic

information is listed here: CampbeU, P.S. & Scott-Kassner, C. (1995). Music in

childhood: From preschool through the elementary grades. New York: Simon &

Schuster Macmillan.

"First Steps In Music For Infant and Toddlers"

First Steps in Music for Infants and Toddlers is a complete curriculum designed

for children from birth through 36 months. Author John Feierabend, professor of music at

the Hartt School of Music and coordinator ofthe National Center for Music and

Movement in the Early Years, is a leading early childhood educator. He has compiled a

comprehensive selection of songs and rhymes that are notated in this book and are

available on CD. The song is also written at the bottom of each page without notation.

Although not a formal textbook, the book is intended as a curriculum to lead parent/ child

classes. It includes complete lesson plans for a three-year curriculum, including a

classical movement component. ''The First Steps in Music curriculum is based on an

extensive survey of research related to the development of singing and movement skills

in young children, as well as many years of practical experience sharing musical

activities with this young age. ft is a combination of a research-based curriculum, quality

31
literature, and practical experience that makes the First Steps in Music curriculum

unique." Sections ofthe book are delineated by genres. The beginning of each genre

includes visual and written instmctional techniques for the adult These explain different

activities for young infants or older infants and toddlers. Also on these pages are "Things

to Remember", a list of reminders for lesson planning. Sections on lesson planning and

sample lessons are also included. Most ofthe song material is taken from Feierabend's

field study. CDs are available with all song and rhyme material. The songs are written in

notation and as verse for those who do not read music. No review of music fundamentals

or instruments technique instmction is included. Although the activities and song material

can be used with children older than 3 years of age, no directions for such interaction are

given. It is not a thorough text however. No specific information on child development or

developmental theories is included. The text does not explain methods of integration into

other areas. Guidance of center-development, instmment activities, and other resources

are not listed. The bibliographic information is listed here: Feierabend, J.M. (2000). First

Steps in Music for Infant and Toddlers. Chicago: GIA Publications.

"Music In Preschool" (3'"* ed.)

Written by the famed Hungarian teacher, Katalin Forrai, and translated by Jean

Sinor, Music in Preschool is a music education text based on the Kodaly Method. Katalin

Forrai studied under Zoltan Kodaly and developed the method and materials of preschool

music education. It is extremely thorough in every aspect: goals, method, instmctions,

and particularly the extensive materials and instmction of development of musical skills.

The songs, activfries, and lessons are highly sequential and age appropriate. Music in

32
Preschool is intended as a curriculum for Hungarian children, ages three to six years old.

ft was published in 1974. One must remember, however, American children in the 21''

century receive such little music instmction or interaction before entering Kindergarten.

So although this book is intended as a curriculum for 3 to 6-year-olds, in today's

American public and private schools, it could easily be utilized through the second grade.

The difficulties of this text for a non-musician lie in the music theory, solfege, ear

training, and written music. No specific information on child development or

developmental theories is included, although much information on the role of music

education is discussed. A recording ofthe song material is not available. The text does

not explain methods of integration into other areas. Guidance of center development and

other resources are not listed. The bibliographic information is listed here: Forrai,

Katalin. (1995). Music in preschool. (^^ ed.) (Jean Sinor, Transl.). Hungary: Kultura

(Original work published 1988).

"Leading Young Children To Music" (6^^ ed.)

According to the authors, Gerber and Haines, this text, "deals with music and

music-related experiences for preschoolers through eight-year-olds. The materials it

contains are designed for use by both music specialists and classroom teachers in day-

care centers, nursery schools, and the primary grades." The text is divided into three main

parts. The first section focuses on music in education. It introduces developmental

profiles of children, musical experiences, and musical learnings, and a chapter on cultural

diversity. The second section contains the actual musical experiences arranged

developmentally. Section three is dedicated towards music as an integrated subject. The

33
appendices include song accompaniment ideas for autoharp, omniharp, and guitar, music

notation, sources and resources. Each chapter includes bibliographic notes and related

activfries for students. No specific theories are presented in this text. History and

justification of music education is not addressed. A CD is not available. The

bibliographic information is listed here: Gerber, L.L., & Haines, B.J.E. (2000). Leading

Young Children to Music (6^ ed.). Upper Saddle River, NJ: Prentice-Hall, Inc.

"The Musical Classroom: Backgrounds, Models, and Skills

For Elementary Teaching" (5*^ ed.)

Author Hackett is music emerita at San Francisco State University. Author

Lindeman is professor at San Francisco State University. The text is divided into four

sections: backgrounds for teaching music, model experiences for teaching music,

instruments, and song. Each chapter includes special projects, references, and a summary.

According to the authors, the text "is designed for the elementary education majors with

no music background." Three pages are dedicated specifically to early childhood. No

child development information or theory is included, although some background of music

education is included. The text is geared more towards guided music classes, but some

integration information addressing technology and holiday activities is included. The text

has a huge amount of song material; 135 songs are included in the text and on the

accompanying CD. Activities are incorporated into the model lessons. Lists of resources

include web sites, distributors, books, recordings, and software. The bibliographic

information is listed here: Hackett, P., & Lindeman, C. (2001). The musical classroom:

backgrounds, models, and skills for elementary teaching (5 ed.). Upper Saddle River,

NJ: Prentice Hall.

34
 "New Approaches To Elementary Classroom Music" (3'"^ ed.)

Herrold is professor of music at San Jose State. New Approaches to Elementary

Classroom Music attempts to give students a "background in music fundamentals while

building skills that are a prerequisite to effective teaching in K-6 classrooms." The text is

intended for "use in a one-semester course for prospective elementary classroom

teachers, and is designed to accommodate a variety of musical backgrounds." Each

chapter includes "Assignments for Teacher Preparation" which create leaming

experiences for individuals, small groups and ideas for peer teaching. Each chapter also

includes lists of resources. A sheet for evaluation of practice teaching is given. The text

uses a wide variety of repertoire and includes information on National Standards. There is

information on the role of music in the elementary classroom, developing singing in the

primary grades, and Piaget and child development in music. Little information or

activities for children younger than Kindergarten is included. The available CD includes

only some ofthe song material The chapters on music fundamentals are quite extensive.

The instmction for playing instmments is also quite extensive, covering elementary

classroom percussion instmments, Orff instmments, autoharp, chromaharp, omniharp,

recorder, baritone ukulele, guitar, and piano. The text says "complete lesson plans for

each ofthe three elementary leaming levels (K-2, 3-4, 5-6) are outlined for future

teachers to use in peer teaching or field experiences." However, preparation activities of

the teachable elements, which are the bulk of eariy childhood experiences, are not

included. Dalcroze, Orff, and Kodaly methodologies are the basis for the sequencing of

the lesson outiines. The bibliographic information is listed here: Herrold, R. (2001). New

35
approaches to elementary classroom music (^^ ed.). Upper Saddle River, NJ: Prentice

Hall.

"Music In the Elementary Classroom: Musicianship

and Teaching"

The authors, Hoffer and Hoffer, professors at the University of Florida, state "An

increasing number of colleges and universities are combining the teaching of music

fundmentals and music methods in a single course for fiiture elementary school teachers.

By presenting the fundamentals of music in a series of boxed sections in close proximity

to the related teaching suggestions, the book maintains the close bond between what is

taught and how it is taught." The text is divided into four sections. The first section

discusses the value of music, the roles ofthe classroom and music teacher, and planning

instmction. The second and third sections describe practical methods of teaching

elements. The fourth section is devoted to integration. No information or theories of child

development are mentioned, although there is some background of music education. The

text does include information on guided music classes and the integration of music. Song

material and activities are provided, but few are appropriate for early childhood. The

resources provided are primarily of other textbooks. The bibliographic information is

listed here: Hoffer, M.L. & Hoffer, CR. (1987). Music in the elementary classroom:

musicianship and teaching. San Diego, CA: Harcourt Brace Jovanovich.

"Music In the Elementary School" (5th ed.)

The authors, Nye and Nye, professors at the University of Oregon, state the text is

"designed as a text and resource book for the elementary education major, the music

36
education major, the students teacher, and the teacher-in-service." The text is divided into

three parts. The first is of leaming development and planning. The second discusses

characteristics of sound, movement, and rhythm. The last part addresses singing,

harmonizing, and playing pitched instruments. The text includes discussion of Piaget,

Hunt, and Bruner, as well as some information on brain development History and

justification of music education are present in the text. There is no discussion of

integration of music. The book contains descriptions of activities, but not the experiences

themselves. The repertoire included in the book is minimal. Few ofthe songs and

activities are appropriate for early childhood. There are not many resources listed and

many are outdated. The bibliographic information is listed here: Nye, R.E., & Nye, V.T.

(1985). Music in the elementary school (5th ed.). Englewood Cliffs, NJ: Prentice Hall.

"Music In Prekindergarten: Planning and Teaching"

Music in Prekindergarten: Planning and Teaching by Palmer and Sims is a

compilation of articles and ideas by leading authorities in early childhood music. It is

edited by Mary Palmer and Wendy Sims and published by MENC. Palmer is professor of

music education at the University of Central Florida. Sims is professor of music

education at the University of Missouri-Columbia. This book is "for adults who will

share music with young children" where "ideas for music experiences are given as

starting points. In addition, descriptions of developmental characteristics of children, with

special emphasis on musical development, provide guidelines for devising classroom

experiences to meet the varies needs of young children." The text is comprised of articles,

a set of practical music activities, resources, and research. Seven articles deal with a

37
number of issues conceming music and the young child. Topics include: music and

movement capabilities of children, long range goals for music programs, guidelines for

music activities and instmction, developing music concepts, music for children with

special needs, and evaluation in eariy childhood music. Leading eariy childhood music

educators contributed to the text's music activity ideas, which include the notated music,

additional experiences, expected reaction, and teacher tips. The classroom music

experiences address contrasts in music, movement, illustrated song books, song play,

story play, musical conversations, singing games, and listening to music throughout the

day. Although it certainly is not lacking in appropriate information, song material and

activity ideas are limited. No CD is available. No specific information on child

development or developmental theories is included. The text does not explain methods of

integration into other areas. The bibliographic information is listed here: Palmer, M. &

Sims, W. L. (Eds.). (1993). Music in Prekindergarten: Planning and Teaching. Reston,

VA: Music Educators National Conference.

"Music Fundamentals, Methods, and Materials For the

Elementary Classroom Teacher"

Rozmajzl is Associate Dean ofthe CoUege of Arts and Sciences and professor of

Music at Boise State university. The authors state ""Music Fundamentals, Methods, and

Materials for the Elementary Classroom Teacher provides a thorough presentation ofthe

basic fundamentals of music required of a musically knowledgeable teacher." The text is

divided into four sections: teaching the elements of music to children, developing musical

skills, organizing the musical experience, and teaching music in specialized areas. A

paragraph on the Leaming Theory applied to music education is given for each ofthe age

38
groups 4 to 5-year-olds, 6 to 7-years-olds, 8 to 9-year-olds, and 9 to 10-year-olds. No

information is given about the role or justification of music education. A few actual

examples of activities for music instmction in guided and integrated classrooms are

presented, but without specification of age appropriateness. The text includes a number of

songs; about 20 of these are usable in early childhood. No supplementary CD is available.

Few ofthe activities are appropriate for early childhood. No resources are given. The

bibliographic information is listed here: Rozmajzl, M. & White, R.B. (1996). Music

fundamentals, methods, and materials for the elementary classroom teacher (2" ed.).

New York: Longman.

Based on the findings presented in this paper, it appears an appropriate text for an

early childhood music class for non-majors would be Music for Young Children by

Barbara Andress. This text met most ofthe criteria established earlier. According to

Andress this text is intended to "meet the needs ofthe children to be served." In doing so,

Andress also meets the needs ofthe early childhood educator.

39
 CHAPTER IV

INTRODUCTION TO THE CURRICULUM

When designing a student-centered music curriculum for early childhood non-

music majors, one must consider the following: (1) the most appropriate skills and

information to be presented, (2) students' backgrounds, (3) the most appropriate teaching

sequence of these skills and information. Thus far this paper has addressed numbers one

and two. Most studies of non-music majors pertain to the perceived strengths and

weaknesses ofthe students, confidence factors ofthe students, and implementation

quantity of music activities in an actual classroom setting (see Review of Literature). And

although much has been written ofthe child's musical development sequence, the same is

not tme ofthe early childhood major's musical development or appropriate sequence of

curriculum for these students.

What seems to be of great importance to the design ofthe curriculum are not only

the materials and information, but also the presentation sequence in the curriculum. It is

perhaps the sequence, as much as the materials, which would elicit a more effective

curriculum. The following studies by Barry (1992) and Hoermann (1976) might help the

curriculum planner to sequence the curriculum in a more effective manner, and have been

influential in the curriculum design described in this paper.

Barry (1992) questioned students about their musical background and confidence

in performing various music tasks. Considering her findings, she describes five

instmctional units. Students feh most comfortable in informal music activities and using

songs to reinforce other subject area, therefore these activities could be used in the

40
beginning of a course to help build confidence. Students also feU comfortable using

recordings to teach a song, consequently instmction on choosing appropriate recordings

and correlating activities could also occur towards the beginning of a course. Students

were less confident in leading a familiar song or teaching a new song. These topics could

occur after two or three weeks of class when students have achieved a level of

confidence. Lastly, students felt least able to teach basic music concepts. This topic

should occur after the students feel able to successfully accomplish smaller parts of

teaching music (i.e., teaching new songs or leading movement activities). It appears that

instmctors should move from the known to the unknowai in teacher training, just as they

would in teaching. Research demonstrates that non-music major courses have these or

similar components (see Review of Literature).

In this curriculum, the first part ofthe semester is spent allowing students to

acquire appropriate musical behaviors through informal musical experiences and

instmction of using music for extta-musical learnings. Students are instmcted on how to

integrate quality music into non-music areas, showing how music is tied to other areas.

Integration is experienced in many assignments. A few examples are:

-Students categorize repertoire and movement activities into subjects, such as

flowers, animals, transportation, etc. (see Week 2)

-Students research and write detailed bibliographies of children's literature

containing musical ideas, in addition to aspects of geography, science,

language, and history (see Week 1,2,3)

-Students explore using instruments with children's literature (see Week 7)

41
Through these assignments, students are instmcted on how to see a musical activity for

its ability to create a quality cross-curricular experience, as well as a quality musical

experience.

During the beginning ofthe semester, students also participate in informal music

activities. Some examples are given below.

-Students participate in mock lessons lead by the instmctor (see Week 1)

-Students plan an experience in either a permeable leaming setting or special

interest area (Andress, 1998) that is presented to the children at the

assigned preschool/ school (see Week 4)

-Students lead or teach songs to their peers using a CD after completing a CD

review (see Week 4)

During the latter part ofthe semester, when students begin to feel more confident,

students are instmcted on how to lead music-focused activities, thus modeling the

importance of music in daily life. The process of mastering how to lead guided group

music is described below.

Hoermann (1976) provides an example of a systematic music-focused instmction

for classroom teachers. Hoermann's program includes three stages for music skill

development. The first stage involved the teachers observing the music specialist

teaching children in the classroom. The second stage required the classroom teacher to

imitate and repeat activities in front of peers. The final stage was actual implementation

of teaching children while being supervised by a music specialist Although her program

of teacher training in music is intended for in-service classroom teachers in New South

Wales, Australia, the basic format could be easily adapted to the early childhood music

42
course. In this curriculum, music-focused activities are experienced in pre-service teacher

education in the following ways: instructor-lead modeling, observation, peer teaching,

and practicum. Some examples are:

-Students participate in instmctor-lead model lessons in (see Week 1 and 5)

-Students are assigned observation at the preschool/ school each week throughout

the semester (see Appendix B)

-Students teach songs to peers using the whole-song method or the phrase method

(see Week 8)

-Students meet at assigned preschool/school to teach guided music lesson (see

Week 11)

Instmctors of this type of course have many responsibilities, particularly if

utilizing this curriculum. The instmctor should develop a good relationship with a

preschool/ school's principal, staff, and music specialist so the students may participate in

observation and practicum with the children there. The instmctor should also be

confident in the music specialist's ability to incorporate the appropriate methods. Perhaps

it would be most effective if the students were allowed to observe the instmctor teaching

the children. The instmctor should also gather all supplementary readings (see Appendix

B) and listening materials (see Appendix B) and place them on reserve either in a

listening library or a music education library. Copies of examples and forms are available

in the Appendix B and should be made for the students to keep in their notebooks.

Possibly the most important tool for the instmctor is positive reinforcement towards the

students. The instmctor should always be prepared to encourage the students to

participate in all activities, but in a non-threatening manner.

43
 The ideas on teacher training, research previously presented in this paper and the

use of Andress' book are used in the design of this music curriculum presented in

Appendix A. The prescribed curriculum is detailed week by week. Each weekly unit first

includes the "In Class" topics and activities. The students' homework assignments are

listed next in the following categories: Reading, Writing, Listening, and Materials. All

materials for the course including a syllabus, observation/practicum guidelines,

discography, required reading list, examples, and overhead forms can be found in

Appendix B. Page numbers for these materials are included in the curriculum.

Because the curriculum is based in part on the MENC framework for teachers, the

corresponding framework number is included in parentheses next to many assignments,

topics, or activities throughout the curriculum. However, the majority of this curriculum

is based on the eleven semesters' college classroom instmctional experience ofthe

author, years of elementary and early childhood music and movement classroom

instmction ofthe author, and the author's collaboration with in-service classroom

teachers-

44
 CHAPTER V

CONCLUSION

Planning the music course work for a non-music major eariy childhood class can

be challenging. Few music textbooks specific to early childhood are available. Many

more music texts geared for elementary majors are available, but include little

information of eariy childhood years (birth through 8-years-old). In addition, these

elementary music texts often place a major emphasis on the fundamentals of music.

Studies are included that show this focus may not be the most productive in developing

generalists who will provide quality musical experiences in their classrooms.

To determine course content, studies ofthe practical music skills and

understandings of classroom teachers were presented, as were studies of musical self-

perceptions of non-majors. This paper addresses the MENC position statement on early

childhood music that provides a musical framework for early childhood educators

(MENC 1993). The paper also addresses which skills and understandings would assist

educators in meeting the MENC framework. The most pertinent skills and understandings

for the course curriculum were determined considering these studies and the MENC

framework.

This paper includes a review of widely used texts to determine if they met the

determined criteria. An appropriate text was selected to use in the course. Considering

studies of sequence in curriculum a music course was designed to effectively meet the

needs of non-music majors. The developed sequential curriculum is provided in a weekly

format that includes in class topics and activities, as well as homework assignments.

45
 On the basis of this study, it may be concluded that further research may be

needed. Recommendations for further study include:

(1) Studies ofthe expectations course instmctors, university leaders, and school

districts have for future generalist teachers in music instmction or use

(2) The effects of implemented curriculums based on MENC's Position Statement

on Early Childhood Education

(3) The effects a student-centered curriculum has on the students' attitudes and

motivation, as well as the future implications of this type of curriculum

(4) Studies of non-music majors' musical development

It is important to remember that a curriculum is never completely developed or

finalized. It is an ongoing project because ofthe students' ever-changing requirements,

availability of materials, instmctor backgrounds, and new research findings. Conclusions

in this paper are specific to this course, but may not be appropriate for all music for

young children classes. Many of these ideas could be adapted to meet the needs of

another course.

46
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53
 APPENDIX A

THE CURRICULUM

54
 Weekl
-In Class-
Syllabus/ observation guidelines- (see page 77,78)
Quotes to set basis of class on overhead- (see page 80)
Language acquisition compared to music acquisition on overhead (MENC #2)-
(seepage 81)
Feierabend's 3D Music Education on overhead (MENC #7) taken from:
Feierabend, J.M. (2000). 3D Music Education. In Converational Solfege Level 1 (pp. 71).
Chicago: GIA Publications.
Outiines/ discussion of theorists (MENC #7, #9)
Discussion of musical skills on overhead- (see page 82)
Survey/ in-class discussion of students' musical backgrounds and childhood
experiences and how these could affect teaching(MENC #5)
Instmctor teaches a model lesson to students (MENC #4, #5, #7, #9)- (See page
83)

-Homework-
Reading:
1. Read Andress Chapter 1 -Young Child (MENC #2)
Read Levinowitz- The importance of Music in Early Childhood
(MENC #2)
Read, print, and bring to class the following articles:
MENC "Position Statement on Early Childhood"
(available at www, menc. org/information/prek 12. echild. html)

Writing:

Listening: (MENC # 4, #7, #8, #10)

2. Listening Assignment: Go to the Listening Library with your ID, pencil, and
paper. Request the CD for MUSI 3336- "Womb Sounds"
Listen to tracks #1-9.
Write the following in your notes:
-Discography information
-What did you hear on each track?
-What does Dr. Woodward write about leaming the musical language?"

3. Request the CD for MUSI 3336- "Ride Away on Your Horses"

Listen to ttacks #17- Ring Around the Rosies
#22- Cows are in the Meadow
#52- Santa Maloney
Write the following in your notes:
-Genre
-Words

55
 -Movement directions
-Discography information
Materials:
4. Bring notebooks with dividers.
2" or 3" three-ring binder
dividers labeled: NOTES
REPERTOIRE
WRITING ASSIGNMENTS
MATERIALS/ MANIPULATIVES/ REPRODUCIBLES

5. Make GENRE Sheets. Put these in the Repertoire section of your notebook.
These are brightiy colored or special papers with the following headings:
Lullabies Rhymes Action Songs
Simple Songs Simple Circles Singing Games
Listening Improvisation Bounces
Wiggles and Tickles Tapping and Clapping Movement

6. Type a list of 10 songs you remember from childhood.

7. Using the handout, "Bibliography of 'RHYME' books", as a model, type a

bibliography of 5 books that are songs. Please do not duplicate any ofthe books on the
example page. Please make the assignment only 1 page. (MENC #3, #7)- (see page 86)

56
 Week 2

-In Class-
Go over model lesson filling in lesson plan format handout on overhead-
(see page 87)
Discuss song lists and categorize by genre (students write song titles on gerue
pages in notebooks)
Discuss song lists and what extramusical learnings could be reinforced from these
(MENC # 3, #8) (students can categorize songs by subject in notebooks)
Discuss difference between using music to facilitate other learnings and teaching
actual music concepts or elements (MENC #3, #8)
Review listening

-Homework-
Reading:
1. Read: Andress Chapter 2: The Young Child and Music (MENC #2, #4)
Feierabend "Music and Movemenf (MENC #2, #7)
Scott-Kassner "Musical Characteristics"
Levinowitz "A Golden Age for Early Childhood Music"
Writing:

Listening: (MENC # 4, #7, #8, #10)

2. Request the CD for MUSI 3336- "Smithsonian Folkways Children's Music
Collection"
Listen to tracks #2- Mary Mack
#15- Twinkle Twinkle
Write the following in your notes:
-Genre
-Words
-Do you remember singing these as children? If so when?
-Discography information

3. Request the CD for MUSI 3336- "My Little Rooster"

Listen to tracks # 1 - Jim Along Josie
#2- Here Comes a Bluebird
#4- On a Mountain
Write the following in your notes:
-Genre
-Words
-How could these be used in a classroom?
-Discography information

57
Materials:
4. Using the handout, "Bibliography of ^INSTRUMENT' books", as a model,
type a bibliography of 5 books that are songs. Please do not duplicate any ofthe books on
the example page. Please make the assignment only 1 page. (MENC #3, #8)- (see page
89)

5. Describe how you could make your own sound cylinders. What would the
contents be? (MENC #3, #8)

58
 Week 3

-In Class-
Watch Feierabend Video- Students take notes for paper assignment
Connecticut Public Television (Producer). (n.d.). Music and early
childhood [Video]. (Available from Kodaly-Related Publications, 2406 S. Alvemo Road,
Manitowoc, WI 54220)
Discussion and examples of 3 leaming environments described by Andress
Chapter 4 (MENC #3, #9, #10)
Review listening (MENC # 4, #7, #8, #10)

-Homework-
Reading:
1. Read Andress Chapter 4 "Setting the Environmenf (MENC #3, #9, #10)
Andress, Heimnann, Rinehart &Talbert "Music in Early
Childhood: The Environmenf (MENC #3, #9, #10)
Andress Chapter 12 "Integrating music Throughout the
Curriculum" (MENC #3, #4, #7, #9, #10)

Writing:
2. With your group, plan an experience in either a permeable leaming setting or
special interest area. Type your explanation or list of procedures for the experience you
will present to the children at the assigned preschool/ school next week. (MENC #3, #9,
#10)
3. Type a one-page paper discussing the Feierabend video.

Listening: (MENC # 4, #7, #8, #10)

4. Request the CD for MUSI 3336- "Round and Round the Garden"
Listen to tracks #6- To Market To Market
#22- Round and Round the Garden
#53- Hot Cross Buns

Write the following in your notes:

-Genre
-Words
-How could these be used in a permeable leaming setting or special interest
area?
-Discography infonnation

5. Request the CD for MUSI 3336- "Jump Jim Joe"

Listen to tracks #7- Sally Go Round the Sun
#12-Jump Jim Joe

Write the foUowing in your notes:

59
 -Genre
-Words
-Discography information
Materials:
6. Using the handout, "Bibliography of 'SONG' books", as a model, type a
bibliography of 5 books that are songs. Please do not duplicate any ofthe books on the
example page. Please make the assignment only 1 page. (MENC #3, #8)- (see page 90)

7. Using the example provided as a model, compile a "Letter Packet" of your

assigned letter. These activities should be appropriate for 4-5 year olds. For this packet
you will need:
2 songs
1 nursery rhyme
1 picture, book, or recording of a musical instmment or musical term
1 movement activity/ game (MENC #3, #8)- (see page 91)

60
 Week 4

•In Class-
Meeting at assigned preschool/ school
Students will prepare environment for experiences. Children will choose
experiences. (MENC #6, #10)
Students will make notes of reflection immediately after children leave.
Discussion of experience success/ failure, student behaviors, etc.
Students complete CD review with teaching group. Find one song for appropriate
for: 3 yr. old singing, 3 yr. old moving
5 yr. old instrument playing
7 yr. old singing, 7yr. old moving (MENC #8)
Student groups present one of these songs to the class (MENC #6, #10)
Review listening

-Homework-
Reading:
1. Read Andress Chapter 5 "The Teacher's Role" (MENC #2, #7, #8, #10)
Walker "Assessment in Eariy Childhood" (MENC #7, #9)
Flowers "Evaluation in Eariy Childhood Music" (MENC #7, #9)

Writing:
2. Type a one-page reflection from class experiences

Listening: (MENC # 4, #7, #8, #10)

3. Request the CD for MUSI 3336- "Down in the Valley"
Listen to tracks #14- Old Brass Wagon
#19- At the Bottom ofthe Sea
#24- The Tree Song
Write the following in your notes:
-Genre
-Words
-Discography information

Materials:
4. Make copies of your graded Rhyme, Instmment, and Song bibliographies for
your peers. (MENC #3, #8)

5. Compile a "Unit Packet." These packets should be based around the unit
written at the top of this paper. Make this packet appropriate for use with Kindergarten,
1"'^ or T^ grade. For this packet you will need:
3 songs
1 rhyme/ poem

61
1 singing game OR movement activity
1 visual aid OR prop idea (mixing bowls for "Muffin Man", a large box
for "Row Your Boat" (MENC #3, #8)- (see page 93)

62
 Week 5

-In Class-
Model lesson of activities described in Chapter 3
Discuss and match National Standards to lesson plan activities (MENC #2, #7)
Discuss comparative concepts, which musical elements these concepts will later
be labeled, how to pictorially represent each (MENC #2, #7)- (see page 94)
Students plan a lesson of activities described in Chapter 3 with teaching groups
that will be presented next week to peers; include which musical skills will be developed
and which National Standards are being addressed.
Review listening

-Homework-
Reading:
1. Read Andress Chapter 3: Meaning-centered Approach to the Young
Child at Play (MENC #2, #7, #8)
Feierabend "Music in Early Childhood" (MENC #2, #3, #7)
Herrold "Music in the Elementary Curriculum"
MENC "K-12 National Standards, PreK Standards, and What They
Mean to Music Educators" (available at
ww^w. menc.org/information/publicatton/books/prek 12st.html)

Writing:
2. Type lesson plan.

Listening: (MENC # 4, #7, #8, #10)

3. Request the CD for MUSI 3336- "Goin to the Zoo"
Listen to track #1- Goin to the Zoo
Write the following in your notes:

-Genre
-Words
-Motions you could teach the children
-Discography information

4. Request the CD for MUSI 3336- "John the Rabbif

Listen to tracks #11- There Was a Man
#13- Down Came a Lady
Write the following in your notes:
-Genre
-Words
-Describe picture cards you could use to help teach these songs
-Discography information

63
Materials:
5. Make a list of iconic representative symbols for each ofthe comparative
concepts. (MENC #8)
6. Create andtypea voice inflection rhyme (MENC #8)
7. Create andtypeinstmctions of movement activities for loud/ soft and
fast/slow (MENC #8)
8. Create a beat card for an easy children's song (MENC #8)
9. Find two contrasting pieces of music; create a picture that could represent
Each (MENC #8)

64
 Week 6

•In Class-
Review for midterm- (see page 95)

Review listening

-Homework-
Reading:
1. Review all readings for midterm.

2. Read Alvarez "Developing Musical Concepts" (MENC #3, #4, #7)

Sims "Guidelines for Music Activities and Instmction" (MENC
#3, #4, #7)

Writing:
3. Review homework assignments and in-class notes

Listening:
4. Review listening materials

Materials:
5. Make copies of your "Unit Packet" for your peers. (MENC #3, #8)

65
 Week 7

•In Class-
Midterm
Singing discussion/ how to teach a song- Andress Chapter 6 (MENC #4)
"Teaching Song By Rote" on overhead (MENC #4, #7, #9)- (see pagel03)
"Finding the Singing Voice" on overhead (MENC #4, #9)- (see page 104)
Examples of song play (MENC #8, #9)

-Homework-
Reading:
1. Read Andress Chapter 6 "Singing" (MENC #4, #7)

Writing:

Listening: (MENC # 4, #7, #8, #10)

2. Request the CD for MUSI 3336- "American Folksongs for Children'
Listen to tracks Disc One #36- Oh, John the Rabbit
#28- She'll be Comin Roun the Mountain
Write the following in your notes:
-Genre
-Words
-What methods could be used to teach these songs?
-According to Chapter 6, what types of songs are these?
-Discography information

3. Request the CD for MUSI 3336- "Bought Me a Cat"

Listen to tracks #14- Bought Me a Cat
#3- Firefly
Write the following in your notes:
-Genre
-Words
-What methods could be used to teach these songs?
-According to Chapter 6, what types of songs are these?
-Discography information

Materials:
4. Make copies of your "Umt Packef for your peers.

5. Select an appropriate children's song. Prepare a page that uses rhythmic and/ or
melodic icons to communicate the song effectively to young children. (MENC #8)

66
 6. Prepare to teach one song to your group using the whole-song method and
teach another song using the phrase method. (MENC #4)

67
 Weeks
-In Class-
All teach a song to your group using either method. (MENC #4, #7)
Instmctor uses storybook, such as "Where the Wild Things Are" with instrument
accompaniment as an example- Sendak, Maurice. (1964). Where the Wild Things Are.
New York: Harper &Row.
Go through sound story example in textbook.
Brain Development discussion (MENC #2)- (see page 105)
Review listening

-Homework-
Reading:
1. Read Andress Chapter 7 "Instmments" (MENC #3, #4, 7, 9)
Fallin "Children's Literature as a Springboard for Music" (MENC
#3, #4, 7, 9)
Feierabend "Music and Intelligence" (MENC #2)

Writing:

Listening: (MENC # 4, #7, #8, #10)

2. Request the CD for MUSI 3336- "Frog in the Meadow"
Listen to tracks #26- On My Toe
#50- Allee Galloo
#52- Mulberry Bush
#65- Hush Little Baby

Write the following in your notes:

-Genre
-Words
-How could these songs incorporate an instmment?
-Discography information

3. Request the CD for MUSI 3336- "Sweet Honey in the Rock"

Listen to tracks # 15- Horse and Buggy

Write the following in your notes:

-Genre
-Words
-How could these songs incorporate an instmment?
-Discography information

68
Materials:
4. Find a children's storybook that could be accompanied by instruments. Write
the title of that book, list the instmments used, and write the procedures for
implementation (MENC #7, #8)

5. Write an original sound story using step bells and 3 other instruments of your
choice.

6. Make copies for your peers of an instrument-making example appropriate for

young children. The following website is listed only as an example. Please use a different
website, www.familycrafts.about.com/cs/musicalcrafts/ (MENC #8)

69
 Week 9

•In Class-
Instmctor models movement activities- (see page 106)
Give students activfries from Weikart's book to examine, and determine age
appropriateness. Students then present movement activities to peers.
(MENC #4, #7, #8)
Folk dances- (see page 106)
Brain Development discussion (MENC #2)- (see page 105)
Edwin Gordon notes on overhead (MENC #2)- (see page 107)
Review listening

-Homework-
Reading:
L Read Andress Chapter 8 "Movemenf (MENC #3, #4, #7, #9)
Lach "Tuming on the Motor" (MENC #2)
Baney "Wired for Sound" (MENC #2)
Feierabend "Music and Intelligence"
Begley "How to build Baby's Brain" (MENC #2)

Writing:
2. Type answers to article questions to Baney, Begley, and Feierabend articles-
(seepage 108)
3. Prepare 5 questions for next week's teacher panel. (MENC #5)

Listening: (MENC # 4, #7, #8, #10)

4. Request the CD for MUSI 3336- "Saint Saens"
Listen to track #7- Aquarium

Write the following in your notes:

-Discography information

5. Request the CD for MUSI 3336- "Sousa"

Listen to track #1- Stars and Stripes Forever

Write the following on your notes:

-Discography information

Materials:

70
 Week 10

-In Class-
Meeting at assigned preschool/ school for Teacher Panel discussion (MENC #5)
Group planning time for teaching guided music lesson with children
Lesson should include at least one music understanding to be communicated not
just experienced
Instmctor should approve lesson plans

-Homework-
Reading:
1. Read Andress Chapter 9 & 10 (MENC #7, #8, #9, #10)
Furman and Furman "music for Children with Special Needs"
(MENC #7, #8, #9, #10)

Writing:
2. Pretend you are a classroom teacher. Type a parent letter that includes
information on how you use music in your classroom, the importance of music in child
development, and a recommended list of web sites that have quality music products,
recordings, or interactive properties.

3. Every member of your group will tum in a typed lesson plan next week.

Listening: (MENC # 4, #7, #8, #10)

4. Request the CD for MUSI 3336- "American Folksongs for Children"
Listen to tracks Disc 1 #3- Who's That?
Disc 2 #34- This Old Man
Disc 2 #35- Skip to My Lou
Disc 2 #39- Where Oh Where is Pretty Little Susie

Write the following in your notes:

-Genre
-Words
-Discography information

5. Request the CD for MUSI 3336- "Frog in the Meadow"

Listen to tracks #33- All the Pretty Little Horses

Write the following in your notes:

-Genre
-Words
-Discography information

Materials:

71
 Week 11

-In Class-
Meet at assigned preschool/ school to teach guided music lesson with group
(MENC #6, #7, #9)
Students fill in "Peer Teaching Form" while observing others- (see page 110)
Lessons will be video recorded for later reflection

-Homework-
Reading:
1. Read Andress Chapter 11,13 (MENC #3, #7, #8)
Wilcox "Open a New Door in Preschool Music" (MENC #3,
#7, #8)

Writing:
2. Write a one-page paper reflecting on your teaching experience.

3. Go to the "Current Periodicals and Microforms" room ofthe library. Locate a

current (1998-present) copy of each ofthe following:
Young Children Eariy Childhood Education Joumal The Mailbox
LB1140.A1 J6 HV854.D38 LB5.L43

Review the journals considering the following questions:

A) What sort of information does the joumal contain?
B) How is the joumal divided?
C) What sort of music info, if any, is provided?
D) What sort of reproducible, if any, is provided?
E) How would this joumal be useful to my teaching? (not just music, but everything)
F) What sort of products/ books/materials are advertised?
G) How often is this joumal published?
H) How much is a subscription?
TYPE your findings in the form of a 3-page paper.

Listening; (MENC # 4, #7, #8, #10)

4. Request the CD for MUSI 3336- "Smithsonian Folkways Children's
CoUection"
Listen to ttacks #14- Los PoUitos
#19- A la vibora de la mer

Write the following in your notes:

-Genre
-Words
-Discography information

72
 5. Request the CD for MUSI 3336- "Sweet Honey in the Rock'
Listen to tracks #5- Little Red Caboose
#6- All for Freedom

Write the following in your notes:

-Genre
-Words
-Discography information

Materials:

73
 Week 12

•In Class-
Watch video of last week's teaching experiences and discuss
Discuss multicultural music (MENC #7, #10)
Play recorded examples appropriate for early childhood from CDs- (see
page 111)
"AU For Freedom"
"Moving within the circle: Contemporary Native American Music and
Dance"
"Dance Music for Children"
"Leadbelly Sings for Children"

-Homework-
Reading:

Writing:
1. Select two songs that reflect diverse cultures that you think young children
can sing, play on an instmment, or move expressively to. Describe how you would
present the songs to the children, and discuss their expected response.

Listening:

Materials:
2. Type a discography ofthe listening examples from the semester.

74
 Week 13

•In Class-
Review (Instmctor can give written test or notebook test for final grade)

-Homework-
Reading:

Writing:
Research 3 music teacher workshops or courses that are available in your state/
area in the coming year. Please include infonnation regarding place, content, price, etc.
(MENC #5)

Listening:

Materials:

75
 APPENDIX B

CURRICULUM MATERIALS

76
 Syllabus

MUSI 3336
MUSIC FOR YOUNG CHILDREN

Any student who, because of a disabling condition, may require some special
an-angements in order to meet course requirements should contact the instmctor as soon
as possible to make necessary accommodations. Students should present appropriate
verification from Disabled Student Services. No requirement exists that accommodations
be made prior to completion of this approved University process.

Adjunct Instmctor: Jenny Dees

Phone:
Mailbox: Room 103 of Music Building
Required Text: Andress, B. (1998). Music for young children. Fort Worth, TX:
Harcourt Brace College Publishers.

Recommended Materials: Any assigned listening CD would be excellent for your

recording collection.
Many ofthe materials we will research would also be
excellent resources for your collection.

COURSE DESCRIPTION: Music for Young Children is designed to provide

simultaneous study ofthe young child and music. Students will leam basic singing,
moving, and listening skills, age-appropriate developmental activities, and repertoire,
including traditional children's songs, folk songs, art music, and music from a variety of
cultures, styles, and time periods. Students will also be given the opportunity to interact
with the young child at play in a musical setting.

COURSE REQUIREMENTS:
A. Attendance: One cannot leam without concentration and participation.
Attendance is expected, and failure to attend regularly will affect your final grade. No
more than 3 unexcused absences will be tolerated. In case of absence, it is the student's
responsibility to obtain notes and assignments, and to be prepared for subsequent classes.

B. Grading Scale:A= 90-100 No make up exams will be given unless

B= 80-89 special arrangements are made in advance.
C= 70-79 Assignments should be prepared neatly,
D= 60-69 promptly, and thoughtfully.
F= Below 50
C Assessment:2 exams (10% each) 20%
Class Attendance and Participation 30%
Practicum Attendance and Participation 20%

77
 Assigmnents 30%
D. Practicum Teaching: Students must attend and participate in observation and
practicum teaching at the approved preschool/ school on assigned days throughout the
semester.
E. Tentative Exam Schedule: #1-Week 7
#2- Finals Week

MUSI 3336
Miscellaneous Information
1. Some assignments will require you to go to one ofthe following locations:
- Music Education Library
- Music Listening Library (Listening assignments and reading assignments are on
reserve here.
When given a "Listening Assignmenf or "Reading Assignmenf, you will need
to have your ID. The person working will ask for your ID, and you will sign out
the specified CD and a set of headphones or reading assignment
- Texas Tech Library
- Approved Preschool/ School

2. All assignments are to be TYPED, unless otherwise specified. Late assignments will
only be accepted one week after their due date and will receive half credit.

3. If you are absent and have a valid excuse, please put fr in writing for me. Place a
copy of your info (doctor's note, accident report, etc.), including the date missed , in
my hands or in my mail box (room 103 ofthe music bmlding). If you want this info
to remain private, please put it in a sealed envelope before dropping it off

78
 Observation Guidelines

-Email the master teacher one day in advance telling her what time you will be observing.
-Please dress appropriately.
-Check in at the main office.
-Sign in at the master teacher^ s desk.
-Take notes according to the lesson plan form/ observation form. Please type this before
tuming it in.

Practicum Guidelines

-We will meet at the assigned preschool/ school at our normal class time on assigned
days throughout the semester. You will know at least 2 weeks in advance to make travel
arrangements.
-All group members must participate in order to receive a grade.
-Please dress appropriately.
-Sign in at the master teacher's desk.

79
 Quotes

"You'll be healthier. You'U feel wealthier. You'll talk wiser. You'll go higher, do better,
and live longer here amongst us if you'll just jump in here and swim in these songs and
do like the kids do."
Woody Guthrie

"Play begins in delight and ends in knowledge"

Lili Levinowitz

"Children's play is their work."

Many educators have emphasized this idea

80
 Language Acquisition

Put the following in order:

Words
Sentences
Writing
Immersion
Babble
Stories

Children will acquire musical skills through experiencing:

Playing
Singing
Moving
Listening
Improvising
Evaluating

81
 Musical Skills

Singing
Reading
Writing
Partwork
Memory
Inner Hearing
Form
Improvisation
Listening
Movement
Instmments
Vocabulary

82
 Model Lesson

NAME

Class Observed: Model lesson for 5-year-olds

Date
Time

1. Song/ Rhyme: Engine Engine #9

Activity:
C(children)- follow the leader into a circle while listening to teacher saying the rhyme

2. Song/ Rhyme: Bounce high

Activity:
T(teacher)- says "Do what I do", sings song showing melodic contour with ball and
bounces ball to student
C- says her name and bounces ball back to teacher

3. Song/ Rhyme: Andy Pandy

Activity:
C- follows directions/ motions sung by teacher
C- asked to improvise motion
(transition- Teacher sings "All pop Down")

4. Song/ Rhyme: Hand Hand Fingers Thumb (see page 86)

Activity:
T- reads book rhythmically to children while showing pictures
T- asks children to "Dmm with one thumb", "Dmm with two hands", repeat and play
"Dum ditty dum ditty dum dum dum" on lap, "Play your fiddle- zum zum zum",
"Play your banjo- stmm stmm stmm"
T- points out drum, banjo, fiddle
C- play one at a time on a hand drum
T- points out words on last page which decrease in size, asks children if the words get
bigger or smaller, asks children to make their voices get smaller as they say "Dum
ditty dum ditty dum dum dum"
(transition- T sings Andy Pandy sugar and candy all stand up, all join hands")

83
 Song/ Rhyme: Ring Around the Rosies
Activity:
T- says "Boys and giris, let's move the cirie." Sings "Ready, set and here we go'^
C- walk in circle holding hands, falling dovm on the word "down"
T- says "Cows are in the Meadow" rhyme while patting the floor
C- play and sing again with rhyme following
Last time the teacher does not say rhyme so children stay seated

6. Song/ Rhyme: Hush Little Baby

Activity:
T- hands out stuffed dolls/ animals and tells children to rock the babies while she
sings
C- when song is over, children gently place the dolls in the bad (a storage basket) and
line up without waking the dolls

Skill Areas/ Objectives:

Movement, improvisation, singing, instmments, vocabulary, listening

Type Repertoire here:

Engine Engine #9
Going down Chicago line
See it sparkle, see it shine
Engine Engine #9

Bounce High Bounce Low

Bounce the ball to

Andy Pandy Sugar and Candy

All

Ring Around the Rosies

Pocket full of posies
Ashes ashes
We all fall dovm

84
The Cows Are in the Meadow
Eating buttercups
Atishoo Atishoo
We all stand up.

Hush Little Baby don't say a word

Papas gonna buy you a mockingbird
If that mockingbird don't sing
Papas gonna buy you a diamond ring
If that diamond ring tums brass
Papas gonna buy you a looking glass
If that looking glass gets broke
Papas gonna buy you a billy goat
If that billy goat won't pull
Papas gonna buy you a cart and bull
If that cart and bull tums over
Papas gonna buy you a dog named Rover
If that dog named Rover won't bark
Papas gonna buy you a horse and cart
If that horse and cart fall down
You'll still be the sweetest little baby in town

Model lesson material taken from:

Forrai, K. (1995). Music in preschool. (3^^ ed.) (Jean Sinor, Transl.). Hungary:
Kultura.
Engine Engine- p. 108 (words varied slightly)
Andy Pandy-p. 151
Hush Little baby-p. 177

Daniel, K.S. (1979). Kodaly Approach Method Book One (T^ ed.). Champaign, IL: Mark
Foster Music Company.
Bounce High- p. 99

Perkins, Al. (1997). Hand, Hand, Fingers, Thumb. New York: Random House.

85
 Bibliography of "RHYME" books

Christelow, Eileen. (1989). Five Little Monkeys Jumping on the Bed. New York: Clarion.
Description: Ideally a hand action/ counting rhyme, this book begins by showing
the nighttime routine of bathing, putting on pajamas, and bmshing teeth, continues with
the rhyme, and has a humorous surprise ending.
Musical Uses: Rhythm, Beat, Dynamics, Inflection
Non-Musical Uses: counting, bedtime, consequences

Martin. Bill Jr. and Archambault, John. (1989). Chicka Chicka Boom Boom. New York:
Aladdin Simon and Schuster.
Description: "A told B, and B told C, 'I'll meet you at the top ofthe coconut
tree'- goes this beloved alphabet chant Caldecott Award Winner, Lois Ehlert created
bright illustrations that include capitol and lower case letters.
Musical Uses: Rhythm, Beat, Dynamics, Inflection
Non-Musical Uses: alphabet, repetition

Perkins, Al. (1997) Hand, Hand, Fingers, Thumb. New York: Random House.
Description: This Dr. Seuss rhyming book is full of monkeys, drums, fingers, and
thumbs.
Musical Uses: Rhythm, Beat, Dynamics, Inflection, Instmments (drum, fiddle,
banjo)
Non-Musical Uses: monkeys, body parts, repetition, increasing numbers

86
 Lesson Plan Form
Observation Form

NAME

Class Observed
Date
Time

1. Song/Rhyme:
Activity:

2. Song/Rhyme:
Activity:

3. Song/Rhyme:
Activity:

4. Song/Rhyme;
Activity:

5. Song/Rhyme:
Activity:

6. Song/Rhyme:
Activity:

87
Skill Areas/ Objectives:

Type Repertoire here:

-Write a paragraph about the other things you observed excluding the lesson plan. (For
example, manipulatives, # of students, children's attitudes, discipline issues, classroom
environment)
-Write another paragraph reflecting on how you might incorporate these songs/ rhymes/
activities in a regular classroom setting.

88
 Bibliography of "INSTRUMENT" books

Hayes, Ann. (1991). Meet the Orchestra. New York: Harcourt Brace.
Description: This book describes the feature, sounds, and role of each musical
instmment in the orchestra. Each page is dedicated to an instrument, which is played by
an animal.
Musical Uses: Instmments (orchestral)
Non-Musical Uses: sound

Imai, Miko. (1995). Sebastian's Trumpet. Cambridge: Candlewick Press.

Description: When he and his brothers get instmments for their birthday,
Sebastian is fmsttated because he cannot play his tmmpet right away.
Musical Uses: Instmments (trumpet, banjo, drum). Singing
Non-Musical Uses: birthdays, persistence

Isodora, Rachel. (1979). Ben's Trumpet. New York: Greenwillow Books.

Description: Ben wants to be a trumpeter, but plays only an imaginary instrument
until one ofthe musicians in a neighborhood nightclub discovers his ambition. Caldecott
Award Winner, beautiful illustrations in black and white
Musical Uses: Instmments (tmmpet, saxophone, ttombone, dmms, jazz combo).
History G^zz)
Non-Musical Uses: history of 1920's, teasing, hope.

Lithgow, John. (2000). The Remarkable Farkle McBride. New York: Simon & Schuster.
Description: The musical prodigy Farkle McBride tries a number of musical
instmments before discovering that conducting the orchestra makes him happy.
Musical Uses: Instmments (violin, flute, trombone, percussion, entire orchestra
together)
Non-Musical Uses: trying new thing, being satisfied

Moss, Lloyd. (1995). Zin! Zin! Zin! A Violin. New York: Simon & Schuster.
Description: Ten instmments take their parts one by one in a musical
performance.
Musical Uses: Instruments (all instruments ofthe orchestra). Vocabulary (solo,
duet, trio, etc.)
Non-Musical Uses: rhyming, counting

89
 Bibliography of "SONG" books

Eagle, Kin. (1994). It's Raining, It's Pouring. Watertown, MA: Charlesbridge
Publishing.
Description: This book sings through the traditional verse, then adds more taking
the old man through many seasons. Many descriptors are included in the extra verses.
The song is notated musically at the end.
Musical Uses: Singing, Listening, Imporvisation
Non-Musical Uses: weather, seasons, rhyming

Frazee, Maria. (1999). Hush Little Baby: A folk song with pictures. New York:
Browndeer Press.
Description: In an old Appalachian lullaby, a baby is promised an assortment of
presents from hs adoring parents. The illusttations depict life in the Appalachain
mountains in the 1800's. The song is notated musically at the end.
Musical Uses: Singing, Listening, Movement
Non-Musical Uses: lullabies, babies

Norworth, Jack. (1999). Take Me Out to the Ballgame. Watertown, MA: Charlesbridge
Publishing.
Description: This book sings through the traditional song, while illustrations are
based on pictures from the World Series game played between the Dodgers and Yankees
in 1947. Included at the end are biographical and historical information. The song is
notated musically at the end.
Musical Uses: Singing, Listening
Non-Musical Uses: baseball, tradition

Raffi. (1989). Five Little Ducks. New York: Crown Publishing.

Description: Ideally a hand-motion song, this book sings the song about five little
ducks that disappear one by one, and their mother who sets out to find them. The song is
notated musically at the end with chord symbols.
Musical Uses: Singing, Listening, Movement
Non-Musical Uses: ducks, counting

Trapini, Iza. (1993). The Itsy Bitsy Spider. Watertown, MA: Chariesbridge PubUshing.
Description: Ideally a finger-action song, this book sings through the traditional
verse, then adds more taking the spider through many adventures. The song is notated
musically at the end. Illustrations are beautiful watercolors.
Musical Uses: Singing, Listening, Movement
Non-Musical Uses: spiders, direction, persistence

90
 Letter Packet Example

Your Name
MUSI 3336-sect 00?
"Qq"
Song # 1 - Five Little Ducks
Five Little Ducks went out one day
Over the hills and far away
Mother duck said "Quack Quack Quack"
But only four little ducks came swimming back.

Four Little Ducks went out one day

Over the hills and far away
Mother duck said "Quack Quack Quack"
But only three little ducks came swimming back.

Three Little Ducks went out one day

Over the hills and far away
Mother duck said "Quack Quack Quack"
But only two little ducks came swimming back.

Two Little Ducks went out one day

Over the hills and far away
Mother duck said "Quack Quack Quack"
But only one little ducks came swimming back.

One Little Duck went out one day

Over the hills and far away
Mother duck said "Quack Quack Quack"
But no little ducks came swimming back.

Sad mother duck went out one day

Over the hills and far away
Sad mother duck said "Quack Quack Quack"
And FIVE little ducks came swimming back.
*Song is recorded by Raffi and also available on many other recordings.
*Sing while using hands to show motions. Last verse sad and slow until "5 Little Ducks"
then quickly.

Song #2- Quaker Quaker

Quaker Quaker how art thee?
Very well I thank thee.

91
How's thy neighbor next to thee?
I don't know I'll go and see.

*Song is a call and response song, best taught by teacher perforaiing with puppets. Then
students can sing to puppet, and finally to each other.

Nursery Rhyme # 1 - Jack Be Nimble

Jack be nimble
Jack be Quick
Jack jumped over the candlestick

Nursery Rhyme #2- The Queen of Hearts

The Queen of Hearts
She made some tarts
All on a summer ^s day
The knave of hearts
He stole those tarts
And took them clean away

Book- Moss, Lloyd. (1995). Zin Zin Zin a Violin. Simon and Schuster: New York.
Teacher will read page about a Quartet and explain that a Quartet is 4 people playing
together. Teacher could then give 4 children instmments and have them play together as a
Quartet.

Movement Activity- Jack Be Nimble

Teacher will build a "candlestick" out of blocks and as children recite the rhyme
(emphasizing the word QUICK, students will jump over the candlestick). Next, students
will be paired up and allowed to build their ovm candlesticks. Students should be
encouraged to recite the rhyme as they jump.

92
 Unit Packet Ideas

Transportation
Seasons
Weather
Insects
Farm
Spatial awareness
Feelings
Jobs
Dogs
Cats
Ocean
Jungle
Emits/ vegetables
Birds
America
Cultures
Colors
Zoo
The body
Clothing
Sleepytime
Halloween
Food
Time

93
 Comparative Concepts

Sound/ No Sound
Same / Different
Speaking/ Singing
High/ Low
Loud/ Soft
Fast/ Slow
Long/ Short

94
 Mid Temi
MUSI 3336

Position Statement on Early Childhood Education

1. Music education for young children involves a developmentally appropriate program
of what 6 factors?
A. singing, moving, listening, creating, playing instmments, responding
B. reading, writing, improvisation, history, listening, performance
C notation, theory, playing instmments, moving, singing, creating

2. How should musical experiences be based?

A. Literacy based
B. Performance based
C Play based
D. Knowledge based

3. What types of music literature should be included in a curriculum?

A. Traditional children's songs
B. Folk songs
C Multicultural music
D. All ofthe above

4. The article says that all children have music potential.

A. Tme
B. False

5. What does the article say about children's control of their leaming?
A. Children should have no control of their own leaming
B. Children must be left in control of their ovm leaming
C The teacher should control the children's leaming

6. Which leaming contexts will be most effective in a music classroom?

A. Play, games, conversations
B. Pictorial imagination, stories
C Shared reflections, personal and group involvement
D. All ofthe above

7. The silent participator is a child who does not vocally participate, but is heard singing
later in a different setting.
A. Tme
B. False

95
The Importance of Music in Early Childhood
8. According to the U.S. Dept of Education, how many children under the age of two
are enroUed in some kind of nursery school/ daycare program?
A. Less than half
B. More than half
C All

9. At what time did Kodaly suggest music education begin?

A. At birth
B. At nine years old
C Nine months before birth

10. Why are parents (and teachers) at a loss trying to serve as children's first music
teachers?
A. Because our society has increasingly less musical talent
B. Because our society sees music as totally unimportant
C. Because our society has become passive consumers of music

Music in Early Childhood

11. What type of songs does Feierabend suggest using to follow the philosophy of a
natural evolution?
A. Songs that are created to teach concepts
B. Songs that have traditionally emerged from the child's worid
C Songs that are easy to sing
12. Comfortable singing and rhythmic moving are the primary music skills that must be
developed during "extramusical" activities.
A. Tme
B. False

13. Why is ft important to develop musical skills for their own sake?
A. So people can develop talents
B. It is not important
C Music is considered a separate intelligence

14. What does Feierabend say about "teaching songs"?

A. Never use teaching songs
B. Use teaching songs to teach concepts, but use inspired repertory to enhance
artistry
C Use teaching songs to make up the majority ofthe repertoire

96
What's Happening in EC Music
15. What types of "centers" does Diane Persellin describe?
A. Picture books, instmments, listening, dress-up
B. Instruments, books, worksheets
C Listening, flashcards, scarves

16. For lessons to be developmentally appropriate, what environment does Andress say
children should experience?
A. Guided groups
B. Integrating music into daily activities
C Areas of special interest
D. All ofthe above

17. What does Roebuck say about singing and children's opportunity to sing?
A. Singing is not for all children
B. Singing is a leamed skiU
C. Singing should only be done in a music setting

Music in the Elementary School Curriculum

18. Who considered music to be one ofthe most important branches of leaming?
A. Greeks
B. Americans
C Italians

19. When and where was vocal music inttoduced in the US?
A. Los Angeles, 1987
B. Lubbock, 1888
C Boston, 1838

20. How does David Elliot feel about musicianship being an accident of birth?
A. It is an accident of birth, some get it and some don't
B. It is not an accident of birth, but rather it is achieved through teaching and
leaming

21. What is the mistake of labeling musical ability a talent?

A. It weakens the status of music in the curriculum
B. It lessens the aptitude for those who those who are talented

97
22. What should form the core ofthe class's study of music if a music specialist is not
available?
A. The parts that the classroom teacher feels most comfortable doing
B. Videos and recordings

Notes
23. Play begins in and ends in
A. Leaming, creativity
B. Delight, knowledge

24. Language Acquisition occurs in this order:

A. Words, babble, sentences, stories, writing, immersion
B. Writing, words, stories, immersion, babble, stories
C Immersion, babble, words, sentences, stories, writing

25. Why should we compare the process of music acquisition with that of language?
A. Because music is much harder to acquire
B. Because humans should have music before language
C Because it should follow the same natural process

26. At what time is a baby in the womb capable of full adult hearing?
A. 4.5-5.5 months
B. 8 - 9 months
C 1-2 months

27. Ofthe 3 facets of being a "Music Artisf, which is the most important in early
childhood?
A. Knowledge about music
B. Music literacy
C. Doing music

28. Which ofthe following Skill Areas are most appropriate in early childhood?
A. Writing, singing, inner hearing
B. Reading, instruments, partwork
C. Singing, movement, improvisation

Andress Chapter 1
29. Piaget developed which theory?
A. Theory of Cognitive Development
B. Theory of Instmction
C Theory of Multiple Intelligences
D. Sociocultural Theory

98
30. Howard Gardner developed which theory?
A. Theory of Cognitive Development
B. Theory of Instmction
C. Theory of Multiple IntelUgences
D. Sociocultural Theory

31. Semanovich Vygotsky developed which theory?

A. Theory of Cognitive Development
B. Theory of Instmction
C Theory of Multiple Intelligences
D. Sociocultural Theory

32. Early Childhood teachers will deal with children going through which two stages of
Cognitive Development?
A. Concrete-operational and sensorimotor
B. Sensorimotor and preoperational
C Formal-operations and preoperational

33. "Cognitive development" can be defined as: changes that occur in mental activities
such as attending, perceiving, leaming, thinking, and remembering
A. Tme
B. False

34. Which theory describes the importance of joint discussion and problem solving
between children and adults?
A. Theory of Cognitive Development
B. Theory of Instmction
C Theory of Multiple Intelligences
D. Sociocultural Theory

35. Montessori and Bruner both described what type of theories?

A. Child Development
B. Instmction

36. Which definition best describes the Theory of Multiple Intelligences?

A. Humans display many distinct kinds of intelligence
B. Stages of human development
C Child centered curriculum

37. A person with a high bodily-kinesthetic intelligence could make a good:

A. Dancer
B. Architect
C Minister

99
38. A person with a high interpersonal intelligence could make a good:
A. Dancer
B. Therapist
C Gardner

39. A person with a high musical intelligence could make a good:

A. Dancer
B. Musician
C Economist

Andress Chapter 2
40. Children acquire musical understandings and communications skills as progress
developmentally from enactive hands-on experiences, to meaningful pictorial
representations, and finally to the use of abstract mutually agreed upon symbolic
representations of sound ideas.
A. Tme
B. False

Andress Chapter 4
41. Children are predominantly at the abstract stage if leaming.
A. Tme
B. False

42. Which ofthe following is an important approach to daily musical interaction?

A. Permeable Leaming
B. Special Interest Areas
C Guided Group Play
D. All ofthe above

Andress Chapter 3
43. Which ofthe following IS NOT an element of music?
A. gavotte
B. pitch
C rhythm
D. harmony

44. Choose the correct definition for the term: Beat

A. Gradually becoming faster
B. Recuning rhythmic pulse underlying music
C Gradually becoming louder

100
45. Choose the conect definition for the term: Dynamics
A. Gradually becoming faster
B. The graduations of loudness or softness of tones
C A style or category of music
46. Choose the conect definition for the term: Timbre
A. highness or lowness of musical sound
B. The speed at which music is to be performed
C Quality of tones that distinguish one instmment/ voice from another

Repertoire and Listening

47. The most appropriate gerue of "Engine Engine" is:
A. Rhyme
B. Simple Song
C Lullaby

48. Choose the conect line of text:Engine Engine #9

Going dowoi Chicago line
????????????????????
Enigne Engine #9
A. Keep it quick and down the Une
B. See it sparkle see it shine
C It's so pretty and it's mine

49. The most appropriate genre of "Bounce High" is:

A. Rhyme
B. Lullaby
C Improvisation

50. The most appropriate genre of "Andy Pandy" is:

A. Rhyme
B. Action Song
C LuUaby

51. The most appropriate genre of "Apple Tree" is:

A. Singing Game
B. Improvisation
C Tickle

101
55. Choose the correct line of text: Apple Tree Apple Tree
All your apples fell on me
???????????????????????
If your apples knock me out
A. I won't cry, I won't shout
B. I can yell, I can pout
C I'll tell you that you smell like trout

56. Which song or rhyme do you hear?

A. Twinkle Twinkle
B. Bounce High
C Engine Engine

57. Which song or rhyme do you hear?

A I Have a Little Pony
B. Round and Round the Garden
C Hush Little Baby

58. Which song or rhyme do you hear?

A. Sally Go Roun the Sun
B. Apple Tree
C. Engine Engine

102
 Teaching a Song By Rote
taken from:

Eisen, E. & Robertson, L. (1996). An American Methodology. Lake Charies, LA: Sneaky
Snake Publication.

1. Through Listening
2. Through Motions
3. Through Games
4. Echo Singing
5. Call and Response
6. Story
7. Dramatic Play

103
 Finding The Singing Voice
Adapted from:

Eisen, E. & Robertson, L. (1996). An American Methodology. Lake Charies, LA: Sneaky
Snake Publication.

Feierabend, J. M. (1995). First Steps in Music For Nursery and Preschool. Simsbury,
CT: First Steps in Music Inc.

Keep in mind that finding the singing voice might take some children many months or
even years. Singing in the "head voice" may take a long time as well.

Use these techniques to find help children find their "head voices"
1. Pitch Exploration
2. Echo Sounds
3. Echo Singing
4. Standing on a table or chair
5. Imitate another child's voice
6. Echo Games

104
 Brain Development Notes

Notes and discussion taken from:

Healy, J. M. (1999). Endangered Minds: Why Children Don Y Think and What We Can
Do About It. New York: Simon and Schuster.

www.zerotothree.org/brainwonders/index.html

Feierabend, J. M. (1995). Music and intelligence in the early years. Early Childhood
Connections, Summer, 5-13.

105
 Movement Activities
Activities selected from:

Weikart, P.S., (1997). Movement: Plus Rhymes, Songs, & Singing Games. Ypsilanti, MI:
High/Scope Press.

Jones, B.J. & Hawes. (1987). Step It Down; Games, Plays, Songs, and Stories from the
Afro-American Heritage (T^^ ed). New York: Harper & Row.

New England Dance Masters. (1997). Jump Jim Joe: Great Singing Games for Children
[CD]. Brattleboro, VT:New England Dance Masters Productions.

New England Dance Masters. (2000). Down in the Valley: More great singing games for
children [CD]. Brattleboro, VT: New England Dance Masters Productions.

Folk Dances
Dances taken from:

New England Dance Masters, (1990). Chimes of Dunkirk: Great Dances for Children.
Brattleboro, VT: New England Dance Masters Productions.

New England Dance Masters, (1997). Listen to the Mockingbird: More Great Dances for
Children, Schools, & Communitites. Brattleboro, VT: New England Dance Masters
Productions.

106
 Gordon Notes
Taken from:

Feierabend, J. M. (1992). Music in eariy childhood. In Andress, B., & Walker, L. M.

(Eds.), Readings in Early Childhood Education (pp. 26-31) Reston, VA: Music
Educators National Conference. (Reprinted from Design for Arts in Education, 91 (6),
15-20 by Heldfred Publications, 1990, Washington, D.C.)

Aptitude vs. Achievement

Edwin Gordon- Temple University

MAP- Music Aptitude Profile

Subjects: students age 9-18
Testing: ability to retain a melodic or rhythmic pattem "in the mind" and compare
it with a second pattem
"Audiation"- defined as the ability to hear music not physically present
Results: 1) tonal and rhythmic tests unequal
2) audiation of oldest students equal to that those of 9 year olds

PMAA- Primary Measures of Music Aptitude

Subjects: children ages 5-9
Testing: same as MAP
Results: 1) audiation scores if children did not receive musical stimulation in the
form of singing and rhythmic movement
2) greatest loss in audiation occuned between ages 5 and 6
3) decline of audiation continued until age 9 then stabilized

Overview
- the longer the delay in music stimulation in the form of singing and rhythmic
movement, the more the ability to audiate can be lost and less can be regained
- if children have not had the above mentioned musical experiences by
Kindergarten, musical aptitudes decline significantly
- early childhood is the most important time for music

107
 Article Questions

Please TYPE answers to the following questions.

MUSIC AND INTELLIGENCE

1. What kind of literature did Kodaly desire to use?
2. What are the 3 aspects ofthe "Greek Triangle"?
3. Who developed the theory of Multiple Intelligences?
4. What was the name of his book?
5. Name the 7 intelligences and briefly describe each.
6. According to Gardner, the density of synapses increases in the first months of life.
a) When will the maximum density be reached?
b) When will it decline?
c) When will it remain steady?
7. How does Feierabend relate to the growing ofthe mind to a vegetable garden?
8. Who wrote Endangered Minds?
9. What does she say about nurturing the development ofthe neurological network
during the early years of life?
10. What does she say about organization vs. reorganization?
11. Why does Feierabend think that most United States school age children are
"musically retarded"?
12. Where does John Feierabend teach?

HOW TO BUILD BABY'S BRAIN

13. Please finish this statement "Instead, eariy childhood experiences exert a drastic
and precise impact, "
14. In the first months of life, how much will the number of synapses increase?
15. What is the process called when synapses wither away?
16. What did Craig Ramsey find that enhances cognitive, motor, and language
development?
17. At what age is a child's auditory map formed?
18. The size of a baby's vocabulary is sttongly conelated with what?
19. Why does TV not assist in the production of vocabulary and syntax-boosting effects?
20. According to Dr. Bmce Perry, what does experience do for the brain of a child?

WIRED FOR SOUND

21. Explain how a dot-to-dot describes the child's brain function.
22. A) How does Gordon define aptitude?
B) How does he define music achievement?
23. Dr. Lee Coulter describes what 3 things as "brilliant neurological exercises"?
24. What 2 areas are cuUivated through experiences combining rhythmic movement with
speech and song?
108
25. Children who possess which 2 developed activities exhibit greater social skills?
26. According to Loma Heyge, why will educators stay with music?
27. What is an example of an inappropriate vocal model for children?
28. What does Feierabend recommend as children's literature?
29. Why does he feel these are appropriate?
30. A) Who is the main person quoted when discussing movement?
B) How does she refer to the body?

109
 Peer Teaching Observation

Name Date Section

Group Members being observed:

Please list song titles and briefly describe activities.

Describe 2 positive aspects of this group's lesson.

1.

2.

Describe 2 things that might help improve the lesson.

1.

2.

Describe 2 positive aspects of this group's teaching ability.

1.

2.

110
 Discography

Burton, B (1993). Moving within the circle: Contemporary native American music and
dance [CD]. Danbury, CT: Worid Music Press.

Feierabend, J. M., 8c Saunders, L. (2000). 'Round and 'round the garden: Music in my
first year [CD]. Chicago: GIA Publications.

Feierabend, J. M., & Saunders L. (2000). Frog in the meadow: Music now Fm
^ o [ C D ] . Chicago: GIA Publications.

Feierabend, J. M., & Saunders, L. (2000). Ride away on your horses [CD].
Chicago: GIA Publications.

Leadbelly, H. (1999) Leadbelly sings for children [CD]. Washington, D.C:

Smithsonian Folkways.

New England Dance Masters. (1997). Jump Jim Joe: Great singing games for children
[CD]. Brattleboro, VT: New England Dance Masters Productions.

New England Dance Masters. (2000). Down in the valley: More great singing games for
children [CD]. Brattleboro, VT: New England Dance Masters Productions.

Paxton, T. (1997). Goin' to the zoo [CD]. Cambridge, MA: Rounder Kids.

Saint-Saens, C (1997). Saint-Saens: The carnival ofthe animals, symphony no. 3,

concerto no. 2 [CD]. Hamburg, Germany: Ultima.

Seeger, M, & Seeger, P. (1996). American folksongs for children [CD]. Cambridge,
MA: Rounder Kids.

Shananigans. (1986). Dance music for children [CD]. Victoria, Australia: Gary King.

Smithsonian Folkways. (1998). Smithsonian folkways children's music collection

[CD]. Washington D.C: Smithsonian Folkways.

Sweet Honey in the Rock. (1992). All for freedom [CD]. Redway, CA: Music For Little
People.

Trinka, J. (1996). Bought me a cat and other folk songs, singing games, and play
parties [CD]. Dripping Springs, TX: Folk Music Works.

Ill
Trinka, J. (1996). John, the rabbit and other folk songs, singing games, and play
parties [CD]. Dripping Springs, TX: Folk Music Works.

Trinka, J. (1996). My little rooster and other folk songs, singing games, and play
parties [CD]. Dripping Springs, TX: Folk Music Works.

United States Marine Corps Band. (1999). Sousa's greatest hits & some that should have
been [CD]. Nashville, TN: Altissimo.

Woodward, S. (n.d.). Womb sounds [CD].

112
 Supplementary Readings

Alzarez, B. (1993). Developing music concepts. In M. Palmer & Sims, W.L.

(Eds.), Music in Prekindergarten (pp. 29-32). Reston, VA: Music Educators National
Conference.

Andress, B., Heimann, H., Rinehart, C.,& Talbert, G. (1992). Music in early
childhood: The environment In Andress, B., & Walker, L. M. (Eds.), Readings in
Early Childhood Education (pp. 43-50). Reston, VA: Music Educators National
Conference. (Reprinted from Music in Early Childhood, 1973, Reston, VA: Music
Educators National Conference)

Baney, C (n.d) Wired for sound: The essential connection between music and
development Early Childhood News. Retrieved May 24, 2004 from the World
Wide Web: http://vyww.earlvchildhoodnews.com/archive/wired.htm

Begley, S. (1997). How to build baby's brain. Newsweek, Spring/Summer,

Issue 9, 28-32.

Fallin, J. (1995). Children's literature as a springboard for music. Music Educators

Journal, 81(5), 25-27.

Feierabend, J. M. (1992). Music in early childhood. In Andress, B., & Walker, L. M.

(Eds.), Readings in Early Childhood Education (pp. 26-31). Reston, VA: Music
Educators National Conference. (Reprinted from Design for Arts in Education, 91 (6),
15-20 by Heldfred Publications, 1990, Washington, D.C)

Feierabend, J. M. (1995). Music and inteUigence in the early years. Early Childhood
Connections, Summer, 5-13.

Feierabend, J. M. (1996). Music and movement for infants and toddlers: Naturally
wonder-ful. Early Childhood Connections, Fall, 19-26.

Flowers, P.J. (1993). Evaluations in early childhood music. In M. Palmer & Sims, W.L.
(Eds.), Music in Prekindergarten (pp. 37-43). Reston, VA: Music Educators National
Conference.

Furman A.G. & Furman, CE. (1993). Music for children with special needs. In M.
Palmer & Sims, W.L. (Eds.), Music in Prekindergarten (pp. 33-36). Reston, VA:
Music Educators National Conference.

Hen-old, R. (2001). Music in the elementary school cuniculum. In New Approaches to

Elementary Classroom Music (pp.3-9). New Jersey: Prentice HaU.

113
Jalongo, M.R. (1996). Using music: A guide for nonmusicians. Young
Children, July, 6-14.

Lach, J. (1997). Tuming on the motor. Newsweek, Spring/Summer, Issue 9, 26-27.

Levinowitz, L. (1999). The importance of music in early childhood. Music Educators

Journal, 85(1), 17-18.

Levinowitz, L. (2001). A golden age for early childhood music education. Teaching
Music, December, 44-47.

Music Educators National Conference. (1993). Position statement on early childhood. In

M. Palmer & Sims, W.L. (Eds.), Music in Prekindergarten (pp. 71-72). Reston, VA:
Music Educators National Conference.

Music Educators National Conference. (1994). The School Music Program: A New
Vision. The K-12 National Standards, Pre-K standards, and what they mean to music
educators. Reston, VA: Music Educators National Conference.

Palmer, M. (1993). Starting points: Music in the prekindergarten classroom. In M. Palmer

& Sims, W.L. (Eds.), Music in Prekindergarten (pp. 3-6). Reston, VA: Music
Educators National Conference.

Ponick, F.S. (1999). What's happening in early childhood music. Teaching Music,
October, 30-37.

Scott-Kassner, C (1993). Musical Characteristtstics. InM. Palmer & Sims, W.L.

(Eds.), Music in Prekindergarten (pp. 7-14). Reston, VA: Music Educators National
Conference.

Sims, W. L. (1993). Guidelines for music activities and instmction. InM. Palmer &
Sims, W.L. (Eds.), Music in Prekindergarten (pp. 19-28). Reston, VA: Music
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 APPENDIX C

DEFINITION OF TERMS

115
Caregiver- a person who is responsible for attending to the needs of a child

Children- for tiie purposes of this paper, this terni refers to children who are or will be
taught by students or in-service teachers

Classroom teacher- a teacher who is formally responsible for a class or group of

students, including part-time andfiiU-timeteachers and teachers of self contained
and special education classes but excluding teachers of special subject (e.g.,
music) (US Department of Education, 2002, p. 1); also known as a Generalist
Early childhood- birth through age eight

Early childhood education- activities and/or experiences that are intended to effect
developmental changes in children, from birth through the primary units of
elementary school, grades 1 through 3 (ERIC, n.d.)

Early childhood major- any college student enrolled in an eariy childhood degree
program

MENC- Music Educators National Conference

Music fundamentals- basic music skills in theory, performance, and history

Music literacy- ability to read and write musical notation and to read notation at sight
without the aid of an instmment It also refers to a person's knowledge of and
appreciation for a wide range of musical examples and styles (Intemational
Kodaly Society, n.d.)

Music specialist- a teacher who has at least 4 years of formal music training, in addition
to numerous years of musical experience prior to college (Steinel, 1990) and is
responsible for the subject of music, usually responsible for students of an entire
school

NAEYC- National Association for the Education of Young Children

Non-musician- for the purposes of this paper, this term refers to non-music majors

Prekindergarten- "a fragmented array of eariy care and education programs that vary
widely in focus, quality, content, organization, source of funding, relationship to
the public school system, and govemment regulation (Bovraian, Donovan, and
Bums 2001). Many terms have been used interchangeably and/or inconsistently
across studies to describe these various programs. However, terms such as
prekindergarten, preschool, and preprimary are sometimes used in a generic

116
 fashion to cover all or some center-based programs that serve children ages 3 to 5
who have not yet entered kindergarten" (United States Department of Education,
n.d.,p.l)

PreK age group- children ages 3 through 5 and who have not yet entered kindergarten

Pre-service teacher- an undergraduate education student

Practicum teaching- a stmctured and significant educational experience that takes place
in a school or daycare under the supervision and the guidance of a master teacher.
The primary goal of practicum teaching is to develop effective teaching skills
through use of pedagogy, practice and analysis, and documentation in an actual
practice setting.

Student centered cuniclum- systematic group of courses or sequence of subjects that

utilizes student experiences, backgrounds, and interests (ERIC, 1971)

Students- for the purposes of this paper, this term refers to college students

Teaching songs- songs used specifically for the benefit of extra-musical leaming

117
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