HBMS4303

BACHELOR OF EARLY CHILDHOOD EDUCATION WITH HONOURS

MAY / 2021

HBMS4303

PLANNING THE TEACHING OF MUSIC

MATRICULATION NO : 900113137163001
IDENTITY CARD NO. : 900113137163
TELEPHONE NO. : 0137863167
E-MAIL : chelwin@oum.edu.my
LEARNING CENTRE : KOTA KINABALU LEARNING
CENTRE
 HBMS4303

TABLE OF CONTENTS

PART 1
1.0 Implementation

PART 2
2.0 Principles of teaching and learning music to young children
........................................................................................................................................................
2.1 Dalcroze Principle.............................................................................................................
2.2 Orff Principle ..................................................................................................................
2.3 Kodaly Principle ..............................................................................................................
2.4 Suzuki Principle.................................................................................................................
3.0 Strategies that organizations can take to tackle the above-mentioned challenges............
3.1 Physical Development........................................................................................................
3.2 Emotional Development....................................................................................................
3.3 Cognitive Development.....................................................................................................
3.4 Social Development ...........................................................................................................
4.0 Conclusions...............................................................................................................................

References.....................................................................................................................................
PART 1: LESSON PLAN
Class: Hello Song
Children’s age group: Pre-K, K
Focus/domain: In this lesson, students will move their bodies to the music. They will also
repeat the rhythm using their hands, voice and instruments.
Date / Time: 2 July 2021
Duration: 1 hour
Learning materials: Music instruments of all sorts
Learning objectives/outcomes: To get the class familiarized with the music presented so
that they will know their music time when they hear the start of the song, and to get the
children to remember and understand the tempos that each time the music is played, they
could catch up with the tempo and sing and clap along.

1.0 Implementation
i.) Set induction: The lesson commences with a story. Next, the children are instructed to
move their bodies to the music. Then, they are told to echo the music using their voice and
instruments. After that, the children will play the "Pass the Bean Bag" game. As the final
induction activity, children will sing a finger play song.

ii.) Introduction: Children are instructed to chant the introductory song: "Goodbye *insert
the name of the child* I'm pleased you're here." “*Jenny* Good morning *Jenny* Good
morning *Jenny* Happy that here you are. I am happy that you are here. Okay, who is the
next one? Alex?! Ok! What's coming up *Hannah* What's going on *Hannah* What's going
on *Hannah* I'm happy you're here."

iii.) Learning activities and steps:

Question to enhance learning: "What are you adding to our song?" "Can you create music
with your hands? Show me! Show me!"
Procedure: The whole song will be sung repetitively, and each time, the name of one child is
included. The name of every child will be included. "Alright, who's around you?" Each child
is encouraged to express himself by producing sounds to the played music using their body
part(s) (rubbing hands, slapping thighs, stomping feet).
Reinforcement and conclusion: "Hello, *class name* Hello *class name* Hello *class
name* I'm happy you were all here! Wow, you were incredible! We produced a complete

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song with our names and made music with our bodies! This was OK!" I will talk about how
always courteous it is to say good morning or goodbye to start the day rather than getting into
what you were doing immediately. I am asking other methods to make music if they could go
through the tune 2 or 3 times? Let the children know that they may also sing the song at
home.

PART 2: ESSAY
2.0 The principles of teaching and learning music to young children. Four ways to
promote children development through music.
Music has been in existence for a long time and music has changed in terms of its purpose,
the way it sounds, and the frequency of its usage. As can be observed, the uses of music at
present time appear to be increasingly more creative and meaningful scientifically (Evans,
2009). It has been reported that children growing up listening to music appear to have more
well-rounded and complete schooling experiences. On the other hand, teaching young adults
music when they have difficulties in understanding new ideas can be challenging. In this
regard, instructors may utilize to educate young children. The well-known early-year models
for teaching music are aimed at developing the creativity and imagination of children. Some
of it indeed predate the above, but their specific focus is on early childhood music instruction.
The models of Dalcroze, Kodaly, Orff, and Suzuki are among the popular models. These
models embrace the philosophy that all musical experiences should form the understanding of
theoretical ideas. They are as discussed below:

2.1 Dalcroze Principle

Dalcroze or Dalcroze Eurhythmics introduced by a Swiss teacher named Emile Jaques-
Dalcroze entails a technique used in teaching musical ideas. This technique is specifically for
music and motion teaching using rhythm, structure, and musical expression. Eurhythmics
begins with hearing or solfege training, for the inner ear improvement. The use of solfege in
the Dalcroze technique is different from that in Kodaly because, in the Dalcroze technique,
the use of solfege is combined with movement. Improvisation is another feature of the
Dalcroze technique, whereby it allows students to improve their spontaneous bodily
responses to music. Dalcroze technique is based on the notion that students learn best when
they incorporate various senses, and therefore, tactile, kinesthetics, sounds and visual senses
should be applied in music teaching.

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 Dalcroze technique has been affecting musicians, dancers, and all music teachers.
Carl Orff, E. Willems, and M. Martenot are among the two strong advocators of the Dalcroze
technique. Edgar Willems from Switzerland was among the early ones who mentioned the
high significance of the acoustic part paralleling the cinematic. Relevantly, in France,
Maurice Martenot had reformed the classically Dalcroze based solfege Eurythmic at present
time integrates all forms of music instruction. As highlighted in Orff’s & Kodaly’s Institute's
analytical timetable, music movement and rhythm are major components of any music
education program (Steiner, 2009).

2.2 Orff Principle

The Principle of Orff Schulwerk teaches youngsters about the use of music with mind and
body, combining singing, dancing, percussion, and performance instruments including the
Orff instrumentation, xylophones, metallophone, and Glock spiel. Lessons are given through
play with the integration of arts including tales, poetry, dance, and theatre. Such integration
allows children to learn based on their respective levels. The Orff principle is the least
systematic when compared to the other three principles, and this principle teaches music via
four stages namely: imitation, research, improvisation, and creation. In the application of this
approach, first, vocal sings and then poets would be used, followed by the percussion of the
body like clapping, stumping, and snapping. Then, an instrument would be played. The use of
the instrument is regarded as a body-expanding pastime.

Orff's approach is essentially more characterized by its youngsters including

xylophones, metallophones, recorders, and cymbals. This approach, therefore, allows
youngsters to learn to behave like musicians, improvise and be involved in music. Orff is of
the view that for children, being taught the basic ideas or abilities before they learn how to
express themselves, through the use of music, is similar to learning how to read to speak.

Initially, both Kodaly and Orff were focusing on music instruction and perceived it as
crucial to the development of the child's music thereafter. Orff's technique of music
movement encompasses the blend of music movement and discourse. According to Orff,
Music-movement discourse is entwined, and this view is similar to that of Labuta and Smith.
Hence, the Orff technique should be included in school's general education and applied as an
essential principle for the children's inner, constitutional, and intellectual completeness
(Evans, 2009). In teaching music to young children, the principles of Orff essentially propose

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the use of music activities including voicing, movement, musical instruments usage,
improvisation, music games, musical tales, imitation, theatre, and so forth.

2.3 Kodaly Principle

Zoltan Kodaly (1882-1967) was a renowned musician and musicologist from Hungary. He
viewed music as a communicative code. According to Kodaly, the voice is the first natural
tool of a child, and the voice is melodic and knowledge-based (Evans, 2009). Kodaly's
approach involves the use of the solfa system and the rhythmic syllables in teaching music.
Rhythmical Dalcrozes components were used by Kodaly alongside several elements from
Orff's unknown music-movement action (like some instruments and rhythmic and metric
forms). The teaching material of Hungarian traditional music, and according to Kodaly, it
could facilitate the development of children's musicality.

The inclusion of traditional songs and traditional rhythms in early music instruction,
particularly choral songs has been stressed (Green, 2001). According to Kodaly, involvement
in rhythmical activities can help develop the child's cognition and rhythm. Here, the motion
encountered becomes an element comparable to music, helping the child acquire musical
ideas in a meaningful way. For children, singing is a major part of music-making.

2.4 Suzuki Principle

Shinichi Suzuki was born in Japan in 1898, and according to him, musical learning starts at a
"near age," and the child's birth. Suzuki mentioned the hearing know-how as important to a
child's future musical growth. Experienced as a teacher, Suzuki found that children learn
more from what they were being taught and that what adults find difficult to learn, is easy for
children. Suzuki accordingly proposed a music learning technique in a family setting. This
technique encourages youngsters to play instruments 'by the ear' and learn through
observation, imitation and repetition (Steiner, 2009). Albeit the difficulty, children eventually
master their mother tongue. In fact, effective language learning should allow one to learn
more, using the exact mother language, observation, imitation, repeating and progressive
intellectual awareness. Suzuki's concept was based on the notion that all children possess
remarkable learning potential, and they're dictated by their surroundings. Suzuki's teaching
approach is aimed at generating wholesome individuals who gain pleasure, knowledge and
respect through the formation of a harmonious and supportive atmosphere.

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 Carl Orff's pedagogy stresses creative musical expression, while Dalcroze posits the
importance of creative music. However, to Suzuki's mind, both are immaterial to his
pedagogy as his focus was on increasing physical awareness and music experience of
children by way of education, especially kinesthetic, in all senses. Meanwhile, Kodaly does
not stress talent much because he believes that pupils only follow the greatest and not their
models. Despite these differences in principles, all these teachers wanted to be great
musicians for their pupils (Myers, 2006). Still, these teachers utilize highly comparable
techniques, despite being different. In fact, all of them advocate music learning at a very
young age because young children can absorb musical skills and establish individuality by
way of singing, dancing, and listening (Green, 2001).

3.0 Four ways to promote children development through music.

Music strongly affects the growth of an individual that it affects individual in general. For a
child, his/her formation of personality is affected by music and arts. In fact, various studies
have reported the importance of music education for students in pre-school, school and
adolescent years, and its contribution to students' personalities. Music education also
contributes to the development of cognition, and emotion of children. It also affects the
development of society. It has been reported that preterm babies with high exposure to
various types of music were significantly more intelligent and physically adept, as opposed to
those without. Additionally, Medical University in Florida found that youngsters with
exposure to music in their early years have better ability in comprehending school classes
because they had become better listeners and have better focus compared to their peers.

Similarly, a study carried out involving students in a high school in California found
that students who were exposed to music at an early age appeared to be more organized in
terms of their way of thinking. Also, these students were found to have a higher level of
intellectualism. Furthermore, exposure to musical instruments at a very early age appears to
ease the development of the students' physical, mental, emotional, and social skills. In their
study, Jordan-Decarbo and Galliford (2011) mentioned the beneficial effect of music on a
child's motor and social, emotional, and linguistic development.

3.1 Physical Development

Songs, vocal activity, and rhythm exercises, in addition to striking or plucking, bolding, or
blowing the instrument on cue, were found to improve the coordination abilities, and mental,
physical, and fine motor skills of children. Accordingly, the physical development of a child
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can be improved through the aforementioned activities, e.g., music and movement, singing,
or playing an instrument. Indeed, music and movement allow children to match music with
movements of their body parts and also with a certain activity. Such methods foster correct
bodily motions while promoting muscle development in youngsters. Brian Brocklehurst
relevantly stated that children who are physically inept and arrhythmic may benefit from
music because music can help them relieve muscular tension while developing their mind and
body coordination. Music provides opportunities for children to ease emotional stress and
express themselves creatively. Music allows relaxation, and this may change their mood.

Singing and playing wind instruments help children optimize their lung functioning,
by easing their breathing through correct positions and lungs and diaphragm breathing.
Further, the use of woodwind and brass instruments can assist children with speech
difficulties because playing wind instruments can also strengthen the children's mouth, cheek
and tongue muscles. For children with disabilities, music may also be an important element in
their education, especially in the use of instrumental music. For youngsters, music may assist
their education, especially in dealing with sensational impairments. As an example, the use of
the song for blind children may assist their speech, while for deaf children, they learn through
vibrations through their hands and feet (Pogue, 2018).

3.2 Emotional Development

Music has been popular in an intimate emotional connection because it may mediate human
emotion when language fails in doing so. In this regard, music education can assist the
development of children's emotions, and music can fulfil their emotional requirements.
Children's acquirement of unique musical pleasure and aesthetic experience may strengthen
and improve their emotional lives. This in turn will allow children to fulfil the demands of
society while demonstrating courtesy and high regard for and admiration of others. The
language is not a translation of the significance of words. Hence, the child may freely
determine the sense of music. The experience, needs and developmental skills of people
differ, and therefore, the interpretations of a music piece may also differ according to
individual. Hence, each child would construct music based on his or her mental or emotional
needs and desires, making music a beautiful concept. With the use of various musical
activities, children could discover principles to express and convey their emotions. Children
obtain what they want from the music, and their response depends on their music and mood.

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3.3 Cognitive Development
Music facilitates the development of children’s cognition. Music has language, and the use of
both musical and non-musical brain processes is necessary for understanding, listening,
creating, and performing music. Musical experiences and accomplishments thus include the
application of many brain skills. Additionally, music may include visual, tactile, or imaginary
aspects which may generally be displayed through music and dance, music reading and
writing, and also through the use of instruments. Regular music engagements such as
listening to music, speaking rhymes, playing songs and musical instruments can develop the
intellect of children. Schellenberg in another study found that children in music groups
gained full-scale IQ compared to children in control groups (Sarrazin, 2016).

3.4 Social Development

Music helps people connect to the past and the present, and as music is generally performed
in groups, playing music presents the people involved with the opportunities to meet and
work with those of different competencies, social backgrounds, and ages. Through numerous
activities that provide the child opportunities to take part, work together, discipline
themselves, engage and be responsible. Music should thus be used in promoting the
sociability of youngsters especially through different types of activities that allow them to
collectively take part and communicate with one another. Sergi accordingly mentioned the
ability of music in getting the secluded children to connect with the world outside.

In their interactions, it is common for children to stimulate one another to modify,

reveal and strengthen their thoughts. This plays an essential role in education, especially for
youngsters’ social progress. Foster (1965) mentioned in his book "The song inside: Music
and the underprivileged children of pre-school" that music can bring people together. For
solitary children, music stimulates leisure and keenness in joining other children, while
reducing aggressiveness within some children.

Furthermore, systematic music instruction appears to improve the socialization,

autonomy, and social adjustment of children. Children with the opportunity to create music
may significantly add to sound human relationships and the development of social capacity in
team activities. It has been reported that children who systematically participate in musical
activities appear to be excellent at starting social relations with other people, whilst regularly
demonstrating desirable emotional reactions than those not regularly involved in music
(Pogue, 2018).
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4.0 Conclusions
One similarity of these approaches is that they all inspire children to create and make music
in addition to listening to the music. Another similarity of these approaches is that they all
stimulate the active involvement of children. Youngsters are generally interested in music
and they usually express it. Accordingly, music has a beneficial effect on young children, and
the inculcation of music to young children can be done through activities. A neurophysiology
professor at the University of Vienna, Petsche has, in fact, indicated that children who take
lessons in music show better performance in non-music subjects. Additionally, active
involvement in music appears to expedite the full development of the brain, resulting in
improved performance in all domains.

In summary, parents and teachers are the two groups with great responsibility in
assuring musical development of young children. Both parents and teachers have to
understand the significant of early childhood musical development. In order to understand
how young children, both parents and teachers could establish a high standard of children's
musical experiences and identify ways to address the musical development of children.

[2840 words]

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References

Evans, J. &. (2009). A Practical Guide to Teaching Music in the Secondary School. New
York: Taylor & Francis.

Green, L. (2001). How popular musicians learn: a way ahead for music education.
Burlington: Ashgat.

Jordan-DeCarbo, J., & Galliford, J. (2011). The effect of an age-appropriate music

curriculum on motor and linguistic and nonlinguistic skills of children three to five
years of age. Learning from young children: Research in early childhood music, 215-
230.

Myers, K. (2006). Teaching children music in the elementary school. Englewood Cliffs:
Prentice-Hall.

Pogue, B. (2018). Using Music and Movement to Enhance Cognitive Development. Retrieved
from https://nwcommons.nwciowa.edu/cgi/viewcontent.cgi

Sarrazin, N. (2016). Retrieved from https://milnepublishing.geneseo.edu/music-and-the-

child/chapter/chapter-8/

Steiner, T. &. (2009). Musical futures: an approach to teaching and learning. London: Paul
Hamlyn Foundation.

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