WG8-Music - Copia Buona

MICHAEL DARTSCH, NATASSA ECONOMIDOU STAVROU AND ULLA PIISPANEN
MUSIC RIGHT FROM THE START:

THEORY AND PRACTICE OF
EARLY
CHILDHOOD
MUSIC
EDUCATION
FOREWORD 04
(EIRIK BIRKELAND AND PHILIPPE DALARUN)  
INTRODUCTION 07
(MICHAEL DARTSCH AND NATASSA ECONOMIDOU STAVROU )
ACTIVITY FORMS  
> THE ACTIVITY OF SINGING FOR YOUNG CHILDREN 10
(ULLA PIISPANEN)  
> MOVING TO MUSIC AND DANCING IN EARLY CHILDHOOD MUSIC EDUCATION 20

(ULLA PIISPANEN)
> THE ACTIVITY OF INSTRUMENTAL PLAYING FOR YOUNG LEARNERS 26

(MICHAEL DARTSCH)  
> LISTENING ACTIVITIES FOR YOUNG LEARNERS 32

(NATASSA ECONOMIDOU STAVROU)  
> CREATIVE MUSICAL ACTIVITIES FOR YOUNG LEARNERS 37

> CONCERTS FOR AND WITH CHILDREN 43

> PEDAGOGICAL PRINCIPLES 46

(MICHAEL DARTSCH)
DESIGNING LESSONS  
> INTRODUCTION TO THE LESSON PLANS 52
(MICHAEL DARTSCH, NATASSA ECONOMIDOU STAVROU AND ULLA PIISPANEN)  
> LESSON PLAN FOR 0–36-MONTH-OLD INFANTS OR TODDLERS 56



> LESSON PLAN FOR 3–4-YEAR-OLD CHILDREN 66






AUTHORS BIOGRAPHIES 82

4
EARLY CHILDHOOD
MUSIC EDUCATION  
WHY ECME MATTERS TO HIGHER

MUSIC EDUCATION (HME)
One might think ECME is a remote field seen from the perspective of Higher Education. But indeed, this is the
seeding ground, - the ground where children might develop a dedicated motivation for moving deeper into music,
for expressing themselves through music.
Ye t , t h e m a i n f o c u s i n e a r l y c h i l d - The E C M E Working Group has been

h o o d is n o t m u s i c a l skills a n d abil- part of A E C ’s S t r e n g t h e n i n g M u s i c
ities. It is rather a b o u t getting t o in S o c i e t y p roj ec t f u n d e d b y the
k n o w m u s i c as something that al- European Co mmis s ion ’s Creative
l o w s children t o e x p e r i e n c e qu a lity Europe Programme. O u r gratitude
time through music, which again is d u e t o e v e r y o n e w h o c o n t r i b u t -
opens for personal development e d to m a k e this pu bli ca ti on p o s -
and wellbeing. This guidebook´s sible, e s p e c i a l l y t h e a u t h o r s a n d
w i s e a n d inspiring a p p r o a c h re p - members and the President and
resents qualities of learning w h i c h Secretary General of the European
s h o u l d b e accessible to all children. Music School Union (EMU), Philippe
It is of course very w e l c o m e if s o m e Dalarun and Till Skoruppa. With-
of those children e n d u p as students out their c o m m i t t e d a n d construc-
at an H M E institution a n d as profes- tive contribution t o this project, for
sional musicians, although this is not which the AEC and E M U were jointly
the actual goal of E C M E . r e s p o n s i b l e , this v a l u a b l e o u t c o m e
w o u l d n ot h a v e b e e n achieved.
The guidebook combines the musi-
cal and the general perspectives in
a n elegant a n d c o n v i n c i n g w a y a n d Eirik Birkeland
represents a n impressive diversity A E C President
o f a p p r o a c h e s , i n c l u d i n g d id ac tic
tools, theory a n d research, hands-
on teaching materials as well as
p ed ag o gi ca l tips a n d reflections.
Seen from Higher Music Educa-

tion´s perspective, the guidebook
is a v a l u a b l e c o n t r i b u t i o n a n d a
re mi n de r to ou r institutions for
fu rt h er d e v e l o p i n g attractive s t u d y
programs in music pedagogy and
didactics o n all levels, fro m Early
Childhood on.  
5
ECME
GUIDEBOOK
 
ECME: A BENEFIT FOR CHILDREN,

AN ASSET FOR MUSIC SCHOOLS,
AN OPPORTUNITY FOR SOCIETY
Can you remember the first words you spoke, or the first steps you took? Probably not, except through your
parents‘ stories, some old photos or films. However, everyone knows that the first months and years of life, even
if we are not clearly aware of it, are fundamental for language learning, motoric development, expressing feelings
and emotions, the building of personality and relationships with others.
T h e s a m e is true for m u s i c learning, T h e b e n e f its o f early c h i l d h o o d

a l t h o u g h it u s u a l l y (f o rt u n at ely n o t music education are many:
always) starts at the age of 5 or 6. In
view of the studies o n children’s d e - > First and foremost, for the children
velopment, research on the impact themselves, musically o f course, but
of music and remarkable examples also i n t e r m s o f their c o g n i t i v e a n d
implemented in Europe, it is b e c o m- s e n s o r y d e v e l o p m e n t , their social
ing increasingly clear that music ed- skills and their well-being.
ucation for v er y y o u n g children is a
major issue. > F o r their parents too, w h o will
b u il d a w o n d e r f u l relationship w i t h
This guidebook, which has been their children through music.
compiled over three years b y the
b e s t E u r o p e a n e x p e r t s i n t h e field, > F o r m u s i c teachers, w h o will fin d
is a g o l d m i n e . I t is t h e r e s u l t o f a here a high-quality reflection a n d
strong partnership between the relevant p ed ag og ic a l tools.
E u r o p e a n A s s o c i a t i o n o f C o n s e r-
vatoires ( A E C ) a n d the E u r o p e a n > F o r m u s i c institutions, w h e t h e r
Music School ( E MU ) , through the they are music schools, which can
E U - f u n d e d project “Strengthening benefit from broadening their au-
Music in Society”. dience and strengthening the ca- N o t h i n g is m o r e precious t h a n o u r
p ac it ie s o f their s t u d e n t s , o r h i g h e r children. They are our future, deserve
It will not o n l y give y o u the k e y s to music education institutions a n d our full attention a n d hold the keys to
u n d e r s t a n d i n g w h y it is i m p o r t a n t conservatoires, w h i c h are re s po n si - a m o r e h a r m o n i o u s w o r l d . If y o u are
t o d e v e l o p e a r, v o i c e , r h y t h m a n d ble for training the music teachers c o n v i n c e d o f this, t h e n e a r l y c h i l d -
m o v e m e n t f r o m a n early age on, but of tomorrow. h o o d m u s i c education is a project for
it w i l l a l s o h e l p y o u to c e o n c e i v e a you!
concrete pedagogical programme, > Finally, for society as a whole,
year after year.   w h i c h h a s a n interest i n e n c o u r a g -
i n g these t y p e o f activities that fos- Philippe D a l a r u n
ter self-fulfilment, creativity a n d re- E M U president
s p e c t f o r others.  
7
INTRODUCTION > WHY MUSIC IN EARLY YEARS MATTERS
MICHAEL DARTSCH AND NATASSA ECONOMIDOU STAVROU
INTRODUCTION:
WHY MUSIC IN EARLY YEARS MATTERS
If you have this book in your hands, or on your screen, it means that you have an interest in early childhood music
education. This book has been written in an attempt to offer some ideas from literature and our own experience
as early childhood music practitioners and researchers with the hope that it will stimulate your interest in
this magical world of music in early years. Why not think about early childhood music education as a career
prospective and look into it further?
U n d o u b t e d l y, m u s i c is a u n i q u e m e a n s t o m o d u l a t e e n g a g e m e n t w i t h m u s i c in early years, firstly referring

one’s m o o d , to create a n d strengthen c o m m u n i t y iden- t o c h i l d r e n a g e d 0 – 3 y e a r s p a r t i c i p a t i n g i n joint p a r-
tity, to c o m m u n i c a t e besides verbal communication, to ent-child m u s i c classes a n d t h e n d i s c u s s i n g s o m e a d -
experience quality time, to process impressions and ditional benefits for older children.
d e v e l o p p e r s o n a l l y, a n d t o p e r h a p s e x p e r i e n c e t r a n -
s c e n d e n c e . E v e r y p e r s o n s h o u l d b e a b l e t o fu lfil h e r A significant a m o u n t of research in early childhood
o r h i s n e e d s r e g a r d i n g m u s i c . Te a c h i n g c h i l d r e n m u - music education has focused on the musical learning
sic m e a n s g i v i n g t h e m of infants and toddlers,
the opportunity to c o m e   specifically o n the m u s i -
to k n o w this m e a n s a n d MUSIC-RELATED NON-MUSIC RELATED cal a n d non-musical ben-
the w a y s in which they BENEFITS BENEFITS efits for the y o u n g learn-
can deal with it. This em- ers, the role of parents
p o w e r s children t o b u i l d M u s i c concepts a n d Enjoym ent in their child’s musical
u p their capabilities o f termi nology development as well as
dealing with music in a pa re nt s’ m o t i v a t i o n f o r
satisfactory way. Yo u n g Singing skills Quality time with their enrolment i n early child-
children
children usually love mu- h o o d pa re nt- ch il d m u s i c
sic: They react with inter- classes w i t h their little
Performing with musical C on c en t r at i o n
est, curiosity, attention, i n s t r u m e nt s
ones (Ilari, 20 05; Ko ops,
a n d w i t h positive m o o d s 2011; Youm 2013; Savage,
like enthusiasm, joy, or Improvisation T h e first structured/ 2015; Pitt & Hargreaves,
excitement. Early pos- organized activity 2017; Rodriguez, 2019).
itive e x p e r i e n c e s w i t h In addition, m u s i c edu-
music can be the foun- Musical preferences – R ou tines cation can lead to learn-
dation for a lifelong en- m u s i c appreciation   ing transfer to other
gagement with music as d o m a i n s , a n d this m a y
a personally meaningful Social skills be a determining factor
part of life. fo r p a r e n t s i n select-
Confid e n ce ing to enrol their babies
M a k i n g m u s i c matters in and toddlers in group
m a n y w a y s fo r children. Acquired skills useful for music activities (Pitt &
adjustment in s c h o o l
It is also important for Hargreaves, 2017a). In
m a n y reasons, musical a study contacted by
L a n g u a g e skills
and not directly musi- Economidou and Ntani
cal. T h e m u s i c l e s s o n s Expressiveness
(2021), mothers partici-
w e suggest in this b o o k pating in parent-toddler
are for children a g e d 0 - 6 Motor skills / classes identified 2 1 ben-
y e a r s . A l t h o u g h a lot o f b o d y coordination
efits that their children
the be ne fits are c o m m o n gained from the music
throughout the span of Brain development classes. T h e s e b e n e f i ts
early c h i l d h o o d , t h e r e are in a c c o r d a n c e w i t h
are s o m e differentiations Patience, rules, discipline the aforementioned
a m o n g ages. In this short studies and are s u m m a -
introductory chapter, w e Calming effect for children   rized in the table left:
describe the benefits of 

8
A m o n g the benefits listed, m a n y are non-music related. through collaborative m u s i c making; they develop their
T h i s is n o t b e c a u s e m u s i c is t a u g h t i n o r d e r t o t e a c h communication skills a n d learn to act responsibly as
n o n - m u s i c a l skills, attitudes, a n d b e h a v i o u r s . R a t h e r, members of a music ensemble and experience the
while a child is actively involved in the musical activities feeling o f be lon g ing . I n addition, t h r o u g h m u s i c , t h e y
of singing, listening to music, moving, dancing, playing are given ample opportunities to express themselves
instruments, improvising a n d more, besides enjoying a n d s h a r e their feelings, d e v e l o p c o n f i d e n c e , c o n c e n -
their time and developing their musical skills, little learn- tration, a n d u s e multiple aspects o f ‘ m u s i c k i n g ’ at the
ers build p a t h w a y s i n their brains that benefit t h e m for s a m e time (i.e., read notation, play the ukulele and sing
a lifetime. T h r o u g h m u s i c a l p lay, active participation, the lyrics at the s a m e time). Be s id es acquiring musical
a n d e n g a g e m e n t in m u s i c e x p e r i e n c e s in a rich, m u s i - k n o w l e d g e a n d skills, children d e v e l o p a great dea l of
cal environment filled with stimuli, little ”musicians” be- attitudes a n d b e h a v i o u r s i n re la tio n to m u s i c : F o r e x -
gin to learn a n d absorb information w h i c h not only ha s a m p l e , t h e y l e a r n t o r e s p e c t o t h e r c h i l d r e n ’s m u s i c a l
m u s i c a l v a l u e b u t facilitates t h e d e v e l o p m e n t o f skills pr efe re n ce s , t o b e g e ntle w i t h m u s i c a l instruments, t o
that are related to various p ar ame te rs o f their d e v elo p- wait their turn, to pass o n instruments t o others, to col-
ment. Accordingly, music instruction in early childhood l a b o r a t e i n a g r o u p w h e n w o r k i n g t o g e t h e r o n a task,
is f o u n d to contribute to the physical, social, e m o t i o n - to b e c o m e g o o d audiences, a n d s o forth. F u r t h e r m o r e ,
al, linguistic, c o g n i t i v e , a n d c r e a t i v e d e v e l o p m e n t o f m a n y o f the p r e v i o u s l y m e n t i o n e d be n efits for b a b i e s
young children. Yo u n g learners m a k e their first friends, and toddlers continue to enrich children’s d eve lop me nt
learn to co-exist w i t h others, wait for their turn, a n d and de v el op further.
follow routines. M o r e o v e r, through free a n d structured
musical play, children
explore s o u n d s a n d   Especially w h e n w e
material, c o m m u n i c a t e A s described above, developing mus ic al capabilities teach babies and tod-
with their parent/care- stimulates o t h e r fields of d e v e l o p m e n t b e c a u s e o f dlers t o g e t h e r with
giver a n d other chil- the m a n y intersections b e t w e e n musical activities their parents, w e also
a n d general aspects:
dren, bu i l d confidence, bring music into the
develop concentration, > “The comprehension of musical structures a n d playing families and enrich
and – most important- w i t h m u s i c a l c o m p o n e n t s r e q u i r e s a c o g n i t i v e p e r f o r- their e v e r y d a y l i v e s a s
ly – experience enjoy- mance. well as their possibili-
ment because music ties o f interacting w i t h
> T h e m u s i c a l re p r es e nt at io n o f e m o t i o n a l c o n t e n t c a n
classes a r e f u n – f u n e a c h oth er. T h u s , w e
help to broaden the s p e c t r u m of expression a n d feeling.
but w i t h a p ur po se . strengthen m u s i c in the
> Playing on instruments will always involve skilful motor- whole society.
A s they g r o w older, ic handling.
children continue to ex- This guidebook was
> T h e b re ad th o f s e n s o r y impressions experienced, a n d
perience all the afore- written as a result of a
appropriate g a m e s c a n lead to a s h a r p e n i n g a n d enrich-
mentioned benefits, working group within
m e n t of perception.
w i t h s o m e o f t h e m tak- the f r a m e w o r k o f the
ing n o w a m o r e import- > Matching each other in playing, singing, and moving to- pr oje c t “ S t r e n g t h e n i n g
a n t ro l e i n c h i l d r e n ’s gether is a challenging form of social behaviour. Music in Society,” which
musical d e v e l o p m e n t . w a s financially s u p -
> Finally, there will be regular discussions in class about
Children m a y expand, ported b y the E U and
the impressions that certain pieces o f m u s i c a n d actions
to an impressive extent, carried o u t b y the “ A s -
leave o n the children, a n d agreements will be m a d e
their musical skills in sociation Européenne
about creative activities; v e r s e s a n d s o n g texts will also
singing a n d performing des Conservatoires,
be the focus again a n d again, s o that a lesson without
both percussion as well Académies de Musique
language a n d s p e e c h w o u l d s i m p l y b e unthinkable.”
as melodic instruments, et Musikhochschulen”
(Dartsch 2010, p. 17 (translation), the last point refers to
learn to read rhythmic (AEC) in cooperation
children w h o can already speak).  
a n d m e l o d i c notation, with t h e “European
listen to m u s i c p u r- Music School Union”
posefully, improvise (EMU) and the “Euro-
a n d c o m p o s e their o w n   p e a n A s s o c i a t i o n for
music, imagine, respond, a n d create, using the concepts M u s i c in S c h o o l ” ( E A S ) . T h e b o o k is intended t o help
and skills learnt; they m o v e fro m enactive to iconic and establish m u s i c lessons for y o u n g children all over E u -
symbolic representation of music and learn to follow rope. Last, b ut no t least, for teachers w h o h a v e to earn
musical structures/forms. A s they are introduced to a their livings w i t h their p ro fe ss io n , this b o o k c a n o p e n
great variety of genres and styles, they gradually devel- u p a n e w facet in their professional portfolio.
o p m u s i c appreciation a n d start f o r m u l a t i n g their m u -
sic identities. They develop their social skills even more  

9
I n t h e n e x t c h a p t e r s , w e f o c u s o n d i ff e r e n t f o r m s o f f o r t e a c h i n g m u s i c i n t h e e a r l y y e a r s . T h i s is t h e a i m
musical activities w i t h y o u n g children: singing, listen- a n d topic o f t h e s e c o n d p ar t o f the b o o k . A f t e r g i v i n g
ing, moving to music, instrumental playing, a n d impro- s o m e basic hints, w e present lesson pl ans for different
vising a n d c o m p o s i n g . C o n c e r t s for a n d w i t h children a g e g rou ps , in w h i c h the re a de r c a n dis c o ve r different
c o m p l e m e n t these activity forms. A t the e n d of this styles of designing lessons. This results from our differ-
section, pedagogical principles are reflected as they ent provenance, educational contexts, a n d professional
are rel ev a nt f o r m u s i c l e s s o n s a n d w o r k i n g w i t h chil- backgrounds a n d m a y s h o w y o u the range of peda-
dren in general. gogical approaches. We encourage you to find your
o w n w a y b as e d o n the fundamentals set forth here. We
It is also important to think about h o w the suggestions w i s h y o u m u c h joy a n d m a n y personal benefits in yo ur
w e m a k e in the chapters o n musical activities are c o m - work!
bined a n d interrelated w h e n designing lesson plans 
> REFERENCES
> Dartsch, M . (2010). Musikalische Bildung in der Elementa- > Pitt, J. & Hargreaves, D. J. (2017). Attitudes towards and per-
rstufe/Grundstufe. Grundlegende Aspekte der Elementaren ceptions of the rationale for parent–child g r o u p music m a k i n g
M u s i k p ä d a g o g i k . I n Ve r b a n d d e u t s c h e r M u s i k s c h u l e n ( E d . ) : with y o u n g children. M u s i c Education R e s e a rc h , 1 9 (3), 2 9 2 -
Bildungsplan Musik für die Elementarstufe/Grundstufe (pp. 308.
13-15). Bonn: VdM 2010.
> Rodriguez, M.A.V. (2019). Parents’ perceptions of early child-
> Economidou- Stavrou, N . & Ntani, E. (2021). Mothers’ per- h o od music participation. International Journal of C om m un ity
spectives on the value of early childhood music classes for Music, 12 (1), 95-110.
their toddlers. P a p e r pr e s e n t ed at the 1 2 t h International C o n -
ference for Research in Music Education, April 6-9 2021. > S a v a g e , S. (2015). U n d e r s t a n d i n g mothers’ perspectives o n
early childhood music programmes. Australian Journal of M u -
> Ilari, B. (2005). O n musical parenting of young children: M u - sic Education, 2, 127-139.
sical beliefs a n d behaviors of mothers and infants. Early Child
Development a n d Care, 175 (7), 647-660. > Youm, H. K. (2013). Parents’ goals, knowledge, practices, and
n e e d s r e g a r d i n g m u s i c e d u c a t i o n fo r their y o u n g c h i l d r e n in
> Koops, L. (2011). Perceptions of current and desired involve- South Korea. Journal of Research in M us i c Education, 61 (3),
ment in early childhood music instruction’. Visions of Research 280-302.
in Music Education, 17 (1).  
10
ACTIVITY FORMS > THE ACTIVITY OF SINGING FOR YOUNG CHILDREN
ULLA PIISPANEN
THE ACTIVITY OF SINGING

FOR YOUNG CHILDREN
Every human being receives his or her own instrument at birth, namely, the singing voice. The voice is a good
instrument because it is free and always accompanies us. Singing and learning the melody are important things in
early childhood music education.
S i n g i n g is a v e r y personal w a y to m a k e m u s i c b ec a us e T h e a g e at w h i c h c h i l d r e n b e g i n t o s i n g is v e r y i n d i -
the instrument is o u r o w n b o d y, a n d contrary t o p o p u - vi dua l. W h i l e s o m e children start s i n g i n g b e f o r e t h e y
lar belief, e v e r y o n e c a n learn h o w to sing ( N u m m i n e n , s p e a k , s o m e c h i l d r e n n e e d m u c h l o n g e r. It is i m p o r t -
2 0 0 5 ) . It is a l s o a v e r y n at u ra l w a y t o start p r a c t i c i n g ant for an early childhood m u s i c teacher to be aware
melodies. that y o u n g c h i l d r e n h a v e v e r y d iffe re n t b a c k g r o u n d s
w h e n it c o m e s t o s i n g i n g a n d t h a t v o i c e o r g a n s d e -
T h e d e v e l o p m e n t o f t h e m e l o d y b e g i n s a l r e a d y i n the velop at different times. F o r small children, learning to
w o m b o f t h e e x p e c t a n t m o t h e r. O u t s i d e s o u n d s a n d sing should be joyful and should a w a k e their inner m o -
rhy thm s create a s o u n d environment i n w h i c h the child tivation.
g r o w s f o r t h e first n i n e m o n t h s . T h e r e f o r e , t h e k i n d
o f m u s i c p a r e n t s listen t o a n d t h e s o n i c l a n d s c a p e o f S i n g i n g to a child is also g o o d for parents. T h e y beg in
the child’s first m o n t h s o f life are quite relevant. After to create a relationship w i t h their o w n child while they
the birth, the child’s learning o f the m e l o d y continues sing during the pregnancy. D u r i n g the first m o n t h s a n d
through the singing of mother o r father w h i c h comforts years o f life, singing is a g o o d w a y to connect a n d cre-
a n d creates a s e n s e o f safety t o the child. ate a positive relationship w i t h their baby.
If a child has been singing since   Children learn music and dif-
his or her birth and its sound has S i n g i n g is a g o o d w a y to learn t h e ferent sounds based o n what
b e e n r e s p o n d e d to w i t h various language because they have heard. Their singing
expressive s o u n d s , s i n g i n g is ability c a n n o t d e v e l o p u n l e s s
almost as natural as speaking. > it i n c l u d e s a lot o f repetition they hear singing. Thus, it is im-
T h e m o t h e r ’s s o n g is k n o w n to > it o ff ers t i m e to h e a r a n d p e r c e i v e portant for children that their
h a v e a positive effect o n the the words parents sing a n d interact w i t h
child during pregnancy. T h e fe- t h e m whatever their singing
tus c a n react t o the first s o u n d s > w e sing b y using syllables skills are.
at 1 6 w e e k s , although the sense > pronunciation i n singing is
of h ea ri ng o n l y d e v e l o p s in the exaggerated T h e w o r l d has c h a n g e d a lot
23rd w e e k (Vihman M M , 1996). f r o m the t i m e o f o u r ancestors:
P e o p l e are onl y s u p p o s e d to re- > listening t o v a r i o u s s o n g s increases Grandparents n o longer live
m e m b e r events f r o m their third knowledge of vocabulary  together w i t h their fa mi l ie s, s o
year onwards, but researchers singing is not passed o n f r o m
have found that babies h a v e a one generation to the next.
“musical m e m o r y ” (Partanen   Therefore, early childhood m u -
E, Ku j al a T, Ter va n iem i M , 2 01 3 ). It has also b e e n n o - sic e d u c a t i o n , s c h o o l a n d d a y c a r e s h a v e a n i m p o r t a n t
ticed that if a particular s o n g is s u n g to the fetus during role to play in conveying singing traditions. Voice train-
preg na n c y, t h e child will r ec o g n ize t h e s o n g a n d c a l m ing begins in family groups in which the parents are
d o w n a f t e r h e a r i n g it a t l a t e r s t a g e o f h i s o r h e r life, also e n c o u r a g e d to s i n g . T h e i m p o r t a n c e o f h o m e f or
even after several years (Krokfors, 2017).   early childhood m u s i c education is crucial.
11
> EXAMPLES OF TEACHING MOMENTS the word “squirrel”. The bird lives in the highest branch-
es and has the highest tune (G1). T h e teacher and the
Example 1: 0–18 months children illustrate is tune b y putting their h a n d s o n
P a r e n t s are sitting i n a half c u r v e w i t h their b a b i e s o n the t o p o f their h e a d s a n d s i n g i n g “bird.” T h e t e a c h e r
their l a p s . T h e t e a c h e r a s k s t h e p a r e n t s t o s i n g a l o n g m a k e s easy melodies b y h u m m i n g a n d s h o w i n g differ-
a Yo i k f r o m L a p l a n d * . T h e t e a c h e r also e x p l a i n s that ent tunes b y changing the height of her hands. Addi-
if t h e b a b i e s f e e l like m o v i n g , t h e p a r e n t s a r e f r e e t o tionally, t h e t e a c h e r a s k s t h e c h i l d r e n t o m o v e l i k e a
m o v e around the classroom while singing, swaying, bear, jump like a squirrel, and fly like a bird. The teacher
a n d rocking. T h e parents k n o w their babies best, s o a c c o m p a n i e s all the m o v e m e n t s w i t h a piano.
they are instructed to b e sensitive i n h o w they act w i t h
their b a b i e s a n d t o b e a w a r e h o w their b a b i e s re a c t t o In the classroom, there is also a picture of a big tree
the music. S o m e babies are just listening a n d relaxing; a n d these three animals ( m a d e of pa p er or carton), a n d
s o m e of them feel like m o v i n g around. the children p l a c e t h e m at the right he igh t o n the tree.
Later, the teacher can start using d o – m i – so symbols.
*Notes for the songs “Hei luulillan” and “Hanene laillal”
on page 1 2 Example 5: 5-year-olds
The children have hobby horses, and the teacher ac-
Example 2: 18–36 months companies their riding with the piano*. The children are
Parents a n d children are sitting in a half curve. T h e riding freely with their horses in Part A . In Part B, they
teacher asks the parents to d o a w a r m - u p exercise w i t h s t o p to f ee d a n d take care o f their h ors e s a n d return to
their children i n t h e f o l l o w i n g w a y : U s i n g a d o g p u p - riding o n c e A - p a r t starts again. I n the n ext ro unds , the
pet, the tells a story o f a s m a l l d o g w h o w a k e s u p a n d children c a n decide, w h a t kind of m o v e m e n t s they will
does a morning exercise while singing* (hands raise up u s e in the different pa rts of the s o n g .
a n d d o w n a s w e l l a s w i d e o p e n a n d across). T h e n t h e
d o g o p e n s a n d closes the curtains (glissando v o i c e s u p A f t e r riding, children d is c us s o f h o rs es a n d w h a t k i n d
a n d d o w n ) ; after that t h e a l a r m c l o c k r i n g s (imit ation o f c a r e d o h o r s e s n e e d a n d w h a t d o t h e y eat.
of a l a r m clock). T h e n t h e d o g f a m i l y h a s its b rea k fa s t
(different k i n d of voices that imitates eating a n d drink- Next, the children learn to sing the “horse riding” song.
ing voices). A f t e r breakfast, the d o g r u n s to the m u s i c First, t h e teacher sings the s o n g a n d w h e n children
s c h o o l ( r u n n i n g in their o w n p lac e s ) a n d starts t o s i n g k n o w the song, they will join to sing it with the teacher.
welcome song*. Finally, children are singing the song without teacher.
Notes for the songs, “Streching S o n g ” and ” To the M u - In following lessons, the teacher c a n use the s a m e song
sic School” on pages 12–13 a n d a d d i n s t r u m e n t s to it.
Example 3: 3-year-olds *N ot e for the s o n g “ H o b b y horse” o n the p a ge 1 3

T h e children are sitting in a half curve. T h e teacher h a s
a p e e k i n g do l l , a m o l e that c o m e s o u t o f t h e b o x a n d Example 6: 6-year-olds
greets all the children i n turn. W h i l e greeting t h e chil- After the s u m m e r break the teacher asks the children
dren, the teacher sings the song “ A Mole”* and asks to tell their s u m m e r m e m o r i e s a n d encourages t h e m to
the children t o tell their n a m e for it. A f t e r a c o u p l e o f m a k e v o i c e s o f their s u m m e r v a c a t i o n (e.g. w i n d a n d
greeting rounds, teacher asks the children to join in the birds). T h e group m a k e their o w n s u m m e r s o n g a n d
singing. T h e y can also sing their o w n favorite s o n g s to after that t h e y a d d d a n c e t o it.
the doll o r pup p e t .
D u r i n g t h e s c h o o l y e a r c h i l d r e n talk a b o u t o t h e r s e a -
*Note for the song “ A Mole” on page 13 s o n s a n d m a k e o w n s o n g s o r d a n c e s for e a c h s e a s o n .
Exa mp l e 4: 4-year-olds
T h e children a r e s t a n d i n g in a half curve. T h e teacher
tells a story o f three a n i m a l frie n d s w h o live in a n o l d
tree in the forest: a bear, a squirrel a n d a bird. T h e bear
lives at the base of the tree and, thus, has the lowest
tone/pitch (C 1) . T h e teacher a n d the children s h o w its
tune b y put ti ng their h a n d s o n their k n e e s a n d s i n g i n g
the tune b y using the w o r d “bear”. T h e squirrel lives
in t h e m i d d l e b r a n c h e s o f t h e tree a n d h a s t h e m i d d l e
tune (E1). T h e teacher a n d the children s h o w this tune
b y p u t t i n g their h a n d s o n their s t o m a c h s a n d s i n g i n g  
12
Hei luulillan
Traditional Finnish Yoik

C G7 C
&43 œ œ œ œœ ˙ œ ˙ œœ œ œ œ œœ ˙ œ ˙ œ
Hei luu - lil - lan luil - lan lui - lai hei luu - lil - lan lul - l a n lui -
H a n e n e laillal
laa, ˙ lai ˙
laa. Traditional Finnish Yoik
F C F
&b42 œ œ œ œ œ œ 43 œ œ œ œ œ œ œ 42 œ œ
lail - lal lail - lal lu - a, h a - n e - n e lail - lal lail - lal lu - a,
Ha œ - -
C F
&b ne ne œœ œ œ œ œ œœ œœ œ œ œ
- ha - ne - n e lail - lal lu - a.
ha œ ne œ- lail - lal lail - lal lu - a, œ

Streching Song
Ulla Piispanen
D A D
j œ œj œ œj œ
&##86 œU p jœ jœ œ j
a nœ
up and down and
and down d up and down and round and round.
5 D A D
&# œ œj œ œj
œ œj œj
œ œœ œ
Hands to the side and
cross your arms and
side
œ
and cross
j
and round and round.
9 D A D
œ œœj œ œ
&## H eœ œj œ œ
a d a n d sto-m a c h a n d   h e a d a n d sto-m a c h a n d  
œ œj
head and œ œ
œ œj
sto-m a c h a n d r o u n d a n d round.

13
To the Music School
Ulla Piispanen
D G D A D
&##42 œ œ œ œ œ œ œ œ œ œ œ œ
To the mu - sic school, Ot - to came by wal - king.
5 D G D A D
&## œ œ œ œ œ œ œ œ œ œ œ œ œ
All of us say hel - lo, nice to have you here, hip
hei!
A Mole
Ulla Piispanen
1. 2.
D A D G G D A D A D
&##42 œj .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ.. œ œ œj
A m o l e is p e e -king f r o m the
h o l e , w h o is w a i - t i n g on the ground? A on the ground.
Hobby horse
Timo Klemettinen and Ulla Piispanen

-  ding my  hob 
Dm with 
&b42  œ. œ œ . œ œ
Ri 
5 A7
œ. œ œ. œ. œ œ.
&b . œ œ. œ œ œ
When  we’ll end   our  ri  d i n g d a y,   we’ll  say hip  h u r   - 
- 
Dm A7
9 
œ. œ œ.
&b . . œ œ h o.b   œ œ
Ri  w i th  
-  ding with  my  -  b y h o r se ,   m y friend,  

14
15
> ACTIVITY TYPES AND CONTENTS IN SINGING k n o w l e d g e s a n d e m o t i o n s w i t h the h elp o f n e w s o n g s .

TEACHING It is a g o o d i d e a t o t e a c h d iv ers e s o n g s f r o m different
d e c a d e s . I n t h i s w a y, c h i l d r e n s t r e n g t h e n t h e i r o w n
T h e a i m o f the s i n g i n g teaching is to learn natural a n d musical roots and heritage, which hopefully will be
healthy singing technic, increase the song repertoire transferred t o their o w n c h i l d r e n later o n . S m a l l chil-
a n d to teach children to sing in tune a n d expressively. d r e n us u al ly h a v e n o p r e c o n c e i v e d ideas o f gen res , s o
they w e l c o m e all music without any prejudice. It is also
In the early childhood music education, children are r e c o m m e n d a b l e t o teach b o t h e a s y a n d difficult s o n g s
taught to b e able to s e p a r a t e t u n e levels b y t e r m s h i g h w i t h a n alternative s c a l e e.g. pentatonic a n d m o d a l to-
a n d l o w, a s c e n d i n g a n d d e s c e n d i n g , a n d t h e t u n e that nalities for younger a n d older children.
remains o n the s a m e level.
Different kind of songs:
A s the studies g o e s on, the children learn tunes as dots > s o n g s w i t h h a n d a n d finger g a m e s
without stave a n d gradually as notes o n the stave. M u - > songs with movements
sical structures c a n b e learned b y d r a w i n g t h e m e l o d y > canon songs
lines a n d curves o n paper. > listening s o n g s
> s o n g s that h a v e different m o d a l tonalities o r scales
It is a d v i s a b l e t o p r a c t i c e t h e a c c u r a t e s i n g i n g t e c h - > songs, that children m a k e themselves
nique with children from the very beginning. G o o d > transition s o n g s
singing technique is b a s e d o n a g o o d p o s tu re in sitting > children’s songs, folk songs, songs f r o m other coun-
and standing positions. Shoulders should b e relaxed, tries
n o t t o o front, b a c k o r h i g h . P h y s i c a l e x e r c i s e s s h o u l d > s o n g s w h i c h are first learned b y singing a n d m a k -
b e r e g u l a r l y i n c l u d e d w i t h i n l e s s o n s , a s t h e y a r e p a r- ing m o v e m e n t s a n d after that s o n g is m a d e o n l y b y
ticularly i m p o r t a n t f o r c h i l d r e n w h o d o n o t h a v e a n y m o v e m e n t s w i t h o u t singing w h i l e child hears the
physical hobbies. music “inside”
> s o n g s w i t h a narrative a n d m a n y ve rs e s c a n b e u s e d
Vo i c e s s h o u l d b e w a r m u p b e f o r e s t a r t i n g t o s i n g . in a s a m e w a y as reading a fairy tale a n d they devel-
Wa r m u p e x e r c i s e s c a n b e m a d e b y m o v i n g , d a n c i n g o p child’s m e m o r y a n d increase their vocabulary
or imitating v o i c e s (e.g. s o u n d s o f n a t u r e o r v o i c e s o f > methodic songs
animals), (E xa m pl e s  
2 a n d 6). The teach- Singing teaching is
er can also demons- W h e n teaching singing for small children, the teacher m a y g o o d to start w i t h
trate g o o d b r e a t h i n g c o m b i n e different types of activity: methodic songs (Ex-
technic, relaxed sing- a m p l e 3 ) , in w h i c h
i n g p os t ur e a n d clear t h e r e a r e first o n l y
articulation. two notes and the
Responding to
n u m b e r of tunes in-
sounds of the
S o m e of the songs ch ildren   crease gradually or
can be only listened  they include different
( E x a m p l e 1). These musical e l e m e n t s t o
Imitating the
listening s o n g s can Singing a w i d e teach (e.g. r hyt hm ,
different k i n d
b e rhythmically a n d range of songs  harmony, d yna mi cs
of vo i ce s  
melodically more  or musical structure).
complicated and
they can be used in SINGING   In m e t h o d i c s o n g s
o r d e r t o c r e a t e d i f- the w o r d s of the s o n g
ferent k i n d o f m o o d s   a r e e a s y, a n d t h e y
a n d e m o t i o n s (e.g. Improvising Telling help the y o u n g chil-
lullabies). and making things/stories dren to learn speak-
own songs  by singing 
ing a n d language.
W h e n teaching sing- 
ing for small chil- S inging A g o o d w a y to start
d r e n , it i s i m p o r t a n t w ith hand learning t u n e s a n d
sings 
to use a wide range melodies is the “sing-
o f s o n g s (e.g. chil- ing h a n d ” m e t h o d .
dren´s songs, folk In that m e t h o d the
songs, songs from teacher c a n sing w i t h
other countries) to  just h u m m i n g or b y
k e e p the children motivated a n d to learn n e w skills, using neutral syllables (e.g. la-la) a n d s h o w i n g the tune

16
changes b y changing the height of the hands ( E x a m - > PEDAGOGICAL TIPS AND REFLECTIONS
ple 4). After “singing hand” the teacher can also use
solmization w h i c h w a s u s e d b y H u n g a r i a n Zoltan K o - > Small children learn better if learning is joyful. It is a
daly. rewarding to have a sense: “I am already able to sing this
song!” It is helpful and motivating, if the song relates to
It is g o o d t o u s e d i ff e r e n t t e a c h i n g m e t h o d s t o h e l p something meaningful and familiar in the child’s life.
children to r e m e m b e r songs and melodies. O n e rec-
o m m e n d e d w a y t o start l e a r n i n g m e l o d i e s , is that t h e > T h e n e w s o n g c a n b e introduced t o children first b y
teacher asks questions and the children answer by listening. T h e teacher s h o u l d s i n g w i t h a natural v o i c e
singing. a n d it is g o o d to a v o i d s i n g i n g t o o loudly, a s this m a y
p r e v e n t c h i l d r e n t o l e a r n s o n g , a n d it is g o o d t o k e e p
T h e parents c a n c o m m u n i c a t e w i t h their b a b y b y sing- in m i n d that s o m e children a r e v e r y sensitive f o r l o u d
ing and responding the baby´s joggling. This is the first voices.
f o r m o f c o m m u n i c a t i o n b e t w e e n p are n t a n d child a n d
it h e l p s c h i l d t o l e a r n a n d s e p a r a t e d i ff e r e n t s o u n d s > We c a n n o t o v e r e m p h a s i z e the i m p o r t a n c e o f repeti-
and words. Parents should not dominate the situation tion in the early c h i l d h o o d m u s i c education. It is g o o d
b y talking constantly b u t also give time for the b a b y to to repeat the s a m e songs a n d musical elements long
give her or his expressions a n d answers. enough, so that everyone can learn the song and the
n e w elements. Teaching melody relies o n repetition and
For m a n y children, passing o n from one to the next so the same familiar songs and words are repeated to
subject/situation is of t en challenging (e.g. g e t d r e s s e d the children. I n addition to the repetition o f lyrics a n d
or undressed, collect the instruments b a c k to instru- songs, it is of course go o d to learn something n e w every
m e n t b o x or m o v i n g f r o m o n e p la c e to another). S i n g - lesson. Tw o - t o n e m e l o d i e s c a n b e u s e d to e x p a n d t h e
i n g o f t e n h e l p s t h e s e transitions a n d child learns, that repertoire b y g ra du al ly increasing the difficulty o f the
the particular s o n g is the sign that o n e situation is end- songs – but with fun a n d expressiveness in the singing,
ing a n d s o m e t h i n g n e w is coming. the singing is as natural as talking.
D u r i n g t h e lessons, it is g o o d to d o s o n g s w i t h m o v e - > Rhyming is an easy way to start early childhood music

ments (Example 5). In this way, the words and the mel- education with children w h o haven’t b ee n singing a lot.
o d y c a n b e learned easier. R h y m i n g c a n b e a n e a s y w a y t o start a l s o f o r p a r e n t s
w h o are not so familiar with singing. W h e n a child claps
It is g o o d to encourage the children to create their o w n the rhythm of the words, he or she learns the syllables of
stories, melodies, s o n g s a n d m o v e m e n t s as c o m p o s - the w o r d s and gets training for reading as well as learn-
ing a n d i m p r o v i s i n g is important f o r child´s creativity ing difficult rhythms.
( E x a m p l e 6 ) . It is i m p o r t a n t to teach that there are n o
mistakes o r failures in improvisation, it is child´s right
to decide h o w to sing, play or m o v e .  
17
> S o m e t i m e s it is b e s t t o start p r a c t i c i n g t h e lyrics o f > A g o o d w a y t o start t o t e a c h a n e w s o n g is that t h e

the s o n g s just b y reading the text for children a n d then w o r d s of the s o n g are first learned b y speaking t h e m or
g r a d u a l l y s e e k t h e m e l o d y a n d r i g h t p itc h . O n e g o o d by singing the melody without words. Also, the word
w a y is to create a story, w h i c h c o n n e c t s a text into the rhythms c a n b e taught separately before starting to
song, as that motivates the children t o learn them. O n e sing the n e w s o n g . Te a c h e r c a n also us e h i d d e n teach-
c a n also d e v e l o p stories, w h i c h c a n b e u s e d to e x p a n d ing method, where the children learn n e w things without
the child’s u sa g e of their voice (e.g. imitating voices of kn ow ing it (e.g. n e w s o n g is presented in the relaxation
animals). m o m e n t a n d taught in next lesson).
> Singing in a group is usu-   > W h e n learning a n e w

ally c h a l l e n g i n g e v e n after W h e n choosing a song, please n o t e that the: s o n g , the important t h i n g
two-year-old children. T h e is that t h e t e a c h e r likes t h e
early childhood m u s i c e d u - > difficulty a n d length of the song is in ac- s o n g a n d i s a b l e t o s i n g it
cation teacher often hears cordance with child’s physical and mental b y heart. If the teacher is
the parents wondering development level un c ert ai n, e.g. d o e s n o t re-
w h y the child is not singing > song has a clear structure, such as A B or m e m b e r the lyrics o r ha s
d u r i n g t h e l e s s o n s e v e n if ABA, and ideally has a refrain not learned the melody of
t h e y o f t e n s i n g a t h o m e . It > r h y t h m is clear e n o u g h , s o that c h i l d r e n c a n the song well, the children
does, however, usually take learn it learn the s o n g incorrectly
s o m e t i m e b e f o r e t h e child > ambitus is not too wide, and the key is suitable a n d it is difficult t o correct
is r e a d y to s i n g i n a g r o u p . for children it afterwards. If the children
Nevertheless, if short songs > words of the song are understandable, a n d sense, that the teacher d o e s
are repeated enough and they are suitable for children   not like the song, they are
the child is enthusiastic normally no t interested in it
a b o u t t h e m , e v e n 1 - 2 - ye a r- either.
o l d s m a y p ar t i c i p a te i n t h e
singing in the group lessons. > W h e n o n e starts teaching
a ne w song, the child’s state
> If the children d o not sing o f a l e r t n e s s (e. g . e n e rg e t i c
along with rest of the group, o r tired) m u s t b e s u c h t h a t
the r e a s o n m a y b e , that t h e they are r e a d y to learn n e w
s o n g is t o o difficult o r that song. For children under
song has not been repeat- t h e s c h o o l a g e , it is b e s t t o
ed enough. Another reason t e a c h t h e s o n g s b y e a r, a s
might be, that the ambitus the notation is not learned
is too wide, or teacher sings w e l l e n o u g h yet. W h e n
the song so low or high, that learning a n e w s o n g , ac-
child is n ot able to p r o d u c e c o m p a n i m e n t is n o t n e c e s -
s u c h h i gh or l o w pitches. It sary. It is easier for children
is i m p o r t a n t to u s e a suit-  to learn the w o r d s a n d mel-
a b l e k e y a n d g i v e a clear start a n d t e m p o . T h e t e m p o od y of a n e w song, w h e n the teacher has an eye contact
should b e suitable for the child, s o that she or he is able with them.
to sing the lyrics. T h e best k e y for a child is usually D
m a j o r or d m i n o r a n d the best s o u n d field is d1-a1, b ut > If the teacher is using e c h o m e t h o d , h e or s h e should
normally children can sing relatively easily from c1 to d2. m a k e sure, that the children k n o w, w h e n it is teacher ’s
turn to sing a n d w h e n it is their turn. Clear instructions
> A small child can usually only do one thing at the time. are always well needed when working with little children.
If the song involves a n instrument o r play, it will take a
long time, before the child c a n carry t h e m out at the > Different t h i n g s c a n b e d o n e w i t h the s a m e s o n g s at
s a m e time. We must allow the children to g r o w in their different a g e s . S o n g s l e a r n e d as s m a l l children c a n b e
o w n pace. us e d later b y adding instruments to them.
> It is important to ask, w h a t are the children’s o w n fa- > T h e best motivation a n d e n c o u r a g e m e n t are the pos -
vorite s o n g s a n d take t h e m to repertoire a s w e l l as en- itive f e e d b a c k f r o m t h e t e a c h e r a n d there is n e v e r t o o
c o u r a g e a child to create h i s o r h e r o w n m e l o d i e s a n d much of it!
stories. It is a l s o i m p o r t a n t t o i n c l u d e f o l k m u s i c a n d
e a c h country’s o w n m u s i c a l h erita g e in s i n g i n g reper-
toire.  

18
> SINGING TEACHING FOR CHILDREN IN DIFFERENT 5–6-year-old

AGES > T h e children a g e d 5 – 6 are m o r e c a p a b l e to p r o d u c e
a n d control their v o ic es a n d their v o c a l areas h a v e ex-
0–2-year-old panded. Children k n o w already m a n y songs, r e m e m b e r
> Singing and chattering can naturally be associated and recognize tunes and are able to answer questions
with basic care taking situations, s u c h as dressing, eat- by singing.
ing, changing the diaper and helping to fall asleep. Sing-
i n g m a k e s t h e s e s i t u a t i o n s e a s i e r fo r t h e child. U s i n g > I n o r d e r to learn to s i n g i n tune, it m i g h t b e g o o d to
s o n g s in v ar i o us care taking situations also creates the use earlier learned easier songs and sing them on differ-
basis for the child’s sense of rhythm. ent pitches. These familiar songs can be also used w h e n
learning m o v e m e n t s a n d b o d y r h y t h m s . Wi t h familiar
> Often, the recurring songs, p o e m s and playing can songs the child c a n also learn to play melodies w i t h in-
create a sense of safety, familiarity a n d pleasure for the struments (e.g. kantele, x y l o p h o n e or glockenspiel) ei-
child in everyday situations. ther f r o m the notes or b y ear.
> A l r e a d y a t h r e e - m o n t h - o l d b a b y starts p l a y i n g w i t h > With five- and six-year-olds one can also practice lon-
his or her o w n voice a n d enjoys it. T h e child s h o u l d b e ger s o n g s w i t h m o r e verses. Their m e m o r y has already
e n c o u r a g e d t o m a k e s o u n d s a n d v o i c e s a n d listen t h e d e v e l o p e d a lot, a n d it c a n b e fur th e r d e v e l o p e d w i t h
voices around. T h e m o r e the child sings, the m o r e they longer songs.
l e a r n to e n j o y their o w n v o i c e a n d a r e a b l e t o i m i t a t e
small melodies. > The children should sing alone and together, with and
without accompaniment. It’s also good to improvise and
3–4-year-old let children to create their o w n songs.
> It m a y b e difficult f o r a child to s i n g a n d p l a y at the
same time or combine the movement with the song. > The child m a y be silent for years, listening w h e n other
The more familiar the song is, the easier it is for the child children are singing. T h e y can b e encouraged to partic-
to d o things at the s a m e time. ipate in singing a n d other activities, but every child has
the right to d o a n d experience m u s i c in his or h er o w n
> The child may also still have difficulties in singing with way.
others. S o m e children m a y sing songs fro m a very low,
while others are singing high and s o m e children are not
a b l e to c h a n g e t h e tone. K e e p i n g t h e s a m e t e m p o c a n
also be challenging and s o m e children tends to sing in a
different t e m p o than the others in the group. Ti m e nor-
m a l l y fi xe s t h e s e p r o b l e m s a n d a p p r o p r i a t e e x e r c i s e s
are helpful to develop these skills.
> W h e n the song is familiar enough and the atmosphere

is safe, children may be inspired to sing alone. Some kids
are quiet a n d follow the action fro m aside. It looks as if
they are “recording” the songs in their mind and normal-
ly they will start to sing w h e n they feel ready for it.  
19
> AGE DEVELOPMENT AND SINGING
SINGING SKILL AND 0–36 MONTHS 3- AND 4-YEAR-OLDS 5- AND 6-YEAR-OLDS

CONTENT
Musical expressions C o m m u n i c a t e a n d r e s po n d Express by singing, rhyming Express different feelings

to the child´s voices and playing with voices and emotions b y singing
(e.g. joggling, speaking and
singing)
Melodies Repeat small melodies and Imitate, sing longer melo- Sing more challenging
imitate adult´s voices dies a n d sentences as well melodies a n d repeat earlier
as repeat earlier learned learned small melodies in
small melodies o r d e r to d e v e l o p better
singing technic
Improvisation and Sing freely by using Sing freely and with simple Sing freely and with rules,
c o m p o s ing different feelings, emotions rules, improvise in a group, improvise I a group as well
a n d images m a k e o w n stories and o w n as c o m p o s e
s o ngs
Singing alone and Sing easy songs and little Sing alone and in a group Sing independently without
in a group melodies alone a n d with with adult´s h e l p adult´s h e l p a n d in a g r o u p
p a r ents
Singing with Sing alone a n d in a group Sing alone a n d in a group

accompany w i t h basic b e at a c c o m p a n y with easy rhythmic a n d
a n d u s e p er cu ss i on a n d m e l o d i c patterns a c c o m p a -
h a r m o n y instruments n y a n d u s e pe r cu ss i on a n d
h a r m o n y instruments
Singing hand and U s e singing hand U s e singing h an d and

solmisation solmisation
U s e of notes Sing easy melodies from Sing easy melodies from

pictures a n d m a r k s n otes
> LITERATURE
> Hongisto-Åberg, M . , Lindeberg-Piiroinen, A . & Mäkinen, L. > N u m m i n e n , A . (2005). Laulutaidottomasta kehittyväksi lau-
(1993). Musiikki varhaiskasvatuksessa: H i p hoi, musisoi! Espoo: lajaksitutkimus a i k u i s e n laulutaidon lukoista ja niiden a uka i-
Fazer Musiikki. semisesta. Väitöskirja. Helsinki: Sibelius-Akatemia.
> Krokfors, M . (2017). Laulaminen, in: Teoksessa Linde- > Partanen E., Kujala, T. & Tervaniemi M . (2013). Prenatal Mu-
berg-Piiroinen, A . & Ruokonen, I. (Eds.), Musiikki varhaiskasva- sic Exposure includes L o n g - Te r m Neural Effects, P L o S O N E
tuksessa-käsikirja. Helsinki: Classicus, 143–178. 8(10): e78946. doi: 10.1371/journal.pone.0078946.
> Lindeberg-Piiroinen, R . (Ed.). (2017). Musiikki varhaiskasva- > Vihman M M . (1996). Phonological Development: T h e Origins
tuksessa-käsikirja. Helsinki: Classicus.   of Language in the Child. Cambridge, M A : Blackwell.

20
ACTIVITY FORMS > MOVING TO MUSIC AND DANCING IN EARLY CHILDHOOD MUSIC EDUCATION
MUOVERSI E DANZARE NELL’EDUCAZIONE DELLA

PRIMA INFANZIA
Muoversi e danzare gioca un ruolo importante nell'educazione della prima infanzia. Perfino i bambini più piccoli
reagiscono alla musica con il loro corpo, per questo motivo si potrebbe affermare che i bambini creano musica attraverso
i movimenti del corpo.
Muoversi con la musica combina diverse attività Le personalità chiave dello sviluppo dei movimenti
come l'ascolto, il canto, i movimenti del corpo e musicali riguardanti l'educazione della prima
la creatività. Da un prospettiva pedagogica, infanzia sono Emile Jacque-Dalcroze (1865-1950) e
l'insegnamento della musica deve essere C a r l O r ff ( 1 8 9 5 - 1 9 8 1 ) . L a p e d a g o g i a O r ff è
approcciato attraverso attività che combinano un'educazione olistica che combina musica,
musica, movimento e le esperienze corporee che movimento, teatro e parlato in lezioni che si
sono rievocate. L'obiettivo dei movimenti avvicinano al mondo dei giochi del bambino. Gli
musicali è di attivare i corpi dei bambini a elementi principali consistono in ascolto,
percepire, ricevere e interiorizzare la musica. movimento e danza, canto, parlato e gioco. La
Differenti percezioni, attività, ascolti, emozioni e pedagogia Dalcroze invece ha un approccio giocoso
modi di pensare vengono combinati in modo da all'insegnamento della musica e combina musica e
rafforzare la connessione del corpo e della mente movimenti del corpo.
(Juntunen, 2010). Uno degli obiettivi
dell'utilizzo dei
Nell'atto di muoversi con movimenti
la musica il nostro corpo nell'educazione della
divent a u n v e r o e p ro p ri o prima infanzia è quello di
strumento. Mentre molte abituare i bambini a
famig l i e ha n no m o lt e lavorare e giocare
attività fisiche, altre insieme, questo è il primo
pos so r i sul ta re p i ù step per imparare a
pas si v e p er q u e st o g l i suonare in un ensemble. I
educatori della prima movimenti a ritmo della
infanzia hanno un ruolo musica combinati con i
importante diversi music making
nell' i nf l u en z a r e u n sviluppano un senso del
comportamento positivo ritmo e la coordinazione.
rigu a rd o l a d a n z a e i l
movimento.
La musica combinata ad i movimenti gioca un ruolo centrale Oltretutto l'utilizzo della body percussion aiuta lo
nell'educazione della prima infanzia in quanto sviluppa sviluppo del ritmo. Il primo anno di vita del
l'espressione musicale dei bambini ed aiuta a comprendere i bambino è importante per lo sviluppo del cervello
vari elementi musicali come cambi dinamici. Oltre i movimenti m a è a n c h e i l p r i m o p e r i o d o d e l l a s e n s i b i l i t à r i t m i c a
guidati i bambini però, devono avere l'opportunità di
(che si incrementa dallo sviluppo del feto fino al
sviluppare la loro creatività attraverso l'improvvisazione ed i
movimenti liberi. primo anno di vita), per queste ragioni è molto
importante che i bambini ripetano i movimenti ed è
anche la ragione principale del perché oscillare e
Per le ragioni menzionate precedentemente, muoversi d o n d o l a r e s o n o e s s e n z i a l i ( K i v e l ä - Ta s k i n e n , 2 0 0 8 ) .
e danzare sono mezzi essenziali per lavorare nel
campo dell’educazione della prima infanzia  
Il tocco e il movimento istintivo giocoso dei genitori nei
confronti del bambino a ritmo di musica comunica in
maniera non verbale „il tuo corpo è accettato e tu sei valido
come essere umano“ (Huhtinen-Hildén, Pitt, 2018).

21
> ESEMPI DI MOMENTI DIDATTICI una canzone per ogni orso, l'insegnante e i bambini
si alzano e fanno la canzone e il movimento
Esempio 1: neonati e bambini piccoli (0–18 mesi) camminando. Infine, i bambini e l'insegnante
I genitori stanno uno dietro l'altro portando i loro bambini suonano la stessa canzone con i tamburi.I bambini
in braccio. L'insegnante dice loro che oggi il gruppo andrà sono seduti a mezza curva e l'insegnante racconta la
a l l a " f a t t o r i a " . Q u a n d o i n i z i a l a m u s i c a c o u n t r y, i b a m b i n i storia di tre orsi che vivono nei boschi. Ogni orso si
possono sentire il ritmo mentre si muovono con i genitori o muove a modo suo. Daddy Bear è il più lento e
mentre camminano mano nella mano con i genitori. Per pesante; Anche Mommy Bear è piuttosto lenta e
prima cosa, ai genitori viene chiesto di fare una fila, poi un pesante mentre Little Bear è il più veloce e il più
cerchio e poi una linea. Infine, i genitori e i bambini sono leggero. L'insegnante canta una canzone per ogni
liberi di muoversi come vogliono e sentire lo spazio e gli orso ed i bambini ripetono i movimenti e le parole
altri membri del gruppo intorno a loro. Musica: Frigg, dopo l'insegnante. Dopo aver cantato una canzone
H a l l i n g ( Yo u t u b e ) . per ogni orso, l'insegnante e i bambini si alzano e
fanno la canzone e il movimento camminando.
Esempio 2: bambini piccoli (18–36 mesi) Infine, i bambini e l'insegnante suonano la stessa
In questo esercizio, il gruppo sperimenta la pausa nella canzone con i tamburi. Possono anche guardare i
musica. Genitori e bambini camminano, corrono, saltano e simboli della notazione che descrivono ciascun
ondeggiano liberamente in classe. L'insegnante sta cantando e orso, ad esempio a-a, ta e ti-ti. "La famiglia degli
accompagnando una canzone "Ciao, amico mio!" Quando i orsi".
genitori e i bambini sentono la parola "Stop!" nella canzone,
devono fermarsi e stare fermi. Non appena la canzone Esempio 5: bambini di 5 anni
continua, tutti possono muoversi di nuovo. Notazione "Hello, Il gruppo parla del circo. L'insegnante dice che la
my Friend".n questo esercizio, il gruppo sperimenta la pausa parata del circo sta arrivando in città ed i bambini
nella musica. Genitori e bambini camminano, corrono, saltano possono improvvisare i movimenti di tutti gli animali
e ondeggiano liberamente in classe. L'insegnante sta cantando della sfilata. L'insegnante chiede ai bambini di
e accompagnando una canzone "Ciao, amico mio!" Quando i ascoltare la musica mentre gli animali e i personaggi
genitori e i bambini sentono la parola "Stop!" nella canzone, cambiano. L'insegnante dice al gruppo ogni volta che
devono fermarsi e stare fermi. Non appena la canzone arriva un nuovo personaggio. Prima vengono i cani
continua, tutti possono muoversi di nuovo. Notazione "Hello, del circo ("The Children's Marching Song"), che
my Friend“. marciano con orgoglio e, man mano che la musica
diventa più forte, le ginocchia si alzano. Poi vengono
Esempio 3: bambini di 3 anni gli orsi pesanti ("The March of the Siamese
L'insegnante racconta una storia delle talpe mentre i bambini Children"), le scimmie ("The Mickey Mouse March",
sono in piedi in cerchio. In primo luogo, le talpe sbirciano "All Around the Mulberry Bush"), le principesse del
da lle lor o tane mentre gl i u c c e l l i c a n t a n o ( i n t r o d u z i o n e) . circo ("Mary Had a Little Lamb", "London Bridge ”),
Successivamente, le talpe iniziano la loro danza primaverile e infine i gloriosi cavalli (“Alouette”). Classici per
in cui camminano 16 passi in senso orario e 16 passi in bambini: Kid Stuff Medley Boston Pops Orchestra.
senso antiorario (parte A). Gli stessi passaggi vengono
ripe tuti du e volte. Dop o di c h é, l e t a l p e s m e t t o n o d i Esempio 6: bambini di 6 anni
camminare e battono le mani otto volte. Successivamente, I bambini sono in piedi in una "stazione ferroviaria" ed
ba tton o i piedi otto vo l t e ( p ar t e B) . I l b a t t i t o d e l l e m a n i e i l in attesa di un treno per iniziare il loro viaggio.
colpetto saranno ripetuti due volte. In una parte centrale più L'insegnante racconta loro che è un vecchio treno a
lenta della canzone, le talpe riposano sedendosi sul vapore e che ha bisogno di un piccolo aiuto per avviare
pa vimento e as coltand o l a m us i c a ( p a r t e C) . Qu a n d o la p a rt e i suoi motori, quindi i bambini devono battere le mani
A ri c omin cia, g li stessi p as s i c o sì c o m e i l b a t t i t o d e l l e m a n i e battere i piedi. Nella parte A, i bambini battono i
e il battito (parte B) verranno ripetuti come prima. Dopo il piedi sul pavimentondue volte (due mezze note nella
ba llo, i bambini vengono di vi s i i n t r e g r u p p i . I l Gr u p p o 1 prima battuta), quindi battono le mani tre volte (tre
suona il ritmo di base usando le maracas (parte A), il Gruppo semiminime e una pausa nella seconda battuta). I
2 suo n a le claves (par t e B) e i l Gr u p p o 3 s u o n a i l t r i a n g o l o bambini possono andare avanti solo al ritmo delle
in minime (parte C). Musica: Alfvén, “Polka Roslagen”. minime (Due passi, e poi si fermano e applaudono le
mani tre volte). Questo dovrebbe essere ripetuto fino a
E sem pio 4: bambini di 4 anni quandola parte A continua. Un bambino del gruppo è il
I bambini sono seduti a mezza curva e l'insegnante racconta macchinista, e gli altri bambini lo seguono.
la storia di tre orsi che vivono nei boschi. Ogni orso si Quando inizia la parte B, il treno inizia ad andare
muove a modo suo. Daddy Bear è il più lento e pesante; veloce. Il macchinista inizia a correre, e gli altri
Anche Mommy Bear è piuttosto lenta e pesante mentre provano ad andare veloce come lui o lei. Quando la
Little Bear è il più veloce e il più leggero. L'insegnante parte A più lenta riparte, il macchinista prende il suo
canta una canzone per ogni orso ed i bambini ripetono i posto alla fine del "treno" ed il secondo della fila
movimenti e le parole dopo l'insegnante. Dopo aver cantato diventa il nuovo macchinista. Dopo alcuni giri,

22
> TIPI DI ATTIVITA’ PER MUOVERSI E DANZARE È importante che l'insegnante sia a conoscenza dello
CON LA MUSICA sviluppo musicale e generale del bambino in quanto
l'obiettivo è quello di supportarlo senza accellerarlo. Le
Ci sono vari motivi per i quali danzare e attività motorie sono particolarmente importanti per
muoversi con la musica sono importanti famiglie in cui le attività fisiche o fuori casa sono
nell'educazione della prima infanzia e, come pressoché assenti.
tutte le attività didattiche, i bambini imparano
meglio quando ricevono riscontri positivi. Quando insegna a muoversi e danzare con la musica
L'obiettivo principale è quello di sviluppare le i l d o c e n t e p u ò c o m b i n a r e d i v e r s e a t t i v i t à (Grafico).
capacità cognitive e sociali del bambino,
muoversi e danzare però, contribuisce anche allo Nell'ascolto attivo i bambini hanno la possibilità di
sviluppo della consapevolezza corporea, il comprendere ed ascoltare la musica con l'aiuto di diverse
controllo e la coordinazione del corpo, le quali immagini che amplificano la profondità dell'ascolto, tutti
risultano importanti anche quando si canta o si i bambini hanno la possibilità di esprimere come sentono
gioca. L'obiettivo generale del muoversi e se stessi e la musica attraverso i movimenti. Questo
danzare con la musica consiste nel risveglio metodo è un ottimo modo per insegnare anche le strutture
della musicalità dei bambini. e le forme musicali.
I giochi musicali o le storie con
movimenti vengono utilizzate
Con l'aiuto del Quando insegna a muoversi e danzare con la musica per ispirare i bambini ad
movimento i bambini il docente può combinare diverse attività imparare, per esempio, le parti
imparano gli del corpo e differenti attività
elementi musicali e motorie, sviluppate
comprendono forme Ascolto principalmente attraverso la
musicali, atmosfere e attivo mano cantante. I giochi musicali
colori della musica.  con aiutano anche l'insegnamento di
movimenti
melodie che si muovono sulla
È necessario però Lavorare scala.
con Storie con
che il docente tenga movimenti
conto dell'età dei elementi
musicali 
bambini i quali, non
riuscendo a MUOVERSI Le coreografie ed i
concentrarsi per movimenti guidati
E
molto tempo, hanno possono e s s e r e
necessità di attività DANZARE sviluppati solo
fisica piuttosto che dall'insegnante oppure con
Lavorare con Coreografie
ascoltare seduti l'aiuto dei bambini anche
elementi e danze guidate 
l’insegnante. In altre della danza  utilizzando brani provenienti
parole bisogna  da culture e paesi differenti.
sempre dedicare del
tempo alle attività in Creare
cui i bambini possono ed
improvvisar
utilizzare la loro
e
energia illimitata ed
è anche il motivo per
cui i bambini
dovrebbero avere
anche dei momenti di movimento dopo attività che
richiedono molta concentrazione. La creatività e l'improvvisazione andrebbero incluse
in ogni lezione in cui i bambini dovrebbero avere la
Quest'ultima può essere migliorata aggiungendo po s si bil ità d i e s pri me re s e s te s s i l ib e ra me nt e.
diversi tipi di movimento durante l'ascolto di un
brano musicale. I bambini piccoli possono È anche importante lavorare su elementi musicali e
sperimentare la musica con gli adulti, per esempio, de ll a da nz a in mo d o d a s v ilup p are a b il it à f is ich e e
attraverso la danza o il dondolio mentre per i musicali
bambini tra 1-2 anni muoversi con la musica si
concentra principalmente sul camminare, o attività
simili, che non hanno una durata troppo elevata.
23
Elementi della danza: A po c o a p oc o l'o b ie ttiv o de l l' in se gna me nt o si sp ost a

> Spazio/posto, direzione; ve rs o lo s vil up po d el le c a pa c it à m oto ri e f in i l e qu al i,
essendo realizzate con muscoli piccoli, richiedono
> Te m p o / v e l o c i t à , r i t m o ;
maggiore precisione ed una concentrazione più
> Forza/energia, peso, flusso; avanzata.
> Corpo, forme, relazioni, equilibrio; È importante che vengano utilizzati esercizi che
> Movimento, non movimento; sviluppano le capacità motorie di base; alcuni esercizi
per svilupparle sono: esercizi di equilibrio (posizione
> Forma/temi ricorrenti, ABA, astratto,
verticale, rotazione, oscillazione, arresto, schivate,
n a r r a z i o n e , s u i t e , f o r m a s p e z z a t a (Green Gilbert:
torsioni), esercizi di movimento (saltare, arrampicarsi,
1992).
saltellare), esercizi di manipolazione (calciare, scorrere,
spingere e rimbalzare).
Elementi musicali che vengono imparati con l’aiuto della
musica: In ogni lezione dovrebbe esserci spazio per la
> Forma musicale e struttura; creatività e l'improvvisazione con cui i bambini
possono creare i propri movimenti. Oltre a molte
> Umore e colore della musica;
competenze importanti e conoscenza è necessario,
> Rit mo (v al or i d e ll e no te e p a u s e, te mp o e ca mbi di da parte dell'insegnante, un atteggiamento positivo.
tempo);
> Melodia;
> Dinamiche; > OGNI BAMBIMO HA IL DIRITTO DI IMPARARE LA
> A r m o n i a ( maggiore a n d minore). MUSICA A MODO SUO
Le capacità motorie fini dei bambini piccoli si Ci possono essere molte ragioni per cui alcuni dei
sviluppano più tardi di quanto non facciano le loro bambini vanno incontro a delle sfide quando
capacità motorie grossolane, quindi inizialmente il iniziano la loro strada nel mondo della musica.
movimento musicale si concentra sullo sviluppo delle Alcuni bambini possono avere difficoltà di
capacità motorie grossolane, che richiedono l'uso dei concentrazione, altri possono essere dentro i propri
muscoli più grandi. pensieri e preoccupazioni, un giovane
"perfezionista" può essere frustrato se le cose non
Esercizi motori grossolani: funzionano come vogliono o un bambino potrebbe
> gattonare; essere timido. Naturalmente, non bisogna mai
colpevolizzare i bambini ma l'insegnante dovrebbe
> Correre e camminare;
cercare di farli reagire e godersi la musica come
> Saltare (con una o due gambe, da un piede all'altro, a preferiscono. Il principio di base è che ciò che
piedi uniti); funziona e non disturba il resto del gruppo è
> Lanciare e afferrare.   consentito.
24
> SUGGERIMENTI E RIFLESSIONI

PEDAGOGICHE
-Nell'educazione musicale della prima infanzia - Tu t t i i b a m b i n i a d o r a n o l e p a l l e e s o n o a d a t t e

dovrebbe esserci attività versatili per supportare anche, non solo all'educazione musicale della
personalità diverse. prima infanzia ma anche per i bambini di tutte le
-I giochi con le dita sono eccellenti per età. Con l'aiuto delle palle si può praticare
sviluppare le abilità motorie, le quali sono l'equilibrio, le capacità motorie ed i diversi
necessarie più avanti nello studio dello elementi musicali (staccato-legato, tempo
strumento. binario, tempo terziario ecc.), ad esempio, un
-È bene utilizzare attrezzature diverse per bambino può sdraiarsi sulla palla e l'adulto può
variare le lezioni come sciarpe, palline, nastri, farlo rotolare tenendogli i piedi. I bambini
pouf,cerchi, imbracature, anelli, paracadute. I possono anche provare a sedersi e oscillare sulla
pouf sono ottimi per allenare la coordinazione palla. Inoltre, le palle possono essere utilizzate
occhio-mano (capacità motorie grossolane come per esercitarsi nel lancio e nella cattura e ad
lanciare e afferrare). Si può anche allenare in imparare il ritmo facendole rimbalzare sul
modo diverso la percezione delle parti del corpo pavimento al ritmo.
con l'aiuto di pouf: ad esempio, il bambino può
camminare con il pouf sulla schiena o sopra la -Sciarpe e altri vestiti leggeri sono eccellenti per
sua testa. apprendere e percepire le forme e strutture
musicali. Si può giocare a nascondino, ballare
-Nastri di raso o materiale simile possono essere. con le sciarpe(volando come gli uccelli o
attaccati a dei bastoncini in modo che i bambini agitando le mani come i mulini a vento) o
possano tenerli e muoverli. I nastri sono eccellenti gettare le sciarpe e cercare di catturarle con
per l'ascolto attivo per rappresentare i cambiamenti diverse parti del corpo. Con le sciarpe si può
dinamici, ritmici e melodici così come per imparare a distinguere la destra e la sinistra e le
l'insegnamento delle strutture musicali. I nastrini direzioni (su, giù, lateralmente e di traverso)
sono anche utili per sviluppare le capacità motorie oppure si può semplicemente ascoltare la musica
fini e la coordinazione occhio-mano. godendosi l'atmosfera. Con l'aiuto delle sciarpe,
si può incoraggiare la creatività e
-I cerchi sono eccellenti per allenare le capacità l'improvvisazione nei bambini di tutte le età.
motorie fini dei bambini (facendo rotolare o girare il
cerchio) così come le abilità motorie grossolane -L'attrezzatura deve essere sicura e appropriata
(come passando attraverso il cerchio). per i bambini: non ci dovrebbero essere parti
allentate e l'attrezzatura dovrebbe essere della
-Gli anelli sono realizzati in silicone e ricoperti di taglia giusta per neonati e bambini.
lana. Tutti i bambini in un gruppo possono tenere lo
stesso grande anello e, muovendolo insieme, possono -L'attrezzatura dovrebbe essere facilmente
sentire lo stesso ritmo. In questo modo si può disponibile, ma allo stesso tempo posizionata in
insegnare ai bambini il ritmo, strutture musicali, modo da non disturbare la lezione. È anche
timbri, melodie, armonie o abilità di coordinamento. saggio mantenere l'attrezzatura nascosta prima
dello "spettacolo".
25
> SVILUPPO DELL’ETA’ E DEL MUOVERSI CON LA MUSICA
MUOVERSI CON LA
MUSICA 0–36 MESI 3 E 4 ANNI 5 E 6 ANNI
Attività motorie di base Usa esercizi adatti allo Usa diversi esercizi (ad Usa esercizi più avanzati
sviluppo del bambino esempio, saltare, camminare, con coreografie e
piccolo (ad esempio, g at t o n ar e , r o t o l ar e , l a n ci ar e e musica(saltare, camminare,
gattonare a quattro zampe e afferrare). galoppare, oscillare).
iniziare a camminare).
Capacità di Stimola il sistema Pratica le capacità motorie Esercita le capacità

coordinamento vestibolare dondolando, di base in diversi modi e usa motorie avanzate e di base
ruotando e oscillando. i movimenti laterali e la coordinazione (ad es.
Incoraggia i bambini a incrociati. Insegna il nome movimenti simultanei delle
marciare oscillando le delle parti del corpo. parti del corpo).
braccia e ad usare
movimenti trasversali.
Abilità ritmiche I n c or a g gi a i ba m bi ni a Esercita il cantare e il Fa degli esercizi per

muoversi attivamente con suonare con il ritmo mantenere un ritmo costante
la musica e ad esercitarsi costante. Fa esercizi per (ad esempio batte le mani e
sul ritmo costante. separare il tempo in due cammina in contemporanea).
parti da quello in tre parti Combina il ritmo costante e
così come i cambi di il ritmo della melodia.
tempo.
I bambini imparano a muoversi,

Abilità sociali Approfondisce e rafforza In bambini imparano ad
ballare e improvvisare insieme.
il senso di sicurezza aspettare il loro turno,
Approfondiscono la loro
attraverso la musica e il ascoltare gli altri membri del
capacità di prendere in
movimento. gruppo.
considerazione gli altri
bambini.
Incorag giare i bambini a
Abilità sociali ed I n c or a g gi a r e i b am b i n i a Incoraggiare i bambini a
muoversi e improvvisare
espressive creare movimenti esprimere emozioni e sentimenti
liberamente sulla musica ed
liberamente al ritmo della in modo completo con il proprio
esprimere i propri sentimenti
musica. corpo.
muovendosi.
Insegnare danze facili
Movimenti guidati Insegnare danze facili e Insegnare danze e
(ad es. danze popolari) in
movimenti giocosi con coreografie.
cerchio, in fila e in
l'aiuto degli adulti.
coppia.
Percezione della I bambini dovrebbero I bambini dovrebbero I bambini dovrebbero

forma musicale percepire la forma musicale percepire la forma comprendere la teoria e la
con canti, movimenti e musicale attraverso struttura musicale (ad es.
danze familiari con l'aiuto semplici coreografie. ABA) con l'aiuto del
degli adulti. movimento.
> LITERATURE
> Green Gilbert, A . (1992). Creative d a n c e for all ages: a con- > Huhtinen-Hildén L., Pitt J. (2018): Taking a Learner-Centred
ceptual ap proa ch. Reston, Va.: A m e r i c a n Alliance for Health, Approach to Music Education: Pedagogical Pathways . Abing-
Physical Education, Recreation, a n d Dance. don: Routledge.
> Hannaford, C . (2002). Viisaat liikkeet (T. Salminen, transl.). > Juntunen, M.-L., Perkiö, S. & Simola-Isaksson, I. (2010). Mu-
Helsinki: Kehitysvammaliitto ry. siikkia liikkuen, Musiikkiliikunnan käsikirja. Helsinki: Sanoma
Pro.
> Hongisto-Åberg, M . , Lindeberg-Piiroinen, A . & Mäkinen, L.
(1993). Musiikki varhaiskasvatuksessa: H i p hoi, musisoi! Espoo: > Kivelä-Taskinen, Elina (2008). Rytmikylvyn Pikku-kuplat. Es-
Fazer Musiikki.   poo: Kultanuotti.

BUONE PRATICHE
Età 5-6 anni: i bambini accompagnano riconoscendo degli schemi ritmici, i cambi
dinamici e le variazioni del tempo
MUOVERSI E DANZARE 5 E 6 ANNI
Percezione della forma I bambini dovrebbero
musicale comprendere la teoria e la.
scrittura musicale con l'aiuto
del movimento.
Link del video (dal minuto 1.17 al minuto 1.52): https://youtu.be/EOEditUWK54
Età 5-6 anni: riconoscere e muoversi su un ritmo suonato dall’insegnante

Abilità sociali I bambini imparano a
muoversi, ballare e
improvvisare insieme
Attività motorie di base Usa esercizi più avanzati
con coreografie e musica
Link del video (dal minuto 1.51 al minuto 2.29): https://youtu.be/yMLp5bjl5aY
Età 5-6 anni: i bambini recitano una filastrocca mentre si accompagnano seguendo
una coreografia con la body percussion
Capacità di coordinamento Esercitare la capacità

motorie di base e avanzate e
la coordinazione
Link del video (dal minuto 0.10 al minuto 1.37): https://youtu.be/x0CU_qN68XU 

26
ACTIVITY FORMS > THE ACTIVITY OF INSTRUMENTAL PLAYING FOR YOUNG LEARNERS
MICHAEL DARTSCH
THE ACTIVITY OF INSTRUMENTAL

PLAYING FOR YOUNG LEARNERS
At first glance it would seem as if instrumental playing was less natural than singing. Nevertheless, on closer
inspection, playing an instrument is also based on fundamental potentials of infant behaviour.
It is n ot w i t h o u t r e a s o n that parents o fte n h a n g a rattle The force which one uses on the instrument usually
over the b e d o f the b a by. C h i l d r e n p a y attention t o the influences the volume of the sounds. T h e duration of
s o u n d s w h i c h t h e y i n a d v e r t e n t l y p r o d u c e , , a n d later the m o v e m e n t s o m e t i m e s c o r r e s p o n d s w i t h the length
they try to repeat the m o v e m e n t that caused the s o u n d . o f t h e s o u n d . H o w e v e r, w h e n a b e l l is s t r o k e d , t h e r e
Thus, movement is crucial to is a l o n g s o u n d after a s h o r t
i n s t r u m e n t a l p l a y i n g , a n d it   m o v e m e n t . Ins tr um ent s r e-
lies at the basis of produc- To give children the o p p o r t u n i t y to learn a c t i n d i ff e r e n t w a y s t o t h e
ing sounds using no other m u c h a b o u t different p l a y i n g m o v e m e n t s a c t i o n s o f t h e p la yer s. Wi t h
i n s t r u m e n t t h a n t h e b o d y it- a n d different instruments, there should b e digital instruments, the rela-
self. First movements include a w i d e range of instruments integrated i n tion b e t w e e n m o v e m e n t a n d
tapping/drumming (either the lessons: sound can be fundamentally
a body part or an everyday different f r o m traditional in-
object), snapping a n d rub- > b o d y percussion o f all kinds: clapping, s t r u m ents.
bing, w h i c h produce noise, slapping, stamping, snapping, rubbing …
sounds, and tones. M o r e - Yo u n g children can discover
o v e r, t h e r e a r e m a n y t h i n g s > everyday materials used to produce all this. F o r t h e m it is entire-
in t h e s u r r o u n d i n g s that s o u n d s : p a p e r, furniture, cutlery, b ran c hes , ly n e w. W h a t they learn c a n
invite a y o u n g child to try to leaves … b e d i v i d e d into t w o aspects:
imitate their s o u n d s w h e n First, t h e y l e a r n t o p e r f o r m
they are hit, rubbed, or shak- > s e l f - m a d e instruments: rattles o f b e a k e r s different w a y s o f m o v e -
en. and boxes with different filling materials, ka- ments. Second, they devel-
z o o s o f c a r d b o a r d rolls w i t h a h o l e a n d t h e op inner concepts of the
B a s e d o n similar experi- d i a p h r a g m o f g r e a s e p r o o f p a p e r, d r u m s o f instruments, f o r instance, o f
e n c e s , p e o p l e o f all cultural fl o w er po t s a n d m a n y layers o f g r e a s e p r o o f the relation be tw e en w a y s of
backgrounds have devel- paper as a skin … behaviour a n d the resulting
oped instruments, produc- sounds. T h e y learn h o w to
i n g s o u n d s t h a t a r e l o u d e r, > s m a l l p e r c u s s i o n instruments: d r u m s , play instruments, a n d they
p u r e r, a n d m o r e c h a r a c t e r - rattles, claves, bells, cymbals, mallet l e a r n s o m e t h i n g a b o u t in-
istic t h a n t h o s e o f just a n y instruments, xy lo pho n es , metallophones, s t r u m ents.
piece of w o o d or stone. individual x y l o p h o n e a n d metallophone
Flutes m a d e of bones from bars for free combination …
vultures, m o r e than 35,000
years old, are fascinating > instruments from different regions:
examples of early instru- djembes, darbukas, gongs, lutes, flutes …
ments. Bl owi n g , pressing,
pulling a n d p u sh i n g , as w e l l > w e s t e r n classical instruments: strings,
as plucking are movements w o o d w i n d s , b r a s s instruments, p l u c k e d
that c o m p l e m e n t p er cu ssi v e instruments, be llo ws -d riv en instruments,
w a y s o f h a n d l i n g a n instru- keyboards …
ment. U s i n g a b o w increases
the effect of rubbing.   > electronic a n d digital instruments.  

27
> SCENES s h o w n w i t h appropriate g e st ure s . T h e role o f the c o n -

du c tor rotates a m o n g the children. T h e g r o u p is a s k e d
Scene 1: 0–18 months to react as accurately a s possible.
Parents, babies, a n d teacher a r e sitting i n a circle. T h e
teacher rolls a f r a m e d r u m in the m i d d l e o f t h e circle. S c e n e 5: 5-year-olds
S o m e children crawl to the center of the circle a n d T h e gro up w a n t s to improvise a u t u m n music. First, the
r e a c h f o r t h e d r u m . T h e t e a c h e r o ff e r s m o r e d r u m s – teacher a s k s w h a t h a p p e n s in a u t u m n a n d collects t h e
o n e for e v e r y adult-child pair – a n d invites e v e r y b o d y ideas of the children. Next, the group reflects o n the fit-
to explore the instruments, a s k i n g w h a t c o u l d b e d o n e ting i n s t r u m e n t s a n d s o u n d s f o r the e v e n t s m e n t i o n e d
w i t h it a n d h o w it c o u l d s o u n d . T h e b a b i e s t o u c h t h e by the children that happen in autumn, such as rus-
instruments a n d hit them. T h e parents try out different tling leaves, w i n d , falling nut s, a n d s o forth. T h e n t h e
w a y s o f p l a y i n g a n d e n c o u r a g e t h e b a b i e s t o j o i n in. c h i l d r e n s e l e c t s u i t a b l e i n s t r u m e n t s b y trying o u t dif-
T h e teacher g i v e s e n o u g h t i m e for free p l a y b e for e in- ferent ones. After that, the g r o u p decides o n the or-
troducing his/her o w n ideas to everyone. der of the events. T h e children d r a w little pictures o n a
large s h e e t o f p a p e r : o n e
Scene 2: 18–36 m o n th s for every event and in the
T h e teacher is speaking or de r t h e y chose. T h e n
a little v e r s e w i t h a l o n g they improvise the piece,
b r e a k i n it t o g e t h e r w i t h w h i l e o n e child po int s to
the group: “ M y horse is the pictures, the rest of
trotting straight a h e a d . It the children play.
w a n t s t o c o m e h o m e ; it
w a n t s t o b e fed. It g o e s S c e n e 6: 6-year-olds
and goes, but then a T h e children practice ac-
stop! – [break] – A rab- companying a song they
bit passes a n d m a k e s a h a v e learned in the last
h o p ! T h e h o r s e contin- lesson with instruments.
u e s o n its w a y a n d t r o t s S o m e c h i l d r e n w a n t to
h o m e w i t h o u t delay.” play the melody of the
Everybody is imitating last phrase of the s o n g o n
the pulse of the verse x y l o p h o n e s a s a p rel ud e.
b y slapping o n their up- The teacher helps them
p e r thighs. W h e n t h e to find the right bars. F o r
break occurs, everybody the s o n g itself, t h e g r o u p
s h o u l d stop i m m e d i a t e l y, a n d a s u s p e n s i v e silence decides to have a rhythm accompaniment with w o o d
arises. A f t e r a w h i l e , e v e r y o n e k n o w s w h e n the b r e a k percussion instruments. T h e y try out s o m e rhythms
will c o m e , a n d they enjoy the excitement. T h i s tension and then choose s o m e that can be stacked o n top of
c a n b e i n c r e a s e d e v e n m o r e if t h e b r e a k i s o f d i ff e r- e a c h o t h e r, i n o t h e r w o r d s , p l a y e d a t t h e s a m e t i m e .
e n t l e n g t h s . A t first t h e t e a c h e r i n d i c a t e s w i t h f a c i a l T h e children p la yi ng the x y l o p h o n e s w a n t to stay w i t h
expressions a n d gestures w h e n to continue after the t h e s e i n s t r u m e n t s . S o , t h e t e a c h e r a s k s t h e m t o listen
break; later parents c a n also d o this. to t h e h a r m o n i c c h a n g e s a n d t o alternate b e t w e e n t h e
main harmonies o f the song. Finally, the group discuss-
S c e n e 3: 3-year-olds es a nice ending for the song. A s a result, they decide to
T h e g r o u p is p l a y i n g a h e r d o f h o r s e s b y s l a p p i n g o n play the chosen rhythms with the wooden percussion
the floor of the r o o m . T h e h erd c a n o n ly b e h e a rd ve ry i n s t r u m e n t s a s a c l o s i n g s e c t i o n a n d f a d e it out . T h e y
s o f t l y b e c a u s e it is f ar a w a y. A s it c o m e s n e a r e r a n d practice a u nifo rm fade out. T h e n a p e rfor ma n ce of the
nearer, the s o u n d of the h o o v e s gets louder a n d louder. w h o l e f o r m begins: T h e xylophones pl ay their prelude;
Finally, t h e he r d passes b y a n d then leaves. T h e s o u n d then the song starts with the changing harmonies o n the
g o e s q ui et a g a i n . T h e g a m e is r e p e a t e d s e v e r a l t i m e s . xylophones and the rhythms stacked on top of each
T h e teacher a s k s the children n o t to let the h e r d c o m e other on wooden percussion instruments. After two
too close too suddenly, b u t very gradually. verses have been sung and played, the children with
the w o o d percussion instruments p l a y their r h y t h m s as
S c e n e 4: 4-year-olds a c l o s i n g s e c t i o n a n d f a d e o ut. E v e r y b o d y is e n t h u s i -
E v e r y b o d y is playing o n small percussion instruments. astic, a n d the t e a c h e r s u g g e s t s r e c o r d i n g it s o that t h e
O n e child is conducting the w h o l e group. H e or she in- families can listen to it at h ome .
dicates w h e n e v e r y b o d y is expected t o p lay o r to stop.
The child uses certain ha n d signals, w h i c h she or he has
copied f r o m the teacher. In addition, the v o lu me c a n b e  

28
> ACTIVITY TYPES AND CONTENT OF In s u m m a r y, t h e foll ow in g activity types a n d contents

INSTRUMENTAL PLAYING of instrumental playing can be distinguished: (Graphic).
Dealing with instruments in the classroom can m e a n Exploring c a n m e a n to act very freely w i t h instruments
quite d iffe r en t activities. F o r e v e r y a g e g r o u p , e x p l o - or sounding materials trying what can be done with
ration is f u n d a m e n t a l for further activities w i t h instru- it a n d h o w it c a n s o u n d ( S c e n e 1). F o r e x a m p l e , old er
ments. For babies that is the m a i n activity with in- children could explore flowerpots with different beaters.
s t r u m e n t s a n d s o u n d i n g materials. E x p l o r a t i o n m e a n s
g i v i n g t h e s e n s e s t h e o p p o r t u n i t y t o g e t in t o u c h w i t h Exploration can easily turn into improvisation when chil-
s o m e t h i n g – w h i c h really includes t o u c h i n g a s a n i m - dren begin to create certain sounds o n purpose. Musical
por ta nt f o r m o f exploration especially fo r y o u n g chil- creativity is already at work here! The more familiar or easy
dren, b u t also for older ones. T h e experiences children to play the instruments are, the more the children can con-
can ga i n here are necessary f o r building u p instrumen- centrate o n a story or an extra-musical idea, w h i c h they
tal t e c h n i q u e s a s w e l l a s c o n c e p t s a b o u t t h e effects o f then put into practice with sounds (Scenes 3 and 5).
certain m o v e m e n t s .  
For this, it is very use-
Children c a n t h e n I n s u m m a r y, t h e f o l l o w i n g activity t y p e s a n d c o n t e n t s o f ful to b e able to rely
u s e their e x p e r i e n c e s instrumental playing c a n b e distinguished:   o n certain instrumen-
and concepts in im- tal skills. T h e s e are
provisations. Simple   developed a n d dif-
rules, s u c h as a dia- ferentiated gradually.
logue between two Explo re In the beginning, the
children, can help the instruments and difference b e t w e e n
sounding
children to create an m a t e r i als pl ay ing a n d s t o p p i n g
exciting piece o f m u - a n d b e t w e e n differ-
Learn and
sic. Moreover, imagi- Improvise with ent v o l u m e s is a n ap-
practice a n
nations of processes certain ru le s o r propriate task ( S c e n e
instrument
in nature or in stories imaginations 4) . F r o m t h e r e , c h i l -
c o n t i n uosly
can be represented dren can go forward
through music. INSTRUMENTAL to diffe re nt s o u n d s ,
articulations and
With instruments,
PLAYING rhythms.
it i s a l s o p o s s i b l e t o Play easy
accompany a song Accompany Rhythms are espe-
m e l o di es ,
songs, verses
s u n g at t h e s a m e songs, and cially well suited to
and recordings 
time. T h e easiest w a y pieces  accompany songs,
is just t o p l a y s t e a d y verses (Scene 2), or
Master musical
b e a t s . Similar, b u t re c ord ing s . T h e b a s e
demands with
more demanding instruments  of every r h y t h m is a
are certain patterns, s t e a d y pulse, w h i c h
w h i c h c a n b e re p e at - c a n also b e pr act i ced
e d o n a n d on . Differ- through movements
ent patterns can be (Gordon, 2007).
stacked on top of 
each other. B e si d e s a c c o m p a n y i n g s o n g s a n d verses, it Besides rhythms, children can also play easy melo-
c a n b e attractive t o pl ay together w i t h suitable rec o rd - dies or even songs and pieces in which rhythms and
ings. A c c o m p a n y i n g o f t e n requires certain instrumen- pitches are c o m b i n e d (Sc e ne 6). Typically, y o u n g chil-
tal skills. Musical d e m a n d s such as rhythms, dynamics, dren in a group change the instrument from task to
a n d articulation h a v e to b e m a s t e r e d . A s the d e m a n d s task a n d f r o m lesson to lesson. Nevertheless, a contin-
grow, instrumental skills b eco me more and more differ- uous learning a n d practicing of a suitable instrument
entiated. A f t e r h a v i n g g a i n e d s o m e e x p e r i e n c e s w i t h is also p os s ibl e i n g r o u p s w i t h y o u n g children. I n this
certain instruments, children c a n p la y uncomplicat- case, it is h i g h l y r e c o m m e n d e d n o t to u s e p re ssu re o n
e d m e l o d i e s , s o n g s , a n d p i ece s also. Finally, t h e y c a n the children, but to proceed in a playful m a nn e r and
practice a n d learn continuously t o p la y a n instrument, to integrate singing, moving, listening a n d improvising
w h i c h c a n also b e g i n at a n early a g e a n d in g r o u p s . If into the lessons.
t h e p r i n c i p l e s o f m u s i c e d u c a t i o n c o n t i n u e t o b e fol -
lowed, a n d singing, moving, listening a n d improvising
are integrated into the lessons, o n e can also speak of
early childhood m u s i c education here.  

29
> PEDAGOGICAL TIPS AND REFLECTIONS > Let the children play spontaneously a n d according
to their o w n n e e d s . I n t h e b i o g r a p h i e s o f p rof ess i onal
> G i v e the s a m e instrument to every child in the begin- musicians, there is also a phase of spontaneous musical
ning of w o r k i n g w i t h a group. T h a t helps t h e m to con- expression at the beginning (Manturzewska, 1 9 9 0 ) .
centrate o n the specific sound and to c o m e to k n o w
t h e i n s t r u m e n t a n d its p o t e n t i a l . W h e n a g r o u p u s e s > D o not try to teach the “right w a y ” of playing too ear-
d i ff e r e n t i n s t r u m e n t s i n a n e a r l y s t a g e , t h e d i ff e r e n t ly. It is fascinating to see which ways of playing children
stimuli c a n c o m p e t e w i t h e a c h other a n d k e e p the chil- can find. T h e y should not be afraid of making mistakes
dren f r o m b e c o m i n g e n g a g e d in the activity. b u t s h o u l d b e e n c o u r a g e d t o t r y w i t h o u t a n x i e t y. A
w i d e r r a n g e o f w a y s to p l a y c a n also e n r i c h t h e s p e c -
> P r o v i d e children w i t h t h e op po rtun ity t o explore in- trum of sounds especially for improvisations.
struments before giving a special task to children. T h e y
are usually curious and eager to explore and will not > D o n ot g ive negative c o m m e n t s , w h e n children pl ay
be ready to perform the task before exploring the in- in an individual w a y. Invite them to d o so and s h o w in-
s t r u m ents. terest a n d s y m p a t h y for that.
> U s e i n s t r u m e n t s a n d sizes w h i c h c a n b e h e l d b y the > Imitate w h a t y o ung e r children play, a n d let t h e m an-
children without cramping due to the heaviness or s w e r a g a i n . I n this w a y, a n alternate p l a y i n g ( Yo u n g ,
awkwardness of the instrument. For example, bigger 2 0 0 9 ) a n d a real m u s i c a l c o m m u n i c a t i o n c a n e m e rg e .
f r a m e d r u m s a r e n o t e a s y t o h old . W h e n t h e y a r e laid The psychological importance of this musical exchange
o n t h e f l o o r, t h e s o u n d c a n n o t d e v e l o p o p t i m a l l y. A s h o u l d n o t b e u n d e r e s t i m a t e d . It c a n h e l p t h e i n f a n t
g o o d solution for y o u n g e r children c a n b e small d j e m - to build u p an inner representation o f his or her o w n
bes or darbukas. mental state. M o r e o v e r, the feeling arises, that the oth-
er person is in harmony with him or her. Ultimately, this
> U s e a w i d e r a n g e o f instruments o f all b a c k g r o u n d s is also a precondition for the development o f a sense of
a n d types. T h e set o f i n s t r u m e n t s w h i c h C a r l O r ff as- be in g together w i t h others (Stern, 1 9 8 5 ) .
sembled include mallet instruments such as xylo-
phones and metallophones, drums, small percussion > Tr y to r ea c t to t h e p l a y i n g o f o l d e r children, a s k i n g
such as maracas, claves, triangles, a n d cymbals a n d w h a t they w a n t e d to express, or telling t h e m w h a t y o u
finally flutes a n d string instruments. To d a y, m a n y dif- felt a n d thought w h i l e listening. T h i s c a n he lp t h e m to
f e r e n t i n s t r u m e n t s f r o m d i ff e r e n t p a r t s o f t h e w o r l d b e c o m e m o r e a w a r e o f their o w n p l a y i n g . It c a n a l s o
are available. I n addition, western classical instruments p r o v i d e o p p o r t u n i t i e s t o g e t t o k n o w t h e c h i l d better.
c a n b e integrated in the lessons. Electronic a n d digital I n this w a y, f o l l o w - u p t a s k s f o r t h e c h i l d c a n a l s o b e
instruments as w e l l as a p p s offer attractive n e w possi- selected m o r e specifically. Finally, yet importantly, this
bilities. interaction c a n d e e p e n the relationship w i t h the child.
> D o n o t u s e i n s t r u m e n t s w i t h sticks o r mallets i n t h e

v e r y b e g i n n i n g . It is h a r d to hit the ba rs w i t h t h e m a l -
lets for babies and toddlers. Wi t h drums, it is a reward-
ing sensory experience, t o feel the skin w i t h the hands.
Later, the use of sticks and mallets is no problem and an
attractive task for older children.  
30
> Reflect o n improvisations after the playing. P e r h a p s > Invite the parents w h e n y o u want to build instru-
listen to a recording taken o f the g r o u p playing before. m e n t s . T h e y c a n h e l p a lot a n d s e e h o w e a s y a n d h o w
Then ask the children what the group could improve, m u c h fun it can b e to w o r k with self-made instruments.
a n d a s k it to p l a y a s e c o n d t i m e w i t h that intention. I n A f t e r t h e lesson, t h e y c a n t a k e their i n s t r u m e n t h o m e
this w a y, t h e re su l t re al ly m a t t e r s a n d b e c o m e s m o r e a n d p la y together w i t h their child there.
i m p o r t a n t a n d p r e c i o u s . It is w o r t h b e i n g w o r k e d o n
until the gr ou p is satisfied. > W h e n t h e w h o l e g r o u p is g o i n g t o p l a y o n i n s t r u -
ments, give everybody the opportunity to choose a
> T h e g r o u p s h o u l d b e silent for a m o m e n t be fo re a n d p a r t a n d a n i n s t r u m e n t w h i c h is a t t r a c t i v e f o r h e r o r
after a n i m p r o v i s a t i o n . It s h o u l d b e a p i e c e o f m u s i c , h i m a n d w h i c h c a n b e m a s t e r e d b y h e r o r h i m . I n this
w h i c h n e e d s concentration, a n d w h i c h is separated w a y, it is possible to p la y o n instruments w i t h a g r o u p
f r o m everyday n o i se through the silence. Setting on e’s m a d e u p o f different levels o f skills – as is the c a s e in
self apart f r o m everyday life is a n important character- almost every group.
istic of art in general ( L u h m a n n , 20 00 ).
> W h e n strings, w o o d w i n d s , plucked a n d bellows-driv-
> E n c o u r a g e the children to perceive differences in e n instruments, a n d k e y b o a r d s a r e u s e d to a c c o m p a n y
sound and expression. A phase of sensory and emo- s o n g s , verses, o r re c or din gs w i t h o lde r children, try to
tional sensitization c a n also b e fou nd in biographies o f find suitable w a y s of playing such as open strings or
professional musicians in the early years (Manturzews- e a s y pa tte rn s w i t h o n l y f e w diffe re n t t o n e s . If c h o r d s
ka, 1990). s h o u l d b e p l a y e d w i t h o p e n s t r i n g s , it i s p o s s i b l e t o
tune ukuleles or small
> Tr y h a r d to f i n d fitting guitars i n certain h a r m o -
instruments for certain nies for that: Ukuleles can
intentions. T h e children be tuned to g – c’ – e’ – g’
should explore the pos- or to a – d’ – f ’ sharp – a’.
sibilities, c o m p a r e t h e Guitars can be tuned to
sounds, and decide what D – A – d – f sharp – a –
fits b e s t i n their o p i n i o n . d’ or to D – G – d – g – h
T h e r e m i g h t b e different – d’ for example. If older
opini ons i n the g r o u p , s o children should change
the g r o u p h a s to c o m e t o chords, choose chang-
a n a g r e e m e n t . A n d their es between t w o or three
opini on m i g h t also differ easy chords o n mallet in-
f r o m t h e t e a c h e r ’s p r e f - struments, keyboards or
e r e n c e , b u t it s h o u l d b e F i n n i s h kanteles, w h i c h
respected a s their deci- are well suited for that.
sion. With older children,
the teacher c a n never- > W h e n a group plays
t h e l e s s a r g u e a n d let w i t h a r ec ord ing , d e -
t h e m argue, too. pending o n the piece,
they might be able to
> D o n o t let the g r o u p play freely or h a v e cer-
wait too long while you tain patterns to play for
w o r k o n the playing of certain p a s s a g e s i n t h e
one child – for example piece. Listen to the p ie ce
o n playing a melody. Tr y carefully b e f o r e h a n d a n d
to involve everybody so c h o o s e a suitable a c c o m -
that the children also support e a c h other. F o r example, p a n i m e n t , w h i c h d o e s n o t d is tur b t h e m u s i c b u t t a k e s
w h i l e o n e c h i l d is p l a y i n g , t h e o t h e r s c a n s i n g , s p e a k u p the character o f the pie c e .
or w h i s p e r t h e text o f a s o n g , listen carefully, p l a y the
pulse on small percussion instruments or drums, con- > W h e n you have to explain playing movements or
duct, or m o v e . b o d y postures, c h o s e c o m p a r i s o n s f r o m e v e r y d a y life.
Practice these movements or postures also playfully
> W h e n traditional classical instruments are explored, it w i t h o u t the instrument a n d u se y o u r imagination.
is s o m e t i m e s r e c o m m e n d a b l e to h elp the children. S e e
whether they can hold and m a n g e to produce tones > D i r e c t t h e c h i l d ’s a t t e n t i o n m o r e t o t h e r e s u l t o f a
o n it a n d a s k t h e m w h e t h e r t h e y w a n t s o m e help. S t o p certain pla y ing m o v e m e n t t h a n to the m o v e m e n t itself
helping w h e n they are satisfied with their activity.   (Wu lf, M c N e v i n & S h e a , 2 0 0 1 ) . T h e b o d y c a n fi nd its
w a y then.
31
> AGE DEVELOPMENT AND INSTRUMENTAL PLAYING
INSTRUMENTAL PLAY- 0–36 MONTHS 3- AND 4-YEAR-OLDS 5- AND 6-YEAR-OLDS

ING SKILL AND CON-
TENT
Play percussion Explore; Explore; Explore;

instruments play freely with p l ay s t e a d y b ea t s a n d e a s y play different kinds of
imaginations/associations; rhythms; r h y t hm s a s they appear in
establish s t e a d y b e a t s play in different dynamics songs;
play in different dynamics
and articulations
Play mallet instruments Explore; Explore; Explore;

try to hit the b ar s w i t h the play freely with imagina- play freely;
mallets tions/ associations; play melodies;
try to play melodies; play in different dynamics
play in different dynamics a n d s o u n d colours
Play string, wind, Touch and explore; Explore; Explore;

plucked, a nd bellows- try to p r o d u c e s o u n d s try to h o l d the instruments try to h o l d the instrument
driven instruments, as a n d p l ay tones or c h o r d s a n d p l a y tones o r chords;
well as keyboards b eg i n to pl a y patterns w i t h
a f e w tones or easy chords;
begin learning h o w to play
Improvise with Play freely and with Play freely and with Play freely with
instruments imaginations/associations imaginations/associations; imaginations/associations;
play with simple rules; play play with rules;
improvisations i n the g r oup play long improvisations in
the g r o u p r e ac t i n g to e a c h
other
A c c o m p a n y with A c c o m p a n y w i t h steady A c c o m p a n y w i t h easy A c c o m p a n y with rh ythm

instruments b e at s a n d w i t h effects r h y t h m patterns a n d w i t h a n d m e l o d y p at t e r n s a n d
w h e n certain w o r d s appear effects w h e n certain w o r d s with harmonies, w h i c h are
in a text appear in a text distributed a m o n g different
parts
Play patterns on Tr y to play steady beats P l a y s t e a d y b eat s ( e s p e - Play rhythm and melody
instruments with b o d y percussion a n d cially with 3-year-olds) and patterns;
p e r cu s s i on instruments; easy r h y t h m i c patterns stack different patterns o n
try to play r hy t hm s of w i t h b o d y percussion a n d top o f e a c h o t h er
certain w o r d s percussion instruments
Build instruments Use various fillings to fill Build kazoos of cardboard Build m o r e d em a nd i ng
different be a ke r s a n d bo x es rolls with a hole and a instruments like m o n o -
to build rattles d i a p h r a g m o f greaseproof chords – with a piece of
paper; w o o d and strings o r w i n d
build small percussion instruments
instruments f r o m everyday
materials
> LITERATURE
> G o r d o n , E. E. (2007). L e a r n i n g Se quences in Music. A Contem - > Stern, D . N . (1985). T h e interpersonal w orld of the infant. N e w
porary Music Learning Theory. Chicago: GIA. York: Basic Books.
> L u h m a n n , N . (2000). Art as a Social System. Stanford: Stanford > Wulf, G., McNevin, N . H . & Shea, C. H. (2001). The automaticity of
University Press. c o m p l e x m o t o r skill learning a s a function o f attentional focus,
Quarterly Journal of Experimental Psychology, 54A (4), 1143-1154, doi:
> Manturzewska, M . (1990). A Biographical Study of the Life-Span 10.1080/02724980143000118
D e v e l o p m e n t of Professional M u s i c i a n s , Psychology of M u s i c , 1 8
(2), 112-139.   > Young, S. (2009). Music 3–5. London, N e w York: Routledge.

32
ACTIVITY FORMS > LISTENING ACTIVITIES FOR YOUNG LEARNERS
NATASSA ECONOMIDOU STAVROU
LISTENING ACTIVITIES FOR

YOUNG LEARNERS
Listening is a multisensory activity and is at the heart of any musical experience. It is one of the most prominent
ways that we experience, participate, and interact with music. Besides being present in every musical encounter
(improvising, playing musical instruments, moving, dancing, singing, composing, orchestrating), it is itself
a primary musical activity for any age. Developing the musical ear is crucial for the development of a
child’s musicianship.
Listening is s o m e t i m e s considered a passive activity in graphic score, m a k e a drawing, or prepare a choreo-

w h i c h c h i l d r e n listen t o p i e c e s w i t h o u t b e i n g a c t i v e - graphy – just to n a m e a f ew activities. O u r a i m as early
l y i n v o l v e d i n w a y s t h a t w o u l d e n a b l e t h e m t o re la te c h i l d h o o d m u s i c e d u c a t o r s i s to g r a d u a l l y e q u i p chil-
to the music, focus a n d understand certain aspects d r e n w i t h e x p e r i e n c e s a n d skills to b e c o m e active lis-
of it (Gault, 2 0 1 6 ) . H o w e v e r, f r o m a very early a g e on, teners a n d learn to listen p er ce p ti ve ly. B u t , o f course,
c h i l d r e n c a n listen attentively t o m u s i c a n d f i n d their this w i l l n o t h a p p e n i n a d a y. S o h o w d o w e d o t h a t ?
o w n access points to engage in, understand, a n d re- H o w d o w e help children develop listening skills in our
s p o n d t o it. E v e n w h e n b a b i e s o r t o d d l e r s s i t t i n g i n a m u s i c l e s s o n s ? A n d w h a t c o u l d t h e s e l i s t e n i n g skills
circle listen to a musical piece, without doing any other b e ? Different listening activities d e v e l o p different lis-
activity, this is still m e a n i n g f u l a n d important m u s i c a l tening skills in different age groups, as w e will discuss
e n g a g e m e n t . Yo u n g l e a r n e r s , a c c o r d i n g t o their p e r- in this chapter.
sonal soundscapes acquired
fro m prior musical experienc-   Listening skills include a rich
es, f i n d their w a y i n t o t h e m u - W h e n w e refer to listening activities, array of musical skills w h i c h
s i c t h e y l i s t e n to, a n d t h e y r e - these c o u l d b e w i t h t h e f o r m o f a s o n g involve the y o u n g learners in
s p o n d a n d d e s c r i b e it to o t h e r s that w e s i n g t o t h e children, m u s i c the activity o f listening through
through multisensory means: that is performed b y others visiting various pathways and gradual-
verbally, visually, kinesthetically our music classroom, recorded music, ly l e a d t h e m f r o m “ h e a r i n g ” t o
or musically (Kerchner, 2010). or rhythmic or melodic patterns, even “listening”.
It is t h e t e a c h e r ’s r o l e t o o rg a - sounds. These include
nize t h e m u s i c listening activi- W h a t are children supposed to
1. Recorded sounds or sounds in the
ties i n w a y s i n w h i c h c h i l d r e n listen to in their m u s i c lessons?
environment;
w i l l b e a c t i v e l y e n g a g e d , their Is there suitable o r n o t suitable
attention w i l l b e f o c u s e d o n 2. Recorded m u s i c f r o m a w i d e rep- music for them? A r e there ap-
the m u s i c , a n d t h e y w i l l b e e n - ertoire of music of various genres, propriate or inappropriate m u -
couraged to perceive sounds styles, musical cultures, featuring a sical pieces, difficult a n d simple
and form thoughts about them variety of solo instruments a n d vo- ones?
(Kerchner, 2010; Campbell, cal e n s e m b l e s , c h o i r s o r o rc he s tra s ;
2005; Campbell & Scott, 1995). Children c a n relate to, under-
3. M u s i c performed live b y the teach-
stand, and enjoy any music as
e r, i n v i t e d m u s i c i a n s , p a r e n t s o r
W h e n w e re f er t o listening a c - long as they can make sense
caregivers, a group of the children
tivities fo r early y e a r m u s i c ed- of it (Youn g a n d Glover, 1 9 9 8 ) .
performing for their classmates, or
ucati on, w e m e a n p e r c e p t i v e A c c o r d i n g l y, if the p iece is ap-
b a n d s / o r c h e s t r a s / c h o i r s i n a p e r f o r-
listening i n b o t h “ p a s s i v e ” a n d proached in a w a y that the
mance venue;
“active” forms. A m o r e passive s t u d e n t s c a n i n v e s t i g a t e it a n d
approach to music listening 4. R h y t h m i c a n d m e l o d i c patterns.   familiarize themselves w i t h it
could b e w h e n children listen through active engagement,
to music carefully, paying at- then there is a better chance
tention to and absorbing the  that they will m a k e sense o f the
sounds, but they are not asked to focus on some- music. Ta k i n g into consideration Brun e r ’s a s s u m p t i o n
thing specifically a n d d o n o t h a v e a n a s s i g n e d t a s k t o that everything c a n b e taught effectively in a mentally
d o w h i l e listening. A c t i v e listening req u ire s action o n appropriate m a n n e r to a n y child, at a n y stage o f devel-
b e h a l f o f t h e children. F o r instance, t h e y m i g h t listen o p m e n t , w e plan o u r activities following t h e three lev-
a n d t h e n d i s c u s s t h e p i e c e , t a l k a b o u t h o w it m a k e s els of representation o f k n o w ledge: enactive (actions),
them feel, improvise movements to the music, play m u - i c o n i c ( p i c t u r e s a n d g r a p h i c s c o r e s ) a n d f in al ly s y m -
sical i n s t r u m e n t s t o g e t h e r w i t h t h e m u s i c f o l l o w i n g a   bolic (symbols and letters) kno wl edg e (Bruner, 1960).

33
> SCENES S c e n e 4: 4-year-olds

I n a circle, c h i l d r e n p l a y w i t h their t e a c h e r t h e m u s i -
Scene 1: 0–18 months cal g a m e C o p y M e . U s i n g b o d y percussion, t h e y e c h o
Babies are sitting in a circle with their parents. The m u - the s i m p l e rhy th mic patterns their teacher is playing in
sic teacher invites o n e of the parents, w h o is a violinist, quarter-, eighth-, half- a n d sixteenth-notes. T h e activ-
t o p e r f o r m s o m e t h i n g f o r t h e m . T h i s is t h e first t i m e ity b e c o m e s m o r e i n t e r e s t i n g l a t e r w h e n t h e t e a c h e r
the b a b i e s s e e a violin i n t h e class. T h e m u s i c i a n p e r- plays the rhyt hm ic pattern o n a percussion instrument,
f o r m s , a n d t h e y o u n g toddlers a r e n o t g i v e n a n y task; a n d children, i n turn, s e l e c t t h e right i n s t r u m e n t f r o m
they are just expected to listen to the music, absorb three to four classroom percussion instruments and
and respond/ react a n y w a y they like. S o m e are excited, respond with the appropriate instrument. T h e teacher
fascinated b y the m u s i c a n d stand u p to g o near the vi- then plays various 4-beat melodic patterns o n a res-
olinist (o n e of t h e m is his baby). Others s h o w curiosity o n a t o r b e l l l a d d e r u s i n g t h e n o t e s la, s o l a n d m i , a n d
but stay a r o u n d their parent; o n e is d a n c i n g to the m u - children e c h o the m e l o d i e s r ec o gni zin g, d e c o d i n g a n d
sic, a n d another taps the s t e a d y n a m i n g t h e notes.
beat o n the floor. T h e y re sp o n d
in their individual ways to music S c e n e 5: 5-year-olds
a n d to the n e w instrument. C h i l d r e n a r e sitting i n a circle,
and the teacher puts on short
Scene 2: 18–36 m o n th s extracts f r o m “ We will R o c k
To d d l e r s a r e s i t t i n g i n a c i r c l e You” by Queen, “La Donna e
with their parents. T h e y all sing Mobile” from Rigoletto b y Ver-
together “Twinkle, Twinkle Little di , a n d t h e t r a d i t i o n a l A f r i c a n
Star” using the neutral syllables song from Ghana, “Che che
yam pam, holding a bean bag kule”. W h e n they are finished
a n d t a p p i n g it o n t h e f l o o r fo l- listening, the teacher asks the
lowing the steady beat. A t the children what they think about
end of the song, they put the the music heard. O n e child
bean b a g o n their heads a n d c o m m e n t s t h a t t h e first o n e
sing y a m … … p a m on a perfect w a s cool, the s e c o n d f u n n y a n d
fifth interval m o v i n g f r o m the fifth ( Ya m ) to the tonic the third strange but interesting. Another child m e n -
( P a m ) a n d o n the tonic they m o v e their h e a d s d o w n s o tions the w o r d s rock, music, and opera. T h e teacher
that the b e a n b a g falls o n the floor. s e e m s s a t i s f i e d w i t h t h e fir st r e s p o n s e s a n d p u t s o n
the boa rd three pictures of a ro c k group, a classical or-
S c e n e 3: 3-year-olds chestra a n d a m a l e singer, a n d a g ro u p of children. S h e
The children are sitting in a circle o n the floor. T h e m u - t h e n ells t h e c h i l d r e n that t h e y w i l l listen t o t h e t h r e e
sic t e a c h e r h o l d s a n u m b r e l l a a n d tells t h e m that t h e y pieces again, and they should try to match the pieces
will, hypothetically speaking, g o out for a w a l k with w i t h the pictures.
their friends. H o w e v e r, b e c a u s e it is a ra in y d a y, t h e y
s h o u l d b e careful b e c a u s e t h e w e a t h e r is n o t stable: it S c e n e 6: 6-year-olds
c a n rain, o r the s u n c o m e s out, a n d t h e n the rain starts C h i l d r e n listen to “ T h e Av i a r y ” a n d “ T h e A q u a r i u m ”
again, etc. T h e teacher p u t s h u l a - h o o p s ( o n e fo r e v e r y fro m Saint-Saëns’ Carnival of the A n i m a l s a n d are
child o r o n e for t w o children a c c o r d i n g t o the n u m b e r a s k e d to improvise a d a nc e / m o v e m e n t for e a c h piece.
of the children in the class) d o w n o n the floor a n d e x - N o g u i d e l i n e s a r e g i v e n ; t h e y a r e just a s k e d t o listen
plains that because s/he does not have enough u m - to the music and m o v e around in the w a y s the music
brellas to give them, the hula-hoops will b e their h o m e s invites t h e m to. A f t e r e a c h p ie c e , t h e t e a c h e r a s k s the
to r u n t o w h e n t h e r a i n starts t o fall. W h e n t h e m u s i c children to describe the piece, the music, the instru-
t h e y a r e listening t o is soft, that m e a n s t h a t t h e s u n is m e n t s t h e y recognize, a n d h o w the m u s i c m a k e s t h e m
out, a n d they g o out w i t h their friends, d a n c i n g a r o u n d f e e l . S / h e a s k s t h e m if t h e m u s i c w a s a m o v i e w h a t
w i t h their c o l o r f u l s c a r v e s . W h e n t h e m u s i c b e c o m e s c o u l d p r o b a b l y b e h a p p e n i n g d u r i n g that t i m e a n d in-
loud, they need to run very quickly to one of the hu- vites t h e m to share their “scenario” w i t h the rest of the
la-hoops (home) to protect themselves from getting class. A t the end, s/he s h o w s t w o pictures, o n e with
wet. T h e y s h o u l d , though, continue d a n c i n g w i t h their birds in the forest a n d the other with fish in the sea
scarves inside the hula-hoop. This procedure is fol- a n d a s k s t h e c h i l d r e n to d e c i d e w h i c h p i e c e w o u l d fit
lowed throughout the piece, Slavonic D a n c e op.46, N o . the a q u a r i u m p ic ture a n d w h i c h t h e birds a n d e x p l a i n
8 by Dvorak.   their decision. T h e children s h a r e their ideas, a n d they
listen to the music o ne m o r e time m o v i n g as birds or as
fish, respectively. A s a follow-up, the teacher hands out
instruments, and the children are invited in groups to
create their o w n aviary or aquarium music.
34
> ACTIVITY TYPES AND CONTENT OF MUSIC > PEDAGOGICAL TIPS AND REFLECTIONS
LISTENING
> U s e short extracts, especially in w o r k i n g w i t h babies
T h e activity o f listening i n e a r l y y e a r s m a y i n c l u d e a a n d toddlers. T h e s e c a n b e c o m e longer a s the children
great r a n g e o f possibilities o f m u s i c a l e x p e r i e n c e s f o r b e c o m e older.
the y o u n g learners, a n d it is so m u c h m o r e than pulling
up an m p 3 file and asking children to passively listen to > M a k e sure that the music is not too loud.
it. Wi t h listening activities, w e aim to develop listening
skills a n d h e l p s t u d e n t s a c q u i r e k n o w l e d g e a n d culti- > Include music featuring a variety of orchestrations
vate attitudes in the following areas (Graphic): a n d pieces with solo instruments a s well as live music,
recorded music, mu-
We could use a mu-  sic o f different tonal-
sical piece to help Wi t h listening activities, w e a i m to develop listening skills ities, meters, etc.
children develop a n d h e l p s t u d e n t s a c q u i r e k n o w l e d g e a n d c u l t i v a t e atti-
perce pt iv e listening tudes in the following areas: > U s e a w i d e selec-
skills (Scene 1) and tion of repertoire
i n t r o d u c e o r further from a variety of
explore the various ge n res , historical p e -
musical elements Identify riods, a n d m u s i c a l
(S cene s 2 a n d 3). We musi cal cultures to be intro-
elements 
could include in our  duced to children.
lessons listening ac- Wi t h older children,
tivities to familiarize Develop set a n d discuss the
Develop
perceptive
children with a wide audiation skills context o f the music.
listening skills
range of genres and
styles o f music o r > Not all children
a variety of music MUSIC c o m e to class with
f r o m various cultures LISTENING t h e s a m e listening
a r o u n d t h e world experiences, beliefs
Become
a n d different p e r i o d s Respond to familiar w i t h a b o u t , a n d attitudes
(Scene 5). Listening musical pieces a varied towards music.
activities are also es- in a variety o f repertoire of
ways  music 
sential in a.) develop- > Yo u n g children are
Imp rovise
ing students’ a u d i a - music with r e m a r k a b l y o p e n to
tion skills in relation musi cal all k i n d s o f m u s i c a s
to r h y t h m a n d m e l - pieces as their m u s i c a l t a s t e s
o d y a n d b.) helping stimuli   are not as firmly de-
them identify, recall, v e l o p e d a s in o l d e r
and decode simple children, w h o m a y
melodic and rhyth- have already formed
mic patterns (Scene  their musical iden-
4). M o r e o v e r, musical pieces could serve as stimuli for tities a n d w h i c h h a v e o f t e n b e e n i n f l u e n c e d b y t h e i r
y o u n g learners’ creating s o u n d s a n d m u s i c ( S c e n e 6). peers. T h i s a l l o w s the early c h i l d h o o d m u s i c educator
to include repertoire from various genres, styles and cul-
Besides the development o f listening skills a n d the tures. It is t h e i d e a l t i m e t o e x p o s e s t u d e n t s t o m a n y
acquisition o f musical k n o w l e d g e , w e a i m to cultivate different types o f m u s i c a n d introduce t h e m to a w i d e
children’s audience behavior. Moreover, w e should sup- range of repertoire.
port t h e m in creating their o w n musical identity while,
at the s a m e time, r e sp e ct in g their classmates’ m u s i c a l > G i v e c h i l d r e n t h e o p p o r t u n i t y to listen to a m u s i c a l
preferences a n d teach t h e m to respect their musical piece several times, r es p ond ing t o it in different w a y s ,
culture as well as other people’s m u s i c cultures. M o r e - b o t h d u r i n g a n d after t h e listening activity. R e p e a t e d
o v e r, i n t e r m s o f attitudes, l i s t e n i n g activities s h o u l d l i s t e n i n g is e s s e n t i a l f o r d e v e l o p i n g “ d e e p ” l i s t e n i n g
a r o u s e c h i l d r e n ’s c u r i o s i t y a n d cultivate a n o p e n n e s s skills ( C a m p b e l l 2 0 0 5 ) as it increases their familiarity
to something n e w and unfamiliar.   with the music and helps them b e c o m e friends with
the m u s i c (C am pb e ll, 2 0 0 5 ) . T h e y s h o u l d listen to
t h e p i e c e f r o m d i ff e r e n t p e r s p e c t i v e s , g o d e e p e r a n d
identify other prominent characteristics or parame-
ters o r d e t a i l s o f t h e m u s i c t h a t w e r e n o t n o t i c e d b e -
fo re a n d r e s p o n d i n di ffe re nt w a y s ( K e rc h n e r, 2 0 1 0 ) .

35
M o r e o v e r, r e p e a t e d listening h e l p s t h e m re la te t o t h e > C h i l d r e n s h o u l d b e e n c o u r a g e d t o e x p r e s s their

piece a n d express their feelings, thoughts, a n d ideas views, preferences, a n d ideas about specific musical
confidently. Yo u n g children value the familiar a n d pieces, ge n re s, p e r f o r m a n c e s . I t is i m p o r t a n t that t h e y
feel u n c o m f o r t a b l e w i t h t h e u n f a m i l i a r, s o it is q u i t e are e n c o u r a g e d t o explain w h y the m u s i c m a k e s t h e m
important to allow for repeated listening. feel the w a y they do.
> T h e m u s i c a l p i e c e s fo r a n y n e w style/genre/musical > Ideally, children s h o u l d b e p re p are d in a d v a n c e d f or

culture w e introduce in our music lessons should be put the piece they will listen to. This could be done, for ex-
into their s o c i o c u l t u r a l c o n t e x t , s o c h i l d r e n c a n m a k e a m p l e , b y telling a story s u r r o u n d i n g t h e m u s i c piece,
m o r e s e n s e out of them. O l d e r children c o u l d b e g ive n di sc u ss in g a p ai ntin g o r picture re la te d to the p i e c e or
i n f o r m a t i o n o n the c o m p o s e r, t h e o c c a s i o n this m u s i c the m o o d o f the piece, setting t h e c o n t e x t of the p i e c e
is/was performed, the instruments/voice/ensembles or song they will listen to from a specific culture (i.e., a
etc., w h e r e it w a s h e a r d o r it c a n b e h e a r d , w h a t t h e lullaby or rain song), watching a relevant video, giving
audience w o u l d be, etc. information a b o u t the c o m p o s e r a n d the musical piece,
ob s er vin g a m u s i c a l instrument a n d then listening to a
> Negative attitudes towards a certain genre, style, cul- musical piece w i t h this instrument, o r writing lyrics o n
ture, musical p i e c e m a y c h a n g e w h e n children b e c o m e the m a i n t h e m e o f the piece, a n d s o on .
f a m i l i a r w i t h it a n d l e a r n m o r e a b o u t t h e c o n t e x t a n d
the music. > A musical pi ec e children listen to m a y act as a stim-
ulus for their creative w o r k and critical thinking, w h i c h
> We tend to g o directly to our learning objective w h e n they demonstrate b y creating a piece with similar char-
working with listening activities a n d thus overlook chil- acteristics or in a similar m o o d , or representing the
dren’s n e e d s to r e sp o nd t o m u s i c in the w a y they w a n t s a m e animal, etc.
to, a n d not in the w a y w e w a n t t h e m to. We often give
guidelines right a w a y in regard to w h a t to search for in > Children enjoy m o v i n g with a parachute, scarves,
the m u s i c a l p i e c e , w i t h o u t a l l o w i n g t h e m t o familiar- puppets, hula-hoops, or ribbons while listening to a
ize t h e m s e l v e s w i t h the p i ece first a n d talk a b o u t their musical piece. S u c h activities can b e helpful as long as
thoughts, emotions, and likes and dislikes. This is some- they d o not disturb the listening itself.
thing that w e s h o u l d avoid in o u r teaching.
> Listening to music and then talking about thoughts
> Posing the right questions is important in encouraging a n d feelings are significant aspects of m u s i c listening.
children t o e x p r e s s their t h o u g h t s , ideas, a n d fe e lin gs B ef ore w e ask the children to p a y attention to a specif-
a b o u t t h e m u s i c t h e y listen to. O p e n - e n d e d q u es tio ns , ic musical element in the piece that w e w o u l d like them
carefully worded, m a y support children in what they to notice, it is important to allow them to freely express
think, imagine, and compare. their thoughts, feelings, a n d ideas a b o u t the p i e c e a n d
to say if they liked it or not and explain w h y.
> Te a c h i n g s t r a t e g i e s s u g g e s t a g e suitability, n o t t h e
m u s i c itself, ( K e rc h n e r, 2 0 1 0 ) . Te a c h e r s n e e d to f i n d > Listening activities are ideal for introducing musical
w a y s to h e l p children b e c o m e familiar w i t h a n d m a k e concepts to children. M u s i c that ha s noticeable c h a n g -
sense of the m u s i c in a w a y that is appropriate a n d es in t e r m s o f d y n a m i c s , t e m p o , f o r m , pitch a l l o w s u s
relevant for them. to pick u p o n these a n d discuss t h e m w i t h the children.
It also gives ve ry y o u n g children the opportunity to get
> Music listening requires creative and active participa- a s e n s e o f it a n d r e s p o n d u s i n g m o v e m e n t o r g r a p h i c
tion. Multisensory m u s i c listening tools a n d utilization re pr es e nta ti on, m a k e u p a story, o r e v e n f i n d w a y s t o
o f aural, v is u al , k i n es th et ic s t r a t e g i e s c a n p r o v i d e di- orchestrate the m u s i c w i t h musical instruments.
verse students with multiple w a y s to access music. Fol-
lowing Gardner ’s multiple intelligences theory, listening
activities s h o u l d r e s p o n d t o t h e d iffe re n t i n t e l l i g e n c e > LITERATURE
profiles of the students.
> Bruner, J. (1960). The Process of Education. Cambridge, MA.:
Harvard University.
> D e v e l o p i n g v o c a b u l a r y t o describe m u s i c h e a r d a n d
to talk about musical elements is something that can > Campbell, P.S. (2005). D e e p Listening to the Musical World.
Music Educators Journal, 9 2 (1), 30-36.
begin as early as toddlerhood. Children also should
be encouraged to use appropriate vocabulary to de- > Campbell, P.S. & Scott-Kassner, C. (1995). M us i c in Child-
hood. F ro m Pre-School through Elementary Grades. N e w
scribe musical w o r k s a n d different p erfo rman ce s f r o m York: Schirmer Books.
a variety of m u s i c a l genres, t i m e p erio d s a n d cultures.
> Gault, B. M . (2016). Listen U p ! Fostering Musicianship
Information about the genre, type of music, the com- through Active Listening. N e w York: Oxford University Press.
p o s e r o r t h e c u l t u r e is s o m e t h i n g t h a t interests y o u n g
> Kerchner, J. (2010). Music across the Senses: Listening, learn-
learners.   ing and making meaning. N e w York: Oxford University Press.
> Young, S. & Glover, J. (1998). Music in the Early Years. Lon-
don: T h e Falmer Press.
36
> AGE DEVELOPMENT AND LISTENING
MUSIC LISTENING 0–36 MONTHS 3- AND 4-YEAR-OLDS 5- AND 6-YEAR-OLDS

SKILL AND CONTENT
Environmental Identify a n d m a t c h a s o u n d Identify a n d m a t c h a s o u n d Recognize the timbre of

sounds and musical with its s o u n d source. or a combination o f s o u n d s representative m u s i c a l
instruments’ timbre Re c o gn i z e the timbre o f with their s o u n d source. instruments f r o m e a c h
contrasting c l a s s r o o m Categorize sounds from the family.
percussion instruments. environment according to
their characteristics (duration,
pitch, timbre, and dynamics).
R eco g n i ze the timbre o f
selected musical instru-
ments from each family, such
as violin and double bass,
trumpet, a n d flute.
Audiation skills Imitate melodic a n d Imitate a n d d e c o d e s i m p l e Imitate and decode m o r e

rhythmic patterns (aural melodic and rhythmic complex melodic and rhyth-
perception). patterns (aural p e rc e pt i o n ) mic patterns (aural percep-
using voice, movement, tion) using voice, movement,
musical instruments, a n d musical instruments, and
graphic notation. graphic notation.
Free response to a Re s po n d freely to a musical R esp o n d freely to a musical Respond freely to a musical
musical piece without piece in a variety of w a y s piece in a variety of w a y s piece in a variety of ways
focusing o n specific (moving, dancing, playing (moving, dancing, playing (moving, dancing, play-
instruments). instruments, creating d ra w- ing instruments, drawing,
musical elements
ings, describing the music). describing the music, dra-
matizing the music, creating
a story about the music).
Response to a Recognize and respond to R e c o g n i z e a n d r e sp o n d Recognize and respond to

musical piece changes in music, especial- to characteristic m u s i - musical elements/concepts
focusing o n specific ly to contrasting musical cal elements in a musical in a musical piece through
elements in a musical piece piece through m o v e m e n t , m o v e m e n t , graphic repre-
musical elements
through movement and/or drawing, discussing and/or sentation, d i sc us si o n and/or
playing instruments. playing instruments/singing p l ay i n g instruments/singing
with the music. with the music.
Describing music and R e s p o n d emotionally to Talk about music listened Express feelings and views
expressing individual music b y facial expressions, to a n d describe verbally o n a n d preferences for
thoughts, emotions gestures, a n d willingness to images that m u s i c brings musical works.
participate i n the activities. about b y associating it with
and attitudes regarding
a story, character, etc. a n d
musical pieces
musical preferences.
Listening activity as I m a g i n e a n d describe the Identify those musical

stimulus for developing music about to be heard elements selected b y a com-
creative skills w h e n the title o f the piece poser to represent musically
is given. a non-musical stimulus (pro-
gram music) and use them to
create their o w n piece.
Listening perceptively Listen perceptively to a Listen perceptively to a Listen perceptively to a short

short musical piece f r o m a short musical piece f r o m musical piece from a wide
wide repertoire. a wide repertoire, w i t h or repertoire, with or without the
without the use of a listen- use of a listening m a p and be
ing map. able to answer questions
about the music.
Using musical Describe music as happy, Describe a musical piece Describe a musical piece or
vocabulary scary, or sad. with the use of simple compare two musical pieces
musical terms in regard to with the use of appropriate
dynamics, tempo, etc. musical vocabulary.

37
ACTIVITY FORMS > CREATIVE MUSICAL ACTIVITIES FOR YOUNG LEARNERS
CREATIVE MUSICAL ACTIVITIES

FOR YOUNG LEARNERS
Creativity as a concept has been popular in educational discussions for decades and has become
a significant aim of education.
Creativity is n o w established a s inherently present, a n d Quite a f e w definitions s u g g e s t that creativity involves

creative thinking is a v e r y significant aspect o f e v e r y - four different elements: the creative person, the creative
d a y life t h a t e n a b l e s c h i l d r e n a n d a d u l t s t o d e a l w i t h process, the creative environment, a n d the creative
p r o b l e m s o l v i n g a n d investigate possibilities ( C s i k s z - product (Taylor, 1988; Sternberg, 1988; Fryer, 1996).
entmihaly, 199 6 ; Economidou Stavrou and Nicolaou
Telemachou, 2013; Runco, 2 0 0 6 ; Burnard, 2012; Craft A creative p e r s o n is e x p e c t e d to b e flexible a n d i m a g -
a n d Jeffrey, 2 0 0 8 ) . C h i l d r e n a r e intrinsically creative, inative, ready to take risks a n d explore a variety of
a n d their c r e a t i v e o u t p u t is a g e n e r a t o r o f f r e s h i d e a s ideas and solutions to a problem and be able to m o v e
without a n y restraints (Barrett, 2 0 1 2 ; Runco, 20 0 6) b e t w e e n c o n v e r g e n t a n d d i v e rg e n t t h i n k i n g p r o c e s s -
w h i c h i n e v i t a b l y c o m e i n t o t h e p i c t u r e later o n w h e n es (Guildford, 1 9 6 7 ; Webster, 2 0 0 3 ) . T h e creative per-
t h e y g r o w u p . W h e n w e r ef er t o u s i n g c r e a t i v e activ- sons in the early childhood music context are the music
ities i n e a r l y c h i l d h o o d m u s i c c l a s s e s , w e m e a n a n y teacher, t h e children, and, for the parent-child classes,
a t t e m p t c h i l d r e n m a k e m u s i c i n a w a y t h a t it is n e w, the parents as well.
meaningful, and unique for them. Concerning y o u n g
learners, e d u c a t o r s c a n u s e creative m u s i c a l activities T h e creative process involves a chain of tactics a n d
to nurture their pupils’ creative skills in music as well as strategies that are followed w h e n m a k i n g decisions
creative thinking and problem-solving skills. that h e l p s o l v e a p r o b l e m (Folk e s tad , 1 9 9 6 ) . T h e m u -
sic teacher n e e d s to d e v e l o p these skills, starting f r o m
M u s i c educators w i t h little experience i n teaching m u - very simple tasks, such as exploring sounds, m o v e -
sic in the early years m a y h a v e difficulties understand- ments and materials, to m o r e complex ones, such as
i n g a n d i d e n t i f y i n g w h a t m u s i c a l c r e a t i v i t y is a t this structuring a c o m p o s i t i o n a n d n o ta tin g it w i t h g rap hic
point in children’s development and the ways children’s or e v e n s y m b o l i c notation that 6-year-olds c a n do.
creative potential can be fostered in early childhood
music settings. This b e c o m e s even harder w h e n one B o t h the cultural a n d classroom environment o f the
tries t o t h i n k o f b a b i e s a n d t o d d l e r s b e i n g c r e a t i v e i n child may enable or inhibit creativity. A “safe,” rich, and
music. stimulating environment in the music classroom w h i c h
offers a variety of musical and non-musical stimuli can
A c c o r d i n g t o M o h a m m e d ( 20 1 8 ) , v ery important prac- b e a great p l a c e for u n l e a s h i n g children’s creative p o -
tices t h a t m a y f o s t e r y o u n g e r c h i l d r e n ’s c r e a t i v e p o - tential. T h e m u s i c t e a c h e r ’s r o l e is t o e n a b l e m u s i c a l
tential a r e o ppo r t u n i tie s f o r q u e s t i o n i n g , c h a l l e n g i n g , environments w h i c h will stimulate children’s curiosity
seeing relationships, m a k i n g connections, exploring a n d invite t h e m to explore possibilities a n d share their
ideas, keeping options open, a n d exploring possibilities music with friends.
a s w e l l a s r e f l e c t i n g o n i d e a s a n d a c t i o n s (p . 3 3 – 3 4 ) .
In creativity literature the t e r m s ‘ c o n v e rg e n t ’ a n d ‘di- Finally, t h e f o u r t h c o m p o n e n t o f creativity is t h e cre-
vergent’ thinking are repeatedly discussed. C o n v e rg e nt ative product, which, in ideal situations, is the result
thinking l o o k s for the right answer/solution t o a q u e s - o f the creative p e r s o n f o l l o w i n g creative p r o c e s s e s i n
tion/ pr ob l e m / t a sk , w h e r e a s the d iv erg e n t thinking in- a creative e n v i r o n m e n t . A c c o r d i n g t o t h e literature, a
vites multiple possible solutions (Guilford, 1967). creative p r o d u c t s h o u l d b e n e w, u n i q u e , a n d v a l u a b l e
for those w h o create it (Mayer, 1999). Such an example
Creativity in m u s i c education is, in principle, inherent could b e a composition b y a grou p of four six-year-old
in every activity o f improvisation a n d composition, children, entitled “The Turtle”, after various activities in-
b u t it is n o t l i m i t e d to those: It c a n a l s o b e d e v e l o p e d volving Saint-Saëns’ Carnival of the Animals. However,
t h r o u g h c h i l d r e n ’s m o v i n g , r e s p o n d i n g t o a p i e c e o f the creative product coincides with the creative pro-
music through a variety o f w a y s , exploring s o u n d s a n d cess w h e n w e talk a b o u t i m p r o v i s a t i o n i n early child-
instruments, m a k i n g s p o n t a n e o u s vocalizations, i m - h o o d m u s i c settings. F o r example, it can b e considered
provising melodies or songs, creating graphic scores both process and product when babies vocalize with
for a musical p i e c e o r notating a musical composition, “baba” or “dada” o r w h e n a child is asked to improvise
listening to music, a n d so forth.   a r h y t h m i c pattern u si ng ta a n d ti-ti.
38
> SCENES S c e n e 5: 5-year-olds

The children listen to “In the Hall of the Mountain King”
Scene 1: Babies a n d early toddlers (0–18 months old) fro m the suite Peer G y n t a n d are asked to m o v e around
The toddlers are sitting in a circle on their parents’ laps, freely to the music. W h e n the piece is over, they all sit
a n d the m u s i c t e a c h e r p a s s e s o u t d r u m s . A lively m u - i n t h e circle, a n d t h e c h i l d r e n a r e a s k e d t o t a l k a b o u t
sic is h e a r d , a n d the c h i l d r e n - p a r e n t p a irs a r e e n c o u r- w h a t i m p r e s s e d t h e m m o s t i n t h e m u s i c . T h e y listen
aged to find w a y s to m a k e s o u n d s with the d ru m. After to t h e m u s i c o n c e m o r e , a n d t h e t e a c h e r a s k s t h e m t o
e x p e r i m e n t a t i o n , t h e teacher p i c k s u p their ideas, a n d s h a r e their ideas as to w h a t c o u l d pos si bly b e h a p p e n -
they all try t h e m o u t together. ing. T h e teacher t h e n g i v e s t h e m a p i e c e o f p a p e r a n d
colour pencils a n d asks t h e m to think about h o w the
Scene 2: Toddlers (18–36 months old) music changes in the piece a n d try to s h o w this change
W i t h t h e i r p a r e n t s , t h e t o d d l e r s s i t i n a circle. I n t h e o n paper.
middle of the circle, there are a xylophone and two mal-
lets. The class is singing the song, “Play the Xylophone.” S c e n e 6: 6-year-olds
What a blast, what a joy: singing, dancing all along. Tw o contrasting pictures are s h o w n to the children:
It’s your turn; it’s your time; play the xylophone! o n e of a very b u s y city a n d another of a picturesque
B e t w e e n e v e r y repetition, a different child g o e s in the landscape in the countryside. T h e children are asked to
centre w i t h his/her parent a n d improvises his/her piece di sc u ss w h a t s o u n d s a r e associated w i t h e a c h picture.
o n the xyl oph o n e , either alone o r w i t h the parent. T h e y share their ideas, a n d the teacher asks t h e m to
w o r k in groups of five, in w h i c h they select o n e picture
S c e n e 3: 3-year-olds and us e a n y s o u n d source, instruments, their bodies, or
T h e c h i l d r e n a r e e a c h g i v e n a p i e c e o f p a p e r, a n d t h e vo ic es t o create t h e s o u n d s c a p e o f o n e o f the t w o pic-
music teacher asks them to s h o w ways in which they tures. T h e students b e g i n to explore the s o u n d s o u r c e s
can m a k e different s o u n d s with the paper. Children are available to m a k e their selection and proceed with their
asked to share their s o u n d w i t h the g r o u p a n d describe composi tions.
it. T h e other children try to think of sounds fro m every-
d a y life that the p a p e r s o u n d r e m i n d s t h e m of.
S c e n e 4: 4-year-olds
T h e teacher m a k e s musical dialogues w i t h children us-
ing the neutral s y l l a b l e “la” (instead o f the n o t e s “sol,
m i , la”) i n t h e m e l o d i e s . A t t h e b e g i n n i n g , t h e t e a c h -
er s i n g s a m e l o d i c p a tt er n , w h i c h t h e c h i l d r e n re p ea t.
After echoing several melodic patterns introduced b y
the teacher, the children, o n e b y one, take the teacher ’s
role a n d s i n g their o w n m u s i c a l p atte rn s , a n d t h e rest
of the class echoes.  
39
> ENCOURAGING CREATIVITY IN MUSIC SETTINGS: bilities are endless. Moreover, the music teacher’s creativity
CREATIVE MUSICAL ACTIVITIES AND CONTENT alone can open multiple pathways for musical creativity
in early childhood to be explored and experienced.
There has been an increasing n u m b e r of music prac-
tices leading t o creative m u s i c a l activities in the early
years, starting f r o m w h a t the children themselves bring > PEDAGOGICAL REFLECTIONS
w i t h t h e m i n t h e m u s i c s e t t i n g t o t h e t e a c h e r ’s u s e o f
a variety of stimuli, p r o p s a n d activities. Wi t h creative > A s m u s i c teachers, w e s h o u l d a c k n o w l e d g e t h e
activities, w e aim to develop children’s creative skills in “rich reservoir o f m u s i c experience a n d und e r sta nd ing
m u s i c , offe ri ng t h e m a variety o f possibilities a n d e x - that children b r i n g to their s c h o o l i n g ” (Barrett, 2 0 1 2 ) .
periences, focusing o n imagination, exploration, impro- A c c o r d i n g l y, w e c o u l d initially e n c o u r a g e children t o
visation, a n d composition. Improvisation is the sponta- bring their o w n experiences i n the music classroom.
neous creation of m u s i c w h e r e a s composition involves After w e ob s er ve w h a t they bring f r o m h o m e , w e
t h e c r e a t i o n o f m u s i c t h a t c a n b e r e v i s e d u n t i l it g e t s can then gradually create an environment that allows
its final f or m , often notated. I n the d i a g r a m b e l o w, the children to guide their o w n musical explorations. W h e n
t y p e s a n d c o n t e n t o f m u s i c a l creativity i n early child- children feel comfortable, w e m o v e to child-teacher
h o o d are captured, s u m m a r i z i n g the possibilities o f or- musical dialogues (vocal, instrumental, and through
ganized activities for children: (Graphic).   movement).
We could e n g a g e > Creativity does

children in activities Possibilities o f organized activities for children n o t j u s t h a p p e n . It
in which they explore requires planning,
and manipulate ma- op po rtun itie s, e x p e -
terials a n d sounds riences a n d kno wl -
(Scene 1, 2 and 3) or E x p lor e edge. I n the long run,
improvise or compose sounds, voice, w e want to m a k e a
rhythmic o r melodic   and materials  musical “repository,”
patterns drawing from Imp rovise of repertoire, musical
Im p rovise and compose
a repository o f m e - concepts, a n d skills,
or compose rhytmic and
lodic p a t t e r ns ( S c e n e m u s ic al w i t h w h i c h children
melodic
4). We c o u l d foster pieces patterns will recall, manipu-
children’s creativity late, org an ize, d e v e l -
t h r o u g h t h e activity MUSICAL op , a n d e x p a n d ideas
of listening by invit- CREATIVITY to create something
ing them to respond n e w for them.
Add Imp rovise
to m u s i c t h r o u g h a movements
variety of w a y s like s o u n d effects
or create > Teachers should
to stories,
moving, drawing, o r p ictures, choreography o p e n u p their h o r i -
talking about the m u - poems  to m u s i c   zons on what com-
sic (Kerchner, 2013) posing might mean.
Respond to
(Scene 5). A n o t h e r music through “Composing takes
great w a y to engage a variety o f pl ac e w h e n e v e r a
children in creative w a ys   person devises a
musical activities is piece of music …. It
to have t h e m create m a y use the resourc-
sound effects or com- es of a full s y m p h o n y
pose melodies with a orchestra or three
character, a n animal,   chime bars” (Mills, p.
a n e m o t i o n , a picture, a p o e m o r a s t o r y a s a s t i m u l u s 23). So, yes, y o u n g children can b e composers.
(Scene 6).
> Opportunities should b e given to babies, toddlers,
The range varies according to the age of the children, the a n d pre-school children to be e n g a g e d in activities
available equipment, a n d the g iv e n options. A creative that will stimulate their musical creativity a n d creative
activity can be organized around several starting points, t h i n k i n g . F o r a y o u n g child, e x p l o r a t i o n w i t h s o u n d s
such as musical concepts (i.e., structure-form, dynamics, a n d materials, vo c al dialogues, m o v e m e n t , w i t h o r
tempo, timbres, melody, rhythm) or various stimuli (i.e., without props, finding n e w w a y s to play musical instru-
an emotion, an animal, a picture, a musical piece, sounds m e n t s , a n d s o o n a r e t h e firs t s t e p s a n d e x p e r i e n c e s
from different environments or sources, etc.) The possi-   with creative musical activities.

40
> In early ye a r s, especially y o u n g e r children are m o s t already k n o w, v i e w things f r o m a different angle, a n d

o f t e n e n g a g e d i n s p o n t a n e o u s i m p r o v i s a t i o n a l activi- fin d n e w patterns, n o t a l w a y s r e p e a t i n g o l d on es . It is
ties. C h i l d r e n i m p r o v i s e m e l o d i e s , lyrics, m o v e m e n t s quite c h a l l e n g i n g f o r the m u s i c t e a c h e r to p r o v i d e t h e
a n d e x p l o r e s o u n d s a n d possibilities w h i l e p l a y i n g . It o p t i m u m balance between structure a n d freedom of
is c o m p l e t e l y n a t u r a l f o r t h e m t o b e e n g a g e d i n i m - expression in musical creativity activities. B u t challeng-
provisational m u s i c a l activities. E n g a g e m e n t s i n m o r e es are … rewarding!
planne d creative p r o c ess e s that fall u n d e r the category
of “composing” usually take place around the age of > T h e teachers as professionals, w i t h their o w n person-
4–6 years, w h e n children c a n reflect o n their first ideas, alities a n d particular teaching philosophies, d e t e r m i n e
investigate possibilities a n d combinations, e x p a n d a n d to a great extent the level o f creativity that takes pl ac e
change their ideas, a n d e n d u p with a final version. in the m u s i c lesson: in other w o r d s , t h e fostered o r in-
hi bite d creativity. I t is i m p o r t a n t t h a t t h e t e a c h e r s a c t
> Improvisation activities c a n b e organized w i t h voice, a s co-participants a n d facilitators a n d n o t o b s e r v e t h e
b o d y, a n y material that m a k e s s o u n d s , m u s i c a l instru- creative activity f r o m a distance.
m e n t s , p r o p s , colours. H a v i n g t o d r a w w i t h o n e or, in
a n o t h e r c a s e , w i t h f i v e d iffe re n t c o l o u r p e n c i l s is n o t > Cr ea ti ve activities m a y take p la c e alone o r w i t h
m u c h different f r o m h av in g to c o m p o s e a musical others. B oth w a y s are valuable!
piece with o n e instrument o r c o m b i n i n g all five differ-
ent timbres i n a composition. T h e offer o f a variety o f > Creative activities build confidence, are fun, a n d
instruments o r timbres o p e n s u p possibilities. help children use acquired k n o w l e d g e a n d skills in
n e w contexts. M o r e o v e r, w h e n t h e y are collaborative,
> Wi s e q u e s t i o n s s h o u l d b e a s k e d ! Te a c h i n g m u s i c a l creative activities foster the d e v e l o p m e n t of social
creativity encourages t h e d e v e l o p m e n t o f divergent skills, peer interaction, a n d collaborative learning.
thinking and problem-solving skills. This requires o p en
questions, like “ W h a t if?”, “ W h a t else?”, “ H o w c o u l d > Creative activities n e ed time!
we?”, “ W h i c h d o y o u prefer?”, “ W h y ? ” This is our op-
portunity to nurture thinking outside o f the b o x (Craft, > A safe environment should b e created b y the
2002; Craft et al, 2008). t e a c h e r, i n w h i c h t a k i n g r i s k s a n d e x p e r i m e n t i n g a r e
encouraged and supported.
> Children should b e encouraged to reflect o n their im-
provisations and compositions, think of w h a t w e n t well > Guidelines should b e given to children with sim-
a n d w h a t they w o u l d h a v e c h a n g e d if they h a d h a d the pl e w o r d s or, e v e n better, t h r o u g h m u s i c a l e x a m p l e s !
chance. They should also be offered the possibility to talk T h e o n l y activities t h a t d o n o t r e q u i r e g u i d e l i n e s a r e
about their work, even revise it if that will benefit them. those that deal with exploration a n d free improvisation.
O t h e r w i s e , to h e l p children b e c o m e creative, w e n e e d
> C h i l d r e n l o v e b e i n g e n g a g e d i n c r e a t i v e activities, to g i v e a c o n t e x t t o w o r k i n a n d n o t let t h e m b e total-
a n d t h e s o o n e r t h e y start, t h e b ette r. Yo u n g c h i l d r e n ly free, a s total f r e e d o m c a n n o t h e l p t h e m g e t s t a r t e d
are m o r e spontaneous than primary- a n d second- a n d organized.
ary-school children: T h e y dare to b e creative, a n d they
are not inhibited b y peer-pressure that c o m e s w h e n > Positive f e e d b a c k a n d s u g g e s t i o n s o n creative w o r k
later gr owi n g up. presented b y children are valuable. T h e s e can b e given
b y the teacher a n d / o r o t h e r children.
> T h e creative process sometimes sounds m o r e like
noise than music, especially if all children play together. > It is r e c o m m e n d e d to r e c o r d or v i d e o t a p e ( w i t h
In these cases, patience is r e c o m m e n d e d to allow s u c h parents’ permission) children’s creative w o r k a n d k eep
c a c o p h o n y – as long a s it d o e s n o t g o b e y o n d limits. t h e m for reference. This is valuable material for reflec-
tion b o t h b y t h e c h i l d r e n t h e m s e l v e s o n their w o r k a s
> Fundamental to the creative environment is the well as b y the music teacher.
e n c o u r a g e m e n t o f children’s p lay. P l a y is strongly
featured in m a n y o f the discussions a b o u t creativity in
young children, and, indeed, children and adults are often
e n c o u r a g e d t o e n g a g e in p l ay fu l t h o u g h t p r o c e s s e s i n
order to facilitate creative thinking (Sharp, 2001).
> We d o n o t include “creative activities” in the m u s i c

l e s s o n just f o r t h e s a k e o f h a v i n g a “ c r e a t i v e m u s i c a l
activity” in the lesson. We should take the activity a
s t e p fu rt he r, c h a l l e n g i n g c h i l d r e n t o m o v e a s t e p
forward f r o m their initial ideas, to synthesize w h a t they  
41
> AGE DEVELOPMENT AND MUSICAL CREATIVITY
*For children aged 0 – 3 6 months, the adult’s role is to step in and, in the form of a dialogue, interact with the child by
following the child’s ideas or b y initiating ideas him/herself.
MUSICAL CREATIVITY: 0–36 MONTHS 3- AND 4-YEAR-OLDS 5- AND 6-YEAR-OLDS

SKILLS AND CONTENT
Material and sound Explore a n d discover m a - Explore, discover, and Explore, discover, select,
exploration terials a n d s o u n d s through c o m p a r e materials a n d a n d organise alternative
a variety of offered s o u n d s o u n d s through a variety w a y s to p r o d u c e s o u n d
sources. of s o u n d sources. through a variety of s o u n d
sources.
Musical instrument and Explore possible w a y s to Explore alternative w a y s Explore, discover, and
voice exploration a n d produce sound with to p r o d u c e s o u n d w i t h combine various s o u n d s
b o d y percussion voice, body, and musical voice, body, and musical with voice, body, and
instruments. instruments. musical instruments.
Rhythmic improvisation Improvise simple rhythms Improvise simple rhythmic Improvise rhythms in a
an d composition with b o d y percussion patterns c o m b i n i n g crotch- variety o f meters us ing a
or classroom rhythmic ets a n d quavers. variety of rhythmic values.
percussion. C o m p o s e a n d no t a t e
r h y t hm i c patterns u s i n g
crotchets a n d q u av e rs .
Response to a musical R e s p o n d to a musical piece R e s p o n d to a musical piece Respond to a musical

p i ece through m o v e m e n t a n d role through m o v e m e n t , d r a w- piece through improvised
play. ing, role play, and words. movement, choreography,
drawing, role play, scenarios,
graphic scores, and words.
Vocal improvisation Improvise freely with Improvise melodies freely Improvise melodies using
sounds and syllables. with individual voices using n o t e s o f the p e n t a t o n i c
Improvise with voices s o m e or all notes of the scale, minor or major scales
individually t w o or three pentatonic C scale in simple in a variety of meters a n d
tone melodies. Improvise meters. Improvise freely tonalities. Improvise lyrics
individual songs. individual songs. individually to a known
melody. Improvise freely
individual songs.
S o u n d organization- Explore s o u n d s a n d con- A d d s o u n d effects t o C r eat e s o u n d s a n d org a-

composition nect t h e m w i t h possible stories, pictures, p oe m s, nize t h e m in a composition
s o u n d sources, emotions, paintings, etc. using a variety of musical
and character in a story. instruments b a s e d o n a
musical piece, an emotion,
a painting, a p o e m , a
picture, a story, etc.
Melody improvisation Improvise freely melodies Improvise simple melodies I m p r o vi s e and/or c o m p o s e
an d composition o n tuned percussion instru- o n tuned p er cu s si o n simple melodies o n tuned
ments. instruments following s o m e percussion instruments or
guidelines. other instruments, following
guidelines.
N o t a t e d compositions Notate compositions u s i n g Invent w a y s of notating

graphic scores o r simple individual compositions
combinations of s o u n d s o r using graphic and simple
rhythmic values. symbolic notation.

42
> Kerchner, J. (2010). Music across the senses: listening, learn-

> LITERATURE  
ing, and making meaning. N e w York: Oxford University Press.
> Burnard, P. (2012). Musical Creativities in Practice. Oxford: > Mayer, R. E. (1999). Fifty years of creativity research. In R. J.
Oxford University Press. Sternberg (Ed.), H a n d b o o k of Creativity (pp. 449-460). C a m -
bridge, U K : Cambridge University Press.
> Barrett, M . (2012). Preparing the m i n d for musical creativi-
ty: Early m u s i c learning a n d e n g a g e m e n t , i n O . O d e n a (Ed.), > Mills, J. (2009). Music in the Primary school (3rd ed). Oxford:
Musical creativity: Insights from music education research Oxford University Press.
(pp. 51-71). Surrey: Ashgate.
> M o h a m m e d , R . (2018). Creative learning in the early years:
> Craft, A . (2002). Creativity an d Early Years Education. Lon- N u r t u r i n g the characteristics o f creativity. N e w Yo r k : R o u t -
don: Continuum. ledge.
> Craft, A . & Jeffrey, R . (2008). Creativity a n d performativity > Runco, M . A. (2006). The development of children’s creativ-
in teaching and learning. British Educational Research Journal, ity. In B. Spodek & O. N. Saracho (Eds.), Handbook of research
34 (5), 577-584. on the education of young children (pp. 121-134). Mahwah, NJ:
Lawrence Erlbaum Associates.
> Craft, A., Cremin, T. & Burnard, P. (2008). Creative learning
3-11 and how we document it. Stoke-on-Trent: Trentham Books. > Sharp, C. (2001). Developing Young Children’s Creativity
through the Arts: W h a t D o e s Research H a v e to Offer? N F E R .
> Csikszentmihalyi, M . (1996). Creativity: F l o w a n d the Psy- h ttps://www.nfer.ac.uk/publications/44420/44420.pdf
chology of Discovery and Invention. N e w York: HarperCollins.
> Sternberg, R . J. (Ed.). (1988). T h e nature of creativity: C o n -
> Economidou Stavrou, N . & Nicolaou Telemachou, N . (2013). temporary psychological perspectives. Cambridge: C a m -
Nurturing Children’s Creative Skills a n d Musical Creativity in bridge University Press.
Primary School. In Malmberg I. & De Vugt, A. (Eds.), European
Perspectives in Music Education 2, Artistry (pp. 119-136). Inns- > Taylor, C . W. (1988). Various approaches to and definitions
bruck: Helbling Publications. of creativity. In R. J. Sternberg (Ed.), T h e nature of creativity:
C on t e mp o ra ry psychological perspectives ( pp . 99-121). C a m -
> Folkestad, G . (1996). Co mpu t e r Based Creative Music M a k - bridge: Cambridge University Press.
ing: Yo u n g People’s M u s i c in the Digital A g e . Göteborg: A c t a
Universitatis Gothoburgensis. > We b s t e r, P. ( 2 0 0 3 ) . W h a t d o y o u m e a n , ‘ M a k e m y m u s i c
different?’ E n c o u r a g i n g r ev i s i o n a n d e x t e n s i o n in children’s
> Fryer, M . (1996). Creative Teaching a n d Learning. London: music composition. I n M H i c k e y (Ed.), W h y a n d h o w to teach
Paul C h a p m a n Publishing. m u s i c c o m p o s i t i o n : A n e w h o r i z o n for m u s i c e d u c a t i o n ( p p .
> Guilford, J. (1967). T h e n at ure of h u m a n intelligence. N e w 55-65). MENC, Reston, VA: R & L Education.
York: McGraw-Hill. 
43
ACTIVITY FORMS > CONCERTS FOR AND WITH CHILDREN
ULLA PIISPANEN
CONCERTS FOR AND WITH

CHILDREN
Performances and concerts as part of the curriculum of music schools can be refreshing and play an important role
in early childhood music education.
In concerts w i t h children a s per- In music schools, children c a n

formers, the teacher can praise There are two kinds of concerts for p e r f o r m in the concerts b y sing-
a n d s h o w o ff w h a t t h e c h i l d r e n small children: ing, p l a y i n g , a n d d a n c i n g . I n
have learned in the lessons. C o n - addition to the children’s par-
1. C o n c e r t s i n w h i c h c h i l d r e n a r e t h e
certs are the top m o m e n t s of ticipation, t e a c h e r s o r p r o f e s -
performers.
the year and give parents and sional musicians m a y accom-
grandparents the opportunity 2. C o n c e r t s i n w h i c h c h i l d r e n a r e t h e pany some of the concerts and
to s e e a n d a d m i r e the children’s listeners.   p e r f o r m ances.
growth and development.
In concerts in w h i c h children are
T h e s e c o n d t y p e o f child-appro-   the performers, teachers have
priate concerts is that in w h i c h children a n d their f a m - to begin preparing the performance early enough s o
ilies m a k e u p t h e a u d i e n c e . T h e s e c o n c e r t s g i v e chil- that all the children k n o w w h a t they are expected to d o
d r e n a n d their f a m i li es a n o p p o r t u n i t y t o e n j o y m u s i c o n the stage. T h e y s h o u l d feel c o m f o r t a b l e d u r i n g the
a n d get to k n o w instruments that the children m i g h t b e performance. It might b e helpful if the concert includes
interested in playing later. a story c o m b i n i n g m u s i c a n d p e r f o r m a n c e s . T h u s , the
children feel as though they are “inside a fairy-tale” with
O n e possible m o d e l for m u s i c schools is that at the their roles a n d costumes. This might also help children
e n d of each semester, there is o n e concert in w h i c h the relax and not have stage-freight.
c h i l d r e n p e r f o r m , a n d at s o m e p o in t, t h e r e is a n o t h e r
concert in w h i c h the children m a k e u p the audience o r
even participate in the pe rf o rm an ce interactively. > CONCERTS WITH CHILDREN AS LISTENERS
There are m a n y possible w a y s to arrange concerts in

> CONCERTS WITH CHILDREN AS PERFORMERS which children are the audience. W h e n children are just
e x p e c t e d t o listen, it is i m p o r t a n t t o a r r a n g e c o n c e r t s
O n e of the aims of early childhood music education in a w a y that t h e children’s f o c u s s t a y s o n t h e per for-
is that c h i l d r e n h a v e the e x p e r i e n c e o f m a k i n g m u s i c , mance. S o m e of the concerts m a y include dance, excit-
p r e p a r i n g t h e p e r f o r m a n c e s t o g e t h e r w i t h o t h e r chil- ing stories, o r all different k i n d s of artistic elements. It
d r e n , a n d f e e l i n g t h e j o y o f s u c c e s s . R e w a r d i n g p e r- is g o o d to h a v e at least o n e p e r s o n w h o s p e a k s t o t h e
formances encourage young performers and provide c h i l d r e n ( m o d e r a t o r ) a s t h e c h i l d r e n b e n e f i t f r o m di -
them with lifelong skills.   rect c o n t a c t w i t h o n e o f the p e o p l e i n v o l v e d o n stage.
S o m e of the performances can be even seen as small
musicals.
44
If t h e c h i l d r e n a r e i n t h e In m y experience, for
audience, and they are T h e following questions are important: t h e 0 - 3 - y e a r- o l d s , t h e
not performing them- m a x i m u m length o f the
s e l v e s , it w o u l d b e g o o d > W h a t is the timetable o f the project, including concerts is a r o u n d 3 0
to prepare t h e m for the rehearsal times? minutes. A s the children
concerts b y teaching g e t o l d e r, t h e y a r e a b l e
s o m e of the songs be- > H o w m a n y h o u r s a r e n e e d e d fo r p l a n n i n g a n d t o c o n c e n t r a t e a n d lis-
forehand. T h e m o r e the executing the concert? ten for longer periods of
teacher prepares the time. C hil dre n o ld er than
children beforehand, the > W h a t are the pedagogical aims and goals of 3 years are usually able to
m o r e children c a n benefit t h e p ro je c t? listen f or a r o u n d 4 5 m i n -
f r o m the concert. utes. T h e length o f the
> W h a t k i n d o f c o n c e r t w i l l it b e ? F o r e x a m p l e , c o n c e r t is n o t t h e o n l y
In interactive concerts, is it a listening o r a n interactive concert? A r e the factor, however, w h e n
the children m a y use c h i l d r e n t h e p e r f o r m e r s ? Wi l l t h e p e r f o r m a n c e considering children’s at-
their voices o r b o d ie s include d an ce , a story w i t h dialogues, visual ele- tention spans. T h e right
w h e n participating i n the ments, and so on? duration of the concert
concert. Wi t h the h e l p o f d o e s n ´ t h e l p if the c o n -
the interactive concerts, > A r e there professional m u s i c i a n s and/or teach- cert is n o t interesting f o r
children can learn various ers w h o are g o i n g t o participate in the c o n c e r t ? the child or suitable for
rhythms, melodies, and his o r h e r d e v e l o p m e n t
musical movements. In > W h o is expected to participate in the project, and s t age.
this w a y, children can ac- what are the participants’ roles in the project?
quire m a n y other useful O n e of the key elements
skills and knowledge. > W h o is g o i n g t o b e a p r o d u c e r / l e a d e r o f t h e in inspiring concerts - be-
g r o u p a n d take overall c h a rg e o f the project? s i d e t h e r i g h t l e n g t h - is
I n t h e listening c o n c e r t s , an interesting structure
teachers can also intro- > W h o is g oi n g to b e a n artistic supervisor? a n d the set-up o f the per-
duce a n d arouse interest formance (story, visual
f o r d i ff e r e n t k i n d s o f in- > W h o is m a k i n g the a r r a n g e m e n t s a n d no te s ? aspects, a n d m o v e m e n t s
struments that children as well as highlights and
m a y later take up. > W h o is g o i n g to d o the c h o r e o g r a p h y ? surprises).
B e s i d e s p r o v i d i n g learn- > W h o is g o i n g to take care o f the instruments? It is i m p o r t a n t t o g i v e

i n g a n d aesthetic e x p e r i - clear instructions for the
ences, these concerts c a n > W h o is g o i n g to t a k e c a r e o f c o s t u m e s , acces- fa mil ie s c o n c e r n i n g h o w
just give pleasure a n d sories and the set? they are expected to
m o m e n t s o f relaxation prepare a nd act in the
for the whole family. > W h o is g o i n g to take care o f the lights, s o u n d , c o n c e r t : F o r e x a m p l e , it
a n d o t h e r technical m a t t e r s ?   is b e t t e r t o t a k e a c r y i n g
child o u t s i d e s o that ot h-
> PLANNING   er children d o not begin
crying as well. ( O n c e the
O n e o f the m o s t i m p o r t a n t q u e s t i o n s w h e n p l a n n i n g a child h a s s t o p p e d crying, b o t h parent a n d child s h o u l d
concert for a n d w i t h children h a s to d o w i t h the length definitely return to the hall).
o f t h e c o n c e r t . It is a l w a y s g o o d if a f t e r t h e c o n c e r t ,
the children h a v e a feeling that “the concert e n d e d too T h e concert venues should b e suitable a n d safe for
soon.” T h e aim is that all children will wait for the next children. P o s s i b l e d a n g e r s a r e s t e e p steps, lights w i t h
concert impatiently because the former concert was a s t a n d s , electric cables, a n d b i g e l e m e n t s that m a y fall
positive a n d inspiring experience.   d o w n.
It is g o o d to start p la nni ng the concert in collaboration

w i t h all teachers w e l l a h e a d o f t i m e a n d to m a k e s u r e
that all teachers h a v e a feeling of responsibility f o r the
project.

45
Collaboration With the Tampere Philharmonic Orchestra.
(Picture: Tampere Philharmonic Orchestra)
> COLLABORATION l a n g u a g e a s w e l l a s na tio n al children’s p o e t r y a n d lit-

erature. Typically, collaborative p ro g ra ms feature clas-
T h e r e a r e m a n y f o r m s o f collaboration b e t w e e n early sical m u s i c a n d n e w pieces c o m p o s e d especially for
childhood music educators a n d orchestras. T h e basic c h i l d r e n . B u t if t h e s e p r o g r a m s a r e b a s e d o n a s o u n d
idea is to create a w i n - w i n situation that benefits b o t h p e d a g o g i c a l c o n c e p t (i.e., w i t h child-appropriate
m u s i c s c h o o l s a n d orchestras. moderation or audience participation), they can also
include pieces that are not only interesting to y o u n g
Fortunately, there are m a n y examples o f g o o d collabo- a u d i e n c e s . If a n or ch e st ra d e c i d e s t o c o m m i s s i o n a n d
ration m o d e l s , s u c h as live concerts for u n b o r n b a b i e s o rg a n i z e a n e w c h i l d r e n c o n c e r t o r m u s i c a l , it is w i s e
and “godchildren´s concerts” in which orchestras invite to i n c l u d e a n d c o - o p e r a t e w i t h early c h i l d h o o d m u s i c
all g o d p a r e n t s w i t h their g o d c h i l d r e n t o their concerts education teachers a s they h a v e the best k n o w l e d g e o f
for many, following years. the child’s d e v e l o p m e n t state a n d h o w to plan interest-
ing a n d pedagogical concerts for small children.
S y m p h o n y o r c h e s t r a s a r o u n d t h e w o r l d w a n t to culti-
vate future audiences b y offering concerts for children. In general, children are the best possible audience as
Thus, children’s concerts not only create n e w audienc- t h e y g i v e t h e i r f e e d b a c k d i r e c t l y a n d h o n e s t l y. T h e
es, but they also educate y o u n g listeners in m a n y ways. quality is of u p m o s t importance w h e n w o r k i n g with
y o u n g children, a n d this is a challenge also for orches-
Yo u n g c h i l d r e n d o n o t d i ff eren tiate b e t w e e n m u s i c a l tras. A s Zoltan Kodaly once said, “Only the best is good
g e n r e s . F o r this r e a s o n , o rg a n i z e r s c a n start w i t h a n y enough for a child!”
k i n d o f m u s i c a s l o n g a s it is s u i t a b l e f o r y o u n g chil-
dren’s de ve l op m e n ta l stage. It is important to familiar-
ize c h i l d r e n w i t h t h e classics l i k e P e t e r a n d t h e Wo l f
and The Carnival of the Animals, but it is also important
to c o m m i s s i o n n e w children’s m u s i c f r o m c o m p o s e r s
and to keep children’s music traditions vital. W h e n m u -
sicians w o r k w i t h writers, t h e y also s u p p o r t their o w n  
46
ACTIVITY FORMS > PEDAGOGICAL PRINCIPLES
MICHAEL DARTSCH
PEDAGOGICAL PRINCIPLES
As early childhood music education is a pedagogical domain, it is appropriate to consider pedagogical principles
which are discussed in educational science and in pedagogical professional discourse. On the one hand, they could
be essential for ethical reasons. Moral foundations of living together in society should also shape pedagogy.
O n t h e o t h e r h a n d , t h o s e p rin cip les c o u l d a l s o b e i m - It g o e s w i t h o u t s a y i n g that all this s h o u l d a l s o b e val-

p o r t a n t f o r m a k i n g l e a r n i n g p o s s i b l e a n d e ff e c t i v e l y id f o r t e a c h i n g . T h e c l a s s r o o m s h o u l d h a v e p l e n t y o f
facilitating it. I n the r ec e nt past, learning re s e a rc h a n d materials and instruments as well as space to dance,
scientific t h e o r y h a v e c o n t i n u o u s l y d e v e l o p e d a n d rest, p l a y, a n d e x p l o r e . M o r e o v e r, t h e t e a c h e r s h o u l d
opened u p n e w perspectives o n learning. Learning is a p p r o a c h t h e children a n d their caregivers w i t h affec-
n o longer seen as something that could and should tion, e m p a t h y, a n d a g e n u i n e interest i n their d e v e l o p -
b e c o m p l e t e l y c o n t r o l l e d a n d o rg a n i s e d f r o m the o u t- ment. T h e attitude of the teacher a n d the e m b e d d i n g
side. This understanding requires a n e w orientation f or of learning in concrete teaching situations are essential
teaching. In the following, therefore, relevant guidelines c o m p o n e n t s o f t h e learning e n v i r o n m e n t . T h e qual i ty
will be examined. o f t h e l e a r n i n g e n v i r o n m e n t is i n f l u e n c e d a l s o b y t h e
following perspectives a n d principles.
> HIGH-QUALITY LEARNING ENVIRONMENTS

> SITUATED AND EMBODIED LEARNING
Learning d e p e n d s crucially o n the environments in
w h i c h you n g children live. T h e y should thus b e of K n o w l e d g e a n d skills are often regarded a s abstract
h i g h quality i n t e r m s o f o p p o rtu n itie s a n d s t i m u l a t i o n characteristics of a person. But o n closer inspection,
f o r l e a r n i n g ( B r a n s f o rd , Vy e & B a t e m a n 2 0 0 2 ) . T h e they cannot b e detached f r o m the situations a n d con-
most important environ- texts in which they are
m e n t s a r e certainly the acquired ( Brow n, Collins
children’s h o m e s their & D u g u i d 198 9 ) . W h a t
families. F r o m this per- students learn at school
s p e c t i v e , it is i n v a l u a b l e in particular lessons,
for m u s i c e d u c a t o r s t o fa r a w a y f r o m e v e r y d a y
w o r k with children a n d life, m a y n o t b e o b v i o u s
their p a r e n t s o r c a r e g i v - or available in practical
ers at the s a m e time. In situations o r m i g h t n o t
t h i s w a y, t h e y c a n h e l p be transferable to prob-
the adult family m e m - lems of personal life. If
bers create a musically w e want young children
inspiring environment to experience music
that they c a n also enjoy and express themselves
themselves. Such an en- musically at h o m e in a
v i r o n m e n t is character- relaxed, familial atmo-
ised by the families’ sing- sphere, w e should make
ing, dancing, listening t o this possible in the class-
music as well as by the ro om. S o , the impression
pres e nc e of a w i d e r an ge that s o m e t h i n g h a s to b e
of songs and pieces, learned and mastered
d i ff e r e n t m a t e r i a l s a n d should not be prevalent
instruments, and enough space to move. But besides in t h e l e s s o n s . I n s t e a d , t h e j o y o f m u s i c a l e x p e r i e n c e
that, t h e attitude p a re n t s h a v e t o w a r d s t h e s o u n d s a n d a n d self- expression s h o u l d characterise o u r activities.
m o v e m e n t s o f children a n d m u s i c in g en era l is also of Wi t h this in mind, w e should understand o u r lessons a s
partic u la r i m p o r t a n c e . T h e m o r e t h e y a p p r e c i a t e a n d offers w h i c h the children c a n handle according t o their
are interested in m u s i c a n d musical activities t h e m - o w n preferences.
selves, the m o r e the child c a n d e v e l o p his/her m u s i c a l
curiosity, aptitudes a n d achievements. Finally, the con-
crete activities within the family are also vital elements
of the learning environment.  

47
T h e a s s u m p t i o n that p e o p l e b a s i c a l l y l e a r n i n certain > PROMOTING DIFFERENT WAYS OF COGNITION

situations fo r similar situations calls traditional f o r m s AND INTERDISCIPLINARITY
of teaching into q u e st io n especially w h e n these f o r m s
of teaching are particularly r e m o t e f r o m real life. F r o m W h e n c h i l d r e n think, t h e y d o n o t n ec e s s a rily t h i n k i n
this p e r s p e c t i v e , l e a r n i n g s i t u a t i o n s s h o u l d b e m e a n - words. A s w o r d s are s y m b o l s for realities, on e can also
ingful in themselves as are the cultural activities, w h i c h imagine sensory impressions. Yo u n g children m a k e
are the a i m of the lessons. It is N o t only are k n o wl edg e contact with the environment through their actions.
and skills learned b u t also attitudes, norms, values, and T h e experiences result in imaginations of s u c h actions.
s o c i a l s t r u c t u r e s t h a t l e a d t h e p e o p l e i n t h e activities T h e psychologist J e r o m e B r u n e r calls these “enac-
(Lave 2004). So, w h e n the teacher sings, plays, and tive r e p r e s e n t a t i o n s . ” H a n d l i n g a d r u m is a n i m p o r t -
dance s w i t h the g r ou p, s h e or h e s h o u l d d o it w i t h per- a n t b a s i s f o r s u c h i m a g i n a t i o n s o f this i n s t r u m e n t , it
sonal expression and for her or his pleasure, too. In this but can also lead to an enactive representation of a
w a y, the specific attitude of m a k i n g music, o f express- certain r h y t h m : for e x a m p l e , t h e d otte d ga llo p r h y t h m
ing oneself through music can be experienced by the with t w o hands or a certain sound, produced b y tap-
parents a n d the children. p i n g w i t h t h e fin ge rs . A n o t h e r t y p e o f i m a g i n a t i o n is
called “iconic representation,” i n w h i c h o n e h a s a pic-
This experience h a s also a bodily side. Musical expres- ture in m i n d . R e g a r d i n g the g allop r h y t h m , a g r o u p of
s i o n is t r a n s p o r t e d b y b o d y m o v e m e n t s , l i k e i n g e s - children a g e d f o u r o r five y e a r s c a n fin d a w a y o f n o -
tures. M u s i c is e m b o d i e d in the truest sense of the tating it – for example, w i t h long a n d short lines – a n d
w o r d . S o , w h e n c h i l d r e n learn to m a k e m u s i c , it is a n r e m e m b e r this p ic tu re w h e n r e m i n d e d o f that r h y t h m .
e m b o d i e d learning, too. T h e y learn to u s e their b o d i e s T h e f o r m of representation w h i c h c o m e s u p last in the
to express themselves or to connect physical expres- d e v e l o p m e n t o f the child is the “ s y m b o l i c re pr ese nt a-
sion with music. Therefore, children should be given tion” (Bruner 2006, p. 69). Words, letters, a n d numbers
t h e o p p o r t u n i t y t o e x p e r i e n c e m u s i c p h y s i c a l l y. S e n - a r e s y m b o l s f o r realities, a n d t h e s a m e a p p l i e s t o tra-
sory perception, free exploration, a n d m o v e m e n t are ditional n ota ti on. B u t these realities s h o u l d h a v e b e e n
important m e a n s of acquiring m u s i c in early childhood experienced i n actions o r as visual impressions before.
music education. L o o k i n g at and touching a musical Playing a scale up wa rd s o n a xylophone leads to an en-
instrument f r o m all sides c a n initially bring it closer to active representation: T h e child r e m e m b e r s t h e action
t h e c h i l d i n t e r m s o f w h a t it i s m a d e o f a n d h o w t o o f p l a y i n g t h e b a r s o n e after t h e ot he r f r o m t h e left to
p l a y it. T h e child m u s t e x p e r i e n c e firs t-h a n d h o w t h e the right side. To notate t h e m o n a black board without
instrument reacts t o b o d y m o v e m e n t s in o rd e r to learn staves will result in an iconic representation: T h e child
differentiated w a y s of handling it.   r e m e m b e r s t h e picture o f the a s c e n d i n g dots. To learn
the n a m e s of notes or their traditional notation is a w a y
of p r o m o t i n g s y m b o l i c representations. I f the children
are r e m i n d e d o f a n u p w a r d s scale, they will r e m e m b e r
the n a m e s o r s y m b o l s a n d b e a b l e to recite t h e n a m e s
o r n ota te t h e scale.
48
T h e term intelligence is usually u s ed for handling s y m - w i t h i n t h e g i v e n c o n t e x t ( C h o w 2 0 1 3 ) . I n t h e field o f

bols such as words or numbers. But the psychologist music, the imitation o f pitches a n d rh y th ms a n d the ac-
H o w a r d G a r d e n e r speaks o f different intelligences a n d quisition of a song are examples for learning objectives
a s s u m e s that there is a m o v e m e n t intelligence a s w e l l w h i c h m i g h t n o t b e r e a c h e d i n a d i r e c t w a y. P e r h a p s
as a visual intelligence. I n addition, h e includes intelli- t h e c h i l d d o e s n o t s i n g , o r d o e s n o t s i n g p r o p e r l y, f o r
g e n c e s f or d e a l i n g w i t h o t he rs a n d w i t h o n e s e lf ( G a r- a long time, but at a certain point in time he or she
d e n e r 1 9 9 9 ) . A c t u a l l y, it is r e c o m m e n d e d t o p r e s e n t achieves a breakthrough.
learning material via different s e n s o r y channels. If w e
w a n t to t e a c h t h e a c c e l e r a n d o , w e c a n s l a p s l o w l y o n In order to support nonlinear individual learning pro-
the thighs a n d t h e n t o g e t h e r b e c o m e faster a n d faster. cesses in a well-directed w a y, teachers can refrain fro m
T h e n w e can m o v e to music that contains a n acceleran- strict p l a n s a n d practice s o - c a l l e d agile did act i cs ( A r n
do; teachers can improvise such a music themselves. 2016; Parsons & M a c C a l l u m 2019). In this case, atten-
W e c a n a l s o listen t o a p i e c e o f m u s i c c o n t a i n i n g a n tion to t h e learners a n d t o t h e interactions is essential
accelerando a n d can sing a s o n g while b e c o m i n g faster for teachers so that they can react in an appropriate
a n d faster. A visual a n a l o g y t o the a c c e l e r a n d o w o u l d w a y. A l t h o u g h t h e t e a c h e r s d o n o t k n o w i n a d v a n c e
b e d o t s t h a t a r e d r a w n fir st w i t h g r e a t d i s t a n c e s b e - w h a t t h e y w i l l d o , t h e y b r i n g their p e r s o n a l p r e s e n c e
t w e e n t h e m a n d t h e n b e c o m e closer together. Finally, into e a c h o f their r e a c t i o n s . T h i s p r e s e n c e is a s t r o n g
the children c a n b e taught the Italian w o r d itself. W h i l e pedagogical instrument. Its effects c a n n o t b e foreseen,
the preceding activities h a v e been described in such but in any case, they are profound. W h e n a teacher
a w a y that t h e y f o l l o w o n e f r o m t h e other, i n teaching has planned to teach a certain dance form, but the
young children, it is also natural to directly link different c h i l d r e n m o v e f r e e l y a n d e x p l o r e t h e po s s ibi li ti es t o
m e a n s o f e x p r e s s i o n w i t h e a c h other. Yo u n g c h i l d r e n do so, the teacher can change the plan and accompa-
v e r y often c o m b i n e m o v i n g a n d p r o d u c i n g s o u n d s n y the p r o c e s s o f e x p l o r i n g w i t h interest a n d cautious
w i t h the voice: for e x a m p l e , w h e n b a b ies k ic k a n d cry stimulation.
or toddlers sing and dance at the s a m e time. Singing
a n d p e r f o r m i n g g e s t u r e s o r b o d y p e r c u s s i o n is a v e r y T h e fact that learning processes cannot b e predicted
c o m m o n and appropriate way of making music with is particularly true w h e n children a r e g i v e n the o p p o r-
y o u n g children. O l d e r children c a n c o m b i n e scenic t u n i t y t o l e a r n i n a s e l f - d e t e r m i n e d w a y. T h i s c a n b e
e l e m e n t s w i t h s i n g i n g a n d d a n c i n g . A l l this m a y l e a d said w h e n children h a v e the freedom to choose their
to interdisciplinary art f o r m s as m u s i c theatre a n d o w n learning activities, goals, a n d pace. Te ach ers then
p e r f o r m a n c e art. just offer resources for the learning processes ( Blas ck e
2012). In early childhood music education, materials
a n d activities c a n b e s u p p l i e d i n a w a y that a l l o w s t h e
> NONLINEAR AND SELF-DETERMINED LEARNING children to follow individual needs and approaches.
T h e s e a p p r o a c h e s c a n t h e n b e a p p r o p r i a t e f o r t h e r e-
L e s s o n p l a n s s o m e t i m e s l o o k a s if t h e l e a r n i n g itself spective stage of development and the personality o f
c o u l d a l s o b e p l a n n e d a n d a s if t h e r e is a l i n e a r r e l a - the child s o that individual formation processes can
tionship b e t w e e n t e a c h i n g a n d learning. W h e n y o u n g evolve in a beneficial w a y. It can b e extremely reward-
children learn a new skill, they just try and act in different ing to simply give y o u n g children an object – such as a
w a y s . M e a n w h i l e , t h e i r b o d y p r o c e s s e s t h e d i ff e r e n t ball or a piece of cloth – to observe the children’s activ-
experiences and eventually finds adaptive solutions  ities and, over time, combine them with musical stimuli.
49
> PARTICIPATION AND LEARNER CENTEREDNESS This principle corresponds to a learner-centred a p -

proach, w h i c h is appropriate for creating a support-
P a r t i c i p a t i o n is u n d o u b t e d l y a n i m p o r t a n t r e q u i r e - ive learning e n v i r o n m e n t ( B r a n s f o rd , Vy e & B a t e m a n
m e n t no t o n l y for p e d a g o g i c a l w o r k b u t for s o c i e t y as 2002). The focus is then o n the participants themselves,
a w h o l e . F o r e x a m p l e , it is a l s o a n i m p o r t a n t d e m a n d their interests, ne e ds , preconditions, a n d individual
of the “ C o n v e n t i o n o n the R ig h ts of P e r s o n s w i t h D i s - potential. In concrete practice, this can m e a n abandon-
abilities” of the United Nations (United Nations General ing the logic of the curriculum a n d working with the
Assembly, 2 0 0 7 ) . O n e can distinguish different aspects children a n d p a re nts to fi nd pe rs on a l a p p r o a c h e s o r to
o f pa r t i c i pa ti on : First, it s h o u l d b e p o s s i b l e f o r e v e r y facilitate these.
child a n d every parent or caregiver to take part in early
c h i l d h o o d m u s i c e d u c a t i o n lessons. N o o n e s h o u l d b e
e x c l u d e d , f o r e x a m p l e , b e c a u s e o f financial o b s t a c l e s > APPRECIATION OF DIVERSITY AND ANTI-BIAS
or special physical needs. APPROACH
The second aspect goes beyond the mere presence of Diversity a m o n g h u m a n s m e a n s that they are different
c h i l d r e n a n d adults. I n this r e g a r d , t a k i n g p a rt m e a n s f r o m each other. F r o m this perspective, there is always
having a responsible role to play in m a k i n g the les- d i v e r s i t y w h e n p e o p l e c o m e t o g e t h e r. H o w e v e r, t h e
s o n s s u c c e s s f u l . I n fact, t h e attitude a n d t h e activities concept o f diversity is referred t o in particular w h e n it
of the p a r en t s are crucial in d e t e r m i n i n g h o w children c o m e s t o cultural b a c k g r o u n d s a n d g e n d e r ; t h u s , it is
c a n e n g a g e w i t h a n d b e ne fi t f r o m w h a t is h a p p e n i n g . of te n associated w i t h the triad o f race, class, a n d g e n -
Therefore, they should b e allowed to modify a n d adapt der ( K n a p p 2 0 0 5 ) . B u t it c a n also b e u s e d for different
the suggestions in view of their children. However, every attitudes, beliefs, a n d values. A l l these differences c a n
c h i l d a n d e v e r y c h i l d ’s b e h a v i o u r s h o u l d a l s o p l a y a b e s e e n a s b o t h a p r o b l e m a n d a n o p por tu n it y (Ferris,
decisive role in shaping the lessons together with the Frink & Galang 1993).
gro up . N o o n e s h o u l d b e
left o u t a n d u n n o t i c e d . I n t h e first c a s e , e m p h a -
Nevertheless, o n e could sis is p l a c e d o n the chal-
s p e a k o f a g u i d e d partic- lenges o f a d a p t i n g to the
ipation here because the diversity of people. F o r
children and the parents e x a m p l e , teachers s o m e -
take part in and observe t i m e s f i n d it d i ff i c u l t t o
t h e activities a l o n g s i d e t e a c h p u p i l s w i t h di ff e r-
a n e x p e r i e n c e d t e a c h e r. ent preconditions at the
In addition, the cultural s a m e time. H e r e , o n e
a n d s o c i a l v a l u e s u n d e r- d a n g e r is that t h e y f o c u s
lying the activities give o n the majority of pupils
direc t i on t o t h e p ar tic - and do not adequate-
ipants’ actions. In the ly address the others. If
p r o c e s s o f a p a r t i ci p a - t h i n g s g o b a d l y, m i n o r i -
tory appropriation, the ties c a n e v e n b e m a r -
participants acquire skills ginalized w h e n teachers
and develop personally ignore their potential
(Rogoff 1995). Especially and needs. The reasons
t h e artistic p r e s e n c e o f t e a c h e r s c a n i n s p i r e c h i l d r e n f o r this m a y a l s o lie i n b i a s e s t o w a r d s c e r t a i n g r o u p s
a n d p a r en t s a n d s h o w t h e m that artistic activity is n o t o r g e n d e r. A s t e a c h e r s t e n d to u n i n t e n t i o n a l l y t r a n s -
arbitrary. fer their o w n prejudices to the children they teach,
it is i m p o r t a n t t o r e c o g n i z e a n d e x a m i n e o n e ’s o w n
T h e t h i r d a s p e c t g o e s e v e n f u r t h e r. P a r t i c i p a t i o n i n prejudices a n d biases. A c c o r d i n g l y, t h e so-called anti-
this context m e a n s the active co- determination of bias approach is concerned with overcoming stereo-
the design of the lessons. These are then not planned t y p e s a n d d i s a d v a n t a g e s a n d e m p o w e r i n g e v e r y child
a n d carried out for the children a n d their caregivers s o that s h e o r h e c a n d e v e l o p a s t r o n g s e l f - c o n f i d e n c e
but s h a p e d w i t h t h e m . It is o b v i o u s that flexibility a n d a n d self-esteem ( D e r m a n - S p a r k s & A.B.C. Ta s k F o rc e
agility o n t h e pa r t o f t h e t e a c h e r a r e just a s n e c e s s a r y 2 0 0 1 ) . In practice, this m e a n s that teachers h a v e to b e
a s it is t o t a k e t h e c h i l d r e n a n d t h e a d u l t p a r t i c i p a n t s cautious a b o u t the religious content o f s o n g s , general-
seriously in the sense of interpersonal contact at a n isations such as “all African children can drum”, or pic-
equal level.   tures s h o w i n g s u c h cultural o r g e n d e r clichés. R a t h e r,
teachers s h o u l d b e attentive t o individual abilities a n d
needs. Instead of seeing diversity as a burden, teach-
e r s c a n a p p r e c i a t e a n d w e l c o m e it. A c c o r d i n g t o t h e

50
“ C o n v e n t i o n o n the P r o - t h e m a n d c a n t h u s in-
tection a n d P r o m o t i o n o f troduce them to music
the D i v e r s i t y o f C u l tu r al in its full variety. Musi-
E x p r e s s i o n s ” o f the U N - c a l traditions f r o m t h e
E S C O , “cultural diversity participants’ countries
is a defining character- s h o u l d b e integrated into
istic o f h u m a n i t y ” c r e - the lessons, t h u s b e c o m -
ating “a rich and varied ing more appreciated.
world, w h i c h increases F u r t h e r m o r e , t h e learn-
the range of choices and ing strategies o f various
nurtures h u m a n capaci- cultures, s u c h a s a u r a l
ties and values” (General learning, imitation, a n d
Conference o f the United improvisation ( C a m p b e l l
Nations Educational, Sci- 2003, p. 27), s e e m to b e
entific and Cultural Orga- particularly suitable for
nization, 20 0 5, p. 1). T h e early childhood m u s i c
pluralism o f perspectives education. M u s i c e d u -
is o f c r u c i a l i m p o r t a n c e cation can contribute
f o r t h e p r o g r e s s o f d e m o c r a t i c s o c i e t i e s . S i m i l a r l y, a to social cohesion a n d sensitivity in interacting with
variety of backgrounds a n d views also enriches the others (Yo un g 2018, p. 131) and encourage cultural un-
t e a c h i n g o f t h e arts. E a r l y c h i l d h o o d m u s i c e d u c a t i o n de rs ta nd ing a n d “ b r i d g i n g cultures a n d c o m m u n i t i e s ”
can begin with the stylistically rich experiences that (Campbell 2018).
paren ts , b u t a l s o e v e n children, f r e q u e n t l y b r i n g w i t h  
> LITERATURE
> Arn, C. (2016). Agile Hochschuldidaktik. Weinheim: Beltz Ju- G e n e r a l C o n f e r e n c e o f the U n i t e d N a t i o n s Educational, S c i -
venta. entific a n d Cu l t u r al O rg a n i z a t i o n ( 2 0 0 5 ) . C o n v e n t i o n o n t h e
Protection a nd Promotion of the Diversity of Cultural Expres-
Blaschke, L. M . (2012). H e u t a g o g y a n d Lifelong Learning: A sions. Paris: United Nations Educational, Scientific and Cultur-
R e v i e w of Heutagogical Practice a n d Self-Determined Learn- al Organization.
ing, T h e Inter na tional R e v i e w o f R e s e a rc h i n O p e n a n d D i s -
tance Learning, 13 (1), 56-71. K n a p p , G . - A . ( 2 0 05 ) . R a c e , Class, G e n d e r. R e c l a i m i n g B a g -
g a g e in Fast Travelling Theories. E u ro p e a n J o u r n a l of Wo m -
B r a n s f o r d , J., Vy e , N . & B a t e m a n , H . ( 2 0 0 2 ) . C r e a t i n g
en’s Studies, 12 (3), 249-265.
High-Quality Learning Environments: Guidelines form Re-
s e a r c h o n H o w P e o p l e L e a r n . I n P. A l b j e r g G r a h a m a n d N . Lave, J. (2004). Situated learning in communities o f practice.
S t a c e y (Eds.), T h e K n o w l e d g e E c o n o m y a n d P o s t s e c o n d a r y In L. B. Resnick, J. M . Levine & S. D. Teasley (Eds.), Perspec-
Education. Report of a Wo r k s h o p (pp. 159-197). Washington: tives o n Socially S h a re d Cognition: Revised Papers Presented
National A c a d e m y Press. at a C o n f e re n c e , Entitled S o ci a l ly S h a re d C o g n i t i o n , h e l d at
the University of Pittsburgh, 1 9 8 9 (4th ed.) (pp. 63-82). Wa s h -
Brown, J. S., Collins, A. & Duguid P. (1989). Situated Cognition
ington: A m e r i c a n Psychological Association.
a n d the Culture o f Learning. Educational R e s e a rc h e r , 1 8 (1),
32-42. P a r s o n s , D . & M a c C a l l u m K . ( 20 19 ). A g i l e Education, L e a n
Learning. In D. Parsons & K. MacCallum (Eds.), Agile and Lean
Bruner, J. (2006). In Search of Pedagogy Volume I: The Select- Concepts for Teaching a n d Learning. Bringing Methodologies
ed Wo r k s of Jerome Bruner. Abingdon: Routledge. from Industry to the Cl a ss ro o m (pp. 3-23). Singapore: Spring-
C a m p b e l l , P. S. (2003) . E t h n o m u s i c o l o g y a n d M u s i c E d u c a - er.
tion: Crossroads for K n o w i n g M u s i c , Education, a n d Culture. Rogoff, B. (1995). O b s e r v i n g Sociocultural Activity o n Three
Research Studies in Music Education, 21 (1), 16-30. Planes: Participatory Appropriation, G u i d e d Participation, a n d
Campbell, P. S. (2018). Music, Education, and Diversity. Bridg- Apprenticeship. In J. V. Wertsch, P. del Río & A. Alvarez (Eds.),
ing C ultures a n d C o m m u n i t i e s . N e w Yo r k : Te a c h e r s Co l l eg e Sociocultural studies of mind (pp. 139-164). Cambridge: C a m -
Press. bridge University Press.
C h o w, J. Y. (2013). N o n l i n e a r L e a r n i n g U n d e r p i n n i n g P e d a - U n i t e d N a t i o n s G e n e r a l A s s e m b l y (2007): C o n v e n t i o n o n the

go gy : Evidence, Chall e n ge s , a n d Implications. Q u e s t , 6 5 (4), Rights of Persons with Disabilities. N e w York: United Nations
469-484. General Assembly.
D e r m a n - S p a r k s , L . a n d A . B . C . Ta s k F o r c e ( 2 0 0 1 ) . Anti-bias Young, S. (2018). Critical N e w Perspectives in Early Childhood

Curriculum. Tools for Empowering Yo u n g Children (12th ed.). Music. Young Children Engaging and Learning Through Music.
Washington: National Association for the Education o f Yo u n g London: Routledge.
Children.
Ferris, G. R., Frink, D. D. & Galang M. C. (1993). Diversity in the
Wo r k p l a c e : T h e H u m a n Re so u r ce s M a n a g e m e n t Ch a l l e ng es .
Human Resource Planning, 16 (1), 41-51.
Gardener, H. (1999). Intelligence Reframed: Multiple Intelli-
gences for the 21th Century. N e w York: Basic Books.  

52
DESIGNING LESSONS > INTRODUCTION TO THE LESSON PLANS
MICHAEL DARTSCH, NATASSA ECONOMIDOU STAVROU AND ULLA PIISPANEN
INTRODUCTION TO THE
LESSON PLANS
We would begin the second part of this book with the following statement:
“There are no recipes for designing music lessons for early years.”
Music lessons in early years can be planned and designed children c a n also articulate themselves those things
in different w a y s , h a v e a different d u r a t i o n a c c o r d i n g that they w o u l d like to repeat.
to the age of the children (usually lasting between
3 0 – 5 0 m i n u t e s ) o r the educational context, a n d b e d e - A n exciting m o m e n t of the lesson is the introduction of
veloped for different starting points and focus. Planning a new topic. This can be done, for example, with a story,
should take into consideration the current situation a n d a ve rs e , a s o n g , b u t a l s o a n o b j e c t o r a picture, w h i c h
the de ve lo p me nt a l s t a g e of each group, a n d the specif- gives older children an opportunity to talk about it. With
ic a n d m e a s u r a b l e o b j ect i ve s s h o u l d b e set according- yo un ge r children, the emphasis is o n perception and, if
ly. O b j e c t i v e s c o u l d b e r el at ed t o t h e d e v e l o p m e n t o f possible, exploration. B a s e d o n this approach, different
musical ( s o m e t i m e s g en - activities can b e initiated,
eral) skills and abilities; each of w h i c h relates to
encounters with songs, certain c h a l l e n g e s . T h e
musical pieces a n d danc- teacher c a n alternate b e -
es f r o m different cultural tween singing, playing
contexts, h i st o r i c a l p e ri- with instruments (most-
ods, and genres; the fa- ly improvising), moving,
miliarization o f children a n d listening. A b a l a n c e
w i t h musical concepts a s b e t w e e n action a n d quiet
well as the development t i m e is a l s o d e si ra bl e. A
of their creative ideas. kind of joint performance
c a n r o u n d off the activ-
ities b e f o r e a f i n a l s o n g
> THE SEQUENCE OF m a r k s t h e transition t o
LESSONS everyday life.
Routines, such as wel- A whole unit can be de-

c o m e songs at the be- signed around a song,
ginning of the lessons a musical piece, a non-
a n d g o o d b y e s o n g s at musical topic/theme, a
the end, help children to musical concept, or a
adjust to the lesson and musical ge nr e. T h e r e are
feel secure. Ideally, the n o recipes, a n d there is
partic i pa nt s s h o u l d sit i n a circle o r h alf circle s o that n o t o n l y o n e s i n g l e w a y / m o d e l t o d e s i g n lesson p l a n s
e v e r y o n e c a n s e e e a c h other, a n d t h e children c a n s e e in m u s i c for the early years. W h a t w e need to m a k e
the teacher ’s face to understand h e r or h im. A circle o r s u r e o f is that o u r l e s s o n s a r e m u s i c a l , that t h e y s t i m -
half circle can also be taped on the floor to mark seating ulate t h e d e v e l o p m e n t o f m u s i c a l skills, a n d that t h e y
areas for the children. In groups w i t h parents, cushions give children (and, w h e n they are also present, the
or blankets are appropriate for the parent-child cou- caregivers) the opportunity to engage in playful and
ples. It is nice to sing each child’s n a m e in the w e l c o m e active m u s i c m a k i n g . It is r e c o m m e n d e d that a variety
s o n g . I n this w a y, e a c h individual fe e ls r e s p e c t e d a n d o f m u s i c activity t y p e s b e u s e d in the lessons, a i m i n g
t a k e n c a r e o f. A f t e r w a r d s , r ep e titio n s f r o m t h e p re vi - both at developing musical skills as well as m a k i n g the
ous lessons are a good idea, especially in the lessons music lesson m o r e interesting for y o u n g learners.
for children aged 0 – 3 6 months, because children of
this a g e e n j o y f a m i l i a r s o n g s a n d t h r o u g h t h e re pe ti-
tions, they establish repertoire and skills. If possible, the  
53
DESIGNING LESSONS > INTRODUCTION TO THE LESSON PLANS
> REQUIREMENTS FOR THE TEACHER p u p p e t s , etc. S o c k e t s s h o u l d b e c h i l d - p r o o f , a n d o n e

is w e l l a d v i s e d t o a v o i d s o u r c e s o f d a n g e r a n d p o t e n -
I n a d d i t i o n t o g o o d p l a n n i n g , t h e t e a c h e r s h o u l d p e r- tially distracting details. A n o t h e r suggestion is, in case
ceive the needs of the group in the lesson. A lesson a c o m p u t e r a n d projector a r e p r o v i d e d i n the r o o m , to
does not necessarily h av e to g o as planned. Rather, it is create P o w e r P o i n t presentations for yo u r lessons, w i t h
i m p o r t a n t t o r e s p o n d f l ex ib ly t o t h e w i s h e s a n d i d e a s the sound incorporated, in order to have everything
of the group. Flexibility cannot b e s h o w n in the fol- y o u n e e d w i t h a m o u s e click a n d to r e m i n d yourself o f
lowing lesson plans, but it should a l w a y s b e taken into w h a t activity c o m e s next.
consideration. F u r t h e r m o r e , t h e teacher s h o u l d n o t
only plan well a n d react spontaneously b u t also inspire
the children w i t h h e r o r his artistic qualities i n the les- > FINAL REMARKS
sons. S o n g s s h o u l d b e s u n g properly a n d expressively.
Expressive movements and performances encourage I n p r i n c i p l e , it is r e c o m m e n d e d t h a t t e a c h e r s c h o o s e
the children a n d the p ar en ts (or caregivers) i n the par- content a n d activities that t h e y t h e m s e l v e s a l s o enjoy.
e n t - c h i l d g r o u p s t o try their o w n . It is a l s o i m p o r t a n t T h i s w i l l b e transmitted t o the g r o u p s o that e v e r y o n e
that teachers are familiar w i t h the s m a l l percussion in- can experience the lessons as a good time. Thus, the
s t r u m e n t s t h a t t h e y p r e s e n t a n d o ff e r t o t h e c h i l d r e n . f o l l o w i n g l e s s o n p l a n s a r e o n l y illustrations a n d s u g -
In addition, their o w n main instrument c a n also be used gestions that e n c o u r a g e y o u to explore y o u r o w n w a y s
f r o m time to time in the lessons. a n d imagination together w i t h yo u r groups. N e v e r for-
get that m u s i c lessons in early years s h o u l d b e fu n a n d
enjoyable.
> REQUIREMENTS FOR THE ROOM
T h e r o o m m u s t fit the p u r p o s e . It s h o u l d b e large

e n o u g h fo r all g r o u p m e m b e r s to m o v e a r o u n d freely.
The floor on which children often sit, lie or crawl (in the
c a s e o f y o u n g e r children) s h o u l d b e c l e a n a n d n o t t o o
h a r d o r c o l d : A s p r u n g p a r q u e t is ideal, b u t s y n t h e t i c
material is also possible. Daylight a n d g o o d ventilation
are desirable. In addition, a certain amount of equip-
m e n t is necessary: A p la yb ack device, suitable seating
– this c a n also b e c u s h i o n s o r carpet tiles – a n d a b o v e
all, a rich selection o f different instruments are import-
ant prerequisites for stimulating lessons. A l s o , w e sug-
gest a variety o f m o v e m e n t props, s u c h as a parachute,
colourful scarves, a n d hula-hoops for children, ribbons,  
54
55
56
DESIGNING LESSONS > LESSON PLAN FOR 0–36-MONTH-OLD INFANTS OR TODDLERS
ULLA PIISPANEN
LESSON PLAN FOR 0-36-MONTH-OLD

INFANTS OR TODDLERS
Title: Sunny Fishing Trip

Duration: 3 0 – 4 5 m i n u t e s
F o c u s : E x p e r i e n c i n g t h e s t e a d y b e a t in s l o w a n d fast t e m p o a n d rests in m u s i c b y r o c k i n g ,
d an ci n g, a n d playing, a n d experiencing t h e m u s i c a l f o r m A B .
> PEDAGOGICAL REFLECTIONS > ACTIVITIES
T h e m a i n m u s i c a l t h e m e i n this l e s s o n i s a s l o w a n d 1. We sing the opening song, “ S u n is shining”, with the

fast, s t e a d y b e a t r e p r e s e n t e d i n m a n y d iffere n t w a y s . sun-puppet.
T h e c o n n e c t i n g t h e m e fo r this l e s s o n is a fis h in g trip.
It is inspiring f o r the children a n d their parents t o d o a 2. T h e n c o m e s the w e l c o m e song, “Nice to see y o u
l o o s e d r a m a that p i c k s u p o n the t h e m e o f t h e lessons h e r e ” ( n o t a t i o n o n p a g e 5 9 ) , f o r all t h e c h i l d r e n w i t h
a n d to connect the activities with a short story a n d their n a m e s .
s o n g s h a v i n g to d o w i t h the t h e m e .
3. W e s i n g t h e s o n g , “ H e l l o , m y f r i e n d ” ( n o t a t i o n o n
page 58), and play with the maracas. We ex-
> OBJECTIVES perience the rest in the music. W e change the
t e m p o f r o m s l o w to fast, a n d w e u s e different
Children a n d parents are engaged in activities that words depending on the group’s interest
(e.g., “ N o w it’s time to sing/play/dance”).
> e n c o u r a g e t h e p a r e n t s to s i n g to a n d w i t h their
children a n d to repeat the songs so often that the 4. T h e parents take their children in their arms, or if the
children are also able to learn the s o n g s in time; children c a n w a l k , b y their h a n d a n d w a l k o n e b e h i n d
the other singing the s o n g “Railway b a n d ” (notation o n
> h e l p t h e m identify the s l o w a n d fast t e m p o t h r o u g h page 59). The teacher can accompany the song with
different activities; the kantele, ukulele, guitar, or piano. The train can move
slowly or fast.
> enable the playing of basic beats with maracas and
drums; 5. After the train trip, w e form a circle (like a fishpond),
in which the fish “swim” slowly to the middle a n d back
> p r o m o t e concentrated listening o f music; in Part A (s lo w part: walking), a n d fast, clockwise a n d
anticlockwise i n Part B (fast part: running). Parents
> s h o w different activities that g o along w i t h music; hold their children, or if the children can walk, they take
t h e m b y the h a n d . ( M u s i c : Sc hu b er t, Forellenquintett,
> encourge p a r e n t s a n d children t o enjoy m u s i c op.114, The Trout).
together – also at h o m e
b y singing, playing/exploring instruments, listening,

moving, and improvising.  

57
S u n is shining
Trad. / Words: Ulla Piispanen
&##42 œ œ œ œ œ œ œ œ œ Œ
Sun is shin - ing, well - come to sing!
here to play!
Sun is shin - ing, well - come
here
Further notations o n pages 58– 5 9
6. Parents sing the song, “Row, R o w, R o w Yo u r Boat,” 10. Wi t h older children o f toddler age, w e play the pre-
with their children o n their laps, or sit face to face with v i o u s s o n g w i t h h a n d d r u m s b y d r u m m i n g a n d lifting
their c h i l d r e n o n t h e f lo o r. T h e y “ r o w ” h a n d i n h a n d t h e d r u m s u p w i t h t h e s e n t e n c e : “It j u m p s u p h i g h ; it
s l o w l y o r fast w i t h the idea in m i n d o f big, s l o w b o ats jumps up high!”
or small, quick ones.
11. We sing the g ood -b ye song, “ T h a n k y o u ” (notation
( “ R o w, r o w, r o w y o u r b o a t g e n t l y d o w n t h e s t r e a m . o n p a g e 5 8).
Merrily, merrily, merrily, merrily. Life is but a dream.”)
N ow it’s time to thank you all; it is time to go back home.
After r o w i n g a n d singing, children c a n a c c o m p a n y t h e Thanks for all m y dearest friends; w e will meet again!
s o n g o n x y lo p ho n e s (e ach child h as o n e x y lo p h o ne : C ,
E, o r G a n d a mallet), w h i c h they play in a steady b e a t
while the parents continue singing.
7. We listen to the music of Saint-Saens, Aquarium, and

t h e p a r e n t s a n d c h i l d r e n g e t l i g h t w e i g h t a n d c o l o u r-
ful s c a r v e s fo r d a n c i n g , t h r o w i n g , h i d i n g , etc. T h i s is
the creative part, so the choreography is totally free
(Music: Saint-Saens, Aquarium).  
For the smallest babies, the activity can be
8. T h e p a r e n t s are sitting o n t h e flo o r ( w i t h their only about 30 minutes. The duration depends
children o n their laps). We are going to sing a song, on m a n y things: for instance, h o w the baby has
“ A little fish” (notation o n p a g e 58), either w i t h s m a l l b e e n s l e e p i n g , e a t i n g , etc. T h e t e a c h e r c a n start
babies o n the parents’ laps, or the parents a n d children with activities o f 3 0 m i nu t e s in length a n d in-
m o v e a big, lightweight cloth o n w h i c h there is a small c r e a s e t h e l e s s o n l i t t l e b y little t o 4 5 m i n u t e s .
fish p u p p e t . T h e fish p u p p e t m o v e s w h e n t h e p a r e n t s T h e teacher c a n plan the lesson b y taking just
m o v e a n d b o u n c e the cloth. Wi t h the s m a l l e s t b a b i e s , s o m e of these songs – for instance, his or her
parents just s i n g a n d r o c k their babies. favourite songs. These songs and ideas might
be repeated for a couple of weeks; teachers can
9. Wi t h o l de r babies, w e p la y the p rev io u s s o n g w h i l e o n l y c h a n g e o n e o r t w o t h i n g s . It i s i m p o r t a n t
rolling and bouncing the balls.   that all p a r e n t s c a n e n j o y b e i n g i n a g r o u p w i t h
their babies a n d that they c a n sing the songs.
T h e teacher has to be sensitive to what exercis-
es she or he uses and what to leave for the next
lesson. O n e possibility is to leave N u m b e r s 9 a n d
1 0 for the ne xt lessons. It is better for children to
have a feeling that the lesson stopped too early
t h a n that it w a s t o o l o n g .

58
Thank you
Ulla Piispanen
C F C G F C G C
&44 œ œ œœ œ œ œœœ œ œ œŒ.. .. œ œœœ œ œ œ œœ œ œ œŒ..

N o w it’s time to thank you all, w e will go back home. Thanks to all m y dear-est friends w e will meet a - gain!
Hello m y friend
Mel. Timo Klemettinen, Words Eppu Nuotio

D A D
&##44 œ œ œ œ œ
Hel
œ -
œ
lo my friend, H e l - lo
œ jœ œœ m y friend,
œ now it’s time to walk.
œ
Hel -
3 D A D G D
œ œ œ œœ œ œ
&## lo m y friend, H e - lo m y friend,
œJ œj œ œjœœ Waœl -kingœ a nœd wŒ
n o w it’s t i m e t o w a l k . a l -k i n g and
6 A D G D A D
œ œ
&## then
œj œ œj
we’ll stop!
œ Ó Jœ œ œ Jœ œ
w a l -k i n g a n d w a l - k i n g
œ Œ
and then we’ll stop!
ŒŒ
A little fish
Trad. / Ulla Piispanen
&##42 œ œ œ
Once there was ‰Aj litt - l e
œ fish.
Œ œ Veœ- ry,œ v eœ- ry,œ vœ œ œœ
e - r y, v e - r y
7 1. 2.
&# œ œ œ Œ . ‰ œ œ œ œ
litt - le fish. œ
fish. It
j jumps u - p high. It
11
œœŒ œ œ œ œ œ œ œ œ œ œ œ Œ
&## œ œ
high.   Ve - r y, v e - r y, v e - r y, ve - ry litt - l e fish.
jumps u - p 

59
N i c e to s e e y o u h e r e
Ulla Piispanen
&##42 œ œ œ œ œ œ Œ
Hey dear Hen
-  ry, it’s nice
œ
to see
œ you œ
here!
&# œ œ œ œ œ œ œ Œ
What have you been do - ing, be - fore
œ œ
you came œ
h er e?
&# œ œ œ œ œ œ Œ
Hey dear Hen - ry, it’s nice
œ
to
œ
see you œ
here!
13
&# œ œ œ œ œ œ Œ
Hey dear Hen -  ry, how are
œ
you to - œ
day?
Railway band
Ulla Piispanen and Timo Klemettinen
&##42  œ œ œ
œ œœ lit - t l e t r a i n ,  
œ œ ..œ œ œ œ
Choo, choo says my  hop in now and start to p l a y.
&## . œ œ œ œ œ œ œ œ œ œ œ
œ œ
.
Through the fields and  through the land,  please join to the  rail - w a y b a n d !  
&## . œ œ œ œ œ œ œ œ .
Choo, choo
œœ
says my  lit - tle train,  hop in now and 
œ œ play. 
start to
13
&## . œ œ œ œ œ œ œ œ œ œ œ
œ œ
.
Slow down, slow down  lit - t l e t r a i n ,   we will end our  rail - w a y day.  

60

INFANTS OR TODDLERS
Title: Flies and B e e s

Duration: 2 – 3 x 3 0 – 4 0 m i n u t e s
Focus: Experiencing the steady beat and high and low sounds and melodies through
singing, chanting, m o v i n g , pl ayi ng instruments, a n d improvising.
> PEDAGOGICAL REFLECTIONS > OBJECTIVES
T h e connecting t h e m e in this lesson is insects, n a me ly, C h i l d re n a n d p a re n t s / c a re g i v e r s a re e n g a g e d i n

flies a n d bees. T h r o u g h active m u s i c - m a k i n g , e n g a g e - activities that encourage t h e m to
m e n t , a n d play, w e a p p r o a c h m u s i c a l c o n c e p t s related
t o p i t c h a n d s t e a d y b e a t . I n t h e activities, w e i m i t a t e > try t o s i n g o r f o l l o w internally t h e s o n g “Little f ly”
the s o u n d s a n d m o v e m e n t s o f flies a n d bees w h i l e (n ota tio n o n p a g e 62 );
singing a n d chanting s o n g s a n d r h y m e s o n this t h e m e .
O u r idea/goal for this a g e group is that the children > try to speak or follow internally the r h y t h m of the
r e p e a t a n u m b e r o f activities o v e r t h e w e e k s i n o r d e r chant “Flies a n d b ee s ” (notation o n p a g e 62);
to b e c o m e familiar w i t h the repertoire. I n these repeti-
tions, w e c a n u s e different aspects o f the activity w i t h > sing the s o n g “ H i g h a n d l o w ” (notation o n pa ge 63);
t h e s a m e r e p e r t o i r e (i.e., i n s t e a d o f u s i n g m o v e m e n t ,
w e can use a musical instrument or instead of sing- > play or imitate the steady beat w i t h b o d y percussion,
i n g t h e lyrics, o r w e c a n s i n g t h e m e l o d y w i t h n e ut ra l m u s i c a l i n s t r u m e n t s , a n d fly catchers, a c c o m p a n y i n g
syllables).   s o n g s a n d chants;
> listen to B u m b l e B e e and improvise m o v e m e n t s ;
> experiment w i t h the concepts of “high” a n d ”low” by

go ing u p a n d d o w n w i t h o u r voices a n d bodies;
> m o v e to the s o n g “Little fly” (no ta tio n o n p a g e 62),

following the f o r m of the s o n g or the lyrics
b y singing, p l a y i n g i n s t r u m e n t s , listening t o m u s i c ,
moving, and improvising.
61
Music has begun
Natassa E c o n o m i d o u S t a v r o u
&42 œ œ œ œ œ œ œ œœœœœ œ œ œ
Wa k e u p (name) here w e are m u - sic has be - g u n clap your
hands
Further notations o n pages 6 2 – 6 3
> ACTIVITIES 6. We talk a b o u t the flies a n d h o w t h e y s o m e t i m e s fly

hi gh a n d s o m e t i m e s l o w, especially w h e n they s e e ou r
1. We s i n g the g r e e ti n g s o n g “ M u s i c h a s B e g u n , ” a n d food, which they want to taste. Then, w e use our fly fin-
w e “wake up” one by one all the kids w h o are lying with g e r p u p p e t s a n d i n t r o d u c e t h e s o n g “Little fly” ( not a-
their eyes closed o n their mothers’/caregivers’ laps, tion o n p a g e 62), m o v i n g a r o u n d i n the circle. P a r e n t s
pretending to b e asleep (with babies, w e just sing in t a k e t h e i r b a b i e s o n t h e i r a r m s , o r if t h e y w a l k , t h e y
front o f them). A t the e n d o f the s o n g , the p are n ts a n d ho ld h a n d s in a circle a n d w a l k to the steady beat. T h e
the older children clap their hands while singing the song is in A B A form: in Part B, w e move inside and out-
phrase “Clap your hands.” side the circle. We repeat the activity w i t h a parachute.
2. We s i n g the s o n g “ H i g h a n d l o w ” . Wi t h the h e l p o f 7. We sit in the circle a n d s i n g the s o n g again. P a r e n t s

their parents, t h e children g r a d u a l l y m o v e their h a n d s either h o l d their b a b i e s o n their laps, m o v i n g t h e m u p
from the ground u p high and the other w a y round to and d o w n to the steady beat, or they tap the steady
the lyrics a n d the music. be a t together w i t h their children sitting n e x t to t h e m .
3. T h e teacher uses the slide whistle a n d plays s o m e 8. W e g i v e c h i l d r e n a n d p a r e n t s a p a i r o f c l a v e s . W e

glissandi go i ng u p and d o w n , a n d the children and par- all s i n g t h e s o n g t o g e t h e r, a n d c h i l d r e n a n d p a r e n t s
ents repeat w i t h their voices. play the steady beat. In each repetition, w e ask t h e m to
s u g g e s t a different w a y o f p l a y i n g t h e claves, a n d t h e
4. We use the following chant, showing two finger pup- gr oup fol low s the s u g g e s t e d w a y.
pets o f a fly a n d a bee:
9. We listen to a n excerpt of K o r s a k o v ’s “Flight o f the
Flies a n d bees, flies a n d bees, fly around, u p a n d d o w n B u m b l e b e e , ” a n d w e m a y a s k in the g r o u p s w i t h chil-
O n the flowers, o n our food, fly around d r e n a g e d 2 to 3, if this m u s i c is for a fly o r a bee. We
Alllllllllllll the way down (glissandi down) us e the b e e finger p u p p e t a n d m a k e the b u z z i n g o f the
Alllllllllllll the way up (glissandi up) and b e e w i t h o u r voi ce s g o i n g u p a n d d o w n a n d in circles,
Alllllllllllll the way down (glissandi down). fo llow in g t h e m o v e m e n t o f the b e e pu p pe t.
Up! Down! Up! Down!
10. We give colourful scarves to all, and w e move again
Children sit o n their parents’ laps a n d m a k e small – this t i m e , w i t h t h e s c a r v e s – m a k i n g t h e b u z z i n g o f
movements to the steady beat. A t the m o m e n t w h e n the bee. For older children ( 2–3 years), w e m a y ask the
the glissandi be g i n , the k id s m o v e according to the di- children a n d parents to s h o w u s their w a y of bee-buzz-
rection of the glissandi. ing, w h i c h w e then imitate. W e listen to the m u s i c
again. T h e parents a n d children improvise m o v e m e n t s
5. W e g i v e t a m b o u r i n e s t o c h i l d r e n a n d p a re n ts, w h o moving around, going high and low.
play the steady beat in the rh y th mic part a n d s h a k e the
tambourine g o i n g u p a n d d o w n fo llo w in g the chant.   11. We sing the “Goodbye”-Song (notation on page 63),
w h i c h w e usually sing at the e n d of each lesson.

62
Little fly
Flies a n d bes (chant)
&42 œœ œ œ ˙ œ œ œ
Littd-bees,le fly  œ œ
g o es,a - w a y  
œ
this is
œ
not your  
lunchhe flow ers,  litt - leourflyfood,
œ œ œ
glissandihe waydown œ œ œ
& œ œ
y comea-round.with us 
œ œ œt o
if you’d like dance. 
Clap your hands  with your friends
11
&  œ œ œ œ ˙ œœœ
fly up in the  sky   litt - le fly  
œ œfly  
litt - le
œ œ d o nœ
come and ’t be 
˙
shy.
Flies and bees (chant)
42
œ œ œœ œ œœ œ œœ œ œ œ œ œ œœ
œ Flies and bees, f l i es a n d b e e s , f l y a -r o u n d , up and down, on t h e f l o w - ers, on
œ
our food,
up up
œ
œœ alllllllglissandithewaydown alllllllt h e w a y u p alllllllglissandithewaydown
fly
down down
a -r o u n d .
©

63
H i g h a n d low
&42 œ œ œ œ œ œ ˙ œ œ œ œ œ œœ
go up try reach - ing the sky. We go down o w laying on the
W
e œ
& ˙ ˙ œ œ
˙ ˙
sky ground Hi low Hi
ground and
Goodbye
Michael Dartsch
&#c
˙ œj œ. œj œ. œj œ œ œ œ low.˙ œ œ
&# œG.o o d - b y e ,œj œ. œj œ

good - bye,
œg o o d œ .
- bye all
œj t o œ.
- ge
œj œ- . t h e r, g oœj
od -
&# bye,
œ œg o oœ œ
d -bye
œu n œ- til œ. next
œj time!
œ. œj œ
We’ll
œwe’ll œ.play, we’ll
sing,
6
dance all to - ge - t h e r, w e ’ l l sing, we’ll play, we’ll s p e a k a

rhyme.

64
MICHAEL DARTSCH

INFANTS OR TODDLERS
Title: The Duck

Duration: 4 5 minutes
Focus: Experiencing changes between two-part and three-part

time and stimulations around the duck theme in music.
T h e c o n n e c t i n g p l a y t h e m e i n t h i s l e s s o n p l a n is t h e Children a nd caregivers are engaged in activities that

d u c k . It h e l p s t o c o n n e c t t h e different s u g g e s t i o n s in- e n c o u r a g e t h e m to
ternally. A s t h e c h a n g e o f t i m e s i g n a t u r e is a c e n t r a l
topic, this c a n b e experienced through m o v e m e n t s > identify the voice of a duck from a recording a n d
e v e n if t h e c h i l d r e n e x p e r i e n c e b e i n g m o v e d b y t h e connect it internally to a p u p p e t of a d u ck;
caregivers o n their a r m s . Wa d d l i n g a n d fly in g s h o u l d
lead to different experiences. B o t h can easily b e imitat- > speak or follow internally the rhythm of the verse
e d o n d r um s, w h i c h helps p re p are for different p e rc us - “The duck”;
sion techniques.  
> sing or follow internally the song “The duck”;
> c o n n e c t suitable m o v e m e n t s w i t h the different t i m e

s i g n a t u r e s ( t h e c a r e g i v e r s ’ a c t i n g ; t h e c h i l d r e n ’s p e r-
ceiving);
> explore dru ms a n d imitate “waddling” a n d “swiping”

movements on them;
> coordinate d r u m m i n g a n d s p e a k i n g the verse;
> listen to a recording o f a short piece of music;
> identify t h e o b o e p r e s e n t e d in a s h o r t concert a s the

instrument that w a s h e a r d in the r ec o rd ing before.

moving, a n d perceiving.
65
Hello, hello
Michael Dartsch
&b42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
H e l - lo, hel - lo,   nice to see you!  H e l - lo, hel - lo,   how are you?
W h e n y o u sing the s o n g the s e c o n d time, put in the n a m e o f the child instead o f the s e c o n d “hello”!
The duck
Michael Dartsch
œ œ œ œ œ œ œ
&#42  œ t hœ œ œ 83œ œ
Duck, w a d d - les   throuh the m e a - d o w,  
on e a l - l e y,   through the v a l - l e y.
5 
œ œ œ œ. œ œ œ œ. œ. œ.
&#8 œ. œ.
up in the  fly,  fly!
Fly,  fly,  sky!   Up in the  sky,  
> ACTIVITIES 8. W e c o m b i n e t h e w a d d l i n g a n d t h e s w i p i n g m o v e -
m e n t s o n t h e d r u m s w i t h t h e text o f t h e s o n g , m a t c h -
1. Wi t h t h e g r o u p , w e s i n g t h e g r e e t i n g s o n g “ H e l l o , ing the respective meter.
Hello”, w h i c h is s u n g at the beginning o f every lesson.
T h e c h i l d r e n / We a r e sitting i n a circle, s w i n g i n g f r o m 9. We i m p r o v i s e m u s i c , w h i c h c h a n g e s b e t w e e n t w o -
the right t o the left s i d e to e v e r y q u arte r n o te. a n d three-part t i m e , a n d e n c o u r a g e t h e participants t o
m o v e freely to the music.
2. We listen to a duck’s voice from a recording together.
10. We listen together to the duck part of Sergei Proko-
3. We s h o w a d u c k p u p p et w a d d l i n g a n d flying. fie v’s P e t e r a n d t h e Wo l f , sitting c o m f o r t a b l y s p r e a d
ou t a r o u n d t h e r o o m .
4. We s p e a k t h e text o f the s o n g together.
11 . W e listen t o a f e w t o n e s p l a y e d o n t h e o b o e b y a
5. We s i n g t h e s o n g “ T h e d u c k ” together, re p ea ting it guest – if this is possible – sitting close b y her or him.
as often a s n e e d e d for the caregivers t o feel confident.
12. Together, w e sing the final s o n g “Goodbye”, w h i c h
6. We s t a n d u p a n d s i n g the s o n g together, c o m b i n i n g is s u n g in at the e n d o f e v e r y lesson (notation o n
it w i t h m o v e m e n t s w h i l e staying in place. We encour- page 63).
a g e the caregivers t o s w i n g the children o n their a r m s
when we sing “Fly.”
7. We give little f r a m e d r u m s to the pairs a n d ask t h e m

to explore them. After a while, w e also encourage t h e m
to w a d d l e a n d s w i p e o n the d ru ms . T h e swiping m o v e -
ment should pick u p the tempo of the swinging from
the previous activity.  

66
DESIGNING LESSONS > LESSON PLAN FOR 3–4-YEAR-OLD CHILDREN
ULLA PIISPANEN
LESSON PLAN FOR

3–4-YEAR-OLD CHILDREN
Title: Rainy D a y in the Wo o d s

Duration: 45 minutes
Focus: Experiencing the dynamic changes of the music, strengthening the steady beat,
a n d exploring t h e r h y t h m i c pattern i n m u s i c b y singing, listening, a n d pl ayi ng.
T h e l e a d i n g t h e m e is the a d v e n t u r e in the w o o d s o n a C h i l d r e n a r e e n g a g e d i n a c ti vitie s t h a t e n c o u r a g e

rainy d a y, a n d the m u s i c a l m a i n t h e m e is the d y n a m i c t h e m to
changes of the music, which are expressed b y sing-
ing, m o v i n g , a n d playing with b o d y percussion a n d > sing the familiar songs with others;
rhythmic instruments. Children will also get to k n o w
the musical s i g n s p i a no (p) a n d forte (f).   > play the easy rhythmic pattern with chopsticks to
music they hear;
> listen to the d y n a m i c changes in music;
> m o v e , dance, a n d reflect the d y n a m i c changes b y

moving;
> m a k e a simple choreography for the music;
> improvise b y the m u s i c that w e listen to;
> p la y d y n a m i c c h a n g e s w i t h the d r u m s

moving, perceiving a n d improvising.
67
Troll S o n g
Ulla Piispanen
&##42 œ œ œ œ œ œ œ œ œ œ œ œ
Here is a m u - sic troll and her name is For - te.
Here is a m u - sic troll and his name is Pia - no.
&## œ œ œ œ œ œ œ œ œ œ œ œ Œ
When she is play - ing drum, the s o u n d is big and loud.
When he is play - ing drum, the sound is gent - ly small.
> ACTIVITIES 9. We sing the “Troll S o n g ” and play it with body

pe rc us s io n a n d d r u m s .
1. First, w e s i n g t h e w e l c o m e s o n g , “ N i c e t o s e e y o u
here”, for all the children with their n a m e s (notation o n 10. T h e children sit o n the floor w i t h long ribbons
page 59). attached to the stick (used in rhythmic gymnastics).
T h e t e a c h e r h a s t o l d t h e m t h a t t h e y a r e n e a r w a t e r,
2. We talk about the rain and different dynamics in rec- w h i c h is first a small brook, then a big river a n d finally
itative a s if w e w e r e little o r b i g w a t e r d ro p s , thunder, a big sea. T h e y are s u p p o s e d to listen t o the d y n a m i c s
or lightning. of the m u s i c a n d “ d r a w ” t h e m w i t h the r ib b ons . A f t e r
this, they listen to the music again, and they can “paint”
3. We imitate different w a t e r d ro p s through o u r m o v e - t h e m u s i c o f t h e m o v i n g w a t e r o n t h e p a p e r. ( M u s i c :
ments and body percussion. We pretend to put on Smetana, T h e Moldau).
suitable clothes for a rainy day. C h ild ren suggest w h a t
w e ne e d , h o w to w e a r these clothes, a n d h o w to m o v e 11. We sing the g ood -b ye song, “ T h a n k y o u ” (notation
w i t h these clothes o n . o n p a g e 5 8).
4. We listen to the recording Water Droplets by Sibelius. N ow it’s time to thank you all; it is time to go back home.
Thanks for all m y dearest friends; w e will meet again!
5. We play the rhythmic pattern, Lit-tle wa-ter-drop
(ta-ta-ti-ti-ta) w i t h o u r fingers a n d chopsticks to Wa t e r
Droplets.
6. We “go” to the woods with the familiar song “Railway

b a n d ” b y singing a n d m o v i n g (notation o n p a g e 59).
7. We f i n d t h e trolls d a n c i n g i n a circle in t h e w o o d s ,
a n d w e join t h e troll d a n c e : I n t h e first e i g h t b ars , w e
walk 16 steps clockwise; in the next eight bars, 1 6 steps
c o u n t e r c l o c k w i s e ; i n the n e x t eight bars, to the center
a n d ba c k; a n d in the final eight bars, w e w a l k a g a i n to T h e teacher c a n take f e w e r things in the first
the c e n t r e a n d b a c k . lesson a n d concentrate o n those parts that chil-
d r e n a r e i n s p i r e d b y. A t t h e e n d o f t h i s l e s s o n ,
(Music: Peikkokansan tanssi Hilla ja Liisi, Troll People´s the teacher will h a v e ideas f or the f o l l o w i n g les-
Dance, available o n Spotify). s o n s . A l t h o u g h t h e p a i n t i n g t a k e s q u i t e a lot o f
t i m e , it is w o r t h d o i n g ! It is g o o d t o r e m e m b e r
8 . W e f i n d t h e h o u s e o f t h e t w o little trolls f r o m t h e that there should always b e time for “ m o v i n g
w o o d s , a n d w e visit them. T h e trolls are called Forte ja m o m e n t s ” after activities w h i c h r e q u i r e a lot o f
Piano, and the teacher sings a song for both of them, concentration.
w h i c h the children imitate.  

68
LESSON PLAN FOR

Title: Marching and Dancing With … Surprises

D u r a t i o n : 3 x 4 0 - m i n u t e lessons
Focus: Experiencing t h e steady beat of music, the r h y t h m values of crotchets a n d quavers (quarter- a n d eighth
notes) as well as differences in dynamics b y chanting, singing, moving, listening, and playing musical instruments.
> PEDAGOGICAL REFLECTIONS > ACTIVITIES
Surprises and contrasts in music are often present in 1. Children are sitting in a circle, a n d w e tell t h e m that
musical pieces in terms of dynamics, metre, tempo, it’s a great day, so w e will go o n a “parade” in the park.
articulation, o r f o r m . I n this lesson p lan , w e a p p r o a c h T h e s u n is shining, a n d s u m m e r is coming. We say the
contrast t h r o u g h d y n a m i c s , fo cu s in g a l s o o n r h y t h m i c following r h y m e a n d ask the children to tap the steady
c o n c e p t s . T h i s is just a n i n t r o d u c t o r y u n i t t o c o n t r a s t b e a t o n d i ff e r e n t p a r t s o f t h e i r b o d y e a c h t i m e u n t i l
d y n a m i c s ; t h e r e is a g r e a t a r r a y o f activities t h a t c a n t h e y learn s o m e o f the w o r d s (ti-ti-ti-ti-ti-ti-ta o r ti-ti-
b e o rg an i z e d i n o r d er to w o r k in-depth w i t h d y n a m i c s ti-ti-ta).
in music.
Such a sunny day outside; let’s go for a little ride.
Sun is shining in the sky; birds sing all along.
> OBJECTIVES Let’s go on a big parade; put a big smile o n your face.
S u m m e r n o w is o n the w a y ; put your swimsuits o n !
C h i l d r e n a r e e n g a g e d i n a ctiv itie s t h a t e n c o u r a g e
t h e m to 2. W e a s k t h e c h i l d r e n t o s t a n d u p a n d f o l l o w us . W e
w a l k in a line around the r o o m while w e say the r h y m e
> p e r f o r m t h e r h y m e a n d t h e n s i n g the lyrics w i t h the a n d p l a y the s t e a d y b e a t o n the h a n d d r u m , a n d all the
m e l o d y o f t h e m a i n t h e m e o f H a y d n ’s S u r p r i s e S y m - children fol low u s m a r c h i n g to the steady beat.
phony;
3. W e t h e n c h a n g e f r o m m a r c h i n g t o t h e s t e a d y b e a t
> m a r c h to r e c o r d e d m u s i c o n the s t u d y beat; to w a l k i n g o n e v e r y syllable o f the r h y m e ( w a l k i n g t o
t h e r h y t h m i n s t e a d o f t h e s t e a d y b ea t). S o , at t h e e n d
> play the rhythm of crochets and quavers on claves of each phrase, w e stop longer to show the quarter
and boomwhackers; note. We repeat several times using b o th the lyrics a n d
the syllables ti-ti-ti-ti-ti-ti- ta or ti-ti-ti-ti-ta.
> w a l k a n d s p e a k the r h y t h m o f a r h y m e a n d m e l o d y ;
4 . W e sit d o w n i n t h e circle, a n d w e g i v e e a c h c h i l d
> i d e n t i f y t h e d i ff e r e n c e i n d y n a m i c s a n d b e a b l e t o claves to play the r h y t h m o f the r h y m e .
respond accordingly through movement and playing
instruments; 5. We n o w s i n g the m e l o d y o f the r h y m e b a s e d o n the
m a i n t h e m e o f H a y d n ’s S u r p r i s e S y m p h o n y a n d t h e n
> play a melody from a graphic notation score on teach the “ s o n g ” w i t h the m e t h o d “ f o l l o w the leader,”
boomwhackers singing one phrase and then having the children echo
the phrase. In the various repetitions, w e either tap
b y singing, p l a y i n g i n s t r u m e n t s , listening t o m u s i c , t h e s t e a d y b e a t , c l a p t h e r h y t h m , s a y it s o f t l y, p a s s a
moving, and improvising.   p u p p e t t o o n e ’s n e i g h b o u r o n t h e s t e a d y b eat , a n d s o
forth.
69
Surprise Symphony
Franz Joseph Haydn

Theme from Andante
œ.œ.
&42fœ. œ. œ.œ. œ.œ. œ> œ.œ. œ.œ. œ.œ.œ> œ.œ.œ.œ. œ.œ. œ>
#œ.œ. >˙
9
œ.œ.
&pœ. œ. œ.œ. œ.œ. œ> œ.œ. œ.œ. œ.œ.>œ œ.œ.œ.œ. œ.œ. œ> 
#œ.œ. >˙
6. We listen to the b e g i nn in g o f the recording Surprise dren that w h e n w e see smaller shapes, the s o u n d is
S y m p h o n y b y H a y d n . We ask children to c o m m e n t o n shorter, and w h e n w e see longer ones, the s o u n d is lon-
t h e m u s i c h e a r d . It is e x p e c t e d t h a t t h e y i d e n t i f y t h e ger. We a t t e m p t t o p l a y t h e b o o m w h a c k e r s f o l l o w i n g
rhyme/song taught and c o m m e n t o n the dynamics, the g r a p h i c s c o r e . We p ra ct ic e m a n y times, a i m i n g at
especially t h e loud, s u r p r i s i n g s o u n d at t h e e n d o f the the e n d to play the m e l o d y o n b o o m w h a c k e r s a n d sing
main melody. at t h e s a m e t i m e . T h e t e a c h e r p l a y s t h e c l a v e s a t t h e
final phrase, and the children shout “Storm!” at the end.
7. We listen again, s t a n d u p in the circle, a n d tiptoe t o
the rhythm, singing softly the w o r d s taught. We ask the
children w h a t could possibly h a p p e n in o u r w a l k w h e n
t h e r e is t h e u n e x p e c t e d l o u d s o u n d i n t h e m u s i c , a n d
w e suggest that one possible idea could be thunder
revealing that a s t o r m is c o m i n g . We d e c id e that w h e n
w e hear the loud s o u n d , w e will s a y the w o r d “storm,”
a n d w e repeat the activity.
10. We listen to the recording “March Past of the Kitch-
8 . W e t h e n t a k e a n u m b r e l l a a n d tell t h e m t h a t t h e y e n U t e n s i l s ” f r o m t h e p i e c e T h e Wa s p s c o m p o s e d b y
should attempt to continue their walk, but because Va u g h a n Wi l l i a m s , a n d w e a s k t h e c h i l d r e n t o m o v e
they had already had hints about the storm coming, freely to the music and listen carefully. I n the end, they
they should be precautious since the weather is not sit i n t h e circle, a n d w e a s k t h e m t o m a k e their c o m -
stable. W e p u t h u l a - h o o p s ( o n e for e v e r y child o r o n e ments about the piece. We ask them what the story
for t w o c h i l d r e n a c c o r d i n g t o t h e n u m b e r o f t h e chil- might b e in this piece.
dren in the class) d o w n o n the floor and explain that be-
cause w e do not have enough umbrellas to give them, 11. T h e teacher tells children that last n i g h t in his/her
the h u l a - h o o p s will b e their h o m e s t o r u n to w h e n the h o u s e all t h e k i t c h e n u t e n s i l s w o k e u p v e r y l a t e a n d
r a i n s t a r t s t o fall. W h e n t h e m u s i c t h e y a r e l i s t e n i n g wanted to have fun. T h e y w a n t e d to m a k e a parade like
t o is s o f t , t h a t m e a n s t h a t t h e s u n is o u t , a n d t h e y g o the children t h e m s e l v e s d i d be fo re , but t h e y h a d to b e
o u t w i t h their f r i e nd s, d a n c i n g a r o u n d w i t h c o l o u r f u l quiet a s they did not w a n t to w a k e a n y o n e up. So, they
scarves. W h e n the music b e c o m e s loud, they need tip-toed, but, unfortunately, there w e r e s o m e m o m e n t s
to run very quickly to one of the hula-hoops (home) that t h e y w e r e n o t s o careful. T h e y fell o n t h e s p o o n s
to pr ot ec t t h e m s e l v e s f r o m g e ttin g w e t . T h e y s h o u l d , a n d forks in front o f t h e m , a n d there w a s a loud noise.
though, c o n t i n u e d a n c i n g w i t h their s c a r v e s inside the T h e teacher w o k e u p b u t p r e t e n d e d s / h e d i d not, s o a s
h u l a - h o o p . T h i s p r o c e d u r e i s f o l l o w e d t h r o u g h o u t the no t to disturb the m a r c h i n g party.
piece, Slavonic D a n c e op.46, N o . 8 by Dvorak.
12. We give children plastic or w o o d e n spoons or other
9. Children return to the circle. We s h o w the following ki tc he n utensils to u s e as m u s i c a l instruments a n d a s k
graphic representation o f the melody o f H a y d n ’s theme t h e m to pretend they are the kitchen utensils marching.
to b e p l a y e d w i t h b o o m w h a c k e r s a n d c l a v e s , a n d w e T h e t e a c h e r s u g g e s t s that t h e y s a y the w o r d “ B o o m ! ”
give o n e b o o m w h a c k e r t o e a c h child. We tell the chil-   along with the loud sounds. T h e children try to fin d the
right m o m e n t to c h a n g e f r o m soft to loud.

70
MICHAEL DARTSCH
LESSON PLAN FOR

Title: Wi t h Little a n d Big Steps

F o c u s : E x p e r i e n c i n g t h e d i ff e r e n c e b e t w e e n a p u l s e a n d t h e d o u b l e t i m e p u l s e o n
different p e r c e p t i o n c h a n n e l s a n d trying t o act m u s i c a l l y in b o t h w a y s .
T h e d i f f e r e n c e b e t w e e n a p u l s e a n d its d o u b l e t i m e C h i l d r e n a r e e n g a g e d i n a ct iv itie s t h a t e n c o u r a g e
pulse is applied to different m e d i a a s singing, m o v i n g t h e m to
a n d p e r c u s s i o n . It c a n a l s o b e p e r c e i v e d b o d i l y. T h i s
p r e p a r e s c h i l d r e n t o learn traditional r h y t h m s y m b o l s > sing their n a m e s o l o in the greeting s o n g ;
for crotchets a n d q u av er s.  
> m o v e f o r w a r d w i t h little a n d b i g s t e p s a n d a d a p t
these to the m u s i c ;
> listen and sing the song “Steps” (notation o n page 72);
> tap quavers and crotchets as a pulse and double

time pulse, respectively, o n the floor and o n percussion
instruments after ha vin g explored t h e m ;
> c o m b i n e the s o n g w i t h a little d a n c e f o r m ;
> tap crochets and quavers as a steady beat and the

d o u b l e t i m e p u l s e , r e s p e c t i v e l y, o n t h e n e i g h b o u r i n g
child’s back;
> identify the t a p p i n g o n on e ’s o w n b a c k as either t h e

pulse o r the d o u b l e t i m e pu ls e o f the other activities;
> m o v e to a recorded piece of music in pulse and

double time pulse, finding the right m o m e n t s to
c h a n ge ;
> connect notation s y m b o l s to the pulse a n d the

do ub le t i m e pulse o f the other activities;
> listen t o the s o n g r e c o r d e d a s a c a n o n a n d r eco gni z-

ing it

moving, perceiving a n d thinking.
71
N o w w e are together
Michael Dartsch
&bbb 44 œ. œœ œ œ œ œ œ œ ‰œ
J œ œ
are to ge ther, what e v er the wea ther!
Now we
3 rit. U
&bbb œ. œœ œ œ œ œ ‰ œ
J œ Œ
Now w e are to ge ther: we and Till!
you and me!
T h e last t w o w o r d s (or the last word, w h i c h is the n a m e of the child) is sung as a solo b y the child. In the
last verse everybody sings the end making gestures for “you” and “me”.
Further notations o n page 72
> ACTIVITIES 8. We a s k the children to sit in pairs o n the floor. O n e

child taps the pulse or the double time pulse on the
1. Wi t h the group, w e sing the greeting s o n g “ N o w w e b a c k o f t h e o t h e r. T h e o n e w h o d o e s n o t t a p b u t
are Together,” w h i c h is s u n g at the b eg in n in g of every perceives the tapping identifies it as little o r big steps.
lesson. W e s i n g a n extra v e r s e f o r e v e r y b o d y a n d e n -
c o u r a g e e v e r y child t o s i n g h e r o r his n a m e at the e n d 9. We m o v e together to a re c o rd ing o f the m a r c h
of her or his verse. from Tchaikovsky’s Nutcracker Suite. We encourage
t h e c h i l d r e n t o f i n d o u t w h e n little a n d b i g s t e p s a r e
2. We ask the children to try to g o w i t h little steps a n d suitable to the music.
w i t h big steps.
10. We write eighths and quarters o n a blackboard,
3. We p l a y or i m p r o v i s e m u s i c a n d e n c o u r a g e t h e whiteboard, or paper and ask the children what they
c h i l d r e n t o g o w i t h little s t e p s a n d b i g s t e p s a n d t o could be. We confirm that these are little a n d big steps.
a d a p t their s t e p s t o the p u l s e o f the m u s i c . W i t h f o u r- y e a r- o l d s , o n e c h i l d m a y t a p o n t h e n o t e s
while the others clap the pulse and the double time
4. We teach a n d sing the s o n g “Steps” (notation o n pulse, respectively.
p a g e 72).
11. We ask the children to listen to a recording of “Steps”
5 . To g e t h e r, w e t a p q u a v e r s a n d c r o t c h e t s a s a p u l s e s u n g a s a c a n o n , w h i c h w e r e c o r d e d b e f o r e t h e lesson
and the double time pulse, respectively, o n the floor. (we first record our singing acapella, and then w e record
o u r s i n g i n g t o t h e first r e c o r d i n g ) . W e e n c o u r a g e t h e
6. We encourage the children to explore percussion children to try to sing w i t h o n e o f the parts.
instruments for a while. Then w e play eighths and quar-
ters as a pulse a n d the d o u b l e time pulse, respectively, 12. Together, w e sing the final song “Let’s say goodbye”
o n the p er c u ssi o n i n s t r u m e n t s together. (n ota tio n o n p a g e 72 ), w h i c h is s u n g at t h e e n d o f e v -
ery lesson.
7. W e s i n g t h e s o n g w i t h t h e g r o u p , s t a n d i n g i n a b i g
circle. We c o m e together in the centre of the circle a n d
step b a c k again while w e play the pulse a n d the double
time pulse with the percussion instruments all together.  

72
Steps
Michael Dartsch
&##42 œj œ œ œ œ œ œ œ œ œ œ œ œ
With lit tle steps I go way, I go a w i th
my head
4
2
&## œ œ œ œ œ œ œ œ œ œ œ œ œj
out de lay. With big steps I go, with fun I do so.
lSteps als K a n o n
M i c h a e l D a r t s M i c h a e l M i c h a e l D a r t s c h D a r t s c h
Alt 1 lt 1
&## 42 42#œ œœœjœœœ œ œjœœœœœœœ œ œœ œœ œœ œ œœœœ
Alt 2   Alt 2
&## 42 42#œj œj œ œœ œ œ œœ œ œœ œœ
5 ##5 œj
œœ œ œ
& &œ# œ # œ œj œ œ œ œœ œ œ œj
## œœ œœ œœ œ  j œ  œj
&œ## œœ œœœjœ œœœœœœ œ 
&  œœ 
Let’s s a y g o o d b y e
Michael Dartsch
&#85 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Let's say g o o d -bye! Let's s a y g o o d -bye. Next w e e k we'll s a y hel - lo and hi!
&# œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ‰
We ' l l m e e t a - gain, this will be, w h e n s e - v e n d a y s h a v e p a s s e d by!

73
T h e be ar f a m i l y
D A7 D
œ œ œ
&##42 Ta-a,  ˙
t a -a,  
œ
dad  -  dy  -  bear 
œ
is   wal   - 
5  D A7 D
&# œ œ Œ
˙ 
Ta-a, ˙
t a -a,   wal - k i ng   in  
œ
the  w oœ
ods. 
9  D A7 D
œ œ
&# œ œ œ
œ
Ta, 
œ
ta,  
œ
ta,  
œ
ta,   m o m - m y - bear  is   wal   -  king.
13  D A7 D
&# œ œ Œ
œ
Ta,  œ
ta,  
œ
ta,  
œ
ta,   wal - king  in  
œ
the 
œ
woods. 
17  D
&# œ œ œ
œ -  œ
Ti  ti, ti  - 
œ
ti, 
œ œ
ti   -   ti, ti  - 
œ
21  D A7 D
&# œ œ inœ Œ
œ- ti,œ œ
Ti ti - ti,   œ œ œ
ti - ti, ti - ti,   wal - king the  w oœ
ods. 

74
ULLA PIISPANEN
LESSON PLAN FOR

Title: Trip to the F a r m

F o c u s : P l a y i n g the h a r m o n y c h o r d s I, V, I V o n kantele o r xylophone s ; k e e p i n g a steady

b ea t, w h i l e m a k i n g r h y t h m i c p a t t e r n s t o g e t h e r w i t h t h e g r o u p .
All the songs are supposed to be learned b y ear; the C h i l d r e n a r e e n g a g e d i n a c ti vitie s t h a t e n c o u r a g e

teacher will also introduce the musical elements, no- t h e m to
tation, e t c . B e s i d e m u s i c a l e l e m e n t s , t h e r e a r e m a n y
phy si c a l activities i n the l e s s o n for 5 – 6 - y e a r- o l d chil- > sing “Incy Wincy Spider,” “Old M a c Donald,” and
dren. T h e s e i n c l u d e exercises for g r o s s - m o t o r a n d ot he r s o n g s w i t h the g r o u p ;
fine-motor skills as well as d an c e elements a n d impro-
vis ati on . C h i l d r e n a r e a s k e d t o listen t o t h e h a r m o n y > learn the h a r m o n y of the “Incy Wi n c y Spider” a n d
o f t h e f a m i l i a r s o n g s , b u t w h e n p l a y i n g t o g e t h e r, t h e “Old Mac Donald”;
teacher s h o w s t h e s i g n s o f C h o r d s I (picture o f s t r a w -
b e r r y a n d I), V ( b l u e b e r r y a n d V ) a n d I V ( c l o u d b e r r y > keep the basic beat while doing rhythmic patterns
and IV). If there is enough time, children can do a paint- w i t h b o d y pe rcu s si on a n d d r u m s ;
ing o f the s e a a n d its habitants. If not, the painting c a n
be do ne in the following lessons.   > learn the initial positions, m o v e in various w a y s , a n d
react to the rest or p a u s e in the m u s i c ;
> k n o w the space around themselves a n d to use the

space w i d e l y w i t h the m o v e m e n t exercises;
> improvise different movements;
> learn to play “Incy Wincy Spider” and “Old M a c

D o n a l d ” o n the kantele o r xylophones;
> p a int the p ic ture o f the s e a a n d its h abi ta n ts
b y s i n g i n g , p l a y i n g i n s t r u m e n t s , listening, m o v i n g ,
and improvising.
75
Hobby horse Timo Klemettinen and Ulla Piispanen

-  ding my  hob 
Dm with 
&b42  œ. œ œ . œ œ
Ri 
5 A7
œ. œ œ. œ. œ œ.
&b . œ œ. œ œ œ
When  we’ll end   our  ri  d i n g d a y,   we’ll  say hip  h u r   - 
- 
Dm A7
9 
œ. œ œ.
&b . . œ œ h o.b   œ œ
Ri  w i th  
-  ding with  my  -  b y h o r se ,   m y friend,  
> ACTIVITIES 8. We “ride” to the seaside n e a r b y the f a r m o n horses,

and w e sing the s o n g “ H o b b y horse.”
1. W e s i n g t h e w e l c o m e s o n g ” N i c e t o s e e y o u h e r e ”
( n o t a t i o n o n p a g e 5 9 ) f o r all t h e c h i l d r e n w i t h t h e i r 9. We talk a b o u t the s e a a n d its habitants. C h i l d r e n lie
names accompanied by body percussion or harmony d o w n o n t h e b e a c h a n d listen t o t h e w a v e s , a n d t h e y
i n s t r u m e n t s s u c h a s t h e k a n t e l e o r x y l o p h o n e . I n this i m p r o v i s e m o v e m e n t s s u c h a s t h o s e o f a s e a s t a r, a
activity, children a l s o learn to p l a y t h e m e l o d y o f this jellyfish, m u s s e l , s e a b r e a m , s e a h o r s e a n d p e r h a p s a
familiar song. Every child will also have time to tell his q u i c k little f i s h ( w i t h o u t c o l l i d i n g w i t h o t h e r p art i ci -
or her story of the day. pants). (Music: ”Meer” by Martin Buntrock)
2. We s i n g the last w e e k ’s s o n g “ I n c y Wi n c y S p i d e r ” 1 0 . W e pa int t h e e x p e r i e n c e s at t h e s e a s i d e w i t h

and play the h a r m o n y with kantele, xylophone, o r other watercolours.
h a r m o n y instrument.
11. We sing and play the ha rm ony /me lo dy of the good-
3. We “ g o to the f a r m ” b y u sin g different m o v e m e n t s . by e song, “ T h a n k y o u ” (notation o n p a ge 58).
T h e children walk, run, jump, gallop, etc. and w h e n the
m u s i c stops, t h e y s t o p a n d g o v e r y fast to initial po s i- N ow it’s time to thank you all; it is time to go back home.
tions that the teacher c h o o s e s (standing, s t a n d i n g w i t h Thanks for all m y dearest friends; w e will meet again!
l e g s o p e n , sitting, s i t t i n g w i t h l e g s o p e n , s i t t i n g w i t h
legs crossed, sitting o n knees, kneeling o n o n e knee,
squatting, lying o n one’s back, lying on one’s stomach).
( M u s i c c a n b e s o m e t h i n g that h a s a g o o d s t e a d y b ea t,
such as the ”Pie in the Face Polka” by Mancini.
4. W e t a l k a b o u t life o n t h e f a r m a n d s i n g “ O l d M a c
Donald.” T h e teacher c a n take f e w e r things in the first
lesson a n d concentrate o n those parts that chil-
5. We learn rh yt h m i c patterns a n d u s e b o d y percussion d r e n a r e i n s p i r e d b y. A t t h e e n d o f t h i s l e s s o n ,
to m a k e t h e m . the teacher will h a v e ideas f or the f o l l o w i n g les-
s o n s . A l t h o u g h t h e p a i n t i n g t a k e s q u i t e a lot o f
( C o w s a n d pigs, h o r se a n d chicks/ ti-ti-ta, ti-ti-ta) t i m e , it is w o r t h d o i n g ! It is g o o d t o r e m e m b e r
(O ld M a c d o n a l d h a d a F a r m / ta ta ti-ri-ti-ri ta) that there should always b e time for “ m o v i n g
m o m e n t s ” after activities w h i c h r e q u i r e a lot o f
6. We play the s o n g w i t h patterns w i t h d ru ms . concentration. T h e idea is that the next t h e m e
of the l e s s o n will b e the s e a a n d its habitants,
7. We p l a y the h a r m o n y o f “ O l d M a c D o n a l d ” o n t h e so the teacher can lead the children to the n e w
kantele, x y l o p h o n e o r other h a r m o n y instrument.   t h e m e g rad ua lly.

76
LESSON PLAN FOR

Title: A Musical Journey to Mexico

Focus: Introducing the rondo form through
enactive and iconic representation of knowledge
Yo u c a n u s e a s o n g o r a m u s i c a l p iec e i n A B A o r A B Children are engaged in activities that will encourage

or R o n d o ( A B A C A ) f o r m a n d invite children to think a n d support t h e m to
a b o u t m o v e m e n t s t o fit e a c h p a r t o f t h e m u s i c . T h i s
could be a single m o v e m e n t for each part. Moreover, in > Sing in tune the song “Joy is in the Air”
different parts, children c a n p l a y different m u s i c a l in-
s t r u m e n t s . O l d e r c h i l d r e n c a n p l a y different r h y t h m i c > Identify the melody of the “Joy is in the Air” whenever
patterns that fit w i t h the m u s i c . T h e y c a n also u s e pic- it appears in “La Raspa”
tures o r d r a w their o w n pictures t o re p res e n t t h e f o r m
in a w a y t h e y c a n u n d e r s t a n d . F o r m is a p p r o a c h e d > Play the recurrent rhythmic pattern of Part A on
through the enactive and iconic representation o f claves w h e n e v e r it appears in “La Raspa”
knowledge (Bruner, 1960).
> S u g g e s t different m o v e m e n t s f o r t h e three different
We will w o r k w i t h the w i d e l y k n o w n M e x i c a n d a n c e , parts of “La Raspa” and decide altogether o n a
La Raspa, which has an obvious A B A C A form. A good choreography
exercise before y o u introduce the music to the children
is t o p u t lyrics to t h e A p a rt o f t h e r o n d o , s i n g it w i t h > S h o w with iconic/ graphic notation or with a series of
the children as a song a n d m a k e the m e l o d y familiar different instruments t h e structure o f “ L a R a s p a ”
to them. This w a y, w h e n they are listening to the piece,
they can immediately recognize the part they k n o w > Play the recurrent rhythmic pattern with claves
a n d c o m p a r e it w i t h the rest o f the parts.   in Part A and the steady beat o n parts B and C with
tambourines a n d e g g shakers, respectively.
77
La Raspa
Mexican Folk Song
&#86 œj œ œj œ œj œ ‰Œ œj œ œ œ œ œj œ ‰Œ œj
A
&# œ œj œ œj œ ‰ Œ œj œ œ œ œ œj œ ‰ Œ .
5
> ACTIVITIES pa tt ern w i t h c l a v e s a n d c h a n g e to e g g s h a k e r s in P a r t

B with the steady beat and to tambourines in Part C.
1. Wa r m - u p activity and/or o p e n i n g s o n g I n s t e a d o f e a c h c h i l d ’s u s i n g t h r e e i n s t r u m e n t s , w e
could h a v e three different g rou ps .
2. We use the following lyrics to the main melody of “La
Raspa”. 8. We s h o w a graphic representation of the r ondo f o r m
by putting d o w n the instruments in the order played:
The music is so nice; n a m e l y, claves, e g g s h a k e r s , claves, tambourines, a n d
w e dance, g oi n g low a n d high claves. T h e n w e explain that w e h a v e a r epe ate d m a i n
in a circle and in pairs t h e m e , a n d b e t w e e n its repetitions, w e h a v e d iffer e nt
and jo-oy is in the air. parts. We c a n t h e n ask the children to d r a w o n a pie c e
of paper their ow n graphic representation of “La Raspa”.
We teach the lyrics and the melody in the usual w a y w e
introduce a n d w o r k w i t h a n e w song. 9. A t t h e e n d o f the l e s s o n a n d after w o r k i n g o n
responding to the piece b y singing the main theme,
3. We de ci de w i t h the children o n s o m e m o v e m e n t s to playing along with musical instruments and dancing/
accompany the song, and we practice them while singing. moving, w e can divide the children into two groups
(the singers, dancers, a n d the musicians with instru-
4. We listen to the Mexican dance “La Raspa”. Children m e n t s ) . T h e n , w e c a n h a v e t w o final p e r f o r m a n c e s o f
identify the s o n g while listening, a n d w e encourage the piece, with the children switching roles.
them to sing along w h e n they hear the familiar melody.
10. G o o d b y e s o n g
5. We can show them in the map where Mexico is, discuss
the song: if they liked it, if they had heard it before, etc. It
is expected that they will mention hearing the song they
had learnt. We can listen to “ L a R a s p a ” o n c e m o r e a n d
the children c a n sing a n d d a n c e w h e n they identify the
song and stay still when the music is different.
6. We ask the children in a repeated listening t o impro-

vise m o v e m e n t s a n d t h e n s h a r e their ideas a b o u t parts
B a n d C . U s i n g their ideas, w e decide together o n spe-
cific m o v e m e n t s f o r each part to m a k e a choreography T h i s l e s s o n is p l a n n e d t o b e t a u g h t i n t w o
of the w h o l e piece. A n o t h e r idea could b e that children 4 5 - m i n u t e teaching periods. T h e first pe rio d will
improvise d an c i n g m o v e m e n t s in Part C. probably end with Activity 6, and in the second
w e can repeat the second a n d sixth activities
7. We orchestrate each part and play along with the b e f o r e m o v i n g to the n e w o n e s . H o w e v e r, it c a n
music, using a different musical instrument: F o r e x a m - a l s o b e t a u g h t in 3 3 0 - m i n u t e l e s s o n s .
ple, in Part A , the children play the recurrent r h y t h m i c  

78
MICHAEL DARTSCH
LESSON PLAN FOR

Title: Pastoral
F o c u s : A c t i n g musically i n the six-eight t i m e
signature and getting to k n o w the scale.
The six-eighths-bar is introduced through the pasto- C h i l d r e n a r e e n g a g e d i n a c ti vitie s t h a t e n c o u r a g e

ral t h e m e , w h i c h is i n d e e d c o n n e c t e d w i t h that b a r i n t h e m to
the hi st or y o f m u s i c . A m e l o d y inspired b y a p a s to ra l
can be easily accompanied o n guitars, w h e n the strings > sing their n a m e solo in the greeting song;
are t u n e d to d a n d a, o r w i t h i n d i v i d u a l m e t a l l o p h o n e
bars. The scale is sung and played first. Afterwards, it is > sing the “ S o n g for the Shepherd” (notation o n
s h o w n in musical notation s o that it can b e recognized.   page 81);
> explore guitars or individual metallophone bars;
> accompany the song on guitars o n open strings or

with individual metallophone bars;
> play scales o n mallet instruments;
> identify the notation s y m b o l s of a scale as the second

part o f the s o n g ;
> process s o m e information about a piece from the

history of music;
> m o v e their h a n d s to a re co rde d piece of m u s i c w h i l e

listening to the c o m i n g in of the winds;
> d a n c e to a re c ord e d p ie c e of music, finding the right

m o m e n t s t o c h a n g e t h e character;
> improvise o n the basis o f a n extra-musical idea

moving, and thinking.
79
H a v e a gr eat t i m e
Michael Dartsch
&b86 œ œj œ. œ œj œ. œ œ œ œ œ œ ˙.
Have a great, have a great, have a great, h a v e a great time!
5 1. 2.
&b œj œ œ. œj œ œ. œ œ œ œ œj œ œ œ œ œ œ .. ˙ . .
Get h o m e safe, get h o m e safe! H a v e a great time, g o o d - b y e -y e - ye-y e - y e ye! bye!
Further notations o n pages 80– 8 1
> ACTIVITIES 10. We d a n c e to the “Intrada” f r o m Bastien a n d Basti-

enne. We m o v e as relaxed s h e e p w h e n the strings p la y
1. Wi t h t h e g r o u p , w e s i n g t h e g ree tin g s o n g “ W h o is a n d c o m e together i n the m i d d l e o f the r o o m , pre te nd-
h e r e ” ( n o t a t i o n o n p a g e 8 0 ) , w h i c h is s u n g at t h e b e - ing to be afraid of the wolf, w h e n the winds play.
ginning of every lesson. In the middle every verse, four
children m a y sing their n a m e s solo. 11. We discuss h o w w e could play a piece of music that
features t h e s h e e p a n d the w o l f o n mallet instruments.
2. We speak the text of the “ S o n g for the Shepherd” A f t e r collecting s o m e ideas, w e i m p r o v i s e t o g e t h e r a
( n o t a t i o n o n p a g e 8 1 ) a s if w e w e r e s p e a k i n g t o t h e sheep story on mallet instruments, changing between
children a n d use the fingers for the counting section. the character of relaxation a n d of being afraid. T h e
We s p e a k the text together a n d u s e o u r fingers f o r the piece be gi ns a n d e n d s w i t h relaxation. In-between, t h e
counting section. w o l f c o m e s four times as in the d a n c e before.
3. We teach the m e l o d y a n d s i n g the s o n g together. 12. Together, w e sing the final song “Have a great time,”
w h i c h is s u n g at the e n d of every lesson.
4. We encourage the children to explore guitars, w h i c h
a r e t u n e d t o d a n d a, o r i n d i v i d u a l m e t a l l o p h o n e b a r s
for a while.
5. We s i n g t h e s o n g a g a i n w i t h t h e g r o u p a n d a c c o m -
p a n y it t o g e t h e r o n t h e g u i t a r s o r i n d i v i d u a l m e t a l l o -
p h o n e bars.
6. We a s k the children to p la y s c a l e s o n mallet instru-

m e n ts.
7. W e w r i t e a D m a j o r s c a l e o n a b l a c k b o a r d , w h i t e -
board, o r paper. O n e child m a y point to the notes while
the o t he rs s i n g the scale. We talk a b o u t the n u m b e r o f
the notes in a scale.
8. We g i v e s o m e s h o r t i n f o r m a t i o n a b o u t B a s t i e n a n d
Bastienne c o m p o s e d b y M o z a r t .
9. We listen to a recording of the “Intrada” from Bastien

and Bastienne. Wi t h our hands o n the floor, w e all play
grazing s h e e p w h e n the strings p lay a n d s h e e p leaping
up, frightened of the wolf, w h e n the winds play.  

80
W h o is he r e?
Michael Dartsch
&##44 œ‰ jœ œ‰jœ œ œ jœ œ ‰Œ œ œœ œœœ œœ

Hi, hel-lo! H o w are y o u to -d a y ? W h o is h e r e , w h o i s h e r e , w h o is h e r e , w h o is h e r e ?
&## œ œ œj œ ‰Œœ‰œj œ‰jœ nœ œœ œœ

Hi, hel-lo! H o w a r e y o u to - d a y ? W h o is here, w h o is here, w h o is here, w h o is h e r e ?
&## .˙ œ œ œ ‰ œj œ œ œ
Say! Ul - la is here! N a - tas - sa is here!
10
&## œ œ œ œ œ œ œ ‰ œjŒŒ ‰
Till is here! M i - c h a - el is here! Hi, h e l - lo! How
13
&## œ œ œ œ œ‰j Œ
œ œœ œœœ œœœ œœ œj œ‰jœ
œ hel-lo!
are y o u to-day? W h o is here, w h o is here, w h o is here, w h o is h e r e ? Hi, How
16
&## œ œ œœ œj‰Œ œŒnœ œ œ œ œ œ œœœ ˙ œ

are y o u to - d a y ? W h o is h e r e , w h o is h e r e , w h o i s h e r e , w h o is h e r e ? He ey!

81
Song of the Shepherd
Michael Dartsch
œ œj œ.
&##86 œ jœjœ sheep with you! 
œ Jœ œ jœ œ
She - pherd, take your   Lead them where the  grass is g re e n! To -
5 
œj œ œj œ. œ œj œ œ œ
&# œ œ œ Œ.
d a y is a bu  - 
sy   day f or y o u !  
Ma   - 
ny sheep I have  .
s een!  
9 
œ. œ. œ. œ. Jœ œ œ.
&# œ.
.
O n e,   tw o,   three,   four,   five,  
six,   se - ven  times
13 
œ. œ. œj œ
&# œ. œ. œ. œ.
o n e,   tw o,   t h r ee,  
four,   five,   six   se - ven  sheep!
.

82
AUTHORS BIOGRAPHIES
M I C H A E L D A R T S C H first w o r k e d at music schools a n d at the University of Cologne,

a m o n g o t h e r p la c es. H e e a r n e d hi s d o c t o r a t e in e d u c a t i o n a n d h a s h e l d a profes s or sh ip
for m u s i c education at the H o c h s c h u l e für M u s i k S a a r since 1996. T h e r e h e also teaches
violin didactics, elemental m u s i c p e d a g o g y ( E M P ) a n d educational science. H e received
the State Prize for University Teaching and recorded a C D with Haydn’s violin sonatas. His
publications include “Der Geigenkasten” (a violin method, 3 volumes) as well as “Mensch,
Musik und Bildung”, an introduction in music pedagogy, the “Handbuch Musikpädagogik”
(co-editor), “Didaktik künstlerischen M u s i z i e r e n s ” a n d m o s t recently the double v o l u m e
“ E M P kompakt” (Lexicon und handbook of EMP, with Meyer and Stiller). H e is spokesper-
son for the E M P G e r m a n y w o r k i n g group, chair of the Early C hildhood M u s i c Education
w o r k i n g gr o up in the European project “Strengthening music in society”, a n d m e m b e r of
the editorial b o ar d of the International Journal of M u s i c in Early Childhood.
Photo: © HfM Saar
NATASSA EC O NO MI DO U S TAV R O U is Professor of Music Education in the Department

of M u s i c a n d D a n c e at the University o f N i c o s i a in C yp rus . S h e h a s presented p a p e r s in
international conferences re ga rdi ng m u s i c curriculum, teachers’ a n d children’s attitudes
towards M u s i c as a school subject, early childhood m u s i c education, creativity, differen-
tiated instruction i n m u s i c teaching a n d learning, s t u d e n t s as curriculum co-negotiators,
and effective music teaching. H e r work has been published in refereed journals and books.
S h e is currently elected b o a r d m e m b e r o f the International S o c i e t y for M u s i c E d u c a t i o n
( I S M E ) a n d served in the b o ard of the European Association for M u s i c in Schools ( E A S )
in the pe rio d 2 0 1 5 - 2 0 1 9 . N a t a s s a h a s co-coordinated the de s ign a n d d e v e l o p m e n t o f the
latest C y p r u s National C u r r i c u l u m for M u s i c , after appointment b y the Ministry o f E d u -
cation i n Cy p ru s. S i n c e 2 0 1 2 s h e directs he r o w n early childhood m u s i c centre, offering
g ro u p m u s i c classes for children a g e d 8 m o n t h s – 7 years old.
Photo: © Tommi Mattila
U L L A P I I S PA N E N graduated with Master of M u s i c from the Sibelius-Academy in early

c h i l d h o o d m u s i c e d u c a t i o n a n d ka n te le pl ayi ng. S h e h a s b e e n teaching e a r l y c h i l d h o o d
m u s i c e d u c a t i o n a n d ka nt el e p la y in g i n E s p o o M u s i c Institute a n d at the m o m e n t s h e is
w o r k i n g in East Helsinki M u s i c Institute a s early childhood m u s i c education teacher a n d
c h i l d r e n ’s c h o i r c o n d u c t o r. P i i s p a n e n h a s b e e n a s a lecturer f r e q u e n t l y i n F i n l a n d a n d
a b r o a d a n d s h e h a s b e e n m e m b e r o f the A E C / E M U E a r l y C h i l d h o o d M u s i c E d u c a t i o n
w o r k i n g g r o u p in the E u r o p e a n project “Strengthening m u s i c in society”. B e s i d e educa-
tional w o r k s h e h a s b e e n w o r k i n g in F i n n i s h N a t i o n a l br oa dc a s ting c o m p a n y a s a r a di o
host in children p r o g r a m s . In addition, s h e ha s b e e n d o i n g n u m e r o u s children’s concerts
with Finnish S y m p h o n y Orchestras as a singer. Piispanen h a s be e n c o m p o s i n g m u s i c for
children a n d p u bl i sh e d m a n y s t u d y b o o k s as w e l l as recordings w i t h F i n n i s h S y m p h o n y
o rc hestras.
83
IMPRINT
Editory: European Music School Union (EM U)
Secretary General: Till Skoruppa, Taubenstr. 1, 10117 Berlin

Tel.: + 4 9 (0) 3 0 2 0 6 2 0 2 5 0
E-Mail: office@musicschoolunion.eu, Web: musicschoolunion.eu
Presidium: Philippe Dalarun, F R (President), Romain Asselborn, L U X (Vice-president), Csilla

Gál, HUN, Aleksandar Đurić, SRB, Paolo Ponzecchi, IT, Robert Vroegindeweij, N L
Published through the V d M Verlag, B o n n

IS BN 978-3-925574-99-3
Authors: Michael Dartsch, Natassa Economidou Stavrou, Ulla Piispanen

Layout: Jan Elson
© European Music School Union, 2022. All rights reserved.
N o part o f this publication m a y b e re pro du c e d i n a n y fo rma t w i t h o u t t h e pe rmis s ion o f the

European Music School Union.
This project is fu nd ed with support f r o m the European Co mmis s ion. T h i s publication reflects
o nl y the v i e w s o f the authors a n d the C o m m i s s i o n cannot b e he ld responsible for a n y u s e
w h i c h m i g h t b e m a d e of the information contained herein.
© European Music School Union, 2022. All rights reserved.
This project is f u n d e d with support f r o m the European Co mmis s ion. T h i s publication reflects
o nl y the v i e w s o f the authors a n d the C o m m i s s i o n cannot b e hel d responsible for a n y u s e
w h i c h m i g h t b e m a d e of the information contained herein.
IS B N 978-3-925574-99-3

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MICHAEL DARTSCH, NATASSA ECONOMIDOU STAVROU AND ULLA PIISPANEN

MUSIC RIGHT FROM THE START:

> MOVING TO MUSIC AND DANCING IN EARLY CHILDHOOD MUSIC EDUCATION 20

> THE ACTIVITY OF INSTRUMENTAL PLAYING FOR YOUNG LEARNERS 26

> LISTENING ACTIVITIES FOR YOUNG LEARNERS 32

> CREATIVE MUSICAL ACTIVITIES FOR YOUNG LEARNERS 37

> CONCERTS FOR AND WITH CHILDREN 43

> PEDAGOGICAL PRINCIPLES 46

> LESSON PLAN FOR 0–36-MONTH-OLD INFANTS OR TODDLERS 56

> LESSON PLAN FOR 0–36-MONTH-OLD INFANTS OR TODDLERS 60

> LESSON PLAN FOR 0–36-MONTH-OLD INFANTS OR TODDLERS 64

> LESSON PLAN FOR 3–4-YEAR-OLD CHILDREN 66

> LESSON PLAN FOR 3–4-YEAR-OLD CHILDREN 68

> LESSON PLAN FOR 3–4-YEAR-OLD CHILDREN 70

> LESSON PLAN FOR 5–6-YEAR-OLD CHILDREN 74

> LESSON PLAN FOR 5–6-YEAR-OLD CHILDREN 76

> LESSON PLAN FOR 5–6-YEAR-OLD CHILDREN 78

WHY ECME MATTERS TO HIGHER

Ye t , t h e m a i n f o c u s i n e a r l y c h i l d - The E C M E Working Group has been

Seen from Higher Music Educa-

ECME: A BENEFIT FOR CHILDREN,

T h e s a m e is true for m u s i c learning, T h e b e n e f its o f early c h i l d h o o d

MICHAEL DARTSCH AND NATASSA ECONOMIDOU STAVROU

U n d o u b t e d l y, m u s i c is a u n i q u e m e a n s t o m o d u l a t e e n g a g e m e n t w i t h m u s i c in early years, firstly referring

THE ACTIVITY OF SINGING

Example 3: 3-year-olds *N ot e for the s o n g “ H o b b y horse” o n the p a ge 1 3

Traditional Finnish Yoik

ha œ ne œ- lail - lal lail - lal lu - a, œ

To the Music School

Timo Klemettinen and Ulla Piispanen

> ACTIVITY TYPES AND CONTENTS IN SINGING k n o w l e d g e s a n d e m o t i o n s w i t h the h elp o f n e w s o n g s .

D u r i n g t h e lessons, it is g o o d to d o s o n g s w i t h m o v e - > Rhyming is an easy way to start early childhood music

> S o m e t i m e s it is b e s t t o start p r a c t i c i n g t h e lyrics o f > A g o o d w a y t o start t o t e a c h a n e w s o n g is that t h e

> Singing in a group is usu- > W h e n learning a n e w

> SINGING TEACHING FOR CHILDREN IN DIFFERENT 5–6-year-old

> W h e n the song is familiar enough and the atmosphere

> AGE DEVELOPMENT AND SINGING

SINGING SKILL AND 0–36 MONTHS 3- AND 4-YEAR-OLDS 5- AND 6-YEAR-OLDS

Musical expressions C o m m u n i c a t e a n d r e s po n d Express by singing, rhyming Express different feelings

Singing with Sing alone a n d in a group Sing alone a n d in a group

Singing hand and U s e singing hand U s e singing h an d and

U s e of notes Sing easy melodies from Sing easy melodies from

MUOVERSI E DANZARE NELL’EDUCAZIONE DELLA

Elementi della danza: A po c o a p oc o l'o b ie ttiv o de l l' in se gna me nt o si sp ost a

> SUGGERIMENTI E RIFLESSIONI

-Nell'educazione musicale della prima infanzia - Tu t t i i b a m b i n i a d o r a n o l e p a l l e e s o n o a d a t t e

> SVILUPPO DELL’ETA’ E DEL MUOVERSI CON LA MUSICA

Capacità di Stimola il sistema Pratica le capacità motorie Esercita le capacità

Abilità ritmiche I n c or a g gi a i ba m bi ni a Esercita il cantare e il Fa degli esercizi per

I bambini imparano a muoversi,

Percezione della I bambini dovrebbero I bambini dovrebbero I bambini dovrebbero

Età 5-6 anni: riconoscere e muoversi su un ritmo suonato dall’insegnante

Link del video (dal minuto 1.51 al minuto 2.29): https://youtu.be/yMLp5bjl5aY

Capacità di coordinamento Esercitare la capacità

Link del video (dal minuto 0.10 al minuto 1.37): https://youtu.be/x0CU_qN68XU

THE ACTIVITY OF INSTRUMENTAL

> SCENES s h o w n w i t h appropriate g e st ure s . T h e role o f the c o n -

> ACTIVITY TYPES AND CONTENT OF In s u m m a r y, t h e foll ow in g activity types a n d contents

> D o n o t u s e i n s t r u m e n t s w i t h sticks o r mallets i n t h e

> AGE DEVELOPMENT AND INSTRUMENTAL PLAYING

INSTRUMENTAL PLAY- 0–36 MONTHS 3- AND 4-YEAR-OLDS 5- AND 6-YEAR-OLDS

Play percussion Explore; Explore; Explore;

Play mallet instruments Explore; Explore; Explore;

> Singing in a group is usu-   > W h e n learning a n e w

Link del video (dal minuto 0.10 al minuto 1.37): https://youtu.be/x0CU_qN68XU 