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CHCFC507A: Use music as a medium to enhance children’s experience and development

Provide a range of developmentally appropriate music and movement experience

NOTE: The sound recordings of the items where you are instructed to ‘Listen’ are included with the Activities in the Outline.

2 Diploma of Children’s Services: CHCCN5507A: Reader LO 9321 © NSW DET 2010

Contents

Provide a range of developmentally appropriate music and movement experiences 3

Identify and provide a wide range of music experiences for children that may be used to enhance children’s development 3

Identify and provide a wide range of movement experiences for children that may be used to enhance children’s development15

The development of movement 15

Dances 21

Types of movement 22

Props to stimulate movement 23

Using percussion instruments with children 25

Select and provide appropriate music and movement resources which are inclusive and encourage appreciation of diversity including cultural diversity 28

Promoting inclusive practice 28

Children with additional needs 31

Provide opportunities for children to practise developing skills34

Musical concepts 34

Diploma of Children’s Services: CHCCN507A: Reader LO 9321 3© NSW DET 2010

Provide a range of developmentally appropriate music and movement experiences

NOTE: The sound recordings of the items where you are instructed to ‘Listen’ are included with the Activities in the Outline.

Identify and provide a wide range of music experiences for children that may be used to enhance children’s development

The possibilities of music Music has the power to add beauty, colour and texture to our lives. It can lift our mood, incite a once forgotten memory and allow us to express our deepest and thoughts and feelings. It can enrich and define a moment, soothe or enliven us and provide an outlet for all possible emotions. There is little wonder that music is termed the ‘universal language’. It is one we all instinctively ‘speak’, respond to and recognise.

Children are particularly sensitive to music and intuitively respond to its moods, patterns, textures and forms from a very young age. How do we as carers working with children develop and extend this natural affinity with the world of music? How do we encourage children to enjoy and appreciate music, and so foster and develop our own awareness and pleasure of music and its diverse and many faceted possibilities?

Music is everywhere in our environment. The possibility and opportunity for music based experiences exists all around us. The first music experience that an infant hears is the sound of their mother’s heartbeat. Children from every part of


the world and within every culture are exposed to this initial prenatal music experience. We are all born with a natural inclination to respond to and appreciate music.

Carer singing lullaby to infant

Becoming ‘musical’Early music experiences lay a foundation for the success of future music development. Researchers have suggested that the early childhood years are a critical time for musical growth. According to Pam Schiller, author of Start Smart: Building brain power in the early years, there is not a concert-level performer in recorded history that began training after the age of ten. (10) (Schiller, l999:72).

Whilst we may not all be expecting to raise children who grow up to become conductors, professional musicians or even the next ‘Australian Idol’ as carers of young children, we do have a unique opportunity to instill within children a love and appreciation of the rich and diverse world of music that can last a life time.

Numerous studies of children's musical development have concluded that children who sing tunefully and with rhythmic accuracy are children whose parents have sung to them from infancy. As our hearing is most acute during the first six years of life, this is the ideal time to introduce children to music.

Another critical factor which influenced children's musicality was the home environment. Where children were introduced to recorded music, were given opportunities to play instruments and were encouraged to express themselves musically, they demonstrated more advanced musical skills than other children of the same age. (Brand: 1985).

This is a strong consensus for ensuring that a rich and diverse music program an integral part of the Children’s Services program. ‘Musically .the sensory motor period is the time when roots of musical aptitude begin taking hold. The child learns to process sounds, move rhythmically and eventually begins to use his or her singing voice’ (Warrener, 1985:23). Research supports the notion that the infant and preschooler are both remarkably capable musically.


The development of musical skills aside, there is no doubt that young children are naturally inclined towards musical experiences. As Marvin Greenberg, a professor of Music Education says so eloquently:

‘Music seems to be an essential, almost magical element in the life of the young child. By nature he seems to need music as part of his daily existence’ (Greenberg, 1979:5).

Activity 1

Children singing together

Singing and language developmentThere is no doubt that singing plays a significant role in developing children's language.

When we sing we tend to enunciate more clearly than when we speak because the lyrics of a song are often broken down into syllables in order to fit the melody. You cannot mumble when you sing ‘Twinkle twinkle little star’ because the words have to be pitched. The first ‘twinkle’ is a low sound. The second ‘twinkle’ is a high sound. ‘Little’ goes up a notch, ‘star’ comes down a notch, ‘how I’ comes down again, ‘wonder’ comes down again, ‘where you’ comes down once more, ‘are’ comes down again. This requires concentration, precision and a deliberate and somewhat forceful pronunciation of each word and syllable.

Listen to the example which has just been described. Join in the singing.

Listen to Twinkle Twinkle (90 KB)

By breaking words down into syllables and enunciating, not only do children exercise the muscles in their mouths and learn to pitch their voice, they also hear the words more clearly as we sing to them.

When we sing we also tend to exaggerate some of the sounds. Sometimes we stretch our voices, mainly when there is drama in the song's story-line. Sometimes we emphasize a key word, especially when there is an action that goes with it.


‘Da-glunk’ as we spring our hands open in front of our eyes, stretching the ‘da’ and pouncing on the ‘glunk’ at the same time. ‘Da-glunk, went the little green frog...’

Da-glunk went the lit6tle green frog

The lyrics follow.

Da-glunk

Da-glunk, went the little green frog one day.

Da-glunk, went the little green frog.

Da-glunk, went the little green frog one day.

And his eyes went glunk, glunk, glunk.

(Spring your hands open (start with a closed fist) each time you sing ‘glunk’)

Singing leads to more animated speech as children discover the natural highs and lows of their voices.

Singing requires more air support than speaking. Through singing children develop their lungs and learn to control their breathing. They learn to alter the volume of their voice as they sing in a normal voice, a soft voice and a loud voice—all leading to better speech habits.

Through repetition (and children love repetition), songs become well rehearsed speech patterns with children achieving a fluency they may not otherwise have when speaking. This is very satisfying for them. Songs also teach children correct language patterns.

Watch toddlers when they sing. Their mouths work with such purpose and with so much effort. It is truly a struggle for them. Then suddenly they manage to sing a word or two in time with you. You can see the look of sheer surprise on their faces combined with joy as they realize what they have just done. Success at last! What delight! They are so desperate to have control over their speech and singing really helps them in this endeavour.


Songs introduce children to new words, new ideas and new information. As we discuss the new words that we come upon in our songs, we help to build children's vocabularies. Talking about songs also makes the songs more meaningful and easier to remember.

Because songs cover such a wide range of topics, children are introduced to a comprehensive vocabulary. They learn about: birds, insects, mammals, plants, cars, trains, buses, reptiles, sea animals, occupations and weather, just to name a few possibilities. As they learn songs about animals, they learn the names of the animals. They learn the sounds the animals make and what we call them, e.g. growl, roar and howl. As they explore the ways that animals can move, we extend their knowledge and their vocabulary by refining their movements. We introduce then to words such as prowl, scurry, charge, leap, stalk and creep. We enrich their vocabularies as we describe the way they are moving. This gives them the words for expressing themselves verbally as well as musically.

Children learn to follow directions and they learn a lot of position words in the process: above, below, between, beside and behind.

Learning words through use means that children are learning words ‘in context’. This helps with their comprehension as they have an immediate example to refer to. A rich and diverse music program creates extensive opportunities for language development.

Music and physical development

Fine motor skills and eye-hand coordinationMusic experiences engage the whole child. Fine motor skills improve as children use their hands in a variety of ways—from miming actions in songs to clapping and tapping different parts of their body. Fingers wiggle, fingers shake, fingers creep, fingers wave, fingers go up and down, hands open and shut. Fingers strengthen as children grasp simple instruments which they shake with varying amounts of force.

Some instruments are more complicated and require precise eye-hand coordination as one hand grasps the instrument while the other hand strikes the instrument. This requires a sound aim and the right amount of force in order to produce a clear sound. When playing a drum, children can bang the drum with their bare hands or with a striker (mallet).

To play the entire range of percussion instruments will give children an opportunity to develop their fine motor skills as they explore and discover the different ways they can play to produce a sound.

Manipulating puppets also requires hand control, and finger control when using finger puppets.


During movement sessions, children grasp and manipulate scarves, streamers and ribbons. Sometimes they are given simple costumes that they can put on and take off without any assistance from adults.

A range of brightly coloured and assorted scarves

Activity 2

Gross motor skillsWhen children dance, walk, run, stomp, tip toe, jump, leap, skip, gallop, jog and creep, they are using their large muscles or gross motor skills.

As children move about from place to place (locomotor movement) they learn how to control their large movements; to suddenly stop, to change direction, to move forward, backward, sideways and to spin.

They learn to move their feet in different ways; using small steps, big steps, light steps, heavy steps. They lift their knees up high as they march around the room. Skipping and hopping requires fine balance as well as efficient muscle control.

During movement activities children also explore ways of moving their limbs. Swinging their arms, punching the air, rolling their hands, moving their arms stiffly up and down like a machine; kicking their legs, squatting, bopping up and down.

Some action songs also require large movements like shaking their legs, jumping up and down, running on the spot, reaching up high and shrinking down to the ground and curling themselves up into a small ball.

Through music and movement, children learn a lot about their bodies, how they can use them and develop and refine their large muscles and their balance at the same time.

Activity 3


Music and cognitive developmentMusic has a major and significant contribution to children's cognitive development. It seems that we become more receptive to learning just by listening to music. At last a reason why we many of us claim to study better tuned into our IPods. (Although it is useful to be discerning here, not all music may have the same effect!)

Music can also make us more attentive. This is especially true when listening to classical music. ‘Most classical music is in tune with our body rhythms’ (Schiller, 1999:71).

Music can enhance our mood. Listening to favourite songs boosts endorphins and endorphins boost attention and memory (Scartelli cited by Schiller (1999:71).

‘Studies suggest that listening to music during the first three years of life helps the brain form patterns that are essential to the learning process’ (Schiller 1999:71).

Learning a song is more complex than most of us realise and requires much brain activity. First children need to listen to the song. Keep in mind that listening is a mental process while hearing is a physical one (Darrow, 1990:24).

Children need to memorise the lyrics, the tune and the rhythmic construction of the song. They have to recall the correct sequence of phrases, chorus and verses.

Recalling sequence of phrases or parts of the song becomes more challenging when singing songs like ‘Old MacDonald’ where lyrics accumulate as the song progresses. Children are required to remember the order in which the animals are introduced and then they have to sing about each animal, along with the sound it makes, in reverse order; from the most current animal named in the song to the very first animal which was named at the beginning of the song—all this in the correct order.

…and on that farm he had a cow

Verse 1

Old MacDonald had a farm, EIEIO.

And on that farm he had a COW, EIEIO


with a MOO MOO here ....

Verse 2

Old MacDonald…he had a PIG....

O I N K O I N K here

MOO MOO here … (singing animal sounds in reverse order)

Verse 3

Old MacDonald…he had a DUCK...

QUACK QUACK here ....

OINK OINK here....

MOO MOO here … (remembering the animals and singing the animal sounds in reverse order)

You can see why visual aids for songs like this are a very helpful for children, who think in concrete terms.

Because music has a mathematical structure with repeating parts, children find comfort in this regularity. They can anticipate and predict what comes next without making a conscious effort to do so, ‘Here comes the boom ba-da boom again.’

Many of the songs which children learn are made up of two or more parts that repeat. Consider the ‘Hokey pokey’, for example.

Part 1

You put your right foot in,

You take your right foot out,

You put your right foot in,

And shake it all about,

Part 2

Do the hokey pokey,

And you turn yourself about,

That's what it's all about. (clap clap)

Then it's back to part (1) where you put in your left foot. This is followed with Part two which doesn't change. The song continues in this way. Each time part one changes while part two stays the same.


Each part (part 1 and part 2) has the same amount of beats making the duration of the two parts identical. There is something very satisfying and whole about even parts in music.

Body percussionAnother music activity we use with children is clapping RHYTHM patterns. The caregiver claps a pattern while children listen. Children then repeat the pattern as they clap it back to the caregiver (or echo). The caregiver then claps the second pattern - children repeat. This is done without missing beats or leaving gaps between patterns so that there is fluency between caregiver's pattern and children's repeated (or echoed) pattern. This mimics the structure of music where the beat is constant.

Each pattern consists of four BEATS. This is a familiar grouping as much Western music is structured that way. In order for children to participate in this activity, they need to listen, feel and sense the four beat duration of each pattern (thus knowing when each pattern will begin and end) and then recall the sequence of sounds that makes up each pattern in order to repeat it.

Number songsSongs about numbers introduce children to the fundamentals of mathematics. Through finger plays and singing games children learn how to count. Where games include children one by one, they learn how to add. When singing songs where children are eliminated one by one, children learn how to subtract.

As children hold up their little fingers to show how many, they are beginning to develop their understanding of numbers. They can see that five fingers is a lot more fingers than one. More, less, bigger, smaller, taller, shorter—these are all mathematical concepts and these concepts appear so frequently during music activities.

Activity 4

Music and thought developmentChildren begin to learn about the size of their body in relationship to the space around them and in relationship to the other children next to them.

“If I flap my arms like the wings of a bird, will I fit through the doorway?” “Can I crawl under the table like a cat and twist myself around the legs?” “Will I be able to twirl around with my hands out without hitting anyone?”

This is called ‘spatial awareness’. It is an abstract concept—trying to visualize your body in a given space; especially when young children think in concrete terms and are not always aware of the space they are taking up or occupying.


Imagine yourself in a busy Department store or Jewellers trying to navigate your way around delicately balanced glass and crystal displays without upsetting an item. What about trying to alight from a busy commuter train, edging your way around a swarm of tightly pressed people who have congregated on the stairs? Imagine the opposite. A huge blue open sky above you, a sweeping field of grass and nodding poppies. What could you do in all of that space?

Many songs and rhymes give children directions to follow; ‘Put your finger on your nose’, ‘Head, shoulders, knees and toes’, ‘Clap your hands’, ‘Open, shut them’. Children learn to follow directions as some songs and rhymes teach them simple little dances—such as ‘Bow to your partner’, ‘I shake my arms like this’ and ‘Teddy bear turn around’.

When playing instruments, children learn to follow signals for start, stop, and play faster, slower, louder and softer. Sometimes we can also introduce simple charts that show when to play and when to rest.

Through songs children can learn new information. From how a caterpillar spins a cocoon and then comes out as a butterfly, to how a seed sprouts and pushes itself up out of the ground and grows into a plant. They can learn about animals, the function of traffic lights, customs, and about holidays and songs in other languages. Music is an ideal way for children to discover their environment and more about the wider world around us.

Activity 5

Children moving creatively to music

Auditory discriminationRecognizing similarities and differences is an important part of reading readiness. When playing instruments children compare sounds, select sounds for specific purposes, group sounds according to type: wood, metal; sharp, dull; loud, soft, scratchy and smooth.


Children enjoy games where they close their eyes and guess the instrument they hear being played. You might even hide the instruments behind a screen or curtain and ask the children to guess what you are playing.

Sometimes children recognize that two songs have the same melody. ‘Twinkle twinkle little star’ sounds remarkably like ‘Baa baa black sheep’. That's because they basically are the same tune.

The use of instruments leads to learning about the science of sound. Instruments need to vibrate in order to produce a sound. What happens if we put small peoples or shells on top drum or the large cymbal as it is being played? What happens if you play the drum while it is on the or in your lap? Why does the drum make a stronger and clearer sound when it is held in the air? Why doesn’t the triangle ring when I hold it in my hand rather than suspend it on its string?

This scientific curiosity also leads children to discovering ways of solving problems.

Activity 6

Music and creative developmentCreativity and problem solving are natural companions. Creative thinking and expression require innovative and dynamic thought. Musical experiences can stimulate exploration and the expression of new and different ideas (Greenberg, 1979:8). This can occur when using instruments, when listen and moving to music or even when singing songs. Children have the opportunity to be creative through their interpretations and responses to music.

Activity 7

Music and social and emotional developmentMusic ‘enhances the child's expression of feelings’ (Greenberg, 1979:6). The emotional benefits of music are many and varied. Music can have a definitive and lasting impact upon our feelings.

Music can alter the mood and set the tone of a centre's atmosphere. It can miraculously transform a gloomy room of tearful and disgruntled children into a joyous and happy place. Gentle music is often introduced during quiet time or sleep time because music can help us to relax and shift our focus.

When children respond to recorded music, they primarily respond to the underlying emotional message in the music which is reflected within the music’s style and arrangement. This is the MOOD of the music.

Music offers a freedom of expression that is entirely unique. There is pleasure and gratification in moving freely and in discovering all the wonderful things that you can do with your body. Unlike completing a puzzle or fitting together pieces of a


construction toy, music has no boundaries, no constraints, no right or wrong. There is infinite opportunity for exploration and free expression.

Singing, playing instruments and dancing with other children also brings a special kind of joy. There is a new-found pleasure in sharing a song and in working together with others musically. Children develop pro-social skills, to exchange ideas and to be part of a group.

Being part of a group means pre-school children can practice learning to wait for their turn and to share and accept group rules and limits. They also discover the wonderful feelings of belonging—of being accepted for who they are as they begin to know and appreciate themselves as a person.

Music can also foster cultural identity and pride as children learn traditional songs and traditional dances from their own culture.

Activity 8

Children participating in a singing game together


Identify and provide a wide range of movement experiences for children that may be used to enhance children’s development

The development of movement Children's natural response to music is to move their body in some way. For children ‘music’ and ‘movement’ are synonymous. We can nurture this natural response by providing opportunities which will allow children to discover what their ever-changing bodies can do. Children's bodies grow and change remarkably during their first five years of life and with each new stage of development comes new possibilities - new ways of moving.

Children's natural affinity with music

As legs and arms grow longer during the preschool years, the child’s body mass becomes more evenly distributed. As a result, children's balance improves and their bodies become easier to control. Now they can skip and hop on one leg.

Preschoolers are still adjusting to their new size and they are still learning how to manoeuvre themselves around the room without bumping into others or into objects in the room. This is spatial awareness. It is not an easy thing to develop when your body keeps changing on you!

Through music and movement experiences not only do children have an opportunity to develop their gross motor skills; they are also introduced to a new


form of self-expression - creative expression. They learn to move their bodies with ‘feeling’ and in response to the MOOD created by the music.

The benefits of movement activities include the development of spatial awareness, body awareness, and gross motor skills. Movement activities also provide children with a satisfying form of self-expression.

Movement development

Music concepts are clarified and take on more meaning as children experience concepts with their entire bodies. They feel the exhilaration of gaining speed as they run around the room or gallop at top speed, they are responding to the music’s TEMPO.

They feel the BEAT pulsating through their body as they stomp around the room to the underlying beat of the music. Moving softly, quietly, without making a sound sharpens the contrast between soft and loud. This is DYNAMICS. We shall be discussing these musical concepts and others in other topics, so it is useful to start thinking about them and their presence within music now.

Movement stylesIn the same way that children need both freedom and structure when using percussion instruments, children need to move freely and to move with precision.

When moving freely children can explore and follow through on a movement - they can develop ‘fluency’ in their movements. They concentrate on the movement itself - the quality, the inventiveness, the combination of movement.

If we place movement activities on a continuum, from total freedom in movement at one, to controlled movements at the other end, we will have a flow chart which looks something like this.


Flow chart of movement activities

Free explorationDuring free movement exploration, children interpret what the music suggests to them. They usually respond to the ‘whole’ music rather than its parts. If the music is primarily lively and fast, children will move about quickly and energetically. They are responding to TEMPO here.

If the music is gentle, flowing and without much form children will move about more slowly and with more gentle actions. There is no fear of making mistakes as children are encouraged to move in their own way.

When choosing music for movement exploration, we need music that suggests a certain style of movement. For example we can use music that is:

• floating and light• short and jabbing • stiff and rigid• stretching, long and continuous• busy and in spurts • happy and carefree• rhythmic with interweaving patterns

Selecting recorded musicThere is so much music to choose from to use with children! It is important to move beyond traditional ‘Children’s Music’ here. Certainly popular Children’s Music and Children’s Groups have their place and can be particularly useful for teaching specific concepts or focusing upon particular ideas and interests. However, don’t let this be the boundary of your musical repertoire. Give children, and yourself, the opportunity to move to different types of music, experiment with various genres and different ways to use recorded music in your program.

Many music stores have listening facilities which allow you to listen to your CD before you make a purchase. It is well worth taking the time to do this. We make some of our best musical discoveries in this way.

Choose music that has a rich and satisfying sound. Do not settle for poor quality or cheap imitations. Children deserve better than this and so do you.

Following are a number of composer-performers whose music is suitable for free movement exploration.

• Vangelis


• Ken Davis• Jean Michel Jarre• Yanni• Chick Corea• Herbie Hancock• Saint-Saen's Carnival of the Animals• African music like, African tribal Music & Dances This C.D contains

authentic tribal music with some unusual tracks.

A collection of music CDs

Because a lot of this music is somewhat 'formless', without a specific beginning or ending, you can stop the music at any time by fading it out gradually. Never stop the music abruptly in the middle - always fade it out gradually. Stopping the music suddenly is most unsatisfying as it leaves you 'hanging in the air' and breaks the spell. Always ensure you are familiar with any piece of music first, before using it with children.

Movie sound tracks are also worth considering. Some amazing music has been written for movies; full of drama and with an incredible intensity of feelings. Try ‘Merlin's Magic’ for a floaty and mystical sound.

Some jazz musicians, like Chick Corea and Herbie Hancock, include 'free form' and abstract selections in their albums.

Short excerpts of music are the most suitable to use with young children. Use the volume control to fade out at the appropriate places. The CD Classic Kids ABC is a very useful and popular CD to add to your list of recorded music, as all of the pieces are short excerpts that keep children’s attention for just the right amount of time. Each piece of music in this recording allows for a variety of movement experiences as well as for an adventure into exploring the various musical concepts that will influence children’s enjoyment of music and movement experiences.

Activity 9


Guided movementGuided movement activities encourage children ‘...to respond to structured ideas within the music such as the underlying beat, rhythm patterns and music form.’ (Andress, 1991:22) We guide children's listening (as well their movements) by drawing their attention to any outstanding features or to any predictable changes in the music; accents that occur at regular intervals, fast music slowing down or speeding up, TEMPO. Or soft music gradually building up in volume DYNAMICS. Or music starting off very low and becoming higher and higher in tone PITCH.

We do not tell children how to move but we imply that a change in movement is called for. Of course it is up to children whether or not they choose to do this. If children are in their own little musical world, that is perfectly all right. Guided movement does not mean that we 'take over'. We do not insist that children respond a certain way, we are inviting them to do so instead.

When choosing recorded music to be used with guided movement activities, use the following guidelines:

1. Instrumental music, with minimal singing or chanting, is preferable. This guarantees a focus on the music and its components rather than a focus on the lyrics. By choosing instrumental music you are also introducing children to a wide range of instruments; strings, woodwinds, brass, percussion. There is also a better chance that you will include a greater variety of styles in music: classical, jazz, con¬temporary, folk, disco, new age, multicultural, Aboriginal, rock and roll, marches and waltzes. Instrumental music is written specifically for instruments and has something different to offer than vocal music, which is written for singing.

•2. The music piece should be between two and three minutes long or

possibly a little longer (no longer than four minutes unless it is something really special). Listening to music requires good concentration. Children's concentration span can be rather short. It's much better to play a short and interesting piece of music a number of times than it is to labour a long piece of music that tests children's limits. Children become tired, lose concentration and, ultimately lose interest.

••3. The music needs to be interesting and eventful. We want music that will

stir us into activity and not music that will relax us and lull us to sleep. (Unless that is our intention of course for a relaxation or pre rest time activity, recorded music can be excellent for this too!)

•4. There needs to be outstanding features, concepts that are easy to

recognise and good, sharp contrasts. There should also be a number of changes that occur - something to listen for, and anticipate. Consider the


structure or FORM of the music. Does it have two or more recognizable parts that repeat? Can children foresee some repetitions?

•• Ensure the quality of the recording is good and that the music is played on

actual instruments. Always check your CD player before you start as well!•5. Ensure your collection includes a variety of genres of music and a variety

of performers. Don’t be afraid to expand your musical horizons.

To summarize, to inspire creative and free or guided movement we need music that is:

• instrumental — not vocal• short — two to three minutes long (always check the playing time on

the back of the CD.)• interesting with outstanding musical features (concepts and

structure) and includes changes• played on authentic instruments and good quality recordings• typical of a collection that includes a variety of styles, a variety of

performers and a variety of composers.

Some recommendations for movement experiencesSome possible Music CD recommendations are listed below:

1 Melodies from the Most loved Concertos, Melodies from the Most Loved Ballets and Dances – Rainbow. Included are works by a number of composers which means you will have a greater variety of styles to choose from.

2 Move to Mozart - Move Records. The fast selections are the most suitable for guided movement. This recording is more simplistic with fewer instruments playing.

3 Clockwork Orange - music from the movie soundtrack. The contributions in this C.D come from a variety of composers. The electronic selections performed by Walter Carlos are inspiring and of the highest quality.

4 Vangelis gift... - Camden Originals. The music of Vangelis is truly unique and very ‘different’. His music is more suitable free movement exploration and interpretation than for guided movement. Tracks useful for movement sessions are :#5 - Sword of Orion - 1:54 #7 - A way - 3:20, #9 - Heaven & Hell Part 11 (excerpt) 3:19 #13 - Metallic Rain - 6:03

5 Tchaikovsky - The Children's Album. Serenade for Strings. Vladimir Speak, Moscow virtuosi. This CD has a large selection of very short music pieces with a lot of variety. Tchaikovsky is always an enduring


favourite, and often whom children are referring to when they speak of ‘ballet music or ‘fairy music’.

6 Flight of the Bumble Bee - ABC Classics, Eloquence. This C.D features six different composers.

7 Saint-Saens - Carnivale of the Animals. The first half of this CD consists of a series of short pieces of music, each one devoted to an animal. This is probably the most useful part of the CD; rather than the instrumental and voice over section.

8 My Very First CD- (Erato) includes extracts from Ravel, Strauss and Gershwin, just the right length for young children.

9 Classic Kids CD (ABC) - this CD is really a must for your beginning collection. A variety of composers and music genres, all exactly the right length for moving and listening. If you are want to start your classical collection with just one CD, start with this one.

10 Baby Dance- a Toddlers Jump on Classics- (Erato). Again this CD has a variety of composers and genres represented; all the perfect length for using with both toddlers and older children.

There are a good many C.D and Music Stores where you can browse for CDs. As well the ABC shops and Borders. Department stores also carry CDs: Target, K-Mart, Big W, Myer and David Jones.

Discover more composers and ideas at:

http://www. classicsforkids.com

http://www. classicalmusic.about.com

Children moving to recorded music

DancesA dance is a choreographed piece of music. The steps are prescribed and the dance follows the structure of the music closely. There are circle dances, folk dances, line dances and partner dances. You may be familiar with the circle


dances, ‘Ring-Around-the Rosy’ and the ‘Hokey Pokey’ and the partner dance, ‘The Mexican Hat Dance.’

The pressure on performance can be much greater during a dance than it is during many other movement activities. Children need to move in time with the music, follow certain instructions and ‘mistakes’ are more visible. Allow children to make mistakes and don’t be too pedantic about doing things the right way, remember music is to be enjoyed. Ensure your expectations are socially, developmentally and culturally appropriate here as well.

There are a number of CDs on the market which include a selection of simple dances. You can usually find these in the Children's section of the Music store. Some CDs like The Chicken Dance & Other Party Favourites provide the music for the dance only while other CDs, like Dances for Little Kids actually teach the dances as well as provide the accompanying music. Some well-known dances are:

• Macarena• The Hokey Pokey • Walk the Dinosaur • The Gorilla Dance.

You can also teach children simple dances from other cultures. These may need to be modified for children. Tap into the cultural and linguistic diversity within your service and local community. Perhaps families and fellow staff have dances they can share with you. Popular dances from other cultures include:

• Tarantella (Italy)• German Clapping Dance (Germany) • Mexican Hat Dance (Mexico)• Zorba’s Dance (Greece)• Boanopstekker (Holland)• Hukilau (Hawaiian)

Children participating in a traditional folk dance

Activity 10


Types of movementAs children move to music freely or in a more structured way, there are three basic types of movement that they will use. They are:

1 locomotor movement2 non-locomotor or axial movement3 a combination of locomotor and/or non-locomotor movement

(Greenberg,l979:131)

Locomotor movement involves moving from one place to another; moving away from your spot - traveling across the room in a variety of ways: walking, running, tip-toeing, galloping, creeping, trotting, hopping, skipping, jumping and swaying.

Non-locomotor or axial movement refers to movements you can make with your limbs or your torso as you stand in one place. You can move your arms about, flap them, use your fists to punch the air; twist your body from side to side, bend forward, move your torso in circular motions, sway from side to side, move your shoulders up and down, forwards and backwards; kick your legs out one at a time, squat down, pop up again, bounce on the spot.

A combination of locomotor and non-locomotor movement includes walking and slapping your sides at the same time, jumping and throwing your arms out simultaneously, running and leaping into the air, leaping and clapping.

Activity 11

Props to stimulate movementProps and simple costumes can be used to stimulate movement and to accompany movement. Examples of possible props follow:

• Scarves — these need to be made of light nylon material so that they can float when thrown up into the air.

• Lightweight material strips — these also need to be made of light nylon material and cut into shape. Include a variety of colours and sizes. These can also be used to drape and wrap as costumes.

• Streamers — attach crepe paper to rings of elastic so that children can wear them on their wrists, their forearm and upper arm, or, just grasp in their hands. Streamers can also be attached to longer lengths of elastic so that children can wear them on their hips. Good quality crepe paper is surprisingly, strong.

• Ribbons — wide ribbons can be used on their own and narrow ribbons can be gathered into bunches. Make sure the ribbons are at least 40cms long otherwise there will be very little movement. You can also attach ribbons to the end of short dowel sticks or plastic bangles.


• Balloons — large and in a range of colours. Children can use balloons freely. You can also attach a string at the end of each balloon for bopping, dragging, flicking or punching. You can also tie a number of balloons together for variation. Use good quality balloons and be wary about using them with very young children. For infants and toddlers they pose a safety risk; and can also be quite alarming when they burst!

• Masks — animal masks can also be used during movement activities. You can purchase beautiful feather masks from Spotlight and other shops at a reasonable price. You can make your own, too.

• Simple Costumes — long flowing skirts, tutu's, veils, capes, animal fabric, hair scrunchies worn on the wrists and ankles, noisy belts, animal tails and ears and boleros. You may be able to think of many more possibilities here.

What could be simpler than balloons?

Using props and costumes with musicProps and costumes are generally used in the following ways:

• Scarves, streamers and ribbons are used as an extension of the body; to encourage exploration of movement. These props can also accompany movements and help to emphasize some movements.

• Costumes and masks are used to help children get 'into character'. For example, when moving like animals: tigers, birds, fish, cats; when moving like specific characters; Batman, Peter Pan, fairies, monsters; and when performing dances from other cultures as children may be able to wear their own traditional clothing, where appropriate.

• Balloons can be moved along with the music. Individual balloons can be tossed gently during floating music and punched or hit with force during more energetic music.

• Simple percussion instruments, like bells, maracas and castanets, can also be used to accompany movement and dancing.

Activity 12


Using percussion instruments with childrenPercussion instruments are always enjoyed and anticipated enthusiastically by children and provide valuable musical experiences.

Percussion instruments can be used to:

• Stimulate a musical response. Not only are instruments stimulating and motivating but because they are so inviting, they can be used to encourage reluctant participants to join in.

• Encourage children to learn about the science of sound. Children learn that if an instrument is free to vibrate, it will continue to produce a sound for a period of time.

• Children begin to make correlations between the physical characteristics of the instruments and the sounds produced. For example, they learn the following:

• A large drum has a deeper and lower sound than a small drum which has a higher pitch.

• A large triangle has a lower pitch and a deeper sound than a small triangle which has a higher pitch and a sharper sound.

• A thick piece of wood has a deeper, flatter and lower sound than a thin piece of wood which has a higher and sharper sound.

• Metal resonates longer than wood.• Some types of wood resonate longer than other types of wood.• A larger cymbal has a fuller, richer and deeper sound than a small

cymbal which is high in pitch, shallow, and the sound does not last as long.

• A long tone bar has a lower pitch than a short tone bar which has a higher pitch.

• A hollow piece of wood has a deeper and longer sound than a solid piece of wood which is flatter sounding and not as long in duration.

Try some of these instruments yourself and listen out for the differences in sound.

A range of percussion instruments

Activity 13


Some useful tips when using percussion instruments with childrenIntroducing percussion instruments to children can also benefit children in the following ways:

• Encourage children to experience a wide variety of percussion instruments and a range of sounds which they produce. Children learn the names of instruments and begin classifying them according to types.

• Assist children with coordination and fine motor skill development. They learn how to hold instruments, coordinate swinging mallets and targets, grasp mallets, loops and handles, rims of drums and tambourines. Children also learn to control force to create loud and soft sounds and develop techniques for striking instruments with mallets so that the mallets bounce off the instrument rather than rest on the instrument, flattening the sound.

• Instruments can be used to explore concepts such as: TEMPO, (fast, slow, faster, slower); BEAT and RHYTHM (stress by applying increased force); DYANMICS (soft, loud, softer and louder); PITCH (higher, lower). They can also be used to accompany songs, rhymes, dances or movement.

• Encourage creativity and self-expression. Children can be encouraged to create their own RHYTHM patterns. They can also use instruments to express moods and feelings and to create sound effects for stories or dramatic play.

All instruments are special and they way we treat and look after them tells children a great deal about how important it is to play, store and carry instruments with care and respect. Have a special place for your percussion instruments, shelves for items like drums and tambours. Perhaps attractive cane or wicker baskets for maracas and shakers.

Develop, with children if possible guidelines for looking after and caring for instruments. When playing the instruments you can create photo or picture signs of when to play or when to keep our instruments quiet. This can be especially useful for musical games such as ‘I am a fine musician’ or ‘I can play on the big brass drum’ with Pre-School children. (See Merrily Merrily for these songs and further suggestions.)

Percussion instruments make wonderful accompaniments to moving with music, especially for exploring concepts of BEAT, RHYTHM and DYNAMICS and TEMPO.

Try Mozart’s ‘Eine Kleine Nachtmusik’ and ‘Symphony No 40’ for moving and using instruments. Johann Strauss (1) ‘Radetsky March’ and ‘Donner and Blitz Waltz’ accompany instruments perfectly. Johann Strauss (II), (yes there was more than


one Strauss!), ‘Perpetuum Mobile’ is wonderful ‘merry go round’ type music that can inspire all types of instruments.

Sousa’s ‘Washington Post’ is definitive marching with instruments music. Tchaikovsky’s ‘March’ from the Nutcracker Suite also suggests some more sophisticated instrument use with subtle changes in DYNAMICS and TONE. Tchaikovsky’s ‘1812 Overture’ is classic marching music. Try an instrumental version of Irving Berlin’s classic ‘Alexander’s Rag Time Band’ as well. Enjoy experimenting and finding your own favourites to use with percussion instruments.


Select and provide appropriate music and movement resources which are inclusive and encourage appreciation of diversity including cultural diversity

Promoting inclusive practiceMusic and movement experiences need to be accessible and readily available to all children. Music, being universal in nature lends itself to the principles of gender equity and diversity quite readily. We need to be conscious of those principles and practices ourselves when choosing songs, instrumental pieces, dances and other musical experiences for children.

For example when we provide percussion instruments for children, it's important that we do not automatically think that the big noisy drums should be given to the boys and the dainty triangles be given to the girls. Give all children the opportunity and support to try a diverse range of instruments.

As well, it is important to be conscious of and respect particular cultural and/or indigenous customs and traditions that may be associated with instrument use. This is especially significant when we are using some of the beautiful and appealing instruments representative of other cultures, as well as Australian Aboriginal and Torres Strait Islander culture.

Instruments, such as the didgeridoo for example are traditionally only played by males of a certain age. It is imperative to check here with your local Aboriginal community and other cultural groups on correct ways to use instruments and pronounce any challenging names as well.

a Didgeridoo

Be conscious of supporting the principles of gender equity with movement experiences too. Heavy and energetic-music does not automatically denote ‘boys’ whilst light, flowing and high pitched music denotes ‘girls’. All children can enjoy


Tchaikovsky’s light and airy ‘Nutcracker Suite’ or Mussorgsky’s deep and looming ‘St John’s Night on Bare Mountain’ with equal abandon.

The same applies to using props and costumes. Some costumes, however, are associated with one gender and not the other, it is imperative to check with the particular cultural group here.

Introducing music from other cultures develops our music program and shows children and families that we value differences and diversity. This is especially true when we chose music reflected within our own local community and that of children’s cultural heritage within our services.

Music provides an ideal opportunity for children to explore the diversity of culture, tradition and heritage and to challenge stereotypes and gender expectations. Music from other cultures, as well as music from Aboriginal Australia can assist the formation of connections with others who are both similar and different from ourselves.

Ways to include culture diversity within our music programIdeas to support cultural diversity in our music program include:

1. singing songs in other languages—e.g. singing familiar English songs sung in another language or songs from other cultures sung in their own language.

2. participating in dances from other cultures3. wearing costumes from other cultures during music and movement

activities, along with any accessories, (ensuring cultural sensitivity and appropriateness here.)

4. playing instruments from other cultures or having these demonstrated by a willing parent (or performer)

5. listening and moving to recorded music from other cultures.

Seed pod leg ratt.e can be used to acccompany a multitube of musical experiences

The thumb piano also known as the sansa and mbira. Found throughout central, western,

eastern Africa

Activity 14


Culturally diverse resourcesAn excellent way to start to your collection is to purchase Off the Wall Dances for Young Children songbook and CD, set from Gary and Carol Crees. Visit their website at: http://www.crees.com.au

These talented presenters have developed and produced an array of fabulous books and accompanying CDs. They are very worthwhile resources to have in any Children’s Services service. Their resources include lots of dances, songs and movement ideas from different cultures.

The Lady Gowrie Child Centre in Sydney is an excellent contact if you want advice on incorporating multicultural ideas into your program. Their website can be found at: www.gowrie-sydney.com.au.

Music from other cultures is easy to find. Most Music and Department stores have a section devoted to music from other countries. You may find the CDs entitled: The World of Music and Music to Dine By series helpful. Each CD presents music from one country.

If you really want a large selection to choose from or you want to find music from a specific country, then try Folkways Music who specialise in music from around the world; they are based in Paddington, Sydney. www.folkways.com.au.

Don't forget your most valuable resource—the families of the children in your centre and the surrounding community. You will find that most families are only too willing to share their culture with you. Ask them to teach you one or two simple traditional songs and dances. Make sure your pronunciation is accurate and that you find out words mean in your own language too.

A range of multicultural instruments

Activity 15


Children with additional needsIn promoting inclusive environments our Children’s Services are welcome communities for children who may have additional support needs. We look upon all children as being capable and resourceful and having an active contribution to make to our program and the life of our services. How can we ensure that children with additional needs have the best possible opportunity to participate within our music program?

Always focus first on what the child can do, and use this as your starting point. How can you extend on this? Then consider the child's restrictions, be they physical or otherwise. How can we adapt our environments and program to be more accommodating here?

For all children with additional needs we need to work closely with the child, their families, other professionals and/or specialists who are involved in caring for and supporting the child. We are in a unique position to foster strong and reciprocal partnerships. The essential inclusiveness of music can make connections all the more easier to form and nurture here.

If a child is using a wheel chairIf the child feels comfortable doing so, encourage them to explore ways of moving their arms to the music. Hold their hands and sway their arms while the other children are dancing.

If you have the space, and again if the child is comfortable, move the wheelchair around to the music. Give the child a scarf or streamers to move about to the music.

Remove the supports for the feet and allow the child to stomp or kick his/her legs to the music. If the child has limited or jerky movements but is able to grasp, give them an instrument which only needs to be shaken like maracas, bells and castanets.

Include creative movement activities which require everyone to be sitting. If a child is small and light enough, pick them up and dance with them. (Ensure you always ask first if okay.) If you find that you cannot modify an activity, and then find something else the child can do to be involved in the experience such as playing an instrument or operating the CD player. Consult with them on how they would like to be involved.


Child in a wheel chair enjoying Music Time

For children with a hearing impairmentMany people, who are deaf, do have some residual hearing. Check with the family and the child on the level and type of support most useful here.

Some useful tips include standing or sitting close by when you speak and sing, seat the child near the CD player, tap the beat and rhythm patterns on their hands and let them feel the vibrations of instruments, especially the large cymbal and the drum.

When moving around to music, encourage them to watch other children. Have another child move with them, as a partner. Children can provide wonderful support to one another here.

Use visual cues and include many sound gestures. When possible, work with the child individually, especially when teaching a new song. Use pictures to help with the lyrics of the song.

If the child has been taught how to sign, such as in AUSLAN, teach all the other children some simple signing vocabulary. Include signing when singing. Make it part of the everyday way that you learn a song.

For children with visual impairmentChildren with a visual impairment are well placed in music and movement experiences to develop their listening skills and their auditory discrimination skills. Include listening activities and games. Use music to help them localize sounds. Move around with an instrument and encourage the child to point to the source of the sound.

Create a safe space for the child to move within; try not to change furniture and fixtures regularly. Let the child know where they have a safe and free space to move with music. Again, other children can assist to partner the child if both comfortable with this. Give the child the opportunity to handle instruments and to feel the vibrations.


Give the child scarves or streamers or ribbons to move during movement activities. Include a range of fabrics which you feel suits the music. Velvety soft, scratchy and course, silky smooth, raised and bumpy. The child can choose from the selection to match the music. Think about how you might stimulate the other senses here.

For children with additional learning needsFor children with additional learning needs, consult with the family and any other professionals involved about what kind of support the child would most benefit from. How can music and movement program help them, (as all children), reach their potential?

Generally it is useful to keep things simple. Give one direction at a time. Make sure the directions are simple and concise. Give children time to absorb and understand what is happening. Let the child choose their own level of involvement and participation.

When collecting instruments or props, it is sometimes helpful to collect their item last. This will keep the child occupied with their prop, allow them to see what is happening and give them time to prepare themselves for what is to happen next.

Always give the child a turn the same way you would other children. Choose something that you know they will succeed in, as you would do with all children.

Repeat activities frequently. Include variations for the children who are ready for a new challenge, but also allow the child with additional learning needs to continue enjoying what they can do.

Activity 16


Provide opportunities for children to practise developing skills

Musical conceptsMusic is mathematical and organised in form and is devised of various musical concepts. Some learners can feel a little vulnerable by the idea of learning about musical concepts, yet they are not meant to be complex or difficult!

Think of musical concepts as building blocks towards your understanding and appreciation of the wonderful world music has to offer. To understand these requires no special training or experience, just a ready ear and a willingness to listen, enjoy and experiment.

The basic musical concepts are:

• Beat• Rhythm• Dynamics• Tempo• Tone or colour• Mood• Form and phrasing• Melody.

You shall be learning more about these as you progress through each topic.

Learning is doingTo encourage children to enjoy and develop an understanding of music, it is important to assist them to develop an understanding of these various musical concepts. The best way is for both you and the child to understand and appreciate musical concepts is to be actively involved in the music experience and to physically experience the musical concept.

When we want children to focus on DYNAMICS- loud and soft; TEMPO- fast and slow and PITCH -high and low, we firstly exaggerate each showing extremes so that the meaning is clear to the children. Loud is a big voice and soft is a whisper, slow is a slow snail and fast is a really fast horse or rabbit.


When exploring PITCH, high is a squeaky, light voice like a mouse, while low is a deep heavy voice like the growl of a lion.

It is interesting that studies have shown that children’s ability to discriminate higher and lower pitches is hampered by the terminology ‘high and low’. It seems that children prefer to use terms such as ‘lighter and darker’ and ‘lighter and heavier’—and they do so with more accuracy than ‘high and low’.

A fast TEMPO comes more easily to children than a slow tempo—‘...pre-school children move at a faster overall tempo than adults...’ (Scott, 1989:30). When listening to music, ‘loud’ is also easier to judge than ‘soft’. Accuracy increases in children between the ages of three and five (Scott, 1989:30). We expect children to recognise subtle changes in dynamics (loud and soft) around this time.

Tapping sticks

Everyone’s got a little rhythm, and beat!

BEAT is the continuous, steady pattern or pulse that you can hear in music and tap your feet with. It is the heart beat of music. Like your heart beat it may become faster or slower, but its steady pattern remains unchanged. It is the underlying pulse of the music, what you ‘feel’ and almost instantly want to respond to when you listen to music.

The beat is the steady pulse of the music. It ticks away at regular intervals like a clock. The beat doesn’t take little rests along the way. It just keeps going and going until the music stops. The beat can be fast, it can be slow, and it can be moderate/normal/medium.

Young children often clap to their own ‘inner’ beat which may or may not match your own, or that of a particular song (it is usually faster). This is perfectly normal and is usually simply a matter of developmental expectations. Children will be able to match your beat when they are developmentally ready to do so and not before!

When you are exploring BEAT, with children try Marching Music with a steady and uniform beat, try Sousa’s ‘Semper Fidelis’, ‘American Patrol’ by Meacham or ‘March of the Little Lead Soldiers’ by Pierne.


Marching toy Soldiers

Listen to a piece of music that has a good strong BEAT. Try ‘March Militaire’ by Schubert or any of the examples given above. You may have your own music at home that has a strong and definable BEAT. This will be music that you enjoy tapping your toes to! As you listen to this piece of music, clap your hands to the beat.

Activity 17

RHYTHM is the different lengths of sound in music. It is made up of different patterns of long and short notes as well as long and short rests (silence). Rhythm works with the melody of the music. Listen to the different lengths of sound in the words of a song, and note how they form a pattern you can tap or clap to; this is rhythm.

Rhythm can be a challenging concept for children to grasp. Exposing children to lots of opportunities to explore and experiment with rhythm is important. Think of rhythm as the pattern of music, the part of music that makes you want to dance and move. Enjoy experimenting with different musical rhythms with the children and exploring ways to move our bodies and play instruments according to rhythmical patterns.

Activity 18

Exploring other musical conceptsWe highlight and reinforce music concepts and skills by exaggerating them when they occur naturally in songs. For example in the song, ‘Heigh-di’, we emphasize the slowness and the heaviness of a large elephant. This is an excellent opportunity to direct children’s attention to the slow TEMPO and the large loud heavy steps. Listen to the audio recording of the song. Tap the slow beat and sing along. The lyrics follow:

Heigh-di


Heigh-di, heigh-di-ho

the great big elephant is so low.


the elephant is so slow.

He swings his trunk from side to side

as he takes the children for a ride.


the elephant is so slow.

Listen to Heigh-di (95 KB)

A faster BEAT now can be heard in songs such as ‘High Stepping Horses’ and ‘The Galloping Major’.

We can also include concepts which may not occur naturally in a song. For example, during the singing game ‘Punchinello’ we can add interest and challenge by asking Punchinello to be:

in a hurry (fast TEMPO)

quiet (soft—DYNAMICS)

lazy (slow—TEMPO)

angry (loud—DYNAMICS).

Children learn best if we relate concepts to something they know and enjoy imitating.

• Sing in a DEEP voice like papa bear.• Sing in a HIGH voice like baby bear.• Roar in a LOUD voice like a lion.

Concepts not only lay the groundwork for future music development, they make activities more interesting, more dramatic and sometimes more challenging.

Sometimes there is an outstanding RHYTHM pattern in a song that just begs to be clapped or it’s built into the song as in Let everyone clap hands

Listen to Let everyone clap hands (35 KB)


Listen to the audio-recording and join in the clapping patterns which occur at the end of each phrase. There is also a built-in rhythm pattern in the song ‘I’m a peanut’.

Listen to the audio recording and clap the patterns at the end of the song. The lyrics follow.

I’m a peanut small and round

Lying on the cold hard ground.

Everybody steps on me,

I’m as cracked as can be.

I’m a nut CLAP CLAP

In a rut CLAP CLAP

Such a nut CLAP CLAP

In a rut CLAP CLAP

Rhythm patterns can be short and simple, short and complicated, long and simple and long and complicated.

Following is an example of an outstanding rhythm pattern in a song.

Mammy’s little baby loves shortnin’ shortnin’

Mammy’s little baby loves short–nin’ bread.

Mammy’s little baby loves shortnin’ shortnin’

Mammy’s little baby loves short–nin’ bread.

Listen to the audio recording and clap the RHYTHM patterns identified above (underlined). Sing along.

Listen to Shortnin’ bread (32 KB)

We have used the song ‘One, two, three, four, five’ a number of times now. If you will recall, there are two outstanding RHYTHM patterns in this song. They are:

one, two, three, four, five (and)

six, se–ven, eight, nine, ten

Let’s clap out these two rhythm patterns one more time.


Listen to the audio recording. Sing and clap the patterns when they occur in the song.

Listen to One, two, three, four, five (42 KB)

Let’s sing the song again but this time, during the second verse we also clap the rhythm of the words ‘on my right’.

In the song ‘Are you sleeping?’ the words ‘ding, dang, dong’ also form a striking pattern. We emphasized this when we added actions to the song earlier. ‘Ding, ding, dong’ was a feature.

Listen to the audio as you sing along. Tap the ‘ding, dang, dong’ on the table.

Listen to Are you sleeping? (43 KB)

For more information and rhymes to use with children see:

http://www.rhymes.org.uk

This site also has some quite intriguing information on possible nursery rhyme origins!

Tempo and pitchThe rhyme ‘Roly Poly’, (found in Merrily Merrily) is a good rhyme to use for demonstrating slow and fast TEMPO. Children start chanting slowly, matching their words with slow rolling fist motions. As the chanting gradually builds up in speed, so does the fist rolling action. When children cannot chant or roll their fists any faster, the rhyme suddenly stops with a clap.

Chant the rhyme as you perform the rolling action paying Particular attention to the gradual build up of the speed.

The rhyme Roly, poly, up, up, up can also be used as a PITCH activity. Make your voice go higher and higher and higher with each ‘up’ Change the second line from ‘out’ to ‘down’ and lower your voice lower and lower and lower with each down.

Chant the rhyme as you perform the rolling action paying particular action with pitch.

PITCH refers to the high and the low sounds that we hear within music. Children can find it easier to distinguish between high and low sounds if they use body movements to equate with pitch changes. For example, stretching up really high for high sounds and stooping down very small for low sounds.


You can use the songs ‘We’re Going Up’, ‘Sometimes I’m Very, Very Small’ and ‘Build It Up’ from Merrily Merrily: A Book of Songs and Rhymes for Babies and Young Children, to demonstrate pitch rising and falling.

Stretching up really high!

Activity 19

Form and phrasingWe have only a few more musical concepts left to explore. One of these is FORM.

FORM is the framework that holds the piece of music together. Usually a piece of music or a song is broken into different sections. In a song it is usually broken up into the verse and then the chorus. This is the form of the music.

If you think of your song as a story, then the PHRASES become the sentences. A sentence is a complete thought—so is a phrase. PHRASES can be short or they can be long. PHRASES divide the music into parts or sections.

Listen to a song you enjoy, think about the structure. How does the singer’s voice change within the song? How does the chorus differ from the other parts of the song? How often is the chorus repeated? Is the song linear in structure, without a chorus? This is all connected to FORM and PHRASING.

FORM and PHRASING are more complex concepts, and possibly not ones we would focus upon intentionally with young children. Yet, this is something we can certainly be conscious of when choosing and listening to music for use with children. If we think of music of being mathematical, FORM is what holds all the moving parts together.


Developing concepts of phraseHow do we explore the concepts of FORM and PHRASING of music with children? Below are a few suggestions:

• When you sing to children, slow down the TEMPO at the end of each PHRASE as you progress to a new part of the song.

• If you are holding an infant as you’re singing, shift the child’s position, perhaps by rocking gently, as you begin a new PHRASE.

• If you are walking with an older child as you are singing, shift directions as you begin a new PHRASE. You may find you do this naturally in response to the music.

• When using an accompanying instrument, play it on alternating PHRASES and then on the first beat of every PHRASE.

MelodyWhen children are singing songs and listening to a piece of music they are also learning to recognise MELODY.

• MELODY is the tune of a song. Each tune of a song has its own unique melody.

• A MELODY has TONES of varying PITCHES that go high, or low, or stay the same.

• MELODIES may move up or down by steps or skips.• Some MELODIES have words; some do not. A MELODY with words is

called song. A melody without words is called a tune (or a theme, piece or composition).

Suggestions for developing concepts of melody

• Hum familiar songs or sing using ‘la, la’ for children to identify.• Play the MELODY of a familiar song on a tuned instrument for children

to identify.• Play a recorded CD of a familiar song for children to identify, without

words. The recording can be an instrumental or can show the song being performed in a different style. Can the children recognise it by MELODY?

Feeling more confident about concepts?

Let’s take another look at the of music concepts we have explored so far:

• playing loud and soft sounds; DYNAMICS• making fast and slow movements; TEMPO• listening to high and low sounds; PITCH• feeling and tapping to the underlying pulse of music; BEAT• playing tapping sticks to show RHYTHM patterns


• feeling and responding to the MOOD of music• listening to and anticipating the FORM of music, the way it is

structured.• responding to the PHRASES or sections within a piece of music.• humming to the MELODY or tune of a favourite song.

These concepts will appear again within the learning topics; and you shall become quite familiar with them. Especially BEAT, RHYTHM DYNAMICS, TEMPO, PITCH, and MOOD. These are the main concepts that you will be exploring and discovering in your musical experiences with children.

As already noted it is important to regard musical concepts as a tool regarding the development of both your own and the children’s musicality. Exploring then is meant to be fun and enjoyable, not a chore. Knowledge of the concepts of music will assist you to becoming more discerning in the choice of music you use with children and hopefully serve to refine and enhance your own musical responses.


clips word template - sydney tafe elearning moodle · web viewwhen we sing we tend to enunciate...

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