{"title":"IJMEC: Zero to three","authors":"Diana R. Dansereau","doi":"10.1386/ijmec_00038_2","DOIUrl":"https://doi.org/10.1386/ijmec_00038_2","url":null,"abstract":"","PeriodicalId":142184,"journal":{"name":"International Journal of Music in Early Childhood","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114591002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the concept of inclusion within a music education programme called Muziki Changa based in Kenya. Through the lenses of Vygotsky’s sociocultural learning theory and Wenger’s communities of practice, the article explores the aspirations and practices of one of the founders and two teachers at Muziki Changa, an informal music education programme, and their impact on children’s inclusive music education. Findings indicate that teachers’ informal learning practices within communities of practice inspire them to pursue children’s social inclusion in music education and to utilize inclusive pedagogies in teaching. The study concludes that early childhood music education through informal education initiatives is contributing significantly to increase opportunities for children’s inclusive music education in Kenya.
{"title":"The influences of teacher aspirations and practices for children’s inclusive music education: The case of Muziki Changa","authors":"E. Andang’o","doi":"10.1386/ijmec_00027_1","DOIUrl":"https://doi.org/10.1386/ijmec_00027_1","url":null,"abstract":"This article explores the concept of inclusion within a music education programme called Muziki Changa based in Kenya. Through the lenses of Vygotsky’s sociocultural learning theory and Wenger’s communities of practice, the article explores the aspirations and practices\u0000 of one of the founders and two teachers at Muziki Changa, an informal music education programme, and their impact on children’s inclusive music education. Findings indicate that teachers’ informal learning practices within communities of practice inspire them to pursue children’s\u0000 social inclusion in music education and to utilize inclusive pedagogies in teaching. The study concludes that early childhood music education through informal education initiatives is contributing significantly to increase opportunities for children’s inclusive music education in Kenya.","PeriodicalId":142184,"journal":{"name":"International Journal of Music in Early Childhood","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128452957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this exploratory study was to understand the experience of several Palestinian and Jewish parents participating in a culturally mixed early childhood music class, held in a conflict-affected city. Collective music-making is considered to be a powerful way for people to connect and socialize, regardless of their backgrounds, and for them to get to know each other through music. It also has the potential of reducing stereotypes, which is especially needed in a conflict-affected area. Data sources included records of the classes (videos and a field diary), parents’ sharing of audio and video recordings of musical episodes at home through the music class WhatsApp group and semi-structured interviews with three parents. Data were analysed inductively through open coding and three themes emerged: why music and music classes?; the music class experience; and music at home. These themes reflect the reasons for participating in the programme and the contexts in which the children and their parents experience music. Findings show that those families who chose to participate in this programme hold positive attitudes towards the Other and reported neither observable nor vocally expressed prejudice of their children against the Other. The toddlers who participated in the classes have the potential to not develop negative stereotypes towards the Other (Arab or Jewish), since their families do not expose them to such stereotypes. Nevertheless, they are members of societies (East and West Jerusalem) holding systemic ethnic biases, and therefore joint music classes may strengthen positive attitudes.
{"title":"Building a future through multicultural early childhood music classes in a conflict-affected city","authors":"Michal Hefer, Claudia Gluschankof","doi":"10.1386/ijmec_00028_1","DOIUrl":"https://doi.org/10.1386/ijmec_00028_1","url":null,"abstract":"The aim of this exploratory study was to understand the experience of several Palestinian and Jewish parents participating in a culturally mixed early childhood music class, held in a conflict-affected city. Collective music-making is considered to be a powerful way for people to connect\u0000 and socialize, regardless of their backgrounds, and for them to get to know each other through music. It also has the potential of reducing stereotypes, which is especially needed in a conflict-affected area. Data sources included records of the classes (videos and a field diary), parents’\u0000 sharing of audio and video recordings of musical episodes at home through the music class WhatsApp group and semi-structured interviews with three parents. Data were analysed inductively through open coding and three themes emerged: why music and music classes?; the music class experience;\u0000 and music at home. These themes reflect the reasons for participating in the programme and the contexts in which the children and their parents experience music. Findings show that those families who chose to participate in this programme hold positive attitudes towards the Other and reported\u0000 neither observable nor vocally expressed prejudice of their children against the Other. The toddlers who participated in the classes have the potential to not develop negative stereotypes towards the Other (Arab or Jewish), since their families do not expose them to such stereotypes. Nevertheless,\u0000 they are members of societies (East and West Jerusalem) holding systemic ethnic biases, and therefore joint music classes may strengthen positive attitudes.","PeriodicalId":142184,"journal":{"name":"International Journal of Music in Early Childhood","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114673867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In educational research, the teacher’s body tends to be neglected as a source of evidence of pedagogical content knowledge (PCK). The music teacher’s body might, however, communicate knowledge about teaching that is key to the profession of music teachers. This qualitative single case study set out to explore what the embodied PCK of a music teacher regarding teaching rhythm skills could be. Through a stimulated recall interview, two video analysis tasks, a digital notebook and a semi-structured interview, the PCK of a Dutch specialist music teacher teaching rhythm skills to preschoolers was mapped. The findings show that physical modelling, but also instructional, guiding, representational gestures and embodied ways of assessing, reflect embodied aspects of a music teacher’s PCK regarding rhythm skills. This research study illuminates the role of the music teacher’s body in PCK and provides a starting point for developing a body-based pedagogy for (future) music teachers.
{"title":"Does the body count as evidence? Exploring the embodied pedagogical content knowledge concerning rhythm skills of a Dutch specialist preschool music teacher","authors":"M. Bremmer","doi":"10.1386/ijmec_00029_1","DOIUrl":"https://doi.org/10.1386/ijmec_00029_1","url":null,"abstract":"In educational research, the teacher’s body tends to be neglected as a source of evidence of pedagogical content knowledge (PCK). The music teacher’s body might, however, communicate knowledge about teaching that is key to the profession of music teachers. This qualitative\u0000 single case study set out to explore what the embodied PCK of a music teacher regarding teaching rhythm skills could be. Through a stimulated recall interview, two video analysis tasks, a digital notebook and a semi-structured interview, the PCK of a Dutch specialist music teacher teaching\u0000 rhythm skills to preschoolers was mapped. The findings show that physical modelling, but also instructional, guiding, representational gestures and embodied ways of assessing, reflect embodied aspects of a music teacher’s PCK regarding rhythm skills. This research study illuminates the\u0000 role of the music teacher’s body in PCK and provides a starting point for developing a body-based pedagogy for (future) music teachers.","PeriodicalId":142184,"journal":{"name":"International Journal of Music in Early Childhood","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116465265","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"In retrospect: Community and the 19th International ISME ECME Pre-Conference","authors":"Suzanne L. Burton","doi":"10.1386/ijmec_00023_2","DOIUrl":"https://doi.org/10.1386/ijmec_00023_2","url":null,"abstract":"","PeriodicalId":142184,"journal":{"name":"International Journal of Music in Early Childhood","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132001129","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The field of children’s free play instrumental musical expression seems to lack a theory on the developmental aspect in toddlerhood. The case studies presented here were part of a larger study aimed at helping to fill that gap. In the present study, five children aged 14‐22 months played freely on a metallophone and a pair of bongos in six sessions over nineteen months. The results exemplify the toddlers’ process of developing the ability to structure well-formed musical ideas, starting with short patterns that gradually grow and using repetition-based structures. The insights can contribute to the fields of early childhood musical development, music education and childcare.
{"title":"The emergence of musical structures in instrumental free play of toddlers","authors":"Ilil Keren, Avi Gilboa, V. Cohen","doi":"10.1386/ijmec_00024_1","DOIUrl":"https://doi.org/10.1386/ijmec_00024_1","url":null,"abstract":"The field of children’s free play instrumental musical expression seems to lack a theory on the developmental aspect in toddlerhood. The case studies presented here were part of a larger study aimed at helping to fill that gap. In the present study, five children aged 14‐22\u0000 months played freely on a metallophone and a pair of bongos in six sessions over nineteen months. The results exemplify the toddlers’ process of developing the ability to structure well-formed musical ideas, starting with short patterns that gradually grow and using repetition-based\u0000 structures. The insights can contribute to the fields of early childhood musical development, music education and childcare.","PeriodicalId":142184,"journal":{"name":"International Journal of Music in Early Childhood","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116016670","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this article is to propose a model for the development of musical understanding that is fluid, situational and context-specific and to investigate the model’s validity. The model was developed through observations while teaching, viewing video recordings of young children in interactive music environments, analysing other models and theories of development of musical understanding, and discussion and reflection on our own practice and that of others. In this article, we present the model, comparing and contrasting it primarily with Gordon’s theories of Preparatory Audiation and Audiation and Voyajolu and Ockelford’s Sounds of Intent model. For this initial validation of the model, two early childhood music researchers independently observed a video recording of one 3-year-old child during a 60-minute preschool music class, documenting his musical responses and initiations as well as periods where there was seemingly a lack of musical engagement. We labelled each response in association with the model, as appropriate. Through this study, we were able to explain the child’s engagements through the lens of the model; it was clear the hypothesis of a fluid model was supported. Refinements to the model for easier use were recommended as well as conducting observations of children in other situations and contexts.
本文的目的是提出一个流动的、情境的、特定情境的音乐理解发展模型，并研究该模型的有效性。该模型是通过在教学中观察、观看幼儿在互动音乐环境中的录像、分析其他音乐理解发展的模型和理论、以及对我们自己和他人实践的讨论和反思而发展起来的。在本文中，我们将介绍该模型，并将其与Gordon的预备听析和听析理论以及Voyajolu和Ockelford的Sounds of Intent模型进行比较和对比。为了对该模型进行初步验证，两位幼儿音乐研究人员独立观察了一段视频，记录了一名3岁儿童在60分钟的学前班音乐课上的音乐反应和开始，以及似乎缺乏音乐参与的时期。我们酌情将每个响应与模型关联起来。通过这项研究，我们能够通过模型的镜头来解释孩子的参与;很明显，流体模型的假设得到了支持。建议对该模型进行改进，使其更易于使用，并在其他情况和背景下对儿童进行观察。
{"title":"The validity and efficacy of ‘Spheres of Musical Understanding: A Fluid, Situational and Context-Specific Model’","authors":"Joanne Rutkowski, Lauren K. Kooistra","doi":"10.1386/ijmec_00026_1","DOIUrl":"https://doi.org/10.1386/ijmec_00026_1","url":null,"abstract":"The purpose of this article is to propose a model for the development of musical understanding that is fluid, situational and context-specific and to investigate the model’s validity. The model was developed through observations while teaching, viewing video recordings of young children in interactive music environments, analysing other models and theories of development of musical understanding, and discussion and reflection on our own practice and that of others. In this article, we present the model, comparing and contrasting it primarily with Gordon’s theories of Preparatory Audiation and Audiation and Voyajolu and Ockelford’s Sounds of Intent model. For this initial validation of the model, two early childhood music researchers independently observed a video recording of one 3-year-old child during a 60-minute preschool music class, documenting his musical responses and initiations as well as periods where there was seemingly a lack of musical engagement. We labelled each response in association with the model, as appropriate. Through this study, we were able to explain the child’s engagements through the lens of the model; it was clear the hypothesis of a fluid model was supported. Refinements to the model for easier use were recommended as well as conducting observations of children in other situations and contexts.","PeriodicalId":142184,"journal":{"name":"International Journal of Music in Early Childhood","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125337438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Lexington Early Childhood Music Project aimed to improve the quality of musical experiences of young children living in Lexington, Kentucky, a mid-size US city. Classroom teachers collaborated with teaching artists, music therapists and music teachers on the development of a music programme that served thirty 3- and 4-year-old underprivileged children and their parents at the Family Care Center. The pedagogical approach of the project included: (1) helping children relate to an unfamiliar culture through music made familiar; (2) creating mediational tools for traditional songs and movements; (3) teaching children how to play musical instruments; and (4) attending participatory concerts. Collaborative efforts of the participants were found to enhance young children’s musical experiences. Shared inspiration played a critical role as the teachers and children voluntarily and creatively enriched their musical cultures.
{"title":"New discovery of ‘inspiration’ from the old treasure chest: An initial report on the Lexington Early Childhood Music Project","authors":"Namhee Lim","doi":"10.1386/ijmec_00025_1","DOIUrl":"https://doi.org/10.1386/ijmec_00025_1","url":null,"abstract":"The Lexington Early Childhood Music Project aimed to improve the quality of musical experiences of young children living in Lexington, Kentucky, a mid-size US city. Classroom teachers collaborated with teaching artists, music therapists and music teachers on the development of a music\u0000 programme that served thirty 3- and 4-year-old underprivileged children and their parents at the Family Care Center. The pedagogical approach of the project included: (1) helping children relate to an unfamiliar culture through music made familiar; (2) creating mediational tools for traditional\u0000 songs and movements; (3) teaching children how to play musical instruments; and (4) attending participatory concerts. Collaborative efforts of the participants were found to enhance young children’s musical experiences. Shared inspiration played a critical role as the teachers and children\u0000 voluntarily and creatively enriched their musical cultures.","PeriodicalId":142184,"journal":{"name":"International Journal of Music in Early Childhood","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122613877","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Children with autism spectrum disorder (ASD) have difficulty recognizing subtle expressions of feelings, identifying and understanding various other states of emotion expressed by others, and knowing what to do in a set of conditions that exist at a particular time in a particular place. The purpose of this study was to examine the effects that a music-movement programme can have on a 6-year-old girl with ASD ‐ specifically her ability to recognize and understand the feelings of others, communicate clearly about her personal emotional states and build stronger relationships. Results showed that the programme appeared to enhance empathic development for the young girl with ASD and reduced the frequency of difficulty in determining emotional reactions in others, describing emotional states, and difficulty thinking and feeling about a situation. These initial results support the use of the programme to reduce maladaptive behaviours of children with ASD and increase their awareness of and sensitivity towards others.
{"title":"Strengthening empathy in children with autism: A single-case study of a music and movement programme","authors":"Maria Bella, Zoi Sipsa","doi":"10.1386/ijmec_00030_1","DOIUrl":"https://doi.org/10.1386/ijmec_00030_1","url":null,"abstract":"Children with autism spectrum disorder (ASD) have difficulty recognizing subtle expressions of feelings, identifying and understanding various other states of emotion expressed by others, and knowing what to do in a set of conditions that exist at a particular time in a particular place.\u0000 The purpose of this study was to examine the effects that a music-movement programme can have on a 6-year-old girl with ASD ‐ specifically her ability to recognize and understand the feelings of others, communicate clearly about her personal emotional states and build stronger relationships.\u0000 Results showed that the programme appeared to enhance empathic development for the young girl with ASD and reduced the frequency of difficulty in determining emotional reactions in others, describing emotional states, and difficulty thinking and feeling about a situation. These initial results\u0000 support the use of the programme to reduce maladaptive behaviours of children with ASD and increase their awareness of and sensitivity towards others.","PeriodicalId":142184,"journal":{"name":"International Journal of Music in Early Childhood","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130994625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article I take a new materialist and posthuman approach to ask: how can improvisation in the temporal arts reconceptualize and broaden our adult understandings of young children’s communication and knowledge? I draw on two filmed events from the recent SALTmusic project. This filmed event data has been returned to many times to illustrate unique and particular events that took place in the past, but ‐ when re-viewed and retold ‐ constitute a new and particular happening or entanglements between the original event, the video technology that brings the past into the present, and the philosophical thinking that the events inspire. In the first part of this article, I critique the fixation on young children being made to talk as early as possible, and call for improvised music and arts practices as decolonizing pedagogies where children’s own knowledges are able to inform and shape their education. By revisiting Trevarthen and Malloch’s Communicative Musicality and Stern’s ideas on vitality affect and the present moment to see how they entangle and transform within new materialist and posthuman philosophy, I question and critique the developmental discourses that conceptualize young children’s musical behaviours as proto-music and, instead, frame the temporal arts, within a posthumanism, as having the potential to cut through the subject/object binary. I explore children’s porous and entangled subjectivities, through the posthuman idea that human identity and human thought connect and are made and remade beyond the individual, bounded human subject, and that children’s relationship with the present moment is a vital capability or knowledge at the heart of what it means to improvise and much more than a developmental stage.
{"title":"Decolonizing the knowledges of young children through the temporal arts","authors":"C. Arculus","doi":"10.1386/ijmec_00012_1","DOIUrl":"https://doi.org/10.1386/ijmec_00012_1","url":null,"abstract":"In this article I take a new materialist and posthuman approach to ask: how can improvisation in the temporal arts reconceptualize and broaden our adult understandings of young children’s communication and knowledge? I draw on two filmed events from the recent SALTmusic project.\u0000 This filmed event data has been returned to many times to illustrate unique and particular events that took place in the past, but ‐ when re-viewed and retold ‐ constitute a new and particular happening or entanglements between the original event, the video\u0000 technology that brings the past into the present, and the philosophical thinking that the events inspire. In the first part of this article, I critique the fixation on young children being made to talk as early as possible, and call for improvised music and arts practices as decolonizing pedagogies\u0000 where children’s own knowledges are able to inform and shape their education. By revisiting Trevarthen and Malloch’s Communicative Musicality and Stern’s ideas on vitality affect and the present moment to see how they entangle and transform within new materialist\u0000 and posthuman philosophy, I question and critique the developmental discourses that conceptualize young children’s musical behaviours as proto-music and, instead, frame the temporal arts, within a posthumanism, as having the potential to cut through the subject/object binary.\u0000 I explore children’s porous and entangled subjectivities, through the posthuman idea that human identity and human thought connect and are made and remade beyond the individual, bounded human subject, and that children’s relationship with the present moment is a vital capability\u0000 or knowledge at the heart of what it means to improvise and much more than a developmental stage.","PeriodicalId":142184,"journal":{"name":"International Journal of Music in Early Childhood","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123408033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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