Young Children November 201368

Ellen G. Cerniglia

The kindergartners enter the classroom after recess. They ran around and expended their energy, but now it’s time to focus on math. They make their way noisily to the carpet where I sit. Many of them continue to talk, while others jostle and fidget, trying to get comfort-able. I give them a moment, and then I clap in a slow, steady rhythm. Alejandro joins in. I continue to clap until others start to focus and join in. Miraculously, the talking stops and the only movements they make are clapping with my rhythm. I haven’t said a word. I then begin slapping my legs and then clapping, alternating between them. I feel the energy and focus increase as the children follow along. After they all have the rhythm, I move to a more complex rhythm: slap legs, clap, snap fingers, clap, repeat. The children peer at me intensely as they try to make their hands and rhythm match mine. When they have mastered the rhythm, I use my hands to signal a close to our exercise and speak with them about what we are going to do next.

Music can engage, focus, and help children with classroom transitions. In the opening vignette, I used rhythm and tempo to help children move from a very active time outside to a quieter time at the

carpet. My role was to guide them to where they needed to go. Guidance is one of many ways to use music in the early childhood classroom. In this article, I discuss how teachers use music in the classroom and its purpose, drawing from a qualitative research study I conducted and other relevant research. Then I offer strategies for enhancing the musical experiences of young children.

Music teaching standardsThe National Association for Music Educators (NAfME) (formerly Music Educators National Conference) has music standards for prekindergarten and kindergarten children that focus on singing, playing instruments, listening to mu-sic, creating music, and moving to music (NAfME 1994).

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Musical Play in Early Childhood Classrooms

Taking It One Step Further

Preschool Through Kindergarten

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Other aspects of the standards include n Offering a music center in every

room

n Having a variety of instruments available

n Including children’s books con-taining song lyrics and music in the classroom library

n Providing adequate space for all children to move to music

n Integrating music throughout the classroom day

n Devoting a minimum of 12 percent of total school time to various types of music exploration

n Creating structured music experi-ences

n Providing a way for children to record sounds and access diverse sound recordings, such as a CD player, tape recorder, or video recorder, or an electronic keyboard with a microphone to record children’s singing

Even for the primary grades, where many schools have a music specialist, NAfME’s standards state that the class-room teacher should complement the specialist’s role. Since they spend more time with children, classroom teachers can integrate music more fully into the curriculum and make it a part of children’s daily routine (NAfME 1994).

It is important for preschool educators to understand that they can meet NAfME standards through develop-mentally appropriate practice. Start the Music: A Report From the Early Childhood Music Summit (sponsored by NAEYC, NAfME, and the US Department of Education) stresses that the most vital aspects of using developmental-ly appropriate practices in music education involve taking into account children’s interests, culture, and abilities when planning music curriculum (Boston 2000).

What we know about early childhood music educationThis article combines results from my doctoral dissertation (Cerniglia 2006) with information from two related re-search studies—one based on a large set of survey responses

about music use in NAEYC-accredited programs (Nardo et al. 2006), and one based on observa-tions of five different early childhood settings (Gillespie & Glider 2010). My study used questionnaires, inter-views, and observations to look at how eight teachers used the arts in one (since closed) NAEYC-accredited preschool in Manhattan. While each study has a different level of breadth and depth, their results are extremely similar. This provides an overarching picture of what we know about music education in early childhood.

Classroom teachers as music educatorsThe Manhattan preschool had a music specialist, but the classroom teachers reported using music

extensively in their classrooms. The music specialist met with children only once a week for short periods, so the classroom teachers provided the bulk of the music experi-ences. This coincides with findings from the study that surveyed NAEYC-accredited centers—classroom teachers are the primary planners and executers of music education (Nardo et al. 2006).

Potential challenges. Because of this role, some teachers in my study felt a divide between what they could accomplish musically with the children and what the music specialist could do. Although NAfME states that teachers who provide music instruction in early childhood programs should have some formal training in music education, none of the teach-ers I observed were required to take a class in early child-hood music during their teacher training. This is a recurring theme in the research, which suggests that teachers might be intimidated by the medium and do not feel adequately pre-pared to be the primary music educators for young children (Kemple, Batey, & Hartle 2004; Nardo et al. 2006).

Music has a strong presence in early childhood classroomsDespite the finding that teachers may not feel sufficiently prepared, the teachers in my study used music extensively in their classrooms. This coincides with Gillespie and Glider (2010), who found that music in early childhood classrooms is both planned and spontaneous, and often occurs through-out the day. In fact, by observing in five different Head Start and preschool programs, they found that music happening at the designated music time accounted only for about 14 percent of the music that occurred in the classroom.

Singing and listening were overwhelmingly the most prevalent musical experiences in my study. Additionally,

About the AuthorEllen G. Cerniglia, EdD, is an associate professor of education in the Graduate School of Education at Touro College, in New York City. In addition, Ellen runs Giocare Playschool, a small preschool program for children ages 2 to 4 in Brooklyn. She is past president of the NYC AEYC local Affiliate. drc@doctorcerniglia.com

New Music Education Standards

The National Coalition of Core Arts Standards, which includes NAfME, is develop-

ing new national Core Standards for Music Education for pre-K through eighth grade, which will be released in March 2014. Based on the latest research, standards will address recent policy shifts, focusing on helping music teach-ers measure children’s skills and understanding. The standards will link music knowledge with cogni-tive development and align with Common Core State Standards.

Young Children November 201370

these activities were nearly always whole group activities that occurred during circle time (e.g., morning song, good-bye song) or during classroom transitions (e.g., clean-up song, line-up song).

Potential challenge. While whole group singing is the most frequently reported activity in the survey study, it also is the area in which teachers reported feeling the least skilled (Nardo et al. 2006). Gillespie and Glider found that nearly all examples they observed of music in the classroom were of the teacher singing, the class singing along with a CD, or everyone singing as a group (2010). This points to the need for more varied music experiences for young children, as well as more support for teachers to diversify and feel confident in their intentional planning of music activities.

Teachers believe that music is important and allows for creativityThrough questionnaires and interviews, the Manhat-tan teachers maintained that music was important in the classroom and that it enhanced children’s creativity. This importance is further evidenced by the sheer amount of classroom time children spent engaged in music. Nardo and colleagues concluded that teachers thought music was im-portant, and more than 50 percent of participants indicated that music was used to promote creativity (2006).

Potential challenge. My observations showed that much of the music happening in the classroom was teacher directed. Most frequently, children sang known songs rather than having opportunities to create on their own and explore, experiment, or play with sound. This is parallel to what the other research found, with the survey study showing that there was a stated focus on creativity in direct contrast with the descriptions of activities shared. For example, most activities were prescribed and teacher directed, such as singing the same hello and goodbye song, singing along with a CD, or playing instruments with a known song in a prescribed way (Nardo et al. 2006).

Teachers use music to accomplish particular goalsTeachers in my study used music to n Affect mood, behavior, or focus

n Engage children

n Expose children to its diversity, sharing different kinds and genres and different ways to move

n Enhance children’s problem-solving skills

n Address various curriculum areas

n Help with classroom routines, such as using a song to signal transitions

Gillespie and Glider concluded that teachers primarily used music to help children build academic skills as well as social skills, and then secondarily to facilitate routine activities (2010). Additionally, they found that teachers sometimes used music spontaneously to guide children’s behavior or steer them toward answers to their questions.

Potential challenge. While this speaks to the diversity of what music can accomplish in the classroom, in these studies music was rarely used for the sake of music appreciation or to enhance musical knowledge or skill level. In fact, when Gil-lespie and Glider (2010) began to collect data and formulate their collection process, they found that teachers did not use music to help children learn musical concepts such as beat, rhythm, volume, pitch, or timbre. Nardo and colleagues (2006) found less than 15 percent of programs used music to build music concepts and skills or develop tonal and rhyth-mic memory.

Implications for practiceEarly childhood educators are generating many positive music experiences in the classroom. Whether they feel adequately prepared or not, they are embracing the use of music and are integrating music throughout the day—mostly in whole group activities and often for social and academic reasons.

Taking it one step furtherTeachers can think about expanding on the music experi-ences in the classroom. They can ask themselves: n What musical skills or vocabulary do I want to nurture?

n Do I fall into a repetitive pattern of music use (e.g., circle time and transitions)?

n Are children creating through the music experiences I plan?

n How can I use music to promote children’s math skills? Vocabulary?

When integrating music, be clear about your objectives and consider what children are learning or exploring musi-cally in addition to any other outcomes.

Early childhood educators are gener-ating many positive music experiences in the classroom.

How Teachers Use Musicn Integrate it throughout the day

n Sing as a whole group

n Sing familiar songs

n Facilitate classroom routines

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Use small group and individual explorationIt is important for teachers to create more opportunities for children to explore music and sound in small groups and individually. Through these experiences, children are able to devise and discover new ways of creating music and play with the materials and sound, ultimately becoming more confident in their approach.

For example, teachers can create a classroom music center where small groups of children play with sound, instruments, and their own voices. (See “Tips for Creating a Music Learning Center,” p. 72.) Teachers can also add musi-cal instruments to other centers (e.g., dramatic play and outdoor areas). Educators can investigate and then provide computer programs through which children can experi-ment in small groups with sound and compose music. Allowing for more choice and creativity nurtures children’s decision-making and problem-solving abilities.

Use open-ended and creative musicI pull out the instrument box and put it in the middle of the rug. The preschoolers are playing during center time—some at the kitchen area, some dressing up, and some building with blocks. Charlene immediately comes to the rug and pulls out the coveted microphone and the biggest drum and mallet. Niranjan, noticing the instruments, drops what he is doing and comes to the rug, pulling out a different drum and mallet along with shaking bells. Charlene chants into the echo micro-phone “A-B-C-D-E-F-G” while tapping the drum with each letter. One by one, children stop by to interact or play with the instruments in their own ways. Some stay only a few seconds, while others stay for a long time, exploring various instruments and the sounds they can make. They mostly work alone but also watch each other. The spontaneous music-making ebbs and flows in sound level and coordination, and every child stops by to play at some point.Many children spontaneously create music and songs

without feeling the apprehensiveness adults sometimes feel when singing or playing music in front of others. Teachers might feel they are putting children on the spot or placing them in an uncomfortable position by asking them to create

a song, but generally children are comfortable doing so. Research suggests that the songs children create often are linked with songs they already know—that is, children use words or melodies from familiar songs to create new ones (Mang 2005). In the vignette, Charlene uses the familiar lyrics of the A-B-C song to create her music. This familiarity can be a good starting point for building children’s creativ-ity. Providing this opportunity to explore individually gives children the tools and confidence to feel comfortable doing this in future small and large group exploration times.

When teachers make the move from exclusively whole group toward small group and individual exploration, chil-dren’s overall musical creativity will naturally increase. To encourage this change, teachers cann Create a music learning center

n Provide an opportunity for children to record and listen to their playing or singing

n Play CDs and allow children to find their own method (not a teacher-led method) to accompany the CD with instruments

n Have children explore the room for things that make sounds and ask them to share the sounds with others

n Have individual children take turns creating a rhythmic pattern with an instrument or their bodies (e.g., clap-ping, stomping) that everyone follows

n Provide opportunities for children to add a new verse to a known song, or help them create the words for a new song based on a familiar melody

n Provide time for children to listen to and respond to diverse music genres, such as appropriate popular ©

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Taking It One Step Furthern Promote small group and individual exploration

and experimentation

n Allow for open-ended creativity

n Focus more on musical concepts and objectives

n Offer varied music experiences

n Provide intentional music education

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music (which many children are already familiar with), classical music, blues, children’s music, various cultural music, and improvised music

Diversify music use and elevate the role of musical conceptsMusic often plays a role in children’s family, cultural, and spiritual lives. Their musical experiences are as diverse as the children themselves. Finding out how music affects children personally can help teachers figure out the best way to integrate it throughout the classroom.

The first two strategies presented previously, which include using more small group and individual exploration along with more open-ended and creative music, set the stage for diversifying the use of music in the classroom. They naturally provide for more diverse experiences as they become more child directed.

The whole group format can be effective for introducing simple musical concepts and vocabulary. Teachers can inte-grate one new musical concept at a time. After introducing a concept, they can analyze how to integrate it into the rest of the classroom or other daily activities so children can practice the new concept. For example, after introducing a simple clapping pattern, have the children practice it and then use it during transition times. Start slow and simple: musical concepts such as loud and soft (volume), fast and slow (tempo), high and low (pitch), and clapping patterns (rhythm) are the most familiar. Often children will see these as games. Consider: n Tempo: Use simple shakers and have the children

dance/move to fast and slow music

n Rhythm: Use percussion instruments or children’s own bodies (e.g., clapping, snapping, slapping) to create a rhythmic pattern or create/draw a pattern and illustrate it through movement

n Pitch: Use whistles or a xylophone to play with high and low pitch, or experiment with making high- and low-pitch vocalizations

n Timbre and responding to music: Listen to recordings of different instruments and sounds, or have a family member demonstrate them and talk about the kind of sound each makes and how it makes the children feel

Increase teachers’ confidence as intentional music educatorsIn an effort to promote music education, early education programs can examine their music education require-ments for teachers. Offering professional development workshops or specific training would be helpful, as would hiring an early childhood music specialist as a consultant for teachers.

Look in the mirror. Research has shown that some teachers are unsure of their musical talents, as well as their

Promote Creativity and Exploration

n Allow adequate room for children to move freely to the music

n Place the center where children can make music without worrying about noise level—for example, next to or with the dress-up area, but away from the library or puzzle area where children often gravitate for quiet exploration

Include These Items

n Headphones, so children can listen to music without disturbing or being disturbed by others

n Traditional instruments: e.g., drums and jingle bells, as well as instruments that create a melody, such as xylophones and keyboards

n Nontraditional instruments (things that make interest-ing sounds and/or tie to a curriculum theme) for chil-dren to explore: e.g., bubble wrap and pots/pans with spoons; one classroom even repurposed dried gourds as maracas, as the dried seeds inside function similarly

n Instruments from various cultures: e.g., didgeridoo from Australia and djembe from West Africa

n A recording device to capture children’s creations: e.g., a tape recorder, karaoke machine, or computer program; it should be easy for the children to use

Maximize Learning and Exploration

n Change materials frequently to keep children interested and to engage different children

n Model exploration of instruments, including playing known instruments in nontraditional ways, while also taking the time to introduce new instruments

Tips for Creating a Music Learning Center

ability to create effective music-based activities. Teachers might bring their own negative experiences from child-hood to the classroom: the time when she “couldn’t carry a tune,” or was told that he “isn’t talented.” Alternatively, some might believe that music is only for talented children (Kemple, Batey, & Hartle 2004). Therefore, my first recom-mendation is that teachers examine their beliefs about their musical abilities and their skills as music educators. Teach-ers will likely find that children are not critical of their skills. With practice teachers will gain more confidence. It is essential for teachers to also reflect on the important role that music plays in children’s education and lives. Music is

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for all children, and each of them should be able to reach their potential and carry this learning into other areas of their lives.

Apply what we know to music. The vignette with Char-lene and Niranjan illustrates some best practices in early childhood education, such asn Giving children opportunities for hands-on, open-ended

experiences

n Integrating choice

n Providing opportunities for children to learn from each other

n Allowing children to construct their own knowledge while guiding, extending, and expanding on their learning

Early childhood educators are often confident in these roles and frequently and astutely guide children with these practices in mind every day. Yet research has shown that this is not always the case with music. It is important for teachers to plan for children’s musical experiences in this same way, allowing children to explore music and sound with their guidance.

ConclusionTeachers can take their current practices one step further by enhancing and diversifying how they use music in the classroom. It is important for teachers to reflect on the role that music plays in the classroom, and to take more risks with music, provide space and time for children to create

and play music, and continue to draw from overarching best practices in early childhood education to plan for musical experiences.

ReferencesBoston, B.O. 2000. “Start the Music: A Report From the Early Childhood

Summit.” http://musiced.nafme.org/resources/start-the-music-strategies/start-the-music-a-report-from-the-early-childhood-summit/.

Cerniglia, E.G. 2006. “Artistic Beginnings: A Case Study of Everyday Arts Usage in One Preschool’s Classrooms.” PhD diss., Teachers Col-lege, Columbia University, New York.

Gillespie, C.W., & K.R. Glider. 2010. “Preschool Teachers’ Use of Music to Scaffold Children’s Learning and Behaviour.” Early Child Develop-ment and Care 180 (6): 799–808.

Kemple, K.M., J.J. Batey, & L.C. Hartle. 2004. “Music Play: Creating Centers for Musical Play and Exploration.” Young Children 59 (4): 30–37. www.naeyc.org/files/tyc/file/MusicPlay.pdf.

Mang, E. 2005. “The Referent of Children’s Early Songs.” Music Educa-tion Research 7 (1): 3–20.

NAfME (MENC: The National Association of Music Education). 1994. “Opportunity-to-Learn Standards for Music Instruction: Grades PreK–12.” Reston, VA: NAfME. http://musiced.nafme.org/resources/opportunity-to-learn-standards-for-music-instruction-grades-prek-12/.

Nardo, R.L., L.A. Custodero, D.C. Persellin, & D.B. Fox. 2006. “Look-ing Back, Looking Forward: A Report on Early Childhood Music Education in Accredited American Preschools.” Journal of Research in Music Education 54 (4): 278–92.

Copyright © 2013 by the National Association for the Education of Young Children. See Permissions and Reprints online at www.naeyc.org/yc/permissions.

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