What are the advantages and disadvantages of a musical education ...
What are the advantages and disadvantages of a musical education ...
What are the advantages and disadvantages of a musical education ...
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<strong>What</strong> <strong>are</strong> <strong>the</strong> <strong>advantages</strong> <strong>and</strong> dis<strong>advantages</strong> <strong>of</strong><br />
a <strong>musical</strong> <strong>education</strong> in regard to children?<br />
Written by Emily McGregor (163930)<br />
Dissertation submission for CM6002 <strong>the</strong> Research Module <strong>of</strong> BA (Hons) in<br />
Commercial Music.<br />
Music Education in Regard to Children Emily McGregor 163930
Contents<br />
Introduction 3<br />
Advantages 3<br />
The benefits music can have on p<strong>are</strong>nt <strong>and</strong> child relationships 6<br />
How music can benefit children with learning disabilities 7<br />
Music in <strong>the</strong> Curriculum 9<br />
History <strong>of</strong> music <strong>education</strong> 13<br />
Jingle Jangle Club Journal 17<br />
Dis<strong>advantages</strong> 18<br />
Summery <strong>and</strong> Conclusion 23<br />
Bibliography 24<br />
Music Education in Regard to Children CM6002 Emily McGregor 163930<br />
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<strong>What</strong> <strong>are</strong> <strong>the</strong> <strong>advantages</strong> <strong>and</strong> dis<strong>advantages</strong> <strong>of</strong> a <strong>musical</strong> <strong>education</strong> in<br />
regard to children?<br />
Introduction<br />
Throughout <strong>the</strong> ages subjects that <strong>are</strong> considered to be important <strong>are</strong>as <strong>of</strong> study have<br />
progressed <strong>and</strong> developed. There <strong>are</strong> continuously new topics that cause controversy, debate,<br />
<strong>and</strong> interest. One topic that has always seemed to connect people from different cultures,<br />
religions, <strong>and</strong> classes is a common interest <strong>and</strong> mutual love <strong>of</strong> music. From <strong>the</strong> beginning <strong>of</strong><br />
time music has been a universal language used all over <strong>the</strong> world. Women would sing to <strong>the</strong>ir<br />
children long before <strong>the</strong> days that <strong>the</strong>y could read <strong>and</strong> write. Whe<strong>the</strong>r it is at a funeral,<br />
wedding, or birth, music is <strong>the</strong> one thing that brings <strong>the</strong> human race toge<strong>the</strong>r. <strong>What</strong> is it about<br />
music that is so powerful when it comes to communicating with one ano<strong>the</strong>r? Surely<br />
something so universally respected can only have positive effects on <strong>the</strong> younger generation?<br />
Can introducing music at a young age really benefit young children? Or can it have an<br />
adverse affect by introducing <strong>the</strong> ways <strong>of</strong> <strong>the</strong> world <strong>and</strong> even brainwashing children at too<br />
early an age? This text will consist <strong>of</strong> a much deeper study into <strong>the</strong> subject <strong>are</strong>a to fully<br />
underst<strong>and</strong> how music can affect children in today’s society.<br />
Advantages<br />
‘Creating a better world begins with music at birth’ (Raimond Lap, 2002)<br />
When a baby is first born <strong>the</strong>ir eyesight isn’t perfect, but <strong>the</strong>y <strong>are</strong> able to hear sounds clearly.<br />
Sounds <strong>are</strong> one <strong>of</strong> <strong>the</strong> first things that babies can recognise perfectly. As soon as a child is<br />
born <strong>the</strong>ir brains <strong>are</strong> like sponges; <strong>the</strong>y <strong>are</strong> constantly absorbing everything around <strong>the</strong>m.<br />
This is why it is important to introduce stimulating activities to babies at as young an age as<br />
possible. It is down to p<strong>are</strong>nts to create a <strong>musical</strong>ly stimulating environment for <strong>the</strong>ir<br />
children. ‘Babies <strong>are</strong> born with great potential for learning <strong>and</strong> it is <strong>the</strong> environment in which<br />
<strong>the</strong>y <strong>are</strong> brought up that provides <strong>the</strong> stimulation for what <strong>the</strong>y learn’ (Arnold, 1999, P28).<br />
Babies have no control over what music <strong>the</strong>y listen to, this is why it is important for p<strong>are</strong>nts<br />
to choose music <strong>and</strong> activities that will stimulate <strong>and</strong> inspire. In this day <strong>and</strong> age it is so easy<br />
for p<strong>are</strong>nts to become reliant on television <strong>and</strong> computer games ra<strong>the</strong>r than introducing <strong>the</strong>ir<br />
children to more creative activities. “I’m not a creative person” is a saying that is commonly<br />
used. In some cases <strong>the</strong>se people may not be very creative, but perhaps some <strong>of</strong> those people<br />
have never been encouraged to be creative or haven’t come from a creative background,<br />
<strong>the</strong>refore never allowing <strong>the</strong>m to develop <strong>the</strong>ir own creativity.<br />
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Many people believe that if you <strong>are</strong> going to be a creative person that you will be born with<br />
those underlying talents, but perhaps creativity could be planted in all children if introduced<br />
at an early age. ‘Perhaps more families could be <strong>musical</strong>, artistic, scientifically <strong>and</strong><br />
humanistically creative, given more help in knowing how to encourage it’ (Bruce, 2004, P.2).<br />
Music is based around structure <strong>and</strong> pattern <strong>and</strong> although babies may not underst<strong>and</strong> <strong>the</strong><br />
words you <strong>are</strong> saying, <strong>the</strong>y can recognise <strong>the</strong> emotion in <strong>the</strong> tone <strong>and</strong> sounds <strong>of</strong> <strong>the</strong> words.<br />
Music is an activity that stimulates both sides <strong>of</strong> a baby’s brain. It stimulates <strong>the</strong> creative side<br />
<strong>of</strong> <strong>the</strong> brain while at <strong>the</strong> same time stimulating <strong>the</strong> logical side <strong>of</strong> <strong>the</strong> brain.<br />
‘Music stimulates <strong>are</strong>as <strong>of</strong> a child’s brain that o<strong>the</strong>r mental <strong>and</strong> physical activity will not,<br />
<strong>and</strong> it will make a lasting impression’ (Metzger, 2009).<br />
It is more effective to sing to a baby than it is to talk. Rocking a baby while singing to <strong>the</strong>m<br />
is very important; it helps to develop <strong>the</strong> inner ear <strong>and</strong> balance. Rocking is also a very<br />
relaxing <strong>and</strong> comfortable motion for a baby. ‘The earlier a child studies music, <strong>the</strong> more<br />
rhythmic integration, movement, <strong>and</strong> learning about proportions in time space perception,<br />
streng<strong>the</strong>ns <strong>the</strong> young brain’ (Campbell, 2000). Introducing music to a baby helps <strong>the</strong>m to<br />
become aw<strong>are</strong> <strong>and</strong> develop <strong>the</strong>ir senses. It can also help development in <strong>are</strong>as such as<br />
movement, language, co-ordination, <strong>and</strong> listening skills. Music plays a huge part in <strong>the</strong><br />
relationship between p<strong>are</strong>nt <strong>and</strong> child, can help to develop social interaction <strong>and</strong> can have a<br />
huge role in building a strong bond between p<strong>are</strong>nt <strong>and</strong> baby. Raimond Lap, <strong>the</strong> creator <strong>of</strong><br />
‘Lovely Baby’, a music program for babies <strong>and</strong> families, talks about how introducing music<br />
at a young age helps to give children a good start in life:<br />
‘Music can transfer a <strong>musical</strong> language containing all kinds <strong>of</strong> emotional <strong>and</strong> <strong>education</strong>al<br />
messages, which can be understood unconsciously by all babies. By presenting your baby <strong>the</strong><br />
right mix <strong>of</strong> styles, melody, harmony <strong>and</strong> rhythm, <strong>the</strong> brain is stimulated into creating more<br />
connections, providing your baby a head start in life in various ways’ (2002).<br />
A child would not be able to sing without first learning to listen; this is why it is important to<br />
introduce stimulating music at an early age. It is between <strong>the</strong> ages <strong>of</strong> 18 months to 3 years<br />
that a child can start learning to sing, although it is important to remember that all children<br />
<strong>are</strong> different <strong>and</strong> will <strong>the</strong>refore develop in different ways. It is vital to introduce good music<br />
to young children as this gives <strong>the</strong>m more opportunities to explore <strong>the</strong>ir own voice <strong>and</strong><br />
<strong>musical</strong> abilities. Raimond Lap describes what qualifies as good music for babies:<br />
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‘Good baby music is created with <strong>the</strong> right knowledge <strong>of</strong> how a baby interprets <strong>musical</strong><br />
information <strong>and</strong> how it responds. It must have <strong>the</strong> right tempo, s<strong>of</strong>t <strong>and</strong> tender orchestrations,<br />
<strong>and</strong> feature c<strong>are</strong>fully composed melodies with <strong>the</strong> right use <strong>of</strong> rhythm’ (2002).<br />
Repetition plays a huge part in teaching young children. Repetition creates familiarity <strong>and</strong><br />
familiarity helps children to feel comfortable. This is why it has been said that it is so<br />
important to play music to babies while in <strong>the</strong> womb as <strong>the</strong>y will be able to remember that<br />
music after <strong>the</strong>y <strong>are</strong> born.<br />
Every loving p<strong>are</strong>nt wants to give his or her child <strong>the</strong> best possible start in life. They have<br />
dreams <strong>and</strong> aspirations <strong>of</strong> what <strong>the</strong>ir child will grow up to achieve. This desire to give your<br />
child <strong>the</strong> best possible introduction into <strong>the</strong> world doesn’t just start from birth. Some p<strong>are</strong>nts<br />
choose to start to nurture <strong>and</strong> try to teach <strong>the</strong>ir unborn babies while still in <strong>the</strong> womb. One <strong>of</strong><br />
<strong>the</strong> most affective ways <strong>of</strong> doing this is believed to be through music. ‘The auditory system<br />
starts to function at around <strong>the</strong> 24 th week in some fetuses <strong>and</strong> after <strong>the</strong> 30 th week in all <strong>of</strong><br />
<strong>the</strong>m’ (Tafuri, 2008, P. 10). New research now also suggests that <strong>the</strong>y will remember <strong>the</strong><br />
music that was played to <strong>the</strong>m whilst in <strong>the</strong> womb. Dr Lamont writes:"It used to be assumed<br />
that it was really noisy in <strong>the</strong> womb but actually it's quite quiet" (2005). This evidence<br />
suggests that babies can pick up <strong>the</strong> sound <strong>of</strong> music coming from a stereo at a reasonable<br />
volume <strong>and</strong> it isn’t necessary to apply headphones directly to <strong>the</strong> baby bump. An experiment<br />
performed by Dr Alex<strong>and</strong>ra Lamont, from Leicester University’s music research group, has<br />
found new evidence on how music in <strong>the</strong> womb can influence early child development. ‘Now<br />
we have discovered that babies can remember <strong>and</strong> prefer music that <strong>the</strong>y heard before <strong>the</strong>y<br />
were born over 12 months later’ (Lamont, 2001). This evidence shows just how important<br />
<strong>and</strong> influential <strong>the</strong> music played to a child while in <strong>the</strong> womb can be to a young child’s life<br />
<strong>and</strong> early development. During <strong>the</strong> experiment Dr Alex<strong>and</strong>ra Lamont found one woman who<br />
talked about her experience <strong>of</strong> playing music to her baby while in <strong>the</strong> womb <strong>and</strong> how it <strong>the</strong>n<br />
helped after <strong>the</strong> birth:<br />
"I used to have a daily bath <strong>and</strong> listen to Ella Fitzgerald at 6pm. It was my peace time. When<br />
she was born she was very fractious with colic. We used to play Ella Fitzgerald at 3am to try<br />
to settle her, <strong>and</strong> it really worked" (Unknown, Cited in Lamont, 2001).<br />
The early months <strong>of</strong> a baby’s life can be a challenging <strong>and</strong> stressful time for both <strong>the</strong> child<br />
<strong>and</strong> <strong>the</strong> p<strong>are</strong>nts. This woman’s experience proves that music can be used as a powerful tool to<br />
help young babies get through <strong>the</strong>se vital stages in <strong>the</strong>ir early months <strong>of</strong> life.<br />
Interview (conducted by <strong>the</strong> writer) with Kathy Doolan Creator <strong>of</strong> Rhythm Time (UK<br />
Music Franchise for p<strong>are</strong>nts <strong>and</strong> babies):<br />
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‘Rhythm Time was designed to help children develop confidence, creativity, <strong>and</strong><br />
coordination. It is also lots <strong>of</strong> fun <strong>and</strong> helps children to discover a love <strong>and</strong> underst<strong>and</strong>ing <strong>of</strong><br />
music at an early age. There has been research that shows that taking part in pre-school music<br />
classes at a young age can help streng<strong>the</strong>n <strong>the</strong> neural pathways that develop language <strong>and</strong><br />
memory. Music is an activity that helps to develop both <strong>the</strong> logical <strong>and</strong> creative sides <strong>of</strong> a<br />
baby’s brain. It is <strong>of</strong>ten <strong>the</strong> case that babies <strong>are</strong> able to sing before <strong>the</strong>y can speak’ (2011).<br />
The benefits music can have on p<strong>are</strong>nt <strong>and</strong> child relationships:<br />
It has been argued that <strong>the</strong>re is nothing more intense <strong>and</strong> powerful than that very first time a<br />
p<strong>are</strong>nt holds <strong>the</strong>ir newborn baby in <strong>the</strong>ir arms. <strong>What</strong> could be more beautiful than that first<br />
moment p<strong>are</strong>nt <strong>and</strong> child meet? At that very moment in time nothing is more precious than<br />
this unique bond that only <strong>the</strong>y sh<strong>are</strong>. The early months <strong>of</strong> a baby’s life <strong>are</strong> crucial to <strong>the</strong><br />
relationship between p<strong>are</strong>nt <strong>and</strong> child. Dr Tafuri, an expert in Infant Musicality, has said:<br />
‘The relationship that <strong>the</strong> mo<strong>the</strong>r (<strong>and</strong> also <strong>the</strong> fa<strong>the</strong>r) establishes with <strong>the</strong> newborn through<br />
song is more intense <strong>and</strong> elicits a more emotional response than speech’ (2008, P. 15).<br />
It has been a natural instinct for mo<strong>the</strong>rs to sing to <strong>the</strong>ir babies since <strong>the</strong> beginning <strong>of</strong> time<br />
<strong>and</strong> this newfound evidence that singing to your child is more effective than speech proves<br />
just how powerful a mo<strong>the</strong>r’s instincts truly <strong>are</strong>. Dr Tafuri also talks about how to recognize<br />
if a new-born is responding well to a certain piece <strong>of</strong> music: ‘The new-born <strong>are</strong> sensitive to<br />
sounds <strong>and</strong> <strong>musical</strong> stimuli; <strong>the</strong>y demonstrate this with various gestures (for example, <strong>the</strong>y<br />
bat <strong>the</strong>ir eyelids, open <strong>the</strong>ir eyes wide <strong>and</strong> st<strong>are</strong>, turn <strong>the</strong>ir head towards <strong>the</strong> source <strong>of</strong> <strong>the</strong><br />
sound <strong>and</strong> stop crying)’ (2008, P. 10). Communicating through music doesn’t just play an<br />
important role in building a relationship between p<strong>are</strong>nt <strong>and</strong> child; it can also have huge<br />
benefits later in <strong>the</strong> child’s life. ‘We have seen how interactive communication between<br />
mo<strong>the</strong>r <strong>and</strong> infant benefits linguistic capacity as well as <strong>the</strong> sharing <strong>of</strong> emotions <strong>and</strong> social<br />
behaviour’ (Tafuri, 2008, P. 13). When a child starts school for <strong>the</strong> very first time, it is<br />
important that <strong>the</strong>y do well academically, but almost more importantly, that <strong>the</strong>y <strong>are</strong> able to<br />
communicate well with o<strong>the</strong>rs, make friends, <strong>and</strong> <strong>are</strong> able to integrate well into <strong>the</strong>ir new<br />
surroundings. ‘Musical sounds enhance neuroplasticity—<strong>the</strong> ability <strong>of</strong> <strong>the</strong> brain to adapt <strong>and</strong><br />
change to new experiences’ (McDermott, 2010). Music can have a positive effect on a child’s<br />
confidence <strong>and</strong> ability to work <strong>and</strong> play with o<strong>the</strong>rs. It can also help to teach <strong>the</strong>m valuable<br />
skills such as listening, responding, group work <strong>and</strong> communication. All <strong>of</strong> <strong>the</strong>se <strong>are</strong><br />
necessary skills when building relationships <strong>and</strong> adapting to new people <strong>and</strong> surroundings.<br />
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How music can benefit children with learning disabilities<br />
Music <strong>the</strong>rapy is an important tool used to help children with learning disabilities. Music can<br />
have a huge impact on <strong>are</strong>as such as reading, reasoning ability, language development,<br />
feelings <strong>and</strong> response, communication, <strong>and</strong> motor control. Music <strong>the</strong>rapy can help to capture<br />
<strong>the</strong> attention <strong>of</strong> children with learning disabilities in a way that many o<strong>the</strong>r mental <strong>and</strong><br />
physical activities cannot. It can stimulate different parts <strong>of</strong> <strong>the</strong> brain <strong>and</strong> help children to<br />
become more in touch with <strong>the</strong>ir emotions. When working with children with special needs,<br />
<strong>the</strong> techniques that <strong>are</strong> used to teach children in mainstream schools may not be as effective.<br />
This doesn’t mean that children with special needs <strong>are</strong>n’t intelligent or cannot learn <strong>the</strong> same<br />
skills; it just means that <strong>the</strong> way in which <strong>the</strong>y learn information is <strong>of</strong>ten different. Often<br />
children with learning disabilities take longer to become comfortable in new surroundings,<br />
<strong>and</strong> struggle to communicate <strong>the</strong>ir emotions, which can be very frustrating for <strong>the</strong>m if <strong>the</strong>y<br />
<strong>are</strong> not taught in <strong>the</strong> correct way <strong>and</strong> in <strong>the</strong> right environment. Many special needs children<br />
find it easier to communicate through music than <strong>the</strong>y do through speech. Music <strong>the</strong>rapy can<br />
be used as an effective way to teach children with learning disabilities in a way that is easy<br />
<strong>and</strong> clear for <strong>the</strong>m to underst<strong>and</strong>. There <strong>are</strong> various <strong>musical</strong> activities that can be used to help<br />
<strong>the</strong>se children. Singing can be used to help language development <strong>and</strong> playing a variety <strong>of</strong><br />
instruments or getting children to move to different kinds <strong>of</strong> music can help those with<br />
physical difficulties. In an article written on music <strong>the</strong>rapy for children with learning<br />
disabilities, <strong>the</strong> writer, who is left unnamed, talks about <strong>the</strong> positive effects that singing can<br />
have on children with speech problems: ‘Singing may help in <strong>the</strong> improvement <strong>and</strong><br />
maintenance <strong>of</strong> <strong>the</strong> pulmonary functioning <strong>and</strong> oral-motor skills. It also helps in improving<br />
rate <strong>of</strong> speech, breath-control, pronunciation <strong>and</strong> articulation skills. It also enhances feelings<br />
<strong>of</strong> self-worth, self- esteem <strong>and</strong> self-independence’ (admin, 2010). It is <strong>of</strong>ten <strong>the</strong> case that<br />
children who suffer from stammers <strong>and</strong> speech impediments <strong>are</strong> able to sing fluently<br />
although <strong>the</strong>y have great difficulty when speaking. Many children <strong>and</strong> adults who stammer<br />
find it easier to talk if <strong>the</strong>y use a sing-song style <strong>of</strong> talking. The rhythm <strong>and</strong> pace <strong>of</strong> using a<br />
sing-song technique makes it easier for speech to flow.<br />
Music <strong>the</strong>rapy can be extremely effective when working with autistic children, as <strong>the</strong>y can be<br />
extremely sensitive to music. Some autistic children <strong>are</strong> able to sing, despite not being able<br />
to speak. In <strong>the</strong>se cases, music <strong>the</strong>rapy uses simple songs with repetitive phrases to help to<br />
develop a child’s language <strong>and</strong> speech. Some autistic children have a remarkable talent for<br />
music, for example, some have perfect pitch while o<strong>the</strong>rs have an outst<strong>and</strong>ing ability to play<br />
a <strong>musical</strong> instrument. Vocal exercises can also help with listening skills, breath control <strong>and</strong><br />
articulation. ‘Music is a unique path to communication <strong>and</strong> learning for children with autism’<br />
(King, 2004, P.5).<br />
In her book ‘Music Therapy Group work with Special Needs Children’, <strong>the</strong> author K<strong>are</strong>n D.<br />
Goodman talks about how different styles <strong>and</strong> genres <strong>of</strong> music can be used to help children<br />
with particular disabilities:<br />
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‘A rock music backdrop, was successfully used with ADHD children to help <strong>the</strong>m focus.<br />
Classical as well as popular folk music was selected for its rhythmic <strong>and</strong> dynamic regularity<br />
as a background for a child with borderline personality <strong>and</strong> phobias who was involved in<br />
play <strong>the</strong>rapy <strong>and</strong> art. In this latter study, <strong>the</strong> music not only reduced anxiety but also led into<br />
an active music-making experience’ (2007, P.184).<br />
Victoria Wood, author <strong>of</strong> ‘Music Therapy in Children’s Hospices’, observed that when music<br />
<strong>the</strong>rapy was first introduced in children’s hospices, an immediate effect was noted on patients<br />
<strong>and</strong> staff.<br />
‘ It had already proved its value to <strong>the</strong> children who used its facilities for both respite <strong>and</strong><br />
palliative c<strong>are</strong>. Staff had been impressed by <strong>the</strong> way music <strong>the</strong>rapy provided a vital means <strong>of</strong><br />
communication <strong>and</strong> self-expression for children with life-limiting conditions for whom verbal<br />
communication was difficult or impossible’ (2005, P.147).<br />
At challenging times in a child’s life communication can be very difficult. Coming to terms<br />
with, <strong>and</strong> controlling one’s emotions, is something many people find hard at <strong>the</strong> best <strong>of</strong> times.<br />
If music can be used to help children communicate <strong>the</strong>ir emotions at <strong>the</strong>se most distressing<br />
times, <strong>the</strong>n that is pro<strong>of</strong> <strong>of</strong> <strong>the</strong> positive effects music can have.<br />
It is important for young children to interact with one ano<strong>the</strong>r, as it helps to develop social<br />
skills <strong>and</strong> teamwork. Children with learning disabilities may have had less interaction with<br />
o<strong>the</strong>r children due to <strong>the</strong>ir own difficulties. Music <strong>the</strong>rapy can <strong>of</strong>fer an effective way <strong>of</strong><br />
children interacting with one ano<strong>the</strong>r in a way that feels comfortable. ‘All children benefit<br />
from pre-school group experiences, but children with special needs may take longer to adapt<br />
to social situations <strong>and</strong> <strong>the</strong>refore particularly need <strong>and</strong> benefit from frequently repeated<br />
experiences such as those provided in music <strong>the</strong>rapy group work’ (Oldfield, 2008, P.55). If<br />
music <strong>the</strong>rapy can give children an opportunity to communicate with each o<strong>the</strong>r <strong>and</strong> help<br />
<strong>the</strong>m to develop <strong>the</strong> skills that <strong>the</strong>y need to h<strong>and</strong>le <strong>the</strong>mselves in social situations, <strong>the</strong>n<br />
introducing it at a younger age will build a strong foundation that could lead to fur<strong>the</strong>r<br />
progression in later life.<br />
As well as helping children mentally, music <strong>the</strong>rapy can also be used to help children<br />
physically. Music <strong>the</strong>rapy can play a huge part in maintaining <strong>and</strong> restoring physical<br />
condition. In Victoria Wood’s book ‘Music Therapy in Children’s Hospices’, she talks about<br />
<strong>the</strong> study <strong>of</strong> one little girl Jessie, who has a severe <strong>and</strong> complex medical condition that can<br />
change rapidly <strong>and</strong> <strong>the</strong>refore needs constant medical c<strong>are</strong>. In this next quote Victoria Wood<br />
reveals how music <strong>the</strong>rapy helped with Jessie’s treatment <strong>and</strong> <strong>the</strong> progress that she made:<br />
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‘Music is used to develop <strong>the</strong> use <strong>of</strong> her physically weaker left side, by encouraging Jessie to<br />
reach out <strong>and</strong> play <strong>the</strong> guitar <strong>and</strong> keyboard in particular. I also play short sharp sounds, for<br />
example on a wood block, to encourage Jessie to turn where <strong>the</strong> sound is coming from to<br />
develop her aw<strong>are</strong>ness <strong>of</strong> her surroundings’ (2005, P.156). Music <strong>the</strong>rapy has helped to<br />
change <strong>the</strong> lives <strong>of</strong> many children living with special needs. It has had an extremely<br />
beneficial effect <strong>and</strong> contributed to <strong>the</strong>ir having a better quality <strong>of</strong> life.<br />
Music in <strong>the</strong> Curriculum<br />
Artist Jackie Spivey said that: ‘Music <strong>education</strong> is an important aspect <strong>of</strong> student growth<br />
<strong>and</strong> is not a luxury, but a necessity to all children’ (2009).<br />
Music has always been a subject that has caused debate within government on whe<strong>the</strong>r or not<br />
it should be a compulsory subject within <strong>the</strong> National Curriculum. Many people, such as<br />
Spivey, have strong beliefs that music should be a compulsory subject in schools, while<br />
o<strong>the</strong>rs believe that it detracts from what <strong>the</strong>y believe to be more beneficial subjects such as<br />
English <strong>and</strong> Ma<strong>the</strong>matics. Music is currently statutory at Key Stages 1-3. The National<br />
Curriculum has two main aims. The first aim is to provide opportunities for all pupils to learn<br />
<strong>and</strong> achieve. The second is to promote pupil’s moral, social <strong>and</strong> cultural development to<br />
prep<strong>are</strong> pupils for <strong>the</strong> experiences, responsibilities <strong>and</strong> opportunities that <strong>the</strong>y will face in<br />
life. The four main purposes <strong>of</strong> <strong>the</strong> National Curriculum <strong>are</strong> to establish an entitlement, to<br />
establish st<strong>and</strong>ards, to promote continuity <strong>and</strong> coherence, <strong>and</strong> to promote public<br />
underst<strong>and</strong>ing. ‘The National Curriculum secures for all pupils, irrespective <strong>of</strong> social<br />
background, culture, race, gender, differences in ability <strong>and</strong> disabilities, an entitlement to a<br />
number <strong>of</strong> <strong>are</strong>as <strong>of</strong> learning <strong>and</strong> to develop knowledge, underst<strong>and</strong>ing, skills <strong>and</strong> attitudes<br />
necessary for <strong>the</strong>ir self-fulfillment <strong>and</strong> development as active <strong>and</strong> responsible citizens’<br />
(National Curriculum online, 2011).<br />
There <strong>are</strong> now talks within government about a change being made in <strong>the</strong> National<br />
Curriculum with some subjects such as music being dropped. Subjects such as English <strong>and</strong><br />
Ma<strong>the</strong>matics will, <strong>of</strong> course, always be compulsory subjects within <strong>the</strong> National Curriculum,<br />
but <strong>the</strong>re still hasn’t been a definite decision made on whe<strong>the</strong>r music will be a statutory<br />
subject in <strong>the</strong> future. Possible alternatives being considered include giving local <strong>education</strong><br />
authorities responsibility for music provision, perhaps on a fee-paying basis. This risks<br />
denying low-income families access to this valuable aspect <strong>of</strong> <strong>the</strong>ir <strong>education</strong>.<br />
If music becomes non-statutory, it may well follow <strong>the</strong> same path as foreign languages,<br />
which became optional in <strong>the</strong> curriculum some years ago. After a few years everyone became<br />
shocked at how poorly <strong>the</strong> UK was performing in this <strong>are</strong>a comp<strong>are</strong>d to our European<br />
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neighbours. Languages were duly reinstated <strong>and</strong> primary schools <strong>are</strong> now legally obliged to<br />
provide a minimum <strong>of</strong> one hour a week <strong>of</strong> foreign language tuition. It will take a lot more<br />
than that to turn <strong>the</strong> British population into a country <strong>of</strong> linguists. However, music <strong>education</strong><br />
is not intended to produce a nation <strong>of</strong> musicians, but to provide an outlet for creativity <strong>and</strong><br />
expression, especially for those children who may be <strong>musical</strong>ly-starved at home. The fate <strong>of</strong><br />
music will not be announced until <strong>the</strong> spring <strong>of</strong> 2013. The talks <strong>of</strong> ab<strong>and</strong>oning music from<br />
<strong>the</strong> National Curriculum have caused much upset <strong>and</strong> <strong>the</strong>re <strong>are</strong> now campaigns starting to<br />
ensure that music remains a compulsory subject in schools. ‘It is absolutely vital that we<br />
campaign hard between now <strong>and</strong> <strong>the</strong> end <strong>of</strong> April to ensure that Music remains a compulsory<br />
National Curriculum subject’ (Savage, 2011).<br />
An article by E. C. Wragg on primary teachers <strong>and</strong> <strong>the</strong> National Curriculum discusses some<br />
<strong>of</strong> <strong>the</strong> worries primary teachers <strong>are</strong> having with teaching to <strong>the</strong> st<strong>and</strong>ards expected by <strong>the</strong><br />
curriculum. ‘In general teachers were not opposed to <strong>the</strong> national curriculum, but <strong>the</strong>re were<br />
numerous references to <strong>the</strong> short timescale, <strong>the</strong>ir fears about shortage <strong>of</strong> resources, <strong>the</strong><br />
personal strain that many felt, especially heads, <strong>and</strong> anxiety about assessment’ (1989). This<br />
lack <strong>of</strong> confidence shown by primary school teachers could possibly be drawn from <strong>the</strong> fact<br />
that primary schools <strong>are</strong>n’t using music effectively in <strong>the</strong> class room situation. Perhaps <strong>the</strong><br />
debate shouldn’t be whe<strong>the</strong>r or not to have music as part <strong>of</strong> <strong>the</strong> National Curriculum, but how<br />
music can be used more effectively to benefit pupils in primary schools. ‘The commercial<br />
music world <strong>of</strong>fers, at <strong>the</strong> touch <strong>of</strong> a switch, a dazzling array <strong>of</strong> polished performers <strong>and</strong><br />
recordings by pr<strong>of</strong>essional composers, song-writers <strong>and</strong> musicians. Amateur music, in<br />
orchestras, b<strong>and</strong>s <strong>and</strong> choirs, also dem<strong>and</strong>s a high level <strong>of</strong> performance’ (Glover, 2004, P.1).<br />
With this perception <strong>of</strong> music it is easy to underst<strong>and</strong> how teachers may find it hard to see<br />
how music could really have an effective impact in a primary school classroom situation.<br />
However Joanna Glover writes:<br />
‘Music should take its place in <strong>the</strong> picture alongside <strong>the</strong> more formal aspects <strong>of</strong> <strong>musical</strong><br />
composition <strong>and</strong> performance. The curriculum must allow for <strong>the</strong> breadth <strong>of</strong> <strong>the</strong> role that<br />
music plays within ‘ordinary’ life for everyone’ (Glover, 2004, P.1).<br />
Becoming aw<strong>are</strong> that music is a part <strong>of</strong> everyone’s everyday life (<strong>and</strong> not just for talented<br />
musicians) could help to build confidence in teaching music to children. It could also inspire<br />
new <strong>and</strong> less formal ways <strong>of</strong> teaching that <strong>are</strong> no less effective than <strong>the</strong> more old fashioned<br />
<strong>and</strong> traditional ways that have been used in <strong>the</strong> past. It is important to remember that at<br />
primary school age all children develop at different stages. Some children may learn to write<br />
<strong>the</strong>ir names faster than o<strong>the</strong>rs <strong>and</strong> some may be able to draw well, while o<strong>the</strong>rs may struggle<br />
with those same skills. If a group <strong>of</strong> primary school children were asked to draw a picture <strong>of</strong><br />
an object, <strong>the</strong> drawings would all look very different. They would be different shapes, sizes,<br />
<strong>and</strong> colours. Some would be neat <strong>and</strong> o<strong>the</strong>rs messy- just because <strong>the</strong>y were different it<br />
wouldn’t make one child right <strong>and</strong> ano<strong>the</strong>r wrong. The same principle applies with music; all<br />
children will interpret music in different ways <strong>and</strong> it is important to allow young children to<br />
express <strong>the</strong>mselves <strong>and</strong> learn through experimentation. ‘All music has its roots in <strong>the</strong><br />
activities <strong>of</strong> ordinary daily human living’ (Glover, 2004, P.2). Music can be used in o<strong>the</strong>r<br />
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subjects taught in primary schools. Singing can be an effective way <strong>of</strong> learning times tables<br />
<strong>and</strong> it can also be used as part <strong>of</strong> a story or relaxation time. During creative subjects such as<br />
art, music could be played to help contribute to a creative environment. ‘Within <strong>the</strong> school<br />
setting music has an almost unique capacity for integrating aspects <strong>of</strong> different disciplines,<br />
since by its nature it has things in common with every o<strong>the</strong>r subject <strong>are</strong>a’ (Glover, 2004, P.9).<br />
Music can play a part in almost every o<strong>the</strong>r subject in <strong>the</strong> curriculum as it can contribute to<br />
elements in subjects such as Ma<strong>the</strong>matics, Science, Language <strong>and</strong> Literacy, <strong>and</strong> Physical<br />
Education. Some children find it easy to underst<strong>and</strong> subjects such as Ma<strong>the</strong>matics <strong>and</strong><br />
Literacy while o<strong>the</strong>rs find it difficult <strong>and</strong> challenging to take in information in a st<strong>and</strong>ard<br />
classroom situation. Perhaps if music could be integrated into subjects such as Ma<strong>the</strong>matics<br />
those children who do struggle in a formal classroom situation might find it easier to learn<br />
<strong>and</strong> take in new information. Music is for everyone <strong>and</strong> just because a person isn’t<br />
accomplished at playing an instrument or singing it doesn’t mean that he or she isn’t a<br />
<strong>musical</strong> person. ‘Some people just don’t feel <strong>musical</strong> at all, or would hesitate in describing<br />
<strong>the</strong>mselves as such, perhaps because <strong>the</strong>y have no expertise on an instrument or because <strong>the</strong>y<br />
have been told <strong>the</strong>y can’t sing. Yet being <strong>musical</strong> is quite simply one aspect <strong>of</strong> being human.’<br />
(Glover, 2004, P.1)<br />
At primary school it is <strong>the</strong> normal custom for one teacher to teach all <strong>the</strong> required subjects to<br />
<strong>the</strong>ir class. It is that teacher’s responsibility to cover all <strong>of</strong> <strong>the</strong> subjects in <strong>the</strong> National<br />
Curriculum. Some primary school teachers have made it known that <strong>the</strong>y have worries <strong>and</strong><br />
<strong>are</strong> less confident when teaching subjects such a music when <strong>the</strong>y feel <strong>the</strong>y <strong>are</strong> not <strong>musical</strong>ly<br />
talented <strong>the</strong>mselves.<br />
‘Too <strong>of</strong>ten music teaching has assumed that music belongs to ‘musicians’ that only some <strong>are</strong><br />
<strong>musical</strong>’ (Glover, 2004, P.2). Some teachers have expressed views that music should be<br />
taught by a specialist teacher who comes into <strong>the</strong> school to take <strong>the</strong> lessons. However <strong>the</strong>re<br />
<strong>are</strong> problems with this solution. Music should be accessible to all pupils <strong>and</strong> by bringing in a<br />
specialist to take <strong>the</strong> class it gives <strong>the</strong> impression that perhaps music isn’t for everyone <strong>and</strong> is<br />
only for a talented <strong>and</strong> select few. People <strong>of</strong>ten forget that one <strong>of</strong> <strong>the</strong> most important parts <strong>of</strong><br />
being <strong>musical</strong> is to listen. From <strong>the</strong> day a person is born <strong>the</strong>y <strong>are</strong> surrounded by music. Music<br />
is played in hospitals, we listen to music when we eat, it is used in films <strong>and</strong> <strong>the</strong>atre, played<br />
on airplanes, buses, <strong>and</strong> radio. In everyday human life people <strong>are</strong> constantly learning to listen.<br />
In his book ‘How Musical is Man?’ John Blacking discusses how society has become caught<br />
up in believing that only some <strong>are</strong> <strong>musical</strong>, when in fact <strong>the</strong> very art <strong>of</strong> music wouldn’t exist<br />
without <strong>the</strong> ability to listen:<br />
“My” society claims that only a limited number <strong>of</strong> people <strong>are</strong> <strong>musical</strong>, <strong>and</strong> yet it behaves as if<br />
all people possessed <strong>the</strong> basic capacity without which no <strong>musical</strong> tradition can exist-<strong>the</strong><br />
capacity to listen <strong>and</strong> distinguish patterns <strong>of</strong> sound’ (1973, P.8).<br />
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Music performers would not be able to survive without <strong>the</strong> listeners <strong>and</strong> consumers. Just <strong>the</strong><br />
very fact that <strong>the</strong> listener can underst<strong>and</strong> <strong>and</strong> appreciate <strong>the</strong> music, in itself shows that<br />
everyone is in fact <strong>musical</strong> in some form or ano<strong>the</strong>r. Joanna Glover backs up this argument in<br />
her book ‘Teaching Music in <strong>the</strong> Primary School’:<br />
‘The very existence <strong>of</strong> a pr<strong>of</strong>essional performer, depends on listeners who in one important<br />
respect must be no less <strong>musical</strong>ly pr<strong>of</strong>icient than he is. They must be able to distinguish <strong>and</strong><br />
interrelate different patterns <strong>of</strong> sound’ (2004, P.3).<br />
Without even realizing it people label <strong>the</strong>mselves as not <strong>musical</strong>, when in fact music is a part<br />
<strong>of</strong> <strong>the</strong>ir everyday life. When a person watches a film it is <strong>the</strong> music in <strong>the</strong> background that<br />
helps to convey emotion <strong>and</strong> tension. If a person were to close <strong>the</strong>ir eyes during a film it is<br />
probable that <strong>the</strong>y would still be able to determine what type <strong>of</strong> scene is taking place, whe<strong>the</strong>r<br />
it be a love scene or a horror scene. This very fact shows that <strong>the</strong>y have an underst<strong>and</strong>ing <strong>of</strong><br />
<strong>the</strong> music <strong>the</strong>y <strong>are</strong> listening too. Just because someone isn’t an accomplished musician<br />
doesn’t mean <strong>the</strong>y <strong>are</strong>n’t <strong>musical</strong>; just <strong>the</strong> fact that people buy, appreciate, <strong>and</strong> underst<strong>and</strong><br />
music makes <strong>the</strong>m <strong>musical</strong>. Due to <strong>the</strong> fact that music subconsciously plays a large part in<br />
everybody’s day-to-day life, means that by <strong>the</strong> time a child stats school, he or she will already<br />
have had a considerable amount <strong>of</strong> exposure to it <strong>and</strong> will <strong>the</strong>refore be able to make music<br />
<strong>and</strong> respond to it. Joanna Glover explains that just by being competent adults, primary school<br />
teachers will already have <strong>the</strong> fundamental skills needed to teach music to <strong>the</strong>ir pupils <strong>and</strong><br />
that it is more a lack <strong>of</strong> confidence in knowing where to start that causes <strong>the</strong> problem: ‘All<br />
teachers, by virtue simply <strong>of</strong> being competent adults, have <strong>the</strong> <strong>musical</strong> capacity to provide a<br />
basis for a music curriculum for <strong>the</strong>ir own class, though <strong>the</strong>y may lack <strong>the</strong> training in music<br />
<strong>education</strong> to feel confident about where to start’ (2004, P.3). The idea that teachers lack <strong>the</strong><br />
<strong>musical</strong> training, <strong>the</strong>refore contributing to a lack <strong>of</strong> confidence on how to structure <strong>the</strong>ir<br />
teaching, implies <strong>the</strong> need <strong>of</strong> a school music coordinator. The job <strong>of</strong> <strong>the</strong> coordinator wouldn’t<br />
be to teach to <strong>the</strong> class, but to <strong>of</strong>fer support to <strong>the</strong> teachers to give <strong>the</strong>m a greater knowledge<br />
on how <strong>the</strong>y can use <strong>the</strong>ir skills to teach music to <strong>the</strong>ir pupils.<br />
Primary school age children shouldn’t be expected to become great musicians but <strong>the</strong>y should<br />
be able to benefit from having an underst<strong>and</strong>ing <strong>of</strong> music <strong>and</strong> being able to listen <strong>and</strong> react to<br />
it. ‘An important first step with a new class <strong>of</strong> any age will be to create some <strong>musical</strong> ‘play’<br />
situations which will help to uncover <strong>the</strong> children’s <strong>musical</strong> liveliness’ (Glover, 2004, P.7). In<br />
<strong>the</strong> early stages <strong>of</strong> <strong>musical</strong> learning it is important that children have <strong>the</strong> opportunity to<br />
discover <strong>the</strong>ir own individual <strong>musical</strong> abilities. This can only really be achieved through<br />
allowing a period <strong>of</strong> time during <strong>the</strong> class where children <strong>are</strong> encouraged to experiment with<br />
different instruments <strong>and</strong> listen to different types <strong>of</strong> music to see how <strong>the</strong>y respond. This time<br />
also gives <strong>the</strong> teacher a good opportunity to observe <strong>the</strong> children <strong>and</strong> <strong>the</strong>ir <strong>musical</strong> abilities. If<br />
teachers <strong>are</strong> able to watch <strong>and</strong> observe <strong>the</strong> children in a play situation it could give <strong>the</strong>m a<br />
better idea <strong>and</strong> underst<strong>and</strong>ing <strong>of</strong> how to structure <strong>the</strong> rest <strong>of</strong> <strong>the</strong> lesson, <strong>and</strong> what techniques<br />
work best with certain children. If <strong>the</strong> government put more thought into <strong>the</strong> different ways<br />
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that music can be used effectively in primary schools, <strong>the</strong>n perhaps <strong>the</strong> question <strong>of</strong> whe<strong>the</strong>r or<br />
not music is a necessary subject to include as part <strong>of</strong> <strong>the</strong> National Curriculum would have a<br />
much cle<strong>are</strong>r <strong>and</strong> more definite answer.<br />
History <strong>of</strong> Music Education<br />
Just like language, music is something that distinguishes us as humans. At <strong>the</strong> present time<br />
music is considered to be a fundamental part <strong>of</strong> <strong>education</strong> <strong>and</strong> plays a large part in <strong>the</strong><br />
curriculum. To gain a full underst<strong>and</strong>ing <strong>of</strong> music <strong>education</strong> it is important to have some<br />
form <strong>of</strong> knowledge <strong>and</strong> underst<strong>and</strong>ing <strong>of</strong> its history. It is important to pay credit to those<br />
individuals who moulded <strong>and</strong> shaped <strong>musical</strong> <strong>education</strong> into what it is today. Individuals<br />
such as Dalcroze, Orff, Kodaly <strong>and</strong> Suzuki all developed philosophies on how music should<br />
be taught. Their teachings <strong>and</strong> methods haven’t always been well received <strong>and</strong> have caused<br />
much controversy <strong>and</strong> debate, but despite this <strong>the</strong>y have been influential, <strong>and</strong> without such<br />
individuals, music <strong>education</strong> may not have developed into what it is today. Many <strong>of</strong> <strong>the</strong><br />
methods <strong>and</strong> practices <strong>of</strong> <strong>the</strong>se influential music scholars <strong>are</strong> still commonly used in music<br />
<strong>education</strong> today. This section is going to cover four <strong>of</strong> <strong>the</strong> most influential music scholars<br />
from <strong>the</strong> past: Dalcroze, Orff, Kodaly, <strong>and</strong> Suzuki.<br />
Emile Jacques Dalcroze was born in Vienna on <strong>the</strong> sixth <strong>of</strong> July in 1865 <strong>and</strong> became one <strong>of</strong><br />
<strong>the</strong> finest <strong>and</strong> most influential educators <strong>of</strong> <strong>the</strong> 20 th century. His <strong>the</strong>ory was based around <strong>the</strong><br />
idea <strong>of</strong> bringing <strong>the</strong> body, mind <strong>and</strong> spirit toge<strong>the</strong>r to learn <strong>the</strong> art <strong>of</strong> music. The Dalcroze<br />
method connects music, movement, mind, <strong>and</strong> body <strong>and</strong> binds <strong>the</strong>m toge<strong>the</strong>r as one.<br />
‘Eurhythmics serves to enhance <strong>the</strong> skills <strong>of</strong> coordination, balance, special orientation, <strong>and</strong><br />
quick reactions so that <strong>the</strong> body may attune to every nuance <strong>of</strong> <strong>musical</strong> expression. In effect,<br />
<strong>the</strong> body becomes a living <strong>musical</strong> instrument’ (Stevenson, 2011). In 1892 he became a<br />
pr<strong>of</strong>essor <strong>of</strong> harmony at <strong>the</strong> Geneva Conservatory. Whilst teaching in Geneva Dalcroze was<br />
able to develop his <strong>the</strong>ory <strong>and</strong> method <strong>of</strong> teaching music <strong>and</strong> rhythm through <strong>the</strong> art <strong>of</strong><br />
movement. This method is knows as eurhythmics. The word eurhythmics is <strong>the</strong> Greek term<br />
for good rhythm. The definition <strong>of</strong> eurhythmics is:<br />
‘Musical expression through movement; developing <strong>musical</strong> skills through kinetic exercises.<br />
Students learn rhythm <strong>and</strong> structure by listening to music <strong>and</strong> expressing what <strong>the</strong>y hear<br />
through spontaneous bodily movement. For example, note values <strong>and</strong> rhythms <strong>are</strong><br />
represented by stepping <strong>and</strong> clapping’ (Estrella, 2005).<br />
The two o<strong>the</strong>r facets <strong>of</strong> <strong>the</strong> Dalcroze method <strong>are</strong> Solfege <strong>and</strong> Improvisation. The use <strong>of</strong><br />
Solfege helps to develop ear training <strong>and</strong> sight-reading skills, <strong>and</strong> helps to develop an<br />
underst<strong>and</strong>ing <strong>of</strong> pitch, intervals, <strong>and</strong> harmony, all <strong>of</strong> which <strong>are</strong> fundamental skills required<br />
<strong>of</strong> a musician. They <strong>are</strong> also useful skills to have when improvising. Improvisation is an<br />
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important part <strong>of</strong> <strong>the</strong> Dalcroze method <strong>and</strong> is practised using instruments, movement <strong>and</strong> <strong>the</strong><br />
voice.<br />
Dalcroze believed that students should be able to listen to <strong>the</strong> rhythm <strong>of</strong> a piece <strong>of</strong> music <strong>and</strong><br />
<strong>the</strong>n develop <strong>the</strong> skills to be able to express what <strong>the</strong>y heard <strong>and</strong> how <strong>the</strong> music made <strong>the</strong>m<br />
feel through movement. The main aims <strong>of</strong> <strong>the</strong> Dalcroze method <strong>are</strong> to improve creative<br />
expression, coordination, concentration, inner ear <strong>and</strong> music appreciation. All <strong>of</strong> <strong>the</strong>se skills<br />
contribute to being a good performer. Whilst teaching in Geneva Dalcroze felt that his<br />
students lacked feeing in <strong>the</strong> music <strong>the</strong>y were performing; he felt that <strong>the</strong>y didn’t put all <strong>the</strong>y<br />
had into <strong>the</strong>ir music <strong>and</strong> lacked <strong>the</strong> ability to hear <strong>the</strong> harmonies <strong>the</strong>y were playing. ‘Their<br />
playing showed little sense <strong>of</strong> rhythmic vitality. In Solfège, he began to devise ear-training<br />
games to develop more acute inner hearing. These games sharpened <strong>the</strong> students’<br />
perceptions <strong>and</strong> resulted in more sensitive responses to <strong>the</strong> <strong>musical</strong> aspects <strong>of</strong> performance:<br />
timing, articulation, tone quality, <strong>and</strong> phrase shape’ (Farber, 2009). Dalcroze believed that<br />
<strong>the</strong> body should be conscious <strong>of</strong> every movement in <strong>the</strong> music. He was able to incorporate<br />
natural <strong>and</strong> instinctive gestures into his teaching to help students engage with different<br />
rhythms. Gestures such as swinging <strong>the</strong> arms whilst walking around to a piece <strong>of</strong> music or<br />
bouncing a ball on <strong>the</strong> first beat <strong>of</strong> a bar <strong>are</strong> used to help students to develop a natural sense<br />
<strong>of</strong> rhythm. When teaching <strong>the</strong> Dalcroze method to young children an exercise that<br />
incorporates natural movements is used: ‘Notes <strong>are</strong> given names such as walk for crochets,<br />
jogging for quavers, skipping for a dotted quaver/semiquaver <strong>and</strong> stride for minims, etc. This<br />
is not, as one Ofsted inspector seemed to think, liable to confuse <strong>the</strong> pupil. The names take<br />
advantage <strong>of</strong> <strong>the</strong> very natural movements children make when young’ (Vann, 2003). The<br />
Dalcroze method is still commonly used today <strong>and</strong> is especially popular in schools in <strong>the</strong><br />
United States. The Dalcroze Society that is now well established all over <strong>the</strong> world continues<br />
to teach its students using <strong>the</strong> teachings <strong>and</strong> methods <strong>of</strong> Dalcroze.<br />
Carl Orff was born in Germany in 1895 <strong>and</strong> became one <strong>of</strong> <strong>the</strong> most forward thinking <strong>and</strong><br />
influential composers <strong>of</strong> <strong>the</strong> 20 th century. He developed one <strong>of</strong> <strong>the</strong> most influential methods<br />
<strong>of</strong> teaching music <strong>education</strong> to children; his ideas <strong>and</strong> methods still have a huge influence on<br />
children’s music today. "Since <strong>the</strong> beginning <strong>of</strong> time, children have not liked to study. They<br />
would much ra<strong>the</strong>r play, <strong>and</strong> if you have <strong>the</strong>ir interests at heart, you will let <strong>the</strong>m learn while<br />
<strong>the</strong>y play; <strong>the</strong>y will find that what <strong>the</strong>y have mastered is child's play (Orff Cited in Estrella,<br />
2005).<br />
The ideas <strong>of</strong> Carl Orff <strong>are</strong> referred to as <strong>the</strong> Orff Method or <strong>the</strong> Orff Approach or sometimes<br />
it is just referred to as ‘Music for Children’. The main idea behind his method is to introduce<br />
<strong>and</strong> teach music to children in a way that <strong>the</strong>y will underst<strong>and</strong> <strong>and</strong> relate to. ‘Musical<br />
concepts <strong>are</strong> learned through singing, chanting, dance, movement, drama <strong>and</strong> <strong>the</strong> playing <strong>of</strong><br />
percussion instruments. Improvisation, composition <strong>and</strong> a child's natural sense <strong>of</strong> play <strong>are</strong><br />
encouraged.’ (Estrella, 2005)<br />
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The main aims <strong>of</strong> <strong>the</strong> Orff Approach <strong>are</strong> to develop rhythm, harmony, melody <strong>and</strong> texture.<br />
Play is believed to be a fundamental part <strong>of</strong> a child’s learning; it gives <strong>the</strong>m time to discover<br />
<strong>the</strong>mselves <strong>and</strong> <strong>the</strong>ir own abilities. Carl Orff thought that it was important for children to first<br />
experience music by improvising with different percussion instruments, dancing, <strong>and</strong> singing,<br />
before <strong>the</strong> intellectual side was introduced. His ideas were structured around rhythm <strong>and</strong><br />
movement. Orff believed that it was important for children to learn at <strong>the</strong>ir own level <strong>of</strong><br />
underst<strong>and</strong>ing. ‘In <strong>the</strong> Orff approach, children make music with activities that <strong>are</strong> natural<br />
<strong>and</strong> enjoyable for <strong>the</strong>m: singing, rhyming, dancing, <strong>and</strong> playing instruments’ (Kleiner, 2001,<br />
P.3). Carl Orff strongly believed that this approach was a much more effective way <strong>of</strong><br />
teaching children <strong>and</strong> that once <strong>the</strong>y had learnt to appreciate music by taking part in rhythmic<br />
activities <strong>and</strong> games, <strong>the</strong>y would have a greater underst<strong>and</strong>ing <strong>and</strong> be better prep<strong>are</strong>d to learn<br />
how to read <strong>and</strong> write music notation. When teaching <strong>the</strong> Orff Approach <strong>the</strong> most commonly<br />
used music is folk music or <strong>the</strong> music that <strong>the</strong> children have composed <strong>the</strong>mselves. The<br />
children <strong>are</strong> encouraged to experiment <strong>and</strong> practise playing lots <strong>of</strong> different instruments. It is<br />
<strong>the</strong> role <strong>of</strong> <strong>the</strong> teacher to act as a conductor to make sure that <strong>the</strong> whole class is involved in<br />
some way, whe<strong>the</strong>r <strong>the</strong>y <strong>are</strong> playing instruments or acting out different moves to <strong>the</strong> music.<br />
In some cases music is used during a story time <strong>and</strong> children <strong>are</strong> asked to make <strong>the</strong> sound<br />
effects using various percussion instruments <strong>and</strong> acting out <strong>the</strong> story. Most commonly used<br />
instruments <strong>are</strong> bells, maracas, triangles, drums <strong>and</strong> tambourines. There <strong>are</strong> now Orff<br />
organizations based all over <strong>the</strong> world in various countries such as <strong>the</strong> United States,<br />
Australia, Japan, South Africa <strong>and</strong> China. The effect that Orff has had on music for children<br />
has been widespread <strong>and</strong> is evident in most children’s toy, book <strong>and</strong> music stores, where<br />
<strong>the</strong>re <strong>are</strong> a huge range <strong>of</strong> fun <strong>and</strong> simple appliances <strong>and</strong> accessories to help introduce children<br />
to music.<br />
Zoltan Kodaly was born in 1882 <strong>and</strong> was a Hungarian composer <strong>and</strong> music educator who<br />
developed a method <strong>of</strong> teaching music to very young children. He believed that music<br />
<strong>education</strong> should be introduced at a very young age. ‘To be most effective, music <strong>education</strong><br />
must begin with <strong>the</strong> very young children. It is in his or her early years that a child acquires<br />
discrimination in pitch as well as language’ (Kodaly cited in Anderson; Lawrence, 2007,<br />
p.99). Kodaly believed that it was important to introduce <strong>the</strong> building blocks <strong>of</strong> music<br />
<strong>education</strong> at as young an age as possible but that it should be taught in a fun <strong>and</strong> interesting<br />
way that would stay with <strong>the</strong> child for <strong>the</strong> rest <strong>of</strong> <strong>the</strong>ir lives. Kodaly himself said:<br />
"Teach music <strong>and</strong> singing at school in such a way that it is not a torture but a joy for <strong>the</strong><br />
pupil; instill a thirst for finer music in him, a thirst which will last for a lifetime" (Kodaly<br />
cited in Estrella, 2005).<br />
Kodaly believed that before teaching a child to play an instrument <strong>the</strong>y first need to have an<br />
underst<strong>and</strong>ing <strong>of</strong> music through listening to nursery rhymes, story songs <strong>and</strong> playing<br />
rhythmic games. The aim <strong>of</strong> this is to create a <strong>musical</strong> foundation very early on that<br />
contributes to children’s ability to be able to pick up <strong>and</strong> learn new instruments later in life.<br />
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"To teach a child an instrument without first giving him preparatory training <strong>and</strong> without<br />
developing singing, reading <strong>and</strong> dictating to <strong>the</strong> highest level along with <strong>the</strong> playing is to<br />
build upon s<strong>and</strong>” (Kodaly cited in Estrella, 2005).<br />
The voice is <strong>the</strong> most commonly used instrument in <strong>the</strong> ‘Kodaly Approach’. He believed that<br />
singing was <strong>the</strong> best foundation for any musician <strong>and</strong> that singing was just as natural an<br />
activity as speaking. Kodaly believed in <strong>the</strong> importance <strong>of</strong> folk music <strong>and</strong> thought that it was<br />
important to have an underst<strong>and</strong>ing <strong>of</strong> music from around <strong>the</strong> world. Many folk songs <strong>are</strong><br />
pentatonic; <strong>the</strong>y only use five notes in <strong>the</strong> scale <strong>the</strong>refore making <strong>the</strong>m easy to sing. Kodaly<br />
had a strong belief that if children were educated in music <strong>and</strong> had sufficient training that it<br />
would help <strong>the</strong>m in o<strong>the</strong>r subjects included in <strong>the</strong> curriculum. Kodaly’s <strong>the</strong>ory is backed up<br />
by <strong>the</strong> fact that <strong>the</strong>re is still new evidence coming out <strong>and</strong> experiments taking place today to<br />
prove that music can have a positive contribution to o<strong>the</strong>r <strong>are</strong>as <strong>of</strong> <strong>the</strong> curriculum. ‘Music<br />
training is far superior to computer instruction in dramatically enhancing children's abstract<br />
reasoning skills, <strong>the</strong> skills necessary for learning math <strong>and</strong> science’ (Borgese, 2010).<br />
Dr. Shinichi Suzuki was born in Japan in 1898. He developed an approach to music <strong>education</strong><br />
called <strong>the</strong> ‘Suzuki’ method but it is also commonly known as <strong>the</strong> ‘mo<strong>the</strong>r-tongue’ approach.<br />
Suzuki started to develop this approach while on a trip to Germany. He observed that <strong>the</strong><br />
children in Germany had no difficulty in learning <strong>the</strong> German language just as children<br />
brought up in Japan had no difficulty in learning Japanese. The reason that <strong>the</strong> children found<br />
it easy to learn <strong>the</strong> language was because it was <strong>the</strong>ir mo<strong>the</strong>r tongue. Suzuki <strong>the</strong>n came to <strong>the</strong><br />
conclusion that if all children can learn <strong>the</strong>ir mo<strong>the</strong>r tongue due to <strong>the</strong> fact that it is<br />
introduced to <strong>the</strong>m from birth <strong>the</strong>n all children could develop a <strong>musical</strong> ability if brought up<br />
in <strong>the</strong> correct environment.<br />
"Musical ability is not an inborn talent but an ability which can be developed. Any child who<br />
is properly trained can develop <strong>musical</strong> ability just as all children develop <strong>the</strong> ability to<br />
speak <strong>the</strong>ir mo<strong>the</strong>r tongue. The potential <strong>of</strong> every child is unlimited" (Suzuki cited in Estrella,<br />
2005).<br />
The fact that human beings can learn to speak <strong>the</strong>ir mo<strong>the</strong>r tongue is never thought <strong>of</strong> as a<br />
particularly remarkable achievement, this is due to <strong>the</strong> fact that <strong>the</strong> ability comes naturally.<br />
This implies that if something is introduced from birth children will have <strong>the</strong> ability to pick it<br />
up without difficulty. ‘We have lived without giving special thought to being able to speak<br />
one language as though it were a matter <strong>of</strong> fact. However it is a wonderful fact. Consider<br />
learning ano<strong>the</strong>r language. <strong>What</strong> hardship it involves! Therefore, being able to fluently speak<br />
<strong>the</strong> mo<strong>the</strong>r tongue is a wonderful ability’ (Kataoka, 1997, p.7).<br />
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The Suzuki method is an idea that is based around <strong>the</strong> importance <strong>of</strong> p<strong>are</strong>ntal influence <strong>and</strong><br />
involvement. ‘Adults play a critical part in whe<strong>the</strong>r or not children become creative people.<br />
Unless <strong>the</strong>y work sensitively with children <strong>and</strong> <strong>the</strong>ir families, <strong>the</strong> emergent possibilities for<br />
creativity that <strong>are</strong> in every child do not develop or can be quickly extinguished’ (Bruce, 2004,<br />
P.24).<br />
The Suzuki method teaches that children should be exposed to music from birth <strong>and</strong> that<br />
p<strong>are</strong>nts <strong>and</strong> teachers need to work toge<strong>the</strong>r to help develop <strong>musical</strong> ability in children at a<br />
young age. Suzuki believed that p<strong>are</strong>nts played a vital role in teaching music to <strong>the</strong>ir children<br />
<strong>and</strong> that <strong>the</strong>ir input was just as important <strong>and</strong> beneficial as music classes held in schools. The<br />
Suzuki method was originally developed to help children learn to play <strong>the</strong> violin but it has<br />
now been adapted to include o<strong>the</strong>r instruments such as piano, guitar <strong>and</strong> flute. Typically<br />
children start instrumental lessons at two or three years <strong>of</strong> age <strong>and</strong> background music should<br />
be played to children while at school to help <strong>the</strong>m develop good listening skills. The main<br />
aims <strong>of</strong> <strong>the</strong> Suzuki method <strong>are</strong> to develop discipline, confidence, technical mastery <strong>and</strong><br />
musicianship.<br />
All four <strong>of</strong> <strong>the</strong>se <strong>musical</strong> scholars have made a huge contribution to <strong>musical</strong> <strong>education</strong> <strong>and</strong> in<br />
<strong>the</strong>ir own individual ways <strong>the</strong>y have helped to mould <strong>the</strong> music curriculum into what it is<br />
today. Their different approaches to music <strong>are</strong> still being practised all over <strong>the</strong> world.<br />
Jingle Jangle Club Journal<br />
During <strong>the</strong> process <strong>of</strong> writing this dissertation a personal experiment took place to see how<br />
young children react <strong>and</strong> respond to music. Six <strong>musical</strong> storybooks were written about<br />
various percussion instrument characters. The instrument characters were: Tommy <strong>the</strong><br />
Triangle, Antoinette <strong>the</strong> Castanet, Izzy Bell, Molly <strong>the</strong> Maraca, Dean <strong>the</strong> Tambourine <strong>and</strong><br />
Wilbur <strong>the</strong> Whistle. Each <strong>musical</strong> storybook came with a song, a dance, <strong>and</strong> a short story that<br />
taught <strong>the</strong> children about <strong>the</strong> instrument <strong>and</strong> when to play it. An interactive children’s<br />
event/play called <strong>the</strong> ‘Jingle Jangle Club’ was <strong>the</strong>n put toge<strong>the</strong>r with <strong>the</strong> main aim <strong>of</strong> getting<br />
young children involved in making <strong>and</strong> responding to music. The play consisted <strong>of</strong> various<br />
<strong>musical</strong> activities that were all based around <strong>the</strong> six <strong>musical</strong> storybooks.<br />
During <strong>the</strong> event <strong>the</strong> children were able to get involved making <strong>the</strong>ir own <strong>musical</strong><br />
instruments, which <strong>the</strong>y were <strong>the</strong>n taught to play. All <strong>the</strong> instruments made were percussion<br />
instruments; this gave <strong>the</strong> children an opportunity to play around with different rhythms <strong>and</strong><br />
sounds. The children <strong>the</strong>n took part in an interactive performance in which <strong>the</strong>y were able to<br />
sing, dance <strong>and</strong> play <strong>the</strong> instruments that <strong>the</strong>y had made. The response from <strong>the</strong> children was<br />
quite remarkable. It was amazing to see how an introverted <strong>and</strong> shy child at <strong>the</strong> start <strong>of</strong> <strong>the</strong><br />
event <strong>the</strong>n transformed into a smiley, chatty, <strong>and</strong> confident child by <strong>the</strong> end <strong>of</strong> <strong>the</strong> day. The<br />
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<strong>musical</strong> activities in which <strong>the</strong> children took part helped to build confidence, creativity, <strong>and</strong><br />
concentration. The ages <strong>of</strong> <strong>the</strong> children ranged from three to six but even <strong>the</strong> youngest <strong>of</strong><br />
children were able to pick up <strong>the</strong> songs <strong>and</strong> join in with <strong>the</strong> rhythm exercises.<br />
Throughout <strong>the</strong> event <strong>the</strong>re were <strong>of</strong>ten occasions where <strong>the</strong> children had to sh<strong>are</strong> <strong>the</strong><br />
instruments with one ano<strong>the</strong>r <strong>and</strong> as <strong>the</strong> day went on it was evident that <strong>the</strong> children became<br />
more willing to sh<strong>are</strong> <strong>and</strong> help one ano<strong>the</strong>r. At <strong>the</strong> start <strong>of</strong> <strong>the</strong> event <strong>the</strong>re were fears that <strong>the</strong><br />
children would lack focus <strong>and</strong> become easily distracted, but this wasn’t <strong>the</strong> case. The children<br />
seemed enchanted <strong>and</strong> excited to get involved with <strong>the</strong> activities. Even <strong>the</strong> children that<br />
seemed unwilling to join in at <strong>the</strong> start soon felt comfortable <strong>and</strong> were <strong>the</strong>n able to get<br />
involved. Once <strong>the</strong> children had been introduced to all <strong>the</strong> different <strong>and</strong> fun aspects <strong>of</strong> music<br />
<strong>the</strong>y became inquisitive <strong>and</strong> eager to learn more.<br />
The experiment was extremely informative <strong>and</strong> eye opening. The <strong>musical</strong> activities helped<br />
<strong>the</strong> children to become more confident, <strong>the</strong>y were able to work well with o<strong>the</strong>rs, <strong>and</strong> listen<br />
<strong>and</strong> respond to <strong>the</strong> music while at <strong>the</strong> same time having fun. At <strong>the</strong> end <strong>of</strong> <strong>the</strong> event p<strong>are</strong>nts<br />
were able to buy <strong>the</strong> different <strong>musical</strong> storybooks <strong>and</strong> CDs so that <strong>the</strong>ir children could<br />
continue learning <strong>and</strong> having fun with music at home. The response was overwhelming with<br />
every single p<strong>are</strong>nt purchasing <strong>the</strong> merch<strong>and</strong>ise. This proved that if music can be made fun<br />
<strong>and</strong> accessible for all families <strong>the</strong>n p<strong>are</strong>nts would be willing to introduce <strong>the</strong>ir children to<br />
music. Music events such as <strong>the</strong>se can have a positive effect not only on <strong>the</strong> children but also<br />
on <strong>the</strong> p<strong>are</strong>nts as it gives <strong>the</strong>m an opportunity to see how well <strong>the</strong>ir young children respond<br />
<strong>and</strong> learn through music.<br />
Dis<strong>advantages</strong><br />
A frequently asked question surrounding music for babies is - what type <strong>of</strong> music should I<br />
play to my baby? There <strong>are</strong> many different opinions surrounding this subject. People agree<br />
that it is important to choose stimulating <strong>and</strong> positive music for children to listen to, but what<br />
people regard as <strong>the</strong> right music is <strong>the</strong>n what causes a conflict <strong>of</strong> ideas. Many people believe<br />
that music written by well renowned classical composers such as Mozart is best, but Raimond<br />
Lap, creator <strong>of</strong> ‘Lovely Baby’, believes that this isn’t always <strong>the</strong> case. ‘Contrary to what most<br />
people believe, you should not play classical music for babies, as it was originally intended<br />
for grownups. Most recordings <strong>are</strong> too fast <strong>and</strong> too intense to be absorbed by a baby in a<br />
good way. However, by changing <strong>the</strong> orchestration <strong>and</strong> tempo, classical music can be<br />
successfully adapted for babies, <strong>of</strong>fering wonderful benefits’ (Lap, 2002). In an article written<br />
by S. Jhoanna Robledo she interviews Rosalie Pratt, a pr<strong>of</strong>essor <strong>of</strong> music medicine at<br />
Brigham Young University, who argues that you should let young children listen to whatever<br />
<strong>the</strong>y like <strong>and</strong> that you should experiment with several different styles <strong>of</strong> music.<br />
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‘Let your child listen to whatever he likes. Anything with a good melody will do, although<br />
slow songs may work best for bedtime <strong>and</strong> fast ones for play. In <strong>the</strong> morning, play classical<br />
music (choose something pleasant <strong>and</strong> happy) so he'll wake up in a light <strong>and</strong> upbeat mood’<br />
(1997).<br />
In <strong>the</strong> book ‘Good Music, Brighter Children’, Habermeyer talks about <strong>the</strong> results <strong>of</strong> studies<br />
carried out by university students. ‘Recent scientific studies at some <strong>of</strong> <strong>the</strong> most respected<br />
universities in <strong>the</strong> world indicate that children introduced to classical music at a young age<br />
read earlier <strong>and</strong> perform better on achievement tests’ (1999, P.344). One <strong>of</strong> <strong>the</strong> most famous<br />
approaches to music is <strong>the</strong> ‘Mozart Effect’. It is an idea based around a set <strong>of</strong> results that<br />
indicate early exposure to classical music can help contribute to a child’s mental<br />
development. ‘The “Mozart effect” refers to claims that people perform better on tests <strong>of</strong><br />
spatial abilities after listening to music composed by Mozart’ (Thompson, 2001). It is already<br />
clear to see that with such conflicting ideas this subject causes much confusion. There has<br />
still not been any clear conclusion made on what music is definitely best for babies <strong>and</strong> at <strong>the</strong><br />
present time it is still being left to people’s personal (albeit conflicting) opinions.<br />
Children’s minds <strong>are</strong> so vulnerable. From <strong>the</strong> day <strong>the</strong>y <strong>are</strong> born <strong>the</strong>y <strong>are</strong> learning <strong>and</strong><br />
absorbing all that is around <strong>the</strong>m. A baby is born with no concept <strong>of</strong> right or wrong <strong>and</strong> it is<br />
up to <strong>the</strong> people around <strong>the</strong>m as <strong>the</strong>y grow to help feed <strong>the</strong>m with <strong>the</strong> information that will<br />
help determine <strong>the</strong> sort <strong>of</strong> person <strong>the</strong>y will become. If from <strong>the</strong> day a child is born <strong>the</strong>ir<br />
p<strong>are</strong>nts constantly teach <strong>the</strong>m that it is acceptable to steal, cheat, hate, or adversely to love<br />
<strong>and</strong> respect, that child will most likely grow up believing it is <strong>the</strong> truth. Young children <strong>are</strong> so<br />
easily guided by those around <strong>the</strong>m. It is for this very reason that children start school so<br />
young, start to learn <strong>the</strong> piano, or take up a sport. The young mind absorbs information better<br />
than at any o<strong>the</strong>r time in a person’s life. The older we get <strong>the</strong> harder it is to take in new<br />
information <strong>and</strong> learn new skills. We become set in our ways <strong>and</strong> new practices seem alien to<br />
us <strong>and</strong> <strong>the</strong>refore a lot harder to integrate into our day-to-day lives. The vulnerability <strong>and</strong><br />
willingness to learn that young children have is so wonderfully powerful. Their minds <strong>are</strong> so<br />
precious <strong>and</strong> delicate but if placed into <strong>the</strong> wrong h<strong>and</strong>s or surroundings <strong>the</strong> effects can be<br />
devastating <strong>and</strong> sometimes fatal.<br />
Music plays such a huge part in today’s society. It is everywhere we turn: from <strong>the</strong> films we<br />
watch to <strong>the</strong> boy racers who drive past with explicit lyrical content <strong>and</strong> hard-core drum <strong>and</strong><br />
bass booming from <strong>the</strong>ir car speakers at an intrusively loud volume. It is almost impossible to<br />
last 24 hours without hearing some form <strong>of</strong> music. It is clear to see how introducing music to<br />
children at a young age can benefit <strong>the</strong>m in many ways, but not all types <strong>of</strong> music have <strong>the</strong><br />
same effects. ‘Listening to sexually explicit or violent music lyrics can affect children's<br />
schoolwork, social interactions, mood <strong>and</strong> behaviour’ (Elizabeth, 2009). Explicit <strong>and</strong><br />
provocative lyrics have become a huge part <strong>of</strong> today’s music culture. People seem to have<br />
become almost immune to <strong>the</strong> brutally violent <strong>and</strong> strong sex references that have taken over<br />
<strong>the</strong> music charts. Perhaps some people would be shocked to turn on <strong>the</strong> television at 3<br />
o’clock in <strong>the</strong> afternoon when most children finish school to find a distasteful <strong>and</strong> graphic sex<br />
scene on <strong>the</strong> BBC. This is why <strong>the</strong>re have been boundaries put on what can be shown on<br />
mainstream television before 9 o’clock. Yet at anytime during <strong>the</strong> day you <strong>are</strong> able to turn on<br />
<strong>the</strong> radio to hear popular artists singing about how <strong>the</strong>y go around <strong>the</strong> streets killing people<br />
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with guns <strong>and</strong> take part in extremely raunchy sexual acts. You only have to look at <strong>the</strong> lyrics<br />
from some <strong>of</strong> today’s chart toppers to see how app<strong>are</strong>nt it is. A perfect example <strong>of</strong> this is<br />
current <strong>and</strong> popular artist Rihanna <strong>and</strong> her single S&M. The lyrics during <strong>the</strong> chorus <strong>are</strong>:<br />
‘Cause I may be bad but I’m perfectly good at it. Sex in <strong>the</strong> air I don’t c<strong>are</strong> I love <strong>the</strong> smell <strong>of</strong><br />
it. Sticks <strong>and</strong> stones May break my bones but chains <strong>and</strong> whips excite me’ (Rihanna, 2010).<br />
Are <strong>the</strong>se really <strong>the</strong> sort <strong>of</strong> messages that should be heard by young children? There has<br />
certainly been no ban on playing this song before 9 o’clock, in fact quite <strong>the</strong> opposite- it is<br />
regularly played on radio throughout <strong>the</strong> day <strong>and</strong> it was also <strong>the</strong> song she performed at this<br />
year’s Brit awards after receiving an award for best single. Maybe today’s music artists have<br />
a lot to answer for in portraying a false image <strong>of</strong> relationships, sex <strong>and</strong> violence to a younger<br />
generation that <strong>are</strong> so easily led.<br />
It is important for educators to realize that children <strong>are</strong> not just learning in <strong>the</strong> school<br />
environment. It is crucial to remember that at a young age children <strong>are</strong> getting two types <strong>of</strong><br />
<strong>education</strong>, <strong>the</strong> information <strong>the</strong>y learn while at school <strong>and</strong> <strong>the</strong> knowledge <strong>the</strong>y <strong>are</strong> continually<br />
obtaining from everything else surrounding <strong>the</strong>m in <strong>the</strong>ir day-to-day lives. Sometimes <strong>the</strong><br />
two forms <strong>of</strong> <strong>education</strong> conflict <strong>and</strong> contradict one ano<strong>the</strong>r. Educators need to be aw<strong>are</strong> <strong>of</strong> <strong>the</strong><br />
outside form <strong>of</strong> learning <strong>and</strong> need to have an underst<strong>and</strong>ing <strong>of</strong> it. Children <strong>are</strong> absorbing just<br />
as much from <strong>the</strong> outside world as <strong>the</strong>y do from <strong>the</strong>ir p<strong>are</strong>nts <strong>and</strong> teachers. This outside<br />
<strong>education</strong> can come from anywhere: children at school, television programs, <strong>the</strong> Internet, <strong>and</strong><br />
a lot <strong>of</strong> <strong>the</strong> time through music <strong>and</strong> <strong>the</strong> media.<br />
Recently <strong>the</strong>re has been a huge amount <strong>of</strong> negative press regarding chat rooms <strong>and</strong> how<br />
dangerous <strong>the</strong>y can be for young people. If a p<strong>are</strong>nt heard that <strong>the</strong>ir young daughter had taken<br />
a photo <strong>of</strong> herself on her videophone <strong>and</strong> sent it to a boy from school or a stranger she met on<br />
a chat room, <strong>the</strong>ir reaction would most likely be one <strong>of</strong> upset <strong>and</strong> even fear for <strong>the</strong>ir child’s<br />
safety. Unfortunately with songs such as Beyonce Knowles ‘Video Phone’ that has lyrics<br />
such as:<br />
‘you’re saying that you want me, so press record I’ll let you film me on your video phone<br />
make a cameo, tape me on your video phone. I can h<strong>and</strong>le you watch me on your videophone.<br />
If you want me you can watch me on your videophone’ (Beyonce, 2009)<br />
it could most definitely be argued that <strong>the</strong> wrong messages <strong>are</strong> being sent out to young girls.<br />
It has been said that <strong>the</strong> artist Beyonce is a great role model but when <strong>the</strong>re <strong>are</strong> so many<br />
young girls listening <strong>and</strong> singing along to <strong>the</strong>se songs without fully underst<strong>and</strong>ing <strong>the</strong><br />
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meaning, it implies that today’s society may be confused by what <strong>the</strong> true meaning <strong>of</strong> a good<br />
role model really is. It is quite a worrying thought to think that if a time arises in <strong>the</strong>se young<br />
girls’ lives when someone wants to take provocative photos <strong>of</strong> <strong>the</strong>m on a videophone <strong>the</strong>y<br />
will think it acceptable due to <strong>the</strong> subliminal messages that <strong>are</strong> everywhere in today’s music.<br />
The messages portrayed in some <strong>of</strong> <strong>the</strong>se songs totally contradict <strong>the</strong> messages that <strong>are</strong> taught<br />
by a lot <strong>of</strong> p<strong>are</strong>nts regarding safety, sex, <strong>and</strong> self-respect. Messages can be so easily<br />
reinforced <strong>and</strong> embedded into <strong>the</strong> human mind through <strong>the</strong> use <strong>of</strong> music. If Beyonce gave a<br />
public speech on how she likes to send provocative <strong>and</strong> sexually explicit images <strong>of</strong> herself on<br />
her videophone or if Rihanna talked openly on television about how she took part in S&M,<br />
<strong>the</strong>re would be worldwide outrage. It is that exact message <strong>the</strong>y <strong>are</strong> sending out in <strong>the</strong>ir<br />
songs, yet when masked with a catchy melody <strong>and</strong> strong beat <strong>the</strong>se lyrics <strong>are</strong> believed to be<br />
totally acceptable for young children to listen to. In many cases it is quite probable that<br />
p<strong>are</strong>nts <strong>are</strong> unaw<strong>are</strong> <strong>of</strong> <strong>the</strong> lyrics to <strong>the</strong>se songs <strong>and</strong> <strong>are</strong> just as sucked in <strong>and</strong> blinded by <strong>the</strong><br />
catchy melodies <strong>and</strong> well-produced backing tracks.<br />
Music is commonly used as a form <strong>of</strong> mood management. If a person is stressed <strong>and</strong> has had<br />
a long day at work <strong>the</strong>y will be more likely to put on some music that is relaxing <strong>and</strong><br />
soothing, but if <strong>the</strong>re <strong>are</strong> a group <strong>of</strong> girls getting ready to go on a night out <strong>the</strong>n perhaps <strong>the</strong>ir<br />
choice <strong>of</strong> music would be more upbeat. Music can be used to create or maintain a person’s<br />
mood pattern <strong>and</strong> this same principle applies to children. Listening to angry <strong>and</strong> aggressive<br />
music can have a negative effect on young children. It can have an impact on <strong>the</strong>ir<br />
concentration, schoolwork <strong>and</strong> ability to communicate with o<strong>the</strong>rs.<br />
It is clear to see that a <strong>musical</strong> <strong>education</strong> at a young age can be very beneficial in many ways.<br />
There <strong>are</strong> huge amounts <strong>of</strong> positive press surrounding music <strong>and</strong> how it can help with early<br />
child development. As mentioned previously <strong>the</strong>re is now new evidence that an early<br />
<strong>education</strong> in music can help with concentration, coordination <strong>and</strong> now even maths <strong>and</strong><br />
science. ‘Researchers also have found a significant relationship between music instruction<br />
<strong>and</strong> positive performances in such <strong>are</strong>as as: reading comprehension, spelling, ma<strong>the</strong>matics,<br />
listening skills, primary mental abilities <strong>and</strong> motor skills’ (Borgese, 2010).<br />
This evidence is a huge breakthrough in terms <strong>of</strong> <strong>education</strong> but has also caused controversial<br />
debate on whe<strong>the</strong>r all children have <strong>the</strong> same opportunities when it comes to music. It has<br />
been argued that introducing music into <strong>the</strong> curriculum too early can cause social divides.<br />
Doctor Hargreaves from <strong>the</strong> Cambridge University Press has said: ‘The effects <strong>of</strong><br />
socioeconomic status on <strong>musical</strong> development is fraught with potential problems, especially<br />
when viewed in <strong>the</strong> context <strong>of</strong> comparable research abilities in general’ (1986, P.102). The<br />
idea that music can cause social divides implies that richer, more well <strong>of</strong>f families have more<br />
opportunities <strong>and</strong> <strong>are</strong> more likely to encourage <strong>the</strong>ir children <strong>musical</strong>ly.<br />
There have been studies carried out to find out whe<strong>the</strong>r children whose families can afford to<br />
put <strong>the</strong>m through private <strong>education</strong> perform better <strong>musical</strong>ly than those children whose<br />
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families can’t afford to send <strong>the</strong>m to private schools. ‘Valentine’s (1962) study, which was<br />
discussed earlier, showed that ‘preparatory school’ children showed greater evidence <strong>of</strong><br />
<strong>musical</strong> acculturation than <strong>the</strong>ir ‘elementary school’ counterparts; this result is almost<br />
certainly mediated by social class’ (Hargreaves, 1986, P.103). These results imply that <strong>the</strong><br />
reason <strong>the</strong> preparatory children showed a greater level <strong>of</strong> <strong>musical</strong> acculturation was down to<br />
<strong>the</strong>ir social class.<br />
Music can <strong>of</strong>ten be an expensive hobby, especially for families who have more than one<br />
child. Musical instruments sometimes costing hundreds <strong>of</strong> pounds <strong>and</strong> lessons that now r<strong>are</strong>ly<br />
cost less than fifteen pounds for half an hour may not be affordable or accessible to all<br />
families. This leads to <strong>the</strong> conclusion that <strong>the</strong> accusation <strong>of</strong> music causing social divides may<br />
not be too far from <strong>the</strong> truth. Just like many o<strong>the</strong>r subjects within <strong>the</strong> creative arts it is now<br />
extremely difficult to progress without some form <strong>of</strong> training, which in today’s society r<strong>are</strong>ly<br />
comes cheap. There <strong>are</strong> now bursaries <strong>and</strong> scholarships that can be awarded to talented<br />
students who can’t afford to pay for <strong>the</strong> <strong>education</strong> required for <strong>the</strong>m to progress in <strong>the</strong>ir art.<br />
However <strong>the</strong>se bursaries <strong>and</strong> scholarships cannot be awarded to every student; <strong>the</strong>refore, <strong>the</strong><br />
idea <strong>of</strong> social divides still has prominence. Due to lack <strong>of</strong> funding <strong>and</strong> resources many state<br />
schools <strong>are</strong> not able to provide <strong>the</strong> same <strong>musical</strong> facilities as <strong>are</strong> available in private schools.<br />
‘Children who listened to Mozart before taking a test performed better. The catch? The<br />
effects only lasted about 20 minutes. O<strong>the</strong>r research may have been skewed by socioeconomic<br />
differences between kids who attend schools with music programs <strong>and</strong> kids whose<br />
schools can’t afford <strong>the</strong>m’ (Boyd, 2008). This quote suggests that children who listen to<br />
Mozart before taking tests performed better but it also implies that <strong>the</strong>re were recognizable<br />
differences in children that attended schools with music programs <strong>and</strong> those that attended<br />
schools that can’t afford <strong>the</strong>m.<br />
This point leads society to ask <strong>the</strong> question, do all children have <strong>the</strong> same opportunities when<br />
it comes to music? <strong>What</strong> children do outside <strong>of</strong> school is really down to <strong>the</strong> p<strong>are</strong>nts <strong>and</strong><br />
society cannot really argue with that. However when it comes to music <strong>education</strong> in schools<br />
is it fair that not all children have <strong>the</strong> same opportunities? ‘In <strong>the</strong>se days, it is doubtful that<br />
any child may reasonably be expected to succeed in life if he is denied <strong>the</strong> opportunity <strong>of</strong> an<br />
<strong>education</strong>. Such an opportunity, is a right which must be made available to all on equal<br />
terms’ (Weintraub. Abeson, 1972). This quote from a law review written by Frederic J.<br />
Weintraub <strong>and</strong> Alan R. Abeson outlines <strong>the</strong> fact that <strong>education</strong> is a right <strong>of</strong> all children <strong>and</strong><br />
should be given out equally. If all children <strong>are</strong> entitled to an equal <strong>education</strong> <strong>the</strong>n perhaps<br />
<strong>the</strong>re should be greater consideration <strong>and</strong> action taken to ensure that all schools <strong>are</strong> giving<br />
<strong>the</strong>ir pupils a fair <strong>and</strong> equal <strong>education</strong> in music <strong>and</strong> <strong>of</strong>fering <strong>the</strong>m <strong>the</strong> same <strong>musical</strong><br />
opportunities. In <strong>the</strong> United States it was made law that no child should have greater priority<br />
in terms <strong>of</strong> <strong>education</strong> than any o<strong>the</strong>r child. ‘The Supreme Court <strong>of</strong> <strong>the</strong> United States ruled<br />
illegal <strong>the</strong> provision <strong>of</strong> <strong>education</strong> services to any child on a basis unequal to that provided<br />
any o<strong>the</strong>r child’ (Weintraub. Abeson, 1972). This quote isn’t just implying that all children<br />
have <strong>the</strong> right to be educated but also that <strong>the</strong> services provided within <strong>education</strong> should be<br />
equal to all children.<br />
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Summary <strong>and</strong> Conclusion<br />
It is evident to see that music plays a huge part in everyone’s day-to-day lives. It has now<br />
become impossible to live in today’s society without being exposed to some form <strong>of</strong> music.<br />
So can music have a positive effect on young children? The answer is yes it can. It can have a<br />
positive effect on building a child’s confidence <strong>and</strong> it is a fun <strong>and</strong> <strong>education</strong>al activity that<br />
helps to stimulate both sides <strong>of</strong> a child’s brain, <strong>the</strong> logical <strong>and</strong> <strong>the</strong> creative. Music can<br />
contribute to a baby’s brain development <strong>and</strong> help comfort <strong>the</strong>m in challenging times<br />
throughout <strong>the</strong>ir early childhood. Children with disabilities can benefit greatly from music<br />
<strong>the</strong>rapy, which can be used to help <strong>the</strong>m both mentally <strong>and</strong> physically. Introducing music at<br />
an early age can contribute to p<strong>are</strong>nt <strong>and</strong> child relationships <strong>and</strong> can be a fun <strong>and</strong> stimulating<br />
activity that children <strong>and</strong> p<strong>are</strong>nts can participate in toge<strong>the</strong>r.<br />
Although <strong>the</strong> research in this document concludes that music can have a positive effect on<br />
young children, it is still important to consider <strong>the</strong> argument: can music have a negative effect<br />
on young children? The answer is also yes. Although it is clear to see <strong>the</strong> huge number <strong>of</strong><br />
<strong>advantages</strong> that can come through an early introduction to music, it is important to remember<br />
that not all kinds <strong>of</strong> music have <strong>the</strong> same effect. Some types <strong>of</strong> music can be extremely<br />
damaging to young children. Explicit <strong>and</strong> aggressive music can have a negative impact on<br />
children both socially <strong>and</strong> academically. The lyrics in some <strong>of</strong> today’s chart music portray a<br />
false image <strong>of</strong> sex, relationships, <strong>and</strong> violence. Children’s minds <strong>are</strong> so vulnerable <strong>and</strong> when<br />
<strong>the</strong>se sorts <strong>of</strong> messages <strong>are</strong> being portrayed by some <strong>of</strong> societies iconic figures it can be very<br />
misleading for young children.<br />
Not all children <strong>are</strong> getting <strong>the</strong> same opportunities when it comes to music <strong>and</strong> this has a lot<br />
to do with limited funding in schools <strong>and</strong> conflicting ideas on what subjects should be<br />
prioritized. Perhaps <strong>the</strong> Government needs to give greater consideration to taking action to<br />
ensure that music is being used effectively within <strong>the</strong> National Curriculum. There also needs<br />
to be more support given to primary school teachers who <strong>are</strong> expected to teach every subject<br />
within <strong>the</strong> curriculum. Overall, it seems evident that <strong>the</strong>re <strong>are</strong> more benefits than negatives<br />
that come from an early introduction to music; however this is only if music is used in a<br />
positive way. There needs to be greater consideration to <strong>the</strong> remarkable effect that music can<br />
have on children’s lives, to ensure that all children <strong>are</strong> getting <strong>the</strong> best possible introduction<br />
to music that society can <strong>of</strong>fer.<br />
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