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

Plan and implement a range of developmentally appropriate music and movement experiences

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

2 Diploma of Children’s Services: CHCFC507A: Reader LO 9323 © NSW DET 2010

Contents

Use observations of individual children and groups of children to plan developmentally appropriate music and movement experiences for children 4

Observing children 4

Using observations to plan music and movement experiences 5

Select and present a range of stimulating developmentally appropriate and inclusive music experiences for individual children and small groups of children 8

Reflecting upon developmental expectations and the importance of early musical experiences 8

Select and present a range of stimulating developmentally appropriate and inclusive movement experiences for individual children and small groups of children 23

Music experiences using props 23

Creative movement using recorded music 27

Use a range of methods to evaluate children’s participation in and reactions to planned music and movement experiences 30

Planning musical experiences 30

Evaluation 36

Diploma of Children’s Services: CHCFC507A: Reader LO 9323 3© NSW DET 2010

Use observations of individual children and groups of children to plan developmentally appropriate music and movement experiences for children

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

Observing childrenYou probably feel well versed in the skill of observing and recording information on children in order to plan, shape and develop your program. You may already feel quite confident in providing a program that is based on children’s interests and is flexible and responsive. When we are sourcing information on children to plan and provide a diverse and interesting music and moment program, the same principles and practices apply.

You are no doubt familiar with the following observation methods:

• Running records• Anecdotal records• Timed samples• Work Samples• Behaviour Sample records• Journal entries• Photographic stories or records• Activity Logs• Checklists• Rating Scales

You can probably think of more examples here. If you would like to review your understanding of observations read:


• Nixon, D. & Gould, K. 1999, Emerging: Child Development in the First Three Years, 2nd edn, Social Science Press, Katoomba, NSW. (Chapter 9)

• Nixon, D. & Aldwinckle, M. 2005, Exploring: Child Development from Three to Six Years, 2nd edn, Social Science Press, Katoomba, NSW. (Chapters 9 and 10)

• Szarkowicz, D, 2006, Observations and Reflection in Early Childhood, Thomson Social Science Press, Melbourne , Victoria

Points to remember when observing childrenWhen observing and collecting information about children it is useful to note the following:

• Always seek written permission from families first and also ask the child if appropriate.

• Ensure you observe the child in a natural setting, do not interrupt play.

• Use observations to support learning and development.• Observe the child over a period of time and settings.• Use a variety of observation methods.• Use only first names when recording information.• Ensure you observe practices and principles of confidentiality.• When you are working as a staff member in a service ensure you

discuss the child’s observational records with parents or colleagues in the appropriate place.

A small note book and pen is useful for making observations and taking notes on children’s interests.

Using observations to plan music and movement experiencesOur every day experiences in our services, as well specific Music and Movement provisions and activities give ample opportunity to note and respond to children’s interests, musical skills and development. This can occur individually and within group experiences.


Consider the following example:

Anecdotal record:

Child’s Name: Trevor Age: 4 years Date: 14/12/09

Setting: Free Play Observer: Marie Guise

Observation Inferences

Time commenced: 10.05

Trevor was sitting in the block area with the wooden blocks and train set. The CD was playing Play School transport songs. Trevor leant his head towards the direction of the music. “Hey” he said “I know this song” He then picked up two blocks and hit them together loudly. “I’m a train that goes, I’m a train that goes - and I go until I stop!” he sang and tapped the blocks with the music, slightly out of time.

When he came to the loud “stop” he hit the blocks with a very loud “bang” A carer was watching him “Let’s sing that song again Trevor” she said.

Demonstrates auditory perception

Demonstrates ability to sing along with known song

Attempts to match beat to music

Demonstrates awareness of dynamics

Evaluation

Trevor displays recognition for a known song and can sing along with recorded music. He is exploring the concept of beat and attempting to match beat to music. He is also aware of changes in dynamics and can match loud sounds in kind. He is also able to improvise the use of building blocks and use them spontaneously to accompany music.

From this observation we can gather information on Trevor’s skills, emerging skills and interests.


Strengths/Interests/Emerging Skills Developmental Domain

Learning Opportunities/Experience

Strengths: Ability to sing along with known song

Interests: Trains

Emerging skills: To further develop concept of beat

Developmental Domain: Cognitive and Physical

Experience suggestions: Teach other songs about trains; find train instrumental music to move with. ‘Train is a Coming’(Merrily, Merrily)

Developmental Domain: Cognitive and Physical

Experience Suggestions: Provide music with strong beat, such as marching music with tapping sticks. Rossini’s ‘William Tell Overture-Finale’ or Sousa’s ‘American Patrol’ both from ABC Classic Kids

Activity 1


Select and present a range of stimulating developmentally appropriate and inclusive music experiences for individual children and small groups of children

Reflecting upon developmental expectations and the importance of early musical experiencesWhen designing an enriching and diverse music and movement program for children we need to consider children’s age, development, their environment, culture and experiences. It is crucial to ensure that the experiences we provide are developmentally appropriate and serve to enhance children’s appreciation of music; as well as supporting and fostering their overall development.

The best time to start exposing children to music and musical experiences is as early as possible. In fact, it is a good idea to start before birth!

Zoltan Kodaly was a famous Hungarian musician, music educator and scholar. When asked the best age at which to begin teaching children about music, Kodaly answered that a child's music education should begin nine months before the birth of the child’s mother. This answer implies two interesting points. Firstly, there is some form of prenatal musical (sensory) perception. Secondly, the people who share the responsibility of teaching a young child about their environment (such as Child Care workers) should have highly developed musical skills.

Prenatal sensory perceptionScientific investigation of prenatal and neonatal sensory perception is relatively new. It has only been during the past few decades that it has been possible to undertake such research with reliable results.

Studies both in Australia and overseas have provided evidence to support the belief that a foetus is usually able to hear after approximately (28) weeks of


gestation. However, some research projects have collected data to support the theory that foetal hearing is established as early as (12) to (15) weeks.

How can you test for sensory perception when the subject is still in the womb and cannot tell you about the information being received? A common process used to discover and measure prenatal sensory perception is to monitor cardiac and motor responses to stimuli:

• Motor response refers to the movements that the foetus makes in response to stimulus. For example, on hearing a noise, the foetus changes position or moves a body part such as an arm or a leg.

• Cardiac response refers to the change in the foetal heartbeat in response to stimulus. More often than not this change is an increase in the number of heartbeats per second.

Studies have shown that foetuses respond to sounds across a broad range of frequencies.

Transmission of sound to the uterusTests have been carried out on both laboratory animals and humans to discover the characteristics of sounds that are present in the uterus. Initially, recordings of exterior sounds were made from within the uterus of animals. The uterine environments used were chosen because they closely resembled that of humans.

The results of these tests showed that for frequencies from about 50 to 1000 Hz, the sound recorded from within the uterus was audible, but less intense than at the exterior source. Lately, more technologically advanced recording techniques have been used to make intra-uterine recordings in humans. Human voices, music and internal sounds (such as those produced by the mother's cardiovascular system) were recognisable. Again, exterior sounds were found to be less intense but still at audible levels when recorded from within the amniotic cavity.

Even in the womb, babies tend to show preferences for some sounds and types of music. Although they develop the ability to hear low sounds first, when they are able to hear higher pitched sounds they display a preference for higher pitched sounds and the human voice. When listening to classical music, foetuses seem to prefer pieces by Bach, Vivaldi and Mozart over Beethoven or Brahms!

The developing infant

Infants: 0–2 monthsNewborns require a lot of assistance to satisfy their needs, yet they are born with some vital survival tactics implanted by nature. At one time or another, we have all seen examples of rooting, grasping and sucking reflexes in young children. It is extraordinary to think that such a small being is endowed with so many abilities at birth. In addition to physical abilities, the neonate is sensitive to many forms of


sensory stimuli. In fact, sensory perception accounts for most of what the child will learn during the first six months of life.

As we have mentioned, newborn babies spend a great deal of their time sleeping. During the short periods that their eyes are open, they show little ability to focus on objects. It is possible to observe some form of tracking in a newborn's eyes but the muscle movement is unrefined and eye movements quite jerky.

A newborn baby can respond to sound—although they might seem to lack alertness and ability.

Children respond to sound from day one. Combined with the musical environment to which the child was exposed in utero, these early responses form the beginnings of a child's musical development. Just like the unborn child, the newborn is calmed and reassured by the mother's heartbeat. One of the first sounds heard after birth is the familiar, comforting, rhythmical pulse of the mother's heart, often while lying against her chest before the umbilical cord is cut. For many months to follow, rhythmical rocking and patting will calm a distressed baby and provide a sense of security.

In the womb, response to loud and higher-pitched sounds was quite marked. Now the baby has been removed from that environment, these responses show little change. Newborns are startled by loud sounds and respond more readily to higher-pitched sounds. Habituation continues and music has obvious effects. If a baby is crying or agitated, certain types of music will usually calm the child and help to stop crying. On the other hand, some forms of music will excite a placid, still child, evoking a noisy, stirred-up response.

Due to preferences for soft, higher-pitched sounds, babies react most positively to a female voice (usually belonging to the mother). Combine the qualities of this voice with a soft lullaby accompanied by gentle, rhythmical rocking and you have a time-honoured recipe for soothing babies. Lullabies and other 'soothing' songs should form the bulk of a useful song collection for children of this age. Singing such songs and gently rocking a baby not only comforts the child but is an important part of the bonding process.

Musical experiences do not always involve singing. Other types of musical activities that may be used with very young babies include placing a ticking clock nearby, using a pleasant voice, and varying the tone of your voice when talking.

Here’s a calm soothing song to sing to children.


Listen to Twinkle twinkle little star (82 KB).

Infants: 2–4 monthsThe rate of growth and development in children is greatest when they are very young. Consequently, there are quite marked differences in the 2–4 month old compared to the 0–2 month old.

It is during these first four or so months that the child's sensory motor activities are established. Children begin to synthesise aural and visual sensory input, which contributes to overall curiosity and, ultimately, understanding of the environment.

As early as three weeks after birth, most babies have detected some link between the position of their primary caregiver’s mouth and the sounds they make when they are talking or singing.

When they are approximately two months old, infants will generally search for the source of the sound made by a rattle or voice outside their field of vision but the majority rarely look in the right direction. They know that the sound is coming from outside their field of vision but the exact spot still remains a mystery (note though that the sound source may be discovered through repeated trial-and-error attempts).

By about four months, many infants display enough coordination of their senses and muscles to turn their head and look in the right direction to find the source of a sound.

Towards the end of the fourth month, these coordinated experiences are 'stockpiled' by the infant, who then calls upon them, in various combinations to learn more about the environment. Infants enjoy making sounds, and increase their sound vocabulary or repertoire quite extensively during this period.

Between two and four months, there is a growing awareness of body parts. The infant will laugh when tickled and develops an increasing repertoire of sounds to use in response to such stimuli. Previously, rhythmic patting and the like could be used to calm babies because of the similarity to the mother's heartbeat. Now that the infants are slightly older, rhythmic movement can become a little more vigorous and varied.


In addition to locating sound sources, infants of this age will begin to recognise voices, especially the mother's. Human voices still rate highly, although a slightly wider variety of TONE and PITCH seems to be acceptable.

Infants: 4–6 monthsBetween four and six months, the infant hones the sensory-motor activities acquired during the past months. The beginnings of thought patterns about cause and effect are obvious. Now that it is possible to synchronise aural and visual input from the same stimulus, the infant will discover that hitting two things together, dropping, or even shaking something will cause a sound to be produced.

Objects become the focus of experiments to find out what happens when they are acted upon in some way. Objects placed in the infant's hands will be explored and played with. The beginning of hand-eye coordination can be seen during this time. This is facilitated by more control over large muscle activity and much more control over the head, allowing the infant to focus on objects with more thought and control.

Some sounds can be disquieting!

During this period, fascination with sound is paramount. Sounds from any source elicit curiosity and the infant’s own vocal sounds also serve as sources for experimentation. Sounds will be readily classified as having comforting or disquieting effects—with the infant readily responding through movements, babbling and sometimes chuckling.

As the infant develops, physical responses become much more structured. By about six months, listening will usually precede movement, with the response delayed by about ten to twenty seconds (Greenberg 1979). The most common forms of response, such as bouncing and swaying, are made with the whole body rather than isolated limbs.

A song to sing

Listen to Are you sleeping? (43 KB).


Infants: 6–9 monthsIn the short time since birth, a great deal of growth and development has occurred. This astounding rate continues during the six- to nine-month period. It is during this period that you will find an infant sleeping less, developing teeth, sitting unsupported and becoming much more mobile as the crawling process begins. By about eight months, infants will pull themselves to stand. It is usual for the earlier palm grasp to be replaced with a pincer grasp (thumb and fingers working cooperatively) while hands and arms are often used to support the rest of the body.

Although generally quite outgoing and sociable, an infant will develop some form of anxiety with strangers towards the end of this period. People will appear as different from each other and infants will be aware of interacting with unfamiliar faces, mannerisms and voices.

As the infant develops, mood changes become more sudden. These changes have obvious attributes, with movement, body language and vocalisations signalling such changes. Listen carefully to the noises made by a happy contented child of this age. You will probably find that they are full of laughs—quite fluid, sometimes loud (with joy) and generally jolly. A discontented child, on the other hand, will often use short and sharp sounds, rarely using a pleasant TONE.

Listen closely to the sounds a baby makes. Is the baby happy?

The first sounds made by a baby are rarely identifiable as parts of human speech. By eight or nine months, imitations of sounds and combinations are common. Infants begin to combine vowels and consonants to form monosyllabic utterances. 'Da' and 'ma' sounds are often the first recognisable imitations that an infant will make. It is more common for 'da' to come before 'ma' due to the physical constraints of forming the 'm' sound with the lips, as opposed to the 'd' sound which is formed with the tongue and the bony ridge behind and above the upper teeth (or where they will soon be). Saying 'da da' before 'ma ma' should never be taken as an insult by the mother—it just happens that 'da da' is easier!

Infants will still appear contented and satisfied when certain music is played to them and, due to increased voluntary motor control, they will often move their arms and legs in response.

A song to sing


Listen to Let everyone clap hands. (35 KB)

Infants: 9–12 monthsDuring these months, children are continually increasing their mobility. Crawling is a well-practised pastime and no longer presents any difficulties. Taking sideways steps while gaining balance and security from a table, chair or shelf can be expected and towards the end of the first year, several steps may be taken while holding someone's hand.

Increased mobility facilitates increased cognition, i.e., when a child is able to move to more places, more new things are available for looking at, listening to, touching, tasting and smelling. Children become very interested in what causes a certain effect on objects, particularly with regard to the consequence of motor actions, for instance, squeezing some toys in a particular manner that makes them squeak, or pushing toys with wheels, watching them roll and then stopping the movement altogether. This idea of cause-and-effect leads to children developing a sense of sequence and time.

Sound imitation continues to be an important activity at this age. Such imitation is not always successful but children's vocalisations begin to approximate adult speech more closely. If you listen carefully, you will find that these babbling vocal patterns combined with intonation patterns sound very much like sentences and are often directed at someone as though it is all part of a conversation. In the next few months, these patterns will turn into recognisable phrases and intonation patterns, signalling the imminent onset of singing. It is probable that infants of this age will begin to understand and respond to some short words and commands such as 'here,' 'no' and 'stop'.

This baby has discovered singing!


Musical toysChildren's toys can take many forms. Children often enjoy an old improvised toy such as a cardboard box as much as (if not more than) the most up-to-date, technologically advanced and brightly coloured sound maker.

Toys that involve producing sound can also be either commercially manufactured or improvised. Wooden spoons and cake tins make fantastic drums.

There are also many commercially manufactured musical toys on the market. These include toys that make noises but are not primarily musical instruments. Examples of these include soft toys with bells inside and rubber toys that squeak when you squeeze them. Always ensure these are safe, with no small parts, easy to wash and of course non toxic. Remember infants of this age will naturally put everything in their mouth to explore!

Activity 2

The toddler emerges

12–18 monthsDuring the six months following a child's first birthday, some rather obvious changes in physical development are noticeable. Most children will begin walking during this time—firstly holding tightly to an adult's hand and then in a rather clumsy fashion without assistance. It is important to remember children follow their own pattern here. Some twelve-month-old infants will be walking, while others may not yet be ready to take the final step and will still continue to crawl.

No matter when the walking milestone is reached, 12- to 18-month-old infants are eager environmental explorers. The ability to move around with greater ease and confidence spurs them along in the quest for new experiences. A flushing toilet with water that seems to disappear may not seem spectacular to us. However to a 14-month-old watching and listening to such events, it constitutes important additions to memory and learning. After observing the flushing process a few times, the child will have worked out that pushing the button (or pulling the lever, whatever the case may be) causes the water to swish around the bowl and flush the toilet. It is around this age that children begin to comprehend the notion of cause and effect.

Although mobility is an aid in such explorations, infants of this age are still quite dependent on familiar adults. They are willing and eager to investigate but happy to return to the security provided by their mother or father (or other primary caregiver).

During this period, fine motor skills also become more refined. Reaching, grasping and releasing an object becomes a well-controlled, voluntary use of muscles, as opposed to previous attempts that were often hindered by lack of muscular


development and control. Consequently, some musical instruments such as small tambourines and shakers (about 15 cm diameter) are more easily held and manipulated.

12- to 18-month-old children will often respond to music that is sung or played to them by dancing and bobbing up and down or moving around.

Being a toddler is exciting—there are so many sights and sounds to take in.

By about 18 months, children will be able to imitate various PITCH and RHYTMIC patterns with varying degrees of accuracy (depending on the pattern and the child). They shall certainly be incorporating a greater number of pitch and rhythmic variations into their babbling and associated vocal experiments. This expanded vocabulary of sound patterns is made possible by children listening to sounds in the environment and then attempting to reproduce them. It is at this time that children show continual pleasure and interest in new and unique sounds.

18–24 monthsWe have established that early in life, physical growth and development is one of the most noticeable areas of change. Continual acquisition and refinement of motor skills has been a constant part of our discussion of children's development. Between 18 and 24 months, physical change is still prominent.

Walking now leads to running. This addition of speed further enhances the toddler's ability to explore the environment, seeking new information about how things work and feel at different speeds in the environment.

Locomotion is no longer so restricted but is now characterised by start, stop, fast, slow, getting faster and getting slower. In addition to moving their own bodies within the environment, children now begin to explore the effects of changing speed and energy on different objects within the environment—for instance, balls can be kicked (with varying accuracy) or thrown to produce various effects and responses.

Even though by about two years sensory motor experiences still supply much of the 'learning' that occurs, children's minds are beginning to store records of previous experiences. They will recognise some pictures in books and know the names of some parts of their bodies. The copying of experiences using make-


believe or improvised materials is quite common—for instance, if a child has watched a live performance using musical instruments, it would be possible (and quite probable) that they would mimic the physical gestures of the performers and the sounds of the instruments during play.

By about two years, most children have begun to gain some control over their singing voice. This doesn't mean that you can expect a successful audition for the local children's choir, but rather that the children begin to consciously perceive some differences between speaking (or shouting) and using their voice to sing or hum.

Singing or humming while engrossed in play, such as water play or in the sandpit or in fact as an accompaniment to any experience is common at this age.

Rhymes and songs that have repetitive patterns or constantly recurring sections are well received by two-year-old children. Generally, positive responses are forthcoming by using song materials that are predictable and invite the children to join in repeated phrases, whether in a verse or a frequently returning chorus.

While singing songs to toddlers, you may notice that they are beginning to match the beat of a song with their actions or movements. This will not happen with every piece of music that they hear but will become more and more common.

A very young child finds it extremely difficult, if not impossible, to recognise the beat in a piece of music that is being sung or played to them. They cannot clap hands in time and their attempts at movement or actions are not even close to being synchronised. By their second birthday though, children are beginning to develop their skills here and keep time with music.

Keeping time with a song sung by someone else is not an easy task and children master this skill over time. Remember, the more that children are actively involved in musical experiences, the more opportunities you are providing for them to practise and refine such new skills.

24–30 monthsBetween the ages of two and two-and-a-half, children become quite skilled at many motor activities. They run much more smoothly in a more controlled manner, sway their bodies, nod their heads, bounce and clap to a beat. Although responses such as clapping or swaying are now more frequently in time with the music, you still cannot expect a child to always produce actions that are perfectly synchronised with an external beat.

Musical activities that allow children to join in on known and frequently occurring words, phrases or tunes that are still very popular should form an important part of a song collection. Children like the success and security of inserting the correct section at the correct time.


By this age, many toddlers will march in time with the music. When the music stops, toddlers will begin to recognise this and may stop as well! Around this age children will begin to enjoy simple “Freeze” games where they stop when the music stops, but don’t always expect toddlers to do this. It can be a tricky skill to master!

A two-and-a-half-year-old will use body movements to respond to music much more readily than children just approaching two. As a carer, you can capitalise on this fact and provide many varied action songs for the children to sing and move about to. Many body parts are becoming more and more independent which allows both caregivers and children to develop some very interesting actions to songs, using their bodies in a variety of ways.

Finally, remember that although most children will have already begun to gain some control over their singing voice, singing in tune also requires fine listening skills. Don't worry if children aren't sounding the best at this stage! The more music and singing experiences you provide in your program the more confident and tuneful the children will become.

Even though children of this age still like to play by themselves, they are starting to enjoy the company of others a little more, which lends itself to more small music group opportunities.

Activity 3

The Pre-schooler

30–36 monthsDuring this time, a child's physical abilities expand to include more confident jumping, galloping, dancing and well-controlled independent finger movement. Children are usually able to execute locomotor movements in a straight line as well.

Dramatisation and make-believe play an important role here. Animals, vehicles and people all provide a myriad of possibilities for dramatic play. Songs and games that incorporate role play and make-believe are very well received by children at this stage, and should form the basis for a section in your collection.


Dramatic play is enhanced by a marked increase in vocabulary and language skills during the same period. Opportunities should always be provided for them to practise using new vocabulary items in songs, games and rhymes.

Increased vocabulary is accompanied by vast expansion in the area of concept development. Children are beginning to problem solve, hypothesise and explore more complex concepts.

Children usually begin to synchronise the playing an instrument and moving in time with music. Spontaneous musical engagement including singing, moving and playing are commonplace when the child is in a secure setting.

Pre-schoolers respond well to drama and dance.

36 months and beyondPre-schoolers are enthusiastic, skilled and talented musicians. They respond naturally to music and enjoy the pleasures of making music themselves. They can sing more tunefully, discriminate between different instruments and respond imaginatively to changes in MOOD, DYNAMICS and TEMPO. They enjoy games where they can explore and experiment with PITCH and auditory discrimination and classify instruments and sounds according to TONE.

Children of this age enjoy expressing themselves through music and are interested in experimenting with different genres and styles. They enjoy recognising and responding to varying RHYTHMS and with age and experience can replicate these and maintain a BEAT with greater accuracy.

There is a whole host of music and movement experiences that pre-schoolers enjoy. The possibilities are endless here! From listening games, identifying different instrument sounds, to folk dances and creative movement. From singing games, to action songs, from percussion bands to dramatic movement opportunities. Your pre-school music and movement program can be an extremely rich and diverse one. It is time to take a few risks, experiment and see what both you and the children can do and discover next!

Activity 4


Pre-schoolers are enjoying using and expanding upon their command of language. An ideal time to learn songs from other cultures and even improvise and make up one’s own lyrics to favourite songs.

An improvised music band

The music programThe music program needs to be part of the everyday life and fabric of the centre. It should be child focused and responsive, involving families, reflecting community values and input and serve to enrich the life of the service, as well that of the child.

The music program is not confine to one between 11:00 and 11:30am when Music Group time occurs. Although this can certainly be part of a music curriculum, it is only one part. A truly rich and thoughtful music program is one that is always open to music possibilities and opportunities.

It will include opportunities to sing, dance, move, listen, play instruments, explore sounds and musical CONCEPTS. It will include provisions for the carer and/or child to use props, such as scarves, ribbons, finger puppets and other aids. It will include music from a wide variety of genres, styles and cultures, including Aboriginal and Torres Strait Islander culture.

A responsive music program is reflective, intentional and aware of opportunities. Be careful not to saturate each day in recorded music. A responsive music program is a discerning and sensitive one. As Doreen Bridges warns in ‘Music Young Children and You’ “continuous exposure to music can dull sensitivity to sound”.pp 33. (You may have a similar feeling when you walk through a shopping centre and music is playing incessantly, after a short time you become so use to it, you do not even notice it anymore!) Chose carefully here, resist the temptation to have recorded children’s music blaring continually “because the children like it” or the radio tuned permanently to a favourite station. A successful music program is a thoughtful one.

Your music program will include provision for small, intimate groups to discover and talk about music; for music exploration in a small and secure space such as a music learning centre, for one on one spontaneous interaction between a child and carer at a nappy change or hand washing ritual.


If we are to instil within children a love and appreciation of music we need to:

• Support each child’s aesthetic and expressive potential.• Encourage children’s capacity to create music, to sing, to move

rhythmically and to gain pleasure through listening to, performing, and creating music.

• Support the child to find beauty and understanding in the performing arts such as dance, orchestral music and group performance.

• Help each child formulate their own taste and personal sense of what is or is not pleasing to them based on how they feel and what they understand about musical experiences

• Develop children’s capacity to respond to the emotional values and cognitive significance of musical experiences.

A meaningful music program is one that provides limitless opportunities for both the child and carer to explore and develop their own musical potential.

Music group timeMusic and movement experiences can involve individual, small and whole group. Children’s ages, developmental strengths and needs should be considered when selecting the experience and size of the group. The group size will influence the space required and your selection of activities and props.

Appropriate group size allows the carer opportunities to interact with and observe the children as well as ensuring all children’s needs and interests are met.

It is important not to have too large of a group for a music based experience. Not only will the opportunity for movement and involvement here become restricted, but the experience can easily become more about ‘crowd control’ rather than enjoying a fun and rewarding music group time. The most successful learning usual occurs in small groups.

Think about the when/where and how of your Music Group Time. Is it planned for the benefit and interests of the children? Is it scheduled for a time when their energy levels are receptive? Are you flexible with the timing? Can you postpone your planned Music Group on a rare warm winter morning when children are enjoying being outside after week of rain? Can you change your planned focus because children have been interested in the wind outside? Perhaps you

Tim, aged (5) years, has just seen his brother perform in the School Orchestra on the weekend. He is very excited about the instruments he saw and heard. How can you use this interest in your group time?

Yes, children need structure, certainty and security, but there also needs to be flexibility within this. A successful music program has plans, but the responsive carer is also able to change and adapt them.


Activity 5


Select and present a range of stimulating developmentally appropriate and inclusive movement experiences for individual children and small groups of children

Some experience for you to try!

Music experiences using propsWe have talked a lot about children’s development, interests and the importance of a responsive and diverse music and movement program. You are probably feeling ready to try some ideas and activities yourself. Here are some to get you started!

The Magic RopeFocus: locomotor movement and self expression.

Use a piece of rope, about 6 metres long and place it on the floor making a few waves. Don't make the curves too tight.

Secure the rope with masking tape at regular intervals, especially at both ends and on the curves.

Children line up behind the rope and, one by one, they walk on the rope from one end to the other.

You could select a recorded music accompaniment that will encourage and support children’s movement ideas. You may wish to explore TEMPO here and use a slow piece of music like Camille Saint Saens the Swan, from Carnivale of the Animals. Or, you might just choose to play an instrument to a steady BEAT like a drum or a tambour as children walk.

Allow children to have as many turns as they wish and use description and suggestion if necessary to reiterate and support their movements. ‘Wow, Thomas


is walking very carefully on the rope, he is tip toeing!’, ‘What a great idea, Heidi is jumping back and forth across the rope to my drum beats, clever thinking Heidi’

My SpotFocus: Locomotor movement and spatial awareness

Each child is given a small mat (or other flat object) to mark their spot on the floor. Let each child find his/her own spot. Show them how to make sure that they're not too close to anyone by putting their arms out and turning around slowly without bumping into anyone. Give them time to move their spot around until they are clear of everyone. Let them 'test' their spot's proximity to others for themselves. Give assistance if needed. This is all part of their spatial awareness development.

Once children have found their 'spot' and marked it with their mat, they stand on it waiting for instructions. ‘As soon as you hear the cymbal playing, leave your spot and walk over to me. Be careful not to bump into anyone.’ Play the cymbal gently so that there is a continuous sound. When all the children have gathered around you, stop playing the cymbal. ‘When you hear the cymbal playing again, walk back to your spot without bumping into anyone.’ As soon as children have returned to their spots, stop playing. Pause, then start playing again and see if they remember that this is a signal for coming over to you. You may need to remind them what the signal means.

‘This time, when you hear the cymbal playing, find the shortest way back to your spot without bumping into anyone.’ Start playing the cymbal and stop when children are all back on their spots. Start again so that children come back to you.

Now that you have established the signal for coming and going and stopping, suggest different ways for children to move before you start playing the cymbal. For example:

‘Find the longest way back to your spot.’

‘Do a funny walk …a lazy walk.’

‘Think of a different way of moving to your spot.’

Do this a number of times. You may need to make some suggestions. Use description — sometimes this helps children who can't think of a way of moving.

Green Light, Red LightFocus: Locomotor movement and body awareness


Children move around the room freely as you accompany them on the cymbal. The cymbal creates a background sound which does not specify a type of movement.

Stop playing the cymbal and call out, ‘red light’. Children freeze on the spot until you call out, ‘green light’ and start playing the cymbal again.

Once the 'start' & 'stop' signals have been established, during the next 'red light' call out a body part, for example, wrist. At this point children freeze on the spot and connect their wrist to the wrist of the person who is closest to them. They may need to move slightly to do this. ‘Green light’ and cymbal plays, children disconnect and continue moving around. Older pre-schoolers will enjoy the challenge of this game.

You could also play recorded music instead of the cymbal. Your choice of music will determine the way children will move.

A cymbal is a useful musical tool

Recorded music with scarvesFocus: Locomotor movement and body awareness

Give each child a lightweight scarf as you play soft, flowing ‘free form’ music such as:

• Ken Davis Atmospheres• Jean Michel Jarre Equinoxe part 2 • Herbie Hancock Bubbles • Vangelis Metallic Rain

Encourage children to explore ways of moving with their scarves. Model and suggest as follows:

‘Open up your scarf and gently toss it up in the air and let it land on your head…’

‘....try letting it land on your back …arm ….hand ...shoulder …foot …knee …hip...’

Use description as children toss their scarves and catch them on different parts of their bodies. Toddlers may not be able to do this; you will need to adapt your instructions here.


‘Try tossing your scarf up gently and as it floats down to the ground, move your body slowly along with the scarf - all the way down to the ground.’

When you feel children have exhausted this, ‘Take your scarf for a little walk.’ Start moving as you trail your scarf behind you. Trail it low, medium and high.

‘Can you make your scarf twirl like this?’ Stop and twirl your scarf in front of you. Do this at a medium speed and then very quickly, using a wrist action forming spirals with your scarf.

‘What else can you do with your scarf?’ Continue modeling. There may be opportunities to describe and suggest her as well.

• flip it from side to side horizontally • flick it up and down vertically• do flips and flicks while holding one end of the scarf , then two ends

try moving the scarf at different speeds • move your arm in large circles• bop your hand/fist up and down almost in a punching action• try using two scarves, one in each hand.

You may need to change the music to something more energetic. Jean Michel Jarre's soundtrack from the movie Gallipoli (From Oxygene album) is a good suggestion.

Encourage children to move around the room as they flick and twirl and spin with their scarves

Continue using description throughout this activity and try any ideas children may discover.

Children can bunch up scarves into a ball and toss them.

All of these activities are intended to be a starting point for you. Adapt, extend and build on the ideas described.


Creative movement using recorded musicHere are some more suggestions for you to try. (Think about the CONCEPTS that are being explored her too!)

• Slow music with labouring heavy BEATS as in The Camp at Qualir from Caravans CD children slowly stomp to the beat as they sway from side to side. Perhaps they hold onto a long strip of fabric, lined up one behind the other, all swaying in unison as if in a procession. (An excellent transition idea - you could gather children as you go)

• Short, heavy mechanical sounds as in Vangelis Heaven and Hell Part 2 use stiff movements like robots or machines. This explores both TONE and MOOD.

• In Edvard Grieg’s (Peer Gynt) In the Hall of the Mountain King, the music starts off moderately slowly and softly and gradually builds up in both speed (TEMPO) and volume (DYNAMICS). As the music becomes faster and louder, a regular accent is introduced. This piece is extremely evocative and well used in television commercials too. If you play it, you are sure to recognise it!

The TEMPO keeps increasing until the music becomes frenzied and ends with a dramatic drum roll and crash - all in 2 minutes and 15 seconds. This is perfect length! The music is so much fun that it could be repeated a number of times with children discussing their ideas and feelings in between repeats.

In creative movement children could start creeping; using slow deliberate steps bop up and down on warbling/tingling accents on the up-beats. As music grows louder, use heavier and more deliberate movements. Punch accents, or shrug shoulders or bop body up each time. Spin on drum roll or use hand rolling motion. Leap on crash in the end, or drop to the ground. Children could also use tapping sticks or other instruments to follow the changing BEAT of this very interesting piece.

Tchaikovsky's Russian Dance from The Nutcracker Suite is a lively, fast piece of music with predictable accents¬ falling on the first beat during the first part of the music. Perfect for exploring TEMPO and MOOD. It builds up in intensity as it becomes louder and the accents are accentuated. The middle part is more 'flowing' then a series of accents emphasize the rhythm of the music, bringing this section to a climax before we return to the beginning with the accents falling on the first beat. The music becomes frenzied and increases in speed before it ends sharply with an accent.

It's hard to resist the accents in this piece of music. Use bells in conjunction with movement. ¬Allow children to make a lot of noise to accompany their frenzied


movements at the end. Encourage children to jump or leap in the air when the accents increase in volume.

Rossini's William Tell Overture is very fast and suggests a galloping movement. This music is included in the sound track from ‘A Clockwork Orange’. It has a slightly mechanical sound to it and is incredibly fast. Khachaturian’s Sabre Dance is also very fast and lively. More fun TEMPO exploration!

Children will really enjoy pushing themselves to the limit during this music. You could send them off in small groups to gallop across the room in turn so that they don't wear themselves out.

March of the Kitchen Utensils by Ralph Vaughan Williams is such an interesting piece of music. Each part ends with a dramatic accent that you just know is about to happen. The accent alternates between falling on the third and fourth beat, and the latter always catches you out. The middle section suggests a different kind of movement possibly galloping (slightly Irish dancing in style) with 'tingling' accents. The piece ends by returning to the marching music with the accents on the ends. A perfect experiential piece in FORM.

Children can march to the first parts of the music. Pause during the pause because you're just going to want to show that accent. It really is infectious. Continue marching during parts A and B, pausing in readiness for the accents. Part B builds up to a crescendo before the accent occurs. This accent is a challenge and children will love trying to 'get it'. During the change, children can dance around and show the 'tingling' accents with finger waves or body wiggles. Then it's back to the marching and we all know what to expect!

Pillow Dance by Johann Strauss, has two parts. There is an emphasis on the first BEAT during the first part of the music which suggests a bounce, or jump. Encourage children to use a non locomotor movement as they bounce or jump on the spot (or use some other movement). The second part of the music is more flowing. Encourage a simple locomotor movement, like walking. These two parts repeat over and over. Maintain one movement, such as bouncing on the spot but vary the second, the walking. Try twirling in between steps, walking backwards, a combination of backwards and forwards and backwards, etc. As a variation add balloons on a string.

Allegro vivo from L'Arlesienne Suite no.2 by Bizet is a fast, lively piece that encourages a fast locomotor movement; fast and light. TONE and TEMPO. There are some regular flute 'glides' that children can show with flicks of a streamer or scarf.

Tchaikovsky’s ‘The Nutcracker Suite’ provides a perfect accompaniment for some percussion band marching and exploring different RHYTHMS with instruments.


When preparing and implementing creative movement opportunities it is often a good idea to listen to the music first and talk about it with the children. What did it suggest to them? How could they show that with their body?

Visualization works well too, giving the children something concrete and familiar to refer to like being robot or machines with stiff moving parts, or bubbles floating in the air.


Use a range of methods to evaluate children’s participation in and reactions to planned music and movement experiences

Planning musical experiencesWe have spent some time discussing suitable musical experiences and provisions for children of various ages. Being able to suggest an interesting experience or game is a great starting point, and sometimes that might be all that is needed to break up a long morning outside or capitalise or a particular interest. However, it is also useful to link these ideas in various combinations to form a music experience that lasts for more than one song or game- a music group experience. For this your planning needs to be both balanced and responsive.

Experiences in any program area should always be planned according to the interests, skills and emerging skills of the children. That is why it is vitally important that you develop and practise good observational skills. All plans must start with an observation, a reason for instigating the activities within the plan.

This observation may be an interest a child has developed that can be extended or something that the whole group has been working on lately within as a project or interest centre. Be ever alert to opportunities and possibilities here.

Linking activities in plansRemember that infants and very young children take the passive role in most musical experiences and plans for these children will probably consist of one or two activities, with the caregiver taking the active role.

Once children develop to the stage where they take an active part in the experience, detailed planning and sequencing becomes even more important because there will probably be more than one child in the group and the needs of all children need to be catered for.

When you have decided on the types of activities and the repertoire you need to include in your plan, you must decide on the order in which to present them. Always try to find the most logical sequence for presentation. This means starting


with easier activities and leading to the more complex activities for the same concept. Always build on what is known—plan activities in which children will succeed.

Different songs, games, rhymes or even concepts can be linked in various ways to provide a smooth transition from one activity to the next.

For a music plan, the experience aim must be musical. Musical aims should refer to musical concepts such as DYNAMICS, BEAT, TONE, MOOD, RHYTHM, PITCH, FORM and TEMPO.

Be wary of including too many concepts in your plan. Remember, that above all music is meant to be a fun, relaxed experience. Children develop an understanding and awareness of musical concepts gradually as they explore and participate in musical experiences. Focusing upon too many concepts in one plan will become didactic for you and confusing for the children. Try not o focus on more than two at one time, if other concepts are present within the music and experiences you provide, that’s fine; just don’t let them all become a focus of your plan.

Just as with other plans, the observation or rationale comes from specific behaviours of children in your care. Observations leading to a music plan may not be noted in Music time. It is quite possible that children will be observed only using a quiet or loud voice during free play, constantly singing and humming while playing with dough or experimenting with sounds made by outdoor equipment. These all provide excellent rationales for music experiences.

What should a music plan contain?As you become skilled and comfortable in using music and planning and implementing music based experiences you will develop your own planning methods and tools. For a starting point and to ensure your Music group plan has flow and balances consider the following in your plan. Does it contain:

• Songs?• Movement?• Instruments?• Listening?• Active/Passive/Active/Passive balance?• Consideration of diversity?• Flow?• Exploration of a musical concept?• Opportunity for creative expression?• A transition that ensures a smooth flow to the next activity?• Opportunity for you to reflect on what happened and ideas for follow

up activities.


Always start with some settling songs that the children enjoy a greeting or hello song, especially if it is a morning activity is also a good idea. Children love being welcomed to your group! To engage interest when you are introducing a new song or game a prop is a wonderful idea. You may already have a brightly coloured treasure bag you can hide your animal puppets in until it is time for them to come out and help you with the singing!

Children need to move, so do not spend all of your activity seated. Always have a movement experience of some kind, where children can be active, explore what their bodies can do and expel energy. This might be a dance, a percussion band, movement with scarves or a singing game. You will have lots of ideas you are ready to try now. You need to get the children moving, being involved and having fun!

A wind down activity is also important; to bring a natural conclusion to physical movement and relax and ready children in preparation for what is to follow. A transition to the next routine or activity, where children can move gradually, instead of all at once is also essential.

Take the time afterward to consider the children’s response to your plan, as well as your own performance. What worked well? Were the children interested? Was your experience aimed at the appropriate developmental level? What would you do differently next time? What opportunities are there here for enrichment and follow up ideas?

Activity 6

A sample music group planAs we have already discussed planning formats can be individual, depending upon your service and also on your own preferences and findings. What works for one group of children or one service may not work for another. The planning format you used so successfully last year may seem old and dated just a few months later.

The below plan is purposely very detailed, to give you as much direction as possible when you first start to write music and movement plans. You may find your own plans do not need this level of detail, especially as you become more confident and experienced. The below plan is an example only, it is important to develop and modify your own skills in planning, implementation and evaluation here.


Experience Plan

Names and age of children: April, 4 years Plan number: 1

Name of experience: Music and scarves Date/s presented: 16/12/09

Number of children: 5-10 children aged from 3 to 5 years

Presented by: Marie Guise

Reasons you have chosen to present this experience

April has been talking about ‘ballet music’ with Amber and Heath. (Journal entry 8/12/09) I observed last week that she was using the long table runner from the dramatic play kitchen bench to move and twirl through the air. (Obs 7/12/09)

Identify developmental priorities/learning opportunities

Physical: To further develop whole body movement skills and explore different patterns of movement. (gross motor)

Cognitive: To develop awareness of mood and tempo concepts.

Language: To begin to learn and respond to new songs

Creative: To use scarves to respond to music and facilitate self expression and explore music and movement opportunities.

Describe how you will set up the learning environment

I will require access to a large enough space for children to move freely without comprising safety. The indoor mat would be ideal here. I will check the mat first and remove any objects that may cause a tripping or safety hazard. I need a clear and uncluttered space. If the weather is breezy and pleasant and a shaded area can be found I may implement the experience outdoors.

I will ensure the temperature is comfortable and that adequate ventilation is assured, (if indoors).

I will require a cane basket to place my chiffon scarves and my props and a portable CD/tape player for my prepared music tape. I will keep my duck puppet hand puppet in my brightly coloured treasure bag to incite interest.

How will you involve the children in your experience?

I will gather the children when an appropriate opportunity arises for Music Time. I will announce “It’s time for some music" and take my basket of props and treasure bag the appropriate space. I would start by singing some known songs as children begin to join me.

I will sing “Open Shut Them”, and the greeting song “It’s good to see April here, how are you today?” as children arrive in the space. I will explain that today we will be learning some new songs and dancing with scarves.


I will tell the children that I have brought a special friend with me in my treasure bag. “I wonder who it can be?” A duck! "Do we know a song about a duck?” Children may choose either ‘5 little ducks’ or ‘6 little ducks’. Will sing either or both using prop.

Introduce new song ‘Testa Spalle/Heads and Shoulders’. I have a new, fun song to sing. First we sing it in Italian, you wile already know how we sing it in English!” I wonder if you can help me with the actions."

Sing song and perform actions accompanied by prepared tape. (Song from Carol and Gary Crees 'Songs from Around the World for young Children') Sing song first in English than in Spanish, performing actions. Praise children on their efforts.

Tell children that we have some more special music to dance to, but we need scarves. Pass the cane basket with scarves around for children to select. "When the music comes on, we shall play and dance"

Discuss with the children the colours and textures of the scarves. Ask about different ways we can move our scarves. “That’s a great idea, April; you are moving your scarf slowly and carefully on the ground”. (TEMPO)

Sing ‘Everybody Do this’ using scarves, whilst the children suggest and you describe movements. Some ideas may include scarves moving slowly, quickly, heavily and in a jumpy way.

Tell the children that you are going to play some special dancing music by Tchaikovsky called ‘Dance of the Sugar Plum Fairy’. Perhaps play a short piece from this first and discuss the light, breezy MOOD with the children.

Play ‘Dance of the Sugar Plum Fairy’, Tchaikovsky, ABC Classic Kids. Allow the children to move as they wish here, moving among them and describing and suggesting ideas where applicable. "Heath is moving his scarf up really high; I wonder where else we can move them?"

After ‘Dance of the Sugar Plum Fairy' play ‘Claire de Lune’, by Debussy (teacher’s own CD). This music is slow and languid. I will encourage children to listen to how the music has changed. “What kind of music is that? I wonder what it is telling us to do.?" I will encourage children to put their scarves away slowly and carefully into the basket and sit back on the floor.

As children come back to the mat I will comment on their terrific listening skills and different ways of moving and using scarves. "Beautiful scarf moving, April, I like the way you shook your scarf, so it almost tingled with the music.”

If children are receptive we can sing our new song again. 'Testa Spallle/Heads and Shoulders’.

For transition sing the 'Stand up Song' "I am going to see how well I remember your names and sing a song about moving our bodies before we go to wash our hands for lunch". Select children individually by use of the song to go to lunch. "Stand up April, stand up April, turn around, turn around. Reach up very high now, right up to the sky now. Go to lunch, go to lunch."

Reflection/evaluation of the experience

I was exhausted afterwards, but felt as if the experience went really well. It was raining, so we could not go outside. My duck puppet and treasure bag served to entice children’s interests perfectly. Children who had not come over to the mat initially when I started to sing, came across when they saw my puppet and heard me singing. We sang both ‘5 little ducks’ and ‘6 little ducks’


The children really seemed to enjoy ‘Testa Spalle’. They were very skilled in picking up the Italian words. Even the other cares were singing the song again during the afternoon!

The scarves were a wonderful prop to use. The children enjoyed talking about their scarf, its colour and softness and what it could do before we even started moving. April was very impressed with her purple scarf! John commented that “This music is for girls” and looked as if he was going to leave the activity, but his friend Heath intervened and said “No, it isn’t. You can use this music to move like a bird dinosaur, if you want.” Which I thought was interesting. (Heath loves dinosaurs) “That’s right, Heath” I said “You can use this music for all sorts of things.”

The children moved their scarves in all sorts of ways, quickly and slowly, when the tempo changed and lightly and softly with tone and mood of the piece. I commented that April was using her scarf to “dab spots in the air” and noted that a number of children followed suit here.

Some of the children just seemed content to move around the mat with their scarves trailing behind them, especially the younger preschoolers. The children were able to notice when the music changed and I was able to collect their scarves without any fuss. I think I actually could have added another movement activity here, perhaps something bolder and heavier for contrast. I will have to listen to my CD again and see what I can find.

The transition activity worked well, the children responded very positively to being sung about. They were even able to suggest movements; John wanted me to sing about him moving like a big giant, which I just managed to fit into the phrase!

Overall a successful experience and nowhere near as scary as I thought it was going to be. I cannot wait to try more ideas!

Follow up ideas

More movement experiences using scarves. Perhaps April’s mum or dad has some suggestions they can give me in regards to Classical music. I think they might go to the ballet occasionally!

Continue to sing 'Testa Spalle/Heads and Shoulders’ throughout the day. What other languages could I use here? What languages are represented within the service community?

Research different types of music for use with the children. Perhaps some jazz, swing or rock and roll. These genres would also support exploration of tempo. What type of music might appeal especially to Heath and John? What music can I find that sounds like dinosaur and giants?


EvaluationEvaluation is an important tool in ensuring quality music and movement programs and environments. Evaluation helps us gain an idea of what worked well, what did not and with we might do differently next time. It provides the opportunity to reflect on our teaching methods and strategies. When we are evaluating our music and movement experiences, groups, learning centres or other music based provisions the following questions will help prompt constructive feedback and analysis.

• What worked well in your Music group today? What did you most enjoy?

• What did the children most like about the Music Learning centre you set up? What was popular? What was not so popular?

• How did you facilitate and support the involvement of all children?• What did you notice about individual children’s response? Group

responses? How can this help you with future planning?• Was or objective achieved?• Did the props distract or enhance from movement and/or

participation. If so, how?• What did I do/say that encouraged children’s engagement in the

experience?• Did I remember to describe and suggest ideas where appropriate?• Did I need to guide or model movement principles or ideas?• What musical concepts were explored?

You can no doubt think of many more questions and ideas. It is important to look at others for ideas and support as well. Team meetings and informal appraisals can be ideal here. A fellow staff member may notice something you have not, or have a new technique or suggestion that could work really well for you next time. We never stop learning and music provides an ideal forum to explore, experiment and discover.


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