Creating developmentally, culturally, and linguistically appropriate music and movement activities for young children involves integrating their backgrounds, interests, and developmental stages. Just as we create culturally relevant art experiences, we must approach music and movement lessons with similar care to ensure that activities engage children meaningfully while promoting their social, emotional, cognitive, and language development.
Principles for Planning Developmentally, Culturally, and Linguistically Appropriate Music and Movement Lessons
To ensure music and movement lessons are developmentally, culturally, and linguistically appropriate, educators must consider the children’s age, developmental level, and the cultural contexts they come from. These three factors—age-appropriateness, individual-appropriateness, and social- and cultural-appropriateness—serve as the foundation for planning any activity.
Age-Appropriateness
Educators should use established theories and research on child development to inform the selection of activities, materials, and interactions. Activities must align with the developmental stages of children, providing an optimal balance of challenge and support.
Individual-Appropriateness
Music and movement lessons should be tailored to meet each child’s unique needs, interests, and strengths. This involves customizing activities to ensure meaningful engagement for all children, accommodating those who are more advanced as well as those who are still developing foundational skills.
Social- and Cultural-Appropriateness
Incorporating an understanding of the cultural backgrounds of the children into lesson planning is crucial. This includes using music, movements, and traditions that resonate with the children’s family experiences. Additionally, educators must consider linguistic diversity and design activities that promote inclusion for all children, regardless of their linguistic background.
Developmentally Appropriate Music and Movement Experiences
What a child has heard in his first six years of life cannot be eradicated later. Thus it is too late to begin teaching at school, because a child stores a mass of musical impressions before school age, and if what is bad predominates, then his fate, as far as music is concerned, has been sealed for a lifetime.
—Zoltán Kodály, Children’s Day Speech, 1951
Arts as a Means of Expression for Young Children
How important are the arts as a mode of expression for children? Children, especially very young children, cannot express themselves fluently either through speech or writing, two modes of communication that adults use almost exclusively. Instead, children express themselves through movement, sound, and art. If they can express themselves through these modes, it is logical that they can learn through them as well.
Many times, however, adults are at a loss to understand or interpret what it is children are saying to us, or to appreciate how profound it might be. Mark E. Turner (2008), building upon the work of Edwin Gordon and Reggio Emilia, thought considerably about children’s representation through the arts. He sought to provide authentic ways for children to express themselves and developed scaffolding to better harness and understand children’s musical development. As Turner states, the idea that the “performing arts” must always be performed onstage to be valid detracts from their use to develop and explore the emotional, cognitive, social development, and human potential.
Music for Young Children
Children’s voices, after all, are their first instrument—a child’s first exceptionally pleasant musical experience is likely to be hearing lullabies from a parent or guardian, and then vocally experimenting with his or her own voice. Kodály graded learning in small steps for the very beginner learners, starting with three-note songs (sol, mi, la) and expanding gradually to four, five, and six notes and beyond. For the youngest, songs with three notes are an excellent place to start, because these children will not have much difficulty imitating or matching these pitches and can be successful from the outset.
Music for Children Birth to Three Years Old
Music activity for infants and toddlers engages the child’s aural and physical being. Such age-old activities include tickling, wiggling, bouncing, and finger playing.
At this level, musical play creates and reinforces the special personal bond between an adult (or older child) and infant, while also introducing music to the child. For newborns and very young children, speaking a rhyme and wiggling toes connects sound to a pleasurable and intimate act, as well as introducing the idea of rhythm and phrasing to newborns and young children.
Below are a few of the rhymes and songs particularly good for newborns and toddlers. They include some very familiar nursery rhymes and action games appropriate for this age group. Keep in mind that almost any nursery rhyme can be used for these activities, as long as they have a steady beat, which luckily most of them do.
Bounces
For newborns to three-year-olds, having them feel the beat in their bodies, aided by adults, is called “bounces,” based on the experience of bouncing a child up and down on a knee or lap.
Bumpity Bump
Tommy O’Flynn
Tommy O’Flynn and the old grey mare (bounce child on knees)
Went to see the country fair
The bridge fell down and the bridge fell in (open knees and let the child drop a bit)
And that was the end of Tommy O’Flynn
Wiggles
Wiggles are those activities involving the wiggling of fingers or toes. “This Little Piggy Went to Market” is another wiggle with which you may be familiar.
The first little pig danced a merry, merry jig
The second little pig ate candy
The third little pig wore a blue and yellow wig
The fourth little pig was a dandy
The fifth little pig never grew to be big
So they called him Tiny Little Andy
Tickles
Tickles involve exactly that—tickling the child either all over or just in the stomach, usually ending in lots of giggles!
Slowly, slowly, very slowly up the garden trail (crawl hands up baby starting from feet)
Slowly, slowly, very slowly creeps the garden snail (continue crawling)
Quickly, quickly, very quickly all around the house (tickle all over)
Quickly, quickly, very quickly runs the little mouse (continue tickling)
My father was a butcher (make chopping motions on child’s body)
My mother cuts the meat (make cutting motions on child’s body)
And I’m a little hot dog
That runs around the street (tickle all over)
Pizza pickle pumpernickel
Pizza, pickle, pumpernickel (flash one hand wide, then the other, then roll arms)
My little one shall have a tickle! (tickle child)
One for your nose (tickle child’s nose)
And one for your toes (tickle child’s toes)
And one for your tummy, where the hot dog goes! (tickle child’s tummy)
Finger Play
Finger play songs can also be types of tickles. The most common finger play song is the “Eensy, Weensy Spider.”
Eensy Weensy Spider
Tapping
For an infant, the parent would take the child’s foot or hand and tap it to the beat of the music. If the child can tap by themselves, that will also work.
Clapping (Nine+ Months)
As children develop physically, they can clap their hands either together or against those of another. The well-known “Patty Cake” is a good example.
Patty Cake
Patty cake, patty cake, baker’s man
Bake me a cake as fast as you can
Roll it and pat it and mark it with a “B”
And put it in the oven for baby and me!
Hot Cross Buns
Hot cross buns
Hot cross buns
One a penny, two a penny
Hot cross buns.
Pease Porridge Hot
Pease porridge hot
Pease porridge cold
Pease porridge in the pot
Nine days old.
Responding to the Beat: Moving to Music
Responding to a musical beat is an innate part of what it means to be human, and even the youngest children can begin to feel music, either by moving to the beat or having an adult help a child move to the beat (Feierabend, 2001).
The simplest thing to do is to find recordings of quality music and play songs with an even, steady beat and have children move, clap, tap, patsch, hit an instrument, or walk to that beat.
An extended possibility is to create a story, miming movements that reflect a steady beat while telling a simple narrative. For example, a leader begins by miming actions such as teeth brushing, bouncing a ball, or eating food from a bowl, and the group imitates them. All movements are done to the beat (e.g., teeth brushing, up down up down). At the end of the leader’s turn, the children have to remember the “storyline.”
Lullabies
Bye Baby Bunting
English lullaby, 1784
All the Pretty Little Horses
African American lullaby
Hush Little Baby, Don’t Say a Word
American lullaby song
Music for Children Three to Five Years Old
Three- to five-year-olds are capable of singing more complicated songs and doing more complicated games and rhymes, and, of course, are capable of more sophisticated listening. They can also understand some of the basic vocabulary and building blocks of music. It is appropriate to introduce a few concepts when performing songs and games with children, and also to experiment with these concepts, such as changing tempos and dynamics. Some vocabulary to use when pointing out these concepts to younger children includes:
High—Low (pitch)
Loud—Soft (dynamics)
Fast—Slow (tempo)
Smooth—Detached (articulation)
Duple—Triple (meter)
Steady Beat (tempo)
Timbre (the quality of sound)
Vocal Activities for Three to Five-Year-Olds
Preschoolers (three-, four-, and five-year-olds) have a range of six notes between a middle C and the A above it. Their most comfortable notes are in the middle between E and F.
The goal is to have them not sing too far below the staff or too low in their voices, and not to push or strain their voices too far above this range either. Singing should be light, in the child’s head voice, never forced or pushed, and beautiful music-making should be stressed.
Initially, children need to explore their voices to find out what they are capable of, and to start hearing that their voices do indeed have a range to them. It is very good for children to make light, airy, and smooth sounds in their head voice as they find their individual sound.
Begin with some vocal exploration with speech, just getting them to loosen up and find their high, light head voice.
Voice Exploration Speech Exercises
I Take My Voice Up High
I take my voice up high (start low, and slide voice up)
I bring my voice down low (Start high, and slide voice down)
I send my voice out into space (Cup hands around mouth and project)
I whisper all around, whisper, whisper (Whisper line and whisper to neighbors)
Bow Wow
Bow wow, says the dog (medium voice)
Meow, meow says the cat (high voice)
Grunt, grunt says the hog (low voice)
Squeak, squeak says the rat (very high)
Elevator
Have the children pretend their voice is an elevator sliding up and down between floors. They can accompany their vocal exploration with physical movement up and down as well, or the teacher may want to have a focal object, like a puppet, moving up and down that they can follow with their voice.
Pitch Matching Songs and Games
Begin with simple but interesting songs with small ranges. These songs can be varied and repeated, and help children sing accurately. “Who’s Wearing Blue” is an excellent warm-up or opening activity in a music class. What did the children wear? Do? See? There are endless, creative opportunities to ask them about their lives in a few notes.
Sol, Mi, La Songs
Who’s Wearing Blue?
Mi, Re, Do Songs
Hot Cross Buns
English traditional street cry, 1733
Simple Songs in a Limited Range
Rain, Rain Go Away
Traditional children’s song, 17th century
Ring Around the Rosy
English song attributed to 1665 Black Plague, but sources only go back to the 19th century
Sally Go Round the Sun
The Mulberry Bush
English nursery rhyme, 1840s
Instrumental Music Activities for Three to Five-Year-Olds
High/Low Pitches: You or a child plays a low instrument (drum, bass xylophone, etc.) and children respond by moving in low space. Then try the same for high-pitched instruments (triangle, tambourine, etc.), having them move through high space.
Fast/Slow Tempo and Loud/Soft Dynamics Game: Similar to above, play instruments in different tempos and dynamics. Switch and mix them up (fast and loud, soft and slow, fast and soft, slow and loud), and if the child doesn’t switch, he or she is out.
Contrasting Timbres: Assign a different movement to different timbres. For example, a wood block corresponds to a hop, a xylophone glissando is a leap, and a shaker means to shake. Create an orchestra with half of the class playing and the other half responding. For more advanced children, create a choreographed and composed piece from the game.
Musical Simon Says: Review concepts learned, such as loud/soft, high/low, or fast/slow. Simon says yell loud, Simon says whisper, Simon says sing high, Simon says groan low, etc.
Rhymes and Games
Poetry and rhymes are among the most basic forms of human expression, and both children and adults use poetry, rhymes, and games to tell stories, remember history, fantasize, dream, and play. For young children, the rhyme is magical as they first encounter the powerful sound of rhyming words. Words create rhythmic patterns that captivate a child’s attention. The natural rhythms inherent in rhyming can become the basis for exploration, improvisation, vocalizations, and instrumental creativity.
Rhymes with actions, in particular, are enjoyable to children because children live through all of their senses and their whole body. Adding movement helps reinforce the linguistic content of the rhyme or song. Movement and rhymes build cognitive abilities in terms of sequencing physical and linguistic activity, imitation, and internalization.
Adding Movement to Rhymes
There are many types of movement to add to rhymes and games. There are narrative movements, which are mimetic actions that help to illustrate certain words and tell the story (e.g., “I’m a Little Teapot”); abstract movements, which do not carry any specific linguistic meaning, such as waving arms or jumping; and rhythmic movements, which can either emphasize the beat of the rhyme or the rhythm of the text, such as clapping or body percussion.
Narrative Movements: It is easy to add narrative movements to most children’s rhymes, as these poems often tell some type of story. Consider the rhyme “I’m a Little Ducky.” Adding swimming and flapping motions would be an obvious activity to add. Narrative motions not only bring the story to life but also significantly help children to remember the words to a rhyme or song.
I’m a little ducky swimming in the water
I’m a little ducky doing what I oughter
Took a bite of a lily pad
Flapped my wings and said, “I’m glad”
I’m a little ducky swimming in the water
Flap, flap, flap
Abstract Motions and Rhythmic Motions: Almost any non-locomotive or even some locomotive motions would work here. Abstract motions can easily be rhythmic as well (e.g., swaying to the beat, nodding the head to the beat, tapping the rhythm of the words or beat, etc.).
Walking to the Beat: While a seemingly simple-sounding exercise, walking to the beat requires physical awareness and near-constant mental and physical adjustment to the walking stride in order to fit the beat and tempo of the rhyme.
Example: Take any standard, well-known nursery rhyme. Walk to the beat while saying the rhyme. End precisely on the last beat of the rhyme and freeze!
Advanced: This game can be further developed for older or more advanced children. Once they are walking to a steady beat and stopping precisely on the last beat, have children drop the recitation of the rhyme, and just walk the beat. See if they can all still stop on the last beat! This helps students internalize the beat and phrases of the song.
Steady Beat Games
Pass the Beat: Begin with a simple rhyme or song. While sitting in a circle, have students pass a beanbag around the circle on the beat. If the child misses, they are “out” or “in the soup” in the middle of the circle.
Bouncing Beat: Another game is to bounce a ball to the beat of a simple song such as “Bounce High.” This is a little more challenging because they have to keep control of their bodies, voices, and a ball.
S, M, L song
Bounce High
Action Songs
Head and Shoulders (Key of F)
Shoo Fly
American folk song, 1863
Do You Know the Muffin Man?
English folk song, 1820
Did You Ever See a Lassie?
American folk song, late 19th century
Go to Sleep
Rhymes
Deedle, Deedle Dumpling
Deedle, deedle dumpling, my son John
Went to bed with his stockings on
One shoe off and one shoe on
Deedle, deedle dumpling, my son John
Oliver Twist
Oliver Twist, Twist, Twist
Can’t do this, this, this
Touch his nose, nose, nose
Touch his toes, toes, toes
And around he goes, goes, goes
Rub, Rub
Rub, rub, rub
________’s in the tub
Rub her/him dry
Hang her high
Rub, rub, rub
Jingle Jive
Jingle, jingle, jingle jive
Move until you count to five
1, 2, 3, 4, 5
Open Shut Them
This is an action game song where the lyrics are imitated through movement using simple actions in both hands.
Open, shut them, Open, shut them, (open and shut both hands)
Give a little clap, clap, clap (clap on each “clap”)
Open, shut them, Open, shut them, (open and shut both hands)
Put them in your lap, lap, lap (tap open hands on thighs)
Creep them, creep them, creep them, creep them, (crawl hands up to chin)
Right up to your chin, chin, chin (tap on each “chin”)
Open wide your little mouth (open mouth)
But do not put them in, in, in (tap on each “chin” again)
Musical Developmental Milestones in Young Children
Although we might not have thought of it, children’s linguistic development is related to their musical development. Research shows a direct correlation between the development of children’s speech and their musical/singing ability, with music skills correlating significantly with both phonological awareness and reading development (Anvari et al., 2002).
While teachers of preschool children may have a sense of the linguistic milestones for children, they are less aware of the musical milestones. Since music and language development have a high correlation in terms of development, it is helpful to know what activities children are developmentally ready for musically, and when they are ready for them. For example, most four- and even five-year-olds are not yet able to play a steady beat on an instrument. Expecting them to will only frustrate both the children and you. The following chart indicates musical developmental ability by age and will guide you in introducing musical skills and material that children are developmentally ready for.
Musical Abilities by Age
Musical Abilities by Age
Age
Musical Behaviors
Appropriate Activities
Limitations
0–1 year old (Infants)
Enjoy hearing:
Melodic contour in voice
Being sung to
Hearing a variety of styles of music
Enjoy:
Being rocked, patted, and stroked to music
Responding to rhythmic play and body touch songs
Bouncing or jumping to music
Experimenting with gestures, clapping, and pointing
Playing with rattles and bells
Cannot use language or sing
1–2 years old (Toddlers)
Are aware of musical sounds
Demand repetition
Delayed response during music time
Create their own made-up songs
Sing simple 1–2 word songs
Enjoy voice inflection games
Enjoy making random sounds on instruments
Improvise their own lyrics to traditional songs
Respond to musical stimuli
Perform rhythmic movement and movement patterns
Clap to music, steady beat
Move and respond to signals and sounds, and silent games
Cannot sing “in tune” but can maintain melodic contour
Developmental Issues:
“Centering” (pre-operational stage) can fix a child’s attention on one perceptual feature. Difficulty seeing the larger transformational picture of some activities, as attention is diverted by one feature.
3-year-olds
Prefer to sing beginning on their own pitch
Increasing ability to match pitches
Sense of musical phrasing
Increasing expressiveness in voice
Find it easier to pat thighs rather than clap
Enjoy:
Manipulating objects while creating songs
Repeated songs
Having their own movements/ideas copied by others
Reproduce recognizable songs
Explore musical sounds with their voices and instruments
Random exploration of xylophones, percussion instruments, and voices
Maintain a steady beat
Handle mallets and drum beaters
Move spontaneously to music
Respond to sound and silence games
Cannot reverse thought (i.e., can’t reason back to the beginning)
Cannot play a repeated xylophone pattern
Developmental Issues:
Responds to abstract or iconic musical notation:
Pictures
Hand signs
Movement/motions
Cannot respond to formal music notation (i.e., notes on a staff)
4-year-olds
Awareness of beat, tempo, volume, pitch, and form
Sings a wide variety of songs
Sings in D–A range
Critique their own song-making efforts
Aware of the tonal center
Perform individualized musical exploration and play; large motor movement is best.
Have the ability to step to the beat
Repeat short movement sequences, simple rhythms, echo, pitch contour, melodic fragments, formality within phrases, key stability, and categorization of instruments
Symbolic “pretend” play, songs with stories, acting/pretending
Can perform some musical analysis, such as hearing form (AB, ABA) or distinguishing song phrases
Group musical activities or coordinated instrumental play is difficult
Cannot perform a steady beat on xylophones
Have trouble discriminating between musical genres
4–5-year-olds
Able to classify sounds as:
High-low
Loud-soft
Fast-slow
Smooth-disconnected (legato-staccato)
Can reproduce sounds and patterns vocally and with instruments
Able to play simple, repeated instrumental accompaniments to songs and improvise on simple classroom instruments
Improvement in stepping to the beat
5-year-olds can learn simple dance steps
Organize sounds that express a story or accompany a song
Prefer:
Action songs and finger plays (imagination)
Silly words and rhyming songs
Require many opportunities to match pitches and order direction of musical sounds in terms of going up, going down, and staying the same
Try This
Based on the chart above, answer the following in terms of what age is appropriate for each activity.
1. Analyzing/hearing the different sections of a song.
2. Responding vocally using different tones and inflections.
3. Singing the song “I’m a Nut.”
4. Echoing/responding to short, clapped rhythms.
5. Playing a steady beat on the xylophone or other percussion instrument.
6. Seeing abstract images and performing them either on voice or instruments.
Learning Objectives
One of the most basic yet challenging activities to do with children is to teach them a song.
This chapter focuses on the child’s singing voice, including their vocal range, selection of appropriate musical material, and methods for teaching a song in a musically meaningful, cognitively stimulating way that lays the groundwork for future integration.
A Child’s Voice
One common mistake that adults make when singing with children is that they tend to “pitch” the songs (or sing them in a key), that is comfortable for themselves, but unfortunately, out of a comfortable singing range for the children. Adults sing in a much lower range than children; therefore, pitching a song too low causes children to be unsuccessful at reaching some of the lower notes.
Pitching a song in the wrong range can have significant negative consequences on a child’s musical self-esteem. An incorrect key can take away the child’s ability to sing the song well or sing the song at all. Singing in a key that is out of a child’s range would be analogous to an art teacher giving a creative assignment to students and then placing all of the art materials up on a shelf out of reach for most of them. While a few might be tall enough, most won’t be. After a while, they will give up trying to reach the material altogether. Similarly, these are the students who start to believe that they can’t sing at all and give up on music.
Good Singing
Although we are used to hearing and singing pop music, a child’s voice is not yet ready to sing songs either with such a wide vocal range or with the sophisticated vocal styling or timbre that he or she might try to imitate from pop singers. As children’s voices are very light, they should not be pushed out of their vocal ranges too soon. Using a clear, clean, straight head voice rather than chest voice will help to avoid this and will strengthen a child’s vocal musculature for a lifetime of excellent singing.
One good habit to help children sing well is to ask them to sing in their head voice rather than their chest voice. Although most songs children hear are pop songs that are placed in the chest, a child’s voice is not yet developed, and should not be belting out or pushing from the lower range or chest voice. Head voice requires placing the sound higher up in the “vocal mask” or the face, as if singing from the eyes. Chest voice feels like the sound is emanating from the chest, which tends to create a lot of tension in the throat, particularly in younger singers. The head voice is lighter, more tension-free, and more natural, and therefore more beautiful sounding.
Children’s Vocal Ranges
Below are the general ranges of a child’s voice.
Preschool–Kindergarten (3–5 years old), C to A
First–third grade (6–8 years old) C to C’
Fourth–sixth grade (9–11 years old) B flat to E’
The strongest notes in a child’s vocal range are right in the middle of their range, around pitches F and G. While they may be able to hit higher or lower notes, these few notes are where they can sing the loudest and most comfortably.
Vocal Warm-Ups for Children
Activities for helping children explore their voices and find their head voice:
Speech Warm-Ups
Activities for exploring the child’s voice and finding the child’s head voice:
This is my singing voice (sung on Sol Sol Mi, Sol Sol Mi).
High, low, whisper, projecting
I take my voice up high (low to high),
I take my voice down low (high to low).
I send my voice out into space and (shouting/projecting)
I whisper all around, whisper all around (whisper).
High, low, medium
Bow wow says the dog (medium voice),
Meow, meow says the cat (high voice),
Grunt, grunt says the hog (low voice),
Squeak, squeak says the rat (very high voice).
Teaching a Song at the Elementary Level
The Fundamentals of a Song
It is very important to have practiced and know the song well before attempting to teach it. The same goes for any material you want to teach children. If you yourself don’t really know it, you will not be able to teach it successfully.
Techniques for Teaching a Song
While it may seem quite intuitive to teach a song to children, there’s actually a great deal to consider. The different ways to teach a song are related to children’s different learning styles, such as aural and visual learning, and the child’s appropriate cognitive development, e.g., age and grade development. The first method is to teach a song by rote, a technique also known as aural learning, or “by ear.” Rote usually requires a great deal of repetition. The second method is a hybrid known as rote-note, where the song is taught mostly by ear, but also involves the addition of some type of visual element, such as showing some notation. The third method is known as note, which is teaching the song using written notation (e.g., sheet music). These three styles of teaching not only relate to aural and visual learners, but also correlate to the basic cognitive development theories of Jerome Bruner’s modes of representation and Jean Piaget’s four stages of cognitive development.
Note Teaching (Teaching a song through written notation)
Visual
Appropriate for upper elementary (3–6)
Symbolic (language-based)
Concrete Operational
Rote/aural teaching is enactive (action-based) and can be used at any age through adulthood, but is particularly appropriate for preschool through early childhood (into the lower elementary grades). Motor skills can be added to a song to increase the learning dimensions.
Rote-note teaching is partially iconic (image-based) and appropriate for lower elementary students (K–2) just learning to read, as it involves some type of iconic or image-based representation of music, such as using abstract notation or modified rhythmic or pitch notation.
Note teaching is symbolic (language-based) and more appropriate for upper elementary grades.
Teaching the Whole Song vs. Phrase-by-Phrase
The next decision is whether to teach the song as a whole or by one phrase or line at a time. This consideration will happen regardless of which teaching style—rote, rote-note, or note—is used. Note that the term phrase refers to the music, while line refers to the lyrics or poem.
Whole song: Teaching a whole song is exactly what it sounds like…singing the whole song at once and having the students echo the whole song right back. This is good for very short, simple songs; songs that have a lot of repetition either in the words or music, or call and response songs with few variables. The benefit of this is, according to Edwin Gordon’s approach, to have the child experience the whole piece first and then learn what the song comprises in detail.
Phrase-by-phrase teaching is best when the song is longer or has a lot of lyrics, or has complex melodies. This is the most common method for teaching more complicated or lengthy songs. In this technique, each phrase is sung by the teacher and then immediately echoed back by the students.
For example, consider the song “A Tisket, a Tasket”:
A Tisket, A Tasket
American children’s game song, late 19th century
Phrase by Phrase or Line by Line
Teacher: A tisket, a tasket
Students: A tisket, a tasket
Teacher: A green and yellow basket
Students: A green and yellow basket
Teacher: I wrote a letter to my love
Students: I wrote a letter to my love
Teacher: And on the way I dropped it
Students: And on the way I dropped it
If there is more than one verse to a song, after teaching one verse, make sure to repeat the first verse several times with the students before moving on to the next verse.
How to Teach a Song to Children
Preschoolers
Teaching a song to preschoolers can be a fun and engaging activity if done with careful planning and a playful approach. Here are the steps to guide the process:
Choose an Appropriate Song
Select a song that is simple, repetitive, and age-appropriate.
Ensure it has a clear melody and aligns with their interests or current themes (e.g., animals, seasons).
Introduce the Song
Start by introducing the theme or topic of the song. For example, "This is a song about animals and the sounds they make!"
Use props, visuals, or gestures to create interest (e.g., pictures, puppets, or objects).
Model Singing
Sing the song yourself first to let them hear the tune and rhythm.
Use expressive facial expressions, clear pronunciation, and enthusiasm.
Break It Into Sections
Teach one line or phrase at a time.
Repeat each line several times, inviting them to echo you.
Use Actions and Movement
Add simple gestures or movements to accompany the song, which helps with memory and engagement.
For example, use hand motions for "Twinkle, Twinkle, Little Star" or stomping for an action-based song.
Sing Together
Once they’re familiar with the lines, sing the entire song together.
Keep the pace slow and steady at first, then gradually match the song's natural tempo.
Repetition is Key
Repeat the song multiple times over a few days or weeks to reinforce learning.
Change it up by varying the dynamics (e.g., singing softly or loudly) or adding instruments.
Encourage Participation
Allow children to make suggestions, like changing words to personalize the song.
Encourage them to take turns leading parts of the song.
Incorporate Play
Turn the song into a game, like singing "If You’re Happy and You Know It" with new actions suggested by the children.
Use props like scarves, ribbons, or shakers to make it interactive.
Celebrate Effort
Acknowledge and celebrate their attempts, even if the words or melody aren’t perfect.
End with a big cheer or a round of applause to keep the experience positive and fun.
By keeping the process interactive and fun, preschoolers will be more engaged and enjoy learning the song!
Teaching Songs to Toddlers
Teaching songs to toddlers is a delightful way to support their language, cognitive, social, and emotional development. Toddlers are naturally drawn to music, and songs can be a powerful tool for learning and engagement.
Benefits of Singing with Toddlers
Language Development - Songs introduce new vocabulary, rhythms, and sentence structures.
Memory and Cognitive Skills - Repetition in songs enhances memory and helps toddlers learn patterns.
Emotional Expression - Music allows toddlers to express feelings in a joyful and safe way.
Social Skills - Group singing fosters collaboration, turn-taking, and shared enjoyment.
Motor Development - Action songs encourage coordination and gross motor movement.
Steps to Teach Songs to Toddlers
Choose Appropriate Songs
Select simple, repetitive songs with engaging melodies and clear words, such as "Twinkle, Twinkle, Little Star", The Wheels on the Bus", or "Itsy Bitsy Spider"
Introduce the Song Slowly
Sing the song yourself first, using clear and simple language.
Use gestures or props to help toddlers understand the meaning of the lyrics.
Incorporate Actions
Add movements or hand gestures to make the song more engaging.
Example: Use hand motions for "climbing up the spout" in Itsy Bitsy Spider.
Repeat Frequently
Repetition helps toddlers memorize lyrics and feel confident singing along.
Sing the song during different parts of the day, such as transitions, playtime, or quiet moments.
Encourage Participation
Pause at the end of a line to let toddlers fill in the word.
Clap or cheer to celebrate their participation.
Use Visual Aids
Incorporate pictures, puppets, or props related to the song's theme.
For example, use a toy bus for The Wheels on the Bus.
Adapt for Attention Span
Keep songs short and interactive to maintain toddlers’ interest.
Be flexible; let toddlers lead or change the pace as needed.
Engage with Instruments
Add simple instruments like shakers or tambourines to keep toddlers involved.
Encourage them to shake or tap along with the rhythm.
Tips for Success
Use enthusiasm and energy to capture attention.
Incorporate songs into daily routines, such as cleanup or nap time.
Adjust the tempo or pitch to suit the group’s energy level.
Be patient and allow toddlers to join in at their own pace.
Example Activities
Singing Circle - Sit in a circle and sing a song together, encouraging each toddler to contribute.
Action Song Parade - Sing while marching around the room, adding movements to match the lyrics.
Interactive Props - Use scarves, puppets, or rhythm sticks to complement the song.
Echo Singing - Sing a line and encourage toddlers to repeat it back, building confidence and memory.
By integrating fun, interactive, and developmentally appropriate approaches, you can make song time a favorite part of the day for toddlers, nurturing their joy of music and learning.
Supporting Music
When children develop an awareness and knowledge of musical elements, children progress in their understanding and ability to control the elements for personal musical expression. Although early childhood music education is primarily about introducing the child to musical sounds and holistic experiences that are of the highest quality, enriched learning occurs when the child has an understanding of and ability to manipulate the music elements of rhythm, melody, form, loudness/softness, tempo, timbre, articulation, and style.
The foundations for Music include responding to music, developing musical skills, and being able to make music.
Music
1.0 Notice, Respond, and Engage
Notice, Respond, and Engage Musical Milestones
At around 48 months of age
At around 60 months of age
1.1 Sustain attention and begin to reflect verbally about music; demonstrate familiarity with words that describe music.
1.1 Verbally reflect on music and describe music by using an expanded vocabulary.
1.2 Recognize simple repeating melody and rhythm patterns.
1.2 Demonstrate more complex repeating melody and rhythm patterns.
1.3 Identify the sources of a limited variety of musical sounds.
1.3 Identify the sources of a wider variety of music and music-like sounds.
1.4 Use body movement freely to respond loosely to beat, loud versus quiet (dynamics), and tempo.
1.4 Use body movement freely and more accurately to respond to the beat, dynamics, and tempo of music.
2.0 Develop Skills in Music
Develop Skills in Music Milestones
At around 48 months of age
At around 60 months of age
2.1 Begin to discriminate between different voices and certain instrumental and environmental sounds. Follow the words in a song.
2.1 Become more able to discriminate between different voices and various instrumental and environmental sounds. Follow the words in a song.
2.2 Explore vocally; sing repetitive patterns and parts of songs alone and with others.
2.2 Extend vocal exploration; sing repetitive patterns and entire songs alone with others in wider ranges of pitch.
3.0 Create, Invent, and Express Through Music
Create, Invent, and Express Through Music Milestones
At around 48 months of age
At around 60 months of age
3.1 Explore vocal and instrumental skills and use instruments to produce simple rhythms and tones.
3.1 Continue to apply vocal and instrumental skills and use instruments to produce more complex rhythms, tones, melodies, and songs.
3.2 Move or use the body to demonstrate beat and tempo, often spontaneously.
3.2 Move or use the body to demonstrate beat, tempo, and style of music, often intentionally.
3.3 Improvise vocally and instrumentally.
3.3 Explore, improvise, and create brief melodies with voice or instrument.
Teachers can support children’s development of music foundations with the following:
Find ways to expose children to music being conducted and performed.
Provide music areas where children can experience instruments or musical activities as individuals or in a small group.
Set up a “Science of Sound” area where children can explore and experiment with building sounds.
Provide a conductor’s listening and play area.
Make instruments with the children.
Incorporate chant games and songs related to sound production.
Include a variety of songs that are related to a particular topic area
Use songs that have movements or gestures that accompany the words.
Provide children with an opportunity to conduct the group by singing or playing instruments.
Dramatize poetry and nursery rhymes as a fun way to explore and develop vocal inflection and pitch capabilities in the young singer.
Invite young children to move through instrumental program music, or music that “tells a story.”
Figure \(\PageIndex{1}\): Music with actions is popular in early childhood.
Encourage children to invent accompaniments with musical instruments.
Invite local professional musicians or family members to demonstrate and talk about their instruments and the sounds make.
Invite live musicians for the children to conduct; encourage the child conductor to stop and start, go faster and slower, and give arm gestures for louder and softer sounds.
Incorporate books related to music. Include storybooks on conductors and orchestras.
Encourage children to create simple rhythm patterns.
Extend learning about different ways to lead a music group.
Incorporate freeze-and-move games as a fun, simple way to help children develop control of the body in space and to learn and practice fundamental locomotor movements.
Provide opportunities for independent and group play through musical play kits, which can be stored in a music area.
Incorporate the use of websites of children’s music and other age-appropriate software (if available), to engage children’s interest in sound
Encourage children to be playful and spontaneous when singing—they often sing made-up songs as they play alone or with other children.
Minimize the use of recorded music when the goal is singing.
Have the children draw pictures of songs.
Figure \(\PageIndex{2}\): This teacher is introducing the children to a guitar.
Suggested Materials for Music
Types of Materials
Examples of Materials
Found or Recycled Materials
Pots, pans, metal or plastic cans, spoons, chopstick-beaters with cork stoppers for rhythm; Glass jars filled with different levels of water for a water xylophone; Pieces of 12” dowel for rhythm sticks; shakers made of plastic eggs filled with different materials
Basic
Rhythm sets with shakers and simple drums; Singable books; glove puppets for nursery rhyme songs; song maps made of paper or fabric; selection of CDs, CD player, and headset for personal listening
Enhanced
Single-note resonator bells; child-sized xylophones; multiple-sized hand drums; ethnic instruments; child-sized guitar or ukulele; small electronic keyboard; recorder/flute; music software; music videos; songbooks
Natural Environment
Rhythm blocks made of small tree limbs; homemade wooden or stone xylophones suspended on a garden hose; wind chimes made of natural objects
Adaptive Materials
Thicker handles on some materials; instruments in a fixed position (such as a drum on a stand) For children with reduced hearing ability, instruments that resonate and vibrate allow for touching or holding.
Research Highlight
The following points about music and development in early childhood come from Start the Music Strategies, a collaboration by MENC (the National Association for Music Education), the National Association for the Education of Young Children, and the U.S. Department of Education. The points were developed by reviewing the research and professional literature.
We know that music is among the first and most important modes of communication experienced by infants.
As young children grow and develop, music continues as a basic medium not only of communication, but also of cultural expression and self-expression.
As preschool children not only listen to music but also learn to make music by singing and playing instruments together (and responding to music in a variety of ways), they create important contexts for the early learning of vital life skills such as cooperation, collaboration, and group effort. Music in an educational setting also begins to teach young children to make judgments about what constitutes “good” music, helping them develop the rudiments of an aesthetic sense.
Music contributes to “school readiness,” a foundational education aim of the American people for all our children.
When children develop musical skills and knowledge, they are developing basic cognitive, social, and motor skills necessary for success throughout the educational process and in life itself.
Source:
Start the Music Strategies. Reston, VA: National Association for Music Education, n.d.
Vignette
It is raining outside. Miriam and Pablo, both age three, begin clicking and tapping their fingers on the window glass to imitate the rain hitting the window. Pretty soon, all the children are making different kinds of rain sounds on the window. After a few minutes, the rain comes to a stop, and the children are invited to circle time.
Dance and movement are an inherent part of life and are as natural as breathing. Dance is an elemental human experience and a means of expression. It begins before words are formed, and it is innate in children before they use language to communicate. It is a means of self-expression and can take on endless forms. Movement is a natural human response when thoughts or emotions are too overwhelming or cannot be expressed in words.
1.1 Further engage and participate in dance movements.
1.2 Begin to understand and use vocabulary related to dance.
1.2 Connect dance terminology with demonstrated steps.
1.3 Respond to the instruction of one skill at a time during movement, such as a jump or fall.
1.3 Use understanding of different steps and movements to create or form a dance.
1.4 Explore and use different steps and movements to create or form a dance.
1.4 Use understanding of different steps and movements to create or form a dance.
2.0 Develop Skills in Dance
Develop Skills in Dance Milestones
At around 48 months of age
At around 60 months of age
2.1 Begin to be aware of own body in space.
2.1 Continue to develop awareness of the body in space.
2.2 Begin to be aware of other people in dance or when moving in space.
2.2 Show advanced awareness and coordination of movement with other people in dance or when moving in space.
2.3 Begin to respond to tempo and timing through movement.
2.3 Demonstrating some advanced skills in responding to tempo and timing through movement.
3.0 Create, Invent, and Express Through Dance
Create, Invent, and Express Through Dance Milestones
At around 48 months of age
At around 60 months of age
3.1 Begin to act out and dramatize through music and movement patterns.
3.1 Extend understanding and skills for acting out and dramatizing through music and movement patterns.
3.2 Invent dance movements.
3.2 Invent and recreate dance movements.
3.3 Improvise simple dances that have a beginning and an end.
3.3 Improvise more complex dances that have a beginning, middle, and end.
3.4 Communicate feelings spontaneously through dance and begin to express simple feelings intentionally through dance when prompted by adults.
3.4 Communicate and express feelings intentionally through dance.
There are many ways to describe each dance element. Teachers and children can add their ideas to this chart.
Elements of Dance
Body
Space
Time
Energy
Body parts: Head, torso, shoulders, hips, legs, feet
Body Actions: Non-locomotor
Stretch, bend, twist, circle, rise, fall
Swing, sway, shake, suspend, collapse (qualities of movement)
Locomotor
Walk, run, leap, hop, jump, gallop, skip, slide
Size: Big, little
Level: High, medium, low
Place: On the spot (personal space), through the space (general space)
Direction: forward, backward, sideways, turning
Focus: Direction of gaze of the face
Pathway: Curved, straight
Relationships: In front of, behind, over, under, beside
Beat: Underlying pulse
Tempo: Fast, slow
Accent: Force
Duration: Long, short
Pattern: A combination of these elements of time produces a rhythmic pattern
Attack: Sharp, smooth (qualities of movement)
Weight: Heavy, light
Strength: Tight, loose
Flow: Free-flowing, bound, balanced, neutral
Teachers can support children’s development of dance foundations with the following:
Help children become enthusiastic participants in learning dance.
Warm up! Even though preschool bodies are much more resilient than adult bodies, they should still be gradually prepared for any vigorous activities.
Use play with games that require dance movements and cooperation.
Be aware of cultural norms that may influence children’s participation.
Create environments and routines conducive to movement experiences.
Consider the space, music, costumes, and props you provide.
Establish spatial boundaries to ensure children have personal space when engaging in movement and dancing.
Use children’s prior knowledge.
Structure learning activities so that children are active participants.
Introduce the learning of a dance skill by using imagery.
Draw on children’s interests in dance making.
Plan movement activities appropriate for various developmental stages and skill levels.
Incorporate dances that can be performed without moving the entire body.
Encourage variety in children’s movement.
Teach rhythm using traditional movement games.
Use the “echo” as a helpful rhythm exercise.
Use dance to communicate feelings.
Use movement to introduce and reinforce concepts from other domains.
Provide opportunities for unplanned, spontaneous dancing
Figure \(\PageIndex{4}\): These children are dancing at group time
Materials for Dance Experiences
Type of Materials
Examples of Materials
Found or Recycled Materials
Boxes, wheels, chairs, hula hoops, balloons, umbrellas, scarves, and other found objects can be used for choreographic variety. Costumes can be assembled from fabrics or donated by families or the community.
Basic
Open rug space; outdoor environment with a defined dance space
Enhanced
Piano, drums, maracas, tambourines, claves, triangles, cymbals, woodblocks, or music system. A local dance troupe may donate children’s costumes that are no longer used in productions.
Natural Environment
Palm leaves, feathers, sand, water, and sticks can be used in movement activities.
Adaptive Materials
If a child has a prosthesis, he or she can decide whether to dance with it on or off. If a child uses a wheelchair, props can be useful to extend what the body can do; a few possibilities are balloons tied to a stick, crepe paper streamers, and scarves.
Research Highlight
Research supports the inclusion of dance in a preschool curriculum for a number of reasons, not the least of these being the social–emotional benefits gained from dancing at an early age.
In The Feeling of What Happens, neuroscientist Antonio Damasio describes the body as the theater for emotions and considers emotional responses to be responsible for profound changes in the body’s (and the brain’s) landscape. Damasio creates three distinct classifications for emotions based on the source of the emotion and the physical response to the emotion: primary, secondary, and background emotions. The primary emotions are the familiar emotions recognizable in preschoolers and adults alike: happiness, sadness, fear, anger, and surprise. Damasio describes secondary emotions as social emotions, such as jealousy or envy when a child is eyeing a friend’s toy or feelings of pride when accomplishing a difficult task. And of particular interest in a discussion of dance are the background emotions, much like moods. These refer to indications that a person feels down, tense, cheerful, discouraged, or calm, and others.
Background emotions do not use the differentiated repertoire of explicit facial expressions that easily define primary and social emotions; they are also richly expressed in musculoskeletal changes, for instance, in subtle body posture and overall shaping of body movement. Movement and dance are natural vehicles for the expression of these emotions.
Source:
A. Damasio, The Feeling of What Happens: Body and Emotion in the Making of Consciousness (New York: Harcourt Brace, 1999), 51–53.
Vignettes
Sammy, a four-year-old in Ms. Huang’s class, pulls a top hat off the hat rack and begins to perform controlled balances high on the balls of his feet. Two other children become interested in this performance, and suddenly three children are using hats as creative props to stretch high into the air, with their arms, as they rise up on their toes forming a chorus line; Sammy continues to play the lead, placing a hat on a foot and balancing on one leg like a bird; the other children imitate. The movement progresses to a balancing game, and the children occasionally tumble to the floor, giggling.
Ms. Huang observes the movement game for several minutes and notices the children have taken to making the same shape of the lifted bird leg. She recognizes the children’s imagination by commenting on their creative play with the hat; she then suggests to Sammy that he attempt to bring his leg behind him (in a pose resembling a ballet arabesque) while keeping the hat balanced on his foot. The trio becomes more focused with their balances and inventive with the shapes, moving the legs from the front to back and even experimenting with lowering the torso while lifting the leg.
Mr. Soto leads the children in a lively singing and dancing performance of Juanito (Little Johnny). The children shake and twist their bodies while clapping their hands as they sing. “Juanito cuando baila, baila, baila, baila. Juanito cuando baila, baila con el dedito, con el dedito, ito, ito. Asi baila Juanito.” (When little Johnny dances, he dances, dances. When little Johnny dances, he dances with his pinkie, with his pinkie, pinkie, pinkie. That’s how little Johnny dances.)
In the first verse, they wiggle the pinkie back and forth; in the second, they shake the foot and then wiggle the pinkie. Each time a new verse is sung, a movement is added until the children’s bodies are in motion, from head to toe!
Even Matthew, who is generally reluctant to dance, picks his knees high up and waves his arms exuberantly. Mr. Soto changes the character of the song to Mateo, and Matthew dances into the center of the circle.
Planning Developmentally Appropriate Music and Movement Experiences
Creating developmentally, culturally, and linguistically appropriate music and movement experiences means selecting materials and activities suited to the developmental stage of the children in your care, which are also culturally and linguistically appropriate. Creating developmentally, culturally, and linguistically appropriate music and movement experiences involves selecting materials and activities that are suited to the developmental stage of the children in your care. It is essential to integrate their cultural backgrounds and linguistic diversity into these experiences to ensure they are engaging and meaningful. By thoughtfully considering these factors, educators can design activities that promote social, emotional, cognitive, and language development.
The following lesson plan examples illustrate how to apply these principles in practice, showcasing activities tailored to different age groups and cultural contexts.
Preschool Music and Movement Experience: Exploring Rhythm and Movement Through Dance
Setting
Multicultural preschool classroom with children aged 3 to 5 who speak English, Spanish, Somali, and Arabic.
Context
Ms. Carter introduces preschoolers to rhythm and movement using music to foster creativity, enhance motor skills, social interaction, and language development.
Activity
Ms. Carter gathers children in a circle, plays a song with a clear rhythm, and encourages them to clap to the beat.
Children's Responses
Liam (English): "Clap! Clap!"
Zara (Somali): "Sacab! Sacab!"
Mateo (Spanish): "Palmas!"
Amira (Arabic): "Tasfiq!"
Ms. Carter's Praise
Ms. Carter praises each child's participation, modeling the clapping rhythm in both English and the children's home languages.
Hands-on Exploration
Ms. Carter demonstrates dance moves to match the rhythm, encouraging children to sway, spin, and clap.
Cultural and Linguistic Integration
Ms. Carter asks children about dances or songs they know from home, validating their responses and inviting them to share.
Reflection and Sharing
After dancing, Ms. Carter gathers the children to share their favorite part of the activity and demonstrate their special dance moves.
Developmental Goals
Motor Skills: Practice coordination by clapping, swaying, and dancing. Social Interaction: Encourage cooperation and shared enjoyment. Language Development: Learn rhythm and musical vocabulary in English and home languages. Cultural Awareness: Promote respect for diversity through cultural dance and music.
Toddler Music Experience: Moving to the Beat with Instruments
Setting
Toddler classroom with a multicultural group of children.
Context
Ms. Ortiz introduces toddlers to rhythm and sounds through simple percussion instruments, like drums and tambourines. The goal is to engage them in a sensory-rich, hands-on activity that celebrates the diversity of sounds from various cultures.
Activity
Ms. Ortiz shows the toddlers the instruments and says: "Today, we’re going to play some music with our hands! Can you play the drum like this?" The toddlers enthusiastically tap the drums and tambourines, making different rhythms. Ms. Ortiz models the sounds in both English and their home languages.
Children's Responses
Liam (English): "Boom! Boom!"
Zara (Somali): "Buuq! Buuq!" (Sound in Somali)
Mateo (Spanish): "Tambor!" (Drum in Spanish)
Amira (Arabic): "Tabl!" (Drum in Arabic)
Hands-on Exploration
Ms. Ortiz encourages the toddlers to explore the instruments, making different rhythms with them. "Can you tap the drum slowly? Now let’s tap fast!"
Cultural and Linguistic Integration
Ms. Ortiz incorporates songs from different cultures, encouraging the toddlers to identify the instruments used. "Let’s hear a song from the Congo! It uses drums just like the ones we have!"
Reflection and Sharing
Ms. Ortiz asks the toddlers to reflect on their favorite sound or instrument.
Liam (English): "Boom!"
Zara (Somali): "Buuq!"
Mateo (Spanish): "Tambor!"
Amira (Arabic): "Tabl!"
Developmental Goals
Fine Motor Skills: Toddlers use their hands to explore rhythms and develop hand-eye coordination.
Sensory Exploration: The use of instruments helps enhance auditory and tactile exploration.
Language Development: Toddlers learn the names of instruments and sounds in both English and their home languages.
Cultural Awareness: Exposure to different musical instruments fosters an appreciation for cultural diversity.
Infant Music Experience
Setting
A cozy infant room where infants are gently rocked or swayed to soft music.
Context
The goal is to introduce infants to the rhythm and soothing qualities of music, promoting sensory engagement and early bonding with caregivers.
Activity
Ms. Rose plays soft lullaby music and gently sways the infants in her arms. 'Can you feel the music? Let’s sway slowly like the wind!'
Hands-on Exploration
As the music plays, Ms. Rose sways the infants gently, promoting visual tracking and body movement.
Cultural and Linguistic Integration
Ms. Rose sings a soft lullaby in both English and the infants' home languages. 'This is a song from my childhood. Let’s sing it together!'
Reflection and Sharing
After the activity, Ms. Rose sings the song one more time and gently rocks the infants to calm them.
Developmental Goals
Motor Skills: Infants begin to track movements and respond to gentle rocking. Sensory Exploration: The soft music and physical movement help infants explore sound and rhythm. Language Development: Infants are exposed to soothing language through music and songs. Cultural Awareness: Lullabies in different languages introduce cultural diversity in a gentle, nurturing way.
Conclusion
By thoughtfully integrating cultural backgrounds, developmental needs, and language exposure into music and movement activities, educators can provide meaningful experiences that promote creativity, motor skills, and a respect for diversity in young children. These activities not only enhance children's social, emotional, cognitive, and language development but also foster a sense of belonging and appreciation for different cultures. As demonstrated in the lesson plan examples, creating developmentally, culturally, and linguistically appropriate music and movement experiences is essential for nurturing well-rounded, culturally aware individuals from an early age.
References
Anvari, S., Trainor, L., Woodside, J., & Levy, A. (2002). Relations among musical skills, phonological processing, and early reading ability in preschool children. Journal of Experimental Child Psychology, 83(2), 111–130.
Chen-Hafteck, L. (1997). Music and language development in early childhood: Integrating past research in the two domains. In Early Child Development and Care 130 (1): 85-97.
Deliège, I. and Sloboda, J. (Eds.). (1996). Musical beginnings: Origins and development of musical competence. Oxford: Oxford University Press.
Early Childhood Music and Movement Association (ECMMA) www.ecmma.org/perspectives/issue/volume_7_numbers_3_4_2012
Feierabend, J. (2001). First steps in classical music:Keeping the beat. Chicago, IL: GIA Publications.
Feierabend, J. (2006). First steps in music for preschool and beyond: The curriculum. Chicago, IL: GIA Publications.
Feierabend, J. (2011). Music and early childhood. Chicago: GIA Publications.
Gordon, E. E. (2007). Learning sequences in music: A contemporary music learning theory. Chicago, IL: GIA Publications.
Gordon, E. E. (2007). Learning sequences in music: A contemporary music learning
theory: Study guide. Chicago, IL: GIA Publications.
Gordon, E. E. (2007). Lecture cds for learning sequences in music: A contemporary music learning theory. Chicago, IL: GIA Publications.
Gordon, E. (2000). Jump right in: Grade 1 teacher’s guide—The general music series (2nd ed.). Chicago, IL: GIA Publications.
Haroutounian, J. (2002). Kindling the spark: Recognizing and developing musical talent. Oxford: Oxford University Press.
Jensen, E. (1998). Teaching with the brain in mind. Alexandria, VA: ASCD Publisher.
Jordan-DeCarbo, J., and Galliford, J. (2011). The effect of an age-appropriate music curriculum on motor and linguistic and nonlinguistic skills of children three to five years of age. In S. Burton & C. Taggart (Eds.), Learning from young children: Research in early childhood music (pp. 211–230). Lanham, MD: MENC and Rowman Littlefield.
Moore, R. S. (1991). Comparison of children’s and adults’ vocal ranges and preferred tessituras in singing familiar songs. Bulletin of the Council for Research in Music Education, Winter, 13–22.
Music Notes: Music You Can Read [musicnotes.net]
Reynolds, A., Bolton, B., Taggert, C., Valerio, W., & Gordon, E. (1998). Music play: The early childhood music curriculum guide. Chicago, IL: GIA Publications.
Preschool Rhymes for Self and Family Themes (finger plays, action poems, songs, and nursery rhymes) www.preschoolrainbow.org/family-rhymes.htm
Songs for Teaching: Using Music to Promote Learning, Gari Stein [www.songsforteaching.com]
Suzuki, S., and Nagata, M. L. (1981). Ability development from age zero. Athens, OH: Suzuki Method International.
Turner, M. E. (2008). Listen, move, think: Communicating through the languages of music and creative movement. Retrieved from http://www.listenmovethink.com/#intro
OpenAI. (2024). How to teach a song to preschoolers. Retrieved December 12, 2024, from ChatGPT
OpenAI. (2025). Teaching songs to toddlers. ChatGPT response, January 14, 2025, from ChatGPT.
Vocabulary
abstract movements: movements do not carry any specific linguistic meaning, such as waving arms or jumping
articulation: the approach to playing a note and style of playing in terms of its smoothness, detachment, accents, etc.
aural learning: learning music “by ear”—learning by hearing only (no use of written notation)
beat: a pulse in a piece of music; the basic unit of time in music
binary form: a song in two discernible sections; also referred to as verse-refrain or verse-chorus and designated as AB.
chest voice: singing when the sound feels like it is emanating from the chest or throat
downbeat: the first beat in the measure; beat in a measure that is most accented
duple: two or four beats per measure
dynamics: how loud or soft the music is
head voice: placing the sound higher up in the “vocal mask” or the face, as if singing through the eyes
line: reference to a line of the lyrics or poem when learning music; usually corresponds to a musical phrase
meter: meter determines where the stresses in music are, or how the music stresses are grouped. A triple meter, for example, will have groups of 3 with a stress on the first beat of the group. A duple meter will have groups of 2 with a stress on the first beat of the group.
narrative movements: mimetic actions that help to illustrate certain words and tell the story (e.g., “I’m a Little Teapot”)
note: learning music by reading the notes; reading the music or score in order to play or learn
note-rote: song is taught mostly by ear or repetition, but also shows some iconic notation (written notation)
phrase-by-phrase: teaching a song one line at a time; breaking down the song into individual phrases
pickup: a note or series of notes that preceded the first downbeat of the first measure; also called anacrusis
pitch: the frequency of the sound based upon its wavelength; the higher the pitch, the higher the frequency
pulse: in learning music, the pulse indicates to the children the tempo at which you would like to sing the song as well as the song’s meter; “feel the beat”
range: all of the notes in the song from lowest to highest
rhythmic movements: movements that can either emphasize the beat of the rhyme or the rhythm of the text, such as clapping or body percussion
rote: learning through repetition; learning without the use of written music or a score
song phrase: reference to a group of notes in learning music, usually equivalent to a sentence or the length of one line of poetry
tempo: pace in which the notes of a song are sung or played
ternary form: as a song with 3 sections, where the first section returns at the end in exact form and the middle section is different or contrasting; designated as ABA.
tessitura: the part of the register in which most of the tones of the melody or voice part lie
timbre: the quality of sound
triple: three or six beats per measure
unitary: a song with only one section, and no refrain; can be labeled as A.
upbeat: pickup beat (see above)
verse-refrain: a verse corresponds to a poetic stanza of a song; usually distinguished from the chorus or refrain of a song, which has repeated lyrics (e.g., in “Oh, Susanna” the verse begins with “oh I came from Alabama” and the chorus or refrain begins with “Oh, Susanna, oh don’t you cry for me…”)
whole song: teach the whole song at once without breaking it into individual phrases; useful technique for very short songs
