Early Years Music Education Training: Do We Need It? Part 2

Bautista et al (2022) considered the ways that settings currently use to meet their music needs: paying outside specialists to come in regularly; and, rarely, paying to train staff in music provision. Teacher training often only provided a few compulsory hours music education training or was offered as an option. Only around half of the staff at any nursery in the literature consulted had had any experience in playing an instrument, dancing or singing – and in settings with lower qualifications, that fell to less than half.

Researchers found that outside specialists limited the quality of musical instruction because it was not integrated into the children’s holistic learning experience, as music specialists were not involved in the day-to-day planning, so were not familiar with the children. Although some setting brought in skilled performing musicians, they were not usually familiar with teaching pedagogy.

As a result of these half-measures, this poor training provision has ultimately created a situation of unprepared and self-conscious educators who are unable to access the positive benefits of music for their children.

Researchers consulted publications from several countries including America, England, China, South Africa, Japan, Canada, Australia, Hong Kong, Ireland, Namibia. Topics that early years educators identified for deeper training included: understanding music curriculum design, developing instrumental and singing skills, integrating music within the curriculum, designing and implementing music appreciation activities, learning basic music theory, and developing ways to foster children’s creativity and self-expression, as well as introducing improvisation and composition in early years.

Researchers then suggested a few ways that this type of training could be achieved. As highly motivated people, early years specialists enjoyed practical micro-teaching activities, whether live or video, with opportunities to implement innovative ideas. Mentoring was suggested, as musical novices planning music education curricula alongside accomplished musicians exposed trainees to different teaching methodologies.

Professional development was preferred to be held during work hours, including music seminars, workshops and conferences, but were perceived to be less effective as they were not early years specific. Online music education resources were valued because early years specialists could access them at their convenience, and an interest-based community was valued for the opportunity to discuss and compare experience. Internationally, the lack of funding support was noted to be the biggest barrier to accessing most professional development.

To address these needs, change needs to come from the top, which is an opportunity for music councils and unions to develop strategies together. In terms of teacher training, universities and colleges could facilitate change by increasing their music education provision more regularly. Partnerships with settings could be used to practice these skills, and partnerships with specialist music training centres could offer online/video training, demonstrating a variety of methods. Setting managers could create non-judgemental opportunities to develop these skills and collaborate. With flexible working schedules and protected time for collaboration, these forms of informal learning are more cost effective and sustainable long-term.

Governments could facilitate change through conferences and professional development, either in person or online, that could provide further information on the latest field developments. By developing online learning communities with discussion forums and chats, this knowledge-sharing platform would reinforce personal development and peer learning, again, in a sustainable way.

In the meantime, every day early years specialists can improve their own musical skills gradually and creatively with children using materials currently available.

Below we continue with our of sample songs from the free mini e-book Come And Sing 1 (Turnbull, 2015)https://books.apple.com/gb/book/musicaliti/id1057514353.

As a reminder, the book Learning with Music (Turnbull, 2017) – https://www.routledge.com/Learning-with-Music-Games-and-Activities-for-the-Early-Years/Turnbull/p/book/9781138192591 – includes substantially more detail.

Level 4: Frosty Weather

Frosty weather
Snowy weather
When the wind blows we
All stick together

This song introduces a fifth pitch (la*) to do*, re*, mi* and so*, this time from high to low, and the original two rhythms, the steady beat (crotchet/quarter note) and twice as fast (quaver/eighth note).

Level 5: Love Somebody

Love somebody, yes I do
Love somebody, yes I do
Love somebody, yes I do
Love somebody, but I won’t say who
Love somebody, yes I do
Love somebody, yes I do
Love somebody, yes I do
Love somebody, and it’s you, you, you

This song uses five pitches, do*, re*, mi*, so* and la*, and the three rhythms from previous songs, the steady beat (crotchet/quarter note), twice as fast (quaver/eighth note) and twice as slow (minim/half note).

Level 6: Polly Put The Kettle On

Polly put the kettle on
Polly put the kettle on
Polly put the kettle on
We’ll all have tea

This well-known favourite introduces a sixth pitch (fa*) to do*, re*, mi*, so* and la*, and the three rhythms as before, the steady beat (crotchet/quarter note), twice as fast (quaver/eighth note) and twice as slow (minim/half note).

Level 7: Skip To My Lou

Skip, skip, skip to my Lou
Skip, skip, skip to my Lou
Skip, skip, skip to my Lou
Skip to my Lou, my darling

Another well-known song, while it also has six pitches do*, re*, mi*, fa*, so* and la*,and three rhythms, it is a new rhythm: the steady beat (crotchet/quarter note), twice as fast (quaver/eighth note) and four times as fast (semiquaver/sixteenth note).

Looking at all the songs chosen, well-known songs have more going on musically than lesser-known songs, which makes them more interesting. It is entirely natural to prefer complex songs, as the brain finds complexity more interesting, but lesser-known songs are just as valuable because of the things they teach us. While it is true that some children can sing a greater range than the songs listed above, teaching notes gradually gives people the ability to break down complex tunes. This skill allows both children and educators to understand the songs musically, join in successfully, and ultimately, access all the positive benefits of music.

* Kodály pitch: do, re, mi, fa, so, la, ti.

(Rhythms in British and American terms.)

References:

Bautista, A., Yeung, J., Mclaren, M. L., & Ilari, B. (2022). Music in early childhood teacher education: Raising awareness of a worrisome reality and proposing strategies to move forward. Arts Education Policy Review, 1–11. https://doi.org/10.1080/10632913.2022.2043969

Turnbull, F. (2015). Come and Sing 1 (1st ed.). Musicaliti Publishers.

Turnbull, F. (2017). Learning with Music: Games and Activities for the Early Years (1 edition). Routledge.

Advantages

Music education is a valuable skill that can be very rewarding to give as well as receive. Musicaliti supports music education through a number of resources, available here, helping you to become a better you.

First Benefit

Music education helps us to understand and express ourselves.

Second Benefit

Music education fosters the love of music for the next generations.

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