Early Childhood Music Education

guest post by Stephanie Talbot

During my my senior year of my bachelors degree I took two music education courses from Susan Kenney at Brigham Young University. My eyes were opened to a whole new perspective of music education. I volunteered with the BYU Young Musicians Academy for three years. I loved teaching young children music. It is so exciting to see their faces light up when they sing songs together, play games, move to music, and play instruments for the first time.

During the summers while at BYU, I took Musikgarten courses for Babies, Toddlers, Cycles, Musik Makers, and Musik Makers at the Keyboard. I also took Level 1 certification courses in Orff Schurwerk and Kodaly. All of these music education approaches have the same vision and build upon each other.

Children are always listening, learning, and trying to comprehend the world around them. Music education begins in infancy, and there is ample evidence that it begins before birth. The first three years of life are the most important for educating young children. At this time, brain cells are making connections most rapidly. These connections are what give the brain its capacity to grow and learn. What happens in the home has significant impact on the children’s musical performance when they reach Kindergarten. Children’s experiences during the first years of life lay the foundation for learning that will take place when they enter school. Their feelings of importance and security are determined by your approval of them. The music you listen to, the instruments you play, the singing you do, will all influence the child’s future musical tastes and preferences for music making. Research indicates that by age four, 50 percent of the intellectual learning a child will have at age seventeen has already occurred. (Boloom)


Early childhood classes:

I have taught a few early childhood classes each year. The tricky thing is finding a place to do it that is big enough to house the children and their parents. I have co-leased a dance studio before which worked out great. The home is an option–but having enough space for the children/parents to move is essential. If it is cramped then the purpose of the activities becomes less effective. A babies class works great in a home since movement is limited to lifting, tickling, etc.

What can you do as a parent?



1. Create a musical environment. 

Piaget, a music education theorist, said that environment is critical for learning to take place, and a music environment is as important as all other environments. Children will be able to construct their own musical meaning form the musical experiences they have. The role of the teacher and parent is to provide musical environments from which children can construct their own meaning. EXPERIENCE precedes understanding. EXPERIENCE precedes symbols! Include musical toys, tape recorder, songbooks, picture books about music, good recordings. Different kinds of experiences allow children to explore, make choices, and build their own curiosity.

2. Participate in music activities.

Go to a musical play, the symphony, recitals. Sing with your children at family activities.

3. Observe and listen all kinds of sounds!

Sounds of animals, birds, water, rain, etc. (inside, outside, sounds around the home, instruments). Listen to a variety of musical selections (classical, pop, rock, jazz, choral, orchestral, singing from other cultures). Consider checking out a different CD each week from the library and make a special time to listen such as in the car, while you are making dinner, putting them to sleep.

4. Label the different sounds while listening as high sounds, low sounds, fast, slow, violin, piano, trumpet, etc.

3. Participate with your children in musical activities.

Use CD’s and rhythm sticks. If you play an instrument—play it often. If music is valued to you, then it will more likely be valued to them. Your daily modeling creates a model for your children.


Something to do at home:

1. Find 6 matching non-glass containers (Easter eggs, pill bottles, plastic cups taped together)
2. Partially fill 2 containers with salt, 2 with beans, and 2 with pennies (or other materials)
3. Close and secure
4. Place the containers in your child’s environment and encourage a child to shake the containers. (sing a song while they shake, label them as loud or soft, have them try to match the containers to ones with similar sounds. Encourage the child to shake one sound while you find another just like it.)
5. Enjoy! Play is the child’s work!

Guest Contributor: Stephanie Talbot

We are pleased to welcome a wonderful guest contributor this week, Stephanie Talbot. Stephanie is an excellent pianist and a wonderful teacher, and has some great insights into early childhood music education  that she will be sharing with us. We look forward to her wonderful post, and wanted you to get to know her a little bit!

name:
Stephanie Talbot

she is from:
Provo, Utah

she attended:
BYU for her Bachelors and Masters degrees in Piano Performance, recently received her K-12 music endorsement. (has additional training in Musikgarten, Kodaly, and Orff)

currently:
teaches Elementary Music in Provo School District (Kodaly emphasis)

she loves:
to make music with children, play piano/violin, cook, run, and spend time with her 30 nieces and nephews!

she recently:
ordered lots of children’s books to sing with and make music with children

Preschool Music

Recently I have become really interested in early childhood music education. In the past I would always say that students definitely need to be at least five years old to take lessons. And if you’re speaking in terms of traditional sit on the bench and learn piano lessons, I still believe that is true. But, as the mother of a bright little two-year-old who loves music, the wheels in my brain have really been turning about this subject. I am excited that we will be discussing this topic a lot this week!

My son loves music. He loves to dance around the room when we play the piano, and particularly when my husband plays fast, exciting pieces like the 3rd movement of Moonlight Sonata or Maple Leaf Rag. I have found that he absolutely loves to learn about music and to have “piano lessons” with me. I have also learned the importance of keeping it fun and exciting – I would never force him to play the piano,  95% of the time it is he who comes to me, wanting to play the piano. In fact, he has learned his first little piece and loves to play it! How cute is that.

I recently found out about a new website all about preschool music, and they have some really wonderful video interviews where they discuss preschool music – check it out! These are so informative, and I particularly enjoyed the video about research showing the benefits of music to preschoolers.

I really do feel that children who have exposure to music at an early age can really learn a lot, and that it will have far-reaching positive effects in their development. In the future I would love to teach preschool music classes. I know of many readers who have wonderful piano blogs who have mentioned “pre-piano camps” for young children – what a great thing!

I have actually started teaching “piano lessons” to a couple of preschool-aged students. I put piano lessons in quotations because it is so different than any piano lessons I have taught in the past! “Lessons” are super short – 15 minutes. We hardly even sit at the piano bench. We sit on the floor and play games, we tell stories, we listen to music, we play and improvise on the piano – and the students have such fun, while learning some great foundational concepts about music and the piano. I will probably be sharing some of the games I have been using, so stay tuned! In the meantime – for those of you readers who teach preschool music of some type, what are some things you have learned about teaching this age group? What are some ways you have found to teach music in a fun way?

Weekend Repertoire: Sunday Afternoon Music

Music Pathways 5B RepertoireA few months back I was at my local thrift store in Utah. My husband and I always love to browse through the books, especially music books, to see what great things we can find! On this particular day I happened upon an old piano repertoire book from the Music Pathways series by Lynn Freeman Olson, Louise Bianchi and Marvin Blickenstaff. This great little book is really a gem! So it is one of these great little pieces that I want to discuss today….

Today’s piece: Sunday Afternoon Music by Aaron Copland
Level: Late intermediate
This piece teaches: control at a very slow tempo and at a very soft dynamic level, clarity and control of 32nd notes, phrasing, artistry, tenuto symbol, triplet rhythm, double-dotted eighth/32nd rhythms, listening to the sound produced
Listen: This little piece is kind of obscure, but I found a 30-second clip that you can listen to here. It is a pretty good preview of the piece, and you can hear some of the 32nd notes, as well as the triplet rhythms. Kind of lazy and mesmerizing, yes? You can also listen to a preview of it or buy the track on iTunes for $1.
The sheet music: Looks like you can buy the Music Pathways Repertoire book 5B (which includes Sunday Afternoon Music) here on amazon.com for about $4. It may be in other collections as well…

This is a piece that truly exemplifies a “Sunday afternoon,” in my mind. It is so much fun to play because (I think) it is so relaxing and laaaaazy (like a nice, long Sunday afternoon nap). Copland, of course, added in some cool jazz harmonies to this little piece (it is 22 measures long), making it very fun, indeed, to try and bring out those neat harmonies while playing at a triple-piano dynamic level.

Playing very slowly and very quietly is actually a tricky thing for a lot of students! This piece is an awesome way to teach that. The very soft chords can be tricky to pull off – challenge your student to play as quietly as the absolutely can!

The 32nd-note runs should be played quickly, of course, but the student should make sure to not blur the notes together. Have them practice slowly at first to be able to hear each note individually and equally….like taking a stroll around the block on a Sunday afternoon while running a stick along a white picket fence, hearing each individual click…

Image credit

Weekend Repertoire:Bowed Piano Technique

If you are not familiar with bowed piano or prepared piano techniques, you have got to watch this video. In fact, you have got to watch it even if you are familiar with these crazy techniques 🙂 I think it is so fascinating to hear all of the sounds that the piano can produce if it is just played a little….differently than normal. 😉

This is Dr. Scott Holden (my college piano professor) performing Entrada, a bowed piano piece by Stephen Scott, with a 10-student ensemble. It is well worth the 7 and a half minutes viewing time, and if you are like me you will be completely mesmerized by this cool piece. You can read more about this neat performance here.

Using Recording Equipment in the Studio

Alright, so I actually don’t own any fancy recording equipment. But, I have enjoyed using a little bit of audio and video recording during my lessons to help get my students to pay attention to what is coming out of the piano. Because seriously, sometimes we can get so caught up with what our fingers are doing, what the notes on the page are doing, what our feet are doing with the pedals and all of the counting going on inside our head that we forget to listen. Go figure. I swear, you have got to be some kind of crazy multi-tasker to be a pianist!

So, enter technology – whether it be some kind of nice and expensive recording equipment, or something a little more common and affordable, like a small tape recorder of some sort or even an iPod (my iPod records sound and video – not the best quality out there but it definitely works). Here are a couple of ways to use this during a lesson:

  • Are those little fingers not staying curved again? I have sometimes whipped out my little iPod video camera to show my student what their hands really look like. I’d say that 90% of the time, things like flat fingers can be fixed quite easily just by having the student see and realize what they are doing.
  • A quick audio recording of a “polished” piece may save you many lectures about whether or not they are really playing piano in that one section, or if their phrases are really connected. Or whether or not the piece actually sounds musical and exciting to listen to. Sometimes students just need the chance to listen in on their own playing as an observer to really get what needs to be fixed.
How do you use recording equipment in your studio?

My studio blog

In addition to my website about my studio (which really is only a blog – someday I will set up a “real,” fancy schmancy one!), I also have a private blog with lots of resources for my students and their parents. Students and parents need to log in to view this blog. Some things I have on this blog:

  • my studio policy
  • monthly studio news
  • studio calendar (I use Google Calendar)
  • fun links (includes links to online music games, music theory lessons and reviews, fun music websites like the San Francisco Symphony Kids website and Classics for Kids, and a link to online ear training
  • assignments – a big part of this blog is the assignments section. I have many listening and music theory assignments on this blog that I have created to be a bit of a supplement to lessons. For example, during a lesson I can assign a student a specific listening assignment. They can then go home, pull it up on the blog, print out the assignment sheet, and listen to the assigned pieces online (either on a website like pianosociety.com or on a YouTube video that I have embedded into the assignment post).
  • Composer of the Month – links to information and listening examples to go with our composer of the month
  • Meet the Composers – a bunch of links to some wonderful websites to help students learn about music history (NY Philharmonic Kidzone Meet the Composers, Meet the Composers on Classics for Kids, a composer map, and games like Beethoven’s Baseball and Time Machine).

Since I am still working on re-building my studio after moving to a new state, in the future this blog will also contain things like:

  • photos and videos from student recitals
  • a student phone list for switching lesson times in the event of a cancellation
I feel that this is a really great resource for my students. They can at any time have so many great online resources at their fingertips to help them learn about music theory, music history, or ear training; they can listen to any piece online; and they can have access to all studio policies and other information.

**Have you checked out the studio websites and blogs that have been shared by readers this week? Make sure you go take a look, and feel free to share yours as well! It is wonderful to get ideas and learn from each other!

Share your Studio Website!

Alright, we are going to try something fun here! I thought that since we are discussing technology in the studio, it would be fun for all of our readers to be able to share their studio websites with everyone. I think it is wonderful to share and get ideas from each other. So, if you want to participate and let other readers look at your studio website or blog, we’d love you to enter it in our list here! This will be available all week until Sunday night, so share away!

Just click on the button that says “click to enter” and it will give you directions on how to enter it. Thanks!

Using Technology in the Studio

This week we will be talking about ways to use technology in our music studios. We are so lucky to have such amazing resources, through the internet and other technology, that most teachers did not have just a few years ago. I think that as an independent music teacher it is smart to tap into that and utilize whatever we can for the improvement of our studios!

So, how do you use technology in your music studio? Do you use a studio website? Music theory computer software? Recording equipment? What online resources do you like to use?

Weekend Repertoire: Minuet in G

In an effort to start some discussion about specific repertoire and ways to teach it, I have started Weekend Repertoire here on The Teaching Studio!

Today’s piece: Minuet in G from Johann Sebastian Bach’s Anna Magdalena Notebook.
Level: Early-ish Intermediate 🙂 (how’s that for technical?)
Teaches: phrasing, five-finger patterns, changes in hand position, cross-over fingerings, binary form, balance between right and left hand
Listen: Click here to listen to this piece (scroll down and select the first Menuet in G Major on the list). Also, this great orchestral version really captures the simple beauty and elegance of this piece – I’m thinking Jane Austen era ballroom…

Yes, I know, this little piece is super familiar. Everybody and their dog plays it and knows it. But it really is a great little piece with so much to learn by playing it. I have often found that even when teaching the most simple pieces, sometimes students simply just learn the correct notes and call it good. They learn the notes alright, but have they achieved a truly musical performance? There are so many simple, easy ways to add color and musicality to a piece that will really help the music come alive for a student. Even when playing Baroque music 🙂

My teacher in high school had all these big, beautiful, ornate paintings hanging in her living room. Kind of like these:

I can still hear her voice, “Look at these people – they’re not about to go out and play football!! They are elegant. Refined. Graceful.

And how true that is – this piece should never be overly loud or passionate or abrupt or romantic. It should be  graceful and elegant. In fact, considering the keyboard instruments available at the time this piece was written sheds some light on its interpretation – according to my trusty old History of Keyboard Literature, the clavichord had a “soulful tone,” and was ideal for achieving “sweet, delicate sentiments,” while the harpsichord had a “sweet, pristine tone” and it required careful phrasing and the use of nonlegato touch.

So how can we teach our students to play this piece with elegance and refinement? Help them to achieve nice, legato phrasing in the right hand (I like to draw little arrows where they should do a slight lift of the wrist to end a phrase); a beautiful, singing melody line that does not rush (hands-alone practice in small sections! and the metronome is a great little pal and may help a LOT); and a softer accompaniment with nicely-phrased eighth note runs.

And a Pride and Prejudice dress wouldn’t hurt, you know, just to get the right mood 🙂

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