Introduction to Music - Development and Music Play
1. "Nonetheless, if adults devote the necessary time to the musical development of young children, and if they do not underestimate the children's comprehension, these young children will become comfortable with all types of music at an early age and will develop positive attitudes toward music that will persist throughout their lives" (pg. 3). I am not sure where the author has the research to support such a statement, and these assertions seem to be ludicrous. To me this says, "If I can do everything within my power to support children musically at an early age, then they will magically become 'comfortable with all types of music.'" Objectively speaking, I don't think that even the most gifted musicologist in the world will come to know all types of music in their lifetime. It is quite another thing to suppose that children will automatically be comfortable with ALL types of music. "ALL" is a very BIG word. It means "everything." This is a bold assertion, and one that is very dangerous to make especially in the world of early music pedagogy.
2. "Gordon (1997) has identified at least two categories of music babble. One category is tonal babble, and the other is rhythm babble" (pg. 7). I find this theory to be most fascinating. I like how Gordon's experience with the children helped shape his own beliefs on the possibility of different kinds of babbling. I would be interested in seeing more research done in this area, particularly with a larger sample of children from all around the world. For example, would children in Africa and South America be more inclined to rhythm babble? Would Bach's children, having lived around the Church and the Organ be more inclined to tonal babble? After reading this section, I really have the desire to listen to young children and babies. What are they saying? Could they possibly be trying to say something musically? Or is it just part of normal brain development? Very fascinating.
3. "Children must use the tool of imitation as they babble, play, and experiment with music in order to begin to master the syntax of music" (pg. 9). I think that this is basically true, especially since a great deal of cognition comes from repetition and imitation. I like to think of television shows that are very popular with children. One doesn't have to think very hard before one realizes that shows like "Sesame Street," "Barney," "Wiggles," and other shows like them are very appealing to children of all ages. What do these programs have in common with each other? There is music and movement together almost throughout the entire course of the show. While this may be less true in "Sesame Street," music and movement are a main force that keep children engaged and happy. Something remarkable must be happening in the brain as these Children listen to their favorite character and move with them to the beat. There is also something very "human" about this type of behavior, and it all seems very natural to children all over the world. While some of these programs may be annoying to teenagers and adults alike, children love them and cannot get enough of them. I would also like to see more research on this topic.
Chapter 3 of "Music in Childhood"
1. "Jaques-Dalcroze reasoned that children develop absolute pitch as the sense of C is impressed on the ear, the muscles, and the mind. He believed that the interrelationship of the scales would become clear, with children able to aurally determine the order of tones and semitones that constitute each scale" (pg. 46). This may seem logical and pass for good reasoning, but there is absolutely no research to support this idea. I know we do not understand absolute or perfect pitch perfectly, but it makes me upset when people offer "reasoning" without any justification or research to prove their theories. It ends up sounding like just another "good idea." When one makes a claim as serious as an ability to "aurally determine the order of tones and semitones that constitute each scale," I would hope that they had some research and validity to back that up. Is there any research on this theory? If so, why does the book not include it? Just curious.
2. "The most basic of Kodaly's ideas, that the use of good music is vital to the life of every person, is a challenging one for American teachers" (pg. 51). I understand that Kodaly viewed "good" music as European art music, especially European art music that contains pentatonic melodies and a cappella vocal music. But I don't think that we need to limit ourselves to Kodaly's definition of what "good music" is. I think he was just speaking from the vantage point of his own culture. Living in Hungary, certainly this music would have been most appealing to him, and thus the perfect music for children to learn. I think that American teachers should get the spirit of what Kodaly was trying to say and adapt his philosophy for Americans living in America! In other words, never mind what music was important to Kodaly. We have our own music and our own traditions which have been proven to be "good." If we use Kodaly's ideas and adapt them to the music of our own culture, we will be getting the spirit of what Kodaly really meant.
3. "The Schulwerk advocates extensive musical experience before literacy can become a truly musical, instead of mechanical, tool and a means for children to preserve the music they create" (pg. 53). I think that this is common sense. We need to learn the alphabet before we learn how to spell, and we need to learn to count before we can do multiplication. The same ideas apply for getting a solid foundation in music education. We cannot expect children to have authentic experiences if they are not properly paced according to the capacities of their brain. They need building blocks; here a little and there a little. It is foolish to suppose that children can have true musical experiences at a young age. We learn that even many famous composers were childish in their youth and were not capable of thinking on a scale similar to the one that they eventually would. Just as a young composer matures, and his work becomes increasingly intricate and authentic, so too must children learn to develop their skills in a safe, timely manner.
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