The Lyrics and Musical Nature of This Song Can Best Be Described as __________

Main Body

Chapter 8: Music in Early Babyhood Development

Chapter Summary: This affiliate focuses on the role of music in early childhood, including the importance of musical experience in early babyhood, the musical abilities and enjoyment of infants and children, and the vocal ranges of the young kid. It also explores musical activities and repertoires appropriate for young children.

What a kid has heard in his outset vi years of life cannot exist eradicated later. Thus it is too late to begin pedagogy at school, because a child stores a mass of musical impressions before school historic period, and if what is bad predominates, and so his fate, equally 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 Immature Children

How important are the arts as a mode of expression for children? Children, peculiarly very young children, cannot express themselves fluently either through oral communication or writing—two modes of communication that adults use nearly exclusively. Instead, children express themselves through motion, sound, and fine art. If they can express themselves through these modes, it is logical that they tin can learn through them as well.

Many times, however, adults are at a loss to understand or interpret what information technology is children are proverb to u.s., or to appreciate how profound information technology might be. Mark Eastward. Turner (2008), building upon the piece of work of Edwin Gordon and Reggio Emilia, idea considerably about children's representation through the arts. He sought to provide accurate ways for children to limited themselves and developed scaffolding to better harness and understand children's musical evolution. As Turner states, the idea that the "performing arts" must ever be performed onstage to exist valid detracts from their utilize to develop and explore the emotional, cognitive, social development and man potential.

Music for Immature Children

Any of the music methods (due east.thousand., Kodály, Orff) mentioned in Affiliate four offering sequential learning for children. Kodály in particular spent a great deal of try on developing beautiful singing voices for immature children. Children's voices, later all, are their first instrument—a kid's starting time exceptionally pleasant musical experience is probable to be hearing lullabies from a parent or guardian, and then vocally experimenting with his or her ain vocalization. Kodály graded learning in small steps for the very beginner learners, starting with iii-note songs (sol, mi, la) and expanding gradually to four, five, and half dozen notes and beyond. For the youngest, songs with three notes are an excellent place to showtime, considering these children will not take much difficulty imitating or matching these pitches and can be successful from the kickoff.

I. Music for Children Birth to Three Years Sometime

Music activity for infants and toddlers engages the child'due south aural and physical being. Such age-onetime activities include tickling, wiggling, bouncing, and finger playing.

At this level, musical play creates and reinforces the special personal bond between an developed (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 audio to a pleasurable and intimate act, likewise as introducing the thought 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 activity games advisable for this age group. Continue in listen that almost whatsoever nursery rhyme tin can be used for these activities, as long as they have a steady beat, which luckily about of them do.

Bounces

For newborns to 3-year-olds, having them feel the beat in their bodies, aided by adults, are called "bounces," based on the feel of bouncing a kid up and downward on a articulatio genus or lap.

Bumpity Crash-land

Tommy O'Flynn

Tommy O'Flynn and the former greyness mare (bounce kid on knees)

Went to run across the country fair

The bridge fell down and the bridge fell in (open knees and permit 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 Footling Piggy Went to Market" is another wiggle with which you may be familiar.

The first little pig danced a merry, merry jig

The second picayune pig ate candy

The third picayune pig wore a blueish and xanthous wig

The fourth little sus scrofa was a neat

The fifth little pig never grew to be big

So they called him Tiny Little Andy

Tickles

Tickles involve exactly that—tickling the kid either all over or just in the tum, usually ending in lots of giggles!

Slowly, slowly, very slowly up the garden trail (crawl hands up baby starting from anxiety)

Slowly, slowly, very slowly creeps the garden snail (continue crawling)

Apace, speedily, very chop-chop all effectually the house (tickle all over)

Quickly, quickly, very quickly runs the little mouse (keep tickling)

My begetter was a butcher (brand chopping motions on child's body)

My female parent cuts the meat (make cut motions on kid'southward 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 trivial one shall have a tickle! (tickle child)

One for your nose (tickle child's nose)

And ane for your toes (tickle child's toes)

And ane for your stomach, 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 vocal is the "Eensy, Weensy Spider."

Eensy Weensy Spider

Tapping

For an infant, the parent would take the child'south foot or hand and tap information technology to the beat of the music. If the child can tap past him- or herself, that will work as well.

Cock a Doodle Exercise

English plant nursery rhyme, 1765

Cock-a-doodle doo (tap i foot)

My dame has lost her shoe

My main's lost his trivial stick

And doesn't know what to practise.

Erect-a-putter doo (tap other pes)

What is my dame to do?

Til master finds his fiddling stick

She'll dance without a shoe.

Cock-a-doodle doo (tap both anxiety)

My matriarch has found her shoe

And principal'southward constitute his footling stick

Sing doodle, doodle, doo.

Clapping (Ix+ Months)

Every bit children develop physically, they can clap their hands either together or against those of another. The well-known "Patty Block" is a skilful example.

Patty Cake

Patty block, patty cake, baker's man

Bake me a cake as fast as you lot can

Roll it and pat it and mark it with a "B"

And put it in the oven for baby and me!

Hot Cantankerous Buns

Hot cross buns

Hot cross buns

One a penny, two a penny

Hot cantankerous buns.

Pease Porridge Hot

Pease porridge hot

Pease porridge cold

Pease porridge in the pot

9 days sometime.

Responding to the Beat: Moving to Music

Responding to a musical beat is an innate part of what it ways to be human, and even the youngest children can begin to feel music, either by moving to the trounce or having an developed assist a child move to the beat (Feierabend, 2001).

The simplest thing to do is to notice recordings of quality music and play songs with an even, steady beat and have children move, handclapping, tap, patsch, hit an musical instrument, or walk to that beat.

An extended possibility is to create a story, miming movements that reflect a steady trounce while telling a elementary narrative. For example, a leader begins past miming actions such as teeth brushing, billowy a ball, or eating nutrient from a bowl, and the group imitates them. All movements are washed to the beat out (due east.g., teeth brushing, up down up downwards). At the end of the leader'south plow, the children have to recollect the "storyline."

Lullabies

Cheerio Babe Bunting

English lullaby, 1784

All the Pretty Niggling Horses

African American lullaby

Hush Trivial Babe, Don't Say a Word

American lullaby song

Ii. Music for Children Three to 5 Years Old

3- to v-twelvemonth-olds are capable of singing more complicated songs, doing more complicated games and rhymes, and, of course, capable of more sophisticated listening. They tin can likewise 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 equally irresolute tempos and dynamics. Some vocabulary to utilize when pointing out these concept to younger children include:

• High—Low (pitch)
• Loud—Soft (dynamics)
• Fast—Deadening (tempo)
• Polish—Discrete (articulation)
• Duple—Triple (meter)
• Steady Trounce (tempo)
• Timbre (the quality of sound)

For slightly older children, Feierabend (2001) identifies activities that help children develop spontaneous music ability and original music thinking under his "Arioso" category, likewise as a detailed array of vocal- and motor-based experiences with music.

Feierabend'due south music readiness approach in his series Get-go Steps in Music

An 8-part Music Readiness Curriculum for 3–eight Yr Erstwhile Children by John Feierabend. Copyright 2014 GIA Publications, Inc. 7404 S. Stonemason Ave., Chicago IL 60638 www.giamusic.com. All rights reserved. Used by permission.

Singing/Tonal Activeness Categories
one. Pitch Exploration/Vocal Warm-upwards	Discovering the sensation of the singing vocalization Song glissandos
2. Fragment Singing	Developing contained singing Repeat songs Call-and-response songs
3. Unproblematic Songs	Developing independent singing and musical syntax Iii–five-note songs Expanded range
4. Arioso	Developing original musical thinking Spontaneous created songs past the child
five. Vocal Tales	Developing expressive sensitivity through listening Ballads for children
Move Activities Categories
six. Motility Exploration/Warm-up	Developing expressive sensitivity through movement Movement with and without classical music accessory
vii. Movement for Form and Expression	Singing/speaking and moving with formal structure and expression Not-locomotor (finger plays, activity songs, circle games, with recorded music) Locomotor (circle games, with recorded music)
8. Vanquish Movement Activities	Developing competencies in maintaining the trounce in groups of two and three Child-initiated beat motions Non-locomotor or locomotor Teacher-initiated crush motions Not-locomotor or locomotor

Song Activities for Three to Five Years Quondam

Preschoolers (three-, four-, and 5-yr-olds) have a range of six notes between a middle C and the A higher up it. Their most comfy notes are in the middle between Due east and F.

The goal is to take them not sing also far below the staff or too depression in their voices, and to non push or strain their voices likewise far above this range either. Singing should exist low-cal, in the child's head voice, never forced or pushed, and beautiful music-making should be stressed.

Initially, children demand 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 expert for children to brand low-cal, airy, and smooth sounds in their head vocalization as they find their individual sound.

Begin with some vocal exploration with speech, just getting them to loosen up and find their loftier, light head voice.

Voice exploration spoken communication exercises

1. I take my voice upward loftier

I take my voice up high (start depression, and slide voice up)

I bring my voice down depression (Commencement high, and slide voice downwardly)

I ship my phonation out into space (Cup hands around mouth and project)

I whisper all around, whisper, whisper (Whisper line and whisper to neighbors)

2. Bow wow

Bow wow, says the dog (medium voice)

Meow, meow says the cat (high voice)

Grunt, grunt says the hog (depression vocalism)

Squeak, squeak says the rat (very high)

three. Elevator

Take the children pretend their vocalization is an elevator sliding upwards and down betwixt floors. They can accompany their song exploration with physical moving up and down as well, or the teacher may want to have a focal object like a puppet moving upwardly and downwards that they tin can follow with their voice.

Pitch matching songs and games

Begin with simple but interesting songs with small ranges. These songs can exist varied and repeated, and help children sing accurately. "Who's Wearing Blue" is an excellent warm-upward or opening action in a music course. What did the children wear? practise? see? There are countless, artistic opportunities to inquire them about their lives in a few notes.

Sol, mi, la songs

Who's Wearing Blueish?

We are Dancing in the Wood

Mi, re, do songs

Hot Cantankerous Buns

English language traditional street cry, 1733

Simple songs in a express range

Rain, Rain Go Abroad

Traditional children's song, 17th century

Snail, Snail

Children form a unmarried line, holding on the waist of the child in front of them. The kid at the front end of the line is the snail's caput, who holds up and wiggles both index fingers on the forehead representing the snail's eyestalks. The line shuffles effectually the room imitating the slow, fluid motions of a snail.

Picayune Sally Water

Traditional American circle game vocal

See Saw, Margery Daw

English nursery rhyme, 1765

I Have Lost my Closet Cardinal

American folk song

Accompanying game for "I Have Lost my Closet Cardinal": Children sit in a circle. One child hides a central in their hand while another child walks around the circumvolve trying to judge who has the key while all sing Verse 1. Subsequently finding the key, all sing Poetry two. That person and so becomes "it" and another is called to hibernate the key.

Au Clair de la Lune

French folk song

Ring Around the Rosy

English language vocal attributed to 1665 Blackness Plague, but sources only go back to 19th century

Sally Go Round the Sunday

Rocky Mount

Appalachian folk song

No Bears Out Tonight

One kid is the "conduct" who hides while others count ane o' clock to midnight.
Children search for the comport, then run back to "dwelling" when the bear is institute.

The Mulberry Bush-league

English plant nursery rhyme, 1840s

Instrumental Music Activities for Three to 5 Years Old

Loftier/Low Pitches: You or a kid plays a low instrument (drum, bass xylophone, etc.) and children answer by moving in low space. Then endeavour the aforementioned for high-pitched instruments (triangle, tambourine, etc.), having them move through loftier space.

Fast/Wearisome Tempo and Loud/Soft Dynamics Game: Similar to above, play instruments in different tempos and dynamics. Switch and mix them upwardly (fast and loud, soft and slow, fast and soft, dull and loud), and if the child doesn't switch, he or she is out.

Contrasting Timbres: Assign a dissimilar movement to unlike timbres. For example, a wood block corresponds to a hop, a xylophone glissando is a leap, a shaker means to milkshake. Create an orchestra with half of the class playing and the other half responding. For more advanced children, create a choreographed and equanimous slice from the game.

Musical Simon Says: Review concepts learned such as loud/soft, loftier/depression, or fast/deadening. 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 virtually basic forms of human expression, and both children and adults employ poetry, rhymes, and games to tell stories, remember history, fantasize, dream, and play. For young children, the rhyme is magical as they start encounter the powerful sound of rhyming words. Words create rhythmic patterns that obsess 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 alive through all of their senses and their whole body. Adding motion helps reinforce the linguistic content of the rhyme or vocal. Movement and rhymes build cognitive abilities in terms of sequencing physical and linguistic action, simulated, and internalization.

Calculation Movement to Rhymes

At that place are many types of movement to add to rhymes and games. There are narrative movements, which are mimetic actions that assistance to illustrate certain words and tell the story (east.one thousand., "I'm a Little Teapot"); abstract movements, which do not carry any specific linguistic meaning, such as waving artillery 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 together narrative movements to most children's rhymes every bit these poems ofttimes tell some type of story. Consider the rhyme "I'm a Trivial Ducky." Adding pond and flapping motions would be an obvious activity to add together. Narrative motions not only bring the story to life, but also significantly help children to think the words to a rhyme or vocal.

I'm a footling ducky swimming in the h2o

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'thousand a little ducky swimming in the h2o

Flap, flap, flap

Abstract Motions and Rhythmic Motions: Almost whatsoever non-locomotive or fifty-fifty some locomotive motions would piece of work hither. Abstract motions can easily be rhythmic every bit well (east.one thousand., swaying to the beat, nodding the caput to the beat, tapping the rhythm of the words or beat, etc.).

Walking to the Beat out: While a seemingly uncomplicated-sounding exercise, walking to the beat requires a physical sensation and near-abiding mental and physical adjustment to the walking stride in order to fit the beat and tempo of the rhyme.

Case: Have any standard, well-known plant nursery rhyme. Walk to the beat while saying the rhyme. Terminate precisely on the last beat of the rhyme and freeze!

Avant-garde: This game can be further developed for older or more advanced children. One time they are walking to a steady trounce 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 notwithstanding cease on the final trounce! This helps students internalize the beat and phrases of the song.

Steady Beat Games

Pass the Beat: Begin with a elementary rhyme or song. While sitting in a circle, accept students pass a beanbag around the circumvolve on the trounce. If the kid misses, they are "out" or "in the soup" in the middle of the circle.

Billowy Trounce: Another game is to bounce a ball to the beat of a elementary 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, 1000, 50 song

Bounce Loftier

Action Songs

Head and Shoulders (Key of F)

Shoo Wing

American folk vocal, 1863

Exercise You Know the Muffin Human being?

English folk song, 1820

Did You Always See a Lassie?

American folk song, late 19th century

Go to Sleep

If You're Gear up for Music

Rhymes

Deedle, Deedle Dumpling

Deedle, deedle dumpling, my son John

Went to bed with his stockings on

I shoe off and 1 shoe on

Deedle, deedle dumpling, my son John

Oliver Twist

Oliver Twist, Twist, Twist

Can't do this, this, this

Touch his nose, nose, olfactory organ

Touch his toes, toes, toes

And around he goes, goes, goes

Rub, Rub

Rub, rub, rub

________'south in the tub

Rub her/him dry

Hang her loftier

Rub, rub, rub

Jingle Jive

Jingle, jingle, jingle jive

Move until you count to five

1, 2, iii, 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 Close Them

Open, shut them, Open up, close them, (open and shut both easily)

Give a trivial clap, clap, clap (clap on each "clap")

Open, shut them, Open up, shut them, (open and close both hands)

Put them in you lap, lap, lap (tap open easily on thighs)

Creep them, pitter-patter them, creep them, creep them, (crawl hands upward to chin)

Right up to your chin, chin, mentum (tap on each "chin")

Open wide your petty mouth (open oral cavity)

Simply do not put them in, in, in (tap on each "mentum" again)

III. Musical Developmental Milestones in Immature Children

Although we might not have idea of it, children'due south linguistic development is related to their musical development. Inquiry shows a direct correlation between the evolution of children'south speech and their musical/singing power, with music skills correlating significantly with both phonological sensation and reading evolution (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 evolution have a loftier correlation in terms of development, information technology is helpful to know what activities children are developmentally set for musically, and when are they ready for them. For instance, near 4- and even five-twelvemonth-olds are not yet able to play a steady trounce on an musical instrument. Expecting them to volition only frustrate both the children and yourself. The post-obit chart indicates musical developmental ability past age, and will guide you in introducing musical skills and textile that children are developmentally prepare for.

Musical Abilities by Age.

Age	Musical Behaviors	Appropriate Activities	Limitations
0–i year old (Infants)	Bask hearing: Melodic profile in phonation Being sung to Hearing a variety of styles of music	Savour: Being rocked, patted, and stroked to music Responding to rhythmic play and body touch songs Billowy or jumping to music Experimenting with gestures, clapping, and pointing Playing with rattles and bells	Cannot use language or sing
ane–2 years one-time (Toddlers)	Are aware of musical sounds Demand repetition Delayed response during music time	Create their own made-up songs Sing elementary 1–2 discussion songs Relish 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 Motion and answer to signals and sound and silence games	Cannot sing "in tune" but can maintain melodic contour Developmental Bug: "Centering" (pre-operational phase) tin prepare a child's attention on one perceptual feature. Difficulty seeing the larger transformational picture of some activities as attention is diverted by one feature.
three-yr-olds	Prefer to sing beginning on their own pitch Increasing ability to match pitches Sense of musical phrasing Increasing expressiveness in voice Discover it easier to pat thighs rather than clap Enjoy: Manipulating objects while creating songs Repeated songs Having their own movements/ideas copied past others	Reproduce recognizable songs Explore musical sounds with their voices and instruments Random exploration of xylophones, percussion instruments, and voices Maintain steady beat Handle mallets and drum beaters Motion spontaneously to music Respond to sound and silence games	Cannot contrary 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 Motion/motions Cannot answer to formal music note (i.e., notes on a staff)
4-year-olds	Awareness of beat, tempo, book, pitch, and form Sings a wide variety of songs Sings in D–A range Critique their own song-making efforts Aware of tonal center	Perform individualized musical exploration and play; big motor motility is best. Have the power to step to beat Repeat short movement sequences, simple rhythms, repeat, pitch contour, melodic fragments, formality within phrases, key stability, and categorization of instruments Symbolic "pretend" play, songs with stories, acting/pretending Tin 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 Take trouble discriminating between musical genres
4–5-twelvemonth-olds	Able to allocate sounds as: High-low Loud-soft Fast-ho-hum Smooth-disconnected (legato-staccato)	Tin can reproduce sounds and patterns vocally and with instruments Able to play simple, repeated instrumental accompaniments to songs and improvise on unproblematic classroom instruments Comeback in stepping to the beat v-year-olds can acquire simple dance steps Organize sounds that express a story or accompany a song Prefer: Action songs and finger plays (imagination) Silly word and rhyming songs	Require many opportunities to match pitches and order direction of musical sounds in terms of going upwards, going down, and staying the same

Activity 8B

Endeavor this

Based on the chart above, answer the following in terms of what age is appropriate for each activity.

i. Analyzing/hearing the different sections of a vocal.

2. Responding vocally using different tones and inflections.

iii. Singing the song "I'm a Nut."

4. Echoing/responding to short, clapped rhythms.

v. Playing a steady beat out on the xylophone or other percussion musical instrument.

6. Seeing abstract images and performing them either on vox or instruments.

Resources

Feierabend, J. (2011). Music and early on childhood. Chicago: GIA Publications.

Songs for Pedagogy: Using Music to Promote Learning, Gari Stein http://www.songsforteaching.com/teachingtips/benefitsofmusicwithyoungchildren.htm

Early Babyhood Music and Movement Association (ECMMA) https://ecmma.org/

Children'due south Camp Songs https://www.care.com/c/stories/3343/50-keen-camp-songs-for-kids/

Music Notes: Music You Can Read http://musicnotes.internet/SONGS/02-SARAS.html

Preschool Rhymes for Cocky and Family Themes (finger plays, action poems, songs and nursery rhymes) http://www.preschoolrainbow.org/family-rhymes.htm

References

Anvari, Southward., Trainor, L., Woodside, J., & Levy, A. (2002). Relations among musical skills, phonological processing, and early reading ability in preschool children. Periodical of Experimental Child Psychology, 83(2), 111–130.

Chen-Hafteck, 50. (1997). Music and language evolution in early childhood: Integrating past research in the two domains In Early Kid Development and Intendance 130 (1): 85-97.

Deliège, I. and Sloboda, J. (Eds.). (1996). Musical beginnings: Origins and development of musical competence. Oxford: Oxford University Press.

Feierabend, J. (2001). Offset steps in classical music: Keeping the shell. Chicago, IL: GIA Publications.

Feierabend, J. (2006). Start steps in music for preschool and beyond : The curriculum. Chicago, IL: GIA Publications.

Gordon, Due east. E. (2007). Learning sequences in music: A gimmicky 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. Due east. (2007). Lecture cds for learning sequences in music: A contemporary music learning theory. Chicago, IL: GIA Publications.

Gordon, E. (2000). Leap right in: Grade i 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 Printing.

Jensen, E. (1998). Teaching with the encephalon in heed. Alexandria, VA: ASCD Publisher.

Hashemite kingdom of jordan-DeCarbo, J., and Galliford, J. (2011). The consequence of an age-appropriate music curriculum on motor and linguistic and nonlinguistic skills of children 3 to five years of age. In S. Burton & C. Taggart (Eds.), Learning from young children: Research in early babyhood music (pp. 211–230). Lanham, Doctor: MENC and Rowman Littlefield.

Moore, R. Southward. (1991). Comparison of children's and adults' song ranges and preferred tessituras in singing familiar songs.Bulletin of the Council for Inquiry in Music Education, Winter, xiii–22.

Reynolds, A., Bolton, B., Taggert, C., Valerio, W., & Gordon, Due east. (1998). Music play: The early childhood music curriculum guide. Chicago, IL: GIA Publications.

Suzuki, Southward., and Nagata, M. L. (1981). Ability development from historic period zippo. Athens, OH: Suzuki Method International.

Turner, Yard. E. (2008). Heed, move, call back: Communicating through the languages of music and creative movement. Retrieved from http://www.listenmovethink.com/#intro

Vocabulary

abstract movements: movements do not carry any specific linguistic meaning, such equally waving artillery or jumping

articulation: the arroyo to playing a note and manner of playing in terms of its smoothness, disengagement, accents, etc.

dynamics: how loud or soft the music is

meter: meter determines where the stresses in music are, or how music stresses are grouped. A triple meter, for example, volition accept groups of three with a stress on the first beat of the group. A duple meter will accept groups of ii with a stress on the commencement beat of the group.

narrative movements: mimetic actions that assist to illustrate sure words and tell the story (e.chiliad., "I'thou a Little Teapot")

pitch: how high or low a note is

rhythmic movements: movements that tin either emphasize the trounce of the rhyme or the rhythm of the text, such equally clapping or body percussion

tempo: how fast or slow the music is played

timbre: the quality of audio

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Source: https://milnepublishing.geneseo.edu/music-and-the-child/chapter/chapter-8/

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