A PUBLICATION OF THE EARLY CHILDHOOD MUSIC & MOVEMENT ASSOCIATION
Volume 3
Number 1
Winter 2008
Featured
In This Issue
Infant Reflexes: Fast
Track to Motor Skills
by Eve Kodiak, M.M.
Movement, for
Music’s Sake
by Alison M. Reynolds, Ph.D.
Research Review
by Joyce Jordan-DeCarbo, Ph.D.
Book Review
by Samantha Shoemaker
ECMMA
2008 International
Convention News
Connecting Music and Developmental Domains
As Assessed in Preschoolers
FINE AND GROSS MOTOR MOVEMENT
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for Perspectives!
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Send articles, photos and suggestions to:
Editor - Suzanne Burton, Ph.D.
[email protected]
302-831-0390 • Fax 302-831-3589
c/o ECMMA Publications Office
805 Mill Avenue, Snohomish, WA 98290
(360) 568-5635
Perspectives is the publication of the Early
Childhood Music & Movement Association, Inc.
ECMMA Editorial Chair, Jan Boner;
Perspectives Editor, Suzanne Burton, Ph.D.,
G r a p h i c s D i r e c t o r, C a m m y F a r o n e ;
Content Coordinator, Judith Sullivan, Ph.D.;
Consulting Editor, Joy Galliford, Ph.D.
Cover Photo: Courtesy of photographer
Heather Dahlby, HD Portraits, Marietta,
Georgia.
Through this journal, the ECMMA
(1) provides a network of communication,
support, and information among the members
of the ECMMA, (2) encourages teacher
development by fostering a free exchange
between professionals in the field of music and
other professionals in the field of early
childhood development, and (3) advocates for
music in early childhood by supporting
education of parents, classroom teachers, and
administrators.
© 2008 Early Childhood Music and Movement
Association, Inc. All rights reserved. All quoted
and reprinted material and music must be
cleared with copyright holders before
submission to this journal.
Send articles, book reviews, parent education
pieces, letters, photos and suggestions to
Editor - Suzanne Burton, Ph.D.,
[email protected] or mail, c/o ECMMA
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Perspectives
A Publication of the Early Childhood Music & Movement Association
Volume 3 Number 1
Winter 2008
In This Issue
Features
1
Notable Notes for Parents & Teachers
“Music and Motor Development in
Young Children”
by Diane Lange, Ph.D.
4
Infant Reflexes: Fast Track to Motor Skills
by Eve Kodiak, M.M.
9
Movement, For Music’s Sake
by Alison M. Reynolds, Ph.D.
14
Research Review “Are There Pre-Existing Neural, Cognitive,
or Motoric Markers for Musical Ability?”
by Joyce Jordan-DeCarbo, Ph.D.
20
Book Review
“Movement Stories for Children Ages 3-6”
by Samantha Shoemaker
21
2008 International Convention News
by Jane Revkin - Convention Chair and
Rick Townsend - ECMMA Managing Director
Departments
2
President’s Letter
by Jan Vidruk
3
Letter from the Editor
by Suzanne Burton, Ph.D.
24
Chapter News
ECMMA Welcomes Member From Switzerland
Interview by Laurie Mueller - NE Regional Rep
25
Regional Greetings
Back
Cover
ECMMA New Members & Certifications
N
Notable Notes for Parents & Teachers
N
Music and Motor Development In Young Children
Submitted by Diane Lange, Ph.D.
Associate Professor and Area Coordinator of Music Education - University of Texas at Arlington
Published in ECMMA Perspectives — “Fine and Gross Motor Movement” Issue
Volume 3 Number 1 Winter 2008
EARLY CHILDHOOD
A S S O C I ATI O N
Readers are
encouraged to
reproduce and
distribute this
“Notable Notes”
bulletin for
educational
purposes.
For more
information
contact:
ECMMA
Administrative
Office,
805 Mill Avenue,
Snohomish, WA
98290
(360) 568-5635
email:
adminoffice@
ecmma.org
www.ecmma.org
Gross Motor Development
Fine Motor Development
Parents are thrilled when their child
reaches a developmental milestone like rolling
over, crawling, or walking. These gross motor
skills are usually developed in a progression
from lifting the head, rolling over, sitting up,
crawling, to finally walking. Early childhood
music teachers can guide children’s acquisition
of gross motor skills when singing songs and
performing chants. Encouraging children to
move with continuous fluid movement (moving
arms, legs, and torso in large circles and flowing
movements) or engaging in activities that
incorporate tiptoeing, jumping, or galloping
support gross motor skill development. These
movements engage children in the world of play
and form the beginning of stylistic movement.
The following activities assist the development
of gross motor skills:
Fine motor skills are “…coordination of
small muscle movements which occur…in
the fingers, usually in coordination with
the eyes. In application of motor skills of
hands (and fingers) the term dexterity
is commonly used” (Retrieved from
http://en.wikipedia.org/wiki/Dexterity). Fine
motor skills can also be developed in an early
childhood music setting. Props, such as rhythm
sticks, chiquitas (small egg shakers with
handles), and puppets help children develop
fine motor skills, which will allow them to hold
a fork correctly or write with a pencil. The
grasping that is required when holding the
rhythm sticks or chiquitas is beneficial for
children to develop the use of both hands.
The following activities develop fine motor
coordination:
•
Give children scarves and have them
move with continuous fluid movement
to live or recorded music that has a
flowing feeling.
•
•
To develop body awareness, play an
upbeat piece of recorded music.
Intermittently, push the pause button
having the children move to the music
and freeze when the music stops.
•
Blow bubbles and have children move
through them with flow and then, have
them pop them.
Rhythm Sticks
° Pretend to paint the floor with the sticks
° Pantomime making cookies with
rhythm sticks
§ Pretend the sticks are spoons
(stir and scoop the cookie dough!)
° Roll the sticks
§ Use the palms of the hands to move
the sticks across the floor
§ Use the fingertips to manipulate
the sticks
•
•
Have children pretend that they are
galloping horses on a farm. Play a
piece of music that encourages
galloping movement.
Chiquitas
° Drop them and pick them up
° Shake them
•
Puppets
° Use child-sized puppets for echoing
rhythm or tonal patterns
•
•
Create another scenario in which the
children pretend to tiptoe past a
sleeping lion to get a cookie from the
other side of the room.
Perform a song or chant about “rolling”
and roll balls back and forth. Form
a circle and roll several balls across
the circle.
1 — Perspectives - Vol. 3 No. 1 - Winter 2008
As one can deduce from the above activities, play is fundamental for the development of
children's gross and fine motor coordination. In
a fun and natural environment children will
develop motor skills that will serve them both
musically and for life.
President ’s
Letter
Jan Vidruk
President ECMMA
[email protected]
about ECMMA. Keep your eyes on the next several issues
of Perspectives as our new editor, Dr. Suzanne Burton, will
continue to improve the content and enhance the overall
vision of the publication. The changes to the publication and
website are designed to offer more opportunities for our
Greetings! Each day during my classes with young
members to grow professionally. Take a look at the ECMMA
children I am reminded, “A child learns to move and moves
online Forum! The monthly moderators of the Forum
to learn.” At the Baltimore International ECMMA
facilitate wonderful conversations and provide
Convention Opus ’98, the “M” for Movement was added to
opportunities for members to network. Thank you to all
our name. I was thrilled to find an organization that mirrored
volunteers — you help make ECMMA what it is!!
my belief that movement is such an important component
of child development.
The Board is currently recruiting volunteers for the
following committees: By-Laws, Certification, Chapters,
While reflecting on “teaching” movement, with or
Commercial and Institutional Relations, Editorial, Finance
without music, I took a moment to reflect on all the changes
and Fundraising, Membership Outreach, Nominations, and
during the last twenty years. I can’t help but wonder if TV,
Workshop Standards. Please contact me for more
along with all the new technology has robbed children of
information. A new Board will take over in July at our
their “childhood.” Children used to be able to run and play
International Convention and we hope you will be part of our
outside for hours year round — winter in Canada and the
enthusiastic group of volunteers. It is a very rewarding
northern USA just meant warmer clothes — with little adult
opportunity to serve the organization.
supervision or direction. Now it seems with all the flat
This fall I was privileged to attend the Atlanta chapter’s
screen activities (TV, computer, video games), safety
meeting. I met many wonderful and dedicated teachers.
concerns, and more parents at work there isn’t much time
If you are thinking of starting a chapter in your area the
for this free play outside that is so crucial to motor skill
paper work has been simplified! Our First Vice President,
development. I must wonder if we need to help children
Mary Louise Wilson ([email protected]), is ready
more now, as they develop their motor skills.
to help. All you need to start a chapter is a few teachers to
In this issue of Perspectives you will find fascinating
articles that focus on fine and gross motor domains of child
meet and share ideas, or participate in a workshop with an
area professional!
development. Music/movement curriculum is a natural way
Don’t forget to put Rhode Island on your calendar for
to expose children to fine and gross motor activities. Enjoy
July 3-6, 2008. Jane Revkin and her team have an amazing
the articles by Eve Kodiak and Alison Reynolds as they
international convention planned. Look for details in this
share their views on this topic.
issue. Every opportunity to network, with colleagues from
There are many new and exciting things happening at
around the country and the world, proves to be energizing!
ECMMA right now. Our new Managing Director, Dr. Rick
Townsend, is working with ECMMA board committees to
Musically yours,
guide the growth of the website and help people learn more
Jan Vidruk - President ECMMA
Vol. 3 No. 1 - Winter 2008 - Perspectives — 2
Letter From
The Editor
Suzanne Burton, Ph.D.
Perspectives Editor
[email protected]
What a pleasure I have in presenting this Winter 2008 issue of Perspectives to
you. Not only has Cammy Farone performed her “graphics magic,” you will also
notice informative articles on fine and gross motor movement as you peruse its
pages. Take a look at the article written by Eve Kodiak on infant reflexes, complete
with corresponding music and activities. Learn how to musically build upon children’s
fine and gross motor movement as they engage in play from Alison Reynolds. You will
find the “Notable Notes” information and activities created by Diane Lange easy to
incorporate into your teaching. (Be certain to share “Notable Notes” with others –
I have already made copies to give to my students’ parents and caregivers!)
From Samantha Shoemaker comes a book review on “Movement Stories” — a
book that everyone will want to own after reading her review! On page 14, Dr. Joyce
Jordan DeCarbo highlights a fascinating study in which researchers investigated
whether there are pre-existing neural, cognitive, or motoric markers for musical
ability. Of course, you will also want to read the Regional Greetings in order to stay in
step with what is happening in early childhood music and movement in your area. On
an international note, be certain to read Laurie Mueller’s interview of Laura Camacho,
who teaches early childhood music in Switzerland.
As we look toward the fine International ECMMA Convention that Jane Revkin
and her team are organizing for this summer, we have included information regarding
the excellent keynote presenters. Be sure to look for the Rhode Island Fun Facts
interspersed throughout this issue!
Finally, this issue would not have been possible without the many contributions
and behind the scenes work of ECMMA members. I applaud your passion for early
childhood music and movement!
Suzanne Burton - Perspectives Editor
• State Motto: Hope
• Known as the Ocean State.
• Rhode Island is 1,214 square miles and has over
400 miles of coastline.
• The first discount department store in the United
Fun Facts
About
Rhode Island
Site of the ECMMA
2008 International
Convention
July 3-6, 2008
States, 'Ann and Hope,' was opened in Rhode Island.
• Rhode Island was home to the first open golf
tournament (1895).
• In 1774, Newport, Rhode Island, hosted the first
circus in the country.
For more “Fun Facts” and Convention news see Pages 21-23.
3 — Perspectives - Vol. 3 No. 1 - Winter 2008
ECMMA
Advisory Board
John Feierabend
Director
The Hartt School
University of Hartford
Donna Brink Fox
Professor
Eastman School of Music
University of Rochester
David Gerry
Registered Teacher Trainer
for the American and
International
Suzuki Association
Edwin Gordon
Educator, Researcher
and Author
University of South Carolina
School of Music
Lorna Lutz Heyge
President of the Foundation
for Music
and Publisher of Musikgarten
Joyce Jordan-DeCarbo
Professor and Chair
University of Miami
Frost School of Music
Paul Madaule
Director of the Listening Center
Toronto, Ontario
Grace C. Nash
Music Education
specializing in Orff Techniques
Carol Schroeder
Writer associated with
Children and the Arts
Wendy Sims
Professor and Director of
Music Education
University of Missouri Columbia
Cynthia Taggart
Professor, School of Music
Michigan State University
Sister Lorna Zemke
Director of Early Childhood
and Prenatal Music Program
Silver Lake College of the
Holy Family
Ken Guilmartin
Composer, Author,
Presenter, Teacher
Developer of Music
Together Program
Infant Reflexes:
Fast Track to Motor Skills
By Eve Kodiak, M.M.
Author, Consultant and Creator of “Sound Intelligence”
It’s almost impossible to make music with children without moving. Children
naturally wiggle and shake and clap and jump, run and skip and play. And music
naturally inspires all of us to move along.
When I teach my SOUND INTELLIGENCE™ workshops, I am often asked,
“Isn’t it enough just to have the kids move? Why are some movements better than
others?” Most movement is good movement. But, neurologically speaking, all
movement is not created equal. There are certain movement patterns that can
actually be a fast track to all aspects of development: cognitive, social, and gross
and fine motor skills. These movements are based on infant reflexes.
Eve Kodiak, M.M.,
Infant reflexes are a universal language of movement that all babies inherently
holds degrees from
know. Starting almost with conception, specific movement patterns appear,
Harvard University and
the New England
become active, and then integrate into a larger movement scheme. Infant reflexes
allow babies to instinctively perform necessary movements of turning in the womb,
wiggling out, taking their first breath, and sucking and swallowing their first meal.
Conservatory of Music,
Stimulated in the medulla oblongata, one of the most ancient parts of the brain,
and a kinesiology license
these reflex movements are automatic: such as when a baby’s head turns to one
from the Educational
side, the arm on that side flies out. In similar fashion, when the doctor hits your knee
Kinesiology Foundation.
with a little hammer your foot flies out.
Eve is the creator of
The reflex that links head and arm movements is called the Asymmetrical Tonic
Neck Reflex (ATNR). ATNR is not limited to babies; adults can have an active
“Sound Intelligence,”
ATNR. You may have experienced this “arm-jerk” reaction while driving on the road:
a new approach to learning
The driver in front of you looks to one side—and his car swerves as his arm
which combines music and
automatically turns the wheel in that direction! The ATNR is also key for language
developmental movement.
recognition and development—as the head turns to the left, sound enters the right
Her first CD/Book set,
“Rappin' on the Reflexes,”
is being used on five
ear and activates the language centers on the left side of the brain. Frequently,
gross and fine motor problems can be correlated with active infant reflexes. In fact,
many children with dyslexia test positive for an active ATNR.
The Robinson Grasp Reflex is a specific sequence of movements which
continents. She is a
determine the way a baby’s hand opens. For the first week of life the thumb is
frequent consultant,
tucked inside the hand. Then, the thumb comes out in front of the fist—up until now
teacher, and performer.
Eve Kodiak can be emailed
at [email protected].
the hand functions only as the end of the arm. When the thumb gets liberated to
wiggle on its own, the opposable thumb is born! Next, the index finger and thumb
create a pincer grip, and finally the rest of the fingers free up to move. The
integration of this reflex is key to the fine motor skills necessary for a person to
comfortably hold a pencil, use tools, or play an instrument.
The Leg Cross Flexion-Extension Reflex is activated when we step on a hard,
sharp, or unexpected object. The reflex requires us to step down into the pain, while
the other leg quickly bends and places itself to take our weight. If we simply recoiled,
Vol. 3 No. 1 - Winter 2008 - Perspectives — 4
without first placing the opposite leg, we might easily lose
reflex development, as can lack of movement. For example,
our balance. An unintegrated Leg Cross Flexion-Extension
babies who spend too much time in car seats don’t get the
Reflex can be one reason for chronic falling.
chance to develop their movement potential. Babies who
In normal development, the above reflexes get
aren’t encouraged to play with objects don’t develop their
“practiced,” and become integrated into the higher centers
manipulative skills. Because movement stimulates the
of the brain. Our fingers are freed up to move easily and at
growth of neural nets that connect the parts of the brain and
will, and we can move our heads without a corresponding
body, lack of appropriate movement can create
movement of our arms. Yet, sometimes the natural
developmental delays. By going back and “practicing” the
processes get interrupted. Birth injuries, allergies, drugs,
reflex movements, we can build the neural pathways that
media overload, and emotional trauma can block normal
stimulate natural development processes.
Baseball Boo
gie
“Baseball Boogie”
Asymmetrical Tonic
Neck Reflex (ATNR)
The ATNR can be seen when the
head turns to one side and the sameside arm and leg automatically extend.
The opposite sides of the body begin to
flex, or “curl up,” a natural occurrence
that happens as we begin to roll over.
“Baseball Boogie” helps to develop eyehand coordination and facilitates
cognitive processes such as understanding, remembering, speaking,
reading, writing, math skills, deductive
reasoning, and creative thinking.
“Baseball Boogie” also helps to relax
the mind for sleep. Baseball is a thinking
game. The players spend most of the
game watching, waiting, and
strategizing about the movements of a
ball and the other players. In baseball,
turning the head precedes reaching
with the hand.
Noticing the effects of
“Baseball Boogie”
Turn your head slowly to one side.
Does your arm want to go with it?
Turn your head slowly to the other side.
Do you feel a difference? Do you prefer
one side to the other?
Music adapted from the CD/book set “Rappin' on
the Reflexes” by Eve Kodiak. Music and photos
courtesy of Eve Kodiak.
5 — Perspectives - Vol. 3 No. 1 - Winter 2008
Eve Kodia k
© 2008 Eve Kod
Look down to the right – grab that grounder,
Look up to the left and field that fly.
Look right! Look left! It’s comin’ down the middle.
Catch that ball, and throw it up high.
(Spoken): Now for some batting practice:
Look to the left – swing that bat ‘round,
Look to the left – swing it once again,
Look to the left – Crack! Out of the ball park!
Never gonna see that ball again.
(Spoken): Back in the outfield:
Look down to the left – grab that grounder,
Look up to the right and field that fly.
Look left! Look right! It’s comin’ down the middle.
Catch that ball, and throw it up high.
(Spoken): Now bat as a lefty!
Look to the right – swing that bat ‘round,
Look to the right – swing it once again,
Look to the right – Crack! Out of the ball park!
Never gonna see that ball again.
iak
Shy?
Eve Kodiak
“Shy?”
Robinson Grasp Reflex
The Robinson Grasp Reflex is seen
over time in a particular sequence as
the thumb and fingers become liberated
from the newborn’s first fist. “Shy?”
helps develop fine motor coordination
for writing, drawing, and other activities
that require finger dexterity. “Shy?”
refines cognitive abilities and encourages freedom in communication.
Teaching Tips
“Shy?” can be performed solo
between the two hands, each in
dialogue with the other. It can also be a
dialogue between two people. Use one
hand from each person – or create a
four-person conversation, using two
hands apiece. To end, the two participants can shake each other’s hands. In
a group, “Shy?” can be performed by
two teams, each taking one half of the
dialogue. “Shy?” can, of course, be
done in unison, each person performing
both parts.
Noticing the effects of “Shy?”
1. Pick up a pencil. How does it feel in
your hand? Do you want to write
with it? Are you able to control it with
a light and comfortable grip? Write.
2. Go through the stages of the
Robinson Grasp Reflex. Hide your
thumb in your fingers. Bring it out
front. Move it to the side and wiggle
it. Liberate your index finger and
press it against your thumb. Make
the “OK” sign and release the other
fingers.
3. Now, pick up the pencil again. Do
you notice any difference in your
grip? Write a few words. How does
it feel? Has your handwriting
changed?
© 2008 Eve Kodiak
1. “I’m shy.”“Me, too.”
Make a fist with your thumbs inside.
Waggle hands alternately.
2. “Think I’ll take a peek.”“Me, too.”
Bring your thumbs out in front of your fingers.
Waggle alternately.
3. “Think I’ll say hello.”“Me, too.”
Move your thumbs out to the sides.
Waggle alternately.
4. “Hi, how are you?”“Fine, and you?”
Pinch your thumb and pointer finger together.
Alternately open and close them to talk.
5. “I’m great!”“Me, too!”
Make a circle with your thumb and pointer
finger and let the other fingers wave.
6. “Let’s shake!”“Me and you!”
Finally, bring your hands together and hook fingers.
Music and photos courtesy of Eve Kodiak.
Vol. 3 No. 1 - Winter 2008 - Perspectives — 6
Reflex movements are good for all of us, whether or not
such songs. “Baseball Boogie” (page 5) uses the
we may have “special needs.” They feel good and they can
Asymmetrical Tonic Neck Reflex, which is specific for eye-
enhance performance. What better way to integrate the
hand coordination. “Shy?” (page 6) addresses the
reflexes than through songs? Within this article are three
Robinson Grasp Reflex, and is specific for coordinating the
fingers and hand. “Step Down, Sink In” (below) works
ink
Step Down, S
In
with the Leg Cross Flexion-Extension Reflex,
Eve Kodiak
indispensable for balancing the weight from one leg to
the other. Although I have chosen these reflexes for their
importance in acquiring gross and fine motor skills, a
plethora of other issues are also addressed through
them, especially cognition and communication.
Conclusion
Much of the information available on infant reflexes
seems impenetrably technical. But, as you begin to
become more conscious about developmental
movement, it’s important to remember that you already
know it. Because infant reflexes are a universal
“Step Down, Sink In”
The Leg Cross Flexion-Extension Reflex
© 2008 Eve Kod
Chorus
Step down, sink in, shift to the other foot
Step down, sink, to the other once again!
Step down, sink in, shift to the other foot
Step down, sink in, to the other once again!
Verse 1
Walking sure and walking free,
Arms and shoulders, hips and knees!
Walk in the daytime, walk at night,
Walking makes me feel all right!
Chorus
Verse 2
Love my honey, love him so –
Watch him sashay down the road.
Love my baby, love her so –
Watch those hips and shoulders go!
Chorus
Create your own verses!
7 — Perspectives - Vol. 3 No. 1 - Winter 2008
iak
Touch the arch of a baby’s foot. Notice the
other leg bend, and then stretch. This is the
action of the Leg Cross Flexion-Extension
Reflex which forms our awareness that we
have two legs. Every time there is
communication between the legs, neural
signals run across the brain from hemisphere to
hemisphere. “Step Down, Sink In” helps
develop balance, secure locomotion, and ease
in cognitive processing.
Noticing the effects of “Step Down, Sink In”
1. Stroke the arch of one bare foot. Do you
notice a response in the opposite leg?
Switch feet. Does this leg respond the
same way?
2. Stand. Distribute the weight evenly
between your feet. Now, press down into
one foot. Does the other knee
“automatically” begin to bend?
3. Step on an object. Notice how the other leg
reacts.
Music adapted from the CD/book set “Rappin' on the
Reflexes” by Eve Kodiak. “Step Down, Sink In” is published
for the first time in this issue of Perspectives with
permission of Eve Kodiak.
language of movement, like every other human being on
the planet, you own them. The sequences and coordination
of the reflexes are in your body from conception. As you
work with children and movement, the most important rule
of thumb is to find what feels natural, both to you and to the
children. Chances are that movement will be based in an
infant reflex.
Resources
Hannaford, C. (1995). Smart moves: Why learning
is not all in your head. Arlington, VA: Great
Ocean Publishers.
Kodiak, E. (2006). Rappin' on the Reflexes: A
practical guide to infant reflexes, integrating the
The ECMMA website is the place to go for
complete International Convention 2008
information. You'll want to read about the
presenters and keynoters so you'll be ready to
senses through music and movement. Temple,
select your convention workshop sessions. All
NH: Sound Intelligence Productions and Betsy's
you need to know to plan your Rhode Island
Folly Studios. www.evekodiak.com
family vacation for July 2008 will be available.
Masgutova, S. (2006). Integration of dynamic and
The area for Exhibitors and Showcase
postural reflexes into a whole body movement
presenters has helpful information on the
system. Poland: International Neurokinesiology
application process and for preparing for the
Institute of Movement Development and Reflex
week of the conference. Check back frequently
Integration. www.masgutovainstitute.com/
for updates, registration and hotel information.
wersja-angielska/index.htm
Vol. 3 No. 1 - Winter 2008 - Perspectives — 8
Movement, For Music’s Sake!
by Alison M. Reynolds, Ph.D.
Associate Professor of Music Education
Boyer College of Music and Dance, Temple University
Philadelphia, Pennsylvania
During morning free play in a preschool classroom, you probably would accept
the following sights and sounds as typical for 3-year old children1: Julia and Max
wearing plastic aprons and pouring, dunking, and splashing at the water table;
Jordan zooming trucks into plastic toys; Nate building walls from plastic
blocks—using “Jordan’s” trucks to knock them down; and Kyle playing in the
kitchen under the reading loft as Brianna and Ahmad busily enter and exit as their
Dr. Alison M. Reynolds
independent agendas dictate. Amber, playing dress-up in a princess’s dress and
teaches, researches, and
high-heeled Lucite princess shoes, carries her stuffed animal upside-down under
presents on movement,
her arm—parading from place to place in the room (more often on the tiled floor than
assessment, music
the carpet). Three children are enjoying books in the loft, several others are pulling
acquisition, and early
favorite toys from the shelf, and still others are playing with their favorite toys near
childhood and general
two adults in the back corner of the room.
As accompaniment to the children’s play — some cooperative, some parallel —
music methods. She is
published in
Jump Right In: The Music
Curriculum and Music Play,
a contemporary symphony of sounds emanates: water’s splashing and trucks’
crashing among children’s improvised vocal sound effects; Amber’s heels’ clackclack-clack-clack-clack punctuating her to-ing and fro-ing; utensils’ and foods’
clattering in the plastic kitchen; children’s animated (sometimes bossy) chattering,
Research Studies in
laughing, and even complaining—as some children sort out their relationships with
Music Education, Bulletin
each other, and as others challenge rules and routines on which their teachers
of the Council for
patiently insist.
Research in Music
Education, Journal of
Fine motor and gross motor skills
No doubt, each of us embraces play. We recognize its positive contributions to
Music Teacher Education,
The Development and
Practical Application of
Music Learning Theory,
children’s social, emotional, cognitive, and physical maturation. Each type of
maturation is interdependent and, ideally, co-exists in a robust relationship.
Although examples of each could be extracted from the preschool description,
consider physical maturation. Specifically, consider the fine motor and gross motor
and Listen To Their Voices:
movements in which children are engaging in the morning free play: squishing,
Research and Practice in
squeezing, fastening, grasping, clutching, manipulating, reading, pulling, pushing,
Early Childhood Music.
balancing, walking, climbing, twisting, bending, reaching, crouching, and standing.
During other playful times at the preschool (snack time, arts and crafts, or outdoor
recess), children engage in similar and, likely, additional fine and gross motor
movements.
1
All names are pseudonyms.
9 — Perspectives - Vol. 3 No. 1 - Winter 2008
Hands-on, mouths-on, feet-on, and bodies-on curricula
and therapists in the preschool usually will result in a
What inferences can we make about motor skills from
more understanding working relationship — and the richest
observing movement achievement among children?
possible experiences for the children you teach. Ask
According to the Encylopedia
teachers to share the
of Children’s Health (2007), fine
motor skill assess-
motor skills and gross motor
ment rubrics they use
skills develop interdependently.
when
Competent use of fine motor
skills requires competently
coordinating visual and motor
skills to control an
object with one’s
hands, wrists, and
fingers; coordinating
use of feet and toes;
and coordinating use
of the tongue and lips.
Competent use of
gross motor skills
planning
centers and commu-
Documenting children’s preferences for
types of movement activities, their dominant
effort movement
qualities, and their
general personal tempo
allows you to create
new opportunities for
children to explore
movements that come
less naturally to them.
involves coordinated
whole body or larger
body-part movement.
Logic dictates
nicating with parents.
Ask about individual
children’s motor skill
development and
which strategies your
colleagues are using
when
children
present motor skill
delays. Even if you
are not teaching a
four-year old group,
learn about which
Photo of ECMMA Editorial Chair,
Jan Boner, in her Musik To Grow class.
Photo courtesy of Heather Dahlby
of HD Portraits - Marietta, GA.
motor skills school
districts require
teachers to assess
that, if children are
when children apply
limited in the types
to kindergarten. Finally, request time to observe the children
and frequencies of opportunities to use fine motor skills,
at play. Observe the ways in which children’s play promotes
they will develop only a limited range of fine motor skills.
their motor skill development.
Similarly, if children are limited in the types and frequencies
of opportunities to use gross motor skills, they will develop
Begin with an end in mind: Music-based
only a limited range of gross motor skills. Certainly, to
reasons for movement
develop motor skills, the term hands-on curriculum applies.
In our busy day-to-day work schedules, we most often
Perhaps we need to adopt a mind-set of mouths-on (singing,
confront tasks immediately in front of us. There seems to be
chanting), feet-on (stationary and locomotor movements),
little time to revisit important questions such as, “Why do
and bodies-on curricula!
I include movement activities during music class?” or
Whether within or apart from preschool or day care
“How does movement support music development?”
settings, how do music teachers determine children’s
Our answers may vary, but perhaps we include
motor skill needs? How can music teachers integrate those
movement to
needs with music-based movement objectives? In this
• promote body awareness;
article, I make suggestions about how to approach answers
• guide awareness of one’s place in space in
to those two questions, and offer practical applications for
relation to others;
unifying preschool professional colleagues’ and our
• develop trusting relationships;
attention to motor skills. (Please keep the morning free-play
• guide children’s coordination among their
scenario in mind, for I will return to it later.)
breathing, movement, and music making; or
• help children express themselves, and know
Know the landscape and the children you are teaching
their world kinesthetically.
Although it might seem a too-obvious place to
Next, specify objectives for your movement activities. If
start, collaboration among the teachers, assistants,
appropriate, consider each age group you teach separately.
Vol. 3 No. 1 - Winter 2008 - Perspectives — 10
Examples of objectives might include the following:
objectives supplied by your colleagues, and whether your
To prepare children’s future abilities to
activities reinforce or supplement those strategies identified
• move expressively in tempo and meter,
for children with special motor skill needs. Next, identify
• sing in tune,
whether the movement activities you have listed are too
• chant with expression,
similar in their motor skill focus—thus supporting a too-
• sing and chant in meter and in tempo,
narrow agenda, or movement activities that are too
• demonstrate music elements (such as
disparate in their motor skill focus—thus sacrificing
dynamics, form, melodic contour),
opportunities for scaffolding students’ development.
• prepare executive skills for classroom
percussion or barred instruments, or proper
bow hold,
• improvise and create expressive movement, or
Document observed fine motor and
gross motor achievements
If your colleagues reciprocate your interest in motor skill
• perform folk dance.
development, perhaps they will ask you to share your
Next analyze whether your objectives require fine
music-based movement assessments. You might already
motor skills, gross motor skills, or both. With reasons and
have examples; or, you might recoil. At first glance,
objectives at the ready, reflect on the movement activities
assessing motor skills that are developing rather than
you initiate most frequently. List those activities, including
developed might seem futile. Yet, without documenting how
materials (props) and space requirements. Again identify
the children currently use fine motor or gross motor skills
which activities require fine motor skills, gross motor skills,
during your activities, you risk forfeiting the potential
or both. Then, ask yourself how the activities support your
benefits children can derive from subsequent movement
reasons and objectives for movement during music class.
activity. Documenting the dispositions children have toward
Use the lists to identify whether your movement
movement (such as children’s preferences for types of
objectives reinforce or supplement the motor skill
movement activities, their dominant effort movement
11 — Perspectives - Vol. 3 No. 1 - Winter 2008
qualities 2, their use of one side of their bodies more
patterns from Amber’s most recent trip on the tiled floor.
frequently than the other, and their general personal tempo)
I chant rhythmically in her tempo using the quality of
allows you to create new opportunities for children to
movement I heard in her clacking. I use a variety
explore movements that come less naturally to them.
of sound effects, in a meter I superimpose on Amber’s
walking. You imitate my movement and expressively add
Practical Considerations
improvised sounds.
Although children’s motor skills develop most rapidly
This time, a child wanders over to us. He imitates our
from birth through the preschool years (www.childlife.org),
movements. Amber seems oblivious. Jordan does too, but
children need to be taught “skills, knowledge, attitudes and
then begins zooming his truck against the bricks in tempo
behaviors that lead to regular and enjoyable participation in
with our chanting. A child in the loft begins making her own
physical activity” (Jurimae & Jurimae, 2000, p. 131) 3. As
vocal sound effects, but continues turning pages in her book
music teachers, we differ from physical education teachers
and pointing to pictures within it. I interpret her vocal sound
in our perspective of movement; yet, because of the range
effects and answer her with more improvisation, changing
of movement children engage in during music classes —
my movement.
from coordinated breathing to folk dance — we can
consider music activity to be a form of physical activity!
As music class continues, you and I informally offer an
unstructured series of music and movement events. Children respond to us — even imitate our movements — from
A non-traditional hands-on and bodies-on music class
their preferred activity during this morning’s music play 6.
Return with me to the description of morning free play.
Later, we leave the corner. We move among the children
Imagine that you and I are the two adults in the back corner
independently from each other. We pause in new places in
room 4.
We are there to “teach” music. We begin by
the room where no children currently play, or in places in
observing. What are children doing? What music might we
which we hope children will incorporate us into their play.
weave in to their play?
We hear and see music possibilities in every movement.
of the
We watch the quality and tempo of children’s
Before music “class” ends, we might venture in to the
movements. We listen to the quality and tempo of their
music and movement center, in which we had placed
vocalizations: sing-song chatter, laughter, or complaints.
scarves, beanbags, or classroom percussion instruments
(Perhaps one child is even singing to himself — fragments
from among the list of movement activities we generated
of a familiar melody, or spontaneous music to accompany
previously. In front of full-length mirrors, we model a variety
his play.) Without discussion, one of us selects a pitch
of movements that promote motor skill development, body
center from one vocal contributor, and couples that with the
awareness, and spatial relationships with each other. Some
tempo and quality of effort from one child’s movement
children join us — others do not. We sing goodbye. All of the
contribution. It’s you! You are singing a children’s tune you
children notice, and some give us hugs as we leave!
have known your whole life! Or, perhaps you created a new
We could lead music class in a similar way during any
tune! Either way, you honored the children’s contributions. I
portion of the preschool day (except nap time!), inside or
listen for a while, moving like you move. As you repeat your
outside. We would have an expanded play vocabulary to
tune, I add a vocal harmonic accompaniment to it.
We think, at first, that children notice nothing. They
carry on as though we might be music on a recording. They
continue manipulating the objects with which they play —
repetitively — engaging in activities essential for fine-motor
object control. They continue climbing the ladder to the
reading loft, walking, bending, stretching, and reaching —
essential for gross motor control. You and I continue with a
few more repetitions of your song with harmony. Then, we
are silent 5.
The children’s chance symphony reemerges. We
listen and observe. Once again, we’re off! I select the clack
2 Rudolf von Laban describes movement effort qualities in Modern
Educational Dance (revised by Lisa Ullmann), 1988.
3 For a description of fine motor and gross motor skill development,
respectively, see www.healthline.com/galecontent/fine-motor-skills-2 and
www.healthline.com/galecontent/gross-motor-skills
4 The author first tried similar non-circle-time interactions in a preschool
setting in the summer of 2004. She acknowledges collaborative partner Dr.
Wendy Valerio of the University of South Carolina as they study these types
of music and movement interactions with children.
5 During moments of adults’ purposeful vocal silences in an early childhood
music environment, young children often demonstrate vocal and physical
evidence of their awareness of the music in their surroundings (Hicks,
1993; Hornbach, 2006; Reynolds, 2006; Reynolds, Long & Valerio, 2007;
Valerio, 2006).
6 Music and movement ideas for this scenario are adapted by the author
from Music Play: Guide for Parents, Teachers, and Caregivers (1998),
Chicago: GIA.
Vol. 3 No. 1 - Winter 2008 - Perspectives — 12
create new music-based movement moments directly from
children’s imaginative play! From our collaboration with
colleagues, reflection on our own practice, and renewed
direction about ways to shape our movement objectives,
we can rest at the end of the busy day. We are lucky.
Tomorrow, we return to interact with children through
movement — for music’s sake.
References
Encylopedia of Children’s Health. (2007). Retrieved
October 26, 2007, www.enotes.com/ childrenshealth-encyclopedia/fine-motor-skills
Hicks, W. K. (1993). An investigation of the initial
stages of preparatory audiation (Doctoral
dissertation, Temple University, 1993).
Dissertation Abstracts International, 5404A, 1277.
Hornbach, C. M. (2007). The use of silence in
eliciting student responses in early childhood
music classes. In K. Smithrim & R. Upitis (Ed.).
Listen to their voices: Research and practice in
early childhood music, Vol. 3 of Research to
practice: A biennial series, pp. 228-242.
Canadian Music Educators Association.
Jurimae, T., & Jurmae, J. (2000). Growth, physical
activity, and motor development in prebubertal
children. Boca Raton, FL: CRC Press LLC.
Providing developmentally appropriate care to
pediatric patients (n.d.). Retrieved November
25, 2007, www.childlife.org/Search.cfm?Search
Keywords=motor+skill+development&Search
Submit.x=0&SearchSubmit.y=0
Reynolds, A. M. (2006, Spring). Vocal interactions
during informal early childhood music classes.
Bulletin of the Council for Research in Music
Education, 168, 35-49.
Reynolds, A. M., Long, S., & Valerio, W. H. (2007).
Language acquisition and music acquisition:
Possible parallels. In K. Smithrim & R. Upitis
(Ed.). Listen to their voices: Research and
practice in early childhood music, Vol. 3 of
Research to practice: A biennial series, pp. 211227. Canadian Music Educators Association.
Valerio, W. H., Santucci, P., Tu, M., Seaman, M. A.,
& Yap, C. C. (2006, Fall). Vocal evidence of
toddler music syntax acquisition: A case study.
Bulletin of the Council for Research in Music
Education, 170, 33-45.
13 — Perspectives - Vol. 3 No. 1 - Winter 2008
Research Review
Are There Pre-existing Neural, Cognitive, or
Motoric Markers for Musical Ability?
By Andrea Norton, Ellen Winner, Karl Cronin, Katie Overy, Dennis J. Lee, Gottfried Schlaug
Brain and Cognition, 59 (2005), 124-134.
Reviewed by Joyce Jordan-DeCarbo, Ph.D., Univeristy of Miami, Coral Gables, FL
The study under review was selected because it lays
information and transfer the information to precisely timed
groundwork for a study in progress that will investigate if
finger movements. In addition, the musician must
musical training changes the structure of the brain and the
coordinate hands and arms and override the technical
nature of those changes—whether they be neural,
aspects of this process in order to expressively bring
cognitive, or motor development or combinations of all
meaning to the sounds through dynamics and articulation.
three. The study reviews current research that supports the
Previous research has examined these highly
interconnections enhanced by musical ability. Even though
specialized sensorimotor skills by exploring what happens
this study goes beyond a strictly focused interest on music
in the brain (Amunts, Schlaug, & Jancke, 1997; Gaser &
and motor skills, it demonstrates that in many ways, music
Schlaug, 2003). Some of the related findings have verified
may have an effect on many parts of the brain that allow us
that certain regions of the brain are larger or have more gray
to learn varying skills. I find it very encouraging that so
matter volume when compared to non-musicians.
many doctors are now utilizing MRI in connection with
Musicians with absolute pitch have shown greater left-sided
behavioral performance to document the effects of music
asymmetry of the planum temporale (Keenan, Thangaraj,
exposure and musical performance. Andrea Norton,
Halpern, & Schlaug, G., 2001; Schlaug, Jancke, Huang, &
Karl Cronin, Katie Overy, Dennis Lee, and Gottfried
Steinmetz, 1995). However, it is not yet known if these
Schlaug are members of the Department of Neurology at
atypical brain structures exist prior to musical training
Beth Israel Deaconess Medical Center, Harvard Medical
(predisposing the child to have a “talent” or potential for
School. Ellen Winner is a faculty member of the
developing music) or are a product of long-term, specialized
Department of Psychology
training in which exposure
at Boston College and a
to musical stimuli leads
member of Project Zero,
to learning.
Harvard Graduate School
Joyce Jordan-DeCarbo, Ph.D.
of Education.
Musical performance
at any age demands
complex cognitive and
motor operations. The
nature of musicianship
Brain differences have
been found to be associ-
Dr. Joyce Jordan-DeCarbo is the department chair
ated with acquiring and
and professor of Music Education and Music
practicing new skills (Karni,
Therapy at the Frost School of Music,
Coral Gables, FL. She is published widely and is
Meyer, Jezzard, Adams,
Turner, & Ungerleider,
1995; Maguire, Gadian,
requires that persons be
an active researcher in early childhood music.
able to translate music
Joyce is a former President of the
Ashburner, Frackowiak,
notation, layering visual,
Early Childhood Music & Movement Association.
et.al, 2000). Other evidence
spatial, and temporal
Johnsrude,
Good,
for learning comes from
Vol. 3 No. 1 - Winter 2008 - Perspectives — 14
studies showing that differences are greater among
1998) and children (Ho, Cheung, & Chan, 2003). Children
musicians who began musical training at an early age
with dyslexia were found to improve on phonemic awareness
(Hutchinson, Lee, Gaab, & Schlaug, 2003) or that playing
and spelling after only 15 weeks of rhythm-based music
different instruments leads to structural changes in the
training (Overy, 2000, 2003). Reading skills have been
b r a i n ( P a n t e v, R o b e r t s , S c h u l z , E n g e l i e n ,
demonstrated to correlate with global acoustic pattern
& Ross, 2001).
perception (Foxton, Talcott, Witton, Brace, McIntyre, &
Each of these studies attests to the plasticity of the
Griffiths, 2003) perhaps because both music and language
brain and learning as an explanation of atypical brain
processes require the ability to segment streams of sounds
structures in musicians. But none of these studies have
into small perceptual units (Overy, 2003). Consistent with
determined whether the structural and functional
these findings is evidence showing that music and language
differences in musicians are due to musical training during
share some neural substrates (Koelsch, Kasper, Sammler,
sensitive periods of brain development, or are markers of
Schulze, Gunter, & Friederici, 2004).
musical interest or aptitude existing prior to training.
The purpose of this study was three-fold. First, the
Music may not only affect neural development but may
researchers wanted to investigate neural differences prior to
also contribute to increases in non-musical cognitive skills
training between children who wished to study either piano or
such as visual-spatial abilities (Rauscher & Zupan, 2000)
a string instrument (experimental group) and children not
or a task that requires mental rotation (Miller & Orsmond,
seeking music lessons (control group). Second, investigators
1999). The ability to copy geometric forms depends on
wished to determine if children wanting to study music had
coordination between visual perception and motor
innately superior visual-spatial, verbal, and/or motor skills
planning, and was found to be enhanced by music training
prior to training when compared to a control group of children
(Miller & Orsmond, 1999). Music training enhances verbal
having no desire to study music. Third, investigators wanted
memory in both adult musicians (Chan, Ho, & Cheung,
to determine whether musical skill, as measured by a music
The Early Childhood Special Research Interest Group of MENC announces
LEARNING FROM YOUNG CHILDREN: RESEARCH IN EARLY CHILDHOOD MUSIC
January 15-17, 2009
University of Delaware, Newark, DE
CALL FOR PAPERS
The Early Childhood SRIG of MENC is sponsoring a conference to disseminate information about and stimulate discussion concerning
research and resulting practice in early childhood music. Researchers are invited to propose papers related to research, research-based
practice, or policy in early childhood music education. Sessions will be 30 minutes long, including time for questions and discussion.
Specific topics might include but are not limited to the following:
è Research methodologies and their use with young children
è Early childhood musical growth and development
è Facilitating music learning in early childhood
è Musical play of children
è Movement in early childhood
è The relationship between music learning and learning in other areas, such as early childhood education
è Current trends and future directions in early childhood music education
A paper proposal should include the following:
è a 1000 word abstract of the paper, including how the research is situated in the literature and a clear rationale, purpose, and
methodology. No name or other identifying characteristics should appear on abstract.
è a cover page with the author's name, institutional affiliation, address, telephone & e-mail information.
Proposals must be submitted electronically no later than July 15, 2008. Early submissions are encouraged. Notifications will be sent in
August. Submit proposals to Dr. Martina Miranda at [email protected].
15 — Perspectives - Vol. 3 No. 1 - Winter 2008
perception test (prior to music training) correlates with any
of the cognitive, motoric, or neural outcomes that have
previously been shown to be associated with music
training. The question at hand is whether the positive
effects of music training previously shown to have an effect
on non-musical outcomes, are due to pre-existing
associations between musical and non-musical skills, or
are solely an outcome of training.
Participants in the study were seventy 5- to 7-year-olds
recruited from public elementary schools and community
music schools in the greater Boston area. Thirty-nine
children (15 girls and 24 boys) of the total sample were
about to begin music instruction on a keyboard or a string
instrument with weekly half-hour private lessons.
Thirty-one children (13 girls and 18 boys) comprised the
control group. These children would be exposed to music in
school but would not be taking private lessons on an
instrument. There were two subgroups in the control
sample. Eighteen children in the control subgroup 1 were
entering either kindergarten or first-grade and would have a
half-hour music class per week; 13 children in the control
subgroup 2 were entering a music class that included four
half-hour music classes per week.
Over a 3-4-week period of time, all of the children were
tested individually on several different kinds of tests that
were administered at the child’s school. Imaging
procedures were conducted at the MR research facility at
Beth Israel Deaconess Medical Center.
A brief description of the measures used in the study
will now be discussed.
1. Socio-economic status (SES) was based on
6 categories of parent education, ranging
from some high school education to the
doctoral degree.
2. Handedness was determined by having each
participant perform several tasks — write their
name, scoop crackers out of a bag with a spoon,
throw a ball through a hoop, and hammer four
tacks on a picture. If children used their right or
left hand for at least three of the four tasks, they
were classified as right- or left-handed. If they
used the right or left hand for only two of the four
tasks, they were classified as mixed handed. In
the Instrumental group there were two lefthanded boys, two left-handed girls, and one
mixed-handed boy. In the non-instrumental
group, there two left-handed boys and one
left-handed girl.
3. Three subtests of the Wechsler Intelligence
Scale for Children (WISC-III) (Wechsler, 1991,
2002) were administered to each child—the
Object Assembly, Block Design, and Vocabulary.
In the Object Assembly test, considered a
spatial-temporal task, children must assemble
several puzzle pieces to make a complete
image. In the Block Design, the child is given a
model made out of blocks; the child has to
recreate the model. In the vocabulary subtest,
the child is given up to 30 words orally and asked
to define each one.
4. The Colored Progressive Matrices (CPM) and
the Standard Progressive Matrices (SPM)
(Raven, 1976a, 1976b) were administered. This
is a non-verbal test of reasoning with some
visual-spatial elements that require children to
look at a design or pattern that has a missing
piece. From 6 CPM or 8 SPM pieces the child
must select the piece that completes the pattern.
5. The Auditory Analysis test (Rosner & Simon,
1971) is a measure of phonemic awareness.
Children hear 40 words and are asked to repeat
each word. Then they are asked to repeat it
again without the beginning or ending sound, i.e.
to say the word “cowboy” without the “boy.”
6. Finger tapping. Children were asked to tap a
computer space bar as many times as possible
in 20 seconds with the index finger. They first
performed the task with the non-dominant hand
and then had to repeat it with the dominant hand;
tapping rates were averaged.
7. The Primary Measures of Music Audiation test
(PMMA) (Gordon, 1998) requires children to
listen to 40 pairs of simple rhythm patterns and
40 pairs of 2-, 3-, 4-, or 5-tone sequences and
circle a pair of smiling faces for same patterns
and a pair of faces with one smiling face and
one frowning face for different patterns.
Gordon refers to this test as a developmental
aptitude test.
8. Magnetic Resonance Imaging is a scan of the
brain and was done on a 3 T MRI Scanner. To
ready the children for the scan, children received
a child-friendly training session held one week
prior to the procedure. The scanning experience
was enacted in a cartoon where they were
entertained with a story about scanning, heard
Vol. 3 No. 1 - Winter 2008 - Perspectives — 16
the sounds of the scanner, and looked at actual
slightly higher means for the Instrumental group. Age and
brain scans. During the procedure one of the
SES scores were used as covariates to equalize the two
investigators remained in the room and children
groups for further analyses. There was a significant effect on
who wished could hold the experimenter’s hand.
all measures except the Object Assembly and Block Design;
Investigators used a fully automatic technique
SES had significant effect only on Vocabulary. When age and
for computational analysis of differences in local
SES were controlled, there was no significant effect of group
gray and white matter (Gaser & Schlaug, 2003).
on any cognitive, musical, or motor outcome.
The method involved 1) spatial normalization of
Further analyses with the age-matched samples were
all images to a standardized anatomical space
conducted to investigate relationships between Gordon’s
by eliminating the differences related to overall
PMMA and the other measures. Findings indicated
size, position, and global shape; 2) extraction of
significant correlations with performances on the Block
gray and white matter from the normalized
Design, Vocabulary, Ravens, and Auditory Analysis
images; and 3) analysis of differences in local
measures, but not with the Object Assembly test. However,
gray and white matter volume across the whole
after utilizing the Bonferroni correction for multiple tests, the
brain (Ashburner & Friston, 2000).
only significant correlations were between Gordon’s PMMA
Results indicated that the experimental and control
and the Ravens and Auditory Analysis tests.
subgroups did not differ significantly on any cognitive,
Final differences between the Instrumental and Control
musical, or motoric outcome variables and were therefore
group were investigated using MR imaging methods to
combined. In addition, there were no differences found
ascertain atypical brain structures related to gray or white
related to sex and, thus, sex as a factor was eliminated from
matter volumes. No significant voxel-by-voxel differences in
subsequent analyses. The Instrumental and Control
either gray or white matter concentrations were found
groups differed in age and SES with both variables having
between the Instrumental and Control groups. Further
analyses tested for differences in total brain volume, total
gray matter, total white matter, and corpus callosum size.
No significant differences between groups were found.
Multiple correlations between cognitive test scores and
inter-individual differences in gray matter concentrations
also yielded no correlations between performances on
any cognitive, musical, or motor test, nor any evidence of
brain markers.
The first aim of the study was to determine whether
structural brain differences typically found in adult musicians
and non-musicians could be found in a group of children
starting instrumental music training compared to those not
planning to play an instrument. Analyses performed in this
study found no pre-existing differences of any kind in the
young children participating in the study. This finding lays the
groundwork for a longitudinal study (now in progress) of the
effects of music training on brain development. The subsequent study will retest the sample of children at yearly
intervals in order to monitor any emerging changes for those
children who persist with their music training. For the first
time, researchers hope to determine whether the brains of
musicians look different prior to training, and/or respond
differently to on-going training compared to those children
being exposed to music but showing only average talent or
interest in music.
17 — Perspectives - Vol. 3 No. 1 - Winter 2008
The second aim was
Currently, it is unclear why
to determine if children
music training might
wishing to play an instru-
enhance cognition. Is it the
ment compared to children
result of the attention,
not wishing similar training
motivation, concentration,
would perform at a higher
level on any cognitive
outcome previously found
to be enhanced by, or
associated with, music
training. No pre-training
differences in visualspatial or verbal skills were
found, nor were differences found in fingertapping (motoric) skills,
nor music perception skills
(Gordon’s PMMA).
The third aim was to
investigate if there were
any pre-existing correla-
For the first time, researchers hope to
and discipline fostered by
determine whether the brains of
case, then music should
musicians look different prior to
cognition equally. On the
training, and/or respond differently
that music training causes
to on-going training compared to
caused by other kinds
those children being exposed to
enhancement effects of
music but showing only average
to music skills related to
talent or interest in music.
into motor activity, memo-
music training? If this is the
enhance all areas of
other hand, it is possible
more specific effects not
of training. Cognitive
music training might be due
decoding visual information
rizing extended passages
tions between perceptual
of music, learning music
skills in music (Gordon’s
structures and rules,
PMMA) and any of the
learning to make fine
cognitive, motoric, or neural outcomes that have been
auditory discrimination, and learning to perform skilled
shown to be associated with music training. No pre-existing
bimanual finger movement.
correlations were found between music perception and any
The longitudinal study in progress will allow the
of the visual-spatial tests (e.g. Block Design) that have
researchers to further investigate these questions that
previously shown to exist following music training
remain about the effects of music training on brain develop-
(Rauscher & Zupan, 2000). It is, therefore, highly likely that
ment. The study reported here lays the groundwork for the
the kinds of skills that have been reported in children were
first prospective study of the effect of instrumental music
indeed a result of music training.
training on children’s brain and cognitive development,
There were, however, positive correlations found
and also allows a retrospective analysis of those few
between Gordon’s PMMA and the Raven’s Progressive
children who might emerge showing exceptional talent,
Matrices and the Auditory Analysis test. The correlation
achievement, and interest in music.
with Raven’s Progressive Matrices may be the result of
pattern recognition skills across domains (auditory and
visual) since those skills are required by both of these tests.
The correlation with the Auditory Analysis test is consistent
with previous functional imaging studies reporting that
musical tasks activate language areas and vice versa,
suggesting that music and language share neural substrates (Gaab, Gaser, Zaehle, Jancke, & Schlaug, 2003).
Similar associations between musical aptitude and literacy
have been found by Anvari, Trainor, Woodside, & Levy,
2002). Also, there are studies that have associated pitch
pattern recognition with reading skills (Foxton et al., 2003).
References
Amunts, K., Schlaug, G., Jancke, L., et al. (1997).
Motor cortex and hand motor skills: Structural
compliance in the human brain. Human Brain
Mapping, 5, 206-215.
Ashburner, J., & Friston, K. J. (2000). Voxel-based
morphometry—The methods. Neuroimage, 11,
805-821.
Chan, A. S., Ho, Y. C., & Cheung, M. C. (1998).
Music Training improves verbal memory. Nature,
396, 128.
Vol. 3 No. 1 - Winter 2008 - Perspectives — 18
Foxton, J. M., Talcott, J. B., Witton, C., Brace, H.,
McIntyre, F., & Griffiths, T. D. (2003). Reading
skills are related to global, but not local, acoustic
pattern perception. Nature Neuroscience, 6 (4),
343-344.
Rauscher, F. H., & Zupan, M. A. (2000). Classroom
keyboard instruction improves kindergarten
children’s spatial-temporal performance: A field
experiment. Early Childhood Research Quarterly,
15, 215-228.
Gaser, C., & Schlaug, G. (2003). Brain structures
differ between musicians and non-musicians.
Journal of Neuroscience, 23, 9240-9245.
Raven, J. C. (1976a). Coloured progressive
matrices. Oxford: Oxford Psychologists Press.
Gordon, E. E. (1998). Introduction to research and
the psychology of music. Chicago: GIA.
Ho, Y. C., Cheung, M. C., & Chan, A. S. (2003).
Music training improves verbal but not visual
memory: Cross-sectional and longitudinal
explorations in children. Neuropsychology,
17(3), 439-445.
Hutchinson, S., Lee, L. H. L., Gaab, N., & Schlaug,
G. (2003). Cerebellar volume: Gender and musicianship effects. Cerebral Cortex, 13, 943-949.
Karni, A., Meyer, G., Jezzard, P., Adams. M. M.,
Turner, R., & Ungerleider, L. G. (1995).
Functional MRI evidence for adult motor cortex
plasticity during motor skill learning. Nature,
377, 155-158.
Keenan, J. P., Thangaraj, V., Halpern, A. R., &
Schlaug, G. (2001). Absolute pitch and planum
temporale. Neuroimage, 14, 1402-1408.
Koelsch, S., Kasper, E., Sammler, D., Schulze, K.,
Gunter, T., & Friederici, A. D. (2004). Music,
language and meaning: Brain signatures of
semantic processing. Nature Neuroscience, 7,
302-307.
Maguire, E. A., Gadian, D. G., Johnsrude, I. S.,
Good, C. D., Ashburner, J., Frackowiak, R. S. J.,
et al. (2000). Navigation-related structural
change in the hippocampi of taxi drivers.
Proceedings of the National Academy of
Sciences in the United States of America, 97,
4398-4403.
Miller, L. K. & Orsmond, G. I. (1999). Cognitive,
musical and environmental correlates of early
music instruction. Psychology of Music, 27(1),
18-37.
Overy, K. (2000). Dyslexia, temporal processing
and music: The potential of music as an early
learing aid for dyslexic children. Psychology of
Music, 28, 218-229.
Overy, K. (2003). Dyslexia and music: From timing
deficits to musical intervention. Annals of the
New York Academy of Sciences, 999, 497-505.
Pantev, C., Roberts, L. E., Schulz, M., Engelien, A.,
& Ross, B. (2001). Timbre-specific enhancement of auditory cortical representations in
musicians. NeuroReport, 12, 1-6.
19 — Perspectives - Vol. 3 No. 1 - Winter 2008
Raven, J. C. (1976b). Coloured progressive
matrices. Oxford: Oxford Psychologists Press.
Rosner, J., & Simon, D. (1971). Auditory Analysis
Test. Journal of Learning Disabilities, 4, 40-48.
Schlaug, G., Jancke, L., Huang, Y., & Steinmetz, H.
(1995). In vivo evidence of structural brain
asymmetry in musicians. Science, 267, 699-701.
Schlaug, G., Jancke, L., Huang. Y., Staiger, J. F.,
& Steinmetz, H. (1995). Increased corpus callosum size in musicians. Neuropsychologia, 33,
1047-1054.
Wechsler, D. (1991). WISC-III Wechsler Intelligence
Scale for children-third edition: Manual. San
Antonio, TX: The Psychological Corporation.
Wechsler, D. (2002). WPPSI-III administration and
scoring manual. San Antonio, TX: Psychological
Corporation.
Book Review
Movement Stories
For Children Ages 3-6:
Including Instructional Material
for Teachers
Authors Helen Landalf and Pamela Gerke
Published by Smith & Kraus (1996), ISBN: 1575250489
Book Review by Samantha Shoemaker
Director of Music ABCs - West Chester, Pennsylvania
As an early childhood music educator, I am always
looking for new sources of movement ideas to
incorporate into my classes. Movement is an integral part
of early childhood learning and it is not limited to music
stories and the movement concepts they cover is
class. I had been searching for a book that would review
included in the book for reference when planning your
the basic Laban movement concepts as well as provide
own class. Ten delightful stories are presented in the
concrete examples to implement in the classroom. I
book to give practical application to the movement
found this and instructional material for teachers in Helen
concepts. I have had great success with quite a few
Landalf and Pamela Gerke’s Movement Stories for
already, although I made my own modifications by
Children Ages 3-6. The book was first published in 1996
weaving in a lot of singing, chanting, and improvisation to
and I still find the material and stories relevant for
support my own music teaching goals.
teachers and parents today.
A glossary of the terms and a discography is included
The authors begin the book by stating the reason
at the back of the book with a list of songs that could be
why movement should be studied. Without going into
played with some of the stories. The bibliography is not
much detail, they show the important ways movement
extensive, but provides a good number of books for
affects the child’s mind, body, and emotions and relate
further study on topics such as movement and the brain,
these to real life examples. Once the relevance of
Rudolf von Laban, and creative dance education. There
movement is argued, Laban’s movement concepts of
are some other great movement books that should be
body, space, and quality are described using vocabulary
used to supplement this list.
created by Anne Green Gilbert, a renowned dance
I found this book to be a great resource for movement
instructor. Each movement concept is listed with a
ideas as well as a simplified break-down of some of
description as well as an idea for taking them to the
Laban’s ideas. However, a more detailed chapter or two
classroom.
could have been included to delve deeper and provide
The authors give an overview of when, where, and
greater understanding into the use of Laban movement
how to use movement stories as well as a guide to
efforts. Overall, I found the book to be a quick read and
planning a movement session of your own. A chart of the
useful resource for any early childhood educator.
Vol. 3 No. 1 - Winter 2008 - Perspectives — 20
Spotlight on the
2008 ECMMA International Convention
Waves In Motion: Sailing Through Learning Connections
July 3-6 2008 - Providence, Rhode Island
by Jane Revkin - Convention Chair and Rick Townsend - ECMMA Managing Director
If Ever There Was A Year…
What state has the longest name and is the smallest
America are among the many historic buildings that are
open to the public year-round.
state in the Union? You guessed it, Rhode Island. The
official name is: State of Rhode Island and Providence
Biltmore Hotel
Plantations. Rhode Island is 48 miles North to South and
Providence also offers one of the finest hotels in the
37 miles East to West. It is 1,214 square miles and has over
area. The Biltmore Hotel is considered to be the Grand
400 miles of coastline. Rhode Island also boasts a rich
Dame of Providence. Opened in 1922, it was designed to
history of personalities and geographical landmarks that
recreate the high standards of living enjoyed at the
are listed in the convention section of www.ecmma.org.
Vanderbilt Biltmore Estate in North Carolina. Superbly
Providence, Rhode Island, is a city with something for
restored and impeccably furnished, the Providence
everyone: From Benefit Street's "Mile of History" on the
Biltmore is the Crown Jewel of America’s foremost
East Side to festive Federal Hill, Rhode Island's own "Little
Renaissance City. The Hotel continued to be Providence's
Italy," the capital city of Providence is known and loved for
hot spot during the Big Band era of the 1930s and 40s. (For
its abundance of historic and cultural attractions. Three-
more information visit: www.ProvidenceBiltmore.com.)
and-a-half centuries of history are alive and well on the
streets of Providence, evident in the scores of
ECMMA International Convention, July 3-6, 2008
immaculately preserved Colonial, Federal, Greek Revival
So why are we so interested in letting you know about
and Victorian houses located throughout the city. The
Rhode Island? You guessed it, the ECMMA Biennial
Rhode Island State House, Arcade, John Brown House
International Convention will be held at the Providence
and the Meeting House of the First Baptist Church in
Biltmore Hotel on July 3-6, 2008. We are fortunate to enjoy
Thursday, July 3 - David Darling
David Darling is a Grammy
nominated Composer/Cellist and
Co-Founder/Artistic Director of
Music for People, Inc. He has
been serving people of all ages for
over 40 years as an internationally
acclaimed recording artist, concert artist, and music
educator. His playful and unconventional teaching
methods have opened the world of music and
improvisation to thousands of individuals. His
workshops create a deepening of one’s personal
relationship with music as a lifelong journey and
spiritual practice. David is an active composer and a
favorite of many filmmakers.
21 — Perspectives - Vol. 3 No. 1 - Winter 2008
Meet the Keynote Speakers
Friday, July 4 - Paul Madaule
Paul Madaule is Founder and Director
of the Listening Center in Toronto, the
first clinical facility to use the Tomatis
Method in North America. He is the
author of ‘When Listening Comes Alive”
(1993) and of articles related to the
educational and therapeutic value of
music and voice. His primary focus is
on listening training for children with developmental
and learning problems, specifically in auditory
processing, ADHD, learning disabilities, and autistic
spectrum disorder. Paul developed the LIFT*, a
portable listening training device.
the housing, restaurants, and workshop space at the
Saturday, July 5: Lorna Heyge, Ph.D. – Teacher, author
Biltmore for our Convention. The Junior Suite, with two
and teacher educator, she has published pedagogical
California King beds and sofa bed is the best value. Share
materials in the United States and Germany, as well as in
the room with two other attendees and it is just $345 per
cooperation with native authors in several European, Asian
person for three nights including breakfast, lunch and
and African countries.
snacks! If you don’t know who you want to room with just let
us know and we will arrange your roommates for you.
There are so many things to see and do that you
may want to book your trip to come early or stay later
after the Convention. For more information go
to www.VisitRhodeIsland.com or visit the ECMMA website
www.ecmma.org.
GREAT PRESENTERS
Just as noteworthy as the information about the state of
Rhode Island are the wonderful keynoters and speakers
we have planned for the Convention. Our theme for 2008 is
“Waves in Motion: Sailing Through Learning Connections.”
Sunday, July 6: Carla Hannaford, Ph.D. – Author of
"Smart Moves: Why Learning is not All in Your Head," is an
educational consultant to over 30 countries. She was a
guest educator with the AHP-Soviet Project in 1988,
recognized by Who's Who in American Education, and has
received numerous teaching awards.
Now take a look at our Conference Presenters
and their conference “connections:”
Brain/Movement: Monica Dale, Eve Kodiak, Rachel Ross,
and Wendy Valerio.
Our keynote speakers represent connections to
Classroom Teacher: Lara Davis, Joyce DeCarbo and Joy
Galliford, Colleen Sprague-Bretthauer, and Tina Stone.
I m p r o v i s a t i o n , S p e c i a l N e e d s , L i t e r a c y, a n d
Improvisation: Mary Knysh and Butch Marshall.
Brain/Movement.
Take a look at our lineup of Keynote Speakers:
Thursday, July 3: David Darling – Grammy nominated
Composer/Cellist and Co-Founder/Artistic Director of
Music for People, Inc.
Friday, July 4: Paul Madaule – Director of the Listening
Center in Toronto, the first clinical facility to use the Tomatis
Method in North America.
for the International Convention
Saturday, July 5 - Lorna Heyge
Lorna Lutz Heyge, Ph.D., teacher,
author, and teacher educator has
published pedagogical materials in
the United States and Germany, as
well as in cooperation with native
authors in several European,
Asian, and African countries.
Dr. Heyge has presented at the
NCKP and MTNA National Conferences, the National
Music Educators Conference, and at National Suzuki
and National Head Start Conferences. She is
president of Musikgarten and of the Foundation for
Music-Based Learning.
Multiple Intelligences, Integrating Arts: Linda Atamian
and Barbara Nardone
Music & Literacy: Suzanne Burton, Ph.D. and
Dena Register
Special Needs: Tal Baz, Dorothy Denton and Kaja Weeks,
Dino Rice, Christine Roberts, and Jayne Standley.
Early Childhood Music Specialists: Diana Dansereau
and Joanne Rutkowski, Denise Guilbault, Jill Hannagan,
Sunday, July 6 - Carla Hannaford
Carla Hannaford, Ph.D., is a
biologist, educator, consultant,
prolific author, wife, and mother,
with more than 40 years of
teaching/counseling experience.
An educational consultant to over
30 countries, she was a guest educator with the AHPSoviet Project in 1988, has been recognized by Who's
Who in American Education, and has received teaching
awards from the University of Hawaii and the American
Association for the Advancements of Science. She has
keynoted many conferences, including Kindermusik,
and was a keynote speaker for the Music and the Mind
conference in Edinburgh, Scotland with Howard
Gardner, Paul Robertson, and Tony Buzan.
Vol. 3 No. 1 - Winter 2008 - Perspectives — 22
Amy Johnson and Kathy Azari, Susan KirschnerRobinson, Faith Knowles, Jenny Mulqueen, and
Ruth Schechter.
Georgia to California. If you are attending a convention or
conference and can take some brochures for distribution by
vendors and presenters, please contact Rick Townsend
([email protected]). He will help set up the contacts for
CONVENTION REGISTRATION
you if need be. Allow one week for shipping.
Registration can take place in one of two ways:
1. Register now by returning the form on the
SEE YOU THERE!
brochure that was mailed to all ECMMA members.
Wow, we can’t wait for the Convention to build on prior
If you have not yet received a brochure, contact
knowledge, and learn new approaches to teaching and
either Torie Stratton ([email protected]) or
enjoying early childhood music education! We all have a
Rick Townsend ([email protected]). The
love of teaching and making music a part of our everyday life
registration form also includes the opportunity to
for us and our children. We look forward to meeting all of you
register for room and board at the Biltmore, or,
and sharing our passion!
2. Use the easy, online Convention registration form
at www.ECMMA.org.
Anyone wishing to pay by credit card may register
• State Fish: The Striped Bass.
through the website using the PayPal engine.You do not
• State Bird: Rhode Island Red Hen.
have to be a PayPal member to use this option.
• State Shell: The Quahog.
BROCHURE DISTRIBUTION: CAN YOU HELP?
• The nation's oldest carousel still
delights children in the resort town
of Watch Hill, RI.
This year we have produced 5000 very attractive
convention brochures. Our plan is to ask YOU to leave
brochures in key locations at various conventions. Nearly
1200 have already been distributed at conventions from
23 — Perspectives - Vol. 3 No. 1 - Winter 2008
• President John F. Kennedy and
Jacqueline Bouvier were married at
St. Mary's Church in Newport. RI.
Fun Facts
About
Rhode Island
Site of the ECMMA
2008 International
Convention
July 3-6, 2008
ECMMA Local Chapters
The Chapters listed here
would enthusiastically
welcome you to their group.
Please consider contacting
one of the chapters near you.
FLORIDA
Miami-Dade Chapter
Jane Spinney - President
[email protected]
GEORGIA
Greater Atlanta Chapter
Louise Betsch - President
[email protected]
ILLINOIS
Illinois Chapter
Mary Ellen Moravec-Newsom
President
[email protected]
MASSACHUSETTS
Greater Boston Chapter
Ruth Schechter - President
[email protected]
Central Massachusetts Chapter
Jan Barlow - President
[email protected]
NORTH CAROLINA
North Carolina Chapter
Lara Davis - President
[email protected]
SOUTHERN CALIFORNIA
Southern California Chapter
Sharon Mello - President
[email protected]
VIRGINIA
Virginia Chapter
Kathy Becht - President
[email protected]
WASHINGTON, DC
Greater Washington, DC Chapter
Kaja Weeks
[email protected]
WISCONSIN
Madison Chapter
Cheryl Ryan - President
[email protected]
r NEWS
ECMMA Chapte
Switzerland
rst Member From
Fi
Its
es
m
co
el
ECMMA W
h, Switzerland.
macho from Zuric
Ca
a
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La
al Representative
g
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Intro
Northeast Region
A
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ie M
Interview by Laur
LM: It's so exciting to have our first ECMMA member in Zurich,
Switzerland! As the Northeast Regional Representative, I e-chatted
with Laura Camacho recently to find out more about her.
LC: I grew up in Charlottesville, Virginia, in a home filled with music and
literary culture. My mother was my first piano teacher and I started
lessons as soon as I was tall enough to reach the keyboard. Throughout
my childhood, I studied, practiced and performed - not always happily. I
found the sacrifices hard to accept -- I would rather have been outside
playing. After high school, I went to Clemson University and got a BA in
English. In my first career in instructional technology and program
management, I moved from Washington, DC, to Chicago, to London,
back to Chicago and finally to Zurich, where I met my Swiss husband
and settled down.
LM: What prompted you to investigate early childhood music (ECM)
programs?
LC: I began looking for ECM programs when my son was 6 months old.
I found a wonderful Music Together program in Zurich run by Cezanne
Winter. Because of limited opportunities to continue music in English as
they grew older, I investigated several curricula and became licensed to
teach Kindermusik in 2006. In my first year, I taught 42 children in four
different age groups. I enjoy using music as a universal tool towards
learning English.
LM: How did you learn about ECMMA?
LC: From Kindermusik colleagues, many of whom are members.
Membership seemed a natural and necessary part of my business
credentials as a Kindermusik educator. I was surprised that ECMMA
had so few international members. We live in a world where families
move far from home, children grow up with multi-lingual friends, and
globalization is a term used often. Because music is the true universal
way of communicating, ECMMA is perfectly positioned to reach across
borders and bring information to ECM educators worldwide. ECMMA
should be tapping into experts outside the US for new ideas – and music
can become a platform for true global harmony.
LM: Hobbies?
LC: I'm an avid runner—needed to keep up with my children! I love to
travel, ski and sing—even when my family wishes I would stop!
Laura Camacho is a trained pianist and licensed Kindermusik educator
since September, 2006. She met her husband in Switzerland and is the
mother of two young boys.
Vol. 3 No. 1 - Winter 2008 - Perspectives — 24
Regional Greetings
Regional Greetings
Northeast
North Central
Laurie Mueller
ECMMA Regional Representative
Hockessin Montessori School
Hockessin, DE
[email protected]
Lianne Brewer
ECMMA Regional Representative
The Music Factory
Springfield, IL
[email protected]
For some inspiration this quarter, I've decided to use
this space to spotlight one of our members, Vernita (Vern)
Kenney, of New Hyde Park, NY. I hope you'll find her story
as inspirational as I do.
Vern is a 70+ year old grandmother who has been
helping to raise three of her grandchildren (now teenagers)
since her daughter's sudden death from a brain hemorrhage 15 years ago. At the time, her daughter was nine
months pregnant. The baby was saved, and 15 year old
Katie doesn't know a "mother" besides Vern and her aunts.
Although Vern had (and still has) a successful private
piano studio of 20 students, she decided in 1999 (at an age
when most women are considering retirement options) to
start a business teaching Musikgarten. Since then, she
has incorporated her business, attended continuing
education events every year, and won an "Exemplary
Program" award from Musikgarten in 2004-2005.
Already a member of the Association of Piano
Teachers of Long Island (her 2 year term as president
started in September), Vern joined ECMMA. Vern has
pursued ECMMA certification and attended many of our
conferences.
Her business has never been overwhelmingly
successful in terms of numbers of students, but she
continues to look for ways to offer music classes for young
children because she knows how important it is. Although
she has difficulty getting up and down off the floor, that is
exactly what she does in her classes, because she
understands that children get so many benefits from music
classes beyond learning narrow skills. It would have been
easy for her to quit every year, but she keeps at it, finding
new venues to get the word out and traveling at least once
every year to participate in workshops.
If you're struggling with your business, if you wonder
whether you're getting too old or out of shape to do this
anymore, I hope you'll remember Vern and give it another
try. The rewards are great, and ECMMA is here to support
you in any way we can.
Speaking of great support, get ready for our
International Convention in July 2008 -- it's in our region,
so let's have a great showing of Northeast members!
Greetings to the members of the North Central
Region! It was wonderful to meet so many of you in
Madison, Wisconsin, for our regional conference in
August. The sharing, camaraderie, music-making, and
dancing was fantastic! Thank you for coming and sharing
the weekend! And by the way, many of you did not pick up
a certificate at the end of the conference, so if you'd like
your copy, please contact me and I will mail it to you.
For musicians, the holiday season is often the busiest
time of year with church and school programs. I hope you
gave yourself the luxury of taking time for yourself and
your family. However, now that we are beyond December
there are many events coming in early '08 that are worth
considering.
Many states hold a music educators
conference and most conferences have an early
childhood track. This Spring the National MENC
Conference is being held in Milwaukee. Check the MENC
website for more information. Your local Orff or Kodaly
chapters — and perhaps your local ECMMA chapter —
will be having informative workshops that will benefit you
and your teaching. Look for these opportunities! Speaking
of local chapters, why not start one in your area? Mary
Louise Wilson can help you get started!
It is not too late — or too soon — to start planning for
the ECMMA International Convention in Rhode Island
from July 3-6. If you have never attended, make this the
year! It is in a perfect location for a family vacation with a
lot of history thrown in! Check out the website periodically
for updates and news about the Convention.
Finally, congratulations to several members of our
region who have attained Level I Certification: Adrienne
Biskie from Port Bryon, Illinois; Kristin Huebner from
Sun Prairie, Wisconsin; Jessica Ingold from Rochester,
Ilinois; and Mary Van Deven from Westmont, Illinois.
Way to go!
25 — Perspectives - Vol. 3 No. 1 - Winter 2008
Regional Greetings
Regional Greetings
Northwest
Southeast
Virginia De Vries
ECMMA Regional Representative
Sunrise Montessori School
West Linn, OR
[email protected]
Winter rains have begun. Despite days that are dark,
Ruth Prevette
ECMMA Regional Representative
Musikgarten of the West End
Richmond, VA
[email protected]
I am very excited about our International Convention
blowy and wet, children run in, anxious to sing, play
coming in July!
After discovering all of the steps
instruments, and create movement with music. As five-
necessary to hold a successful regional conference, I can
year-old Ben says, “Music is fun!”
assure you that this convention will be outstanding. The
When the weather keeps us inside, the fun of music and
convention committee is hard at work, the line up of
movement is evident. Around the region, educators explore
keynote speakers and session presenters is amazing,
music with movement using drums, shakers, scarves, and
and the site will certainly make it seem like a vacation. I
voice to interpret the weather and tell stories. Preschoolers
hope many of you from the southeast region will begin
love “Follow the Leader” with marching music, and skating
making your plans to attend. We had 20 participants at the
on paper plates to the “Skater’s Waltz.” More fun: Anne
last convention in San Diego – let’s see if we can at least
Green Gilbert’s “Brain Dance” to begin classes.
triple that next summer!
Music is powerful, too. A harried young mom with two
It is amazing to me how much our early childhood
pre-schoolers braved the rain and came to the first Family
music classes help to prepare young children for writing in
Time class. As the children delved into books, bells, and
the school years. There are many activities with
stuffed bears, she looked perplexed and asked, “What are
instruments that specifically help with fine motor skills.
they supposed to be getting out of this?” She shook her
Certainly rhythm sticks, shakers, jingle sticks, and
head, shrugged and watched. Soon everyone was playing
woodblocks begin the process with the youngest children.
the large drum. The bewildered mom began dancing, then
All different types of drumming help to develop strength in
rocking, then humming. Thirty minutes later, smiling and
the children’s fingers. Then the instruments using mallets
relaxed, she said, “I get it.”
–- resonator bars, metallophones, glockenspiels, and
•
other barred instruments— give many opportunities for
•
•
•
Bells were ringing and drums resounding at a Metro
Parent Enrichment Fair in Portland. Parents and
educators shared educational resources for
preschoolers and learned about music programs.
Molly Beiningen plans to share videos of Dee
Coulter’s presentations from the recent Orff
Convention at a gathering with early childhood
music and movement folks.
improving children’s ability to grasp an object and gain
control over whatever action is needed.
The keyboard becomes easier to master if children
have had experience with the previous instruments. When
children’s hands are large enough to handle the regular
size keys then they are ready to begin the process. Music
The NW regional ECMMA conference in July was
conceived in concert with Southern Washington
Oregon Kodaly Educators (SWOKE) and will
happen again!
teachers need to make sure the children progress at the
A terrific opportunity for developing teaching skills
using authentic literature was the Organization of
American Kodaly Educators (OAKE) workshop on
January 12 in Shoreline, Washington. OAKE
invited NW ECMMA members to attend at the
member’s registration fee level. Music educators
Lucinda Dalrymple, Sharla Dance, Theresa
Fornalski, and Sandy Buckner were featured. Way
to go, OAKE!
children’s ability to write, helping them become successful
proper pace. There are numerous benefits to playing the
keyboard, including strength, flexibility, dexterity, touch,
and relaxation. All of these skills will greatly facilitate
as they progress through school.
Vol. 3 No. 1 - Winter 2008 - Perspectives — 26
Regional Greetings
Regional Greetings
South Central
Southwest
Dena Register, Ph.D., MT-BC
ECMMA Regional Representative
University of Kansas
Lawrence, KS
[email protected]
Thinking outside “the box”
of the traditional classroom setting.
Marilú Bresño
ECMMA Regional Representative
Greetings submitted by
Sharon Mello and Sally Guerrero
[email protected]
Greetings from Southern California! Sharon Mello,
President of the Southern California Chapter, attended
Music and movement create a natural pair for
the American Orff-Schulwerk Association Conference in
facilitating growth and practice in both gross and fine
San Jose, in November 2007. She spoke with attendees
motor movements. As music professionals working with
about the ECMMA Convention in Rhode Island this
young children, we have had many experiences
summer, encouraging them to attend. She made valuable
incorporating these non-music goals into our music
contacts with exhibitors, interesting them in exhibiting at
classrooms. What would happen if we took music to the
the Convention. Copies of the beautiful brochure for
playground? A new resource, “Songs & Laughter on the
“Waves in Motion: Sailing Through Learning Connections”
Playground” by music therapists, Dr. Petra Kern and
were made available. Everyone was interested in hearing
Angie Snell, offers original songs for use with a variety of
about ECMMA!
Musical Adventure Playground Projects.
While we are accustomed to incorporating movement
into music, this incredible new resource is an invaluable
tool for incorporating music into what is typically a
movement-based setting. This resource was initially
designed for use with children with special needs.
However, the offerings in this book provide experiences
that are enjoyable for children of all ability levels.
Chapter 1 provides a description of the development
and purpose of various components such as the Sound
Path and the Music Hut. Subsequent chapters offer
descriptions, specific directions, materials needs,
adaptations and music examples for use in these parts of
the playground. One of the activities specifically designed
to enhance fine motor skills is “Thumbs on the Drums.”
A Focus on: Pasadena Conservatory of Music
Pasadena, known for the Rose Parade, the Rose
Bowl, and much more is also the home of the Pasadena
Conservatory of Music, now in its 24th year of offering
music study for all ages and levels of experience. The
early childhood music component was established in
1992 with the philosophy that the earlier in life a child is
exposed to music, the greater the music aptitude the child
will carry into future music study.
The Conservatory instructors developed their own
curriculum, incorporating the best of the Orff and Kodaly
philosophies. Many of the teachers have degrees in music
and training in Kindermusik, Musikgarten, and Music
This clever little chant is used to play the Bucket Drums in
Together. The combination of these wonderful music
the Music Hut and to help children develop both fine and
education approaches contributes to the strength and
sensory motor skills while responding to the instructions.
uniqueness of the curriculum.
If you aren’t quite ready to venture out to the
Early childhood music is gaining a stronger foothold in
playground to provide musical experiences, chapter 4
the world of education. Because of its specialized nature,
includes songs that were developed for use on the
there is a need to train teachers who work with preschool
playground but could also be adapted for use in the music
aged children—including preschool teachers and
classroom. These original songs are designed to practice
licensed K-5 music educators. ECMMA is an organization
cooperative play, peer interactions, and turn taking. What
that can help! Let’s continue to spread the word about
a wonderful way to share the music OUTSIDE of our
what ECMMA has to offer all of us.
traditional classroom offerings! This book is available at
www.lulu.com for $18.95.
27 — Perspectives - Vol. 3 No. 1 - Winter 2008
ECMMA New Members
We welcome these new members from 8/1/07 - 10/31/07.
North Central
Elise Erlandson - Wauwatosa, WI
Barbara Henry - Milwaukee, WI
Jessica Ingold - Rochester, IL
Elizabeth Mast - Chagrin Falls, OH
Dr Yo ko Mogi-Hein - De Pere, WI
Amy Abbott Pappageorge - Oak Park, IL
Christa D Sigman - Albany, OH
Jayme L Wier - River Forest, IL
Northeast
Judith K Belle Isle - Crownsville, MD
Laura Camacho - Gockhausen, Switzerland
Frances Currul - Milford, MA
Monica Dale - Ellicott City, MD
Heather Goodchild - Providence, RI
Danielle Gorman - Westbrook, ME
Karen Hancock, NCTM - Carver, MA
Yasmin Harden - Middletown, NY
Alison Reynolds - Philadelphia, PA
Nancy S Rivkin - Dix Hills, NY
Kara Woodworth - Pittsburgh, PA
Children's Music Studio - Jamestown, NY
Susan Caster - Jamestown, NY
Gail Grundstrom - Jamestown, NY
Northwest
Andrea Grossman - Cranbrook, BC Canada
South Central
Gretchen Griffin - Katy, TX
Southeast
Tiffaney Coleman - Elon, NC
Susan Pettus Cottrell - Centreville, VA
Elisabeth Deaton - Williamsburg, VA
Maia Derewicz - Carrboro, NC
Darlynne Gendreau - Centreville, VA
Stacy Jagger - Spring Hill, TN
Marvilyn Kennedy - Charlottesville, VA
Elena Lazaro - Morrisville, NC
ECMMA Cer
tifications
Certifications
from 8/1/07
- 10/31/07.
Level I - New
Cynthia Schul
tz Bekkedahl
- Benicia, CA
Adrienne Biski
eTheresa Cocci Port Bryon, IL
- Reading, PA
Kristin Huebn
er - Sun Prairi
e, WI
Jessica Ingold
- Rochester, IL
Katie Martin Palmyra, VA
Mary C Van D
even - Westm
ont, IL
Paula J Wise
- Irmo, SC
Level I - Ren
ew
Eby Jean S O
wen - Dunedin
, FL
Perspectives
Preview of the Spring 2008 issue...
In the next issue of Perspectives we continue our focus on
Fine and Gross Motor Movement as a developmental domain
in early childhood.
Watch for these articles in the Spring 2008 issue:
From Babble to Beat: Developing the Young Child’s Rhythmic Readiness
by Kristyn Kuhlman, Ph.D., Roberts Wesleyan College
Movement for Music’s Sake for Young Children
by Kris Weber
Call for Submissions...
ECMMA Perspectives is now accepting feature articles, a book review, and “Notable Notes” submissions
on the theme of Creative Arts for the Summer 2008 issue of Perspectives. Contact Suzanne Burton,
Perspectives Editor, at [email protected] for more information on how you can contribute!
Biltmore Hotel • Providence, Rhode Island
July 3 - 6, 2008
4 days of renowned Keynote Speakers & amazing Breakout Sessions.
See page 21 of this issue of Perspectives for exciting details!
To register online or for more information visit www.ecmma.org
805 Mill Avenue
Snohomish, WA 98290
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STANDARD
U.S. POSTAGE
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PERMIT #1070
MARIETTA, GA