Musical Play in the Early Years

Asta Hodgson explores how children learn, what they need to thrive, and how teachers can help.

A few years into my music teaching career, I was introduced to the concept of continuous provision in the Early Years setting and was asked to incorporate musical activities into this. With no formal training in this area I reflected on my previous experience of learning in the Early Years and the general expected outcomes according to the Early Learning Goals, and concluded that the aims of the music free-flow provision should include enjoyment, socialisation, instrument control (motor skills), experimentation with sounds, and nurturing creativity. Initially concerned about noise levels, treatment of instruments, and whether or not the activities would be musically beneficial, I gave it my best shot. Strangely enough, seeds of passion for this area of education were sown. Researching the topic, and drawing from my personal experiences, I share with you here, how I believe best to design and implement a successful musical freeflow learning environment for 3-5 year olds, as well as how to play, and why it is a vital aspect of musical learning.

Learning and Outcomes

During the last century, psychologists started investigating learning theories which addressed educational processes (e.g. Piaget, 1952; Vygotsky, 1978; Wood, Bruner & Ross, 1976). Piaget looked at learning from a cognitive constructivist viewpoint and his stages of development have become well known in this field.

Social constructivist theories gained popularity in the latter quarter of the century with the emergence of Vygotsky’s Zone of Proximal Development (ZPD) and scaffolding theories posited by Wood et al., which focus more on environmental influences and explicit, sequential learning. Gardner’s work on musical intelligence as a separate entity (1998), and Hargreaves and Galton’s phase model of artistic development (1992) are some examples of how consideration started to be given to domain based learning. Many recognised phases of development and delivered some guidance to age related outcomes, with early musical development often being likened to what babble or scribbling are to language and art. The exploration of different approaches to education resulted in institutions with particular pedagogical philosophies such as Montessori and Reggio Emilia schools, and also subject specific methods of music education including Dalcroze, Kodály, Orff, and Gordon’s Music Learning Theory.

One such phase of development is identified by the GIML, who claim that “informal music experience prior to age five is particularly important”. In my experience children in the Early Years learn traditional songs and rhymes well by rote, which they may then independently practise during free-flow activities or away from the school environment, but are unlikely to learn them without adult guidance. Therefore, it appears that there is a time and a place for both informal and formal learning.

Play is a type of informal learning, and after extensive analysis by psychologists, it is now generally accepted that musical play includes cooperative, functional, constructive, dramatic, and kinesthetic play, as well as playing games with rules (Littleton, 1998). Social positions for players can be described as onlooker, solo player, parallel (alongside) player, or player who is part of a group Experts in musical play itself recommend that musical play should be pleasurable and spontaneous, with a meaningful emphasis on the process itself rather than the outcome.

In my experience of musical play, I have witnessed young children exhibiting such behaviours through sharing musical instruments and experimenting with sounds, using instruments and sound as part of role play, moving and dancing spontaneously to sound, using instruments other than the “intended” way, and playing chanting or clapping games (pre-taught to them). We, as practitioners, need to identify notable behaviours, and consider how to assess, nurture, or celebrate them accordingly.

Types of Musical Play

Exploration

Swanwick and Tillman (1986) state that “music making in the early years is characterised by experimentation and play with sounds … just as children explore all other materials in their worlds”.

Vocalisation

Children aged 3-5 years have a tendency to be more agile with their voices than sound producing objects, possibly due to the familiarity of their own voice. Children have been documented as using their vocal abilities to add narrative to their lives (Barrett, 2016) and are often seen to include their voices during functional and dramatic musical play, sometimes layering vocal sounds over other musical actions. I have seen this with children counting out sounds performed on a drum, and with children singing a familiar song accompanying their own noodling on a pitched instrument. They enjoy themselves (integral to play) and utilise familiar skills (on top of which they can develop new skills).

Natural vocal progression and agility is exploited in the Kodály method, examples of which can be found in the National Youth Choir of Scotland Singing Games and Rhymes series (a highly recommended resource!). Many times children have asked me to play a favourite singing or chanting game over and over again (even after they have long “outgrown” it). The joy that they experience despite repetition of activities indicates that this is meaningful, playful learning, although not independent play.

Movement

As a Dalcroze practitioner, I have always advocated the use of movement (eurhythmics) in the music classroom for all children. Gluschankof (2005) quotes Glover (2000) which I think sums up the importance of music and movement in young children - “The deep-rooted connection between moving and ‘sounding’ is of prime importance as a source of young children’s musical expression. These parallel modes of time-based activity seem to be intrinsically connected”. Campbell (2010) notes that “movement is a principal means of children’s musical engagement”, whilst Koops (2012) draws attention to the importance of movement in helping children maintain focus which I am certain is something we have all experienced and learnt! It would therefore seem sensible for children to have an environment in which to move freely in their music provision areas (i.e. not to be inhibited by furniture or area size)

I have seen children enjoying themselves with sound and music, and it appears to be very natural behaviour to them. Although we may understand and recognise this, how can we provide enriching musical experiences for our learners whilst they are free to play in a natural and enjoyable way? How can the teachers be effectively involved in play, when Rubin et al. (1983) claim play is optimal when there is a “minimally intrusive adult”?

Nurturing Musical Play

During my first free-flow sessions, I fell a little way into the ‘trap’ of a music specialist attempting to play musically with children. I became conscious of the need to see myself in a slightly different role in these circumstances compared to a formal lesson in which activities are planned. The role of a successful practitioner in musical play settings is thought of as a facilitator - somebody to enhance the learning experience and provide guidance rather than delivering instructions (Gluschankof, 2005).

Researchers have identified different teacher/learner partnerships and circumstances, resulting in different outcomes during musical play:

• Observer-collaborator - teacher prepares appropriate resources, guides the children, and observes for the purpose of assessment

• Teacher-partner and teacher-observer - teacher-partner engaging in parallel play being preferred of the two by children

• Extended time with familiar adults. Children played for longer with familiar adults than unfamiliar adults or alone

• Parallel play - provides opportunity to develop musical mastery through imitation, repetition, and othe communications

• Unfinished play - Behaviours associated with this include bringing an instrument into a different setting or becoming obsessive about it. Children may take part in a group session from the periphery, or ignore it completely.

I have often instinctively engaged with children in such ways as outlined above - encouraging alternative ways of playing an instrument, or guiding the children into experiencing new textures, speeds, and dynamics. However, it was only relatively recently that I recognised how I still somehow inhibited childrens’ freedom in their play and music making, due to my own musical arrogance.

Piaget (1951) used the term “adultocentrism”, and explained how inappropriate a stance like this is when engaging in children’s play. It is now widely agreed upon that adults need to adjust their own understanding and expectations of what constitutes “music” when considering the music of children - it can be understood to be a completely separate culture. We should therefore consider carefully how our own age and culture related prejudices may be impacting the learning and enjoyment of our small musicians.

The following list indicates how the presence of adults and our cultural constructs can impact children’s play:

• Adult interaction can be an enhancing factor, provided it is coupled with child agency.

• Play is affected detrimentally if an adult is overly critical, too physically close, or continually correcting the child.

• Adults valuing the music created by the child, playing along with children’s rules when invited, using encouraging words, providing time and equipment, are all beneficial.

• Unfinished play should be avoided.

• Video equipment, the presence of other adults (e.g. parents), the pace, mood of the child, and level of challenge can affect (positively or negatively) the quality of play and learning.

The importance of doing absolutely nothing is not to be overlooked, especially as practitioners may feel compelled to intervene, guide, or instruct consistently. Young (1995) describes how the African term balancing refers to completing a musical encounter. The participants listen carefully to each other and respond sensitively and considerately. Taking from this philosophy, the adult should try to balance the music, and recognise that sometimes, ‘less is more’.

Facilitating children’s needs

Living in the 21st century means we are dealing with a very different world to that of the pioneers of musical education and play research. Children are exposed to music not only through traditional methods such as lullabies in the home, but also increasingly through various media outlets and technologies including tablet apps designed specifically for children. Looking at the learning characteristics of different aged children we can see that children of preschool age have an optimum listening attention span of around 2 minutes (Merrion, 1989; Sims, 1986), and we learn from Gembris (2006) that children can identify, and match emotions and visual stimuli to music from as early as 3 years old. As practitioners, we need to include in our planning and facilitation, an understanding of how children are exposed to music, how they may interpret it, and how long they should, or may be attentive for.

Young children have been shown to enjoy apps which are easy to navigate, present familiar music, and are visually stimulating (Burton & Pearsall, 2016). The addition of listening stations in the free-flow environment means that children can access music which they may simply find enjoyable, but which may enrich other learning areas (e.g. languages, topic songs, music from other cultures). Difficulties include choosing platforms which are affordable, allow some level of autonomy yet adhere to safeguarding regulations, and that are easy to use for children who have limited literacy skills. A simple alternative, which encourages motor skills and historical context (yikes!), is to introduce a CD player or similar, and a CD library from which children can choose their music independently or with the guidance of an adult.

Another useful additon to the modern musical learning environment is that of the video recorder. The use of video equipment has been found to enhance performance, and can alos be used for observations and assessment, as well as providing parents with documentation of the child’s time at school. Koops (2012) found that the video camera could act as an inhibitor to play, but very often this was at the start of the session, and in a free-flow environment the children would be able to choose whether they wanted to include it in their play or not. These days, the way we share media, and the way children can access it is so varied, and provides so many different opportunities that it needs to be a serious consideration when designing provision and delivering lessons.

More traditional resources should include sound producing objects and musical instruments, and although Loong and Lineburgh (2000) found that 3-5 year olds prefer drums to pitched instruments, there ought to be a variety on offer for children to explore.

Morin (2001) recommends providing print resources such as picture books, songbooks, flashcards and listening guides, and also drama and movement materials such as costumes, puppets, scarves and ribbons. There should be enough space for movement. The importance of movement is backed up by a statement from a child during an interview conducted by Campbell (2010) who said, “Nobody should have to sit still when there is music”.

By providing children with clear and reasonable boundaries, it should be possible to create a safe environment conducive to learning through play. Both Pond (1980) and Morin (2001) have drawn attention to the care that children have shown towards instruments during play. I have not found in my own experience that this is an automatic and natural behaviour, but have found the use of setting very simple boundaries useful. In one setting it was useful for the children to have access to a visual card which they could show their peers if they were being too loud. Most recently, I have implemented and displayed three concise rules: “We treat instruments gently,” “We share the instruments”, and integrally “We listen to our music” i.e. banging a soundmaker incessantly with no consideration to the music you are creating is not (generally) appropriate.

Drawing from my own experiences, and the extensive body of research available, I come to the following conclusions:

• Play is a valuable and necessary tool in the process of musical learning

• Desired outcomes and goals can be reached using a combination of informal and formal approaches.

• Practitioners should understand, assess, and document notable musical behaviours exhibited by children.

The role of the adults as facilitator is vital, providing children with autonomy, ownership, and freedom to explore. This will be dependent on each institution’s own models, available resources, ethos etc, but if we as adults observe children, explore with them, and provide them with next step opportunities, we’ll be giving them a good musical start.

Asta Hodgson has recently completed an MA in Psychology of Music in Performance, Education and Wellbeing. completed an MA in Psychology of Music in Performance, Education and Wellbeing.