Abstract

Developmental research in music has typically centered on the study of single musical skills (e.g., singing, listening) and has been conducted with middle class children who learn music in schools and conservatories. Information on the musical development of children from different social strata, who are enrolled in community-based music programs, remains elusive. This study examined the development of musical skills in underprivileged children who were attending an El Sistema-inspired program in Los Angeles. We investigated how children, predominantly of Latino ethnicity, developed musically with respect to the following musical skills – pitch and rhythmic discrimination, pitch matching, singing a song from memory, and rhythmic entrainment – over the course of 1 year. Results suggested that participation in an El Sistema-inspired program affects children’s musical development in distinct ways; with pitch perception and production skills developing faster than rhythmic skills. Furthermore, children from the same ethnic and social background, who did not participate in the El Sistema-inspired music program, showed a decline in singing and pitch discrimination skills over the course of 1 year. Taken together, these results are consistent with the idea of musical development as a complex, spiraling and recursive process that is influenced by several factors including type of musical training. Implications for future research are outlined.

Highlights

  • Musical development is a complex and dynamic, non-linear process that is spiraled and recurring (Bamberger, 2005)

  • Results revealed no significant differences between groups on the PMMA tonal or rhythm, pitch matching, sung renditions of “Happy Birthday” or the acoustic condition of rhythm synchronization

  • In relationship to the US norms, children in the music group scored at the 63rd percentile for the PMMA tonal subtest and at the 72nd percentile for the rhythmic one; whereas children in the control group scored at the 63rd percentile for the tonal subtest and at the 60th percentile for the PMMA rhythmic subtest

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Summary

Introduction

Musical development is a complex and dynamic, non-linear process that is spiraled and recurring (Bamberger, 2005). The tendency that was prevalent in the past of conceptualizing children’s musical development based mainly on the observation of age and time related changes in specific musical skills, and without much consideration to their enabling social and cultural contexts (e.g., Shuter-Dyson, 1968; Swanwick and Tillman, 1986; Zimmerman, 1986; Serafine, 1988), is being gradually replaced by a more contextualized and integrated view of musical development These new advances in the field are taking place in response to criticisms that were drawn at musical development research. What is known about the development of musical skills in early and middle childhood is heavily based on research conducted with children from middle class families in Western societies, many of whom with access to music in varied ways, including through specialized learning programs in schools and conservatories

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