Music Children Research Articles

The Influence of the Musical Fairytale Creation Program Upon the Formation of Pedagogical knowledge of Music and Early Childhood Music Education Concept Map for Pre-Service Early Childhood Teachers

본 연구는 그림책을 활용한 음악동화 만들기 프로그램이 예비유아교사의 음악교수내용지식과 유아음악교육에 관한 개념도 특성(깊이와 밀도)에 어떠한 영향을 미치는지 알아보았다. 이를 위하여 G지역의 4년제 대학 유아교육과 학생 20명을 대상으로 16주에 걸쳐 그림책을 활용한 음악동화 만들기 프로그램을 진행하였으며, 음악교수내용지식(윤지영, 2014) 측정과 유아음악교육에 관한 개념도 작성을 프로그램 진행 전과 후에 실시하였다. 연구결과 첫째, 음악동화 만들기 프로그램 실시 전ㆍ후 예비유아교사의 음악교수내용지식에 유의미한 차이가 나타났다. 둘째, 음악동화 만들기 프로그램 실시 전ㆍ후 예비유아교사의 유아음악교육에 관한 개념도 특성(깊이와 밀도)에 유의미한 차이가 나타났다. 이러한 결과는 창의적 음악경험은 예비유아교사의 음악적 지식 구성에 긍정적인 영향을 미친다는 것을 보여주었으며, 이는 예비유아교사교육과정의 기초자료로서 시사점을 가진다.The purpose of this study was to analyze the effect on the formation of concept map characteristics of a program in which pre-service early childhood music education teachers created a musical fairytale based on picture books. The program was conducted to 20 sophomores enrolled in Early Childhood Education for 16 weeks. This study had three steps. The first step was pretesting for content knowledge of music scale (Yoon, 2014) and concept map characteristics. The second was creating a musical fairytale, and the last was post-testing for content knowledge of music scale and concept map characteristics. As a result of comparing performance before and after implementing the program of creating a musical fairytale, a degree of content knowledge of music and concept map characteristics of pre-service early childhood teachers showed statistically significant difference. The result imply exerts a positive influence on the formation of pedagogical knowledge of music for early childhood teachers. This suggests that the program can be a useful tool for pre-service early childhood teachers as their curriculum.

Early Childhood Music Education in US-based Korean Preschools: Influence of its Culture and Teachers' Beliefs and Attitudes Toward Music Education

본 연구의 목적은 미국 소재 한국 유치원에서 이루어지는 문화와 관련된 음악교육의 특징을 조사하는 것이다. 또 다른 목적은 한국 고유의 문화 정체성과 교사의 교육신념이 음악교육을 실행하는데 있어 어떠한 영향을 미치는가에 대해 조사하는 것이다. 설문조사를 통한 연구 결과는 다음과 같다. 한국 중심적인 교육환경과 교육신념이 미국 소재 한국 유치원 음악교육실행에 크게 영향을 미치고 있었다. 많은 한국 유치원이 종교적 유대 관계를 가지고 있었으며, 이러한 배경이 음악 교육에도 영향을 미치고 있었다. 미국 소재 한국 유치원에서 음악은 음악교육을 제공하기 위한 목적 보다는 한국 문화의 보급을 위한 도구로 쓰이는 경향을 보였다. 이러한 결과는 한국 유치원에 다니는 어린이들에게 보다 질 높은 음악교육이 제공되어야 한다는 점과 이를 위해 음악 교육을 책임지고 있는 교사들이 보다 전문적인 개발을 위해 노력해야 한다는 점을 시사한다.

Augmented Reality Musical App to Support Children's Musical Education

This article presents an Augmented Reality App to support musical learning of children. The App works by verifying whether sequences of musical notes of the melody are correctly colored in a printed pentagram (target). Meanwhile, an animation in Augmented Reality with a 3D character dancing to the rhythm of the melody is initiated. The App has been previously tested with six children and the results point towards the great potential of this tool to improve the process of children's musical education.

Analysis of Research Trends in Early Childhood Music Education Reported from 1988 through 2016 in the Journal of Korean Music Education Research Published by Korean Music Education Society

본 연구는 「음악교육연구」학술지를 중심으로 유아음악교육 논문의 연구동향을 살펴 향후 후유아음악교육 연구의 활성화 방안을 모색하고자 논문 발행 수, 연구대상, 연구자 수, 연구방법, 연구주제, 연도별 연구주제의 특성, 연구내용을 기준으로 내용 분석하였다. 연구 결과로서 1988년 이후 발행된 연구논문의 수는 총65편, 부모보다 유아 특히 만5세와 혼합 연령아가 주 연구대상, 1인 수행 연구 중심에서 최근 2인 이상 연구로 증가하는 추세, 양적 연구 중심에서 2000년 이후 질적 연구가 포함되는 추세, 교수학습방법이 주 연구주제인 점과 이론연구 대비 음악활동을 다룬 실천연구가 다섯 배 많은 점이 드러났다. 이상 본 연구의「음악교육연구」학술지에 개재된 유아음악교육 연구에 대한 논의는 유아음악교육 연구에 대한 이해를 돕고 향후 유아음악 연구의 발전 방향을 제시를 통해 우리나라 유아음악교육 연구의 활성화에 도움이 될 것이다.The purpose of this study was to analyze some articles on early childhood music education reported in the Journal of Music Education Research published by Korean Music Education Society(KMES) from 1988 through 2016 in order to examine research trends and to find out developmental vision for this academic area. Content analysis was conducted according to number of published articles, research subjects, number of researcher, representative both general and annual research themes, and research method. As a result, it was found that 65 articles were published during the past three decades, five year and mixed aged children were preferred to parents as for subject group, researches done by over two people as well as qualitative research were increased, teaching and learning methods was the prevailing the me, and finally practical studies were more than theory oriented studies.

Radicalism & Music: An Introduction to the Music Cultures of al-Qa’ida, Racist Skinheads, Christian-Affiliated Radicals, and Eco-Animal Rights Militants by Jonathan R. Pieslak

RADICALISM AND CAPITALISM Radicalism & Music: An Introduction to the Music Cultures of al-Qa'ida, Racist Skinheads, Radicals, and Eco-Animal Rights Militants. By Jonathan R. Pieslak. (Music/Culture.) Middletown, CT: Wesleyan University Press, 2015. [viii, 338 p. ISBN 9780819575838 (hardcover), $85; ISBN 9780819575845 (paperback), $27.95; ISBN 9780819575852 (e-book), $21.99.] Illustrations, appendix, endnotes, bibliography, index.Readers like me who enjoyed Jonathan Pieslak's first book Sound Targets: American Soldiers and Music in the Iraq War (Blooming - ton: Indiana University Press, 2009) will be pleased to see he has written another book probing the use of music in communities that we may not consider musical. For Radicalism & Music, Pieslak has chosen to examine four communities and their music, case studies of which make up the first four chapters of the book: (1) al-Qa'ida and jihad-themed anashid; (2) racist skinheads, especially the Hammerskin Nation, and white-supremacist-themed punk, Oi!, hardcore, metal, and softer styles; (3) a group Pieslak calls Christian-Affiliated Radicals that includes the Westboro Baptist Church and their pop song parodies as well as the children's music of Christian fundamentalist groups; and (4) environmental and animal-rights militants, folk-protest songs, and the more recent straight-edge hardcore styles. In the final chapter, Understanding Music's Roles in Radical Culture, and in a closing section that follows, Pieslak reflects on the similarities among his case studies and considers music's ability to shape individuals and communities.Part of the book's appeal is in the opportunity it affords to glance inside communities that we may find repulsive but also fascinating. Each case study opens with a narrated scene that describes a musical moment from the community under discussion: a young Muslim man radicalized by al- Qa'ida committing murder after listening to Islamist anashid; Hammerskins enjoying fellowship at a St. Paddy's Day concert and barbecue; members of the Westboro Baptist Church protesting a Veterans Day celebration with song parodies mocking the filthy morals of America; and a leftwing bookstore hosting a concert featuring protest songs with radical environmentalist themes. He follows each vignette with a historical account of the movement and the use of music within it, and then explores specific examples of genres, styles, bands, artists, labels and fans within the scene. Pieslak's accounts of these subcultures draw on an impressive quantity and variety of primary and secondary sources, including firsthand accounts of community events, interviews, and letters from people involved or formerly involved in them; some of the letters were written from prison, where their authors are doing time for extremist activities.The central thesis of the book is convincing: music is typically a key, defining element in the life of radical communities that does a range of helpful cultural work within them, including drawing in new recruits, building community among members, expressing identity, disseminating beliefs, motivating members to action, and even, in the case of white-supremacist groups, raising money for their cause. An important insight the book offers is that new recruits are not typically drawn into radicalism because of extremist ideas, but because of the relationships they forge, either in person or online, with members. And music often facilitates those initial relationships, for example, as a subject of shared interest online, or through shared experience at a concert. Another chilling similarity among several radicals who engage in violent and criminal activity is the use of music before, during, or after to embolden them in their exploits.The fact that music may play an important role in spurring on members of radical communities to act in disturbing ways for their cause is a central issue that I wish had been treated with more nuance. …

An Ethnographic Study of 5-year-old Children's Musical Behavior during Free Play Time

This study used ethnographic research methods to analyze children’s musical behavior and the factors that influenced it during free-play time at a daycare center in Korea. Participants were 15 five-year-old children and 1 teacher. Study results were as follows. First, the musical behavior was classified by musical expression including playing an instrument, vocalizing, singing and physical expression and music appreciation divided into active listening and comprehensive music listening and musical exploration such as exploring musical sounds and trying to make musical sounds with one’s body and various materials. Second, the factors that have influenced the children’s musical behavior were divided into individual factors such as individual interest, purpose, and expression of emotion and social factors. Social factors included physical environment in the classroom, teacher, friends, mass media, shared culture within the class and the children’s regional origin, and educational activities. This study provided a new perspective on children’s musical behavior as a behavior for expressing their inner thoughts and needs and interacting with their environment. Teachers should be aware of children’s life perspectives through their musical behavior and make good use of them by analyzing such behavior.

Development of Integrated Early Childhood Music Education Program Model

In this study, integrated early childhood music education program model were developed for development of musicality and whole child development. For the case of 4 and 5 years old classes in the kindergarten, frequency analysis and content analysis of the music education activity for past three years was done. Semi-structured in-depth interviews of teachers were conducted and materials for musical activity such as education plans, pictures, music scores and activity result documents were analyzed. Based on the case analysis, and introducing musical concept, various types of early childhood music activities, Nuri-curriculum and integration of education components, five stage models of integrated early childhood music education program for singing activities and music appreciation were developed. Five stage models include pre-activities, period 1∼3(introduction development finishing) music activities and extended activities. Period 1~3 musical activities integrate music area and music and art areas. An example of period 1~3 activity plans, Schubert's 'Devil' was proposed

The Oxford Handbook of Children’s Musical Cultures ed. by Patricia Shehan Campbell and Trevor Wiggins (review)

The Oxford Handbook of Children's Musical Cultures. Edited by Patricia Shehan Campbell and Trevor Wiggins. (Oxford Handbooks.) New York: Oxford University Press, 2013. [xvii, 636 p. ISBN 9780199737635 (hardcover), $160; ISBN 9780190206413 (paperback), $50; ISBN 9780199971442 (ebook), various.] Illustrations, bibliographic references, index. Since the groundbreaking (first) publication of John Blacking (Venda Children's Songs [Johannesburg: Witwatersrand University Press, 1967]), great silence has covered the area of childhood in the field of ethnomusicology. In contrast, the concept of education had its place, since a number of books and articles were devoted to the processes of learning music in different cultures, a subject that also highlighted the different approaches of the field to pedagogy. The shift started to happen gradually, mainly in the last two decades, with innovative research and publications offering great insight into children's music-learning processes and their contexts. This change is a particular result of the nature of the field: its combination of different disciplines and subfields, its ethnographical and reflexive character, and its focus on culture as an educational nest rather than on examining abstracted pedagogical methodologies and systems. In 1989, Ruth Finnegan wrote the first mature work on mapping and interpreting the way people learn music through community (The Hidden Musicians: Music-Making in an English Town [Cambridge: Cambridge University Press, 1989]), which influenced many later works. Her focus on the musical worlds of Milton Keynes, after Howard S. Becker's Art Worlds and Erving Goffman's frame theory, has affected, even unconsciously, every publication that in one way or another is related to these concepts. The first seminal collection of studies in childhood, play, and education came in 2006 with a special issue on music and childhood with Amanda Minks as a guest editor (Music and Childhood: Creativity, Socialization, and Representation, The World of Music 48, no. 1 [2006]) and then a book by Susan Boynton and Roe-Min Kok (Musical Childhoods & the Cultures of Youth [Middletown, CT: Wesleyan University Press, 2006]). Another important publication came in 2008, with the challenging abolishment of the separation of playground and classroom (Kathryn Marsh, The Musical Playground: Global Tradition and Change in Children's Songs and Games [New York: Oxford University Press, 2008]), along with the first important Ph.D. dissertations in the field, such as Andrea Emberly's ('Mandela Went to China ... and India Too': Musical Cultures of Childhood in South Africa [Ph.D. diss., University of Washington, 2009]). The aforementioned works, through their collective and edited nature, have already functioned as small handbooks covering geographically and thematically different areas of the world and shedding light on newly-introduced issues in musical childhood. After these publications, the arrival of a handbook like the Oxford Handbook of Children's Musical Cultures creates expectations, firstly regarding the geographical areas covered. Following its title page, a handbook usually collects presentations from around the world. The Oxford Handbook stresses this role by presenting the countries covered in the publication on a map featured in its preface. But this depiction quickly reveals an important gap regarding Europe. Except for two countries, Germany and the U.K., the rest of Europe has no reference texts. We are missing the Balkans, the Mediterranean, and many other European regions for which research and publications in the field are quite limited; there is an urgent need for work on these areas. Subsequently, the editors give us a prologue that functions as a thick description of the beginnings and evolution of the field of ethnomusicology of children. This common practice of commenting on the field of ethnomusicology and childhood (found in many publications) also serves here as an introduction to the organizing concepts for the book. …

유아교육기관에서의 뮤지컬 관람 실태와 활성화 개선 방안 연구

본 연구는 유아교육기관에서의 뮤지컬 관람에 대한 현장의 실태를 알아보고, 문제점 및 활성화 개선방안을 제시하고자 하였다. 이에 다음과 같은 연구 문제를 선정하였다. 첫째, 유아교육기관의 뮤지컬 관람이 어떻게 실시되어지고 있는가 둘째, 유아교육기관의 뮤지컬 관람과 연계한 교육활동은 어떻게 이루어지고 있는가 셋째, 뮤지컬의 관람의 문제점과 개선방안은 어떠한가 이다. 이를 알아보기 위해 유치원 어린이집 교사 159명을 대상으로 얻은 결과는 다음과 같다. 첫째, 유아교육기관 대부분의 유아들은 뮤지컬 관람을 매우 흥미로워하며 새롭고 다양한 경험의 제공과 새로운 문화를 접할 수 있다고 하였다. 둘째, 뮤지컬 관람 시 사전교육 활동으로는 홍보지, 미디어 홍보영상 등을 활용한다고 답하였으며, 사후활동으로는 뮤지컬관람의 내용과 관련하여 그리기미술활동, 이야기 꾸미기활동, 동극활동으로 전개했을 때 교육적으로 효과적 이였다고 하였다. 셋째, 뮤지컬관람을 실시할 때 문제점으로는 단체유아들의 이동에 있어 통제의 어려움이 많다고 답하였다. 이러한 결과를 통해 뮤지컬관람의 교육적 효과의 중요성을 강조하고 다양한 교육접근 방법의 뮤지컬관람을 경험할 수 있는 기회의 확대를 제안하였다. The purpose of this study is to find out how children's musical is done in the early childhood education field. To find out the realities of children's musical watching, seek problems and way to improve, educationally new alternative, we selected subjects of study as follows. First, how children's musical of the early childhood education center is done? Second, how the education related children's musical of the early childhood education center is done? Third, what is the problem and way to improve of watching children's musical? To find out these, the result of the teachers(159 people) who are working the kidergarten and the early childhood education center is as follows. First, Children were very interested in watching musical and could get new, various experience and culture. Second, when watching musical, kindergarten and the early education center did pre-exploration everytime except same place. second, Of post-education activity, drawing activity related with musical content, story-making activity, developing to child's act are educationally effective. Third, whey watching musical, there is much pressure about danger and safety. So it is hard to control when children is moving. This significant result shows the importance of educational effects of the musical watching and the proposed expansion of the opportunity to experience a musical watching of the various educational approaches.

Situational Interest of Fourth-Grade Children in Music at School

The purpose of this study was to identify the characteristics of common elementary music class activities that elicit situational interest, the short-term interest that emerges spontaneously in learners when faced with environmental factors in an educational experience. An instrumental case study approach was employed, with 24 fourth-grade children serving as participants, at a school in which the researcher was the music teacher. Over a 4-month period of engagement, data were gathered through small-group interviews, writing experiences, one-item surveys, videotaped observations of class periods, and examination of material culture. Analysis based on open and focused coding processes revealed that lessons containing elements of novelty, kinesthetic activity, self-efficacy, challenge, and creativity led to increased situational interest. Incorporating these themes into music classroom activities may be a way to enhance children’s interest in the experiences, leading to more increased engagement and improved performance outcomes.

The Role of Children's Musical Instruments in Communication with Musical Language

The study, in which we looked into the role of children's musical instruments in holistic music education, was conducted among children in the initial phase of primary schooling. Based on a theory of dialogue, we observed how children engaged in communication in musical language with respect of their own choice and inventive use of children's musical instruments. The research was conceived as a phenomenological case study. With this method we obtained data which enabled a deeper understanding of what the participants experienced when using musical instruments and insight into their social competences in using musical language. Having used qualitative data analysis, we established in the final grounded theory the following three conclusions: a) working with musical instruments functions as an area where the only possible realisation seems to be in line with the presumption that a person with an instrument personally identify themselves with the sound of the chosen instrument, b) the use of children's instruments cannot be effective outside the framework of dialogical dimensions of musical language, c) by using children's musical instruments, children apprehend the basic principles of group performance.

Teaching Children Musical Perception with MUSIC-AR

Teaching Children Musical Perception with MUSIC-AR

Early Childhood Music Education: Respecting the Past, Creating a Brighter Future

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Public School Early Childhood Music Education

With the increase of preK programs in public schools, music educators are increasingly more involved in teaching 3- and 4-year-old students. Many music educators find this difficult, as teaching young children requires different—and often unfamiliar—training and experience in child development and appropriate early childhood methodologies. This article will examine fundamental challenges that public school music educators encounter regarding their work within prekindergarten programs, and offer suggestions for alleviating these challenges in order to develop successful early childhood music programs.

Book review: Musical Children: Engaging Children in Musical Experiences

Book review: Musical Children: Engaging Children in Musical Experiences

The new ‘tween’ music industry: The Disney Channel, Kidz Bop and an emerging childhood counterpublic

AbstractThis article examines the expansion of the US children's music industry in the last decade. It considers the sanitising of Top 40 pop for child audiences in the Kidz Bop compilations, the entrance of Disney into the popular music market and the meteoric rise of tween music products such as High School Musical, Hannah Montana/Miley Cyrus, the Jonas Brothers and Justin Bieber. It shows that, as children increasingly consume mainstream musical products, in the converse dynamic children's artists themselves play an increasingly prominent role in popular culture and in many ways have taken the lead both in commercial success and in stylistic innovations. Examining public expressions of age-based solidarity among celebrity musicians associated with children, this article argues that children's music is increasingly articulated through tropes of identity politics, and represents the early stages of a childhood counterpublic.

Basic Research for the Development of Teacher Education Program for Multicultural Early Childhood Music Education

Basic Research for the Development of Teacher Education Program for Multicultural Early Childhood Music Education

음악 감상 시 수동적, 능동적 듣기 환경이 유아들의 음악 요소 인지에 미치는 영향

음악 감상 시 수동적, 능동적 듣기 환경이 유아들의 음악 요소 인지에 미치는 영향

The Structural Analysis on Young Children's Music Aptitude, Musical Attitude, Teacher’s Motivation Orientation Disposition and Music Efficacy

The Structural Analysis on Young Children's Music Aptitude, Musical Attitude, Teacher’s Motivation Orientation Disposition and Music Efficacy

Tributes to John Paynter

The big challenge of John Paynter's work in music education from the late 1960s on was that his approach to children's music was that of composer to composer. This was markedly at odds with the training of most music teachers at that time whose specialism – whose status even – was most likely to be rooted in their performance skills. For many teachers, composition was an entirely alien activity, with ‘real’ composers as distanced figures, to be approached through history and appreciation or possibly performance of their works.