research
The Effects of a Musical Lifetime Sheila Feay-Shaw, WMEA State Chair, Research
her unborn child.1
How many people can identify when they first encoun- tered music in their l ives? Research studies have shown that music in the environment of a pregnant mother can be experienced by Images have been used
in the media to show parents putting headphones up to the swollen abdomen of a woman as a way to impact a child’s development. My own child, before he was born became highly active on the evenings I played piano for ballet classes whenever it came time for the big waltzes. Who knows for sure if that is what spurred his interest in playing cello? Studies on infant development have focused on the connection between language develop- ment and music both through singing with and to children, as well as highlighting the brain connection pathways that are created through musical stimulation.2
“Children are naturally musical beings.”
Children are naturally musical beings. Campbell’s research into the musical lives of children has revealed that some children hear songs and rhythms throughout their waking lives.3
I was known as a child that
sang and hummed all of the time, and until a few years ago, I still did. The stories that children in Songs in Their Heads tell about the meaning that music has for them can be very telling to teachers to have been educated to “know” what they should be teaching children. George describes the difference between singing and play- ing instruments: “Whistling comes from yourself, like singing. Instrument music
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is different, because it’s not really sound coming first from yourself: it’s sound through metal pieces, or wooden parts. So whistling and singing are close music, and instrument music is kind of far from yourself.” For George, his voice is the closest, most meaningful musical instru- ment and the easiest one to carry with him. Alan has found listening inside his head to songs he knows, which can guide him to play those same songs on his keyboard: “I try to figure out certain songs. Last night I played “The Star-Spangled Banner.” My friend was kind of doing (singing) it. After about 10 minutes I worked it out. I came home to my own keyboard and figured it out.” Is there room for musical improvisa- tion and experimentation at a young age, which is not constricted by a desire for literacy development?
I was once asked by the mother of a five year old if it was unusual for her daugh- ter to make up songs. While this little girl was similar to Campbell’s subjects with “songs in their heads,” she was also likely a product of hereditary and envi- ronmental influences.4
She was born to
a semi-professional guitar player and a kindergarten teacher who loved to sing old Beatles tunes. While she came by some of her ability naturally, it was also highly nurtured in her home. Music had been part of her environment all her life. How can we identify and nurture these children to maintain an interest in musical exploration?
School music programs can provide nurturance for children with limited op- portunities, but it also has the potential to stifle natural musical interest. Mills and McPherson discuss musical literacy and the often, limited way in which music teachers define it. While it is often cap- tured as the ability to decode Western notation and recreate the musical sound it represents, it is important to realize 1) there are many musical traditions that have no form of notation, 2) decoding notation
“Decoding notation is not needed to begin learning to create musical sounds.”
is not needed to begin learning to create musical sounds, 3) learning to read nota- tion without having an understanding of musical sound can be confusing, 4) not all aspects of music can be captured on the page, 5) an emphasis on notation can limit musical creativity and 6) fluency in musical traditions may be possible despite limited abilities with Western notation.5 These considerations can provide a free- dom from a traditional way of teaching that may also make musical learning more engaging for some children.
Many adolescents’ interest in music of all types has become a form of social as well as individual identity.6
Popular
music uses lyrics, which speak to the life experiences of teens helping them to feel connected to others despite the isolation of media technology. Have you ever tried to carry on a conversation with a teen wear- ing ear buds? Many teens are united by their interest in a particular artist, while maintaining a widely varying playlist on their mp3 player, which displays a sense of individuality, which is also key to their personality.
Participation in musical ensembles, whether in school or the community, pro- vides a sense of belonging for some teens that would otherwise be socially distanced from their peers.7
The band, orchestra or
choir room can be a safe haven for many youth regardless of their level of musical success. Band competitions, choir tours, solo and ensemble festivals all provide a bonding experience for a student
September 2011
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