early childhood education Continued from page 45
methods such as lectures, visual media and guided listening.
5. Discuss with students their preferences and attitudes without telling them that their choices or feelings are incorrect. Engage your students in listening ac- tivities that allow them to reflect what they have perceived and felt.
6. Repetition, repetition, repetition! Fa- miliarity through repeated listening and participatory experiences will have positive influences as preferences increase.
7. A variety of experiences (movement, playing classroom instruments, games, active listening with use of technology, etc.) with a number of specific pieces will provide more through exposure to an unfamiliar style.
8. Be passionate and enthusiastic. Young children tend to value the opinions and taste of parents and teachers. Let’s not
miss this “window of opportunity” to bring the balanced and well-rounded musical taste to our children’s lives.
References:
Bogt, T., Delsing,M., Zalk, M., Christenson P. & Meeus,W. (2011), “Intergenerational Continuity of Taste: Parental and Adolescent Music Preferences.” Social Forces, 90-1, 297-319.
Cook, N. (1998). Music: A Very Short Introduction. Oxford: Oxford University Press.
Gordon, E. (1999). “All About Audiation and Music Aptitudes.” Music Educators Journal, 86(2), 41-44.
Greer, D. Dorow, L.& Randall, A. (1974). “Music Listening Preferences of Elementary School Children.” Journal of Research in Music Education, 22-4, 284-291.
Hargreaves, D.J. (1982). “The Development of Aesthetic Reactions to Music.” Psychology of Music, 51-54.
Katz-Gerro, T. (2002). “Highbrow Cultural Consumption and Class Distinction in Italy, Israel, West Germany, Sweden and the United States.” Social Forces, 81-1, 207-29.
MacDonald,R., Hargreaves D.& Miell D. (2002). Musical Identities. Oxford: Oxford University Press.
Shehan, P. (1985). “Transfer of Preference From Taught to Untaught Pieces of Non Western Music Genres.” Journal of Research in Music Education, 33, 149-158.
Soley G. and Hannon, E. E. (2010). “Infants Prefer the Musical Meter of Their Own Culture: A Cross- Cultural Comparison.” Developmental Psychology, 46, 286-292.
Alena Holmes is assistant professor and coor- dinator of music education in the Department of Music at UW-Whitewater. Email:
holmesa@uww.edu
Recognizing Excellence With WMEA Awards
Is Your Music Program:
• Creative? • Imaginative? • Innovative? If the answer is yes, then your program should be nominated for the Melvin F. Pontious Creative Sparks in Music Education Award! YouTube video footage highlighting award-winning creative music programs will be recognized on the WMEA website and highlighted in WSM. Self-nominations are encouraged. Go to
www.wmeamusic.org/creativesparksaward.
WMEA Service Awards
WMEA sponsors several awards that recognize people who have sustained a com- mitment to music education and made a positive impact in the school, community or state. Nominate someone you know today! Go to
www.wmeamusic.org/awards.
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