Learning & Development: Music - Part 3 - In tune

Music can help us feel part of a community, to feel good about ourselves and valued when our suggestions are included. It can be a chance to have fun together, whatever age or stage we might be at. Through playing with sounds, we can begin to make sense of language and practise words. We can have a go and not feel judged. We can be ourselves.

The Unique Child principle of the EYFS is a wide-ranging area. We know that there is no such thing as a typical child - they are all unique, and can feel affirmed in their identity when our response to their individual needs is appropriate and empathetic. This section of the EYFS encourages us to look at the competencies of all children in our care and to appreciate their individuality.

The creative use of sound, songs and rhymes offers a natural and free form of communication with children in your key group (or small groups) to help them feel special, valued and important.

Some researchers believe that, as humans, we sang before we spoke. So, singing is a natural way for young children to express themselves, especially children with additional needs who may find communication difficult.

There is also strong evidence that children's understanding of rhymes can help with later successes in literacy (Bryant and Bradley, 1985). Links have also been made to accurate spelling and the understanding of rhyme (Goswami and Bryant, 1990).

Along with the other arts, music satisfies a basic human need to express ourselves and be creative.

We love pulse or beat because it links us to the womb and helps us feel secure. Rocking a troubled child while singing a soothing song comforts both adult and child (Street, 2006). Through this simple act, the child is held and valued for who they are. The singing shows that you have time for them. It makes a connection between you and the child that cannot be expressed in words.

The singing of a song connects that child to a cultural heritage, which may be their own or a different one. This can help us feel we belong and this belonging helps us feel part of a community.

TUNING IN TO BABIES

Researchers investigating parent-child interactions have discovered that babies from birth are able to interact with their parent/caregiver in a subtle and dynamic way. They seek contact and engage their carer with vocalisations that encourage a response (Malloch 2000).

You may have found yourself engaging with a baby and discover your voice comes out sing-song and high-pitched. This 'motherese' is precisely what the baby is seeking. The to and fro or 'dance of reciprocity' (Brazelton) will continue until the baby tires and turns their head away. Surprisingly, when these interactions have been analysed, they follow typical shapes associated with conventional musical phrases (Trevarthen and Malloch, 2002).

The tuning-in that happens during these cooing games is of vital importance to a baby in the first few months of life. It enables a sense of belonging and connection and provides the starting blocks for communication - 'I have a turn, now you ...'

Consider the following questions when interacting with babies:

• - How can I help this baby know that I care what she's trying to say to me?
• - What happens when I give more attentive one-to-one eye contact?
• - What if I mimic back and extend the sounds?

TUNING IN TO TODDLERS AND PRE-SCHOOLERS

Being able to tune in to the needs of your key group is vital for establishing positive relationships. 'Tuning in' in a musical sense may require us to think differently about how we 'do' music.

Young (2003) suggests that we need a highly developed awareness and acute listening skills to tune in to young children's musical behaviours. As with much good practice, it starts with observation, wait, listen (OWL).

Spending time watching children in play (through a set-up musical environment) can be a good way to discover the spontaneous music-making of the children. When children are in a state of 'flow' (Csikszentmihalyi, 1990) they are utterly absorbed and often sing to themselves. This can be the starting point for musical interaction.

It may mean that you mimic vocal play and add to snippets of song or pick up fragments of tunes you all know, and repeat those. Rhythm patterns may appear which you can copy and extend. Sometimes it works to simply sing about what you and the children are doing; this narration can lead to more singing and ideas from the children.

Tuning-in activities with older children include many of the features of interacting with a baby. Making good eye contact encourages the interaction and shows you are listening attentively. Some children prefer a puppet to interact with. There is still a reciprocal element - the children might take the lead and you follow or vice versa. For example:

• - Provide a selection of instruments within a small group of children (see 'Ocean drum' box).
• - Sing the song (tune: 'London Bridge is falling down'): "Who is going to play with me, play with me, play with me? Who is going to play with me? It is (name).'
• - Then, let the child start to play in a free, improvised way - you copy their pattern or add something new. Keep the solo time short and encourage the others to become good listeners by praising their attention and, if appropriate, encouraging them to applaud the player. That's what an audience does. Repeat the song for the next person. Everyone has a turn if they want to - but they can choose to be an audience member, as that is also an important role.

SOUND AND SILENCE

Music comprises combinations of sound and silence within a structured, organised framework. This can be very appealing to children who are on the autistic spectrum. It has patterns which make sense and gives shape and form to interactions which may appear otherwise confusing.

Using songs at key times in the day can help children understand the structure of their time in the setting. The framework that music offers can allow children to express their emotions safely. Allowing a child the freedom to bang loudly on a large drum within a song which has a beginning, middle and end contains their emotions and can be helpful. Engaging a child through inviting her to initiate and contribute ideas will help the child to 'own' what she is doing.

Songs allow for words to be rehearsed over and over again. The repetitive nature of song is helpful when we are learning a language, especially if it is an additional one. Gestures, actions and the use of props can all reinforce the key words.

We often sing songs too fast. Slow down and repeat the song several times, to help every child join in. (See box 'Tips' and 'Make your own songboard').

PROPS

I love open-ended props that can 'be' lots of different things. Chiffon scarves and/or large pieces of fabric are excellent supports to imaginative play. They can be waves, sky, grass, capes. Building bricks are great for rhythm play ('Hickory dickory dock') and can be made into trains, cars, circles, towers. Offer open-ended resources such as cardboard boxes, fabric and bricks to create an environment that enables children to use their imagination.

Watch for a little while and then join the children in their creative 'flow'. By introducing some songs with a known structure, those who like pattern and feel secure with the structure may be able to enjoy the imaginative play activities too.

I use a song that invites suggestions - 'My scarf is now a tail, a tail, a tail. My scarf is now a tail a long, long tail.' Then I ask, 'What else could your scarf be?' Children can show you even if they cannot tell you. You sing it again using one of their suggestions. This way a child has contributed to a game where every answer is a right answer, which is good for confidence and feeling special.

Puppets on sticks (which can be pulled into a cone) can be good to demonstrate getting louder or getting quieter. As the puppet emerges from the cone, the playing can begin quietly and get louder until it is fully out of the cone and then get quieter as it makes its slow descent back into the cone and disappears. This can be achieved through free playing on the instruments, body percussion (start with a one finger clap, then two, then whole-hand clapping, then tap knees and chest and finally stamp feet, while slapping knees or clapping) or singing a song you have all chosen. Once the children have understood how the game works, one of them can take the lead and direct the playing of the group with the puppet.

Taking the time to tune in to the children will allow you to get to know them in a deeper way, and sharing spontaneous sound-making games will let you see their potential and capabilities as they show you their world of sound and invite you to join them. Have a doodle with sound just as you would with paint and allow your unique expression the chance to flow.

Jessica Pitt is an early childhood music consultant, now studying for a PhD at Roehampton University. She is a trustee of the Pre-School Music Association and a member of MERYC-UK (Music Educators and Researchers of Young Children, www.meryc.eu), which is keen to see music become integral to the EYFS. Contact: pittj@roehampton.ac.uk

DISCRIMINATING SOUNDS ACTIVITY

This small-group activity is suitable for children who are just beginning to speak.

Song

'I have sounds 1,2,3, hide away

'Listen now, carefully, which one do I play?'

Sue Nicholls (tune of 'Tommy Thumb')

Materials

• - three different sound makers/instruments
• - pictures/drawings of the instruments
• - scarf/box to hide them away

Activity

• - Sing the song and play each sound-maker in turn, showing the picture at the same time.
• - Hide the instruments away behind the scarf or in the box. During the line in the song, 'Which one do I play', use a gesture for 'which?' - this might be a Makaton or BSL sign or just something you choose which you always use.
• - Then play the sound and ask the less able communicator to select the picture of the instrument he thinks is playing. Give lots of praise!
• - Use the name of the child and the instrument as you show the card - for example, 'Mary chose the maracas'. The more able communicators can name the sound maker they hear.
• - This activity can be left out for the group to play with later. As the children get used to the game, make it more challenging. How about using your home made shakers with three different fillings: rice, pasta, beans?

MAKE AN OCEAN DRUM

Instruments can captivate young children. I like ocean drums, as the sound is interesting and there is plenty to look at. To make your own (with thanks for Christine Anderson for the idea):

• - Decorate the base of a used cracker box or fancy shirt box with a clear lid. If using wrapping paper, ensure the paper is secured at every corner and side. Sponge painting can be a lovely alternative (I use sea-inspired designs).
• - Add some silver icing balls, just enough to make a lovely sound as they move around the base of the box.
• - Secure the clear lid to the top.

This makes a beautiful alternative to the ocean drums you can buy, and the sound can be more soothing. As you sit with a child you can rock to and fro while the ocean drum moves from side to side. Hum something like 'Row, row your boat' to be calming and relaxing.

Keep your 'special' instruments safe and use for those one-to-one moments.

SINGING AND PLAYING MUSIC: TIPS

• - Keep the groups small.
• - Try turn-taking songs with a prop to indicate who has a turn.
• - Choose songs where children can provide their own suggestions.
• - A songboard can help with choice (see box).
• - Slow down and repeat, repeat, repeat.
• - Listen to different types of sound, for example, metallic, wooden, plastic, with silence in between.
• - Tune in and copy early vocalisations.
• - Encourage playing with instruments by copying and imitating any interesting patterns that may appear.
• - Sing what you are doing and provide a narrative as you play alongside the children - for example, 'I drive the car round and round. Ravi drives his car round and round.'
• - Circle-time music-making can be fun and uniting but can also be overwhelming or confusing for some children, so build children's confidence by first trying out some small-group activities in which all can participate fully.

MAKE A SONGBOARD

To create a songboard, you will need:

• - a large piece of card
• - simple representative drawings of songs on small cards with Velcro on the back - for example, a spider for 'Incy Wincy', a bus for 'Wheels on the bus'
• - Velcro strip(s) along the middle of the song board
• - your own decorations to make the song board attractive and jolly.

Laminate to increase durability.

Use

• - Start with perhaps two choices of songs on the board and allow the children to choose what they'd like to sing. As they get confident with the game, increase the number of choices.
• - As children learn new songs (or made-up songs become favourites), create a card to add to the repertoire.
• - The songboard allows the less able communicators the chance to choose and can open up the range of songs on offer. It is sometimes hard enough for us confident speakers to think of a song on the spot, even more difficult when language is developing. This makes the song choice concrete and clear to everyone.
• - Leave the board in an obvious place so that children can use it when they want to.

BOOKS

• - Music with the under-fours by Susan Young (RoutledgeFalmer)
• - Sounds like playing by Marjorie Ouvry (Early Education)
• - Playsongs: Action songs and rhymes for babies and toddlers by Sheena Roberts (A&C Black)
• - Bobby Shaftoe Clap Your Hands by Sue Nicholls, Sheena Roberts and Lynn Breeze (A&C Black)
• - Voiceplay: 22 Songs for children by Alison Street and Linda Bance (OUP)
• - Singing games and rhymes for early years by Lucinda Geoghegan (National Youth Choir of Scotland)
• - The singing day by Candy Verney (Hawthorn Press)

REFERENCES

• Bradley, L and Bryant, PE (1983) 'Categorising sounds and learning to read: a causal connection', Nature, 310, 419-421

• Brazelton, TB, Koslowski, B and Main, M (1974) 'The origins of reciprocity: the early mother-infant interaction', in Lewis, M and Rosenblum, L (eds) The Effect of the infant on its caregiver. London. Wiley

• Csikszentmihalyi, Mihaly (1990) Flow: The psychology of optimal experience. New York: Harper and Row

• Goswami, U and Bryant, P (1990) Phonological Skills and Learning to Read. Pyschology Press

• Malloch, S (2000) 'Mothers and infants and communicative musicality' in Musicae Scientiae special issue 1999-2000, 29-57

• Street, A (2006) 'The role of singing within mother-infant interactions'. PhD thesis, University of Roehampton.