Harmonizing Research, Practice

Harmonizing look, Practice, and insurance in Early clawishness unison A let loose of interthemeist Voices ( dissolve 2) Lori A. Custodero & Lily Chen-Hafteck a b a b medical specialty and medication preparation program at Teachers College, Columbia University Music De bureaument, Kean University, New island of Jersey Version of establish premiere published 07 Aug 2010. To cite this article Lori A. Custodero & Lily Chen-Hafteck (2008) Harmonizing Research, Practice, and Policy in Early pip-squeakhood Music A Chorus of International Voices (Part 2), dodges Education Policy Review, 1093, 3-8 To link to this article http//dx. doi. org/10. 3200/AEPR. 109. 3. 3-8PLEASE SCROLL cut down FOR ARTICLE Full terms and conditions of theatrical role http//www. tandfonline. com/p succession/terms-and-conditions This article may be use for research, tutoring, and private theatre of ope proportionalityns purposes. Any substantial or systematic reproduction, redistri scarcely ifion, reselling, loan, sub-licensing, systematic supply, or distri only ifion in any rebound to anyone is mouthly forbidden. The publishing firm does not give any warranty express or implied or make any representation that the contents result be complete or accurate or up to date. The true statement of any instructions, formulae, and drug doses should be independently verified with primary sources.The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Copyright 2008 Heldref Publications Harmonizing Research, Practice, and Policy in Early tikehood Music A Chorus of International Voices (Part 2) LORI A. CUSTODERO and LILY CHEN-HAFTECK editor in chiefs note. Lori A. Custodero and Lily Chen-Hafteck served as guest editors for both Part 1 and Part 2 of the special return key International Policies on Early Chil dhood Music Education Local and Global IssuesRevealed. n the November/December 2007 issue of Arts Education Policy Review, readers were introduced to archeozoic tikehood harmony policies in Brazil, England, Kenya, Puerto Rico, South Africa, and the United States. In this collection, a second ensemble of experts from Australia, China, Denmark, Korea, Israel, and chinawargon joins them. like the anterior issue, these authors presented papers or workshops at an International social club for Music Education, Early Childhood Music Education Seminar in capital of Taiwan in 2006 and wrote new articles for inclusion here.They responded to the kindred charge as the previous authors to answer the following principals What policies currently exist in your expanse for archean puerility medicinal drug tuition? To what extent do these policies meet the ineluctably of pip-squeakren in your republic? How argon instructors prepargond to teach proto(prenominal) childhood harmo ny in your country? In what ship washbowlal do topical anesthetic and globose coatings figure into the policies and practices of aboriginal childhood medicament in your country? Additionally, we offered the following questions, to be addressed at the authors tact Do different musical comedy theater cultures require different instructional approaches?And, conversely, be certain music instructional approaches culture peculiar(prenominal)? How does this impact insurance policy and practice of early childhood music in your country? What are the potential risks and rewards of mandating multicultural musical experiences for young children? Finally, we asked authors to address any issues specific to their regions and to make concrete suggestions regarding policy for their countries. Salient themes emerged addressing what was taught and who was responsible for that content.In many ways these cardinal conditions are inseparable, inter cogitate by means of the social nature o f musical experiences. In these accounts, we also see ways in which content and spoken communication formulate reception and how that process, in turn, defines and is defined by culture. Examining these geographical stage settings raises questions close to atti- I tudes, practices, and policies c formerlyrning early childhood music fostering that progress to signification for many of us. We chose three threads of inquiry from the many that weave these unmarried texts into a textual fugue (a) ensions between child and prominent culture (b) competing influences by global, regional, and local anaesthetic agencies on standards and curricula and (c) expectations for teacher association and preparation. Competing nicetys Child and liberal The existence of a musical culture in early childhood, which is clear different from the adult culture, is based on studies showing mistakableities of vocal contours used in communication between infants and mothers across cultures (Papous ek 1996), as well as research regarding the differences between music made by children and adults (e. . , Bjorkvold 1992 Campbell 2007 Littleton 1998 Marsh 1995 Moorhead and pocket billiards 1941). Sven-Erik Holgersens article on early childhood music in S candinavia describes practices in Denmark, Sweden, and Norway that are sensitive to the childs culture. The cultural clang in those regional systems exists between programs that favor an elemental or indispensable approach to education for the young based on the free frivol aesthetic and those that see music Vol. 109, No. 3, January/February 2008 3 as a mode of artistic materialization requiring learned skills.Lily Chen-Hafteck and Zhoyua Xu and, separately, Jennifer Chau-Ying Leu plant pre naturalizes in Chinesespeaking countries to crap a strong sense of adult culture. Most parents and teachers believe civilize should stress academic learning rather than trick, so that children can make high scores on tests and examina tions. Chinese culture also stresses study and hard work as important for academic success. In Korea, Nam-Hee Lim and Shunah Chung found that adults believe young children need close supervision and guidance from teachers and parents in their development.Therefore, childrens natural tendency to be wanton awayful and creative is not recognized as a core value in nurture potential for future success drives decisions. These cultural differences are interactive with and brooding of current conditions and regional history. In China, for example, books were printed with movable type as early as the eighth century, whereas in Europe copies were still drawn by hand until the 1400s. Such a long history of text availableness elevated reading and writing to a valued skill that was recognisable and sought (Smith 1991).Societal values may offer another lens to regard early academic emphasis, such as those espoused by Confucius, for whom morality and lot for others, especially family, were primary. In terms of contemporary conditions, Louie Suthers of Australia notes that in her varied country one can see differences in root-class honours degreeing ages of pre-primary education. In Denmark, the children start at three years of age and continue for four years. In China, pre-primary education starts at four years of age and continues for three years, although care is available in each country mentioned from birth.Also of note, the average student teacher ratio in China is 281, differing from Hong Kongs average ratio of 161. The older starting age in China may perpetuate (or reflect interest in) the schooling culture. Leus discussion of the greatness of family mise en scene is relevant to this point, inas much as it may tin the space for child culture 4 Arts Education Policy Review to fly high while adult culture is operating at school. Claudia Gluschankof writes astir(predicate) the purposeful creation of materials for the child culture with the development of t he New Hebrew Culture in the Israeli territories during the early 1900s.Preschools were created based on the Froebel playcentered model and fork up an unusual case in the concentrated production of childrens music in a language that had no such repertoire precedent to the kindergartens establishment. The conscious choice to provide young children with cultural tools for catch at the earliest stages of a community is reminiscent of Sheila Woodwards discussion concerning the splendour of children in nation building in South Africa, featured in the previous issue of this journal.In her conclusion, Gluschankof raises important questions concerning this created canon of songs and the lack of repertoire for Arab-speaking children. employ the idea of child culture as a lens for viewing cultural and educational policies provides a useful way to understand differences and similarities in political systems that define the worlds in which we teach, research, and cohabitate. Such underst anding may farting to more focused and meaningful questions that may reveal inequities or substitute directions in music education worthy of exploration.Considerations of these policies regarding conceptions of adulthood and childhood make it directly to curricular influences that we view from a related dialectic the local and global. Local and Global Influences Child and World In the first part of this symposium, we focused on the tension between small and large scurfy views of what should be taught, each serving a different societal need. In the second part, we speak more specifically to the notion of a national course of instruction because it is mentioned in each of the articles collected here.We are interested in questions dealing with how these personal and collective influences affect childrens music education Does governmentmandated standardized curriculum limit possibilities or in original access of bore to all children? and What is the exemplar to which music educat ion should be standardized? The first question is meant to generate critical thinking regarding what and how policymakers might send messages about music education in the early years the second is meant to question assumptions we might have surrounding best practice and the cultural nuances that shape it.Suthers, discussing Australias situation, is mindful that at that pull is no national music curriculum for pre-primary school and points to a recent reform movement in music education that excluded early childhood experiences. She notes that this leaves teachers feeling isolated and that their work is undervalued. Alternatively, Gluschankoff discusses the childrens music written in Hebrew as nighwhat ideological and makes suggestions for addressing the inclusion of accessoryal materials to meet the unavoidably of a multicultural society. whiz of the ways in which the national curriculum may become nationalistic is in the mandates or recommendations around interpret repertoir e. The reference played by tattle in socialization is significant and has been used for centuries to transmit cultural values, to teach language, and to establish qualities of rhythmic energy that typify a way of universe Dissanayake (2000) makes the case for mutuality and belonging as ways the arts are meaningful to us.Inasmuch as collective render creates a sense of belonging, we have a responsibility to monitor the ways in which we look at the child and the world (see Leus article describing ecological systems and Lim and Chung on the accessary role of adults). Chen-Hafteck and Xu also write about the importance of family notification and the differing role of school music. When local k this instantledge is replaced by chauvinism, music can be decontextualized. Because musicality is deeply rooted in shared experience, (Trevarthen 1999) we need to reserve the personal and not expose childrens vulnerability to politicization.Our concern regarding global trends also involves the perception that globalization means movement toward Downloaded by Macquarie University at 1458 28 March 2013 Western ideals. Attention to the local, once again, is necessary to adequately implement any change. In China, for example, although the new educational policies follow the global trends rhetorically, espo using learning through play and stressing personal expression and creativity, its usefulness is severely hampered by conflicting views in the local tradition regarding a deep belief in academic success as the consummate benchmark.Holgerson considers a similar dissonance between local needs and governmental responsibility to all children through the philosophical lens of Bildung, a generative model that keeps the questions about such disconnections at the forefront of practice. Downloaded by Macquarie University at 1458 28 March 2013 Teacher friendship Child and Music Practice policies are perhaps best viewed twin teacher preparation what do we value as knowledge? For about of us, early childhood musical practice involves understanding as much as we can about children while safekeeping the cultural context in mind.This might include individual experiences that contribute to their uniqueness and developmental trends that might give indications about what to expect in terms of maturation. What knowledge do we need of music? In this issue, the authors discuss the importance of a diverse and culturally responsive repertoire, singing range, quality of recordings, appropriate use of instruments, and sound sensitivity. In this collection of articles, the authors suggest that these two knowledge areas are rarely considered together and that they exist in bifurcation, at least conceptually.Across the globe, there are those who are considered to have knowledge of the child in context (families or publicist teachers) and those who have knowledge of the child in music (specialists). Holgersen describes this dichotomy in practical termsmusic activities and music teaching. The goals of using music are indeed varied and the complexity of music leads to tenfold possibilities worthy of exploration. Among the authors there is a consensus concerning the need for collaboration between the two areas of expertise with several concrete recommendations.Reasons for this common phenomenon center on the systems in place for teacher preparation and the institutional divisions of disciplines authors advocate for more conservatively structured professional development to help bridge the disciplinary divide. erudite the body of work of these authors, we are familiar with their efforts to form partnerships with local child care specialists and have been concern with such partnerships at our universities. Child and bad It is noteworthy that many of the responses are about memories of musical adults who were influential in their music education.Graham Welch (pers. comm. ) offers I was educated in a Church of England ancient school in London . . . w here we render, often with the local Vicar leading on the pianissimo assai. I can remember his enthusiasm, quick tempo and intensity of keyboard playing. F or closely of us, early childhood musical practice involves understanding as much as we can about children while keeping the cultural context in mind. We believe them to be some of the most meaningful opportunities for our own teacher knowledge.Policy and Personal Voice In addition to the authors featured here, to inform our sense of the historical significance of current situations regarding early childhood music and the breadth to which our profession defines policy, we asked our colleagues involved in multinational musical education about their memories of early childhood music education and their relationship to policy with the following questions 1. Reflecting on your childhood before age eight, what were the influences of policy on your music education? . How does this compare with todays situation for young children? R esponses were varied and provided insight through a self-reflective lens. We looked at the seven responses regarding their relatedness to our three topics and to how policy can reach us as individuals in a long-lasting way. Alda Oliveira (pers. comm. ) from Brazil also reflected on a teacher The first time I went to school I was seven years old. At this age I choose to take piano lessons with a private piano teacher.She was a marvelous teacher since her manner included not only playing by reading and singing the notes, but also playing by ear and some hot songs. Family members had a strong musical presence in June Boyce Tillmans (pers. comm. ) childhood in England My music was regularly singing with and listening to the playing of my enatic grandfather who was the village dance band pianist. Margre van Gestel (pers. comm. ) of The Netherlands also wrote of related experiences I had the privilege to be surrounded by a musical family.We had a piano in our home and I spent haemo rrhoid of time behind the piano in my grandmothers house. My uncles and aunts could play the piano and as a child I enjoyed listening to them. virtuoso of my aunts was the ballet teacher in the village and from the age of four I was in her dancing classes. It was normal in my family to sing and play. My father had a good voice and was a soloist in the church choir when he was young he played the clarinet and was a folkdance Vol. 109, No. 3, January/February 2008 5 teacher during scouting activities.I guess my days were filled with (live) music, not in courses but just all day long. train Gestel shared a record of family influence In my baby dairy, when I was 8 months old, my mother wrote nowadays she clapped her hands. She probably learned that from her grandmother When you sing Clap your hands she reacts immediately. One year old When we sing Oh my daddy (a popular song in the sixties) she sings along, daddy, daddy. In South Africa, apartheid led to decisions about schooling fo r Caroline Van Niekerk (pers. omm. ) that indirectly influenced her musical education by re despicable her from the direct influences of the national educational system of that time. She also spoke of a contemporary situation in which fighting governmental policies was necessary and of the strength we have to overcome alleged(prenominal) decisions I had a desperate call just yesterday from someone with a story of how their education faculty, in training teachers for the Foundation Phase, wants to pick out music as an optional area of specialization for students.We are now all doing ein truththing in our power to protest such a thought loudly. But I have also seen what I regard as a promising development, and similar to the situation I witnessed in calcium when we lived there, more than twenty years agoas parents of young children suck up that the formal education system is not necessarily going to provide their children with what they believe is important, and especially as re gards the arts, including music, they start to take responsibility for those things themselves. ntil I was about age five) could not get my lessons paid for. Had the place still be in that county I would have been entitled to a bursary to pay for lessons and I would have been able to learn a second instrument. But without that my parents could only afford piano lessons. I am still sad about this, which was simply a matter of geography and the local control of resources. Child and Music The same issues featured authors raised are apparent in the additional professionals responses the lack of resources and teachers. Gary McPherson (pers. comm. links personal memories with policies, of which he sees little change, from his Australian childhood I have a vague memory of singing in a school choir that was led by a general classroom teacher when I was about six or seven, but the group was nothing special so it had no impact on my subsequent musical development. . . . I went back some years ago and had a look at the way music was described in the school curriculum (particularly primary school curriculum). There were all sorts of acquired immune deficiency syndrome and resources for general primary teachers to use but music wasnt typically taught well in schools.To be honest, Im not sure the status of music in the curriculum is any different. Downloaded by Macquarie University at 1458 28 March 2013 These testimonies to strong and positive adult influence suggest that family education is important, as Leu and others advocate in this symposium, with the pre admonish that the experiences described are with adults perceived as musicians. This suggests we need to exercise caution in defining people in terms of limited musicality and that music education of our children means their children will be better educated.It is evoke that teachers were remembered for the affective qualities they conveyed and through a curricular stance that was relevant to the child. Child and Wor ld The relationships among local, state, and global influences are also reflected in these personal accounts. many a(prenominal) of these music professionals took private music lessons and considered their experiences to be nonpolicy driven. Oliveira (pers. comm. ) mentioned the involvement of musicians in music education policyspecifically, the Canto Orfeonico policy under the leadership of composer Villa-Lobos.She recalls that this policy influenced her school education, which included group singing and elementary level music theory. As already discussed, group singing is a common vehicle for politicization. Like Gluschonkofs report of Israeli songs contributing to nation-building, Boyce Tillman (pers. comm. ) noted that At age seven I went to a school where we had massed singing in the Hall when we sang British folksongs, many of which I still know by heart. We had a book called the New National Song book, which was a deliberate tone-beginning after the war to restore a sense of nationhood.This was used passim my school career. 6 Arts Education Policy Review Welch wrote of intersect influences of church and state I discovered later that the London County Council was very supportive of music in schools generally, although my local experiences as a child were as much to do with the link to the Church and the naturalised ethos of including singing as a natural part of the school day. Ana Lucia Frega (pers. comm. ) describes a similar situation in her native Argentina. Early childhood music courses were not always taught by a specialist . . . his means that some problems arose some of the K-general teachers choose materials that do not really fit the appropriate children range of voices, and which tend to create vocal difficulties. He notes the longevity of such a workable duet On returning to the school many years later for my first teaching post, I discovered that the schools policy toward music had continued, with the same range of events and activit ies in place. In the previous issue, Young discussed the incomparable commitment England has made to the artsspecifically music, a commitment Welch reiterates.Boyce Tillman recalls a time when the resources from the national government were in local hands, resulting in unjust opportunity At age seven I started piano lessons but because the place we lived in was then in Southampton and not in the County of Hampshire (to which we are very close and in which we had been Although our policy make systems move slowly, and are not always moving in the direction we would like, there is hope in the growing numbers racket of people who care about music education. Oliviera writes at least we can feel the difference between my generation and todays generation. perhaps our aim is to prepare children who grow up to be like von Gestel, with the same rich resources at hand for creating meaningful experiences Music (and especially do and teaching music) was and is a part of my everyday life, an d really I cant imagine a life without singing together and making music. It makes my life worth living. References Bjorkvold, J. R. 1992. The muse within Creativity and communication, song and play from childhood through maturity. Trans. W. H. Halverson, New York HarperCollins. Campbell, P. S. 2007. Musical meaning in childrens cultures. In International handbook of research in arts education, ed.L. Bresler, 88194. Dorderecht, The Netherlands Springer. Dissanayake, E. 2000. Art and intimacy. Seattle University of Washington Press. Littleton, D. 1998. Music learning and childs play. General Music Today 12 (1) 815. Marsh, K. 1995. Childrens singing games Composition in the playground? Research Studies in Music Education 4211. Moorhead, G. E. , and D. Pond. 1941. Music of young children. 1 Chant. Santa Barbara, CA Pillsbury Foundation for the Advancement of Music Education. Papousek, H. 1996. Musicality in infancy research Biological and cultural origins of early musicality.In Musical beginnings Origins and development of musical competence, ed. I. Deliege and J. Sloboda, 3755. Oxford, England Oxford University Press. Smith, D. C. 1991. Foundations of modern Chinese education. In The Confucian continuum, ed. D. C. Smith, 164. New York Praeger. Trevarthen, C. 1999. Musicality and the intrinsic motive neural impulse Evidence from psychobiology and human communication. Musicae Scientiae (Special Issue Rhythm, Musical Narrative, and Origins of Human Communication), 155211. Lori A. Custodero is an relate professor and program coordinator of the MusicDownloaded by Macquarie University at 1458 28 March 2013 and Music Education program at Teachers College, Columbia University, where she has established an early childhood music concentration that integrates pedagogy and research through both theory and practice. She served on the International Society for Music Educations Commission for Early Childhood for six years and is involved in research and teaching projects in a variety of countries. Lily Chen-Hafteck is an separate professor of music education and assistant chair of the Music subdivision at Kean University, New Jersey.Originally from Hong Kong, she has held teaching and research positions at the University of Pretoria in South Africa, the University of Surrey Roehampton in England, and Hong Kong Baptist University. She serves on the editorial board of the International diary of Music Education, Asia-Pacific Journal for Arts Education and Music Education Research International. She is the chair of the International Society for Music Education Young Professionals heighten Group. Vol. 109, No. 3, January/February 2008 7 Downloaded by Macquarie University at 1458 28 March 2013 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?