Music for and by children
type: channel
publisher: UA Editora
language: en
publication name: Music for and by children
issn: 2795-5990
items: New Methodologies for Teaching Trumpet and Music Theory to Children in Basic Courses
items: Children’s Play? Benjamin Britten’s Noye’s Fludde and the Adventure of Composing Excellent (Classical) Music for Children
items: What can writing activity and musical practice tell us about each other?
items: The Ukrainian folk Song Entertainments for child:
items: The Trumpet
items: Rhythmic Hooks
items: Here and now
items: Artists visit the school: an educational action through contemporary musical creation in a Singular Educational Action School.
items: Instrumentarium XX1: Experimental Instruments for the Development of Musical Creativity
items: Composing ‘Australian animals for 1st year pianists’:
items: Children's composition:
items: A Young Person’s Guide to Orchestration
items: Creative music production by children:
items: “The things of the land are weird and different”, said The Girl from the Sea. Bringing childhood closer to “contemporary music” through a musical signification strategy.
items: How do children construct their understanding of creative music workshops? A discursive investigation into children’s talk through and after creative music workshops.
items: Problem-based Learning
items: Music, wellbeing and engagement in early childhood
items: Music “for” and “with” Children: Art Confluence and Early Childhood Education
items: Children engaged in musical creation
items: Music, childhood, education
items: Creating music in childhood
items: peyotl
items: Sound hunters
items: Oficina de Composição
items: Piano.Gems:
items: Editorial
items: Unlocking Curiosity
items: Experiencing music before decoding:
items: Melodic and vocal performance of school-aged children from disadvantaged backgrounds
items: Children listening with their entire moving bodies

New Methodologies for Teaching Trumpet and Music Theory to Children in Basic Courses
type: item
description: The recent regulation of the Italian Conservatories have finally established and activated “ad hoc” courses aimed at the didactics for the youngest students (ages 5 and up) named “Basic Courses”. The main aim of these training courses is to introduce students to music and get them to study it from the earliest age and to provide them with the fundamental bases of the instrument. It has been seen that the exposure of children to the study of music produces benefits in lots of fields such as the socio-familiar one (stimulating social interaction, cooperation, etc.) and the educational-training one (stimulating the memory, creativity, auditory perception, ability to listen, expressive capacity, movement coordination, sense of rhythm, etc.) Unfortunately, it happens, in the vast majority of cases that requests for attendance at these courses are directed toward the study of “best known and tested instruments for this age group”, such as piano, percussions, violin, flute, etc. Lots of the most feared instruments, such as the trumpet do not see suitable participation. The reasons related to this issue may be of various kinds: 1) difficulty for younger students to approach to the study of the instrument; 2) lack of visibility and spread of the instrument; 3) limited instrumental repertoire; 4) shortage of methods and suitable books for the teaching of the instrument; 5) lack of knowledge of suitable tools for the support of children’s didactics, to avoid physical problems caused by the excessive weight/size of the instrument and from the early studying of it; 6) shortage of properly prepared teachers, educational and methodological practices for the youngest ones. The main target of this project consists of stimulating and encouraging teachers to re-evaluate the teacher’s role by experimenting with “new” inclusive teaching methods focused on playing and on cooperative learning. The methodological approach to each activity must be playful and must promote 1) dynamics of mus…
subject: Posters
  topic: section
subject: Trumpet practice
  topic: keywords
subject: creative processes
  topic: keywords
subject: cooperative learning
  topic: keywords
subject: playful approach
  topic: keywords
subject: social inclusion
  topic: keywords
subject: music theory
  topic: keywords
creator: Dario Savino Doronzo
rights: Copyright (c) 2023 Music for and by children
date: 2023-09-07
publication date: 2023-09-07
starting page: 118
ending page: 128
doi: 10.34624/musichildren.v0i2.29560

Children’s Play? Benjamin Britten’s Noye’s Fludde and the Adventure of Composing Excellent (Classical) Music for Children
type: item
description: Children’s Play? Benjamin Britten’s Noye’s Fludde and the Adventure of Composing Excellent (Classical) Music for Children Theoretical Context The paper we will present expands on parts of a master thesis on the music pedagogy of Benjamin Britten. Point of departure of this thesis was Britten’s remarkable sensitivity, as an established classical musician, to the educational urgency of a number of ambiguities shaping the public role of (classical) music in contemporary society. While remaining critical of its shortcomings, the ultimate endeavour has been to develop a post-critical perspective on his work, and thus to reclaim Britten’s most valuable insights into the said ambiguities—including those implicit in some of his musical projects for/with children (e.g., the opera Noye’s Fludde). Aims The paper’s overarching aim is to show how a post-critical pedagogy might help established and/or purportedly hegemonic musical traditions to reassess their own past in terms that affirm undeveloped, ‘minor’ potentialities, rather than criticize major deficiencies. More specifically, we propose to do so for the case of Britten’s children’s opera Noye’s Fludde, in whose genesis we discern a pedagogy that tries to couple a ‘classical’ conception of musical excellence to a contemporary ideal of democratic accessibility and plurality. Methodology Our research has been mainly conceptual-discursive in nature. On the one hand it is based on the study of scientific literature: both on the current state of affairs in music-educational theory (particularly with regard to classical music), on post-critical pedagogy, and on Benjamin Britten, his music(-education)al ideas and compositions for children. On the other hand, for the case of Noye’s Fludde, we have also studied non-textual materials, such as scores, (video) recordings, and documentaries. Findings The paper’s main finding has been that some of Benjamin Britten’s views on the significance and possibilities of composing for/with chil…
subject: Paper presentations
  topic: section
subject: music education ; classical music ; Benjamin Britten ; child performers ; music pedagogy ; post-critical pedagogy
  topic: keywords
creator: Wiebe Koopal
creator: Lierin Buelens
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 65
ending page: 66
doi: 10.34624/musichildren.v0i2.28411

What can writing activity and musical practice tell us about each other?
type: item
subject: Paper presentations
  topic: section
subject: writing
  topic: keywords
subject: musical practice
  topic: keywords
subject: music
  topic: keywords
subject: cognition
  topic: keywords
creator: Violeta Magalhães
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 63
ending page: 64
doi: 10.34624/musichildren.v0i2.28897

The Ukrainian folk Song Entertainments for child:
type: item
description: My purpose: to demonstrate Ukrainian folk games and games for children up to 3 years with analyzing their possibilities for musical and mental development. My motivation: I want to popularize Ukrainian folk music child culture and show that it is interesting, relevant and necessary for children today. Our museum have a project which based on using the Ukrainian folk songs and games for baby and their adults. We gathered folk play rythmes for baby from old woman in the Ukrainian villages and use them on the workshops. Some of our workshops you can see on this link: https://www.youtube.com/watch?v=4TvBz_iQFag Traditional Ukrainian song entertainments can be grouped by age: for babies; for children who have begun to sit or walk; for children aged 3­-5 years. So, first the adults sing a song to the child and touch her|his legs, hends and had , so he or she memorizes the sequence of movements, melody, words, and then performs it. Children who are entertained, during the period of their most powerful mental, psychological and physical development, receive extremely important creative training. After all, the song entertainments are enriched with verbal, musical and dramatic creativity, so they form a powerful creative potential, including musical abilities. Therefore, in the process of children's upbringing, the song entertainments should be given as much attention as possible.
subject: Lecture-recitals
  topic: section
subject: Ukrainian child folk song and games
  topic: keywords
subject: intonation hearing; timbre hearing; sense of rhythm; musical memory
  topic: keywords
subject: the song entertainments
  topic: keywords
creator: Yaroslava Levchuk
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 17
ending page: 17
doi: 10.34624/musichildren.v0i2.28933

The Trumpet
type: item
description: The latest legislation of Italian Conservatories finally set up and activated ad hoc courses aimed at the didactics for the youngest students (ages 5 and up) named “Basic Courses”. The main aim of these training courses is to introduce students to music and get them to study it from the earliest age and to provide them with the fundamental bases of the instrument. It has been seen that the exposure of children to the study of music produces benefits in lots of fields such as the socio-familiar one (stimulating social interaction, cooperation, etc.) and the educational-training one (stimulating the memory, creativity, auditory perception, ability to listen, expressive capacity, movement coordination, sense of rhythm, etc.) Unfortunately, it happens, in the vast majority of cases that requests for attendance at these courses are directed toward the study of “best known and tested instruments for this age group”, such as piano, percussions, violin, flute, etc. Lots of the most feared instruments, such as the trumpet do not see suitable participation. The reasons related to this issue may be of various kinds: 1) difficulty for younger students to approach to the study of the instrument; 2) lack of visibility and spread of the instrument; 3) limited instrumental repertoire; 4) shortage of methods and suitable books for the teaching of the instrument; 5) lack of knowledge of suitable tools for the support of children’s didactics, to avoid physical problems caused by the excessive weight/size of the instrument and from the early studying of it; 6) shortage of properly prepared teachers, educational and methodological practices for the youngest ones. The main target of this project consists of stimulating and encouraging teachers to re-evaluate the teacher’s role by experimenting with “new” inclusive teaching methods focused on playing and on cooperative learning. The methodological approach to each activity must be playful and must promote 1) dynamics of musical thought; 2…
subject: Paper presentations
  topic: section
subject: Trumpet practice
  topic: keywords
subject: creative processes
  topic: keywords
subject: cooperative learning
  topic: keywords
subject: playful approach
  topic: keywords
subject: social inclusion
  topic: keywords
creator: Dario Savino Doronzo
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 33
ending page: 34
doi: 10.34624/musichildren.v0i2.28918

Rhythmic Hooks
type: item
description: Theoretical background or Context Student engagement is frequently compartmentalised into emotional, behavioural, and cognitive modes, whilst musical engagement is understood to have five forms: appreciative, explorative, directive, evaluative, and embodied (Brown, 2016). Brown (2016) describes how musical activities can activate each of these modes of engagement. However, little is known about how the musical attributes that exist within such musical activities can influence experiences of engagement. Aims The aim of this research was to gain an understanding of how duration-based musical attributes can contribute to forms of engagement amongst 7-11-year-olds. This age group was chosen due to a documented lack of consistency in primary school music education in the UK, which is thought to stem from low levels of both training and confidence (Daubney, Spruce, and Annetts, 2019). The new knowledge provided through this study offers educators the opportunity to understand how musical features can immerse and inspire pupils. Methodology A constructivist grounded theory methodology was adopted for this research, involving in-depth, qualitative interviews with twenty participating teachers who have at least two years of experience teaching music to classes of 7-11-year-olds in the UK. These teachers were selected using purposive sampling. Transcripts were analysed using initial, focused, and theoretical coding, during which emerging themes were strengthened through engagement with existing literature. Results/Findings Interview data demonstrated that there were six duration-based musical attributes which teachers related to Brown’s (2016) musical modes of engagement. These were: The use of ‘natural’ tempo, Sudden tempo changes, Gradual tempo changes, Syncopation, Cyclic rhythms, and Rhythmic simplicity. All six of these attributes were found to be related to both embodied and appreciative engagement. The use of natural tempo and simple rhythms also linked to explorative …
subject: Paper presentations
  topic: section
subject: music education
  topic: keywords
subject: engagement
  topic: keywords
subject: key stage 2
  topic: keywords
subject: embodied music cognition
  topic: keywords
creator: Rosalind Cardenas
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 55
ending page: 56
doi: 10.34624/musichildren.v0i2.28984

Here and now
type: item
description: Context Companhia de Música Teatral’s (CMT) performing pieces are communication experiences that often involve a high degree of interaction between performers and audiences. Such is the case of a set of small musical-theatre pieces called PaPI (Portable Play to Play). These are multidisciplinary performances where artists explore the common ground between art and playfulness, in a continuum that involves music, dance, theatre and visual arts. They aim to enable younger ones, families and educators to find different poetic meanings in an atmosphere of shared time and space. One of such pieces is PaPI - Opus 8, which was premiered in 2019 and was supposed to tour throughout 2020. Due to the pandemic, many of the performances were canceled. New paths had to be discovered, and the Zoom video-conference platform was chosen as an alternative. A new version of the piece was developed, called PaPI – Opus8.z. Aims This paper will focus on necessary adaptations of the piece imposed by the limits of the platform, as well as exploring what CMT chose to maintain, and what they chose to change. It will also reflect on the different audience behaviors when watching a performance live or through Zoom. Methodology A commonality between the different CMT productions is the focus on blurring of the boundaries between artist and audiences, to transform a performance (one-way) in an experience (omnidirectional). To enhance feelings of co-presence and communication. PaPI – Opus 8 was designed by keeping these aims in mind. The main challenge to adapt it to Zoom was the need to maintain the sensation of a shared time and space between the performer and the audience. Many moments of interaction and dialogue were spread throughout the piece. These moments aimed to show the audience that even though they weren’t in the same “here”, they were in the same “now”. Findings What was apparently lost by the distancing (the notion of a shared space) was retaken little by little with each interaction…
subject: Paper presentations
  topic: section
subject: critical reflection
  topic: keywords
subject: zoom
  topic: keywords
subject: communication through arts
  topic: keywords
subject: shared experiences
  topic: keywords
creator: Jorge Graça
creator: Paulo Maria Rodrigues
creator: Helena Rodrigues
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 45
ending page: 46
doi: 10.34624/musichildren.v0i2.28996

Artists visit the school: an educational action through contemporary musical creation in a Singular Educational Action School.
type: item
description: The schools of Singular Educational Action host (in Spanish CAES) a diversity of children from different backgrounds who usually belong to poor families and neighborhoods classified as particularly disadvantaged groups. In this particular context, we present an educational experience that aims to bring contemporary sound creation to the classroom through the participation of artists in residence.
subject: Paper presentations
  topic: section
subject: Musical creativity, Aglaya Play, multidisciplinary approach, Artistic residencies, Soundscapes, acoustic awareness.
  topic: keywords
creator: Adolf Murillo
creator: Mª Elena Riaño
creator: Jesús Tejada
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 21
ending page: 22
doi: 10.34624/musichildren.v0i2.29011

Instrumentarium XX1: Experimental Instruments for the Development of Musical Creativity
type: item
description: Contemporary approaches to music education must keep pace with changes in society and pose a major challenge for educators. Current needs require schools to move towards open and holistic positions, incorporating approaches far removed from classical visions, in which tonal music, conventional notation and traditional instruments are predominant. The main frameworks of reference are: 1) Embodied Cognition Theory or Embodied Cognition (the focus is on manipulation from the bodily experience); 2) Sound Based Music (the starting point is sound as raw material to be manipulated and transformed, thus expanding the sound palette towards territories open to new dimensions, beyond the tonal); 3) Universal Design (applied to music, it guarantees the design of inclusive materials without access limitations); and 4) The Baschet instrument (in relation to the systems of activation and generation of sound: oscillator types, activation processes, forms of radiation and amplification, and articulation and range modulation systems). Prior to the design and construction of the instrumentarium, a double process was carried out: a) a survey was carried out with active Spanish teachers of pre-school, primary and secondary education to find out about the musical practices they develop in their classrooms; and b) a discussion group was held with experts to define the general musical characteristics of Instrumentarium XX1. A group formed by researchers from different fields related to music (Educators, Musicians, Sound Artists and Designers) with extensive academic and professional experience in music education and with experience in lutherie.
subject: Paper presentations
  topic: section
subject: Instrumentarium XX1, Musical Creativity, Experimental Instruments, Non tonal
  topic: keywords
creator: Adolf Murillo
creator: LLuís Solé
creator: Mª Elena Riaño
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 19
ending page: 20
doi: 10.34624/musichildren.v0i2.29017

Composing ‘Australian animals for 1st year pianists’:
type: item
description: Theoretical background or Context As a change from arrangements of folk tunes and reductions of well-known classical works, we (two Australian composers) wrote a book of 22 pieces for 1st year pianists, each piece representing an Australian animal – mammals, birds, reptiles, insects. The combination of words and music has long been recognised as an effective way to engage students when they begin learning to play the piano (Thompson, 1937), and for Cook (1998) music itself does not so much have meaning as potential for meaning, with this potential being a function of the context within which the music is received. Therefore, music and words combined with original drawings creates a multisensory experience for students and teachers. Aims The aim of this paper is to discuss the thinking and creating behind the pieces, especially how we sought to engage students by developing their imagination and creating curiosity about how the animals live and behave through a multisensory approach. Methodology Adopting a practice-led research process in which the research was ‘initiated by an artistic hunch, intuition, or question, or an artistic or technical concern generated by the researcher’s own practice…’ (p. 6, Rubidge, 2005), we drew on our experience as teachers, composers and writers. Results/Findings The context for these animal pieces is multi-faceted. The pieces are short and song-like to interest first year piano students and the pieces can be sung and/or recited, the rhythm clapped to capture the spirit of the music as a prelude to learning the notation, and to make the Australian animals come alive we wrote words and music (Thompson, 1937). Looking at the way animals behave is interesting for children and we sought to create pieces which capture these activities by making the music itself convey meaning (Cook, 1998) through compositional parameters including rhythm, articulation, dynamics, register, harmony and mode. We aimed to enable younger students to focus bett…
subject: Paper presentations
  topic: section
subject: 1st year pianists; composing; multisensory; imagination
  topic: keywords
creator: Diana Blom
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 37
ending page: 38
doi: 10.34624/musichildren.v0i2.29053

Children's composition:
type: item
description: Theoretical background or Context Creative learning is a concept under construction, in which children are recognized as potentially creative, confident investigators, sense builders and decision makers (Craft et al., 2008). The focus is on the child's learning process and the creative potential to be developed in a specific field of knowledge, such as music. Teachers act as moderators of time and space, being open to listening to the children's perspective and working in co-participation: observing them carefully, valuing and understanding their questions, giving them space, providing an environment of trust, encouraging discoveries and allowing them to learn on their own. Aims This work presents the results of a master's investigation carried out with the objective of investigating the process of planning and teaching action in music education in Early Childhood Education, discussing the paths built by teachers in order to plan and develop actions in the classroom using as guiding principles the creative learning framework. Methodology The data in this work derive from the experiences of music teachers during a training course on creative learning and the development of plans based on this framework. In particular, the data resulting from the second stage of this investigation will be presented, which includes monitoring the pedagogical action of two music teachers in three Kindergarten classes with children between 2 and 5 years old, in Brazil. Results/Findings Taking the concept of creative learning as a reference for planning and teaching action, teachers sought to vary the modes of participation, using different strategies to give children a voice as a way to give them the opportunity to actively participate in their own learning and reveal their perspectives on how they learn. Proposals for provocations for learning were made, records through children's drawings, composition activities in groups and collaborative work of creations and arrangements, evaluation…
subject: Paper presentations
  topic: section
subject: Music Education
  topic: keywords
subject: Creative Learning
  topic: keywords
subject: Children's Composition
  topic: keywords
creator: Ana Paula Cardoso Malotti
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 28
ending page: 29
doi: 10.34624/musichildren.v0i2.29059

A Young Person’s Guide to Orchestration
type: item
description: Theoretical background or Context School and community ensembles are important musical learning environments for young musicians. A large portion of the music they play has been arranged to match it with their developing musical levels. Although an elaborate literature concerning orchestration for professional orchestras exists (e.g., Adler, 2016; Berlioz, 1843; Rimsky-Korsakov, 1913; Sevsay, 2013), few publications address arranging and orchestration for young or amateur players. Often, these books limit themselves to instrumentation instructions only (e.g., Adler, 2016; Eijssen, 2008; Janssen, 2004), although some have addressed orchestration and arranging more explicitly (Erickson, 1985; Oboussier, 1977). Besides these professional oriented publications, we could not identify any scholarly literature concerning orchestration for beginning players. Aims Therefore, the aim of our study was to map the orchestration practices of experienced arrangers for youth and beginner amateur orchestras. It addressed the particular principles of orchestration which are taken into account when writing for beginning to intermediate instrumental performers. Methodology Experienced conductor-arrangers (n = 10) were interviewed about their orchestration practice for youth and amateur ensembles like string, symphony, wind and fanfare orchestras. The interviewer used a semi-structured approach, based on a topic list (Mortelmans, 2018) and a sheet music analysis of one of the arranger’s works. The interviews were analysed using the grounded theory (Glaser & Strauss, 1967). Results/Findings Multi-shaped instrumentation and orchestration quality criteria emerged, which some respondents set off against traditional orchestration notions. Overall, quality of orchestration was seen as reaching maximal musical effect while embracing the constraints and affordances of the amateur ensemble. Key choice, rhythm (notation), attention to tessitura and register, and careful use of dynamics and articu…
subject: Paper presentations
  topic: section
subject: amateur orchestras
  topic: keywords
subject: orchestration
  topic: keywords
subject: instrumentation
  topic: keywords
subject: practitioner knowledge
  topic: keywords
subject: youth orchestra
  topic: keywords
subject: conducting
  topic: keywords
subject: arranging
  topic: keywords
creator: Thomas Geudens
creator: Thomas De Baets
creator: Jeroen D'hoe
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 57
ending page: 58
doi: 10.34624/musichildren.v0i2.29065

Creative music production by children:
type: item
description: This presentation analyzes music teachers’ reflections on creative music production by elementary school children while they engaged in distance learning activities during the COVID-19 pandemic. The aim of the present study was to investigate how music teachers listen and attribute meanings to children’s music compositions (AUTHORS, 2021), on the basis of creative teaching and learning as a theoretical framework. This qualitative research consisted of an instrumental case study with four music teachers who taught 1st to 8th grade students in the year 2020 in public schools in two municipalities in Santa Catarina, southern Brazil. The four teachers received training to plan creative-musical projects for the context of distance learning activities. Each project was designed as a podcast, based on a central theme and composed of an integrated set of didactic sequences. The latter offered different opportunities for music practice and contained activities to be developed by children, involving different forms of interaction: playing, composing, singing, improvising, listening, etc. With themes that address the diversity of Brazil and the world, the projects were sent to children, either in print or online. The students developed the activities and sent their answers to their teachers in audio, video or text format. Without real-time meetings, the teachers monitored their students’ learning by checking their answers to the activities, seeking to analyze and infer how they understood and followed the instructions. During the present research, the teachers listened to the children’s music productions in real-time meetings of the training course and in interviews. In these moments, they individually and collectively watched and made comments on the children’s productions. The results pointed to teachers’ reflections on: originality and innovation in music productions; issues related to children’s music performance; how the children’s ideas connected to their musical experie…
subject: Paper presentations
  topic: section
subject: Music in education
  topic: keywords
subject: Music teachers
  topic: keywords
subject: Creative learning
  topic: keywords
subject: Education in the pandemic
  topic: keywords
creator: Bárbara Ogleari
creator: Viviane Beineke
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
doi: 10.34624/musichildren.v0i2.29068

“The things of the land are weird and different”, said The Girl from the Sea. Bringing childhood closer to “contemporary music” through a musical signification strategy.
type: item
description: The present communication analyses A menina do mar (2019), theatre music composed by Edward Luiz Ayres d'Abreu (1989-) after the homonym children's tale (1958) by Sophia de Mello Breyner Andresen. The tale explores, through the encounter between a boy from the land and a girl from the sea, the fascination and attraction that the unknown exerts on humanity. The score, written for a quintet of actors and nine musicians, was presented in several auditoriums, in a total of more than forty performances. The relationship between text and music will be analysed with regard to its dramatic qualities, while revealing the undertaken strategy of musical signification and reflecting on how the musical resources may or may not offer, in this context, an opportunity to approach the childhood to the sound universe of “contemporary music” and its characteristic "dissonances", "noises", and “extended techniques”, so rarely experienced by large audiences. Focusing on the aforementioned score, the analysis will also take into account, as comparative elements, other musical versions composed after the same story: that of Fernando Lopes-Graça (1961) and that of Sassetti and Raposo (2019). This study takes advantage of the researches made by Gomes (2000) and Santana & Santana (2021), respectively on the original story and on the three known musical adaptations. The analytical approach is here served by the study of musical significance as categorized by Grimalt (2020) and, in particular, by the topic theory as developed by Monelle (2000), inscribing the strategies used in a long genealogy of similar examples that can be heard throughout the history of Western classical music. The analysis resulted in the categorization of different solutions of musical meaning that address, among many others, the ideas of “sea”, “storm”, “travel”, “fire”, or dichotomies such as joy-sadness, light-shadow, movement-statism. Some of the resources, which include clusters, glissandi, multiphonics, various noi…
subject: Paper presentations
  topic: section
subject: contemporary music
  topic: keywords
subject: topic theory
  topic: keywords
subject: musical signification
  topic: keywords
subject: childhood
  topic: keywords
subject: theatre music
  topic: keywords
subject: dissonance
  topic: keywords
subject: extended techniques
  topic: keywords
subject: sea
  topic: keywords
creator: Edward Ayres de Abreu
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 39
ending page: 40
doi: 10.34624/musichildren.v0i2.29086

How do children construct their understanding of creative music workshops? A discursive investigation into children’s talk through and after creative music workshops.
type: item
description: Title: How do children construct their understanding of creative music workshops? A discursive investigation into children’s talk through and after creative music workshops. Theoretical background or Context Creative activity is associated with better mental health and wellbeing for those with additional support needs (ASN) as it can provide a positive coping strategy (Wilson &MacDonald 2019; All-Party Parliamentary Group on Arts, and Health and Wellbeing, 2018). However, rates of cultural participation are lower among children and young people with ASN than without (Scottish Government, 2019). Participation in music that has been personally devised or decided on is a powerful channel of creative expression that can radically change how disadvantaged individuals see themselves (Wilson & MacDonald, 2019) Key features of effective music interventions for those with ASN should have choice, interactivity, accessibility and creativity (Wilson & MacDonald, 2019) This presentation reports on a pilot project between a researcher/practitioner and a Community Music organisation. The purpose of this collaboration was to develop and research cross-disciplinary workshops using collage, drama and music. Aims Research aims were to gather children’s views of workshops and investigate 1. Their experiences and what effects, if any, the workshops provided and 2. Processes of decision making through the workshops. Methodology Six 1-hour workshops were held over April and May 2022, with 6 children, (with and without ASN), aged between 10 and 13 years of age. Workshops included warm ups drawn from drama practices and circle songs; the main focus was to create an extended piece of music guided by children’s ideas. Collage was used to create a framework for the piece which included Gaelic song, instrumental sections and dramatic interludes. Informed consent was obtained from parents for their child’s participation in workshops and research and children’s verbal assent was gathered before w…
subject: Paper presentations
  topic: section
subject: community music
  topic: keywords
subject: creativity
  topic: keywords
subject: discourse analysis
  topic: keywords
subject: children
  topic: keywords
creator: Una McEwan MacGlone
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 61
ending page: 62
doi: 10.34624/musichildren.v0i2.29092

Problem-based Learning
type: item
description: The challenges posed by contemporary society have amplified the issue of learning by placing it at the center of educational and political discourses. The development of autonomy, critical and creative thinking, research and cooperation skills, curiosity, learning to learn, all connected with debates born in the cognitive and sociocognitive psychology of Piaget, Bruner, Vigotsky and Bandura and in the ideas of the active school promoted by Dewey, not only configures guiding principles of curricular and ministerial discourses (e.g. aprendizagens essenciais), but also requires alternative and complementary models to the expositive, imitative and direct instruction. Problem-based Learning (PBL) is one of the possible paths. Although its study brings together scientific literature, the application to music education is far from being consolidated, particularly regarding the reflection, design and empirical treatment of action plans in line both with curricular purposes and ideals. Here, we propose possibilities to learn music by creating and composing, a path which, following the thoughts of authors such as Burnard, Hickey, Paynter, Priest, Webster and Wiggins, seems to meet the challenges of that model. In parallel with definitions and characteristics, the text presents the PBL as an organizer of the educational action, having in mind the analyses in the context of music. The specific objectives are the contribution to clarify the subject, including the relevance and justification of the proposal around the conception of a music learning model based on problems arising from didactic drawings elaborated from processes of composing; upgrade and substantiate, theoretically and empirically, the PBL educational model, highlighting the relationship and relevance between their assumptions and the research design carried out by the authors and integrated in the Portuguese secondary school. The text presents a bibliographical review on PBL, defining key concepts and highlightin…
subject: Paper presentations
  topic: section
subject: Problem-based Learning; Composing; Learning music
  topic: keywords
creator: Maria João Vasconcelos
creator: Helena Caspurro
creator: Nilza Costa
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 47
ending page: 49
doi: 10.34624/musichildren.v0i2.29137

Music, wellbeing and engagement in early childhood
type: item
description: Recent research in Music Education and Music Psychology has established important connections between music and children’s wellbeing (Hallam, 2015, 2016; Hallam, Creech & Varvarigou, 2017; Smith, 2021). Consequently, several researchers have highlighted the need to implement more inclusive and democratic practices in formal and non-formal educational contexts, involving all children in participatory and meaningful musical experiences (Benedict et al. 2015; Hess, 2017; Wright, 2015). Following this demand, some scholars have criticized hegemonic Eurocentric approaches to music education, suggesting instead a departure from sound and sounding phenomena as larger categories that might incorporate children’s diverse trajectories and life experiences, and invite all children to participate in truly engaged ways (Recharte, 2019; Thumlert & Nolan, 2019; Thumlert, Harley & Nolan, 2020). This paper reports preliminary findings of a pilot study that is being developed in a Portuguese non-profit association located in the central area of Portugal. This association aims to develop inclusive and democratic projects with children from 0 to 6 years old - that are not integrated in other social facilities such as nursery schools or Kindergartens - and their respective families. One of the main goals of this association is to raise the awareness of children's rights among community members and beyond, namely the right children have to free play since their birth. The pilot study covers 12 music education sessions named “Sound Hunters”, dedicated to the development of an approach to music education with an intense playful component, departing from sound as artistic matter and involving competences related to deep listening, sound exploration and experimentation. All the activities were planned and implemented in an action-research project, using a series of new devices and tools specially created and adapted to children, that could be easily explored and manipulated by them autonomou…
subject: Paper presentations
  topic: section
subject: Early Childhood, Wellbeing, Sound Experimentation, Participation, Inclusion
  topic: keywords
creator: Ana Luísa Veloso
creator: Clarissa Foletto
creator: Joana Fritas Luísa
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 25
ending page: 27
doi: 10.34624/musichildren.v0i2.29149

Music “for” and “with” Children: Art Confluence and Early Childhood Education
type: item
subject: Paper presentations
  topic: section
subject: Music Education;
  topic: keywords
subject: Sociology of Childhood;
  topic: keywords
subject: Early Childhood Education;
  topic: keywords
subject: Interarts
  topic: keywords
creator: Fabrício Malaquias-Alves
creator: Helena Lopes da Silva
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 41
ending page: 42
doi: 10.34624/musichildren.v0i2.29161

Children engaged in musical creation
type: item
description: Conservatório de Música de Sintra has been founded as a nonprofit association and music school since 1974, working with different ages from 6 month to 99 years old. Established as an official music school since 1982, more recently, in 2019, we have extended the educational offer with kindergarten and in 2021 to primary school. One of our school 's main goals is to engage children in democratic practices in the educational process. This is natural in regular education because it was designed within this approach, but it has different challenges in music education, regarding the teaching legacy and tradition, where we are introducing some changes in the curriculum. On one hand, our work in the elementary music program, with children aged from 6- to 9-year-old, has always involved students in the creation process. Improvising with their voices, body percussion and Orff instruments, they have a central role in some of the compositions to be performed. With pandemic situation, and the need to avoid singing groups and choirs, and realizing the performative happiness and self-confidence shown by children through the years in processes involving creation and improvisation, the Conservatório de Música de Sintra pedagogical team decided to introduce a specific subject called “Music Creation and Improvisation” in 2020. This subject helped to work on important skills, contributing to a deeper understanding of music language, allowing children to express musical ideas through singing and playing the same way they talk and write in their native language, in a playful environment. The successful results of this subject reinforced the school view and boosted the introduction of new practical music classes in the official curriculum, such as body percussion and improvisation in 2021. Currently we are conducting a reflexive discussion about these new subjects involving the education community: a survey among students, teacher’s points of view, and parents' opinions, concerning the im…
subject: Lecture-recitals
  topic: section
subject: music creation
  topic: keywords
subject: children as music creators
  topic: keywords
subject: improvising
  topic: keywords
subject: body percussion
  topic: keywords
subject: children based education
  topic: keywords
subject: children engagement in music
  topic: keywords
creator: Ana Raquel Coelho
creator: Ana Isabel Pereira
creator: Tiago Cordeiro
creator: Nuno Cintrão
creator: Susana Machado
creator: Bruno Reis
creator: Olívia Lucas
creator: Catarina Gouveia
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 12
ending page: 13
doi: 10.34624/musichildren.v0i2.29227

Music, childhood, education
type: item
description: Connections between music, childhood, and education are multiple. The program of this thematic panel consists of seven presentations that embrace diversity. Starting from a commitment to music education in and for childhood, we present Brazilian works developed in spaces with different audiences and specific approaches and objectives. The places of performance and reflection that we consider are: the University, in its teacher training courses and in extension projects, such as choral and instrumental groups in which collaboration occurs with other institutions and with the community in general; the elementary school, both as a locus of early childhood education and as an internship space for educators in training; and private instrument classes for children. As a group, we emphasize the following aspects: the conception that children must be heard and encouraged to participate in the spaces of music education, and that educators have the responsibility to contribute to children's musical development with adequate materials, effectively and democratically; the importance of quality in teacher training as a decisive factor for the improvement of elementary education; the centrality of creative practices to promote the construction of student autonomy and mastery of music and its relationship with other artistic languages.
subject: Pre-formed Panel
  topic: section
subject: educação musical
  topic: keywords
subject: educação básica
  topic: keywords
subject: práticas criativas
  topic: keywords
subject: extensão universitária
  topic: keywords
subject: formação de professores
  topic: keywords
subject: canto coral
  topic: keywords
creator: Tamya de Oliveira Ramos Moreira
creator: Rosana Araujo
creator: Samuel Campos de Pontes
creator: Marisa Trench de Oliveira Fonterrada
creator: Ana Lúcia Iara Gaborim-Moreira
creator: Daiane Solange Stoeberl da Cunha
creator: Paula Molinari
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 72
ending page: 75
doi: 10.34624/musichildren.v0i2.29245

Creating music in childhood
type: item
description: Theoretical background or Context This paper stems from studies developed over the last decade and constitutes our post-doctoral research since 2021. It investigates ideas and practices of pedagogical innovation in music education during the 20th century. In this context, some aspects are notably addressed, such as music creation in childhood, on which we focus here. Along with the music education area and its connections to other fields such as psychology and philosophy (Beineke, 2009; Cunha, 2021; Brito, 2007), we dialogue with childhood studies (Sarmento, 2007; Corsaro, 2011) and the history of education (Cremin, 1961; Jacquet-Francillon, 2004). Aims We intend to discuss childhood images (Sarmento, 2007) and examine how they developed in music education during the 20th century. More specifically, the ideas and practices addressed are related to music creation in childhood. This examination also includes considerations on aesthetics and pedagogy. In doing so, we can likewise recognize the childhood images that guide and justify the adults’ approach to children in contemporary music education, since some of these conceptions remain today, even if tacitly. Methodology In order to investigate the ideas and practices of music creation with children in innovative pedagogical spaces, we work with documental sources, such as pedagogical magazines, schools’ booklets, photos, general press texts, sheet music, and sound records. The stages of searching and analysing documents more frequently take place in a digital environment since the beginning of the research and were essential to the work due to pandemic restrictions. Therefore, we considered the current discussions on digital history methodology (Lucchesi, 2014; Brasil; Nascimento, 2020). Even if we did part of the work in digital ambient, visiting archives and the process of analysing physical documents were likewise fundamental (Farge, 2017). Results/Findings The results presented are the analyses of ideas and practi…
subject: Paper presentations
  topic: section
subject: educação musical
  topic: keywords
subject: práticas criativas
  topic: keywords
subject: estudos da infância
  topic: keywords
subject: progressive education
  topic: keywords
subject: pedagogia Freinet
  topic: keywords
subject: história da educação
  topic: keywords
creator: Tamya de Oliveira Ramos Moreira
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 69
ending page: 70
doi: 10.34624/musichildren.v0i2.29248

peyotl
type: item
description: For almost as long as the piano has existed, composers have been interested in producing sounds for which the instrument was not conceived. Contrary to this compositional interest in ‘extended techniques’, and the resulting tradition and repertoire, the education of the skills necessary to transmit this interest to audiences has been lacking severely. Considering the multitude of extended techniques, and the size of the relevant professional repertoire, the training of these skills should not be postponed until the student is already at the conservatoire. In collaboration with composer Hans Cafmeyer, the “peyotl” project was set up at the Orpheus Institute, and comprised the development of new music through artistic research, in order to provide teachers at the pre-conservatoire level with the means to approach extended techniques within the traditional piano playing curriculum. While catering to children’s aesthetic horizons, their technical abilities, pedagogical needs, and personal biotope, as well as to the technological constraints of the instrument, the methodology includes collaborative composition and classroom- and peer-testing (involving children and teachers). In 2017, a first volume of pieces has been issued. Now, a second volume is ready, with 11 new pieces for a more advanced level. This lecture-recital will give an overview of the issues, and the ways they have been determined as well as resolved, in the second volume, with live performance of key pieces.
subject: Lecture-recitals
  topic: section
subject: peyotl
  topic: keywords
subject: extended piano techniques
  topic: keywords
subject: music school
  topic: keywords
subject: piano pedagogy
  topic: keywords
creator: Luk Vaes
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 16
ending page: 16
doi: 10.34624/musichildren.v0i2.29257

Sound hunters
type: item
description: This workshop is based on the pilot project “Sound Hunters: Towards a Pedagogy based on Listening and Sound Exploration in Early Childhood”, that the authors are implementing in a non-formal educational context in Portugal. The workshop aims to sensitize participants to sound phenomena and discuss the meanings that are usually attributed to music and “music making”, by inviting participants to do a Soundwalk in the Conference Venue (inside and outside). This workshop emerges from “a double call” that has recently been made to educators and researchers in the field of music education. A call that asks, on the one side, for a new perspective on the concept of “music” - that might include the entire soundscape that surrounds us (Landy, 2007; Solomos, 2020) - and, on the other side, for more inclusive and democratic practices in music education, that might create learning opportunities for all children (Benedict et al. 2015; Hess, 2017; Wright, 2015). Departing from a roadmap previously prepared, and divided in 4 small groups, participants will be asked to pay close attention to the sounds surrounding them and to “capture” these sounds, using a set of audio recorders specifically designed to be used by children and adults that are not familiarized with music technologies. These tools will be explored previously by all participants with the guidance of the authors, during an introductory moment of the workshop. In the end, participants will share and listen together to the recordings made by the group. After this listening moment, the facilitators will introduce an activity in which participants will have the opportunity to engage in a musical improvisation, using not only the sounds previously recorded, but also diverse sounding objects related to the contexts in which the workshop is being developed. The workshop will end with a brief discussion about the activities and the ways in which they might have affected participants’ ideas about their sonic worlds and about mu…
subject: Workshop
  topic: section
subject: Early Childhood
  topic: keywords
subject: Sound Exploration
  topic: keywords
subject: Listening
  topic: keywords
subject: Soundwalk
  topic: keywords
subject: recording
  topic: keywords
creator: Ana Luísa Veloso
creator: Joana Freitas-Luís
creator: Henrique Fernandes
creator: Clarissa Foletto
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 77
ending page: 78
doi: 10.34624/musichildren.v0i2.29275

Oficina de Composição
type: item
description: It is known and well documented that children do compose, are motivated by and take much pleasure in doing so, which is also true for students in the beginning stages of their music education, regardless of their age or music proficiency. Some authors have speculated that music creation can be an effective means of music learning, referred in this paper as productive music education (PME), even more than the approaches known as reproductive music education (RME), which comprehends teaching practices based on the reproduction of precomposed materials. From the research on PME, we learn that it: 1) engages students deeply with musical concepts; 2) promotes more engagement and motivation than RME; 3) constitutes a great opportunity for formative evaluation and scaffolding; 4) helps in the acquisition of tools for text comprehension and creation; 5) has positive impact on the individual and social development of students. For those reasons, PME is a teaching tool worth of being considered. This paper describes a study that took place with five children aged from seven to nine studying in the Music School (Escola de Música) of Sociedade Filarmónica União Mourense “Os Amarelos” (Moura, Portugal) for about one year. Bearing in mind the fact that philharmonic music schools are a big part of music teaching in Portugal and that their teaching is heavily based on reproduction and orientated towards performance, the aim of this study was to understand the possible applicability of PME as soon as the first stages of the Portuguese music learning context by observing how students used to a reproductive approach of music would respond to PME. The study was conducted during July 2021. In the first phase, many conversations and interviews with the teachers took place, as a means of understanding the teaching approaches of the school and selecting the participants. The second phase happened in three moments: 1) before the experiment, the participants underwent an initial interview; 2…
subject: Paper presentations
  topic: section
subject: Productive music learning
  topic: keywords
subject: Productive music education
  topic: keywords
subject: Philarmonic Bands
  topic: keywords
subject: Creative music learning
  topic: keywords
creator: Pedro Guilherme Moreno Beirão
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 52
ending page: 52
doi: 10.34624/musichildren.v0i2.29284

Piano.Gems:
type: item
description: This lecture-recital presents the commented repertoire of the books Piano.Gems 1 and 2 by professors Carla Reis and Liliana Botelho. These books are outcomes of a university extension project aimed at the initial and continuous training of piano teachers that has been developed since 2015 at the Federal University of São João del-Rei, Brazil. Book 1 presents 18 "pattern pieces" composed for beginning students (children or adults). The proposal is a book of rote-teaching repertoire accompanied by videos and pedagogical instructions. In our composition process, we intended to create a musical kaleidoscope, both by the variety of technical-musical skills addressed, and by the diversity of character and sound atmosphere of each piece. The pieces (solos and duos) are organized in increasing levels of difficulty, from the first experiences on the keyboard to the initial intermediate level of piano practice. We also highlight the use of Brazilian musical genres like baião, xote, marchinha de forró, and samba, which are not usually contemplated in this type of didactic publication. The second book presents pieces that represent twelve animals from land, water, and air. It is composed for children from 4 to 6 years old, a sort of musical stories to be played on the piano. The main underlying idea is that the child has to learn the piece "by imitation" and then link it with unconventional scores. The project's experience on digital platforms (YouTube, Facebook and Instagram) has shown that this approach to teaching repertoire - which is based on the concept of music as aural art - is still little known and, at times, stigmatized in the Brazilian context. Due to the fact that this approach forgoes music reading, it is considered by some piano teachers as condescending and, therefore, harmful to the musical development of students. However, we believe that such criticisms are unfounded, since the approach to rote teaching allows us to focus on other important aspects of learnin…
subject: Lecture-recitals
  topic: section
subject: piano pedagogy
  topic: keywords
subject: piano pattern pieces
  topic: keywords
subject: piano repertoire
  topic: keywords
creator: Carla Silva Reis
creator: Liliana Pereira Botelho
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-11
publication date: 2023-07-11
starting page: 15
ending page: 15
doi: 10.34624/musichildren.v0i2.29296

Editorial
type: item
subject: Editorial
  topic: section
subject: music for and by children
  topic: keywords
subject: creation
  topic: keywords
subject: music education
  topic: keywords
subject: performance
  topic: keywords
subject: teaching
  topic: keywords
creator: Sara Carvalho
creator: Clarissa Foletto
rights: Copyright (c) 0
date: 2022-09-27
publication date: 2022-09-27
starting page: 4
ending page: 4

Unlocking Curiosity
type: item
description: Theoretical background or Context Curiosity is an innate mechanism for children. It is the desire for knowledge, the first manifestation of what is intangible and moves the human being. Curiosity plays a fundamental role and is an important skill for a child to learn. Inspiring and developing curiosity allows children to be available and able to continually grow, learn and question what is around us. Although this construct has gained much attention in the last decade and the seemingly widespread agreement of its importance in the educational content, many strategies/practices and excessively rigid top-down structures existing in the educational and societal context, lead to a diminishing curiosity as children grow. Aims This research aims to (i) understand how early childhood educators manage curiosity in class, (ii) explore experiences of curiosity in the early childhood music classrooms and (iii) analyze the places and relationships of these experiences in music-making in childhood. Methodology This study was conducted using a qualitative, descriptive and interpretative approach. To investigate the research questions, we conducted semi-structured interviews with six early childhood educators to understand how they manage curiosity in classroom. The data were analyzed using thematic coding techniques. Framed by a participatory pedagogy, the second part of the study (ethnographic research strategy) was carried out in a multi-ethnic preschool in northern Portugal over a period of three months. Eighteen self-selected children participated in weekly sessions of experimentation and musical creation, 10 girls and 8 boys. Data collection techniques include (i) pedagogical documentation (the essence of action) of the children in the class context, and (ii) examination of participants' music-making products. The analysis procedures involve a hermeneutic phenomenological approach and implicate a continuous interplay between the action and the musical products of the childre…
subject: Paper presentations
  topic: section
subject: Curiosity
  topic: keywords
subject: Music Education
  topic: keywords
subject: early childhood education
  topic: keywords
creator: Mário Cardoso
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-10
publication date: 2023-07-10
starting page: 50
ending page: 51
doi: 10.34624/musichildren.v0i2.29305

Experiencing music before decoding:
type: item
description: Theoretical background or Context "It is necessary to read the world before reading words". For the Brazilian pedagogue Paulo Freire (1989), "reading the world" happens when we understand and apprehend things, signs, relations, in short, our "first readings" of our context. Making an analogy with the acquisition of musical reading, we can infer that the reading of the sound world by the child may occur through a musical experience with the body, the voice, the different sound sources, through imitation, exploration, improvisation, associations with elements of the child universe and also through the graphic representation of musical elements. The approach of the musical notation can be done in an analogous way to what is proposed by the Psychogenesis of the written language (FERRERO and TEBEROSKY, 1985), In studies about the learning of musical writing (BAMBERGER, 1990; SALLES, 1996; FURLAN, 2007; RHODEN, 2010), the authors demonstrate that the genesis of the musical notation of the child occurs in a similar way to the written language: through hypotheses, as demonstrated by Ferrero and Teberosky (1985). Aims In tune with Paulo Freire's thoughts (1989) this paper intends to discuss the processes involved in the acquisition of music reading by the child in the context of initiation to the piano. For that we will approach the repertoire of our own books xxxx, which propose an a priori learning "by imitation" followed by the association to the musical notation. These books are outcomes of a university extension project aimed at the initial and continuous training of piano teachers that has been developed since 2015 at the Federal University of xxxx, Brazil. Methodology The approach by imitation, proposed in the first book, is shown as a previous experience of " reading the sound world through the piano" and which, together with sound exploration and improvisation, enables the acquisition of auditory, kinesthetic and topographical schemes necessary for the musical readi…
subject: Paper presentations
  topic: section
subject: piano pedagogy
  topic: keywords
subject: piano for children
  topic: keywords
creator: Carla Silva Reis
creator: Liliana Pereira Botelho
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-10
publication date: 2023-07-10
starting page: 31
ending page: 32
doi: 10.34624/musichildren.v0i2.29311

Melodic and vocal performance of school-aged children from disadvantaged backgrounds
type: item
subject: Paper presentations
  topic: section
subject: Melodic performance; Vocal performance; Children;
  topic: keywords
creator: Graça Boal-Palheiros
creator: Helena Brandão
creator: Sara Amorim
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-10
publication date: 2023-07-10
starting page: 43
ending page: 44
doi: 10.34624/musichildren.v0i2.29314

Children listening with their entire moving bodies
type: item
description: Theoretical background or Context Listening is a fundamental way in which children relate to music in their daily lives. Palheiros (2006) classified different settings for music listening among children and adolescents, highlighting that, although none of them involve a passive mental attitude, there are different situations where there is no physical attitude—listening not engaging the entire body. On the other hand, ‘active music listening’ is a concept that has been used by many authors, such as Wuytack & Palheiros (1995) and Bastião (2004), and is defined as a way of listening that includes the whole body, in mental and physical engagement with music—therefore, in a conscious musical appreciation, considering the role of an affective and inventive involvement of the listeners in different and diverse ways of sensing and reacting to the music they listen to (Madalozzo & Madalozzo, 2019). In this paper, which is the result of an ongoing post-doctoral study in Education, we assume that music listening takes an important role on childhood cultures (Madalozzo & Madalozzo, 2021), as we acknowledge that it is a central element for signifying and comprehending the world for children. By producing and listening to music with their entire moving bodies, children not only act musically, but interact with the environment around them and, through music, better understand the world. Music listening is a part of the childhood cultures, which children do in a ‘creaCtive way’, both active and creative (Madalozzo, 2021). Aims This research intends to expand the ways in which music is considered when we refer to childhood cultures, highlighting the specific role of music listening on children’s daily lives. It aims to examine the concepts of childhood cultures (Sarmento, 2004) and ‘child body’ (Camargo & Garanhani, in press), leading to the assumption that by moving and listening to music, children are invariably signifying and understanding the surrounding world in a ‘creAtive’wa…
subject: Paper presentations
  topic: section
subject: active music listening
  topic: keywords
subject: childhood cultures
  topic: keywords
subject: early childhood music education
  topic: keywords
creator: Tiago Madalozzo
rights: Copyright (c) 2023 Music for and by children
date: 2023-07-10
publication date: 2023-07-10
starting page: 43
ending page: 44
doi: 10.34624/musichildren.v0i2.29299