Fun Learning Experience in Music

The relationship-creating effectiveness and the contact-to-things-creating dimension of sounding events give rise to noises, sounds, and rhythms to explore and shape with them.

 

 

Musical activities with children are to be understood as sonorous interactions. Discovering, accompanying, and inspiring them in day-to-day nurseries is at the forefront of educational support in music education in nurseries. It is not about teaching or imparting “music” to the children.

 

Discover the musical dimension of the moment

 

The teacher’s idea of ​​what turns “music” into “music” must be related to the musical experience of the youngest. The easiest way to do this is to use the term “musical activity” instead of “music”. Because the term “music” is usually associated with subjective evaluations. And sounding events should be beautiful, harmonious, rhythmically structured, and beneficial in order to be perceived or recognized as “music”. Unpredictable, noisy, and weird sounding is excluded by many adults and declared as “noise”.

 

To move with the sound

Every day-to-day action of children causes audible “by-products”: noises and sounds arise as if by the way, sometimes rhythms and tones as well. This acoustic side of actions usually makes the youngest curious. You experience how, for example, a falling wooden block hits the floor. This moment can be perceived as a “total work of art”: encircle a wooden block with your fingers, feel the surface and the material of the block, loosen the tense muscles, see the block fall, see and hear its impact and its further bounce and roll. An action that becomes meaningful, that can be repeated and explored, has emerged. If the child stays with it, then it deepens its own experience.

 

The music of the breath and the voice

Breathing is audible. With the possibility of forming resistance for the breath flow via the lips, tongue, and mouth, a variety of breath sounds are created. In addition, the vocal cords can vibrate over the flowing breath and thus also generate many different vocal noises and vocal sounds, tones, and sounds.

 

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The music of the body

The body is permanently available as a sound generator. Every part of the body sounds unique. Knocking and rubbing are the sound generations for it. Many different noises can be detected when the hands, face, thighs, etc. are rubbed, when clapping with flat or arched hands, when the chest, shoulders, thighs, etc. clap with the flat hand or clenched fist. be knocked. The force at work and the tempo of the action each create their own musical expression.

 

Accompany exploration and design processes

Starting with the interest of the children in their own noises and tones and in the things that sound, there are opportunities to explore and shape sounds. This is guided by the idea of ​​accompanying children in developing their own music.

 

Inspire exploration

Stimulating musical exploration can be achieved through the following questions: What (musical) experiences are children looking for when they open and close their lips with “mamamamamm”, when they rub their hands, clap their hands in a jet of water, and let sand trickle from their hands onto the molds Etc.?

 

The educators can be inspired by the child’s exploratory interest and develop their own interest in the musical phenomena that the child discovers. On this basis, your own ideas can be offered, and noise and sound research can be carried out on an equal footing. This assumes that the educators understand themselves as noise-and-sound researchers in these moments. Recognizing the child’s direction of exploration makes it possible to grasp the (musical) creative potential of his or her activity.