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Books on the topic 'Children’s music education'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Comte, Martin. Music education: Giving children a voice. Parkville, Vic: Australian Society for Music Education, 2005.

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2

Music activities for special children. West Nyack, N.Y: Parker Pub. Co., 1987.

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3

Bandurina, Tatiana. Voices of our children: Stories of music education. Richmond, BC: Quintecco Educational Products, 2009.

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4

Bandurina, Tatiana. Voices of our children: Stories of music education. Richmond, BC: Quintecco Educational Products, 2009.

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5

Clive, Robbins, ed. Music therapy in special education. 2nd ed. St Louis: Magnamusic-Baton, 1995.

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6

Dee, Merrion Margaret, ed. Drama and music: Creative activities for young children. Atlanta, GA: Humanics Learning, 1995.

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7

M, Perry T. Music lessons for children with special needs. London: Jessica Kingsley Publishers, 1995.

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8

Music and you. New York: Macmillan, 1988.

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9

Burman, Chris. Training in the education of children under five: Music activities. Birmingham: Curriculum Support Service, 1992.

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10

Weikart, Phyllis S. Movement plus music: Activities for children, ages 3 to 7. 2nd ed. Ypsilanti, Mich: High/Scope Press, 1989.

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11

The Kodály method I: Comprehensive music education. 3rd ed. Upper Saddle River, N.J: Prentice Hall, 1999.

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12

Carlow, Regina. Exploring the connection between children's literature and music. Westport, Conn: Libraries Unlimited, 2008.

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13

Carlow, Regina. Exploring the connection between children's literature and music. Westport, Conn: Libraries Unlimited, 2008.

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14

Carlow, Regina. Exploring the connection between children's literature and music. Westport, Conn: Libraries Unlimited, 2008.

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15

Lloyd, Pat. Let's all listen: Songs for group work in settings that include students with learning difficulties and autism. London: Jessica Kingsley, 2007.

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16

Rubin, Janet. Creative drama and music methods: Introductory activities for children. North Haven, CT: Linnet Professional Publications, 1996.

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17

Mainstreaming exceptional learners in music. Englewood Cliffs, N.J: Prentice Hall, 1990.

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18

Painter, William M. Musical story hours: Using music with storytelling and puppetry. Hamden, Conn: Library Professional Publications, 1989.

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19

Melanie, Peter, and Norfolk Inspection Advice and Training Services., eds. Music for all: Developing music in the curriculum with pupils with special educational needs. London: David Fulton, 1996.

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20

Nikolova, Emilii͡a Stefanova. Bulgarian musical folklore for children and musical education in kindergarten. Sofia: Interpress'67, 1990.

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21

No need for words: Special needs in music education. Matlock: National Association of Music Educators, 2006.

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22

Story play: Costumes, cooking, music, and more for young children. Englewood, Colo: Teacher Ideas Press, 1992.

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23

Froehlich, Mary Ann. Music education in the Christian home: The complete guide. Brentwood, Tenn: Wolgemuth & Hyatt, 1990.

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24

Kertz-Welzel, Alexandra. Children’s and Adolescents’ Musical Needs and Music Education in Germany. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199737635.013.0022.

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25

Bickford, Tyler. Schooling New Media. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190654146.001.0001.

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Schooling New Media is an ethnography of children’s music and media consumption practices at a small elementary and middle school in Vermont. It examines how transformations in music technologies influence the way children, their peers, and adults relate to one another in school. Focusing especially on digital music devices—MP3 players—it reveals the key role of intimate, face-to-face relationships in structuring children’s uses of music technologies. It explores how headphones mediate face-to-face peer relationships, as children share earbuds and listen to music with friends while participating in their peer groups’ dense overlap of talk, touch, and gesture. It argues that kids treat MP3 players less like “technology” and more like “toys,” domesticating them within traditional childhood material cultures already characterized by playful physical interaction and portable objects such as toys, trading cards, and dolls that can be shared, manipulated, and held close. Kids use digital music devices to expand their repertoires of communicative practices—like passing notes or whispering—that allow them to maintain intimate connections with friends beyond the reach of adults. Kids position the connections afforded by digital music listening as a direct challenge to the overarching language and literacy goals of classroom education. Schooling New Media is unique in its intensive ethnographic attention to everyday sites of musical consumption and performance. And it is uniquely interdisciplinary, bringing together approaches from music education, ethnomusicology, technology studies, literacy studies, and linguistic anthropology to make integrative arguments about the relationship between consumer technologies, childhood identities, and educational institutions.

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26

Bickford, Tyler. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190654146.003.0007.

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The conclusion advocates for understanding music in terms of interpersonal relationships as much or more than as repertoires of texts with their own cultural meanings. Music should be considered in terms of Bourdieu’s concept of “social capital” in addition to “cultural capital” as it is normally conceived. Children’s in-school media use does not involve the intrusion of foreign consumer culture into education, but rather historically and culturally grounded traditions of peer-cultural solidarity provide a context into which entertainment media practices fit naturally. A seeming opposition between education and consumer culture is in fact a constitutive dialectic, which helps explain the politicization of children’s peer cultural practices in school. Consumer culture represents the extension of dynamics from school into the wider public sphere. The invasion of these practices into schools is only a natural return to original fields of conflict between children and adults.

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27

Guerrero, Nina, David Marcus, and Alan Turry. Poised in the Creative Now. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.10.

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Nordoff-Robbins music therapy was founded through the pioneering collaboration between Paul Nordoff (1909–1977), an accomplished composer and pianist, and Clive Robbins (1927–2011), an innovative special educator. Their partnership began in 1959 at Sunfield Children’s Homes in Worcestershire, England, and they worked together for approximately 16 years in Europe and the United States. In 1975, formal training began at the newly opened Nordoff-Robbins Music Therapy Centre in London. In the same year, Clive Robbins formed a new music therapy team with his wife Carol Robbins (1942–1996). The Robbins’ developed and disseminated the Nordoff-Robbins model, and in 1990 they established the Nordoff-Robbins Center for Music Therapy at New York University’s Steinhardt School of Culture, Education, and Human Development. Throughout its history, the clinical techniques, training methods, and research within this model have been based in close engagement with clinical work.

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28

Pitts, Stephanie. “The Violin in the Attic”. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.4.

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The motivations and experiences of adults who participate in music making have attracted increasing research attention in recent years, but less is known about the probably far greater number who have “given up” playing an instrument or lapsed in their participation: what are the factors that cause people to cease their involvement in instrumental learning, and how are these different from the views of participation expressed by continuing players? Life history interviews with current and lapsed members of amateur performing groups are used here to explore the long-term impact of music education. Even when the opportunity to make music has been set aside, benefits remain of open-mindedness to the arts, support for children’s musical education, and understanding of the value of leisure and creativity. These findings lead to conclusions about how foundations for musical leisure and lifelong learning could be laid in formative education, and the routes back into musical engagement made more accessible in adulthood.

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29

Koops, Lisa Huisman. Parenting Musically. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190873622.001.0001.

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Parents use music in family life to accomplish practical tasks, make relational connections, and guide their children’s musical development. Parenting Musically portrays the musicking of eight diverse Cleveland-area families in home, school, and community settings. Family musical interactions are analyzed using the concepts of musical parenting (actions to support a child’s musical development) and parenting musically (using music to accomplish extramusical parenting goals), arguing the importance of recognizing and valuing both modes. An additional construct, practical~relational musicking, lends nuance to the analysis of family musical engagement. Practical musicking refers to musicking for a practical purpose, such as learning a scale or passing the time in a car; relational musicking is musicking that deepens relationships with self, siblings, parents, or community members, such as a grandmother singing to her grandchildren via FaceTime as a way to feel connected. Families who embraced both practical and relational musicking expressed satisfaction in long-term musical involvement. Weaving together themes of conscious and intuitive parenting, the rewards and struggles of musical practice, the role of mutuality in community musicking, and parents’ responses to media messages surrounding music and parenting, the discussion incorporates research in music education, psychology, family studies, and sociology. This book serves to highlight the multifaceted nature of families’ engagement in music; the author urges music education practitioners and administrators to consider this diversity of engagement when approaching curricular decisions.

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30

Music in Special Education. The American Music Therapy Association, Inc., 2005.

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31

Hanna, Wendell. Children's Music Studio: A Reggio-Inspired Approach. Oxford University Press, Incorporated, 2017.

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32

Hanna, Wendell. The Children's Music Studio: A Reggio-inspired Approach. Oxford University Press, 2017.

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33

Church Music for Children: A Complete Choir Education Program - Younger Elementary (Church Music for Children). Abingdon Pr, 1996.

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34

Church Music for Children: A Complete Choir Education Program - Pre-Elementary (Church Music for Children). Abingdon Pr, 1996.

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35

Church Music for Children: A Complete Choir Education Program - Younger Elementary (Church Music for Children). Abingdon Pr, 1996.

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36

Press, Abingdon. Church Music for Children: A Complete Choir Education Program - Pre-Elementary (Church Music for Children). Abingdon Press, 1996.

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37

Church Music for Children: A Complete Choir Education Program - Older Elementary (Church Music for Children). Abingdon Pr, 1996.

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38

Church Music for Children: A Complete Choir Education Program - Older Elementary (Church Music for Children). Abingdon Pr, 1996.

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39

Church Music for Children: A Complete Choir Education Program - Combined Elementary (Church Music for Children). Abingdon Pr, 1996.

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40

Church Music for Children: A Complete Choir Education Program - Younger Elementary (Church Music for Children). Abingdon Pr, 1996.

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41

Church Music for Children: A Complete Choir Education Program - Younger Elementary (Church Music for Children). Abingdon Pr, 1996.

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42

Church Music for Children: A Complete Choir Education Program - Combined Elementary (Church Music for Children). Abingdon Pr, 1996.

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43

Church Music for Children: A Complete Choir Education Program - Combined Elementary (Church Music for Children). Abingdon Pr, 1996.

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44

Church Music for Children: A Complete Choir Education Program - Older Elementary (Church Music for Children). Abingdon Pr, 1996.

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45

Bickford, Tyler. Inappropriate and Inarticulate. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190654146.003.0006.

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This chapter examines how interactions using music devices are part of a Ȝchildishȝ expressive tradition that is engaged primarily with the bureaucratic organization of language and communication in school. Music listening, despite being wordless, is an important part of children’s intimate expressive repertoires. I propose understanding these modes of music listening through reference to two master tropes of intimate peer expression in school: inappropriateness and inarticulateness. I consider several examples where music listening practices make clear reference to the bureaucratic context of school to argue that music consumption should be understood as intimately tied up with schooling. Identifying music listening as an element of these interactional and communicative frames grounds popular music listening and consumer culture in everyday expressive practices and provides a key perspective for linking bureaucratic networks of educational institutions to the emerging public presence of children in commercial culture through the everyday activities of children in school.

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46

Songworks I: Singing in the Education of Children (Music). Schirmer, 1996.

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47

Webster, Peter R. Children as creative thinkers in music. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0039.

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The study of creative thinking in music involves a complex combination of cognitive and affective variables, often executed at the highest levels of human thinking and feeling. This is such a complicated set of long-term engagements (composition, repeated music listening, or decisions about previously composed music in performance) or ‘in the moment’ engagements (improvisation and one-time listening), that it becomes quickly apparent why this field has not attracted more music researchers and why many feel the topic is hopelessly impregnable. However, the changes in education and the role of music in formal learning demands that we address creative thinking as best we can. This article takes a decidedly ‘teaching and learning’ approach in summarizing the many studies on creative thinking in music. While it is generally acknowledged that children's creative thinking in music occurs as part of many music experiences such as listening, performance, conducting, and improvising, the focus here is on composition.

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48

Hájková, Michaela, Alexandr Vondra, Peter Rafaeli, Vojtech Blodig, Hannelore Wonschick, Rebecca Rovit, Susan Leshnoff, and Sybil Milton. Art, Music and Education as Strategies for Survival. Herodias, 2001.

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49

Hájková, Michaela, Alexandr Vondra, and Peter Rafaeli. Art, Music and Education as Strategies for Survival. Herodias, 2001.

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50

Froehlich, Mary Ann. Music Education in the Christian Home. Noble Publishing Associates, 1996.

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