Musical interactions between children should be viewed as sonorous interactions. Finding, accompanying, and inspiring them in day-to-day nurseries is at the forefront of educational support in nursery music education. It’s not about teaching or instilling “music” in the kids.
The musical activity of the youngest
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The teacher’s understanding of what makes “music” must be linked to the youngest students’ musical experiences. Using the term “musical activity” instead of “music” is the simplest way to achieve this. Because the word “music” conjures up images of subjective judgments. You can also listen to music while doing certain activities, such as painting, but you will need high-quality material to paint with first; for more information, see Best of Trim – The best in trim painting. In order to be perceived or recognized as “music,” sounding events must be pleasing, harmonious, rhythmically structured, and beneficial.
Recognize musical expression movement
Because of the above-mentioned expanded concept of music, we can assume that everyone is musically active from birth. There is no need to “musicalize” a child. Pedagogues in day nurseries develop their personal interest in the musically active child rather than imparting or teaching “music” to the child. They see musical activity as a form of expression that every child (and educator) is given from birth. This is something that comes from “within,” that does not need to be learned, and that cannot be taught. This movement of musical expression, which is unique to each of us, unfolds in a highly individual manner when it is perceived and answered by others. For this, children need mindful people who listen, who give their soundtracks attentively and interestedly space, who are inspired by the noises, sounds, rhythms, and tones of the youngest, and who in turn inspire the children with their own musical expression. Musical experience is based, so to speak, on a decision to perceive and exploit the musical dimension of a moment. Everyday events, such as raindrops pattering on the window, a bunch of keys falling, grains of sand falling on leaves, or the scratching of fingers on a drum, can be perceived as a musical phenomenon, or all of this remains a more or less pleasant background noise for this moment.
Give space to the beginner’s mind
Children perceive things and events in their environment through their senses. Triggered by the sensually perceptible phenomena, their impulses for action arise. For example, a “cup” is specifically that one cup standing on the table. It is this round, green, hollow thing inside and empties at the moment. In order to be perceived as such and to develop curiosity and impulses to act, the child does not need a verbally communicable concept of “cup”, “round”, “green”, “empty/full”, “hand/mouth”, etc. The collected sensory impressions from this cup allow the child many actions in the special situation. It can push it, grab it, tip it over. It can make it rattle on the table, put a chestnut in it, hit it with a spoon. The interest that has arisen through the momentary perception guides his actions. His action is still little guided by experience and ideas or patterns of action derived from it. In this way, bringing the cup to the mouth can immediately pass into the generation of noise with it, before it is held out to the teacher: “wants to drink”. To be able to follow spontaneous impulses without too many pre-shaping experiences is the privilege of the beginner’s mind of the youngest. This also applies to musical activity. From the beginner’s mind, every object can be used to generate noise and sound in a variety of ways. And every musical instrument can do more than sound.