Musical Development Matters in the Early Years - By Nicola Burke - Early Education
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Musical Development Matters in the Early Years By Nicola Burke
© Nicola Burke 2018 The right of Nicola Burke to be identified as the author of this Work has been asserted in accordance with the Copyright, Designs and Patents Act 1998. ISBN-10 0-904187-79-9 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any other form or by any other means, electronic, mechanical photocopying or otherwise without the express permission of the publishers. Published by The British Association for Early Childhood Education 54 Clarendon Road Watford WD17 1DU 01923 438995 office@early-education.org.uk www.early-education.org.uk Charity registered in England and Wales no. 313082 Charity registered in Scotland no. SC039472 A company limited by guarantee registered in England no 395548
About this guidance
The overall purpose of this guidance is to support As Nancy Stewart (2016) pointed out, “the statements
practitioners, teachers and parents/carers to see in Development Matters are common examples Aspects of musical learning
the musical attributes of young children and to of how children might develop and give a general
offer ideas as to how they can support and nurture picture of progression, but they are by no means the
and development
children’s musical development by offering broad whole story.” The same can be said of this document.
musical experiences. The guidance is presented in This guidance has not been written to ensure that Hearing and Listening
the format of the non-statutory guidance document children are doing what they “ought” to be doing, it
Development Matters because it is a familiar and has been written to offer examples and possibilities of Vocalising and Singing
popular format with practitioners. However, since it what children often naturally do and how this can be
relates only to musical development, this guidance recognised, valued and nurtured. Moving and Dancing
is not structured in terms of the EYFS areas of
It can be seen within the four aspects in this guidance
learning or the early learning goals. Suggestions
how music threads through all areas of learning
Exploring and Playing
listed in “Positive Relationships” and “Enabling
Environments” should not be limited to the age and development. Music can be a way of exploring,
group they appear in. They should be used from communicating and responding to experience.
birth and continued to be used through to age five Making music with others can be a social experience
Free supporting materials to accompany this
plus. whether this be parent-baby/carer-baby exchanging
guidance can be found at:
coos, or two or more children making music with
Music interweaves through all areas of learning pots, pans or traditional instruments. This interaction network.youthmusic.org.uk/musical-
and development which can be seen throughout with others, whether this be with one other person or development-matters
this guidance. Music making can be challenging to a group, is personal to each individual and is often
provide for in early years settings as it is noisy, and an expression of feelings.
it can be difficult to document as it is live, invisible All vocal communication is comprised of musical
and once it has been created in that moment it elements such as pitch, rhythm and timbre,
disappears, unless we capture it. Music should not demonstrating that musicality is an intrinsic part
be quantified by performer-listener and should not of being human. Music should be seen as a core
only be judged by how music is perceived in western component of children’s learning and should be
culture. shared with young children to ensure they have
broad, balanced and rounded experiences in early
childhood and beyond.
1
A Unique Child + Positive Relationships + Enabling Environments
= Learning and Development
Children are born ready, able and eager to learn. They actively reach out to interact with other people, and in the world around
them. Development is not an automatic process, however. It depends on each unique child having opportunities to interact in
positive relationships and enabling environments. The following four themes underpin the EYFS. Development Matters shows
how these themes, and the principles that inform them, work together for children in the EYFS. They have also been used to
structure Musical Development Matters.
Themes
A
Unique Child + Positive
Relationships + Enabling
Environments = Learning and
Development
Every child is a unique child Children learn to be strong and Children learn and develop Children develop and learn
Principles who is constantly learning independent through positive well in enabling environments, in different ways. This
and can be resilient, capable, relationships. in which their experiences guidance has been written
confident and self-assured. respond to their individual for those working with
Positive relationships are needs and there is a strong young children in their early
Practitioners warm and loving, and foster partnership between years, including children
Practice understand and observe a sense of belonging practitioners and parents and with special educational
each child’s development sensitive and responsive to carers. needs and disabilities.
and learning, assess the child’s needs, feelings Educators teach children by
progress, plan for next steps and interests Enabling Environments ensuring challenging, playful
support babies and children supportive of the child’s own value all people opportunities across all areas of
to develop a positive sense efforts and independence value learning learning and development.
of their own identity and consistent in setting clear They offer
culture boundaries stimulating resources, They foster the
identify any need for stimulating relevant to all the children’s characteristics of effective
additional support built on key person cultures and communities early learning
keep children safe relationships in early years rich learning opportunities Playing and exploring
value and respect all children settings through play and playful Active learning
and families equally teaching Creating and thinking
support for children to take critically
risks and explore
2
Musical terms
Pulse/beat: like a heartbeat, a steady beat underlying the music
Rhythm: pattern of sound
Pitch: high sounds, low sounds
Structure: how a piece of music/song is built up, eg verse-chorus-verse-chorus
Dynamics: loud, quiet, getting louder, getting quieter
Timbre: the character of a sound, eg smooth sound, spikey sound, scratchy sound
Texture: layers in the music, eg one sound or several sounds
Tempo: speed
Melodic shape: this is a little like the outline of the song or piece of music, picture a line that goes up
steeply when the melody suddenly jumps to a much higher sound, or that goes down slowly when
the melody gently falls. This “line” gives the contour or shape of the melodic line
Genre: the type of music, eg pop, jazz, folk, classical
Instruments
The word “instrument” is used throughout the entire guidance. This word refers to all resources
which have sound-making possibilities, eg pans and wooden spoons should be considered to be
instruments. All instruments should be treated with care and respect. By modelling respect and
care for instruments in the environment and valuing instruments, adults can offer clear and positive
messages about music making.
Devices
Children’s use of mobile devices such as tablets and handheld computers is now commonplace.
There is an enormous range of ways that devices can be used to support and enable music
making. Effective use of devices can positively contribute to children’s music making and musical
development. Devices, applications and interaction styles vary greatly, making it impossible to
suggest how they are “typically” used and how they can be specifically used within this guidance.
3
Musical Development: Hearing and Listening
A Unique Child: Positive Relationships: Enabling Environments:
Observing what a child is learning What adults could do What adults could provide
Hearing in the womb
Research suggests that the human fetal auditory system is functional around the 25th week of gestational age and that a fetus has
the ability to respond to sound, eg may jump or kick in response to a very loud noise. As the auditory system continues to develop,
responsiveness to sound becomes more sophisticated and research indicates that in the latter stages of the third trimester babies
are familiar with and respond to the maternal voice. Hearing is an integral aspect of musical development, it is therefore important to
consider that musical development may begin in the womb.
May recognise voices, sounds and Seek out songs sung and music played Play a wide range of genres of music and music
music heard whilst in the womb. in utero. from the home environment.
Turns head towards sounds. Use musical interactions such as infant Discuss what is appropriate/inappropriate music
Proficient listener and can be sensitive directed speech and songs to tune in to with staff and parents/carers. This is a subjective
Birth - to the smallest changes in music. babies. area. Ensure it is clearly understood what is
11 months Listens attentively when sung to and Encourage turn taking and early conversation appropriate and inappropriate within the provision.
can anticipate phrases and actions of by allowing time for babies to listen and Plan time to sing with babies and children as well as
familiar rhymes/songs, eg round and respond to vocalisations. singing spontaneously to support children’s needs.
round the garden. Allow time for babies to anticipate phrases and Create a listening space to play music at certain
Responds emotionally to music (live or actions within familiar songs. times in a day or if daily isn’t possible then within
recorded). Sing a range of songs. the week.
Enjoys play-songs eg, peepo songs, lap Move with babies to music. Plan time to play music and observe children
songs. Observe children’s responses to music played carefully; do not limit recorded music to background
Associates music with routines. from home, does the music comfort them, music, think carefully about what music is played in
encourage them to move? Music from home the environment and when.
Expresses musical preferences; could be used to help settle children. Create rich musical environments that involve a
including songs, instruments and range of accessible sound-making objects.
recorded music. Play instruments to offer opportunities for babies to
Associates music with multimedia (eg listen to a range of sounds.
8-20 TV programmes, apps, adverts, toys).
months
Invite musicians to perform for children: parents/
Controls his or her listening choices carers who play instruments, students from local
– eg selects songs from electronic colleges/universities, bands/groups from the local
resources, chooses instruments, community.
indicates which recorded music he or Create playlists to reflect children’s preferences.
she wants to listen to.
Children develop at their own rates, and in their own ways. The development statements and their order should not be taken as necessary steps for individual children.
4 They should not be used as checklists. The age/stage bands overlap because these are not fixed age boundaries but suggest a typical range of development. Responds to changes in music such Although children may not have a wide vocal
as loud/quiet, (dynamics) fast/slow pitch (high/low) range it is important for children
(tempo), high/low (pitch). to hear and respond to a wide range of songs; eg
Gestures to indicate what songs and music “Hot Cross Buns” has a wide range of pitch which
8-20 he or she would like to hear, eg points to children may struggle to sing, listening to these
months the art work of an album or circles his or her songs is an important musical experience that may
cont’d
hands around one another to gesture for contribute to their musical development.
“Roly Poly” to be sung.
Musical preferences are further
developed; often has firm favourites
(live & recorded) and is able to express
this.
16-26 Anticipates changes in familiar music
months eg recognises and remembers when
music is going to get louder, quieter or
stop.
Describes music, eg “scary music, Explore ways of encouraging active listening; Familiar music may support children to listen and be
angry music, happy music”. moving with music or painting/drawing with open to new material; when introducing new music
Can identify specific sounds in the music may support children to listen; listening to children, explore playing familiar music followed
environment eg sounds of cars, running in large groups/small groups/individually. by new music. Familiar music may help engage
22-36 water. Encourage children to use verbal and physical children in active listening.
months language to describe sounds and music. Provide a song/piece of music per week that is
played once per day and encourage children to
listen. Create a listening sheet for staff to write on:
“Today we have been listening to…” this will enable
all staff to know about the music.
Can identify and match an instrumental Play sound-matching games, eg play If a small range of genres of music is played within
sound, eg hear a shaker and indicate instruments that children can’t see and invite provision children may associate certain genres
that they understand it is a shaker. children to play a matching instrument or of music with settings and/or people. Use a wide
Many influences may encourage describe the instrument. range to support children to keep their ears open.
30-50 children to associate music with “types” Show pictures of instruments, bands, Provide recording devices and invite children to
months of people and places, eg stereotypes ensembles to accompany music played. be musical detectives to capture sounds into their
such as rock music with bikers. They Encourage children to listen to a wide range of recording devices, play them back as part of sound
may feel pressure to like and dislike music so that music is not limited to music for distinguishing games.
certain genres of music, eg children “types” of people. Offer information about music played/songs sung;
may associate music as “music for Listen with children to a variety of sounds, eg children may be interested to learn who wrote
boys”, “music for girls”. talking about favourite sounds, songs and the music, where the music is from.
music.
Children develop at their own rates, and in their own ways. The development statements and their order should not be taken as necessary steps for individual children.
They should not be used as checklists. The age/stage bands overlap because these are not fixed age boundaries but suggest a typical range of development. 5 Matches music to pictures/visual Invite children to play instruments and ask
resources. them and/or other children to describe the
Describes the sound of instruments eg sound, verbally or physically.
scratchy sound, soft sound. Encourage children to listen carefully by
30-50 Creates visual representation of sounds, guiding them to listen, play music and invite
months instruments and pieces of music, eg children to respond at specific times, eg shake
cont’d
mark making to specific sounds or your hands when you hear the loud part.
pieces of music. Offer a range of visual resources/pictures and
invite children to match pictures to music.
Ask children questions about the music, eg
what do you like about the music? What can
you hear?
Invite children to create marks/symbols/
pictures to pieces of music and instrumental
sounds.
Thinks abstractly about music and Discuss the music with children, invite them to Create a listening area and create a library of music
expresses this physically or verbally describe the music and seek out their opinions that the children can choose from.
eg “This music sounds like floating and thoughts. Invite children to select music to play at certain
on a boat.” “This music sounds like times in the day, eg a track to play at snack time.
40-60+ dinosaurs.” Children may respond differently to how we may
months Distinguishes and describes changes in expect them to. Responses to music are individual,
music and compares pieces of music, what one considers to be relaxing may not be to
eg “this music started fast and then another. Allow and encourage children to respond
became slow.” “This music had lots individually.
of instruments but this music only had
voices.” “This music was spiky and this
music was smooth.”
Associates genres of music with
characters and stories.
Accurately anticipates changes in
music, eg when music is going to get
faster, louder, slower.
Children develop at their own rates, and in their own ways. The development statements and their order should not be taken as necessary steps for individual children.
6 They should not be used as checklists. The age/stage bands overlap because these are not fixed age boundaries but suggest a typical range of development.Musical Development: Vocalising and Singing
A Unique Child: Positive Relationships: Enabling Environments:
Observing what a child is learning What adults could do What adults could provide
Vocalises through crying, this contains Listen carefully to the sounds of babies’ Create an environment which invites vocal
many aspects of singing - eg high/low vocalising. responses from babies by listening and responding
(pitch), patterns of sound (rhythm), and Respond sensitively by turn taking, making to them.
phrasing. eye contact and allowing time for babies to Provide an auditory environment that encourages
Birth - Imitates the melodic shape (moving vocalise and listen to your responses. vocal play, keep background music to a minimum.
11 months melody, eg up and down, down & up) of Early conversation between adults and babies Be spontaneous with your own vocal play.
a caregiver’s voice. is often described as “sing song”. Use a lively Use songs and rhymes from all cultures and find
Vocalises using vowel-like sounds, eg voice with lots of high/low (pitch) and play with out what songs, rhymes and music babies hear at
cooing, squealing, playing with pitch different types of sounds (timbre). home.
and different types of sounds (timbre). Play with your own vocal utterances and Plan times when you can sing with young babies,
Vocalises using syllable-like sounds, eg sounds and observe the babies’ responses. encouraging them to join in.
babbling, playing with pitch, timbre and Use animal sounds, eg squeaky mouse, roaring Observe the babies’ vocalisations whilst they
rhythm. lion. play with instruments, particular instruments may
Sing regularly and use a wide range of songs encourage them to vocalise.
May vocalise whilst listening to familiar and rhymes.
music, eg join in with the music they are Sing during routines that take place throughout
listening to. the day.
Makes utterances and vocalises Use other words to familiar tunes.
8-20 snippets of songs.
months
Repeat songs, children learn songs through
Vocalises whilst moving, including long repetition.
non-syllabic sounds eg “aaaaah” and
syllable sounds eg “da, da”.
Vocalises whilst playing with
instruments, including long non-syllabic
sounds and syllable sounds.
Creates sound effects of animals, eg
“baa baa”, roaring.
Anticipates & sings certain words in Sing with children, extend their repertoire of Observe and document children’s vocal play.
songs. songs to offer them a range of melodies and Particular environments and resources may
Joins in with action songs by singing lyrics to experience and play with. encourage children to vocalise both indoors and
some words and creating some or all Model vocal play and create sound effects with outdoors.
16-26 actions. toys. Provide resources in the environment and within
months Vocalises whilst moving, sings phrases group singing sessions that may encourage
of songs whilst moving. singing, eg song bags, puppets, visual resources
that represent songs.
Children develop at their own rates, and in their own ways. The development statements and their order should not be taken as necessary steps for individual children.
They should not be used as checklists. The age/stage bands overlap because these are not fixed age boundaries but suggest a typical range of development. 7 Vocalises and sings whilst playing with Accept wholeheartedly young children’s Explore signing to accompany songs, particularly if
instruments. vocal creations and help them to see them as signing is used within the setting.
Creates sound effects for toys in their something unique and valuable.
pretend play, eg creates the sounds of a Show genuine interest and be willing to play
16-26 train, car, animals. along with a young child who is beginning to
months create sound effects and vocalise.
cont’d
Repeat songs, children learn songs through
repetition.
Vocalises in a free-flowing way within Copy children’s vocalisations to show that you Children may have songs that they associate with
their play, eg whilst painting or playing hear and value them. certain environments, eg songs they sing/hear in
with clay. Encourage and support the inventive ways in settings, songs they sing/hear at home or with
Sings and chants with and to others. which children vocally improvise and merge family. Talk to parents/carers to seek information
22-36 Reproduces songs in individual ways. songs together. about songs that are significant to children.
months Plays with familiar songs, often piecing Use your voice in a range of ways and play Record children’s songs, share them with parents/
together parts of different songs. with the way you sing songs, eg sing quietly, carers and play them in the setting.
Sings to and with toys, props, slowly, sadly, joyfully. Play a range of songs that involve different styles of
resources. Be interested in the children’s individual songs singing eg opera, rap, scat.
Sings in their dramatic role play, eg and talk to them about what they mean to Provide resources in the environment that
singing phrases such as “dinner’s ready” them. encourage singing and vocal play eg cardboard
or “let’s go”. Repeat songs, children learn songs through tubing that children can vocalise into, microphones.
Repeats phrases of songs. repetition. Provide song boxes filled with interesting items to
May sing an entire song. spark children’s imaginative song ideas.
Creates his or her own songs, often with When teaching songs to children be aware of Include children’s favourite songs within singing
a real sense of structure, eg a beginning your own pitch (high/low), children are smaller times, whether this be songs from home or songs
and an end. than adults and their voices are therefore learnt at the setting.
Can often sing an entire song; songs higher than adult voices. Try to lift your voice Create song stories with children, eg offer them a
30-50 could be nursery rhymes, pop songs, so that you are not singing in your speaking first line of a song and ask them to continue the
months songs from TV programmes, songs from voice. song.
home. Play mouth exercise games and vocal warm up Invite children to suggest songs to sing in groups
Merges elements of familiar songs with games before singing. and value their ideas, whether this be nursery
improvised singing. When supporting children to develop their rhymes, pop songs, songs from home or their own
Creates sounds in vocal sound games. singing voice use a limited pitch range, eg creations.
Changes some or all of the words of a “Rain rain” uses a small pitch (high/low) range Play circle song games and group games, eg songs
song. compared to “Hot Cross Buns”. with parachutes, partnering songs eg “Row, Row”.
Has strong preferences for songs he or Children are developing their ability to control Invent a singing puppet that sings; invite children to
she likes to sing and/or listen to. their voices, encourage them to use their be the puppet’s singing voice.
“singing” voice, when asked to sing loudly
children often shout.
Copy children’s vocal sounds.
Children develop at their own rates, and in their own ways. The development statements and their order should not be taken as necessary steps for individual children.
8 They should not be used as checklists. The age/stage bands overlap because these are not fixed age boundaries but suggest a typical range of development. Be aware and value that children may use a
varied range of tones in their home language
and within their singing and vocal play.
Lower the volume of your own singing voice or
30-50 stop singing so that you can listen carefully to
months how children are singing.
cont’d
Play with rhyming words, encourage children to
sing words that rhyme with others.
Repeat songs: children learn songs through
repetition.
Pitch matches, ie reproduces with his Play pitch matching games, eg hum or sing Plan for both large and small group singing
or her voice the pitch of a tone sung by short phrases and invite children to copy you. sessions; hearing individual voices in large group
another. Use songs with and without words - children singing activities can be challenging; it may also be
Able to sing the melodic shape (moving may pitch match more easily without words, eg challenging for children to hear their own voices in
40-60+ melody, eg up and down, down & up) of use one-syllable sounds such as “ba”. a group context.
months familiar songs. Sing call and response songs so that children Some children enjoy singing in a group, some
Sings entire songs. can echo phrases of songs you sing. prefer to sing individually outside of a group. Listen
May enjoy performing, solo and or in Introduce new songs gradually and repeat carefully and respectfully to children in their free
groups. them. play, the silent observers in group activities are
Internalises music, eg sings songs inside Sing slowly, children are likely to be listening to often able to sing songs that they did not sing
his or her head. the words and the melody of the song. during group time.
Offer opportunities for children to sing solo.
Invite children to share their songs with other
children, whether this is their own creations or
songs from home.
Provide recording devices to allow children to
record their own and other children’s songs.
Children develop at their own rates, and in their own ways. The development statements and their order should not be taken as necessary steps for individual children.
They should not be used as checklists. The age/stage bands overlap because these are not fixed age boundaries but suggest a typical range of development. 9Musical Development: Moving and Dancing
A Unique Child: Positive Relationships: Enabling Environments:
Observing what a child is learning What adults could do What adults could provide
Moves his or her head towards sounds. Play a wide range of genres of music for Devote uninterrupted time to babies when
Responds physically to music (live or active listening. you can sing with them, be attentive and fully
recorded), eg facial expressions, mouth Sing a range of songs and finger rhymes, ask focused.
movements, moving arms or legs, bouncing, parents/carers about favourite songs and Provide space for infants to enable them to
Birth - shuffling, often moving to the pulse of the rhymes. physically respond to music either physically
11 months music. Move and/or tap babies gently to music, supported or unsupported.
Enjoys finger rhymes and songs that involve observe their responses. Create space to allow for movement with
touch. instruments.
Enjoys being tapped gently to the pulse of
music (live or recorded).
Enjoys being moved gently to the pulse of
music (live or recorded) eg being rocked,
bounced.
Gestures to indicate what songs and music Watch out for subtle physical signals that Offer choices, eg different instruments, a
he or she would like to hear, eg opens and indicate children’s musical preferences. range of genres of music.
closes hands to communicate a desire to hear Join in with babies’ movement to music; Respond to what babies show you they are
“Twinkle, Twinkle”’ some babies may need support and interested in and want to do, by providing a
8-20 Claps hands. encouragement. variety of songs, music and instruments.
months Joins in physically with action songs. Don’t rely upon recorded action songs, sing Ensure that instruments are accessible so
Moves whilst singing. them so that you can vary the speed to suit that babies can independently play them.
Moves whilst listening to music and can often the needs of the child. Experiment with levels to support babies to
feel and move to the pulse. Do not limit music and movement to babies play instruments.
Moves toys/objects/materials with the re-enacting actions or movements. Offer pom poms, scarves, ribbons; resources
sound effects they create to accompany the Give opportunities for babies to have choice. can support children to move.
movement, eg moves a car and creates the Observe children’s responses to music played Invite parents/carers to share music from
sound effects such as “brrrrm” to accompany from home, does the music encourage them home, observe how children physically
the movement, paints whilst moving to music, to move? respond.
plays with foam whilst moving with music. Invite musicians to perform for children:
parents/carers who play instruments, students
from local colleges/universities, bands/groups
from the local community. Observe children’s
physical response to live music.
Children develop at their own rates, and in their own ways. The development statements and their order should not be taken as necessary steps for individual children.
10 They should not be used as checklists. The age/stage bands overlap because these are not fixed age boundaries but suggest a typical range of development. Physically interprets different genres of Acknowledge their movements to show that Place instruments on different levels and in
music - children often move and express you value their physical response to music. different spaces, observe the movements that
themselves differently to different genres. This can be through copying movements, children create whilst making music.
May enjoy dancing to music. observing. Provide instruments for movement
16-26 Moves whilst playing instruments. Model moving to music. possibilities, eg offer portable instruments
months which lend themselves to movement.
Moves in response to rhythms heard played Play instrument and movement games; invite Place instruments in different formations, eg
on instruments eg a drum. This could be children to move to the sounds of different drums in a line, in a circle. Observe how the
small movements eg moving fingers in instruments. children move and play.
response to sounds or large movements such Encourage children to take the lead in music Offer a range of instruments that will support
22-36 as jumping. and movement games by inviting children one children to develop their physical control of
months by one to play an instrument and inviting other instruments, eg tapping a drum with hands
children to move in response. or tapping rhythm sticks together require
Swap this around so that one child leads with different physical skills.
their movement whilst other children play Introduce games that encourage children to
instruments in response to the movement. play instruments in different ways, eg passing
Observe children and how they physically a tambourine quietly around a circle will
respond to different genres. encourage children to control the tambourine
Observe children’s physical play, eg jumping, carefully.
running, look out for vocalisations that
accompany it.
Claps or taps to the pulse of the music he or Encourage children to move whilst playing Make available a range of music so that
she is listening to. instruments. children have opportunities to physically
Claps or taps to the pulse of the song he or Encourage children to listen carefully to the respond to different genres.
she is singing. sound of an instrument and move in response. Vary the instruments that you offer in the
30-50 Physically interprets the sound of instruments, Join in with the clapping or tapping to the environment, observe how the children move
months eg tiptoes to the sound of a xylophone. song they are singing or music they are whilst playing with different instruments.
Physically imitates the actions of musicians, listening to.
eg pretends to play the trumpet, piano, guitar.
Children develop at their own rates, and in their own ways. The development statements and their order should not be taken as necessary steps for individual children.
They should not be used as checklists. The age/stage bands overlap because these are not fixed age boundaries but suggest a typical range of development. 11 Moves to the sound of instruments, eg walks, Encourage children to sway, walk or play If space is limited, try to create space for
jumps, hops to the sound of a beating drum. instruments whilst listening to music. movement and music as often as possible
Combines moving, singing and playing Play movement and listening games that use and plan for this in the environment.
instruments, eg marching, tapping a drum different sounds for different movements, eg Present instruments in the environment; don’t
40-60+ whilst singing. march to the sound of the drum, creep to the limit them to being in cupboards, boxes,
months Moves in time to the pulse of the music sound of the maraca, ask for the children’s baskets. Experiment with the use of levels.
being listened to and physically responds to ideas. Observe children’s movement responses
changes in the music, eg jumps in response Invite children to share their dance routines to sounds (pieces of music, songs and
to loud/sudden changes in the music. that they create either at home or in the instruments).
Replicates familiar choreographed dances eg setting.
imitates dance and movements associated
with pop songs.
Choreographs his or her own dances to
familiar music, individually, in pairs/small
groups.
Children develop at their own rates, and in their own ways. The development statements and their order should not be taken as necessary steps for individual children.
12 They should not be used as checklists. The age/stage bands overlap because these are not fixed age boundaries but suggest a typical range of development.Musical Development: Exploring and Playing
A Unique Child: Positive Relationships: Enabling Environments:
Observing what a child is learning What adults could do What adults could provide
Explores the environment around him or Encourage young children to explore the Create an environment which invites babies
her through sound exploration eg tapping environment around them, model ways of to explore sound, eg offer instruments and
surfaces, shaking objects, tapping drums, creating sounds using surfaces and different resources that create sounds.
scratching drums, pressing buttons on materials, eg scrunching paper. Create treasure baskets that have a range of
Birth - musical toys. Copy the sounds that babies create. Tune resources that create sound, eg items that can
11 months Shakes instruments with one hand and in both into them by mimicking and having strong eye be shaken, materials to scrunch, resources
hands simultaneously. contact. that can be used to tap.
Responds to “my turn, your turn” games Respond sensitively by turn taking, making Offer children instruments that can be tapped
during one-to-one moments with instruments. eye contact and allowing time for children to together such as claves.
Holds small instruments in each hand and play. Offer pairs of beaters for use on eg chime
brings them together to tap. Listen respectfully and value the sounds that bars, xylophones. Children can create more
8-20 Holds a beater in each hand and taps them eg they create. with two beaters as opposed to one.
months taps the beaters on drums, chime bars. Where possible offer children a range of sizes
of instruments, eg large and small drums to
tap and a range of hand-held instruments to
shake.
The length of beaters impacts how children
play with them, eg short beaters are easier to
control and may enable refined movements
and music making and long beaters may
encourage larger sweeping movements.
Plays instruments rhythmically and Copy children’s musical ideas and ways of The materials that instruments are made
repetitively. playing instruments. from impact the sounds created, eg rubber,
Plays with both hands simultaneously and Model ways of playing instruments. wooden and felt beaters all create different
alternately whilst using beaters. Listen to and join in with their musical play sounds and different levels of volume. Be
16-26 Uses instruments in a range of ways, eg sensitively, value their ideas. mindful of the potential volume level that
months tapping, rubbing, sweeping, uses either ends Play start/stop games and allow them to lead instruments can create.
of beaters, strikes instruments both vertically the game. Consider how some instruments may not be
and horizontally. appropriate/safe within continuous provision.
Children develop at their own rates, and in their own ways. The development statements and their order should not be taken as necessary steps for individual children.
They should not be used as checklists. The age/stage bands overlap because these are not fixed age boundaries but suggest a typical range of development. 13 Creates own patterns in music making. Listen out for the patterns of children’s music Experiment with the use of levels eg
Experiments with ways of playing instruments, making, listen carefully and you may hear instruments on tables, on the floor,
eg volume (dynamics), speed (tempo), distinctive patterns and/or use of elements of instruments indoors and outdoors, group
character of sounds such as tapping a music, eg volume (dynamics), speed (tempo). instruments together eg place instruments
22-36 tambourine/shaking a tambourine (timbre). Listen respectfully to children’s music making together in a basket that can be shaken,
months Shows control in holding and playing and try not to judge their music with what you tapped, scraped.
instruments, eg use a guiro by holding the may consider music to be. Children’s musical The physicality of playing instruments impacts
guiro in one hand and scraping it using the play can be compared to their visual doodling or the music making, eg children’s musical
other hand with a beater. mark making, value their musical doodles. patterns created with a maraca may be very
Copy children’s musical patterns, this will show different to their musical pattern created on
them that you are listening to them and valuing a drum due to the physicality of playing the
their music making. instrument.
Respond to their music making by varying their Children’s music making is not only influenced
musical ideas, eg they play a pattern loudly, you by type, shape and size of instruments but
play their pattern quietly. Be a sensitive musical also where and how instruments are offered,
partner. eg the music that children make whilst
Record their music making, music is invisible, sitting on the floor to play a xylophone may
once it has happened it disappears unless you be different to the music they make whilst
capture it. standing due to the nature of movement
involved.
Vary your musical environments. eg one day
drums out on a table and another day baskets
with different types of bells. Hang instruments,
eg musical washing lines.
Adds sound effects to stories using Model your respect and care for instruments. Create environments that invite children to
instruments. Invite children to create sound effects to make music together, eg a music table against
Leads or is led by other children in their music accompany stories. a wall does not promote interactive and social
making, ie being a conductor. Explore conducting games, together with the music making, a music table with space
30-50 Listens and responds to others in pair/group children: decide on a signal for start and stop around enables children to communicate
months music making. eg hand gestures, dancing puppets/sleeping musically and make music together more
Operates equipment such as CD players, MP3 puppets, red/green scarves/flashcards. easily. Playing with a partner may impact how
players, handheld devices, keyboards. Whilst playing with children, explore ways of children make music.
Plays instruments with control to play loud/ extending the children’s musical ideas, eg Explore enclosures for music making, eg
quiet, (dynamics), fast/slow (tempo). copy a child’s pattern and then add an idea some children may enjoy making music in
Shows control to hold and play instruments of your own, sensitively offer and play with dens/enclosed spaces.
to produce a musical sound, eg holding a ideas. Adult involvement may encourage more Experiment with different genres of music
triangle in the air by the string with one hand sustained musical play. playing within the musical environment -
and playing it with a beater with the other. observe carefully, does the music playing
impact children’s music making? Do the
children tune into the music that is played?
Children develop at their own rates, and in their own ways. The development statements and their order should not be taken as necessary steps for individual children.
14 They should not be used as checklists. The age/stage bands overlap because these are not fixed age boundaries but suggest a typical range of development. Creates music based on a theme eg creates Invite children to create a piece of music. You Set up a music area with a selection of
the sounds of the seaside. could use a theme (eg jungle) or an element of instruments; invite children one by one to
Finds and records sounds using recording music as a starting point to create a piece eg create a piece of music. If revisited regularly
devices. loud/quiet (dynamics) – create music which children may become familiar with the activity
40-60+ Plays instruments (including imaginary ones has a range of dynamics involved. and you may see children developing their
months such as air guitar) to match the structure of Play rhythm games, eg tapping out the own ideas.
the music, eg playing quietly with quiet parts syllables of children’s names, song lyrics. Where possible record children’s pieces, play
within music, stopping with the music when it Invite children to play instruments one the pieces back to the children and include
stops. by one and encourage other children to them in your repertoire of music played in the
Keeps a steady beat whilst playing listen carefully, ask the children to describe setting. Music is invisible and can get lost
instruments – his or her own steady beat in his the sound or move to the sound of each unless we capture and record it.
or her creative music making. instrument as they listen. Offer instruments that lend themselves well
Taps rhythms to accompany words, eg Invite children to choose shapes to represent to the activity you are exploring, eg tapping
tapping the syllables of names/objects/ instruments, eg a circle could represent a instruments such as claves and drums are
animals/lyrics of a song. tambourine, a rectangle could represent a easier to use when exploring rhythm games,
Creates rhythms using instruments and body chime bar. Children can create visual patterns shaky instruments are more challenging to
percussion. with the shapes which they could then either play a defined rhythm with.
May play along to the beat of the song they play themselves, other children could play or
are singing or music being listened to. an adult could play.
May play along with the rhythm in music, eg Explore mark making to sounds. Invite
may play along with the lyrics in songs they children to draw to the sound of an
are singing or listening to. instrument. Once children have created a
mark of the sound introduce another sound
for them to draw. You can then copy the
children’s representations, create a visual
pattern and invite children to play the visual
pattern.
Children develop at their own rates, and in their own ways. The development statements and their order should not be taken as necessary steps for individual children.
They should not be used as checklists. The age/stage bands overlap because these are not fixed age boundaries but suggest a typical range of development. 15Acknowledgements
The realisation of this guidance has been The aim of Tri-Music Together was to develop Many passionate, committed people and
enabled by an important and significant project early years music provision across the three organisations were involved to support and
within the Early Childhood Music community. boroughs through a workforce development pilot this guidance. Heartfelt thanks need to be
Tri-Music Together was a project initiated programme of targeted support and continuing given to the following who made this guidance
by the Tri-borough Music Hub (the Lead professional development. An aspect of the possible: those involved in Tri-Music Together,
Organisation for Music Education across three project was to create resources to support early early years educators from settings in Barking
London Boroughs – Hammersmith and Fulham; childhood music and to create a legacy. This & Dagenham, Birmingham, Camden and
Kensington and Chelsea; Westminster). In 2015, guidance has been written to help raise the Warwickshire. Huge thanks to Arts Connect,
the Tri-borough Music Hub established the Tri- profile of music in early childhood and to support Barking & Dagenham Early Years, Birmingham
borough Early Years Music Consortium, and those working with children in early childhood Nursery Schools Teaching Schools Alliance,
in 2016 Tri-Music Together was created by the not only in the Tri-borough, but further afield. As Camden Early Years, the Centre for Research in
consortium and funded with thanks to Youth an Associate of Early Education, the Tri-Music Early Childhood and Take Art for their support.
Music. Together EYFS Strategic Lead Nicola Burke, was With thanks to the Royal College of Music,
able to create this guidance with the support of Take Art and Tri-Music Together participants
The partners of the consortium are: Early Education, Tri-Music Together and Youth for providing images. We all hope this guidance
Chickenshed Kensington & Chelsea Music. offers lots of practical suggestions to help
Creative Futures support children’s holistic development and
Inspire-works to enjoy listening to children’s creative music
LBHF Children’s Centres making; listening to music with children and
Music House for Children making music with children.
RBKC Children’s Centres
Royal Albert Hall
Royal College of Music
Sound Connections
The Voices Foundation
Tri-borough Music Hub
Tri-borough School Standards
(Local Authority Children’s Services)
WCC Children’s Centres
Wigmore Hall
1617
The British Association for Early Childhood Education 54 Clarendon Road Watford WD17 1DU 01923 438995 office@early-education.org.uk www.early-education.org.uk Charity registered in England and Wales no. 313082 Charity registered in Scotland no. SC039472 A company limited by guarantee registered in England no 395548
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