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Emily A. Wylie
Emily Wylie
MUED 380: Music in the Elementary School
December 6, 2018
Musical Development and what can be taught to Elementary School Students
Abstract
This work of research defines what it means to develop musicality and what can
elementary school using diatonic scales and common time meters using a child’s age
as a measure for what should be taught and understood. This may be a tired and simple
viewpoint as a teacher for these classrooms. Not only does it simplify what elementary
aged students are capable of, but it implies that learners can develop their musicality at
the same rate as their peers. Research indicates that musical strengths not only reside
in performance or listening, but also analyzing and writing about music. These are
strengths that show up physically in the brain in different specified areas of strength, but
the interest to develop these skills are nurtured in a learner’s early life before a music
educator is brought into the process. The role of the educator is to nurture those
strengths by meeting the children where they stand as individuals and a class as a
whole in their musical interests and creating further interest in other aspects of music.
With this role, musical skills that aren’t explored normally in an elementary school
Does the extent of musical skills a learner can achieve lie within the standards
given to an elementary school educator? These skills, including the use of the diatonic
scales and common time meters, are taught commonly in elementary school music
classrooms. However, there are other aspects of musicality that aren’t explored through
this outlook. There may be a reason to say that learners could develop further musical
skills than what has been presented for them. The difficulty may lie with continuing
in this paper show that the way information is presented may dictate what can be
taught.
It would be helpful to define musicality and what development occurs from this.
defined as “transformations that occur over time in how individuals organize their
perceptions and the strategies they bring to bear in constructing their understanding of
the world around them.” (Bamberger, 2006). From this definition, it is clear that yes,
understanding a skill or topic fully will include time, however, it doesn’t give any
very physical standpoint. That is to say, musicality is the amount of gray matter in the
brain that reacts to music. To him, there are multiple ways of being musical based on
E.A.W. Musical Development 3
where the gray matter is located, and separate parts of the brain process different types
of musicality including the act of playing an instrument to the process of writing about or
choreographing to music. Physically, the musical brain matter is not developed in early
childhood, but the act of introducing young children to multiple genres of music before
their area of proficiency is brought to light is considered ideal for their interest
development. This interest and love for music sparks dopamine receptors in the brain
and can create passion for learning music further on in life. The way in which children
experience music early in their lives determine which strength of musicality the learner
entirely, however, there can always be room for improvement in an individual’s area of
How does a teacher play into developing musicality. Welch explores this idea
through his emphasis on the process of discovering who learners are as individuals and
as a group before approaching what can be taught (Welch, 2006). This prevents having
an educator. However, it can create greater passion with the course material when the
learners and the class as a whole specifically shape a course. Individuals’ musical
understanding being shaped by their home life before elementary school as a whole will
also come into play when designing course schedules for an elementary school year.
Elementary school students learn the most about music the most from their home
life before a child enters elementary school. It becomes the role of the teacher to
encourage parents of children to at the very least create the interest in multiple genres
E.A.W. Musical Development 4
of music to help elementary aged children to become well rounded and well-informed
musicians. Along with listening to various types of music, it becomes important to use
what they like through singing and practicing what they are exploring. Doxey and
Wright’s An exploratory study of children’s music ability repeats this concept by
explaining how a learner’s musical emphasis is developed even before entering a music
encourages that each learner is met half-way. Learners all experience their own
culture’s music before the music they hear in elementary music. The point Swanwick
brought to light was to use the music that learners already enjoy and incorporate it into
skills they could develop (Swanwick, 2001). This shows that learners are capable of
knowing a skill but not having experience with terminology or playing it themselves. An
themselves in ways separate from staff notation. Learners are to be encouraged to use
their own symbols and notation and can then bring that into staff notation.
The form of education that occurs now centers around the western practice of
classical music specifically. This means that as a standard, diatonic scales and specific
solfege are taught before most other things because those are what learners will retain
at first. Trainor and Trehub’s Key membership and implied harmony in western tonal
music: Developmental perspectives present the idea that even though younger children
have greater musical potential, the easiest way to teach western classical music is to
E.A.W. Musical Development 5
introduce the basic solfege piece by piece and the common time meters (Trainor &
Trehub, 1994). While this is effective to interest future music majors at a young age, it
ignores music from other countries and also music that they had grown up at home with.
It truly alienates musicians that won’t have any need to study Beethoven further.
Continuing through becoming musically skillful without staff notation, Mills and
being musically literate (Mills & McPherson, 2006). These two don’t include solely staff
notation understanding, similar to Levitin previously, but can also include remembering
music or knowing the history behind a piece with great detail. Ways in which these two
educators look at facilitating education includes playing games and practicing ways in
which to strengthen both staff notation understanding and aural aspects of music
creation and understanding. The only preventative measure of introducing musical skills
is that an enjoyment and engagement with a new skill like a new scale needs to exist
before staff notation can be brought into play, once again bringing individuals rather
than courses as a whole into the light. This means that all that is needed for an
non-individually based. But it can be seen throughout all of these articles, in order to
individuals with varying musical strengths and weaknesses. Whatever they have
interest in can even be connected to the standards given to them loosely. The idea is to
bring more learners into the world of music regardless of them becoming music majors
E.A.W. Musical Development 6
in the future, and treating elementary school students like individuals and approaching
their mental development and musical strengths is the way to engage these learners in
music. Unfortunately, but inspirationally, the only way to find what works for each
every day.
E.A.W. Musical Development 7
Works Cited
Bamberger, J. (1991). The mind behind the musical ear: How children develop musical
Doxey, C., & Wright, C. (1990). An exploratory study of children’s music ability. Early
Mills, J., & McPherson, G. E. (2006). Musical Literacy in G. McPherson (Ed.), The Child
University Press.
Trainor, L. J., & Trehub, S. E. (1994). Key membership and implied harmony in western
125-132.