Influence of music on the pre-schooler


A. Perceptual observation Concept formation is dependent on perceptual observation. When a person listens to a composition, then he responds with bodily movement, he is consciously aware of the relationship of his movements to the music and he verbalises this relationship, his perceptual experiences are translated into conceptual understandings. Te hearing sense is of great importance since the child must be able to hear in order to be able to sing, to play instruments, to move to music, and to create music. Te tactile sense is also important for handling instruments where the vibration of sound can be felt. Visual perception is also important for concept formation by means of music. Te concept of pitch can be perceived visually if the educarer indicates the contrast between high and low notes by means of her hand. Young children are sometimes asked to draw what the music says. Te auditory impressions are then represented on paper and thus the child is led to symbolisation by means of the auditory, visual and tactile senses. Te educarer encourages the children to verbalise their perceptual impressions when she guides them. Tis may be done for example, by asking whether a sound is high or low.


B. Moving from concrete to abstract Concept formation moves from the concrete to the abstract. For the child, the concrete world in which he lives is known territory. His abstract thoughts will be based on these concrete experiences which are rooted in his environment. Concepts concerning the structural content of music are oſten abstract in nature, and therefore the importance of concrete experience by means of body movement cannot be over-emphasised. Examples of movement, singing and dramatisation are taken from the child’s world. Te concept of tempo, which includes aspects such as quick and slow, long and short, may be experienced and understood through bodily movement. Te child is asked to move with the music by giving short or long steps, by walking or by running, depending on the music. Te educarer’s verbal accompaniment gradually decreases as the young child gains in experience. Te young child is then asked to listen to the music on his own and to decide which movements will go with the music.


Te following visual example is taken from the young child’s world. Kodaly uses the visual image to illustrate the concept of fast and slow (Landis & Carder 1972:36).


4 4


Father’s shoes give long, slow steps.


4 4


My shoes walk more quickly. FutureManagers 151


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148  |  Page 149  |  Page 150  |  Page 151  |  Page 152  |  Page 153  |  Page 154  |  Page 155  |  Page 156  |  Page 157  |  Page 158  |  Page 159  |  Page 160  |  Page 161  |  Page 162  |  Page 163  |  Page 164  |  Page 165  |  Page 166  |  Page 167  |  Page 168  |  Page 169  |  Page 170  |  Page 171  |  Page 172  |  Page 173  |  Page 174  |  Page 175  |  Page 176