The “Serious Business” of Musical Play in the New Zealand Early Childhood Curriculum

Abstract

Children have a natural curiosity about sound. This is particularly evident in the context of musical play. The potential of play for music learning may be overshadowed by a teacher-led and performance-focused approach to music education rather than an organic, self-initiated approach. By bringing together the child’s natural curiosity about sound, a rich music environment, and effective teacher guidance, the stage is set for building a strong foundation of musical understandings during a child’s first five years, a critical period of the child’s musical development. This article draws attention to and provides examples of ways that musical play can be fostered and enacted in the New Zealand early childhood context. The unique, holistic nature of the New Zealand early childhood curriculum, Te Whāriki, does not address music explicitly. Rather, aspects of music pedagogies are embedded throughout the document, within a complex weaving together of principles, strands, and goals.

Preparing preservice early childhood educators to use music in Australian settings: An audit of programmes

“…Music’s intrinsic values of interest, enjoyment, engagement, playfulness and choice connect to learning dispositions which promote children’s agency and underpin the five EYLF’s learning outcomes (Dinham & Chalk, 2018; Niland, 2019; Nyland et al, 2015). Music is part of a child’s social culture, providing opportunities to exercise musical agency, play, meaning-making and forming conscious identity (Barrett, 2011; Campbell & Wiggins, 2012; Marsh & Young, 2015; Niland, 2015, 2019; Trinick & Pohio, 2018; Young & Ilari, 2019). Active music-making between ECEs and children builds feelings of connectiveness and supports relationship building (Niland, 2015) and ability to actively contribute to their community (DEEWR, 2009).…”

“…Musical capabilities of young children are enhanced by musically trained adults who facilitate an enabling environment (Bartel & Cameron, 2007; Custodero, 2005; Ilari, 2018; Marsh & Young, 2015; Nieuwmeijer et al, 2019; Trinick & Pohio, 2018; Young, 2005). The lack of national guidance or specific music curriculum (Southcott & de Vries, 2006) allocates music education to a tenuous position, depending on educators’ discretion, resulting in delivering poorly conceptualised, ineffective or tokenistic music learning experiences (Nyland et al, 2015; Suthers, 2004).…”

Sistem Among dalam Penerapan Nilai-nilai Luhur Pendidikan Karakter Ki Hadjar Dewantara

“…Menurut Ki Hadjar Dewantara, permainan menduduki peran yang sangat penting dalam Pendidikan Anak Usia Dini, bahkan latihan keolahragaan dan permainan kanakkanak erat hubungannya dengan bertumbuhnya budi pekerti. Hal tersebut sejalan dengan pendapat Trinick & Pohio (2018) yang menyatakan bahwa inti dari pembelajaran anak-anak adalah dengan bermain yang dilakukan secara alami, otentik, dan kuat oleh anak-anak untuk belajar. Melalui bermain, anak-anak memperoleh keterampilan sosial dan emosional yang penting untuk perkembangan psikologis yang sehat.…”

The musical lives of young children in Aotearoa New Zealand

“…A small number of studies have explored music in early childhood education settings (e.g. Bodkin-Allen, 2009;Naughton & Lines, 2013;Trinick & Pohio, 2018) and music therapy settings (e.g. Wylie & Foster-Cohen, 2013), but not the musical experiences of young children at home or with their families.…”