Music and the Child
Natalie Sarrazin, College at Brockport, SUNY
Pub Date: 2016
ISBN 13: 978-1-9423412-0-8
Publisher: Open SUNY
Conditions of Use
This book is a good resource and guild for anyone choosing to work with children whether in an academic environment or other setting. And though it read more
This book is a good resource and guild for anyone choosing to work with children whether in an academic environment or other setting. And though it focuses on how to teach music, It also offers the reader the advantage of knowing more about how to apply music (without being a 'music major') to an academic lesson in order to enrich a child's cognitive abilities while building on a 'process' rather than a 'product' objective. Though each chapter builds onto the next, a reader is not required to read from cover to cover in order to utilize the information and to have direct application in an educational setting. The author has consolidated a remarkable amount of information and direct application opportunities yet it is not overwhelming to the reader, very organized and concise.
Every author has some opinion upon the subject matter they write and therefore cannot be completely 'unbiased'. That being said, any perceptions made by the author are well supported by citations and offer the reader an opportunity to reflect upon the thoughts shared by the author. That being said, I took exception to the section that indicates that a teacher should discourage a student from singing in their chest but rather ask them to sing in their head. There is little evidence that this technique is helpful to insure good singing in the future though I understand why the author has come to this conclusion. The text has minor misspellings but does not deflect from the content.
The topics explored, activities offered, and sited materials is more relevant than ever and will continue to be so as western schools battle the ever present decline in students' love of learning. It is especially helpful that the author lists the '21st Century Skills' which identifies particular areas of focus which are essential for future learning as identified by the Kennedy Center, The Partnership for 21st-Century Skills, 21st-Century Schools and the Global Alliance for Transforming Education. This text helps a teacher know how to make learning fun, to allow students to become leaders, collaborators and corroborative learners. The arts are often narrowly defined as part of an elitist community. This excludes the arts from a consideration of their multiple contributions to our daily lives and the role they play in discourse regarding social/cultural issues. The evidence of this is in the consistent funding cuts to local and national arts agencies and for arts education in elementary and secondary school settings. This disjuncture suggests that the common perception is that the arts are outside of the normal boundaries of daily living and problem solving and are instead reserved for extra-ordinary components of life related to special events associated with rites of passage as well as national and religious celebrations. Because of this the text is enormously relevant without risk of becoming out of date anytime soon.
The text is clear, easy to understand and accessible. The technical terms and terminology are presented in a way that the reader is not required to be a music aficionado - clearly defined with direct application opportunities. I especially like that the author has included the key terms and definitions, as a vocabulary section, at the end of each chapter. There is a warmth to her writing, a true love of the work and a thorough understanding of the importance of music in a child's life.
The framework of the text is excellent, comprehensive and consistent terminology used throughout. The author takes the reader on a journey through guided probes in how music connects all of us as human beings, with consistent opportunities for direct application. Each chapter is similarly structured, making it easy to navigate each topic.
The text offers the reader easy access to smaller categories of material by well defined sections. The smaller sections are consistent along all the chapters, with blocks of text clearly identified with subheadings. This text can be utilized as a companion text to courses such as Creative Drama for the Classroom/Teacher.
The chapters could be organized a little differently and rather than list every chapter and where it should be placed I will add just this: The reader may be better served by having Chapter 11, 12, 13 offered earlier in the chapter order. And consolidate the Lesson Plan development later in the reading.
The text is of free of significant navigation issues, charts and examples are very easy to decipher. The links for further reading and resources within the chapters are especially helpful to the reader.
The text has minor grammatical errors mostly due to spaces between words.
The author pays close attention to cultural sensitivity and awareness. Many examples, philosophies, resources and materials are provided within the chapters. These cultural samplings include teaching approaches and philosophies of Italy, Germany, Switzerland, Japan and Hungry. I also appreciate that the author offers a chapter 'Music Inclusion', which touches on Gender, Therapy & Healing, Special Needs and her chapter: Musical Multiculturalism and Diversity.
The author states, "understand the role of music in children’s lives through play", which is what first captured my interest in this text. I believe children learn best through play, through physicalization and collaboration. This text is a perfect fit in any early education training.
This text book “Music and the Child”, written by Natalie Sarrazin, is well organized in its content. It covers a wide range of topics on teaching read more
This text book “Music and the Child”, written by Natalie Sarrazin, is well organized in its content. It covers a wide range of topics on teaching music for younger children. The whole book consists 13 chapters, and each chapter has its own clear subject, but also related to each other. Many music examples and charts are provided throughout the book. It is easy to read. I found it is very useful that the sections of Vocabulary, Resources, and References are placed at the end of each chapter. This make it much easier to explore more information. Through out the book, there are hands on activities listed in the book. They are very helpful and fun to do. This book is a great resources for music educator. Most contents are related to younger child, but I also found there are many materials, suggestion can be used for order kids, even young adults.
The content of the book seems accurate, according to my knowledge.
New music is written every day, every hour and every minutes. But there are some basic concept and ideas about music teaching will stay the same over years. This book covers a lot of ideas of how to make the music fun in younger children’s learning process. They can be very useful for a long period of time. However, it would be nice to see more current music repertoire.
The text is written in very accessible prose. At the end of each chapter, the Terminology section is very helpful to make all the concept to be understood easily.
The written style and structure of each chapter in this book are very consistent.
This book has 13 chapters. Each chapter can be used as a stand along module. Each chapter is focus on one stand along subject related to music teaching in early childhood. Also, having the information of references at the end of each chapter also make each chapter to be it’s own module easily.
The structure of the book is very well organized. The print is clear. All the charts and pictures are large enough to be seen clearly.
I see no problem of the interface issue. the whole book is very easy to navigate. The diagram and charts are printed large enough for easy navigation.
As non-native English speaker, I found this book is very east to read. I see no errors on the books grammar. Personally, I really like the writing style of the book. All the information can be digest easily and the ideas are delivered clearly.
This book is mainly written for music educators to use in US. All of the music examples are based on Western culture. It will be very nice if some of the music examples can drawn from other culture / country.
Sarrazin wrote, “This book is intended to aid those who have little or no background in music, in order to increase their comfort in integrating read more
Sarrazin wrote, “This book is intended to aid those who have little or no background in music, in order to increase their comfort in integrating music into the curriculum.” I have taught many of these students in various “Music for the Classroom Teacher”-type courses and I can agree that the musical background of many pre-service and practicing elementary school classroom teachers is quite limited. I have used several texts through the years and I can honestly say that Sarrazin hits the perfect balance here between “need-to-know” and “too much overwhelming information.” Her strength is in summarizing and codifying dense topics. The breadth of topics across the chapters is quite inclusive. Yet Sarrazin (thankfully) omitted much of the arcane how-to instruction that makes up a large part of competing texts: how to tune an autoharp, how to select between a flutophone and a recorder, how to teach solfege, etc. I would use this book in the future just because of this feature.
While I liked many of the links to external material, I had some concern about the quality and longevity or stability of others. Some are very worthwhile: for example the link to the Kennedy Center for arts integration information, the link to another open text book for auditory science material and research. Some are really questionable: for example the Global Alliance for Transforming Education doesn’t exist any longer apparently, and the theory site for explaining texture takes one to a cached “wayback” site that doesn’t work well. In addition, care should be taken to examine the political overtones and subtext of other sites, as even the non-profit ones may have an educational reform agenda that may be seen by some as problematic. Not everyone in the profession is on board with the 21st century skill movement and its extensive list of corporate board members, nor the core standards, etc. Professors should check the links in each chapter before assigning the readings.
Other than the point above about the links that may not be as appropriate or functional as they could be, the book is highly relevant to its intended population. The classroom teacher who wants to learn more about music education will have many of her questions answered, and the book is quite usable.
The book is clear and concise. None of the chapters seemed overly long or padded. I liked the vocabulary words emphasized for each chapter as well as the glossary. The text boxes (“Try this” etc.) are a nice off-set to the larger amount of more scholarly text. For me this book reads really well.
This is a strength in the way she consistently chose multiple non-Western-classical music examples to illustrate musical concepts, and linked these to interesting videos (Qu’uran singing, Tuvan Throat singing, etc) In the text itself, she really pulled out some terrific children’s tunes from other cultures: (ex. several Indian counting games which were new to me and which I will try immediately with my own class). I found this broad and multicultural approach refreshing and contemporary.
Each chapter can be used on its own. I would imagine several chapters (such as the music cognition section) could easily bolster required reading in a class for music education majors. Chapter 7 is particularly nicely done, in the way Sarrazin is able to summarize complex research. She also treads ethically around area of the question, “does music make kids smarter?” and points out the innate reasons to make music, not just the supposed extrinsic benefits. The arts integration chapter should be required reading for every elementary classroom teacher!!
I read comments from another reviewer about changing the sequence of the chapters, and I concur. The order and the titles of the chapters could be edited for clarity. Chapter divisions are fine, though.
Excellent, easy to read. I read it online using my laptop and had no issues. I wish that clicking on a link would open up a new window so I could click back and forth between the link and the text without having to use “back” button. Perhaps that’s how I have my browser set, rather than the interface; I'm not sure.
See my points under “Consistency” above, for high praise. However, the learning disabilities/Special needs music education section seems a bit dated already (e.g. the behaviorist positive and negative reinforcement for management techniques for students who experience Autism) and the tone is unnecessarily “label-oriented.” The categorization of student needs with specific techniques is good but seems a bit arbitrary. (Students with higher learning potential = offer advanced ability ensembles/acceleration? Not that practically helpful for the classroom teacher.) This section will need to be accompanies by a more nuanced classroom discussion facilitated by a knowledgeable instructor.
I recommend this text and I believe I will use it in the future.
In describing her work, author Sarrazin states “This book explores a holistic, artistic, and integrated approach to understanding the developmental read more
In describing her work, author Sarrazin states “This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children’s lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.” Although this may seem like an ambitious goal for a single book, my review of Music and the Child confirms that it does indeed explore connections and applications, and guide instructors, childcare workers, students, and others to work with children through music. As a single volume it is very comprehensive. The 13 chapters comprise considerable breadth, and each individual chapter has depth appropriate for readers whose discipline may not be music education.
Book content is accurate and unbiased. The various chapters are supported with citations of eminent scholars in the arts, music education, developmental psychology, ethnomusicology, and other fields. The text does contain some misspellings, and some lists of resources and references are not fully alphabetized.
Book content is relevant. Much of it will remain so over time, especially regarding music fundamentals, approaches to music education, the child’s singing voice, song repertoire, classroom management, the roles of music in early childhood and lower elementary stages, and musical play. Necessary updates to content such as assessment, lesson planning strategies, music and the brain, musical cultures, creativity, inclusion, arts integration, multiculturalism, and diversity should not be problematic.
Text clarity is excellent. The prose is accessible by a range of readers, in particular by those whose discipline may not be music education. Each chapter begins with a Chapter Summary that functions as a concise overview of chapter content and organization. Technical terms have appropriate context, and throughout each chapter there is strong emphasis on vocabulary relevant to the topic(s) of that chapter. Moreover, nearly all chapters end with a Vocabulary section comprising a list of key terms and their definitions.
Text consistency is excellent. The theoretical framework is that children are inherently musical, and that those of us who work with children through music must continuously search for ways to tap into their natural enthusiasm for listening/moving/singing/playing in the interest of facilitating their physical, social, emotional, cognitive, linguistic, and musical development. This is first articulated in Chapter 1, “Perspectives and Approaches,” and is systematically addressed in subsequent chapters. The terminology is consistent throughout. Each chapter emphasizes relevant vocabulary, and nearly all chapters feature a list of key vocabulary terms and their definitions.
Book modularity is excellent. Each chapter can stand as an independent work on its topic(s). Throughout each chapter there are activities that engage readers beyond chapter content as well as links to supplemental readings and videos. Each chapter ends with a list of resources to consult for greater depth, and a copious list of references to the literature. Individual chapters could be reordered within a course without compromising readers. Particular activities within each chapter could be reordered or omitted, again without compromising readers.
Two areas of book organization/structure/flow can be improved: chapter titles and chapter order. Several chapter titles could be edited as follows to better represent the actual content and order within each chapter: From 1. Perspectives and Approaches to 1. Arts and Educational Approaches and Perspectives From 3. Assessment and Learning Goals to 3. Discipline-Based Assessment and Professional Self-Assessment From 4. Approaches to Music Education to 4. Pedagogical Approaches in Music Education From 5. Children Singing and Children’s Songs to 5. Teaching Children to Sing: Methods and Materials From 6. Creative Activity and Lesson Planning to 6. Creative Approaches to Successful Music Lesson Planning From 9. Music and the Older Child to 9. Music in Middle Childhood: Methods and Repertoire From 10. Children’s Musical Play: Musicality and Creativity to 10. Children’s Creativity: Musical Play and Improvisation From 12. Music Integration to 12. Music Integration in the School Curriculum: Concepts and Strategies From 13. Musical Multiculturalism and Diversity to 13. Culturally Diverse Music Teaching: Rationale and Applications As well, chapter order could be revised as follows to improve book organization/structure/flow: 1. Arts and Educational Approaches and Perspectives 2. Music: Fundamentals and Educational Roots in the U.S. 4. Pedagogical Approaches in Music Education 6. Creative Approaches to Successful Music Lesson Planning 5. Teaching Children to Sing: Methods and Materials 3. Discipline-Based Assessment and Professional Self-Assessment 7. Music and the Brain 8. Music in Early Childhood Development 9. Music in Middle Childhood: Methods and Repertoire 10. Children’s Creativity: Musical Play and Improvisation 11. Music and Inclusion 13. Culturally Diverse Music Teaching: Rationale and Applications 12. Music Integration in the School Curriculum: Concepts and Strategies
Book interface is excellent; there are no navigation, distortion, or display issues.
Text grammar is excellent.
The cultural relevance of the book is strong owing in large measure to content in several chapters, including Chapter 4 (pedagogical approaches from Germany, Hungary, Italy, Switzerland, United States), Chapter 6 (classroom instruments from Western and world cultures), Chapter 9 (the section American Children’s Games and Game Songs), Chapter 10 (the section The Singing-Game: Children’s Musical Creativity in Play), Chapter 11 (addresses several types of musical inclusion), and Chapter 13 (entitled “Musical Multiculturalism and Diversity”). Also, the song repertoire throughout the book represents diverse cultures.
I recommend this book as an excellent resource for early childhood and elementary education specialists who teach music as part of their curricula.
Natalie Sarrazin sums up her twelve chapters of the many facets of the book with the statement~"Children's creativity is the heart of this book and read more
Natalie Sarrazin sums up her twelve chapters of the many facets of the book with the statement~"Children's creativity is the heart of this book and is the most important factors to consider when creating pedagogical material" In each chapter she does box diagrams with two sides and multiple songs to address. She also has a definition of terms- and documents her sources after every chapter rather than at the end of the book. Each chapter is a condensed version of what could be a book in itself. She summarizes numerous methods and scientific and cultural. linguistic and historical idioms as good as one could with these topics.
It is accurate and already documented information for the most part. She is promoting a holistic approach interweaving old and new theories with social, and the physical activity of music. I am not sure with her comment about Mozart only stimulating the IQ for fifteen minutes. I think comments like that need more documentation. Also the evolution of a child's awareness smacked of sociology rather than holistic possibility. In academia all her proofs are backed up by her choice of authors. She writes~"If you can walk you can dance" "If you can talk you can sing" She uses the term of the mother tongue aka natural environment. Like many texts, it might not be totally true but it is accurate.
The longevity of western music theory and historical timelines of change and and discovery are strong in this book. It can be a reference for curious readers and parents of young children. The ethnology and brain information will keep the book relevant for a while.As the globe shrinks and science keeps toppling old beliefs these are good topics. The use of holistic is a bit old school jargon and hints at Jung and Doctor Spock regarding a sky's the limit of possibilities ie. to conjure a musical connection to a computer ridden mindscape of micro minions.
The book is good for one chapter at a time and class discussion primarily because the mix of musical terms and child philosophy in an altruistic methodical and highly organized fashion. She defines her purpose very well with statements like~"In short, scientists say that nothing we do as humans uses more parts of our brain or is more complex as plating an instrument." She is very clear in her purpose with another statement~"Children's linguistic development is related to their musical development." Her documentation regarding these clarion calls is more than adequate.
The book is consistent in its structure regarding its context. It is not a ground breaking book but rather leans on things like the original person already knows what music is and is shaped by the rules and visuals they are introduced to. The theme of the child as our focus seems to turn into a recipe for contrasts in theories such as Dalcroze, Zoltan, Kodo'ly. Orff and Suzuki and like she is consistant in her summation of theses theories resting on what seems to be her preference Eurhthmics. She is consistent to the human child as being dancing with the sound be it scientifically proved or culturally proven.
The book is perfect for singular group discussions. Each chapter has a narrative, examples of forms and a dictionary of terms.. It is a good group text book. I would advise a prep book on certain subjects like the history music, audiology, speech therapy, music therapy and cognitive brain science. It is very condensed chapter to chapter with a barrage of information regarding the chapter's heading. As a novel it would fail.
Extremely well organized almost to a fault. The real gems are the assertions by the author about creativity and music outside the western lexicon such as the great section on Indian and Japanese scales and and phonetic annotations. The structure is very logical but I think the theme is scattered by including too many directions. Maybe three small books on the more grand topics could have worked better.
The book could have been larger in its pages because of the vast amounts of clarification of ideas that followed the narratives. There is no interface problems except for a better or larger print in the publishing.
The book is solid regarding language and research.
The book is progressive and spends the last chapter on ethnicity and the linguistic implications of being from other cultures and hearing and seeing different phenomena yet having a common denominator called music to integrates us..
The author is very well read and gives a great peripheral scan of how children use music to include all facets of life making for a better world with smart empathetic people growing towards adulthood.
Table of Contents
Chapter 1: Perspectives and Approaches
Chapter 2: Music: Fundamentals and Educational Roots in the U.S.
Chapter 3: Assessment and Learning Goals
Chapter 4: Approaches to Music Education
Chapter 5: Children Singing and Children’s Songs
Chapter 6: Creative Activity and Lesson Planning
Chapter 7: Music and the Brain
Chapter 8: Music in Early Childhood Development
Chapter 9: Music and the Older Child
Chapter 10: Children’s Musical Play: Musicality and Creativity
Chapter 11: Music and Inclusion
Chapter 12: Music Integration
Chapter 13: Musical Multiculturalism and Diversity
About the Book
Children are inherently musical. They respond to music and learn through music. Music expresses children’s identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children’s natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I’m working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts?
This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children’s lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.
About the Contributors
Natalie Sarrazin, PhD, is Associate Professor of Music at the College at Brockport, SUNY. She holds a PhD in ethnomusicology from the University of Maryland, College Park and a master’s degree from Peabody Conservatory at Johns Hopkins University in music education. Natalie is the author of books and articles on both Hindi film music and music education. She teaches in the Department of Theatre and Music Studies and Arts for Children programs at the College at Brockport, and is a co-director of the Hunter Institute on Young Children.