Children's Improvised Vocalisations: Learning, Communication and Technology of the Self

Knudsen, Jan Sverre

doi:10.2304/ciec.2008.9.4.287

Cited by 18 publications

(19 citation statements)

References 10 publications

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“…He argues that music listening is not a solely receptive but an expressive practice. By stressing the expressiveness of children's musical practices, he-at least to a certain extent-strengthens an aspect previously addressed in research on children's spontaneous singing (Bjørkvold, 1980(Bjørkvold, , 2007Knudsen, 2008); it is about being in the world more than about expressing taste. However, Bickford (2007) not only shows this rationale's legitimacy in contemporary children's musical media culture but also focuses on the fact that music listening cuts across the domains of schooling, media (entertainment culture), and childhood; they are "mutually constituted fields of meaning and power" (Bickford, 2017, p. 2).…”

supporting

confidence: 61%

Introduction: Children’s music—an emerging field of research

Vestad¹

2017

A & R

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___________________________________________________________________This special issue is about children's music (barnemusikk). Children's music is a broad term and may include music produced by adults for children (culture for children), music and musical practices that children and adults engage in together (culture with children), and the music children themselves make and how they engage with it in their own networks and relations (culture by children) (see Mouritsen, 2002, for a discussion of children's culture in general). The three threads of the definition of children's culture and, thus, of children's music, are arguably closely connected. For instance, consider a young child listening to a pop song for children on an iPad while walking rhythmically around the room and singing along to the music. This imagined scene involves music produced for a child audience. Moreover, the scene is taking place in a social setting in which adults have provided the child with a technological device that enables the child to listen to music. This means that both parties-child and adult-contribute to this scene of contemporary musical children's culture. Hence, one can describe the situation as culture with children. Finally, if the child's musical engagement is focused (moving and singing along with the music), the scene may be described as music by children.

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supporting

confidence: 61%

Introduction: Children’s music—an emerging field of research

Vestad¹

2017

A & R

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“…Jan Sverre Knudsen (2008) writes about children's improvised vocalisations and how to understand such vocal expressions as learning and communication. He uses Michel Foucault to understand improvised vocalisations as 'tools used to "act upon the self" in order to attain or reinforce a certain mental state or mood -happiness, satisfaction, anger or longing -in short, as a way in which children learn to know the self as a self' (Foucault, 1988;Knudsen, 2008, p. 287).…”

Section: Musickingmentioning

confidence: 99%

Musical Exploration in Everyday Practices – Identifying Transition Points in Musicking

Schei

Ødegaard

2020

International Perspectives on Early Childhood Education and Development

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This chapter conceptualises exploration through narrative examples of children and teachers in music activities in kindergarten. First, the distinction between music exploration and musical exploration must be articulated. We argue that music exploration is the process of examining and being curious about sounds, rhythms and instruments, while musical exploration refers to musicality and the embodiment and sensitivity that happens when music becomes meaningful on a deep level. Christopher Small's concept of musicking (Small, 1998) is vital to our understanding of exploration within a context in which music instruments and the doing play an essential role. The concept of musicking underscores that music is a signifying practice that unites human beings; that is, it is relational in its doing. The relationship created when people do music is at the core of what musicking represents. To music is musicking: 'To music is to take part, in any capacity, in a musical performance, whether by performing, by listening, by rehearsing or practicing, by providing material for performance (what is called composing), or by dancing.' (Small, 1998, p. 9). Children are curious explorers of sounds and artefacts. From a child's perspective, sound can be created from artefacts that a teacher would not consider music instruments. These artefacts could be anything from stones, wooden pieces and water in a bowl to electronic devices and multimedia artefacts. The instruments might even be imaginary. If the teacher's perspective is that music instruments are only the traditional ones, like voice, guitar, piano, flute and drums, there is a

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“…Research interest in the first three years of childhood includes a range of foci of which representative examples are music in the care of premature babies (Filippa, Devouche, Arioni, Imberty, & Gratier, 2015;Harmer, 2013), adult-infant musical exchanges (usually parent and infant) (Dionyssiou, 2009;Street, 2006), music in daily routines at home (Addessi, 2009), musical parenting (Custodero, 2006(Custodero, , 2008aIlari, 2005;Ilari, Moura, & Bourscheidt, 2011) and the musical activities of very young children in their families and homes (Custodero, Britto, & Brooks-Gunn, 2003;de Vries, 2005de Vries, , 2009Kida & Adachi, 2008;Young & Gillen, 2010). The revised view of the competent child has also generated considerable interest in the spontaneously generated musical activity of young children and studies have explored spontaneous singing (see Dean, 2014 for a recent review; also: Knudsen, 2008;Young, 2002Young, , 2006 and music-making on instruments (Delalande & Cornara, 2010;Young, 2003Young, , 2008a. More recently interest in neo-Darwinian theory, mainly from an anthropological perspective, and the possible evolutionary origins of music has given rise to interesting theoretical positions on the adaptive uses of music (e.g.…”

Section: Paradigm Shiftsmentioning

confidence: 99%