Children’s Rhythmic Development from Age 5 to 7: Performance, Notation, and Reading of Rhythmic Patterns

Davidson, Lyle; Colley, Bernadette

doi:10.1007/978-1-4613-8698-8_6

Cited by 23 publications

(20 citation statements)

References 15 publications

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“…This kind of research has generally involved the presentation of familiar and unfamiliar songs and melodies, music composed by children or by adults and classical selections (e.g. Barrett 1997Barrett , 1999Barrett , 2000Barrett , 2001Barrett , 2006Blair 2006;Cohen 1985;Davidson and Colley 1987; 1992; Davidson, Scripp, and Welsh 1988;Elkoshi 2002Elkoshi , 2008Elkoshi, Murphy, and Burnard 2007;Elkoshi et al 2008;Fung and Gromko 2001;Gromko andPoorman 1998a, 1998b;Gromko and Russell 2002;Hair [1993Hair [ ] 1994Kerchner 2001;Shockley 2006;Tan and Kelly 2004;Truman 2007).…”

Section: Theoretical Perspectivementioning

confidence: 99%

Children's invented notations and verbal responses to a piano work by Claude Debussy

Elkoshi

2014

Music Education Research

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This study considers the way children listen to classical music composed for them and the effect of age on their spontaneous invented notations and verbal responses. The musical selection is a piano piece for children by Claude Debussy: 'Jimbo's Lullaby' from 'Children's Corner'. Two hundred and nine children 4-9.5-years-old listened to the music and expressed their impressions graphically and verbally. Three systems of conceptualisation emerged: Associative responses (A-responses) suggesting metaphoric interpretation, Formal responses include references to sound and Compound responses integrating Associative and Formal expressions. Results show a strong dominance of Associative over Formal and Compound categories at all levels and a gradual decline of A-responses with age. Studying children's responses to a classical work addressed to them paves a way to a greater understanding of their music perception. This bears a number of implications for music educators who introduce young children to classical music and for composers of music for children. Theoretical perspectiveListening is considered to be the primary means through which most people enjoy and learn about music throughout their life. However, relatively little research has been done to determine how and when variables related to music listening develop (Sims and Nolker 2002). Perhaps this is due in part to the challenges presented by research on music listening, challenges which are even greater when working with very young children. This following literature review focuses on the body of research related to young listeners' verbal and non-verbal responses to music as a manifestation of their listening attitudes.Researchers have attempted to identify the variables that affect listener's music perception and preference, such as familiarity, musical style, tempo, instrumentation and vocal production (e.g.

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Section: Theoretical Perspectivementioning

confidence: 99%

Children's invented notations and verbal responses to a piano work by Claude Debussy

Elkoshi

2014

Music Education Research

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“…For example, scholars have found individual differences in children’s ability to process rhythms at 2.5 years of age, particularly in their ability to keep time with a musical beat (Kirschner & Tomasello, 2009). In a study of young children, researchers found that their ability to cope with patterns and rhythmic complexity typically increases between 5 and 7 years of age (Davison & Colley, 1987), whereupon they reproduce one-bar rhythms to the level of an adult non-musician (Drake, 1993).…”

Section: Introductionmentioning

confidence: 99%

‘I can read further and there’s more meaning while I read’: An exploratory study investigating the impact of a rhythm-based music intervention on children’s reading

Long

2014

Research Studies in Music Education

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A substantial proportion of children underachieve in reading (Brooks & Tough, 2006; Doubek & Cooper, 2007; Tymms & Merrill, 2007). This paper builds on the existing evidence base for the link between reading and rhythm, presenting findings of an investigation into a rhythm-based music intervention. Following participation in the intervention, an entrainment strategy, significant gains occurred in the children’s reading comprehension, reading accuracy and reading rate. An analysis of reading fluency revealed significant gains in the prosodic features of reading behaviour, highlighting syllable division, grammatical structures and phrase contours, and explicating the children’s deeper engagement with connected text. Rhythm-based training in music emphasized group interaction and the children themselves also reported positive changes in their sense of well-being.

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“…Inspired by this work, we set up a series of studies of children's MRC when asked to generate graphical representations of simple sound fragments or more complex music excerpts to which they were exposed. 1 Over the past 25 years, researchers have developed theoretical models and conducted empirical studies about children's graphic representations (or notations) 2 of such fragments (Bamberger, 1980(Bamberger, , 1982(Bamberger, , 1991Barrett, 1997Barrett, , 2002Cohen, 1985;Davidson & Colley, 1987;, 1989Davidson, Scripp & Welsh, 1988;Elkoshi, 2002Elkoshi, , 2004Fung & Gromko, 2001;Gromko, 1994;Hair, 1993Hair, -1994Hargreaves, 1978Hargreaves, , 1986Smith, Cuddy, & Upitis, 1994;Upitis, 1987Upitis, , 1992Upitis, , 1993. Common to these analyses and studies is the finding that children draw on a broad variety of representational forms, ranging from idiosyncratic drawings of scenes or emotions evoked by the fragment being heard, to informal sign and symbol systems and representations based on standard music notation.…”

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confidence: 99%

Children's Criteria for Representational Adequacy in the Perception of Simple Sonic Stimuli

Verschaffel

Reybrouck

Jans

et al. 2010

Cognition and Instruction

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This study investigates children's metarepresentational competence with regard to listening to and making sense of simple sonic stimuli. Using diSessa's (2003) work on metarepresentational competence in mathematics and sciences as theoretical and empirical background, it aims to assess children's criteria for representational adequacy of graphical representations of sonic stimuli, as well as to investigate the impact of various factors, such as age, and musical background of the children and the nature of the sound fragments that were represented on the use of these criteria. Four groups of children (8-9 years olds and 11-12 years olds with and without extra music education) were exposed to three short fragments that were distinct from each other by the saliency of one sonic parameter. For each fragment, the children received six pairs of researcher-generated representations, with the representations of each pair differing from each other in terms of the representational criterion being stressed (either correctness, completeness, parsimony, formality, transparency, or beauty). The children had to choose one of both representations from each pair and explain their choice. Generally speaking, our results confirmed three major findings of diSessa (2002). They revealed (a) indications of metarepresentational competencies among the children, even among the youngest and musically inexperienced ones, (b) age-and education-related differences with respect to their preferences for certain representational features, and (c) great difficulties among children to articulate their metarepresentational competencies. Theoretical, methodological, and educational implications are discussed. BACKGROUND AND RESEARCH QUESTIONS

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Children’s Rhythmic Development from Age 5 to 7: Performance, Notation, and Reading of Rhythmic Patterns

Cited by 23 publications

References 15 publications

Children's invented notations and verbal responses to a piano work by Claude Debussy

Children's invented notations and verbal responses to a piano work by Claude Debussy

‘I can read further and there’s more meaning while I read’: An exploratory study investigating the impact of a rhythm-based music intervention on children’s reading

Children's Criteria for Representational Adequacy in the Perception of Simple Sonic Stimuli

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