Module Twelve – Topic Two: Music, Movement and Learning

Physically, there has never been a time when children needed to move as much as right now. Children 2 – 5 years of age spend an average of 25 ½ hours a week watching television. Add computers, video games, I-pads, etc. and we see that our young children get much more screen time than active time. (Pica, 2000)

We must find ways to let children know that being physically active is just as important to overall health as hygiene and diet.

The significance of a developmentally appropriate movement curriculum is that it offers children frequent opportunities to experience success, enjoyment, build confidence and have fun – they will want to repeat this throughout their lives.

Dietze and Kashin describe music and movement ‘s ability to “contribute to the overall development of the young child” as it provides opportunities to balance, practice fine and large motor skills, play cooperatively and socialize with peers, reason and problem solve and engage in activities with cross-lateral movements that stimulate brain development (pp. 347-348).

In “The music, movement and learning connection”, Hap Palmer describes our opportunity to support children by taking advantage of their “natural desire to move and be actively involved” (p. 13). Palmer goes on to provide examples of using movement and music for children to move their bodies, use their own ideas and also incorporate literacy and learning (p.13). He also underscores the potential of music and movement to nurture “the whole child” (p.14).

Take a look at the chart that describes the elements of movement on page 14 of this article. Palmer believes that we can support the language and comprehension of children by building their ‘movement vocabulary’. There are so many great words that describe movement and Palmer has categorized them into the following elements: body parts, actions, space, qualities, and relationships. There are always more words to be found that children will delight in as they find movements that match. Some examples are: “bounce, bubble, crinkle, crouch, dangle, dart, fling, float, glide, lunge, melt, ooze, plunge, quiver, rise, scamper, scatter, wobble and zoom” (p. 14).

We need to combine music, movement and songs that invite children to experience the world through active engagement. We can also use music and movement to expand vocabulary, support recognition of letters, numbers and colours and include children’s ideas and interests in planning the curriculum eg: children deciding how to form letters with their bodies (Palmer, p. 13).

We use music and movement as a way to recognize the whole child. As we introduce silly songs which children so enjoy, they also learn through the rhymes, rhythms and repetition. (Palmer, p.14)

Movement is more likely to stimulate learning if we offer children opportunities to solve problems, invent their own solutions to challenges and make the abstract concrete. For example, in exploring the concepts of up and down: can you make your body go all the way down, halfway down? How can you make yourself so tiny I can hardly see you? Now, become as huge as a giant. Pretend your feet are glued to the floor – how can you move up and down without your feet moving?

Explore the difference between bridges and tunnels by asking children to show you both with their bodies. Ask children, “How many body parts can make bridges and tunnels?”

Music and Movement Experience Centres

Dietze and Kashin describe what to include in a music and movement centre that is set up to “trigger children’s curiosity and allow them the opportunity to explore and create music” (p. 357). If we set this centre up effectively, children will naturally engage in movement as well. Dietze and Kashin recommend including a microphone and sound system, recording equipment, a variety of instruments, and also a variety of props and costumes to support movement and dramatic play (pp.357-358). They also emphasize that opportunities should be available both indoors and outdoors as children engage in different types of exploration in the different environments with the outdoors allowing for more vigorous expression and movement.

If you consider yourself to have limited skills in music and movement, Dietze and Kashin also have suggestions for you that will build your confidence and ensure that children will have the opportunities they need (p. 358-359). Your own discomfort is not a reason to limit children. Here you will find suggestions to move past your own barriers.