lOChapter 2

very young child. For example, a negative reaction to a young child who isperhaps having fun making random sounds on the piano, or simply banginga drum (or some other noise-producing implement), may be very injuriousindeed. 'Stop rnaking that awful norse!' may weIl put the child off music forlife. 'That's interesting - what is it supposed to be? A train, or angry soundsor .. .' is, on the other hand, the kind of response that mayawaken theimagination of the proto-musician. In addition, parents who sing to, or with,their children are planting important seeds for future musical growth.

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A number of children begin learning instruments between the agcs ofthree and six years. Teachers for this age group tend to be specialists andwill understand their particular requirements. Children will have Iimitedpowers of concentration and will usuaIly only be able to concentrate onone thing at a time. They will enjoy activity, will often be emotionaIlyvolatile and wiII respond weIl to creative teaching. Successful teachersshould make lessons fun and fuIl of varving activities that will stimulateand engage the minds of their pupils. Simple (but never patronizing)langtrage should be used, and cIear explanations given of the tasks set.Teachers should be cncouraging and patient and not expect too much.

There are a number of specialist music courses available for the veryyoung, each with a particular emphasis. The Kodly system centres onthe voice and develops general musicianship through a very carefullydevised and prcgressive pregramme. Those brought up in the Kodlymethod can expect to have quite advanced musicianship skills by theirearly teens. The Suzuki method is principally for string players, althoughthe piano and flute have aIso been incIuded. The Yamaha system centreson keyboard playing, and develops a wide range of musicianship skills.