InTheArts

In today’s competitive world, parents are keenlyaware of the pressure to provide their children with awell-rounded and stimulating education — starting ininfancy. Anything that might give junior “the edge”when he grows up is now considered a necessity.

To address this growing need, we have seen aproliferation of creative educational programs forthe very young. Some of the most popular — yetleast understood — are the early childhood musicprograms. Parents who are considering one of theseclasses are faced with an array of choices. Certainly,they can do no harm, but the question is: Howmuch good can they actually do?

Plenty, seems to be the resounding answer. Although they may seem to have appeared

overnight, these programs have been steadily buildingupon decades of research and development. Studiesdating back to the post WW II era (Pillsbury studies1937-1958) suggested that early exposure to music

could increase a child’s overall capacity for learning,and researchers learned that musical intelligencedevelops in much the same way as spatial, mathemat-ical, linguistic and kinesthetic intelligence. For exam-ple, it’s easy to see that language development, fromthe babble stage through more complex sentencestructuring, is quite similar to musical development.Individual words and sentence fragments lead to morecomplex sentences and speech patterns, just likemelodic fragments lead to more developed composi-tions or improvisations. Many composers, such asLudwig von Beethoven for one, kept notebooks ofmelodic fragments that he would later develop intocomplete compositions. Hey, if it worked forBeethoven, then perhaps we should pay attention!

Researchers and educators eventually began tostudy the effects of music on the development of

other abilities. One of the most famousexperiments in this arena was the University ofCalifornia study in 1993, which coined the term“The Mozart Effect”. Initially, this terminology hadlittle to do with children. The study, conducted bypsychologist Frances Rauscher, involved not infantsor pregnant women, but 36 college students.Subjects were separated into three groups, and,prior to taking standard IQ and spatial reasoningtests, either sat in silence, listened to relaxationtapes, or listened to a Mozart piano sonata. Thegroup that listened to Mozart scored significantlyhigher on the tests. Although inconclusive at thetime, the study did cause a stir, and before long,expectant moms were plunking themselves down infront of the stereo for nightly serenades of EineKleine Nachtmusik.

Perhaps of more direct significance to today’s par-ents was a later study by Rauscher working with a

group of 3-year-olds. The toddlers were given musiclessons for a period of nine months, after which theyshowed significant improvement in mathematical andabstract reasoning skills, scoring an average 35 percenthigher than another group that had not received les-sons. A recent study by Martin Gardiner of The MusicSchool in Providence has also shown that through sys-tematic exposure to music, children lagging behind inreading levels can be brought up to par with their agegroup, even exceeding their non-musical counterpartsin math skills.

Need some hard-core scientific proof? You’ve gotit. It seems that the pyramidal tract, the major path-way of the central nervous system, is more structuredin musicians, particularly those who started early.Also, the corpus callosum, which connects the rightand left hemispheres of the brain, is significantly

larger in musicians than non-musicians, theoreticallyproviding better integration of the two hemispheres.Of course, this does not necessarily result in moreable and intelligent individuals. Other considerationsmust be taken into account, not the least of which isthe environment in which the child lives.

In many cultures, children are exposed to musicthroughout their early years and on into adulthood,both as listeners and active participants. In villageand tribal societies, music is central to family andgroup activities. However, in more modern soci-eties, musical development is often curtailed at apoint, if it has been fostered at all, while other abil-ities are typically encouraged. Happily, this is chang-ing, and this is where the early childhood musicprograms are showing their true value.

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So how does it all work, and what exactly are ourlittle Mozarts learning? First of all, parents expect-ing their little one to emerge from any of these pro-grams performing Tchaikovsky violin concertos atthe ripe old age of 18 months will most certainly bedisappointed. In fact, one of the main differencesbetween a true early childhood program and instru-mental methods for the young, like the Suzukimethod, is that the early childhood curricula do notfocus on instrumental technique. A one-year-oldsimply cannot handle an instrument. Infants andtoddlers need only be exposed to the fundamentalsof music in a systematic way to reap the benefits.

Most programs are organized into levels, the firstof which expose the child to musical fundamentals.Parents or caregivers join their child in experiencingcoordinated movements in time with music, and thechildren gradually learn differences in rhythm, pitchand timbre. Taking advantage of the child’s naturalability to imitate, simple songs and melodies are intro-duced and quickly memorized. Toddlers will furtherinternalize rhythm through movement and dance,and they will get acquainted with actual instruments

BABIESCan classes really create mini maestros . . .. . . or even help kids to read? By Michael Barry

Parents expecting their little one to emerge fromany of these programs performing Tchaikovsky

violin concertos at the ripe old age of 18 monthswill most certainly be disappointed.

“”

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www.parentsknow.com BigAppleParent 7

through touch, sight and sound.As the programs progress, more

complex ideas are introduced, andultimately children will have a reper-toire of simple songs, and a familiari-ty with general musical concepts.They will enjoy their first co-operativeexperiences of playing in groups withclassmates, instructors and parents.Additionally, most programs providemethods and tools for continuing themusic experience at home.

While programs differ in contentand structure, they all share a simplic-ity that enables the child to accesstheir innate learning centers. Thepoint is not so much to create a bril-liant musician as it is to enhance achild’s overall development and tocreate a natural, unforced relationshipwith music. Those of us who experi-enced obligatory music lessons withan old-fashioned, demanding instruc-tor will certainly appreciate the valueof this approach. And who knows, ifyou attend the program with yourchild, you may feel inspired to pick upthat violin again!

Let’s assume that you don’t need allthat much more convincing. You canclearly see the benefit of such a program,but the problem is, which one? Mostareas have a number of choices available,and you will likely be influenced by sched-ule, instructors, location, and price. Inorder to help with your decision, here’s aquick overview of the main contenders, inno particular order or preference:

Music TogetherFounded in the ‘80s by composer

Ken Guilmartin, Music Together hadsome very specific cultural goalsbehind its method. As early as 1985,Guilmartin perceived that we hadbecome music consumers rather thanparticipants. Very perceptive, consid-ering MTV had barely got its legs bythen. His goal was to create partici-pants in music making by teachingrhythm, pitch and melody — the lan-guage of music. If children werefamiliar with this language by age 3 or4, as they would be with the spokenlanguage, then teaching an instru-ment could begin. Teachers couldthen focus more on teaching theinstrument, instead of first having tobacktrack and teach the language.

Like most programs, this approachemphasizes the experience of rhythmsthrough movement in time withmusic. Parents or caregivers areexpected to act as models for the chil-dren to emulate, and there are CDs,songbooks and other tools to be used

at home. The goal is to establishmusical competence (which is simplydefined as the ability to sing in tunewith accurate rhythm) — a skill whichcan then be applied to other instru-ments, as well as other areas of thechild’s overall development.

Kindermusik Kindermusik comes from a German

program called “MusikalischeFruherziehung” which began in com-munity music schools during the1960s. The program was eventuallyadapted for American families andrenamed Kindermusik during the‘70s. A decade later, the companybegan its affiliation with MusicResources International to trainlicensed Kindermusik teachers in theUnited States.

Holistic in approach, the music andactivities of the program aim to devel-op a child’s cognitive, emotional,social, language and physical abilities.Children experience movement anddance activities, with an emphasis onone-on-one interaction. TheKindermusik program also stressesthe home as the best location for truelearning with a series of award win-ning CDs, books and games to sup-plement the classes.

Orff SchulwerkComposer Carl Orff championed

this system based on the way we learnlanguage — that is, by doing it firstand learning to read and write later.Using familiar folkloric music,rhymes, poems, and games, the chil-dren gain the natural abilities prereq-uisite to more advanced learning.This system employs wooden or metalxylophones and simple rhythm instru-ments, giving children the directexperience of making music. LikeKindermusik and others, teachers arerequired to obtain licenses beforeteaching the curricula. Translated into18 languages, Orff Schulwerk hasover 10,000 practitioners in theUnited States alone.

Kodaly MethodFounded by the Hungarian musi-

cian Zoltan Kodaly, this method isdivided into four levels of training.Right from the start, Kodaly uses thesame methods of creating familiarityas the other systems do. The differ-ence is in a greater emphasis on read-ing music. Rhythm symbols are intro-duced in the early stages, followed byhand signals to denote tonal relation-ships. While a bit more academic thanother programs, children are quitereceptive to the reading componentsince it is presented along with gamesand fun activities.

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8 March2006 www.parentsknow.com

If you’re looking to introduce youryounger child to the wonders ofmusic, here are some optionsthroughout Manhattan:

ABRONS ART CENTERHenry Street Settlement, 466 Grand St.(212) 598-0400www.henrystreet.org/abronsEarly Childhood Program offers musicclasses for ages 10 months-5 years,integrating singing and movementusing the Dalcroze and Orff-Kodalymethods. Suzuki violin lessons (oneprivate and one group per week) forages 3 and up.

APPLAUSE THEATRICALWORKSHOPSSt. Jean’s Community Center, 184 E.76th St.; Reebok Sports Club/NY, 160Columbus Ave.; (212) 501-1434Citibabes, 52 Mercer St.(212) 334-5440www.ApplauseNY.comClasses for actors-to-be ages newborn-18years, including Broadway Babies (new-born-2 years), Sing-a-Long with Peterand Heather (1 and up), Broadway LittleStars (ages 3-4), Broadway Stars (4-5years), and Princess Theater (3-5 years).

CHILDHOOD MEMORIESUpper East Side locations(212) 717-1853“Little Traveler” (ages 3-4) and“World Traveler” (ages 5-8) classesusing songs, stories, movement,games, puppetry, and arts & crafts.Private piano and flute lessons.Summer program in Southampton.

THE CHILDREN’S AID SOCIETY CHORUS(212) 533-1675www.childrensaidsociety.org/chorusChorus of 350 New York City kids ages 5-18.

CHURCH STREET SCHOOL FORMUSIC AND ART74 Warren St.; (212) 571-7290www.churchstreetschool.orgDalcroze music classes for ages 16months-12 years.

DILLER-QUAILE SCHOOL OF MUSIC24 East 95th St.; (212) 369-1484;www.diller-quaile.orgEarly childhood music program for ages5 months-7 years, including Music forInfants, Dalcroze Eurhythmics, Orffinstruments, and more.

DJONIBA DANCE & DRUM CENTRE37 E. 18th St.; (212) 477-3474;www.djoniba.comAfrican drum classes for ages 3-5.

THE EARLY EAR48 W. 68th St., 110 W. 96th St., 353 E.78th St.; (212) 877-7125 http://theearlyear.comSinging, musical games, instrument playand more for ages 4 months-5 years.

EASTSIDE MUSIC48 E. 80th St.; (212) 346-3046www.eastsidemusic.comMusic Together classes include songs,rhythmic chants, movement, and instru-ment play for ages newborn-4 years, plusMassage & Music for newborn-6 months.

FRENCH-AMERICAN CONSERVATORY OF MUSIC154 W. 57th St.; (212) 246-7378www.facmusic.orgPrivate instruction in instruments andvoice, including classes for ages 2 1/2-4combining percussion, movement,songs, and early violin study.

GREENWICH HOUSE MUSIC SCHOOL46 Barrow St.; (212) 242-4770www.gharts.org Music Together classes including songs,rhythmic chants, movement, and instru-ment play for ages newborn-4 years, plusmusic and art classes for ages 2 and up.

GYMBOREE PLAY & MUSICChelsea, West Village, 327 W. 14th St.(212) 255-5650Midtown West, 780 Eighth Ave.(212) 581-4830Midtown East, 677 Lexington Ave.(212) 838-4301Murray Hill, 235 E. 38th St.; (212) 867-0250Upper East Side, 401 E. 84th St.; (212)452-9814Upper West Side, 240 W. 73rd St.; (212)724-2140www.gymboree.comClasses in developmental play, music andart for ages 0-5.

HANDS ON! A MUSICAL EXPERIENCEEastside Studio, 1365 First Ave.(212) 628-1945Westside Studio, 529 Columbus Ave.(212) 496-9929Tribeca Studio, 19 Warren St.(212) 227-7375Turtle Bay Studio, 233 East 50th St.(212) 339-9915www.handson4music.comClasses integrating music, story, move-ment and instruments for ages 4months-4 years.

THE HARLEM SCHOOL OF THE ARTS645 St. Nicholas Ave.; (212) 926-4100www.harlemschoolofthearts.orgMusic department offers Suzuki violin,flute and cello lessons for small children.

www.parentsknow.com BigAppleParent 9

Where To Catch the Music

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64 March2006 www.parentsknow.com

Once a child reaches the fourth level,he will learn advanced concepts likesyncopation, eighth and sixteenthnotes, and pentatonic scales. Since oneof the greatest stumbling blocks tocontinued enjoyment and proficiencyin music is reading standard notation,this method certainly has advantages ifa child chooses to pursue music further.

Dalcroze EurhythmicsThe Dalcroze system is a physically

active approach to learning music,which, like Kodaly, includes learningbasic music notation and singingmelodies in solfege (do, re, mi, etc.).Children start this method at aroundage 3 or 4, and continue until theyreach 9 or 10 years old. There’s evena special group of classes for adults.

Eurhythmics explores concepts thatwill eventually appear in writtenmusic, including rhythmic patterns,phrases, dynamic markings and artic-ulation. Since it is dealing with slight-ly older children than other pro-grams, these topics are entirely appro-priate to the budding young musi-cians of these age groups. Dalcrozealso offers courses to supplement theeducation of students taking otherinstrumental or dance lessons.

The Suzuki MethodThe Suzuki method is not an early

childhood music program in the samesense as the others; it is really an instru-mental method. Since there is such auniversal image of adorable little violinplayers associated with this method, Ithought it warranted some mentionhere, if only to distinguish it fromother, non-instrumental methods.

Suzuki is typically a method for teach-ing violin, although piano and guitaradaptations are popping up as well.Since Suzuki has been hugely successfulfor quite some time, there are manyhybrids and imitators, and many teach-ers incorporate some Suzuki tech-niques into their own methods.

Suzuki exposes children to record-ings of the music they will be playinglong before they ever touch a violin.When students actually do pick up theinstrument, there is a great emphasison the physical details of form andmovement, a concept borrowed fromthe martial arts. Parents are expectedto be extremely involved with thechild’s home study, and they will haveto learn a thing or two themselves.While there are some Suzuki successstories involving children as young as2, it is pretty universally believed that

any instrument is unwieldy and diffi-cult until a child is a few years older,and the majority of success storiescome from the 5- to 6-year age range.

Variations on a themeThere are plenty of other programs

out there under different names. Inaddition, there are colleges and com-munity organizations, as well as estab-lished schools like Diller-Quaile andJuilliard, that offer early childhoodmusic classes. While they may appearunder different names, most of theseprograms are modeled on the con-cepts mentioned. If they’ve beenaround for a while, it is likely thatthey are doing things the right way.

When choosing a program, parentsshould look for instructors and environ-ments that they are comfortable with.Typical programs run at least 12 weeksper level or session, with some as long asone year. There is often some involve-ment required of a parent or caregiver,and in some cases, this may be quitedemanding. Prices vary widely, withcommunity organizations on the lowerend, and the schools and methods withsome history priced quite a bit higher.In any case, you can certainly expect topay at least a few hundred dollars persession. Keep in mind that there are alsocosts for CDs, music books, instru-ments and parent guides.

In my experience as a music educa-tor, the more natural the child’s expe-rience, the more they will enjoy andpractice music on their own. Even ifyour child does not become a concertviolinist, they will reap benefits thatgo far beyond the world of music.Don’t be surprised if you see greaterskill in math and language, morecoordinated movements, and greaterease in social interactions. Most of all,do whatever you can to help yourchild enjoy music. And don’t forgetto enjoy it yourself!

MICHAEL BARRY is the director of theInternational Studio of Music, the AmericanInstitute of Guitar, and a lifelong musician,educator and producer. He can be reachedat Michael@ismnewyork.com.

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Where the music began

Young kids interested in musicshould pick up Amy Nathan’s newbook, Meet the Musicians: FromProdigy (or not) to Pro (Henry Holt,$17.95). The book offers a peek at15 members of the New YorkPhilharmonic. Players of many differ-ent instruments are represented, frombassoon to viola, but what kids will

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JERRY JOY MUSIC(212) 367-8186; www.jerryjoy.comParent/child music classes with Louie,laying the foundation for basic conceptsof rhythm, pitch, dynamics, tempo, andimprovisation.

KIDS CO-MOTIONRebecca Kelly Ballet, 570 Broadway;(212) 431-8489www.Kidsco-Motion.comClasses in music and creative movementfor ages walking-6 years.

THE LITTLE ORCHESTRA SOCIETY(212) 971-9500www.littleorchestra.orgConcerts for all ages, including Lolli-Popsfor ages 3-5 with Maestro Dino Anagnostand four animal characters representingthe four families of the orchestra.

LITTLE SPIRITS10 E. 38th St., 3rd floor(212) 576-1018; www.littlespirits.comPrograms for ages 2-12, includingmusic, with singing, movement andimprovisation on various instruments.

MANHATTAN CHARTERSCHOOL100 Attorney St.; (212) 364-8730;www.manhattancharterschool.orgMusic is the fifth core discipline at the new,free, elementary school, where children ingrades K and up receive daily instruction inmusic literacy and musicianship.

MARY ANN HALL’S MUSIC FOR CHILDREN2 East 90th St.; (877) 937-6874www.musicforchildren.netSong, dance and play: parent/child classesfor ages newborn-3, independent classesfor ages 3-7. Ukulele class for ages 6-9.

MUSIC TOGETHERWashington Heights; (212) 613-6155Morningside Heights, ColumbiaUniversity; (845) 477-3204Upper West Side; (212) 219-0591Upper East Side; (212) 244-3046East 42nd St.; (212) 613-6155Murray Hill; (212) 358-3801Midtown West between 57th St. and42nd St.; (212) 244-5772

Chelsea, West Village; (212) 539-8459Lower Manhattan; (212) 255-9227,(212) 358-3801Downtown East; (212) 491-7222Music Together classes include songs,rhythmic chants, movement, and instru-ment play for ages newborn-4 years.

MUSIC TOGETHER IN NYCSoho, Tribeca, Battery Park City (212)358-3801 www.MusicTogetherNYC.comMusic Together classes include songs,rhythmic chants, movement, and instru-ment play for ages newborn-4 years.

MUSICAL KIDS1296 Lexington Ave.; (212) 996-5898www.musicalkids.netSinging, movement, chanting, improvi-sation, and simple percussion for agesnewborn-4, with classes offered inFrench, Japanese, Korean, Spanish andHebrew, as well as English.

92ND STREET Y1395 Lexington Ave.(212) 996-1100; www.92Y.orgMusic programs for children, includingMusic Together and The Music Roomfor ages 5 months-4 years, and MusicAdventures for 4-6 years, all withsinging, movement and introduction toinstruments.

THE RHINELANDER CHILDREN’S CENTER350 E. 88th St.; (212) 876-0500http://rhinelandercenter.orgMusic, movement, art classes; ages 6mos-4 yrs.

THIRD STREET MUSIC SCHOOLSETTLEMENT235 E. 11th St.; (212) 777-3240www.thirdstreetmusicschool.orgClasses in music, art and creative move-ment for ages 19 months-5 years, includ-ing Preschool Musicianship for ages 3-5,plus a half-day nursery program.

TURTLE BAY MUSIC SCHOOL244 E. 52nd St.; (212) 753-8811www.tbms.orgOrff-based classes where ages newborn-5years sing, clap, count, dance, and playinstruments.

— Susan Hodara

Where To Catch the Music

find fascinating is that not every musi-cian was even gifted as a child. Mostplayed sports, and had a host of otheractivities. Nathan also includes thepets the players had as kids, and theirfavorite books. The musicians offerpractice tips, and the pros and cons oftheir chosen instruments.

Great Music ResourceAmerican Music Conference is a nation-

al non-profit educational association dedi-cated to promoting the importance ofmusic, music-making and music educationto the general public. For more informa-tion, visit www.amc-music.org.

— J.A.

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Music