The Role of the Kindergarten Teacher in the Child’s Musical World

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The Role of the Kindergarten Teacher in the Child’s Musical World

ISME Early Childhood Conference ‘Els Móns Musical Dels Infants’ (The Musical Worlds of

Children), Barcelona, Spain, July 5-10, 2004 AND the ISME Early Childhood Commission

Session at the 2002 World Conference in Tenerife, The Canary Islands, July 11-16, 2004

Claudia Gluschankof

Coordinator of Studies- School of Music

Head of Music Education Studies - Early Childhood Department

Levinsky College of Education

Tel-Aviv, Israel

Nathan Shahar

Researcher, Beit-Berl College

School of Education

Kfar Sava, Israel

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ABSTRACT


This study examined the relationship between (a) Israeli kindergarten teachers’ musical skills and

knowledge before entering college, (b) their skills and knowledge acquired in preservice and in-

service training, and (c) the type of guided music activities they lead.

Results show that most students entering an Israeli teacher-training program have a weak formal

background in music. Of the music skills and knowledge acquired during preservice education,

teachers report instrument playing as the least remembered, followed by (in ascending order) music

fundamentals, teaching techniques, and singing repertoire. This ranking reflects what they use in

their teaching.

Nonetheless, Israeli teachers hold a strongly positive perception regarding their capability to

perform music tasks with children. This perception is greater in participants who continue playing

an instrument and those who have taken in-service music courses. Notably, though, many

kindergarten teachers rated their singing abilities low, reflected in their basing guided music

activities on singing along with a recording or moving to music. Observed activities were joyful,

but raise questions regarding their aesthetic value.

Training courses whose content is easily implemented gain highest teacher approval. However,

for young children to experience music musically, this should be first be part of their teachers’

experience. Music courses should extend the students’ previous musical knowledge and skills, and

foster their musical self-esteem.

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Background

Children experience life in different cultural contexts: home, school, and community. Parallel to

these adult-created contexts, children are able to invent their own subcontexts (Corsaro, in Graue &

Walsh, 1998), i.e. a comparable peer culture related to the adult-created ones (Ramsey, 1998;

Campbell, 2002). Music is a part of those cultural contexts.

The formal musical life in kindergarten is designed and provided by the teachers (principally by the

generalist, and also by the music specialist when included on staff). They serve as agents who

induct children into society and introduce them to what that society interprets as music (Kalekin-

Fishman, 1986).

The teachers’ musical background, knowledge, abilities and attitudes are central to the process.

This topic has been widely researched and reviewed, mainly in the English-speaking countries

during the previous decade (Hair, 1990; Saunders & Baker, 1991; Fox, 1993; Gifford, 1993; Kvet &

Watkins, 1993; Atsuko, 1994; Barrett, 1994; Bowers, 1997; Jeanneret, 1997; Green & Chedzoy,

1998; Pricket & Bridges, 1998; Stauffler et al, 1998; Byo, 1999; Gauthier & McCrary, 1999; Scott-

Kassner, 1999; Nardo, 2000; de l’Etoile, 2001; McCullough, 2001), and more recently in Brazil

(Figuereido, 2001a; Figuereido 2001b) and Taiwan (Leu, 2002).

A major study is being conducted in Israel on the role of the kindergarten teacher in the

kindergarten’s musical life (Shahar & Gluschankof, 2003). This paper is based on the preliminary

findings of that study, which aims to evaluate the relationship between the Israeli kindergarten

teacher’s musical skills and knowledge, and the kindergarten’s guided music activities.

The specific research questions were:

What musical skills and knowledge had the kindergarten teachers acquired before entering

higher education?

What musical studies are remembered from preservice courses?

How do the teachers’ self-assessed musical skills and knowledge affect the type of music

encounters they lead?

Participants

The participants in this study were 477 kindergarten teachers (11.54% out of 4132) in Jewish

kindergartens (pupils aged 4-6) in all six official districts of Israel’s State system. 332 (11.16% out

of 2974) worked in secular kindergartens and 145 (12.5% out of 1158) in religious ones. The

researchers aimed for an accidental sampling within those groups, although the questionnaires

having been distributed to teachers by their supervisors may have resulted in some bias, as the

supervisors may have deliberately or subconsciously selected the teachers considered to be “more

musical”.

5% of the participants, recommended by their supervisors, were videotaped in their kindergarten

during most of one teaching day.

Method

This survey study’s research tool was a questionnaire [Appendix 1] designed to gather the following

data:

A. Objective data on kindergarten teachers: age, country of birth (a significant factor in this

country of many immigrants) higher education, music education (pre-training, preservice

and in-service), and the kindergarten’s musical equipment. The kindergarten teachers

provided data on the specialist music teacher with whom they worked.

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B. Subjective data regarding the self-assessed musical abilities of the kindergarten teacher

and her description of the kindergarten’s musical world.

This questionnaire was based on the California Survey of Music in Early Childhood (CASMEC,

1995), on research done on the knowledge, attitudes, and approaches of preschool and primary

school teachers (Bresler, 1994; Kelly, 1998; Byo, 1999; McCullough, 2001) and research done on

the musical preparation of preschool and primary generalist teachers (Hair & Smith, 1990; Fox,

1993; Gifford, 1993; Barrett, 1994; Bowers, 1997; Green & Chedzoy, 1998; Gauthier & McCrary,

1999; Figuereido, 2001a, 2001b; Leu 2002), as well as deliberations of the Music Education for the

Generalist Teacher Working Group, held during 1998-2000 at the Mofet Institute for the

professional development of teacher educators (Israeli Ministry of Education, Teacher Education

Division), informal talks with kindergarten teachers, and observations in kindergartens.

Anecdotal research data was gathered during the daylong videotaping sessions in the kindergartens

and in informal talks with the teachers.

Results

Music skills and knowledge

General music [Appendix 2/1]: Music is not a mandatory subject in Israel’s State curriculum,

although most schools offer it for grades K-6. The largest group among teachers surveyed were

taught music only in kindergarten (35.7%); others had music classes in primary and sometimes

secondary school, with only 11.7% continuing through 12th grade. If the kindergarten teachers’

own music education reflects that of the entire Israeli Jewish population, this indicates the vital

importance of music education in kindergarten, which is often the only formal music education

offered by the State. This finding underscores the significance of planning the music courses in

teacher training.

Instrument playing [Appendix 2/2, 3, 4]: 44.4% of the participants learned to play an instrument.

The majority (51.2%) studied only 1-2 years, not usually sufficient to master an instrument. Only a

small minority (5.4%) studied 10 years or more, indicating considerable proficiency. The great

majority of teachers no longer play (85.1%). The most common instrument reported is the recorder,

the preferred instrument then taught in Grades 3-6 general music classes.

Preservice education [Appendix 2/5]: The participants were asked what they remembered from

their college music courses among four categories suggested, based on the curricula of nine Israeli

colleges of education and supplemented by informal input from colleagues. The categories were:

Singing Repertoire, Teaching Techniques, Music Fundamentals and Instrument Playing. On a four-

point scale (1–4, 1 being lowest), Singing Repertoire scored highest (2.96) and Instrument Playing

lowest (1.75). This outcome was expected, as Singing Repertoire is considered an essential tool for

all future teachers not only by the colleges’ music lecturers, but also by their pedagogy instructors

and the classroom teachers of the kindergartens where the students do their practice teaching.

Instrument instruction has been dropped from the curriculum of most colleges, whereas previously

the recorder was taught. Method courses generally use small percussion instruments.

In-service education [Appendix 2/6]: 68.3% (N=462) Most of the in-service music courses planned

and funded by the Ministry of Education focus on presenting new materials for classroom use.

Perceived ability: Israel has no national curriculum for kindergarten, only a framework of

guidelines issued by the Ministry of Education (Misrad hachinuch, hatarbut vehasport, 1995). For

the activities that might be included in kindergarten music encounters, the subjects were asked to

assess, on a four-point scale, their ability to perform the teacher’s tasks. Overall, the subjects

perceived themselves as quite capable of performing the tasks targeted on the questionnaire

(average: 3.55), with the highest score given to their ability to sing short singing games [Appendix

2/ 7]. This finding is notable, as most of these teachers reported relying upon commercially

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produced recordings when introducing new songs, and not all would sing with the children

[Appendix 2/8]. Their rather low self-assessment of their singing ability is attributed to: inaccuracy

(25.1%), voice problems (16.4%), feeling insecure singing without any accompaniment (4.8%) and

various other grounds (53.7%) [A 2-minute videotape will be shown here.] A qualitative analysis

of the written comments suggests three reasons: the recording facilitates multiple repetitions when

introducing a new song, the accompaniment adds variety to the performance, and it serves as a

consistent vocal model [Appendix 2/9].

Musical encounters initiated by the kindergarten teacher

Singing is an essential part of kindergarten life. Teachers’ comments on the Singing item included

singing at least one song with the children each day. Only a few mentioned singing along with a

recording, although on a four-point scale this was rated three-plus. Field observation has

corroborated this finding.

Written comments mention the occasions for singing: primarily at the beginning and the end of

circle time, sometimes as a passage between activities. In the State religious kindergartens, singing

is the norm after prayers.

The Singing Repertoire includes traditional and newly composed singing games, songs for children

about Nature, holidays, the Sabbath and birthdays, and “Land of Israel” songs for adults. Most are

not developmentally appropriate for kindergarten children, whether musically (e.g. octave-plus

range, wide interval leaps) or textually (e.g. difficult vocabulary, content foreign to the children’s

world).

Music Listening activities in various forms are very popular in the Israeli kindergarten. All the

teachers reported using some form of listening activity, although not rating this very highly on a

four-point scale. Moving to Music is the most frequent activity, with only Music Listening with

Teacher’s Comments showing a statistically significant difference [Appendix 2/10].

Teachers’ comments on the questionnaire report the use of music as background for indoor and

outdoor activities, as well as for relaxation.

There is a statistically significant difference in perceived ability to teach music in kindergarten,

between those teachers who still play instruments and those who have ceased (p<0.004) [Appendix

2/11]. A similar difference was found according to whether or not teachers attended in-service

music courses (p<0.004) [Appendix 2/12], although no significant difference was found in

perceived singing abilities. This is consistent with the Ministry of Education’s in-service training

courses being mainly orientation toward Music Listening activities for children (e.g. Misrad

hachinuch, hatarbut vehasport, 1998, 2000).

Conclusions

Students entering an Israeli teachers’ college are characterized as having a weak formal background

in music. A similar finding is reported in American and English studies (Hair & Smith, 1990;

Gifford, 1993; Bresler, 1994). In Israel this may be explained by the absence of music from the

mandatory curriculum.

Of the music skills and knowledge acquired in their preservice education, teachers report instrument

playing as the least remembered, followed in ascending order by music fundamentals, teaching

techniques, and singing repertoire. This ranking reflects what they use in their teaching, and is

consistent with the findings reported by Price & Burnsed (1989, in Gauthier & McCrary, 1999).

Overall, Israeli preservice music education focuses on the applied, in contrast to the Taiwanese

(Leu, 2002).

Considering that the singing repertoire taught in college courses has been carefully chosen by the

course’s lecturer, it may be expected that the preservice period is when teachers develop criteria for

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choosing repertoire to be presented to children. The songs listed in the questionnaire suggest that

the only criterion for choosing a song is content, although usually not with the child’s point of view

in mind. This requires further study, perhaps through semi-structured interviews with teachers.

Israeli teachers hold a strong positive perception regarding their competence to perform musical

tasks with children. This perception is greater among participants who continue playing an

instrument. This is not the case in other countries, where generalist teachers consider their

preparation in music to be merely adequate (Sefzik, 1983/4, in Gauthier & McCrary, 1999; Bryson,

1982/3 in ibid.) or minimal, or they lack the confidence to teach music (Mills, 1989, in Jeanneret,

1997; Vandenberg, 1993, in Byo, 1999; Figuereido, 2001; McCullough, 2001; Leu, 2002).

If teachers perceive themselves as capable of perform musical tasks with children and remember

singing repertoire from their preservice days, then richly musical guided activities would be

expected. However, the findings indicate otherwise. Singing is mainly done with a recording,

reported in the teachers’ responses and as observed in kindergartens. Generalist teachers in other

countries likewise lack confidence in their vocal skills and in singing without a recording (Gharavi,

1993, in Leu, 2002; Gifford, 1993; Byo, 1999; de l’Etoile, 2001; Leu, 2002; Pascale, 2003).

Singing with a recording cannot be expressive, although the unaccompanied singing observed in

kindergartens is not characterized by the use of expressive parameters. This brings into question the

worth of singing as an aesthetic experience, leaving its value within socialization and learning. This

is consistent with the findings of Kalekin-Fishman (1986) and Bresler (1994).

The selection of teachers for the survey and observation was based on supervisors’

recommendations. There is some question whether the teachers’ “musicality” was a selection

criterion, which suggests the need for further exploration of what is considered “musical” by non-

musicians.

The findings presented herein raise questions regarding the relevance of preservice music

education. As described by music teachers in training institutions, singing in preservice education

is done mainly with piano accompaniment, less often a capella, and almost never with a recording.

Perhaps rather than boosting the students’ vocal abilities and confidence, the preservice music

courses set standards too high for them to achieve? Is it possible that preservice music education is

built on a “deficiency model’, set up by highly trained musicians who may not be aware of their

students’ low self-esteem regarding their own musical abilities?

In-service music education seems to achieve more successful results. Is it because the teachers’

choosing a music course indicates motivation? Are the applied nature of the activities and prepared

kits factors in this success?

Considering that music specialists teach in 95% of Israeli kindergartens, generalist teachers are

relieved of the primary responsibility for teaching music. Instead, their role should be to focus on

responding to children’s musical situations, making these more meaningful. This enhances

confidence in their own musicality, regardless of their musical knowledge and skills.

Music education for kindergarten teachers is a lifelong pursuit. Preservice studies need to take into

account the students’ musical worlds, as well as their previous studies. In-service training should

build upon it, and on the teachers’ main strength: their ability to respond to children. Music

education will help foster this in an artistic and musically sensitive way.

References

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Appendix 1

Questionnaire on the subject:

The Place and Role of the Kindergarten Teacher in the Kindergarten’s Musical Life

Personal information

Year of birth: 19___ Year of immigration: 19___

Country of birth: Israel former USSR English-speaking countries Other countries

The College of Education where I got my teaching certificate: Beit Berl Levinsky

Hakibbutzim Schein Yellin Kaye Gordon Oranim Hemdat Hadarom Efrata

Shaanan Giv’at Washington J’lem College for Women Orot Israel

Other:________________. In the year 19__.

The College of Education where I got my B.Ed. degree: Beit Berl Levinsky Hakibbutzim

Schein Yellin Kaye Gordon Oranim Hemdat Hadarom Efrata Shaanan

Giv’at Washington J’lem College for Women Orot Israel Other:________________.

In the year 19____

Knowledge of Music

During my K-12 schooling I had music classes in: (please give details):

__________________________________________________________

When were you taught general music by a music teacher (not including college)?:

Kindergarten Grades 1–3 Grades 4–6 Grades 7–8 Grade 9 Grades 10–12

Did you learn to play any musical instrument(s)? no yes

If yes, which instrument(s)?

Piano Violin Electronic keyboard Guitar Mandolin Recorder Other:

__________

How many years? 1–2 2–4 4–6 6–9 10 or more

Do you continue playing? yes no

Have you taken music in-service courses? yes no

Your studies at college included music courses. What do you remember from those courses?

Much Some Little None

Singing repertoire

Teaching

techniques

Music

fundamentals

Instrument

playing

Other:

About the kindergarten where you work:

I have worked at this kindergarten : 1 year 2 years 3 years 4 years 5 years 6 years

7 years 8 years 9 years 10 years 11 years more than 11 years

Is there any active “music area”? yes no

The type of activity in the “music area”: sporadic initiated by the kindergarten teacher

guided free other

What materials and equipment do you have in your kindergarten?

CD player and CDs audiotape player and tapes song books with audiotapes

Ready-made listening kits: “Haazana le-musica” “Musicahaya” “Tzlilim ba-rosh”

“Shtutinoa” “Haazana pe’ila” other, please give details: ___________

TV set and video player electronic keyboard piano other material or equipment; please

give details:____________________

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pictures of musical instruments music books

What percussion instruments do you have in your kindergarten? tambourines wood blocks

triangles bells drums xylophones metallophones castanets maracas others;

please give details: __________________

Where are those instruments kept? in the designated music area storeroom in the open

area but not accessible by children

About the music activities in the kindergarten where you work

I start and/or finish every single large group activity with: a singing game -and/or- a song on the

topic of the activity -and/or- any song. (Delete whichever doesn’t apply.)

Which songs have you been singing with the children during the last week? (Write the first phrase

of each song.)

Song 1

Song 2

Song 3

Song 4

Song 4

Comments

Often Frequently Occasionally Never

When I teach songs I rely on

commercial recordings as aids.

I don’t sing, but I let the

children listen to recorded songs

and ask them to join in the

singing

I rely on commercial recordings of songs because: I’ve got voice problems I don’t sing

accurately I don’t feel comfortable singing without an accompaniment other; please give

details: ______________


I let the children listen to

classical music pieces without

any comments


classical music pieces with my

comments


classical music pieces with my

explanation

I hold creative activities (e.g.

painting, movement) with the

children while listening to music

Do the chidren attend live concerts or other live music performances? yes no

The employment of a music specialist or a “player” in kindergarten:

Is a music specialist or “player” employed? yes no

Do you know her/his qualifications? no yes - If yes, what? _____________

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S/he is a graduate of: Israeli music teacher-training college Israeli music academy foreign

academy of music other; please give details: _____________

S/he is employed by Israeli Ministry of Education municipal council, supervised by the

Ministry of Education municipal council, not supervised by the Ministry of Education parents’

association, not supervised by the Ministry of Education “Karev” Foundation or other foundation

Frequency of his/her teaching once a week, 30 minutes once a week, 45 minutes once a

week, 60 minutes twice a week, 30 minutes twice a week, 45 minutes twice a week, 60

minutes

Cooperation


I observe her/his work

I consult with her/him on

musical matters

I am involved in planning the

music curriculum

I consult with her/him on

preparing holidays celebrations/

birthday parties in kindergarten

If the cooperation is very high, what is your role or what are your activities in the music classes?

Please give details _______________________________________

A chapter in the framework for the curriculum for the State secular, State religious, Arab and Druze

pre-kindergarten and compulsory kindergarten (ages 3–6) published by the Israeli Ministry of

Education (Misrad hachinuch, hatarbut vehasport, 1995) presents the field of music as “Music

Areas and Contents” (pp. 79–80). According to its guidelines, the kindergarten teacher should be

able to lead music activities and tasks. The following are some of them. Assess your ability to

perform these tasks:

High Average Low None

Ability to sing short singing

games

Awareness of the process of

producing sounds

Discriminating dynamics and

performing dynamics (forte and

piano)

Discriminating tempi and

performing tempi (fast and slow)

Discriminating and performing

short and long sounds

Producing sounds with

improvised instruments (boxes,

paper, etc)


percussion instruments

Fitting movement to music

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Appendix 2

Tables

Table 1

Music Education in School

Grade Israeli-born

(N=291)

Former USSR

(N=20)

Other countries

(N=48)

Kindergarten 35.7 30.0 37.5

Primary school (1–6) 29.2 25.0 12.5

Middle school (7–9) 23.4 20.0 16.7

Secondary school (10–12) 11.7 25.0 33.0

Total 100.0 100.0 100.0

Table 2

Musical instrument lessons

Musical instrument lessons State secular

(N=323)

State religious

(N=139)

Total

(N=462)

Yes 58.5 48.9 44.4

No 41.5 51.1 55.6

Total 100.0 100.0 100.0

Statistics test χ2(1)=3.623; p=.036

Table 3

Types of musical instruments

Musical instrument State

secular

(N=183)

State religious

(N=59)

Total

(N=242)

χ2* df p

Piano 15.4 7.6 31.0 591.5 3 2309

Violin 0.6 0.7 0.6 021. 0 666.

Electronic keyboard 9.6 11.7 10.3 676. 0 292.

Guitar 6.6 6.2 6.5 291. 0 222.

Mandolin 2.1 2.8 2.3 089. 0 662.

Recorder 31.6 24.8 29.6 2.260 0 182.

Other (accordion, flute,

trumpet, xylophone)

3.9 3.4 3.8 160. 209.

Table 4

Instrument playing

Instrument playing State

secular

(N=191)

State religious

(N=68)

Total

(N=259)

Continues playing 15.2 14.7 14.9

Does not play anymore 84.8 85.3 85.1

Total 100.0 100.0 100.0

Statistics test χ2(1)=.152; p=.433

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Table 5

Subjects remembered from preservice training

Category Population N Mean sd t df p

Singing repertoire State secular 123 2.99 .95 .736 216 .463

State religious 129 09.3 1.07

Total 436 2.96 .98

Teaching techniques State secular 299 2.67 1.01 .146 417 .884

State religious 120 2.65 .91

Total 419 2.66 .98

Music fundamentals State secular 294 2.59 .88 1.262 404 .208

State religious 112 2.46 .97

Total 406 2.56 .91

Instrument playing State secular 275 1.67 .88 -2.761 166 .006


Total 381 1.75 .93

Table 6

In-service courses

In-service music courses State

secular

(N=317)

State religious

(N=68)

Total

(N=462)

Participated 71.0 61.7 68.3

Did not participate 29.0 38.3 31.7

Total 100.0 100.0 100.0


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Table 7

Perceived ability to perform musical tasks as described in kindergarten education official

guidelines

Ability Population N Mean sd t df p

Ability to sing short singing games

State secular 131 19.2 159 8449

888

1019

State religious 311 1944 139

Total 881 194. 119

Aware of the process of producing

sounds

State secular 121 1910 359 3139

803

8839

State religious 301 1901 3.9

Total 80. 1913 319

Discriminating dynamics and

performing dynamics (forte and piano)

State secular 124 1933 509 39330

02.

0809

State religious 310 1918 189

Total 882 191. 539

Discriminating tempi and performing

tempi (fast and slow)

State secular 125 1912 1319

3589 438 8539 State religious 313 1955 1.19

Total 811 1954 189

Discriminating and performing short

and long sounds


391.0 226 .165 State religious 313 1981 339

Total 815 1951 139

Producing sounds with improvised

instruments (boxes, paper, etc)


.752

433

.452

State religious 30. 1904 349

Total 815 1910 339

Producing sounds with percussion

instruments


.522

436

.602 State religious 311 1988 429

Total 814 1981 309

Fitting movement to music State secular 124 1913 5.9

.258

439

.797 State religious 311 195. 159

Total 883 1913 139

A total average of the perceived ability

to perform musical tasks with children


1.204

446

.229 State religious 318 1953 8.9

Total 884 1955 889

Table 8

15

The use of commercially made recordings

Ways of teaching a song Population N Mean sd t df p

With the aid of a recording State secular 232 1922 .91 .409

856

.683

State religious 96 1917 .93

Total 328 2.19 1.11

Don’t sing, but have the children learn

from the recording

State secular 233 2.19 1.14 -.061

326

.952


Total 335 2.96 1.20

Table 9

The reason for relying on commercially made recordings

The reason for relying on commercially made

recordings

State secular

(N=154)

State religious

(N=64)

Total

(N=218)

Voice problems 16.7 15.7 16.4

Does not sing accurately 28.3 17.6 25.1

Does not feel comfortable singing without an

accompaniment

5.2 3.9 4.8

Other (the recording facilitates multiple

repetitions when introducing a new song, the

accompaniment adds variety to the

performance, and it serves as a consistent vocal

model)

49.8 62.8 53.7

Total 100.0 100.0 100.0


Table 10

Music Listening


Have the children listen to classical

music pieces without any comments

State secular 288 0912 .98 1299

811

.897

State religious 305 0954 .89

Total 831 095. .59


music pieces with teacher commenting

State secular 044 094. .39 1.672

409

.095

State religious 305 0930 ..9

Total 831 0948 .49


music pieces with teacher explaining

State secular 035 0951 1.08 2.074

381

.039

State religious 324 0913 1.08

Total 141 098. 1.09

Creative activities (e.g. painting,

movement) with the children while

listening to music

State secular 0.1 09.8 .94

4719 418 .638 State religious 308 094. 1.02

Total 802 09.0 .96

16

Table 11

Instrument playing and the perceived ability to perform musical tasks with children



music pieces with teacher commenting

Continues to

play 18 1915 319

0.841

229

.005

Stopped playing 3.3 0948 3923

Total 013 09.3 ..9


music pieces with teacher explaining

Continues to

play 12 1902 419

4.059

46

.000

Stopped playing 344 098. 393

Total 034 095. 393

Creative activities (e.g. painting,

movement) with the children while

listening to music

Continues to

play 15 1918 319

2.412

232

.017

Stopped playing 3.. 09.0 ..9

Total 018 09.4 392

Ability to sing short singing games

Continues to

play 18 19.3 339

-2.287 111 .024 Stopped playing 032 1944 809

Total 088 194. 829

Discriminating tempi and performing

tempi (fast and slow)

Continues to

play 11 19.3 0.9

4.383 87 .000 Stopped playing 028 1910 139

Total 013 1911 519

Discriminating and performing short

and long sounds

Continues to

play 18 193. 849

2.442

54

.018

Stopped playing 024 1951 1.9

Total 080 1912 119

Producing sounds with improvised

instruments (boxes, paper, etc)

Continues to

play 10 1911 559

2.677 53 .010

Stopped playing 023 1911 319

Total 01. 1982 389

Producing sounds with percussion

instruments

Continues to

play 10 1935 889

2.687 54

.009

Stopped playing 024 1952 1.9

Total 082 1958 339

A total average of the perceived ability

to perform musical tasks with children

Continues to

play 18 1933 139

2.994 58 .004

Stopped playing 032 1954 839

Total 088 1913 839

Role Kindergarten Teacher17

Table 12

In-service training and the perceived ability to perform musical tasks with children


Have the children listen to

classical music pieces with

teacher commenting

Participated 261 1904 .19

6.183

030

2209

Did not

participate 323 0940 .94

Total 384 0984 ..9

Have the children listen to

classical music pieces with

teacher explaining

Participated 249 2.76 1.4

7.378

241

2229

Did not

participate 114 1.95 .94

Total 363 094. 393

Creative activities (e.g.

painting, movement) with

the children while listening

to music

Participated 268 3.11 .89

5.784

221

.200

Did not


Total 392 09.2 392

Discriminating dynamics

and performing dynamics

(forte and piano)


2.568

221

.011

Did not


Total 402 196. .57

Discriminating tempi and

performing tempi (fast and

slow)


3.105

226

.002

Did not

participate 132 1945 8

Total 409 1958 .64

Discriminating and

performing short and long

sounds

Participated 277 193. .65

09543

018

2329

Did not


Total 407 1912 .67


percussion instruments

Participated 278 1911 559

09069

408

.040

Did not


Total 410 1982 389

A total average of the

perceived ability related to

music teaching


3.430 417 2219 Did not


Total 419 1955 849

The Role of the Kindergarten Teacher in the Child’s Musical World

Documents