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Music Advocacy Articles

Two Parents Fight For The Arts
by National PTA; written by John Abodeely
2006-11-16

FOCUS ON COALITION BUILDING: These Parents Made A Difference – You Can Too!

Len owns a sanitation company and also drives the school bus for an 80-student elementary school that is known for its uplifting annual holiday concert. When Len asked his wife if they could attend a similar event at their own daughter’s elementary school, he learned her larger school didn’t have one.

In fact, he discovered there was no music teacher on staff at the school at all, and that his daughter’s music “instruction” amounted to singing one song each morning with the general classroom teacher.

Taking the First Step: Getting The Facts

Frustrated, Len researched the benefits of music education and quickly became worried that his daughter might be unable to measure up in the future to peers who had had the opportunity to learn music in school. Her chances for college admission might even be hurt. Digging deeper, he discovered the arts are listed among ten core curriculum subjects identified in the No Child Left Behind Act (NCLB). He also saw that the arts are not included in federal measurements of a schools ‘progress’ each year, making music programs even more vulnerable to scheduling squeezes and budget cuts.

Roadblocks and Some Progress

To see how local school district decisions were being made, Len attended his first school board meeting. He was told there wasn’t money or time for music education as a separate subject, and the superintendent said elementary teachers were adequately trained to teach music (even though those teachers disagreed). The board reassured him, saying ‘don’t worry, your daughter’s middle school has a band program.’

Len wasn’t satisfied. He strongly felt students at his daughter’s elementary school were missing out on the academic and social benefits of music study. He talked about the differences in access to music programs within their district, and about how the arts are proven to help improve behavior and academic achievement, even raise SAT scores.

Ultimately, the board agreed to advertise for a full-time elementary art/music teacher to be shared by six schools. However, there would be no mileage reimbursement, and, Len calculated, students would only receive 12 hours of music instruction in an entire year. He and his daughter were both excited on the day of her first session of music instruction. However, Len continues to attend board meetings to push for a proper music teacher position, one that offers more hours of music instruction for students.

Another Parent Takes Action & Saves a Music Program – For Now

Joe, a professional musician, lives in an Atlanta suburb. His school district’s longstanding music program, a source of great community pride, presents a popular orchestra concert each year featuring kindergarten through twelfth grade students from several schools.

When Joe discovered the entire elementary instrumental program – 52 schools – was being cut to “resolve” a projected $62 million deficit, he sprang into action. He talked at the next school board meeting, created a website and online petition, and spoke up repeatedly about the cuts and the loss to the kids. He contacted the media; one particular TV interview aired frequently, featuring his own kids playing their instruments.

Strong Community Support for Music Education

Local celebrities appeared at a planned rally. Parents formed committees and distributed fliers with research studies and contact information for school board members. Community attendance was huge at several board meetings. Media coverage and the web petition tipped the scales: 8,400 signatures were delivered to the board.

In Georgia, school board members still talk about the public outcry; they’d never seen anything like it, and they voted to reinstate the music program.

The Lesson: Be Tenacious & Talk About What Young People Need

A well-rounded arts education comes down to decisions and choices. Parents, working together, can create and protect music learning opportunities that enhance expression and academic achievement. NCLB requires schools to include parents in planning, but despite this legal provision, the reality is that parents need to be proactive and contact school officials to let them know they believe arts education is crucial.

These two fathers made a big difference. Here are six simple things you can do to keep music and arts in your child’s school:

1. Ask your kids how often they attend music and arts classes & what they’re learning. Once a week or once a month? Do they study music, visual arts, dance and drama? Do they want more arts instruction?

2. Chat with your child’s teachers and principal. Ask how the arts are scheduled in the regular school day. Tell them it’s important.

3. Gather information, facts and research to strengthen your case to parents, school board members, others.

4. Tell the media about the benefits of music education, the need for more arts education opportunities for all students, and the successes of students who attend schools with good programs. Write a letter to the editor. Make a few phone calls to reporters. Create broader community support.

5. Get connected. PTA, Americans for the Arts ,others have resources and influence, locally and nationally.

6. Let your elected officials know music and arts education is important;write letters, make phone calls, pay them a visit.

- Adapted from “Two Parents Fight For The Arts” in Our Children, published by the National PTA; written by John Abodeely, manager of arts education, Americans for the Arts

N.J. moves to protect the arts from school budget cutbacks
by Angela Delli Santi, Associated Press
2006-05-21

TRENTON - New Jersey officials announced plans yesterday to take stock of arts programs at every public school in the state as a first step toward ensuring that instruction in music, drawing, theater and dance survives even lean budget years.

Schools must complete an online survey this month, and results - which could take months to tabulate and analyze - will be used to rectify inequities in arts programs, officials said.

"We all know that students will excel in languages, in math and science, reading and all those things in the curriculum when they have this type of enrichment in their daily program," said Secretary of State Nina Mitchell Wells, one of two cabinet members who announced the survey at Mott Elementary School in Trenton.

The other, acting Education Commissioner Lucille E. Davy, said officials hoped to get a better handle on how individual schools satisfied mandates in the visual and performance arts.

Davy and Wells said the state's dire fiscal picture would not necessarily deter efforts in districts that needed to strengthen arts education.

"It has to be about how we do things more efficiently, more effectively," Davy said.

Schools would be funded at last year's levels under the $30.9 billion budget that Gov. Corzine proposed last month, leaving two possible scenarios: higher local property taxes or district spending cuts.

Wells said the administration would promote private investment in public schools and seek arts grants.

Mike Yaple, a spokesman for the New Jersey School Boards Association, said that because arts programs were often among the first to go when school budgets got trimmed, now might be a good time to take stock of arts curricula statewide.

Mott principal Elizabeth Ramirez already has learned to do more with less. She credited a dedicated and creative staff with crafting a vibrant music and arts program despite limited resources. The school's choir, dance team, drummers and hand-chime band performed during yesterday's event.


Source: "N.J. moves to protect the arts from school budget cutbacks" by Angela Delli Santi, in the Philadelphia Inquirer, April 4, 2006.

Recognizing the benefits and importance of schoolbased music education
by United States Congress
2006-05-21

CONCURRENT RESOLUTION


Whereas school music programs enhance intellectual development and enrich the academic environment for students of all ages;

Whereas students who participate in school music programs are less likely to be involved with drugs, gangs, or alcohol and have better attendance in school;

Whereas the skills gained through sequential music instruction, including discipline and the ability to analyze, solve problems, communicate, and work cooperatively, are vital for success in the 21st century workplace;

Whereas the majority of students attending public schools in inner city neighborhoods have virtually no access to music education, which places them at a disadvantage compared to their peers in other communities;

Whereas local budget cuts are predicted to lead to significant curtailment of school music programs, thereby depriving millions of students of an education that includes music;

Whereas the arts are a core academic subject, and music is an essential element of the arts; and

Whereas every student in the United States should have an opportunity to reap the benefits of music education: Now, therefore, be it resolved by the House of Representatives (the Senate concurring),

That it is the sense of the Congress that music education grounded in rigorous instruction is an important component of a well-rounded academic curriculum and should be available to every student in every school.

Passed the House of Representatives April 4, 2006.
109TH CONGRESS
2D SESSION H. CON. RES. 355
CONCURRENT RESOLUTION

Aiming For The Stars
by David Madara
2005-05-12

I have two kinds of goals in life. The first kind is those goals that I know I can, and often must, achieve. These goals include the fundamental tasks of my job. I can check them off as I do them. Sometimes I celebrate their completion, but another list of these fundamental tasks is not far behind. In music education, these goals include legible lesson plans, solid rehearsals, and acceptable performances. These first goals cover the basics. They can and must be met. There are times when accomplishing these goals can take a great deal of effort, yet these goals are not usually out of reach.

However, I also have a second set of goals. I call these my "aiming for the stars" goals. I use this term because if I fall short of the stars, I might still land on the moon. If I had not tried at all, I would not have made it to the moon! I have nothing riding on these goals. They are not directly linked to my present survival. If I try and fail, I lose only time and effort, and I might learn something valuable in the process of trying.

Of course, there must be a reasonable chance of reaching the stars that we shoot for. Chasing after a dream that has no chance of coming true is a waste of time and energy, but pursuing a goal that just might be reachable could bring some surprising results.

In this time when reports of arts education budget cuts are rampant, elementary school principals Michael Longenberger and Elizabeth Lewis of Milton, Pennsylvania are aiming for the stars. They have presented a plan to the Milton Area School Board that would get instruments in the hands of beginners in the summer of their fourth grade year, instead of the fall of their fifth grade year. Longenberger also has announced his hope to work with the Alumni Association of Milton to receive donated instruments.

These are both small goals, and they might not come to a successful fruition. Yet instead of cowering, the principals in Milton are pressing ahead, trying to improve the music program of their school. These small changes might put instruments in more children's hands.

As the school year draws to a close, I challenge you to choose one improvement in your music program that would benefit the students if it happens, but that would not further damage things if it does not come through. Maybe it is applying for a grant or asking for a change in rehearsal schedules. Perhaps it is securing a special performance or clinician. Even if these improvements are never completely realized, you have grown through the process of trying, and students and administrators see that you care about improving the status quo. You might reap some fringe benefits that result from your attempt.

For music advocacy help, information, and idea inspiration, I encourage you to visit arts advocacy websites including:

www.supportmusic.com - The Music Education Coalition
www.music-for-all.org - The Music For All Foundation
www.amc-music.org - The American Music Conference
www.artsusa.org - Americans For the Arts
www.pcah.gov - President's Committee on the Arts and Humanities

As we work to improve our music programs, our students' quality of music education will improve as well. Even if we do not reach our desired goal, our forward momentum can effect positive change. I wish you an enjoyable summer, and I hope you are ready to aim for the stars and land on the moon.


Source: "Board mulls changes to music program" by James Shappell, in the Standard-Journal Online, Milton, PA, May 11, 2005.


Test Scores Soar Higher After Arts Push
by Rosalind Rossi & Art Golab
2004-12-15

At one point last year, Edgebrook Principal Diane Maciejewski thought a new arts push might cause Edgebrook's test scores to tumble.

Weaving art, music, dance and drama into meat-and-potatoes subjects like reading and social studies was time-consuming stuff.

"We were concerned we might see a negative impact on test scores," Maciejewski said. "But actually, just the opposite happened."

New 2004 state test results released today showed that Edgebrook produced the fifth-highest scores among Illinois' public elementary schools last year, based on reading and math results analyzed by the Chicago Sun-Times. That's up from No. 8 the year before.

The little Northwest Side school with one classroom per grade is now the top-scoring neighborhood elementary school in the state, surpassing others with far more resources, in far more affluent areas, the Sun-Times analysis indicates. Only schools that pick their kids based on test scores beat Edgebrook. Its closest-scoring suburban peer was Clarendon Hills' Walker, which chose a slightly different path to success.

Wish they'd started sooner

Every Edgebrook third-, fifth- and eighth-grader met or exceeded state standards in both reading and math this past school year. And that includes the 17 special education students who took Illinois Standards Achievement Tests, or ISATs, in those grades.

In fact, Maciejewski said, the arts seemed to reach many learning-disabled kids in ways traditional teaching had not. Requiring students to express their knowledge of history or reading through fine arts stirred a heightened understanding and a new kind of emotional connection.

Seventh-graders themselves said it best after illustrating a World War II novel, learning war-era swing dance steps, singing popular songs of the time and mounting a student-written production about World War II.

Wrote one: "Through art, I was able to visualize settings and conditions. This is something I was not able to learn from textbooks." Learning swing made another realize that "people danced this way to lift their spirits."

Maciejewski can't prove art's impact on test scores. Some numbers show a more direct connection between rising scores and weekly work on written "extended-response" answers, similar to those required in ISAT.

But even before this year's results, Maciejewski decided folding arts into the basics was worth it.

"I have only one regret -- that we didn't do it sooner," said Maciejewski, who chalked up the highest marks of any principal in the system in a teacher survey last spring. "There's more to learning than just test scores."

Top suburban scorer

Arts also are an important part of the total package at Walker School, the state's highest-scoring suburban school.

At Walker, in Clarendon Hills, parents even raised funds to pay for an extra "artist in residence" -- a puppeteer -- on top of the music teacher and the art teacher Community Consolidated District 181 already bankrolls.

Walker's art teacher also tries to link art to core subjects. When fourth-graders study flowers, Hillary Andrlik has them mimic the mammoth blooms of painter Georgia O'Keeffe. She helps them illustrate their poetry.

Andrlik and other Walker teachers face classrooms with far fewer students than at Edgebrook. Only 20 kids populate most Walker first-grade rooms this year, compared with 39 in Edgebrook's most crowded room, where two teachers and a special education aide help shrink the teacher-student ratio.

Class size is important to Walker parent Shelly Moore, who chose Clarendon Hills specifically for its schools when her husband's job relocated him from St. Louis to downtown Chicago four years ago.

"Test scores were the initial thing that brought us to the area, but test scores don't tell you everything," Moore said. "Once our children started attending Walker, we were even more impressed. It's incredible."

Every Walker third-grader met or exceeded math standards on state tests last year.

This year, Moore's son Drew, 8, is in a third-grade classroom that bursts with math games and tools. There, kids tackle multiplication tables at their own pace.

'Meeting everyone's needs'

Drew eyes a row of colored cylinders, each holding a different set of times tables, to pick a set he must complete in two minutes. Some kids choose "times-4" worksheets; others are up to "times-8."

"You don't have to be at the same spot," explains classmate Annie Canent. "You just try to do your best."

At Walker, "differentiated instruction" is common. In reading, students divide into groups that use books that are above, at or below grade level. Struggling kids get one-on-one pullouts or small-group instruction; gifted ones get weekly off-site classes.

"The district is about meeting everyone's needs," said Walker Principal Kim Petrasek. "You have a whole continuum of opportunities for kids."

Edgebrook, in contrast, uses the same material with all students, even special education ones, but offers extra in-school or after-school help where needed. In third grade, all Edgebrook kids begin using textbooks a grade above level.

In math, the battle cry is algebra for all eighth-graders. To achieve it, Edgebrook students spend three years with the same math teacher -- a technique called "looping" -- and eighth-graders get an extra 45 minutes of morning math from two math teachers.

In District 181, only advanced eighth-graders get algebra; the really advanced ones attend geometry classes at the local high school.

'A victim of your own success'

Long before Edgebrook's arts revolution, it was rising test scores in basic subjects that drew local parents to a school that, years earlier, had been snubbed by its neighborhood.

A decade ago, so few local kids came calling that they only filled half of the school's seats. Low-income, minority students were bused in to fill the rest.

Today, Edgebrook is such a hot ticket that 98 percent of its seats are neighborhood-occupied. New seats these days can only be filled by kids in its attendance area. But that also means Edgebrook has one of the whitest and least-poor student bodies in the system. The newfound lack of diversity is a loss, says Maciejewski.

"I guess you can't have it all. Sometimes you are a victim of your own success," she said.

Plus, without the extra dollars that low-income kids bring, money is especially tight. Edgebrook's arts emphasis was only possible because the school won a three-year, $50,000 arts grant from the Chicago Board of Education.

With it, Edgebrook teachers -- none with less than 10 years of experience -- created their own arts curriculum. They aimed to tap what Harvard Professor Howard Gardner calls the "multiple intelligences" of students. They found experts to give them dance, drama and art lessons.

Third-grade teacher Camille Vena has been teaching Stopping by Woods on a Snowy Evening for 15 years but says two drama coaches from the local Edge of the Woods Theater taught her a thing or two about how to present it.

"We learn it, and then they [the experts] leave, and we carry on," Vena said as she watched the pros jingle sleigh bells, tap out the clip-clop of horse hooves and fine-tune a student recitation of the Robert Frost classic. "They raise us."

Coaching kids to read with the appropriate emotion is important, Maciejewski said, because "when someone becomes emotionally connected to something, they understand it better."

By next fall, Edgebrook will revert to the half-day music teacher the Board provides. But it will carry on the arts push, whether it added a few points to scores or not. Said Maciejewski: "We feel we have to continue this -- no matter what."


Source: Chicago Sun Times


Music Advocacy’s Top Ten for Parents
by American Music Conference
2004-11-12

1. In a 2000 survey, 73 percent of respondents agree that teens who play an instrument are less likely to have discipline problems.
  - Americans Love Making Music – And Value Music Education More Highly Than Ever, American Music Conference, 2000.

2. Students who can perform complex rhythms can also make faster and more precise corrections in many academic and physical situations, according to the Center for Timing, Coordination, and Motor Skills.
  - Rhythm seen as key to music’s evolutionary role in human intellectual development, Center for Timing, Coordination, and Motor Skills, 2000.

3. A ten-year study indicates that students who study music achieve higher test scores, regardless of socioeconomic background.
  - Dr. James Catterall, UCLA.

4. A 1997 study of elementary students in an arts-based program concluded that students’ math test scores rose as their time in arts education classes increased.
  - “Arts Exposure and Class Performance,” Phi Delta Kappan, October, 1998.

5. First-grade students who had daily music instruction scored higher on creativity tests than a control group without music instruction.
  - K.L. Wolff, The Effects of General Music Education on the Academeic Achievement, Perceptual-Motor Development, Creative Thinking, and School Attendance of First-Grade Children, 1992.

6. In a Scottish study, one group of elementary students received musical training, while another other group received an equal amount of discussion skills training. After six (6) months, the students in the music group achieved a significant increase in reading test scores, while the reading test scores of the discussion skills group did not change.
  - Sheila Douglas and Peter Willatts, Journal of Research in Reading, 1994.

7. According to a 1991 study, students in schools with arts-focused curriculums reported significantly more positive perceptions about their academic abilities than students in a comparison group.
  - Pamela Aschbacher and Joan Herman, The Humanitas Program Evaluation, 1991.

8. Students who are rhythmically skilled also tend to better plan, sequence, and coordinate actions in their daily lives.
  - “Cassily Column,” TCAMS Professional Resource Center, 2000.

9. In a 1999 Columbia University study, students in the arts are found to be more cooperative with teachers and peers, more self-confident, and better able to express their ideas. These benefits exist across socioeconomic levels.
  - The Arts Education Partnership, 1999.

10. College admissions officers continue to cite participation in music as an important factor in making admissions decisions. They claim that music participation demonstrates time management, creativity, expression, and open-mindedness.
  - Carl Hartman, “Arts May Improve Students’ Grades,” The Associated Press, October, 1999.


Source: American Music Conference


ECS Chairman Governor Huckabee Urges Governors, Education Policy Leaders to Move
by Music for All Foundation
2004-10-18

Education Commission of the States Chairman, Governor Mike Huckabee (R-AR), has sent an email letter to the nations' Governors, Chief State School Officers, and Education Policy Officials around the country the following letter in support of his vision to bring arts education to the center of the education agenda. You will see from this letter and the supporting documents and web pages that the music and arts education community have a very passionate and powerful advocate in Governor Mike Huckabee. He states:

"These days one often hears the question asked: "During this age of No Child Left Behind, can states really be expected to focus on the arts when there is such pressure to improve student performance in 'core academic' subjects such as reading and math?" The answer, of course, is yes. In fact, the answer must be yes...

The message that my ECS initiative can and must deliver to policymakers across the country is that the arts are as crucial to a student's development as any other subject taught in our schools today. We must do all we can to mobilize, inform, educate and inspire education leaders to recognize the vast potential returns that can be realized by investing now in arts education."


We urge you to use this letter, the supporting documents, as well as the letter to superintendents from U.S. Secretary of Education Rod Paige to help your individual efforts to advance arts education at the state and local level.

Letter and Related Resources

Governor Huckabee's Letter
October 7, 2004 correspondence to Governors and Education Policymakers.

Governor Huckabee's Arts Education Speech
at the 2004 National Forum on Education Policy

Putting the Arts Front and Center on the Education Agenda
Interview with Governor Huckabee conducted by Dick Deasy of the Arts Education Partnership

Chairman's Initiative of the Education Commission of the States

Secretary of Education Rod Paige's Letter to Superintendents and related documents

More Commentary on the Music for All Foundation Blog

For More Information Contact Sandra Ruppert, ECS senior policy analyst and program director at 303.299.3691 or sruppert@ecs.org



Source

Why Babies Love Music
by Heather Moors Johnson, from MSN Family
2004-10-08

The Mozart Myth

Shortly before my first child was born, the governor of my state -- Zell Miller, now a U.S. Senator -- made a startling announcement: Every baby born in Georgia would receive a free classical music CD at the hospital. This wasn't just some bonus prize for being born; it was a start to making Georgians smarter. "Listening to music at a very early age affects the spatial, temporal reasoning that underlies math and engineering and even chess," the governor's statement said. Wow, I thought, all that from a CD? My soon-to-be Georgia peach would be smarter than her mom and dad combined.

We got our CD, but it turns out that in the world of baby smarts, as in life, there are no quick, easy, free solutions. Governor Miller, who based his initiative on an article in Time magazine, got it a wee bit wrong. In fact, the much-referenced study, which gave rise to the phrase "the Mozart Effect," showed that college-age students who listened to Mozart for 10 minutes did better on a spatial relations test a few minutes later. The Mozart Effect, such as it was, was specific, fleeting, and had nothing whatsoever to do with babies.

Nevertheless, the study managed to make believers of a whole generation of new parents who got sucked into buying all manner of pint-size instruments and musical toys and enrolling their 4-month-olds in music classes. The trend seemed to be a side effect of bad science reporting in the popular press over the last decade or so.

In addition to the myths about the Mozart Effect -- and the ensuing number of musical toys with grand claims about making babies smarter -- there was a lot of ink devoted to the importance of the first three years of life. Parents were sold on the "use it or lose it" theory -- the notion that unless certain areas of the brain (those that would turn Johnny into a brilliant mathematician, for instance) were stimulated in those crucial early months of life, the window of opportunity would snap shut, never to open again. Classical music was considered an important stimulus, so a parent who failed to play hours of the stuff for her infant was clearly irresponsible.

Well, all those parents out there can relax. "There is no scientific research on the effect listening to music has on a baby's intelligence," says Frances Rauscher, PhD, a psychologist with the University of Wisconsin and the lead researcher on the college-student study that launched all the brouhaha. Our Mozart Effect research was blown way out of proportion."

The Musical Payoff

None of this, of course, implies that exposing our children to music pays no intellectual dividends. Rauscher and her colleagues have continued their research and found that there is a positive effect on children's spatial-temporal (puzzle-solving) and math skills when those as young as 3-years-old are given formal musical instruction -- when they actively study and play music, not merely listen to it. According to Norman Weinberger, PhD, a professor of neurobiology and behavior at the University of California in Irvine, "Music learning and practice benefit many mental and behavioral processes, including cognitive development, language learning, reading ability, creativity, motor skills, and social adjustment."

But none of these effects have been studied in babies. Piano lessons may make older kids smarter in some ways, but just popping in a CD (be it Raffi or Rachmaninoff) is not going to do much for your infant besides tickle his fancy.

Of course, as every loving parent knows, that is a worthy goal in its own right. "It's such a kick to see Lizzie's eyes light up and to watch her little legs pump up and down every time she hears the first notes of a song she likes," says Detroit mother Kay Blava, about her 6-month-old daughter. "It's so obviously pure pleasure for her."

Even more significant is music that emanates from a parent herself. "Singing to your child is so important," says Sandra E. Trehub, PhD, professor of psychology at the University of Toronto. "In contrast to recordings that sound exactly the same at every hearing, a mother fine-tunes her voice to her baby's needs. When her baby is cheerful, she sings in an upbeat voice. When she is fretful, Mom sings in a soothing manner. Since babies can't really regulate their own moods in the early months of life, a mother's singing plays a vital role here."

Trehub, who has studied cultures around the world and found music to be an integral part of every one of them, notes that singing to your baby also reinforces bonds between you. "The natural pleasure Mom gets from singing to her baby is amplified by her enjoyment. For the baby, those songs and the way they're sung become associated with pleasure, enjoyment, a sense of security, and good things in general."

Music Classes for Mom and Baby

It was my own instinct to sing to my baby (but not really knowing what to sing) that led me to enroll in The Music Class, a nationwide franchise of mommy-baby music classes, when my daughter was just 4 months old. If I had ever needed evidence that music is one of the basic human pleasures, this class provided it in spades.

The moms and kids, who ranged from 4 months to 4 years, sang, danced, learned a little about the music, and got to see some great instruments up close -- tubas, violins, flutes, African drums, and a harp, among others. The class leader gave us a songbook and a CD for home listening and we wore them both out. We also learned finger plays to do together at home. My daughter was enchanted.

Rob Sayer, director of The Music Class, says he started the company to get kids listening to music at an early age so that future musical instruction (the more formal kind) would come more easily. My kids are still too young for me to see whether this will pan out, but there is no question that those early classes -- which my 9-month-old son now enthusiastically attends -- have ignited a love for music in both of them that I never had at that age.

That Mozart CD we got in the hospital doesn't get much play in our house -- it's usually skipped in favor of our Music Class CDs -- but we've added dozens of other CDs to our collection. The best part of music class for us has been the great times it's fostered. And for that, I've realized, we didn't really need classes or even CDs; our own voices and pots and pans would have worked just fine, too.

Trehub agrees that having fun with your baby is one of music's greatest perks. But equally important, she suggests, is its role as a cultural guidepost for children. Songs, both heard and sung, are a classic way for kids to learn about language, customs, and the larger world as a whole. Indeed, Weinberger has observed that many babies begin singing around the same time they start using language, and first words are often part of familiar songs.

"Even before literacy was widespread, crucial cultural information -- how to plant crops, the location of tribal boundaries -- was embedded in songs so it could be transmitted from one generation to the next," says Trehub. "Babies today learn animal names and sounds, counting, colors, stories, and, of course, the alphabet from the songs they hear and sing." My own children have picked up Spanish (their father's native language) from songs, and our friend Michael Schill of Philadelphia claims that his 2-year-old understands the contributions that snakes and spiders make to pest control, thanks to the endless playing of Mary Miche's Earthy Tunes album.

Family Sing-Along

Dan Zanes, a former member of the rock group Del Fuegos, now makes his living recording kids' music, a field he entered after becoming a dad himself. Zanes believes the movement to make babies smarter through music misses the point and the real value of music. "We all have music in us," he says. "We need to expose our children to it so it becomes part of the fabric of everyday life."

Zanes says that he is often asked to sing at birthday parties, but he usually declines, urging parents to do it themselves instead. "Why leave it up to the professionals?" asks Zanes, who believes live music -- even if it's just Mom and Dad fooling around with homemade instruments -- is far more beneficial than anything heard on a CD. "In previous generations, families would sit on their front porches and sing along as Grandpa played the guitar. I'm for a return to all that. It's a connection to our past and a beautiful way for people to gather together. Plus, it's fun!"

"Singing to your kids is just as important as reading to them," says Tom Chapin, another children's recording artist. "Even books don't give the same kind of quality, one-on-one interaction as singing because words only convey meaning, whereas music conveys emotion." Chapin believes that music confers many valuable lessons, none of them having to do with mastering math skills. "Songs comfort your baby; they help make the world a safe place for her."

In other words, beyond all that hype, there may be something to the Mozart Effect after all. While it certainly doesn't begin to live up to its grandiose claims of instilling long-lasting genius in infants, it has spurred a generation of parents to expose their babies to music, and that makes for happier babies.

So, by all means, keep playing those CDs. And sing to your child. Dance with her. Make up silly rhymes and songs. Take her to music class if you like, or simply pull out the pots and pans and make noise. Incorporate music into your everyday life as often as you can. Not because it will make your child a brilliant mathematician, but because it's another enjoyable experience that nurtures her -- and your relationship with her.

Heather Moors Johnson, a mother of two, lives in Decatur, Georgia.

Source


Piano Lessons Expand Foster Kids’ Hearts, Minds
by Karina Bland, The Arizona Republic, Feb. 20, 2004
2004-03-23
A 13-year-old boy performed in his first piano recital this week, playing When the Saints Come Marching In flawlessly, first in one key then another.

His parents weren’t there to see him play. He has been in foster care for as long as anyone can remember.

But the small music room at Devereux Arizona, a Scottsdale non-profit that includes three group homes and a residential treatment center for abused and neglected children, was packed, mostly with people who work there.

"Nailed it!" Chris Tulumello cheered under his breath, trying to keep with piano recital etiquette. As development director, it’s his job to raise enough money to keep Devereux’s fledgling piano program going.

He beamed at the boy, one of four children who performed Tuesday, showing off what they have learned in just 10 weeks of piano lessons.

It’s rare that kids in foster care get a chance to take piano lessons. Money is tight, so they often go without things other children take for granted: music lessons, soccer, Girl Scouts.

But while playing tennis in Scottsdale one day, pianist and singer Penny Keen overheard two women talking about the children at Devereux and their need for a piano teacher.

She offered to help, enlisting Julian Leviton, a former piano instructor in Chicago and professor emeritus at DePaul University, who had once taught children with disabilities.

On a donated piano, they taught the four children once a week.

They hoped the music would help the children’s emotional and physical well-being, Keen said, as well as their schoolwork.

Learning to play the piano is thought to enhance the brain’s hard wiring for spatial-temporal reasoning, or the ability to visualize and transform objects in space and time, Keen said.

Research routinely shows that children who take music do better in math.

Anita Fry, principal at the school at Devereux, said the children’s teachers have noticed a positive change in their schoolwork and their behavior. Maybe even more important, she said, the children are proud of their newfound skill, delighted to have a special talent.

"It’s healing their hearts," Fry said.

The boy who played When the Saints Come Marching In used to get into fights. To be allowed to continue taking lessons, he has to be on his best behavior.

None of the children had ever played before, but this boy knew instinctively how to hold his hands over the keys.

"Playing the piano makes me happy," he said simply.

Another 13-year-old boy learning to play the piano said his favorite piece is Hush-a-Bye: "I feel peaceful and quiet when I play it."

The only girl, also 13, introduced herself and the three pieces she would be playing: Twinkle, Twinkle Little Star, My First Dance and Happy Dance.

She sat at the piano and crossed her feet beneath her long, black flowered skirt.

The girl suffers hand tremors, but her hands were steady on the piano keys. She lives in a foster home and attends the special-education school at Devereux.

When she first started playing, her hands shook so badly that she couldn’t land her fingers on the correct keys. Trying to make the girl feel better, Keen said her hands used to shake, too, but from nervousness. "We’ll fix that," Keen told her.

Now the girl takes less medication to control her tremors. At the recital, she smiled shyly when the audience burst into applause. "Bravo!" someone yelled.

Another of the boys, 11, who lives in the residential treatment center, used to come for his lesson slumped over and dressed sloppily. A few weeks later, he arrived standing tall, in clean clothes and with his hair slicked back.

At the recital he started, then stalled while playing My First Waltz, but Leviton gently placed his hands over the right keys.

"Right there?" the boy asked.

"Right there," Leviton said, and the boy played perfectly.

Leviton and Keen are donating their time until Devereux officials can raise enough money to hire a piano teacher. Tulumello said they also need a second piano, four keyboards, recording equipment and teaching materials.

About 60 children live at Devereux. They are begging to play, too.

Source

Musical Memories Form Within Minutes
by Bob Beale, ABC Science Online
2004-03-21
It may take years to excel at the piano but the vital mental "map" you create to make sense of what you hear when your fingers hit a key, forms almost as soon as you start to train, a new study suggests. The brains of novice players start making those maps within just 20 minutes of having their first piano lesson, said Marc Bangert and Eckart Altenmuller of the Institute of Music Physiology and Musicians Medicine in Hanover, Germany, in a report Wednesday in the journal BMC Neuroscience.

The study probed how a player's brain processes and coordinates input from two very different sources - sound and movement: "The mastering of a musical instrument requires some of the most sophisticated skills, including fast auditory as well as motor processing," the researchers said. In professional musicians at least, recent brain imaging studies have shown that the different ways they respond to sound and finger movements seem paradoxical: when they hear a sound it activates areas of the brain that process movement, but when they silently tap out musical phrases it evokes brain activity in areas involved in hearing."

Professional musicians often report that pure listening to a well-trained piece of music can involuntarily trigger the respective finger movements," the report noted. One study took brain scans of eight violinists with German orchestras and compared them with eight amateurs as they silently tapped out the first 16 bars of Mozart's violin concerto in G major: the expert performers had significant activity in the sound-processing regions of their brains, but the amateurs had none. But it was not known until now whether these links between hearing and movement require many years of practice to develop or can be learned quickly. So Bangert and Altenmuller monitored how the brains of novice musicians responded during 10 sessions of 20-minute training over five weeks, learning the piano from scratch. The subjects heard musical phrases and used a digital piano to learn to play them back. To make sure that only responses to hearing and movement were being recorded, the subjects were given no visual or verbal cues, such as tone names or musical score notation. They were not even allowed to see their own hands on the piano keys during training.

A further twist was introduced into the study as well. The subjects were split into two groups, known as the "map" and "no-map" groups, and given slightly different training regimes. The "map" group used pianos where five neighboring keys had appropriate notes assigned to them. The "no-map" group used pianos where the assignment of notes to the five keys was randomly shuffled after each training trial." The "no-map" group was not given any chance to figure out any coupling between fingers and notes, except the temporal coincidence of keystroke and sound," the report said. "In other words, these subjects were not given any opportunity to establish an internal "map" between motor events and auditory pitch targets." All subjects showed clear signs of relevant changes in brain activity after just one session, but after five sessions the activity patterns of the two groups differed significantly. The motor areas relating to the hands of those in the "map" group were activated when they were listening to music, whereas those of the subjects in the "no-map" group were not. Another part of the brain - the anterior region of the right hemisphere - was also found to be more active in the "map" group. The researchers suggest that this region could be where the mental "map" representing the link between a note and a piano key is established.

Earlier research has suggested that the right anterior region is involved in the perception of melodic and harmonic pitch sequences: "Interestingly, the respective area in the left hemisphere is where you would find Broca's area, where much of our speech processing happens," Bangert said.




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