Towards a cultural psychology of early musical development: Case studies of young children’s musical engagement as singers and song-makers Margaret S. Barrett School of Music The University of Queensland

Psychology of Music Experimental psychology – Perception of isolated tones, beat, melodic and rhythmic patterns (separated from a musical or socio-cultural context) Developmental Psychology of Music – Identification of stages of musical development that reflect the forms and structures of Western classical music

Theoretical frame 1. Cultural views of development (Rogoff, 2003; Barrett, 2011) 2. The study of the “everyday” (Tudge, 2008) 3. Early music/artistic development and engagement – communicative musicality ( Malloch, 1999; Malloch & Trevarthen, 2009; Trevarthen & Malloch 2000, 2002 ) – invented song /spontaneous song ( Davidson, 1985, 1994; Dowling, 1984a, 1984b, 1999; Moog, 1976; Moorehead & Pond, 1942/1978; Tafuri, 2008) – mutuality, belonging, meaning-making, competence, elaboration (Dissanayake, 2000) 4. The construction of identity in and through early song- making (Barrett, 2003, 2006, 2011, 2015 in press)

The study of the everyday How young children spend their time The activities they engage in The people with whom they interact The settings in which these activities and interactions take place The potential for learning that arises from these activities and interactions

Music theoretical frame 1. Music in the everyday life of infants – Infant-directed speech and song – Communicative musicality (Malloch (1999); Trevarthen & Malloch, 2000; Dissanayake, 2000) – Invented song /spontaneous song 2. Music in the everyday life of young children – Singing dominates and is used to: Establish and maintain routines Maintain, adapt, create family traditions Component of individual play (Barrett, 2009)

Children’s ‘everyday’ uses of song Emotional expression Aesthetic enjoyment Entertainment Communication Physical response Enforcement of conformity to social norms Validation of religious ritual Continuity and stability of culture Integration of society – (Campbell, 2002, pp )

Project aims identify the function of invented song and music-making in young children’s identity work; expand current knowledge of the nature and developmental trajectory of children's developing sense of self in and through music; provide early childhood practitioners and music educators with new and vital knowledge concerning children’s identity work in and through music in order to develop curricula that are more responsive to children’s developing needs and understandings. – Australian Research Council Discovery Grant no Barrett, 2005 – 2009.

Approach Longitudinal case study (3 year) Participants 20 parent-child dyads (chn approx 18 months at commencement of project) across 2 sites (childcare centre and Kindermusik site)

Data generation Ongoing observations of children in kindermusik and childcare settings On-going interviews with parents Parent maintained summary diary (weekly) of child’s engagement in music Parent maintained video diaries of child’s music engagement

Children’s patterns of use Invented song is used to: – explore language and engage in linguistic play – explore music and engage in musical play – communicate feelings and emotional states to self and others – situate the self in relation to time, place, relationships – explore presentations of self

Explore language and engage in linguistic play

explore language and engage in linguistic play

Explore music and engage in musical play

Communicate feelings and emotional states to self and others

Situate the self in relation to time, place, others

Features of children’s song-making Musical – adaptation of musical features of known songs, musical gestures, and musical genres; – song ranges reflect those of canonic songs for children, but are not restricted to these ranges; – children explore a range of timbral and vocal effects; – Children’s song-making is embodied, gestural; – children’s songs are duple and triple meter, employ syncopation, Extra-musical – texts reflect immediate interests and concerns (“Special K” song, “In the kitchen” song), issues of value and importance (“I love song”).

Invented song Underpins early musical, linguistic, and self development Knowing song structure is a pre-condition for musical literacy Musico-linguistic activity situates young children in their worlds.

Towards a cultural psychology Children exhibiting musical volition and agency Children as musical generators as well as performers and audience participants Children’s purposes in engaging in musical activity

Research texts Barrett, M.S. (2015 in press). Laying the foundations for narrative identity in and through music. In R.A. McDonald, D. Meill & D.J Haregreaves (eds). Oxford Handbook of Musical Identities. Oxford: Oxford University Press. Barrett, M. S. (2012a). Mutuality, belonging and meaning-making: Pathways to developing young boys’ competence and creativity in singing and song-making. In S. Harrison, G. F. Welch, & A. Adler (Eds.), Perspectives on males and singing (pp. 167–187). Dordrecht, the Netherlands: Springer. Barrett, M. S. (2012b). Preparing the mind for musical creativity: Early music learning and engagement. In O. Odena (Ed.), Musical creativity: Insights from music education research (pp. 51– 71). Farnham, UK: Ashgate. Barrett, M. S. (2011). Musical narratives: A study of a young child’s identity work in and through music-making. Psychology of Music, 39(4), 403–423. Barrett, M. S. (2009). Sounding lives in and through music: A narrative inquiry of the ‘everyday’ musical engagement of a young child. Journal of Early Childhood Research, 7(2), 115–134. Barrett, M. S. (2006). Inventing songs, inventing worlds: The “genesis” of creative thought and activity in young children’s lives. International Journal of Early Years Education, 14(3), 201–220. Barrett, M. S. (2003). Meme engineers: Children as producers of musical culture. International Journal of Early Years Education, 11(3), 195–212.

Thank you!