Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/16835
Þeir sem verja tíma með ungum börnum komast fljótt að því að tónlist hefur mikið aðdráttarafl snemma á ævinni. Tónlist vekur gjarnan sterk viðbrögð ungbarna, hvort sem um er að ræða söng, hljóðfæraflutning, tónlist úr hljómflutningstækjum eða leikföngum. Oft vekur tónlist taktfastar hreyfingar og jákvæð tilfinningavið-brögð hjá börnum og getur sú hegðun verið áþekk frjálsum dansi eldri barna og fullorðinna. Innan nútíma tónlistarsálfræði er almennt viðurkennt að manneskjan virðist gædd tónlistarhæfni frá fæðingu í þeim skilningi að hún býr yfir hæfni til að skynja, greina og læra tónlist. Einnig reynist tónlist vera öflugur miðill tilfinninga og getur haft bein áhrif á líðan. Í þessari grein er skoðað hversu mikið er vitað um tónlistarhæfni ungbarna og hvernig slík þekking gæti verið upplýsandi varðandi hlutverk tónlistar og tónlistaruppeldis á fyrstu árum barnsins. Farið er yfir helstu niðurstöður rannsókna á tónskyni ungbarna á fyrsta ári og fyrstu tilburðum þeirra til tónlistarlegrar hegðunar. Því er lýst hvernig almennt tónlistaruppeldi og skipu-lögð tónlistariðkun með ungbörnum getur tekið mið af þekkingu á næmi ungbarna fyrir tónlist. Af skipulögðum rannsóknum á ungbörnum má draga þann lærdóm að vanmeta ekki tónlistar- og vitsmunalega hæfni ungbarna. Niðurstöður rannsókna benda til þess að tónlist sem ungbörn heyra mótar næmi þeirra fyrir viðkomandi tónlistarhefðum og því sé vert að huga að fjölbreyttri tónlist í umhverfi barna. Draga má þann lærdóm af fræðunum að tónlist geti orðið að liði í daglegum sam-skiptum við börn án þess að orðum sé beitt. Með þekkingu og færni er unnt að virkja eðlislæga tónlistarhneigð ungra barna og hafa áhrif á líðan þeirra og hegðan. Að lokum er bent á að foreldrar og aðrir uppalendur geti á byggt á því, sem fræði-menn kalla meðfædda þörf ungbarna til músíkalskra samskipta, og stuðlað með að félagslegum og tónlistarlegum þroska.
If you have ever spent time with infants and small children you have probably noticed that music seems to attract their attention very easily. Whether it is from recordings, musical toys, instruments, human singing or other forms, music seems to elicit strong reactions from small children. Music often induces physical reactions such as rhythmic movements, followed by positive emotional
behavior, which looks very much like dancing and musical enjoyment in older
children and adults. Parents and caretakers are often amazed at these responses
in very young infants because they give an impression of a sophisticated perception
and behavior not necessarily associated with early infancy. But how
much is known about the musical abilities of infants and toddlers? And what can
this information tell us about the role of music in the life of infants and toddlers?
There seems to be a consensus in the modern music psychology literature that
the human is born musical. That is, a normal human is born with the capacity to
hear, understand and learn music. In fact, infants learn early on to hear and expect
certain patterns inherent in the music of their own culture and are capable of
displaying various physical and emotional responses to different types of music.
Furthermore, music seems to be a powerful medium for conveying basic human
emotions and can consequently affect the emotional states of individuals.
Cognitive abilities appear early in life, demonstrating that an infant is capable of
more complex processing of their sound environment than previously thought.
Moreover, it is clear that some learning can take place before birth in terms of
processing auditory stimuli. The fetus is capable of hearing, processing and remembering
musical patterns of sound heard during the third trimester of pregnancy,
and sound is the most complex stimulus available prenatally. It is therefore
worth considering the role of music and the auditory environment as a relatively
stable feature in the transition from the fetal stage into infancy.
What we can learn from systematic experiments and observations of infants is
that we should not underestimate their musical and cognitive abilities. Because
infants develop music production abilities much later than their music perception
abilities, there is a tendency to dismiss and overlook what infants are capable of
understanding in terms of music.
There is very strong evidence supporting the idea that all infants are born musical
or at least with a predisposition for becoming musical beings. However, caretakers
of infants and small children should be aware that individuals may follow
different paths in their musical development, and these differences need to be
respected rather than used to label some infants musical but not others.
In respect to fostering musicality, it is important that parents and music educators
search for a balance in how to approach young children’s music education.
A balance between the child’s free musical exploration and a stimulating educational
environment is probably the best strategy for encouraging musical growth.
Too much emphasis on formal education in early childhood may limit the child’s
potential in musical development. On the other hand, some opportunities may be
missed if children are not exposed to a rich musical environment in the early
years. This is true both in terms of exposure through casual music listening and
also through stimulating musical communication with adults and older children.
Unfortunately there is no magic formula for this balance and the proportion between
free exploration and a more structured educational environment must vary
according to individual needs, as every individual is different and affected by the
cultural context. Nevertheless, guidelines constructed from research findings
would suggest that infants should be provided with a rich musical environment
supporting the infant’s natural predisposition towards acquiring musical elements
in the culture and even beyond, perhaps including a varied repertoire of
tonalities and rhythms from foreign cultures. It would also be suggested that
caregivers systematically attend to the ability of infants to be aroused and calmed
by music, both as passive and participatory activities. The power of musical
material to affect and regulate mood in young infants and toddlers can be further
enhanced through skillful use of material previously associated with positive
musical experiences with others. Finally, it would be suggested that parents and caregivers make good use of infants’ innate need for communicating musically through musical acts in social situations and be aware of the great potential for social bonding through common musical experiences.
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