A pioneering music educator reveals how music can supercharge early childhood development--and how parents and educators can harness its power. Since opening her famed Parisian conservatory over three decades ago, Joan Koenig has led a global movement to improve children's lives and minds with the transformative power of music. With a curriculum and philosophy drawn from cutting-edge science, L'Ecole Koenig has educated and empowered even its youngest students, from baby Max, whose coordination and communication grow as he wiggles and coos along to targeted songs and dance, to five-year-old Constance, who nourishes her empathy, creativity, and memory while practicing music from other cultures. In The Musical Child, Koenig shares stories from her classrooms, along with tips about how to use the latest research during the critical years when children are most sensitive to musical exposure--and most receptive to its benefits. A gift for parents, caregivers, musicians, and educators, The Musical Child reveals the multiple ways music can help children thrive--and how, in the twenty-first century, its practice is more vital than ever.

Children are inherently musical. They respond to music and learn through music. Music expresses children's identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children's natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I'm working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts?This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children's lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.

This book is a study and critical edition of Mendelssohn's composition exercise book from his early period of study with Carl Friedrich Zelter (1819-1821). The workbook illustrates in considerable detail the young musician's struggle to master the rules of part writing and principles of counterpoint. Much of Zelter's systematic teaching method is grounded in the eighteenth-century theoretical tradition of Berlin; not surprisingly, the exercises bear the stamp of the music of J. S. Bach, which heavily influenced such Berlin musicians as C. P. E. Bach, C. F. C. Fasch, Marpurg, Kirnberger, Zelter and Mendelssohn. There is little doubt that the historicist attitude of the mature Mendelssohn - as seen in his efforts to revive the works of Bach and Handel and in his propensity toward strict contrapuntal techniques in his own music - was conditioned by these studies with Zelter. The publication of the workbook sheds new light on the early development of one ofthe most important nineteenth-century composers who, though affected by the new wave of romanticism that swept over Europe, never lost his respect for the past. No less important, the manuscript includes several previously unpublished pieces which rank among Mendelssohn's earliest compositions.

Describes play workshop experiences that give educators a deeper understanding of play-based learning and illustrate the power of play.

A practical book for teachers consisting of 10 YC and TYC articles on the importance of integrating rich content-based, teacher-guided instruction with meaningful child-centered play to nurture children's emerging capabilities and skills.

First published in 1906, The Musical Education of the Child is a pioneering work in music education. Macpherson argues that children should be introduced to music early in life and taught to appreciate its beauty and significance. He provides practical advice for teachers, parents, and schools on how to incorporate music into the curriculum and nurture the musical talents of young children. An indispensable guide for anyone interested in music education. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from The Musical Education of the Child, Some Thoughts and Suggestions, for Teachers: Parents and Schools The following pages represent in the main the substance of various lectures, addresses, and articles delivered or written during the last few years on certain aspects of the musical education of the young. In preparing them for issue in their present form, I have thought it wise to preserve the informal style which best fitted the conditions under which they were originally presented. I quite realize that if the intention in the first place had been to set forth in book form the thoughts herein contained, they would often have been expressed somewhat differently. Feeling, however, that to alter their manner would tend in all probability to destroy whatever directness they might possess, I have ventured to leave them virtually as they first appeared, merely adding a few fresh points which seemed to drive home more completely the arguments advanced. It will doubtless be noticed that some overlapping of idea occurs from time to time in the course of these essays, and that a topic developed in one is referred to, possibly at some length, in another. This has been inevitable owing to the fact that it has more than once been necessary to approach the same subject from different sides, and in relation to circumstances which in their nature vary considerably. I can only hope that any apparent verbal redundancy may be compensated for by additional clearness, and by the emphasis thus laid upon certain matters of fundamental importance. Many of the ideas and suggestions contained in the following pages have, since their first appearance, been put into practice in various parts of the country. In the present edition I have considered it advisable, however, to leave the text (save in a few trifling instances) unaltered. This decision was come to with a full realization of all that has of late been accomplished by distinguished writers and teachers in the cause of musical education, but at the same time with the knowledge that much remains still to be done. It is with this thought in mind that both author and publishers have felt that the time has not yet come when insistence upon certain fundamental principles can well be abandoned by any of us who desire to see music assume its rightful place amongst educational activities. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.