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Physical Development of Young Children

Physical Development of Young Children. The Motoric Music Skills Test (MMST). was developed by Gilbert to describe the characteristics of motoric music skill development among young children.

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Physical Development of Young Children

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  1. Physical Development of Young Children

  2. The Motoric Music Skills Test (MMST) • was developed by Gilbert to describe the characteristics of motoric music skill development among young children. • The purpose of Gilbert’s (1979) research was to develop MMST as a systematic scale to measure selected motoric skills. The subjects (N = 812) were ages 3 through 6 years. Gilbert found that test performance, which was based on motor skill assessment, increased with chronological age. Age was a significant factor for all subjects, with older children performing better than younger.

  3. Gilbert (1981): • examine the stability of motoric performance throughout the developmental process of the children. A total of 808 children ages 4 through 7, were administrated the MMST individually for a 10- to 15-minute session in two consecutive years. From this research, Gilbert concluded that the youngest subjects (age 4) demonstrated the greatest absolute gains in performance skill. In every subset (ages 4 through 7), gain scores of the 4-year-olds were significantly greater than those of the 7-year-olds.

  4. Personal Tempi of Young Children

  5. Walters (1983) • The purpose of research was to measure the within and between subject variability of personal tempo in primary-aged children, and to investigate the relationship between personal tempo and the child’s ability to synchronize movement with music at a variety of tempi. • The subjects were 96 kindergarten through third-grade children. The subjects were assessed 4 times for personal tempo (PT) within a three-week period. Subjects were asked to pat a steady beat that felt good to them.

  6. A fourteen-item synchronization test ranging in tempi from M. M. = 57 to M. M. = 130 also was administered to the subjects. • Walters found that there was no significant difference between subject variability of personal tempo in primary-aged children. The range of the tapping tempi was M. M. = 40 to M. M. = 210. The mean of personal tapping tempo for all subjects was M. M. = 106.8. • Walters reported that a child will “experience greater difficulty synchronizing movement with music as that music diverges in tempo from his/her personal tempo” (p. 82). • Walter confirmed Jersild and Bienstock’s (1935) findings that subjects scored the best on the synchronization test at or near their personal tempo, and scored the worst when the tempo was slower, rather than faster than their personal tempo. In addition, there was “no evidence that grade level accounts for differences in synchronization ability beyond grade 2” (p. 94).

  7. Buchanon (1988) • assess children’s ability to synchronize musical beats which were played at their heart rate as compared to those tempi which were not played at their heart rate. • The subjects (N = 30) were children from 3 to 5 years of age. The heart rates of the subjects were measured. Subjects were instructed individually to pat to the musical beats which were adjusted to his/her heart rate, and to the music beats which were played 15% faster and 15% slower than the individual heart rates. • Buchanon found that 4-year-old subjects had the highest synchronization scores for matching the musical beats, followed by 5-year-olds, and then 3-year-olds. Subjects’ synchronization scores were better when the music rate was 15% faster than the heart rate tempi than when the music rate was 15% slower than the heart rate tempi.

  8. Loong (1999) • to determine the best matching tempi of subjects when they were stepping/walking or playing a drum. The five different tempi which subjects were to match were M. M. = 72, 102, 132, 162, and 192. • There were significant main effect differences among mean stepping/walking and drum playing tempi-matching deviation scores. It was found that the smallest mean deviation scores occurred when subjects performed at the M. M. = 132 tempo. In other words, when the tempo of M. M. = 132 was performed, subjects in this study were able to step/walk and play a drum at tempo most accurately. When the tempo M. M. = 102 was performed, subjects in this study were able to step/walk or play a drum close to the tempo of M. M. = 102, but not as accurately as at tempo M. M. = 132. For children below the age of 5, the tempo M. M. = 132 was the best, followed by M. M. = 102. Children were not able to accurately match tempi as well at M. M. = 72, 162, and 192.

  9. it was found that the tempo of M. M. = 132 was matched most accurately when stepping/walking and drum playing activities were performed. • The mean personal walking tempi of all subjects in the current study was M. M. = 133.74, which is very close to M. M. = 132. • It would appear that activities involving young children such as tapping, walking, stepping, or instrument playing be performed at tempi predominantly ranging between M. M. = 132 and 136 if the desired outcome is directed toward tempi accuracy.

  10. Rhythmic Performancesof Young Children

  11. Loong (1999) • In this study, it was observed that when younger subjects (aged 1 and 2) were asked to play a drum while “Pease Porridge Hot” was sung, they basically just tapped the beats. • On the other hand, when older subjects (aged 3, 4, and 5) were asked to play a drum while “Pease Porridge Hot” was sung, they tended to play either the beats or the rhythmic patterns of “Pease Porridge Hot”, stopping with the rests at the end of each phrase. • Thus, it appears that older children (age 3, 4, and 5) who are able to comprehend words better that younger children (aged 1 and 2) tend to “think” more about the phrasing and the rhythmic patterns of a song and pay less attention to the pulses.

  12. It seemed that the phrases and rhythmic patterns of the songs gave more meaning to children age 3, 4, and 5. Thus, even though it is believed that teaching steady beat is the starting point of early childhood musical learning, teaching phrases and rhythmic patterns should not be delayed until kindergarten and grade one as suggested in many music textbooks. • This assumption should be challenged and reconsidered. Early childhood music educators should pay more attention to the different note duration values and rhythmic patterns which are created by children who are just beginning to comprehend language.

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