Group Presentation
Critical Evaluation
Music in the early years plays a vital role in children’s overall development, supporting language and communication skills, emotional regulation, motor skills, memory, and the development of social and emotional bonds (Kinderzimmer, 2025). Research into our placement group, shown in Appendix 1, has given us a number of factors to consider when planning an effective project. In this essay, I will discuss how these have informed the development of our project plan and explain how and why we arrived at the final delivery approach.
Appendix 1 – Placement Research & Considerations
The objective of our project is to support all five areas of development described above through playful and creative engagement whilst focusing on the fundamental elements of music: creating, listening, and performing. Through collaborative music-making, we aim to build the participants’ confidence, strengthen their sense of self, and deepen their understanding of the world around them, while fostering creativity and imagination. At the end of the project, we will share a short performance written and developed with the children, for their peers, teachers, and parents. Working towards this goal is particularly beneficial for forming social and emotional bonds, as it involves being witnessed, showing vulnerability, and sharing a sense of achievement.
After deciding how to conclude the project, we began to identify the key musical elements we would need to cover in order to shape the final outcome: pulse, rhythm, melody, timbre, texture, speed, dynamics, and movement. According to Alison Daubney, these are known as the inter-related dimensions of music and are considered the fundamental building blocks of any musical performance (Daubney,1965, p.76). As outlined in Appendix 2, each week we will focus on one of these elements in greater depth, supported by warm-up and cool-down activities. However, these concepts do not exist in isolation but coexist within musical experiences (Daubney, 1965, p.76). Throughout this project, we will ensure that whilst each week we have one specific focus, the activities will continually revisit and connect previously explored elements. After discussing our plan with our mentor, we decided to maintain the same session structure each week, recognising that children respond positively to repetition and predictability, which supports engagement, confidence, and a sense of security (Kingwood Montessori School, 2025). At the same time, we acknowledged that excessive repetition could limit spontaneity and creativity, so we have carefully balanced familiar routines and songs with new activities and learning (Appendix 3). This balance will help participants feel comfortable and build confidence, as they start to understand what to expect in each session, while still challenging them to engage with new ideas (Megan, 2021).
Appendix 2 – Scheme of Work
Appendix 3 – Session Plans
Creating a musical community in which teachers and children are all actively involved is crucial (Daubney, 1965, p.38). Throughout the project we plan to perform to the children (Appendix 3), providing them with regular exposure to live music. Not only does this create a sense of community and shared enjoyment of music, it also supports the development of an awareness of tonal and rhythmic patterns which are naturally integrated in music (Gordon, 1977). As children become more familiar with these patterns through listening, their own creative possibilities will expand (Daubney, 1965).
When considering the content we wanted to explore and teach, we initially chose ‘nature’ and ‘animals’ as starting points. At first, we explored the possibility of using a pre-existing story or song, such as “Walking in the Jungle” or “We’re Going on a Bear Hunt”. However, following discussions with our mentor and feedback in class (Appendix 4), we decided not to pursue this approach, as these stories and songs are already familiar to the children and are widely used in classroom settings. Instead, we felt it was important for the project to be rooted in the children’s own real-life experiences, rather than on concepts or environments they may not have encountered. This approach makes learning more meaningful and engaging, as research indicates that children learn most effectively when new ideas are embedded within experiences and contexts they can relate to (Barr, McClure & Parlakian, 2019). Drawing on the structure of these songs, we aim to create an original piece that enables the children to actively co-create alongside us. Our mentor noted that children particularly enjoy journey based stories; therefore, we have chosen to develop a ‘Journey’ song. As shown in Appendix 3, Week 2, we plan to take the children outdoors to gather inspiration for our song, encouraging them to observe their surroundings and reflect on what they see, notice, and feel. We recognised that many children in this group may not yet be able to read or write. So, to support their engagement, we will provide a worksheet with a tick list of images, while also encouraging them to add their own drawings or words. This approach promotes inclusivity and accessibility, while also inspiring independent creativity.
Appendix 4 – Class Feedback
Throughout the project, we will make sure to include the children’s contributions from the start of each session, to foster a collaborative way of working. As The Partnership for Children highlights, listening and incorporating children’s ideas is fundamental to their personal, social, and emotional development, and can significantly improve confidence and self-esteem by demonstrating that their opinions matter (Carter & Grimmer, 11/02/2025). Concerned that some pupils may feel shy or reluctant to contribute verbally in a whole-class context, we discussed this with our mentor, who noted that while some children are initially reserved, their confidence tends to increase as they become familiar with the sessions. It is important that we encourage participation sensitively and without pressure. To support this, we will use a range of inclusive strategies; for example, offering pictures or props to help communicate ideas. In the early weeks, we will avoid singling out individual pupils to speak or perform unless they volunteer to do so. Instead, we will use group-based activities that allow quieter children to gradually build confidence (Daubney, 1965, p.75). To further support inclusivity, in the final stages of the project, we aim to shape the finished song, exploring how visual forms of expression can inform the overall arrangement of our piece (Appendix 3, Week 6). Primary music educator Gillian Howell, who has worked extensively with refugee and immigrant children, highlights that visual representation reduces the need for learners to articulate ideas verbally. Instead, children can show through drawing how they want the music to sound, making the creative process more accessible for all learners (Burnard & Murphy, 2017).
In Week 4, the children will have the opportunity to create their own shakers (Appendix 3, Week 4). We will provide a simple example of a shaker; then, rather than giving them a pre-decided design, we will provide a choice of materials with different characteristics so that they can independently explore and experiment, enabling them to discover differences in sound and texture through direct experience rather than detailed instruction. This provides enough structure for children to understand the task while still allowing creativity and exploration within the model. As Jean Piaget suggests, “Each time one prematurely teaches a child something he could have discovered himself, that child is kept from inventing it and consequently from understanding it completely” (Willows Pre‑School /Nursery, 2024), highlighting the importance of learning through play and exploration.
The relationship between movement and music is deeply interconnected and cannot be separated (Church Street School for Music & Art, 2022). In line with the Dalcroze method, which uses physical movement to help students experience rhythm, harmony, and melody through their bodies, we will use kinesthetic and creative movement activities throughout our project (Appendix 3). This approach has been shown to increase engagement, enjoyment, and the development of musical skills, particularly in young children (Music & Arts The Vault). Initially, we considered dedicating a full week to simple folk dance, but we realised there would not be enough time to do this alongside developing the main song. Instead, we plan to incorporate movement in a variety of ways throughout the project. According to Dalcroze, all individuals are born with a natural sense of rhythm, which develops through natural, organic processes such as breathing, heartbeat, and walking (Church Street School for Music & Art, 2022). Our sessions will build upon these existing rhythmic foundations by beginning with familiar, accessible movements, such as walking in time to a piece of music. We also plan to create actions with the children to accompany the song (Appendix 3, Week 5). Using actions alongside lyrics will help the children learn the words by creating clear physical cues that support understanding and memory. This approach will be particularly beneficial for the children who do not speak English as a first language (BBC).
While we intend to follow our planned structure, we recognise that 45-minute sessions may be too short to complete all activities as anticipated. To ensure the sessions do not feel rushed, we will remain flexible and adapt the plan accordingly throughout the project. Weeks 4, 5, and 6 have been designed with flexibility to accommodate extended time for songwriting or other activities if required.
Based on class feedback (Appendix 4), we have decided to monitor the project’s effectiveness by collecting feedback in the first and final weeks. Children will respond to simple questions (Appendix 5) and indicate their feelings about each session using thumbs up, neutral, or thumbs down images, allowing us to track changes over time. Additionally, we will collect more detailed feedback by conducting and recording end-of-project interviews between teachers and pupils, focusing on questions directly related to the five areas of development discussed earlier (Appendix 6). This will enable us to assess the project’s outcomes in relation to our objectives. Teachers will also be invited to complete a written feedback form.
Appendix 5 – Feedback Questions
Appendix 6 – Further Feedback Questions
To conclude, planning this project involved careful consideration to develop an inclusive, child-centered approach that balances structure with flexibility to support children’s musical, social, and emotional development. By embedding experiential learning and opportunities for co-creation, this project aims to foster confidence, engagement, and creative agency amongst the children, laying foundations for future musical expression.
Bibliography
Barr, Rachel, McClure, Elisabeth, and Parlakian, Rebecca,19/11/2019, Maximizing the potential for learning from screen experiences in early childhood: What the research says. Available at:https://www.zerotothree.org/resource/journal/maximizing-the-potential-for-learning-from-screen-experiences-in-early-childhood-what-the-research-says (Accessed: 21 December 2025).
BBC, CBeebies Parenting, Singing songs and rhymes with actions. Available at: https://www.bbc.co.uk/tiny-happy-people/articles/znjxprd (Accessed: 21 December 2025).
Burnard, Pamela & Murphy, Regina, 2017, Teaching Music Creatively, 2nd ed, Abingdon,Oxon: Routledge
Carter, Jayne & Grimmer, Tamsin, 11/02/2025, Including children’s voices in the early years. Partnership for Children. Available at: https://www.partnershipforchildren.org.uk/who-we-are/news-and-blog/including-childrens-voices-in-the-early-years/ (Accessed: 21 December 2025).
Church Street School for Music & Art, 23/03/2022, What is the Dalcroze Method? Available at: https://www.churchstreetschool.org/post/what-is-the-dalcroze-method#:~:text=This%20famous%20quote%20from%20Emil,of%20learning%20while%20having%20fun! (Accessed: 21 December 2025).
Daubney, Alison, 1965, Teaching Primary Music, Los Angles, Sage.
Gordon, Edwin E, 1977, Learning Sequence and Patterns in Music, Chicago, G.I.A publications.
Kinderzimmer, 27/10/2025, The role of music in early childhood development – How music boosts brain growth, Kinderzimmer. Available at:https://kinderzimmer.co.uk/music-in-early-years/ (Accessed: 18 December 2025)
Kingwood Montessori School, 30/07/2025, The importance of repetition: mastering skills through early childhood activities. Available at: https://www.kingwoodmontessori.com/post/the-importance-of-repetition-mastering-skills-through-early-childhood-activities (Accessed: 29 December 2025).
Megan, 16/04/2021, Teach Pre School Music, The Importance of Repetition in Preschool Music Class. Available at: https://teachpreschoolmusic.com/the-importance-of-repetition-in-preschool-music-class (Accessed: 18 December 2025)
Music & Arts The Vault, What is the Dalcroze Method? Available at: https://thevault.musicarts.com/what-is-the-dalcroze-method/ (Accessed: 21 December 2025).
Willows Pre‑School / Nursery, 2024, PIAGET Theory at Willows. Available at: https://willowspreschool.org.uk/piaget-theory-at-willows/ (Accessed: 21 December 2025).
