Placement Video
Project Evaluation
Appendix 1 – Scheme of Work
Over 7 weeks, my placement group delivered a series of workshops to Brudenell Primary School Reception class, the majority of whom were English as an Additional Language (EAL) learners. Aiming to deliver a performance collaboratively created with the children for their peers, parents, and teachers at the end of the project, we explored the key musical building blocks that would shape our final performance (Appendix 1).
The aim of our project was to support five main areas of development: language and communication skills, emotional regulation, motor skills, memory, and the development of social and emotional bonds. Through creative music-making, we aimed to build the participants’ confidence, strengthen their sense of self, and deepen their understanding of the world around them. Throughout the project, as we became familiar with the group, we made ongoing adaptations to our initial project plan in response to the children’s needs and to further support their engagement and learning. In this essay I will discuss and reflect on what was effective and less effective during our project, as well as the adjustments implemented to maximise its overall impact and the children’s development.
At the beginning of each session, we established a consistent routine by singing our ‘hello song’ accompanied by simple actions, often repeating it twice to give the children the opportunity to engage and remember the song. Research highlights that repetition plays a key role in early years learning, supporting children’s ability to process, retain, and recall new information, as well as helping to build confidence over time (Arnerich, 2023). This was particularly evident in the way the children’s participation evolved and increased throughout the weeks. During the first week, only a small number of children engaged through actions, and very few participated vocally, suggesting an initial lack of confidence. However, by the final session there was a clear progression, and almost all children were engaging in both singing and movement, with some even initiating the song independently before the session began (see video 00:00-01:42).
We also incorporated ‘rubber chicken’ at the start of each session, which made the children excited and ready to participate. While this was not part of our original plan, it proved to be an effective way to engage and develop their motor skills and coordination. The low pressure and playful nature of this activity provided an accessible entry point for participation, particularly for those who were initially more reserved. Our mentor also observed that it supported the development of their numeracy and maths skills, suggesting that the activity had broader educational benefits (Appendix 2).
Appendix 2 – End of Project Mentor Feedback
Although we recognised the value of repetition, we were mindful of the potential for activities to become monotonous. To maintain engagement, we incorporated subtle variations to the warm-up and responded to the children’s suggestions, to keep the sessions dynamic and interesting (see video 01:43-02:14). The children’s increasing enthusiasm and eagerness to participate indicated that we successfully balanced routine with variation. Overall, it was clear that the repeated structure at the start of each session had a positive impact on the children’s confidence, memory, and willingness to participate. For the shyer children in particular, having predictable routines created a supportive environment in which they could gradually build confidence (Appendix 2.B), reinforcing the idea that repetition, is a powerful tool in supporting development during the early years.
Appendix 2.B – End of Project Mentor Feedback
Appendix 3 – Worksheet
With ‘nature’ as the central theme of our project, we took the children outdoors in week 2 to gather inspiration for the song we would later create, providing worksheets with a checklist of items they might find in the outdoor classroom (Appendix 3). Observing their engagement, it was clear that this approach was highly effective, with all children actively participating, approaching the search much like a treasure hunt. They remained focused, demonstrated careful attention to detail, and showed a strong sense of curiosity about the world around them. Working toward the shared goal of locating items further promoted collaborative learning and strengthened social bonds, as children communicated, shared their discoveries, and supported each other throughout the activity. Although we provided a checklist of images, we wanted to ensure this didn’t restrict the children’s independent exploration; so we encouraged them to look beyond the listed items and identify additional features in the environment, which they later represented through their own drawings (see video 02:14-02:23). This approach struck an effective balance, providing a supportive framework to guide the children while still allowing them space for independent, child-led exploration and discovery.
Appendix 4 – Walking in the Garden Lyrics
This activity also contributed positively to the children’s language development, as it exposed them to new words that they could later connect to real-life experiences. Research from Begin Learning states that scavenger hunt-style activities are particularly effective in developing children’s vocabulary, use of descriptive language, and ability to make real-world connections (Wright). This was evident in our activity, as the children showed curiosity about unfamiliar objects and began to engage with new words. For example, the children encountered a centipede, an unfamiliar animal to them, which we later incorporated into our final song (Appendix 4, group 2). Other words such as moss, acorn, and fog were also new and further enriched their language and understanding of the natural world (see 02:24-03:09). Incorporating new words into the song supported the children’s ability to remember them, as repeated exposure reinforced the language in a meaningful and engaging way. Furthermore, using vocabulary linked to the children’s own outdoor experiences grounded the song in familiar contexts, which appeared to strengthen their ability to recall it as a whole. One child reflected in feedback that they remembered the song because they had seen the words in it outdoors. This aligns with research suggesting that children learn most effectively when new ideas are connected to experiences they can relate to (Barr, McClure & Parlakian, 2019).
In week 3, we began to teach and write our song with the children. We started by teaching the prewritten chorus (Appendix 4), which the children picked up very quickly. We then revisited and re-capped our observations from our previous session, presenting an example first verse to demonstrate how their experiences could be developed into a song (Appendix 5). However, it quickly became clear that the verse contained too many words to remember, which led to a decline in engagement. Although we deliberately kept this session loosely structured to try and promote creativity, when we attempted to co-write additional verses using their ideas, only a few children were engaging with the task. In response, we used the remaining time to play musical games, which allowed us to re-engage the group and preserve a sense of enjoyment. Reflecting on this session we reevaluated our approach to songwriting in the following weeks. In the meantime, to support the children’s learning, we sent our mentor a recording of the chorus so that the children could practice in between sessions.
Appendix 5 – Original Verse
Appendix 6 – New Verse
By our next session, the children had practised the chorus and demonstrated increased confidence in their singing, again reinforcing the value of repetition (see 03:09-03:26). In response to earlier challenges, we adapted our writing approach to a ‘fill-in-the-gaps’ method, which allowed us to balance structure with opportunities to include the children’s contributions. This involved introducing simpler verses that incorporated repeated lines and rhyming patterns (Appendix 6), which appeared to enhance both participation and confidence. This aligns with research from BookTrust which highlights that repetition and rhymes support children’s ability to predict what’s coming next and engage more effectively with the content (Kuppen).
Our new approach was initiated through guided conversation, where the first line was modelled and the children were encouraged to suggest ideas to complete it (see 08:05-08:42). While this approach reduced the open-ended nature of the task, it ensured that the children’s contributions were valued within a clearer framework. It was easier for the children to participate; for example, one child less confident in English, contributed the word ‘slippery’ which we used in the final song. This highlights how our adapted approach enabled inclusion and supported language development.
In the following sessions, to avoid overwhelming the children, we adopted a more gradual, step-by-step approach. Rather than introducing new verses through singing straight away, we began by speaking the words, giving the children additional time to process the language before adding the melody. We also introduced larger, clearer visual prompts which appeared to support them in remembering and anticipating what came next (see 07:14-07:48). Research from Reality Pathing highlights the positive impact of visual aids, noting that combining images with songs can enhance learning by increasing predictability, supporting comprehension, and helping children connect language to real-world objects. Seeing images alongside new vocabulary enables children to form stronger associations, which in turn supports both memory and engagement (Reality Pathing, 2025). This was reflected in our feedback, where the children reported that they could easily remember the song by the end of the project, identifying the pictures and actions as key supports, demonstrating the effectiveness of this approach (Appendix 7).
Appendix 7- End of Project Interviews
As we continued to get to know the children and the group dynamic, it became clear that brief, focused activities were most effective for maintaining attention. We therefore kept the songwriting section during week 4 brief and moved on to making shakers, for our final performance. At the end of this session, we introduced a ‘copy this rhythm’ activity, using the shakers, then moved on to clapping the syllables of various animals and natural elements the children had observed outside (see 03:26-05:47). By incorporating words linked to their outdoor experiences, the activity was grounded in familiar contexts, helping the children participate more confidently. We asked the children for their ideas about what words to clap, which further enhanced focus and participation. As The Partnership for Children notes, listening to and incorporating children’s ideas strengthens their confidence and self-esteem by showing that their contributions are valued (Carter & Grimmer, 2025). This was clearly illustrated by one child, initially reluctant to participate, who became increasingly engaged as his contributions were acknowledged. After listening to his story about a mouse, his mood improved and he began to participate more actively (see 05:47-07:20). This example highlights how actively listening to children and valuing their contributions can positively influence both engagement and self-confidence.
During the ‘copy this rhythm’ activity, I observed that while the children could generally copy the rhythm we presented, they often struggled to stay in time and pause for a few beats before repeating it. To address this and further support their rhythm skills, I planned an activity for the following week that focused on clapping and resting within a four-beat bar, an essential skill for our final performance. Recognising that the children responded positively to visual aids, I developed a method using objects to represent four beats (Appendix 8).
Appendix 8 – Clapping a Four Beat Bar
Each paper square represented a beat, the paper ball: a clap, and an empty square: a rest. We began by clapping all four beats, then gradually reduced the number of claps, while ensuring the children continued to rest on the empty squares to reinforce the concept that the beats remain present even when they are not sounded. We then explored different rhythmic patterns, such as clapping on beats 2 and 4 or 1 and 3, while also inviting the children to decide which paper balls to remove (see 08:41-10:34). This activity proved effective as it was simple enough to follow while still requiring thought, which kept the children focused. The element of choice further supported engagement, even for those with limited English, as the visual approach enabled them to participate and suggest new ideas and rhythmic patterns without relying on language. As noted by Gillian Howell, visual representation can reduce the need for verbal explanation, making learning more accessible for diverse groups (Burnard & Murphy, 2017).
In the following weeks, we built on this concept by getting the children to use their shakers to play in time to the instrumental section of our song (see 10:33-11:00). It was clear that this method improved the children’s rhythm skills, as they showed significant progress in maintaining a steady beat compared to previous sessions. Feedback from our mentor further highlighted the success and effectiveness of this activity, noting that she intends to use it in her own teaching. She also observed that the children are now much more confident clapping syllables for words (Appendix 2.C). This feedback reinforces that this activity had a positive impact on the children’s understanding of rhythm.
Appendix 2.C – End of Project Mentor Feedback
Our original plan for week 5 was to develop actions to accompany the final song, however, as the songwriting process took longer than expected, we adapted our plan and prioritised completing the song. This decision was informed by our reflections on earlier sessions, where introducing multiple new elements at once reduced focus and engagement. This said, movement and actions had already been consistently embedded throughout the project which the children often began to mirror independently (see 07:48-08:05). Pairing actions with lyrics can support children’s learning and memory by providing clear physical cues, while also supporting their understanding of new language (Young Academics, 2025). This was particularly evident in one child with little to no English who first engaged through actions before attempting to sing. By the final session, she was able to join in with some of the words, demonstrating the effectiveness of combining movement with learning language.
In week 7, we performed our song for the parents and teachers. For many of the children, this was their first experience of performing, and although some children appeared to be shy, this was a valuable opportunity to listen to each other and be listened to. As our mentor observed, performing for a purpose and an audience brought out the best in some children, and they clearly enjoyed the experience. After finishing the project, we interviewed the children in small groups, to gather their views and feedback on the project (Appendix 9). This gave them the freedom to respond in their own way and answer individually.
Appendix 9 – End of Project Questions to Children
During the interviews, most children said they would like to perform again. One child also shared that they thoroughly enjoyed the performance and that it made them feel “super happy”.
When we asked them how the music made them feel, and whether different songs created different emotions, they recognised that each piece affected them differently. They described our song ‘Walking in the Garden’ as the most exciting song, saying it made them feel “happy” and “good”. They also shared that the songs made them feel calm. Another child commented that the goodbye song made them feel sad, because “when we say goodbye to the music people, I wish they were here again.” These responses support the idea that music-making in the early years can play an important role in supporting emotional awareness and regulation.
For many of the children, this was their first experience of hearing live instruments. A few mentioned that they had heard the violin and guitar before, but only on television. When asked if they would like to play an instrument in the future, all of the children said yes, with some expressing a particular interest in learning the guitar or violin (Appendix 10). This suggests that the experience of live music has inspired them and sparked a new curiosity to explore music further.
Appendix 10 – End of Project Interviews
In conclusion, based on our observations and feedback, our project successfully met its aims by supporting the five areas of development identified above, while also creating a supportive and engaging environment that had a meaningful and positive impact on the children’s overall wellbeing. We observed clear progress in the children’s confidence with music, as well as more broadly, with our mentor highlighting that she has seen increased confidence in speaking within groups, sharing ideas, and using new vocabulary (Appendix 2.D). As a practitioner, the project provided valuable insight into working with this age group, deepening my understanding of how to maintain their engagement and adapt teaching approaches to meet their needs effectively.
Appendix 2.D
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