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https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=73d9f314-3dd2-44f6-a3d8-b3a900fe85d1Introduction
This critical evaluation examines the research for the upcoming ten-hour placement at Burley and Woodhead Primary School with Reception-age children (4-5 years old). The project will engage both whole-class groups and two targeted intervention groups. The intervention groups include children who learn at a slower pace and children with English as an additional language. This evaluation assesses the alignment of the project with its stated objectives (see Appendix A) and evaluates the appropriateness of the selected methodologies and outcome measurement for the target groups.
Evaluation of Chosen Methodology and Pedagogy
Staff Advice on Participant Learning Focuses
Three highlighted areas of the curriculum were informed by the school staff, which are Communication and Language, Personal, Social and Emotional Development (PSED), and Physical Development. These focus areas also align with the Early Years Foundation Stage (EYFS) framework (Department for Education, n.d.). In response, this project was planned to introduce musical learning through a storybook, allowing children to explore soundscapes and emotional expression.
Staff also noted that some children require additional support to build confidence and understand new ideas, particularly children who are not native English speakers and those who process information more slowly. Therefore, extra mini-classes are planned before the main sessions during the first three weeks (see Appendix B). These sessions are designed in line with Ofsted’s Bold Beginnings guidance, which suggests that existing content should be broken into smaller, more manageable steps (Ofsted, 2017:18).
Observations and research on Reception-age children (Ages 4-5)
Based on observations and research into Reception-age children, children are benefit from multi-sensory activities. Together with the methodologies proposed by Kodály, Orff, and Swanwick, these principles constitute the design of the project.
Research suggests that multi-sensory music activities support attendee’s sensory integration and their behavioural engagement, particular for young learners (Lee, 2025:1&10). Lee suggested music pads make a significant difference in young children’s music learning because it supports the integration of movement with musical elements. However, due to limited resources, this project can only be designed to focus on similar element instead of using a music pad. This project is designed to explore soundscaping using instruments and movement and supported by illustrations from a storybook. This approach encourages imaginative sound-making, allowing children to express sounds and emotions while exploring listening, singing, and instrumental playing in an accessible and playful way.
The Kodály method was chosen for its strong emphasis on its inclusive music education approach. Kodály emphasised joyful, participatory learning, particularly through singing, as a pathway to achieve high musical quality and support personal development (Kodály, 1929 in Tiszai, 2015). He considered that singing is a natural musical ability and accessible for young children. Within this project, singing will be highly adapted through playful vocal activities such as “If I Were a Duck” in Week 3, combining singing with movement and imaginative animal sounds. Meanwhile, pitch accuracy is not the main focus, but to encourage joyful participation and ensure that every child feels confident to join in.
The Orff method focuses on exploring sound and space. Music elements such as pitch, rhythm, dynamics, and tempo are introduced from their simple forms and gradually build up over times. Gustina suggested that this helps create a safe and trusting learning environment where students have time to reflect (Gustina, 2020:64-65). In this project, Orff ideas are applied through activities such as the “Egg Nest rhythm game” in Week 3. This activity introduces rhythm through imitating simple clapping from the tutor. The level of difficulty will increase over time, progressing from crochet beats to quaver beat patterns. Rhythm and physical gestures will also be incorporated through the game, enabling children to internalise pulse through participation. In “If I Were a Duck” (Week 3), call-and-response will be used to encourage children to respond to the changes in dynamics, for example, exploring how a duck might sound when it is sleeping. Other activities include simple ostinato patterns and repeat-after-me instrument tasks. However, the Orff approach has limitations. Its strong reliance on imitation and repetition may reduce opportunities for creativity. It is therefore important to encourage individual responses throughout sessions.
Swanwick’s CLASP framework emphasises the balance between Composition, Literature studies, Audition, Skill acquisition, and Performance (Swanwick, 2002:45-47). These elements are closely connected, with each supporting the development of the others. Rafael (2022:19) also suggested that performance can support cognitive development in young children. In this project, a short performance is planned in the final week, encouraging children to perform in front of others and providing an opportunity for parents to share their children’s learning experience. Swanwick (2002) also suggested that children’s musical responses should be treated as evidence of thinking, and the responses should be used for planning sessions. To apply this framework, debriefing after each session with mentors and group members is essential. In order to follow this method, as a result, the project plan may need to change according to children’s abilities and engagement each week. However, this flexible approach may reduce consistency and make progression more difficult to measure within this short teaching period.
For intervention groups with English as an Additional Language (EAL), children are benefit learning through song. The government notes that Reception-age children with EAL can join in with refrains and learn verses by heart through call-and-response (Department for Education, 2023:41). In response, songs in the intervention sessions are introduced line by line and at a slower pace. This allows children sufficient time to process new vocabulary and meanings in an English-language learning environment. Clear structure and communication are also essential at this developmental stage. Activities are therefore planned with clear visual and gestural cues to support understanding, reduce uncertainty, and help children feel secure and ready for each transition.
From an emotional development perspective, research suggests that musical activities are more effective than non-musical ones in helping children recognise emotions in music, text, and images (Blasco-Magraner, 2021:19-20). Music can help children understand and express their emotions. Creating a safe space for expression and celebrating small achievements helps the development of trust within the group. Additionally, working in small, consistent groups with the same adult helps reduce anxiety and promotes a sense of security.
Additional Considerations Not Yet Mentioned in Teaching Plan
Teaching should be systematic and structured (Ofsted, 2017:14). Routine songs are an important tool in supporting this approach, as they help children anticipate the structure of sessions and feel secure. The use of consistent hello-and-goodbye songs is particularly valuable for marking transitions and delivering predictable routines.
Sensory sensitivities should also be concerned, especially for children who may find sudden loud sounds distressing (Sensory Integration Education, 2023). The project plan should include strategies such as avoiding sudden changes in dynamics, in order to offer a predictable environment. Quieter instruments, and other alternative options such as headphones should be prepared.
Ethical Considerations Within Learning Needs Research
Reception-age children are a vulnerable group and rely on adults to safeguard their physical and emotional well-being. For this reason, safeguarding procedures and consent are essential. Hence consents were obtained prior to the project commencing. Any photographs or artefacts are used solely for educational reflection and are not shared publicly without explicit permission (Department for Education, 2025). This is particularly important because Reception-age children are not able to understand how their images, behaviour, or creative work may be used.
Outcome Measurement
The evaluation framework prioritises process gains over polished performance. Positive process gains are defined by increased confidence, emotional regulation, and active participation. As suggested through research and tutor guidance, the outcomes of this project are planned to be measured through observation of children’s responses across sessions and through staff reflections.
Children’s engagement and responses are monitored using a smiley face chart. The “smileyometer” is accessible for young children, allowing them to point at or circle the corresponding emoji in order to reflect their feelings (Read, 2025:8). Observations on children’s behaviours such as willingness to join in, attempt new activities, and interact with peers, also reflects the engagement of the children. Confidence is also a key focus, particularly for children in the intervention groups. Measurements such as reaction times before and after activities, as well as indicators like starting together, responding to cues, and initiating sounds or movement, can be used to assess children’s attention and responsiveness.
Staff feedback is collected through questionnaires, designed following guidance from Oxford University (2015). These can be completed before and after sessions to record changes in children’s confidence, emotional regulation, and participation.
However, these measurement methods not able to give a full picture of children’s learning, as they rely primarily on observation and staff feedback rather than quantitative data. But for a short-term project involving Reception-age children, these approaches are considered appropriate and sufficient, as they prioritise engagement, emotional development, and participation, which are more meaningful indicators of learning at this developmental stage.
Conclusion
This evaluation critically examines the research and planning decisions that support the proposed music project for Reception-age children at Burley and Woodhead Primary School. By drawing on staff consultation, observation, and relevant literature, the project plan integrating Kodály, Orff, and Swanwick’s frameworks has been designed to respond to the developmental, emotional, and linguistic needs of both whole-class and intervention groups, supports an inclusive, multi-sensory, and process-focused approach to early years music education.
The evaluation highlights the importance of mentioned pedagogy, ethical awareness, and process-based outcome measurement when researching and designing music education projects for young children. It also highlights that in early years music education, focusing on the learning process such as participation and emotional development is more meaningful than judging technical skill alone. Although the research was limited by its short time frame, it still provides a solid foundation for planning and reflective practice.
Appendix
Appendix A – Project Aims
The project is designed to:
- Build children’s confidence through exploratory musical activities.
- Develop musical skills through singing, rhythm, movement, and listening.
- Support social interaction and teamwork through shared music-making.
- Create a safe and predictable learning environment.
- Foster creativity and curiosity through imaginative, multi-sensory musical experiences.
Appendix B – Project Structure & 7 Weeks Project Plan
Project Design Approach
The project plan is structured using Design Thinking principles (Beccaux, 2015; Gibbons, 2016), following the stages of empathise, define, ideate, prototype, and test. This framework supports a systematic and reflective planning process that responds to children’s needs and informs ongoing adaptation.
Book: Hello Spring
Central ideas: Friendship, sadness, worry, and resilience → culminating in the message that friendship is most important.
Approach: Use music and movement to explore emotions, encourage physical development, and support communication and social skills.
Intended outcome: Children are supported to express feelings through soundscapes, songs, and movement, while developing confidence and empathy.
Intervention Groups
- Mini-classes: 30 minutes before the main session
- Frequency: 2 sessions per week for the first 3 weeks
- Content: Same material as the main class, simplified and scaffolded
- Target participants:
- Children learning at a slower pace
- Children with English as an Additional Language (EAL)
- Children with low confidence
Week 1
- Warm-up: Hello Song; movement to the beat
- Main activity: Storytelling with sound effects (Hello Spring); percussion for weather sounds
- Cool-down: Calming movement game (rain, snow, sunshine)
Week 2
- Warm-up: Jungle animal movement; genre drawing
- Main activity: Instrument exploration; “Map” soundscape journey
- Cool-down: Goodbye Song
Week 3
- Warm-up: “If I Were a Duck” – animal sounds & dynamics
- Main activity: Egg Nest rhythm game; “Sounds of Spring” soundscape
- Cool-down: Goodbye Song with rhythm tracing (Brahms Waltz)
Week 4
- Warm-up: “If I Were a Duck” in a jungle context
- Main activity: Emotions soundscape (Spring Fairy’s feelings)
- Cool-down: Movement song exploring emotions
Week 5
- Warm-up: Genre drawing; repeat-after-me instruments
- Main activity: Recap soundscapes; Thunder soundscape
- Cool-down: Goodbye Song with rhythm tracing
Week 6
- Warm-up: Vivaldi’s Spring body percussion
- Main activity: Final Spring soundscape (friendship, emotions); recap all soundscapes
- Cool-down: Walking through Season Isle; quiet dynamics
Week 7
- Warm-up: Simon Says with dynamics
- Main activity: Rehearsal of soundscapes with cues; performance of Hello Spring retelling
- Cool-down: Movement exercise as spring animals
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