Introduction
This term a team and I delivered a community music project to a reception class in Primary School. We looked at the book “Hello Spring”, creating different soundscapes. Active participation in “music making” helps children develop “personal and social skills”, increasing their “emotional sensitivity” (Hallam, Creech, 2010: 11). Storytelling and soundscapes provided a “safe”, musical “outlet for expression” (Thrivechildcare.com, 2025). My role involved planning and leading sessions, communicating with our mentor, and ensuring the final performance was successful. This essay evaluates placement, critically reflecting on specific aims and my development as a practitioner.
The Placement
The placement aims were: to perform the book and soundscapes, build the children’s confidence through musical activities, and help children manage and express emotions. I created a scheme of work, dividing the soundscapes into manageable sections. Allocating specific time for each soundscape meant the class could explore the themes in both “Hello Spring” and the music we created. By performing and practicing these soundscapes, I anticipated their memory and concentration skills would improve. Recalling musical “patterns, sequences, and rhythms” helps improve a child’s “working memory”, developing their retention of information in “academic subjects” (Theatretrain.co.uk, 2024).
Including weeks to revisit soundscapes, and a break between session 3 and 4, my structured scheme of work aided in developing retention of information for varying periods of time. A child’s “long-term memory, working memory, cognitive control, and attentional capacities” change rapidly during “early childhood” (Gualtieri, Finn, 2022). Challenging their retention, over multiple sessions, helped encourage this development. Unexpectedly, they retained elements of each, even ones not played for several sessions.
Aim 1: To Perform the Book and Soundscapes
The initial aim to perform the soundscapes to parents and carers, alongside a narration of “Hello Spring” became unachievable. Instead, we performed to year 6’s, still giving our class a sense of achievement.
Week 3 Session Plan
“The Sounds of Spring”
The class created soundscapes before the performance. When creating “The Sounds of Spring”, I played nature sounds to them. By asking them to listen and think about how to reproduce these with instruments, I aimed to foster their creativity, creating a safe exploratory space to improvise. Improvisation helps develop “creative thinking in children” through a “process of discovery” (Navarro Ramón, Chacón-López, 2021). With encouragement, and after providing a starting point of “animals” and “grass”, the children were confident to participate (see Video Appendix 1, 0:00-0:45). Using class suggestions, I outlined a story. This allowed students to explore musical sounds, with the environment ensuring more reserved children could participate and enjoy, and more confident students could explore further.
When one student played woodblock sounds to mimic ‘birds’ I acknowledged his contribution, relaying his idea to the group and reinforcing a supportive environment, encouraging musical ‘risks’ (see Video Appendix 1, 0:45-1:49). A nurturing environment where children can “connect and interact”, and develop a musical “sense of self”, improves their creativity and confidence (Burnard, 2002: 169). Feeling safe enough to contribute ideas, and explore sounds, meant they were confident when performing this soundscape, and could adapt to changes in dynamics and tempos.
Video Appendix 1
Section of ‘Hello Spring’ for Week 3
Week 5 Session Plan
“Thunder”
The aim of this soundscape was to improve their unison playing and continue developing their improvisation skills. After reading the relevant section of “Hello Spring” I asked the class what they thought rain sounded like. Expecting reluctance, I included ideas in this week’s session plan. However, they confidently demonstrated heavy rain. Using this as a starting point, I encouraged exploration through loud, fast shaking/tapping of instruments, further developing this by asking what lighter rain sounds like. Giving the class ownership of “Thunder” helped build a sense of “community” and provided an opportunity to “work hard at something”, experiencing collective pride over their “achievements” (Walker, Parkinson, 2002: 2, 37). As we continued to improvise, I asked what thunder sounds like. Several students began playing loud, slow crotchets.
Listening to their contributions, combined with the session plan, I adapted their ideas to fit a controlled piece. Initially the class struggled with synchronised playing, often playing several notes. However, after demonstrating and repeating the crotchets out of context, they were able to replicate this effect. “Isolating” and repeating a difficult section, creates “accurate, habitual movements” that can be replicated in both practice and performance settings (Ogden, 2026). This method helped the class develop. I then added the rain sounds back in, finishing the “Thunder” soundscape (see Video Appendix 2, 0:00-0:42). Positive encouragement helped develop this skill, with reactions for the practitioners improving their confidence playing difficult sections.
Video Appendix 2
Section of ‘Hello Spring’ for Week 5
Pre-Performance Session Plan
The Performance
After creating each soundscape we prepared for the performance. Our aim was to provide a sense of accomplishment at the project end. A tangible goal of performing their soundscapes and “Hello Spring” met this aim. Performing music stimulates the entire brain, “with neural pathways connecting” different areas “throughout the brain” (Hodges, Wilkins, 2015). Forming these “new pathways” and “strengthening existing ones” can be referred to as “neuroplasticity” (Cherry, 2024). Collectively experiencing music, during rehearsals and performances, in an enriching “learning environment[]”, can develop this neuroplasticity and improve a child’s cognitive ability (Cherry, 2024).
Ensuring they felt confident and supported during the performance was vital for them to experience these cognitive benefits. To achieve this, the lesson before was spent revisiting soundscapes.The class felt comfortable, excited and confident due to our consolidation. Therefore, adequate preparation before the performance was essential. “A high level of preparation” is vital for “confidence” (performancehigh.net, 2012).
Video Appendix 3
By including physical activities, in the middle and start of the session, the class’s energy increased, improving their body language and mindset. By creating a story about animals to begin the session, I anticipated the class’s confidence would increase. Using this warm up, I expected the class would need additional time to build their confidence. However, the class were surprisingly quick to engage (see Video Appendix 3, 0:00-1:38).
Physical activity supports the “cognitive development” of “young children”, improving their “inhibition, attention, and cognitive flexibility” (Pacheco, et al, 2025). With this week’s session being faster paced, I anticipated the group would lose focus and need a break. To re-engage the group I included “Move!” (see Video Appendix 3, 1:39-2:41). This song gradually increases in speed and provides specific activities for the group to release energy. The group responded well to this activity, re-engaging successfully before continuing with the rehearsal.
Performance PowerPoint
Aim 2: To Build Confidence Through Music
The next aim was to build the class’s confidence through music. Interacting with music “contributes” to children feeling “more understood and less isolated with their emotions” (Herbert, 2023). Experiencing music within a group, and having contributions validated, can arguably increase the self-esteem and confidence of children.
“If I Were a Duck” Lyric Sheet
“If I Were a Duck”
We included “If I Were a Duck” to meet this aim, a song designed for early years children. We adapted the song to make it more suitable, adding an introduction and sections for the class to contribute in. A child-led environment was created by additional pauses for animal sound suggestions. Repetition of the introduction was necessary to improve their confidence singing the words and rhythms. A consistent framework supports retention of material and improves confidence through predictability. Research shows that once a child “understand[s] a framework, they have unending ideas of how to adapt it” (Osmond, 2024). When developing this song, I anticipated the class would need additional time to adjust. To remove confidence barriers we repeated the song throughout the placement (see Appendix – Session Plans). Using settings such as a farm, jungle, or the arctic meant the activity remained engaging and gave hesitant children experience of a safe supportive environment before contributing.
Throughout the project they became more enthusiastic, actively volunteering suggestions (see Video Appendix 4, 0:00-1:19). Singing in a group helps children develop a “sense of belonging” through “unity and cooperation” (Elliott, 1960: 17). This “positive outlet for expression” allowed the class to develop their “resilience”, with students who were initially hesitant to contribute recognising this safe space and actively engaging by the final session (Herbert, 2023).
Crotchet Exercise
To develop the class’s confidence through music, we taught them musical notation. Everyone learning something new removes barriers, creating an inclusive environment. “Inclusion is not merely about physical presence” and instead requires “musical activities (to) hold space for personal meaning-making” and “collective belonging” (MacGlone, 2026). Making music accessible encourages participant engagement. Understanding what they’re playing and why, provided purpose and enjoyment, as the “ability to read music” allows us to “enjoy more music” (Elliott, 1960: 103).
We first learnt crotchets and rests by matching names and definitions to pictures. I initially thought notation might confuse the class, and overestimated the amount of time needed (see Week 4 Session Plan). Extra time allowed us to explore different patterns, asking them to volunteer suggestions. This meant they were more confident and able to accurately repeat crotchets and rests.
Our use of rests became vital for classroom management. When teaching rests I demonstrated ‘rest hands’, connecting physical movement with silence. Using ‘rest hands’ (see Video Appendix 4, 1:20-2:33), I re-engaged the class and removed distractions when they lost focus. Crotchets and rests were then utilised when creating different soundscapes, with “Emotions” containing specific notation patterns and “Thunder” including a unison crotchet. This application meant the class were understanding of the musicality used in the soundscapes, allowing for ] quicker transfer to instruments from clapping.
Week 4 Session Plan
After this, we taught the class quavers. Quickly they were able to understand and replicate these. However, when faced with an interactive video of Vivaldi’s ‘Spring’ they became overwhelmed, losing sense of the positive work previously done. Upon reflection, I encouraged independent pattern making, restoring previous confidence and achievement.
Using assertive cues, like “ready, go” helped develop their confidence. These cues allowed for unified playing. The “teamwork” required to achieve this meant their “social skills” improved, with a collective sense of accomplishment helping participants develop their confidence, even if they didn’t play the crotchet perfectly (Chowdhury, 2025). Using correct terminology helped the class feel accomplished, these feelings were replicated each time they remembered the names or ‘rest hands’. However, our video activity hindered their development. Although they could accurately play patterns with a combination of quavers, crotchets, and rests, adding other movement disrupted progress. If I were to complete a similar placement, more time would be allocated to comprehend challenging activities.
Video Appendix 4
Notation Images
Aim 3: To Help Children Manage and Regulate Emotions
The final aim was to help children manage and regulate emotions. Research shows that engaging with music helps children “express themselves” (Hallam, Creech, 2010: 9). Music provides an “emotional release” and helps children reduce the “feelings of stress” (Hallam, Creech, 2010: 11). Learning to identify and regulate their emotions from a young age aids emotional development, which can be supported through music.
Section of ‘Hello Spring’ for Week 4/5
“Emotions”
To achieve this aim we devised an “Emotions” soundscape. When exploring this, I started by identifying two different groups of emotions. The first contained anxious, sad, and frustrated; the second contained excited, happy, and joy.
Week 4 defined anxious, sad, and frustrated. This soundscape’s creation had minimal contribution from students, so was mainly practitioner-led. Exploring and defining negative emotions helps children recognise complex emotions in the future, and assists with their emotional regulation by providing a safe space to explore them. As “self-regulation is considered the foundation” for “emotional well-being” and “mental health” later in life, exploring these emotions and ways to express them was vital for this project (Zachariou, et al, 2023). As this session continued, the class became disengaged. Lack of focus when exploring difficult emotions meant (see Appendices – Session Evaluations) after evaluation I removed the ‘sad’ soundscape from the concert.
The following week, we explored positive emotions. They responded well to dynamic changes and engaged throughout the session (see Video Appendix 2, 0:00-1:06). They were able to accurately include crotchet patterns, even adding step-tap movement. Providing time to explore ‘happy’ emotions meant they willingly offered suggestions for emotions.
Music Drawing
Another activity I implemented to develop emotional awareness was ‘music drawing’. In the final week, they listened to music and drew what they thought it looked like. I anticipated this activity might cause some confusion, however they enthusiastically started drawing spring themes on their whiteboards (see Video Appendix 3, 2:42-3:38). Research argues that listening to music should be “active”, “stimulating, imaginative, and creative” (Elliott, 1960: 75). This activity provided reflection time on the project, creating a calm, appreciative atmosphere from the class and practitioners, before performing. The whiteboard images helped the class visualise their emotions, which will support them recognising complex feelings later.
Allocating time to explore various emotions helped achieve our final aim. Using activities that require “concentration” meant the class could actively process their responses to music (Hallam, Creech, 2010: 55). Processing emotions and recognising them is vital for young children to manage and regulate complex feelings. Music can “influence mood and emotions”, so providing an outlet to explore them was vital for the achievement of this aim (Hallam, Creech, 2010: 63).
Allocating time to explore various emotions helped achieve our final aim. Using activities that require “concentration” meant the class could actively process their responses to music (Hallam, Creech, 2010: 55). Processing emotions and recognising them is vital for young children to manage and regulate complex feelings. Music can “influence mood and emotions”, so providing an outlet to explore them was vital to achieve this aim (Hallam, Creech, 2010: 63).
Intervention Group
We included small group interventions for 3 weeks of the project. These sessions were designed to help reserved students become familiar and build a trusting relationship with us. In each session we explored a topic relevant to the main group, addressing key points at an accessible, slower pace. This safe environment allowed an improvement in confidence when improvising. One student began the project reserved but through intervention sessions was able to contribute successfully to the main group. The “framework” we created allowed students to “experience peer learning” and “express themselves” without becoming overwhelmed (Hallam, Creech, 2012: 321). Lucy Green argues a “musical world” is where our “individual… experiences interconnect with our collective social life” (Swanwick, 2012). Interconnection between music and social experiences was successfully achieved through intervention sessions.
Intervention Session Plans
Personal and Practitioner Development
Throughout this project I frequently ‘adapt[ed]’ my delivery and session content to keep the class engaged. Within community music, the framework of “situational pedagogy” helps a practitioner navigate the changes in group dynamic, “which can occur from session-to-session” (Cohen, et al, 2016: 222). This approach supports a practitioner when delivering, as different responses to delivery can change the trajectory of the session. A “situational” approach ensures a practitioner is “never static in one approach” (Cohen, et al, 2016: 217). During this placement I focused my pedagogical approach around this adaptive approach. I had to be particularly flexible during ‘Week 3’, where my team had prepared an hour-long session focused on creating “The Sounds of Spring”. However, once at the school we were asked to instead complete two 30-minute main group sessions. As the class weren’t expecting this, there was some hesitance to follow instructions. To ensure a successful session I used ‘familiar behaviour management strategies’ to re-engage and focus the class, providing necessary structure.
Conclusion
Overall, this evaluation provides evidence for the success of this community music project. Through a variety of different activities, my team were able to successfully meet our initial aims. Using multiple classroom management techniques, both previously established and introduced by the team throughout the project, meant our sessions were focused and effective. The evaluation of myself and student feedback, supported the argument that through musical intervention and the use of soundscapes in our project confidence of the class improved, particularly when ‘playing music in a group’ and ‘talking to… classmates’.
The success of this project can be replicated in other schools. By adapting activities and the book foundational to our soundscapes, this project can be repeated with capacity to expand using school partnerships.
The “positive effects” music making and education has on young children is vital for their “social development”, “communication and collaboration skills”, and emotional and “social well-being” (Stamou, et al, n.d.: 64). Focusing this project around these benefits and the “social inclusion” music making encourages is arguably why this project was an overall positive and beneficial experience for both participants and practitioners.
Student Survey Data
Appendices
Session Evaluations
All Session Plans
Our Soundscapes – Final Musical Ideas
Bibliography
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