604
Views
9
CrossRef citations to date
0
Altmetric
Articles

Children's invented notations and verbal responses to a piano work by Claude Debussy

Pages 179-200 | Received 25 Jul 2013, Accepted 27 May 2014, Published online: 01 Jul 2014

References

  • Abeles, H. F. 1980. “Responses to Music.” In Handbook of Music Psychology, edited by D. A. Hodges, 105–140. Lawrence, KS: National Association of Music Therapy.
  • Balkwill, L., and W. F. Thompson. 1999. “A Cross-cultural Investigation of Emotion in Music: Psychological and Cultural Cues.” Music Perception: An Interdisciplinary, Journal 17 (1): 43–64. doi:10.2307/40285811.
  • Bamberger, J. 1982. “Revisiting Children's Descriptions of Simple Rhythms: A Function for Reflection-in-action.” In U-shaped Behavioural Growth, edited by S. Strauss, 191–226. New York: Academic Press.
  • Bamberger, J. 1991. The Mind behind the Musical Ear. Cambridge, MA: Harvard University Press.
  • Bamberger, J. 1994. “Coming to Teach in a New Way.” In Musical Perceptions, edited by R. Aiello, 131–151. Oxford: Oxford University Press.
  • Barrett, M. S. 1997. “Invented Notation: A View of Young Children's Musical Thinking.” Research Studies in Music Education 8: 2–14. doi:10.1177/1321103X9700800102.
  • Barrett, M. S. 1999. “Modal Dissonance: An Analysis of Children's Invented Notations of Known Songs, Original Songs, and Instrumental Compositions.” Bulletin of the Council for Research in Music Education 141: 14–20.
  • Barrett, M. S. 2000. “Windows, Mirrors and Reflections: A Case Study of Adult Constructions of Children's Musical Thinking.” Bulletin of the Council for Research in Music Education 145: 1–19.
  • Barrett, M. S. 2001. “Constructing a View of Children's Meaning-making as Notators: A Case-study of a Five Year Olds Descriptions and Explanations of Invented Notations.” Research Studies in Music Educations 16: 33–45. doi:10.1177/1321103X010160010401.
  • Barrett, M. S. 2002. “Invented Notations and Mediated Memory: A Case-study of Two Children's Use of Invented Notations.” Bulletin of the Council for Research in Music Education 55–64: 153–154.
  • Barrett, M. S. 2004. “Thinking about the Representation of Music: A Case-study of Invented Notation.” 20th ISME Research Seminar, Las Palmas de Gran Canaria, July 9–13.
  • Barrett, M. S. 2006. “Representation, Cognition, and Communication: Invented Notation in Children's Musical Communication.” In Musical Communication, edited by D. Miell, R. Macdonald, and D. J. Margraves, 117–142. Oxford: Oxford University Press.
  • Blair, D. 2006. “Student-created Musical Maps: Meaningful Expressions of Creative Listening.” Paper presented at the Fifteenth International MISTEC Seminar, Hong Kong, July 10–14.
  • Burnard, P. 2000. “How Children Ascribe Meaning to Improvisation and Composition: Rethinking Pedagogy in Music Education.” Music Education Research 2 (1): 7–23. doi:10.1080/14613800050004404.
  • Cohen, S. R. 1985. “The Development of Constraints on Symbol-meaning Structure in Notation: Evidence from Production, Interpretation, and Forced-choice Judgments.” Child Development 56 (1): 177–195. doi:10.2307/1130184.
  • Cole, H. 2001. “Children's Opera.” In Grove Music, edited by L. Macy. Oxford: Oxford University Press. Accessed December 23, 2007. http://www.grovemusic.com.
  • Conneely, C. 2007. “Music Maps: A Graphically-Mediated Approach to Developing Children's Music Listening Skills.” Master diss., Dublin University Press.
  • Davidson, L., and B. Colley. 1987. “Children's Rhythmic Development from Age 5 to 7: Performance, Notation, and Reading of Rhythmic Patterns.” In Music and Child Development, edited by J. C. Peery, I. W. Peery, and T. W. Draper, 107–136. New York, NY: Springer-Verlag.
  • Davidson, L., and L. Scripp. 1988. “Young Children's Musical Representations: Windows on Music Cognition.” In Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition, edited by J. A. Sloboda, 195–230. Oxford: Clarendon Press.
  • Davidson, L., and L. Scripp. 1989. “Education and Development in Music from a Cognitive Perspective.” In Children and the Arts, edited by D. J. Hargreaves, 59–86. Philadelphia, PA: Milton Keynes Open University Press.
  • Davidson, L., and L. Scripp. [1989] 1992. “Surveying the Coordinates of Cognitive Skills in Music.” In Handbook of Research on Music Teaching and Learning, edited by R. Colwell, 392–431. New York, NY: Schirmer Books.
  • Davidson, L., L. Scripp, and P. Welsh. 1988 “‘Happy Birthday’: Evidence for Conflicts of Perceptual Knowing and Conceptual Understanding.” Journal of Aesthetic Education 22 (1): 65–74. doi:10.2307/3332965.
  • Domer, J., and Gromko, J. E. 1996. “Qualitative Changes in Preschoolers’ Invented Notation following Music Instruction.” Contributions to Music Education 23: 62–78.
  • Elkoshi, R. 2002. “An Investigation into Children's Responses through Drawing, to Short Musical Fragments and Complete Compositions.” Music Education Research 4 (2): 199–211. doi:10.1080/1461380022000011911.
  • Elkoshi, R. 2004a. “Is Music Colorful? A Study of the Effects of Age and Musical Literacy on Children's Notational Color Expressions.” International Journal of Education & the Arts 5 (2). Accessed December 24, 2007. http://ijea.asu.edu/v5n2.
  • Elkoshi, R. 2004b. “Interpreting Children's Invented Graphic Notation.” Arts and Learning Research Journal 20 (1): 61–84.
  • Elkoshi, R. 2008. “A Study of Music Listening Practices through the Verbal and Graphic Reports of College Students.” 28th ISME World Conference, Bologna, July 20–25.
  • Elkoshi, R., R. Murphy, and P. Burnard. 2007. “Is Early Musical Symbolization a Universal Human Activity? Reports from a multicultural developmental pilot study.” Summary papers and abstracts at the 5th International Conference for Research in Music Education, School of Education and Lifelong Learning, University of Exeter, April 10–14.
  • Elkoshi, R., R. Murphy, P. Burnard, A. Eriksson, and J. Ballantyne. 2008. A Cross-cultural Study of Children's Emergent Musical Literacy: The PAIS Project. Bologna: ISME Symposium.
  • Eng, H. 1931. The Psychology of Children's Drawing. London: Routledge & Kegan Paul.
  • Flowers, P. J. 1983. “The Effect of Instruction in Vocabulary and Listening on Nonmusicians’ Descriptions of Changes in Music.” Journal of Research in Music Education 31 (3): 179–189. doi:10.2307/3345171.
  • Flowers, P. 1984. “Attention to Elements of Music and Effect of Instruction in Vocabulary on Written Descriptions of Music by Children and Undergraduates.” Psychology of Music 12: 17–24. doi:10.1177/0305735684121002.
  • Fung, C. V., and J. E. Gromko. 2001. “Effects of Active versus Passive Listening on the Quality of Children's Invented Notations and Preferences for Two Pieces from an Unfamiliar Culture.” Psychology of Music 29 (2): 128–138. doi:10.1177/0305735601292003.
  • Gates, J. T. 1988. Music Education in the United States: Contemporary Issues. Tuscaloosa: University of Alabama Press.
  • Gibbs, R. W. 1994. The Poetics of Mind. Cambridge: Cambridge University Press.
  • Goodnow, J. J. 1971. “Auditory-visual Matching: Modality Problem or Translation Problem?” Child Development 42: 187–201. doi:10.2307/1127803.
  • Gromko, J. E. 1994. “Children's Invented Notation as Measures of Musical Understanding.” Psychology of Music 22 (2): 136–147. doi:10.1177/0305735694222003.
  • Gromko, J. E., and A. S. Poorman. 1998a. “Developmental Trends and Relationships in Children's Aural Perception and Symbol Use.” Journal of Research in Music Education 46 (1): 16–23. doi:10.2307/3345756.
  • Gromko, J., and A. S. Poorman. 1998b. “Does Perceptual-motor Performance Enhance Perception of Patterned Art Music?” Musicae Scientiae: The Journal of the European Society for Cognitive Sciences of music 2 (2): 157–170.
  • Gromko, J. E., and C. Russell. 2002. “Relationships among Young Children's Aural Perception, Listening Conditions, and Accurate Reading of Graphic Listening Maps.” Journal of Research in Music Education 50 (4): 333–342. doi:10.2307/3345359.
  • Hair, H. I. [1993] 1994. “Children's Descriptions and Representations of Music.” Bulletin of the Council for Research in Music Education 119: 41–48.
  • Hargreaves, D. 1982. “The Development of Aesthetic Reactions to Music.” Psychology of Music (Special Issue), 51–54.
  • Hargreaves, D. J. 1992. The Developmental Psychology of Music. New York, NY: University of Cambridge Press.
  • Kerchner, J. 2001. “Children's Verbal, Visual, and Kinesthetic Responses: Insight into Their Music Listening Experience.” Bulletin for the Council of Research in Music Education 146: 35–51.
  • Lindstrom, M. 1957. Children's Art. Berkeley: University of California Press.
  • Maxim, C. 2001. “Keyboard Music: Romanticism and the Miniature.” In Grove Music, edited by L. Macy. Oxford: Oxford University Press. Accessed December 23, 2007. http://www.grovemusic.com.
  • Meyer, L. B. 1961. Emotion and Meaning in Music. Chicago: University of Chicago Press.
  • Murphy, R., and R. Elkoshi. 2004. “Is Phonographic Art Universal? Investigating Graphic Notations of Pre-school Children from Israel and Ireland.” Paper presented at ISME the 26th World Conference in Music Education, Tenerife, July 11–16.
  • Naxos of America, Inc. 2013. Classics for Kids. http://www.classicsforkids.com/music/.
  • Oriedge, R. 2007–2009. Debussy, Claude, The Oxford Companion to Music. Accessed April 14, 2009. http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e1846?q=debussy+claude.
  • Piaget, J. 1973. To Understand is to Invent. New York, NY: Grossman.
  • Piaget, J., and B. Inhelder. 1956. The Child's Conception of Space. New York, NY: Norton.
  • Piaget, J., and B. Inhelder. 1969. The Psychology of the Child. London: Routledge & Kegan Paul.
  • Pramling, N. 2009. “External Representation and the Architecture of Music: Children Inventing and Speaking about Notations.” British Journal of Music Education 26 (3): 273–291. doi:10.1017/S0265051709990106.
  • Rodriguez, C. X., and P. R. Webster. 1997. “Development of Children's Verbal Interpretative Responses to Music Listening.” Bulletin of the Council for Research in Music Education 134: 9–30.
  • Shockley, R. 2006. “Mapping Music: Some Simple Strategies to Help Students Learn (Pedagogy Saturday X: THE ART OF TEACHING).” American Music Teacher 56 (2): 34–36. http://www.highbeam.com/doc/1G1-152869308.html.
  • Sims, W. L. 1986. “The Effect of High versus Low Teacher Affect and Passive versus Active Student Activity during Music Listening on Preschool Children's Attention. Piece Preference, Time Spent Listening, and Piece Recognition.” Journal of Research in Music Education 34: 73–191. doi:10.2307/3344747.
  • Sims, W. L., and J. W. Cassidy. 1997. “Verbal and Operant Responses of Young Children to Vocal versus Instrumental Song Performances.” Journal of Research in Music Education 45 (2): 234–244. doi:10.2307/3345583.
  • Sims, W. L., and D. B. Nolker. 2002. “Individual Differences in Music Listening Responses of Kindergarten Children.” Journal of Research in Music Education 50 (4): 292–300. doi:10.2307/3345356.
  • Sloboda, J. A., and P. N. Juslin. 2001. “Psychological Perspectives on Music and Emotion.” Music and Emotion: Theory and Research: 79–96. Accessed July 15, 2013. http://en.wikipedia.org/wiki/Music_and_emotion#cite_ref-Mote_17-1.
  • Smith, K. C., L. L. Cuddy, and R. Upitis. 1994. “Figural and Metric Understanding of Rhythm.” Psychology of Music 22 (2): 117–135. doi:10.1177/0305735694222002.
  • Tan, S.-L., and M. E. Kelly. 2004. “Graphic Representations of Short Musical Compositions.” Psychology of Music 32 (2): 191–212. doi:10.1177/0305735604041494.
  • Truman, S. M. 2007. “Encouraging Children's Collaborative Creativity in a Music Composition Task: Summary and Results.” Summary papers & abstracts, The Fifth International Conference for Research in Music Education, University of Exeter, School of Education and Lifelong Learning, April 10–14.
  • Upitis, R. 1987a. “Toward a Model for Rhythm Development.” In Music and Child Development, edited by J. C. Peery, I. W. Peery, and T. W. Draper, 54–79. New York, NY: Springer-Verlag.
  • Upitis, R. 1990. “Children's Invented Notation of Familiar and Unfamiliar Melodies.” Psychomusicology 9 (1): 89–106. doi:10.1037/h0094156.
  • Upitis, R. 1992. Can I Play You My Song? The Compositions and Invented Notations of Children. Portsmouth, NJ: Heinemann Educational Books.
  • Upitis, R. 1993. “Children's Invented Symbol Systems: Exploring Parallels between Music and Mathematics.” Psychomusicology: A Journal of Research in Music Cognition 12 (1): 52–57. doi:10.1037/h0094117.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.