Kedda Music

Claus D Jensen asked:


Music for Mother and Child



Summary of a report on the effect of specially composed music on fetuses, infants, toddlers and parents

“We were just visited by a couple and their 8 months-old girl. At one point during the evening she was restless and distressed. I put on the CD “Tales of the Ocean” from the CD series “Music for Mother & Child”, and she began to listen, and calmed down with her mother. After a short time she was asleep – and my unborn child “danced” in my womb.” (Ann, mother-to-be)

Background and objective

In the summer of 1999 the two musicians and composers, Claus D Jensen and Henrik Birk Aaboe, produced the CD series Music for Mother & Child, which contains music specially composed and designed to calm fetuses, infants, toddlers and parents. In the course of the process henrik and Claus received such exciting responses from people that they decided to undertake a private study of the effect of the music on pregnant women, infants and their parents.

They wanted to study the direct effect on fetus/infant, as well as the indirect effect: whether the music could calm down the parents, and whether the tranquillity of the parents could positively affect or be imparted to the fetus/child.

In addition to studying how the music affected the participants in the study, they wanted information on how often and when the music was used and for how long at a time. The participants were given the CDs and a questionnaire in the form of a checklist with space for supplementary comments.

Study Group

44 people participated in the 12-week study. The 44 participants were divided into three groups:

1. Mothers-to-be, some of whom gave birth during the course of the study.

2. Parents with infants and toddlers from 0-3 years of age.

3. Practitioners who work with infants and/or pregnant women.

 

How the music originated

The idea for the CDs arose from a common desire of the musicians to compose music that could give fetuses/infants a good start in life.  For it is recognized as an extreme upheaval to leave the mother’s secure womb and suddenly face the “real” world. They wanted to compose music that could impart security and inner as well as external peace and tranquillity.

One thing that impressed the composers was that during their research they read an articleabout the widely recognized French physicist Tomatis, and learned that hearing is the first sense that is developed, and that the fetus already has a fully developed sense of hearing by the 6th month.

Conclusion of the study

Of the pregnant women questioned, 88% were positively affected by the music. Most of them described the effect with words such as “relaxing”, “calming” and the like. One found that by listening to the music her fear of the childbirth was replaced with confidence in a positive birth experience.  

One created a personal space with the music, so that instead of depression she found solutions for what she could do. 79% of the pregnant women could feel a reaction from the fetus, either often or occasionally or infrequently. Several could directly perceive that the fetus was calmed and that it was responsive to the music.  Two of those participating used the music during the childbirth, and they both had a positive experience with it, because the music was both relaxing and distracting.

Of the new parents questioned, 93% were positively affected by the music, and typical reactions were that the music was exceptionally relaxing and good against stress, that it was energizing, etc. No one was negatively affected.

The study shows that the music, besides having a clear effect on the fetus, had a significantly positive effect on infants and toddlers. 72% of the respondents found that the music had a positive effect on their children. Many experienced very significant and powerful reactions.

55% of the respondents noticed the positive reaction from the children immediately, while 17% replied that the reaction came after the child had heard the music several times.

The typical reactions were noticeable contentment, “a calm, listening child”, “the child is calmed”, “the child falls asleep more quickly”, etc. One replied that “the music is the ultimate medicine when my child is sick”. No one in this group noticed negative reactions to the music from their children. However there was one child who did not like the dolphin sounds.

The practitioners all noticed significant reactions not only from the children they treated, but also often from the parents. One noticed a reaction every time a child was in treatment, while the two others answered “often”. Words such as “peace”, “tranquillity”, “inner presence and calm”, that “the music produces calm and attentive children”, etc., were used to describe the children’s reactions.

As to the indirect effect on infant/toddler, which is the effect achieved when the parents are calmed and their state is imparted to the infant/toddlers, we cannot draw any certain conclusion from our study. However we refer to the section on stress, where 57% of the parents questioned believe that there is a connection between their stress and their children’s restlessness.  

Since 93% believed that the music had a positive effect on the parents themselves, and reduced their stress, we can draw a guarded conclusion that the music must also have an indirect, positive effect on the children/fetus.

About the CDs

The CD series Music for Mother & Child consists of three CDs:

1. Windchimes, indicated for pregnant women, the unborn child and infants

2. Tales of the Ocean, for the 0-1 year-olds and their parents

3. Lullabies, for 1-2 year-olds and their parents

The composers talk about the CDs:

“The music on the CDs Music for Mother & Child contains elements chosen specifically to be relaxing for fetuses and infants, and elements that are more generally relaxing for all age-groups. Thus the music can be used by both the unborn, infants/toddlers and adults.

On Windchimes there are purposely long, continuous passages. Through dialogue with a reflexologist who has specialized in work with infants, we learned that the continuity is an important element for calming young children. Too many breaks in the music can be very disturbing to young children.  

Therefore the CD consists of two long passages connected by light, melodious wind chimes. The music has a light and airy quality and is thought of as a soothing blanket of sound. Besides the continuous wind chimes, the instruments we have chosen are Native American drums, which according to the original Americans represent the heartbeat of Mother Earth, the human voice as a primordial instrument, and the acoustic guitar for its transparent tone. The music is composed both with an intuitive approach and a search for a balance in the harmonious structures from a more analytical angle.

Thus, among other things, Windchimes consciously consists of a melodious, five-tone structure, which is completely devoid of tension.

On Tales of the Ocean we use dolphin sounds and the sound of the waves as recurrent elements. Through the ages many people have been powerfully affected emotionally by listening to the fascinating sounds of the dolphins, and we felt that they would help give the music the right expression.  

We all come from the watery element, and we quickly found that the child who is now more conscious, reacted very positively to the naturally created, soothing rhythm of the sounds of the sea.

In addition, on this CD we use Tibetan singing bowls and bells, which have a unique tone and contain an element of primordial strength, which is soothing for both children and adults. Tales of the Ocean is thought overall as a journey of the consciousness from the surface down to the deeper layer (under the sea) ending with a homecoming symbolized in the composition The Sea is my Home.

The last CD, Lullabies, is, as the name says, a sequence of newly composed lullabies, each of which tells its own little story. Compared to the other two CDs, the melodic material is significantly advanced, so they harmonize with the child’s enhanced consciousness and ability to comprehend actual melodic sequences.  

At the same time we have sought to preserve the tranquil and secure atmosphere by purposely using repetition as an artistic effect. Some of the compositions on Lullabies have an almost hypnotic expression, something that naturally also influences the listening experience of the adults.”

About the composers:

Claus D Jensen is a qualified  guitarist amnd composer with a degree from The Music Conservatory of Jutland.  He has played professionally since 1984 and has taught at music school, college and evening school.  He is involved with several scientific researches about the effect of music and relaxation audioprograms on hospitals and self hypnosis-audioprograms for pregnant.

Henrik Birk Aaboe was educated at the Musicological Institute at the University of Århus, and has taught both at the university and in music schools.  In addition he functions as arranger and composer in various contexts.  He has his own company, Corona Music (www.coronamusic.dk), with a recording studio and music publishing house. He has released several music collections in his own name.

Quotes from the report:

“Because of a previous traumatic childbirth, I have some fear of childbirth.  The music was a centering and calming influence on me, and I had more confidence in a positive childbirth experience.”  (a mother-to-be)

“If there was restlessness, the fetus became more calm when I played the music.”

(a mother-to-be)

“With sickness, when the child was restless and unhappy, this music was the ultimate medicine.” (mother of infant)

“They are delightful CDs. Not only for the mother-to-be and toddlers. Also for adults.”  (reflexologist)

“My clients achieve a feeling of lightness so that they feel they are floating over the mat, and they experience a feeling of presence more quickly than with other music.  For the best effect in this process I have used the CD, Tales of the Ocean.” (reflexologist)

“Wonderful stimulation against stress, hip-hop, radio commercials and such.  Very relaxing!” (mother of infant)

“I relax more – drop my shoulders, etc. while nursing.  Beautiful to listen to – uplifting and relaxing.” (mother of infant)

“She often becomes calmer and stops crying. She falls asleep quickly when I play the music when it is time for her to sleep.”  (mother of infant)

“Our child seems more relaxed, and he appears to lie and listen because it sounds good.” (mother of infant)

“She listened quite intensely and calmed down, especially during nursing, if she was a little hysterical or over tired.” (mother of infant)

“If she cries, she stops quickly when we play the music.” (mother of infant)

“The child became calm, listening, searched a little within himself, where fantasies and dreams grow.” (mother of infant)

For more info:

www.musicformotherandchild.com

www.clausdjensen.com

Music Teacher asked:


Music teachers should learn how to deal with students of all ages; otherwise, they might not be as effective as they could be. Hence, they must give time to read some music teachers resources and tips that are readily available online.

Although there are many who specialize in teaching younger students, some still prefer to handle adult students for some reasons.

Generally speaking, adult students have vast experiences and knowledge about a variety of things and issues. These advantages provide a private music studio, a new horizon and window to the world outside. Also, these bring a more pleasurable atmosphere, not only to the class but to the music teachers as well. Exchanging insights and experiences related to the lessons that are certainly important to learning music can be a very good music teaching strategy.

Adult students may vary from one another. Some may just be beginners, while others may only want to increase their knowledge on their preferred instrument. On the other hand, there are some who may already have expertise in playing other musical instruments.

Just like young students, adults can be fast learners. However, there are some of them who may need much time and effort before they can adopt and understand. Thus, most music teaching resources and tips advise that teachers must also learn how to listen to their adult students’ inquiries and suggestions. Further, music teachers must learn how to assess the skills of each of their students and devise the suitable lesson plans for them.

Indeed, adults usually have stronger motivation to learn. They are likewise more inclined to follow the outlined practice schedule. However, they are more articulate and vocal with their concerns, so music teachers should better prepare prompt response.

Just a piece of advice: do not try to compare their skills and learning capacity with other students because most adults have greater tendency to be anxious. Instead, try to cite their previous accomplishments and learn how to recognize, appreciate and acknowledge their good efforts. This technique can boost their eagerness to learn and somehow make them aware that you commend their achievements.

In addition, music teachers should give their students an active participation in choosing what type of music they prefer to learn and use in practicing. Practice pieces must be enjoyable and pleasing to their adult students. Or else, they may have lesser motivation to learn and rehearse.

Lessons, resources and tips in teaching music to children and adult students are basically similar. They only differ in the stages of learning: children are more into the developmental stage while adults are more into the integral aspect of learning.

Are you looking for more reliable music teachers resources and tips? Visit this music teachers website.

Realities and Realizations

Music Teacher asked:


Music teaching, do these words ever hit your mind? Some music teachers and learners may find it so simple yet others may consider it quite complicated. I know you would ask me why, right? It is because not all are interested in music and not all are motivated to learn and teach such. Well, I guess as a music teacher, you can only be good at that if you can encourage your students to learn music by heart – making it both their profession and passion.  

Being a music teacher does not just require the knowledge of basic singing or playing musical instruments but also the capability of the person to draw students to enthusiasm for music. Of course, music teachers themselves should also possess the skills on determining the students’ capabilities and hidden talents.

However, there are some music teachers’ resources that will cite some techniques on how to modify and improve students in the most effective ways. Some can actually be found in books that are specialized in teaching music. Others are from websites having particular forums dedicated to music. Which-of-which will be better than having no resources at all.

On the other hand, music teachers’ resources are very useful and beneficial not only to one field of music but also in a wide variety. A music teacher must also know what type of student he or she has since learning also varies by age, for example.

Young students start learning music in the forms of nursery rhymes. Thus, they can also be further nourished by different musical games or activities suited for their age and interests. At this early stage, teachers can identify most of the children’s capabilities and talents.

On the other hand, older students may learn how to sing and play complex musical instruments. Furthermore, they can also be asked to compose their own music as part of the developmental process.

Some articles or books are very particular on giving some advices and tips on how to make the students more enthusiastic in learning music. Hence, strategies are very important for it will be the determining factor of your effectiveness and efficiency as a teacher. Either theoretical, practical or both, a teacher must be competent and precise to what he or she is teaching. This is where effective music teacher’s resources set in.

Most of the music teachers’ resources today introduce gadgets to make the jobs of the teachers more convenient and effortless. Learning through these resources will certainly be a fun way of learning music. These gadgets can make both the learning and the training more interactive and hands-on.

Nowadays, music teachers’ resources are important factors in teaching music effectively and efficiently. After all, learning is a continuous process that should be both enjoyed by the students and the teachers.

Shine Music asked:


8eva – an octave higher

A tempo – resume the normal speed after a diversion

Accelerando (accel.) – gradually becoming faster

Adagio – slowly, leisurely

Ad libitum – at pleasure, quite freely

Agitato – with agitation

Allargando – broadening out, often with an increase of tone

Allegretto – moderately fast; slightly slower than allegro

Allegro – lively and reasonably fast

Andante – at an easy walking pace

Andantino – a little slower (or a little faster than Andante)

Animato – with animation

Arco – (for string players) with the bow

Attacca – go on at once

Ben marcato – well marked

Brilliante – sparkling, brilliant

Brio – vigour

Calando – getting softer and slower

Cantabile – in a singing style

Capo – the beginning

Con anima – with feeling

Con brio – with spirit

Con forza – with forza

Con grazia – with grace

Con moto – with movement

Con sordini – with the mutes

Crescendo (cresc.) – gradually becoming louder

Da Capo (D.C) – from the beginning

Dal capo al fine or D.C. al fine written under the last bar of apiece of section – the music is to be repeated right from the beginning until it reaches the word ‘fine (the end).

Dal Segno – from the sign ; the music is to be repeated from where the sign occurs earlier in the piece, then carrying on to the end.

Decrescendo (decresc.) – gradually becoming softer

Diminuendo (dim.) – gradually becoming softer

Dolce – soft and sweet

Forte (f) – loud

Forte-piano (fp) – loud then immediately soft

Fortissimo (ff) – very loud

Forzando (fz or sfz) – with a strong accent

Giocoso – gay, merry

Grave – very slowly

Grazioso – gracefully

Largo – slowly and stately, broad

Larghetto – slower than Largo

Legato – smoothly

Leggiero – lightly

Lento – slowly

Loco – at the normal pitch (generally after playing an octave higher)

Maestoso – majestically

Main droite (M.D.) – right hand

Main gauche (M.G) – left hand

Marcato – marked, accented

Meno mosso – slower, less movement

Mezzo forte (mf) – moderately loud

Mezzo piano (mp) – moderately soft

Mezzo staccato – moderately short and detached; shown by dots covered with a slur

Misterioso – mysteriously

Moderato –at a moderate speed

Molto – very, much

Morendo – dying away

M.M – Maelzel’s metronome

Opus – a work or group of works

Ossia – or (an alternative version)

Ped. – depress the sustaining pedal of the pianoforte

Perdendosi – dying away

Pesante – heavily

Piacevole – pleasing

Piano (p) – soft

Pianissimo (pp) – very soft

Piu mosso – quicker

Pizzicato (pizz.) – plucked (in string music)

Poco – a little

Poco a poco – little by little (gradually)

Presto – very fast

Prestissimo – extremely fast, or as fast as possible

Rallentando (rall.) – gradually becoming slower

Risoluto – with resolution, boldly

Ritardando (retard.) – gradually becoming slower

Ritenuto (riten. or rit.) – immediately slower or hold back

Ritmico – rhythmically

Scherzando – playfully

Sempre - always

Senza – without

Sforzando (sf) – a strong (sudden) accent

Simile – in a similar manner

Sostenuto – sustained

Staccato – detached, short; note sustained for half the written length (shown by a dot above or below each note)

Stringendo – gradually faster

Subito – suddenly

Tempo – the speed of the music

Tenuto (ten.) – hold

Tranquillo –quietly, calmly

Tre corde – release the left, soft pedal of the pianoforte (with three strings)

Troppo – too much

Une corda – depress the left, soft pedal of the pianoforte (with one string)

Vivace – lively

Vivo - lively

Signs:

- accent; give prominence, play with force

[Respectively, strong accent marcato, normal accent, and tenuto]

- the music or passage between the dots is to be played again

(fermata) – musical symbol placed over a note or rest to be extended beyond its normal duration

- tie or bind, indicating that the note being played or sung sustained, unbroken, through the total time value of the notes

- slur; a group of notes are played under a single bow stroke (string), or without retonguing (wind), or in one breath (singing), so that the notes move smoothly with no perceptible break

- metronome mark, indicating the speed at which a piece is to be played; 60 crotchets to the minute

- up-bow (bowed instrument – bow is pushed across the string); up-stroke (guitar – the string is plucked with the hand moving upwards)

- down-bow (bowed instrument – bow is pulled across the string); down-stroke (guitar – the string is plucked with the hand moving downwards)

- a less strong accent placed above or below the note meaning that it is to be stressed but not as strongly as when marked as > or

written by Janet Yun from www.shinemusic.com.au teachers of piano, saxophone, violin, singing, drums, electric guitar, acoustic guitar, flute and clarinet

Music Teacher asked:


Music education has been included in many curricula in different nations around the globe. However, since not all students are musically-inclined, not all of them are motivated to learn music. As a result, they are no longer excited to experience formal music schooling inside their classrooms. With this conflict of interests, music teachers are then challenged or pressured on how they could make their students learn and love music at the same time.

To basically adhere to the problem, they are determined to research the latest music teachers’ resources. Since both teaching and learning are two dynamic processes, music teachers and their students should meet half way – adjusting to the kind of individuals they are.

And because they are up to music education, these music teachers need to update their lists and records with the most modern trends and techniques, which are believed to be very effective and influential with the kind of students they have right now. From time to time, there could have been new music teachers’ resources that could improve their teaching strategies as well as their way of relating to their dear students.

Today, music educators incorporate theories and application to give a well-rounded musical experience and to teach music in various perspectives intended for international understanding. To meet many demands and expectations of their students, music teachers keep on upgrading their available music teachers’ resources by doing some researches over the Internet. In just a matter of few clicks, they would be aware of what is really the latest in the music academe as well as the newest style and approach in teaching that they can utilize in their everyday instruction.

The perceived effort to enhance music teachers’ resources also results in a greater number of students, who are now more motivated and determined to learn and love music. When their music teachers use some personal touches as part of their resources – sharing their own insights, thoughts and experiences on a particular topic, the learners become more eager to attend to their music classes and listen to their classroom discussions. This happens simply because they feel that they have something to relate to and such experience could also happen to them in time.

Indeed, teaching and learning music can be both fun and enjoyable. Just like in real life and in our daily activities, when we integrate music into anything that we do, it amazingly turns out to be more special and a lot of fun. After all, music gives most of us such inspiration and motivation to look forward to something better and brighter. Love music and enjoy tomorrow. 

This music education website offers many useful music teachers resources and tips. Visit it now.

Music Teacher asked:


Primarily, a music teacher’s task lies in the idea of effective and creative communication. Thus, credibility and reliability have always been an issue to academic institutions, their teaching and non-teaching personnel and even the student body.

Music teachers simultaneously motivate, inspire, and support their students through innovative music teachers resources. Whether these resources and tips are from the experiences of other teaching individuals, educators, academes or from the internet, what important is you are able to meet your goals and stay committed to your purpose.

When you make use of effective music teachers resources and tips, you are more likely to gain the interests of your students – encouraging them to love music more. As you become good influences and examples to them, they not just tend to love music as one of their subjects but they also have come to love you as their mentors and icons.

I have here a list of different feedbacks, compliments and even suggestions of the students when a group of music educators have rendered effective music teaching strategies and have executed creative activities.

• The students are able to cultivate their interest in music and realize their potentials through unique and creative activities regarding their music class and its programs.

• Such music teachers resources allow them to learn about other aspects of music which are not covered in a specific course outline, syllabus or private music lessons.

• Music teachers are able to encourage and give them such opportunity and exposure that they truly need to create and perform music creatively and independently yet effectively and promptly.

• Students are able to learn music as well as the significance of academic freedom and independence. Thus, cooperative learning has played a vital role in this manner since they are tasked to work collaboratively with their co-students and meet a common set of objectives.

• Creative activities, which seem unusual and innovative, have brought up fun and excitement among students – making them more interested, hooked and eager to learn new things and eventually apply them in real life.

• The enhanced program for music teaching has been remarked by the students as a way to boost self-confidence, establish camaraderie among classmates, and experience the fun of learning music – all at the same time.

• Such exposure to music technology and other relevant innovations have showcased more talents and have brought out the best in most of the students.

It really pays to regenerate more teaching resources and strategies that are more appealing to the kind of students we have in today’s generation. Maximizing resources and efforts, music teachers would then realize that music education could be the most rewarding experience.