When University of Arkansas student Jackson Joyce took his saxophone to the Jean Tyson Child Development Center one late spring afternoon, he wasn’t sure what he was getting into. As part of a new program in the Department of Music, Joyce was one of the student musicians participating in the department’s inaugural “Music Zoo,” which offers interactive music sessions to the center’s pre-K students.
“Kids interrupt a lot,” Joyce says with a laugh. “And they ask the most random questions that have nothing to do with music. Their curiosity isn’t limited to whatever you’re trying to talk about. They somehow found a way to connect dinosaurs with saxophones. Then I would have to try to redirect the conversation from dinosaurs or ‘Bluey’ to music.
“We tried to teach them how the saxophone works—the reed, the mouthpiece, the keys. My favorite part was when they came up to the saxophone and peered down into the bell, reaching their little hands in to see what was down there. But they were more interested in the weird noises we could make.”
Joyce says he had thought the 4- and 5-year-olds might be impressed with his lightning fast runs on the scales. They were universally blasé about that, but when the sax players made multiphonic train horn sounds, or honked like geese, the class was enrapt.
Transforming from Student to Teacher
What Joyce learned about acknowledging the children’s curiosity while moving forward with class material is familiar territory to teachers everywhere, and such awareness was part of Dr. Daniel Abrahams’ motivation for creating the Music Zoo program. Abrahams is associate professor and coordinator of Music Education at the University of Arkansas/Fayetteville.
“Our Intro to Music Education course is the first Music Education class the students take,” Abrahams says. “We talk about what it means to be a teacher, what schools are for, why we teach, and I thought this would be a good way for them to work with some kids right off the bat and see if they like it. Nobody wants to spend three or four years in college and realize at the very end, ‘You know, I don’t actually like working with kids.’
“To have this experience at the beginning of their journey really helped solidify their ideas of what it meant to be a teacher. These are all pandemic students whose last two years of high school were pretty much on their computers in lockdown. I had students who had never worked with kids before and had no idea whether they were going to like it. After the experience, they were saying, ‘I love this. I know I’ve made the right choice in what I’ve decided to do with my life.’”
The Jean Tyson Child Development Center is located on the Fayetteville campus, so it wasn’t too much of a schlep for the musicians to take their instruments over, from violins and cellos to the woodwinds—flute, clarinet and saxophone. The percussionists were crowd favorites, possibly because they brought a variety of small hand drums and invited the little ones to play along. The saxophone was also popular (see “train horn and honking geese” above).
Best of all were the tuba and the baritone sax, both of which were taller than many of the preschoolers. Seizing the moment, the teachers turned those demonstrations into a brief foray into math concepts: “Let’s guess if you’ll be bigger than the tuba.”
Because this is the University of Arkansas (Go Razorbacks!) and many of the kids are children of faculty members or staff, they were familiar with the school’s marching band and were jazzed to make the connection between the students demonstrating their flutes, tubas and drums with the uniformed marchers they saw at football games. Instant stardom for the musicians.
On a more serious note, Abrahams said he had been discussing the idea of music aptitude with his students throughout the semester, based on the work of music learning researcher Edwin Gordon who wrote about music development in infants and young children.
“We talked about what influenced them to become musicians and the idea that you ever know what might influence a student into wanting to be involved in music,” Abrahams says. “Children have a musical aptitude from birth that stabilizes around the age of 9, and any musical experience they have will help them have a richer musical life later. That one morning of sitting and learning about the flute or the clarinet and hearing them played might inspire that student to want to play an instrument when they get a little older.
“The students took the assignment quite seriously,” he says, “because they felt they were influencing the next generation of musicians. The experience was transformational in the ways the students began to see themselves as teachers.”
A Rich Resource
The musicians researched to be au courant with music for the preschool set and came prepared to play the theme songs for Nickelodeon’s Blue’s Clues, YouTube’s Bluey, and the classic Baby Shark (doo-doo-ti-doo). The vocalists sang the 4- and 5-year-olds’ songs they’d learned especially for them and the children reciprocated by teaching the college kids some of their preschool tunes—conversational turns in 4/4 time.
The greatest number of requests were for the University of Arkansas Fight Song, which Abrahams’ students knew by heart because most are in the marching band. In recognizing the theme songs from a few notes the musicians played, the children didn’t know that they were demonstrating Gordon’s theories, but they were. By recognizing or remembering a tune, they were thinking music, which Gordon called “audiation,” the foundation of musicianship.
The musicians were especially impressed by the questions the preschoolers asked about their instruments, Abrahams says. The little kids were blown away by the tuning pegs on the stringed instruments getting higher the tighter the peg was turned and predicted that they would get lower if the peg was looser (Hello, STEM concepts).
The success of the initial Music Zoo program has earned it a permanent place in the Intro to Music Education curriculum, Abrahams says, with an additional, unexpected benefit.
“The child development center is starving for people to come in and do learning activities with their children and they’re right here on campus” he says. “This great resource just fell into our laps. It’s a partnership that not only provides a valuable first teaching experience for our students but is also fostering positive interactions with the child care staff and our local community.”
K.C. Compton worked as a reporter, editor and columnist for newspapers throughout the Rocky Mountain region for 20 years before moving to the Kansas City area as an editor for Mother Earth News. She has been in Seattle since 2016, enjoying life as a freelance and contract writer and editor.
