OK! Zing en doe maar mee!

Deel 2. Een uitgave van 21 liedjes voor jonge kinderen 0-6 jaar met CD. De liedjes staan op gelamineerde kaarten, A5 formaat en zijn verpakt in een stevig, kleurig doosje. De illustraties zijn gemaakt door Jonathan Absil. De begeleidende CD heeft tracks met de ingezongen en de instrumentale versie van de liedjes. De arrangementen zijn van de hand van José Retra. CD-productie: DK-music, Dick Kok.

www.zingendoemaarmee.nl

OK! Sing and Play

Songs and activities on firm cards with illustrations and a CD.

Children 0 - 6
Compiled and created by Margré van Gestel
Illustrations Jonathan Absil
Arrangements José Retra
Production DK-Music

Available in English June 2012

 

Papers & Posters

*2011 Keeping the beat: Temporal representation in Early Childhood Music Education. Paper presentation at the 4th MERYC conference in Helsinki, Finland.

*2010 Music is Movement: A Study into Aspects of Movement Representation of Musical Activities among Preschool Children in a Dutch Music Education Setting Thesis https://eric.exeter.ac.uk/repository/handle/10036/3189

*2009 " slides PDF" "About Ducks and Hands and Feet"Demonstration at the 4th MERYC conference in Bologna, Italy

*2009 "Movement Representation in Early Childhood Music Education"Poster presentation at the 4th MERYC conference in Bologna, Italy

*2009 "Muziek is Beweging" Paper gepresenteerd op de Conferentie Onderzoek in Cultuureducatie, 17 juni Zwolle.

*2008 "Music is Movement" Paper presentation at the Second European Conference on Developmental Psychology of Music, Roehampton University, UK

*2008 "Music is Movement" Poster presentation at the 13th Early Childhood Music education Seminar (ECME) 14-19 July, Frascati, Rome, Italy

*2007 "Closing the Gap: Connecting Practice and Research in Early Childhood Music Education with parent-child groups in the Netherlands"Presentation with Margré van Gestel MERYC Conference June 26th – 28th 2007 University of Cyprus Nicosia, Cyprus.

*2007 "Provisional results from a Study into the Developmental Aspects of Movement Representation of Musical Activities of Preschool Children in a Dutch Music Educational Setting." RIME conference Exeter April 10th - 14th 2007

*2006 "Aspects of Musical Movement Representation in Dutch Early Childhood Music Education." ICMPC - 9th International Conference on Music Perception and Cognition. Bologna 22 Augustus - 26 Augustus.

*2005 "Musical Movement Responses in Early Childhood Music Education Practice in The Netherlands." MERYC, Music Educators and Researchers of Young Children Conference 4 - 5 April at the University of Exeter.

*2004 "Early childhood music education in the Netherlands: Music on the lap in relation to musical and emotional development." Conference Music in the Early Years: communication, cognition and the development of the self. Sept. 10th 2004 North Umbria University Newcastle

At the heart of every life form there is rhythm.
Movement, flow, change, renewal
and repetition are based in rhythm.
Only in rhythm we can experience time.
Without vibration, without oscillation,
There is stasis, there is nothing.
Stability and solidity are illusions.
Everything oscillates and vibrates.
From the bridge of steel and concrete to the
energy shells around an atom.
We recognise and experience
our world through rhythms
even colours oscillate at different frequencies.
Everything vibrates, everything
“speaks” a universe of sound.

Dame Evelyn Glennie

 

From "Chamber Tots in the Community" A Research Report
Dr Susan Young | Dr Victoria Rowe University of Exeter

"To have evidence of positive impact and the wider benefits of music is highly attractive to arts and music organisations because it may offer the muscle of convincing arguments for advocacy and promotion. For arts organisations operating relatively independently and dependent on short-term funding grants, to have evidence of positive effectiveness of their work is clearly advantageous. But this too is a short-term option. To reinforce music’s non-music benefits perpetuates a situation in which music is devalued. The alternative is to take on the more difficult task of arguing consistently for music’s equal status as a discipline with benefits that are undoubtedly to be gained but in ‘softer’ areas of humanitarian, emotional, creative and aesthetic ideals; ideals which carry less clout in the current political/education climate.
What complicates the picture further is that there is a plethora of studies that have explored aspects of music’s effect on non-musical aspects and arrived at convincing findings. It can be difficult to resist the pull of what seem to be easy-win arguments to support more music for more children. Many have been carried out in carefully controlled conditions and with rigorous attention to procedure but unfortunately, many have also been carried out with less than rigorous procedures. Indeed, many do demonstrate improved skills in performing non-musical tasks as a consequence of certain forms of musical training and experience. Collating, picking through and sorting out the grain from the chaff in these studies is a long-winded, painstaking and skilful process. Fortunately much of this has been done by scholars such as Schellenberg (2004, 2006) who has written some clear-headed and highly valuable overviews of existing research. This review leans heavily on his analyses.
In sorting wheat from chaff, the first task is to find studies that have focussed on young children. By far the majority of studies involve adults and older children and findings cannot be automatically assumed to transfer to younger children. Indeed, this applies to the original Mozart study, carried out with adults, which has fuelled some of the erroneous and exaggerated claims for music’s extra-musical benefits, named the ‘Mozart Effect’ (Rauscher, 2002). It is now widely accepted that the so-called Mozart effect was due to a temporary higher state of alertness and concentration as a result of listening to music [in contrast to white noise as the control group participants listened to] rather than any direct effect of the music. [...]
In conclusion, there are some very small findings from reliable studies that might relate to preschool children that suggest that certain forms of musical activity can result in wider, cognitive gains. The cognitive gains were assessable after consistent programmes of regular input, usually around a year, in which musical skills were a prominent component. The CT Programme, like many similar, is of shorter duration. It focuses on communal song-singing, participatory musical experiences involving live chamber music performances and creative music-making and although children’s formal musical skills are likely to
increase, this is not the primary focus. Moreover, and most importantly, the intrinsic benefits of music tend to be overlooked – the ‘softer’ gains mentioned earlier of humanitarian, aesthetic, imaginative and emotional qualities – that are arguably central to a quality education that seeks to educate well-rounded, independently and creatively minded individuals."

"Lied vom Kindsein" – Gedicht Peter Handke
(Peter Handke in Wim Wenders Film "Der Himmel über Berlin")

Als das Kind Kind war,
ging es mit hängenden Armen,
wollte der Bach sei ein Fluss,
der Fluss ein Strom,
und diese Pfütze das Meer.

Als das Kind Kind war,
wusste es nicht, dass es Kind war,
alles war ihm beseelt,
und alle Seelen waren eins.

Als das Kind Kind war,
hatte es von nichts eine Meinung,
hatte keine Gewohnheit,
sass oft im Schneidersitz,
lief auf dem Strand,
hatte einen Wirbel im Haar
und machte kein Gesicht beim Fotografieren.

Als das Kind Kind war,
war es die Zeit der folgenden Fragen:
Warum bin ich ich und warum nicht du?
Warum bin ich hier und warum nicht dort?
Wann begann die Zeit und wo endet der Raum?
Ist das Leben unter der Sonne nicht bloss ein Traum?
Ist was ich sehe und höre und rieche
nicht bloss der Schein einer Welt der Welt?
Gibt es tatsächlich das Böse und Leute,
die wirklich die Bösen sind?
Wie kann es sein, dass ich, der ich bin,
bevor ich wurde, nicht war,
und dass einmal ich, der ich bin,
nicht mehr der ich bin, sein werde?

Als das Kind Kind war,
würgte es am Spinat, an den Erbsen, am Milchreis,
und am gedünsteten Blumenkohl.
und isst jetzt das alles und nicht nur zur Not.
Als das Kind Kind war,
erwachte es einmal in einem fremden Bett
und jetzt immer wieder,
erschienen ihm viele Menschen schön
und jetzt nur noch im Glücksfall,
stellte es sich klar ein Paradies vor
und kann es jetzt höchstens ahnen,
konnte es sich Nichts nicht denken
und schaudert heute davor.

Als das Kind Kind war,
spielte es mit Begeisterung
und jetzt, so ganz bei der Sache wie damals, nur noch,
wenn diese Sache seine Arbeit ist.

Als das Kind Kind war,
genügten ihm als Nahrung Apfel, Brot,
und so ist es immer noch.

Als das Kind Kind war,
fielen ihm die Beeren wie nur Beeren in die Hand
und jetzt immer noch,
machten ihm die frischen Walnüsse eine rauhe Zunge
und jetzt immer noch,
hatte es auf jedem Berg
die Sehnsucht nach dem immer höheren Berg,
und in jeder Stadt
die Sehnsucht nach der noch grösseren Stadt,
und das ist immer noch so,
griff im Wipfel eines Baums nach den Kirschen in einem Hochgefühl
wie auch heute noch,
eine Scheu vor jedem Fremden
und hat sie immer noch,
wartete es auf den ersten Schnee,
und wartet so immer noch.

Als das Kind Kind war,
warf es einen Stock als Lanze gegen den Baum,
und sie zittert da heute noch.

 

 

Voorschoolse Muziek Educatiecentrum
Voor cursussen en workshops Muziek met Jonge Kinderen

MERYC
European Network for Music Educators and Researchers of Young Children EuNet MERYC
The first European organisation for researchers and teachers in preschool music education.

ECME
International forum for the exchange and research of ideas regarding the various ways in which children may participate in their own musical culture.

Dr. Susan Young
Early childhood music research and education

Anna Pileri
Doctorante en Psychologie de la Musique

Zing en doe maar mee!
Materialen en artikelen van Margré van Gestel. Also in English.

Music One 2 One
"The primary aim of Music One 2 One is to raise the quality of caring for under-two-year-olds by encouraging developmentally appropriate one-to-one, playful musical activity between carers and their babies and toddlers".

Manuela Korver
Docent Muziek op Schoot

Félice van der Sande
Docent Muziek op Schoot

Ukkepuk concerten
Speciale concerten voor kinderen in de voorschoolse leeftijd.

Tinkel
Muziek met Jonge KInderen Vlaanderen

 

Stichting Muziek op Schoot
Informatie voor ouders, leidsters en MoS-docenten

Cultuurnetwerk Nederland
Cultuurnetwerk Nederland is het landelijke kenniscentrum voor cultuureducatie te Utrecht.

Gehrelsvereniging
Veel interessante informatie voor de doelgroep. Deze vereniging geeft een blad uit met veel praktijk voorbeelden

K&P opleidingen
Indien u de docenten opleiding Muziek op Schoot wilt volgen dan kunt u hier informatie vinden

SFKV
Sociaal Fonds Kunstzinnige Vorming

Slingomama
Natuurlijk ouderschap. Artikelen o.a. mooie draagdoeken & workshops

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