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Listening to the Spontaneous Music-Making of Preschool Children in Play: Living a Pedagogy of Wonder

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Listening to the Spontaneous Music-Making of Preschool Children in Play: Living a Pedagogy of Wonder ABSTRACT Title of Dissertation: LISTENING TO THE SPONTANEOUS MUSIC-MAKING OF PRESCHOOL CHILDREN IN PLAY: LIVING A PEDAGOGY OF WONDER Judith K. Kierstead, Doctor of Philosophy, 2006 Dissertation directed by: Professor Francine H. Hultgren Department of Education Policy and Leadership University of Maryland College Park This study sings with joy the wonder of preschool children spontaneously being music-makers in play. Through hermeneutic phenomenological methodology provided by van Manen (2003), voices of Heidegger (1962, being-with), Levin (1989, listening), Ihde (1976, music-language), Casey (1993, place), Merleau-Ponty (1962, the body), Levinas (1987, “we”), Arendt (1959, new beginnings), and Steiner (1984, 1985a,b; 1998, human development, freedom) support the work. The study asks: What is the lived experience of preschool children spontaneously making music in play? In Waldorf preschools, forty-six children in three age-differentiated classes are observed and tape-recorded in a pre-study; observations of twenty-four children in a mixed-age class and, during outdoor playtime, an additional twenty-four children from a similar class are observed and recorded in note-taking during a year-long study. Significant themes of will-ing, be-ing, and time-in-place emerge. Freedom to move about in play with peers is essential to music-making that spontaneously expresses Life-lived-in-the-moment. The phenomena of this study – the songs, chants, and other sound-shapes – are the being of children, who are not bound by time or by space. In this study, musical form includes a sung-tryptich, a communal-collage, call-response, a transforming chant, and language that sings and stretches into many, varied sound- shapes. The wonder of life shines through. Teaching music of early childhood is being one’s self a music-maker in being- with children. This teaching is preparing a place of beauty, order, and caring, where a rhythmic framework of fine- and living-arts experiences extends the letting-learn, and where the children move about, playing freely with materials that nurture the imagination, indoors and out daily, rain or shine. Teaching is moving through richly developed integrated-circles (songs, poems, and verses, with gestures), worthy of the children’s imitation. Teaching is telling tales from the heart, planting seeds of wisdom. Teaching is “reading the children” then creating soft edges in moving-with-one’s-own- singing from one activity to another. This is a Pedagogy of Wonder that respects the child’s will, enriches the child’s Being, lets-be the spontaneous music-making of preschool children in play, nourishing that music-making by being-with the child musically. Listening to the spontaneous music-making of preschool children in play offers a new beginning. LISTENING TO THE SPONTANEOUS MUSIC-MAKING OF PRESCHOOL CHILDREN IN PLAY: LIVING A PEDAGOGY OF WONDER by Judith Kerschner Kierstead Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2006 Advisory Committee: Professor Francine Hultgren, Chair Professor Marie McCarthy Associate Professor Mary Rivkin Dr. Paulette Robinson Professor Emerita Jessie Roderick © Copyright by Judith Kerschner Kierstead 2006 ii DEDICATION To the children, spontaneous singers Being-in-the-world iii ACKNOWLEDGMENTS In listening to others, accepting them in their irreducible difference, we help them to listen to themselves, to heed the speech of their own body of experience, and to become, each one, the human being he or she most deeply wants to be. (Levin, 1989, p. 88) The date “7 August 1997” is penciled into the margin on page 88 in my copy of Levin’s The Listening Self, a page marked by a small square of paper that has yellowed while stashed there through the years. Unnumbered times I have come across it, re-read the “Heard me!” I put there. A forty-five minute telephone-listening to my passion for the spontaneous music-making of young children was a Life-Turning. Thus, I express my gratitude here to Francine Hultgren, who, through her gift of listening, enabled me to do this life-fulfilling work that I truly longed to do. She has led me through the work of Max van Manen, to whom I am grateful for laying out a way of research that, indeed, lets the spontaneous music-making of preschool children in play be heard. With Francine, Drs. Marie McCarthy, Mary Rivkin, Paulette Robinson, and Jessie Roderick served as my committee, also offering discerning encouragement along the way. To them, also, I express my sincere gratitude. To the teachers and near-hundred parents whose children I observed, I am deeply grateful. Teachers Nancy Foster, Pat Moss, Anna Hall, and Sandi Chamberlin in Acorn Hill welcomed me into their sacred spaces, as did Susan Nash and Jennifer Saloma, Carolyn Friedman and Colleen Taliaferro in the Washington Children’s Garden. All shared pedagogical wisdom and life-nurturing forces with me as well as with the children as I observed. I treasure having witnessed the daily wealth of verses, songs, and poetry in Susan’s voice and graceful movements shared with the children during integrated-circle times. Listening with the children to Jennifer’s telling of a fairy tale each morning was iv also an extraordinarily enriching experience. The children themselves I hold in my heart still, mindful of the wonder of their musical ways of being. Conversations with other persons within the Waldorf education community also enriched my work. Experiencing a living pedagogy within community, grounded in the anthroposophical philosophy that recognizes the inherent wisdom of the human being, has been like a homecoming for me. I am grateful to Bruce Wilson and Shirley Shelley for their endeavors in the rediscovery of the Pillsbury Foundation School study of spontaneous music making. I am particularly indebted to Wilson, who, as Curator of Special Collections in Music at the University of Maryland College Park, made available to me the Archives of the Pillsbury Foundation School (Santa Barbara, CA, 1937-1951) and of Donald Pond, who conducted the study there (1937-1945). I express my appreciation for Vivian Gussin Paley, whose work with storytelling has inspired me in doing my own work. I share with Pond and Paley a profound trust in the child’s innate will to be a maker of form while freely playing in emerging community. To my children, whose spontaneous music-making I heard as sounds of play, and to my grandchildren, whose spontaneous musical-makings I immediately recognized and delighted in, I express my love and continuing gratitude for both enriching and supporting my lifework. To Anne I express particular appreciation for assistance with technical matters. I acknowledge, also, the many students and friends who have supported me in and throughout this endeavor. Though my “dissertating” is done, my passion continues, with new understanding, focused purpose, and enduring joy. v TABLE OF CONTENTS PROLOGUE ........................................................................................................................1 CHAPTER ONE: SINGING SOUNDS A-BOUNDING: THE SPONTANEOUS ............2 MUSIC-MAKING OF PRESCHOOL CHILDREN IN PLAY Journeying to the Phenomenon....................................................................2 The Roots of My Passion....................................................................2 Creative flowerings....................................................................3 Letting-Be ..................................................................................4 Sitting at the Piano..............................................................................5 Listening to Making............................................................................7 Integrating the arts .....................................................................9 Improvising................................................................................9 A sounding-unusual.................................................................10 Hiding in Plain Sight.........................................................................11 The Evolution of My Phenomenological Research ...................................12 Hearing Early Soundings..................................................................14 Singing empathy ......................................................................14 Sounding a “quack!”................................................................15 First-soundings.........................................................................16 Brown Bear, “OOOooo”s, and “I love you!” ...................................16 Establishing the Question .................................................................19 The Phenomenological Path .............................................................21 Organization of the Study .................................................................24 CHAPTER TWO: LIFE IN THE SOUND-SHAPES OF EARLY CHILDHOOD: .........26 MUSICAL MAKING-WITH-MEANING Discovering Sound.....................................................................................26 Exploring Timbre..............................................................................28 Sound Releases.................................................................................30 Rhythm, the Chiefest Delight ...........................................................31 A Syncopated Hop............................................................................33
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