View in EDS HTML Full Text PDF Full Text

Introducing a Sound-Based Music Education in Early Childhood: The Role of Sonic and Musical Tools in the Development of Teleomusicality

Saved in:
Bibliographic Details
Title: Introducing a Sound-Based Music Education in Early Childhood: The Role of Sonic and Musical Tools in the Development of Teleomusicality
Language: English
Authors: Ana Luísa Veloso, Clarissa Foletto
Source: Music Education Research. 2025 27(1):54-72.
Availability: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
Peer Reviewed: Y
Page Count: 19
Publication Date: 2025
Document Type: Journal Articles
Reports - Research
Education Level: Early Childhood Education
Descriptors: Early Childhood Education, Music Education, Acoustics, Audio Equipment, Child Development, Toddlers, Preschool Children, Foreign Countries, Inclusion, Auditory Stimuli, Aural Learning
Geographic Terms: Portugal
DOI: 10.1080/14613808.2024.2447239
ISSN: 1461-3808
1469-9893
Abstract: In recent years, and within the scope of moving towards more inclusive and democratic classrooms, some scholars have proposed developing approaches to Music Education that depart from sound and sounding phenomena as larger categories that might incorporate the diverse trajectories and life experiences of children. In accordance with this initial position, this article correspondingly examines just what sonic and musical tools might more easily afford young children with meaningful interactions with sound and their sonic environments in the framework of developing Sound-based Music Education for early childhood. Our findings highlight the importance of introducing new sonic tools -- including recording, amplification, and augmented listening -- into developing diversified and meaningful musical activities with young children. These findings also simultaneously highlight the need to develop new definitions of music, extending to the entire sound pallet that surrounds us, and representative of the different musical paths and identities that children develop throughout their lives.
Abstractor: As Provided
Entry Date: 2025
Accession Number: EJ1465899
Database: ERIC
Full text is not displayed to guests.
FullText Links:
  – Type: pdflink
    Url: https://content.ebscohost.com/cds/retrieve?content=AQICAHj0k_4E0hTGH8RJwT4gCJyBsGNe_WN95AvKlDbXJGqwxwGSLBrhCRODNHzwGU_gU-zhAAAA4zCB4AYJKoZIhvcNAQcGoIHSMIHPAgEAMIHJBgkqhkiG9w0BBwEwHgYJYIZIAWUDBAEuMBEEDGlllRK08njrg1slBQIBEICBmyPgtA52fNurdXYBdaFcy6t4u64xeWUatw1F2DwhjIVdhy7_lGi76a-VWkfCNan0XpFvMXxrClS6oQnWx9qokkyaZHra3gsx_PpX6iG9KHu55wbCHqISCnEgcyY2gkUSLn_VCW90HV6RwMttvtjJ4mNMmM0liBmzWTdhGVFev8YRDAxxvK0vUO45VOsBXSgMkW9KC5MQqC5cw7Yr
Text:
  Availability: 1
  Value: <anid>AN0183055872;54y01mar.25;2025Feb18.03:53;v2.2.500</anid> <title id="AN0183055872-1">Introducing a Sound-based Music Education in early childhood: the role of sonic and musical tools in the development of teleomusicality </title> <p>In recent years, and within the scope of moving towards more inclusive and democratic classrooms, some scholars have proposed developing approaches to Music Education that depart from sound and sounding phenomena as larger categories that might incorporate the diverse trajectories and life experiences of children. In accordance with this initial position, this article correspondingly examines just what sonic and musical tools might more easily afford young children with meaningful interactions with sound and their sonic environments in the framework of developing Sound-based Music Education for early childhood. Our findings highlight the importance of introducing new sonic tools – including recording, amplification, and augmented listening – into developing diversified and meaningful musical activities with young children. These findings also simultaneously highlight the need to develop new definitions of music, extending to the entire sound pallet that surrounds us, and representative of the different musical paths and identities that children develop throughout their lives.</p> <p>Keywords: Sound-based music; affordances; inclusion; young children</p> <hd id="AN0183055872-2">Introduction</hd> <p>We have recently been witnessing major growth in research discussing the urgent need to design more inclusive and democratic approaches to Music Education (ME).</p> <p>These research efforts quite often interrelate to the intense criticism highlighted by several authors (Gaztambide-Fernández [<reflink idref="bib10" id="ref1">10</reflink>], [<reflink idref="bib11" id="ref2">11</reflink>]; Gaztambide-Fernández and Parekh [<reflink idref="bib12" id="ref3">12</reflink>]; Gaztambide-Fernández, Saifer, and Desai [<reflink idref="bib13" id="ref4">13</reflink>]; Hess [<reflink idref="bib16" id="ref5">16</reflink>], [<reflink idref="bib17" id="ref6">17</reflink>]; Lubet [<reflink idref="bib34" id="ref7">34</reflink>]; Matthews [<reflink idref="bib35" id="ref8">35</reflink>]; Recharte [<reflink idref="bib41" id="ref9">41</reflink>]; Thumlert and Nolan [<reflink idref="bib56" id="ref10">56</reflink>]; Thumlert, Harley, and Nolan [<reflink idref="bib55" id="ref11">55</reflink>]; Tinkle [<reflink idref="bib57" id="ref12">57</reflink>]) of the predominance of so-called Eurocentric approaches to music teaching and learning, and the ways in which these approaches not only repeatedly replicate systems of social inequality but also introduce new means of marginalisation, through excluding many children – and their musical identities – from music making practices. These Eurocentric approaches to ME emphasise Western art music traditions, prioritising the repertoire, techniques and theoretical frameworks of European art music (Gaztambide-Fernández [<reflink idref="bib10" id="ref13">10</reflink>], [<reflink idref="bib11" id="ref14">11</reflink>]; Gaztambide-Fernández and Parekh [<reflink idref="bib12" id="ref15">12</reflink>]; Gaztambide-Fernández, Saifer, and Desai [<reflink idref="bib13" id="ref16">13</reflink>]; Hess [<reflink idref="bib16" id="ref17">16</reflink>], [<reflink idref="bib17" id="ref18">17</reflink>]; Lubet [<reflink idref="bib34" id="ref19">34</reflink>]; Matthews [<reflink idref="bib35" id="ref20">35</reflink>]; Recharte [<reflink idref="bib41" id="ref21">41</reflink>]; Thumlert and Nolan [<reflink idref="bib56" id="ref22">56</reflink>]; Thumlert, Harley, and Nolan [<reflink idref="bib55" id="ref23">55</reflink>]; Tinkle 2015; Vitale 2024). These approaches often incorporate a very narrow idea both of 'talent' (Gaztambide-Fernández [<reflink idref="bib10" id="ref24">10</reflink>], [<reflink idref="bib11" id="ref25">11</reflink>]; Gaztambide-Fernández and Parekh [<reflink idref="bib12" id="ref26">12</reflink>]; Gaztambide-Fernández, Saifer, and Desai [<reflink idref="bib13" id="ref27">13</reflink>]; López-Íñiguez and McPherson [<reflink idref="bib33" id="ref28">33</reflink>]; Lubet [<reflink idref="bib34" id="ref29">34</reflink>]), and the ways talent interrelates with developing technical skills, proficiency in reading musical notation and the performance of canonical Western works. As a result, non-Western 'musics' and their characteristic musical practices are often marginalised (Gaztambide-Fernández [<reflink idref="bib10" id="ref30">10</reflink>]; Hess [<reflink idref="bib16" id="ref31">16</reflink>]; Recharte [<reflink idref="bib41" id="ref32">41</reflink>]; Thumlert and Nolan [<reflink idref="bib56" id="ref33">56</reflink>]). This serves only to reinforce social hierarchies by valuing particular types of musical knowledge and excluding students from diverse cultural backgrounds unfamiliar with Western music traditions. As Thumlert and Nolan ([<reflink idref="bib56" id="ref34">56</reflink>], 9) argue:</p> <p>Western talent regimes establish normative, classist, and Eurocentric forms of "sensible" aesthetic value that also predetermine what is curricularly admissible, while encoding, for music learners, precepts for percepts and axioms for affects. As an allegory of inequality, a "distribution of the sensible" becomes, in effect, a self-evident state of affairs that coordinates who is in the position to know; who has the authority to think, perceive, speak, or compose; and who is "naturally" not included, positioned subordinately or marginally within that "ensemble," and who <emph>may</emph> be included if the proper developmental (talent) milestones are met.</p> <p>In most contemporary societies, formal education is the first – and sometimes the only – guarantee of equal opportunities for all. Therefore, the formal education system should ensure every child has access to diverse educative/musical experiences in which s/he might engage in genuinely meaningful ways (Benedict et al. [<reflink idref="bib2" id="ref35">2</reflink>]; Lubet [<reflink idref="bib34" id="ref36">34</reflink>]; Wright [<reflink idref="bib65" id="ref37">65</reflink>], [<reflink idref="bib66" id="ref38">66</reflink>]). However, this does not always represent the case as, sometimes, these Eurocentric approaches narrow down the scope for any truly participatory ME while fostering ideas such as the belief that musical ability constitutes an innate trait or that playing music always requires attaining some technical mastery. These ideas often lead children to experience anxiety and self-doubt and the resulting belief that they are incapable of succeeding in music (Gaztambide-Fernández and Parekh [<reflink idref="bib12" id="ref39">12</reflink>]; Gaztambide-Fernández, Saifer, and Desai [<reflink idref="bib13" id="ref40">13</reflink>]; Lubet [<reflink idref="bib34" id="ref41">34</reflink>]; Matthews [<reflink idref="bib35" id="ref42">35</reflink>]).</p> <hd id="AN0183055872-3">Sound-based ME (SbME)</hd> <p>Following on from the significant group of scholars that have recently turned their attention to the scope for ME departing from sound (Hill [<reflink idref="bib18" id="ref43">18</reflink>]; Recharte [<reflink idref="bib41" id="ref44">41</reflink>]; Thibeault [<reflink idref="bib54" id="ref45">54</reflink>]; Thumlert and Nolan [<reflink idref="bib56" id="ref46">56</reflink>]; Thumlert, Harley, and Nolan [<reflink idref="bib55" id="ref47">55</reflink>]; Veloso [<reflink idref="bib58" id="ref48">58</reflink>]; Veloso, Foletto, and Freitas-Luís [<reflink idref="bib59" id="ref49">59</reflink>]), we propose here that Sound-Based ME (SbME) – a term introduced by Holland ([<reflink idref="bib19" id="ref50">19</reflink>]) after Landy ([<reflink idref="bib27" id="ref51">27</reflink>], [<reflink idref="bib28" id="ref52">28</reflink>], [<reflink idref="bib29" id="ref53">29</reflink>], [<reflink idref="bib30" id="ref54">30</reflink>], [<reflink idref="bib31" id="ref55">31</reflink>]) and later expanded by others (Guan et al. [<reflink idref="bib15" id="ref56">15</reflink>]; Holland and Chapman [<reflink idref="bib20" id="ref57">20</reflink>]; Pierroux and Rudi [<reflink idref="bib38" id="ref58">38</reflink>]; Wolf and Younie [<reflink idref="bib64" id="ref59">64</reflink>]) – is capable of fostering more inclusive and plural classrooms. SbME conceptualises sound as 'artistic matter,' inviting all forms of sound – including that often termed as 'noise' – into the musical learning space. Thus, by offering diverse sonic pathways, SbME encourages a more inclusive engagement with music that transcends traditional frameworks centred on the 'tones' of conventional musical instruments (Recharte [<reflink idref="bib41" id="ref60">41</reflink>]; Thumlert and Nolan [<reflink idref="bib56" id="ref61">56</reflink>]; Thumlert, Harley, and Nolan [<reflink idref="bib55" id="ref62">55</reflink>]; Veloso [<reflink idref="bib58" id="ref63">58</reflink>]; Veloso, Foletto, and Freitas-Luís [<reflink idref="bib59" id="ref64">59</reflink>]; Wolf and Younie [<reflink idref="bib64" id="ref65">64</reflink>]). This inclusive engagement becomes particularly relevant when considering the contextual and explorative nature of musical interactions as explored through the lens of teleomusicality (Schiavio and Kimmel [<reflink idref="bib49" id="ref66">49</reflink>]; Schiavio et al. [<reflink idref="bib50" id="ref67">50</reflink>]; Schyff, Schiavio, and Elliott [<reflink idref="bib51" id="ref68">51</reflink>]) and affordances (Gibson [<reflink idref="bib14" id="ref69">14</reflink>]; Krueger [<reflink idref="bib26" id="ref70">26</reflink>]; Reybrouck [<reflink idref="bib42" id="ref71">42</reflink>]; Windsor and Bézenac [<reflink idref="bib63" id="ref72">63</reflink>]). Therefore, this study aims to explore the effectiveness of various sonic and musical tools in early childhood education when implementing SbME. To provide a clearer understanding, we first define some key terms in order to establish our theoretical and analytical framework: teleomusicality, teleomusical acts (TA), original teleomusical acts (OTAs) and constituted teleomusical acts (CTAs).</p> <hd id="AN0183055872-4">Teleomusicality: sound as a goal</hd> <p> <emph>Teleomusicality</emph> refers to the broader process by which children engage with sound in a goal-directed way, meaning that sound itself becomes the primary focus of their actions. This developmental shift occurs between 6 and 10 months of age, when children begin to realise that their motor behaviours can produce sound, and they start exploring sound as something susceptible to intentional manipulation (Hofding and Schiavio, 2019; Schiavio et al. [<reflink idref="bib50" id="ref73">50</reflink>]).</p> <hd id="AN0183055872-5">Teleomusical acts: specific instances of intentional sound exploration</hd> <p> <emph>Teleomusical acts</emph> (TA) are specific moments that occur within the broader process of <emph>teleomusicality</emph>. They are the 'goal-directed actions infants adopt to interact with the sound properties of their environment' (Schiavio et al. [<reflink idref="bib50" id="ref74">50</reflink>], 2). The key here is the child's intention to explore sound rather than the physical movement leading to the sound. To identify TA, we observe behaviours in which children clearly focus on sound making, such as when they raise everyday objects and musical instruments close to their ears to listen to the sound they make or while manipulating objects or musical instruments – shaking, hitting with different intensities – and the respective child reacts immediately to its sounds – smiling, gazing, humming, singing or producing another sound. Importantly, TA are intentional and involve curiosity about the resulting sounds, rather than being incidental by-products of other actions (Schiavio et al. [<reflink idref="bib50" id="ref75">50</reflink>]; Schyff, Schiavio, and Elliott [<reflink idref="bib51" id="ref76">51</reflink>]). Schiavio et al. ([<reflink idref="bib50" id="ref77">50</reflink>]) distinguish between two types of TA:</p> <p></p> <ulist> <item> <bold> OTAs – original teleomusical acts – </bold> are spontaneous, unplanned sound-making actions that emerge naturally as children explore sound. For example, a child might accidentally tap a cup and be surprised by the sound it makes. Driven by curiosity, they continue tapping, exploring the sound without any external direction.</item> <p></p> <item> <bold> CTAs – constituted teleomusical acts </bold> – on the other hand, are more structured and fluid actions, developed over time as the child becomes more familiar with sound-making processes. In CTAs, multiple OTAs are combined into more holistic, goal-directed actions. For example, once a child has learned to hit a drum in different ways, s/he may focus less on the mechanics and the movements s/he needs to carry out, and more on creating rhythmical, timbrical or textural patterns.</item> </ulist> <hd id="AN0183055872-6">Theoretical background</hd> <p></p> <hd id="AN0183055872-7">Approaches to music education based on sound</hd> <p>In recent years, an important range of scholars have been suggesting new pedagogical perspectives in order to develop ME practices inclusive of all the sounds that surround us, thus reaching beyond the musical tones usually associated with the conventional musical instruments still played in most music classrooms and conservatoires (Guan et al. [<reflink idref="bib15" id="ref78">15</reflink>]; Hill [<reflink idref="bib18" id="ref79">18</reflink>]; Holland [<reflink idref="bib19" id="ref80">19</reflink>]; Holland and Chapman [<reflink idref="bib20" id="ref81">20</reflink>]; Pierroux and Rudi [<reflink idref="bib38" id="ref82">38</reflink>]; Recharte [<reflink idref="bib41" id="ref83">41</reflink>]; Thibeault [<reflink idref="bib54" id="ref84">54</reflink>]; Thumlert and Nolan [<reflink idref="bib56" id="ref85">56</reflink>]; Veloso [<reflink idref="bib58" id="ref86">58</reflink>]; Veloso, Foletto, and Freitas-Luís [<reflink idref="bib59" id="ref87">59</reflink>]; Wolf and Younie [<reflink idref="bib64" id="ref88">64</reflink>]). These perspectives have gained ground through interdisciplinary approaches that interrelate ME with the recent developments made not only in the field of Sound Studies (Cox and Warner [<reflink idref="bib5" id="ref89">5</reflink>]; Pinch and Bijsterveld [<reflink idref="bib39" id="ref90">39</reflink>]; Sterne [<reflink idref="bib53" id="ref91">53</reflink>]) but also those of Performance, Composition and Musicology (Solomos [<reflink idref="bib52" id="ref92">52</reflink>]), specifically through introducing the concept of Sound-based Music (SbM) (Landy [<reflink idref="bib27" id="ref93">27</reflink>], [<reflink idref="bib28" id="ref94">28</reflink>], [<reflink idref="bib29" id="ref95">29</reflink>], [<reflink idref="bib30" id="ref96">30</reflink>], [<reflink idref="bib31" id="ref97">31</reflink>]). The core factor here encapsulates the perspective that, by connecting all these fields of study, teachers and researchers might open up the opportunity to 'develop alternate epistemologies and pedagogic action around more generous conceptions of music' (Thibeault [<reflink idref="bib54" id="ref98">54</reflink>], 73). An opportunity to advance with the 'refocusing on sound' (Solomos [<reflink idref="bib52" id="ref99">52</reflink>], 6) that has been under the spotlight of a significant body not only of contemporary art music but also of many other musical worlds within popular music (Landy [<reflink idref="bib28" id="ref100">28</reflink>], [<reflink idref="bib30" id="ref101">30</reflink>]). At the same time, this would create an opening through which these professionals might reach out and connect with other artistic sound practices, such as sound art (Licht [<reflink idref="bib32" id="ref102">32</reflink>]; Weibel [<reflink idref="bib60" id="ref103">60</reflink>]) and acoustic ecology (Schafer [<reflink idref="bib47" id="ref104">47</reflink>], [<reflink idref="bib48" id="ref105">48</reflink>]; Thibeault [<reflink idref="bib54" id="ref106">54</reflink>]), namely through the development of Soundwalks (Behrendt [<reflink idref="bib1" id="ref107">1</reflink>]; Etmektsoglou, Dionyssiou, and Mniestris [<reflink idref="bib7" id="ref108">7</reflink>]; Radicchi [<reflink idref="bib40" id="ref109">40</reflink>]; Westerkamp [<reflink idref="bib61" id="ref110">61</reflink>], [<reflink idref="bib62" id="ref111">62</reflink>]; Yanko [<reflink idref="bib67" id="ref112">67</reflink>]).</p> <p>The origins of this path towards developing sound centred ME may be traced back to the ideas of the creative music movement that burst out in the 1960s and 1970s in the UK and Canada, which broadly accounts for the origins of this 'sound-based' approach to ME (Paynter and Aston [<reflink idref="bib37" id="ref113">37</reflink>]; Schafer [<reflink idref="bib46" id="ref114">46</reflink>], [<reflink idref="bib47" id="ref115">47</reflink>][<reflink idref="bib48" id="ref116">48</reflink>]). However, this movement set about implementation without developing any critical or empirical research, instead relying solely on the aesthetic and educational ideas and values advocated by its the key figures (Finney [<reflink idref="bib8" id="ref117">8</reflink>], [<reflink idref="bib9" id="ref118">9</reflink>]; Kanellopoulos [<reflink idref="bib22" id="ref119">22</reflink>], [<reflink idref="bib23" id="ref120">23</reflink>]). For example, Kanellopoulos ([<reflink idref="bib23" id="ref121">23</reflink>]) critiques the problematic notion of musical practices 'clean of all culturally imposed inhibitions' (<reflink idref="bib382" id="ref122">382</reflink>), aligned with children's natural ways of engaging with sound and music, as if knowledge were not socially and culturally constructed. Finney complements this critique by highlighting the lack of conceptual and analytical clarity as well as the absence of any coherent framework capable of supporting the claims put forward by composers associated with this movement.</p> <p>Moreover, both Finney ([<reflink idref="bib8" id="ref123">8</reflink>], [<reflink idref="bib9" id="ref124">9</reflink>]) and Kanellopoulos ([<reflink idref="bib22" id="ref125">22</reflink>], [<reflink idref="bib23" id="ref126">23</reflink>]) also address the 'alienation' experienced by students and the lack of connection with their daily lives and musical cultures arising from any unique focus on contemporary art music.</p> <p>Thus, only recently has this way of thinking and doing emerged more clearly with a new generation of scholars presenting new empirical works and their theoretical implications (Guan et al. [<reflink idref="bib15" id="ref127">15</reflink>]; Hill [<reflink idref="bib18" id="ref128">18</reflink>]; Holland [<reflink idref="bib19" id="ref129">19</reflink>]; Holland and Chapman [<reflink idref="bib20" id="ref130">20</reflink>]; Landy [<reflink idref="bib28" id="ref131">28</reflink>], [<reflink idref="bib30" id="ref132">30</reflink>]; Pierroux and Rudi [<reflink idref="bib38" id="ref133">38</reflink>]; Thumlert and Nolan [<reflink idref="bib56" id="ref134">56</reflink>]; Veloso [<reflink idref="bib58" id="ref135">58</reflink>]; Veloso, Foletto, and Freitas-Luís [<reflink idref="bib59" id="ref136">59</reflink>]; Wolf and Younie [<reflink idref="bib64" id="ref137">64</reflink>]).</p> <p>With this focus on sound, – and specifically departing from the idea of SbM (Landy [<reflink idref="bib27" id="ref138">27</reflink>], [<reflink idref="bib28" id="ref139">28</reflink>], [<reflink idref="bib29" id="ref140">29</reflink>], [<reflink idref="bib30" id="ref141">30</reflink>], [<reflink idref="bib31" id="ref142">31</reflink>]) and SbME (Guan et al. [<reflink idref="bib15" id="ref143">15</reflink>]; Holland [<reflink idref="bib19" id="ref144">19</reflink>]; Holland and Chapman [<reflink idref="bib20" id="ref145">20</reflink>]; Pierroux and Rudi [<reflink idref="bib38" id="ref146">38</reflink>]) – in this article, we reflect on a ME perspective that might emancipate children from a priori conceptions of what is considered musically valid and proposing, as recommended by Veloso, Foletto, and Freitas-Luís ([<reflink idref="bib59" id="ref147">59</reflink>]), an ME paradigm departing from two essential premises:</p> <p>a) the idea that all persons have the capacity to make music, regardless of their age, sex, physical or social condition, and b) the idea that music pedagogy should converge, today, towards a practice that includes the entire sound spectrum that surrounds us in an inclusive and open perspective, and in the quest to create new meanings for the diverse sound worlds we inhabit and to which we give life. (<reflink idref="bib126" id="ref148">126</reflink>)</p> <p>Based on these two premises, we here examine a particular series of tools and the ways in which they foster the development of meaningful interactions between children and sounds.</p> <hd id="AN0183055872-8">Children's early interactions with sound: the role of affordances and the idea of teleomusica...</hd> <p>The concept of affordance is embedded within the ecological approach to perception (Gibson 1979) and derives from the idea that meanings are created from the interactions established between subjects and their environment and, furthermore, that the objects we engage with display certain qualities and characteristics that somehow direct and guide our actions. Therefore, we may describe an affordance as a potential, and an invitation to meaningful action that depends not only on the characteristics of the objects and tools existing in a certain environment but also on the socio-motor capacities of each individual (Gibson 1979; Reybrouck [<reflink idref="bib42" id="ref149">42</reflink>]; Windsor and Bézenac [<reflink idref="bib63" id="ref150">63</reflink>]). In ME contexts, what seems most important to highlight is how objects – sound objects, conventional or invented musical instruments, other tools used for listening, producing, capturing or amplifying sounds – simultaneously enable and constrain the ways children explore, act and interact in particular activities (Reybrouck [<reflink idref="bib42" id="ref151">42</reflink>]; Schiavio et al. [<reflink idref="bib50" id="ref152">50</reflink>]; Schiavio and Kimmel [<reflink idref="bib49" id="ref153">49</reflink>]; Schyff, Schiavio, and Elliott [<reflink idref="bib51" id="ref154">51</reflink>]; Windsor and Bézenac [<reflink idref="bib63" id="ref155">63</reflink>]).</p> <p>Specifically as regards musical experience and development in early childhood, the concept of affordances interrelates closely with teleomusicality (Schiavio and Kimmel [<reflink idref="bib49" id="ref156">49</reflink>]; Schiavio et al. [<reflink idref="bib50" id="ref157">50</reflink>]; Schyff, Schiavio, and Elliott [<reflink idref="bib51" id="ref158">51</reflink>]) by emphasising the relationships existing between actions and perceptions and how certain characteristics of sounding objects invite children to pay close attention to sounds and develop TA.</p> <p>Schiavio's notion of teleomusicality itself builds on the foundational work of François Delalande, whose research on musical conduct in early childhood provides crucial insights into how spontaneous sound-making becomes the basis for more complex musical behaviours. Delalande and Cornara ([<reflink idref="bib6" id="ref159">6</reflink>]) identify three key types of musical conduct that describe just how children interact with sound throughout their development: <emph>explorative</emph>, <emph>expressive</emph> and <emph>organisational</emph>. <emph>Explorative conduct</emph> refers to children's initial interactions with sound, and their recourse to actions such as striking, plucking or rubbing to produce sound. Guided by curiosity and repetition, these actions mark the transition from OTAs to CTAs as children consciously and deliberately explore the auditory possibilities of their environments in an increasingly controlled manner (Schiavio et al. [<reflink idref="bib50" id="ref160">50</reflink>]). As children grow, they transition to <emph>expressive conduct,</emph> when they start attributing extra-musical meanings to sound, and relating sound with particular places, emotions or situations. This phase is perceived as an opportunity to 'further strengthen CTAs into musical actions and understandings that are more relevant in cultural contexts' (Schiavio et al. [<reflink idref="bib50" id="ref161">50</reflink>], 7). Finally, Delalande's <emph>organisational conduct</emph> emerges when children begin applying rules to their musical play. In musical terms, this represents a move beyond CTAs as child begins to improvise and compose simple patterns, and s/he 'develops and employs a particular and/or personal strategy to achieve the desired goal' (Schiavio et al. [<reflink idref="bib50" id="ref162">50</reflink>], 7).</p> <p>In this sense, music becomes understood as 'an emerging property of the ongoing relation between brain, body and environment; a property that can only emerge when infants actively engage in motivated exploratory behaviours involving sound-related outcomes' (Schiavio et al. [<reflink idref="bib50" id="ref163">50</reflink>], 5). In our perspective, this establishes a very important point given how this definition essentially encapsulates sound and the ways children creatively explore sound, and thus emphasising a perspective on music that is contextually bounded, and where the boundaries between sound, music and noise are fluid and dependent on each person's experiences of life.</p> <p>In this article, the concepts of teleomusicality and TA serve as the lens of analysis for examining what sonic and musical tools might be most effective in developing meaningful interactions between children and sounds.</p> <hd id="AN0183055872-9">Methodology and methods</hd> <p></p> <hd id="AN0183055872-10">Research context and participants</hd> <p>This study was developed at a non-profit association that works mainly with children who are not integrated into other social facilities, such as nursery schools or kindergartens. The association aims to both develop inclusive and democratic projects with children aged from 0 to 6 years old and their families, and, simultaneously, raise awareness about children's rights, namely the right to 'free play' from birth.</p> <p>The study involves a total of 13 children aged between 20 months and 5 years old. The younger children (children up to 2 years old, a total of 2) participating in the study were always accompanied by their mothers. All children took part in the association's regular activities during the week and the music sessions corresponding to the implementation of this study took place within its regular schedule. Beyond the 13 children, study participants included the two researchers/educators that are also the authors of this article, three other educators belonging to the institution and three musicians from University of Aveiro and Sonoscopia – an association which provides a platform and venue for creating, producing and promoting artistic and educational projects focusing on experimental music, sound research and its interdisciplinary intersections.</p> <p>This study took place in full compliance with GDPR. The Ethics and Deontology Committee from University of Aveiro granted ethical approval for data collection, and all parents provided their informed consent before allowing their children to participate in the study. All the personal data was anonymized, and pseudonyms were applied during transcriptions to preserve the anonymity of each participant.</p> <hd id="AN0183055872-11">Participatory action research</hd> <p>This study was developed within the framework of implementing the project 'Sound Hunters: Towards a pedagogy centred on listening and sound exploration in early childhood', which deployed a participatory action-research design. Participatory action research (PAR) aims to bring about transformations and improve processes in social contexts such as that of this study. As Kemmis and Wilkinson ([<reflink idref="bib25" id="ref164">25</reflink>]) explain:</p> <p>PAR attempts to help people investigate and change their social and educational realities by changing some of the practices which constitute their lived realities. In education, PAR can be used as means for professional development, improving curricula or problem solving in a variety of work situations. (21–22)</p> <p>Participatory action research thus constitutes a methodology that narrows the barriers that so commonly exist between researchers and participants through creating opportunities for all stakeholders to engage in the research process and participate in decision-making processes (Chevalier and Buckles [<reflink idref="bib4" id="ref165">4</reflink>]; Kemmis and Wikinson 2002; Kemmis, McTaggart, and Nixon [<reflink idref="bib24" id="ref166">24</reflink>]).</p> <p>Therefore, in this study, we were especially committed to ensuring the opportunities to listen and dialogue with all those involved, monitoring the opinions, feelings and ideas shared with us and making sure that, to the best of our ability, all decisions were made through negotiated processes among those collaborating in this process, especially caring for and focusing on the children's interests and needs. This procedure was subject to evaluation at weekly meetings held with the three educators from the institution. These meetings analysed the sessions already implemented, planned those to come, and reviewed the research procedures and methods bearing in mind everything that had already been discussed in other moments with the children, their caregivers and the musicians participating in this project.</p> <hd id="AN0183055872-12">Research process</hd> <p>The main goal of this study is to investigate which sonic and musical tools might more easily afford young children meaningful interactions with sound and so develop SbME in early childhood. The project underwent implementation between April and July 2022 over the course of 10 musical sessions in which we deployed a set of sonic and musical tools incorporating mechanisms and apparatuses described in the recent literature as representative of our contemporary musical landscape across diverse genres and styles (Bovermann et al. [<reflink idref="bib3" id="ref167">3</reflink>]; Cox and Warner [<reflink idref="bib5" id="ref168">5</reflink>]; Landy [<reflink idref="bib27" id="ref169">27</reflink>], [<reflink idref="bib29" id="ref170">29</reflink>]; Solomos [<reflink idref="bib52" id="ref171">52</reflink>]). In accordance with this same literature, we divided the tools[<reflink idref="bib1" id="ref172">1</reflink>] into four different sonic dimensions:</p> <hd id="AN0183055872-13">(A) Soundscapes</hd> <p>The Soundscapes dimension refers to all those sounds that daily surround us, whether from natural or urban landscapes. This includes noise, the sounds of nature, sounds produced by machines and other man-made technologies. In this category, we sought to develop activities and deploy tools that allowed children to connect with sounds belonging to the indoor and outdoor contexts which they interact with on a daily basis. One of the most popular activities was the soundwalk we carried out with the children and their families in two outdoor community spaces, where they engaged in a series of sound discoveries, establishing new and surprising relationships between their inner worlds and the surrounding landscapes and soundscapes.</p> <hd id="AN0183055872-14">(B) Sound microscopy</hd> <p>This dimension refers to the entire sound world that only becomes significantly audible through the use of amplification. Within this group, we developed a set of activities in which we invited children to explore amplified sounding objects sourced from their daily lives. We also applied a 'caixa bruita', a new musical instrument emerging from the concept of 'bruitage', that triggered enormous curiosity and surprise among children, who seemed fascinated by how daily life objects, whose sound is usually almost inaudible, suddenly became the powerful sound sources for a new and surprising musical instrument.</p> <hd id="AN0183055872-15">(C) Conventional musical instruments</hd> <p>This dimension spans instruments belonging to different musical traditions and cultures in terms of classical, traditional and popular music styles. Here, our goal was to create the opportunity for children to explore and experiment with conventional musical instruments in unconventional ways in an approach resembling practices within the scope of experimental approaches to music (Holmes [<reflink idref="bib21" id="ref173">21</reflink>]; Nyman [<reflink idref="bib36" id="ref174">36</reflink>]) in which composers and musicians deploy unconventional playing techniques, objects or electronic and digital artefacts to alter the original sounds of the musical instruments. To implement this category, the second article author (a violinist), together with two other musicians – a pianist and a flautist – that usually approach performance in this experimental way, led three different sessions with children, providing different chances to explore the instruments and experiment with different sounds and ways of playing.</p> <hd id="AN0183055872-16">(D) New musical instruments</hd> <p>This dimension includes those musical instruments created during the twentieth and twentieth first century by musicians, sound artists, architects, engineers or designers in their search for new sonorities and ways of interacting with sound that might move beyond the musical tones we are commonly used to hearing in classical, traditional or popular music. The 10 sessions developing this project were organised around three small action research cycles: a first cycle with four music sessions dedicated to 'soundscapes', a second with three music sessions dedicated to 'sound microscopy' and a final cycle one, also with three music sessions, dedicated to 'conventional musical instruments'. The final dimension, 'new musical instruments', was approached previously, during a pre-pilot session that took place in December 2021 and shall only be re-approached in depth during a follow up project that we aim to implement. Therefore, this dimension is not subject to analysis in this article.</p> <hd id="AN0183055872-17">Data collection and analysis</hd> <p>We video recorded all sessions by a portable camera carried by one of the researchers. During the study, we acted as participant observers (Robson and McCartan [<reflink idref="bib44" id="ref175">44</reflink>]) and completed field notes to keep a record of everything that happened during the implementation of each session, including informal dialogues with children.</p> <p>Throughout the data analysis process, we used the term 'sonic outputs' (SO) to designate children's attitudes, expressed feelings or interactions when engaged in TA. Therefore, the SO concept refers to the observable consequences of TA and, in this study, applied to analyse the richness and significance of the tools adopted during each TA.</p> <p>Data analysis proceeded according to the following steps:</p> <p></p> <ulist> <item> <bold> Identification in the data of _B_TA</bold>, and the <bold>sonic dimensions</bold> they belong to.</item> <p></p> <item> <bold> Description of the _B_12 TA</bold> identified in point 1.</item> <p></p> <item> <bold> Identification and characterisation, through an open coding process (Robson and McCartan [44]; Saldana [45]) of the _B_SO</bold> originating in each of the <bold>12 TA</bold> identified.</item> <p></p> <item> <bold> Identification of the _B_TA</bold> that produced the greatest <bold>SO</bold> variety.</item> <p></p> <item> <bold> Identification and characterisation of the _B_sonic and musical</bold> tools that afforded these <bold>SO</bold> and specifying the emergence of OTA or CTA within each given example.</item> </ulist> <p>In summary, through this process we developed four mutually intersecting categories of analysis that guide the entire analytical process: TA, sonic dimensions, SO and sonic and musical tools.</p> <hd id="AN0183055872-18">Findings</hd> <p>Table 1 sets out a list and a brief description of the SO encountered during our analysis.</p> <p>Table 1. List and definition of the SO identified during the analytical process.</p> <p> <ephtml> <table><thead valign="bottom"><tr><td>Sonic outputs</td><td>Definition</td></tr></thead><tbody><tr><td>Attentive listening</td><td>Moments when children were totally focused on sound, paying special attention to what they were listening to, very aware of the sounds around them, and frequently trying to identify, recognise and interact with those sounds.</td></tr><tr><td>Sonic fascination</td><td>Moments when children expressed great wonder and surprise as a result of their actions. On these occasions, children were moved by a great sense of curiosity, completely astonished by what they were interacting with.</td></tr><tr><td>Connecting sound to daily life</td><td>Moments when children could make clear connections between the TA and their daily lives. Most often, these happened when children suddenly paid attention to the sounds produced by ordinary objects that they were not used to seeing either as 'sound-producers' or as 'musical'.</td></tr><tr><td>Sound-based play</td><td>Moments of free play activated by the sounds produced during the musical sessions. Examples include moments when children are playing, dramatising a certain situation and introducing sounds or music to create a more vivid picture – sounds of swords, a rocket taking off, birds in the wild.</td></tr><tr><td>Musical dialogue</td><td>The category 'musical dialogue' refers to moments when children enter into dialogue with each other by making music, applying sounds as a means of communication. This differs from the 'sound-based play' category because in the latter, the sounds are produced within broader play-based situations, while in 'musical dialogue' the context in itself is musical. Examples of 'musical dialogue' include moments when children are already interacting with the specific purpose of making music. These often become observable through children solely focusing on the sounds they are producing and/or through verbal comments about their interactions.</td></tr></tbody></table> </ephtml> </p> <hd id="AN0183055872-19">Teleomusical acts (TA) and their sonic outputs (SO)</hd> <p>During the analysis, we identified 12 different TA, corresponding to the three dimensions already referenced in the methodology section (Figures 1–3).</p> <p>Graph: Figure 1. Transonoras.</p> <p>Graph: Figure 2. Yellow cones for augmented listening.</p> <p>Graph: Figure 3. Prepared headphones for augmented listening.</p> <p>The 12 TA presented in Table 2 emerged when children were using six different tools and produced six different SO. Figure 4 displays the relationships among the four analytical categories, i.e. sonic dimensions, sonic tools, SO and TA. This figure also conveys which SO resulted from each of the identified TA as well as the tools applied during these moments.</p> <p>Graph: Figure 4. Relationships between the four categories of analysis.</p> <p>Table 2. List of the TA according to the study's three dimensions.</p> <p> <ephtml> <table><thead valign="bottom"><tr><td>Sonic dimensions</td><td>Teleomusical acts</td></tr></thead><tbody><tr><td>Soundscapes</td><td>TA 1 – Child presses the red and black button on a transonora (see Figure 1). TA 2 – Child brings the yellow cones closer to the ear (see Figure 2). TA 3 – Child handles the prepared headphones (see Figure 3).</td></tr><tr><td>Sound Microscopy</td><td>TA 4 – Child squeezes a button to move a small battery that hits a sponge. TA 5 – Child squeezes a button to move a small battery that hits a shell. TA 6 – Child beats a comb against several objects. TA 7 – Child slides a small stick/comb along an amplified wire. TA 8 – Child hits a pine next to an amplified microphone.</td></tr><tr><td>Conventional Music Instruments</td><td>TA 9 – Child gropes the holes of the flute with his/her fingers. TA 10 – Child rubs a bow along the neck of a violin. TA 11 – Child rubs a bow along the neck of the violin while another rubs two combs together. TA12 – Child throws marbles onto the piano strings.</td></tr></tbody></table> </ephtml> </p> <p>As Figure 4 displays, within the soundscapes and sound microscopy dimensions, the TA producing the greatest variety of SO (a total of 5) were TA 2, 3, 5, 6 and 7. Within the conventional musical instruments dimension, the TA returning most SO was TA 12 in which children explored the piano and diverse sounding objects. We shall now more closely describe and analyse the relationships between the children's TA and their SO.</p> <hd id="AN0183055872-20">From the sonic outputs (SO) to the affordances of these tools</hd> <p>For the purposes of this analysis, this section describes three different examples of the TA of these children. We selected one TA from each of the three sonic dimensions listed in Table 1 to ensure the representativeness of the dimensions addressed and a greater diversity of experiences. These three examples were sourced from the field notes written by the first and second author. All the names given throughout these three examples are pseudonyms.</p> <hd id="AN0183055872-21">Soundscapes: a soundwalk in the yard ... (example 1 – TA 2)</hd> <p>As children reach a grassy section of the soundwalk, the workshop leaders hand them – and their parents – a pair of yellow cones (Figure 2). As soon as they grab the cones, children begin joyfully playing with them. Some peek inside the cones, others put them on the top of their heads or try to use it as if it was a megaphone, to amplify their voices. At the same time, some of the participating children bring them closer to their ears and listen. This is probably motivated by the practice carried out during the initial section of the soundwalk, when participants did a few exercises to 'warm up' their ear sense. At this moment, when children begin to listen through the cones, something magical seems to happen. The children gaze with curiosity and wonder, visibly surprised at the loudness and clarity of the sounds they hear.</p> <p>Encouraged by their parents and noticing the surprised look of their peers, those children that are using the cones in different ways then put them next to their ears. Adults and children roam the lawn searching for the sound sources that might be producing the specific soundscape they are listening to. There are four small speakers hidden in the buildings that flank the lawn and that produce an "altered soundscape", with the sounds of birds and insects simulating a forest soundscape during the night. However, not all participants are aware of this. Some discover the speakers, but others drift around, searching and exploring possibilities. From time to time, during this moment of exploration, pairs of children or children and adults can be seen playing and interacting with each other, using the cones to talk, sing, whisper and also to listen to each other. (Field Notes, April 20, 2022)</p> <p>TA 2 constitutes a vivid example of the <emph>attentive listening</emph> SO and occurred while we were implementing the 'Soundscapes' dimension. Within this, our main goal involved promoting a live and vivid interaction between children and the sound worlds that surround them daily. We wanted to raise awareness of these sound worlds among children, and, as such, we decided to implement both indoor and outdoor activities to broaden the spectrum of the sound pallet for the children to interact with. Within the outdoor activities, we staged a soundwalk for the participating children, their parents and caregivers.</p> <p>During TA 2, the children moved the cones towards their ears and began smiling, gazing, and pointing in several directions as if having discovered a new world that was previously hidden, displaying not only <emph>attentive listening</emph> but also what we named <emph>sonic fascination</emph> in accordance with a similar idea from Veloso ([<reflink idref="bib58" id="ref176">58</reflink>]). When we gave them the yellow cones, they began playing with them in several different ways. However, in a spontaneous way, the children suddenly moved the cones closer to their ears in what we perceive as an important moment demonstrating the emergence of an OTA. In this example, the cones work by 'magnifying the ear' so to speak, and, therefore, significantly redirecting the children's attention towards sound. The OTA we refer to here emerged in this exact moment, when children discovered that, by undertaking this simple action, they could listen to a hidden world full of new sounds. From this moment onwards, the children sought to explore as many sounds as they could, trying to listen to birds, leaves falling, the grass, trees creaking or the blowing of the wind. In turn, this <emph>attentive listening</emph> triggered children's <emph>exploratory drive</emph> as they felt invited to look for and produce new sounds. In this phase, several CTAs emerged as children began tapping their feet on the floor, beating their hands on the walls of the buildings, interacting with their parents and friends, exploring connections between <emph>sound and daily lives</emph> as well as creating many <emph>sound-based play situations</emph>. During all these moments in which we observed these CTAs, children maintained an intense <emph>sonic fascination</emph> towards sound, their eyes widening and mouths opening in wonder. Even their parents and caregivers seemed fascinated, listening to the soundscape with careful attention and exploring everyday objects as if noticing them for the first time.</p> <hd id="AN0183055872-22">Sound microscopy: in the world of the infinite small ... (example 2 – TA 6)</hd> <p>Luísa, a kindergarten educator, and Pedro, a four-year-old boy, are sitting opposite each other on the floor. In the middle, there is a small wooden table with several objects on it: pinecones, small baking pans made of metal, combs, brushes, and wooden sticks. The educator, who has two small wooden sticks in her hand, improvises a rhythm, hitting some objects. As soon as she stops, the boy responds, swaying with his body and head, and hitting the same objects with a comb he has in his hand. The child maintains the beat and, to a great extent, imitates the rhythm that Luísa had already made. From here, the two evolve in a dialogue, producing different rhythms while always following the original beat.</p> <p>At some point, the young boy takes the comb and rubs it lightly across one of the pinecones. Excited with the result, he exchanges the pinecone for a small metal can turned upside down. The educator joins in, using a different type of comb. Curious, the boy takes the comb from the educator and performs a similar movement, commenting that when using this other comb, the sound becomes "stronger". The child is totally focused on what he is doing, exploring the different sounds he can extract from the can. At one point, he runs his finger over the bottom of the can, observing that it sounds different. He seems fascinated by the sonic possibilities provided by these materials and objects that he knows so well from daily life. After this exploration, which he then extends to several other objects, he excitedly returns to the musical dialogue with the educator. (Field Notes, June 22, 2022)</p> <p>In this dimension, our intention was to direct the children's attention to all the sounding possibilities that exist at a 'micro' level, and that are not usually significantly audible without amplification (Cox and Warner [<reflink idref="bib5" id="ref177">5</reflink>]). We also wanted to encourage children to explore and experiment with objects that are not normally connected to sounds and music. TA 6 refers to a session in which we decided to see whether or not, when invited to play with daily life objects, children would direct their attention towards their sounds. This session (session 6) was a follow up of another in which the children played with the same objects amplified by a microphone that they could hear through headphones (Figure 5). In this previous session, the amplification of the sounds seems to have worked like a magic trick, with the children discovering sounding possibilities where they were not expecting them.</p> <p>Graph: Figure 5. Objects amplified by microphones and headphones.</p> <p>At the end of the session, we decided to observe what would happen should the objects not be amplified. It seemed this would provide an excellent opportunity to observe the occurrence of TA because if, on the one hand, the general expectation for children of this age is for them to first explore these objects visually and kinematically (Schiavio et al. [<reflink idref="bib50" id="ref178">50</reflink>]), on the other hand, this group of children was influenced by the previous music sessions and, more particularly, by the immediately preceding session when they had explored the sounds of objects with recourse to amplification. Therefore, at this point, our question focused on whether or not the experience of amplification was significant enough to lead children to first take sound into consideration when exploring the same objects. It turned out that this was the case for most participants. In TA 6, Pedro is exactly exploring sounds without amplification.</p> <p>He is extremely focused on exploring all the sounding scope of these objects, sometimes bringing objects closer to his ears or, on the contrary, moving his head and ears towards the objects. In our perspective, this took place because of the previous usage of amplification, as mentioned above. Therefore, the deployment of amplification seems to have been of crucial importance towards this shift in focus towards sound through which the young boy developed a series of CTAs related to texture, dynamics and rhythm. Thus, we might say amplification afforded a new set of sounding opportunities that activated the child's <emph>exploratory drive</emph> towards sound, expressed in the many ways this young boy extended his personal inquiry towards the sounding objects and the diverse approaches applied to play them. Furthermore, these exploratory efforts seem closely tied to the <emph>sonic fascination</emph> the young boy maintained during the entire activity. While searching for new sounds, the boy was totally absorbed in what he was doing, keeping his eyes and ears focused on the activity centre, and revealing profound curiosity in the sounding possibilities of these objects and the different textures, timbres and dynamics he was able to get from them. This curiosity and wonder seem to have been intensified by the scope for searching for sounds in objects that the boy already knows very well from his daily experiences, and that allowed him to make a vivid connection between sound and daily lives.</p> <p>Another SO that stands out here is the <emph>musical dialogue</emph> the young boy was able to maintain with his educator. Here, it seems he has moved beyond the idea of teleomusicality and is already developing his improvisatory competences, something that Schiavo and colleagues reference as occurring after the emergence of CTAs (Schiavio et al. [<reflink idref="bib50" id="ref179">50</reflink>]). The boy was very quick to answer the educator's musical comments, revealing surprising competence in dialoguing and communicating through the medium of sounds, and starting an improvisatory moment between the two as if long since accustomed to doing this. It is our belief he had already acquired several CTAs during the previous five sessions and/or within other contexts in his daily life. These seem to have provided him with the background necessary to begin improvising, something we perceive as decisively reinforced by deploying tools such as amplification. It is in this sense that a new, wider idea of music might grow in children's minds and bodies.</p> <hd id="AN0183055872-23">Conventional musical instruments: experiments on music (example 3 – TA 12)</hd> <p>Children are standing on chairs around a grand piano while the pianist and the researcher conducting today's music session guides them on a music composition activity related with the sounds of the ocean. At one point, the musician throws some marbles onto the strings of the piano, and the children begin exploring their sounding possibilities. One of the small boys, an enthusiastic 4-year-old, was positioned closer to the highest keys of the piano and, during this moment of exploration, he discovered a sound pattern that immediately caught his attention: the pattern sounded like a descending scale as the marbles slid from the upper to the lower strings of the piano. Following one of the educator's instructions, who was paying attention to what the pianist was doing, everyone stopped their explorations to listen to these new sounds. The small boy proudly repeated the movement while his peers observed him very attentively. (Field Notes, July 20, 2022)</p> <p>From the very outset, our intention was to include rather than to exclude. Therefore, we would suggest that any development of SbME should focus on the multitude of sounds that surround us and also include musical tones and, inherently, the musical instruments producing them. Thus, we decided to implement three sessions exploring the dimensions of conventional musical instruments while simultaneously trying to understand how this dimension might be explored in a manner also capable of relating to the other two dimensions we had previously implemented. Once again, what attracted our attention in this third example was the <emph>attentive listening</emph> and <emph>exploratory drive</emph> that was somehow awakened during this session by the many possibilities offered by the musician when he was guiding children in their exploration of the piano.</p> <p>When the pianist and researcher invited the children to create music together, they got very excited and immediately began producing ideas and coming up with ideas for creating 'ocean music'. With the help of the educators and researchers, they selected the tools and the sounds they wanted to make and began exploring sounds that might be used in their musical piece. It was during this exploratory moment that the small boy, when throwing marbles onto the piano's interior, discovered the descendent pattern. At this point, we would suggest he was already focused on the sound goal of his actions and, while we do not think he did this with the actual intention of achieving a descending scale, it does seem that this was a CTA, involving a complex creative act. In fact, and unlike the case with the yellow cones in example 1, where children played with the cones and unintentionally discovered the listening potential of these listening devices, here there was already a clear intention to produce sound, and an idea, however vague, of what that sound would be like. At this point, we consider it important to stress that, within the conventional musical instruments dimension, this was not only the session in which most TA emerged but also that when the SO originated by these TA were the most diverse and varied. In our view, this is due to the way in which the pianist and researcher explored the piano with the children: It was a grand piano, and the cover of the box was open. The children, surrounding the piano, could not only look inside the instrument but also move in its interior and interact with it in different ways, putting their hands inside and experiencing a series of the different sonic potentials of this instrument. The music of the piano was much richer than the sounds of its keys! In this way, the piano became an immense box of opportunities, far removed from the ideas that the children had and shared with us at the beginning of the session, associated with the more conventional ways of playing this musical instrument.</p> <hd id="AN0183055872-24">Discussion</hd> <p>In this section we would like to highlight two key points.</p> <p>Firstly, after consideration of the findings, we may observe how the tools producing the greatest variety of SO during the TA belong to the sonic dimensions of 'soundscapes' and 'sound microscopy'. Thus, we would here propose that tools such as augmented listening or recording, incorporated into artefacts such as the yellow cones or the 'transonora', invite almost immediate interactions with sound and therefore facilitate the process of teleomusicality and the emergence of OTAs and CTAs (Schiavio et al. [<reflink idref="bib50" id="ref180">50</reflink>]). Moreover, within the soundscapes dimension, and in the particular case of soundwalking activities, these tools also seem to nurture an emotional bond between children and their surroundings. Soundwalks have been described in the literature as an excellent means of connecting the inner selves of adults with their ambient settings (Behrendt [<reflink idref="bib1" id="ref181">1</reflink>]; Westerkamp [<reflink idref="bib61" id="ref182">61</reflink>], [<reflink idref="bib62" id="ref183">62</reflink>]). More recent literature has also extended these findings to children (Radicchi [<reflink idref="bib40" id="ref184">40</reflink>]; Yanko [<reflink idref="bib67" id="ref185">67</reflink>]), something that this study lends support to while also moving a step further by emphasising how these connections might be strengthened by tools such as augmented listening (whether through the yellow cones or prepared headphones) and recording. In the case of sound microscopy, the tools deployed heightened the volume of sound to an extent that necessarily attracted the children's attention. This caused a sense of fascination, while also arousing intense curiosity among the children, and leading them into explorative moments of engagement in creative interactions with these sound materials.</p> <p>What these findings may be telling us is that rethinking educational processes and contexts by reflecting on the role that tools – and their affordances (Reybrouck [<reflink idref="bib42" id="ref186">42</reflink>]; Schiavio et al. [<reflink idref="bib50" id="ref187">50</reflink>]; Schiavio and Kimmel [<reflink idref="bib49" id="ref188">49</reflink>]; Schyff, Schiavio, and Elliott [<reflink idref="bib51" id="ref189">51</reflink>]; Windsor and Bézenac [<reflink idref="bib63" id="ref190">63</reflink>]) – may play in this process might lead educators to reconsider how they plan and implement music activities as well as stimulating the development of new approaches to the usage of the tools and artefacts that already exist in such contexts, such as sounding objects, recording devices such as smartphones, and small musical instruments.</p> <p>Secondly, we would also like to suggest that during this study, children's ideas on what might be considered as 'music', 'musical' or 'making music' evolved during this study towards a broader perspective involving not only new ways of listening but also resulting in an explorative and creative attitude towards the entire sound world to which they have access. In fact, during the sessions, the children developed a progressive process of ownership and meaning making as regards the sounds they interacted with, and that slowly merged with the musical worlds they already knew and were familiar with. This emerged, for example, in the confidence and ease with which children developed the composition about the ocean, described in example three, mixing experimental and more conventional approaches to playing the piano, and also through the ways the young boy in example two applied all the tools at his disposal in his dialogue with the educator, including the sounds of combs, wooden sticks and pinecones. We believe that these findings, in conjunction with those put forward by other recent studies (Hill [<reflink idref="bib18" id="ref191">18</reflink>]; Holland [<reflink idref="bib19" id="ref192">19</reflink>]; Holland and Chapman [<reflink idref="bib20" id="ref193">20</reflink>]; Pierroux and Rudi [<reflink idref="bib38" id="ref194">38</reflink>]; Thumlert and Nolan [<reflink idref="bib56" id="ref195">56</reflink>]; Veloso [<reflink idref="bib58" id="ref196">58</reflink>]; Veloso, Foletto, and Freitas-Luís [<reflink idref="bib59" id="ref197">59</reflink>]; Wolf and Younie [<reflink idref="bib64" id="ref198">64</reflink>]) are fostering an opportunity to engage in a route that might lead to more inclusive definitions of 'music', 'musical' and 'making music', thus opening up the discipline of ME to the several different ways humans connect and interact with sound phenomena.</p> <p>It is in this sense, and as we will see in detail in the following section, that we may think of SbME in early childhood – developing from previous ideas of sound centred ME (Hill [<reflink idref="bib18" id="ref199">18</reflink>]; Holland [<reflink idref="bib19" id="ref200">19</reflink>]; Holland and Chapman [<reflink idref="bib20" id="ref201">20</reflink>]; Pierroux and Rudi [<reflink idref="bib38" id="ref202">38</reflink>]; Recharte [<reflink idref="bib41" id="ref203">41</reflink>];Thibeault [<reflink idref="bib54" id="ref204">54</reflink>]; Thumlert and Nolan [<reflink idref="bib56" id="ref205">56</reflink>]; Veloso [<reflink idref="bib58" id="ref206">58</reflink>]; Veloso, Foletto, and Freitas-Luís [<reflink idref="bib59" id="ref207">59</reflink>]; Wolf and Younie [<reflink idref="bib64" id="ref208">64</reflink>]) – as a more inclusive and plural approach to music and making music, and that moves away from the narrow ideas related to the conceptions and practices of teaching and learning music in western educational contexts (Lubet [<reflink idref="bib34" id="ref209">34</reflink>]; Recharte [<reflink idref="bib41" id="ref210">41</reflink>]; Rinsema [<reflink idref="bib43" id="ref211">43</reflink>]).</p> <hd id="AN0183055872-25">Implications for practice</hd> <p>While this study sometimes made recourse to expensive audio equipment and musical instruments, educators can easily incorporate everyday sounds (natural, mechanical) and objects into their activities in similar ways to examples 1 and 2. Accessible devices, such as smartphones and small speakers connected via Bluetooth or USB, also make it easy to record and amplify sound. In Table 3, we present some activity examples that teachers and educators might apply as a source of inspiration in their specific education contexts. The activities are grouped according to the three dimensions approached in this study, namely Soundscapes, Sound microscopy and Conventional musical instruments.</p> <p>Table 3. Activity examples according to the three dimensions addressed in the study.</p> <p> <ephtml> <table><thead valign="bottom"><tr><td>Dimensions</td><td>Tools</td><td>Suggested activities</td></tr></thead><tbody><tr><td>Soundscapes</td><td>Augmented Listening (yellow cones)</td><td>Crafting homemade 'listening cones', such as those in example 1 in the findings section, involves creating simple devices that help amplify and focus sounds, making listening activities more engaging for children. To make these cones, you can take a sheet of cardboard and roll it into a cone shape, securing it with tape or glue. The narrow end of the cone should be small enough to fit near the child's ear, while the wide end helps capture more sound from the surroundings</td></tr><tr><td>Soundwalks</td><td>Soundwalks, as in example 1, encourage children to listen actively as they move through different spaces, noticing how sounds change. Pausing at various points lets them focus on subtle sounds – including footsteps or distant noises – and compare sounds in different locations, increasing their awareness of how sound interacts with space. Tools including listening cones may further enhance this experience, helping them discover sounds they might otherwise miss.</td></tr><tr><td>Field recordings</td><td>After soundwalks, children can engage in field recordings with the use of smartphones or affordable portable recorders capturing the sounds of their environment. Guiding them through the basics of field recording – for example, describing their location and the sounds they're capturing – helps them document their auditory surroundings. They can later reflect on how recorded sounds differ from what they heard in real time.</td></tr><tr><td>Sound microscopy</td><td>Sounding objects</td><td>To explore the sounds of sound objects as in example 2, educators and teachers can carry out experiments with children, moving the objects closer and further away from the child's ear. The example of the comb is a special one because as the finger passes through the various teeth of the comb, it produces a variety of frequencies that proved extremely interesting for the child as we saw while analysing example 2.</td></tr><tr><td>Sounding objects and amplification</td><td>This interest in the sound properties of everyday objects can be deepened by using a regular voice microphone to amplify the object. In this case, the object becomes a real musical instrument susceptible to usage alongside other more conventional instruments.</td></tr><tr><td>Conventional musical instruments</td><td>Guitar, ukelele, Orff instruments, other conventional musical instruments.</td><td>Children can develop a more experimental and 'sound-centred' attitude to music from an early age by approaching conventional instruments in unconventional ways as in example 3. Small percussion instruments can be played with the fingers, seeking out different textures or timbres, or by interacting with the drum skin through different objects – small chains, marbles, shells from the beach, among others. Musical instruments such as the ukelele or the guitar can be played horizontally, whether using the strings in a percussive way or by interacting with the wood and strings via other objects in addition to the hands.</td></tr></tbody></table> </ephtml> </p> <p>While we have described several examples of potential activities, it is important to note that certain approaches – particularly field recordings and the experimental usage of conventional instruments beyond the piano – were not covered in this analysis and require further investigation with young children. In the context of SbM and SbME, these areas provide valuable opportunities to explore how young children engage with sound and music in more experimental and creative ways. However, more research is needed to fully understand their potential within early childhood education, in particular as regards the issue of promoting more inclusive and plural ME practices and approaches.</p> <hd id="AN0183055872-26">Disclosure statement</hd> <p>No potential conflict of interest was reported by the author(s).</p> <ref id="AN0183055872-27"> <title> Note </title> <blist> <bibl id="bib1" idref="ref107" type="bt">1</bibl> <bibtext> In this specific study, all tools used within the 'Soundscapes' and 'Sound Microscopy' dimensions – were designed and created by Sonoscopia.</bibtext> </blist> </ref> <ref id="AN0183055872-28"> <title> References </title> <blist> <bibtext> Behrendt, Frauke. 2018. " Soundwalking." In The Routledge Companion to Sound Studies, edited by Michael Bull, 249 – 257 (tbc). New York : Routledge. https://doi.org/10.4324/9781315722191-28.</bibtext> </blist> <blist> <bibl id="bib2" idref="ref35" type="bt">2</bibl> <bibtext> Benedict, Cathy, Patrick Schmidt, Gary Spruce, and Paul Woodford. 2015. " Why Social Justice and Music Education." In The Oxford Handbook of Social Justice and Music Education, edited by Cathy Benedict, Patrick Schmidt, Gary Spruce, and Paul Woodford, xi – xvi. Oxford : Oxford University Press.</bibtext> </blist> <blist> <bibl id="bib3" idref="ref167" type="bt">3</bibl> <bibtext> Bovermann, Till, Alberto de Campo, Hauke Egermann, Sarah-Indriyati Hardjowirogo, and Stefan Weinzierl. 2016. Musical Instruments in the 21st Century: Identities, Configurations, Practices. Singapore : Springer.</bibtext> </blist> <blist> <bibl id="bib4" idref="ref165" type="bt">4</bibl> <bibtext> Chevalier, Jacques M., and Daniel J. Buckles. 2019. Participatory Action Research: Theory and Methods for Engaged Inquiry. 2nd ed. London : Routledge. https://doi.org/10.4324/9781351033268.</bibtext> </blist> <blist> <bibl id="bib5" idref="ref89" type="bt">5</bibl> <bibtext> Cox, Christoph, and Daniel Warner, eds. 2017. Audio Culture, Revised Edition: Readings in Modern Music. 2nd ed. New York, NY : Bloomsbury Academic.</bibtext> </blist> <blist> <bibl id="bib6" idref="ref159" type="bt">6</bibl> <bibtext> Delalande, François, and Silvia Cornara. 2010. " Sound Explorations from the Ages of 10 to 37 Months: The Ontogenesis of Musical Conducts." Music Education Research 12 (3): 257 – 268. https://doi.org/10.1080/14613808.2010.504812.</bibtext> </blist> <blist> <bibl id="bib7" idref="ref108" type="bt">7</bibl> <bibtext> Etmektsoglou, Ioanna, Zoe Dionyssiou, and Andreas Mniestris. 2019. A Sound-Based Education for Listening, Appreciating and Co-creating the Soundscapes We Live In. Torfu : Ionian University..</bibtext> </blist> <blist> <bibl id="bib8" idref="ref117" type="bt">8</bibl> <bibtext> Finney, John. 2011. " John Paynter, Music Education and the Creativity of Coincidence." British Journal of Music Education 28 (01): 11 – 26. https://doi.org/10.1017/S0265051710000343.</bibtext> </blist> <blist> <bibl id="bib9" idref="ref118" type="bt">9</bibl> <bibtext> Finney, John. 2016. Music Education in England, 1950-2010: The Child-Centred Progressive Tradition. London : Routledge. https://doi.org/10.4324/9781315596754.</bibtext> </blist> <blist> <bibtext> Gaztambide-Fernández, Rúben. 2010. " Wherefore the Musicians? " Philosophy of Music Education Review 18 (1): 65 – 84. https://doi.org/10.2979/pme.2010.18.1.65.</bibtext> </blist> <blist> <bibtext> Gaztambide-Fernández, Rubén. 2013. " Why the Arts Don't Do Anything: Toward a New Vision for Cultural Production in Education." Harvard Educational Review 83 (1): 211 – 237. https://doi.org/10.17763/haer.83.1.a78q39699078ju20.</bibtext> </blist> <blist> <bibtext> Gaztambide-Fernández, Rubén, and Gillian Parekh. 2017. " Market "Choices" or Structured Pathways? How Specialized Arts Education Contributes to the Reproduction of Inequality." Education Policy Analysis Archives 25 (41): 1 – 26.</bibtext> </blist> <blist> <bibtext> Gaztambide-Fernández, Rubén A., Adam Saifer, and Chandni Desai. 2013. " "Talent" and the Misrecognition of Social Advantage in Specialized Arts Education." Roeper Review 35 (2): 124 – 135. https://doi.org/10.1080/02783193.2013.766964.</bibtext> </blist> <blist> <bibtext> Gibson, James Jerom. 1979. The Ecological Approach to Visual Perception. Boston, MA : Houghton Mifflin Harcourt.</bibtext> </blist> <blist> <bibtext> Guan, Xiaorong, Jiying Li, Zhihui Zheng, and Jie Shi. 2024. " The Experiences of Teachers in Teaching Computer Music in Selected Colleges and Universities in Hubei China." Journal of World Englishes and Educational Practices 6 (1): 88 – 116. https://doi.org/10.32996/jweep.2024.6.1.4.</bibtext> </blist> <blist> <bibtext> Hess, Juliet. 2015. " Decolonizing Music Education: Moving Beyond Tokenism." International Journal of Music Education 33 (3): 336 – 347. https://doi.org/10.1177/0255761415581283.</bibtext> </blist> <blist> <bibtext> Hess, Juliet. 2023. " Rethinking the Large Ensemble Paradigm: Moving Toward Epistemic Justice." Studies in Philosophy and Education 42 (4): 411 – 429. https://doi.org/10.1007/s11217-023-09882-8.</bibtext> </blist> <blist> <bibtext> Hill, Stuart Chapman. 2018. " A "Sound" Approach: John Cage and Music Education." Philosophy of Music Education Review 26 (1): 46 – 62. https://doi.org/10.2979/philmusieducrevi.26.1.04.</bibtext> </blist> <blist> <bibtext> Holland, David. 2015. " A Constructivist Approach for Opening Minds to Sound-Based Music." Journal of Music, Technology & Education 8 (1): 23 – 39. https://doi.org/10.1386/jmte.8.1.23_1.</bibtext> </blist> <blist> <bibtext> Holland, David, and Duncan Chapman. 2019. " Introducing New Audiences to Sound-Based Music Through Creative Engagement." Organised Sound 24 (3): 240 – 251. https://doi.org/10.1017/S1355771819000311.</bibtext> </blist> <blist> <bibtext> Holmes, Thom. 2008. Electronic and Experimental Music: Technology, Music and Culture. New York : Routledge.</bibtext> </blist> <blist> <bibtext> Kanellopoulos, Panagiotis A. 2009. "Cage's Short Visit to the Classroom: Experimental Music in Music Education – A Sociological View on a Radical Move". In Proceedings of the Sixth International Symposium on the Sociology of Music Education. St. Patrick's College, July 2009. https://digital.library.unt.edu/ark:/67531/metadc1390657/.</bibtext> </blist> <blist> <bibtext> Kanellopoulos, Panagiotis A. 2021. " Cage(D): Creativity and 'the Contemporary' in Music Education – A Sociological View." In The Routledge Handbook to Sociology of Music Education, edited by Ruth Wright, Geir Johansen, Panagiotis Kanellopoulos, and Patrick Schimdt, 377 – 392. London : Routledge.</bibtext> </blist> <blist> <bibtext> Kemmis, Stephen, Robin McTaggart, and Rhonda Nixon. 2013. The Action Research Planner: Doing Critical Participatory Action Research. Singapore : Springer Science & Business Media.</bibtext> </blist> <blist> <bibtext> Kemmis, Stephen, and Mervyn Wilkinson. 2002. 'Participatory Action Research and the Study of Practice'. In Action Research in Practice, edited by Bill Atweh, Stephen Kemmis, and Patricia Weeks, 21 – 36. London : Routledge.</bibtext> </blist> <blist> <bibtext> Krueger, Joel. 2014. " Affordances and the Musically Extended Mind." Frontiers in Psychology 4 : 1 – 13. https://doi.org/10.3389/fpsyg.2013.01003.</bibtext> </blist> <blist> <bibtext> Landy, Leigh. 2007. Understanding the Art of Sound Organization. Cambridge, MA : MIT Press.</bibtext> </blist> <blist> <bibtext> Landy, Leigh. 2012a. " Discovered Whilst Entering a new Millennium: A Technological Revolution That Will Radically Influence Both Music Making and Music Education." Journal of Music, Technology and Education 4 (2): 181 – 188. https://doi.org/10.1386/jmte.4.2-3.181_1.</bibtext> </blist> <blist> <bibtext> Landy, Leigh. 2012b. Making Music with Sounds. New York : Routledge. https://doi.org/10.4324/9780203120644.</bibtext> </blist> <blist> <bibtext> Landy, Leigh. 2016. " But Is It (Also) Music? " In The Routledge Companion to Sounding Art, edited by Marcel Cobussen, Vincent Meelberg, and Barry Truax, 17 – 26. London : Routledge.</bibtext> </blist> <blist> <bibtext> Landy, Leigh. 2023. Experiencing Organised Sounds: The Listening Experience Across Diverse Sound-Based Works. London : Routledge.</bibtext> </blist> <blist> <bibtext> Licht, Alan. 2019. Sound Art Revisited. Reprint Edition. New York : Bloomsbury Academic.</bibtext> </blist> <blist> <bibtext> López-Íñiguez, Guadalupe, and Gary E. McPherson. 2023. " Caring Approaches to Young, Gifted Music Learners' Education: A PRISMA Scoping Review." Frontiers in Psychology 14 (July): 1 – 15. https://doi.org/10.3389/fpsyg.2023.1167292.</bibtext> </blist> <blist> <bibtext> Lubet, Alex. 2009. " The Inclusion of Music/the Music of Inclusion." International Journal of Inclusive Education 13 (7): 727 – 739. https://doi.org/10.1080/13603110903046010.</bibtext> </blist> <blist> <bibtext> Matthews, Richard. 2015. " Beyond Toleration: Facing the Other." In The Oxford Handbook of Social Justice in Music Education, edited by Cathy Benedict, Patrick K. Schmidt, Gary Spruce, and Paul Woodford, 238 – 252. New York : Oxford University Press.</bibtext> </blist> <blist> <bibtext> Nyman, Michael. 1999. Experimental Music: Cage and Beyond. 2nd ed. Cambridge : Cambridge University Press.</bibtext> </blist> <blist> <bibtext> Paynter, John, and Peter Aston. 1970. Sound and Silence: Classroom Projects in Creative Music. Cambridge : Cambridge University Press.</bibtext> </blist> <blist> <bibtext> Pierroux, Palmyre, and Jøran Rudi. 2020. " Teaching Music Composition with Digital Tools: A Domain-Specific Perspective." In Multidisciplinary Approaches to Art Learning and Creativity, edited by Karen Knutson, Takeshi Okada, and Kevin Crowley, 124 – 145. New York : Routledge.</bibtext> </blist> <blist> <bibtext> Pinch, Trevor, and Karin Bijsterveld. 2012. The Oxford Handbook of Sound Studies. New York : Oxford University Press.</bibtext> </blist> <blist> <bibtext> Radicchi, Antonella. 2019. " Soundwalking with Children for a Quieter and Healthier City." Cities & Health 3 (1-2): 78 – 84. https://doi.org/10.1080/23748834.2019.1578455.</bibtext> </blist> <blist> <bibtext> Recharte, Matias. 2019. " De-centering Music: A "Sound Education"." Action, Criticism, and Theory for Music Education 18 (1): 68 – 88. https://doi.org/10.22176/act18.1.68.</bibtext> </blist> <blist> <bibtext> Reybrouck, Mark. 2012. " Musical Sense-Making and the Concept of Affordance: An Ecosemiotic and Experiential Approach." Biosemiotics 5 (3): 391 – 409. https://doi.org/10.1007/s12304-012-9144-6.</bibtext> </blist> <blist> <bibtext> Rinsema, Rebecca M. 2018. " De-Sacralizing the European: Music Appreciation (Then) and Music Listening (Now)." Music Education Research 20 (4): 480 – 489. https://doi.org/10.1080/14613808.2018.1433146.</bibtext> </blist> <blist> <bibtext> Robson, Colin, and Kieran McCartan. 2016. Real World Research. 4th ed. Hoboken : Wiley.</bibtext> </blist> <blist> <bibtext> Saldana, Johnny. 2009. The Coding Manual for Qualitative Researchers. London, UK : SAGE.</bibtext> </blist> <blist> <bibtext> Schafer, R. Murray. 1976. Creative Music Education: A Handbook for the Modern Music Teacher. New York : Schirmer Books.</bibtext> </blist> <blist> <bibtext> Schafer, R. Murray. 1977. The Soundscape: Our Sonic Environment and the Tuning of the World. Original ed. Rochester, VT : Destiny Books.</bibtext> </blist> <blist> <bibtext> Schafer, R. Murray. 1992. A Sound Education: 100 Exercises in Listening and Sound-Making. Ontario : Arcana Editions.</bibtext> </blist> <blist> <bibtext> Schiavio, Andrea, and Michael Kimmel. 2021. " The Ecological Dynamics of Musical Creativity and Skill Acquisition." In Meaningful Relations: The Enactivist Making of Experiential Worlds, edited by A. Scarinzi, 123 – 158. Prague : Academia-Verlag. https://doi.org/10.5771/9783896659934-121.</bibtext> </blist> <blist> <bibtext> Schiavio, Andrea, Dylan van der Schyff, Silke Kruse-Weber, and Renee Timmers. 2017. " When the Sound Becomes the Goal. 4E Cognition and Teleomusicality in Early Infancy." Frontiers in Psychology 8 : 1 – 17. https://<ulink href="http://www.frontiersin.org/articles/10.3389fpsyg.2017.01585">www.frontiersin.org/articles/10.3389fpsyg.2017.01585</ulink>.</bibtext> </blist> <blist> <bibtext> Schyff, Dylan van der, Andrea Schiavio, and David J. Elliott. 2022. Musical Bodies, Musical Minds: Enactive Cognitive Science and the Meaning of Human Musicality. Cambridge : The MIT Press. https://doi.org/10.7551/mitpress/12117.001.0001.</bibtext> </blist> <blist> <bibtext> Solomos, Makis. 2019. From Music to Sound: The Emergence of Sound in 20th- and 21st-Century Music. London : Routledge. https://doi.org/10.4324/9780429201110.</bibtext> </blist> <blist> <bibtext> Sterne, Jonathan, ed. 2012. The Sound Studies Reader. 1st ed. New York : Routledge.</bibtext> </blist> <blist> <bibtext> Thibeault, Matthew D. 2017. " Sound Studies and Music Education." The Journal of Aesthetic Education 51 (1): 69 – 83. https://doi.org/10.5406/jaesteduc.51.1.0069.</bibtext> </blist> <blist> <bibtext> Thumlert, Kurt, Daniel Harley, and Jason Nolan. 2020. " Sound Beginnings: Learning, Communicating, and Making Sense with Sound." Music Educators Journal 107 (2): 66 – 69. https://doi.org/10.1177/0027432120952081.</bibtext> </blist> <blist> <bibtext> Thumlert, Kurt, and Jason Nolan. 2019. " Angry Noise: Recomposing Music Pedagogies in Indisciplinary Modes." In Handbook of Theory and Research in Cultural Studies and Education, edited by Peter Pericles Trifonas, 633 – 655. New York : Springer.</bibtext> </blist> <blist> <bibtext> Tinkle, Adam. 2015. " Experimental Music with Young Novices: Politics and Pedagogy." Leonardo Music Journal 25 : 30 – 33. https://doi.org/10.1162/LMJ_a_00930.</bibtext> </blist> <blist> <bibtext> Veloso, A. L. 2020. " Rethinking Experimental Music Within Music Education: Thoughts and Feelings After a Voyage Through the Project INsono." Revista Electrónica de LEEME 46 : 49 – 67. https://doi.org/10.7203/LEEME.46.17409.</bibtext> </blist> <blist> <bibtext> Veloso, Ana Luísa, Clarissa Foletto, and Joana Freitas-Luís. 2023. " Sound Hunters: Reflections on a Pilot Study Focused on the Levels of Children's Involvement When Engaged in a Sound-Based Music Pedagogy." In Exploring Creativities: Creation as a Strategy for Learning Music and the Arts, edited by Adolf Murillo y Ribes, Jesús Tejada, María Elena Riaño, Clarissa Foletto, Sara Carvalho, and Luis Solé, 117 – 150. València : EdictOràlia (Arts Lab Collection).</bibtext> </blist> <blist> <bibtext> Weibel, Peter. 2019. Sound Art: Sound as a Medium of Art. Cambridge, MA : The MIT Press.</bibtext> </blist> <blist> <bibtext> Westerkamp, Hildegard. 1974. "Soundwalking". Sound Heritage III (4). https://ia801604.us.archive.org/10/items/sesion3_201702/Westerkamp%2C%20Hildegard%20-%20Soundwalking.pdf.</bibtext> </blist> <blist> <bibtext> Westerkamp, Hildegard. 2002. " Linking Soundscape Composition and Acoustic Ecology." Organised Sound 7 (1): 51 – 56. https://doi.org/10.1017/S1355771802001085.</bibtext> </blist> <blist> <bibtext> Windsor, W. Luke, and Christophe de Bézenac. 2012. " Music and Affordances." Musicae Scientiae 16 (1): 102 – 120. https://doi.org/10.1177/1029864911435734.</bibtext> </blist> <blist> <bibtext> Wolf, Motje, and Sarah Younie. 2018. " Overcoming Barriers: Towards a Framework for Continuing Professional Development to Foster Teaching Sound-Based Music." Journal of Music, Technology & Education 11 (1): 83 – 101. https://doi.org/10.1386/jmte.11.1.83_1.</bibtext> </blist> <blist> <bibtext> Wright, Ruth. 2015. " Music Education and Social Reproduction." In The Oxford Handbook of Social Justice in Music Education, edited by Cathy Benedict, Patrick Schmidt, Gary Spruce, and Paul Woodford, 340 – 356. Oxford : Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199356157.013.47.</bibtext> </blist> <blist> <bibtext> Wright, Ruth. 2019. " Envisioning Real Utopias in Music Education: Prospects, Possibilities and Impediments." Music Education Research 21 (3): 217 – 227. https://doi.org/10.1080/14613808.2018.1484439.</bibtext> </blist> <blist> <bibtext> Yanko, Matthew. 2023. " Walking to Create an Environmental Arts Pedagogy of Music." In Walking as Critical Inquiry, edited by Alexandra Lasczik, Amy Cutter-Mackenzie-Knowles, and David Rousell, 97 – 116. Cham : Springer International Publishing. https://doi.org/10.1007/978-3-031-29991-9_7</bibtext> </blist> </ref> <aug> <p>By Ana Luísa Veloso and Clarissa Foletto</p> <p>Reported by Author; Author</p> <p></p> <p>Ana Luísa Veloso is an assistant researcher at INET-md – Institute of Ethnomusicology – Centre for Studies in Music and Dance at Aveiro University. She holds a PhD in Music in the field of Education, that she concluded in 2012 at Aveiro University with a scholarship from FCT. From 2015 to 2020 she was a postdoctoral Fellow at CIPEM, a pole of INET-md at Politécnico do Porto. Here, she had the opportunity to broaden her knowledge and expertise in areas such as Musical Creativity, Music Composition, Contemporary and Experimental Music in Educational Contexts, or Music, Personal and Social Transformation, that are key in her work nowadays. Her national and international work is visible mainly through oral communications and workshops as guest speaker in conferences or seminars, article publications in international peer-reviewed journals, chapters in books, and presentation of papers and posters in conferences. Furthermore, she was a member of the board of directors of the Portuguese Association of Music Education (APEM), the Portuguese representative of the ISME national affiliates, director of the Revista Portuguesa de Educação Musical and national coordinator of the European Association for Music in Schools (EAS). She is a member/artist of Sonoscopia Associação (Portugal) where she actively pursues her activity as a musician, collaborating in several groups related to experimental music and sound art, and participating in diverse educational projects and activities with children and adults.</p> <p>Clarissa Foletto is a junior researcher at INET-md – Institute of Ethnomusicology – Centre for Studies in Music and Dance at Aveiro University, in Portugal. She is the institutional coordinator of the project DigiMusi (Digital transformation in elementary music education), that is financially supported by European Commission – Programme Erasmus+. She holds a European PhD in Instrumental teaching from the University of Aveiro with a period of studies at Institute of Education/University College of London. Her research focus is on innovative approaches to instrumental teaching and learning, teacher and student communication, strings pedagogy, digital transition in music education and early childhood in music education. She was a member of founder committees of associations and initiatives in Portugal, namely: member of the founder committee and present secretary of ESTA Portugal (European String Teachers Association); (ii) member of the founder committee and associate editor of the Journal IMPAR: Online Journal for Artistic Research; (iii) founder and coordinator of the Laboratory for the Teaching and Learning of Music of UA. During the last 6 years, her research and artistic activity have been disseminated in conferences, articles, book chapters and concerts. Recently, she was nominated Erasmus coordinator for the music area at DeCA/UA.</p> </aug> <nolink nlid="nl1" bibid="bib10" firstref="ref1"></nolink> <nolink nlid="nl2" bibid="bib11" firstref="ref2"></nolink> <nolink nlid="nl3" bibid="bib12" firstref="ref3"></nolink> <nolink nlid="nl4" bibid="bib13" firstref="ref4"></nolink> <nolink nlid="nl5" bibid="bib16" firstref="ref5"></nolink> <nolink nlid="nl6" bibid="bib17" firstref="ref6"></nolink> <nolink nlid="nl7" bibid="bib34" firstref="ref7"></nolink> <nolink nlid="nl8" bibid="bib35" firstref="ref8"></nolink> <nolink nlid="nl9" bibid="bib41" firstref="ref9"></nolink> <nolink nlid="nl10" bibid="bib56" firstref="ref10"></nolink> <nolink nlid="nl11" bibid="bib55" firstref="ref11"></nolink> <nolink nlid="nl12" bibid="bib57" firstref="ref12"></nolink> <nolink nlid="nl13" bibid="bib33" firstref="ref28"></nolink> <nolink nlid="nl14" bibid="bib65" firstref="ref37"></nolink> <nolink nlid="nl15" bibid="bib66" firstref="ref38"></nolink> <nolink nlid="nl16" bibid="bib18" firstref="ref43"></nolink> <nolink nlid="nl17" bibid="bib54" firstref="ref45"></nolink> <nolink nlid="nl18" bibid="bib58" firstref="ref48"></nolink> <nolink nlid="nl19" bibid="bib59" firstref="ref49"></nolink> <nolink nlid="nl20" bibid="bib19" firstref="ref50"></nolink> <nolink nlid="nl21" bibid="bib27" firstref="ref51"></nolink> <nolink nlid="nl22" bibid="bib28" firstref="ref52"></nolink> <nolink nlid="nl23" bibid="bib29" firstref="ref53"></nolink> <nolink nlid="nl24" bibid="bib30" firstref="ref54"></nolink> <nolink nlid="nl25" bibid="bib31" firstref="ref55"></nolink> <nolink nlid="nl26" bibid="bib15" firstref="ref56"></nolink> <nolink nlid="nl27" bibid="bib20" firstref="ref57"></nolink> <nolink nlid="nl28" bibid="bib38" firstref="ref58"></nolink> <nolink nlid="nl29" bibid="bib64" firstref="ref59"></nolink> <nolink nlid="nl30" bibid="bib49" firstref="ref66"></nolink> <nolink nlid="nl31" bibid="bib50" firstref="ref67"></nolink> <nolink nlid="nl32" bibid="bib51" firstref="ref68"></nolink> <nolink nlid="nl33" bibid="bib14" firstref="ref69"></nolink> <nolink nlid="nl34" bibid="bib26" firstref="ref70"></nolink> <nolink nlid="nl35" bibid="bib42" firstref="ref71"></nolink> <nolink nlid="nl36" bibid="bib63" firstref="ref72"></nolink> <nolink nlid="nl37" bibid="bib39" firstref="ref90"></nolink> <nolink nlid="nl38" bibid="bib53" firstref="ref91"></nolink> <nolink nlid="nl39" bibid="bib52" firstref="ref92"></nolink> <nolink nlid="nl40" bibid="bib32" firstref="ref102"></nolink> <nolink nlid="nl41" bibid="bib60" firstref="ref103"></nolink> <nolink nlid="nl42" bibid="bib47" firstref="ref104"></nolink> <nolink nlid="nl43" bibid="bib48" firstref="ref105"></nolink> <nolink nlid="nl44" bibid="bib40" firstref="ref109"></nolink> <nolink nlid="nl45" bibid="bib61" firstref="ref110"></nolink> <nolink nlid="nl46" bibid="bib62" firstref="ref111"></nolink> <nolink nlid="nl47" bibid="bib67" firstref="ref112"></nolink> <nolink nlid="nl48" bibid="bib37" firstref="ref113"></nolink> <nolink nlid="nl49" bibid="bib46" firstref="ref114"></nolink> <nolink nlid="nl50" bibid="bib22" firstref="ref119"></nolink> <nolink nlid="nl51" bibid="bib23" firstref="ref120"></nolink> <nolink nlid="nl52" bibid="bib382" firstref="ref122"></nolink> <nolink nlid="nl53" bibid="bib126" firstref="ref148"></nolink> <nolink nlid="nl54" bibid="bib25" firstref="ref164"></nolink> <nolink nlid="nl55" bibid="bib24" firstref="ref166"></nolink> <nolink nlid="nl56" bibid="bib21" firstref="ref173"></nolink> <nolink nlid="nl57" bibid="bib36" firstref="ref174"></nolink> <nolink nlid="nl58" bibid="bib44" firstref="ref175"></nolink> <nolink nlid="nl59" bibid="bib43" firstref="ref211"></nolink>
Header DbId: eric
DbLabel: ERIC
An: EJ1465899
AccessLevel: 3
PubType: Academic Journal
PubTypeId: academicJournal
PreciseRelevancyScore: 0
IllustrationInfo
Items – Name: Title
  Label: Title
  Group: Ti
  Data: Introducing a Sound-Based Music Education in Early Childhood: The Role of Sonic and Musical Tools in the Development of Teleomusicality
– Name: Language
  Label: Language
  Group: Lang
  Data: English
– Name: Author
  Label: Authors
  Group: Au
  Data: <searchLink fieldCode="AR" term="%22Ana+Luísa+Veloso%22">Ana Luísa Veloso</searchLink><br /><searchLink fieldCode="AR" term="%22Clarissa+Foletto%22">Clarissa Foletto</searchLink>
– Name: TitleSource
  Label: Source
  Group: Src
  Data: <searchLink fieldCode="SO" term="%22Music+Education+Research%22"><i>Music Education Research</i></searchLink>. 2025 27(1):54-72.
– Name: Avail
  Label: Availability
  Group: Avail
  Data: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
– Name: PeerReviewed
  Label: Peer Reviewed
  Group: SrcInfo
  Data: Y
– Name: Pages
  Label: Page Count
  Group: Src
  Data: 19
– Name: DatePubCY
  Label: Publication Date
  Group: Date
  Data: 2025
– Name: TypeDocument
  Label: Document Type
  Group: TypDoc
  Data: Journal Articles<br />Reports - Research
– Name: Audience
  Label: Education Level
  Group: Audnce
  Data: <searchLink fieldCode="EL" term="%22Early+Childhood+Education%22">Early Childhood Education</searchLink>
– Name: Subject
  Label: Descriptors
  Group: Su
  Data: <searchLink fieldCode="DE" term="%22Early+Childhood+Education%22">Early Childhood Education</searchLink><br /><searchLink fieldCode="DE" term="%22Music+Education%22">Music Education</searchLink><br /><searchLink fieldCode="DE" term="%22Acoustics%22">Acoustics</searchLink><br /><searchLink fieldCode="DE" term="%22Audio+Equipment%22">Audio Equipment</searchLink><br /><searchLink fieldCode="DE" term="%22Child+Development%22">Child Development</searchLink><br /><searchLink fieldCode="DE" term="%22Toddlers%22">Toddlers</searchLink><br /><searchLink fieldCode="DE" term="%22Preschool+Children%22">Preschool Children</searchLink><br /><searchLink fieldCode="DE" term="%22Foreign+Countries%22">Foreign Countries</searchLink><br /><searchLink fieldCode="DE" term="%22Inclusion%22">Inclusion</searchLink><br /><searchLink fieldCode="DE" term="%22Auditory+Stimuli%22">Auditory Stimuli</searchLink><br /><searchLink fieldCode="DE" term="%22Aural+Learning%22">Aural Learning</searchLink>
– Name: Subject
  Label: Geographic Terms
  Group: Su
  Data: <searchLink fieldCode="DE" term="%22Portugal%22">Portugal</searchLink>
– Name: DOI
  Label: DOI
  Group: ID
  Data: 10.1080/14613808.2024.2447239
– Name: ISSN
  Label: ISSN
  Group: ISSN
  Data: 1461-3808<br />1469-9893
– Name: Abstract
  Label: Abstract
  Group: Ab
  Data: In recent years, and within the scope of moving towards more inclusive and democratic classrooms, some scholars have proposed developing approaches to Music Education that depart from sound and sounding phenomena as larger categories that might incorporate the diverse trajectories and life experiences of children. In accordance with this initial position, this article correspondingly examines just what sonic and musical tools might more easily afford young children with meaningful interactions with sound and their sonic environments in the framework of developing Sound-based Music Education for early childhood. Our findings highlight the importance of introducing new sonic tools -- including recording, amplification, and augmented listening -- into developing diversified and meaningful musical activities with young children. These findings also simultaneously highlight the need to develop new definitions of music, extending to the entire sound pallet that surrounds us, and representative of the different musical paths and identities that children develop throughout their lives.
– Name: AbstractInfo
  Label: Abstractor
  Group: Ab
  Data: As Provided
– Name: DateEntry
  Label: Entry Date
  Group: Date
  Data: 2025
– Name: AN
  Label: Accession Number
  Group: ID
  Data: EJ1465899
PLink https://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=eric&AN=EJ1465899
RecordInfo BibRecord:
  BibEntity:
    Identifiers:
      – Type: doi
        Value: 10.1080/14613808.2024.2447239
    Languages:
      – Text: English
    PhysicalDescription:
      Pagination:
        PageCount: 19
        StartPage: 54
    Subjects:
      – SubjectFull: Early Childhood Education
        Type: general
      – SubjectFull: Music Education
        Type: general
      – SubjectFull: Acoustics
        Type: general
      – SubjectFull: Audio Equipment
        Type: general
      – SubjectFull: Child Development
        Type: general
      – SubjectFull: Toddlers
        Type: general
      – SubjectFull: Preschool Children
        Type: general
      – SubjectFull: Foreign Countries
        Type: general
      – SubjectFull: Inclusion
        Type: general
      – SubjectFull: Auditory Stimuli
        Type: general
      – SubjectFull: Aural Learning
        Type: general
      – SubjectFull: Portugal
        Type: general
    Titles:
      – TitleFull: Introducing a Sound-Based Music Education in Early Childhood: The Role of Sonic and Musical Tools in the Development of Teleomusicality
        Type: main
  BibRelationships:
    HasContributorRelationships:
      – PersonEntity:
          Name:
            NameFull: Ana Luísa Veloso
      – PersonEntity:
          Name:
            NameFull: Clarissa Foletto
    IsPartOfRelationships:
      – BibEntity:
          Dates:
            – D: 01
              M: 01
              Type: published
              Y: 2025
          Identifiers:
            – Type: issn-print
              Value: 1461-3808
            – Type: issn-electronic
              Value: 1469-9893
          Numbering:
            – Type: volume
              Value: 27
            – Type: issue
              Value: 1
          Titles:
            – TitleFull: Music Education Research
              Type: main
ResultId 1