Academic literature on the topic 'Spontaneous singing'

Children's musical experience begins very early in their life, from hearing their mother's singing in the womb to spontaneous singing as they play. This is the first in a series of articles providing practical inspiration to develop their musicality.

This article addresses types and functions of singing practices in 10 families with 3-year-old children living in New York City, with illustrative cases of three families. Initial interviews were held with the parents in the families' homes. Between the initial visit and a follow-up visit 2-3 weeks later, parents observed their children and kept journals describing their engagement in music activity. Transcripts of interviews from each visit, field notes, and parent journals were reviewed for evidence of singing practices. Analyses revealed families used singing to “make special” routine activities and to create and maintain traditions. Parent and researcher observations of children's musical play were characterized by singing. Possible trends were suggested around learned song and spontaneous song. Implications for teaching and learning are considered in terms of what educators might learn from observations of both children's spontaneous play and from musical parenting. June 14, 2005 March 7, 2006

The relationship between musical and linguistic pitch abilities in young children was explored. Developmental research demonstrated that abilities in pitch perception and production in early music and language development are closely integrated. Cross-cultural evidence also illustrated the influence of language characteristics on music, children's songs and spontaneous singing. A close examination into the singing ability of the Cantonese-speaking children in Hong Kong showed that pitch abilities in language can possibly enhance pitch accuracy in singing. It was therefore suggested that musical and linguistic abilities should be encouraged in close connection during early childhood.

The aim of this study was to investigate, describe and understand the developmental function (musical and social/emotional) of nine toddlers’ private spontaneous songs. Between the initial interviews with the eight families and follow-up interviews 5 to 6 weeks later, parents observed their child at home twice a week for 4 consecutive weeks. When the child was alone at bedtime, the parents stood outside the bedroom door and completed a written Parent’s Observation and Reflection Form (PORF) describing and contextualizing what they heard on a minute-by-minute basis for the first 15 minutes of each session. Additionally, the parents collected audio recordings of the eight sessions using a smartphone that they placed inside the child’s room. Data sources included transcripts from family interviews, field notes, PORFs, and audio recordings. Findings suggest that many of the toddlers used solitary spontaneous singing at bedtime as a way to demonstrate and practice musical skill, reflect, experiment, self-soothe, and understand their own worlds. Spontaneous singing functioned to support these adaptive strategies during this intense developmental period. Further research is needed to understand the conditions and varieties of toddlers’ private spontaneous crib song.

Spontaneous retropharyngeal and cervical emphysema is rare. We describe a case that was unusual in its etiology: the result of singing. Although this condition is usually benign, hospital admission for close observation and supportive therapy is prudent.

The striatum—the primary input nucleus of the basal ganglia—plays a major role in motor control and learning. Four main classes of striatal neuron are thought to be essential for normal striatal function: medium spiny neurons, fast-spiking interneurons, cholinergic tonically active neurons, and low-threshold spiking interneurons. However, the nature of the interaction of these neurons during behavior is poorly understood. The songbird area X is a specialized striato-pallidal basal ganglia nucleus that contains two pallidal cell types as well as the same four cell types found in the mammalian striatum. We recorded 185 single units in Area X of singing juvenile birds and, based on singing-related firing patterns and spike waveforms, find six distinct cell classes—two classes of putative pallidal neuron that exhibited a high spontaneous firing rate (>60 Hz), and four cell classes that exhibited low spontaneous firing rates characteristic of striatal neurons. In this study, we examine in detail the four putative striatal cell classes. Type-1 neurons were the most frequently encountered and exhibited sparse temporally precise singing-related activity. Type-2 neurons were distinguished by their narrow spike waveforms and exhibited brief, high-frequency bursts during singing. Type-3 neurons were tonically active and did not burst, whereas type-4 neurons were inactive outside of singing and during singing generated long high-frequency bursts that could reach firing rates over 1 kHz. Based on comparison to the mammalian literature, we suggest that these four putative striatal cell classes correspond, respectively, to the medium spiny neurons, fast-spiking interneurons, tonically active neurons, and low-threshold spiking interneurons that are known to reside in area X.

We examined facial responses to audio-visual presentations of emotional singing. Although many studies have now found evidence for facial responses to emotional stimuli, most have involved static facial expressions and none have involved singing. Singing represents a dynamic ecologically valid emotional stimulus with unique demands on orofacial motion that are independent of emotion, related to pitch and linguistic production. Observers’ facial muscles were recorded with electromyography while they saw and heard recordings of a vocalist’s performance sung with different emotional intentions (happy, neutral, and sad). Audio-visual presentations successfully elicited facial mimicry in observers that were congruent with the performer’s intended emotions. Happy singing performances elicited increased activity in the zygomaticus major muscle region of observers, while sad performances evoked increased activity in the corrugator supercilii muscle region. These spontaneous facial muscle responses occurred within the first three seconds following onset of video presentation indicating that emotional nuances of singing performances can elicit dynamic facial responses from observers.

AbstractIn this study we determine whether brief interactions with unfamiliar conspecifics stimulate audible singing behaviour in the Neotropical short-tailed singing mouse (Scotinomys teguina). Specifically, we examine whether intra- or inter-sexual interactions elicit singing in males in a neutral-arena design. We conducted two experiments. In experiment 1, we recorded singing behaviour of male subjects both before and after a brief exposure to a female mouse. Males significantly increased their singing behaviour after the exposure to the female, as compared to prior to the exposure. In experiment 2, we compared the singing behaviour of male test subjects after a brief exposure with one of three different treatment animals: a male, a non-oestrous female and an oestrous female. We found that males are most likely to sing after an interaction with a female, regardless of her reproductive condition. Male subjects sang significantly less following an interaction with another male. Although spontaneous singing is known to occur in males and females, opposite sex elicited-singing behaviour was found to be sexually dimorphic. An interaction with a male was not effective in eliciting singing in females. In experiment 2, we also recorded incidences of allogrooming and allomarking by males during the interactions with males, non-oestrous females, and oestrous females. Male allogrooming and allomarking behaviours using the mid-ventral sebaceous gland tend to occur more frequently during interactions with females as compared to males, but were significantly different only in the case of allogrooming. Thus, this study clearly suggests sex differences in singing, allogrooming and allomarking, and a likely relationship between these behaviours and courtship in this Neotropical rodent.

This study explores the spontaneous singing of three- and four-year-old children at home, with emphasis on how young children use singing in their everyday lives. Spontaneous singing pervades the everyday lives of young children and can provide insights into a child's musical and extra-musical experience at home. Although several studies have examined spontaneous singing in educational settings, young children's musical lives at home are rarely studied in detail. The home is a difficult space to access, and data collection methods often rely on parental reporting. As a result, some types of singing have been overlooked. Located within the sociocultural theoretical tradition, this thesis draws on and develops theories of musical agency to explore how children act musically to engage with others and manage their own experience. Audio data were collected using LENA all-day recording technology supplemented by semi-structured parental interviews. Over 183 hours of audio recording were collected from 15 children (7 boys, 8 girls), aged between 3:0 and 4:10 years (average age 3:8). The children were recorded for continuous periods during their normal everyday routines. The recordings contained more than nine hours of spontaneous singing in total. The data were analysed using qualitative thematic analysis with an element of embedded numerical analysis. Interpretive analysis indicated that the children sang to act on themselves and manage social interactions. Spontaneous singing was used as a tool through which the children could realise personal and social agency and influence themselves and others. The children used different modes of singing in social and solitary contexts, demonstrating knowledge of culturally meaningful ways of singing. The home musical environment, and particularly parental singing, appeared to influence the way young children use singing in their everyday lives. This research used an innovative methodology to access young children’s singing in the home. The findings contribute to a greater understanding of young children’s musical behaviours and the home musical lives of young children. Further, the thesis provides an original contribution to the understanding of how young children use spontaneous singing as musical agents acting in and on the world around them. This research has educational implications relating to the way young children’s musicality is understood and encouraged and the importance of music in young children’s lives.

Throughout childhood, children experience the social semiotic of music in a variety of ways. As they sing, dance, move, and play, they enjoy making and listening to music. Childhood is also a time of immense change. During their early years, children grow and develop at a faster rate than at any other time in their lives, displaying an intense proliferation of ways of knowing about the world. As part of the industrious activity that accompanies this explosion of knowledge, children sing many songs. It is through sensitive investigation of these songs that we can begin to understand what children know about music, and the place that it is afforded in the social milieux within which they participate. Children???s songs have been the focus of investigation for a number of years, with a range of studies reporting on the manner in which they reflect musical development. Several researchers have reported on children???s songs from a developmental perspective, while others have focussed on the social and functional contexts of the songs. These various approaches have established some basic principles concerning the development of children???s musical skills and knowledge. It is accepted that as children mature, they are likely to exhibit changes in their musical understanding and abilities. However, the diverse range of inquiries that have been undertaken, although rigorous, have resulted in fragmented and irresolute information about the manner in which these changes take place. Research into all areas of children???s development has recently undergone a paradigm shift, with current views focussing on the agency of children and their development within a social context. Such perspectives view the acquisition of knowledge as a dynamic process that occurs as children interact with others, and therefore place great importance on a range of environments in which this knowledge gain takes place. This thesis reports on a 3-year longitudinal study of eight preschool-aged children who were attending a long day care centre in Sydney. Regular video-recordings were made of the children???s spontaneous singing during free play, with each child recorded approximately once per month. Camera tapes were examined and all examples of the participants??? singing were transferred to VHS tapes for transcription and analysis. The resulting 443 songs were transcribed using Western notation, and each play episode and associated song then coded for musical aspects such as song type, melodic range and level of temporal organisation, as well as social aspects such as song function and social roles taken on by the children. The notion of social role was informed by Vygotsky???s Zone of Proximal Development. In addition to base data such as the child???s name and the date of the observation, the resultant dataset was transferred to a qualitative software package (NUD???IST) for subsequent analysis and interpretation. Results of the study indicate that the children used songs for specific purposes, and that patterns of musical development were distinctly different for each child. While interacting with their playmates, the children used both explicit and implicit tools to acquire and transmit musical signs. During this process, the status of knowledgeable other was often conferred on a playmate by a less knowledgeable member of the group, and was not solely dependent on chronological age. The results exhibit some congruence with prior studies, especially those for which the social context of music-making was an important consideration. The findings expand previous developmentally-based investigations by showing that conceptions based on a unidirectional model of musical development, closely linked to chronological age, need to be refined to consider the diversity of social contexts and generative processes within which children???s musical cultures can be defined. The current study supports a modular conception of musical development allied with recent social reconstructions of childhood. Some substantiation of previously reported Western musical universals was found in the children???s production of a specific form of chant, and their ability to operate within meaningful musical units such as phrases. The thesis includes a discussion of practical and theoretical implications that arise from the findings. Several implications for the classroom are offered. Among the most important are that children???s musical constructions should be utilised as important components of planned teaching and learning experiences, because they are capable of producing sophisticated music if afforded the opportunity to do so. Careful observation of existing musical knowledge and its incorporation in teachers??? programming will facilitate an efficient and appropriate mode of teaching and learning, based on the needs and interests of the children. As the children were able to scaffold each other in the process of transmitting and acquiring musical knowledge, it appears advantageous to group them in mixed ages for at least some part of the week. However, without some intervention on the part of the teacher, it seems that they would likely rely on a fairly restricted collection of scaffolding behaviours. Additional research is recommended to determine the value of a number of strategies that can be used to meet the musical needs of preschool-aged children beyond the current research site. Indeed, the outcomes of the study question the importance of striving for a unidirectional model of musical development, immersed in the veil of teleology, and suggest that further research be undertaken in the area of children???s songs, which acknowledges the social agency of children, and their roles in their own musical cultures.

This chapter challenges the common view that Fanny Hensel’s songs are spontaneous, unpredictable, and guided by “fantasy.” An examination of her song beginnings—which tend to veer quickly from their home keys—reveals that Hensel relied on a handful of recurring patterns but presented them in such a way as to create the illusion of fantasy. The essay focuses on two contrapuntal “schemata” common in her songs—involving opening modulations to the submediant or supertonic—and presents analyses of two songs that use both schemata: “Von dir, mein Lieb, ich scheiden muss” (1841) and “Ich kann wohl manchmal singen” (1846). Taken together, these songs offer the clearest demonstration of Hensel’s uncanny ability to compose pieces that seem to wander freely, as if guided only by the needs of the present moment, even as they tread well-worn paths.

In part I the discussion of talent began with a poetic scene and ended with reflective after-thoughts, befitting the theoretical nature of the subject. The quest to recognize the spark of potential talent in young children brings us into the very real world of the school classroom. Suppose it is your task to observe student behavior in a third grade elementary music class and identify students who show evidence of potential talent. Your attention is drawn to the following students: . . . Student A is playing a melody from her music book on a xylophone. She decides to elaborate by creating a “variation.” Excited, she busily starts notating and revising her ideas on manuscript paper. . . . . . . Observation Notes: Musical training is evident. Performs with ease. Shows curiosity, creativity in musical tasks. An outstanding student. . . . . . . Student B is sitting in a listening center with headphones on, totally absorbed in the activity of circling patterns he hears. He taps his pencil as he listens, quickly working through the ear-training exercise. A quick check shows that his answers are correct. . . . . . . Observation Notes: Fine-tuned listening. Quite perceptive and quick in complex listening tasks. He is rather shy in group activities. . . . . . . Student C volunteers to sing and act out a solo in a cowboy song. He performs with confidence, singing in tune and with expression, obviously enjoying himself. His performance is met with spontaneous applause. . . . . . . Observation Notes: Quite a showman. Comfortable in front of an audience. Clear, clean vocal quality and intonation. Performs with personal flair. Shows leadership skills in group activities. Energy plus enthusiasm. . . . . . . Student D works with a number of Orff instruments, simply “fooling around” with sounds and rhythms. Each repetition shows a bit more development of an imaginative improvisation, which she describes as a “summer storm.” . . . . . . Observation Notes: Sensitive awareness of mood in music. Syncopated rhythms used in improvisation—retained well by ear. Adept at learning by ear. Not comfortable working with notation. . . . . . .