Common practices with props often defeat music learning, whereas better chosen practices can promote music learning. Sometimes we assume that techniques we have seen used by teachers we respect are fine, when in reality, better choices could do far more to facilitate music learning. Many music teachers can enchant young children, but are not tuned in to the process of music learning. Some are attuned to the process of music learning in young children, but without the teaching techniques to maximize music learning. Many practices that facilitate music learning have been addressed in this workshop. Perhaps your greater awareness can guide your judgement as you come across common practices in music classrooms, teacher workshops, and other curricula, borrowing only those that serve music learning. As you continue in early childhood music, you are sure to add to this list.

Practices that Defeat Music Learning

• Children are not adequately prepared musically for the activity, so that engaging with a prop takes over the musical narrative.
• The expectations for a toy used as a prop are so strong that classroom limitations diminish enthusiasm (as with a ball).
• The prop requires manipulative skill, such that the physical takes over the musical (balls, bean bags, catching, throwing.).
• Having each child pass the prop to the next child for a turn takes away from the musical narrative, bringing the thinking mind into the foreground for the task.
• Children are expected to do two things at the same time—catching a ball or beanbag while singing the resting tone or engaging with rhythm dialogue.
• An elaborate game takes over the musical narrative. Games such as Duck, Duck Goose, or balancing a prop on various parts of the body are games in themselves and take away from interaction with the musical narrative.
• Props that elicit wows, crashes, or other sounds before children are attuned to tonality, meter, and using props as musical instruments will interrupt the musical narrative.
• Using props for an activity that requires verbalization more than something simple like, “Today we are going to plant Duple flowers. Du de du, du de du.”
• Passing out props before beginning a musical narrative, as children will figure out a way to play with them that can sabotage whatever you had intended.
• Expecting children to respond in ways that audiation does not respond—like stepping on a different prop with each note they sing, when they don’t audiate individual notes.

Practices that Promote Music Learning

• Establishing the musical narrative before introducing the prop in the context of the narrative, demonstrating how to play the “musical instrument,” before inviting children to engage with the prop—all non-verbally. The activity has to be about the musical narrative rather than about the prop, with the prop a means to an end rather than the end itself.
• Making the musical narrative so strong, that the prop becomes a musical instrument with which to interact directly with the musical narrative rather than as an object of play in itself.
• Taking into consideration the expectations children might have for the prop, so as to intrigue children with the musical instrument rather than restricting the use of the familiar prop (as with a ball. Children would rather throw a ball than to be confined to rolling/taking turns.) It is often easier to bring in an item that children do not have regular access to—like a rolling pin, as you define its use as a musical instrument.
• Being aware that it can be hard for little children to wait their turn—unless the musical narrative is so strong that it overcomes all other needs.
• Being aware that it can be hard for little children to not only manipulate props, but to also sing the resting tone or deliver rhythm patterns at the same time. Minimal physical manipulation yields far more able and willing response.

• Being aware that it can be hard for a group of young children to pass a prop from one child to another, without becoming distracted by the passing gesture (another physical “game” in itself).  When a single prop is all that is affordable, it is more effective and efficient for the teacher to control the prop, giving each child a turn. This is one time that “power” in the hands of the teacher serves learning.
• Providing a prop for every child is an extremely effective way of stimulating rhythm or tonal babble. Each child can then “practice” music in context, developing the readiness for one-on-one interaction.
• Establishing the musical narrative and keeping it going while demonstrating how to use the “musical instrument” with one prop; passing out the props one at a time to the children, keeping the musical narrative prime while each child joins the ensemble; collecting props in the context of the musical narrative.
• Using a prop for just one activity in a class. (Unless, for example, consecutive activities in the same meter or tonality might use the same prop.)
• Using a prop only every third or fourth week, unless it serves as an anchor.
• Selecting and using props judiciously within a class and across classes to balance energy and keep each activity and each class fresh.
• Playfully entering into the children’s world of make believe with props like puppets.