1211906

research-article2023
GMTXXX10.1177/27527646231211906Journal of General Music EducationHo Weatherly and Weatherly

Article
Journal of General Music Education

The Lighthouse Framework: 2024, Vol. 37(3) 17­–24

© National Association for
Music Education 2023
Proposing a Movement-Based DOI: 10.1177/27527646231211906
https://doi.org/10.1177/27527646231211906
journals.sagepub.com/home/gmt

Constructivist Framework for Early

Childhood Music Education and
Pre-Service Education Programs

Katy Ieong Cheng Ho Weatherly1 and Christopher Alan Weatherly2

Abstract
This article aims to provide practical strategies and examples for pre-service early education programs and early
education teachers to develop music- and movement-based curricula for teacher preparation programs and early
childhood music classrooms. To address the inconsistencies in early childhood music programs, the authors developed
the Lighthouse Framework, which utilizes constructivist ideology to help students learn through and adapt the teaching
model while simultaneously learning music- and movement-based content. Through this proposed framework, pre-
service teachers can gain authentic teaching experience, real-time feedback, and an adaptable framework for their
future curriculum planning.

Keywords
constructivism, early childhood music, music and movement, teacher education

The Importance of Music and Movement use of movement in music education to encourage stu-
dents to engage with music holistically. This method aims
Young children naturally connect with music through to develop rhythmic accuracy, coordination, and musical
body movement. Research has shown that infants are expressiveness through movement. In the 1920s, Carl
born with a predisposition to physically respond to music Orff developed Orff Schulwerk (Orff & Keetman, 1950),
and rhythm (Trehub, 2001; Trainor, 2010). Studies have a pedagogical method which emphasizes the use of move-
also found similar patterns of brain activity for both ment, speech, and percussion instruments for young chil-
music and movement (Trimble & Hesdorffer, 2017). dren. In the early 20th century, Hungarian composer
Music and movement have been found to enhance chil- Zoltán Kodály developed the Kodály Method (Choksy,
dren’s learning, including language development (Gordon 1999), which focuses on developing the inner ear and
et al., 2011; Yoo & Bidelman, 2019), social-emotional rhythmic training by utilizing music and movement to
skills (Gurgen, 2016; Schäfer et al., 2013), and spatial teach. American music educator Edwin Gordon (2012)
awareness (Forgeard et al., 2008; Hetland, 2000). developed a theory that suggests that children can learn
Additionally, moving along with music allows children to aural skills through music and movement with proper
refine and develop their gross motor skills, body coordi- exposure and imitation. These music education leaders,
nation, and self-regulation (Robinson et al., 2016). including Dalcroze, Orff, Kodály, and Gordon, each
Incorporating music and movement into children’s learn- stress the importance of movement in early musical
ing is helpful for their overall development. development.
This connection between music and movement in
childhood has been well-documented for over 100 years. 1
University of Macau, Macao SAR, China
Some of the earliest music and movement pedagogical 2
University of Virginia, Charlottesville, VA, USA
ideas are still used in music classrooms today and are
Corresponding Author:
continuously being built upon. In 1886, Emile Jaques- Katy Ieong Cheng Ho Weatherly, Faulty of Education, University of
Dalcroze introduced a pioneering method called Macau, E33, Room 1023, Taipa, Macao SAR, China.
Eurhythmics (Dalcroze, 1921), which emphasized the Email: [email protected]
18 Journal of General Music Education 37(3)

In the late 20th century, von Laban and Ullmann focus and attention on incorporating music into the
(1971) developed Laban Movement Analysis (LMA), as preparation of future educators.
a way to analyze movement based on space, time, weight, Research has revealed that early childhood educators
and flow. This system is centered on the idea that move- felt unprepared to teach music due to a lack of training
ment is a universal language which provides insights into (Kim & Kemple, 2011; Rajan, 2017b). Many education
a person’s psychology, personality, and emotions. With programs exhibit incoherence in terms of early childhood
the main components of space, weight, speed, and flow, music courses for both music teacher preparation pro-
LMA emphasizes the physical aspects of movement, the grams and for future general education teachers who will
quality of movement, the form of movement, and the include music in their classrooms. While some general
relationship between movement and the environment. education programs require students to take music educa-
This system has been adopted in education to enhance tion courses, many do not offer them as either optional or
students’ expressiveness, creativity, and communication required. Furthermore, options for courses that combine
of movement. Nash (1974) and Gordon (2012) high- music and movement in education preparation courses
lighted the importance of integrating musical movement are even more rare. As a result, many candidates pursuing
activities within Laban’s framework to promote the com- degrees in Early Childhood Education and General
prehension of rhythm and to stimulate the development Education with subject foci other than music often feel
of expressive musical performance. unprepared to develop or implement meaningful, student-
Papazachariou-Christoforou (2022) highlighted the centered music curricula for their future students (Bautista
importance of active bodily engagement in enhancing et al., 2022).
musical comprehension (p. 13). Nijs and Bremmer (2019) Traditional teacher education programs often focus
further emphasized that music educators can leverage the solely on K-12 teacher training, neglecting the field expe-
connections between physical experiences and musical rience required for pre-kindergarten teachers (Legette,
comprehension to develop music activities centered 2018). Bautista et al. (2022) stressed the need to better
around movement that encourage children to engage with prepare early childhood pre-service teachers in music
and understand music. Furmanek (2014) discussed how education. After speaking with teachers across the globe,
teachers can utilize movement activities throughout the they argued that early childhood education teachers were
school day to tap into children’s innate flow and improve ill-prepared to teach music. The authors pointed out four
their learning experience. McLennan and Bombardier main issues: (1) a weak foundation in general music prior
(2015) suggested that children construct their own learn- to teacher preparation programs, (2) a limited provision
ing and interpretations through music and movement. of music education courses within the teacher preparation
This authentic experience is children’s innate language, programs, (3) low quality and limited applicability of cer-
manifesting the joy of learning. tain pre-service music courses, and (4) limited profes-
sional development for in-service early childhood
education teachers.
The Need for a Framework Research has suggested that in preschool settings,
Despite the recognition that music and movement are singing songs is a common activity used by educators not
crucial for children’s development among educators, necessarily for musical purposes, but rather as a tool to
there remains a significant lack of emphasis on music teach children about other subject areas or to introduce
education in undergraduate early childhood education new vocabulary (Garvis, 2012; Liao & Campbell, 2016;
programs. According to the “Unifying Framework for Young, 2007). In addition, the prevalent pedagogical
the Early Childhood Education Profession” developed approach to music in early childhood education settings,
by Power to the Profession (Ponder, 2020), the current both in Western and Eastern countries, has been described
state of early childhood education is described as “an as teacher-centered and reproductive, which does not pro-
incoherent and inconsistent system that fails to recog- mote children’s self-expression and creativity (Campbell
nize differences in preparation, skills, and experience” & Scott-Kassner, 2014). Opportunities for children to
(Ponder, 2020, p. 7). In particular, the requirements for engage in instrumental music activities or projects involv-
individuals working in early childhood education are ing sound exploration, improvisation, or creation are sel-
highly variable. Although some states have made dom offered.
improvements to their professional preparation pro- With the goal of providing more support for early
grams, most of these programs are not standardized, cre- childhood music and movement programs, we propose
ating disparate levels of teacher preparedness within the use of the Lighthouse Framework. This constructivist,
and across states (Ponder, 2020). These programs movement-based framework equips teacher education
exhibit inconsistency in their requirements for music programs and pre-service teachers with a helpful tool and
education training, which indicates a need for greater the necessary skill sets to develop curricula for their
Ho Weatherly and Weatherly 19

future classrooms. This framework nurtures critical The Lighthouse Framework was conceived as an
thinking, creativity, and builds confidence regardless of extension of the basic curricular technique of scaffolding
learners’ musical background. This paper explores the (Wood et al., 1976) and of the Spiral Curriculum (Bruner,
necessity of a consistent and constructivist movement- 1960). In Wood et al.’s original proposition of scaffold-
based framework for early childhood education, specifi- ing, students learn under their teachers’ tutelage until
cally focusing on music and non-music pre-service what they have learned becomes a tool with which they
teachers, as well as course professors and instructors. can utilize to learn new, more complicated material. The
Additionally, we emphasize the significance of combin- Lighthouse Framework expands upon this strategy by
ing music and movement, providing examples and practi- offering a method for scaffolding both lessons within
cal applications for the framework. units and units themselves. It also offers specific steps for
scaffolding lessons within a unit with a special emphasis
on reflection.
The Constructivist Lighthouse
When utilized in teacher education, the Lighthouse
Framework Framework can be thought of as an expansion of or paral-
As this review of literature demonstrates, music and lel to Bruner’s Spiral Curriculum (1960). Under the
movement pedagogy involve more than merely singing, framework, pre-service teachers will move through the
dancing, and clapping. Valerio and Freeman (2009) indi- prescribed, scaffolded steps with increasing complexity
cated that pre-service early childhood education teachers and depth, just as they would with a Spiral Curriculum.
become more confident by taking risks themselves. Thorn The difference is that rather than revisiting the same top-
and Brasche (2020) found that training in music instills ics throughout a course, students utilize the same steps to
confidence in early childhood educators and enhances investigate new topics or units that build upon each other.
students’ development. Mueller (2003) emphasized the In this way, the Lighthouse Framework offers methods to
importance of active participation in child development, scaffold both lessons and units in a way that reinforces
highlighting that young children learn by doing. The both the curricular material and the learning process.
Lighthouse Framework for music and movement requires
active participation and risk-taking, addressing the field Constructivism at the Core
experience gap in early childhood educators (Legette,
2018). As a result, we propose using this framework to This framework illustrates steps taken to bring learners
teach music and movement curricula in both teacher edu- from the “known,” which is the knowledge students come
cation and for early childhood classrooms. The Lighthouse to our classes with or have learned in our previous les-
Framework is an expansion of the instructional scaffold- sons, to the “unknown,” which is new curricular material.
ing (Wood et al., 1976) and the Spiral Curriculum devel- The steps taken utilize constructivist and student-centered
oped by Jerome Bruner (1960) and could be expanded pedagogy to connect learners’ previous experiences,
upon using the principles from that model. both academic and not, to introduce new knowledge.
Constructivism emphasizes student-centered learning,
where learners construct their own understanding of
Development of the Framework music by integrating new information with their existing
This framework was developed with the intent of offer- knowledge and experiences (Mascolo & Fischer, 2004).
ing pre-service teachers and teacher training programs Students take an active role in their learning, constructing
a comprehensive tool for developing curricula that their own meaning and incorporating what they learn into
incorporates music and movement. Its original incep- the reality and relevancy of their lived experiences
tion was in our grade school music classrooms as a (Dewey, 1938).
method of scaffolding learning material. Due to the Constructivist ideology is central to the Lighthouse
success of this strategy, it was more formally devel- Framework because students build upon what they know,
oped into the Lighthouse Framework and reconceptu- have learned, and have experienced to make meaning of
alized for use in university teacher education programs their education. In grade school classrooms, students
as both a tool for learning and for developing curricula learn through a strictly prescribed and collaborative scaf-
in pre-service teachers’ future classrooms. The frame- fold that utilizes what they know to introduce new topics
work has undergone extensive testing by the two and units of study. In teacher education classrooms, pre-
authors in various courses at a university across mul- service teachers not only engage in the learning process
tiple semesters. Research has been conducted to vali- but also acquire the ability to adapt and apply it effec-
date its effectiveness, and the results are currently tively in their future classrooms. They assimilate the
awaiting publication. knowledge gained during the course, along with the
20 Journal of General Music Education 37(3)

principles of the Framework, and skillfully tailor them to

suit their upcoming careers as educators.
In music education, this involves exploring and exper-
imenting with music, creating original compositions, and
reflecting critically on their learning. Collaborative activ-
ities, critical thinking, and problem-solving are encour-
aged, and connections are made between different aspects
of music and the learners’ personal experiences. The ulti-
mate aim of constructivism in music education is to foster
the development of learners’ musical skills, knowledge,
and understanding through an active, experiential, and
collaborative learning process.

The Lighthouse Framework

The Lighthouse Framework uses the form and internal
staircase of a lighthouse as the basis of the metaphor. The
stairs within represent the steps taken to get from the
known to the unknown/the prior knowledge to introduc- Figure 1. Lighthouse Framework graphic.
tion of new materials. As learners “climb” these steps,
they are immersed in new, unknown knowledge until they Thus, the “content” on the lighthouse (topics of study) are
reach the next landing within the lighthouse. These land- arranged into the following scaffolded order:
ings represent the precipice between the known and the
unknown and afford the learner a moment of respite and (a) Singing with hand signs
reflection. At each landing, there is a window through (b) Warm-up movement
which they can reflect on the new knowledge’s applica- (c) Emotion/ body-mind movement
tion to their personal academic goals. Without the com- (d) Rhythmic and body percussion
plete set of knowledge, the curriculum offers, the window (e) Tempo and movement
at each landing only provides a single lens with which to (f) Dynamics and movement
view one’s context. As learners continue up the light- (g) Improvisation
house, they see that new, more complex knowledge is (h) Music and choreography
scaffolded upon what they have already learned. It is not (i) Tableau
until they reach the top of the lighthouse that they gain a
full, 360° view with which to reflect on how what they The nine suggested topics in this curriculum focus
have learned can be applied to their lives and/or careers. explicitly on different types of musical movement, high-
The steps included in this model are specific, but should lighting the importance of movement compared to many
be adapted for use in different contexts (Figure 1, traditional music curricula. For example, singing is taught
Table 1). in conjunction with body movements as it involves the
As shown above, the Lighthouse Framework provides use of the diaphragm, vocal cords, and breathing pos-
opportunity for formative and summative assessment. tures. Kodály hand signs are used not only as a visual
During “Exploration” learners can be given opportunities representation of solfège but also as a way to promote
to show their learning through observation, discussions, kinesthetic learning. Similarly, rhythmic learning is
or other formative assessment methods. At the end of a closely associated with body movements, and learners
“unit” or current topic of study, instructors can administer internalize rhythm through tapping, clapping, or dancing,
summative assessments during the “Demonstration” or developing a more intuitive sense of rhythm. Rather than
“Feedback” steps to fully assess learners’ understanding learning by rote, learners collaboratively build on class
of the topic. materials and structures to form their own meaning that
The lessons, topics, or units that make up a curriculum can be applied to their future classrooms. This approach
form the structure of the tower and build upon one is engaging and empowering for pre-service teachers,
another, all while remaining integral to the structure of helping them not only build a base of pedagogical knowl-
the curriculum. These scaffolded units can be represented edge but also the skills and understanding to develop their
by the stripes on a lighthouse; they are painted on for the own materials.
sake of being easier to see, but are truly inseparable, each The Lighthouse Framework can be used both in pre-
contributing to the overall development of understanding. service education classrooms and in the pre-service
Ho Weatherly and Weatherly 21

Table 1. The Steps of the Lighthouse Framework.

Step # Step Explanation

1 Reflection Learners reflect on what they already know about the new subject material so that their
prior knowledge, gained both inside and outside of classes, can be leveraged to create
student-centered learning experiences.
2 Introduction of The instructor will act as the facilitator to introduce new knowledge.
new knowledge
3 Exploration Learners are immersed in collaborative activities and formative assessments to become
familiar with new knowledge. Learners discuss and design ways in which to they will
demonstrate their understanding of the new knowledge.
4 Demonstration Learners demonstrate their understanding of the new knowledge by engaging in
collaboratively designed tasks. This can act as a summative assessment of learners’
understanding of the current learning target.
5 Feedback Learners receive feedback from both their instructor and their peers on their
demonstrations to address any gaps in knowledge revealed during the demonstration.
6 or 1* Reflection* Learners reflect on the knowledge they have acquired and how it fits into their existing
understanding. They also consider how this newfound knowledge can be utilized in
their future classrooms.

*Note the “reflection” step acts as the last but also the first step of the framework.

teachers’ classrooms. The curricular material presented in learning both what and how to teach. They learn through
this Framework was designed first for use in early child- the same five steps that their future learners would so that
hood classrooms, but the Framework can be utilized just as they can experience the learning experiences themselves
well with pre-service teachers. By shifting the focus of the and also gain a standard framework through which to
Framework from simply delivering music and movement conduct their future curricula. For music and movement,
lessons to students, to instructing education students on a subject which many pre-service instructors are unfamil-
how to teach music and movement lessons, education stu- iar with, teacher education becomes a kind of dual cur-
dents can engage in a more authentic learning experience riculum. Pre-service instructors must learn both the
(Abril, 2011). The Framework is written in such a way that content area and how to teach it. By unifying the frame-
pre-service teachers can adapt it and their individual pro- work in which the content is taught and the instructional
gram’s curriculum to their future classrooms. By doing so, model the course instructor wishes to instill in their pre-
pre-service teachers simultaneously gain curricula plan- service instructors, learners experience the instructional
ning knowledge and experience using the materials. The model in real-time (Table 2).
versatility of this framework extends its utility to music
education teachers, who can utilize it as a valuable curricu- Examples of Practical Applications
lum planning tool. While they might already be well- Internalization, Adaption, and Recommendations. It is
versed in the content, they can greatly benefit from the imperative to note that the best way to implement this
framework’s effective constructivist strategies. framework is through internalization and adaptation
Using the Lighthouse Framework, the pre-service rather than imitation. Pre-service early education students
teachers are assigned each topic as a “task.” This involves can learn through the framework so that they can adapt it
reflecting on their prior knowledge, problem-solving, to their future curricula. They may utilize the framework
demonstrating, and finally, engaging in another round of in their classwork but are also encouraged to build off of
reflection. It is also important to note that the nine focus it to achieve curricular goals and to develop their peda-
topics are scaffolded. They are structured in ways that gogy. It is necessary for learners to be able to adapt the
help pre-service teachers start with activities that involve framework and manipulate curricular materials to fit the
smaller scales of movement and more straightforward needs of their future classrooms.
problem-solving activities, leading to larger scales of To fit the needs of more traditional assessment systems,
movement and more freedom to create. opportunities for formative and summative assessment
The Lighthouse Framework is particularly useful for have been incorporated into the framework. A natural place
teacher education, especially when pre-service instruc- for summative assessment would be the demonstration
tors must learn about a content area that they are not and/or feedback steps as learners would be demonstrating
familiar with. Pre-service instructors can learn about the their understanding of the topic at the end of the unit.
content area and principles of pedagogy simultaneously, Formative assessment can naturally fit throughout the
 22

Table 2. Examples of Practical Applications.

Step 1 Step 2 Step 3 Step 4 Step 5 Step 1

(a) Reflection Introduction of new knowledge Exploration Demonstration Feedback Reflection

Singing with Learners are familiar with the concept Hand signs help embody Solfeggio and can be Learners learn melodies from songs they know Learners teach the melodies they transcribed Learners discuss the success of their demo Learners reflect on how their understanding
hand signs of “Do, Re, Mi,” but may require used for conducting. using Hand Signs. to the rest of the class. lessons from the perspectives of both early- has developed and how hand signs can be
pedagogical guidance on how to childhood learners and teachers as well as used in their future classrooms.
effectively teach them. the strengths and limitations of hand signs
in general.
(b) Exercising without stretching and Warming up your voice and body lead to Learners discuss different exercises that they Learners program a warm-up routine for After performing a brief vocal exercise, learners Learners reflect on how warming up before
Warm-up warming up can lead to poor optimal performance. have done both related and unrelated to music their classes. discuss the warm-up routine and discuss how making music and moving can affect
movement performance and injury. and how they could be beneficial for music the routine affects their performance. performance and how warming up can be
and movement. used in their future classrooms.
(c) Music and movement can communicate Music can be used to regulate learners’ Learners explore different activities that allow Learners program activities that help students Learners engage in discussions regarding their Learners reflect on the many ways in which
Emotion and emotion. emotions and promote overall wellness, ex. learners to express their emotions through regulate emotions through movement, experiences and any improvements in their music and movement can communicate
body-mind movement as well as songs that help learners singing, and breathing. mind-body emotions that may have resulted emotion and how these connections can be
movement to calm down and regulate their breathing. from the demo lessons. made in their future classrooms.
(d) Rhythm involves the movement of Reading, composing, and teaching rhythms in Learners explore and catalog different sounds Using their bodies and found objects, student Learners discuss how body movement enhances Learners reflect on how their understanding
Rhythmic sound. creative ways. they can make using their bodies and found leaders collaboratively arrange a percussion their rhythmic learning. of rhythm has developed and how they can
and body objects. cover of a song with the rest of the class. utilize movement to enhance their future
percussion learners’ rhythmic learning.
(e) Tempo is the speed at which music is Different Italian terms that represent music Learners perceive variations of different tempos Using the representation of interactive games Learners engage in discussions regarding the Learners reflect on the tempo of music,
Tempo and performed (Kennedy et al., 2012). and how tempo can be used to engage through body movement. and animals, learners present activities to benefits and challenges of designs aimed at especially in relation to movement, can
movement learners and teach them how to regulate teach and internalize the concept of tempo. enhancing their internalization of tempo, and affect emotion and how this can be used in
their movement that promote spatial how this can improve their learning outcomes. their future classrooms.
awareness and motor development.
(f) Dynamics are gradations in the volume Similar to tempo, dynamic can be used to Learners explore different sounds they have Learners utilize interactive games, body Learners engage in discussions to discover how Learners reflect on how movement can
Dynamics and of music (Kennedy et al., 2012). engage learners and teach them how to heard (animals, vehicles, instruments, etc.) and movement, and daily/animal representations dynamics further enhance one’s musical embody changes in dynamics and how their
movement regulate their movement that promote categorize them into dynamic categories. as teaching tools to help internalize the experience. future learners might incorporate dynamics
spatial awareness and motor development. concept of dynamics, presenting various into their creative work.
activities that engage them in the learning
process.
(g) Improvisation Improvisation playing without a written Improvisation requires specific understandings With guidance, learners experience improvisation Using their previous knowledge attained in Learners reflect on their improvisation Learners reflect on how their understanding
score (Kennedy et al., 2012). and experimentation with previously gained through body percussion, singing, and this course, learners create activities for experience both as learners and instructors. has developed and how Hand Signs can be
knowledge. instrumental playing. beginners to improvise and make music used in their future classrooms.
together.
(h) Choreography is a system of describing Ways and techniques of implementing Using choreography skills, learners explore ways Learners collaboratively create choreography Learners provide feedback on how the Learners reflect on how choreography can be
Music and and designing dances (Kennedy choreography in music class. to use choreography to express emotions, using age-appropriate movements that choreography was created and rationales used in their future classrooms to enhance
choreography et al., 2012). promote creativity, and develop rhythmic convey the meaning of the music. behind the product. learning in music and other subjects.
skills.
(i) Tableau involves participants using Using tableau to illustrate a deeper concept Learners utilize tableau to represent and Learners create lesson plans to illustrate how Learners provide feedback for each other on Learners reflect on how they might use
Tableau their bodies to create static images and as a way for learners to reflect on internalize musical concepts, theories, or tableau can encourage collaboration and how they internalize concepts through the tableaus in their future classrooms.
that represent a particular scene their learning. stories. critical thinking as a tool in the classroom. lessons as well as analyzing the effectiveness of
(Farmer, 2014). this tool in the music classroom.
Journal of General Music Education 37(3)
Ho Weatherly and Weatherly 23

framework, but the most logical place would be during the Choksy, L. (1999). The Kodály method I: comprehensive music
exploration step, where learners can receive immediate education (3rd ed.). Prentice Hall.
feedback and are preparing for their demonstrations. Dalcroze, J. E. (1921). Rhythm, music and education (H. F.
Shively (2015) asserted that constructivism in music Rubenstein, Trans.). The Riverside Press.
Dewey, J. (1938). Experience and education (First free press
education should not be considered as a strict methodol-
edition 2015). Free Press.
ogy, but instead as a framework for analyzing one’s own
Farmer, D. (2014, December 29). Tableaux. Drama Resource.
classroom practices. The author emphasized the impor- https://dramaresource.com/tableaux/
tance of maintaining a flexible understanding of con- Forgeard, M., Winner, E., Norton, A., & Schlaug, G. (2008).
structivism (p. 129). Early childhood directors, teachers, Practicing a musical instrument in childhood is associated
and college professors can benefit from adapting and with enhanced verbal ability and nonverbal reasoning.
implementing this framework with flexibility, guided by PLoS ONE, 3(10), e3566. https://doi.org/10.1371/journal.
the constructivist lens. It is crucial to maintain an open- pone.0003566
minded attitude to enable learners to become student- Furmanek, D. (2014). Classroom choreography: Enhancing
centered teachers in the future. learning through movement. YC Young Children, 69(4),
To effectively equip pre-service teachers for their 80–85.
Garvis, S. (2012). “You are my sunshine my only sunshine”:
future classrooms, it is essential to provide them with
Current music activities in kindergarten classrooms in
authentic, student-centered learning experiences. These
Queensland, Australia. Australian Journal of Music
experiences allow them to experiment, explore, and dem- Education, 1, 14–21.
onstrate their own perspectives. Our aim is for the Gordon, E. E. (2012). Learning sequences in music: A contem-
Lighthouse Framework to serve as a valuable and stu- porary music learning theory. GIA Publ.
dent-centered training experience for early childhood Gordon, R. L., Magne, C. L., & Large, E. W. (2011). EEG corre-
education, filling existing gaps for pre-service teachers. lates of song prosody: A new look at the relationship between
Additionally, we envision it as a practical tool for college linguistic and musical rhythm. Frontiers in Psychology, 2,
instructors and professors to utilize in preparing their 352. https://doi.org/10.3389/fpsyg.2011.00352
future teachers for the classroom. Gurgen, T. E. (2016). Social and emotional function of musi-
cal listening: Reasons for listening to music. Eurasian
Declaration of Conflicting Interests Journal of Educational Research, 16(66), 1–30. https://doi.
org/10.14689/ejer.2016.66.13
The author(s) declared no potential conflicts of interest with
Hetland, L. (2000). Learning to make music enhances spatial
respect to the research, authorship, and/or publication of this
reasoning. Journal of Aesthetic Education, 34(3/4), 179.
article.
https://doi.org/10.2307/3333643
Kennedy, M., Rutherford-Johnson, T., & Kennedy, J. B. (2012).
Funding
The Oxford dictionary of music (6th ed). Oxford University
The author(s) received no financial support for the research, Press.
authorship, and/or publication of this article. Kim, H. K., & Kemple, K. M. (2011). Is music an active devel-
opmental tool or simply a supplement? Early childhood
ORCID iD preservice teachers’ beliefs about music. Journal of Early
Katy Ieong Cheng Ho Weatherly https://orcid.org/0009- Childhood Teacher Education, 32(2), 135–147. https://doi.
0008-5774-6993 org/10.1080/10901027.2011.572228
Legette, R. M. (2018). Preparing preservice music teachers
to teach in prek settings through the use of service learn-
References
ing. Music Educators Journal, 105(1), 28–32. https://doi.
Abril, C. R. (2011). Music, movement, and learning. In R. Colwell org/10.1177/0027432118784364
& P. Webster (Eds.), MENC handbook of research on music Liao, M. -Y., & Campbell, P. S. (2016). Teaching children’s
learning (pp. 92–129). Oxford University Press. https://doi. songs: A Taiwan–US comparison of approaches by kinder-
org/10.1093/acprof:osobl/9780199754397.003.0003 garten teachers. Music Education Research, 18(1), 20–38.
Bautista, A., Yeung, J., Mclaren, M. L., & Ilari, B. (2022). https://doi.org/10.1080/14613808.2015.1049256
Music in early childhood teacher education: Raising Mascolo, M. F., & Fischer, K. W. (2004). Constructivist theo-
awareness of a worrisome reality and proposing strategies ries. In B. Hopkins, R. G. Barre, G. F. Michel, & P. Rochat
to move forward. Arts Education Policy Review. Advance (Eds.), Cambridge encyclopedia of child development.
online publication. https://doi.org/10.1080/10632913.2022 Cambridge University Press.
.2043969 McLennan, D. P., & Bombardier, J. (2015). Kindergarten:
Bruner, J. S. (1960). The process of education (pp. xvi, 97). “Paper shoes aren’t for dancing!” YC Young Children,
Harvard University Press. 70(3), 70–75.
Campbell, P. S., & Scott-Kassner, C. (2014). Music in child- Mueller, A. K. (2003). Making connections between movement
hood: From preschool through the elementary grades (4th and music for young children. General Music Today, 16(3),
ed.). Schirmer Cengage Learning. 9–12. https://doi.org/10.1177/10483713030160030104
24 Journal of General Music Education 37(3)

Nash, G. C. (1974). Creative approaches to child development International, 14(2), 28–31. https://doi.org/10.1192/S2056
with music, language, and movement. Alfred Publishing Co., 474000001720
Inc. Valerio, W. H., & Freeman, N. K. (2009). Pre-service teachers’
Nijs, L., & Bremmer, M. (2019). Embodiment in early childhood perceptions of early childhood music teaching experiences.
music education. In S. Young & B. Ilari (Eds.), Music in Bulletin of the Council for Research in Music Education,
early childhood: Multi-disciplinary perspectives and inter- 181, 51–69.
disciplinary exchanges (Vol. 27, pp. 87–102). Springer von Laban, R., & Ullmann, L. (1971). Rudolf Laban speaks
International Publishing. https://doi.org/10.1007/978-3- about movement and dance: Lectures and articles. Laban
030-17791-1_6 Art of Movement Centre. https://books.google.com/
Orff, C., & Keetman, G. (1950). Musik für Kinder: Reime und books?id=bcXQtgAACAAJ
spiellieder. Schott. Wood, D., Bruner, J. S., & Ross, G. (1976). The role of tutoring in
Papazachariou-Christoforou, M. (2022). Movement experi­ ences problem solving. Journal of Child Psychology and Psychiatry,
in preschool music classes. Journal of General Music 17(2), 89–100. https://doi.org/10.1111/j.1469-7610.1976.
Education, 36(1), 13–20. https://doi.org/10.1177/2752764 tb00381.x
6221110863 Yoo, J., & Bidelman, G. M. (2019). Linguistic, perceptual,
Ponder, K. (2020, March). Unifying Framework for the Early and cognitive factors underlying musicians’ benefits in
Childhood Education Profession [Slideshow]. https://pow- noise-degraded speech perception. Hearing Research, 377,
ertotheprofession.org/wp-content/uploads/2020/03/Power- 189–195. https://doi.org/10.1016/j.heares.2019.03.021
to-Profession-Framework-03312020-web.pdf Young, S. (2007). Early childhood music education in
Rajan, R. S. (2017). Preschool teachers’ use of music in the England: Changes, choices, and challenges. Arts Education
classroom: A survey of park district preschool programs. Policy Review, 109(2), 19–26. https://doi.org/10.3200/
Journal of Music Teacher Education, 27(1), 89–102. AEPR.109.2.19-26
https://doi.org/10.1177/1057083717716687
Robinson, L. E., Palmer, K. K., & Bub, K. L. (2016). Effect Author Biographies
of the children’s health activity motor program on motor
Dr. Katy Ieong Cheng Ho Weatherly currently serves as an
skills and self-regulation in head start preschoolers: An
Assistant Professor of Music and Music Education at the
efficacy trial. Frontiers in Public Health, 4, 173. https://
University of Macau. She holds degrees from Columbia
doi.org/10.3389/fpubh.2016.00173
University’s Teachers College and The Juilliard School. Dr.
Schäfer, T., Sedlmeier, P., Städtler, C., & Huron, D. (2013).
Weatherly has demonstrated her dedication to education and
The psychological functions of music listening. Frontiers
research through various roles, including serving as a district
in Psychology, 4, 511. https://doi.org/10.3389/fpsyg.2013.
music and performing arts manager in Washington D.C. for four
00511
years. Prior to this, she worked as an education director for the
Shively, J. (2015). Constructivism in music education. Arts
International Chamber Orchestra Young Artists Program, a
Education Policy Review, 116(3), 128–136. https://doi.org/
strings faculty member at Teachers College, and an orchestra
10.1080/10632913.2015.1011815
director at P.S. M517 in Harlem, New York. In recognition of
Thorn, B., & Brasche, I. (2020). Improving teacher confi-
her contributions, she was honored as a Washington Performing
dence—Evaluation of a pilot music professional develop-
Arts Education Honoree in 2022. Dr. Weatherly’s research inter-
ment program for primary teachers. Australian Journal of
ests include creative music pedagogy, informal music learning,
Music Education, 53, 41–47.
collaborative learning, and contemporary music education.
Trainor, L. J., & Corrigall, K. A. (2010). Music acquisition and
effects of musical experience. In M. Riess Jones, R. R. Christopher Alan Weatherly is a Doctoral Student in
Fay, & A. N. Popper (Eds.), Music perception (Vol. 36, pp. Curriculum and Instruction at the University of Virginia. He
89–127). Springer New York. https://doi.org/10.1007/978- currently serves as an instructor in music at the University of
1-4419-6114-3_4 Macau and a curriculum team member at the School of the
Trehub, S. E. (2001). Musical predispositions in infancy. Annals Nations, an international PK-12 school in Macau. With over a
of the New York Academy of Sciences, 930(1), 1–16. https:// decade of experience in teaching music, Christopher has taught
doi.org/10.1111/j.1749-6632.2001.tb05721.x students from pre-kindergarten to 12th grade in New York and
Trimble, M., & Hesdorffer, D. (2017). Music and the brain: The Washington D.C. He is a graduate of both Columbia University’s
neuroscience of music and musical appreciation. BJPsych Teachers College and the College of St. Rose.