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The Tuneables is an award-winning children's music education DVD and CD series designed to teach the key building blocks of music at a critical time in a child's development.  Sponsored by the Music Intelligence Project, this fun, interactive program engages children in songs and activities that provide a foundation of music understanding and growth in intellectual development. Ages 3-8.

Buy your copy today at: www.thetuneables.com/the-music-shop/

 

 

MIP Tip

To help prepare your child for active music instruction and learning, play recordings of music by Mozart and others as a background for other activities and rest time when the child is very young.

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Developing the Flexible Voice

Voice flexibility is fundamental to developing a young child's singing voice. The young singer who is still learning to control the voice usually can benefit from exercises and song experiences that extend the singing range upward. Imitating small animal sounds, like birds or mice, or singing on a high note, like C or D an octave above middle C, can be helpful in getting the children to use the upper range of their singing voice.

Voice flexibility expands as singing exercises move the voice gradually down from the higher range to the lower range. For most young children, the lowest pitch of the lower voice range is around D just above middle C. To best develop voice flexibility, young children should have many singing experiences starting in their high range and moving down through the lower range before engaging in singing experiences starting in the low range and moving through the high range.

Some young children, with limited singing experience, tend to sing songs using the "talking" range of their voice and sing tones that we would say are "off key." Most of these children have not yet developed the necessary muscular flexibility and control required for "in-tune" singing. Occasionally, some children may not be able to learn to control their voice in singing, but in most cases, with proper experiences and encouragement, most children learn to sing in tune.

 

Posted by Robert E. Johnson on 11 March 2011

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Learning The Beat Through Movement

The fundamental rhythmic understanding in music is the beat. And, the fundamental way to gain understanding of the beat is through movement. Children are usually successful performing the beats in music when the movement and the tempo (speed of the music) are appropriate for their developmental level.

Posted by Robert Johnson on 28 February 2011

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Why Should Young Children Listen to Mozart's Music?

Parents often ask, "What recordings should I have my children listen to?" High on the list of recommendations are compositions by Mozart and his contemporary, Haydn. Among the many reasons given for choosing these two composers, and others like them, is that their music is highly suited to stimulate brain development in young children as well as providing an excellent foundation upon which to develop basic concepts of music.

Posted by Robert E. Johnson on 13 October 2010

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Children Learn Music By Imitating A Good Model

Singing in tune and performing with rhythmic accuracy are usually learned by children as they imitate a demonstration or model. The level of skill achieved depends on the accuracy of the model. If the model is accurate, that is, if the singing is in tune and the beats and rhythms are properly timed, then the child tends to imitate that performance. However, if the model is inaccurate, the child's imitation will likely be inaccurate, a well. The models that we provide can teach the whole world to sing in tune— or out of tune!

Posted by Robert Johnson on 15 July 2010

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Movement Is Essential For Music Learning

All human performance of music involves movement. We move our vocal mechanisms; expand and contract our lungs; manipulate instruments with hands, arms, lips, tongue, etc.; dance with our feet; jump, spin, sway, and bend with our bodies—all in connection with rhythms and tones of music. In addition, all movements must be precisely timed and executed for a successful music performance. The human capacity to learn and execute a large number of complex movements with split-second accuracy enables 100 musicians to perform together in a symphony orchestra, or an individual to recreate a performance of a solo piece of music over and over.

Posted by Robert Johnson on 29 June 2010

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Music Curriculum Is Important for Young Children

Many young children experience music informally through such means as singing games, hearing songs sung on television, music time at preschool, and interacting with parents who feel comfortable providing music experiences for their children. Such informal encounters with music are valuable as pleasurable moments and as readiness experiences for sequential music learning.

Posted by Robert Johnson on 14 June 2010

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Knowing The Sounds Of Music: "Training" The Ear

An important aspect of any music learning is training the ear to know the sounds of music, or what some call the "content" of music. The two basic content areas are *tonal* (the pitches or tones that we sing and play) and* rhythm* (the place in time that we place pitches and other sounds).

Posted by Robert Johnson on 17 May 2010

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The Brain Grows With Music Learning

As the developing child hears its native language, responds to it, and receives reinforcement for those responses, the brain forms connections, or becomes "wired," to recognize and give meaning to words and phrases in a language and to process those sounds as cognitive thought. This "wiring" of the brain is the process of developing intelligence. The more interconnections that are formed the more active the brain becomes and the better we can think.

Posted by Robert Johnson on 4 May 2010

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Does Music Make Young Children Smarter?

Engaging young children in music experiences can have a strongly positive influence on their intellectual development. But you have to be smart about choosing what experiences produce the best result. The key consideration is to make sure the children are actively involved—focused listening, singing, moving rhythmically, playing simple instruments, and forming musical concepts—all with the aim of producing a musical result and knowing that it happened.

Posted by Robert Johnson on 22 April 2010

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