Tag Archives: early childhood music

An Open Letter to Musikgarten Teachers

Down the river, O, down the river, O, down the river we go….

down the river, O, down the river, O,  down the Ohio….

When everything started to change this past March, I was teaching several children whose parents had paid for a full 45-week year of lessons. Like many teachers, I moved everything online, thinking it would be temporary. I recall setting up seven weeks of Zoom meetings for each class and every private student, and laughing with a co-worker that seven would be more than we would need.

The river is up and the channel is deep….

I was up for the challenge, operating in a sort of “emergency mode”, happy to apply what I knew about teaching online to my own studio, assuming it would be for a short time. The first few weeks were full of successes, and I participated in worldwide music education forums to address online teaching strategies and best practices during a pandemic. I was going full steam, with little let-down.

…the wind is steady and strong….

In May, we reached the end of the school year, and I noticed many of my colleagues “calling it a day” on their online teaching. Easy for them to say, I thought, but my families go until August 1! I kept moving forward- adapting, learning, changing my approach, talking to parents and making every connection I could online with the children. Parents were tired, children were at one moment frenzied, the next, glazed.

…O, won’t we have a jolly good time, as we go sailing along?

I shifted some of my thinking to create order and purpose for parents and their children. I held an online Parent Orientation. I trusted the Musikgarten curriculum, and kept purposefully applying the tried-and-true philosophies of music learning. And soon, the children started simply amazing me. They learned, they listened, they sang, and they danced! We laughed, improvised, and played games. Parents began smiling more, dancing more, participating more.  

After a particularly engaging and enjoyable class, I went for a walk, on a bit of a “high” from the joyful music-making that had just taken place in our Cycle of Seasons class. Suddenly, I realized that I don’t actually have a choice- I must keep teaching, even if it’s online for now. Why? Because the children don’t have a “Pause” button. Children are going to keep growing. Like the water in Down the River, the current continues to flow! I have to set aside my frustrations, my desires, my dislike of the “screen”, and my longings for in-person teaching, because …the children can’t wait. They can’t just “pause” and pick it up later. The current is flowing, and I don’t want to miss any of it, or rob them of the nurturing gift of music at this time or any time.

I reflected on all that happens in a normal Musikgarten class in just 8 to 10 weeks. As the passionate Musikgarten teacher that you are, I invite you to do the same. Think of the strides the children make in that time, all while they are developing and growing in every way. We always are aware that we teach the whole child- so picture the children going 8 to 10 weeks without the influence of music and movement. That is a dismal picture! We really cannot afford to short-change them. They need us.

It’s not about me as a teacher; it’s about what I can bring to these students as they continue to grow and develop. Sure, they may be able to physically wait for in-person, but at what cost? Developmentally, there is no waiting. They are growing – with us or without us. Let’s be with them to bring to them what they need as they sail along in their ever flowing and deep current.

Contributed by Amy Rucker: Musikgarten Teacher Trainer, teacher, and past President for the Early Childhood Music and Movement Association (ECMMA)

Understanding the Nature of the Young Child in Teaching Music

Maria Montessori, the acclaimed Italian physician and educator best known for the pedagogical philosophy that bears her name, once wrote “follow the child.” The statement is acknowledgement that children have their own particular pattern, of which careful observation is key to understanding in the classroom. Many childhood music programs approach and develop their curricula based on this philosophy. But the story, however, of each child begins even before the classroom – with the family in the home. At birth, babies are immediately exposed to a world of senses, each of which influences their process of self-construction. The environment in which they are submerged has a fundamental effect on the rest of the child’s life. Over the next several posts, we will explore how those early years are so formative, what influences that growth, and how the role of parents and caregivers is so important.

Phases of Childhood Development

Throughout time, psychologists and academics have sought to divide childhood development into phases, stages, or periods. Whether it is Piaget’s 4 stages of Cognitive Development, Erikson’s Stages of Psychosocial Development, or Montessori’s Sensitive Periods of Development, each differs slightly from each other, either in behavioral approach or developmental milestones. But all of these agree that the most formative stages occur in the earliest part of life. While there is slight variation in the exact milestones, for discussion we can identify two major phases in childhood development:

Phase 1 – From birth to age three are years of intense activity and absorption.

Phase 2 – From age three to six years is a time to consolidate the gains from the first period

Whether cognitive or social, there is no more significant phase in human development than these early years, and even more influence is placed on the first three years of life.

A Child’s First Three Years are Critical

An incredibly complex stage of development takes place during the first three years of life, as a child becomes consciousness of being separate from others and builds competencies off of stimulating experiences. In the creative process from newborn to three-year-old, a series of transformations take the child from helpless infant to becoming a confident person in his or her own right. During this time they experience a growing sense of selfhood with an ability, through language as well as mobility, to communicate their individual needs and desires.

This formation is possible at a pre-conscious level because nature directs the development in the earliest stages of childhood. These are “critical” periods, where the developing child focuses on the necessary factors in their environment that direct the work of inner construction. The first three years of human life are so critical because it is a period in which intellectual growth rapidly occurs and cognitive functions are being established. Therefore, early experiences within an interesting and stimulating environment promote optimal development physically, emotionally, socially, spiritually and intellectually.

The Senses are the Child’s Window to the World

Even before they are born, babies have some senses in the womb. They can hear their mothers voice and music being played, they can also sense vibration when their mother rubs her belly, and often engage in self-touch as their skin gradually becomes more sensitive to stimulation. At birth, they begin to absorb their surroundings with enthusiasm during every waking moment. Through exploration and manipulation, sensory information (taste, smell, touch, vision, and hearing) is confirmed though movement. This sensorimotor exploration is a way for babies to learn without language and begin to develop the symbolic system that is the basis of concept formation and cognitive learning. In just three years, babies have organized what their senses have taught them in ways that encapsulate their own understanding.

The process by which infants and toddlers learn is based on an important and impressionable phase during the first three years of life. It is during this formative period that the child organizes information that has been gathered through their senses to begin to establish selfhood and identity. During this time and the next three years of life, several factors determine how the child will learn and grow physically, emotionally, socially, spiritually and intellectually. Continuing to explore the Nature of the Child, our next post will expand on the important factors that influence these critical formative years.

Much of the content for this post was based on the introduction to Family Music for Babies and Family Music for Toddlers, an early childhood music curriculum developed by Musikgarten.

The Philosophy of Early Childhood Music Education Programs

There has been a great deal of research and publication on the importance of music in early childhood development. Whether it is the educational, social, or emotional benefits that exposure and participation in music provides to children throughout their development from birth, there is an even deeper and more transcendent component that is not as easily measured. In the most basic terms, all of these musical benefits are greater than the sum of their parts, and have been ingrained in humanity since the earliest recorded times. This holistic, “whole child” approach is reflected in many of the persons and organizations dedicated to providing parents and families with early childhood music curricula. The philosophy of early childhood music can be seen enthusiastically in the core beliefs communicated by Musikgarten, and serve as a good example of the approach:

All Children are Musical

Closely tied to human expression, body movement is a natural outlet for children to express feelings. Children begin communicating effectively through body language long before they can with spoken language. Parents and adults get a glimpse into a toddler’s perceptions of the world as they observe body language and the child’s musical sounds. These observations illustrate that all children are innately musical from birth, with a biological ability to sing and move rhythmically. When children are exposed to an active music making environment, they learn to make music both freely and naturally.

Music Meets the Needs of Children

Psychological studies tell us that children learn more in a pleasant and non-threatening environment. Music-making is a naturally joyful experience for both children and adults. Furthermore, the combination of music along with movement creates an even more pleasing experience for children and provides important benefits for social development. This is not a new concept, by any means, as music has been a central part of family and community in the varied cultures across the globe. So as children engage and enjoy a musical environment, they are more open and interested to learn about the world around them.

Music Makes a Difference

When we as adults look back at some of the most memorable times in our lives, we hear music. Whether it was lullabies to ease us to sleep, the birthday song, top pop hits of our era, or even a commercial jingle, music has been a memorable part of our lives. But we also saw the funding and emphasis on music education dwindling over the years. The good news is that music is once again being recognized by parents, teachers, and researchers as a way to improve overall development while decreasing learning problems and enhancing brain function. Music touches not just the “whole child,” but also has a positive impact on family and the building of our community. 

Music Making Belongs in the Family

Providers of music curriculum for children understand that parents make the best teachers. In this digital age, with so many online and screen-based offerings, many well-meaning parents have placed too much faith in technology. Often the result is missing out on the joy of simply being with each other. However, parents and the public are becoming more aware of these consequences. As a result, early childhood education programs are making greater strides to provide more opportunities for parents to learn how to interact musically with children at home. These tools encourage and empower parents to reap the benefits of early childhood music from the earliest age.

Programs that encourage music and movement with the family and community can help deepen a child’s appreciation for music and the natural world around him/her, building a foundation for life-long music making. The goal of the most beneficial early childhood music programs is to provide an appropriate musical experience through a carefully sequenced approach towards music literacy, allowing a child to participate fully in musical experiences of all kinds. The first step in this holistic approach to “following the child” through their musical growth starts in the earliest stages of life at home, making joyful sounds and movement together.

Virtual Children’s Music Classes – A Teachers Prospective – Dr. Joy Galliford

If you have not been following our blog series which explores different music teacher’s perspectives on teaching children’s music classes virtually, you can find them here. In this final installment of the four-part series, we interview Dr. Joy Galliford, Ph. D., Director of Development and Instructor for South Florida Music serving children in Miami and surrounding areas. Dr. Galliford, or as her students call her, “Dr. Joy” has over thirty-six years of experience in music education at every level. That experience, along with the addition of having won numerous awards and accolades in her field, Dr. Joy’s insight into how childhood music translates into a virtual environment is invaluable.

Let Musikgarten first thank you again for agreeing to share your knowledge with us. Tell us a little bit about your experience teaching the Musikgarten curriculum?

Dr. Joy: My journey began as a parent. Over thirty-one years ago, I attended children’s music classes with my daughter, Alaina. Then, my son, Nathaniel, began classes, and later participated in the Musikgarten Piano curriculum pilot with Dr. Mary Louise Wilson, his piano teacher. I am certified in each of Musikgarten curricular levels and teaching each one for over 25 years.

Please share with us how you came about offering Musikgarten classes online, and what influenced that decision?

Dr. Joy: South Florida Music is based in Miami. In March, it became evident that our public-school system would be closing due to the pandemic. While the exact date was unclear, we knew it was only a few weeks away. Knowing this, we aggressively began planning our transition to online classes. For us, it was extremely important that our children would have the opportunity to continue this new virtual journey with South Florida Music.

South Florida Music considers everyone involved in our program a family. This includes the children, parents and staff. We knew that it was critical for everyone’s mental well-being that music and the relationships formed remain strong and present. Because of this, providing an opportunity for the children to see, hear and enjoy music-making with their teachers as well as seeing the sheer joy of the experience in their home environment was paramount for us. Together, our staff shifted the in-person program to virtual within one weeks. It was truly an amazing task embraced and accomplished as a team for which I am grateful to have been a member.

Did you offer in-person Musikgarten classes before the pandemic? Did you have previous experience with an online video “production”?

Dr. Joy: Our program only offered in-person classes prior to the pandemic, but I had some previous experience with video production. However, online video production was a new task for me.

What would you say were the biggest challenges or hurdles around transitioning from an in-person children’s music class to an online format?

Dr. Joy: The challenges and hurdles in transiting our program to online classes were numerous. First, we had to determine how the weekly classes would be provided to satisfy our semester commitment for enrolled parents. Second, a decision had to be made regarding the technology and equipment needs to produce a quality product. Then, it took careful content planning so that the children and parents would be engaged during the lesson. Another challenge was keeping our staff present in the lessons so that our 280 plus enrolled children would be able to see “their teacher” and continue a level of connectivity. The final hurdle came in the area of production. The complexity and time intensive labor involved in recording videos; storing and organizing of the recorded clips; producing, reviewing and editing the lessons; organizing, planning and producing resource materials for the piano levels; plus planning occasional LIVE Zoom sessions to continue excitement and engagement was more than anyone could imagine.

What technical advice could you offer to someone who has never created or provided an online children’s music class?

Dr. Joy: My recommendation is to begin by watching others who are producing online music classes. Increasing your understanding of this product line, what is being offered in your area, what are parent expectations, and can or do you have the ability to accomplish an online music class is paramount. Taking this first step assumes that you already have knowledge of the curricular level that you are intending to produce. If you don’t, please stop and make sure that you increase your confidence and mastery level. Then, one must be realistic in understanding his/her personal limitations with technology coupled with maintaining a high-level of commitment, perseverance, and love for early childhood music education. All of these factors must be evident to contribute to your success story for our profession.

How do you think the interaction between teacher and parent/child differs for online classes vs. in-person? From your experience, what tips can you offer to make that interaction meaningful?

Dr. Joy: I thoroughly enjoy interactions during my classes with both children and parents. My class is a learning lab for all who are present, including me! Online classes have made this more challenging. I still consider myself the conductor of the “Interaction Symphony”, yet, I have had to be even more intentional in creating this experience from the onset. I have had to establish the form for my symphony to be created. This has required me taking the time to ask my parents the following questions:

  1. What device are you using to view the class?
  2. Is your sound loud enough to hear the music played and myself?
  3. Could you possibly create physical boundaries so that your child has a specific space during class?
  4. Do you have your instruments (i.e. shakers, sticks, scarves, etc.) ready to use?
  5. Could you please stay in this area with your child and be present so that your participation is the in-person model for them during the lesson?

These are just a few of the questions I ask to establish the form for my “Interaction Symphony”.  If parents do not believe that their child is engaged, they begin to ponder if or not their continuation is necessary and valuable. Therefore, it is my responsibility to make sure that they are ready for success by helping them to understand how to assist me in this journey. They have become the in-person interaction model instead of me. The symphony has increased to another level of complexity. I love helping them to learn how they can become an active participant in this “Interaction Symphony” virtually! They are a key player! What a pleasure to help them understand that together we are making an incredible impact in their child’s life!

 What things do you think are lost or gained from an in-person classroom setting to an online format?

Dr. Joy: A common topic for music educators has always been how to effectively compete with those offering other children’s programming. Understanding the research regarding the importance of music for brain development and mental well-being makes this crystal clear to our profession. During in-person classes, evidence was seen weekly. However, moving to an online format significantly decreases these moments not to mention the side conversations before or after class with parents or between parents reinforcing these impressionable moments. This is a loss.

Energy and inspiration is generated for me when I am with children! I just love being with people. Positive and fun conversations are quite enjoyable! Even sharing the troubling and sad moments add depth to our relationship and increase our trust in one another.  While I embrace the role of an educator and entertainer in this online platform, many may find this new reality uncomfortable for various reasons.

The hugs after an accomplished “ba-ba-ba” or “sol-mi-do” is priceless. This is just one of the pieces that I, personally, am missing greatly! If I feel this void, what are the children experiencing? From the beginning of our pandemic, this is one of the many thoughts that has weighed very heavy on my mind and heart. Whether in-person or online, I am extremely intentional in communicating how much I love my children, how proud I am of them for anything that is accomplished, and how thrilled I will be to celebrate with them in-person as soon as we are able. Any life experience can have losses or gains. We, the believers and advocators, must find a way to move forward and continue the making music with our children.

Do you feel like once it is safe to do so, that you will go back to in-person classes only, continue with online only, or a mixture of both? Why?

Dr. Joy: South Florida Music will definitely offer in-person classes when we believe all will be safe to do so. We will also offer a component of online programming as well. While we believe strongly in the value of in-person classes, we also know that this pandemic has shifted the paradigm of education delivery. For this reason, as well as the safety concerns raised by parents and staff, we will need to accommodate both.

We would like to thank Dr. Galliford, as well as the other participants, in this series. Their unique and experienced perspectives help Musikgarten to provide a supportive community of children’s music educators and business owners who are working towards the same goal of instilling the gift of music into young minds and hearts.

Dr. Joy Galliford, Ph. D., is the Director of Development and an Instructor for South Florida Music and the Executive Director for the Friends of South Florida Music Foundation. She received the prestigious 2010 Florida College Music Educator of the Year Award from the Florida Music Educators Association, and is a nominee for the 2019 Children’s Trust David Lawrence Jr. Champion for Children Award. To find out more about Dr. Galliford and her studio(s), click here.

Virtual Children’s Music Classes – A Teachers Prospective – Part 3

This is our second teacher spotlight in our blog series about virtual teaching early childhood music in the wake of Covid-19. Today, we interview Anthony Williams, Director of the Early Childhood Music School in Williamsburg, VA., and certified Musikgarten teacher.

Thank you so much for agreeing to this interview. Tell us a little bit about your experience teaching the Musikgarten curriculum?

Anthony: Our program was established in 1989 by Cindy L. Freeman and we recently celebrated our 30th school year! This year will be my 4th year teaching Musikgarten classes. I have worked with all keyboard levels, Around the World, Cycle of Seasons, and the Family Music for Toddler series – Sing (Play, Clap, Dance) with Me. However, I would say I spend most of my time teaching the various keyboard levels.

Please share with us how you came about offering Musikgarten classes online, and what influenced that decision?

Anthony: Like many of us, our program was forced to stop in person classes – so the pivot to online classes was a must. Our school staff has leaned on a shared Google drive for years to help teachers find resources for lessons, well written home assignments, and much more. Since we had to pivot to an online platform we built from what we had, creating Google classrooms for each level and providing a shared folder for those enrolled in the class.

Did you offer in-person Musikgarten classes before the pandemic? Did you have previous experience with an online video “production”?

Anthony: Yes all classes were in-person pre-pandemic. I would not say I had any video “production” skills. However, I do have an extensive background in sound design and working with studio style recording. These programs have similar layouts and principles, but there was still a learning curve.

What would you say were the biggest challenges or hurdles around transitioning from an in-person children’s music class to an online format?

Anthony: Communication! Not that I wasn’t sending emails, calls, and text, but that the parents were getting slammed by their school systems being closed and doing things online. So many of our families were in survival mode that I would constantly hear back the words “Sorry it took me so long to get back with you.” I felt that the best thing was to say “I understand” and ask how we could help.

What technical advice could you offer to someone who has never created or provided an online children’s music class?

Anthony: Take advantage of what you can do instead of what you can’t! Not everything we do in class translates online. I found pre-recorded lessons in smaller clips and short skits to be family favorites. Don’t expect each student to sit in front of a screen the same amount of time they would participate in class. In fact, Musikgarten prides itself on limiting visual learning and focuses on other skills. So, if you have to use a video, use it with the intent to enable them to do something away from the screen.

How do you think the interaction between teacher and parent/child differs for online classes vs. in-person? From your experience, what tips can you offer to make that interaction meaningful?

Anthony: I have felt that there has been more time for parent “coaching.” I have tried to show how they can use this time of social distance to dive into the lessons with their own children more regularly. For the kids… the smaller the virtual meeting the better. This allows for more interaction between each student and myself, as well as the kids with each other.

 What things do you think are lost or gained from an in-person classroom setting to an online format?

Anthony: Dances, ensemble develop, and group singing are all difficult things to achieve online. However, making sure that a grown up is present for dances, providing opportunities to build virtual ensembles, and call and response singing between two people have been the substitutes we have used.

Do you feel like once it is safe to do so, that you will go back to in-person classes only, continue with online only, or a mixture of both? Why?

Anthony: I feel like we will keep components filmed teaching points as part of our resource material for parents. We found that some of our keyboard families that were struggling in class found this very helpful because the adults had a better idea of how they could help. Since our program runs several classes at once, it is not uncommon for a parent to be in a parent and me class with a younger sibling while older children are in Keyboard classes.

Musikgarten would like to thank Anthony again for sharing his experience and advice into how childhood music education teachers can continue offering inspiration and instruction to children when in-person teaching is not an option. Stay tuned for another insightful interview in our next blog post.

Anthony Williams is Director, and an early childhood music instructor at the Early Childhood Music School (ECMS) a weekday ministry of Williamsburg United Methodist Church. He holds a B.A. in Music from Randolph-Macon College and a Masters of Music in Composition from George Mason University. He currently is the director of the Children and Youth Music Program at Williamsburg United Methodist Church. To find out more about Anthony and ECMS, please visit here.

Balancing Digital Media for Children at Home

With summer in full swing, and the pandemic still influencing parents work arrangements and social activities, we find ourselves asking the familiar question “How much screen time at home is adequate for my child?” Children’s music studio owners and teachers often get this question from their parents with the added caveat, does virtual educational time count as screen time?

To better answer this question, lets first understand what “screen time” actually means. Medline Plus defines screen time as a term for sedentary activities performed in front of a screen, such as watching TV, working on a computer, or playing video games. Note that the operative word here is sedentary, meaning children are being inactive physically while sitting down. Keyboard, mouse, remote, or game controller use are not considered physical activity in this definition.

So then, how much screen time should be allowed to children per day? For years, The American Academy of Pediatrics’ recommended no screen time for children under the age of 2 years, and no more than two hours per day for children and teenagers. But recently, the AAP have adjusted their guidelines to acknowledge the role that technology plays in our daily lives, as well as the new reality of Covid-19. So rather than provide definitive recommendations on time children should be allowed on screens, the new guidelines emphasize the active role parents play in allowing screen time in moderation, and how to navigate the balance.

With the onslaught of Covid-19, parents are transitioning into work from home (and back again) while trying to figure out childcare responsibilities. Similarly, schools are trying to juggle social distancing and remote learning. As a result, a good portion of childrens education has transitioned to online and virtual delivery. Understanding this necessity and its additional challenges, the AAP and other health care organizations have offered parents some flexibility and more general guidelines for managing screen time for children at home:

  • Take an active role in what your child is doing on screens – Sit down with your child and review what they are currently doing online, using it as an opportunity to have discussions about what is acceptable in both the household and society as a whole. It’s also a good idea to supervise while your child is engaged in screen time, even if it is only an occasional glimpse over their shoulder.
  • Establish a healthy and balanced “Play Diet” for kids – Know and explain the difference between physical, social, creative, and unstructured play. A healthy play diet consists of a balance of these activities, and parents should learn how to expect, promote, and maintain it during long periods inside at home. Again, this requires attention and involvement from the parent, but once a balance is established, children will begin to manage it on their own.

Parents understand the negative risks that too much sedentary screen time can have on their children, including obesity, loss of social skills, irregular sleep patterns, and behavioral problems. With the transition of home life that so many families are experiencing through the Covid-19 crises, parents are taxed with how to deal with it responsibly in this new reality. While the official time limits for screen time have been loosened by health care professionals during this time, parents can follow a few guidelines to ensure that their children can continue to develop in a healthy and balanced environment.

Utilizing Downtime to Nurture your Children’s Music Studio

As many businesses across the world have temporarily (and in unfortunate cases permanently), shuttered their doors amid the coronavirus crisis, there are some signs of light at the end of the tunnel for states begin lifting stay at home orders. However, for non-critical children’s services such as children’s music programs, the wait is likely to be longer. Even when all businesses are given the nod to re-open under guidelines, we can bet that parents will remain apprehensive to take any risks with communal programs. There are things that children’s music studio owners and teachers can be doing now to take advantage of the downtime and prepare for the uncertain future.

Strengthen Your Technology and Teach Virtually – Whether for good or bad, no one disputes that education in the United States will never be the same. Through baptism of fire, educators from all areas are having to embrace technology and provide an online representation of their former curriculum. This is no exception for music teachers, and while there are arguments to be made about what is lost through virtual music teaching, there is simply no other current alternative. Now is a good opportunity to explore the various technology available for providing virtual services. We have seen some amazing “at-home” concerts produced by amateur and professional musicians alike, many even playing together while in separate cities. As these become more commonplace, parents will grow ever more comfortable with the format of virtual teaching for their children. Proving this option may smooth the transition to a time when they are comfortable with in person group settings again.

Keep Communicating with Parents – It is extremely important to keep in contact with your parents and students during this time. An old business adage tells us that it costs at least five times more to acquire a new customer than to retain an existing one. Make good use of your client email list, providing weekly updates to parents. Be sure to think of something of value to deliver each and every time you reach out. Parents are desperate for something to keep their children calm and entertained during this time. If you are not offering virtual classes, provide some resources for them to remain musical! As we all know, music has many psychological benefits for stress and anxiety and they are sure to appreciate the help. If you don’t have a complete email list, consider a short phone call to the parents and children to see how they are doing and provide some much-needed encouragement. Teachers are leaders, and good leaders provide encouragement in times of trouble. Finally, make sure your communication is confident and forward thinking, ensuring that the value that your studio provides is continuing and will be there once this is over.

Plan Well for the Next Phase – In the highly acclaimed managerial book The 7 Habits of Highly Effective People, the first two identified habits are being proactive and beginning with the end in mind. Together, these combine into one trait that all effective managers possess – goal setting. During this downtime and downturn, it is important to look ahead and have a goal in mind for when the smoke finally clears. Then, work your way backwards understanding and setting tasks in order to reach those goals. If you have already set goals for 2020, this is the time to revise those goals and adjust to the “new normal”. Follow the SMART goals guidelines, and be sure to include marketing as part of your new goal setting. Share with parents your goals for their children’s musical growth, which provides an opportunity to promote class materials and enrollment for the next class, whether it is virtual or in person in the future.

Smart business owners and teachers understand that agility, communication, positivity and goal setting are all imperative for long-term success. Children’s music studio owners are both teachers and businesspeople, and as such, are looked to for leadership from their customers and students. By taking advantage of this unfortunate downturn in our economy, savvy business people will come out of it stronger and better prepared for the eventual recovery, whatever that may look like.

What Web Site Format is the Best for your Early Childhood Music Studio?

Small business owners understand that having a web presence is imperative in today’s market, both to provide a means of simple contact information and grant legitimacy to your business. Often times, the very first thing an interested prospect will do is Google your business to get as much information as possible to help with their purchase decision. This is especially true for Millennials.

 While there are way too many topics on organizational web presence to cover in one blog post, one that children’s music studio owners have constantly asked about is “What is the best kind of web site format for my business?” The options available can be daunting. When it comes to deciding on which format to go with for your music studio business, there are three major factors to consider – Budget, desired functionality, and autonomy/ownership. Typically, as desired functionality and autonomy increase, so does the necessary budget.

  • Social Media Profile or Page – There has become a trend of companies using one or several social media profiles in place of a web site. These pages are quick and free, making it perhaps the lowest cost option for businesses. It can also be a good way to build brand loyalty with customers. There are some downsides, however. For one, social media profiles offer limited page layout design, and have rules concerning content. Social media by nature also allows input from your audience in comments, likes, etc. This can be problematic if one disgruntled customer wants to badmouth your company on your own profile page. Lastly, smaller businesses, such as children’s music studios, can be eclipsed by the deep pockets of larger organizations that spend thousands to place numerous ads on your profile page.
  • Licensed Company Web Templates – Many organizations provide their dealers or franchise partners with a predesigned, web site template that is already branded with the corporate color palette, fonts, logos, etc. These often come at a small per month expense, including hosting, and are relatively easy to set up. Most also include Content Management Systems (CMSs), which provide password access to a Wysiwyg editor (simple toolbar of icons like in Word) so that content can be added and edited with copy, pictures, links, etc. Some of these sites also provide some functionality that are specific for the industry, such as children’s music class sign up forms and calendars. Also constrained by the template design, ultimate ownership of these sites belongs to the corporate entity that provides the license.
  • “Free” Web Site Builders – Web site builders have become very popular with start-ups and small businesses. GoDaddy, Wix, and Squarespace are popular providers of this format. While still considered “templated” web sites because the overall structure of the site is already provided, they tend to offer many options for different “look and feel” templates, depending on your particular tastes. Site builders also offer a large variety of Plugins, or modules that can be added for certain functionality such as online chat, class scheduling, or ecommerce. While they may come across or marketed as “free,” however, there are very often hidden costs to these sites such as hosting and domain fees, ad-free versions, and other upgrades such as email service and increased functionality. Finally, if you become unhappy with the provider of your site builder and want to take your business elsewhere, you have to leave your web site behind.
  • Open Source Templated Web Sites – Open source refers to a coding language that is available to anyone out there that wants to program a web site. There are several open source templated site platforms out there that are very popular, with WordPress being the most well-known. Offering virtually tens of thousands of pre-made site templates that can be bought at a relatively low price than custom programmed sites, they also offer a large amount of Plugins for all kinds of functionality. Being open source, these templates can be highly customized, tend to work well on mobile devices, and offer robust Content Management Systems (CMSs). Building these sites is not as easy as it sounds, as you must learn each template’s CMS with particular quirks. But because they are so popular, there are a lot of resources and programmers available for building and maintaining them at an additional cost. Having full ownership of these sites, you will be able to host and move them just about anywhere you like. However, also because they are so popular, open source templated sites are popular targets for hackers, so constant security patches must be installed.
  • Total Customized, Hard Coded Web Site – If highly customized design and functionality is what your organization needs, a hard-coded custom designed site offers the most flexibility to “stick build” a web site. These sites, depending on how much customization is desired, can run from the thousands to tens of thousands of dollars for small to medium businesses. For industries that have very unique offerings that require unique functionality, this may be your only option. For example, a fabric company that wants to offer online customization of its fabrics, as well as showing inventory in real time might need a customized solution. Custom web sites also offer scalability of and security, which comes at a price.

While the multitudes of web site format options out there might make your head spin, for small businesses such as children’s music studio owners, it is often best to start by determining what kind of budget you have for your web site. It is often good to start small when launching a web presence. Weigh that budget against how important functionality and autonomy/ownership is to your business needs. Something as simple as a social media profile may not be enough to tell your entire story. Also keep in mind that on average, web sites need to be updated or redesigned about every 5 to 7 years in order to stay in step with trends in technology. So, starting small is a good way to learn about web technology without breaking the bank.

The Evidence of How Early Childhood Music Education Helps Students in School

Most parents will tell you about how music is engrained in many of the activities, games, and educational entertainment of early childhood. We may remember the songs of Sesame Street or School House Rock that helped us learn to count, form words, or learn history. Younger parents will remember playing Baby Mozart for their children in the crib, or how music was used in popular educational cartoons such as Sid the Science Kid. For a very long time, educators and parents have understood the value of exposure to music in the earlies stages of life, but an ever increasing amount of research supports that teaching children about music at an early age will give them an advantage as students:

  • A large-scale longitudinal study published in Frontiers in Neuroscience found that structured music lessons significantly enhance children’s language-based reasoning, planning, short term memory and other cognitive abilities. Children as young as 2.5 years old were assessed for academic performance as well as various cognitive skills. It found that children who had received music lessons suggested that cognitive skills developed during music lessons influence their abilities in completely unrelated subjects, leading to improved academic performance overall.
  • Moving in sync to music with others helps toddlers form stronger social bonds, according to a study performed by McMaster University. The study found that toddlers, some of which were as young as 14 months old, were more likely to help an adult pick up a dropped object if they had previously bounced together in time with music as compared to those whose movement was off tempo. This exercise was designed to help infants be better in tune with emotions through sharing songs and music.
  • Music improves baby brain responses to music and speech, according to scientists at University of Washington’s Learning and Brain Sciences (I-LABS), a series of musical play sessions with 9-month old babies showed an improvement in brain processing of new speech sounds. It is the first such study to suggest that recognizing rhythmic patterns in music can also help babies to detect rhythmic patterns in speech, concluding that engaging in musical experiences at an early age can have a more global effect on cognitive skills.
  • Just listening is not enough. While music has been known to soothe infants and help to create a bond between caregiver and child, a study from Northwestern University revealed that simply listening to music at an older age does not have the same cognitive benefits as being actively engaged in a music class. Researchers found that children who regularly attended, as well as participated in music classes showed larger improvements in how the brain processes reading and speech than less involved children. The role of music and movement in children’s learning and growth is well documented.

The scientific evidence of the benefits of early childhood music classes is continuing to support the consensus that even from the earlies stages of life, exposure and participation in music positively influence cognitive development in children, particularly in the areas of social, speech and reading skills. As a result, these children are better prepared and perform consistently higher in school than their peers.

Tips for Retaining Students in Your Childhood Music Studio

Owners and operators of children’s music studios will tell you that gaining new students is the most challenging part of their business. But often music teachers also struggle with how to retain those students once they take their first class. Any good businessperson will tell you that it costs up to five times more to acquire a new customer than to gain the same revenue from an existing one. But owners of children’s music studios often struggle with how to move an infant into the next stage of toddler classes, or toddlers into the next stage of pre-schooler classes. Of course, parents are the key, but exactly how do you get them to agree, or even better to desire, to keep moving through the program. In addition to running an effective and beneficial childhood music program, here are a few tips to help you move parents along to the next music class:

  • Begin each program with a Parent Orientation Class – The first class of any music program should set up proper expectations before classes begin, such as class policies, participation expectations, and class materials needed. Since new parents can be entering each new program or curricula, orientation should be performed in the first class of each program. This gives parents a frame of reference for all other parent education efforts throughout the semester.
  • Provide a personal testimonial about why you chose your particular curriculum – Professional marketers will laud the effectiveness of a good testimonial. Part of this stems from the psychology of positive affirmation. Consumers, and especially mothers, want to know that they have made the right decision for their child. By telling your own story of carefully selecting the children’s music curriculum they will participate in provides assurances that they have made a good purchase decision. Parents also provide a wonderful testimonial for other parents, so do not be afraid to ask for your more seasoned parents to provide kudos, either verbally or written.
  • Make Off the Cuff and Did you know? parent education remarks Creating anticipation is a cornerstone of good creative marketing, as is the reinforcement of a belief or message. By making “off the cuff” positive comments about what parents can expect when children move into the next curriculum level, an emotion of anticipation is created. One way to do this is with “Did you know?” statements, such as “Did you know that this pattern “ba-ba ba” (or du-de du) is the same as that yellow notation game up there on the wall? It’s the first pattern your child will read in music notation in the [Next Class Name] class!” It is often helpful to write down and memorize Did you know? statements for each class so that you can naturally mention them “Off the Cuff.” An average of two per class helps to reinforce the anticipation and affirm the value of your next program.
  • Use the end of your last class to sign up for the next – There is no better opportunity to market your next class than when you have a captive audience. At the end of your last class, provide an overview of the next class, along with the benefits the next class will provide to their child. Visual aids and class materials help to show these benefits. Announce that you have a sign-up sheet ready and ask who would like to sign up. To incentivize the parents, offer a special on the next class, such as discounted materials or class fees. Don’t be afraid to ask for the business, it is what is necessary to keep your studio going while providing valuable exposure to music to young minds.

While it is important for any business owner to think about retaining customers, it is also important to keep in mind that the first purpose of children’s music studios is to inspire a love of music in children. While these customer retention techniques are helpful in assuring the success of your business, remember that seeing their child having fun while learning music will encourage the parents to want to continue more than any marketing tactic ever could. So, be sure to spend the majority of each class simply having musical fun with the children and parents!