Tag Archives: Musikgarten

How Early Childhood Music Classes Prepare Children to Learn Piano

Part 2 – Through THE MIND

Children’s piano instructors understand that a strong foundation in music from the earliest ages will help improve student’s progress and understanding of the keyboard later in childhood. We began by exploring how movement and the body influence this early instrumental preparation. As we continue to delve into how various areas of influence in early music education grooms children for the piano, or any musical instrument, we reveal how it prepares the MIND. 

Early Childhood Music Education Prepares the Mind for Piano Lessons

Is there a purpose to learning an instrument or reading music if a child has not first absorbed musical thoughts? For a very long time, expressive body movement was not linked to higher brain function in formal education. Until as recently as 1995, researchers and educators limited the health benefits of movement and exercise solely to the body rather than the brain. Now it is clear that movement is not separate from higher brain function or development, and that expressive movement combines body functioning with affective areas of the brain such as imagination. These neural connections can be seen in language, literacy, and dominance of ear.

  • Learning Musical Language through Songs and Singing – It is easy to understand that children would not be asked to speak a language they have not heard, nor read a language they cannot speak. It stands to reason that there should be no exception for listening to and “speaking the language of music” before learning an instrument. Asking a child to read and sing or play a song on an instrument before they have ever heard it would not give it meaning of familiarity and affinity. This could be one reason why so many young piano students learn to play only “notes” instead of expressing musical ideas. The large repertoire of songs children have sung with friends and family as well as in the early childhood education classroom equips them with a musical language that will eventually allow them to better learn and play an instrument such as piano.
  • Childhood Music Education Provides Foundation in Music Literacy – Through moving and singing children gain a multitude of experience with rhythmic patterns and steady beat, as well as tonal patterns and home tone. Just as a child learning to read looks for familiar patterns in words and sentences, so do they seek rhythmic and tonal patterns in music. This familiarity with musical motifs enable children to better express musical ideas, as their literacy brings harmony to mind and spirit. The ability to better grasp the patterns and language of a musical instrument is also influenced by dominance of ear.
Listening and Singing melodic patterns during a Musikgarten class.
Listening and Singing melodic patterns during a Musikgarten class.
  •  Listening Skills and Dominant of Ear in Learning Piano – Children who have participated in early music education have learned to be led musically by their ears. Piano teachers discover that they have better listening skills and aural preparation, allowing the eye to more easily recognize what the ear already knows. As one of the first senses to develop in the womb, the ear is dominant in early childhood as children learn language and familiar sounds. Discriminatory listening skills develop as they attune to important sounds in the environment, such as a mothers voice. Early childhood education programs promote these aural insights by teaching children to focus tentatively on a sound source while imitating sounds vocally. Understanding slight distinctions in sound is a vital foundation for all learning.

The ear, arguably the most vital sensory channel to most children’s learning, is the linchpin for Listening, speaking/singing, and balanced/coordinated movement. It is no wonder that early childhood music education is so vitally important in learning an instrument such as piano since music links the ear, the voice, and the body.

This commentary is based on the article The Well-Prepared Beginner: Prepared in Body, Mind, Spirit, and Family by Lorna Heyge, Ph. D. Dr. Heyge is a pioneer in childhood music instruction, as well as a piano teacher of many years.

How Early Childhood Music and Movement Classes Prepare Children to Learn Piano

Part 1 – Through THE BODY

Children’s piano teachers often must “start from scratch” in teaching the child not just the keyboard, but all of the different facets of music. That is why many piano instructors will attest to how a child that has been involved with music education classes from an early age is often better equipped to learn piano, while doing so at a much greater pace. The benefits of introducing music to babies at the earliest stages of life are well known, and some of those same benefits can be applied to learning the piano. There are several reasons for this, which can be roughly broken down into the areas of Body, Mind, Spirit, and even Family/Community.

In the following months we will start to explore how participation in a children’s music curriculum, even at the earliest stages of infancy, help to set a strong foundation for learning any musical instrument later in life. The first facet of this strong musical foundation that will be examined regards the body.  

Dancing with scarves during a Musikgarten toddler class.
In Musikgarten classes movement is central to steady beat, language development, and expression.

How Body Awareness through Music Helps Children Prepare for Piano Lessons

During the first developmental period of birth through age six, children gain control and awareness of their bodies. As their rhythm and motor instrument, a well-coordinated body will provide the gross and fine motor skills a child will need to play the piano. A vital and natural part of this first stage of life, movement enables a child to communicate non-verbally  how they see the world.

Today, however, children are too often sitting – in front of the television, a computer screen, or in a car seat while busy parents run errands. This sedentary situation results in children having less control over their body movement at an early age. Music promotes movement, and purposeful movement through music responses help children with particular skills such as hopping or swinging, while also developing such musical skills as a sense of beat and meter.

  • Music and Movement Teaches Children a Steady Beat – Children experience their own internal pulse, which allows them to naturally recognize and adapt to the pulse of an external source. Infant movements such as rocking or bouncing is often in response to a beat, whether musical or otherwise. Through musical exposure and encouragement, these movements can be cultivated into the understanding of a steady beat.
  • Language & Movement Help Teach Musical Understanding – Impulse control is a vital ability that tells our body when and how to move. Musical games, like Walk and Stop which incorporate movement instructions, help children establish important connections between language and motor skill. Later in childhood, this developing self-control prepares children to enter instrumental lessons that require language-mediated movement.
  • Expressive Movement Supports Self-Awareness – Children delight in singing and dancing. When they are exposed to songs with purposeful movement and phrasing, they develop a sense of meter and how to feel the phrase through both music and movement. This relationship reinforces kinesthetic awareness and perception essential to self-awareness.
  • Simple Instruments Build Coordination and Concentration – Playing simple rhythm instruments, such as shakers, rhythm sticks, bells, or drums, serve as an excellent preparation for finger, hand, and arm coordination needed to play the piano. While whole-body control and coordination are gained through dancing and other locomotor activities, simple instrument playing supports upper-body control and finger dexterity. Learning body control, including quieting the body between beats, helps children’s ability to focus their listening and concentrate on the finger movements required in playing a musical instrument.

Learning body awareness and purposeful movement are important in the development of a child’s motor skills and coordination. Exposure to musical instruction at an early age, whether through purposeful movement or simple instruments, reinforce the steady beat, fine motor skills, and focused listening skills that will help them to approach keyboard instruction with a strong foundation.

This commentary is based on the article The Well-Prepared Beginner: Prepared in Body, Mind, Spirit, and Family by Lorna Heyge, Ph. D. Dr. Heyge is a pioneer in childhood music instruction, as well as a piano teacher of many years.

Marketing for Summer Music Camps and Classes

With the summer quickly approaching and Covid guidelines continuing to relax for in-person instruction, parents returning to work are going to be looking for opportunities for their children while school is out. Although the official first day of Summer is not until June 20th, children’s music studio owners and teachers can get the jump on filling their summer camp and class rosters early with some simple, yet effective marketing approaches they can start on right away:   

Marketing for Summer Music Camp and Class Registration

  • The Low Hanging Fruit of Existing Customers – While the old adage that “it takes five times the expense to gain a new customer than to retain an old one” varies from business to business, the effort and expense that it requires to find a new customer is considerable compared to one you currently retain. The key to taking advantage of the “low hanging fruit” that current students and families present is through consistent and frequent communication.
  • Customer Communication is the Key – Because you have provided services to existing customers in the past, you most likely have their preferred method for being reached. Furthermore, because customers voluntarily purchased from you in the past, they have in effect granted you permission to contact them again. Often called permission marketing, this concept is valuable in how your communication is recognized. It is familiar, and therefore cuts through the bombardment of marketing messages we all receive on a daily basis. Whether its by email, snail mail, text, or phone call, your communication has a much better chance of reaching a customer who recognizes you. 
  • Categorize Your Audience to Customize Messaging – The more a marketing message or offer can be customized to its particular audience, the more likely that audience is going to respond. This is most easily applied to current customers. Your correspondence with them should have a much different, more familiar feel than if you were reaching out to new prospects. Using information that you know about that audience provides a more personalized message. For example, using the name of the music student or their last completed music class lets recipients feel special. A message to a new potential customer may be more about educating them on your music studio or the benefits of early childhood music education. The more you can categorize your target audience into segments, the more you can customize the message or offer.
Musikgarten Summer Marketing
  • Offer Incentives for Music Camp Registrations – With so much already on their plates, and so many program options for parents during the summer, offering an attractive incentive is often what gets them over the finish line to make the purchase. Early bird registration is a good way to increase response early in the process, even if you don’t want to discount your price. Simply using language to show urgency such as “availability is limited and on a first come, first serve basis’” or “registration is beginning to fill up,” increases action. FOMO, or fear of missing out, is a powerful motivation. Incentives can also be used to get new music students through tactics such as referral or buddy programs. Value provided to existing customers for referring a new student, whether it’s through discounted pricing or a free camp T-shirt, will help to gain new registrations. Children love to enjoy music camp along with a friend!  
  • Reach Out in Different Ways – If there was a single, silver bullet that marketers could use to get loads of new customers, the cat would have been out of the bag a long time ago. The key with most marketing campaigns is to “rinse and repeat.” This means presenting the offer to a target audience multiple times so that they recognize and/or remember it. Frequency, or number of times a marketing message is presented to the same audience, is important for retention of the message and offer. In addition to repeating a message through the same marketing channels, another good way to gain more frequency is through cross-marketing, where the same message is presented to the same audience, but through different ways. For example, you may post a referral program on social media, and also send it out through an email blast. In addition to providing more frequency, one method may be more effective in reaching a particular prospect than another.  

Summertime presents great opportunities for children’s music studios to provide kids with a highly enjoyable and entertaining activity while giving parents a much-deserved break. Savvy studio owners and teachers know to start early by offering opportunities to register. Current or past customers are the low hanging fruit to reach out to first, because they are already familiar with your business. Social circles of those audiences can then be expanded through targeted incentives through messaging frequency within the same and across different marketing channels.

The Pathway to Music Literacy in Children

From whatever country they were born, or environment they were born into, all children are born with a natural ability and inclination to sing and dance. Famed children’s music researcher, teacher, author and lecturer Dr. Edwin E. Gordon concluded that until age 9, children are in the developmental stage of their music aptitude and disposition. Throughout this time, parents and teachers have a great impact on how musical a child will be for life.

In this series on the Pathway to Music Literacy, we have explored the various foundations and methodology that make children’s music curriculum successful, touching last on the connection between music and movement. In this final installment, we’ll sum up how nurturing all these basic music skills prepares children for a pathway to independent musicianship and enduring music-making capabilities.

Aural Preparation is Key to Music Development

Just as language begins in children with aural preparation, music also starts as an aural reality for the child. Only after this reality exists is the child able to then read and write language, or understand the written form of music in notation. Just as words are the building blocks of language, tonal and rhythm patterns comprise the vocabulary of musical language. Once children become familiar with these patterns, they love playing aural games that apply both a neutral, chanted syllable, or in the context of a familiar song.

Children singing melodic patterns in a Musikgarten class.
Children singing melodic patterns in a Musikgarten class.

Teaching Children to Write and Read Music

Once children are able to understand and play aural games, they are ready to see those familiar patterns in symbols. Active, participatory notation games show these symbols to the children on a sensory motor level. With repetition comes understanding, and as they begin to be able to discriminate between several familiar patterns, they can be further challenged to find the same patterns in unfamiliar songs. Instead of simply decoding, they are actually reading with comprehension. Notation games of listening and responding to a series of patterns also teach children to take dictation and write out songs they know so well.

Assessing the Pathway to Music for Children

In early childhood music education, accurate assessment is crucial in knowing how to lead children on their pathway to music literacy. Through a series of steps, music teachers can determine specific pre-requisites to determine a child’s readiness. Once those steps have been mastered, children will be able to look at an unfamiliar piece of music and do the following:

  • Identify the familiar patterns within the song
  • By making inferences, they will figure out the unfamiliar patterns
  • Hear the music in their heads

This approach prompts children to begin to think in the language of music, and play it on the keyboard.

Instilling Music Improvisation and Composition in Children

As children learn to manipulate words, phrases, speak, and write complete sentences, they gain a better understanding and eventually become conversant. The same is true in the pathway to music literacy. By first understanding rhythmic and tonal patterns, recognizing these in the form of notation symbols, and then learning to write these patterns, children obtain the ability to start to manipulate and improvise. Once they begin to improvise patterns, they can begin to improvise phrases and eventually parts of a composition.

Through this improvisation, children become musically fluent and can contribute a musical

thought in the appropriate tonality, meter, and style. It is when they gain this intuition of musical patterns that children can truly improvise and compose through Music Literacy.

Much of the content for this post was based on the introduction to Music Makers: at The Keyboard, childhood music curriculum developed by Musikgarten.

The Listening and Movement Connection

Our series on how early childhood music programs influence Music Literacy at the Keyboard continues with the importance of body movement with music and listening. We have explored how singing a repertoire of familiar songs, as well as setting a good foundation of keyboard posture, are vital to instrumental education. Now the close relationship between music and movement complements these footings toward success in music literacy.

The Connection Between Music and Movement

Cultures all across the globe have used movement as the body’s expression of rhythm, which shapes the way we use and understand language. Children naturally desire and enjoy movement because it is exhilarating and energizing. A good foundation of understanding body manipulation helps them to play an instrument expressively.

Listening is vital to nearly all learning, not the least music education. And just as controlling body movement is more challenging for children today, so is learning to listen well. Developing a “listening ear” must compete with the increased amount of noise/sound and visual stimulation in a child’s environment.

Listening and movement are closely aligned through the ears two major functions. The first is vestibular, which controls balance, and thus nearly all movement. The second is the auditory, which directs hearing and voluntary listening. Therefore, it is vital to establish the important link between those two functions in early childhood music education.

Music and movement during a Musikgarten group music class.
Music and movement during a Musikgarten group music class.

How Movement Benefits Early Childhood Music Education

Rhythm and beat competency are emphasized in movement activities in early childhood music classes, particularly through tapping and drumming. Clapping, tapping one’s body, or using instruments such as rattles, sticks, bells or drums while singing helps to develop a child’s rhythm and beat. These, along with other group activities such as passing a beanbag in a song circle, brings children joy and social fulfillment. Drumming, in particular, has been a unique attraction for young and old alike in cultures all across the world. The tactile use of hands provides muscular memory while reinforcing the idea that the sound produced is directly related to the quality of the touch.

Dancing to recorded music as a group also provides a good opportunity for children to experience the flow of music while connecting to the larger community of their peers and teachers. In the most successful children’s music curriculum, teachers repeat these movement activities early and often so that the child in time feels free to express themselves through movement.

Early Listening Skills Make Children Better Musicians

Listening is defined as giving attention with the ear with the purpose of hearing. With the constant assault of noise and sound in our environment today, active listening is extremely important in order for children to concentrate. The very best training for listening employs the use of singing, chanting, and body movement to make the aforementioned connection between the auditory and balance/movement functions in the ear. Therefore, children’s music curriculum and teachers will continually engage in listening activities such as singing, reciting, and listening to music. The music teacher also instructs children to develop a listening posture that allows them to hear the music in their heads. This is particularly helpful at the piano, where body posture and hand position and technique are important for learning the keyboard. Through modeling and encouragement, the successful teacher is demonstrating attentive listening both through movement and posture.

Establishing and reinforcing the important connection between movement and listening helps prepare young children for playing any instrument. The union they feel between singing, drumming, and dancing will support the transfer of their understanding to piano. By introducing the keyboard as an extension of the body in this way, children learn to play the instrument musically – feeling the total experience of the instrument.

In our final installment of this series about Music Literacy at the Keyboard, we will see how all of these different foundational music teaching tools set children on the deliberate Pathway to Literacy

Much of the content for this post was based on the introduction to Music Makers: at the Keyboard, childhood music curriculum developed by Musikgarten.

Learning Piano Starts with a Good Foundation

In this third installment from our series on Music Literacy at the Keyboard and children’s music programs, we will explore how setting a good foundation of posture, arm and hand position, and finger technique are vital to instrumental education. Proper posture with any instrument has various benefits for the musician, while improper technique can even compromise the ability to perform. Establishing good habits from the very beginning and reinforced by both children’s music teachers and parents/caretakers alike, helps to prevent the necessity later to correct ingrained habits.  

Start by Teaching Piano Away from the Keyboard

Start by preparing the body to establish good posture and hand and arm position. This helps piano students to concentrate on their bodies instead of the temptation of sounding the keyboard. In our last installment, we established how a foundation of singing familiar songs first helps the child better understand the keyboard once it is introduced afterward. Initiating these things away from the piano ensures the grounding of good posture and positioning, as well as establishing songs and patterns in the body.

Musikgarten Group Piano Class - Notation Games

Tips for Establishing Good Posture at the Piano Keyboard

Hand Position

  • Ask the student to swing their arms back and forth gently while standing.
  • Bend the elbows naturally at the end of the swinging motion.
  • Point out the curved hands and fingers position at the end of the motion.
  • Repeat the motions at a table, ending with the hands positioned to play on the table.
  • Keep in mind that proper hand position is dependent upon good sitting posture and sitting at the right height.

Sitting Posture

  • Sit with an upright back, with shoulders held comfortably back
  • Identify and correctimproper extremes, such as slumping or stiff, raised shoulders, tense back and stomach muscles, or collapsed wrists.

Chair and Keyboard Height

  • Chair height should allow feet to be flat on the floor or on a little stool.
  • Appropriate keyboard height is achieved when the forearm is parallel to the floor and fingers are laying comfortably on the keyboard.
  • Watch for and correct raised elbow or shoulder, and/or wrist bent upwards.

Good posture and positioning is important for beginner piano players. Not only for the ability to approach the keyboard comfortably, but also to prevent potential long-term injuries that would inhibit the ability to play. Parents and teachers should help the student remember that good habits will serve them well for their entire lives.

Approach to Finger Technique for Piano Beginners

Once the body has been prepared with proper posture, children can then move to the keyboard area. Warm up activities, beginning first with one hand and then the next helps to exercise the fingers and thumbs. Following a foundation of Do-mi-sol, three finger pieces followed by five finger pieces (tetra chord) sets the stage for one-note extensions and eventually leads to chords and scale-playing.

Because some children will have a repertoire of familiar songs, they can begin accompanying their own singing right away with open fifths. Since they have a foundation in aural development through singing, they are gradually able to figure out how to play patterns and songs in multiple keys. Melody is learned first on one hand, and then the other. Once children can comfortably play the melody, chordal accompaniments are introduced through the familiar harmony patterns from their song repertoire.

Good posture, hand position, and finger technique are essential to learning piano. By first learning away from the keyboard, children can focus on these elements separately. With a foundation of songs from early childhood music classes, as well as encouragement from teachers and caretakers, the beginning piano player has the best chance of success and lifelong love for the instrument.

Much of the content for this post was based on the introduction to Music Makers: at the Keyboard, childhood music curriculum developed by Musikgarten.

How Singing Helps to Learn Piano

Many of us have memories of piano teachers that used metronomes meticulously, or in some cases beat on the edge of the piano with a ruler as we struggled to play in time. While some of their methods may seem old-fashioned today, there was a very important underlying purpose of teaching time and meter. However, many early childhood music programs today understand that singing and movement not only naturally teaches beat, but also a myriad of other benefits to childhood development. In this second installment on our series about Music Literacy and the keyboard, we explore how for these and other reasons singing prepares children for learning to play keyboard.

Learning Piano Through Familiar Songs

Singing helps children to develop a repertoire of familiar songs. Children enjoy singing, and the more they sing the more they want to sing. As they progress to learning the keyboard, both the love of singing and having a good foundation of songs allows for greater success – because they want to play the song that is so familiar.

Singing Helps with Beat, Meter, Tonality, and Patterns

There is an abundance of research and publications that demonstrate how singing helps children with literacy, and that includes music literacy at the keyboard. There are several ways in which singing helps children be more successful learning the piano:

  • From the very earliest stages of childhood babies listen and often echo their caregivers’ song patterns, providing initial steps to music literacy.
  • Just as your old piano teacher may have done, tapping the beat while singing helps foster beat confidence.
  • Simple body movements, such as rocking from side to side helps establish a basis for understanding meter – like a human metronome!
  • Inviting children to sing the resting tone at the end of songs help to create an understanding of tonality.
Children enjoying a drumming and singing activity during a Musikgarten group piano class.
Children enjoying a drumming and singing activity during a Musikgarten group piano class.

Teaching Songs through Vocal Quality Nourishes Children’s Music Sensitivity

Children’s Music Teachers pay particular attention to their own voices in order to help children to develop a sensitivity for musical keys, tones, and pitches. Several ways that teachers ensure vocal quality are:

  • Singing mostly without music, so that the vocal quality is the focus
  • Singing clearly, but also lightly so as not to dominate the singing of the group
  • Listening to ones voice for proper intonation, so that the song model is tonality exact
  • Pitching songs in the range in which they are suggested
  • Modeling good singing posture, even when sitting

Singing with vocal quality offers an excellent opportunity for children’s music teachers to model expressive musicianship. Establishing a relationship between familiar songs that children can sing and what they will play on the keyboard allows them to echo the melodic and rhythmic patterns which make up each song. This allows them to eventually figure out how to play their favorite songs, which is well exemplified by the Montessori approach of self-learning. The child’s ear becomes the “self-correcting instrument,” guiding the hands what to play.

Singing familiar songs throughout early childhood helps to provide a strong foundation for the understanding of beat, meter, tones, and patterns. And with the five-finger position provided on a keyboard allows children to move more easily to tetrachord and scale positions. Because their playing originates from a familiarity of songs and singing,  as a result they more easily translate and play the songs in many keys.

Much of the content for this post was based on the introduction to Music Makers: at the Keyboard, childhood music curriculum developed by Musikgarten.

Music Literacy and the Second Stage of Child Development

Merriam-Webster first defines literacy as simply “the ability to read and write,” but a second definition expands that to “knowledge that relates to a specified subject.” This is an important distinction, especially when considering childhood music literacy. In our next series of articles, we will explore how music literacy applies to the second stage of child development, specifically in playing the piano and instrument instruction. While most children’s music programs focus on music and movement in the first stages of development, many fall short of continuing the progress in the second stage of child development necessary to achieve music literacy.  

The Second Stage of Childhood Development

Developmental biologist Jean Piaget established the theory of phases of normal intellectual development from infancy through childhood. The second stage, which Paiget terms Concrete Operational, is where children’s thinking becomes less on themselves and more on their awareness of external events. Some experts argue that development is actually continuous, but Piaget did agree that the depending on the child, the age ranges could vary slightly. While Piaget defines the second stage of childhood development being from ages 7 to 11 years, our focus in this series of articles will focus on the 6 to 9-year-old child.

Ready to Face and Decipher New Challenges

From ages 6 to 9 years, the child has begun a new phase of development both physically and cognitively. They are eager to face fresh challenges and have a growing aptitude for the refined movement needed to play an instrument. Their sensory motor functions have been well-integrated over the last six years, and serve as a good foundation for abstract learning. They are starting to not be satisfied merely with knowing the name of an object, but having the desire to know the how and why of things. One result is that the child’s mind is now interested in symbols, patterns, and codes to explore. This in turn helps to develop an appetite for improvisation and cooperative learning with other children.

Children Love to be Part of a Group 

Beginning in the second stage of development, and sometimes earlier, children are self-aware and ready to become part of a group, especially with peers. A peer group setting becomes a place where the child can begin to learn rules, push limits, and test ideas. This important stage of identity has the benefit of teaching important social skills of how to work with others in teams.

Groups are considered very useful for learning things, as questions can be asked and addressed from different perspectives. This is why nearly all children’s education programs use group activities in the learning process. This is no different for childhood music programs. Children love being with and making music with others. The desire to contribute to the group requires deep concentration and absorption while teaching valuable lessons in cooperative learning.

Music Literacy through Children’s Group Keyboard Lessons

Learning the keyboard provides children with the cognitive challenges and group dynamic that they desire. Music literacy applied to piano playing is much more than reading and recognizing notation or finding the correct keys, but also gives meaning to those notes in a way that allows for composition and improvisation. It is a child’s desire to communicate that motivates them to further develop a deep relationship with the aural and written art of music. This aural approach to music literacy becomes the foundation which provides the child a delightful transition to the world of music notation and understanding. This aural-to-visual method of literacy allows children to understand and appreciate music in terms of its tonality, meter, and style, while further refining their ability to listen.

In our next installments, we will explore specifically how discovering the keyboard in a group setting can be very different from the mechanical drills and rote learning that traditional piano learning imposed.    

Much of the content for this post was based on the introduction to Music Makers: at the Keyboard, childhood music curriculum developed by Musikgarten.

Musikgarten Exemplary Programs 2020

As we bring this year to a close, Musikgarten wants to thank all of our teachers who continue to bring the best of early childhood music education to children and parents, especially the Musikgarten Exemplary Programs for the 2019-2020 year.

Exemplary Awards are given to teachers in recognition of long-standing commitment to the Musikgarten philosophy and current offering of four or more levels of classes utilizing the Musikgarten Music and Movement Series. Congratulations to each of the winners. We appreciate your loyalty and support! (Note: These are in alphabetical order.)

Angelic Voices – Angie Sawyer

Anja Scheidel’s Musikgarten Studio

Apple Tree Arts

Shelley Baird – Texas Amps and Axes

Boone’s Tunes of Delmarva: Susan Upton

Kathryn Brunner – Musik at Home, LLC 

Community School of the Arts – Wheaton College – Wheaton, IL

Paula Craig

Betha’s Musik – Betha Christopher

Nan Croney​ – Croney Music Garden

Early Childhood Music School of Williamsburg United Methodist Church  

East Dallas Children’s Music

Glenda Evans – Musikgarten with Glenda

Heidi Fields – Immanuel Valpo Musikgarten

Joy Galliford – South Florida Music

Gate City Musikgarten                                                   

Ginger’s Music of Oklahoma City                               

Growing Musical Children

Jill Hannagan

Susan Holtzscher – The Studio Connection

Hunterdon Academy of the Arts

Nancy Spahr Huskey – Miami County Early Childhood Music

Jefferson City Music Academy and Helen Haynes

Ellen Johansen

Karen Haughey Music Studio

Shannon Kramer at Miss Shannon’s Music Studio

Nancy Kubo

Kuite Music Studio – Karen D. Kuite

Jill Lundberg – Music to Grow

Heather McEndree – Cumberland Valley School of Music

McMainly Music – Lana McMains             

Bobbi Morgan

The Music Factory                                                          

Music for Life Musikgarten Studio, Lynelle Vogel, Winona Lake and Nappanee, Indiana

The Music Garden                                                           

Music Institute of Chicago

The Music School of Delaware                                   

Musikgarten Bellaire – Jill Vaughan, Director

Musikgarten of Guelph – Caroline MacDonald

Musikgarten of Lexington – Jennifer Tutt                   

Musikgarten of Oak Park                                              

Musik Kids Program Wyoming Fine Arts Center                              

Sarah Nishioka

Dennis and Carla Pratt

Sarah’s Music Studio – Sarah Grove-Humphries

Doris Sing, St. Andrew’s School of Fine Arts

Sonia’s Musikgarten – Sonia Markholm

Chelsea Spence-Crane, Tri-City MusikGarten

Judy Stoner – Glen Ellyn Family Music School

Union Colony Children’s Music Academy               

Carla Waterfield – Carla’s Musikgarten New Orleans

Julia J. White, MM, Director Young Artists Music Studio

Nurturing Customer Relationships with Music Students and Parents

While we are by no means out of the woods of this pandemic, the recent vaccine news gives us all some hope that there is light at the end of the tunnel. Predictions for when we can safely resume normal activities vary from early Summer to the end of 2021. Depending on the state in which their children’s music studio resides, and personal preference, early childhood music program teachers will have a degree of flexibility as to when they can begin to offer in-person learning. For many educators, this time after a long and painful separation from beloved students cannot come too soon. With this anticipation in mind, studio owners and teachers can be marketing to return with a large number of enthusiastic students and parents.

Preparing to Return to In-person Children’s Music Classes

Many owners and teachers of children’s music studios have been offering online classes for students and parents during the pandemic, but most all agree that in-person teaching is preferable. So, in order to transition to a robust return to an in-person classroom setting, here are some marketing tips to consider.

  • Existing and Past Customers – the Low Hanging Fruit Most of us have heard the marketing adage that it costs five times as much to gain a new customer than to keep an existing one. Focusing efforts on Customer Relationship Management (CRM) rather than new customer acquisition begins with developing and managing your Customer Relationship Database (CRD). A CRD is basically a customer contact list with other customer characteristics. Business owners can start compiling a database by dusting off old customer records and creating a single list of customer contacts with whatever information you may have, whether its mailing address, phone number, email, or a combination of those. Spreadsheets are very handy for this, and can also include children’s names, their age and level of music education, etc. Please keep in mind that this kind of information is very sensitive, so it’s important to take precautions to safeguard access to the list.
  • Categorize Your Contact List – Some music studio owners may haveyears of contact records witha mixed bag of phone numbers, addresses, and or/emails. You will want to separate your CRD in as many like groups as possible. Contact method is a good way to start because it often dictates how you will contact your customers in marketing campaigns. Start with emails first, because it is still one of the most cost-effective way to reach customers. Depending on how you decide to use phone numbers, group texting can be very cost-effective (but be sure to set it up without all reply), but does not work on older landlines. Addresses for mailing programs would be the least cost-effective method of contact because of postage costs. You may also want to then categorize your customers by former and current, past purchases, or music program level. Keep in mind that just because someone has not been in the program for five years does not mean they are not a valuable contact.
  • Plan and Execute – A robust and well-organized Customer Relationship Database does no good if it is not utilized. Once your list is compiled and organized, put together a plan on how you will execute your marketing efforts. How many categories do you have with each contact method? For example, emails for current customers vs. emails for past customers.  Marketing messages and “calls to action” for each category will vary, with current customer emails encouraging new class sign-ups, while past customer emails may ask for a referral or testimonial. Determine your goals for each category, and what steps you must take to reach them. There are many free and paid Customer Relationship software programs that can help with emailing, texting, and even traditional mailing programs.
  • Messaging the Message – Before pulling the trigger on an email, text, calling, or mailing marketing campaign, you will want to make sure your messaging is clear while matching your various targeted categories. For example, you will not want to ask a past customer whose children are now grown about music classes for their grown children, but you may ask them if they know parents who might benefit from your services. For getting back to in-person classes, write your message as to create anticipation for the upcoming classes. Lastly, be sure to ask recipients to take action in your message, whether it is signing up for a class, going to your web site, or forwarding an email to a friend or family member who might be interested. The bottom line is to create a message for each category of contacts that is meaningful for that specific group.

While cases are still rising, the eventual end of the Covid-19 pandemic is finally coming into sight. In preparation and anticipation for that, now is a good time for children’s music studio owners to gather and organize their customer contact information into a Customer Relationship Database. With this CRD, there should then be a solid plan on how marketing campaigns will be executed, so when the time comes, you are ready.

Musikgarten is the leader in early childhood music education — for children and teachers, that offers a complete multi-year educational program that helps infants, toddlers, and children develop a deep love of music and the ability to express it. For more about Musikgarten and its offerings, go to https://www.musikgarten.org/.