music education – Page 2 – Rhythm Circle News & Events

Artist in Residence

Reflections on online workshops delivered to young people with special needs.

A pivotal moment in my inclusive work came along recently in the form of a residency at the Attenborough Arts Centre’s BBC Children in Need’s Inclusive Youth Arts Programme (IYAP). I led a monthly multi-sensory online music workshop called Sound Play for young people with special needs.

Challenges

When I was invited to take up this role, my first thoughts were about how to offer young people with learning needs a meaningful musical experience. It seemed important to create a sophisticated musical experience that would support their well-being, invite active participation, and offer them ways to develop and explore their musical interests.

The IYAP workshops stretched me:

– to expanded my understanding of what it means to have different learning needs, how wide those range of needs can be, and the best ways to support them

– to develop new musical resources which would suit a variety of needs and ages. In the same workshop, there would be participants ranging from those with limited mobility to those with ADHD. It was quite a challenge to produce an activity pack which could 1.) be posted out easily 2.) be safe to handle 3.) would interest both a 3 year old as well as an 18 year old

– to sustain engagement and promote musical exploratory play in online sessions. Pacing of the 60 min sessions was important – should I move on to the next activity, or allow more time for exploration? In participant-led sessions, what happens if one group wanted to move on and another group wanted to explore?

Cardboard Guiro – a multi-sensory way to explore timbre and rhythm. Tracing different lines and shapes result in different rhythms

Building bridges

Being able to address the same core group of young people and their families repeatedly became a highlight of the programme.

there was time to get to know the families who showed me how they adapted my ideas to better address their young person’s needs.

repeated engagement with the IYAP families enabled me to recognise meaningful responses: in inclusive sessions, it is not uncommon to get what looks like a lukewarm response from an attendee. In actual fact, this could turn out to be quite a profound response from the young person in question. Unless you knew how they normally responded, this could easily have been dismissed as disinterest.

these sessions were ideal to fine-tune new resources and approaches. A young person who might offer indifferent response to an activity, might become quite animated and responsive when the same activity is presented in a different way – instant feedback about what methods worked and what didn’t.

Support from the AAC

All good online experiences tend to come with good support. Having had to deliver other workshops entirely on my own, I was very lucky to have the support of Hannah Pillai (IYAP Project Coordinator). Her insights, experience and enthusiasm underpinned successful deliveries of every Sound Play workshop. It was especially useful to have another pair of eyes and ears on board to keep things on track. Thank you, Hannah!

Beyond IYAP

Other areas of my work were enriched by my IYAP experience:

I headed a team on the Digital Games Project to create online musical games for neurodiverse young people. The IYAP residency gave me early first- hand experience of addressing this audience remotely. I was able to test out some of the resources created during IYAP workshops –the playdough video and activity to explore musical tempo was especially popular. We also tried out a 3D version of Dynamic Dots activity using big /small pom-poms to represent loud/quiet sounds (hint: if you do try this at home, really big glue dots work best to stop the pom-poms from flying off your worktop).

A graphic score made using pom-poms — Dynamic Dots graphic score made with pom-poms

Most of my piano students are fairly happy learning with ‘mainstream’ teaching approaches. Others have specific learning needs and learn best in their own unique ways. But all of them were far more engaged in their musical learning when I incorporated lessons learnt from the IYAP residency.

Rhythm Circle Digital Games Project – Part 3

Digitizing Rhythm Circle – a long and twisty road from analogue to digital

‘I want big buttons and no clutter’ was the quick / panicked answer I gave to my long-suffering digital consultant who asked what I wanted in the digital versions of my RC games.

Before we began this project , I was already using digital ‘quick wins’ – simple ways of digitising my teaching resources e.g. downloadable pdfs, audio and video explainers. These digitised resources helped me reach out to my students in remote lessons, and circumvented the vagaries of dodgy internet connections. But I still delivered the lessons live and in-person albeit remotely.

The Digital Games project forced me to contemplate digitising my business processes. As a music educator, this meant digitising my teaching methods – an important consideration for this project because I, the teacher would not be with the students to guide them through the games or check their answers.

How would I introduce a musical concept? How would I provoke thought and experimentation? Make corrections?

A fun way to familiarise students with musical symbols .

In Musical Sudoku, the processes we wrestled with involved pedagogical choices: should players be allowed to put down wrong answers? Should the programme make auto-corrections to wrong answers or should the player analyse and correct their own mistakes?

The teacher in me valued the process of self-correction and so Wayne, our digital consultant designed the game programme to allow the player to fill in the game board with any symbols chosen from the menu. The programme would automatically highlight wrong answers – this made it easy to take note of where the wrong answers were. But the programme will not tell a player what the correct answer should be.

In Dynamic Dots the process is much simpler: the game programme was designed to prompt players step-by-step to create a simple graphic score.

Big or Small? A Dynamic Dots ‘game board’ prompting the player to choose a size to make a pattern .

Digitising working processes can be expensive: Trifort Solutions advised me on the best value-for-money digitisation I could achieve with a tiny pot of funds:

Automation was necessary to allow users to generate new and different game boards for Musical Sudoku – something thing which raised a cheer amongst my Sudoku-fiend students . LOTS and LOTS of new Musical Sudoku boards to be had at the press of a button!

Good digital design was always a priority so we spent lots of time in this area: to support users with visual processing disorders, the game ‘boards’ were designed with an emphasis on clean, clutter-free displays and large buttons (I did mean it!). Only small amounts of information are shown in an organised fashion. High-contrast visuals are used and backgrounds are lightly tinted to remove the usual glare from stark white screens.

For other digitisation options, I used open-sourced software which was either free or very affordable:

Audacity to edit sound samples
Inkscape to create better pdfs using vector graphics which scaled beautifully without losing their sharpness (instead of enlarging picture files)
Animaker to edit and produce live capture / cartoon video explainers

We are now nearing the end of the project and my thought to share with anyone looking to digitise their work is this:

think about the whole user’s experience from beginning to end and beyond. Not just the person who is your average Jane, but also users who have different needs.

think about your working processes and define it: how and why do you do things? Digitising your working processes will most certainly help you work with more efficiency and clarity.

More importantly ….. just have a go! It could be anything from live capture of audio samples, creating your first pdf worksheet / video explainer, signing up for your first CRM (customer relationship management) system.

Whatever you choose to digitise and however you choose to do it , your first attempts at digitisation might not be perfect but it is so worthwhile to try. I thought I’d learn loads about digital working – and I have, but I also far more about Wai Sum Chong – the teacher, the musician and the person.

Graphic Scores

Accessible and inclusive music notation

What do you do when you have time on your hands and a glut of tomatoes? Make a tomato graphic score, of course!

Last summer during the 2020 Covid pandemic, my little veg patch produced an abundance of 3 different varieties of tomatoes, little Sungold cherry tomatoes, big fat Mallorcan ones, and some random ones which self-seeded from previous years’ crops.

I laid the semi-ripe tomatoes out in the sun to hasten ripening and amused myself making little impromptu graphic scores. Musical doodling using fruit.

Polyphony – multiple layers of sound, with a pattern of loud and quiet sounds.
Pitch – highs and lows
Crescendo and Diminuendo – sound gradually getting louder, then quieter

Graphic scores are a way of ‘writing down’ sounds .

They are a very accessible, creative and intuitive way to record and share ideas about sound: a non-conventional form of music notation. Different musical meanings can be assigned to shapes, colours, and lines or simply left to the interpretation of the player.

You can use anything to create graphic scores. I have tried sand (real, kinetic, edible), cardboard, bottle caps, vegetables, sticks and stones, leaves, flowers, pasta shapes, shells, even scrunched up balls of paper.

Runner beans are very useful vegetables. Different lengths represent different durations of sound

Pumpkin pulse! 3 beats in a bar represented in pumpkin form.

Graphic scores are very useful to children with special needs because we can tailor a graphic score to meet the needs of that individual. You can make ones which can be contained within reach for people with restricted mobility or spread out over a wide area to promote movement for those who crave kinaesthetic input. Those who find deep pressure calming may like graphic scores made out of playdough which they can knead and form into shapes.

A 3D graphic score made from building blocks. Each knob is 1 count and blank spaces represent musical silences.

It allows children who have limited mobility, are non-verbal / speech-delayed / pre-literate to express and share their ideas about sound and music. Visually-impaired learners are able to feel textures in 3D graphic scores and ‘read’ musical ideas much like they do with Braille text.

Pitch sirening activity - if you're handy with a hot glue gun, these coloured glue squiggles are very satisfying to trace and vocalise. — Tactile coloured squiggles (made with a hot glue gun) are very satisfying to trace whilst using vocal pitch to match the rise and fall of the line.

Although they are primarily visual and/or tactile, enticing possibilities are there to develop associations with scent or taste as part of a more multi-sensory experience. For example:

a spiral shape + lemon scent = fast music (whirlwind)

a blobby shape + cinnamon = slow, chilled-out music

I can just feel a baking session coming on… flavoured cookie dough for making edible graphic scores, anyone?

Rhythm Circle Digital Games Project – Part 2

Helpful ideas from Early Years.

“Children should copy first and understand later”.

This statement from a well-meaning but pushy parent was one of the big factors which drove me to start Rhythm Circle.

About 5 years ago, I was struggling to engage with a new transfer student – a 5 year old boy who had a very poor understanding of musical elements despite having had a year’s worth of piano lesson.

I explained to his mother that I would like to spend some time helping her son gain had a better understanding of musical elements and notation instead of pushing on with pure pianistic skills. However, she disagreed strongly, and insisted that I taught him the piano by rote, saying “Children should copy first and understand later”.

This was immediately abhorrent to me as a teacher and as a parent: how could we hope to raise a new generation of critical thinkers if we began by bludgeoning and disrespecting the natural intellect and learning capacity of a child?

She was not entirely wrong, however. Children ARE natural and curious parrots – I suppose it is part of their survival instinct to copy the actions of their grown-ups.

But educators and parents can do so much more to channel that natural instinct whilst nurturing the child’s intellectual faculties at the same time. The learning journey does NOT need to be dumbed down just because the learner is a child. This sentiment is felt strongly by Zoë Challenor , the founder director or B’Opera and a working partner on the Digital Games Project.

Zoë Challenor , in a performance of A Winter’s Tale, an opera specially created for babies and toddlers.

It was really a lucky accident that brought me and Zoë together in June 2019, and we have since found a shared ethos of bringing sophisticated and high-quality musical experiences to young children.

The incident with the pushy parent drove me to think about how I could encourage children to engage more with music: not just as operators of an instrument, but as curious explorers who WANTED to understand every aspect of sound.

Music is organised sound. There are several different elements which work together to create music. A small child experiencing the world is constantly bombarded with a constant influx of information. He/she learns gradually how to filter out less interesting or less important bits and to focus on specific elements.

For a young child, sound exploration is no different to….
….mud exploration!

To promote concentration amongst my youngest students, I embraced some commonly used concepts in Early Years education. One of the most useful was the Montessori practice of ‘isolation of quality’. This meant eliminating all other elements apart from the one which you wanted the child to learn. Very useful for children who are easily distracted as it promotes focus.

This idea was incredibly helpful in my work with neurodiverse children: one of the common characteristics shared by those who have learning differences is that they experience sensory overload, and do not have the ability to filter out less important information.

Isolation of quality : only blue plastic milk bottle caps which are identical in size and shape have been used. The only different element present is visual: the note value symbols

Whilst recording musical examples for the Rhythm Circle Digital Games Project, this meant recording the same piece of music played in different ways to demonstrate the difference between loud and quiet instead of two different pieces of music which demonstrated the same thing. This was particularly important as chords are often mistakenly associated with loud music and single notes with quietness.

When choosing shapes to use in Dynamic Dots, a graphic score activity , this meant using different sizes of a single shape , colour and material. The size of that shape is the single changing element which corresponded to the ‘size’ of a sound.

Learning by exploratory play was also another idea from Early Years education which was particularly useful. For me, this concept kicked of the creation of many musical games and activities (e.g musical versions of Bingo, Tic Tac Toe, Bowling).

Scientists tell us that when knowledge or skills have recently been learnt, new neural pathways are created in the brain. Repetition of that knowledge strengthens the pathways and aids long term retention. Since, children find games and activities fun they will want to keep repeating those games. So musical games REALLY help learners retain music knowledge !

B’Opera’s presence and support in this project has been a strong reminder about respecting the learning journeys of our youngest members of society – both in the depth and breadth of experiences offered to them. So many neurodiverse children have delayed learning and it is crucial that the Digital Games Project understands how to leverage good Early Childhood working practices to support their learning.

In the next blog, I will be charting my digital working partnership with Trifort Solutions.

Rhythm Circle Digital Games Project – Part 1

Creating digital musical resources for young people with special educational needs

We listen to music with our ears but I like to think that we perceive music with all of our other senses, intellect and emotions.

For several years now, I have been using multi-sensory methods to teach music to young children. Originally conceived as a way to help children gain confidence with music notation, my ‘Rhythm Circle approach’ rapidly developed from just using a few musical games and activities into my personal music education approach.

It is magical to engage ALL the senses (touch, movement, hearing, sight, smells and tastes) in the learning of music.

Musical multi-sensory learning: stepping on lines and spaces on a floor stave
Quilled note heads placed in spaces and lines on a musical stave

Take for example the concept of musical tempo – a child might listen to examples of fast and slow music and be taught the words allegro and lento for fast and slow. How much more profound that learning would be if they could also respond to tempo by:

– movement (moving to the speed of the music)

– choosing visual shapes (NO ONE ever chooses to paint blobs on the side of a Nissan Micra to promote speed but an aspiring speedster might opt for some go-faster stripes)

– by using scents which support a particular level of activity (the aroma of zingy lemons is said to energise whilst lavender calms).

Because multi-sensory learning activates and strengthens connections between different areas of the brain, learning is more deeply embedded in the mind of a learner. Hence its wide-spread use amongst educators working with children with special educational needs.

The term ‘neurodiversity’ is increasingly used instead of ‘special educational needs’ as it focuses on the positive qualities of thinking and learning differently. It encourages us to consider people who have neurological differences as ‘different’ not ‘disabled’.

What is neurodiversity?

Earlier on in May 2020, I heard from colleagues interested in good quality digital resources which could support artistic work in schools and communities. The pandemic has wiped out most of the support which special needs communities relied on (in-school sessions with teachers and visiting specialists, community support groups). What could we do to help?

The whole world had gone online in a mad rush to survive and music was no exception. Everything has to be digitized including delivery of my Rhythm Circle sessions. But how? Was it still possible to use multi-sensory approaches…digitally?

Feedback from busy families indicated that printed-off worksheets were not always welcome or helpful. Guided live sessions were more appropriate. There had to be some way of making all these resources link up in a more sophisticated way.

A live inclusive music session (picture courtesy of the Attenborough Arts Centre)

I happen to be married to a software programmer. As our lockdown family project, my long-suffering husband had been persuaded to try his hand at turning some Rhythm Circle games into online games. Maybe we could go further and create some online musical games and activities to help neurodiverse children learn music?

But digital games are expensive to produce. The Arts Council of England Project Grants programme had just re-opened so I hurriedly put together an application. Cue much excited screaming when my project was actually accepted!

Presently, my team and I are three weeks into the Rhythm Circle Digital Games Project. We hope to complete all of our musical games before Christmas 2020: Musical Sudoku, ‘Run Faster’ (a Jack and the Beanstalk – inspired game teaching musical tempo), and ……a yet-to-be-decided graphic score activity.

All this will be trialled in January 2021 by target groups representing primary-aged children, pre-schoolers and neurodiverse young people.

We have almost completed the initial consultation stage, taking on board advice from consultants (special educational needs, Early Years and digital specialists) and feedback from neurodiverse communities.

Burning question: how DO you actually go about making a resource suitable for neurodiverse people? Which type of neurodiversity should we address? Consultant play therapist Andrew Kay provided a starting point with his advice “It is very likely that someone who has one type of learning difference also has another. For example, an autistic person can also be dyslexic.”

Co-occurence of Specific Learning Difficulties

So, we started to research characteristics common to many neurodiverse people e.g. poor working memory, problems with sensory processing.

Online games are primarily visual so we need to ensure our games would be visually supportive for people who have problems with reading (dyslexia) or who use eye gaze technology (users are those who have limited mobility or who are locked-in due to a variety of conditions ranging from cerebral palsy and strokes to muscular dystrophy). The British Dyslexia Association has a ‘Dyslexia friendly style guide’ which lists useful adaptations which one can use for written texts.

Digital consultant Wayne Smyth (Trifort Solutions) suggested creating a ‘filter’. This would enable the user to experience the games via a specific route tailored to their learning age and needs, and create a more personalised experience.

Presentation of information in the games and the accompanying explainer videos would need to be paced to allow for more ‘thinking time’. The videos themselves would be better done in the form of high-contrast simple cartoons instead of live-capture – as one school told us ‘The children are tired of looking at people all the time!’.

I am very lucky to be supported by the wonderful Attenborough Arts Centre on this project. They are supporting Rhythm Circle’s inclusive work by facilitating conversations with teachers and families of young people with special educational needs and disabilities. “We’re really interested in how the artists involved are developing resources and workshops and are always keen to promote artist development as part of a collaborative process with young people. The project findings will feed into our wider work as part of our 4-year SENsory Atelier programme, and as ever we’re delighted to support a project that encourages sharing of best practice amongst a wide team of expert artists and educators.”

In Part 2 of this blog, I would like to share an account of how we borrowed from best practices in Early Years teaching approaches.

Find out more about the Rhythm Circle Digital Games Project and its trials here

Rhythm Circle Digital Games Project: How it began

Back in June 2020, my husband and I started a little family lockdown project. All our work had been migrated to digital platforms due to the lockdown, so I thought that we should combine our individual skills (software engineer and pianist) to see if we could make some musical online games. Digital games are normally hideously expensive and time-consuming to produce but we had time and inclination.

Earlier on in February, he watched me put together a beanstalk prop for my Jack and the Beanstalk musical storytelling workshop from recycled materials (glue gun, paint and lots of sticky tape will help you make most props if you’re short on capital and big on upcycling).

As a multi-sensory activity, my young Rhythm Circle students were asked to place leaves marked with the treble or bass clef at suitable positions along the beanstalk to reflect high or low sounds.

So I challenged him to create the digital equivalent of the Beanstalk and Leaves activity. He came up with a little prototype: Grow the Beanstalk . A second prototype (Musical Bingo) then followed (accompanied with dark mutterings of ‘I had to do math calculations that I had not done since school days in order to create the bingo wheel…’).

Stumpy even got his oar in by testing out the games for us. I thought he made an ideal test subject: squirmy, high-octane, young school-aged child, not particularly interested in sitting still, or being taught music by mum (he was still in denial about what I actually do for a living. Music was something that took me away from him, so any of my proposed musical activities was to be given short shrift)

During the lockdown, my colleagues at the Attenborough Arts Centre (an inclusive arts centre located in Leicester) and the Birmingham Education Partnership had expressed interest in digital offerings.

Live sessions could not be delivered in schools due to the Covid-19 pandemic and workshop organisers and educators were considering digital alternatives. In particular, young people with special educational needs and their families were hit hard when they lost their existing support groups (in the form of support from schools or external providers). A full return to normal school activities seemed a long way off and would be in 2021 if at all possible, especially since many children with special needs were also extremely vulnerable to COVID-19.

In order to support my ongoing musical work, I had already begun creating digital equivalents of my musical games and activities in the form of printable pdfs, recorded sound samples and video lessons.

So, when I heard that the Arts Council England (ACE) were re-opening their Project Grants programme, it seemed the perfect opportunity to draw together all these various strands in the form of a research and development project. My proposal to create several online musical games with a view to making them suitable for young people with special educational needs was accepted by ACE at the end of August.

So here we are – 3 weeks into the project. So far, it has been an exhilarating and crazy time, filled with consultation meetings, delving deep into issues of neurodiversity, trying to be organised and decisive….but also true to my ethos as an educator and musician.

Learning by doing

Box Zither

It is said that children are natural scientists who have a natural urge to explore and experiment.

We have been exploring the world of string instruments this term at the Rhythm Circle Virtual Music Club. Part of that exploration involved making our own string instrument and you can’t get any simpler than a box zither – twangy rubber bands stretched over a box.

This was a lovely sensory thing to do and completely engaging. The children tried out different ways of playing it – plucking, hitting, strumming the strings. If you hold it on your cheek, the vibrations of the strings and box make a lovely buzz which you can feel on your skin.

We tuned it to get three different sounds – low, medium and high pitches (older children might want to try tuning them to a musical scale). Dots marked on the rubber bands were a useful visual aid: you could see that the dots were moved closer to the edge of the box when the rubber bands were stretched. It made it a lot easier to see how much stretching was needed to produce higher pitches.

No need to go out and start buying materials. Empty plastic ice-cream tubs and boxes from the recycling bins would get you started off. Smaller rubber bands can be stretched over the short end of the boxes instead and coloured ones will differentiate the rubber bands tuned to different pitches.

Music and the senses: Taste

If chocolate was a sound, what music would it make?

It dawned on me a few years ago, that when I teach almost all my metaphors are food-based. Food is one of my great weaknesses. Might have something to do with growing up in Malaysia, a society well-known for being food-obsessed. We talk a lot about food, eating, flavours, cooking, and cuisines!

Food is something we all need and have experienced all our lives. So whether you enjoy it or not, flavours and textures of food are something our senses understand.

Last week, I was searching for a way to help a piano student who was struggling to interpret and make sense of musical dynamics in particular piece of music. Two sections were clearly marked ‘quiet’ and ‘loud’ but all he was able to do was to mechanically produce two different volumes without understanding WHY the music demanded it.

I suggested that he played the sections again and asked “What food do these sections of music make you think of?”. Instantly, the light bulb went off. He pointed to the section which had a prominent bass tune and said “Lamb curry….maybe mutton. Something rich with gravy”. The other section with all tunes high up in the treble was ” Light and bubbly…like lemon sherbet or champagne?”

And just like that, he wanted to show off a light sparkly sound in the
‘quiet’ section and the ‘loud’ section took on a full-bodied tone.

So…. back to my original question. If chocolate was a sound what music would it make? I think of cellos and French horns as ‘chocolatey’ sounds. Coffee is Latin American music: wakes me up and makes me happy.

Brejeiro – one of my favourite pieces by Brazilian composer Ernesto Nazareth

Musical Messy Play

I’d like to introduce my son who goes by the nom de plume ‘Stumpy’ (before we had to put his name down on the birth certificate, this was actually what we called the poor child).

Stumpy loves words: the sound of them , their rhythm, singing them, mangling them, making up new words. He also likes paint, mud, orange juice , coins and ice cubes. Especially when allowed to mix them all up. He does NOT like being taught how to sing words. Or what colours to use when he wants to paint. Or just how much water he should use to make a muddy puddle. Or how to form a triangle using coins

*Left triangle: made by me. Right triangle: made by Stumpy the minimalist*

Stumpy taught me one very valuable lesson: that sound is just a manipulable – just like paint or mud. And it made him very, very happy to be able to explore and experiment with his favourite materials.

Occasionally, he would become curious about my musical work materials and ask to play with them. I would then bring them out to show him and he would immediately touch them or try and make patterns with them. 3D graphic scores are very popular with Stumpy. Big circles = big sounds, little circles = quiet sounds.

When he asked to play with my bottle caps note values, he got very excited at being able to recognise the letters ‘p’ and ‘o’ (ie. minims and semibreves).

Me (jumping at the chance to pass on some musical knowledge): “Look, this symbol is for a 2 count sound and this is for a 4 count sound”.

Stumpy : “No, Mummy it says ‘poo’. Look, you can make many, many ‘poo’s!”

Music at Home

A musical colleague recently asked me what I do as a musical mum with my child (I have a 4 year old son who recently started school).

My first thought was “Ummmm…….nothing?” But then I thought about it properly and this is the reply I sent to her:

Since my son loves exploring things and experimenting to see what effects he can create, I prefer to let him take the lead in our joint musical experiences. He does not enjoy ‘organised’ musical activity with me but loves singing , making up little songs and sounds. My little one is a joyfully out-of-tune singer but has a great sense of pulse. He enjoys singing and accompanying himself by beating the pulse on a drum/ stomping/bopping to the beat. I guess that stems from being surrounded by so much music since he was in the womb. Throughout my pregnancy and up until he was 2, he was with me when I worked. He has spent countless hours sitting in a dance studio listening and watching whilst I played for ballet class ( possibly where he developed quite a strong sense of pulse??). We used orchestral music in rehearsals and he would nap in a sling whilst I worked, falling asleep hearing rich and complex music .

I’ve always wondered if watching dancers move in time to music has helped my son develop a kinaesthetic understanding of music…

In the car, we listened to Gene Vincent sing Be Bop A Lula on the radio and he said he liked it, and asked me what it was. When I told him, he kept asking for it on Youtube. When my sister got an Alexa, he learnt how to ask for it and would dance to it. Sometimes, he would tell me if he liked /did not like a piece of music which was on the radio and we would talk about the mood of the music.

As for instruments, I’ve learnt to leave them lying around the house on convenient places. He likes trying out sounds on the piano, ringing the ‘dinner bell’ at mealtimes, drumming on a cake tin to keep himself in time when singing. For me, I guess enabling these musical things to happen are more important than music lessons because my child is learning to listen critically