Deck 12: Music, Movement, and Play

Question 1

According to the National Association for Music Education (2017), children learn music skills and appreciation best in spaces that offer:

A) Opportunities to perform for adults and their peers
B) Plenty of circle time
C) Stories and shared reflections on life events and family experiences, and pictorial imagination
D) Diverse and innovative emerging technologies

Answer 1

Stories and shared reflections on life events and family experiences, and pictorial imagination

Question 2

Spencer (1896) identified music and movement as a key element of which type of play:

A) Physical play
B) Artistic-aesthetic play
C) Games
D) Mimicry

Answer 2

Artistic-aesthetic play

Question 3

Which philosopher felt that it was the role of adults to sing to children in order for them to develop their musical abilities?

A) Jean Jacques Rousseau
B) John Locke
C) Rene Descartes
D) Thomas Hobbs

Answer 3

Jean Jacques Rousseau

Question 4

Carl Orff (1895-1982) developed a school that combined music with:

A) Gymnastics and dance
B) Math and science
C) Language and literacy
D) Theatre and performance

Question 5

According to Morin (2001), functional music play involves:

A) Singing, clapping, and dancing games
B) Moving to recorded music
C) Creating a group sound recording
D) Exploring environmental and musical sounds

Question 6

A toddler will be able to respond to music by:

A) Heel to toe movements to the music
B) Combining five or six movements together
C) Singing complex songs
D) Moving fast or slow according to the music

Question 7

Preschoolers will be able to:

A) Switch from one movement to another with speed and success
B) Improvise movements with ease
C) Produce a dance video
D) Match movements to the music's characteristics

Question 8

Kindergarten-age children should be able to produce a vocal range of:

A) One to two notes
B) Three to four notes
C) Five to six notes
D) Two to three notes

Question 9

Music and movement experiences should be transparent:

A) Only in the planned portion of the program
B) During spontaneous play
C) Only in the morning circle experience
D) In both the planned portion of the program and during spontaneous play.

Question 10

Creative movement refers to a process whereby children:

A) Structure foot patterns and body movements
B) Communicate an idea, feeling, image, or belief through movement
C) Engage in formal, structured movement
D) Express movement focused on the development of skills such as balance

Question 11

The brain produces a chemical called ___________ that contributes to a child's energy level

A) hydrogen
B) bisphenol A
C) endorphins
D) potassium

Question 12

According to Habibi (2016) and Welch (2015), music accelerates brain development in children in the following processing areas:

A) Auditory recognition, memory, reading skills, mimicry
B) Language development, sound, reading skills, speech perception
C) Hypothalamus, amygdala, prefrontal cortex, parietal lobe
D) Recall, empathy, social skills, language skills

Question 13

Music is considered inclusive because it:

A) Offers varying levels of engagement
B) Allows all children to be equally included
C) Facilitates children participating at the same level
D) Always involves dancing and movement

Question 14

Cross-lateral movement involves:

A) Movement from one side of the brain to the other
B) Dance steps that the child can follow
C) Moving the body diagonally
D) Helping a child clap according to a beat

Question 15

If children do not develop competence in movement it will affect their:

A) Relationships
B) Body image
C) Musical ability
D) Ability to sit still

Question 16

Which role may be a likely outcome of having musical instruments in the dramatic play centre?

A) Doctor
B) Mother
C) Firefighter
D) Rock Star

Question 17

Research suggests that one's singing voice usually develops within the first:

A) Ten years of life
B) Three years of life
C) Seven years of life
D) Twelve months of life

Question 18

According to Bruner (1968), from a cognitive psychological perspective, children's abilities in the musical and kinesthetic domain tend to progress through three stages known as:

A) Functional, operational, and cooperative
B) Enactive, iconic, and symbolic
C) Solitary, parallel, and associative
D) Concrete, abstract, and representational

Question 19

Music and movement experiences should be both:

A) Planned and spontaneous
B) Directed and focused
C) Written and spoken
D) Staged and performed

Question 20

Early learning teachers can use simple, familiar songs to help:

A) Transition to structured musical lessons
B) Transition from one experience to the next
C) Children perform more appropriately at holiday concerts
D) Children remain quiet during their play experiences

Question 21

Pitch refers to the:

A) Distance between the highest and lowest notes the voice can match
B) Way in which each sound connects along a curve
C) Highest or lowness of the musical sound
D) Composition in verse which is sung

Question 22

Greenberg (1979) identified Stage IV of children's vocalization as:

A) Experimentation and sound imitation
B) Approximation of singings
C) Singing accuracy in limited range
D) Singing accuracy with expanded range

Question 23

When an infant is around 3 to 9 months and is capable of babbling pitches and responding to their caregiver singing, Lindeman (2015) recommends teachers engage in the following experiences:

A) Singing to the baby while rocking them
B) Offering singing games for the children
C) Singing songs of varying pitches and offering musical experiences in small groups
D) Singing while moving the infant's hands and feet, repeating the infant's sounds, and introducing nursery rhymes

Question 24

One of the most challenging roles for early learning teachers is to observe the child's play to ensure that the music and movement experiences are:

A) Offered once a week
B) Experienced by all children daily
C) Focused and evolve as musical play without deteriorating into chasing games
D) Designed to offer rough-and-tumble play

Question 25

Strategies for introducing music into early learning play environments do not include:

A) Introducing a rain stick in the science area
B) Inviting families to share their cultural music
C) Inviting children to complete worksheets involving music
D) Filling jars with water and inviting them to explore the sounds that they make

Question 26

Early learning teachers learn important information about how music can be incorporated in the child's play through:

A) Directive teaching
B) Observation and documentation
C) Individual music lessons
D) Structured but varied music lessons

Question 27

Children learn about musical instruments when they:

A) Have an adult demonstrates the proper use of the instrument
B) Watch others play with musical instruments
C) View video clips of orchestras
D) Have opportunities for experimentation

Question 28

In order to effectively offer music and movement experiences to children, early learning teachers require:

A) Classical training
B) Confidence
C) Dance experience
D) Access to only store-bought instruments

Question 29

According to Lindeman (2016), when young children are exposed to music, early learning teachers are providing them with the opportunity to:

A) Become gifted in musical expression
B) Understand the differences between soft and more vigorous music
C) Develop mentally the tonal aspects of rhythm and melody
D) Models of aesthetic appreciation

Question 30

Sensory integration describes the process of:

A) A movement-based program that helps children increase their somatic awareness
B) A child's brain organizing and interpreting sensory information and experiences
C) Inviting children to engage in sensory and tactile activities through play
D) The direct experience of environmental stimuli

Question 31

The National Association for Music Education believes that drill-type activities and worksheets are essential to learn musical excellence.

Question 32

Maria Montessori developed an apparatus so that children could develop musical concepts.

Question 33

Orff's model for children's music and movement experiences is teacher directed.

Question 34

Infants will respond to music that is quiet and soothing more so than lively music.

Question 35

School-age children are able to use complex moves when they dance.

Question 36

Creative movement, movement, and dance are terms that have the same meaning.

Question 37

Music is a way in which culture is transferred from one generation to the next.

Question 38

Music appreciation begins at birth.

Question 39

Children with developmental delays do not benefit from a combination physical therapy and creative dance movement.

Question 40

When children are not involved in experiences and activities that allow them to develop the timing/beat during the early years, it has a lifelong effect.

Question 41

Psychomotor development is less effective when it incorporates listening, moving, playing, and singing.

Question 42

Music play is not as important to children's social development as other forms of play.

Question 43

During the iconic stage of development, kindergarten-age children will use abstract symbols to represent ideas.

Question 44

Music requires children to utilize both their memory and classification skills.

Question 45

Providing musical experiences in the outdoor play environment will enhance children's connection to nature and aesthetics.

Question 46

By providing children with appealing places to experience music, early learning teachers are modelling the importance of aesthetic appreciation.

Question 47

Early learning teachers should choose musical experiences and activities based on their own interests and preferences.

Question 48

Children can be encouraged to use a movement vocabulary by offering exposure to the terms during daily discussions.

Question 49

Relate how music and movement connects to Howard Gardner's eight types of intelligences.

Question 50

Explain the relation of music to play.

Question 51

Discuss how music and movement contributes to the overall development of young children.

Question 52

Explain how you think early learning teachers can implement music and movement in their programming if they are not themselves comfortable with it.

Question 53

How are music, culture and dramatic play interconnected?

Question 54

Explain what the the National Association for Music Education (2017) means in the statement, "All children have musical potential." Discuss how early learning teachers can facilitate and develop this potential

Question 55

Discuss how early learning teachers can integrate cultural awareness into music play.

Question 56

Describe strategies early learning teachers can do to introduce music into early learning environments and ensure that it is culturally aware.