Making Connections: Past, Present, and Future
From early writings to today, some things have changed. Among them, preservice teachers do not often receive training in music, teachers need not have piano skills, and more focus seems to fall on using music for purposes beyond its own sake. Today’ s practitioners also have access to a much wider variety of music from many cultures and backgrounds and to more music recordings, programs, theories, and videos of songs and instrumental performances. While the choices are vast, educators can consider earlier NAEYC journal writings for strategies on how to build on children’ s interests, cultures, and their own developing musical skills( see Hildebrandt 1998; Cerniglia 2013).
Some things have stayed the same. Music in early childhood settings still includes singing, listening, movement, instruments, and exploration. Because early childhood practitioners are creative and responsive to young learners, they continue to use music for a variety of purposes— both to support other domains and content areas and for music’ s own sake. Useful tips for sharing music with children can be found in archived articles( see Jalongo 1996); educators can supplement these strategies with recordings of culturally relevant songs, rhymes, games, and compositions that connect to children’ s lives.
As we consider how music is already a vital part of children’ s lives( Andrews 1976), we can also connect to our NAEYC history— from Patty Smith Hill inviting us to include music in our settings to trailblazers like Ella Jenkins, who taught us how to incorporate many cultures through songs that evoke joy, laughter, play, and participation. We can also look for the collectors and bearers of music and culture among us( like the recordings from Gabriela Montoya-Stier or José-Luis Orozco). These help us remember the songs and rhymes that honor languages and cultures and that help children feel seen, heard, and valued.
In light of the many articles reviewed here, as well as those reviewed by Salvador( 2019) and collected in Fleming( 2024), practitioners can consider the following questions when preparing their learning environments and planning music experiences for young learners:
› What songs and instrumental music can I introduce to connect with children’ s backgrounds, cultures, and families? What will help children learn about other cultures and families?
› Am I including singing and rhyming activities that complement children’ s developing confidence and skills in these areas?
› What instruments can I provide for children( and have children find and create) to explore? Which ones will make them feel competent as they create music?
› How can I incorporate movement into musical experiences?
› What music experiences am I integrating into my curriculum? What opportunities am I offering to advance children’ s interests, leadership, creativity, and explorations?
› What parts of sharing music feel comfortable and easy for me, and what parts might I want to learn more about?
These are questions we can share and discuss over the next 100 years as we continue pulling from both past and present to participate in music together. As we do so, may we continue to hold on to those parts of our musical heritage that help us see ourselves, each other, and the children in our care with hearts that beat love and connection across time, across differences, across languages, and toward one another. In looking to the future, let us take up Foster’ s invitation as practitioners, families, and children to“ lift our voices together”( 1965, 376).
About the Author
Holly Carrell Moore, PhD, is an associate professor in early childhood education at Salve Regina University in Newport, Rhode Island. In addition to her current volunteer work teaching
60 Young Children
Spring 2026