Learning Programs Examples: Design an Excellent Music Program

Introduction: Learning Programs Examples and Tips

This post is in two parts.

In PART 1, I’ll discuss the finer points of ‘what’ to include in music early learning programs. I’ll share seven examples (TIPS 1-7) from Musical Child publications to move beyond play songs and calming songs (discussed in the last two blogs). The objective is to broaden the range and scope of activities and to turn our formal programs into transformative interventions with lifelong effects.

In PART 2, we will explore three examples of research papers from different countries and three more examples of practices from Australian curriculum publications that can guide us in writing or devising excellent programs. The subjects include “play-based learning”, “intentional teaching” and the “planning cycle” based on observations of children’s interests. I recommend you search for similar curriculum publications pertinent to your region.

PART 1. Learning Programs Examples: 7 Tips for Designing Transformative Interventions

If you want to improve the quality of your program, consider the following seven tips 

1.1. Broadening the range of activities: Programming with Instrumental Music

Supplement your previously chosen calming and exciting songs with some instrumental baroque, classical, jazz, and World music (insert any genres you like) for movement, jamming and rest times, and you are well on your way to having a comprehensive and successful music program.

TIP 1. Play instrumental music for calming relaxation

I often use instrumental pieces to calm the children, ensuring they have a period of relaxation in a session. Many child care services use instrumental versions of lullabies to induce sleep in infants’ and toddlers’ rooms. If you are hosting community sessions, you may provide simple items, such as a scarf to lie on, a pillow, a small comforting fabric cover, or a fidget or plush toy to hold. Or you may ask the parent/carer to invite the child to sit in their lap or lie across their knees.

Choose a short piece of music between two and three minutes in duration, either from the suggestion list, from your own recording collection, or play live if you have an instrument available.

Choose examples for your learning programs such as:

• Traditional Syrian “Dinaresade”
• Richard Mills, “Mrs Kookaburra”  from Snugglepot and Cuddlepie
• Steven Halpern “Harmonic Convergence”
• Camille Saint-Saëns, Carnival of the Animals, 7 “The Aquarium”
• Anne Boyd, “Goldfish Through Summer Rain”

TIP 2. Play instrumental music for exciting whole-body movement/dance/boogie

The recommended activity is free movement/dance, sometimes with props such as scarves, to encourage the children who are fearful of moving their whole body around the space. Either follow my suggestions for music from famous composers, or find something from your own collection of audio recordings. Alternatively, if you play an instrument, play live for the children. Give them non-specific props such as coloured scarves, balloons, a lighting display, bubbles, balls or hoops to encourage them to move freely while they listen to the music.

Choose examples such as:

• Dmitry Kabalevsky “Comedians Suite: Galop”
• Manuel de Falla “El Amor Brujo—Ritual Fire Dance”
• Elena Kats-Chernin “Eliza’s Aria –Wild Swans”
• W.A. Mozart “Flute Concerto No. 2 in D, III Rondeau (Allegro)”
• David Hudson Solo Didgeridoo “Wongabel” from Yigi, Yi
• Johan Strauss Jr. “Thunder and Lightning Polka”
• Sergei Prokofiev, “Peter and the Wolf, Selections”
• Pyotr Illyich Tchaikovsky, “Nutcracker March”

Tip 3. Play instrumental music for Improvisation/Improv/Free Play/Jamming on rhythm instruments

Consider ‘pleasure’ when choosing music for children to listen to. It’s one of the main reasons adults use music. I always include a segment on ‘music appreciation’ in my sessions. These selections are typically instrumental pieces, not songs.

The suggested listening titles span Western art music from various centuries; jazz; popular (pop); and so-called World Music from diverse cultures. In my collection, Australian musical recordings are featured where possible. I encourage you to find your own pieces of instrumental music to play to the children. Please gain a licence to play music in your setting.

Pieces of music featuring African and Latin rhythms are great choices for this activity.

A favourite activity is free-play/improv on small rhythm instruments. As part of your “music jam” activities, leave a selection of instruments in easy reach of the children while you play your musical selection.

Choose examples such as:

• Sabahattin Akdagcik “Insallah”
• George Frideric Handel “Royal Fireworks Music -La Rejouissance”
• Moya Henderson “G’day Africa”
• Peggy Glanville-Hicks, “Sonata for Piano and Percussion”
• Antonio Vivaldi, “The Four Seasons – Spring 1 Allegro
• John Bratton “Teddy Bear’s Picnic”
• Christmas Carols
• Ska Cubano, Putumayo Kids “Chispa Tren”
• The Hippy Boys (Drummer Carlton ‘Carly’ Barrett) “Apollo 11“

Tip 4. Improvise with melody instruments —Improv/free play/jam

It’s possible to find recorded music in the keys of C Major or A Minor pentatonic for the children to improvise over, but if that is beyond your expertise, all you need to do is allow a few minutes of free play before you introduce the song you are teaching in your session. It’s best if you modify each set of chime bars by removing the notes “F” and “B” before the children collect their set, so that they can play autonomously.

After you sing your chosen song, you can have another improvisation activity where children take turns to play for the group.

It’s even easier for those of you who work in early learning centres and child care services because all you need to do is leave a few sets of chime bars within easy reach of the children throughout their day.

1.2. Musical Languages and Skills: Content Examples for Learning Programs

We can do better than running through a list of activities. We can, for example, arrange a group of activities to form a “musical experience” that enriches the children’s musical languages, skills, and knowledge.

Tip 5. Program Using Song Content

An excellent learning program example is to use the content of a group of songs. Let’s imagine that frogs start making themselves heard in your environment, or a frog storybook captures the children’s attention. Der Glumph Went the Little Green Frog is a wonderful song to have in your personal repertoire so you can sing it straight from memory.

However, you should be thinking about expanding your repertoire by collecting 10 or more songs about frogs so that you can run a 30-60 minute “musical experience” with songs for different musical skill-development purposes, such as:

1. singing with hand actions or finger plays,
2. singing and playing instruments for different parts of the song
3. moving with dramatic play, a game or a dance,
4. improvising new verses after scientific observations,
5. listening to a story from a picture book.

Example:

Here’s my list of 11 resources for Frog ID Week in Australia, usually early in November:

I call this list “Tadpoles and Frogs”, A Toddler and Preschool Musical Experience.

1. Down by the Banks (knee bounce/body percussion)
2. The Frog Says Ribet, Ribet (hand game)
3. This Little Froggie (hand game)
4. Der Glumph (rhythm instrument – guiro)
5. Frog Went Courtin’ (rhythm instruments – finger cymbals, shakers, sticks, drums)
6. In the Summer (rhythm instruments – drums and guiros)
7. I Danced With the Froggie (circle dance)
8. Mr Frog Jumped Out (whole body mimicry)
9. Five Little Speckled Frogs (whole body drama game)
10. Five Little Tadpoles (finger play)
11. The Frog’s First Song (picture book)

1.3. Broaden Your Program with Family Choices- Songs, Dances, Music, & Instruments

The main activity involves listening to and singing along with a song, or dancing to music chosen by a volunteer family. Usually, you don’t need any materials unless the parent/carer requests you to provide something.

Some of the Learning:

Children gain new understandings and show respect when they explore the diversity of culture, heritage, background and tradition of the group members. New feelings and sensibilities develop that wouldn’t exist without you inviting contributions from participants.

Tip 6. Programming with Family Favourites

Encourage the parents/carers to share their favourites, especially songs in languages spoken at home. They may even invite guest instrumentalists, such as a delighted grandparent whose limited English makes it tricky for them to communicate during your session. Occasionally, it may not be a song but a favourite piece of music, or perhaps a dance.

1.4. Putting it all together: How to complete your month-long learning programs

In the template below, add your song titles and activities to cover all the types of activity mentioned in this blog and the previous two, even if you don’t do them all in one session. Cover as many of these sections as you can to get a good balance:

Tip 7. Follow this template: Fill in with your examples

1. Welcome
2. Play-song
3. Rhythm instruments: improvisation
4. Rhythm instruments: game and improv/jam
5. Melody instruments: improv/jam
6. Melody instruments: game and improv
7. Dance / full-body movement: improv/boogie
8. Dance and full-body movement: game
9. Family choices
10. Story song/Relaxation
11. Closure/farewell

If you can’t cover every kind of activity in one session, you may be able to spread them over the month.

Music learning, and beneficial learning in other domains, can be observed when children participate in musical activities “regularly and often”. A short song can be tucked into a routine, such as preparing for circle time, getting food or drinks, or as a regular part of routines, like flushing the toilet, handwashing, or clearing away materials at the end of a painting or cooking session.

If you are running formal weekly sessions, each should feel like a complete, satisfying, extended music and movement experience. It’s like the children (and parents/carers) are at a fantastic, interactive, live show during a children’s arts festival. The ‘buzz’ at the end should be palpable; the desire to have similar experiences irresistible.

The examples in this email are taken from these Musical Child Products:

Sing and Play 1: Singing All Day Long Educator’s Book

Sing and Play 2: Singing In My Heart Educator’s Book

Sing and Play 3: Singing Just for Fun Educator’s Book

Sing and Play 4: Singing to the Sky Educator’s Book

Music for Four-Year-Olds: All Together Now

There are many sources of inspiration. Here is a link to a handbook, Music Right from the Start, published by the European Music School Union, 2022. The sample lesson plans contain activities centred around pieces of music by European composers.

http://www.musicschoolunion.eu/wp-content/uploads/2022/06/Music_Right_from_the_Start_Theory_and_Practice_of_Early_Childhood_Music_Education.pdf

 

PART 2: Learning Programs Examples from Research and Practices in Early Childhood Music and Movement

What can we learn from examples of research? We will explore findings from three research papers that identify excellent features of programs.

The practices may be of more interest to early childhood educators and teachers working in services that have children enrolled without their parents/guardians in attendance. The three examples are from Australian curriculum publications that guide us in preparing excellent programs.

2.1. Research Examples

The features of programs we will explore are “providing opportunities for learning through free play in music early learning programs”, “enduring outcomes from such programs” and “infant-directed singing for wellbeing”.

Example 1. Research by Berger and Cooper (2003)

This study is from 2003 and it has been extensively cited. When I read it, I found it to be highly accessible and delightful. It’s called Musical Play, a Case Study of Preschool Children and Parents. The two researchers, Audrey Berger and Shelley Cooper, designed a 10-week program, and then conducted research on what occurred during the free-play section of their sessions. The sessions lasted 45 minutes, and multiple play stations were set up for each session. During this time, children could freely choose what they wanted to play with in the room. Afterwards, they were called together for a few group activities.

They shared their findings with us, which are worth reading before you start planning. You can get a free version of the study if you type into your browser the name of the researchers, the name of the paper and the journal, and then type PDF at the end of your search query. Otherwise, you might end up looking at something that you’ve got to pay for, so try that tip.

Abstract

In this study of a 10-week music education program for preschool children and parents, we observed the musical behaviors of preschool children in free and structured musical play environments to discover how children explore sound alone and with others. Analysis of the data revealed three themes: unfinished play, extinguishing play, and enhancing play. The children communicated their needs for free musical play to adults and other children through statements, requests, gestures, and actions. We identified conditions that interrupted, modified, or enhanced children’s musical play.

We concluded that children needed extended, uninterrupted time for play episodes as well as appropriate materials in the environment.

Adult valuing of all children’s musical utterances and flexibility within structured lessons enhanced play.

Example 2. Research by Margaret Barrett and Graham Welch (2020)

If you are running a music early learning program, I urge you to read an article written by Margaret Barret and Graham Welch about their interview study about the perceptions of ten parents, one grandparent, and eight former child participants. It was published by the Psychology of Music Journal in 2020.

Here is a quick quote from the abstract, noting some of the perceived benefits.

“Enduring outcomes include developed music knowledge and skills, future investments, physical and emotional development, and new patterns of learning that are potentially transferable. Findings suggest that children arrive at formal schooling with a rich repertoire of music, a capacity to engage in embodied musical experience, and a set of expectations concerning their participation in music.”

Example 3. Research by Corbeil, Trehub and Peretz (2015)

Corbeil, Trehub and Peretz’s 2015 study is the first to demonstrate that singing delays infant distress.  Babies of 7-10 months listened to singing for music longer than speech without showing their “cry face”. We know that the most important function of music for adults is to put us in a good mood – to make us feel good. Similarly, singing to babies can keep them happier for extended periods.  Previous studies have shown that happy-sounding infant-directed speech is just as effective as singing at capturing infant attention. This study suggests that singing is much more effective in sustaining a good mood.

Infant-directed singing is highly patterned, featuring a regular beat and tempo and a strong recognisable meter. ‘Play songs’ for infants feature highly repetitive lyrics, alliteration and rhyme.  Infant songs are often repeated to them regularly, increasing their effectiveness.  The babies remain calmer for longer because the songs become familiar and appealing. This is similar to the way that adults maintain a good mood by listening to and singing their favourite songs.

3.1. Examples of Practices

The practices we will explore are “play-based learning”, “intentional teaching”, and the “planning cycle” based on observations of children’s interests.

If you are not located in Australia, look for similar curriculum publications on play-based learning, intentional teaching, and planning cycles from government agencies relevant to your country, state, province, or region. Similar topics may use different terms such as “learning cycles”, “continuous planning”, “child-centred planning’, or “planning in the moment”.

Example 4. Practice — intentional teaching is one of the seven practices advocated in the EYLF (2022).

Here are a few excerpts from the section on intentional teaching, which are easily conceived in terms of music and movement:

“Educators act with intentionality in play-based learning when they, for example:

• plan and create [music and movement] environments both indoor and outdoor that promote and support different types of play for children’s active engagement, agency, problem solving, curiosity, creativity and exploration

• take different roles in children’s play or make purposeful decisions about when to observe and when to join and guide the [music and movement] play . . .

• plan and implement worthwhile play-based [music and movement] learning experiences using children’s interests, curiosities and funds of knowledge . . .

• act as resourceful and respectful co-learners and [music and movement] collaborators with children

• support children’s progress in play-based learning through the thoughtful extension of children’s knowledge, skills and concept development [in music and movement] . . .

• use [music and movement in] routines, rituals and transitions to foster learning, development and wellbeing

• join in with children’s play experiences, such as taking a role in children’s pretend play, to understand and build on children’s ideas to support and foster learning [through song and expressive movement]

• facilitate the integration of popular culture, media and digital technologies which add to children’s multimodal play. (p. 22)”

Example 5.  Practice —The Planning Cycle (EYLF, 2022)

The EYLF document follows the section on practices with a section on the “planning cycle”.

Here’s a brief quote:

“The planning cycle describes the process educators follow in planning, documenting, responding to and supporting children’s learning. Educators make many decisions about curriculum planning based on their professional knowledge, their knowledge of children and local contexts, and their understanding of the Vision, Principles, Practices and Learning Outcomes of the Framework. The steps, sequences and components of the planning cycle that are identified and explained in Diagram 2* can occur spontaneously, ‘in the moment’, throughout the day or over a period. Educators use these 5 components to inform their thinking about children’s experiences and improvement of practice to develop and implement a curriculum that is inclusive of all children. It is important to note that documentation occurs at every stage of the planning cycle.”

(Belonging, Being and Becoming 2022, p. 27)

Five Components of the Planning Cycle

1. Observe/Listen/Collect information

2. Assess/Analyse/ Interpret learning

3. Plan/Design

4. Implement/Enact

5. Evaluate/Critically reflect

* Please refer to the document for an explanation of each stage and to view Diagram 2. (Belonging, Being and Becoming 2022, p. 28)

Here is a link to a PDF on the Australian Planning Cycle

https://www.acecqa.gov.au/sites/default/files/2021-01/Unpacking-the-planning-cycle.pdf

We can arrange a group of experiences to feed into a rich driving concept, or lead towards a learning outcome. We can write individual programs of intentional teaching that grow from our observations of a child’s learning and particular interests.

Example 6. Practice— Play-based Learning with Intentionality (AERO, 2025)

In April, 2025, the Australian Education Research Organisation (AERO) published a discussion paper to address gaps in understanding in the education community about intentional teaching. In their words:

“Intentional teaching is widely regarded as a key teaching practice within early childhood education and care (ECEC) settings. Despite this, evidence shows there are gaps – particularly around the foundational beliefs, knowledge and practices required to enact intentional teaching.

This discussion paper provides a synthesis of contemporary evidence on intentional teaching and highlights gaps in the evidence base.”

You can access the discussion paper here:

Australian Education Research Organisation. (2025). Play-based learning with intentionality: Discussion Paper.

https://www.edresearch.edu.au/research/discussion-papers/play-based-learning-intentionality

Here is a quick quote to give you an idea of what to expect:

“A plain language definition of intentional teaching

To have an intention means to have a purpose or reason for doing something. Intentional teaching is, therefore, teaching that has a purpose or reason behind it.

Intentional teaching can include pre-planned and adult-led learning experiences as well as spontaneous opportunities where educators and teachers respond to ‘teachable moments’ that align with their intentions. It may also mean making deliberate decisions about when to guide play and when to step back from and observe play experiences.

The effectiveness of intentional teaching depends on the nature of the intentions held by an educator or teacher. To be effective, these intentions should be based on a combination of:

• professional knowledge about children and how they learn
• an understanding of the aims and outcomes of relevant curriculum documents (such as the Early Years Learning Framework [EYLF] V2.0)
• content knowledge in relation to specific areas of learning
• an understanding of the individual child(ren) with whom they are working.

Effective intentional teaching involves reflexivity and critical reflection, both individually and collectively, on the beliefs and knowledge held about children as learners and the critical role of educators and teachers in play-based learning.

Intentions should also be shared and documented by all educators and teachers working with a particular group of children. In this way, educators and teachers can set shared intentions (and develop learning and teaching strategies to achieve them) that reflect the overarching goals of early childhood education, while also including the specific aims, ambitions and wishes of children, families and communities.” (p. 7/41)

CONCLUSION TO PART 2

In these six examples, we are inspired by observations about how children explore sound and communicate their needs for free musical play to adults. We also gain courage from the findings of Australian and English researchers about the important work done by community-based music early learning program practitioners that contributes to lifelong learning. We learn that singing is as important for babies’ happiness as it is for most adults who also gain comfort from familiar songs.

We see how our intentions play a strong role in how a child’s learning unfolds, and that we can and should play a joyful and active part in their musical lives. We considered the five components of the learning cycle. And finally, we saw that researchers are guiding the growth of intentional teaching, ensuring that intentions are set and shared with families and communities and not just with the child.

CLOSURE

Best wishes for planning, implementing, testing and improving your formal and informal programs. Reach out if you need guidance.

If you would like to view other posts and articles on this topic, “PROGRAMS”, please follow the links below or become a subscriber to our Early Childhood Music Hub.

Early Childhood Music Programs: 5 Tips to Help You Begin Writing

Action Songs for Preschoolers: 8 More Tips for Music and Movement Programs

Calming Songs to Sing: 5 Tips for Writing Music Programs

 

 

 

References

Australian Education Research Organisation. (2025). Play-based learning with intentionality: Discussion Paper. https://www.edresearch.edu.au/research/discussion-papers/play-based-learning-intentionality

Barrett, Margaret & Welch, Graham. (2020). Music early learning programs: Enduring outcomes for children and their families. Psychology of Music. 49. 030573562094423. 10.1177/0305735620944232.

Belonging, Being and Becoming: The Early Years Learning Framework for Australia. 20022 Produced by the Australian Government Department of Education, Employment and Workplace Relations for the Council of Australian Governments. [NOTE: This document is commonly referred to as ‘The Early Years Learning Framework for Australia V2’ or simply ‘The EYLF’.]

Berger, Audrey A and Cooper, Shelly. ‘Musical Play: A Case Study of Preschool Children and Parents’ JRME, Vol 51, (2003) Number 2, 151-165

Corbeil, M, Trehub, S, and Peretz, I. ‘Singing Delays the Onset of Infant Distress’ in Infancy, 1–19, 2015 International Congress of Infant Studies (ICIS) ISSN: 1525-0008 print / 1532-7078 online DOI: 10.1111/infa.12114