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On: 31 May 2010 Access details: Access Details: [subscription number 919435511] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Early Child Development and Care Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713640830 Musical memories: snapshots of a Chinese family in Singapore Chee-Hoo Lum a a National Institute of Education, Nanyang Technological University, Singapore To cite this Article Lum, Chee-Hoo(2009) 'Musical memories: snapshots of a Chinese family in Singapore', Early Child Development and Care, 179: 6, 707 716 To link to this Article: DOI: 10.1080/03004430902944296 URL: http://dx.doi.org/10.1080/03004430902944296 Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Early Child Development and Care Vol. 179, No. 6, August 2009, 707716 ISSN 0300-4430 print/ISSN 1476-8275 online 2009 Taylor & Francis DOI: 10.1080/03004430902944296 http://www.informaworld.com Musical memories: snapshots of a Chinese family in Singapore Chee-Hoo Lum* National Institute of Education, Nanyang Technological University, Singapore Taylor and Francis GECD_A_394601.sgm (Received 7 January 2009; final version received 10 March 2009) 10.1080/03004430902944296 Early Childhood Development and Care 0300-4430 (print)/1476-8275 (online) Original Article 2009 Taylor & Francis 179 5000000June 2009 Chee-HooLum cheehoo.lum@nie.edu.sg This paper examines music in the home of a Chinese family in Singapore with specific attention to the children (aged five and seven) of the household: an exploration of what constitutes the lived musical memory of a family enmeshed in the technology and media of a globalised world. The study is part of a larger ethnographic study on the musical lives of young children in Singapore, conducted over a five-month period. Technology and the media encapsulate the home musical experiences of these children, bringing them musical repertoire and musical play, attached with social meaning. The pervasiveness of the mass-media is noted, infused in childrens play, singing and listening repertoire, and even in their sleeping habits. The media dominated the play environment of these children, providing them with audio and visual stimuli as they carried on with their fantasy play along with their media-influenced toys. Keywords: technology; media; home; children; parents Introduction Every family has a lived history with distinct memories and artefacts. These memories can often be associated with music: grandmothers lullabies, the singing and skipping games played with brothers and sisters, fathers guitar playing or the Cantonese opera singing sessions that mother and her friends used to have over tea time. The memories constitute a repertoire that gathers and affects the musical interests of family members. Increasingly with the availability of technology and media, these memories can also stem from home musical environments that are permeated by mediated musical sounds from the radio to the television, from CDs/DVDs to MP3 players. Music is not just bound up with the production of place through collective interpretation, it is also interpreted in idiosyncratic ways by individual listeners, with songs, sounds and musi- cal phrases evoking personal memories and feelings associated with particular places (Cohen, 1995, p. 445). Music can effectively stimulate a sense of identity, in preserv- ing and transmitting cultural memory. Individuals can use music as a cultural map of meaning, drawing upon it to locate themselves in different imaginary geographies at one and the same time and to articulate both individual and collective identities (Cohen, 1995, p. 444). Since the second half of the twentieth century, with the explosion of technology and the media, peoples everyday lives are becoming increasingly contingent on globally extensive social processes (Foster, 1999). It would seem that musics deep *Email: cheehoo.lum@nie.edu.sg D o w n l o a d e d
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2 0 1 0 708 C.-H. Lum connection to social identities has been distinctively intensified by globalisations due to the ways cultural separation and social exchange are mutually accelerated by tran- snational flows of technology, media, and popular culture (Feld, 2001, p. 189). Indeed, our memories are increasingly shaped by technologies and one can now talk about notions of imagined nostalgia (Appadurai, 1996, p. 77) where memories are no longer grounded in lived experiences but memories pillaged from the archive and mass-marketed for fast consumption (Huyssen, 2001, p. 64). Albeit the onslaught of technology and media, our lived memory is nonetheless embodied in the social, that is, in individuals, families, groups, nations, and regions. There is no doubt that in the long run all such memories will be shaped to a significant degree by the new digital technologies and their effects, but they will not be reducible to them (Huyssen, 2001, p. 77). Cannella and Kincheloe (2002) have stated that globalisation is here for the long haul and any study of childhood must acknowledge its central significance in contemporary life. It is therefore useful to study the effects of technological and media sources like television, internet, video games, music CDs and videos, given that children can be experts in this domain and their knowledge surpasses many adults. For teachers, curriculum designers and childcare workers, an understanding of not only childrens preferred media and technology devices but also the impact of globalisation is essential for knowing their acquired knowledge and their further needs in their developing years. Purpose and method As Rice suggested (2003, p. 152), a move away from culture to the subject as the locus of musical practice and experience may provide a fruitful approach to some of the questions about music that our encounter with the modern world leads us to ask. This paper examines music in the home of a Chinese family in Singapore with specific attention to the children (aged five and seven) of the household: an explora- tion of what constitutes the lived musical memory of a family enmeshed in the technology and media of a globalised world. The study is part of a larger ethno- graphic study on the musical lives of young children in a Primary 1 classroom in Singapore, conducted over a five-month period in 2005 (Lum, 2007). The researcher is a native of Singapore (born to second-generation Chinese parents, raised and educated in Singapore) and access to the family was gained initially through a voluntary home interview session within the larger study, thereafter seek- ing parents permission to enter into a focus period of prolonged study within the family home. Data collection included observations, fieldnoting, audio and video recording in the family home, and interviews with the parents and the two children. The ethno- graphic study follows the procedure of taking and writing-up fieldnotes as proposed by Emerson, Fretz, and Shaw (1995). All audio information was transcribed verbatim whilst selected video footages that were of interest to the study were also transcribed. Transcriptions also included songs, gestures, movements and conversations that chil- dren created or were engaged in. Analysis was on-going throughout the duration of the fieldwork as data collected were combined with previous data to reconstruct under- standings of the home musical environment. Analysis carried on after the fieldwork period and was reflective of an intimate familiarity with the settings generating many more ideas, issues, topics and themes (Emerson et al., 1995). D o w n l o a d e d
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2 0 1 0 Early Child Development and Care 709 Context Singapore, located to the south of Peninsular Malaysia and about 130 kilometres north of the equator, is an island state with a total area of 700 square kilometres. It currently has a population of 4.4 million, with a resident 1 population of 3.6 million. The ethnic distribution of the resident population includes Malay (14%), Chinese (76%), Indian (8%) and other (2%) (Singapore Department of Statistics, 2007). Singapore has a varied linguistic, cultural and religious heritage. Malay is the national language, but Mandarin, English and Tamil are also official languages. English is widely used in the government, professions, businesses and schools (Ministry of Information, Communi- cations, & the Arts, 2009). The family examined in this study provides a glimpse of the musical lives within the dominant Chinese population of the Singapore landscape. Raymonds family of four, consisting of himself, his father, Steven, his mother, Julie and his younger sister, Annie, lives in a two-bedroom apartment of 600-square- foot in a heartland neighbourhood of Singapore. Julie and Steven (in their late 30s) were originally from a city in southern Malaysia but came to work in Singapore about two decades ago and have since become permanent residents. Both Raymond and Annie were born and raised in Singapore. Five-year-old Annie is in Kindergarten 2 and Raymond, aged seven, is in Primary 1 (first-grade). Julie walks Annie to school every day whilst Raymond takes a short trip on a chartered bus to school. Julie works as a promoter in a karaoke bar. Her workday begins at 9 p.m. and typi- cally ends around 3 a.m. Working in the business of karaoke, Julie has to be well- informed of the latest popular songs that hit the consumer market. She is particularly familiar with the latest Mandarin and Hokkien 3 popular songs as these are the songs that define her clientele. Julie enjoys listening to Mandarin and Hokkien popular ballads (or as she puts it, the quiet songs). If she comes across a song she likes on the radio (on the local Chinese music channels, FM 95.8 or 93.3) or at work, she will buy the CD or borrow it from friends. Constantly surrounded by music at work, Julie makes it a point to hear little of it at home. She typically chooses not to switch on the radio or CD player at home, although she does not object to her family members doing so. Steven is a taxi driver. His day begins at 5:30 a.m. and he usually works until 7 p.m. Given the different work schedules of Steven and Julie, family time is restricted to a two-hour window between 7 to 9 in the evening, when the family comes together for dinner. Steven once listened to a fair bit of rock music and had been an avid attendee at rock concerts (he recalled the band, Deep Purple, as an example) at a local theatre in the mid-1970s. Because Julie finds rock music too noisy for her taste, Steven has stopped listening to it. In his words, nobody appreciates [it] at home. If I listen to it here, nobody would like it. Steven listens to the radio when he drives the taxi, and typically switches between two local Chinese music channels, FM 95.8 and 93.3. Driving on the road the whole day can be isolating for Steven. The radio helps him along, as he noted, Music accompanies me wherever I go when I drive. But to really appreciate the music, I think I dont. But I just need some noises around. The television The first thing that little Annie and Raymond do when they wake up is to head into the sitting room, switch on the television and watch a string of cartoons. Raymond is an avid fan of the cartoons Grand Sazor, Masked Rider, Pokemon and Ninja Storm, all of which are highly action-packed or as Raymond describes it, fighting cartoons. D o w n l o a d e d
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2 0 1 0 710 C.-H. Lum These cartoons are regular features on weekday and weekend mornings on the local childrens network (Kids Central). On weekdays, they typically watch for an hour to 90 minutes until it is time to wash up, have an early lunch and go to school. 4 In the evenings, the television is also a regular and constant feature, usually switched to the local Chinese channel (Channel 8) and occasionally, the local English channel (Channel 5). Steven enjoys watching two local Chinese drama series, one at 7 p.m. and another at 9 p.m. Raymond and Annie are usually in the sitting room during this time, doing homework, playing with toys and/or watching the television programme with Steven and Julie. As Steven remarked, Yes, whatever we watch they will watch. They dont insist on other channels. Since my initial meeting with Steven and Julie, they have continuously empha- sised to me Annies love for singing and dancing. Steven has observed that Annie loves to sing along with the theme songs of the various Chinese drama series on television at the beginning and the end of the programme. Though her pronunciation of the words are not always accurate, Steven feels that Annie has a good ear and sings the melody on pitch and in rhythm, almost in sync with the music source. Julie is convinced that Annie has musical talent, too. As she explained, When she listens to music, she can pick it up really quickly. She only needs to listen to it two or three times and she can pick it up, whether it is English, Mandarin or Hokkien. 5 Her absorp- tion rate is very quick! Using Annie as their yardstick for measuring musical talent, both Steven and Julie openly proclaim that Raymond doesnt have musical talents. Steven feels that Raymond has inherited his traits, lacking in musical talents but good with drawing and crafts, whilst Annie takes after Julie in her love for singing and music. Vignette: Tong Hua (fairytale) Whilst Raymond and Annie were engaged in play in the sitting room, Steven was watching the local Chinese drama series on television. During an advertisement block, a snippet of an upcoming programme was broadcasted, featuring secondary school students singing the latest Chinese popular hit song, Tong Hua, an original song written for the winner of a local Mandarin singing contest. There were excerpts of a solo singer, a duet of singers and an instrumental arrangement of the song on the piano. Steven alerted Annie to the song, encouraging her to sing along. Almost instantaneously Annie began to sing. As the Chinese drama resumed, Annie ran into the bedroom to her mother and requested her to play Tong Hua on the CD player. Within minutes, the CD track could be heard. Annie, now back in the sitting room, smiled at me and started to sing the song (musical example 1), in pitch and in rhythm with the CD track, rising above the sound of the television (which by comparison was louder than the CD track coming from the bedroom). Annie repeated the song a second time immediately after the CD track had finished, shift- ing the melody to G major. She sang a cappella (i.e. unaccompanied and in pitch) even whilst she watched the Chinese drama on television. The third time she repeated the song, it was an octave higher than the first time. Realising that she could not sing the high As and Bs in the melody, Annie instinctively sang an octave lower, ending the song in the exact pitch range that she started with in the beginning. She offered accompanying hand actions and facial expressions that she created on her own, and a meaningful slowing down towards the end of the song. Throughout Annies singing, the tempo remained constant. D o w n l o a d e d
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2 0 1 0 Early Child Development and Care 711 Musical example 1. Annie singing Tong Hua. English translation of Tong Hua (fairytale): I dont recall when you last told me your favourite fairytale. Ive thought for a long while and am starting to wonder if I have done something wrong again. You told me with teary eyes that fairytales are all lies and theres no way I can be your prince charming. Perhaps you dont understand but since you said you loved me, the stars in my sky have started to twinkle. Ill be the angel in your fairytale. Ill open my arms wide and turn them into wings to protect you. You must believe that we will be like the fairytale with a happy ever after ending. Together well pen our own ending. The radio In Raymonds family, the radio is only heard in the car and much less at home. Steven points out that each time the family travels in the car, Annie will sing away to the latest hits on the local Chinese radio stations. Raymond is much less enthusiastic about the music. Julie and Steven also enjoy listening to the radio in the car and their purchase of CDs is often a direct result of encounters with songs that they have heard over the car radio. The CD player When Julie was pregnant with Raymond, Steven bought her a CD of soft and romantic Western classical music that featured selections such as the first movement of Beethovens Piano Sonata, Op. 27, No. 2 (the Moonlight Sonata). Julie has been enamoured with the CD, listening to it every night. Raymond has since developed a habit of listening to that same CD of quiet music when he is about to fall asleep each night. The family CD player is thus located in Raymond and Annies bedroom (Raymond and Annie share a bedroom). Interestingly, Raymond has expressed to me that he does not like noisy music but loves the sound of the piano, and would like to learn to play the instrument at some point in time. Raymond may have subcon- sciously been enculturated (Jorgensen, 1997) in this light classical, as early as pre- birth. Anecdotal evidence has suggested that prenatal music memory does exist (Hepper, 1988; Verny, 1981). Further, as LeBlanc (1983, p. 48) stated, forces in the environment can influence music preference. A students family are a part of the students environment, and what they think about music will influence that student. In a longitudinal study of 45 pre-school children, Peery and Peery (1986) also found D o w n l o a d e d
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2 0 1 0 712 C.-H. Lum that exposure and repetition, combined with positive experience that emphasises social reinforcement and model factors, had a positive effect on childrens musical preference. Clearly, Raymonds love for piano and quiet music have been heavily influenced by his mothers personal preference during and after pregnancy such that the constant and repeated exposure to the same music on the CD had led to Raymonds personal preference for such music. Perhaps, as Brand (1985, p. 29) pointed out, of all stages in life, the preschool years, and particularly infancy, may be the time when music (with specific reference to unconscious listening) can have the most important impact on the individual. Steven is well aware of Raymonds musical interest but is unable to provide him with a piano or piano lessons due to financial constraints. Play Whilst Annie is bubbly and full of energy, always eager to play, sing and dance, Raymond by comparison is more reserved and shy. Raymond has a small pillow as a security blanket and carries it with him everywhere he goes in the family apart- ment. Raymond and Annie like to play together, sharing similar toys and interests, from Power Rangers action figures to Pokemon trading cards. The play space for Annie and Raymond is in the sitting room, a space just in front of the television, cordoned off by the family sofa set. Raymonds favourite animal is the tortoise. He keeps two tortoises in the familys aquarium, and enjoys watching them swim about amongst the fishes. His favourite cartoon characters are the Teenage Mutant Ninja Turtles. He watches the cartoon religiously every Saturday morning, and has three moving action-figure toys of the ninja turtles that he never fails to include in his play. Raymonds fantasy play concerns battles of good and evil, and frequently a race challenge between superheroes. He is fond of making sound effects when he plays, from the Brrmmm, Brmmm imitation of a motorcycle to a high-pitched descending glissandi on Ahhh in imitation of the character meeting his doom, along with many rhythmic and melodic utterances that gave voice to each character in his fantasy play. Annie chooses to be included in Raymonds fantasy play at times, taking hold of an action-figure, adding sound effects and dialogue to Raymonds play. She initiates other games, too, like trading cards, twirling the Hula Hoop, or rope jumping when she is no longer interested in participating in her brothers play. Both Annie and Raymond have their individual boxes of trading cards clearly divided into sets of Pokemon, Digimon and Masked Rider characters. After deciding which set of cards to use, they will sit facing each other, placing one card faced down on the floor. When they reveal their cards, the more powerful card (which- ever one has the larger number) wins and the winner takes the losers card. Both Raymond and Annie will tend to rock to-and-fro as they play sometimes to their own individual pulse, sometimes in sync with each other. The two children will make various sound effects too, Yippee!, Woo!, glissandi of pitches in increasing dynamics, and imitations of robot speech in various low and high voices. From the Pokemon and Masked Rider trading cards to the Grand Sazor and Power Ranger toy figurines, it is clear that Raymond and Annies playthings are directly connected to the cartoons they watch. The media has tremendous control over their play prefer- ences, which is encouraged by Steven and Julies indulgence in buying them the necessary toys. D o w n l o a d e d
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2 0 1 0 Early Child Development and Care 713 Discussion The musical interests of Steven and Julie stemmed from the radio and television. The media was their initial musical source, and this translated into the purchase of CDs for further listening to the music they enjoyed. Similarly, Raymond and Annies music surroundings at home consist primarily of television, the radio during car trips, and the CD player when they slept at night. The media dominated the play environment of Raymond and Annie, providing them with audio and visual stimuli as they carried on with their media-influenced toys in an area that was no more than three feet from the family television. Indeed, this familys interests and experiences illustrate Kincheloes proposition perspective that: Since the 1950s more and more of our childrens experiences are produced by corpora- tions not as much by parents or even children themselves. Popular and media culture are now the private domain of the child, even replete with earphones traditional notions of childhood as a time of innocence and adult-dependency have been challenged by childrens access to corporate-produced popular culture. (2002, p. 83) The music Raymond and Annie listened and sang to were primarily Mandarin and Hokkien popular songs, with soft and quiet piano and orchestral music at bedtime. The music that surrounded the children at home was to a large extent the music that defined the musical identities of Steven (at least in part) and Julie. This observation is in agreement with Borthwick and Davidson (2002, p.76), who stated that, the musical beliefs and experiences of the parents are of central importance as they shape the way in which the subsequent generation experience and value music for themselves within the family. Also, all immediate family members play a shaping role, both children and adults alike, irrespective of whether or not they learn musical instrument themselves (p. 76). Whilst Annies show of musicking (Small, 1998) behaviours was abundant within the home, often singing, dancing and imitating popular mediated music heard on tele- vision and the radio, Raymond appeared more reserved, showing little interest in sing- ing or dancing. He was more keen in engaging in his own fantasy play, accompanying his playthings and actions with melodic and rhythmic utterances, and listening to light classical music before bedtime. Annies singing (like in musical example 1) also showed her ability at a tender age to mimic complex musical repertoire, including the transposition of the octave when she was unable to sing notes above her current vocal range: food for thought for music educators thinking about the musical development of children (McPherson, 2006). This observation on childrens complex musicking behaviours has been corroborated by various research studies (Campbell, 1998; Gaunt, 1997; Marsh, 1997). The parents constant acknowledgement and encouragement of Annies musical talent tended to overshadow their view of Raymonds developing musical ability. This was further compounded by the parents view of their children taking after their personal traits i.e. having the perception that Annie takes after the mothers musical talent and Raymond taking after the fathers lack thereof. Research in the psychology of music has shown that the home environment and parents support play a critical role in the musical development of children, particularly in developing skills and their enthusiasm for music (Davidson & Pitts, 2001; Howe & Sloboda, 1991). Clearly, Raymonds parents attitude towards his and Annies musical worth and their enthu- siasm towards Annies singing and dancing, had in some ways impacted Raymond in being more reserved towards music making in the family home. D o w n l o a d e d
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2 0 1 0 714 C.-H. Lum Thoughts for music education A major challenge in education is the development of curricular contexts that have the ability to extend meaningfully into the personal life-worlds of individuals (Barab & Roth, 2006). Teachers need to bridge this gap between home and school to make music education relevant and real to the children. Within the current Singapore music education syllabus (Ministry of Education, 2008b), one of the six main learning objec- tives for primary and secondary school children is to understand the role of music in daily living (Ministry of Education, 2008b, p. 2) which is inclusive of popular music and culture. Music educators can build on the extensive expertise that children have grown already as media consumers and users of new technologies as they enter nurseries, kindergartens and elementary schools. It is this researchers opinion that it is teachers responsibility to discover childrens family musical preferences and to provide a curriculum that validates and builds on each childs musical competencies. Music educators should for instance consider including the music of now (rock and pop) in the classroom, for popular music is the music that surrounds these children on a daily basis and its rhythms are tantalising, and its cultural implications are consid- erable (Clements & Campbell, 2006). Also, music and musicking at home observed in this study served primarily emotional and social functions for the children. Social in the many musical play interaction sessions between Raymond and Annie, and emotional in the smiles and frustrations coming out of such interactions and the emotional impact on the children of their parents perception of musical talent ascribed to each child. Because children want to enjoy their musicking experiences and share them with family and friends, it appears that musical development and learning are more likely to flourish outside rather than within the school curriculum (Boal-Palheiros & Hargreaves, 2001, p. 117). Teachers need to reflect on the joy, the laughter and the seriousness with which our students perform music activities (Dzansi, 2004, p. 90) and this musicking typically involves some kind of game- playing or music with movement which motivates the children to be engaged in the process. Music educators should be aware that learners would be more interested and engaged when active participation is involved. Jorgensen (2003, p. 122) advises that as children come to the music classroom with already formed musical perspectives, these need to be taken seriously, listened to, challenged, and validated because musical beliefs and practices constitute a part of self. The notion that all children begin at a similar starting point is in conflict with the considerable differences observed in childrens interests, experiences and abilities in music (Pugh & Pugh, 1998). There is a need to bring living knowledge and living things together in the music-making process that could directly engage the hearts and minds of children. After all, as Shephard and Wicke (1997, p. 34) remarked, a viable understanding of culture requires an understanding of its articulation through music just as much as a viable understanding of music requires an understanding of its place in culture. By focusing on the individuals connection with music in creating a contextualised curriculum, there is then a de-centring of the subject matter, so that the individual can be placed at the heart of the music classroom. It is essential to know who the children are as musical beings so that music educators can tap into their rich diversified musical network of multiple contexts, in order to approach meaningful music making. Technology and the media encapsulate the home musical experiences of Raymond and Annie. Perhaps years down the road, as they reminisce their early musical memories, D o w n l o a d e d
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2 0 1 0 Early Child Development and Care 715 they would fondly recall the light classical CD that lulled them to sleep, the Chinese TV theme songs and radio hits that they and their parents listened and sang to, and of the hours of fantasy play afforded by the trading cards of their favourite cartoon characters from TV. The images and experiences engendered by music are therefore, dependent upon the particular circumstances in which the music is performed and heard, and upon the type of musical style and activity involved. But through its embodiment of movement and collectivity, and through the peculiar ambiguity of its symbolic forms, music can appear to act upon and convey emotion in a unique way and it represents an alternative discourse to everyday speech and language, although both are ideolog- ically informed and culturally constructed (Cohen, 1995, p. 444). Huyssen (2001) would be correct in stating that Raymond and Annies musical memories are embodied in the social and shaped to a large extent by technologies, but their memories, it seem, will never be reducible to them. Notes 1. The resident population comprises Singapore citizens and permanent residents. 2. Singapore kindergartens admit children between the ages of three and six years into the respective level, viz. Nursery, Kindergarten 1 and Kindergarten 2. It is mandatory that kindergartens adhere to the age criteria so that children will join formal Primary 1 schooling at the correct age of six or above six (Ministry of Education, 2008a). 3. Mandarin and Hokkien are different dialects within the Chinese language. 4. School begins at 1:00 pm and ends at 6:30 p.m. Primary schools (Primary 16) in Singapore typically function in two separate sessions, with three primary levels in the morning session (7:30 a.m.1:00 p.m.) and the other three levels in the afternoon session (1:00 p.m.6:30 p.m.). 5. Steven speaks to the children in English and Mandarin whilst Julie speaks to them in Mandarin and Hokkien. In school, due to the bilingual system, children are taught English and Mandarin. The TV shows that the family watches at home can be in English or Mandarin. Notes on contributor Chee-Hoo Lum is currently an assistant professor of music education at the National Institute of Education, Nanyang Technological University, Singapore. His research interests include childrens musical cultures and their shifting musical identities; the use of media and technol- ogy by children, in families and in pedagogy; creativity and improvisation in childrens music; elementary music methods and world musics in education. References Appadurai, A. (1996). Modernity at large: Cultural dimensions of globalization. Minneapolis: University of Minnesota Press. Barab, S.A., & Roth, W. (2006). Curriculum-based ecosystems: Supporting knowing from an ecological perspective. Educational Researcher, 35(5), 313. Boal-Palheiros, G.M., & Hargreaves, D.J. (2001). Listening to music at home and at school. British Journal of Music Education, 18(2), 103118. Borthwick, S.J., & Davidson, J.W. (2002). Developing a childs identity as a musician: A family script perspective. In D. Hargreaves, D. Miell, & R. MacDonald (Eds.), Musical identities (pp. 6078). New York: Oxford University Press. Brand, M. (1985). Lullabies that awaken musicality in infants. Music Educators Journal, 71(7), 2831. Campbell, P.S. (1998). Songs in their heads: Music and its meaning in childrens lives. New York: Oxford University Press. D o w n l o a d e d
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