The music materials in early childhood education: A descriptive study in Galicia (Spain)

Abstract

Here we present the main findings of a study conducted at the Department of Teaching and School Organization of the University of Santiago de Compostela to explore the perceptions of teachers regarding didactic and music materials used and produced to facilitate teaching in early childhood education. This descriptive and interpretative study involved questionnaires sent to a sample of 560 early childhood teachers in public, private, private subsidized, and unitary schools in Galicia. In addition, interviews were conducted to better understand the questionnaire findings. A number of recommendations are included regarding measures to be taken by institutions and professionals involved in the process of design, selection, and use of didactic materials reflecting the analyses and opinions of the teachers in our study. Attention has been given to the comparative analysis of our findings with those in other studies carried out in Galicia and Spain over the past 10 years.

Keywords

early childhood educational materials music teacher perception

Introduction

In recent decades, schools and teachers have had to coexist with a variety of education policies that, in one way or another, have brought about changes regarding the role of materials in processes of implementing education reforms. For example, a close look at some of the recent laws in Spain (LGE, General Education Act; LOGSE, The General Education System Law; LOCE, Organic Law for education quality; and LOE, Organic Education Law) and their related documents reveals significant changes in the tasks to be performed by teachers with didactic music materials in early childhood education. Likewise, the set of requirements involving processes of educational decentralization, the need for planning according to student needs, and the implementation of innovation activities planned by teachers has had a significant impact on the work of teachers with materials (Rodríguez & Montero, 2002). At present, teachers can draw on a variety of materials to facilitate the process of curricular development in the subject of music in early childhood, which fosters the implementation of an open and flexible curriculum. Current law (LOE, Art.112 of Ch. II) also establishes regulations and proposes strategies for improving decision-making on didactic materials and their use in the classroom. For example, the LOE stipulates that education authorities are responsible for providing the material and human resources necessary for quality education and prioritizes the incorporation of computer and other resources into early childhood education. It also says (LOE, Additional Provision IV) that textbooks and other curricular materials should be chosen by school didactic coordination bodies, and that they should be adapted to student age and the curriculum approved by education authorities. Thus, it is in schools themselves that decisions on materials and resources are made, and here lies the purpose of our research on teacher perception of music didactic materials in the early childhood stage.

This stems from the inclusion of music in early childhood education (as a result of education laws such as the LOGSE) that was carried out continually and consciously between the 1990s and 2000s by teachers who understood its importance as an integral part of childhood learning. Musical development in Spain is relatively recent, and the diversity of musical methods already widely used in other countries are, even today, only starting to be applied here, especially after the age of 6. Therefore, this article points out the current state of affairs through the analysis of our study results. Currently, when facing the demands of curriculum development in the classroom, teachers have the aid of support materials. The elaboration of the educational project and class programs represent opportunities for clarifying the meaning of curriculum materials. It is also expected that early childhood education teaching teams (preschool teachers and primary school music teachers) will act with sufficient flexibility to allow room for the development of their own materials, thus enabling better adaptation to the cultural and environmental context. Bearing in mind earlier lines of research (music materials, preschool education, teacher learning), our study aims to determine the perceptions of early childhood teachers regarding music materials (Vicente, 2011).

Let us now take a closer look at the direction and context of our research.

Research

The international literature includes studies like our own which aim to determine the perceptions of teachers regarding materials developed for use in schools in order to better understand the reality of teaching and contribute to the improvement of materials design and use (Paredes, 1998; Rodríguez, 2000; Rodríguez, Horsley & Knudsen, 2011). It is our assumption that it is precisely in the context of practice where teachers can address curriculum development on their own terms with the help of materials, and it is here that a particular material can take on an innovative nature. Encouraged by this idea, and delving beyond previous studies on the topic (Galera & Pérez, 2008; Guillanders, 2011), we decided to analyze teachers’ opinions about their practice with materials by means of a descriptive and interpretive study, and thus determine early childhood teachers’ knowledge, use, and assessment of the didactic and music materials in their classrooms. The focus of our research study is to gather knowledge and understanding of teachers’ thinking. A number of studies (Gustems, 2003; Ocaña, 2006; Oriol, 2004) bear witness to the desire of researchers in recent decades to determine teachers’ perceptions in order to better understand and improve aspects of our educational reality. In our study, the analysis focused on teachers’ perception of didactic materials, specifically those aimed at teaching music in early childhood education. As far as the study of didactic materials for music in early childhood education from the teachers’ perspective is concerned, we should point out the work done by Gustems (2003), who focused on the knowledge that future teachers have of the recorder, one of the most common resources in schools, Romero (2003a and 2003b) who presented research on didactic and musical materials for primary school and developed a proposal, and Vicente (2009) who carried out an analytical study of primary school textbooks used to teach music. Our study focused on materials for learning music in early childhood education.

The specific goals we address in the present study are the following:

✓ To analyze the knowledge, use and assessment made by music teachers regarding the didactic materials in early childhood education.

✓ To determine the opinion of teachers regarding their training for teaching music at the early childhood stage.

✓ To make recommendations for improving the use of didactic materials in early childhood education.

We create specific tools to analyze the following dimensions of teachers’ opinions: teacher training in didactic and music materials; knowledge and use of didactic and music materials; selection and use elaboration of didactic and music materials; materials and use of spaces; and sufficiency of music and didactic materials

Description of the music materials analyzed

Analyzing curriculum materials can be difficult because of their vague definition, quantity, and variety. Therefore, we chose to carry out a broad classification of didactic and music materials drawing on other classifications of classroom materials and the most relevant international music education methods (20th century) (Eurhythmics of Dalcroze, Kodály Method, Orff Schulwerk, etc.). We considered the following types of didactic and music materials after analyzing studies by other authors such as Díaz, 2003; Pascual, 2006; Paredes, 1998; Romero, 2003a and 2003b):

Sound materials: (Swanwick, 1991, p. 73) resources directly related to making sound, whether specifically created for school and music teaching or not.

Support materials for music learning: Materials related to 20th-century music methods (Kodaly, Orff, Dalcroze, etc.). Visuals, manipulatives or game-related materials, as well as musical instruments and those for school use.

Printed materials for school curriculum projects: This group included materials developed to inform teachers about the content and implementation of the reform (LOE documents, curricular designs and examples). It also included those elaborated as aids in the teaching process (such as textbooks, teaching guides, information or reference material, and didactic units ).

ICT and audiovisual materials: This group included materials related to information and communication technology (ICT) (computer, DVD, video games, television, and others involving audio or visual design).

The proposed classification was also based on the analysis of teaching practice, and information provided by teachers and trainer-consultants. Besides these criteria, we considered others such as: Degree of implementation in schools and use and knowledge on the part of teachers.

Methodology

For the empirical analysis, we applied a self-report questionnaire to get to know teachers’ opinions. We also carried out semi-structured interviews with a small number of randomly chosen individuals that represented types of subjects in the sample, i.e., early childhood schoolteachers currently teaching music, university professors, conservatory teachers, and an education inspector involved in music.

This was a descriptive and interpretative study involving the design and elaboration of several quantitative and qualitative techniques and their implementation with early childhood teachers. With these instruments we collected date that could be usable by other researchers. The dimensions analyzed regarding the opinion of didactic materials for music are the following: teacher training; knowledge and use of materials; amount of materials at schools; and the use of materials in school spaces. Questionnaires were used as a quantitative technique for bulk data collection and semi-structured interviews were conducted to clarify certain results.

Previously we had carried out a pilot study. This exploratory phase involved quantitative research on a small representative sample in a Galician city (Santiago de Compostela) to understand the characteristics of this particular reality. We decided to conduct a survey by means of a self-completed questionnaire. The conclusions that were reached constitute the start of the reflection on a more clearly defined and structured study aiming to collect data that would shed light on our study phenomenon. The pilot study aimed to analyze the difficulties of conducting the study on a larger scale. During this stage we tested the instruments which were subsequently improved. At the same time, action protocols were improved and made more reliable by building appropriate instruments for comprehensive data collection. The questions which arose during this process allowed us to extend our knowledge on the subject and improve the representativeness of the final study.

The instrument used in the final study provided the same information (taking into account the situation and time), but could be taken up again by any other researcher (León & Montero, 2000). It is a valid instrument, because it yields observable results. Thus, it meets the classic reliability and validity criteria for data collection (León & Montero, 2000). The questionnaire was developed according to Bisquerra (2004). Identification and classification variables were included so that the subjects would be clearly and validly described; the questions were concise and required only short answers to avoid confusion; question order was considered; the questionnaire was not too long; formal and writing aspects were taken into account; a cover letter was included indicating research aims and giving thanks for cooperation.

The rigor of this instrument was tested by its critical exposure to experts (experts in the field of education, teachers, inspectors, and university researchers). Both the implementation and development of the prototype and the final questionnaire were tested, first, by respondents through pre- and post-questionnaire analysis, and, second, through a research log registering descriptive, reflective and anecdotal aspects throughout the data collection process. We followed the validation steps described by León & Montero (2000):

Verification of the relevance of the information to be collected by the tool, by asking ourselves if the information we intended to collect was necessary, sufficient and accessible. This step was carried out through self-evaluation and assessment by a panel of experts.

Verification of tool validity, by means of: (a) Internal validity: which involves content validity (consistency in the wording of questions), construct validity (consistency in how the tool is constructed: sections, items, etc.) and communication validity (understanding the information to be collected in the same way by all users); (b) External validity: which involves the question of whether the information collected is inconsistent with scientifically proven theoretical law, common sense, or other validated tool. This step was carried out through self-evaluation and assessment by a panel of experts.

Verifying the reliability of the information collection procedures with the help of the tool by means of inter-group agreement and intra-group agreement based on the views of validation committee experts.

Homogeneity of the data collection tool. This step was performed through self-assessment and evaluation by a panel of expert. We developed questions regarding the dimensions of the object of study that we aimed to analyze, while maintaining consistency, comprehension and clarity.

The group of professionals who made up the validation panel of experts was composed of: (a) four university professors and researchers from related fields; (b) three teachers from the professional conservatory and five practicing early childhood and music teachers.

The final dimensions on the questionnaire and the number of items were as follows:

Opinions regarding teacher training on didactic materials for music (9 items).

Knowledge and use of didactic materials for music (10 items).

Selection, choice, and elaboration of didactic materials for music (3 items).

Sufficient amount of didactic materials for music (7 items).

Use of didactic materials for music in school spaces (5 items).

In addition, 16 items were included on the questionnaire for contextualization and defining the objects of study.

The preparation and development of these instruments was done in collaboration with experts in the field of early childhood music and education. In addition, we conducted a follow-up protocol. As it was a multi-method study (in which we applied quantitative and qualitative techniques) protocols were essential so as to avoid losing data or wasting time. The action protocols allowed us to plan the empirical research in order to structure the stages of the study and make the final report understandable. The follow-up protocol was used to ensure the representativeness of the collected data. It included keeping a database of subjects who responded for real-time tracking of questionnaires (direct techniques included telephone calls to confirm receipt of questionnaires, and indirect techniques included the use of a tracking number on each envelope, use of official lists of school and teachers, written and telephone communications, and subject response tracking). The data were collected between 2009 and 2010. The study is representative of the current situation in Galicia and Spain, since the continuous changes in laws have impeded true significant changes in the role of early childhood didactic materials. It also shows the perceptual reality of teachers, where changes are slow and profound.

The questionnaire consists of a series of items addressing the dimensions mentioned above and the interview aimed to delve deeper into certain responses and reach an understanding of the more concrete reality.

Sample

To determine how childhood education teachers perceive materials, we selected the set of early childhood music teachers in the second cycle (students aged 3–6 years) in Galicia. The best way to organize the population, both in demographic and administrative terms, was to take into account countries and major population centers, and educational factors (such as schools, access to university, quality of childhood, economic and cultural opportunities for families, migratory potential). Consideration was given to sociopolitical characteristics, the location of schools in Galicia, and whether they were in a rural or urban contexts. Based on the study by Latorre, Rincón & Arnal (2003, p. 78), classification of the sample in our study was determined by the “type of school” and was defined according to multistage observation units (teachers, school type, and location). Table 1 shows the number of Galician schools needed, by province:

Table 1.

Number of Galician schools needed.

Galician province	Total population	Percentage of population	Sample size	Adjusted sample size	Producing sample
A Coruña	456	39.14%	93.93	94	103
Lugo	140	12.01%	28.84	29	44
Ourense	136	11.67%	28.01	28	28
Pontevedra	433	37.16%	89.20	89	90

We would like to point out that this study does not aim to be comparative and it was not our intention to standardize the findings obtained by means of the questionnaire (De Ketele & Roegiers, 2000, pp.188–189). With regard to the subject of our interviews, we considered the following sample: seven preschool and/or music teachers and three professionals involved in teacher training (one representative from the school inspection service, and two university professors of teaching). In this case, there were few interviews because we were not looking for representativeness, but rather quality in the responses in order to be able to compare with those obtained in the survey stage.

Main results

The questionnaire consisted of 50 items that sought to collect data regarding the dimensions that we mentioned above. We will now present the results of the analysis of each of the main dimensions in relation to teachers of early childhood education (accounting for 75.18% of the study response).

We note that these teachers were predominantly female (87.67%) and vary considerably in age, though the predominant age groups were 28–33 years (26.23%) and over 41 years (32.55%). In addition, 77.46% of the teachers in our study had permanent positions and worked mostly in public early childhood and primary schools (CEIP) (63.20%).

Teacher training in didactic and music materials

Teacher training for early childhood education is based on university education and specialization courses, but only a minority of teachers have received specific musical training. It is reported by 34.5% of early childhood teachers that they currently do some kind of music-related training activity. Some authors (Aróstegui, 2006; Ocaña, 2006) have highlighted the difficulty of teaching such a diverse student body insofar as musical knowledge is concerned, and warn of the need to extend music training for teachers. In this sense, Ancheta (2007, p. 221) states that “recent studies reveal the extent to which teachers feel inadequately prepared for their profession, which has a direct bearing on teacher trainers who must respond to the triple challenge of attracting the right candidates, providing them with the skills necessary to perform their duties properly and ensuring them continuing professional development.” The early childhood teachers in our study believe that they lack the proper training in musical materials for children (only 11.47% think they have enough). Of the respondents, 53.76% indicated that their music training was acquired at university, and only 27.98% believed this training to be adequate. The study shows that only 15.28% of teachers in the private sector fail to do continuing training, compared to 84.7% in public education. These results are consistent with the analysis by Colén & Defis (1997, p. 3) who conclude that early childhood teachers requested training in psychomotor skills, dance, and songs, as well as materials and classroom resources. With regard to music development through knowledge of a musical instrument, almost 42% of teachers said they had specific training in a musical instrument, and the interviews revealed that cultural aspects such as students’ family setting, mass media and relations (family, friends, etc.) influence their musical tastes and their preferences regarding instruments and type of music (Arredondo & García, 1998) were an important factor behind the predominance of learning one instrument over another, as well as access and opportunities for study, and the evolution of schools. The flute is the predominant instrument (48.8%), its use for the musical instruction of future teachers and in schools being widespread; nevertheless, as indicated by Gustems (2003, pp. 318–329) scientific research is scant. It is followed at a distance by an instrument traditionally seen as being cultured (21% the piano) and percussion instruments (tambourine 8%). The study also reveals that only 30% of teachers have done any training activities regarding the design and use of music materials. Despite this fact, up to 89.20% of those specializing in early childhood education think it is needed, which seems to indicate a lack of response to teacher training needs. In the interviews, teachers expressed a number of reasons for this need: for child development (knowledge of melody, rhythm, psychomotor games, etc.) for the proper selection of materials, development of the early childhood curriculum, development of an appropriate teaching profile, didactic organization of the classroom, and analysis of materials (human and material). As for why they did not participate in training activities, most teachers indicated lack of awareness (37.26%) and lack of time (34.90%).

Regarding gender, differences were found in that female teachers prefer school instruments that are popular, simple, and have a didactic nature, while male teachers tend to have better knowledge of classical musical instruments. We think this may be related to initial training and to the fact that most early childhood teachers are women whose first and only music training was received during the teaching degree, while the majority of male teachers have a background in music studies (conservatories and music schools), which provided them with a more complete musical training. It also indicates that music training in the teaching degree is quite limited. Our study reveals that only 5.15% of early childhood specialists (75.18%) are male, while 33.51% of music specialists (23.06%) are male. The study also reveals that music training among early childhood specialists is obtained primarily from university education (55.27%) and specialization courses (30.21%), while among music teaching specialists, 31.30% also have instrumental training (conservatory). Thus, 94.65% of music teaching specialists can play a musical instrument compared to only 41.22% of early childhood specialists.

Knowledge and use of didactic and music materials

The knowledge and use of materials pertaining to music methods that arose in the West in the twentieth century, which has an important presence in our country and should be thoroughly incorporated into our educational system, is related to the implementation of specialty in music at primary level in the LOGSE (Díaz, 2003; Hemsy, 1977 or Pascual, 2006). These methods have a long teaching tradition and incorporate music materials whose usefulness has been demonstrated through extensive use in countries such as France, Hungary and Switzerland. This study tries to point out a specific reality, where the development of artistic teacher competencies for use in music teaching should be encouraged drawing on the knowledge and use of specific music materials as well as music methods which could provide resources. As can be seen in the Table 2, early childhood teachers indicate that knowledge and use of music method materials is scant, especially because of lack of knowledge.

Table 2.

Knowledge and use of music method materials.

Music method	Knowledge	Use
Kodály	14.75%	6.79%
Orff	12.14%	7.72%
Dalcroze	9.13%	2.57%
Willems	7.25%	2.57%
Martenot	6.55%	1.4%
Suzuki	12.41%	1.17%

Competence in music education requires awareness and knowledge of how to use at least some of these materials. Musical competence, according to Malagarriga (2002), is of great educational importance in early childhood education, yet our study reveals that the teaching staff have little knowledge of materials used in early childhood music methods, therefore, as requested by authors such as Akoschky (1995) and Díaz (1998), more training in this area is required. Moreover, research reveals that there is a relationship between type of school and degree of knowledge and/or use of musical method materials. For example, data have shown a greater use of these materials in rural schools (Orff, 36%; Dalcroze, 24%, Willems, 24%, Martenot, 12% and Suzuki, 12%).

As can be inferred from the interviews, this is probably due to the influence of music teachers who leave materials in early childhood classrooms for use by early childhood teachers with whom they cooperate (as there are classrooms in separate buildings which are shared through a network of teacher coexistence).

Regarding the knowledge of sound material for music recitals, 65.9% of teachers claimed to have knowledge. The material most often used involves the folk and popular music repertoire (92.43% Galician and 86.97% Spanish), and classical music (76.06%, mainly from the classical period). On the other hand, teachers make little use of materials involving atonal music (only 13.38%) impressionistic music (9.33%), or dodecaphonic music (5.28%). The data reveals that little use is made of sound materials and that it is limited to classical and folk music styles. Moreover, just over half of teachers use contemporary music (56.34% use Celtic or folk, 56.87%, commercial, and 55.99%, pop). We must consider expanding the musical content used to train children’s ear (Bresler, 2004), and making more use of minority music (contemporary, ethnic, etc.) (Medina, 2006). Of the teachers surveyed, 61.32% indicated that they had knowledge of sound material for singing. As already indicated by Malagarriga (2002, p. 54), our research reveals that the most widely used materials of this type are those created by children themselves (up to 92.25%) and those with a specific educational purpose (89.08% use music included in teaching units). Songs from popular games are used by 57.93% . This data demonstrates that teachers need more knowledge of contemporary, high-quality sound materials for early childhood students.

Sound materials during movement and drama activities are used by 80% of teachers, and with a very wide variety of materials (such as films, bottles, dried legumes, paper, and dolls). These are materials that produce sound and are used by teachers, thus making them music and didactic materials (Akoschky, 1995; Craft, 2000; Díaz, 1998; Refsum, 2007). A total of 86.18% of teachers have knowledge of sound objects and instruments and only 28.93% never use them. The use of body percussion materials (96.30%), school instruments of “indeterminate” pitch (84.50%) and “determinate” (70.95%) pitch defined by Orff stand out, as do Willems method auditory materials (69.54%). It should be stressed that handling and auditory development in infancy is essential. A little over half of teachers reported building sound resources with reused and recycled materials, which is a common practice among early childhood teachers (Camacho & Durán, 2006). Polyphonic materials (as a manipulative sound material) are the least used by early childhood teachers (only 22.01%). On the other hand, 41.20% of teachers use sound materials from their own immediate environment (sounds that are popular, traditional, or from the surroundings). These materials are useful for child musical development as indicated by Arredondo & García (1998).

As for the music aid materials (which relate to music learning, are created specifically, and generally involve the sense of sight and collective use), we should point out the use of posters/cards by 68.13% of teachers, and materials to highlight sound parameters (through colors and shapes) used by 33.09% of teachers.

As the degree of use of technological materials is concerned, up to 45% of teachers never use technological materials (ICT or audiovisuals) for music learning at the early childhood stage, and most only sporadically (to listen to specific sounds or music). Out of the teachers who reported using these materials, 74% use them to prepare, select and elaborate music materials. For 37.03% these materials are a complement to their work, for 30.19% they contribute information, and for 8.26% they provide a chance to personalize their work. It should be noted that studies highlight the relevance and contribution of ICT to the organization and development of music education activities in early childhood education (García-Valcárcel, 2003). As for the reasons that teachers mention in interviews to justify their limited use in the classroom, we can point out difficulty of use, lack of knowledge, need for technological training, or difficulty in getting training in the use of some resources.

Selection and elaboration of didactic and music materials

As stated by a variety of authors (Braga, Bufrem, Rodríguez & Knudsen, 2013; Parcerisa, 1996; Rodríguez, 2000), it is necessary to encourage school dynamics that promote the elaboration and selection of materials for the purpose of improving the quality of decisions regarding those materials.

Our findings reveal that only 34% of teachers participate in the task of producing musical materials in schools. Especially striking is the 20% of teachers who say their key role is to provide ideas for peers to develop. In addition, 51.23% of teachers said they had participated in the material selection process at some point. Material selection processes represent moments of special importance in schools, because they are an excellent opportunity to reflect on the implications of materials for teaching and the consequences of selecting particular materials (De Sousa & Dionísio, 2011; Sikorova, 2006). In this regard, the shortage of training activities to help teachers in the resource selection process is somewhat worrisome (Montero, 2007), as is the small amount of time at schools and in educational projects devoted to organizing selection processes and resource analysis (Guillanders, 2011). A total of 62% of teachers participate in the selection of learning resources for music, and younger teachers (between 21 and 28 years of age) collaborate the least. Most participate by expressing their opinions, and reflections in meetings (33.53%), providing specific resources (23.5%), or by developing the teaching task (17.27%). As for the reasons why teachers do not collaborate, they claim not to know the mechanisms for doing so (30.51%), do not consider it necessary (18%), or there is a lack of coordination (8%). Regarding the criteria that teachers mention for the selecting their music resources, the fact that the materials were employed by others (36.27%) stands out. In addition, the materials offered by publishers who visit teachers’ place of work are often selected (33.54%). Cano (2007) and López (2005) discuss the importance of teacher collaboration to coordinate and develop materials as a form of coexistence, much needed competence, coming together for a common goal, and becoming integrated in the educational community. In this sense, our study revealed that only 31% of teachers made arrangements to develop materials and that these are reflected in school documents. A total of 40% of teachers said that they do not make any kind of agreement for the development of materials. As far as the selection of music materials is concerned, up to 51.23% of teachers made agreements with their colleagues at school. The fact that this is not a topic of discussion is cited by 15.22% of early childhood teachers, while other reasons which stand out are the lack of coordination on the subject, the fact that it is done informally (in the halls) or that there is not a serious concern for the issue. On the other hand, 32.79% consider collaboration to be necessary (12.18% to acquire and elaborate on materials, and 18.27% to share them). Regarding the choice of materials with respect to language, we can say that there is an interest in learning one’s own language through its use in music learning. Materials are chosen in Galician by 48% of teachers, while up to 79% choose materials in Spanish. Moreover, 45% of teachers solely used materials in Spanish, while 23% used only materials in Galician.

We should point out that teachers are unaware of the mechanisms for selecting materials (Parcerisa, 2001), thus any assessment is done intuitively, basing their choice primarily on their own experience, use by others, or on the fact that it is received from publishers and the administration . This indicates a lack of strategies and resources for professional autonomy. When we asked if teachers collaborate with other teachers in decision-making on didactic materials, 62% said they collaborated with other teachers. Regarding the teachers who do not collaborate, they say it is because they are unaware of the spaces for doing so (14.61%), and because they think there is no need (8.63%). Regarding the presence of activities on materials in the School Curricular Project, only 31% of teachers say that agreements or criteria are reflected in their curricular project.

Materials and use of school spaces

A number of studies have highlighted the role of space at the time of making decisions regarding music materials in early childhood education (Cañete, 2009; Iglesias, 1996; Padrón, 1996). Through this dimension, we aimed to find out what spaces teachers used to keep music materials and carry out music activity. With regard to the use of classrooms (early childhood, music, psychomotor skills, or other) for the development of music, teachers indicated that the use of the music room depends on its adaptation for early childhood education, as it is usually adapted for elementary students. Using a particular space that is shared by different education levels, as often happens with the music room in an early childhood and primary school, may hinder the use of the materials that are kept and used in this space. The present study reveals that nearly 60% of teachers store music materials in the music room, but only 22.39% of teachers use this space to carry out music activities, which could indicate that they are not being used with early childhood students. Up to 55% of teachers have a specific space inside the early childhood classroom and 9% used a “teaching corner for music,” which suggests that few use music materials frequently in the early childhood classroom. In addition, 59.25% of early childhood teachers say that they do not have a suitable space for teaching music, in particular mentioning the lack of space in their early childhood classrooms, the absence of technical resources or the lack of furniture suitable for children. All of this is likely to result in less proper use of music for movement and a lack of suitable resources.

Our study reveals that female teachers tend to make more use of the spaces in early childhood classrooms than male teachers (58.23% as compared to 27.94% for men) and they also make more use of the pedagogical corner (9.63% as compared to 4.41% for men). However, male teachers make more use of the specific music classroom (73.52% as compared to 57.22% for women) and specific music materials (27.94% as compared to 20.08% for women with respect to the music box; 11.76% as compared to 3.21% for women with respect to printed music materials). Regarding gender, our study revealed differences in the use of spaces and materials. This again shows the prevalence of women in the early childhood stage, where men have only a modest presence. This is already evident in teaching degree programs (Gustems, 2003, p. 328). Our study reveals that female teachers tend to make more use of early childhood classroom spaces than male teachers (58.23% as compared to 27.94% for men) and they also make more use of the pedagogical corner (9.63% as compared to 4.41% for men). However, male teachers make more use of specific music classrooms (73.52% as compared to 57.22% for women) and specific music materials (27.94% as compared to 20.08% for women with respect to the music box; 11.76% as compared to 3.21% for women with respect to printed music materials). As far as age is concerned, Ocaña (2006, p. 10) identifies three phases of professional knowledge among music teachers. Our study found age differences in the two groups of teachers that use music materials: 60.81% of early childhood teachers are over 41 years of age while 60.46% of music teachers are between 21 and 40 years of age.

Sufficiency of music and didactic materials

As for the printed materials aimed at teachers, they are sufficient for 44.73% of respondents. Regarding printed materials aimed at children, they are sufficient for 35.36% of respondents. With regard to music material (manipulative, auditory, and so on), 48.24% of teachers do not think they are sufficient, while music-related ICT materials are sufficient for a 50.35%. Teachers have a better perception of the materials they are more acquainted with, such as those in print form, whether they focus on planning and curricular development or musical instruction for students. At the same time, the economic and social system impacts schools through government incentives that provide technological classroom resources and teacher training. This has a positive influence on teacher perception of certain resources. That is to say, although these resources may be sufficient they are not necessarily the most suitable, nor are teachers better prepared to use them in class. More specifically, 49.65% of early childhood teachers said that printed materials such as teaching guides were sufficient. These were the most highly regarded materials, especially in early childhood and primary schools (72.97%), followed by publisher projects (37.47% ). On the other hand, printed materials regarding project work were considered the most deficient (by 45.90%). This data reflect a need to know more about these materials and their potential, in addition to better defining their use and space for early childhood students. This further indicates that, unlike with other types of resources (such as textbooks and ICT, for example), the administration does not seem to have done enough to introduce specifically musical materials into schools.

With respect to age, the results of the assessment of music materials in early childhood education show that the materials used or known are important for teachers 21–40 years of age, especially those between 21 and 27 (55.81%) and those between 34 and 40 (53.33%).

In conclusion

From our view of what seems to be the “tip of the iceberg”—teacher practice with a variety of materials—we can say that the oft-mentioned and demanded professionalization process appears to be somewhat “inadequate,” given findings such as the following: lack of support by other professionals to encourage the use of new materials, scant use of evaluation guides, and the limited number of experimental studies with materials. Although working with printed materials can constitute an interesting activity, we also found that this practice continues to condition individual teachers, as well as schools, parents, and students themselves. Indeed, the practice of teaching continues to be an individual endeavor, and teamwork continues to be scarce (Fullan & Hargreaves, 1997; Hargreaves & McMillan, 1995). This has been corroborated by previous studies (Braga et al., 2013; Mazeikiene, Horsley & Knudsen, 2012; Rodríguez et al., 2011). In light of the less than ideal conditions for realizing the hope of improving teacher professionalism through their practice with materials, we will finish with some recommendations stemming from the analysis of our research findings and the socio-educational practice in which they are contextualized.

The role of the administration

The issue is not only to carry out courses and other activities to explain how to use and select textbooks, but also to promote and facilitate the exchange of materials and information among schools. The role of government should not focus exclusively on establishing and enforcing regulations for educational materials and resources, but must also support professionalizing activities, such as those aimed at stimulating research on materials, use of assessment guides, and elaboration of curriculum materials by teachers themselves. Furthermore, the administration should take into account working spaces and conditions, with respect to school type and particular needs.

Teacher training

It seems reasonable to request that training centers devoted specifically to continuing teacher education should provide activities on didactic materials. An increase in activities that go beyond the selection or elaboration of textbooks and lesson plans would be desirable. These activities represent an opportunity to reflect and make decisions regarding how materials can contribute to the development of teaching. In addition, it would be helpful to promote teacher collaboration experiences among professionals at the same school regarding the knowledge, selection, and use of music-related materials in early childhood education.

Publishers as well as didactic and music materials

Publishers have become the main mediators between reform indications on curricular materials and professional practice. Nowadays, it seems difficult to conceive of a school where teachers, administrators, parents, and students can live without publishers. It would be desirable for publishers to pay attention to other aspects besides the formal features in materials. Our study and others focusing on the analysis of materials’ characteristics demonstrate the lack of attention paid to other pedagogical aspects of materials such as: attention to student sociocultural differences, evolutionary development, and contextualization in the School Curricular Project. In our opinion, it is necessary for the publishing industry to become “pedagogically professionalized,” thus, preventing decisions on curricular materials from being are made by professionals outside the world of education. Moreover, it would be advisable for publishers to conduct a comprehensive field study to determine what materials are on the market before producing new materials.

Consideration of materials in school documents

It would be advisable for reflections regarding didactic materials to be expressed in the School Educational Project and the School Curricular Project, seeing as teachers’ ideology and approaches to the materials are made explicit in these documents. Curriculum materials should not only be the object of debate at the time of deciding whether or not to introduce certain printed materials, but there should be a wider process of analysis and reflection at schools on issues such as: the role they will play in education as a whole, if they are to be considered the object of research in the classroom, and how other professionals will contribute to their design.

The management of resource at school

Some of the teachers who participated in this study have said that there is not enough material at their schools. The administrators of a school can promote the proper use of materials through correct management of existing materials and initiatives to facilitate the use of library materials, as well as the exchange among teachers, and exchange with other schools.

Fostering materials training by providing space and time

Lack of time emerged as a problem for training on printed curricular materials. Government and school administrators should foster opportunities for teacher training on this and other issues.

Emphasizing action research as a strategy for analyzing curricular materials represents one of the best opportunities to work with materials in a critical and constructive way. We think that conditions for teachers to undertake initiatives in this direction should be promoted through school sponsorship and various types of external support. For this to happen, school management teams must facilitate and foster the development of such proposals. The study presented here is the result of research conducted in the Spanish context at the University of Santiago de Compostela. Through this research, we would like to invite the scientific community to reflect on music at school and on the importance of dealing with teacher training in a critical way. Furthermore, we wish to call on public, private, and university education authorities to promote discussion that may lead to common criteria for more competence among teachers in the interpretation and analysis of the materials used in schools. This research on the role of educational resources for music is among the first of its kind, and is especially important for educational practice in Spain. The progress of research in this field will have a significant impact on the quality of music instruction in our schools.

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