We are going to analyze a music class for young children 0-3 years old in the application of Music Learning Theory by Edwin Gordon. We will break down each concept to better understand how each one affects the learning process:

Mimesis:

Definition: Mimesis refers to the imitation or replication of actions, sounds, or movements. In a music classroom, this may involve children imitating the teacher's singing, playing instruments, or even imitating rhythmic patterns through body movements.

Analysis: According to Edwin Gordon, mimesis is one of the stages of musical training. In this phase, conscious thought directed primarily toward the environment is deepened. In order to do this, teachers will have previously had to introduce children to the preparatory acculturation phase. Once they have experienced this phase, the student will begin to imitate the rhythmic and melodic patterns offered in class. Teachers can model appropriate techniques, melodies and rhythms, providing a tangible example for students to imitate. This approach allows children to internalize musical concepts through direct experience and imitation, laying the foundation for future musical understanding. We primarily use voice, musical games (since it is through play that children learn) and simple percussion instruments (snares, drums, tambourines...).

Synthesis:

Definition: Synthesis consists of combining different elements to create something new. In a music classroom, synthesis can occur when children integrate various musical components, such as melody, harmony, rhythm, and dynamics, to create their own musical expressions.

Analysis: Encouraging synthesis in a music curriculum encourages creativity and musical exploration. Teachers can guide students in combining the elements learned to compose simple melodies, create rhythmic patterns, or experiment with different musical instruments. When the child, through acculturation and mimesis, manages to improvise, respond to the teacher or create his/her own melodies or rhythmic patterns, he/she is applying synthesis. This happens after the previous musical immersion of games, constant listening to rhythmic patterns and melodies in different modes, and it usually or may occur after at least one year of applying the pedagogy to young children. Let us remember that each child evolves at his or her own pace, just as each child's language evolves differently.This happens after the previous musical immersion of games, constant listening to rhythmic patterns and melodies in different modes.

Reflexivity:

Definition: Reflexivity involves reflecting on and considering one's own actions and experiences. In a music classroom, reflexivity can be fostered through activities that prompt students to think about their musical choices, preferences, and the emotional impact of music.

Analysis: Teachers can facilitate discussions about how music makes children feel, encouraging them to express their emotions and thoughts. For example, through active listening to different pieces of music in different modes and metrics during class.

In conclusion, a dynamic music curriculum for small kids that incorporates mimesis, synthesis, and reflexivity creates a holistic learning experience. By balancing imitation, creativity, and self-reflection, educators can foster a love for music while simultaneously promoting essential cognitive and emotional development in young learners.

Bibliography:

1. "Music Learning Theory" - Edwin Gordon. 2003
2. "Children, Development and Education: Cultural, Historical, Anthropological Perspectives" - Michalis Kontopodis, Christoph Wul, Bernd Fichter, January 2011
3. "Jugado con la música bebés" - Marisa Pérez, Eli Pujol
4. "Jugando con la música niños y niñas"- Alba Pujol, Marisa Pérez, Eli Pujol, Victoria Carbó