<p>Generally prosody is described as the rhythmic, dynamic and melodic features of language. Prosody is further often described as suprasegmental, since its properties go beyond vowels and consonants, which are segmental characteristics of language. A relationship between prosody and music has been noticed and described for several decades. At present, there are several studies proving relationship between prosodic and musical abilities.</p><p> </p><p>The aim of the present study was to construct a test for prosodic non-linguistic perception and production regarding intonation and rhythm. The test was tried out on 16 children with typical language development aged 4;6-7;6 years.</p><p> </p><p>Before testing of ITAP each participant were asked about musical experience. For formal assurance that the participants had typical language development a pretesting was performed.</p><p> </p><p>The results demonstrate an even range and therefore the complexity of ITAP seems to be on a representative level. Furthermore, ITAP is viable and the design is advantageous. The results of the present study suggest that both phonological working memory and grammatical ability are related to the aspects of intonation tested in ITAP.</p><p> </p><p>The study contributes to the knowledge about possible relations between prosodic and musical abilities, and it provides guidance on what children with typical language development are expected to achieve on ITAP.</p>

Generally prosody is described as the rhythmic, dynamic and melodic features of language. Prosody is further often described as suprasegmental, since its properties go beyond vowels and consonants, which are segmental characteristics of language. A relationship between prosody and music has been noticed and described for several decades. At present, there are several studies proving relationship between prosodic and musical abilities.   The aim of the present study was to construct a test for prosodic non-linguistic perception and production regarding intonation and rhythm. The test was tried out on 16 children with typical language development aged 4;6-7;6 years.   Before testing of ITAP each participant were asked about musical experience. For formal assurance that the participants had typical language development a pretesting was performed.   The results demonstrate an even range and therefore the complexity of ITAP seems to be on a representative level. Furthermore, ITAP is viable and the design is advantageous. The results of the present study suggest that both phonological working memory and grammatical ability are related to the aspects of intonation tested in ITAP.   The study contributes to the knowledge about possible relations between prosodic and musical abilities, and it provides guidance on what children with typical language development are expected to achieve on ITAP.

Musical improvisation is an infinite artistic well. It helps the musician to make a personal performance and lets the music reflect the inner feelings. It is a language with which the performer can adapt the formulation to the specific situation. Yet so many have fear and respect when facing the phenomenon. In this study Dan Alkenäs discusses the advantages and disadvantages of using musical improvisation as a pedagogical method in school education. During a semester Alkenäs has, together with music teacher Bitten Löfgren and a group of pupils, studied what results are to be expected when teachers let musical improvisation have a leading role in music lessons. He discusses the creative working environment and the pupils’ ability to put theory into practice. One leading theme is the discussion of the common view of musicality. Alkenäs argues that it is important for a music teacher in a democratic school, with children from different kinds of cultures and backgrounds, to be flexible and adjust the lessons according to the individuals in the group. The study shows that this pedagogy, among other things, has a positive effect on interaction between students with different interest, levels of knowledge and potentials.

<p>Musical improvisation is an infinite artistic well. It helps the musician to make a personal performance and lets the music reflect the inner feelings. It is a language with which the performer can adapt the formulation to the specific situation. Yet so many have fear and respect when facing the phenomenon. In this study Dan Alkenäs discusses the advantages and disadvantages of using musical improvisation as a pedagogical method in school education. During a semester Alkenäs has, together with music teacher Bitten Löfgren and a group of pupils, studied what results are to be expected when teachers let musical improvisation have a leading role in music lessons. He discusses the creative working environment and the pupils’ ability to put theory into practice. One leading theme is the discussion of the common view of musicality. Alkenäs argues that it is important for a music teacher in a democratic school, with children from different kinds of cultures and backgrounds, to be flexible and adjust the lessons according to the individuals in the group. The study shows that this pedagogy, among other things, has a positive effect on interaction between students with different interest, levels of knowledge and potentials.</p>