Professional

Statement:

As a conference presenter, Chet-Yeng Loong has presented at local, state, regional, national, and international  conferences. She has also presented internationally, in a series of Early Childhood Music workshops in China (Chang Sa, Inner Mongolia, Shandong, Shanghai, Suzhou, Xian and Xinjiang). As a researcher, her research on early childhood and elementary music has been published in several leading journals (Bulletin of the International Kodaly Society, Early Childhood Connections, Early Childhood Spotlight - MENC, Kodaly Envoy, Perspectives - ECMMA, Triad and Orff Echo).

Articles

Below is a list of published articles, plus videos that demonstrate various workshop activities in China. Enjoy!!!!

 

Videos


 

The review of literature in this article was formulated through examination of music education research covering the period form 1929 to 1999. The references found in this review are organized under five headings: physical development, rhythmic responses, playing instruments, singing, and infants. 


  • Loong, C. and Lineburgh, N. (2000). Research in early childhood music: 1929-1999. Kodály Envoy, 26 (4), 24-29, 34.

 

  • Loong, C. and Lineburgh, N. (2002). Research in early childhood music: 1929-1999. Bulletin of the International Kodály Society, 27 (2).
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Research in early childhood music: 1929-1999
Loong article 1.pdf
Adobe Acrobat Document 755.7 KB


 

It is important for the early childhood music teacher to pay attention to the way repertoire and movement are performed, focusing on bringing your children to musicality through aesthetic presentations of musical materials.


  • Lineburgh, N. and Loong, C. (2006). Early childhood repertoire: Inherently musical positively enchanting. Kodály Envoy, 33 (1), 5-8.
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Early childhood repertoire: Inherently musical positively enchanting.
Loong article 2.pdf
Adobe Acrobat Document 69.6 KB


 

What are appropriate and “good” early childhood music materials? Are there “bad” music materials? Will good and bad music enhance or impair the music growth of young children? ...choosing good appropriate music materials is as critical in our teaching as the way the lesson is  structured.


  • Loong, C. (2007). Early childhood music: Repertoire of materials and activities, criteria and guidelines for selecting materials. Kodály Envoy, 33 (4), 5-8.
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Early childhood music: Repertoire of materials and activities, criteria and guidelines for selecting materials.
Loong article 3.pdf
Adobe Acrobat Document 63.8 KB


 

When teaching Islamic music in our classrooms, we must remember the importance of studying the intent behind the music. To initiate this understanding we should start by embracing the similarities between Islamic music and our own.


  • Loong, C. (2007). My Islamic journey after Sept. 11. Orff Echo, 39 (4), 25-29.


 

While introducing world musics to children is essential, when is the best age to start? Is it appropriate to introduce world musics to young children, especially songs that are sung in other languages? Who holds the responsibility for teaching multicultural music to young children? What kind of materials are appropriate for young children? And, what are the strategies for the collection of these materials? 


  • Loong, C. (2008). Weaving world musics into early childhood curriculum. Triad, 75 (5), 74-76, 78, 80-82.  
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Weaving world musics into early childhood curriculum.
SFWeavingWorldMusic.pdf
Adobe Acrobat Document 646.3 KB


 

The rhythms of speech and movement encourage young children to develop language, physical, and social skills. Even though Orff-Schulwerk is an approach, not a methodology, and there is no clear pedagogy explaining how to teach music to young children, the main goals and suggested materials can be applied effectively in early childhood settings, adapted to develop the psychological, physical, emotional, and cognitive abilities of young children.


  • Loong C. (2012). Engaging Young Children in Musical Activities. Orff Echo, 44(4), 8-10.


 

The purpose of this study was to investigate whether the overall perception of the musical expressiveness of a piano performance is affected by the mode of presentation - audio, visual, or audio/visual combination - and whether or not mistakes made by the performer affect expressiveness scores. Subjects (N=90), were undergraduate music majors, randomly selected from two large state universities. A professional pianist performed an excerpt of a piece in three perceptual modes: audio only, visual only, and audio/visual combination, with and without mistakes. Subjects only saw, heard or heard and saw performances with and without mistakes and then rated each presentation for its musical expressiveness using a seven-point Likert scale. Two One-Way ANOVAs with repeated measures were used to analyze the data of audio only and audio/visual combination performances. A t-test with dependent variables was used to analyze the visual only mode. There were significant differences between the expressive and non-expressive performances regardless of the condition. Greater differences were found in the perception of expressive and non-expressive performances in audio/visual modes as opposed to the visual only and audio only modes. Lastly, the subjects’ perception of the musical expressiveness of a piano performance was affected by the inclusion of intentional mistakes when the performance was not played expressively.


  • Loong, C. (2013). Effect of perceptual mode on the identification of expensiveness in piano performance. Malaysian Music Journal, 2 (1), 1-9.



 

This paper is written for undergraduate music and music education majors students who are at the beginning stage of understanding students with ADHD. Much of the information in this article is based on strategies used in the United States of America. ADHD is defined; the prevalence of the disabilities is also included. The author also provided strategies and approaches that can be used at the elementary, secondary and the college levels; specifically in inclusive classrooms. Undergraduate education and music education majors can apply these strategies in their future classrooms; but are advised to acquire more information by reading special education literature and sourcing materials from the suggested websites.


  • Loong, C. (2014). Strategies for students with Attention Deficit Hyperactivity Disorder (ADHD) in music classrooms.
    Korean Journal of Research in
    Music Education, 43 (3), 269 - 276.
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Strategies for students with Attention Deficit Hyperactivity Disorder (ADHD) in music classrooms.
ADHD_KMES_14.pdf
Adobe Acrobat Document 467.4 KB


 

The purpose of this study was to investigate choral and general music educators’ assessment practices, their confidence in them, and how they navigate curricular reform initiatives. The data came from teachers (n= 640) who participated in an online survey. Most believed assessment was important, and authentic assessment was an effective tool. Almost one-third of the respondents had started implementing Student Learning Objectives (SLOs). More experienced teachers had higher confidence in assessing, versus novice teachers. Those with little confidence believed assessment took time away from teaching. All expressed that a standards-based curriculum could affect teaching. Of the “4Cs” of 21st Century Skills, teachers assessed creativity more often than collaboration, critical thinking, and communication. Teachers wanted guidelines about authentic assessment and different types of formal and informal assessment posted on national organization websites.


  • Loong, C. (2014). Assessment: Perceptions and challenges of general and choral music teachers. Orff Echo, 46 (4), 58 - 66.


 

The purpose of this research was to determine the influences of singing instruction on the voices of children between the ages of five and eight. Subjects (N =53) were children who had participated in a Saturday music program that met once a week. Group I subjects (n = 19), aged five and six, had participated for seven months.  Group II subjects (n = 18), aged six and seven, had participated for more than seven, but fewer than 14 months. Group III subjects (n = 16), aged seven and eight, had participated for 21 months. A common song, and three songs specifically selected for each of the three groups were used to assess the singing. All the subjects sang the same research songs during the pre- and posttests. Posttests were conducted after subjects had participated in the music classes. The research songs were sung in every lesson. From the results, it was found that Group III and I subjects sang the selected songs more accurately than Group II. There was no significant difference among all the subjects when singing the common song. Fifteen subjects were assessed a year later for the common song finding no significant difference.


  • Loong, C. (2017). Effect of singing instruction on the singing voices of children between the ages of five and eight. Orff Echo, 49 (4), 34-39.


 

In this article, Echo Editors Lisa Lehmberg and Chet-Yeng Loong examine the results of an online forum in which six AOSA members with varied teaching experience participated. Panelists discussed their perspectives on the first years of teaching and the Orff Schulwerk approach and commented on challenges faced by new general music teachers, several of which parallel previous research findings.


  • Lehmberg, L., and and Loong C. (2018). New teachers and the Orff approach: Six perspectives online forum. Orff Echo, 50 (4), 30-37.