Children’s
home music environments have changed markedly over the last two decades.
Thanks to advances in technology, music is now played by crib mobiles, toys,
tablets, phones, game consoles, and other digital devices, allegedly
soothing, engaging, educating, and entertaining young children at the touch
of a button (Bartel & Cameron, 2007; Ilari, Moura, & Bourscheidt,
2011; Sulkin & Brodsky, 2013; Young, Street, & Davies, 2006). Some
argue that these products limit a child’s creativity and detract from quality
social, musical, and verbal interactions between children and adults, pose
hearing problems later in life (Hughes et al., 2014; Levin & Rosenquest,
2001), and immerse young children in impoverished musical experiences in terms
of repertoire and quality of sound (Brooks, 2012; Merkow & Costa-Giomi,
2014). On the other hand, some propose that music media may extend and
supplement children’s everyday domestic music activities (Gillen & Young,
2007; Lamont, 2008; Marsh, 2002; Young, 2009), provide opportunities for
repeated listening, and prompt the multi-modal and imaginative nature of
engagement typical of young children (Young, 2008).
