This paper examines the integration of informal music learning processes in a group of preschool children within a formal educational environment, as a means to develop rhythmic musical skills, as well as new communication and collaboration practices and skills during early childhood. Specifically, it examines the spontaneous rhythmic musical behavior of preschool children through research conducted at a private kindergarten in Athens and connects it to the way Lucy Green’s informal pedagogical approach enhances the spontaneous and multimodal musical behaviors of young children. The study investigates the developmental progression of rhythmic ability through the Playing by Ear method by Lucy Green. One of the main objectives of this research was to explore the extent to which the Playing by Ear method is suitable for applying informal music learning through auditory-based approaches in formal educational settings for this specific age group.

A qualitative research methodology was applied, utilizing tools and strategies from action research. Specifically, data collection gathered through open/qualitative sources such as participant observation, reflective diary and field notes, independent observations in the form of a diary, field notes, interview and questionnaire with closed questionnaires (formal) - by a ‘critical friend’, interviews with the children in focus groups, and audio recordings. The validity of the data collected was ensured by the method of "triangulation". Based on the research questions, it was investigated a) to what extent the listening method developed the students' rhythmic ability and b) to what extent it enhanced the students' ability to play music in small groups, without needing the teacher's guidance. The results of the research revealed that a) informal music learning through Lucy Green’s Playing by Ear method strengthened children’s spontaneous and multimodal musical behaviors at this age, b) it provided an appropriate framework for fostering musical expression among children, c) additionally, It was observed that it helps the development of students' rhythmic ability with the use of musical instruments, as well as their rhythmic ability with motor behavior (Burke, 2018; Purves, 2017). Finally, d) it promotes students’ ability to play music in small groups without requiring continuous and direct teachers’ guidance, fostering new communication and collaboration practices and skills among them (Campbell, 1995; Allsup, 2003; Green, 2008; Papazachariou-Christoforou, 2023; Andrioti, 2024).

• Music and sound education experiences, values, and practices
• Interdisciplinary approaches in music education
• Meaningful musical experiences

Evi Andrioti has been a music educator for the past 18 consecutive years. She has a degree in Musicology from the Department of Music Studies at the National and Kapodistrian University of Athens (NKUA), where she also completed her postgraduate studies in Music Education in Formal and Informal Environments. She is a PhD candidate in Music Pedagogy at the Department of Music Studies at NKUA. She has advanced theoretical diplomas in Harmony, Counterpoint, and Byzantine Music. She regularly participates in conferences in Greece and abroad, with recent presentations at the ISME 2024 World Conference in Finland and MISTEC in Estonia. She is a member of the Greek Society for Music Education (EEME) and the International Society for Music Education (ISME). She is also the author of three children’s books, one of which focuses on music.