New Research: Music in Montessori Classrooms

Meagan Ledendecker • July 20, 2020
Second grade child with tone bell lesson

Montessori-based research is a fairly new field of study, but interest is increasing. The following is a summary of a recent published study that addressed the area of Montessori music education in primary classrooms. We found it fascinating, and we thought you might, too!


The Research Study

Diana R. Dansereau of Boston University and Brooke M. Wyman of Bristol, Rhode Island published their article entitled: A Child-Directed Music Curriculum in the Montessori Classroom this past spring. They wanted to address a perceived disparity in the types of sensory materials offered to children in Montessori primary classrooms. More specifically, they gathered data suggesting that over time, modern Montessori classrooms have come to rely more heavily on visual sensory materials than materials that teach children to refine their other senses (including discrimination for sound).


Numerous studies, along with the work of Dr. Montessori herself, have indicated that early childhood exposure to music education and auditory sensory discrimination education have overwhelmingly positive and powerful impacts on children. Just as with other areas of study and skills that must be mastered, it appears that there is a sensitive period for learning music that ends prior to age seven. This means that while of course children have an ability to learn music after that age, they are in a prime position to master those skills earlier.


The researchers noted that Dr. Montessori herself had concerns about the application of her music materials in the classroom. For example, only one set of sound-based materials could be used at a time, and to identify variations in sound one would need to work in relative silence. This was certainly challenging during her time, and seemingly impossible now. Dansereau and Wyman set out to create and test a solution.


“...we sought to answer the question “How is a curriculum of music- and sound-based works developed, implemented, and received in aMontessori classroom?” -Dansereau and Wyman


Dansereau, being a music teacher, early childhood music education researcher, and Montessori parent, and Wyman, being a Montessori primary guide, were in a perfect position to conduct the study. Their initial conversations included Wyman’s students, other primary teachers, and the head of school. Six shelf works were designed and tested. They included the use of a small plastic box with a battery, power switch, headphone jack, and a series of visually identical plastic discs. A child wears the headphones and replaces the discs one at a time to hear different sounds. The materials are briefly described below:



  1. For working memory and audiation (sound memory): A wooden tree with spaces for removable discs. Children would listen to the sounds on each disc, then place them in order according to pitch. The material contained a built-in control of error so that children could independently check for accuracy.
  2. For pitch direction: Children listened to discs that played sliding pitches, then matched what they heard to visual pictures with lines drawn accordingly.
  3. For pitch direction: Similar to the second work, children replaced the two-dimensional pictures with a three-dimensional manipulative.
  4. For melodic direction: While listening to a recording of a piano, children used a small toy kangaroo to travel across a three-dimensional path along with the music.
  5. For melodic direction: Similar to the previous work, children listened to trombone music instead.

 

Wyman presented each material to the group using traditional Montessori methods, after which they were placed on the shelves for independent use. Students were observed and data was collected in six cycles over a period of two years. 


During the course of the work Wyman noted: “What I have witnessed so far with the two materials we have piloted is an overwhelming need for more of this type of work. The children in my current class have demonstrated a deeper level of concentration with this work. In part, I am sure [it is] because of the use of their auditory sense: if they are distracted by others in the classroom, listening to their friends, or carrying on a conversation, they will miss the very essence of the work. What I find fascinating is that this work must be fulfilling an essential need, because even my most social children go to the material and tune everything else out.”


Overall, the researchers noted their data indicated positive findings. The children became more engaged with music education, they interacted positively with the materials, their confidence increased, and there were obvious signs of deep concentration. They did note some limitations, such as the inability to record all interactions with the materials due to the nature of a Montessori classroom environment, as well as the children’s understanding that the materials were somewhat novel in nature. They felt that some of the materials were more beneficial than others, or that adjustments may need to be made with one or two of the materials.


Dansereau and Wyman felt the study was a positive initial step in developing the sensory materials in the Montessori primary classroom. They were encouraged by the results and believe more research should be done in this area, including with classrooms that serve children of varied demographics.


Click here to read the full published article.


We are curious to hear your thoughts on this topic. What might next steps be in individual Montessori classrooms? Could the materials be replicated? Could others be introduced? How might we, as educators, ensure we are providing a balanced sensory instruction?

Group of elementary students sitting cross legged on the floor looking at maps and timelines
By Meagan Ledendecker May 7, 2026
See how Montessori timelines make abstract time tangible for children, building historical thinking, imagination, and inner order through hands-on work.
By Meagan Ledendecker May 7, 2026
If you've spent any time in a Montessori early childhood classroom, you've likely noticed the sandpaper letters on the shelf: elegant, tactile, traced by small fingers again and again. And if you've looked closely, you may have noticed something that surprises many families. Those letters are in cursive. In a world where most children learn to print first, Montessori's cursive-first approach raises questions. Why cursive? Why so early? The answers reach back to Dr. Maria Montessori's own careful observations of children, as well as forward to what modern neuroscience is now confirming about the developing brain. What Dr. Montessori Actually Observed Dr. Montessori was a meticulous observer of children, and her thinking about writing developed through years of direct experimentation. One of her core observations was that children naturally gravitate toward curved, flowing lines rather than the rigid, straight strokes that were (and often still are) the starting point for teaching print. She noticed this pattern across multiple contexts. When children who were learning to write began with rows of straight strokes, their attention would gradually drift, and the straight lines would slowly transform into curves, as if the child's hand were following its own natural inclination. And when children drew spontaneously by tracing figures in sand with a fallen twig, or scribbling freely on paper, they rarely produced short, straight lines. Instead, they made long, flowing, interlaced curves. Dr. Montessori paid attention. Rather than something random, she recognized the hand's natural motion expressing itself. Critical of standard teaching approaches that began with isolated geometric strokes, or regimented mark-making, Dr. Montessori saw that cursive script, with its connected, flowing letters, aligned far more naturally with the motions children were already making. It worked with the child's hand, rather than against it. The Neurological Case for Cursive Thanks to her keen observations, Dr. Montessori intuited benefits that research is now beginning to confirm. Modern brain science provides a compelling case for the value of cursive writing. This is especially powerful in early childhood, when the brain is forming the connections that will support reading, fine motor coordination, and cognitive development for years to come. Dr. William R. Klemm, writing in Psychology Today, summarized findings showing that learning cursive trains the brain to develop what researchers call “functional specialization,” or the capacity for optimal efficiency. Brain imaging studies show how multiple areas of the brain are activated simultaneously during cursive writing in a way that doesn't happen with typing or print. The integration of sensation, movement control, and thinking that cursive requires appears to support broader cognitive development in genuinely significant ways. Klemm also suggested that learning cursive trains the brain for more effective visual scanning, with potential benefits for reading speed and hand-eye coordination. In other words, the child who traces cursive sandpaper letters with their fingertips is developing neural pathways that support a wide range of future learning. Clarity, Beauty, and the Practical Benefits Beyond the neurological research, there are practical reasons that Montessori educators have observed over generations of practice. Cursive provides a better visual distinction between letters that are easily confused in print. Think about the pairs that trip up so many young learners: b and d, p and q. In cursive, these letters look different from one another, which reduces the visual confusion that causes so many children to struggle in the early stages of reading and writing. And then there is the matter of beauty, something Dr. Montessori took seriously in everything she prepared for children. She wrote that, in teaching writing, we should pay close attention to "the beauty of form" and "the flowing quality of the letters." Cursive handwriting, when developed well, is genuinely lovely. It is a form of penmanship that connects children to a long tradition of human expression through the written word. The Montessori approach treats handwriting as a craft worth caring about. What This Looks Like in the Classroom In a Montessori early childhood environment, the path to writing begins long before a child picks up a pencil. Practical life activities like pouring, spooning, buttoning, and lacing quietly help children develop the fine motor control and hand-eye coordination that writing requires. The sensorial materials train children’s pincer grip and refine the precision of small muscle movements. And the metal insets give children practice with the flowing, curved lines that build cursive letters. Then children begin using the sandpaper letters. While verbalizing the phonetic sound, children trace the letter with two fingers. Children feel the letter, produce its sound, and see its form. This multi-sensory experience engages multiple brain areas simultaneously and creates rich, layered associations that support both writing and reading development. By the time children are ready to write independently, they have been preparing their hand and mind for months, often without even realizing it. A Method Ahead of Its Time Dr. Montessori consistently arrived at insights that research has later confirmed. Her reasons for emphasizing cursive were rooted in direct observation of children. She watched children’s hands and their natural movements. She also looked to see what helped them and what created unnecessary struggle. Dr. Montessori wasn't following a trend or a theory. She was following the child. Decades later, brain imaging technology and developmental research are catching up to what Dr. Montessori saw. Flowing lines of cursive script, the sandpaper letters on the shelf, the careful preparation of the hand before children ever pick up the pencil. This is a deep and practical understanding of how children's minds and bodies actually work. For families curious about why Montessori makes this choice, the short answer is this: because children's hands already know how to make these movements. Montessori simply listens to what the hand is already telling us and builds from there. Visit our school in Lenox, MA and see the sandpaper letters and writing materials in action. We'd love to show you how the path to writing unfolds in Montessori.
Image of a preschool aged girl standing in front of an ironing board with a spray bottle and fabric
By Meagan Ledendecker May 7, 2026
When children struggle, Montessori asks: what's in the way? Explore how the prepared environment helps children find their way back to themselves.
Group of toddlers exploring various materials in a grassy, sunny outdoor space
By Meagan Ledendecker May 4, 2026
Discover how Montessori education nurtures children's deepest human needs — from exploration and meaningful work to belonging and spiritual growth.
image of an adult and an elementary student sitting together on the floor reviewing a lesson
By Meagan Ledendecker April 27, 2026
Discover how peer learning, meaningful context, adult interaction, and order align Montessori with the science of how children learn best.
Image of three elementary students standing and crouching around a raised garden bed
By Meagan Ledendecker April 20, 2026
Does Montessori work? Explore the research behind movement, choice, interest, and intrinsic motivation in Montessori: The Science Behind the Genius.
Show More