Jasmine Business Directory

Music and Television under the Kids and Teens branch gathers organisations, programmes, and resources that bring sound and screen to children and young people. The scope runs from broadcast and streamed shows made for under-eighteens to instrument tuition, choirs, youth orchestras, songwriting clubs, and the media-literacy projects that help young audiences make sense of what they watch and hear. It covers two industries that have shaped childhood for a long time, and it treats both as one field because, for most young people, music and the moving image arrive together through the same devices.

The Kids and Teens framing matters. A children's music web directory is not the same thing as a listing aimed at professional musicians, and a television resource for under-twelves answers different questions than one for adults. Here the emphasis falls on age-appropriateness, educational value, safeguarding, and the developmental needs of a viewer or listener who is still forming tastes and habits and learning to read media. Entries describe who the audience is, what age band the content suits, and whether a service has been designed with children in mind rather than simply made available to them.

This curated music and television directory for kids and teens draws together several kinds of entry. There are broadcasters and on-demand services that commission or carry children's programming. There are music schools, peripatetic teachers, and community ensembles that take pupils from early years through to sixth form. There are publishers of sheet music and songbooks, makers of educational television, and the regulators and charities whose work frames the sector. Listing them side by side, in one business directory for kids and teens, lets a parent, teacher, or older teenager move between the entertainment, the lesson, and the rule that governs both.

The category also reflects how blurred the line between music and television has become for younger audiences. A child may first meet a piece of classical music through an animated series, then look for the soundtrack, then ask for piano lessons. A teenager may discover an artist through a televised performance, follow them on a streaming platform, and join a school band as a result. Because those journeys cross media, the listings within this music and television web directory are organised to be read together rather than in isolation, so that a single search can surface a programme, a tutor, and a safeguarding resource at once.

Geographically the category is broad. It carries national public broadcasters, international streaming services that run children's areas, and small local providers such as a town music school or a regional youth theatre that stages musicals. Some entries are commercial, some are charitable, and some are statutory bodies. The common thread is relevance to people aged roughly three to eighteen and to the adults who choose media and activities on their behalf, which is the test applied to every business listed in this children's media directory.

It helps to picture the age bands the category serves, because needs change quickly across childhood. The earliest years, from birth to about five, are about songs, rhymes, gentle animation, and short programmes with simple structures. The primary years, roughly five to eleven, bring graded music lessons, school choirs, and longer factual and drama series. The teenage years widen the field again, toward self-chosen music, more demanding television, and the first steps into making rather than only consuming. A single listing that spans those bands lets a family follow a child upward without starting their search again at every stage.

The category does not try to rank artistic merit or to police taste. Its job is descriptive: to say clearly what a service or activity is, who it suits, and how it is governed, then to let the reader decide. That neutral stance is deliberate, because the people using this page bring very different priorities. One parent wants screen-free music activities; another wants good educational programmes for a long car journey; a teacher wants something that maps to a lesson plan. The entries are written so that each of those readers can recognise quickly whether a listing answers their particular question.

Television for children has been treated as a special case by lawmakers for decades, on the reasoning that young viewers cannot evaluate programmes and advertising the way adults can. In the United States the central instrument is the Children's Television Act, which became law in October 1990 after passing the House in 1989 and the Senate in 1990; President George H. W. Bush allowed it to take effect without his signature (Congress.gov, 1990; Britannica, 2023). The Act directed the Federal Communications Commission to limit advertising during children's programmes and to require broadcasters to serve the educational and informational needs of the child audience as a condition of keeping their licences.

The rules that followed are usually called the E/I rules, after the educational and informational label that qualifying programmes carry. In 1996 the FCC adopted a Report and Order that set a benchmark of three hours per week of core educational programming, replacing a looser earlier standard (FCC, 2019). Core programming is defined as material designed to serve the intellectual, cognitive, social, or emotional needs of children sixteen and under. Advertising during shows aimed at children twelve and younger is capped, with the limit set at 10.5 minutes per hour at weekends and 12 minutes per hour on weekdays. In July 2019 the Commission revised the framework to give broadcasters more scheduling flexibility, requiring at least 156 hours of core programming a year (FCC, 2019).

The United Kingdom approaches the same problem through public service broadcasting and the regulator Ofcom. Its 2018 Children's Content Review examined how well the public service broadcasters were serving young audiences as viewing moved online. Ofcom reported that annual spending on new, UK-made children's programmes across public service channels had fallen from about 116 million pounds in 2006 to roughly 70 million pounds in 2017, and that ITV had cut new UK-made children's hours on its main channel from 158 in 2006 to 47 in 2017 (Ofcom, 2018). The review flagged a shortage of original programmes for older children and of content that reflected British children's own lives.

Those figures explain a structural shift that the listings in this section reflect. As linear children's channels contracted, on-demand and online services took up much of the slack, and the BBC's children's brands, CBeebies for the youngest and CBBC for school-age viewers, became central to the public service offer alongside their iPlayer presence. Commercial and subscription platforms now run dedicated children's areas with their own parental controls. This part of the category therefore works as a children's television web directory that lists broadcasters together with the apps, profiles, and curated catalogues through which most viewing now happens.

Production for children carries duties that go beyond ordinary programme-making. Safeguarding rules govern how child performers are recruited, schooled on set, and protected; advertising standards restrict what may be sold around children's content; and accessibility requirements push for subtitling, signing, and audio description so that disabled children are not excluded. Educational programmes are often made with input from teachers and child-development specialists, and some carry curriculum links that let schools use them in lessons. Entries in this part of the category note where a programme or producer holds such credentials.

The history behind these rules is worth knowing, because it explains why children's television is treated differently from the rest of the schedule. Concern about what children watched dates back at least to the 1950s, but for decades little formal action followed. The 1980s saw advertising limits relaxed in the United States, which prompted a campaign that culminated in the 1990 Act. In the United Kingdom, the public service tradition built children's programming into the remit of the BBC from its earliest television years, and later into the licences of the commercial broadcasters, so that provision for children was an obligation rather than a commercial choice. That inheritance is why so many of the trusted brands in this field began as public service strands.

Distribution has changed faster than the rules. Where children once watched at fixed times on a handful of channels, most now watch on demand, often on tablets and phones, and frequently on video-sharing platforms that were not built for them. This raises questions the older broadcast framework did not have to answer, about recommendation algorithms, autoplay, data collection from young users, and the difficulty of telling a professionally made children's programme from amateur or unsuitable material that merely uses childish imagery. Newer regulation, including codes that require online services to consider the best interests of child users, is starting to address this, and the listings here increasingly note how a service handles these online risks.

Public service broadcasters have responded by moving their children's brands online and by trying to make their content easier to find on the platforms young people already use. The BBC's iPlayer carries the full CBeebies and CBBC catalogues, and Ofcom has urged broadcasters to work with video-sharing platforms so that good home-made programming is discoverable rather than lost among the wider flood of content (Ofcom, 2018). For a family, the practical upshot is that the trustworthy option may now be an app or a profile rather than a channel, and a television-focused web directory for children is most useful when it points to those destinations directly.

Quality and trust are recurring themes. Parents and teachers want to know that a service moderates content, separates children's areas from general catalogues, and does not push age-inappropriate material through recommendation engines. Regulators in both countries treat these expectations as part of the public interest, and charities such as the Children's Media Foundation in the UK press for sustained investment in home-grown programming. Because those concerns shape which services are worth recommending, the listings of children's television providers within this business directory give weight to safeguarding, age-rating, and editorial standards rather than to audience size alone.

Music enters a young life early and stays close. Long before formal lessons, infants respond to lullabies, nursery rhymes, and the rhythmic games that caregivers play, and these first encounters lay groundwork for later listening and learning. As children grow, music becomes both a subject to study and a constant background to daily life, threaded through television, games, and the songs friends share. The listings gathered here cover that whole range, from the earliest singing groups to the bands and producers that teenagers form for themselves.

Formal music education is a large part of the picture. Private teachers offer lessons on piano, strings, woodwind, brass, guitar, and voice; music schools and conservatoire junior departments run graded programmes; and community ensembles such as youth orchestras, brass bands, and choirs give children the experience of playing together. Graded examination boards provide a structured ladder of assessment that many pupils follow from beginner to advanced level. A music-focused business directory for kids and teens helps families find a teacher near them, compare an ensemble against a school programme, and understand what a particular grade or syllabus involves.

Research has given parents and teachers concrete reasons to value this learning. Studies associated with McGill University and the work of E. Glenn Schellenberg reported that children who took music lessons scored higher on measures of general cognitive ability than peers who did not, with associated gains in attention, memory, and the spatial skills linked to mathematics (Schellenberg, 2004). Other work connects musical training to language processing and reading. The evidence is debated, and researchers caution against overstating a simple cause and effect, but the consistent thread is that sustained, structured musical activity is good for developing minds.

For teenagers the function of music shifts. It becomes a tool for managing mood and a marker of identity. Research by Suvi Saarikallio and Jaakko Erkkila found that adolescents use music deliberately to regulate emotion, lifting low moods, releasing tension, and working through difficult feelings (Saarikallio and Erkkila, 2007). Adrian North and David Hargreaves have documented how musical taste signals group membership and helps young people define who they are and where they belong (North and Hargreaves, 1999). The artists a teenager follows, the playlists they build, and the bands they join all carry social meaning beyond the sound itself.

Live and participatory music matters as much as listening. School ensembles, county youth orchestras, music festivals, and competitions give young musicians a reason to practise and a community to belong to, while youth theatre and stage-school musicals join singing to performance. Charitable programmes work to widen access so that cost or location does not bar a child from learning an instrument, and instrument-loan schemes lower the entry price. Entries in this children's music web directory describe whether a provider offers bursaries, what ages it takes, and whether it focuses on classical training, popular styles, or both.

The connection between music and television is especially close for young audiences, and the category keeps the two together for that reason. Children's programmes lean heavily on songs, and many young viewers meet their first orchestral or choral music through animation, films, and signature tunes before they ever hear it in a concert hall. Talent shows and televised performances introduce older children to genres and artists, and a programme's soundtrack can send a whole cohort searching for the same track. Because a single piece of music often travels from a screen to a streaming app to a music lesson, the listings are arranged so that a search beginning in one medium leads naturally into the other.

Singing deserves its own mention, because it is the most widely available form of music-making for children and needs no instrument at all. School singing assemblies, church and community choirs, and national singing programmes reach large numbers of young people who never take private lessons, and group singing carries documented benefits for breath control, listening, and a sense of belonging. The voice also changes during adolescence, particularly for boys, and good choral leaders manage that transition carefully so that young singers are not pushed beyond a comfortable range. Entries for choirs and singing programmes in this children's music directory note the age range, whether auditions apply, and whether the group performs publicly.

The practical side of music-making rounds out the category. There are publishers of graded songbooks and tuition method series, shops that hire and sell instruments suited to small hands, and digital tools that teach notation, theory, and composition through games. Some young people move toward recording and production early, using affordable software to write and share their own tracks. Listing these alongside teachers and ensembles means that a single web directory covering children's music can support a family from a first recorder lesson through to a teenager's home studio.

Cost and access shape who gets to take part, and the category records this where it can. Lessons, instruments, and ensemble fees add up, and music has historically been less available to lower-income families. In England, music education hubs were set up to coordinate provision and widen access, offering whole-class instrumental teaching in primary schools, instrument loans, and subsidised tuition. Charities run parallel schemes that fund lessons, lend instruments, or place professional musicians in schools. A listing of children's music providers is more useful when it flags these routes, because for many families the question is not which teacher is best but which good option they can actually afford.

Technology has changed how young people learn and make music, and the listings reflect that shift. Video lessons, app-based ear-training, and notation software now sit alongside the traditional weekly lesson, and some learners progress a long way through online tuition before ever meeting a teacher in person. Inexpensive recording software and affordable controllers let teenagers compose, layer, and produce at home, blurring the old line between performer and producer. Web directories covering children's activities increasingly carry these digital tools next to bricks-and-mortar schools, so that a young learner can mix online practice with live ensemble playing.

Because music and television now reach children mainly through connected devices, choosing well is partly a question of healthy media habits. The American Academy of Pediatrics, through its Council on Communications and Media, has long advised families to weigh the quality of media as much as the quantity. Its guidance discourages screen media other than video chat for children younger than eighteen months, suggests good co-viewed content for those aged eighteen to twenty-four months, and recommends a limit of about one hour a day of well-made programming for children aged two to five (American Academy of Pediatrics, 2016). For older children the emphasis moves to consistent limits and to making sure screens do not displace sleep, exercise, and family time.

Co-viewing and co-listening sit at the centre of that advice. Watching a programme or sharing a song with a child, then talking about it, turns passive exposure into something closer to a conversation, and helps a young viewer connect what is on screen to the world around them. The same principle applies to music: discussing why a piece feels sad or exciting, or what a lyric means, builds the kind of critical listening that media literacy programmes aim to develop. Several resources listed here are designed for exactly this shared use rather than for handing a device to a child alone.

Media literacy has become a field of its own. Charities, broadcasters, and schools run programmes that teach children to recognise advertising, to question what they see, to understand how programmes and music are made, and to behave safely and kindly online. Public service broadcasters often build factual strands and behind-the-scenes material into their children's output for this reason. A children's media web directory is more useful when it points beyond entertainment to the organisations that help young people read it critically, and this category treats those two roles as complementary.

Safeguarding runs through both music and television provision. Music teachers and ensemble leaders who work with under-eighteens are expected to hold the relevant background checks and to follow child-protection policies; reputable organisations make their safeguarding arrangements clear to parents. On the screen side, platforms offer children's profiles, content ratings, and parental controls that restrict what can be watched and limit recommendation engines from surfacing unsuitable material. Listings in this part of the category note where a provider publishes its safeguarding policy or operates a verified children's mode.

The AAP's own emphasis has shifted over time. Earlier advice leaned on fixed time limits, while more recent guidance treats those limits as a starting point and pays more attention to what children watch, who they watch it with, and what the screen time displaces. The body has framed media as one part of a child's wider day, encouraging families to plan media-free times and places, such as meals and bedrooms, rather than to count minutes alone (American Academy of Pediatrics, 2016). For music and television aimed at children, this points toward content that rewards attention and shared use over material designed mainly to hold a child's gaze.

Accessibility and inclusion are part of choosing well too. Subtitling, signing, and audio description widen access to television for deaf, deafblind, and visually impaired children, and instrument-loan and bursary schemes open music to families who could not otherwise afford it. Programmes that reflect a range of backgrounds and abilities help every child see themselves represented, a concern Ofcom raised directly in its review of children's content (Ofcom, 2018). Because these features change which services genuinely serve all children, the curated entries here record them where they apply.

Music carries its own version of the safeguarding and suitability questions that surround television. Lyrics, themes, and music videos vary widely in how appropriate they are for a given age, and the same streaming services that deliver children's television also deliver songs with no age filter unless one is set. Some platforms offer explicit-content controls and family plans, and parents can use these in much the same way they use children's profiles for video. Resources that help families with this, including guides to content ratings and to setting up controls, sit naturally beside the providers in this part of the music and television directory.

Finally, choosing well means matching content to a child's stage. A toddler, an eight-year-old, and a fifteen-year-old need different things from both music and television, and a service that suits one may be wrong for another. The web directories that cover children's music and television are most helpful when they make age suitability explicit, flag educational intent, and separate gentle pre-school fare from the more complex material older teenagers seek. The aim throughout this category is to let families and teachers find that match quickly, from a reliable, age-aware listing rather than by trial and error.

This page works best as a starting point for a particular need rather than as a catalogue to read end to end. A parent looking for a first instrument teacher, a teenager searching for a youth orchestra, a teacher wanting curriculum-linked television, and a family comparing streaming services with strong children's areas are all served by the same set of listings approached from different angles. Each entry in this children's music and television business directory is written to say who it is for, what age it suits, and what it offers, so that the relevant ones can be picked out without wading through the rest.

The breadth of the category is deliberate. By keeping broadcasters, teachers, ensembles, publishers, regulators, and media-literacy charities together, the listing reflects how music and television actually reach young people, which is rarely through one channel alone. Someone who arrives looking for a single programme may leave having found a local choir and a guide to screen-time habits as well. That cross-referencing is the practical reason a combined music and television web directory is more useful to families than two separate lists would be.

Entries are curated rather than gathered automatically, with attention to safeguarding, age-appropriateness, and educational value. A provider that works with children is expected to be transparent about its policies, and services with verified children's modes, clear age ratings, or recognised credentials are favoured over those without. This editorial filter is what distinguishes a curated children's media directory from an open index, and it is meant to save families the work of vetting each option from scratch.

It is worth being clear about what the listings can and cannot tell a reader. They can describe what a service is, who it is for, and how it is governed, and they can point to the regulators and research that frame the field. They cannot tell a parent whether a particular programme will suit a particular child, because that depends on the child, the family, and the moment. The category is built to inform a decision, not to make it, which is why the editorial entries stick to verifiable detail and leave the judgement of taste and timing to the people who know the child.

The field also keeps moving, and the page is maintained with that in mind. Streaming services rework their children's areas, broadcasters shift programmes between channels and apps, music schemes open and close, and regulators update their codes. An entry that was accurate a year ago can drift out of date, so the listings are checked periodically and corrected when services change. This is one more reason the category favours providers that are transparent about their age ranges, safeguarding, and educational claims: clarity at the source makes a listing easier to keep honest.

Readers who want to go deeper into the evidence and the rules can turn to the sources below. They include the legislation and regulators that govern children's television in the United States and the United Kingdom, the public guidance on media use, and a selection of the academic work on what music does for children and teenagers. None should be read as a substitute for a family's own judgement about a particular child, but together they give the background against which the listings in this category were chosen.

For questions about a specific listing, corrections, or requests to be added, the editorial team can be reached through the site's contact page; suggestions from teachers, parents, and the providers themselves help keep the entries accurate and current. Because the children's music and television field keeps changing as services launch, merge, and close, the listings are reviewed periodically, and feedback from users is one of the main ways gaps and errors are caught.

1. American Academy of Pediatrics, Council on Communications and Media. (2016). Media and Young Minds. Pediatrics
2. Britannica. (2023). Children's Television Act of 1990: Regulations, History, Impact, and Summary. Encyclopaedia Britannica
3. Congress.gov, Library of Congress. (1990). H.R.1677, Children's Television Act of 1990, 101st Congress. United States Congress
4. Federal Communications Commission. (2019). Children's Educational Television. FCC Consumer and Governmental Affairs Bureau
5. North, A. C. and Hargreaves, D. J. (1999). Music and adolescent identity. Music Education Research
6. Ofcom. (2018). Children's Content Review. Office of Communications
7. Saarikallio, S. and Erkkila, J. (2007). The role of music in adolescents' mood regulation. Psychology of Music
8. Schellenberg, E. G. (2004). Music Lessons Enhance IQ. Psychological Science