Share Your Strategies

[Meredith Pizzi]

Share some strategies you have used to assure every child in your groups is successful.

[Lauren Klimek]

Some strategies I’ve used in my groups would be modifying the music curriculum to the needs and/or ability of the child. I’ve used modified instruments for children that are developing, or have a deficit, in fine and/or gross motor skills, such as thicker mallets and maracas. For children who are wheelchair bound, I’ve used taller drums, and modified marching songs where they can lead the group in the march around the room, so as to not feel left out of the group activity (which I know some MT’s would just abandon the marching song all together). In general, I try to keep the music and activities as engaging and exciting as possible so the children want to participate and learn. I believe that if the music remains exciting, predictable, fun, safe and intriguing, then the children will always succeed.

[Megan Calabro]

Hi, everyone

As I’ve shared in previous posts, by far the majority of my work with children in this age range has been on an individual basis. Some of the strategies I’ve used have primarily included modification – whether through adaptive instruments, modified movement patterns for children who may be wheelchair or hospital-bed-bound, modified tempo, and especially vocal modifications (timbre, tone, pace, etc). When I was doing my MA, there were multiple times when I cited this one article about infant-directed singing, and that knowledge has really become part of how I choose to practice. This is also something I’ve strongly encouraged any students I’ve had to really look at. With regards to music choices and presentation, I have always taken those cues from the child that I’m with. Early childhood groups are going to differ, and I will fully admit that this is something I will have to get used to. More over, it is something I’m going to have to be forgiving with myself about as there is going to be a learning curve. I think I would be fine with small groups, but larger groups will take some getting used to. But, I’m definitely excited to see where this can all lead. =)

[Gina Greeson]

When I worked with children, I used adaptive instruments, modified movement, tempo, as well as vocal modifications like Megan stated.
I ran medium sized groups (about 10-12). (During practicums) When I ran intergenerational groups, I had to think about what music would engage both older adults and children. If the children were engaging with the older adults, I had to make sure the tempo was not too fast and the movements were engaging and not too strenuous. Like Megan, said, I too will have to be forgiving of myself when I first facilitate the early childhood groups.

[Joanna Calahan]

I’ve modified the lyrics to songs, adjusting the words or phrases as well as the tempo. I use larger drums (the heads of the drums like shape or frame) so there is more surface area for clients with smaller hands or lower spacial awareness and motor control to play. I’ve used adapted mallets with a few clients, assist with hand-over-hand playing, and omit words and either hum or sing on a syllable. Like Lauren said, I try to adapt the songs and interventions so that each client has the opportunity to participate, and also keep the group/clients engaged.

[Dina Breaux]

The strategies I have recently used come from the training in this course. Using the phrase “trade” has been one of the most successful ones I utilize when it comes to sharing instruments. The daycare group I work with loves to play the instruments, but struggles with sharing them. After a great deal of repetition using the chant, “Let’s trade instruments and have more fun,” they are now able to trade their favorite drum for a colorful egg shaker without tears or tantrums. This has allowed every child to be successful with the social skills of sharing and turn-taking.
I have also modified my sessions by limiting them to 30 minutes because the children would begin to fight over instruments and wander away from the music area towards the end of the class. I took out the movement song (incorporating movement into the instrument song) and combined the clean-up and goodbye songs. This modification has been successful in keeping their attention throughout the session and the transition of putting away the instruments and singing goodbye a tantrum-free experience.

[Anonymous]

Thank you all for sharing your strategies. It is great to hear what you have found successful in your work. Megan I would love to read that article you cited in your MA. Would you be able to share where we could find it? Dina I am glad to hear you have found things from this training useful!

[Megan Calabro]

Hi, Erika

I didn’t see your response until just now – sorry about that! There were a few different articles that I cited in my thesis. A few were written by Trainor/Trehub and included: Infant preferences for infant-directed versus non-infant-directed play songs and lullabies (1999); Distinctive messages in infant-directed play songs and lullabies (1999); and a couple of others on maternal responsiveness, infant responsiveness to maternal singing, and emotional content of infant-directed vs non-infant-directed singing. The other 2 that I would strongly recommend reading are: Infant-directed singing: A theory for clinical inteveion by Shannon de l’Etoile (MTP, 2006); and Infant-directed singing as a vehicle for regulation rehearsal in the medically fragile full term infant by Helen Shoemark (Voices, 2008). Enjoy!

[Kristina Rio]

It was wonderful to hear about how you are structuring your sessions to meet all of your clients needs. I’m glad that this course has already helped many of you to incorporate strategies for success with young children!

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