[Anne Reed]

Take 2-

SINGING
AWARENESS: vocalizes along with music- may have highs and lows but not matching pitches at this time
Trust: vocalizations begin to match a few pitches in songs that are familiar, songs that are repetitive and have a simple pattern, begins to explore sounds (babbling), will start to vocalize descending note patterns
INDEPENDENCE: things start coming together more- more exploration of sounds with melodic inflections (Major 2nds), repeating sounds, using more descending intervals and glissandos
CONTROL: starting to imitate words in songs but not necessarily on pitch or in rhythm, they are is now able to match individual pitches more consistently, and will start spontaneously “singing” although not necessarily a recognizable tune, interval singing now includes major and minor 2nds, 4th, 5ths, noticeable following of the contour the song but not necessarily with accurate rhythm
RESPONSIBILITY: pitch matching improves with a better pitch center noticed, more dynamics when singing, identifies low pitches easier than high, start singing with improved rhythm and meter along with musical contour, start identifying the songs being sung more accurately

INSTRUMENTS
AWARENESS: Will turn towards, look at, and increase body movements in response to instrument sounds
TRUST: will begin to reach out for musical objects, not necessarily to play purposefully, more likely will put in their mouth
INDEPENDENCE: more purposeful use of instruments noted at this stage, starts showing some ability to discriminate movements needed to activate instruments
CONTROL: this is the “BAM BAM” stage (Flintstones reference) where pounding and making noise is fun, will stop and start play and repeat a “performance” if they get a response from the listener, rhythm is fast but not necessarily with a steady beat or a beat that matches an outside source
RESPONSIBILITY: can use a variety of instruments, shaken, struck with hand or mallets, fingers (more fine motor control immerges as the reach 5 yrs. old), instrument activation is much more rhythmic and with the beat

MOVING:
AWARENESS: turning head towards singing, follows movement of instrument with head/eyes, may show some body wiggles
TRUST: Starts getting “Jiggy with It” as you notice more repetitive movements in response to music although body parts move together at this stage (arms and legs)
INDEPENDENT: begins to isolate body parts, wave arms and move legs, although not refined movements- approximations
CONTROL: begin seeing more refined actions, i.e. clapping, patting legs, wiggling bottoms, back and forth rocking if in a crawling position, if standing you will see knees bending and bodies rocking
RESPONSIBILITY: at this stage we now have the “Boogie Fever” dancing and moving, spinning and putting movements into sequences, some jumping and stomping of feet

LISTENING:
AWARENESS: turns head towards a familiar voice such as the singing voice of their mother over the music therapist, responds more to higher pitches (eye contact or a head turn), localize to voice of someone who is singing, responds differently to calm verse active songs (repetitive rhythmic and melodic soothing songs can lull into sleep)
TRUST: will look for sounds heard in a distance, attend for greater lengths of times to singing, show changes in expression in response to familiar melodies, vocalize in response to familiar melodies,
INDEPENDENCE: will show increased and decreased movement patterns in response to musical intensity, will begin to protest when music stops or use expression to communicate desire to hear more
CONTROL: more active listening of songs noticed as their discriminations skills develop and they begin to imitate sounds, hear contour and intervals
RESPONSIBILITY: demonstrates their ability to auditorily discriminate rhythmic patterns, melodies, listens to the music of others, can engage in simple attention experiences such as stop and go, fast and slow.

Whew

[Anne Reed]

This is a new approach for me. Although I am not leading any groups at the moment, I will be using the music developmental sequence with my individual client. Also, by doing so I believe it will provide skills that can be generalized to a group setting down the line.

[Anne Reed]

Taking a stab at it:

Singing/ Listening-
A- In combination with rhythmic tapping on babies back (2/4 beat played 88 4- repeated [We will Rock You beat])alternate between singing/ humming, Oohing, to the tune of “twinkle twinkle” Keep the tapping going and introduce other simple repetitive melodies- This Old Man. I’m Gonna Sing when the Spirit says Sing is a fun one to introduce a different rhythm pattern. Look for body responses, vocalizations,
Trust- Throw in some key changes and passing tones, little variation on a theme look for changes in facial expressions, giggles, facial expressions
Moving through independence to responsibility imitate singing of the child, allow for filling in some of the words as they gain language. See if the child responds to whispering vs. singing loudly

Playing/ Moving
A- While laying down or in a seat, play some jingle bells/ finger cymbals/ chiquita maracas pausing at the end of each phrase playing the same beat used for rhythmic tapping. Place the baby in your lap and bounce to the beat. “I’m Gonna Sing” is great for modeling different body percussion. In the trust phase you can begin introducing fast and slow patterns, i.e. drum role on half notes, movements that move up and down with the music- stopping at the end of phrases. Moving through independence to responsibility imitating the child’s movements, organized marching around the room and imitation of other children’s movement and playing.

[Anne Reed]

Wow, so many moments come to mind. Here’s an awareness stage example. When in the children’s hospital on the infant unit I remember singing to a baby who, due to his medical condition (breathing supported by a ventilator),slept most of the time. One day I went in to visit him and began singing some simple, quiet songs. He opened his eyes and looked at me. I observed no distress in vital signs. I continued to sing until he drifted off to sleep again. I found out two days later that the child passed away. I was so grateful for that experience and, hopefully, I brought him comfort and joy although for just a moment.

[Anne Reed]

Hello Everyone,

I am Anne Reed. I am a graduate of Baldwin Wallace College- now University. I’ve been a music therapist for 32 yrs.- 23 of them with The Music Settlement. I have worn many hats throughout my career, Interim Chair, Clinical Director, Supervising Music Therapist (my current position at TMS), all along working as a clinical music therapist. I also worked 9 years in a residential treatment center for children undergoing abuse recovery and learned much about trauma informed care and the impact of trauma on development. The first 12 years of my career I worked in a rehab hospital for children (work with children birth through 18 yrs. old primarily). Other than that, I primarily work primarily with children and adults who have disabilities.

I’ve enjoyed reading about everyone’s professional journeys and look forward to this training together.

When words fail- MUSIC.

Anne

[Anne Reed]

Foundations are important- such as understanding child development. However, being able to understand child development does not make me an effective music therapist. Applying developmental principles to my therapy- that is the thought provoking, challenging piece since no two children develop the same.

[Anne Reed]

It is amazing to watch children develop. I have also learned from my experience that most children have incredible resilience and capacity to grow even when faced with difficult challenges. I have witnessed this throughout my career whether it be in a residential treatment center, pre-school program, hospital, etc. Music is the spark that helps to ignite curiosity, exploration and engagement.

[Anne Reed]

Hello,
I added a picture. Hope it works.

[Author]

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