[Angie Snell]

As you know, I am not currently doing direct service on a regular basis. However, when in the clinical setting, I initially use singing, playing instruments, moving, and listening music experiences to assess the children. And Schwartz’ developmental framework provides a great way to explain what I have observed in the child’s/person’s music responses and how it relates to their everyday lives. Of course, after that, I use these four music experiences in a responsive and flexible way going forward. With my early childhood groups, I typically arrange 10-20 minutes with the parents/caregivers and staff to give them an overview of what and why I encourage them to model music engagement, refrain from correcting or trying to shape their child’s responses. I then practice some of the songs I have planned with them and share some of the developmental information. We practice some strategies such as simple modeling, timed touches, knee bouncing, and shared smiles at marked points in the different music experiences. I encourage them to accept their child’s responses unconditionally and focus on creating moments of emotional connection/bonding and to create positive memories associated with music making. I also allow the parents/caregivers to respond in the way they are most comfortable and that their child will notice how they are being musical, whether it is by small or animated toe/finger tapping, movements, singing, and or instrument play.

[Angie Snell]

The small community where I live is on the southeast corner of Michigan, just across the Ohio boarder. The majority of the community is Christian and the school calendars historically revolve around the related holidays. When I first moved here, the musical styles of choice by students, families, and staff seemed to be country, folk, and pop. I admit it took me a bit to adjust after working in Detroit and experiencing multiple cultures and musical styles. However, over the years there have been a growing number of Hispanic, Black, and Middle Eastern families who have moved to and become more prominent parts of the community. Early on, I found I had to advocate for more diverse music and recognition of other cultural traditions and holidays. The community outreach part of the MT program I worked to develop played a role in shifting the school music concerts and gatherings. It was effective to remain focused on musical preferences of the students and their families, while building relationships in the sharing of music. The common factor that I experienced in the two different cities was the presence of multi-generational music styles and how important those different musical styles were to each of my students as related to their families and to their same-aged peers.

[Angie Snell]

Leah, it sounds like you were able to use the music to value how she showed up, how she was musical, and how important control was for her.

[Angie Snell]

A case example that has stuck with me over the years is when a young elementary age girl showed up in one of my MT groups without me being given prior notice or information. Her family had just moved to the school district I worked for. She had multiple physical disabilities and was unable to speak or independently move her limbs. Her responses indicated she was in the awareness level, although I was not sure whether that was accurate since I did not know any details about her or her history. I noticed that her eyes followed me and the guitar I was playing. I assessed which music elements she showed even slight responses to through her eyes and breathing. I incorporated those elements into the way I played the music. Soon within the session she presented a big smile and by the end of the session she had sustained smiling and turned her head to follow me and the guitar as I moved across the room.

I found out afterward that this young girl was hardly ever known to sustain a smile, let alone express a smile. And the teacher and the PT did not know she could move her head. After that first session, I collaborated with and consulted with the SLP, in addition to the PT/OTs. We eventually developed the positioning of communication switches on her headrest so she could begin to communicate likes and dislikes. We got a short time with her before she passed away. And during that time she got to expand opportunities to develop and share happiness and social connection more deeply and more meaningfully.

[Angie Snell]

Yes, the Just Like Me is one that is quickly learned and applied. I find that musical anticipation is the powerful element of each of the songs shared in this unit. Using our voice, facial expressions, and movement to indicate anticipation allows us to hold/share that together with the child within the structure of the music. So very fun!

[Angie Snell]

The Just Like Me song is one that I have used in Parent and Me music therapy groups. It helps to orient the parents/caregivers to the benefits of sharing the music together socially, using timed touch and shared facial expressions of joy. It is important to empower the caregivers by outlining that we value the child’s response rather than trying to “make them respond in a specific way.” The shared joy is the association we want to establish when the parent and child are making music together.

[Angie Snell]

Awareness:
– Changes in movements, facial expressions, vocalizations in response to melody, pitch, timbre, singing
– Settles in response to rhythmic repetition (ex. rocking) and pitch, timbre
– Altered movements and vocalizations in response to musical silences

Trust:
– Purposeful vocalizations in response to singing; evidence of some matching pitches, vocalizations related to the tonality of the song
– Movement, expressions, and body posture to indicate music style preferences
– Purposely shake simple shaker instruments in relationship to the presented music
– Vocalizations to indicate happiness or other emotions related to the music

Independence:
– Is able to bounce, rock and use whole body rhythmically in response to the music
– Babbles using melodic intonation
– Can clap, bang two objects together and imitate simple movements

Control:
– Sing two words in phrases using pitched intervals and can use different vocal timbres
– Explore novel instruments
– Anticipate the end of familiar songs

Responsibility:
– Sings melodic contour, pulse, and meter within familiar songs
– Repeats rhythm patterns and can group rhythm patterns into a sequence
– Controls dynamics of their play to match the music

And there’s so much more! 🙂

[Angie Snell]

Jorden, it is great reading your response to this prompt question. You capture some of the nuances and the music responses and how you respond as a result. I love how you label the beginning of the Independence level as “slightly organized chaos.” Many times how we facilitate that joyous chaos can assist the other adults in the session to enjoy it, too. I have to also say that the stop and go songs you talk about in the Control level is one of my most favorite things to do. So much laughter and shared joy happens during the ‘stops’ and the anticipations of the ‘goes’.

[Angie Snell]

What is so great about knowing what to expect to see from a child, is that we can also recognize when they might be moving to or from another level in this developmental framework. With what you share here, Sean, I can imagine being in a live MT session, observing these behaviors, and having a framework to base my in-the-moment clinical decisions. In other words, manipulating the music to match the child.

[Angie Snell]

I bring an ever-present curiosity for learning from the children and the ability to shape the music so each child feels musically, emotionally, and physically embraced and celebrated. It is a confidence builder to have had the privilege to work with hundreds of young children each year for more than 3 decades, along with their parents, and their caregivers. Over the years, that works out to be thousands of children! Little ones always humble us and teach us new perspectives. And their parents desperately want to know they are being good parents. Parents and caregivers can benefit as much as their children from sharing music therapy time with their children. It is such a privilege to get to provide those opportunities. I guess I bring openness and energy with a genuine love of getting to share music and all the positive associations that can happen within that music. Those positive associations can last well beyond the confines of music therapy sessions.

[Angie Snell]

Well said, Jorden. Keeping the music simple and developmentally appropriate allows us to really shape the music to the child in-the-moment and focus on the quality of the interactions and the child’s natural responses.

[Angie Snell]

Yes, I also felt this unit was refreshing. Being able to talk about the developmental stages in a way that is individualized to each child and to view the child and the parents from a healthy perspective. I also have to say that when they suggested we get on the floor, I immediately thought of my two youngest grandchildren (1 year old and 10 months). This had immediate meaning and relatability for me.

[Angie Snell]

I agree, Kayla. It is so important for the child to feel free to explore and engage in the shared music experiences. And how wonderful it is for parents to get to see their child having fun. Knowing the developmental stages also reminds us to be sensitive to loving parents who might need to know their child is developing just fine or who might want to consider seeking an early childhood evaluation. It is good to frequently go back and review the various stages and how they look in the physical, motor, cognitive, emotional/social, and language areas.

[Angie Snell]

While the content of the course this week is not new to me, I found that I really do still love diving into the developmental stages and the various rates which children reflect them. My biggest take-away is the reminders that parents might not know the nuances of the developmental stages and that how we design musical interactions can be so powerful (and empowering) for parents who might be secretly comparing their child to others. Listening to how Elizabeth and Meredith talk about each area with joy reminds me how important our role modeling can be for parents and caregivers during these young years. And, it is just as important to recognize when there might be need for concern when a child is missing critical milestones. Our sensitivity, rapport, and trust with the parents is just as important as it is to have with the children.

[Angie Snell]

Hello to All here!

My name is Angie and I am coming to you from Monroe, Michigan. I have 2 sons, a daughter, 2 daughters-in-love, 1 son-in-love….and FIVE wonderful grandkids. They bring me so much joy and happiness. I am semi-retired and fortunate to be working in the field that I love.

Early in my career, I initially worked for a partial day treatment program and for FAR Conservatory for Therapeutic and Performing Arts, a nonprofit arts organization. However, the majority of my work has been as a public schools music therapist. I worked for Detroit Public Schools for 2 years and then spent the following 34-35 years with the Monroe County Intermediate School District (MCISD), located about 30 min. south of Detroit. I worked with children ages zero to 26. I retired from MCISD in 2020 and found that I missed the students, their families, and having the privilege of sharing music and music therapy every day with them and the community. MCISD provides special education to all the schools in the county, so I worked in 9 public school districts and 3-4 private schools. Fortunately, in the fall of 2020 Eastern Michigan University called to have me provide clinical supervision for some of their practicum students when needed (typically in the Fall semester). In 2021, Roman Music Therapy Services needed a Clinical Coordinator, so I fill that role through the magic of Zoom part-time and it is so much fun! I love it there. My passions are early childhood, inclusive education, parent support, transition planning, and community outreach.

[Author]

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