[Amanda Zorzi]

5 words: Playful, Authenticity, Discovery, Anticipated Surprises, Variations

5 sentences: 1.) It’s okay if you don’t see your child immediately connecting with other peers. 2.) It’s okay if they’re standing there looking like they’re not doing much. It is likely that there is a lot going on in their minds! Let’s let them have that space. 3.) We want our children to bond with us, and we also want them to see everything. Let’s let them show us what they’re ready to do. 4.) I welcome your child to come explore the guitar! 5.) Don’t worry. I clean these instruments thoroughly after every session.

Gathering/Greeting: “Hello Everybody” (MRP) bright, energetic greeting with gentle elements of surprise.
Bonding Songs: “Wiggly Jiggly Car” (ES) I used this in my session plan for SM I, but I would be using it differently with the older children in that I would include more surprise elements, faster tempo, and an increased dynamic (mf-mp).
Songs About Me: “Can You See Me” Exploring closeness vs independence.
Instrument Songs: “We’re All Here to Play” (Original) Using the gathering drum. The song has guiding rhythm that can be varied throughout; utilizing accelerandos.
Movement Songs: “March With My Baby” Highest point of energy! Moms and babies are up and moving. I will instruct the parents to just enjoy and embrace their little one during this song.
Movement Songs: “Song in my Tummy” (Laurie Berkner) Relaxed, wind-down song that promotes body awareness and likeness to others.
Goodbye: “Thank you very much” I’d absolutely be mirroring the concept presented by Beth and Meredith to extend respect and joy to each child. I love the community aspect of this song and the modeling that would be happening for the children.

Laura-Maria: I appreciate your sentence about paying attention to what the child is anticipating. Not only can we point out red flags to parents, but we can also empower them to know what to look for.

Rylie: I loved how you incorporated the ASL sign for thank you! I feel like that gives the group a more inclusive, community-based feel and it gives the participants a new tool to communicate.

[Amanda Zorzi]

5 words: peaceful, acceptance, connection, gentle movement, and playfulness

5 sentences:
1.) Take your time getting settled, and join in when you’re ready.
2.) 12-18 inches would be a good distance to have between you and your baby’s face, so that your baby can see you and connect with you!
3.) This is your time and your space, just as much as it is your baby’s.
4.) This is a great time for you to learn the music so you can use it at home, too. Singing along will really help it stick in your head.
5.) Your baby has a special connection to your voice specifically. They’ve known it since before they were born! He/she will really appreciate hearing your sing to them.

SM 1 Session Plan:
Gathering/Greeting: “Good Morning, Hello” (Original) Gentle hello song with long lines, and narrow dynamics (p-mp). Addresses every baby.
Warm-up: “Twinkle Twinkle Little Star” I encourage parents to get comfortable using their voices in the group with a familiar song that we repeat 2-3x. I tell them just to hold and move their babies however they both find comfortable.
Bonding Song: “Wiggly Jiggly Car” (EKS) I direct parents to put babies in their laps, facing them at that nice, close distance. Parents move their bodies to the music and focus on connecting with their babies.
Songs About Me: “Just Like Me” (EKS) Babies in the awareness stage stay in the same position. Babies who have moved into the trust stage are turned to face out. We all gesture to different body parts on ourselves or others and then tap or reference that body part on our baby.
Instrument Song: “We’ve Got Everyone Together” (Original) Accompanied with gentle strumming or fingerpicking on guitar (depending on participants), simple melody, space for instrument playing. This song acknowledges the feeling of togetherness in a group.
Movement Song: “Stretch Your Arms Up to the Sky” (Original/Similar melody to “Twinkle Twinkle”) This is a gentle stretching song. Parents can move their babies and model for them. This song has a similar melody to our warm-up, so it would be used as a “book-end” to wind us down.
Goodbye: “It’s Time to Say Goodbye.” Accompanied with gentle guitar playing. Addressing each baby and their parent.

[Amanda Zorzi]

Music is an innate part of the human experience. Just like Hilary discussed – in our culture, music-making is reserved for people with special “skills” or “gifts.” Music therapy completely reframes that concept because we constantly acknowledge that music is for everyone. Our society lacks opportunities for inclusive music experiences. Music therapists are the perfect people to facilitate community-based programming to foster connection, to promote psychosocial health, and to enhance intergenerational and intercultural relationships.

I have been sitting with this question of.. are community music experiences facilitated by music therapists with clear, health-related aims, therapy services? In trying to implement a community intergenerational music group, I keep running in to this question. I got some clarity from the explanation Beth and Meredith gave about what Sprouting Melodies is, which has been really helpful. I’m curious to see if any of you have thoughts on it, as well.

[Amanda Zorzi]

Just like many of you have said, I have also not had any clinical experiences with infants this age. I did, however, recently interact with a six month old baby and her mother who were sitting next to me on an airplane. Her eyes were open and it was so evident that she was making hundreds of connections based on her surroundings, just by the way she looked around.

Hilary and Rylie – This is similar to what you both mentioned about infants absorbing everything. She was absolutely like a little sponge!

She was just starting to show some independence while sitting up, but still needed that “just in case” support. I spoke with her mom throughout the flight. I don’t have any kids of my own, but this interaction gave me a bit of insight on how it is to be a new mom. It seems like an all-encompassing experience. Just like Meredith and Beth were describing in this module, this mother had so many bags, materials, blankets, etc. At the end of the flight, this mother asked if I would hold her baby. Sabrina – I was so nervous to do so, just like you described. Infants seem so fragile, and I felt like I put had to forth all this conscious energy toward being gentle and safe.

The baby made clear eye contact with me and smiled – so connected. She grabbed my finger and tried to put my hand in her mouth, exploring a new person, just as Beth had described in earlier modules.

This was just one instance, but it was significant for me because before that flight, I had not had any experiences with babies, 0-9. I am so eager to work with this population. It’s wonderful to think about how we can be connected to music, no matter our age.

[Amanda Zorzi]

Similar to Rebekah, the families I see typically have kids with disabilities. I am new to my community, so the part of the module that discussed engaging in your community and becoming a leader within it went right to my to-do list. I am aware that parents of my clients are often looking for experiences for neurotypical siblings to gain support, as well as inclusive family-based programs where siblings can go together. I am also noticing that parents I interact with are often looking for support and education on how their child is developing.

Rylie – I’m happy you identified a commonly overlooked need – recognizing a child’s unique strengths and abilities. Patients typically come to my practice looking to “fix a problem” with their child. Celebrating and utilizing strengths is essential to developing in a healthy and successful way. Recognizing this is absolutely a need for so many families I work with.

[Amanda Zorzi]

Music therapists facilitate music experiences for the people we work with because music is an innate part of the human experience. Hilary – I like how you brought up how we normalize music-making rather than enforce the idea that it is only for people who are “talented” or “experienced.” A music group led by a music therapist is inclusive in nature, based on the understanding that participation in music is for all of us. MT’s also know how to assess for clinical and personal needs and use music in directed ways to address them. My personal strengths as an MT lend my well to this population in that I can be very playful and flexible in the music – both things I worked on in my practicums and my internship. Hillary and Sabrina – Yes, we can comfortably deviate from that session plan depending on what we are detecting from our participants while other types of facilitators may not be privy to what the needs are and may be rigid in their plan.

[Amanda Zorzi]

Singing, playing, and moving are regular experiences I use with clients in session. I do a lot of active music-making which is often a great way to engage with my clients who have neurodevelopmental atypicalities. I notice that especially with my younger clients, my sessions are highly active. On the other hand, I rarely consider the listening experience. I have recently become much more aware of the modes I’m using. I’ve always felt like major modes are “child-like” and that’s typically what I’ve used. Now, I’ve begun to stray from that major mode and incorporate varying tones and scales. I am looking forward to taking notice of my clients responses in listening.

Hilary and Sabrina – I also have had challenges in my sessions with the concept of silence. I really liked the “rule of 3000” tip that Beth talked about. Leaving space for responses at the end of a songs or after a cue can be really challenging. I think it’s a great example of how important it is to know about our clients and where they are in their development so we are able to meet them where they are.

[Amanda Zorzi]

Singing:
Awareness: MT sings in a high register and encourages parent to sing along. Child turns head toward music.
Trust: Child repeats some pitches she/he hears.
Independence: Child babbles melodically and fills responds vocally to pauses in the music.
Control: Child sings along with pride and reflects the mood of the music.
Responsibility: Child reproduces familiar song vocally in the session.

Playing:
Awareness: Child responds to changes in tempo through facial expression
Trust: Mt offers shakers and child picks it up and shakes two times.
Independence: Mt offers a variety of instruments, and child explores them.
Control: Child follows musical cues to play and stop.
Responsibility: Child plays instrument along with group and matches another child’s tempo.

Moving:
Awareness: Child hears music and moves arms in response.
Trust: Child swings their arms back and forth when the music starts
Independence: Child pats hers/his knees with intention and notices when MT others their movement.
Control: Child will imitate and mirror adult patting toes, knees, head, etc.
Responsibility: Child uses movement to match other elements of the music i.e. mood, tempo, dynamics, etc.

Listening:
Awareness: Child turns her/his head toward their mother when she sings.
Trust: Child shows regulates emotions when he/she hears “The Wheels on the Bus.”
Independence: Child hears a minor scale and furrows eyebrows and relaxes mouth.
Control: Child hears a song that interests him/her and chooses to stop their body and listen.
Responsibility: Child hears a peer play their music and responds by playing along interactively.

Rylie and Penny – I appreciate how you described each developmental stage in the context of a specific song.

[Amanda Zorzi]

Singing:
Awareness: MT sings in a high register and encourages parent to sing along. Child turns head toward music.
Trust: Child repeats some pitches she/he hears.
Independence: Child babbles melodically and fills responds vocally to pauses in the music.
Control: Child sings along with pride and reflects the mood of the music.
Responsibility: Child reproduces familiar song vocally in the session.

Playing:
Awareness: Child responds to changes in tempo through facial expression
Trust: Mt offers shakers and child picks it up and shakes two times.
Independence: Mt offers a variety of instruments, and child explores them.
Control: Child follows musical cues to play and stop.
Responsibility: Child plays instrument along with group and matches another child’s tempo.

Moving:
Awareness: Child hears music and moves arms in response.
Trust: Child swings their arms back and forth when the music starts
Independence: Child pats hers/his knees with intention and notices when MT others their movement.
Control: Child will imitate and mirror adult patting toes, knees, head, etc.
Responsibility: Child uses movement to match other elements of the music i.e. mood, tempo, dynamics, etc.

Listening:
Awareness: Child turns her/his head toward their mother when she sings.
Trust: Child shows regulates emotions when he/she hears “The Wheels on the Bus.”
Independence: Child hears a minor scale and furrows eyebrows and relaxes mouth.
Control: Child hears a song that interests him/her and chooses to stop their body and listen.
Responsibility: Child hears a peer play their music and responds by playing along interactively.

Laura: I liked how you chose specific songs you’d use to measure each different music response.

[Amanda Zorzi]

This is a challenging question considering I’ve had many musical homes throughout my life – where I grew up, my performing arts high school, Temple University, and numerous music groups that felt like communities. I can’t say I mostly identify with one “home community” even right now because live in Philadelphia with childhood friends and I work in New Jersey. The music of these communities have stuck with me, of course, but much of it seems to become my personal music as I move through life to be a part of new communities. My clients come from all different towns and schools, and I love when they share with me their personal music from their community. Even my youngest clients will request their favorite song from school or church, and it is clear that it is so meaningful to them.

Penny – Welcome! Thanks for sharing your experience with syncopation in sessions. I want to start mindfully incorporating that musical element into sessions and see how my patients respond.

[Amanda Zorzi]

I am in love with the “Good Morning to You” song, as many others have mentioned. The melody is so sweet and welcoming. I typically see patients in the afternoon or evening, and of course the music is easily adaptable. However, this ended up feeling like one of those “piggy-back” songs that Beth described in the video. When I replaced the lyrics with “good evening,” the melody didn’t make as much sense. Those open interval leaps just feel like morning to me. I am working on adjusting the melody to reflect different times of the day.

Sabrina – That’s so nice that you’ve already worked closely with this music and now get a chance to learn the information that pairs with it. There’s something about “owning” the music and making it yours that feels so alive and builds the relationship.

[Amanda Zorzi]

Hi All. I currently see a young boy who just turned four years old for individual music therapy sessions that his mom attends with him. It is challenging for me to place this client in one music developmental level because I see elements of a few different stages emerging for him. This may be due to some his speech delays and some of his unique, sweet, quirks. I can see elements of the independence stage in that he chooses instruments, matches my dynamics, and only briefly stays in a meter. He vocalizes and explores with his voice, but not in a melodic way. He loves to “scream,” as he calls it, and see what very high pitches he can reach. He does not participate in structured singing, but some talking and filling in familiar musical phrases by speaking the lyrics. Vocally, he seems to be in the Trust stage. At the same time, he exhibits elements of the control stage in that he participates in turn-taking, has a favorite song, and will grab mallets and forcefully play the drums. His musical development seems to mirror the unique way he is developing.

Laura-Maria: Most of my clients are on the spectrum, and I see some of these “early childhood” music characteristics in older children, as well. It seems like when developmental disabilities come in, it’s hard to fit our clients into one stage. However, seeing their unique abilities that span across these developmental stages in music can greatly inform our work. I wonder if we could start using music as an general assessment tool for people that are differently abled because of the natural relationship with music that is often there and the flexibility that is offered through the music. We might be able to dig deeper than an EEG and an ADOS measure.

Hilary – Such a sweet story about a child’s first independent adventure! It’s not surprising that music was her motivator.

[Amanda Zorzi]

Jeanelle – I am also thankful for the approach shared with us that encourages the parent of the child to interact first and then the therapist.The information about the child’s “inner circle” of trust gave me a lot of clarity. I also found the oral motor information valuable and I like the language your pediatrician used to describe it. I’m going to use “a third hand” when explaining to my clients’ parents. Thanks for sharing

[Amanda Zorzi]

Sabrina – I agree that this information will really influence how I design my interventions. I think our expectations as therapists are a crucial factor in the therapeutic relationship and in nature of our clients’ growth. This information gives us the tools to have attainable, appropriate, and relevant expectations for our clients.

[Amanda Zorzi]

I’ve noticed that in order for me to build a therapeutic relationship with a young child, it’s important to meet them where they are. I personally find that that “child-like” part of myself is easily accessible for me – I am comfortable jumping, making silly faces, crouching to the floor, etc. This flexibility helps me relate to my clients and build strong relationships with them.

I think learning about the stages of development will help me to relate to, not only the “what” is my client doing, but also the “why” is my client doing that and “how” can I support them. I found the examples given very useful Just the other day, I was able to reassure a parent that it was normal and healthy that he child was shy around me based on his age. I also think that being more aware of development will help immensely in goal writing for young children.

I find this knowledge to be very exciting. What a wonderful privilege we have to get a glimpse into how people first begin to learn about the world and support them with music. Rebekah – I feel proud to be “the music lady” too!

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