[Cassandra Reyna]

This training has done exactly what I hope it would–fill in all of the knowledge gaps I had about early childhood and refresh what I did learn. At my university, our early childhood information was quite early on in the program, and that information leaked out of my brain over the course of the next three years. We also focused quite heavily on children with special needs, so I never had the opportunity to work with typical children until my internship at a children’s hospital. There, I realized that I needed to be very aware of music’s role in development because these childrens’s illnesses were impacting their ability to develop like any other child would, whether that be due to limited mobility or a trach tube impacting their verbal skills.
While I intend to stick around the behavioral health hospital for while longer, I intend to utilize this information at the music school I work at (they have “Mommy and Me” classes) and as I pursue my Master’s, which will most likely have a focus on working with children. In the coming years, I will certainly break out my Raising Harmony notes in order to constantly refresh the information and add new songs to my repertoire!

[Cassandra Reyna]

I have actually already begun sharing this information with colleagues and administrators! I currently providing string lessons at a chain music school that has infant and toddler curriculum. We were able to have a frank discussion about how their curriculum does focus on learning musical skills, whereas this curriculum focuses on the development of the child. We determined that corporate’s mission is to have children learn musical skills but that my knowledge and experience as a music therapist makes me capable of running these “Mommy and Me” classes.
I intend to continue studying the material we have learned about developmental milestones in order to “pitch” this information to potential daycares/preschools. I want to be able to show them that I know this information thoroughly and am providing a service beyond entertaining their students.

[Cassandra Reyna]

I love Alice’s response to engage all children with unconditional positive regard–I think that is a huge principle in the psych setting I currently work in and especially important to remember in working with children. There are always adaptations to include children who are outside of the circle. There are always objects around the room that can be used as a drum or drum stick. There will, from time to time, be the crying child who just needs reassurance that it’s okay to be overwhelmed or sick or tired. Unconditional positive regard is “I love how you strum the guitar!” but also looks like “I noticed you were paying a lot of attention to that guitar! Should we try it next time?” Allowing the child to move at his or her own pace and get out of the group what he or she desire to get out of the group is key, in my opinion. There will be plenty of time for “right” and “wrong” later in life.

[Cassandra Reyna]

I am most looking forward to offering opportunities for families to experience music as FUN and something to do TOGETHER! From my own experiences in childhood, I understand that many non-musician parents see music as something that is off-limits to them. I have also never, not once, been in a room with both children and instruments and not had the children simply dying to get their hands on the instrument, whatever it may be. I am so excited to provide opportunities for children (and their parents!) to have time to explore music without a “right” and “wrong.” I am excited for an environment where “that’s not how you play that” isn’t in the vocabulary.

[Cassandra Reyna]

All of the answers so far are phenomenal! I agree with the challenges in ensuring younger children are not overstimulated, as well as making sure the older children have appropriate spacial awareness so as not to harm the younger ones.

I feel that there will be challenges with parents feeling overwhelmed by wanting to wrangle the toddler, as well as to bond with the infant. I can imagine there will be many parents who are constantly wanting to keep an eye on their more rambunctious older children, to the point where it impedes their bonding time with the infant. Structuring the activities so that parents do not feel a need to hover will be important in this setting.

[Cassandra Reyna]

<p>Sprouting Melodies 3: Active, Personality, Creative, Accepting, Intentional<br />
Gathering: Sit Down and Join my Circle<br />
Bonding: Swimming Together<br />
Songs About Me: Where is the Music?<br />
Instrument Songs: I Can Move Around<br />
Movement Songs: The Leaves are Falling<br />
Goodbye: Time to Go</p>
<p>Family Sprouts: Sharing, Connections, Support, Helping, Cooperation<br />
Gathering: Hello Everyone (Jamaican Folk Song)<br />
Bonding: Wiggly Jiggly Car<br />
Songs About Me: Who’s That?<br />
Instrument: Dancing in the Middle<br />
Movement: I Can Move Around<br />
Goodbye: Thank You Very Much

[Cassandra Reyna]

In my personal notes on the videos over these past two months, I have found myself repeatedly stressing that it does not matter, for example, if the child taps their toes instead of clapping their hands. We are not looking for the specific skill of hand clapping but, rather, supporting the developmental level independence, of knowing that they can create change in their environment.

Music for skill building would be requiring children to develop specific skills, such as finding the correct keys on a piano or playing a drum three times in order to teach the child how to count. This is a functional skill utilized in everyday life. Music for development, in my opinion, allows for more exploration of the music, the instruments, and how they relate to the environment. The children learn skills that are more qualitative than quantitative–to trust caregivers and the environment, as well as to become more independent.

[Cassandra Reyna]

As music therapists, we are trained to observe participants for signs of overstimulation. I agree with my peers that achieving an appropriate level of stimulation depends upon the individual child. Appropriate stimulation at this level looks like a child who is engaged in the activity by playing the instruments, walking, crawling, or even observing the others. Children who are over-stimulated will respond negatively by crying, withdrawing from the group/activity, clinging to the caregiver, or attempting to take instruments from others to signify “stop that!”

[Cassandra Reyna]

Exploration — Observation — Energy — Spontaneous — Playful

Sprouting Melodies 2 is for children 6-12 months in age. In this age group, children are moving toward independence from their caregivers. They will explore instruments independently and begin to explore social relationships, interacting with other children and their caregivers. Children participate through both active music-making and active music listening, moving in and out of activities in order to explore their role within the group. Language and communication skills are also addressed in this level.

Gathering/Greeting: Hello
Bonding Song: Jingle Up, Jingle Down
Songs About Me: Just Like Me
Instrument Song: I Like This Song
Movement: March with My Baby
Goodbye: Thank You Very Much

[Cassandra Reyna]

I would like to use instruments that are immediately gratifying with this age group, such as egg shakers, chiquitas, and small tambourines. The instrument can be shaken, thrown, poked, dropped, or played any multitude of ways in order to create some kind of sound! I would also look for instruments that are all plastic, in order to be easily cleaned, as well as lacking any small pieces that may be a choking hazard.

[Cassandra Reyna]

Joy–Bonding–Gentle–Swaying–Cuddling

In Sprouting Melodies 1, we are generally assisting infants in moving from the developmental level of awareness to the developmental level of trust. This means that we are providing opportunities to increase their awareness of both themselves and others. Once they are aware of their environment, then we can help them learn to find consistency and stability in it! However, Sprouting Melodies 1 is equally, if not more so, focused on bonding–nurturing the relationship between yourself and your child through music. Through touch, gentle swaying, and exposure to the timbre of your voice (which they prefer to mine!), the infant learns to form healthy attachments to others.

Allow time for parents to set up, get comfortable, perhaps say hello to one another
Hello/Gathering — “Hello Everyone, Hello” (Jamaican Folk Song) Thanks for the reminder, Alice!
Bonding Songs — Row it Faster
Instrument Song — Sit with me and Shake
Movement Song — As Big as Can Be
Goodbye — Goodbye (from the video)

[Cassandra Reyna]

Unlike many of my classmates, I do not have any children quite yet! However, I have extensive experience with children this age through both personal channels, such as babysitting, and clinical opportunities such as my internship in a children’s hospital. I appreciate this well-rounded experience because I had the opportunity to work with typical infants in their home setting (and learn how difficult a job parenting is!), as well as to experience the developmental challenges of chronic illness. I feel comfortable with this population because of this exposure but also because I have always loved babies and children.
Our male intern did not have experience with infants and expressed that reading a book about child development is a completely different experience than witnessing these milestones firsthand, which I think is crucial to express to our parents who have little to no experience with infants. It’s okay to feel confused and overwhelmed because no two babies are alike, and the books do not take into account your home structure or your child’s personality.

[Cassandra Reyna]

I think that the key word in this phrase is “community.” Music has, since the dawn of civilization, been a community event, bringing the members of a specific community together to share in the experience. Our society has decided that music is only for those who are “musicians,” but I believe that music is for the masses, not just a select few individuals! Through these community settings, we are exposing individuals, who may not otherwise have the opportunity, to live music and allowing them to participate as well, even if they feel they aren’t what society has deemed “a musician.” Through music, we are building communities of babies and their caregivers, which is just as valid a goal as those we may have in more clinical settings.

[Cassandra Reyna]

The families that I (am hoping to) work with appear to need support, knowledge, and unconditional acceptance. I recently accepted a position teaching privately at a franchised music school, and the directors have informed me that we have already had a significant amount of parents of children with special needs calling to ask if we accept their children at our school. We absolutely do! It broke my heart to imagine these parents believing that we may not accept their differently-abled children simply because they might not be able to learn the instruments as quickly or in the same manner as the other children. To me, this is indicative of the families’s needs for support and acceptance in a culture where music is only done by “professionals.” They need a safe space where they can come and enjoy a “Mommy and Me” class just like any of the other families, supported by a professional knowledgeable in child development and who has experience working with children with special needs. Even if the child cannot play the instruments or sing the songs, they are still absorbing their surroundings and experiencing new stimuli, and I hope to instill this in the families who will hopefully be signing up for lessons/Sprouting Melodies classes very soon!

[Cassandra Reyna]

Because I work mostly with young adults and adults, instrument playing immediately comes to mind as an oft-utilized intervention. This course has reminded me that, even with adults, I need to allow them time to explore the instruments! I find that their exploration of the instruments comes much differently than those of a small child, as they are obviously not mouthing the instruments (although in behavioral health, anything is possible!). They prefer to watch me provide a brief (very brief, about ten seconds) explanation of the instrument and demonstration of the various means by which it can be played. They observe the timbre and whether it matches how they feel the instrument “should” sound. They are interested in specific technique and how to do it “correctly.” The exploration is not as free because, at this developmental level, our culture has taught non-musicians that only trained musicians know how to play an instrument “the right way.” Developing the self-esteem and confidence to express themselves musically is a huge aspect of instrument playing. The above paragraph also applies to singing.

I also find that these age groups love to listen. I am always asked, “Can we just LISTEN to music today??” Again, this is how they’ve been trained, as non-musicians, to interact with music. I am the provider, they are the listener.

I do not often use movement due to issues of space, but I find again that confidence and self-esteem are huge factors in participation. As with being a “musician,” one must be a “dancer” in order to move to music “correctly.” Most individuals sit on the sidelines and watch.

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