[Emma Evans-Peck]

SINGING:
Awareness: Vocalize in response to singing/ Trust: Make vocal pitch changes in response to changes in pitch/ Independence: Imitate short vocalizations/ Control: Independently sing spontaneous songs/ Responsibility: Sing familiar songs independently.

PLAYING INSTRUMENTS:
Awareness: Tolerate vibrations of instruments/ Trust: Shake simple instrument when grasped/ Independence: Transfer instrument from hand to hand/ Control: Shake instruments in variety of tempos/ Responsibility: Alternate hands to play shaking instruments

MOVING:
Awareness: Make repetitive rhythmic movements with the body/ Trust: Move body parts with internalized rhythmic beat/ Independence: Alter movements in response to changes in the music/ Control: Isolate body parts to move rhythmically/ Responsibility: Imitate movement of others

LISTENING:
Awareness: Turn attention of eye gaze toward music/ Trust: Display changes in affect in response to changes in the music/ Independence: Maintain attention during periods of silence/ Control: Anticipate the start and end of the music/ Responsibility: Transition from activity to activity within a session

[Emma Evans-Peck]

@Jessica, have you (or anyone else in this group) done dyadic music therapy with a caregiver and child? What was that like? I had one child whose mom was always present and I never knew how much I should take the lead on encouraging the child and how much the caregiver can do it for bonding purposes. Any thoughts on that balance between encouraging bonding and leading?

[Emma Evans-Peck]

I grew up in a similar area to where I work now: a smaller, rural town. There’s a bit more diversity in where I work now, but not much. I hope that I have the opportunity to work with different cultures or at least be exposed to different cultural music through concerts or trainings. My partner recently returned from Tanzania and had taken videos of their musical groups. I made a lot of comments about how the group is in consistent movement with music, which reminds me of how Beth pointed out that in many cultures, MUSIC=MOVEMENT! It makes so much sense as well in learning about how musical skills develop. A lot of it has to do with the motor abilities of the child as well.

[Emma Evans-Peck]

I haven’t had a chance to utilize these songs in my practice, since my main age group is older adults, but I really enjoyed playing these songs. I found them simple for me to sight read, which emphasizes he simplicity and familiarity of the structure of the songs to me. In addition, I couldn’t help from incorporating the rhythm into my body. I was sitting on the floor, bouncing, and tapping my feet. I also found the style of the music come through immediately in my guitar accompaniment that I used to keep a tonal center while learning. I had a lot of fun playing these songs as a 24 year old, so I can’t imagine how fun they are for children and their parents. The one song I still find interesting is the one about summer time in a minor key. I’m still unsure of why it is in minor and sounds so sad, since children generally enjoy being outside in the summer. I know it was explained in the video, but the lyrics don’t reflect the mood of the song the tonality suggests, but perhaps I’m looking at it too narrowly.

[Emma Evans-Peck]

I work in a small, rural town in Minnesota, so there isn’t much diversity as far as culture. However, there is a strong Scandinavian heritage, which has led to me learning new folk songs and dance styles for my older adult patients. I had more opportunities to work with individuals from different cultures in my internship in Minneapolis. There is a large Somalian population in the Twin Cities, and there were a few cases in which I served these patients. I used recorded music often along with percussion instruments to drive the rhythm more. The patients were also encouraged to play the instruments or move to the music. I had one Spanish speaking patient who loved to teach me about his favorite musicians from Puerto Rico, and he played the guiro in a very specific way. Music helped bridge the language barrier we had by focusing on the lyrics of the music. More of the cultural differences I see have to do with faith and religion, which comes up so often in end of life care. I have learned hymns from different sects of Christianity as well as songs from the Jewish faith. As I said before, the musical characteristics and words change, but often the themes are constant, which is why I agree with Destiny that the recommendation to preserve the cultural music by using improvisation. I am constantly looking for new ways to learn more about other cultural music, but it hasn’t been something that has come up. IF anyone has any resources to explore different cultural music, let me know!

[Emma Evans-Peck]

The only clinical experience I’ve personally had is with a child with Hydrocephalus who was in the Trust stage. His mom was always present, so bonding songs were important for them. He was open to novel experiences, and I made sure to use repetition in both music and interventions with slight changes to see how he would tolerate them due to a sound sensitivity. Through exploration of instruments and objects, the mom and I discovered what textures and sounds he responded to most. He loved to play with pipe cleaners and was able to choose how long he wanted to have the object and which hand to use. The same is true of his use of the tambourine. He explored it in novel ways and communicated nonverbally. He was not able to imitate vocalizing much, but did play a drum along with me in partner play. Because I was never sure of his responses and when a tantrum would occur, I used a lot of the interventions with desired outcomes in this trust stage. I’m wondering now, two years later, how he has changed and how music is still being used in his life.

[Emma Evans-Peck]

@Jessica: I loved that you pointed out being goofy in sessions. I never thought of that being an advantage because one doesn’t often associate “goofy” with “professional”, but it can definitely help build rapport! Being a kid yourself is definitely more appropriate in this setting while also being in the role of a leader.

[Emma Evans-Peck]

I also had a childhood development class, but I liked this focus on specific areas, especially as they can contribute to our practice. I feel like it gives us an idea of what to do with infants. I’ve never worked with children that young. What challenges have you encountered with this age, Destiny?

[Emma Evans-Peck]

I think that being a young professional will end up being an advantage for me in some ways. I am able to more clearly recall what it’s like to be a child, because I was their age not too terribly long ago. Not having kids of my own will allow me to enter into these early childhood settings with a fresh mindset. I don’t have many preconceived notions about how a child will behave at certain ages. My mind is open to learn based on research as well as experience. This openness and willingness to learn from the children as well as the training I believe will become a benefit.

[Emma Evans-Peck]

The most important take away from the large amount of information about development for me is that all of these developmental changes are somewhat flexible, and it is not necessary that I have a child of my own to be able to teach parents about their child’s development. I have limited experience with children both in my professional and personal life, which has caused me to feel nervous about my ability to work with children effectively. However, learning about children’s development and being reassured by Elizabeth in this week’s training has helped me to feel more confident.
All in all, no matter how much I study the specific areas of development and ages, the the largest amount of education will come with personal experience with children in the world and in my practice. Music therapy is definitely a very experiential field, so that reassures me that I will continue to be learning as I start to facilitate groups with children.

[Emma Evans-Peck]

Melissa-

I remember meeting you! I believe my co-intern, Mackenzie, also started work with you! I understand your frustration with the Kindermusik curriculum. I observed someone during my internship who used it. She was a wonderful therapist, but I’ve found a script doesn’t work with any population. I’m looking forward to learning an approach that is more flexible, but also has enough structure for me to feel confident I am addressing all the needs of the children and their families. 🙂

[Emma Evans-Peck]

Stephen–

Did you do your internship at Park Nicollet? I think we met at the 20 year anniversary celebration last fall! Congratulations on finishing the internship and landing a job! (If this is not the Stephen I met last fall, I apologize!)

Emma

[Emma Evans-Peck]

Hello! My name is Emma Evans-Peck and I live in Albert Lea, Minnesota. I am a young professional who just started working in January of 2019 after my completion of my internship at Park Nicollet Health Services in Minneapolis, MN and Bachelor’s Degree at Wartburg College in Waverly, IA. I am now employed as a board-certified music therapist with Healing Rhythms Music Therapy (along with some other trainees :)). We are centered in Rochester, but I serve the southeastern Minnesota region (Albert Lea, Austin, Owatonna). I am a contracted music therapist for Mayo Clinic hospice and currently lead older adult music therapy programming in the community. Since our services have grown into this region of Minnesota, I am motivated to take this course to become more knowledgeable about early childhood development and how music can benefit the child and family. This will, in turn, allow me to provide services in the community for early childhood, which I believe to be a current gap in music therapy services. I look forward to gaining confidence and knowledge via this training to be able to bridge that gap and connect with a wider music therapy community as well as the community I am serving. I look forward to “meeting” you all!

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