[Jasmine Lo]

I have used all 4 musical experiences in my own practice, and when I was an intern, I usually map it out in my mind like a flow chart (of elimination) and see what my clients would like to do in the moment. But as I grew with my clinical skills under supervision, I tend to be more direct with my intervention planning.

I usually use singing as I am a vocal major, and I find singing can really bring clients back to their here-and-now moment. I tend to do more song-based intervention as I find familiar songs can be a safety blanket for clients who are new to musical experiences and music therapy. But I also aware of how clients might expect music therapy as a sing-along (that I usually work in elderly homes), and I will try to expand their musical experiences with what music can do for them.

The biggest challenge with playing instruments is how clients may perceive the instruments. Usually children are more open to play instruments than elderly, and it also depends on how open they are to play (and to be vulnerable) before the music therapist and their peers. This week’s materials reminds me of how musical structures can bring safety in the therapeutic space, and I find it might be useful when inviting clients to play instruments with me. In the pandemic situation, I encourage clients to play body percussion instead of sharing a drum.

I have incorporate music with movements as I found the close relationships between music and dance, and I find it interesting that music has the power to motivate people to move. In my clinical work, I had supporting colleagues and they (they are Physiotherapists) invite me to play for clients while they are doing rehabilitation exercises. A clear music structure can really support people to move, and even to their gait. I have also tried the intervention with children, and we had a fun time by doing silly moves, and music can provoke different creative expressions on the body.

Usually listening to music is considered as “passive”, and I used to be anxious when older clients ask me to listen a song with them as I was not sure what to do with the listening experience. I gradually learned that “it’s ok to rest and just listen”. After studying with the course materials, it helps me to reflect on my listening experience with clients as it is a moment of attention and to be with clients, which is also a deeper listening to the needs of clients: are they being aware in the moment, and what is music doing in this moment.

I like the way that the songs introduced by Elizabeth and Meredith are very clear and direct. Reflecting on my own clinical experiences, I often feel hesitant on whether I should be directive or not because of my personality and unconfident. But with the video demonstration, I find being directive has nothing to do with limiting musical expressions or offending clients, and I feel there is a need for me to grow in that area. Now that as I am working in Hong Kong, and I also need to work to adapt the songs/musical ideas to the cultural context, that will be a steep learning curve for me. 😛

[Jasmine Lo]

I work with children who are older (6-12 years old) and they have different musical developmental levels based on their own personality.

One child I have worked with has ADHD and ODD, and in our initial session, he showed independence with his music. He explored the music room by himself and tried out different instruments spontaneously, making repetitive and firm rhythms. He wasn’t aware of the music that was played by his peers in the same room, but he showed his interest in music making.

Another child I have worked with showed responsibility in his musical developmental level as he tried to cooperate with other children in the same group. He asked me if the group can play musical chair by setting up several chairs, and children can take turns to play the djembe to direct whether the children have to find a place to sit or not. He was willing to take turns and showed leadership with directing other children to play in the musical game.

Although my cases are with children who are older, it can also show how the musical developmental framework fits with the whole life span.

[Jasmine Lo]

I have worked in Canada, and we have a huge cultural diversity in Toronto. I mainly worked with Chinese and Canadians Europeans, and sometimes it depends on their cultural and personal background that they would like to listen to music with their native languages. I have also worked with Jews in the elderly care and palliative unit that Jewish music is highly appreciated to honour their personal background and identity. I once used a Korean folk song to a veteran, and he responded with active singing and our sychronized marching down the hallway of the elderly home despite his late stage Alzheimer, and that really created connection in the therapeutic relationship. Some clients are open to listen to music that is more remote from their cultural background as their way to learn about living with other cultures in Canada, as they might request me to sing songs in Chinese for them. When I use songs that reflects clients’ ethnicity, I usually ask for their consent and as well as how the music should go (including some personal research with the song, the historical background, and theory) in order to honour their cultural identity.

Right now as I am working in Hong Kong, and we have a blend of culture from both Chinese and the West. Even though I was raised in the culture, I still find there are a lot for me to learn with my ethnicity, as well as how my clients might perceive traditional and cultural music with their generation.

[Jasmine Lo]

Awareness: to look at the source of singing/music, to move towards the music, and to make repeated sounds to preferred music

Trust: to move with music, to explore instruments with hands and mouth, to match pitches and creates melodies

Independence: to move with their internal rhythm, to choose their preferred instrument, to imitate different sounds and vocalizations

Control: to sing spontaneously without tonal center and rhythmic regularity, to follow melodic contour of familiar song, and to use different dynamics in singing and playing instruments

Responsibility: to maintain a steady beat, to understand rests, and to listen to others’ music making.

[Jasmine Lo]

I just started my work with children and it is wonderful to read all of your experiences with children!

I had some experiences during my part time job as a early childhood music teacher and definitely I am seeing how fast children can learn and grow with singing and playing piano (with one hand) and other percussive instruments. As I recall my memory being with my students, I find learning about their developmental process is a big help to contribute to their success.

Also, I am thinking of how parents and family members can be a part of the developmental process is a valuable part of the therapy (and the music making process). Learning about children developmental psychology can definitely help with the process!

[Jasmine Lo]

My appologies of being behind this week as I wasn’t feeling well last week.

My biggest take away is being reminded of “what is appropriate or good enough for the children at their age”. In my culture (Chinese), and the society (Hong Kong) that I am raised and currently lived in, parents are very anxious of their children’s performance and also wanting their children to be better than their peers. When I watched and review the material of this week, I was being reminded that children’s growth is a continuous process and it is not necessarily to let them to be ahead or under the “expectations” from the society. Although work under COVID situation is limited, it is a great reminder of how the therapy space should be safe and appropriate to support the needs of children and their family.

[Jasmine Lo]

Hello, my name is Jasmine Lo, and I am a music therapist currently working in Hong Kong. I studied in Wilfrid Laurier University in Canada for my Masters of Music Therapy and obtained my MTA (Music Therapist Accredited) after my graduation. I used to intern at elderly homes and correction facilities, and worked at a rehabilitation hospital in Toronto for 6 months before the pandemic has started. As I have moved back to Hong Kong in last year summer, I would like to learn more about children and how music can benefit them and their family, in order to enhance my client care and work in Hong Kong. I am looking forward to meet all of you, as well as plunging into this journey of learning!

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