[Kimberly Werner]

As a music therapist, we are exceptionally well positioned to talk about the developmental framework that Sprouting Melodies is based on. Many other community music program facilitators that have training via different programs are not required to be MT-BCs, and while that doesn’t automatically discount their skills, and doesn’t mean that they don’t understand development, accommodations, there’s a little bit less “insurance” for having a leader that is well-versed in these things.

Although these programs aren’t marketed or presented as music therapy, having a MT-BC facilitating the groups will inherently pull in some more therapeutic goals – fine/gross motor skills, social skills, regulation, bonding/attachment – which may or may not be present to varying degrees with non-MT-facilitators.

I imagine that explaining these differences to caregivers in a way that doesn’t set them up for the expectation of a specific therapy group, while also reinforcing that our training AS therapists helps to inform our community groups, can seem a little muddy for the general participant. I would likely take the approach of reinforcing that I’m well-trained in developmental milestones, constantly assessing and monitoring for signs of over/understimulation and am able to make adjustments in the moment as appropriate, and possibly peppering in the some of the evidence-based/research-based data to support my reasons for making some of the choices provided.

[Kimberly Werner]

Providing multi-age groupings can be challenging for many reasons. Being sure to offer appropriate accommodations and modifications – music offered, instruments offered, levels of stimulation – to make the group developmentally appropriate for all participants can be difficult if the range & span of needs are too significant.

There can also be social/family considerations that may impact functionality of multi-age groups, including caregivers that may have a preference for their child to be part of a group with similarly aged peers (in which case they possibly wouldn’t choose to enroll in a multi-age group), or for caregivers to have an unrealistic expectation of the skewing of age groups within a multi-age group.

[Kimberly Werner]

Totally forgot about the ever-popular rainstick! I really like these for little hands.

https://www.lakeshorelearning.com/products/music/musical-instruments/see-inside-rainsticks-setof4/p/TB542

[Kimberly Werner]

I really appreciate this: “I also think it is important to note that being overstimulated by one thing on one day doesn’t mean it will always be overstimulating and that factors outside the music room might play into what they are or aren’t interested in that day.” This is so true. You can never make assumptions on how someone’s going to present. Just as soon as you think you’ve got someone figured out, they switch it up on you and you have to toss your assumptions out the window!

[Kimberly Werner]

Depending on the age and neurodevelopmental level of the child, different behaviors can be observed. Crying, turning red, grimacing, “possoming” (I don’t know if this is a real term, but it’s what I call it when they curl up and tuck themselves into a protective ball), yawning, sneezing, an exaggerated startle response, and extreme fussiness can all be signs of overstimulation. Understimulation can look like crying, indifference, and lack of engagement in the environment.

Because babies are developing rapidly at this stage, it’s important to be mindful about offering a balance of repetition and novelty to encourage interest while also providing enough familiarity to feel secure.

[Kimberly Werner]

For this age group, I often use:

– Remo Rhythm, Breath, Lullaby ocean disc (it’s a little less loud & jarring than the regular ocean discs)
– Remo Radiant series tambourine
– Remo buffalo drum
– Remo sound shapes
– Latin Percussion cabasa
– Hohner clatterpillar
– Nino egg shakers
– Wooden frog rasp guiro

[Kimberly Werner]

So much parent education & encouragement. My sessions in similar settings are often almost 75% for caregiver/25% for baby. It really is a family-centered approach for care, even if the caregiver isn’t present in the moment.

[Kimberly Werner]

I’m always so curious about what these babies think of us, and how their minds and bodies process everything being brand new experiences to them.

[Kimberly Werner]

I’m kind of excited and intrigued about the idea of working with “typical” / less fragile & complex babies!

[Kimberly Werner]

Sensory exploration / Bonding / Touch / Regulation / Awareness

– Singing with your baby helps to strengthen the bond between you and your baby.
– Developmentally appropriate sensory exploration helps baby to increase awareness of surroundings and self.
– Vocalizing with your baby helps to develop language skills, no matter what your singing/musical skills are.
– You can bring home the songs that you learn here and explore using them together with other family members/in other contexts (transitions, etc).
– Whatever response to the music that your baby has is okay – there’s no right or wrong way to be in music together.

[Kimberly Werner]

Most of my work with the 0-9 month age range is in the NICU, targeted towards gentle stimulation, masking of environmental sounds, encouraging bonding through other means when a baby is too fragile to handle, and, at times, legacy building and memory making.

In full disclosure, this is definitely not my favorite area or age range to work with. This is, for sure, at least partially due to my limited experience in working with this age, but also because my experience with this age is so specific to such medically fragile babies, so my anxiety about overstimulation/unintentional harm always seems to override my joy, connection, and happiness for the work.

[Kimberly Werner]

The role of music therapy in community based settings is multifaceted. Depending on the goals and needs being addressed, these groups can work really well, or can be little more than a social engagement (which is not inherently wrong, bad, or misaligned with MT goals, but may not be a primary goal). Groups can help individuals that may not otherwise have the opportunity to gather to connect with others, can help combat isolation, can become a larger peer network for outside of group session time, and can provide motivation and encouragement to work towards shared goals. Groups can also, unfortunately, go awry if participants are mismatched, or if the facilitator isn’t skilled in managing group dynamics.

Offering participants a shared musical experience can help to break down perceived barriers between self & others, and can cross generations, cultures, languages, and physical/emotional differences among participants.

[Kimberly Werner]

Awareness: Preference to higher pitches, distinguishes between short & long pitch durations, joint/shared attention

Trust: Purposeful/pitched vocalizations, recognition of familiar melodies, internal vs external focal response to lullaby vs play songs

Independence: Enjoying musical surprises/games, using body to play percussion instruments, indication of preferred songs

Control: Able to match pitches, able to begin to modulate vocal dynamics, free & structured vocalizations

Responsibility: Discernment between loud & soft, singing in variety of keys, able to follow general melodic contour

[Kimberly Werner]

I’ve had a large influx of 4-6 year olds admitted with me recently, and often find that they teeter between independence, control, and responsibility levels at this age group. I also find that, sometimes, the level of familiarity with a song/intervention/instrument/provider in the room influences the ways that these developmental stages present themselves. Using familiar USA-based childhood songs (The Wheels on the Bus, Old MacDonald), with English-speaking children who have spent time in schools in the USA, and/or whose parents were raised in the USA has sometimes yielded a very different result than using the same songs with children from different countries, or who may not have the same level of English literacy.

I was recently working with a 4 y/o child, born in the USA to a recently arrived Spanish-speaking family. When I sang to them in English, there seemed to be more hesitation in engagement (both vocally and instrumentally), less interest in exploring sounds, and a more flat affect. When I ended the session with a Spanish-language song from their native culture, of which I knew was familiar to them (confirmed via parent), the child freely used their voice, had a softer facial/body expression, and was more interactive. This was unfortunately disrupted when a new provider entered the room to introduce themselves, which provoked an anxiety response in the child, however we were able to use the song after the provider left to reintroduce safety, stability, and familiarity into the stressful environment.

[Kimberly Werner]

The traditional and cultural music in the community where I work is unable to be summarized easily. I work in a NYC hospital with global outreach, and as such, have children and families traveling from all over the world to receive care with us. Approximately half of our patient population speaks a primary language other than English at home – the largest percentages speak Spanish, Mandarin (and other Chinese dialects), Arabic, Hindi (and other Indian dialects/languages), Hebrew, and Yiddish. All types of music, performers, and traditions can be found here. Neighborhoods that I travel through to get from work -> home include Koreatown, Little Italy, Chinatown, Little Poland, Curry Hill, and Little Haiti. While I don’t walk to work, the varied musical traditions of these neighborhoods are visible (and audible) within the subway stations of said neighborhoods, as there are often street performers playing on the platform while people are waiting for the train.

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