[Kristen McSorley]

This is a great question. I have often wondered how I, as a music therapist, am different from other healthcare and/or music-based disciplines and I feel like this training is really helping me ground my identity as a music therapist. Most importantly, we have musical intuition; we can adapt the music in the moment to meet client needs. We can create songs spontaneously with clinical (or developmental) intent that is more personalized to the child/group than other music programs.

I also think our understanding of what constitutes music is very important. In society, it needs to be on pitch, in tempo, and of a pleasant quality to qualify as “music.” The core foundation of music therapy is that everyone has the capacity to make music. In that way, I believe we may understand a child’s musical output differently than a non-music therapist. We can help parents and children to gain a greater understanding of what it means to musically create.

[Kristen McSorley]

Of course, I incorporate these music experiences in my sessions throughout the day but I have noticed some changes in my perception and implementation of them. With singing, I’m more aware of the musical elements of speech development. One of the children I work with has a heavy speech/language focus at school and I’ve “stepped on their toes” several times but incorporating prompts into the songs we use. I realize now that I can avoid that and really work on speech with the child by focusing on the musical elements that he still doesn’t have that correspond with speech and leave the word formation bit to the SLP.

With playing, I now recognize the importance of timbre variation during sessions. I used to only play the guitar during early childhood music (awareness/trust level). I now make sure to vary the instruments I use and at times use voice only to bring complexity into the environment. Additionally, I give the children more exposure to instruments for themselves, even if they’re not in the stage to have interest in playing. I’m realizing the importance of exposure!

I’ve made less changes with movement, but am valuing the immense connection between movement and music making as well as attempting to be more in tune with internal rhythm. I would say the largest change in my own practice has been with listening. I make sure to include silences (I never used to do that.. I thought I had to always go, go, go!) I also try to provide more diverse opportunity for listening (in terms of timbre, tempo, dynamics). I also place greater value on listening for the children who are mostly silent and still. I have always felt “what am I doing wrong here?!” when children don’t actively engage in music making but am starting to realize the immense importance of absorbing information as well as honoring the different ways in which we all engage in music.

[Kristen McSorley]

Singing
Awareness: Vocalize as a response to singing
Trust: Make purposeful pitched vocalizations in response to singing
Independence: Imitate short vocalizations
Control: Adjust quality of vocalization to match the mood of the music
Responsibility: Sing songs using lyrics to describe abstract concepts

Playing
Awareness: Tolerate feel of open hand on instruments
Trust: Explore instruments using hands/mouth
Independence: Independently reach for and play instruments
Control: Use instruments functionally, in a variety of tempos
Responsibility: Respond to musical dynamic/tempo of a peer

Moving
Awareness: Tolerate being moved/rocked/bounced
Trust: Tolerate moving body parts rhythmically
Independence: Engage in repetitive motor patterns
Control: Respond to music with independent dance movements
Responsibility: Move to music to reflect quality of music (timbre, dynamics, tempo)

Listening
Awareness: Alter movement/vocalizations in response to silence
Trust: Look towards the source during silences
Independence: Attend to music despite environmental sounds
Control: Anticipate the beginning and end of familiar music
Responsibility: Transition easily between activities

[Kristen McSorley]

I have only been in Connecticut for about seven months, so this question is very challenging to me. I’m not exactly sure how to get to know the music in this community yet, especially as I live in an area reserved mostly for housing. I do know there’s sure a lot less country stations than in PA, and a lot more indie rock stations! Ann, I have a similar experience in terms of the diversity of clientele I work with. More than song preference, I have noticed socioeconomic status having an impact on how exploratory the early childhood kids are with instruments. The preschoolers I see from a lower income area have shown more willingness to engage in instrument play while the preschoolers from a high socioeconomic class may need some encouraging. This may not be generalizable though.

[Kristen McSorley]

One thing that struck me as I learned some of the songs presented in the videos was the harmonic complexity involved. To be honest, most of my early childhood songs use a I-IV-V progression, which can become monotonous as a clinician! I do improvise some of my own songs on the spot, but even then, I use a I-IV-V progression as it’s where I feel most comfortable improvising. This encourages me to play around with learning new progressions so I can feel confident using them in practice.

When watching the video and subsequently learning the music, one song in particular evoked an emotional response for me. I have the You and Me Makes We songbook and have seen “I Like This Song” but never understood how to use it clinically. It was inspiring to watch Beth sing “I like this song,” and to experience just really ENJOYING being in a musical moment. I can easily forget the value of just being in the musical experience for children (and adults). I look forward to using this song tomorrow in my early childhood group!

[Kristen McSorley]

One of my clients has recently entered Responsibility and is now so invested in group music making! I see her 1:1, but she loves pretending her friends are with her to add a social component to our time together. She loves rhythmic games where we go back and forth with the various “group members” and copy their rhythms. She also loves listening to her friends solo (aka me) and supports them by clapping or dancing to their music. Every session is bound to be different as she always starts by saying “I have a new song” and invites me to sing a social story with her. It is fascinating to see her switch in focus to the world/people around her!

[Kristen McSorley]

I’m sure there are also times that there isn’t anything else to do and you just have to accept the group where it is and continue providing opportunities.

[Kristen McSorley]

Laetitia, I also have had groups where caregivers sit silently despite my encouragement. Sometimes singing a familiar nursing rhyme (like Twinkle, Twinkle) has helped caregivers break out of their shells. Also, sometimes during a song that encourages vocalizations, I’ll encourage caregivers to engage in babbling/cooing with their infant and leave space for that. If I get really silly with it, sometimes that helps break the ice. However, those don’t always work and I would love to hear others’ suggestions!

[Kristen McSorley]

Sarah, that sounds like such a wonderful and unique direction. Do you know if there’s any research/any other music therapists have pursued that?

[Kristen McSorley]

Personally, I hope that I provide a non-judgmental atmosphere for children and their respective caregivers. Many caregivers haven’t sang in a public setting, and I try my best to help them feel comfortable and confident. I think Ann’s comment regarding the diversity in which children respond to music depending on developmental level and individual traits is so important and is what I hope to gain from this course. I believe further knowledge about healthy development will transform my groups. At times, caregivers/staff can be become critical or confused when I don’t redirect certain behaviors but the information in this course will provide me with a greater ability to communicate my rationale for choosing to redirect or not redirect.

[Kristen McSorley]

One remark that struck me was that early childhood music programs can be a primary opportunity for caregivers to learn about healthy development. I don’t have children and have limited experience outside of music therapy interacting with young children, so the aforementioned fact empowered me to know I can still provide useful information about development! The video also helped me empathize with what it must be like to experience this rapid development in your child as a caregiver.

[Kristen McSorley]

Hi Tracy, You were my supervisor on a Jamaica trip back in 2013. Great to virtually see you again!

[Kristen McSorley]

Awesome Stephanie! I am in my second semester at the Woods right now and am having a great time! Great place.

[Kristen McSorley]

Great to meet you Johanna! I went to school with someone at Capital- Wren McNany! This happens more often than not in our small music therapy bubble.

[Kristen McSorley]

Hi everyone! My name is Kristen McSorley and I live in Fairfield County, Connecticut. I have a bachelor’s in music therapy from Slippery Rock (PA) and am currently pursuing a master’s through Saint Mary-of-the-Woods College (IN). I’m originally from Pittsburgh, PA and moved to Connecticut recently to start my second job with a private practice (Connecticut Music Therapy Services). The private practice serves a diverse clientele of all ages. I currently work with early childhood, developmental disabilities, educational enrichment, and older adults. Prior to this work, I worked in psychiatric and my undergraduate clinical work was focused primarily on adults who have experienced trauma. The type of work I’m doing now is very different! I’m finding immense joy in my early childhood groups but feel that I could use more information on development to maximize my effectiveness. I’m looking forward to learning more in this course.

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