[Maggie Murphy]

Opps! I think I misread this DB question!

Greta- Yes, I agree. Although 2 of the kids that I previously worked with could have maybe fit within the given age range for SM1, I would agree that SM2 is a better fit for them.

With that said, I have never worked with children within the awareness level. I’ve, of course, been around my younger cousins and nephews while they were this age/level, but can’t say I’ve ever tried any formal music “interventions” with them.

Yee- I provided a lengthy pros and cons list of John Feierabend’s “First Steps in Music for Infants and Toddlers” in the week 3 (Share Your Experiences Using These Songs) DB. Overall, I would say that I could do without this resource, but I now have and can use maybe in the future when I work with younger children (in awareness level). I have gotten more use out of John Feierabend’s “First Steps in Music for Preschool and Beyond.”

[Maggie Murphy]

Hi Greta,

I really enjoyed hearing about your work in medical pediatrics. This is one area of music therapy that I have never worked in. Until taking this course, the whole concept of educating parents during groups/sessions was new to me because when I worked with kids (at a therapeutic day school), their parents were never present. It only makes sense that we would be educating caregivers during a session, to explain what and why we are doing what we are doing, as well as, how they can successfully use music for various reasons outside of sessions. I now know that this education piece is useful/essential in medical pediatrics (or any music therapy session where a caregiver is present!).

I’m also glad to hear how supportive your coworkers are of music therapy, based on their willingness to co-treat. I miss co-treating with other disciplines!

[Maggie Murphy]

Another example of community music therapy that I recently came across was a CMTE that was advertised by Alverno:
https://docs.google.com/document/d/1qOWzZ6XPqYntHA4WSCWAiEnIZBCqYI2_OWVA9As_hJ0/edit

(Just to give you an example of another context for community-based music therapy)

[Maggie Murphy]

Jee,

This concept of community-based music therapy was unfamiliar to me until I began working in the outpatient Recreation/Creative Arts Therapy outpatient program at my hospital. In some ways, we function more broadly like a park district, which was initially hard for me to conceptualize. We have some Veterans with a clear clinical need for services and some who participate in our programs because they want to and see the benefit of services.

When I began working in this area of the hospital, I had to begin thinking more broadly about how music can benefit all individuals, similar to what you described in the third paragraph of your post.

[Maggie Murphy]

Thank you for sharing about the needs of families in your community, Jee. I know that there are families with similar needs in my community (i.e. families with special needs, families who are looking for more reasons to leave the house/access the community, families looking for parenting tools that can be used at home, and caregivers who are looking to connect with others).

I would agree that music can be used to address all of these needs. After reading your post (especially your point about music groups addressing both clinical needs of children and social-emotional needs of their caregivers), I can’t help but think Music Therapists are the ideal candidates for this role! It only makes sense that Music Therapists should be out there doing this work!

[Maggie Murphy]

Greta,
Your post tells me that you already focus on the family unit (not just the identified patient) in your work at the hospital. Regardless of the identified needs of the family, it sounds like you are ready to step up and help out.

You brought up some great examples RE: needs of families in your community. I have already had one request to run an evening EC group at the music studio I work at. Right now, we have them on a “waitlist” and will offer additional day/hours if we can get additional families to commit to an evening time.

Finally, I love the point you made about low-tech options for play and that more/bigger/better toys are not necessarily better. I love how the world we live in seems to have come full circle (in some ways) and there is now a push for Montissori toys for children (i.e. toys that encourage kids to explore and discover independently instead of “tricked out” toys that move and make sounds on their own). As you pointed out, I think the services we provide and materials we might use in EC music groups/sessions definitely provide a nice contrast to the technology dependent world we live in

[Maggie Murphy]

Yee,

I like how your post focused so much on, not necessarily the music skill set of music therapists, but the therapist qualities that we possess (and how these qualities set the stage for a welcoming, safe, and non-judgmental environment that allows caregivers to feel at ease). This is something that I almost forget about and take for granted (because it sometimes feels like it’s just part of us), but is so important to allow parents to open up and join in the fun (i.e. sing, move, and play instruments , when this may not necessarily feel safe for non-musicians). Thank you for bringing this up!

[Maggie Murphy]

I recently ran my first early childhood music group with young children ages (8, 9, and 12 months). Based on the responses I have seen from these children, I would say that they fall somewhere between the trust stage and independence stage.

Like many groups run by Music Therapists, I began incorporating a Hello/Gathering Song and Goodbye Song right off the bat. Prior to getting into the “meat and potatoes” of this course, I had been using music experiences from John Feierabend’s “First Steps in Music for Infants and Toddlers” In this series, music experiences are categorized into the following: Bounces, Wiggles, Tickles, Tapping/Clapping, Simple Songs, Beat Motions with Recordings, and Lullabies. I had been using songs from each of these different categories.

After a week or two of running the class, I noticed that the children did not seem too interested in the songs from the Wiggles, Tickles, Tapping/Clapping categories. The children wanted to pull themselves up into a stand, using their caregiver’s support. They also wanted to explore the room.

I made gradual shifts to how I ran my group since starting this course. I kept my Gathering/Hello and Goodbye songs, as well as, incorporated new bonding songs (including “Row Your Boat”). I also started incorporating instrument songs (“All Night, All Day” and “In My Little Hand”) which the young children seemed to love.

Over the course of the 8 week class, I noticed that the children had gotten more comfortable leaving their caregiver’s laps. They have an increased awareness and interest in each other and myself (esp. the guitar on my lap).

I’m looking forward to incorporating more music experiences from the “Songs About Me” and “Movement Songs” during my future early childhood music groups. I also questioned if the children I worked with would have benefitted more from the music experiences in Sprouting Melodies 2 as opposed to SM1, as 2/3 of them feel could fit into either based on the age grouping described in week 5. I’m still trying to get familiar with how to best group young children at various ages/developmental levels.

[Maggie Murphy]

I think that the existence of music therapy in community-based settings is particularly important because one does not necessarily need to have a diagnosis or medical condition to participate in Music Therapy or receive services from a Music Therapist. Music Therapy can be used to support wellness and development as well as support families with special needs. Because of this, all families can feel welcome and know that their needs will be met.

[Maggie Murphy]

Greta and Jee,

Your posts have helped me gain perspective of the parent’s point of view (since I do not have any children of my own). Based on Yee’s post, it sounds like the demands of being a parent are endless (making it hard to to find the time and energy to be present and incorporate music). Greta’s post helps me gain insight into all of the expectations surrounding parents.

Your posts made me think… “if parents who are musicians/music therapists are this overwhelmed (with demands and expectations of parenting), I can only imagine what parents without musical backgrounds are feeling!” As Greta mentions, we must “… teach families different ways to engage with their children in an easy, non threatening, and approachable ways.” I think she is spot on in this statement, and I will try and keep this conversation in mind as I continue on in my work as a Music Therapist working in EC!

[Maggie Murphy]

Based on the 8-week early childhood music program that I recently ran at my local music studio, the group consisted of several young mothers who attended with their first-born child. I would imagine that these mothers signed up to introduce their child to music and support their child’s development; however, the 8-week class, I saw the mothers connect with one another and even share their phone numbers with one another. In addition, I have heard these mothers emphasize the importance of being able to get their “pandemic babies” out of the house and interacting with others.

I know that there are more families in my community that have different needs than the mothers that I previously described and I am looking forward to meeting and working with them as well… perhaps from demographic groups that I have not yet reached. Based on some of the ideas shared by the members of my previous SM cohort, I can: -make sure that the services I provide are marketed to families with a variety of demographic characteristics, including families with special needs -be careful with the word “therapy,” as this might deter some families from receiving services -work to offer a financial assistance program -make sure to cater programs to children with special needs, providing opportunities for emotional regulation and development of healthy coping skills -connect families with adequate resources

[Maggie Murphy]

Music Therapists have advanced training (and opportunities for continuing ed.) that many community-based early childhood music teachers may not have. This training includes education in human development, as well as extensive musical training that can be used to support the child’s development. Because of this, Music Therapists can educate caregivers about the overall development and musical development of the child (and how to support that development outside of classes).

For families with children who have special needs, Music Therapists offer a space where their family can feel included and welcome. Our training as Music Therapists prepares us to work with child and families who have unique needs. This programming can help decrease isolation among special needs parents, since parents come together to attend and participate in classes/programming with their child/children.

[Maggie Murphy]

Jee and Greta, I enjoyed reading about both of your very different responses to these discussion board questions.

Jee- I love how you are already using and applying the knowledge you are gaining from the book and applying it with your children, especially to get you and your children through their least favorite tasks of the day (e.g. brushing teeth, clipping nails, and changing diapers)! Your teeth brushing activity/ rote singing experience/game sounds like a great way to distract/teach your daughter a new song at the same time. I also love how you are using that stillness that sometimes occurs when young children are focused on/listening to music to your (and your son’s) advantage! Who would have thought?! Not me! Will have to remember these strategies next time I am helping care for the young ones in my family.

Greta- I’m so glad that you are finding this course helpful, esp. in regard to learning about and now being able to observe for musical responses in music therapy sessions. These music responses can be so subtle, so knowing what to look for is key.

I didn’t incorporate a ton of action songs in my work when I previously worked with children at a therapeutic school. Perhaps this is a cultural thing…? In our culture (here in the US at least), we often view dance and music as separate and, as musicians, our focus has primarily been on music.
Hopefully you are getting some new ideas from this course and, yes, action songs can be repetitive and simple! I enjoyed learning about ways that you are currently using action songs (such as Head, Shoulders, Knees and Toes) in your work (for very different reasons than what we are learning about -i.e. using music movements in a sequence to support musical and global development).

[Maggie Murphy]

I have used all four of these music experiences in my music therapy practice over the past 10+ years, but have only recently started using these music experiences with young children (younger than 3 years old).
I recently started offering early childhood music groups at a local music studio in town. Last session, I had an 8 month old, a 9 month old, and a 12 month old enrolled in one of my classes. Based on the musical characteristics I have observed, I believe these children fall somewhere between within the developmental level of trust and independence; therefore, I have incorporated music experiences that cater to these developmental levels.

Playing: I used the song “All Night! All Day!” from Elizabeth’s book “You and Me Makes… We” a few weeks back. During this song, I allowed the children to explore/play the various instruments within minimal expectations (other than to explore/begin to play the instruments).

Movement: In my early childhood classes, a lot of the movement interventions/activities that we do are facilitated by the caregivers who attend with each child. This may include rocking, bouncing, standing up and moving (while holding the child) in response to the music/with the beat. In addition to this, the children may spontaneously move in response to the music at any given time during time throughout the class.

Singing: Planned (as opposed to spontaneous such as “infant directed singing”) singing activities/interventions are somewhat limited during the developmental levels of trust and independence. I have not noticed the children matching selected pitches or using descending intervals, but I did incorporate an intervention/activity which invites language approximations. I used the song “I Have a Little Pony” from Dr. Feierabend’s “Book of Bounces” in my last 8 week session. The song includes a dramatic pause (in the singing and bouncing), which essentially invites the children to initiate vocalization (to indicate “more”) in response to silence in music (and pause in movement, which of course coincide).

Listening: During the first week of my early childhood classes, I asked the caregivers if their child had a favorite song(s). I have incorporated these songs into our classes knowing that children in the developmental levels of trust and independence recognize familiar melodies. I have noticed the children smile and move in response to these familiar/favorite songs.

[Maggie Murphy]

SING -Awareness: The child may alter vocalizations in response to the singing voice (e.g. child may become still/silent while listening to the singing voice and coo/cry when the singing stops because they want more). -Trust: Vocalizations in response to music are now purposeful and pitched (generally using descending intervals and matching pitch approximately half of the time). -Independence: The child now babbles with melodic inflection, using varied vowels and consonants. -Control: The child imitates words of songs before pitch or rhythm (i.e. the words may be correct/match, but the pitch/rhythm may not match. -Responsibility: The child is able to increase the length of melodic phrases, use melodic contour (discrete pitches within may not always accurate), and melodic rhythm in familiar songs.

PLAY -Awareness: The child will turn attention toward and/or reach for the music (i.e. with arms, rolling toward, turning head toward, or watching with eyes or facial presence. -Trust: The child will use their senses to reach out/touch/feel/hold/shake instruments (for brief periods of time) and explore using their hands/mouth/feet. -Independence: The child will begin to use instruments according to their function (i.e. shake a maraca or jingle bells; strike a drumhead or tambourine; bang two objects such as small cymbols together; etc.). -Control: The child is now able to incorporate basic elements of music in their playing (e.g. playing at a variety of dynamic levels and shake instruments in a variety of tempos). -Responsibility: While playing, the child can now maintain a steady beat and imitate simple rhythm patterns.

MOVE -Awareness: The child’s movements are rhythmic and repetitive (often in a 2 of 4). This occurs instinctually. Movement often occurs in response to a pause in the music (because the child wants more). -Trust: The child will purposefully respond to the music, displaying repetitive, rhythmic movement aka the “baby bop.” -Independence: The child is now able to isolate body parts to move rhythmically, such as imitate clapping in response to music. -Control: The child is able to imitate a greater variety of learned movements (e.g. pat knees, stamp alternating feet, etc.), maintain/sustain a movement pattern throughout a familiar song and even combine two of these movements in a repeated pattern. -Responsibility: The child is able to use sequences in movement patterns. I think “Head, Shoulders, Knees, and Toes” was mentioned in one of the videos to demonstrate the complexity of this song, as well as, a reminder of how often the complexity of the movement/sequences tasks involved in this song is overlooked by caregivers/teachers/therapists.

LISTEN -Awareness: During this developmental level, the child prefers and will turn their head/demonstrate facial proximity instinctually toward the mother’s familiar timbre. The child will begin to identify different people in their environment by the timbre of their voice. -Trust: The child is now able to recognize and detect changes in familiar melodies. I think Elizabeth gave the example of a change in the melody “You Are my Sunshine” during one of the videos. -Independence: The child enjoys crescendos and musical surprises such as fermatas, glissandos, and silence. The child will begin to wait for and anticipate these musical elements through reciprocal interactions. -Control: In this level, the child will stop action to listen to music. -Responsibility: The child will listen to the music of others and maintain an attentive posture while listening.

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