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There are some aspects of the book/series that I like and some that I’m not a fan of…
Pros:
Book/series provides an abundance of songs and experiences to use with children birth-36 months and even breaks them down into age and gives sample lesson plans/info RE: planning lessons. Experiences include: lap rides, wiggles (similar to This Little Piggy), tickles (similar to I’m coming to Get You), tapping (caregiver taps beat on song onto child’s body), clapping, simple songs (songs with limited note range for young children beginning to sing), simple circle games (think Ring Around the Rosie), movement with recorded music, and lullabies. The music includes folk songs from a variety of cultures/traditions.Cons:
As I mentioned, songs are very short, which I now know is ok, but I was definitely thrown off at first! Many of the “songs” are written out in text form and are meant to be spoken/chanted rhythmically or with a melody that you create. Songs do not have chord progressions included, so you will have to figure those out on your own or possibly sing acapella. In the lesson planning section, it says to include 1-3 examples from each activity category, which would equate to 8-24 songs in a session/lesson. On the high end, that is way too much! This also threw me off when I first started planning groups for this age range!Overall, it’s not a bad resource to have if working with kids in this age range. It gave me an idea of what to expect when working with this age group prior to starting this class. There is also a “First Steps in Music” for preschool and kindergarten.
ParticipantI think you might be right, Greta. After doing some review of the videos and book, I now see “The child will recognize familiar music even with a change in timbre” (p. 75) in the Independence chapter of the book. This musical characteristic is a bit more advanced than musical characteristics of a child within the developmental level of Trust (i.e. “recognizes familiar melodies”- no mention of change in timbre).
Thank you for catching this! I agree that it has been a little hard to grasp the developmental levels without being given specific age ranges and knowing that they developmental levels are fluid.
ParticipantWhat an interesting experience, Lynn (i.e. watching the children incorporate movement from possibly their traditional culture with music that may not necessarily match the music that they typically would have danced to). Very interesting!
ParticipantWow! I didn’t know this either.
Erika, Do you happen to know if the rule about boys who have been bar mitzvahed not being able to listen to women sing also applies to recorded music?
ParticipantWow! I had no idea that use of music instruments is prohibited/forbidden in some faiths (i.e. Islam).
This goes to show how important it is to get the know the cultures of the individuals you are working with. This has got to be hard when you work with so many different cultures!
ParticipantGlad that you got the chance to practice this one at home. Sounds like it was a hit!
RE: concern about songs being too short…
I purchased the Feierabend’s “First Steps in Music for Infants and Toddlers” set several months back and I immediately noticed the short songs/rhymes that were included in the curriculum and I immediately became concerned thinking, “Now, how many of these songs am I going to have to prepare/memorize and cram into my EC groups?”But I think you “hit the nail on the head…” These short songs aren’t meant to be crammed into an endless list of songs to be used in a group/session. Instead they are meant to do exactly what you said… to be used spontaneously and in the moment with the child until the child moves onto the next thing!
ParticipantI have a now 2 year old nephew who loves music and, around the age of 18 or so months became a big fan of “Ha Ha Hoo” (his way of saying the “gack-gack-goon” portion of Little Green Frog). While I was passing through the house with my trumpet in hand last summer, I decided to play the melody on my trumpet (to see if he could recognize the song without the words). He immediately began to “bop” rhythmically to the music. I think his movement, ability to recognize the melody workout words, and need for repetition (request to hear that song over and over) are all characteristic of the developmental level trust.
ParticipantI was not able to use any of the songs in clinical practice this past week (no EC groups/sessions this past week), but I was able to learn the songs and practice at home. What I can say is that “Just Like Me” is quite the ear worm! I would imagine this is because of the highly repetitive nature of the song (especially the melody lines). This quality will make the song easier for the child and parent to learn (and used outside of session/classes).
ParticipantAwareness: In the developmental level, a young child prefers familiar vocal timbres. The child is familiar with the timbre of their mother’s voice (from hearing her voice while in the womb). The child will turn their head instinctually toward the mother’s voice and will begin to identify different people in their environment by the timbre of their voice. The child will use pitch in their own vocalizations (cry/coo/sounds that they make instinctually).
Trust: In this developmental level, the child’s vocalizations and movement are now purposeful (as opposed to instinctual). Children within this developmental level make pitched vocalizations and match pitch half of the time. They respond to music with repetitive and rhythmic movement (often referred to as the “baby bop”), but not necessarily synchronized to the music. They recognize and prefer familiar melodies, which helps with a sense of trust (anticipating/knowing what comes next and being able to engage).
Independence: In this developmental level, the child is able to use their voice in so many new ways (i.e. varied vowels and consonants, glissando, babbling/singing with melodic inflection). The child is able to isolate parts of body (e.g. hands, feet, shoulders) or move their whole body rhythmically. Beyond exploring the instruments, children in this developmental level can now use instruments purposefully (e.g. shake maraca jingle bells and strike drum/tambourine).
Control: In this developmental level, the child is now able to imitate words of the song and engages in learned songs and spontaneous singing. Children in this developmental level enjoy dancing spontaneously and imitating learned movements to music. The internal rhythm of children within this developmental level is fast and can be determined by watching the child walk or move feet/bodies.
Responsibility: In this developmental level, the child possesses the ability and control (inhibiting their own internal motivation) to maintain a steady beat, match the dynamics of the music, and listen to the play of others. This developmental level marks the beginning of adult “musicking.”
ParticipantThroughout my career, I have worked in the Chicagoland area and have had the opportunity to work with patients from a variety of ethic and cultural backgrounds.
Early in my career, I worked in a therapeutic day school that consisted primarily of white (primarily non-hispanic) and black students from English-speaking homes; however, I had at least one student who was Arabic and would share about the Muslim holidays that she celebrated at home. While working for the state, I was assigned to Spanish-speaking/mixed units (due to the availability of Spanish-speaking staff). But because we were located near an airport and served individuals who did not have insurance, but needed to hospitalized due to acute mental illness, we served patients from all over the world. One of the state hospitals I worked at also had a unit with several staff who were fluent in ASL (for long term care patients who were Deaf) and an acute unit with staff who were able to speak Polish and various eastern European languages. In my current position at the VA, I work primarily with white (hispanic and non-hispanic) and black Veterans, but recently one patient on my caseload who is Puerto Rican/primarily Spanish speaking. In the early childhood group that I recently started running at my local library, I have noticed quite a few families that seem to be bilingual (in English and Polish) and likely speak Polish at home.
I would say that throughout my career, majority of my patients have enjoyed listening to music that is considered popular in American culture or was popular during their teen/young adult years. When working with patients from cultures that are different than mine (white, non-hispanic, English-speaking, raised-Catholic), I have relied heavily on recorded music, but do make an effort to learn about what music the patient enjoys (i.e. preferred artist, style of music, preferred radio station, etc.) so that I can help the patient access this music. I definitely have a long way to go as far as being able to play music from cultures and traditions that are different than mine. I am also currently involved in a research study at my work and have included the following question in my music preference assessment: “Are there any cultural considerations or is culture an important aspect to your music selection? If so, please explain.”
If anyone knows any Polish children or Folk songs, please feel free to share!
ParticipantHi Jee, I have my book but this is also my second go around in this course.
I recommend that you contact Erika ( erika.svolosmtbc@gmail.com) and SM office manager Michelle (info@raisingharmony.com) about this issue.
ParticipantJee and Greta,
I’m reading your discussion and you brought up so many great points. If a child does not have a caregiver(s) who is/are attentive to their needs, they would likely end up feeling scared and helpless (in their attempt to get basic needs met), instead of being able to attend to the other tasks of development.Greta- Your connection between this topic and children experiencing pain related to procedures/illness makes me so glad that there are Music Therapists (and a need for even more) like you in hospitals!
ParticipantGreta, Your takeaway is case in point that it’s not possible to learn everything during our college coursework, but it sounds like the knowledge you have gained in the field (and colleagues) have gotten you through.
Even though I took a Human Development course in college, I was grateful for the refresher this past week and the scales/checklists in chapter 3 of the book (to keep as a reference moving forward).
ParticipantGreta,
You made a great point that I hadn’t really considered up until now (I have never had the opportunity to work or do a clinical rotation in a pediatric hospital)… Just because you (as the hospital music therapist) don’t observe a child meeting the milestones, does not mean that these milestones aren’t occurring outside of the hospital setting. In this case, it’s important not to jump to conclusions and, instead, work to establish rapport with the child and put them at ease, so that you can get a glimpse at the child’s actual baseline or work on goals.ParticipantJee,
I would love to hear more about the music library group that you attended with your oldest child. Briefly, what would you do the same and what would you hope to do differently?
Based on the experiences you shared, it sounds like the families that you may eventually work with in EC will be lucky to have you as their music therapist. No matter how much formal training we get, these personal experiences are just as important (i.e. You will be able to provide caregivers with the support and reassurance that you would have benefitted from during those challenging years).
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