[Marly Hobson]

My key takeaways are the developmental levels and associated music therapy interventions appropriate for each level. I was seeking a way to better organize this concept in my head and be able to have a framework for more systematically moving among the levels and this course was exactly what I was looking for in that regard. I already practice from a developmental perspective and philosophy. I find myself sometimes becoming a bit overwhelmed by other developmental models that may also take a creative music therapy philosophy in that some associated assessments within that framework are so multi-layered and even sometimes not practical, either for the large number of students that I serve, or for the questions I am essentially trying to answer about my students/clients.
This framework is brilliant in that it is comprehensive, yet simple; fluid, user-friendly, and time efficient.
I am excited to use the early childhood music indicators checklist to guide student goals and treatment plans for a wide range of students, not just early childhood students. I think sharing this information with our teams and using it within our department will provide a common language for all, and will also provide us with a more systematic way of communicating about music therapy progress to our other professional colleagues and our families.

This course has also got me thinking about ways that early childhood music therapy groups could be offered in my community and for our school families. I am not at a point in my life currently where I can embark on something as big as a Sprouting Melodies program per se, but I can imagine providing early childhood music therapy family experiences for our school families outside of school in some format.

I have greatly enjoyed the content of this course and wish everyone the best as we take this and move forward!

[Marly Hobson]

A strategy I like to use to ensure that all of my students experience success is to allow them to interact and participate on their own terms (to the extent that it is safe for all). If a child does not want to sit with the group initially, I will allow him/her to stay where they are comfortable if they are not a harm to self or others. I feel this is particularly important for the very young students who may not even be capable of sitting for extended periods of time. I like to incorporate ideas from the children – musical ideas, imaginative play ideas, movement ideas, etc., and over the years have learned to slow down and relax during sessions. Enjoy the moment and allow for repetition as needed in the moment, even if it means (gasp!) altering/deviating from a “plan.” I have found that if I am not having fun during a session, there is a huge likelihood that the children aren’t having fun either. I like to use the strategy of humor and playfulness to ensure success – we cannot allow ourselves to be too serious. Children can also sense a disingenuous interaction, so I try to be as authentically present as possible. I have found that the strategy of modeling (particularly for paraprofessionals, teachers, or other therapists who may be part of the sessions) is a wonderful way for the children to experience success. The strategy of flexibility is imperative when working with young children – spontaneous needs for movement. Using the music itself – changing it slightly, tailoring it to the responses of the children, using the elements purposefully can be probably the most powerful strategy for ensuring success for all.

[Marly Hobson]

I am so very excited about a developmental model – it is one from which I have drawn my personal and professional philosophies over the last 10 years in particular, and one that I am strengthening even more so in the last 5 years. I am very excited about the early childhood indicators and as a team, we are thrilled to incorporate that into our work and programming within our special education cooperative. I am excited and refreshed by the musical content – I use the songs in the You and Me Makes…We book frequently, but seeing videos of some of the songs in action was refreshing and helps me think about some songs in a different light.
I am also so thankful to begin the year with the developmental levels in the forefront of my mind as I work with my students virtually and begin the overwhelming task of assessing them.

[Marly Hobson]

5 Words: Layered, Balance, Helpful, Joyful, Love

Plan: Sit Down & Join My Circle; I Like to Lick the Ice Cream; All of This is Me; Listen to the Sound of My Drum; Pass It Around; Thank You Very Much

[Marly Hobson]

This is a topic that comes up when families inquire about “lessons” for their children outside of school. As a school-based music therapist, our department is often asked by classroom teachers or by parents – “do you know where my child can get music classes in the community? Do you know someone who can teach my child piano lessons?” etc.
I typically like to answer this question by asking another question – “Are you looking for music classes/lessons or music therapy?” as usually, these inquiries are in reference to children with disabilities whose parents may know how much their child “loves music,” or how successful their child is in the school-based music therapy setting. Frequently parents do not understand how what their child is receiving at school in the form of music therapy differs from what they are thinking about in terms of a traditional piano or music lesson. So then I go on to talk about what music therapy can provide – a developmental approach to growth and development through music. Nurturing social skills, language, interaction, bonding through music. Not a focus on learning a particular instrument.
I discuss what music lessons can provide – typically a structured learning/acquisition of musical skill with end product in mind. I also try to incorporate information about basic music competency that may be a pre-requisite for learning an instrument/taking lessons as well as discussion about learning styles and finding a person who would be able to work within the needs of the child.

We talk about how music therapists can provide adapted music lessons and may be better equipped to provide the necessary individualization and developmental understanding of a child’s learning needs.
Sometimes families aren’t looking for therapy at all, and truly what they have described as a “normal” music class for their child with special needs.

I think this conversation is one that requires individualized answers and a true understanding of what the parents are looking for.

[Marly Hobson]

5 words: Playful, Active, Determined, Letting Go, Individuality

Plan: Gather Round; Jumping With My Brand New Friend; I Need Music Every Day; It’s Your Turn; Can You Follow; Time To Go

[Marly Hobson]

5 Words: Freedom, Responsive, Authentic, Discovery, Observation

5 Sentences:
– “Babies take in lots of information through their feet. Help them organize with a steady beat.”
– “It’s developmentally expected for babies to mouth their instruments at this point. Watch how they will take the maraca out of their mouths when the music stops.”
– “Look how your child is bonding with Sally’s mom!”
– “Have your child face you during this bonding song and then face outward for the instrument song. She wants your comfort and security, but also wants to explore and observe.”
– It’s ok that Sam leaves the group to wander around and then returns to the group – it’s not expected for this age to sit and be near for the entire group.”

Plan: Sit Down With Me & Hey! Hey! Come & Play!; Can You Follow; Trot Old Joe (lap ride); I Can Move Around & Shake Five; I Really Gotta Jump; Where is My Face; Music Time is Over

[Marly Hobson]

I use Chiquita shakers and large egg shakers (ones that are too big to fit in mouths, yet still a good size for grasping), hand drums, gathering drums, lollipop drums, and small tambourines. We tend to use West Music’s chiquitas and egg shakers and Remo gathering drums. The Basic Beat brand hand drums have proved to be great with this stage.
Demo makes the lollipop drums. We also purchase scarves and other movement props (parachutes, cooperbands) through West Music. West Music is a reliable vendor as they have a strong music therapy department and a music therapist is involved in their business side as well. They have music therapy instruments and materials specifically outlined in their catalogs and stores.

[Marly Hobson]

Stimulation levels are changing throughout my sessions based on my students’ responses. I have many students with immature startle reflexes, and I must be cautious in applying stimulation with them. I like to think of stimulation in terms of layers – gradually layering in more levels or types of stimulation while gauging student responses and being ready to pull back or add accordingly. I have also observed over the years how different over-stimulation can look in my students – from closing eyes, turning head, tightening body and facial muscles, changes in affect, crying, putting head down, walking away, hands over ears, etc. I have also observed completely opposite stimulation responses from different children to the same stimulus, which is something to be aware of when facilitating groups.

[Marly Hobson]

Five words to describe SM1 = Nurturing, Bonding, Open, Loving, Responsive

Five Statements: 1.Your voice is the preferred voice for your baby – let them hear it. 2. What a wonderful moment when your baby locked eyes with you during that musical experience. She is really connecting with you. 3. Your baby is giving us signs that he is overstimulated – see how he is closing his eyes and turning his head away? Let’s reduce the stimulation. 4. Look how your baby is moving rhythmically during this song – internalizing the beat. 5. This must be a familiar song for your baby – see how she is stopping to attend? Is this one that you’re singing at home?

SM1 Session Plan: Gathering Song -Good Morning & Come and Join the Circle; Bonding Song – Horsey, Carry Me; Instrument Song – In My Little Hand; Movement/Instrument – I Can Move Around; Closure/Relaxation – Music Time is Finished

[Marly Hobson]

I apologize for my delay in posting – this is the third time I have attempted this post and it continues to get lost in cyberspace and not saved…
I have two of my own children and so I have experience with this age group as a caregiver/mom and as a music therapist. In terms of my clinical experience, during my first job, which was in a hospital setting, I worked on the mother/baby unit. I worked with mothers who were on bed rest, who primarily preferred relaxation and coping skills focused music therapy. Some moms also were interested in learning about how to use music with their baby and enjoyed learning lullabies and other resources for when the baby did arrive. I also facilitated a Lullabye Group for new parents and their newborns on the unit. Parents would come to the group with their babies and we would sing lullabies, learn about using music in general with their babies, and share resources. It was a joy to witness these new parents and their BRAND NEW babies. I facilitated an outpatient group for pregnant teens at the hospital as well. We focused on learning how to use music with their babies, music for their own self-care and coping, and music for the baby’s development. I have spent the majority of my career working with individuals who function at the awareness level, but may be anywhere from 3-22 years of age. These individuals will likely not move out of the awareness stage into trust. My ongoing challenge and quest it to ensure that I am provided music therapy that is both developmentally appropriate as well as appropriate to their chronological ages.

[Marly Hobson]

I think there is a large and very important role for the music therapist and music therapy in community-based settings, not to mention a unique role. Music therapists are trained and equipped to provide a unique developmental and musical perspective for children and families. We are able to provide quality services in an adaptable format that can meet the needs of the children and families we serve. I have two daughters and when they were babies, I was extremely interested in finding a quality music class for us to attend together. I struck out initially with a music class offered at a local community based music school in Chicago. The activities were not developmentally appropriate, the group felt impersonal – I felt no connection with the other families or children in the group. As a music therapist, I found myself so irritated and judgmental about the class, thinking what I would be doing differently and how cookie cutter ridiculous it was. As a mom, I didn’t want to be my babies’ therapist – I wanted that sense of community and music and joy that can come from being part of something bigger with others. I made music with my babies (and still do) every day of their little lives – I wanted the community. Around the time my first daughter was 7 months, there was a Music Together training offered in Chicago and my coworker and I took it. We found it interesting and so different from music therapy in terms of the idea of using the same song collections for a period of time, and how they train you to “learn the songs,” as if there is a standardized way to “do” the song, rather than based upon a child’s response and your reflexive response to them. We did enjoy the fact that there were many songs in a variety of keys and modes and time signatures with diverse instrumentation that was interesting for babies and children to listen to – far beyond the I,IV, V land that so many early childhood providers get stuck in. After the training, I enrolled in a Music Together class with my first daughter when she was 8 months old, and continued with her for 6 years. My younger daughter also participated in Music Together from the time I was pregnant with her until she was 6 as well. We were in a multi-aged group, much like the Family Sprouts format it seems, so we could all be together. We experienced much joy together and definitely felt connected to the other families and children and community. Our teacher was incredible and very responsive to all of the children – her ability to make each child feel special was uncanny and her musicality was fantastic. She was great at pointing out the MUSICAL development of the children in the groups. However…she was not a music therapist. She didn’t claim to be and we certainly were not looking for a music therapy group. I do think that if a music therapist had been facilitating, the families would experienced all of the above listed wonderful things, in addition to understanding the relevance of their child’s musical development to development in general. That, to me, is one of the most integral and unique facets that a music therapist can bring to a community based music program. As a music therapist, it was always clear to me when there were children who had other needs, or who were not marking developmental milestones at typical intervals, or who were likely on the spectrum. In my head, I imagined the accommodations and adaptations that I maybe would have made for those children within the group. They likely did not go unnoticed by the teacher, but the teacher did not have the expertise to meet those children’s specific needs.
As I watched the first video for this week’s module, I was thankful to gain a new perspective on the idea of community based music therapy as part of a school setting. We have schools within our district that purchase music therapy services for their special education students. Recently, we have added 2 contracts with inclusive early childhood classrooms, where maybe 5 out of the 15 students have IEPs and the rest are typically developing children. These schools have purchased 120 minutes/week of MT services (2 30-minute sessions/week for the AM section and the PM section), for a total of 60 minutes of weekly services. I have been frustrated by this as these general education students then receive more weekly music therapy than our students with low-incidence disabilities within our own cooperative, who at the EC level, are only receiving 30 minutes/week. I have said – “these kids don’t even NEED music therapy!” If I approach this situation from a community-based perspective, I could reframe by saying, “music therapy/music therapists can provide services to support the health and development of ALL children.” This felt so good to think about and to say, and is a refreshing way of looking at this situation.

[Marly Hobson]

The needs of the families that I work with vary greatly given the diversity in our community. Some families are immigrants and need access to information in their own languages and may struggle to understand the technical language that accompanies the IEP process. Additionally, many of our families come from countries where individuals with disabilities do not receive formal education, and their experience in our school is the very first time they have ever been in school. Families may need social services, including job finding assistance, furnishings for their homes, clothing for their children, food, ELL services, mental health services, etc. Some of our families are refugees and in need of a whole host of physical and emotional services. Some families are struggling with the severe behaviors that their child exhibits while keeping their other children and employment afloat. Some families are experiencing homelessness or other transient living situations. We have families going through difficult divorces, differences in opinions regarding the best decisions for their child’s education. We also have some families where their religious beliefs do not allow participation in secular music and/or dancing. I have reached out to some families in this situation and explained music therapy and have never ended up with a child who couldn’t eventually participate in music therapy after families learning more about its purpose. Music, in all of these circumstances, can be a uniting agent. All of these wonderful families come with amazing stories and cultures and my students come with their own passions and preferences for their own music. For students who do not yet speak fluent English, or who may be low verbal, music can be the universal language. Music can also be the thing that the child can thrive within right away – a place to show their strengths and capacities.

[Marly Hobson]

Music therapists have much to offer young families, and in my opinion, can bring a unique perspective to families, particularly families who have a child with a disability. Music therapists can bring a sense of acceptance and joy to families regarding their child and delighting in their child. Music can remind families what is right about their child, particularly when young parents may feel bombarded by information about their child’s “deficits” at a disproportionate rate. Music therapists can work with young families in how to engage, bond, and PLAY with their child – in a developmentally appropriate and accessible way. I think music therapists can also help young families highlight their child’s capacities – celebrating any and all development, responses, and how to guide the child towards his/her next level. The value of having a professional who knows about musical development and its relation to overall development, and can offer services and empower parents to use music themselves to promote their own child’s development is so important.

[Marly Hobson]

I incorporate all of the music experiences of singing, playing, moving, and listening into my work. As I’m reflecting more about this, I think there is also overlap among the experiences. I may be facilitating something where I am mainly working on playing, but inevitably, movement becomes part it. Or I may be leading a listening experience, which turns into a singing experience for my students. In my situation, I don’t often have the ability to divide up my groups into similar developmental needs groupings. I very frequently have to service children who are functioning across different levels of development in the same group, which is extremely challenging. It is a constant challenge to be sure to include experiences that may be appropriate for the different levels, or differentiate my interventions to meet the developmental needs of all of my student group members. This is also where I may see some overlap occurring. For instance, during a listening experience where the intention of my intervention is to provide welcome music as orientation or signal that music therapy is beginning for students at the awareness level, it may also turn into a singing experience for students within the group who are recognizing the melody and choosing to sing along.
In terms of singing experiences – I like to provide opportunities for children to vocalize in their own spontaneous ways, as well as singing along with familiar and preferred songs, imitating phrases or motives, and of course original song creations. A great song that I love to use is “I Can Sing” from the Themes for Therapy Nordoff Robbins books that provides a nice structure while also allowing for lots of creative responses. Playing is a big part of my sessions – play alongs where children can change instruments from a wide selection available to them, playing alongside other children, improvising, playing a part within a whole. I am mindful of developmental levels in terms of timbre (some can be too startling for some of my students in the awareness level), and the need for one handed instruments versus two handed instruments at varying levels of development. I want to dig in a little deeper in terms of facilitating progress through the levels through instrument play and am excited to learn more about that. Movement is also a consistent part of my sessions. I tend to provide structured opportunities for movement near the beginning of my sessions so students can alert as necessary, cross midline as they can, and feel creative and spontaneous. I also have never understood some early educators’ strong desire or belief that early childhood children should be sitting, sitting, sitting. I had a 3 year old who had difficulty even entering the music therapy room and I encouraged the classroom staff to just let him be when he came into the room – allow him to listen and observe from a distance, offer engagement and follow his lead. Soon, it became evident that he was doing the movements that his peers were doing – just over in his own corner. Gradually he made his way to the group and by the end of the spring, he was sitting right next to me, pulling my hands over the guitar strings to indicate his desire for me to play. Listening is also a part of my sessions and can take many forms, ranging from listening to new and interesting timbres to listening to each other in music experiences. I have my high school aged students who are functioning at an awareness level listen to a different instrument each week and try to localize the sound and/or demonstrate responsiveness by using their eyes, turning their head, changing body position, changing their affect. We play the instrument in different locations around the students’ heads and provide response time. I have learned a lot about my students during such a seemingly bare bones intervention that I may have missed had I not isolated timbres and allowed for repetition and practice of this skill.

[Author]

Posts