[Meghan Cork]

Also, reflecting on Laura’s post, I think it is so important to keep the lines of communication open in a very accepting way so that the parents can serve to help and relate to each other. Chances are, if one child is acting out, another parent’s child has in the past also, and they can share these experiences with the other parents if we open these lines of communication! This will allow the parent whose child is having a behavior to move beyond his/her potential discomfort with the situation in order to actively help his/her child in the best way possible.

[Meghan Cork]

Although I am not currently running sessions like this, I have had a lot of experience with various groups in the past and I have struggled with some of the challenges of group dynamics. One of the strategies I used was using the group energy to serve as a social/musical pull to bring some children down the path of success and wellness. I have also explored changing a certain aspect of the music to try and engage a child based on his/her presenting needs. Still, as Meredith mentioned, I was always cognoscente not to go too far to suit the needs of one child while compromising the good of the group.

[Meghan Cork]

I think the most exciting thing about becoming a potential Sprouting Melodies provider is really being able to be part of the bigger picture in terms of early childhood music therapy.I think this means expansion in two ways- the physical growth of such a program across the country, and the growth of early childhood music therapy into the community setting. I am really excited to potentially be a part of it!

[Meghan Cork]

Plan for Songs and Music Experiences in Family Sprouts:

*After a recording/free play time with maybe some embedded songs, I will probably use the traditional, “Uh oh, listen!” And then I will use “Hey Everybody” as a transitional gathering song to get everyone in the same space.
*Transitional “Who wants to ride on my bike? Me, me, me” encouraging parents by modeling me me me with hand tapping chest along to beat.
*”Hold on Tight”
*“Where is the Music”
*“All of this is Me” to offer another mode as a musical choice.
*I may do a transitional musical phrase, “Do you want to play maracas? Yes yes? Do you want to may maracas (or bells)? Yes Yes,” (Built around the tonic but leaving it on the V chord on the “Yes, Yes?” I would ask individual children and model the positivity of “yes” as the natural response by embedding it into the music. This will happen in more of a free natural passing of instruments rather than a structured way.
*“I Like this Song”
*“I Can Move Around” to transition into movement with instruments.
* “It’s Time to Say Goodbye” with scarves
*“Music Time is Over” to transition out of music experience.
“Thank You Very Much” to transition out.

[Meghan Cork]

I meant “Thank You Very Much” to transition out.

[Meghan Cork]

Plan for Songs and Music Experiences in SM3:

*After a recording/free play time with maybe some embedded songs, I will probably use the traditional, “Uh oh, listen!” And then I will use “Sit Down with Me” as a transitional gathering song to get everyone in the same space but maybe something like, “Gather Round” after that to really emphasize the concept of being together in the music.
*Transitional “Who wants to swim in my pool? Me, me, me” encouraging parents by modeling me me me with hand tapping chest along to beat.
*“Swimming Together”
*“Where is the Music”
*“All of this is Me” to offer another mode as a musical choice.
Get a drum and go right into “You Play a Little” (forgot about this one!)
“Music is the Way”
*I may do a transitional musical phrase, “Do you want to play maracas? Yes yes? Do you want to may maracas (or bells)? Yes Yes,” (Built around the tonic but leaving it on the V chord on the “Yes, Yes?” I would ask individual children and model the positivity of “yes” as the natural response by embedding it into the music. This will happen in more of a free natural passing of instruments rather than a structured way.
*“I Can Move Around” to transition into movement with instruments.
*“Will You Come” or “Clickety Clack” depending on the day or group
*“Music Time is Over” to transition out of music experience.
“Thank You Very Much” to tradition out.

[Meghan Cork]

5 Words to describe Family Sprouts:
Busy
Supportive
Inclusive
Celebratory
Connecting

Sometimes it can be a challenge to provide music groups to many children of different ages. As we learned, children’s development moves rapidly, and children’s needs may be drastically different at various levels of development. However, one of the most important challenges of growing is learning to adapt and function in a group. Thus, the benefits of a multi-age group is you can stimulate older children by modeling appropriate helping behavior and encouraging them to “help” younger siblings and friends. This helps young ones to grow and become comfortable and open in various situations. It strengthens bonds for young children and those in their surroundings.

[Meghan Cork]

It may be a touchy subject to brooch- the difference between music for development and music for skill building but I think its important to just state the difference matter-of-factly- that music for development taps into a child’s natural musicality and strengthens that musicality for the sake of wellness and growth. In turn, music for skill building, while also valuable, is different. It involves teaching children about music itself and teaching them how to make music and hone musical abilities specifically. It is important to point out the difference to parents but explain that there is value in each.

[Meghan Cork]

Thoughts on Stimulation:

I really think that as music therapists, we have a certain level of intuition based on our instincts and experiences that tell us how much stimulation is enough and how much is too much. We may just get a feeling in ourselves or from the children that tells us what’s too much and too little stimulation and change it before the children really even react. However, the children may also give some clues. If just one child is outside of the group seeking stimulation elsewhere, then perhaps that is just that child’s need at the time, but if the majority of the children in the group are seeking stimulation from means such as “the wall” then maybe more stimulation is needed. However, if many of the children seem to startle, become upset, or display frightened expressions, perhaps less stimulation is appropriate at that time.

5 Words to Describe the Music Experiences in SMII:

Engaging
Varied
Authentic
Fun
Energetic

5 Sentences to Use when speaking to Parents about musical responses of children in SMII

“If your child is moving away from you during the session, it is not because they are rejecting you- they are just moving forward and forming a sense of identity.”
“It would be a good idea for you to scoop your arms under your baby and allow him/her to hold your hands on the outside during clapping so that they can experience clapping movements even if they are not ready to meet midline.”
“When helping your child to stand and jump, it is important for your child to feel the impact of the floor on his/her flat foot rather than his/her heel, because we want to organize, rather that disorganize his/her body through rhythmic movement.”
“He/she can take as many maracas and jingle bells as he/she wants, because at this stage of development, exploration is good!”
“Look, your baby is becoming more aware of changes in the music because he/she took the maraca out of his/her mouth when the music stopped!”

Instruments in groups with children at this developmental level:

*Hand drums, gathering drums (large and varied in size, varying heigths and round), tubano drum (tall and big), by REMO

*Children’s mini maracas by Hohner- I am used to the mini plastic ones

*Velcro jingle bells- RHYTHM BAND- can be found online or at guitar center

*West Music Scarves Set and 9×9’ canopy scarf

Plan for SMII Session:
*Transitional recorded music and free exploration time
*Transition such as, “Uh oh, listen” sung.
*”Hey Hey Come and Play” with parent helping child to jump or with parent encouraging rhythmic movement by patting knees and supporting the child who may be standing away with his/her expression.
*May do a little transition heading to “Wiggly Jiggly Car,” such as the sung, “Who wants to go in my car, me me me?” with hand on heart to indicate “me” to always allow for exploration of the self. This will encourage children to come in my car if possible while I maintain a complete acceptance if they don’t. It will also allow parents to sing this to encourage children to come onto their laps.
*“Wiggly Jiggly Car”
*From sitting position, I may begin with transition embedded song, “Just Like Me.” (a familiar and safe song)
*Then go right into “Can You See Me?” (Here we gave opportunity for a little bit of exploration but then come back to a secure base.)
*From there, I would vamp on the beginning of “Sit with Me and Shake” while the maracas are passed out and then begin “Sit with Me and Shake.” (This really gives the opportunity for more exploration for children in the music space but since it has a relaxed feel children can come back to caregiver at any time.)
*Now, I would go all the way and use gathering drum for “Dancing in the Middle.” (This really encourages children to go into the middle and explore with the peers.)
*Straight from here, I would get up to do a marching song, either “Can You Follow” or March with My Baby.” (Although this song has heightened movement energy, it has a more relaxed feel than the last in the sense that children can sort of be with their peers, on their own, or with caregiver, rather than actually being encouraged to come with their peers in the middle. This lets the session breathe.)
*Now, I would head into a scarf song such as, “Pick Your Hands Up High” or “As Big as Can Be” for those needing something a bit more familiar. (This goes back to that feel of opening and exploring, but then going back inward toward caregiver for security. Scarves and the musical qualities- more lyric lines, soothing timbre- give a sense of winding down that leads to the goodbye transition.)
*“Goodbye” on guitar (To give that sense of familiarity and grounding.)
*“Thank you Very Much” (for transitioning and generalizing to the world around the children).

[Meghan Cork]

Experiences:

Becky, it is really nice to hear your words regarding your experiences. It is an inspiration to discover how valued you are to these parents that they can be so open with you. Currently, I am only working with the one child in this age range and I have already expressed that his needs are very specific and that they sometimes dip into all of the levels depending on the day. Most days, he would probably be up for SM2, SM3, or sometimes even beyond depending on the day. However, the family has expressed that his inconsistency has taken a toll on the family and they often need support, and comfort, as Becky mentioned.

[Meghan Cork]

5 words to describe music experiences in sprouting melodies 1: warm, accepting, energized, bonding, soothing.

5 Sentences to be used when speaking with parents about musical responses in SM1:

It is important for your baby to hear the timbre of your voice, which provides a safety net so that he/she can grow, so try to sing along to get the songs in your voices.
Always try to keep your child at a close distance of about 12-18 inches so he/she is able to focus on your face and feel safe in the music.
In this stage, it is important for us as caregivers to really be sensitive to your baby’s needs and level of development, so if your baby needs a softer, slower pace, really try to keep your music warm, soft and energized.
It is really important at this stage of development for you to use a closeness with your child so that he/she can feel safe and can also get a sense of movement/rhythm from the tactile stimulants you provide.
It is important with your young ones at this stage of development to really slow down, breathe, and leave space and time for processing. (Here, you might embed a musical example such as Good morning to (on the dominant) big breath- you (on the tonic).

Plan for SM1:

To start, I would probably use pre-recorded music, as suggested to account for any sort of transactions and checking in that needed to occur. I would keep the music low so that during this time, I could utilize the chant “A Car on My Knee” or embedded song “Just Like Me” if appropriate. Then, I would turn the recorded music off and begin with a gathering song- probably either “Good Morning” or “Today’s a Beautiful Day,” most likely with light strumming on guitar to provide a foundation. Then I may change the key and ever lightly sing the transitional phrase, “Uh oh, Listen” (on sol mi sol do). I would then most likely do “Row it Faster” since it seems to work best in SM1 and save songs such as “Wiggly Jiggly Car” and “Little Red Wagon” for SM2 and SM3. Next, I will probably leave a moment of silence to process while I get the scarves for parents and caregivers to use with their babies. I would most likely to “Where is My Face?” and I really liked Meredith’s rainbow song also so I may transition into that. I will probably repeat this several times. Then I would transition into rattle maracas, perhaps singing with a lighthearted, soft, energized timbre on “Take One, Pass it Around, Take One To Ma-ake a Sound (built around the I and V chords) while parents pass around and provide to their babies. Then, I would most likely sing “In My Little Hand” and/or “I Like this Song” leaving lots of space for processing. When finished, I will leave silence while preparing for either “As Big as Can Be” with movements. I think this one is most appropriate for SM1.
**A question in here is, what song could we utilize hand drums with? Of course I could always write one, but is there one that you guys use with hand drums now?
Finally, I like Meredith’s idea of having a consistent goodbye song and just changing the quality and timbre of the music for the different levels. I could either use hers or write my own.

[Meghan Cork]

I have been thinking a lot about this question as I move toward a potential Sprouting Melodies program in the Park Slope, Brooklyn community. I have already seen promotions and signs for so many music sing-along type classes because the community culture revolves around family structure and promoting growth for children. But, I still think that Sprouting Melodies, a music therapy based program for children of such young ages would fill a need that has not yet been addressed in this community. I know that there are some mommy-and-me type music classes already provided in the community. It is unclear whether or not they are run by music therapists. If they are, then perhaps it would be a great idea for Sprouting Melodies to combine with such music therapists so that rather than having competition, we can together promote the importance of music therapy based programs in the community of Park Slope. We can extend these groups specifically to younger children ages 0-3 years and explain to community members why this is a critical age for children to grow THROUGH music rather than to actually learn music skills. For this reason, the role of music therapists in the community are just as, if not more, important than music educators for young children in the community because we specialize in this very thing. We can explain to the community that music therapists promote health, wellness and growth, so even for typically developing children, we can play a very significant role that is different from a music educator, particularly at such a young age when children cannot understand the complex concepts of music techniques. Even as children grow older in the community, our roles as music therapists to promote health and wellness in all areas using music as a medium varies from the role of a music educator which is to teach music skills and promote growth and learning specifically in one area (music). Thus, our role as music therapists should not only be a clinical one, for those in the community that have impairments and special needs, but we should also serve as general health and wellness providers for all children and families in the community.

[Meghan Cork]

Community Needs:
Currently, I have two private clients whose families have different types of needs. As mentioned, I have one client with a seizure disorder- Dravet Syndrome- whose family lives out east on Long Island in the Hamptons. Generally, it is a soft-spoken family living in a small, white collar community. This family of four has struggled as a result of Liam’s disorder in that the parents have had to allocate a lot of time and attention to his health. They have expressed to me that they try their best to give time and attention to their older, pre-teen son, but at times, this is difficult. They struggle to be good parents to both of their sons and sometimes become discouraged. Thus, they need emotional support and encouragement, as well as community resources. I try to provide my knowledge and advice with regard to where they might be able to find baby sitters or groups for children with disabilities, so that they can also spend time with their other son. 
The other client that I work with is an adolescent with cerebral palsy whose family lives in the close-knit community of Oceanside on Long Island. The community is very supportive of the special needs population. In fact, my client’s friend who has autism was crowned the Homecoming King his senior year. It is a family of four and the client has friends with special needs in the community and a supportive brother who is in his second year of college. Their needs escalated after Hurricane Sandy when their first floor was generally flooded out and caused them to lose power, heat, and plumbing for the past few months. As a result, they have been living with family friends in close quarters and it has taken a toll on the family. Although my client has generally been handling this stressor very well, it has caused a few arguments and strains between her and her parents. I have been trying to support her verbally and musically through these tough times, as well as extending relief resources to her family, without crossing lines of professionalism and being sensitive to their position. 
Aside from these clients, I am in the process of moving into the community of Park Slope, Brooklyn. I feel that the Sprouting Melodies program would be very appropriate there because for one, it seems to be a very open-minded and cultural community. I feel that many in the community would support music as being an important means for development in the lives of their children. Also, the community is really a family-friendly community, where there are many venues intended to support family bonding and activities that parents can do with their kids. I look forward to seeing what this transition will bring!

Although it is important for music therapists to be sensitive to the specific needs of the community in which we work, particularly with regard to cultural needs and the dynamics of the community, music therapists must always bring a sort of warmth and acceptance to the families with which we work. It is important to show acceptance for the family and community dynamics. Only then can we share our knowledge and experiences in a warm and helpful way, allowing for growth. It is a fine line, but we must be careful to not seem as if we are judging families or being condescending. Then, the family may become defensive. It is important for us to really know how to work with families in a way that will allow for trust.

[Meghan Cork]

I have definitely used these four experiences in my practice. I usually provide a great deal of opportunities for singing, instrument, playing, movement, and listening.

However, like Kristina mentioned, I feel that listening has been one of the weaker points in my practice. I always felt a sort of fruitlessness with regard to listening.

Although I knew listening was important in musical development, I wasn’t quite sure how to understand children’s listening responses and therefore I could not utilize

this experience as much as the others. I feel that this training has helped me to better understand children’s listening responses. This will allow me to choose the most

suitable listening experiences to help each client develop in the best way possible, based on the level he/she is at.

[Meghan Cork]

Developmental Sequences using the example of Molly:
Singing:
Awareness- In response to me singing, “Good Morning to You,” Molly makes an “ah” coo sound approximately on the F pitch of “mor”-ning- the pitch similar to mine.

Trust- Upon entering the music room, Molly sings a descending minor third on the lyrics, “Ma-nin” for “Morning,” in an attempt to communicate with the familiar musical interval of “Good Morning”

Independence- After the session, Molly begins to sing a few intervals of “All of this is Me,” a song I had presented in the session. After singing a few intervals, however, Molly’s song turns into something else- melodic babble.

Control- As we sing, “All of this is Me,” Molly generally follows the melodic contour of the song. She is particularly strong at the ends of phrases such as the repeated note, “me me me,” and she smiles and sings loudly with intention and seeming pride.

Responsibility- I present the song, “Are You Ready for Music,” and Molly sings loudly with intention. She sings generally in time with the syncopated rhythm of the song and goes slightly sharp at the ends of phrases such as, “mu-sic.”

Playing Instruments:

Awareness- During the gathering song, “Good Morning,” sung with driving motion on the piano with jingle bells, Molly’s body rocks naturally to the music and she looks around the room. There is a stark difference in her manner later in the session during the goodbye song, “Bye Bye,” sung with tone chimes. Here, Molly is still and presents a fixed gaze on me.

Trust- During the gathering song, “Good Morning,” Molly takes jingle bells that Mom hands to her. She explores them briefly with her mouth, shakes them twice on the beat, then puts them down.

Independence- Molly picks up three bands of jingle bells from the instrument pile upon entering the music room. During, “Good Morning,” she shakes them briefly, then goes to the pile to exchange for two maracas shaking them three times approximately on beat as she walks back. When she sees mom, she holds up the instruments to show them to Mom.
Control- During instrument song, “Shake-a-little,” sung a capella with jungle bells and maracas, Molly laughs as I stop suddenly on a stop-and-go phrase. She looks at me and chimes in with her maraca. I follow her lead, proceeding on with the game and then stopping suddenly again.

Responsibility- During, “I Like this Song,” sung with piano and maracas/jingle bells, Molly shakes two maracas- one in each hand- along to the beat. Thomas is also shaking maracas to the beat. She stops and looks at him and he makes eye contact. She giggles and then runs to give Mom a hug.

Moving:

Awareness- During the first lullaby part of “Hold on Tight,” Molly is relatively sedative while Mom rocks Molly on her lap. During the play song portion, Molly moves her arms and legs in spurts.

Trust- During, “I Can Move Around,” Molly bops with her whole body to the beat in relatively long spurts.

Independence- During, “I Can Move Around, Molloy stomps her feet along to the beat for most of the song.

Control- During, “Will You Come,” Molly marches on beat for the most part during the marching portion of the song. During the jumping portion of the song, she tries jumping but she can’t quite get her feet off the ground and it causes her to move off the beat.

Independent- During, “All of this is Me,” Molly imitates most of the movements, forgetting one occasionally and falling behind the beat.

Listening:

Awareness- During “Hold on Tight,” Molly is sitting in Mom’s lap. During the first, lullaby-like part, she is still, her breathing steady. During the play-song part, she looks quickly toward me as I sing and begins to make arm movements. Her breathing quickens.

Trust- While playing in the beginning of a session, something offsets Molly and she begins to have a tantrum. When I sing, “Good Morning to You,” she looks at me and her crying slows to whimpering and her body visibly relaxes.

Independence- During, “All of this is Me,” Molly’s face becomes serious and her body stills as she watches me sing.

Control- In the midst of Molly and friends playing in the beginning of the session, I sing a musical phrase, “Uh-oh, listen” on a descending minor third and then a descending fifth to the tonic. Molly stops playing and turns to look at me, wide-eyed.

Responsibility- During, “Will You Come,” Molly follows some movements, but all the sudden stops in the middle of the circle, staring at Thomas as he marches to the beat of the song.

[Author]

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