[Meghan Cork]

Thanks, Beth. I realized after I wrote the comment that it must be in the book!

[Meghan Cork]

I’ve been spending about an additional hour each week to print slides, write on the forum, and read others’ comments in addition to the time of the videos. It works for me!

[Meghan Cork]

You all brought to my attention a couple of good points about culture and music therapy in early childhood settings. As mentioned, the town where I grew up and where I am still currently living is pretty limited in terms of cultural diversity. My individual clients now have similar backgrounds to that of the town in which I grew up, so I use a lot of traditional American folk songs, TV, Disney, and pop songs similar-sounding to that which Renee mentioned. But, last year for my Master’s Thesis, I studied culture in the early childhood setting of Alternatives for Children in Melville, Long Island, the facility where Beth works. This facility had much more cultural diversity than I was used to. Although I was specifically focusing on a child of African American descent, my findings indicated that based on the dynamics of a group, it is important to include a specific balance of different types of cultural musical elements. For instance, if a group has one child that is a leader-type and is extremely responsive to music but he/she is of a cultural background that is different from your own or others in the group, it may be still important to use lots of music of that child’s culture, because that child will respond enthusiastically and become a role model for the others.

[Meghan Cork]

Currently, my home community is Shirley, a small-town on Long Island where I grew up. Most of the families in our community are white, blue collar families who practice Christianity. Therefore, much of the music in our community is based around Christian holidays, such as Christmas and Easter, but also commercial holidays such as New Years and Fourth of July. Our community also seems to celebrate morality and patriotism, so for instance there might be community music events centered around remembering 9/11 or school events with regard to stopping bullying. Also, much of the music events in the community are centered on children to support the family structure that thrives in our community, so you might hear children’s songs that originated as American folk songs, such as “She’ll Be Comin’ Round the Mountain” or “Twinkle Twinkle Little Star,” or you may hear more commercial children’s music, such as Disney songs.

Still, some of the families in our community are from other cultures, such as African American families who practice Baptist religions, or Hispanic American families who may speak English as a second language. As a result, some music events, such as high school talent shows, may feature a more mixed style of music, such as pop, classical, gospel, latino, or RAP music.

[Meghan Cork]

Although I don’t have a great example of using this music in a parent-child music therapy based group setting, I have used one of these pieces recently in my clinical work with a child who at the age of seven, is sort of teetering between the stages of control and responsibility. He struggles because of a rare seizure disorder called Dravet Syndrome. The syndrome causes delays in cognitive ability, speech, and hinders balance and motor coordination. It also affects the child in a unique way because symptoms become worse during times surrounding an epileptic episode. In this way, although his education and life experience at age seven has allowed him to reach a level of responsibility at times, his development is sort of jumpy and haphazard and he often drops back to levels of control, independence, and even trust.

The other day, I used the instrument song, “I Like This Song,” allowing him to choose a maraca while I played the piano and sang. While I use other interventions and prompts to directly influence his bilateral coordination and maintenance of a steady beat, I used this piece as a break from the call-and-response work with instruments. It was more of an opportunity for him to just celebrate the playing of the maraca- to just “jam” with me. I thought that perhaps because of our other work with regard to rhythm, and because of an organic response to the music, that he would in turn play a steady beat on the maraca, and he did!- briefly. It was a start. I am trying to expand his level of control horizontally- as Beth and Meredith mentioned, so that eventually he can vertically move to and maintain a level of responsibility. In this way, using “I Like This Song” as an intervention was effective for him at this point!

[Meghan Cork]

Regarding the topic of developmental levels in action, I don’t have any stories as of late. But once, when Beth was leading a parent-child group and I was observing and helping to engage with some of the children, I remember that the father of one of the girls in the group was present for the first time. When the girl would wander to explore and play with other children and caregivers within the music circle, the father tended to pull the girl back toward him. It seemed that the girl was in the stage of independence and she was really beginning to respond to the music by healthily engaging with things in her environment. Beth handled the situation very well, and I hope to do the same when I run parent-child groups in the future. She did not really single out the father or put him on the spot. But, rather, flowing in between the music as the girl was wandering, Beth mentioned something like, “Well, this is really great Dad- look how she’s exploring her environment!”- just a little affirmation to the dad explaining that this is a normal and healthy response. I really learned from moments like this, as sometimes one doesn’t know how to explain to parents that certain behaviors are normal and OK for certain levels, and children are free to explore them in the safety of the music environment. Responses like Beth’s- quick little affirmations- are good for making things less awkward with the parents.

[Meghan Cork]

I just love what Renee said about sometimes “putting down the guitar” and that sometimes there is just too much sound. I have to remind myself that sometimes in this setting, an a capella voice is best fit!

[Meghan Cork]

Hi all,

I think that so far, the combination of learning environments has been perfect. Having some sort of print together with the either the powerpoint/lecture, or the video with voice behind it has worked well. I feel that we need both the print and the videos so we can follow along, and have hard records in print.

So far, whether it is a powerpoint with lecture or video with voice behind it, it doesn’t seem to matter. Beth’s voice was very expressive in the video and easy to understand even without seeing her face. Thanks!

[Meghan Cork]

As I was reading through all the other posts, I saw that a common thread linked to my observations was that the module was an excellent reminder of our worth as music therapists who have knowledge and expertise! It has helped to give some of us non-parents the confidence to move forward with passion!

[Meghan Cork]

The most important tidbit of information that I will take away from this week’s module is an awakening as to the sheer volume of change that children undergo in the first two years of life. At this stage of life, it is so important for parents to pay attention to small details of a child’s growth, because these can allow the parent to encourage and help children to grow in the best way possible. For instance, as Beth mentioned, if a child at age 3 or 4 is shown a blue maraca and the child says, “truck,” this may be a cause for concern because the child should have an understanding of simple concepts by this age. However, it is important for parents to remember the big picture as well as the small details, so that parents can foster and encourage typical development in a child. For instance, if the child at age 3 or 4 is shown a blue maraca, and the child says “orange,” we as music therapists can encourage the parent to keep working with their child on academic concepts, as the child is on the right track. The answer “orange” indicates that the child has developed (to a certain degree) a way of organizing the world!

This set off a light bulb for me. Our knowledge bass of such changes is so valuable because it can teach parents to support growth appropriately at this optimal stage of child’s development. And we can do this in a way that is really effective: through music. I am so happy that now I am able to articulate so clearly just one of the ways in which we as music therapists are so important and necessary in the field of early childhood development!

[Meghan Cork]

 

I feel that I personally connect with the idea of an early childhood music therapy based program because of my passion and expertise in singing. Research has shown that young children, particularly in the stages of infancy to three years old, recognize and respond to the human voice and to pitch. A caregiver’s voice can help support bonds and natural attachment between child and caregiver. Such aspects are necessary for a child to grow and reach levels of awareness and trust in their development (Schwartz, 2008). The combination of my experience in clinical music therapy as well as my years of teaching vocal lessons (along with valuable information from this course) will allow me to confidently model and “teach” parents how to sing appropriately with their children. This will help to foster healthy bonds and support the child’s natural growth.

The information I am learning in this course will help me as a music therapist to become more cognoscente of my clients’ developmental levels and how these are connected to their family lives. This information will help me detect more clearly just where in a child’s development a need arose, and what could be done now through music to help the child. It will also help me to become more aware of how to use my voice with a child at each developmental level, and how a caregiver’s vocalizing could affect the child as well.

[Meghan Cork]

Thanks so much! I look forward to it!

[Meghan Cork]

I want to test it out and see if my picture worked! Thanks for all of your information, Beth and Meredith!

[Meghan Cork]

Hi, I’m Meghan Cork and I am so excited to be involved in this Sprouting Melodies online training course! I think having it online is so helpful in allowing us as music therapists to connect in a way that is really the new normal in terms of this technological age we live in. This will give us the opportunity, as Beth and Meredith mentioned, to connect with other music therapists throughout the country who are interested in doing this work.

In terms of my background, I recently graduated from Molloy College with my Master’s in music therapy and I obtained my MT-BC shortly after. Like Meredith, I also had the privilege of working with Beth Schwartz at Alternatives for Children during my internship year. I had an invaluable experience and decided that the field of early childhood music therapy is where I truly want to be. Currently, I am living in Eastern Long Island, but looking to move to Brooklyn. I have a few music therapy clients across Long Island, with which I do private work in home, and I am in the process of looking for a full time job in early childhood music therapy. I feel that I could really benefit from having a marketable brand to help jump start my career in this work. I am also looking for advice in terms of the business end of it- how to start and run a program such as Sprouting Melodies. Above all, I intend to use this course as an opportunity to build community in the field of music therapy and to expand upon my knowledge of child development in music. This can help me to grow and learn as a music therapist!

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