[Michelle Muth]

I wrote my response before reading all of yours and it is very heartening that we are all thing about the child, how they are responding and modifying.  I keep forgetting that this outlook/approach is rather novel to music therapy as I feel like it what we each would do naturally.  Having done some teaching in the schools I always found it frustrating that I had to stick to the overall classroom and music education goals rather than moving with the flow.  Wonderful to see how we are all thinking in a similar fashion.

[Michelle Muth]

I think at this age-level/span the importance of expected or anticipated stimulation is important. Even more important is my demeanor as the music therapist.  Be happy, welcoming and open but not overly loud, overly big in my movements/behavior.  I can vary my timbre more but always being sensitive to the childrens’ reactions.  As the class progresses and the children build a firmer level of trust and explore independence than I can experiment with a more diverse palate of my own (facial expressions, movement, timbre).

[Michelle Muth]

1. I know they keep dropping the maraca, this is new for them and they are just developing the ability to grasp.  Try to notice how the music might be triggering the grasping or letting go.

2. If you are getting bored with repeating the song, do it 10 more times!  Repetition is something these children crave and need. It provide a secure foundation.

3. Use the music when you are out in the world to calm your child if needed.  After all the repetition if they are stressed and you both start singing a known song, it can calm you both down.

4. Let them walk around the room.  It is their time to explore but they need to know that you are their “home base” they need the security of knowing you are there for them to return.

5. He make look like he is doing nothing by simply standing while the music is going, but he is doing observing absolutely everything and taking it in and processing.  I expect you will start to hear some of this music at home or in the car.  This is all part of the development process.

 

[Michelle Muth]

Instrument Explore/getting settled
Continue with embedded music possibly Pachelbel Canon or some light African Drum music. Only instrumental no verbal as words can intrude in this instance.Gathering/GreetingHello to You song (from SM1) possibly more jazzed up with guitar. This would maintain continuity with SM1 and SM2
Bonding Songs
Wiggly, Jiggly Car: I love this song and think it would be so much time with lots of giggles taking placed
Songs about Me
Use Emily’s “Where is Thumbkin song” and introduce a scarf. Let it flow in the air and gently land on the child’s head, arm, whatever as the song begins. Then the parent can have the scarf over their head. Use the Peek a boo just like playing the peek a boo game. Where is “insert child’s name” Where is “insert child’s name” Here I am, Here I am I’m so glad to see you I’m so glad to see you Peek a boo/Peek a boo
Instrument Songs
I like this song: another of my favorites because the words are so easy. (I have a tough time memorizing words). Plus it’s just plain fun.Movement song Tune: Oh When the Saints go Marching in, I like to Move I like to (march, jump, walk) around the room I like to march, march, march, march I like to march around the room I like to march around the room
Cool Down
Introduce “The Hungry Caterpillar” book to group reading aloud while parents/caregivers use a scarf to be the caterpillar or move it in whatever way they wish. Child may still be up and moving around but parent should be on the floor and animate/move the scarf whether the child is in their lap or not.
Good Bye Song
Music Time is Done by M3

[Michelle Muth]

I do not have groups of children at this developmental level.  Instruments I do have are cluster bells, wrist bells, egg shakers, paddle, hand drums and an ocean drum (with mallets).  Of those items  I would not use the egg shakers (hazard), or the the cluster bells (see note below).  The paddle drums might work as they could work with an adult while one holds the drum.  I have 3 sizes of hand drums all still might be a bit big for this age group.  The ocean drum could be a nice soothing component and great tool for setting up a surprise.  For small hand percussion really just the wrist bells would work and they are adult size.

All that to say I need to stock up on some age-appropriate instruments that have longevity.  The cluster bells I am least impressed as I bought them in January, they have been used about once a week in classes with 3-21 year-olds with severe development/physical challenges and at least half of them the plastic is breaking.  Needless to say I need to contact the vendor.

 

[Michelle Muth]

anticipatory, joyful, calm, fun…giggles

[Michelle Muth]

Calm, slow, gentle, peaceful, safe

[Michelle Muth]

Arrival/Registration – Nesting Time

– Embedded music (Pachelbel Canon with Ocean Sounds)

Use the Embedded music as people gather. Music without words would be my preference as it may be perceived as less complicated less likely to impede any potential conversation with parents.

Fade out Pachelbel as get’s closer to Hello/Gathering.  Use the ocean sounds between the iterations of the cannon breath and help parents to center themselves if appropriate.

 

Hello/Gathering

– Hello to You (M3)

 

Bonding (Lap Ride/Tickles)

– Row, Row your boat/Row It Faster

Songs About Me

– Just Like Me (EKS)

Instrument Play

– In My Little Hand (EKS)

 

Gross Motor Movement

– Put your “finger” in the Air

With infants might be modified to be “Arm” or “hand.” Of course, with parents doing the movement of the infant.

 

Cool Down

– May There Always Be Sunshine (Lullabye)

Cuddling close with baby, rocking/swaying

Change word of “mama” in song to the immediate care-givers name or role with the child.

 

Goodbye

– Music Time is Done (M3)

 

[Michelle Muth]

Musical responses are related to awareness and trust.

 

1. Babies are becoming aware of their environment, absolutely everything is new which can lead to being startled easily. Softer sounds and slower movements to allow your baby to follow/track what’s going on help to decrease the startle reflex.

2. SM 1 will help you to create a warm and comforting sound with your voice (avoid loud and edginess to your voice) through songs and singing. Through your voice your baby will strengthen their bond with you as their caregiver.

3. We work on the floor because that is the bird’s eye view of a 0-9 month old, you need to experience life from their vantage point and meet them there.

4. Babies see only 15-18 inches in front of them, SM 1 activities encourage movement and holding of children to put you in that visual range.

5. As the babies move through awareness to trust we begin to have more activity in the songs as there are more able to receive that sensory input.

 

[Michelle Muth]

This concept of music therapy in community based settings has brought me back to my interest in community music therapy in which taking in the full context of a person’s life (society/natural environment/health/relationships) all influence what takes place in a session.  To Meredith’s point that Sprouting Melodies (SM) is not clinical music therapy (sans assessments, goals/objectives, progress notes, etc.) it is embraces the community music therapy model.  As SM providers or music therapists using SM as a framework we are to understand the broader community.  What are recent happenings?  What ethnic groups live here?  What are traditions? We need to keep a pulse on the community at large AND the community within our sessions.  What ethnic backgrounds are represented in SM sessions? Intergenerational influence?  Percentage of families that are working while raising their child?  Income levels of families, religious influences, etc.  We bring our training and insight about music (in all its aspects), child development, wellness, assessment and flexibility to our sessions.  While, we may not set clinical goals I expect we do set goals e.g. create a safe and relaxed environment to encourage child-parent/caregiver bonding.  We understand the importance of being flexible in the moment, watching for reactions, being alert to the pace of the session. 

These are aspects that music therapy can bring to a community based activity.

[Michelle Muth]

I do not have my own children but have been blessed with nieces and nephews and friends babies have been a part of my life.  My most significant experience with this age level is when my second-niece was born.  My sister lived in Seattle while I was in Boston but I was with her the first 2-weeks she was home; then at 3 or 4 months/ 6 months and then moved to Seattle (@ 9 months) and lived with my sister & brother-in-law for a year.  I helped with childcare and was a major caregiver along with my sister and brother-in-law.  So, I was able to experience the first 1 1/2 years of my niece’s life and the struggles my sister went through as a new parent who had her first child at 39 and was trying to figure out how to cope.  (I think this type of program would have been fantastic for them both).  The amount of learning and growth that happens with an infant is truly remarkable.  I don’t think there is anything like it at any other time of life.  Personally, because I have no children, this was a very special time for me and helped me to have a better understanding of new parents.  In my 20s when all my friends were having babies and would disappear it became somewhat frustrating as I could never see them.  I wish I had the insight I have now so that I could have done more for them as they became new parents.

 

[Michelle Muth]

Before adding my response below I read through others and it was refreshing to read we are all, on the same track in understanding the value we bring as music therapists.  I simply created bullet points and will certainly cut and paste the others response as they are quite eloquent.

We bring insight and understanding about aspects of music and how to use it to work with people
Client-centered, even in a group situation, focussing on how best to facilitate the group to success.
Desire to work collaborative with parents.
Insights and understanding about child development; how music does and can affect individuals physically, cognitively and emotionally
Diverse musical taste and open to new music – we are not stuck only using the same old same old. 

[Michelle Muth]

Argh…That was supposed to be 4 different paragraphs…I even put in the HTML code.  Sorry about that folks.

[Michelle Muth]

Before I complete my entry I feel the same as Lauren about creating opportunities for parents and children to connect is a need here as well as Courtney’s comments about providing more opportunities for groups for families with special needs.
 
I live in a mixture of rural and city families. My discussion will focus more on the rural areas.  As is the case all across the country music programs in the schools are being cut or drastically reduced in particular for the primary grades.  Music is in that in between stage of being seen as not vital compared to football/sports but musical theatre in the schools is very important for a public image and competition.  How can one have good musical theatre without a viable music program? (rhetorical question)  On the sports front, I had a few male students (when I was subbing) not come to the final concert because they were too embarrassed, a parent didn’t want them too because it was not cool, etc.  Therefore, if there is such a lack of understanding of the importance of music, offering music therapy services can be quite daunting, but I really see it as an opportunity to education and advocate for the profession.  
 
These communities were hard hit by the steel industry collapse and many towns have never recovered.  A large percentage of families are not well-to-do and very attached to the area.  The family unit is strong, with many generations living in the same area and having never left Western Pennsylvania.  Grandparents are often the main caregiver for children as the parent is working.  Fishing, country music, the outdoors and family are key components of this area.
 
Because of some of the “backward” (Not liking that phrase but can’t think of another) nature of this area it is behind the times in education and advocacy for special needs.  I would say that the families I work with outside of the metropolitan area need more compassion and acceptance as relates to their child with special needs.  I think in some areas where I work there are still elements of 20 -30 years ago where one did not bring their special needs family member out in public.  Whether that is instilled in the family unit and/or part of the social fabric I am not certain, because I also see groups really trying to work with families and offering many activities.  Mix this with comments such as “alky” a neighbor said when referring to someone that is an alcoholic or “retard” that are common in the language of this area (although there are many students trying to remove this from the local language and there is still much work to be done.
 
Families have expressed a desire for music programs for their very young and primary-school aged children.  They do want their children to have some exposure to music.  So, this is a quite a mixture here.

[Michelle Muth]

I just read through the other posts and I too, love how Courtney describes listening as it is much how I see listening.  I think we were taught in school that “listening” in music therapy is about listening to “something full and complete” such as a song.  However, I view listening as both a “full and complete activity” and more commonly as a “moment in time” that might be about following directions, finding a caregiver using sound, being aware of silence.  If a goal is attention to task, if a client follows verbal directions then they were listening and understanding.  I think the concept needs to be expanded to recognize the minutiae of moments in time.  That’s why I stated that I incorporate singing, playing and listening in all my sessions because my understanding of what it is to “listen” may be a bit different than the standard.

 

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