[Michelle Muth]

I regularly try to incorporate singing, playing and listening in my sessions but have been  inconsistent with using movement in my sessions.  I am now starting to regularly incorporate movement with a 4-year old client and will be working to do so with my other young clients.  I’m focusing most of my changes with a 4-year old client on the spectrum.  For example last week we did movement to begin the session.  Experimented with new instruments (tambourine and egg shakers) and vocalizations.  he loved doing starts and stops based on the experimenting he was doing with the egg shakers.  In his silence I would play the tambourine and than begin to do circular glissandos with my voice.  He enjoyed this greatly, his sense of control with starts and stops and he begin to vocalize with me – major breakthrough!

[Michelle Muth]

<p>Hello all – this took sometime to process as I was having trouble putting in my own words and synthesizing different aspects.   I found using the musical responses as the guide help me to think only about those types of response.  I’m also hoping the formatting is working below so this doesn’t all become one big paragraph.  We’ll see when I click “save”.  :-)</p>

<p>Singing:  Awareness – child vocalizations begin to have pitch and timbre similar to what they heard from a sound source (typically a caregiver) Trust – child begins to match pitch of sound source. Eg. adult sings a minor 3rd down or a downward glissando and child imitates with actual pitch matching a portion of the time.  Independence – Child begins singing songs on their own consisting of nonsense syllables, inflection, timbre, and experiments with range.  Often done on their own – not ready to share music as of yet.  Important for parents to listen but let the child be.  Control – Child is able to follow a songs melodic contour.  Song may not be immediately recognizable but listen for intervals and duration.  Child is now proud to share their music and wants the adults to listen.  Becoming more aware of others around them.  Responsibility – Child is able to keep some sort of pulse/meter for the song’s duration.  They are aware of overall pulse/meter and may experiment within a song trying to make it fit the song – could appear to be syncopation.  Again, very proud of themselves and want to “show off”</p>

<p>Playing:  Awareness – Child’s response are instinctual and will respond to sedative and active music differently.  May explore instrument as they reach out.  Trust – briefly grasps, holds, shakes instrument in response to music. Eg child may grasp an maraca, hold a few seconds then drops.  All the while music is playing.  Eventually, the duration of holding/playing will increase as this development level grows.  Independence – Child begins to reach out, seek and explore instruments.  Their priority is to explore the instruments, move to where they are, play in their own time – which may not meld with “prescribed music time” which is ok.  Control – Now begins purposeful movement in which the child controls when the instruments starts and stops according to the music.  They may start and stop in their own time which could be opposite to the music expectation and that is ok.  It’s more about the control and awareness of starts and stops then following prescribed directions.  Responsibility – Child is now able to maintain a steady beat with their instrument.  Awareness of others making music and matching the group’s pulse.</p>

<p>Movement: Awareness – Movement to music is instinctual and very natural, may not match music rhythm but the very essence of movement may be in response to the music.  Trust – Movement becomes more repetitive such as bopping the head or hands to music.  Response is more purposeful than instinctual but movements continue to be very natural.  Independence – child is able to wave one hand or shake a foot to music independent of other body parts.  Movement continues to become more purposeful.  They are realizing that “I move my body” vs “My body moves.”  Control – purposeful movement evolves to imitation and mimicking the movement of others.  If someone claps or jumps child may follow-suit.  Child is very proud of ability to match movements.  Also, the child learns as much from watching as active participation.  Responsibility – child is able to follow a musical movements in sequence.  Songs with prescribed movements embedded in the lyrics are very appropriate for this level.  Possible examples:

Put your hands up in the air (Hap Palmer)
Hokey Pokey
Put your finger in the air</p>

<p>Listening: Awareness – Watch child move attending toward or away from sound source.  They will recognize vocal timbre, in particular those of caregivers.  Trust – child begins to recognize familiar songs and finds comfort in that familiarity. Familiar songs can become the calming/stabilizing element in new situations that are stressful for the child.  Independence – child’s movement will intensify to show that they are listening.  Facial expressions may also match the intensity.  Eg. More rapid hand/body movements may be in response to play music.  Closing of eyes, deeper breathing in response to sedative or lullaby-style music.  Control – Starts and stops factor in again as they are able to control their bodies and instruments in response to their listening.  Lots of pride in their ability.  Responsibility – Continue to increase their awareness of others through the ability to stop their music-making and listen to others.  Eg.  Circle songs with an instrument in the middle.  Song indicates who will be next to play the instrument.  Child is able to listen, sing and wait their turn.</p>

[Michelle Muth]

I used the Good Morning to You song and are your Ready for Music.  One day a week I spend at a school for children ages 3-21 with developmental disabilities.  Most of my classes the students do not have expressive language. I used the “Good morning” song in 3 of the classrooms – two were preschool age (both physically and developmentally) and one was elementary aged but developmentally toddlers.  I sang the song without the guitar and included some hand motions inviting them to let me hold their hands and move with each student.  I noticed the students responded directly to me with the openness of the octave, gave me their hands and we did movement together.  For some of the children this was quite remarkable.  The response was different then with my previous opening song which was modification of a hello song by Cathy Fink and Marcy Marxer.  I liked not using the guitar as the children focused more on my voice then trying to play the guitar.  It felt more like a greeting then previously.

[Michelle Muth]

I’m going to come at this question a bit differently.  I have new client who is 4-years old with Autism.  I began working with him in March.  He is very responsive to music.  The past couple of weeks he is showing some of the those “terrible twos/threes” behavior as that is where he is developmentally.  I used the “terrible” term for a reason.  When I left the session this week I was frustrated and at my wits end to figure out how to move forward.  One of those…do I know what I’m doing? etc. etc  I was also very tired.  As I got in my car and drove to my next commitment (which was accompanying a middle/high school choral concert – a very busy week) the Music Development and child development levels of Sprouting Melodies came into my head.  This client is venturing into the independent stage.  He has been showing development into the control stage since I began and now independence is showing in which he is trying to control and run the session.  I’ve taken some time to think about this and will be modifying our session next week to peak his interest, have a bit more variety and opportunities where we will share the responsibility for a song.  I still need to think about how to re-shape the session but am grateful that I have a guide to help.

[Michelle Muth]

I live in Western PA outside of Pittsburgh in Beaver county.  I specify the county because people are very proud of being from Beaver county and many have never left the area. I am a transplant to the area having lived in a number of places across the US and traveled elsewhere so moving here has been a cultural adjustment for me.  I have learned so much about being in a very tight knit community where people have lived for generations and no one has left the area. The sense of community and family is very strong.
The area is predominantly white with little diversity.   Having subbed in the public schools the students are interested in country music, music of the 70’s and up (I think influenced by their parents choices).  So for the teenage population I would say music choices are country, pop and some rap.
This area once had a thriving dance hall tradition with everyone going out dancing once a week, dancing to live music.  Big Band music is very much alive with the 65+ population and hearing stories about the dance hall experiences is always a treat.  I had a client who played the accordion with his brothers in such a band.  He was Italian and the family moved here when he was very young.  Some of his strongest memories were of playing the many years in the band with his brothers.
There is a strong catholic tradition and in the schools, it is still, always a Christmas concert – never Holiday.  So the area is very Christian focused.  There are families from Italy, Serbia, Germany that are still first generation here and others that have lived here for many generations.
However, in my church job in Pittsburgh and singing with the Bach Choir of Pittsburgh there is a much larger diversity.  Still predominantly white,  there is a broader musical taste and diversity.

[Michelle Muth]

I am very much a child at heart.  I still find wonder and excitement in the world as I approach my 50th year. This is a leadership strength of mine when working with adults and children.  If I am genuinely excited then others usually follow.  What I love about young children is that everything is new and they hold an honest excitement.  They might get excited because I am excited or I might do the same for them.  I love to sit and hear a toddler’s story or explanation of something and marvel at how they are able to grasp a concept; see something anew.  My ability to be childlike while also having a maturity to express myself is a strength in both music therapy and other music avenues in my life.

 

I read Lauren’s response and we have some similar things from childhood.  I was the youngest and usually more of a creative risk-taker.  My sister’s and I put on puppet shows; did improvisation on the piano.  With neighborhood kids we would create our own plays and put them on.  I also have no children but do have nieces and nephews and was able to live with my sister for the early early years of one of my nieces.  I remember her developing appropriate verbal response to an action when…during dinner she had crawled into the kitchen and a few minutes later we kept hearing “uh-oh, (pause) “uh-oh, (pause) “uh-oh (pause)” said quite methodically.  We went out to look to find her gently pouring a little bit of olive oil on the floor, then saying Uh-Oh and then repeat.  Yes, she was “making a mess” and imitating what mommy would have said.  It was a great moment.

 

[Michelle Muth]

Grasping hold of the concept of partnering with parents.  This is what I’ve been wanting to do, but you never know if you are over-stepping boundaries.  So to hear that it is helpful to illustrate what is taking place developmentally and to have an understanding is quite gratifying.  Other points:

Use Trade rather than Share at 12-18 months old (makes perfect sense)
Same as Lisa – not developmentally appropriate to expect “sorry” from a 3-4 year old.
Focus on academics rather how to organize – great change in thought.

[Michelle Muth]

My formatting did not work and I used the bullet tool in the reply box.  I am tech savvy and can’t figure out how to type my response in an HTML view verses a Visual view.  I thought the option was there when I first posted and now it is gone.  I’d much prefer the HTML view.  Can anyone help

 

[Michelle Muth]

Hi All,
 
I was reading through all the introductions and this is going to be a great group to go through the training with and to learn from.
 
@Courtney – I am all for intergenerational programming.  At this moment in time, I am not running any but I plan to put some together over the summer.  I see that you are interested in starting a children’s choir?  I have been in church music for year’s mostly as a choir director – choral music is my main music love.  I have started children’s choir programs and walked into existing.  I have some great resources on that front if you are interested.  You mention a music educator that is currently going into nursing homes for free trying to gauge interest in a program.  As you investigate how you would like to begin programs I caution you to not do free programs (I know you weren’t but…)  I find that if I don’t put a value on a program the place where I am providing it puts less value.  I’m all for presenting at various community functions to do music therapy advocacy and outreach for free but when it comes to offering a specific program – put a price tag on it.  Also, I’m guessing the music educator is offering something different than what you would be offering as she is coming from an education standpoint – with different goals and objectives.  Whereas as music therapist working with caregivers and their loved ones as a completely different take and shape to the offerings.  You might want to start doing your own investigation on program offerings.  When you give a program make sure that one of the decision-makers at the facility is available to observe your session. Then, afterwards, have a debrief and talk about what you were doing.  Ask what they observed and explain what you were doing as a music therapist.  This will help to educate them to the difference of music therapy vs entertainment or education; and open their eyes to the full potential of what you can offer.  Sorry – think I got on a small soapbox here.
 
@Emily – I know some about music therapy and the IDEA from a special education viewpoint but I believe it is somewhat similar to early childhood.  There are 3 ways that music therapy can be provided in the schools:
 

Related service (IEP): This requires a formal music therapy assessment that is based on the goals and objectives already determined by the child’s IEP.   Basically, the assessment needs to show that the child does “better” meeting goals with music therapy than with other therapies.  From what I understand, the assessment does not have to be funded by the school.  However, if it is determined that music therapy is necessary to achieve the IEP goals the school is required to provide the service.
Educational enrichment (non-IEP):  School district makes the decision to identify and prioritize groups of students who could benefit specifically from music therapy intervention. 
Consultative (non-IEP):  Music therapist is acting as an educational consultant in a general and/or music classroom

 
There are a number of music therapy assessment tools available, the most well-known is the SEMTAP (I think that’s where I originally pulled much of this information).  There are some newer approaches as well but this gives you a headstart.  Also, on the AMTA website is an information sheet about Music Therapy and Special Education that you might find helpful.
 
Anyone with more experience in this (mine is limited) please pipe in.  I look forward to seeing posts from Beth and Meredith on this topic as well.

[Michelle Muth]

Hi everyone,

It’s great to meet all of you virtually and I look forward to when we can meet in person.  My name is Michelle Montgomery Muth (usually just Michelle Muth).  I was a career changer or enhancer when, in 2006, I went back to school at Slippery Rock University in Western Pennsylvania and received a second bachelors degree in Music Therapy and Music Education.  My first bachelors degree was in piano performance way back in 1986 and my life took a rather circuitous route until 2006.  I live in Center Township, PA (near Aliquippa), about 30 minutes north and west of Pittsburgh.  My home is filled with 3 cats; Ollie, Elsa and Aeowyn; therapy dog Ishtar and my husband Richard.  I love the outdoors and try to get a good walk in the woods with Ishtar on a daily basis.  Currently I am the owner of M3 Music Therapy and part-time director of music at Wallace Memorial Presbyterian Church in Pittsburgh (Greentree), Pennsylvania.  You can read my full bio on my business website: http://www.m3musictherapy.com.

I started M3 Music Therapy in the fall of 2011 and I provide music therapy services to my clients wherever they may be and do not have a “store front.”.  I work in private homes with children with autism; group homes for seniors with developmental disabilities and currently at a school for children ages 3-21 with development and physical disabilities many of them severe to profound.  When I started the business I had an idea of the populations I’d like to serve and am now coming into more focus on populations.  During my internship at a nursing home I created a new facet of an existing program with the local Head Start group.  Classes had already been coming to the nursing home for group music activities; I expanded the program and brought the classes to the locked Dementia wing which proved very successful.  One of my final projects was creating an overall plan that incorporated music education and music therapy goals, session/lesson plans for the nursing home to continue this program.  I have always been interested in intergenerational activities and activities that incorporate the whole family.  

Why Sprouting Melodies?  I have been thinking about and researching family-based music programs and found that Sprouting Melodies would allow me researched-based materials, flexibility AND is only provided by board-certified Music Therapists.  I love working with young children as I am still a child at heart and know that this is one of my strengths.  There is a need in my community that Sprouting Melodies will help me to fill so I am greatly looking forward to this training.

Michelle

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