[Stephanie McSwain]

This was interesting to think about so here goes:

SINGING:
Awareness – change in pitch while vocalizing
Trust – imitates a heard pitch
Independence – ‘singsong’ 2-3 note melody
Control – matches a few pitches
Responsibility – sings high/low, fast/slow, loud/soft

PLAYING INSTRUMENTS:
Awareness – watches others play
Trust – explores instrument with hands, feet, mouth
Independence – choose desired instrument
Control – play instrument imitated or independently
Responsibility – shared instrument play

MOVING:
Awareness – Just move!
Trust – rhythmic gross motor movement
Independence – waving ‘hello’
Control – consistent, intentional rhythmic movements
Responsibility – sequencing ‘dance’ steps

LISTENING:
Awareness – positive affect to familiar timbre
Trust – positive affect to familiar melody
Independence – affect change to calm or intense music
Control – waiting turn for engagement
Responsibility – engaging in music from other cultures

[Stephanie McSwain]

Oh, and mirror neurons are the coolest! The brain is so fascinating!

[Stephanie McSwain]

We sing and move a lot in my sessions. Many of my clients are working on language goals or need some kind of sensory break so I always think a lot about what I’m doing with songs (client preferred or songs used with embedded directions) and what movement my clients would benefit from to fit into his/her sensory diet. We play instruments ALL the time so I don’t even think about where my client is developmentally because they are all for instruments no matter what! Listening – whew…nothing really intentional there. I have had clients in the past who have had an emotional reaction to a specific song (ie. listening to Whitney Houston shortly after her death). My current clients may often direct/redirect attention when something changes with the music so I suppose I’m using “listening” but it’s just happening naturally as opposed to intentionally making use of those moments to just stop and listen.

[Stephanie McSwain]

Oh yes, so much re-writing of traditional songs. Just this morning I sang “she’ll be coming around the mountain” with an in-home client. When we came to the verse about eating chicken and dumplings, I instead started singing about the food she was eating for breakfast! The creativity and freedom we have to piggy back and write new songs and make things our own for the sake of the client/group is what makes this exciting!

[Stephanie McSwain]

This is a hard question to answer given level of disability of my clients. I’d say most are in a control/responsibility stage – each student will make a choice of an instrument or song and play and sing along as he/she is able.

I attend a weekly early childhood music group with my two young daughters and it’s always fun to watch them and the children that attend. Last week, a 3 month old was there and certainly in the awareness stage. She was watching EVERYTHING safely tucked on her mom’s lap. She would look at the maraca that her mom had, touch it briefly, only to tuck her hands back down inner lap or in her mouth. It’s really fun to watch my two girls, 3 years old and 18 months, transition through the stages – choosing when and how to interact with the music and the others in the group.

[Stephanie McSwain]

Most of my clients are quite low functioning on the Autism spectrum and we are working a specific academic or language goal, both expressive and receptive. We’ll write songs that engage the student in looking for specific pictures on a communication device and making choices or a ‘searching’ song when working on receptive language. I’ll use live and recorded music of familiar pop or children’s movie music during choice time or instrument play.

I keep going back and forth between the obvious benefits of new and novel songs that are tailored to the current experience and using the tried and true traditional children’s songs. In the early childhood groups I’ve seen or participated in, there’s almost a feeling of relief when a song starts that’s familiar to the parents. It seems like they can better engage because they’re not trying to figure out something new. But, like anything, new takes time and those experiential songs (helping the child engage in ‘me’ and the ‘world’) will eventually become comfortable as well.

[Stephanie McSwain]

I’ve never been a strong song writer so it’s nice to see some new material. I, too, find that comfortable key and play with the rhythm more than anything. I currently have older students (I haven’t started leading my early childhood group yet) and I sometimes forget to have some kind of transition between activities.

Haley, that’s a good goal for getting a new song written every week. Certainly would be a ‘practice makes better’ scenario for me!

[Stephanie McSwain]

Yes, Julianna – the ‘why’. What a good point to remember since we work so closely with the parents.

[Stephanie McSwain]

I came into music therapy with a music education background. I’ve worked with children from pre-school and now to university and everything in between. I love that experience to really draw a number of skills – not just musically but in terms of group management as well. The way I treat a lesson for the college students will be much different from the way I treat a lesson for a middle schooler or kindergartner (although a ‘brain break’ every now and then for a college student isn’t a bad idea!) I’m currently raising a recently-turned 3 year old and a 17 month old and have been awed by how they are learning and growing. I’m taking so much of what I see at home and applying it to sessions with some of my younger clients. I’m thinking specifically of a kindergarten and 1st grade student, especially in terms of language and imitation. My two girls are ‘monkey see-monkey do’, both with me and with each other. As goals permit, it’s fun to bring a peer or two into a usual individual session to see the varied responses from my client and how much they value time with peers.

[Stephanie McSwain]

I do love getting back to the ‘basics’. I remember babysitting our nephews back before I had children of my own. At the time they were 4-5 years old and I recall thinking “Oh my, I’m so glad that they don’t start out this age!!” It’s so important to know the ‘progression’ of development and how one just builds skill upon skill. And how quickly (and varied) those skills can progress from person to person and within the individual as well.

[Stephanie McSwain]

“I’m Stephanie McSwain and I actually won the raffle at National Conference to be a part of this training!
I’ve been practicing in the St. Louis area for 6 years. I also have a background in music education working with all ages from pre-school to high school. I’m an adjunct faculty member and clinical coordinator at Maryville University, St. Louis.
I love early intervention and don’t get a chance to do a lot with it in my clinical work. I am working to get a group started for 2-4 year olds at a local agency that offers occupational and physical therapy services (this would be their first venture into music therapy).
I’m excited to get some tips and tricks and ‘up my game’ when it comes to working with young children of all abilities!”

[Author]

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