Early Childhood Newsletter 2009[1]

8/14/2019 Early Childhood Newsletter 2009[1]

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2008 Early Childhood Music TherapySpecial Target Population Session

Session Report from 11-21-2008

BY ANGELA SNELL, MT-BC

1. Welcome and Introductions. Dr. Petra Kern and Angie Snell, Early Childhood Network Co-Chairs, welcomed all those in attendance and gave time for each person to introducethemselves. 24 colleagues from 12 states (TN, FL, NY, NC, MD, IL, OH, CT, MA, WI, TX, MI)were present at the 2008 early childhood music therapy session. Items handed out included:Attendance List, Sign-up Sheet for the Early Childhood Newsletter 2009, and a Handout on theEarly Childhood Network. The group recognized the following Early Childhood Networkmembers for receiving national awards from AMTA at the national conference: Dr. Petra Kern,2008 AMTA Research/Publications Award, Beth McLaughlin, 2008 AMTA Professional PracticeAward, and Jean Nemeth, 2008 Service Award.

2. Info to Early Childhood Network.2.1. Listserv/Facebook. The listserv has not been used effectively by the Early Childhood

Network. Therefore, the EC Network decided to discontinue it and use the EarlyChildhood Music Therapy Network Facebook page as a major communicationplatform. The Facebook page is set up as an invitation-only group that allows membersfull access to all content and distribution of information in a secured way. Dr. Kernexplained that to join the group, members need to sign up at www.facebook.com(Group: Early Childhood Music Therapy) and request an invitation to join. The directlink to this Facebook Group is http://www.facebook.com/group.php?gid=21785131838

2.2. Newsletter. Dr. Petra Kern, the editor, thanked all those who have contributed to theEarly Childhood Newsletter in the past. Dr. Kern shared that people from manycountries and other professions are accessing the newsletter. The group embraced thenew name Imagine for the newsletter and discussed Dr. Kerns suggestion to developthe newsletter into a clinical online magazine. The group explored whether the EarlyChildhood Network would want to possibly publish two issues a year since there has

been an abundance of submissions. Currently submissions are not peer-reviewed.Authors were therefore reminded to proof-read their submissions and be diligent inproperly citing others work. Ronna Kaplan suggested to consider an assistant editor.Irene Kessel and Lisa Jacobs volunteered to help with proofreading. The newsletter canbe downloaded from the AMTA website www.musictherapy.org. It also appears underthe Google search topic of early childhood and music therapy. Back issues arearchived at www.musictherapy.biz under Early Childhood Network.

3. Year 2008 in Review.3.1. Presentations. A sample of professional presentations mentioned for 2008 includes:

2008 AMTA Conference. Marcia Humpal and Petra Kern will present an EarlyChildhood Sharing Our Strategies session today, Friday, Nov. 21.

2008 AMTA Conference.Jean Nemeth and Angie Snell will present a School AgeSharing Our Strategies session Saturday, Nov. 22.

2008 AMTA Conference. Rachel Hinze, Cristina Larkin, and Garret Stanton co-presented How Does Garrett Feel? Enhancing Emotion Identification in Childrenwith Autism today, Nov. 21.

2008 AMTA Conference. Petra Kern will present Applying Evidence-Based Practice

in Early Childhood Music Therapy: How Does It Work? Saturday, Nov. 22.

2008 AMTA Conference. Kamile Geist will co-present Project Academia TeachingMusic Therapy: A Guidebook, Nov. 23.

2008 AMTA Conference. Darcy Walworth co-presented at the NICU MusicTherapy training held prior to the conference Wednesday, Nov. 19.

2008 ZERO TO THREE Conference. Darcy Walworth will present with Dr. Standley.

continued

EARLY CHILDHOOD NEWSLETTER VOLUME 15 PAGE 2

Inside this issue:

Round Table Session Report 2

Mandated Services in EI 4

Celebrating Achievements 5

Music and Peer Awareness 6

Do Try This at Home 7

Bright Start Music 8

Songs for Our Child 9

How Does Garret Feel?Enhancing Emotion Identificationof Children With Autism 11Why Babies Need Music 12

In the Beginning: Music Therapyin Early Intervention Groups 13

Early Childhood Inclusion:A Summary 15

Music Therapy Within aPartnership Model 16

Disaster Events and Young Children 17

Music Therapists in BilingualEarly Childhood Education 19

The Hydraulophone:Music From Water 21

Musical Gold: The PartnersSinging Voice in DIR/Floortime 22

AMTA 2009 Featured ConferenceEvents 24

The Colors of Us: Music Therapywith Young Children Aroundthe World: Columbia, New Zealand,South Africa, & Kingdom of Bahrain 25

Cross Cultural Interactive Group

Experiences 31Resounding Joy: Healing HeartsWith International Outreach 33

INTERVENTION IDEAS:It looks like Rain 34Rhythm Stick Game 35The Color Train Song 36Sound Walk 37

New Publications 38

Announcement:Online Magazine 39


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EC NETWORK

AT-A-GLANCE

OrganizationAmerican Music Therapy Association

(AMTA)

Established1994 in Orlando, Florida by

Ronna Kaplan, MA, MT-BC andMarcia Humpal, Ed.M., MT-BC

Co-ChairsDr. Petra Kern

MT-DMtG, MT-BC, MTA, NICU-MTAngela Snell

MT-BC

MembersMusic Therapists of AMTA working

with young children

MeetingAnnual AMTA Conference Special

Target Populations Session

FacebookAvailable for members by invitation

Early Childhood NewsletterWill expand into an online magazine

format in 2010

EditorDr. Petra Kern

MT-DMtG, MT-BC, MTA, NICU-MT

Linkswww.musictherapy.orgwww.musictherapy.biz

Roundtable Session Report (continued from p. 2)3.2. Research Initiatives. Early Childhood Network members are involved in the

following research initiatives:

Kamile Geist is working on a multi-site research project called Math Star incollaboration with Eugene Geist focusing on the development of math skills inearly childhood through music.

Denna Register received a cooperative grant with the University of Kansas onEarly Reading Skills through the Department of Education.

Darcy Walworth and Petra Kern are interested in conducting a multi-site researchproject through the AMTA Autism Task Force. They will call for collaboratorsworking with individuals on the autism spectrum in the near future.

3.3. Government Relations. Angie Snell reported that the Reauthorization of IDEA is duein 2009. It is not clear if the Congress will begin this process in 2009 due to thetransition from the Bush administration to Obama administration. Snell noted that thereauthorization process can be lengthy. The current form of IDEA was passed in2004. The corresponding rules and regulations were not reformulated and put inplace until 2006. After that date each state took time to update their SpecialEducation rules and regulations to line up with the Federal rules. Many states arejust now implementing those changes resulting from IDEA 2004. Reauthorization willbegin the process all over again. It will be important for music therapists and clientfamilies to become involved with any new reauthorization activities. Angie Snell saidthat members should pay attention to the AMTA websites government relationssection for updates on this topic. During the meeting Meryl Brown received an emailmessage stating that the Illinois Autism Insurance Bill had just passed.

3.3. Publications. Members shared the following published and forthcoming publications: Beth Schwartz recently published her book Music, Therapy, and Early

Childhood: A Developmental Approach with Barcelona Publisher.

Marcia Humpal authored A Variety of Abilities + Music = Totally Tuned inToddlers in the Fall 2008 issue of the Michigan Music Educator. This particularissue featured articles on Special Education throughout the publication.

Angie Snell authored a series of two articles on Special Education for theMichigan Music Educators Association publication. ACCESS to Music Educationfor ALL Students, Part 1, was published this fall. Part 2 of this article will appearin the 2009 Winter Issue of the Michigan Music Educator. The MMEA is alsofeaturing Angie in an ongoing Special Education Q & A Column.

Beth McLaughlin contributed a chapter to Courage, Heart, and Wisdom: Essaysin Autism. It is currently in press.

Darcy Walworths publication on social learning for infants attending learninggroups has been accepted byJMTand will be published shortly. Additionally,she submitted her dissertation to AMTA for publication. It is a developmentalcurriculum for early childhood and parent groups with goals and curriculum thatcorrespond to activities. There are 130 developmental milestones outlined.

Kamile Geist is in the process of submitting an article to Young Children on mathand music.

Petra Kern was featured in a podcast produced by FPG at UNC-Chapel Hill.She also has been invited to write an article on transitions and routines forChildren and Families, a Head Start publication.

Rachel Hinze and Garret Stanton were guests on a radio show at St. FrancisHospital in Hudson Valley, New York. They will upload the link on to the Early

Childhood Music Therapy Facebook Page.

4. Music and Product Sharing. The following were shared by meeting attendees: Garrett Stanton shared his cymbal song, published in the EC Newsletter 2008. Beth Schwartz shared her handout from the CMTE with songs included. Angie Snell shared simple signs and gestures to the Toy Story song Youve Got

a Friend in Me. Kamile Geist shared the Color Train song/chant that reinforces color patterning

and lining up in a line. She will submit it to the 2009 Newsletter. Petra Kern shared that AMTA Students are selling their products such as large

decorated hand picks at the AMTA Market Place and refers to the free trainingresources of International Society of Early Intervention (ISEI) and NICHCY FactSheets on disabilities.

Special Target

Populations NetworkSession 2009

The next meeting will take place at the2009 Annual AMTA Conference on

Friday, November 13, 200912:30 - 2:15 PMSan Diego, California

See you there!



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Jean Nemeth Petra Kern Beth McLaughlin

AMTA Service Award

Jean is a music therapist in privatepractice working with numerouspublic schools in Connecticut. Jeanhas provided outstanding and longtime services to AMTA. She servedon the Board of Directors asCouncil Coordinator. Jean co-chaired the national StandardsCommittee and has been a memberof both the Development AdvisoryBoard and the RestructuringAdvisory Board. In addition tobeing a long-standing member ofthe Assembly of Delegates, aposition she currently holds, she isalso currently serving as co-

chairperson of the nationalContinuing Education Committee.Jean organized the Silent Auction afew years ago, chaired the AMTARecognition Awards committee,and assisted in the development ofthe Standing Committee Handbook.She can always be counted on totake on any assignment, no matterthe size, if she feels it will benefitAMTA. Jean lives the life of serviceto AMTA, exemplifying what thisaward is all about.

AMTA Research/PublicationsAward

Petra is an Assistant Professor atSUNY New Paltz and VisitingScholar at the Frank Porter GrahamChild Development Institute atUniversity of North Carolina atChapel Hill. Her pioneering work inmusic therapy and community basedlearning has significantly added tothe music therapy knowledge baseby: Providing school music therapistswith needed evidence for musictherapy embedded instructionalsupport; providing replicableresearch models; inspiring clinicalmusic therapists to developinnovative music therapy

approaches in inclusive settings; andproviding the public with neededinformation on the relevance andefficacy of music therapy forpreschool and school-aged children.Dr. Kerns contributions have comein the form of innovative andoutstanding research in the areas ofearly childhood and children withdiagnosis on the autism spectrum,with a focus on embeddedinstruction and collaborativeconsultation in inclusive childrenssettings.

AMTA Professional Practice Award

Beth serves as music therapist and Clinical TrainingDirector at Wildwood School for students withneurological impairments and autism in Schenectady, NY.Beth has made significant contributions to the practice ofmusic therapy through the integration of innovative ideasinto her clinical practice and the enhancement of herclinical work with her talents as a published songwriter.Working with her students at Wildwood School inspiredBeth to write numerous songs that would help teachsocial, motor and academic skills. Her 2002 CD, Songsfor Stories is a wonderful addition to practice. She hasdeveloped practice models for instruction, assessment,and service delivery for both the clinical setting and formusic therapy interns. Beth has a special interest intechnology and has used her skills in this area to open upthe world of music to her students at Wildwood School

who might otherwise never have found a voice. She hasauthored the chapter, Using Technology, Adaptations,and Augmentative Tools in the AMTA monograph,Effective Clinical Practice in Music Therapy EarlyChildhood and School Age Educational Settings. In2000, she also published Picture Symbols forCommunication in Music Therapy and the MusicClassroom. She is well known for her willingness to shareher work with colleagues at national and regional musictherapy conferences, inspiring and motivating manymusic therapists. She has also provided administrativeleadership enhancing clinical education as a long timeand successful clinical training director.

Celebrating Achievements

2008 AMTA Member

Recognition Awards

From MUSIC THERAPY MATTERS (2008)

Volume 11 (4), p. 10-12


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Music and Peer Awareness

BY JAMIE ERIN SUSSMAN, MA, MT-BC

University of Missouri, Kansas City

Children with developmental disabilities often

experience difficulty in the development ofpeer awareness. While typically developingchildren acquire awareness of peersincidentally, children with developmentaldisabilities are often unaware of their peersor other social objects. One reason fordelayed peer awareness development is adifference in the attentional patterns of thesechildren (Swettenham, Bahron-Cohen,Charman, Cox, Baird, & Drew, 1998).Interventions that target changes inattentional patterns may be beneficial toassist in developing peer awareness skills.This study compared the use of musical andnon-musical elements as mediums to change

attentional patterns to aid preschool agechildren with developmental disabilities in thedevelopment of peer awareness. Specifically,this study compared the effects of musicaland non-musical elements on the sustainedand alternating attention of preschool agechildren with developmental disabilitiestowards their peers.

Changes in attentional patterns weretargeted by utilizing both musical and non-musical objects (nonsocial objects) to directattention towards the children's peers socialobjects. Interventions were delivered in bothplay-based and musical contexts to determinewhether environmental factors could be

manipulated to increase attention towardspeers in children with developmentaldisabilities. Research findings related to musicand attention (Huron, 1992; Morton,Kershner, & Siegel, 1990) and clinicalresearch in the field of music therapy(Gunsberg, 1991; Humpal, 2001; Kern &Aldridge, 2006; Register & Humpal, 2007;Robb, 2003; Whipple, 2004; Wimpory,Chadwick, & Nash, 1995), support thehypothesis that musical elements may beeffective at improving both sustained andalternating attention of children withdevelopmental disabilities towards peers.

Nine preschool age children, who had beendiagnosed with a developmental disability,participated in this study. Each childparticipated in the following four researchconditions: (1) music during passing, passmusical object; (2) music during passing,pass non-musical object; (3) no music duringpassing, pass musical object; and (4) no

music during passing, pass non-musicalobject. Each of the four research conditionsused in this study was structured toincorporate passing and turn-taking elementsin a small group setting. In all fourconditions, the children were seated in acircle. First, the children were provided withopportunities to pass an object around thecircle, then one child would take a turnplaying with the object, followed by a returnto passing. The activities would continue toalternate between having a child take a turnplaying with the object and passing theobject around the circle. In conditions oneand three (pass musical object), the children

passed and took turns playing with acolorful rainstick. In conditions two and four(pass non-musical object), the childrenpassed and took turns playing with a batonfilled with glitter. In conditions one and two(music during passing), the therapist sangand played guitar during the passingportion of the activity. In conditions threeand four (no music during passing), thetherapist counted to ten during the passingportion of the activity.

Behavioral data were recorded on thechildrens ability to sustain attention towardspeers and alternate attention from peer topeer. Sustained attention was defined as the

duration of time a child oriented his or herhead and/or body towards a peer while thepeer completed his or her turn playing witheither the musical or non-musical object.Alternating attention was defined as a childorienting his or her head and/or bodytowards one peer followed by areorientation of his or her head and/orbody towards a second peer as the musicalor non-musical object was being passed fromthe first peer to the second peer.

Two research questions were addressed inthis study. The first research question askedwhich condition would produce the longestdurations of sustained attention towardspeers. The second research question askedwhich condition would produce the highestfrequency of alternating attention from peerto peer. Results of this study indicated thatcondition 3 (no music during passing, passmusical object) elicited both the longestdurations of sustained attention towardspeers and the highest frequency ofalternating attention from peer to peer.

continued


RESEARCH

ReferencesGunsberg, A. S. (1991). A method for

conducting improvised musical playwith children both with and withoutdevelopmental delay in preschool

classrooms. Music TherapyPerspectives, 9, 46-51.Humpal, M. (1991). The effects of an

integrated early childhood musicprogram on social interaction amongchildren with handicaps and theirtypical peers.Journal of MusicTherapy, 28(3), 161-177.

Huron, D. (1992). The ramp archetypeand the maintenance of passiveauditory attention. Music Perception,10(1), 83-92.

Kern, P., & Aldridge, D. (2006). Usingembedded music therapy interventionsto support outdoor play of youngchildren with autism in an inclusivecommunity-based child care program.Journal of Music Therapy, 43(4),270-294.

Morton, L. L. , Kershner, J. R., & Siegel, L.S. (1990). The potential fortherapeutic applications of music onproblems related to memory andattention.Journal of Music Therapy,27(4), 195-208.

Register, D., & Humpal, M. (2007). Usingmusical transitions in early childhoodclassrooms: Three case examples.Music Therapy Perspectives, 25(1),25-31.

Robb, S. L. (2003). Music interventions

and group participation skills ofpreschoolers with visual impairments:Raising questions about music,arousal, and attention.Journal ofMusic Therapy, 40(4), 266-282.

Swettenham, J., Baron-Cohen, S.,Charman, T., Cox, A., Baird, G., &Drew, A. (1998). The frequency anddistribution of spontaneous attentionshifts between social and nonsocialstimuli in autistic, typically developing,and nonautistic developmentallydelayed infants.Journal of ChildPsychology and Psychiatry, 39(5),747-753.

Whipple, J. (2004). Music in interventionfor children and adolescents withautism: A meta-analysis.Journal ofMusic Therapy, 41(2), 90-106.

Wimpory, D., Chadwick, P., & Nash, S.(1995). Brief report: Musicalinteraction therapy for children withautism: An evaluative case study withtwo-year follow-up.Journal of Autismand Developmental Disorders, 25(5),541-552.


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Based on the results of this study,interventions designed to target peerawareness through sustained and alternatingattention towards peers may be mosteffective if they utilize a musical instrument ina non-music or play-based context. Theseinterventions could be implemented in avariety of environments including classroomcircle time activities and music therapysessions. During classroom circle timeactivities, the addition of a musical object

may provide the necessary stimulus toincrease attention towards peers. Duringmusic therapy sessions, the use of a singlemusical stimulus, in this case a musicalobject, may focus the childrens attentiontowards their peers. The results of this studyprovide preliminary evidence regarding thebest methods for targeting peer awarenessin preschool age children withdevelopmental disabilities.

Jamie Sussman can be contacted at

[email protected]

A questionnaire was distributed toapproximately 80 parents of infants andtoddlers (from 6 to 24 months of age) whoparticipate in weekly interactive musicgroups designed to teach developmental

skills. During the music groups, musictherapists educate parents in ways to usemusic with their children to promotedevelopment. Parents and music therapistsalso model and encourage appropriatecognitive, communication, motor, and socialskills for infants and toddlers. During theirchilds first visit to the group, parentsreceive a packet with lyrics of songs thatare used in the curriculum and a packetwith American Sign Language signs that arepaired with songs in the curriculum. Withinthe first few weeks of attendance, parentsalso receive a free CD which contains age-appropriate songs for young children.

Parents are given a new handout each weekwhich gives ideas of other developmentallyappropriate activities, some of whichinvolve music, to try at home with theirchildren.

The questionnaire asked parents how oftenthey use songs/activities from the curriculumand from the handouts with their childoutside of the group, which activities theyuse with their child outside of the group,and whether they have noticed anydevelopment in their child that parentsattribute to use of the music curriculum.

Questionnaires were returned by 20parents (approximately 25% of all parentssurveyed) regarding their use of songs andtypes activities in other settings. Theresponses are summarized in the chartsbelow:

All parents who responded reported usingsongs and activities outside of the group atleast once. The majority of parents (85%)reported using songs and activities learnedin the group in other situations at least sixtimes, while activities from the handoutswere used less frequently (60% reportedusing activities from handouts at least three

times). Songs and activities that teach andreinforce social skills (such as transitioningfrom one activity to the next or greetingpeers) were most often used by parents inother situations.

Many parents wrote positive commentsabout the benefits of participation in thegroups on their childrens development,reported using songs and activities learnedin the group in multiple other settings (athome, when traveling, while shopping,etc.), and reported making up their ownsongs/activities based on their experienceswith the group. The responses to thequestionnaire indicate that direct parentinstruction in a music group setting withdemonstration of appropriate activities andhandouts describing ways to use music athome is an effective format for teachingparents to use music with their children toenhance development.

Study contributors:

Olivia L. SwedbergMME, MT-BC, NICU-MT

Jayne M. StandleyPh.D., MT-BC, NICU-MT,

Darcy D. WalworthPh.D., MT-BC, NICU-MTThe Florida State University

Miriam G. HillmerMME, MT-BC, NICU-MTTallahassee Memorial HealthCare

Olivia can be contacted [email protected]

Do Try this at Home: Parents Use of Music ActivitiesLearned in a Developmental Music Group

for Infants and Toddlers

BY OLIVIA SWEDBERG, MME, MT-BC, NICU-MT


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Bright Start Music:

Connecting the Dots for

Infants and Tots: An Infant/

Toddler Developmental

Learning CurriculumBY DARCY WALWORTH, PH.D., MT-BCThe Florida State University

The Bright Start Music Curriculum was

designed to address developmental milestonesacross domains through music for infants and

toddlers born prematurely and at full term.Providing infants and toddlers with

opportunities to explore and immersethemselves in a variety of environments and

experiences is an ever increasing aim within

child development. Children learn through the

social and communicative exchanges in whichthey engage their peers and caregivers

throughout each day. Simultaneous cross-domain learning occurs when children interact

in various activities. Structured music activitiesfacilitate a child processing multiple sensory

inputs to fully interact throughout the song.For example, a song traditionally seen as a

movement activity requires a child to processvisual input from a peer or adult model,

auditory input from the music source, receptivelanguage to decode directions in the song,

cognitive functioning to enable decisionmaking, expressive language to communicate

within the activity, emotional regulation toremain engaged, and kinesthetic inputs to

implement the motor skills demonstrated in theactivity.

The developmental charts included in this bookidentify specific developmental milestones each

child demonstrates between ages 6 monthsthrough 24 months. The charts cover cognitive,

fine motor, gross motor, receptive andexpressive language, and social-emotional

developmental domains. The specificity of skillsidentified within each domain provides

concrete actions an early childhood educatoror music therapist can address during infant

and toddler interactions. For this reason, theinterventions in this book for infants and

toddlers ages 6 months through 24 months alladdress multiple developmental skills

simultaneously. Within music activities, musictherapists and educators can commonly name

broad goals and objectives identified such asgross motor skills, communication skills, or

slightly more specific goals and objectives such

as increasing range of motion or increasingverbalizations. Identifying very specific skills

requires a shift in how a music therapistgenerates goals such as imitates a gesture

other than a finger point or performs othermovements while sitting without support.

Documenting the specific developmental skills

that infants are given an opportunity toobserve, explore, and practice during musictherapy interventions raises awareness and

increases communication regarding thebenefits of music therapy for parents and

professionals outside of the music therapyfield.

The Bright Start Music curriculum wasimplemented and investigated to determine the

impact of music on developmental learning forinfants and toddlers. Infants who regularly

attended the groups using the currentcurriculum were compared with infants who

were their same ages who attended only onetime (Standley, Walworth, & Nguyen, 2009).

Regular attending infants demonstratedsignificantly advanced music skills, cognitive

skills, and social skills. The infants whoparticipated in the curriculum groups clapped

in time, moved in time, and played instrumentsindependently. They also followed directions to

retrieve and return objects, pointed to theirown body parts when named, and performed

sign language and other gestures at asignificantly higher rate than infants who only

came to the group once. Additionally, infants

attending the groups regularly shared withothers more often, socialized with peers at thegroup, and responded to other peoples

names with higher frequency.

A follow up study with group participants

investigated the impact of group involvementon the caregiver/infant interaction (Walworth,

2009). All subjects were matched according todevelopmental age and were also matched by

group for socioeconomic status and formaternal depression. Types of infant play and

parent responsiveness were measured usingobservation of a standardized toy play for

parent-infant dyads, a demonstratedmeasurement tool used in similar mother-infant

dyad research. The toy play time that wasobserved occurred at a time other than during

the music group. The amount of timecaregivers and infants spent in social play

versus non-social play was recorded.

The infants attending the music groups using

the current curriculum with their parentsdemonstrated significantly more social toy

play during the standardized parent-infant toy

play than infants who did not attend themusic groups. While not statistically

significant, graphic analysis of parentresponsiveness showed parents who

attended the developmental music groupsengaged in more positive and less negative

play behaviors with their infants than parentwho did not attend the music groups.

Another interesting finding involved thepremature infants who attended the music

groups. While their social toy play time wasnot as great in amount as the full term infant

attending the groups, the premature infants

did spend more time in social play than fullterm babies who did not come to the musicgroups. This investigation supported the

positive effects a developmental music groupcan have on social behaviors for both

premature and full term infants under twoyears old.

ReferencesStandley, J. M., Walworth, D., & Nguyen, J

(2009). Effect of parent /child groupmusic activities on toddler development

A pilot study. Music TherapyPerspectives, 27(1), 11-15.

Walworth, D. (2009). Effects ofdevelopmental music groups for parent

and premature or typical infants undertwo years on parental responsiveness

and infant social development.Journal

of Music Therapy, 46 (1), 32-52.


For more information, please contactDarcy Walworth [email protected]


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Contacts:

Annie Heiderscheit [email protected]

Jason Albrecht [email protected]

Eva and the Happiest DayOnce upon a time there was a couple, Jamesand Elizabeth. The day had finally come, theday their first child would be born. Only, ... itwas much much better than that. Theydiscovered along the way that Elizabeth washaving twins -- twin girls. The excitementpermeated their home and even reached partway around the globe -- as far away asAustralia, where the matriarch of the familyawaited the time when she would finallybecome... a grandmother. The family decidedthat Elizabeth would work full time and Jameswould continue running a business. Grandmawould come following the birth and help takecare of the girls for as long as she could remainin the US.

The pregnancy proceeded with nocomplications. The girls were deliverednaturally and were named Ella and Eva. Breast-feeding the first day was an adventure inmotherhood. Things really didnt work all thatwell. Not to worry, said the nurses, Getsome rest. It takes a little time. The secondday was much easier. What troubled her wasthat while Ella seemed to feed with a growingease, Eva seemed to struggle with swallowingand seemed to cough up most (or perhaps evenall) of the milk she swallowed.

Given they were twins, the girls were a bitsmall. It didnt seem Eva was getting muchnutrition so the doctor decided to give Eva alittle food through a tube inserted from her noseto her stomach. This was when Elizabethrealized the object of her intuition. The tubewould not go down. After repeated attempts atwhat should have been a very simple process,the staff realized something was wrong.Elizabeth learned that Eva was born with acondition known as esophageal atresia.Between her stomach and the base of herthroat, her esophagus failed to grow.

After a whirlwind of shock, fear and disbelief,Elizabeth and James found themselves decidingbetween two choices: Eva could live and growthe rest of her life feeding through a tube in herstomach or pursue a new treatment involving aseries of surgeries to stimulate growth of whatlittle existed of her esophagus. Few places inthe world perform this procedure. Eva wouldneed to go to the childrens hospital at theUniversity of Minnesota -- nearly 500 milesaway. The process would take months.

Grandma came as quickly as she could. Shewould stay at home with one girl, whileElizabeth was 500 miles away with the other.

James would continue to work. Healthinsurance and income were critical to theirfamilys survival. For much of the time betweensurgeries, Eva would be fully sedated to prevendisrupting the array of sutures used to pull andstretch the two ends of her esophagus--stimulating new tissue to grow.

During this process, hour after hour, day afterday, like so many parents of infants andtoddlers in a Pediatric ICU, all Elizabeth coulddo was sit at the bedside. She could barelyhold or interact with Eva except for shortperiods between surgeries. She longed to holdher. She ached for that bond.

After more than three months, Evas esophaguswas nearly connected. It was working. Then,abruptly and unexpectedly, there was aproblem with grandmas visa. She had to gohome. Elizabeth found herself in an agonizingposition. She couldnt care for Ella alone whilestaying with Eva. She needed to focus her timein one place or the other. Since Eva wassedated much of the time, she chose to returnhome with Ella and visit Eva as of ten as shecould. That meant every other weekend. Travelexpenses, child care, James time away fromwork, Elizabeths need to work to covergrowing expenses -- they could find no other

solution.

Elizabeth left photos of the family all aroundEvas bed. She bought a small voice recorderand recorded short I love you messages forstaff to play for Eva when she wasnt there.She called every day and every night to checkon her and have the phone placed by her headso she could tell her she loved her and saygoodnight.

As Evas treatments continued to work, she wasplagued by an infection that started when aportion of the tissue being stretched becamenecrotic. Literally, a small step backwards in the

process of stretching and growing, but it begana long-term struggle to rid the infection.

As September gave way to October and thento November, Eva was awake much more thanshe was sedated. It was a cold Friday inDecember when Elizabeth entered her roomafter a dreadfully long two weeks away to findher crying, like babies do sometimes. Shequickly dropped her coat and purse and rushedto comfort her. She placed her hand over thetop of her head and leaned over to say, Eva,its Mommy. Im here. I love you. Its okay.Shhhhh.

continued

Songs for our Child:

Lullaby DVD for Critically ill Infants and Toddlers

BY ANNIE HEIDERSCHEIT, PH.D., MT-BC, FAMI, MFT & JASON ALBRECHT, CCLS


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Conferences in

Related FieldsCompiled by

Dr. Petra Kern,

MT-BVM, MT-BC, MTA

With this, Eva cried even louder. Elizabethcontinued to soothe and reassure her. Shecontinued to cry.

As Katie, her primary nurse, looked on shenoticed Evas heart rate and blood pressurewere climbing, she instinctively moved toEvas bedside to help calm her. As she

leaned over her and their eyes met, shesoftly whispered, Eva, youre okay. Withthis, she held her gaze and calmedimmediately as she touched her cheek.Within a moment, the room was quiet.

But in that moment, Katie felt the weight ofthat silence and wished she could havetaken back that last minute. For in thatmoment of peacefulness and calm existed awhole new suffering -- the realization thatmom was the stranger and Katie, theprimary nurse, was the primary caregiver inEva;s eyes.

Being an excellent nurse, Katie quicklyengaged the support of the team ofprofessionals caring for Eva. The nextMonday, she contacted the child lifespecialist and the unit social worker to seeka way to foster stronger attachmentbetween Eva and her mother and to helpElizabeth with the pain she felt. Theycommunicated with Elizabeth by phone.Together, they developed a plan.

The child life specialist, working both in thePediatric Intensive Care Unit (PICU) and inpalliative care, had been working todevelop a creative arts therapies programfor critically ill and dying children. Theinterdisciplinary team had been exploringhow to utilize art, music and poetrytherapists to carry the work of the team tonew levels. In particular, they had beenbrainstorming ways to support the needs ofinfants and parents on the PICU exactlythe needs of Eva and her family.

To address suffering associated withseparation, to empower Elizabeth withsomething she could do for Eva, to facilitatebetter attachment, the child life specialist,

music therapist and poetry therapist, thenurse and Evas family collaborated toweave their talents into comfort.During Elizabeths next visit, she met withthe poetry therapist to explore and sort herfeelings, to articulate her immense love forEva and to express a heartfelt, personalmessage that embraced the intimacy of a

mother-child bond. Afterward, she met withthe music therapist and child life specialist tolearn how to deliver her message to Eva.She learned about an amazingphenomenon called entrainment andcouldnt wait to see how it worked.Intimidated by the prospect of beingrecorded, Elizabeth was coached on how tomaintain a slow, consistent tempo as shespoke and sang into a video camera late atnight after Eva had gone to sleep. Sheenvisioned holding and rocking her to thetempo of her heartbeat as she sang to herthrough the lens.

Making her own recordings dispelled someof her anxiety. She was now ready to singthe lyrics of one of the poems she created,accompanied by the music therapist. Shecould do this. She wanted to do this. It feltso good to make this for Eva. The warmth ofher presence, the sincerity of her love, thenurturing of her words poured forth from thelittle DVD player that would soon be placedin the crib next to Eva as part of herbedtime ritual. The nurses would cling to thecare plan that involved: completing cares bya specific time, dimming lights, preparing forElizabeths evening call, placing the phoneby Evas ear and pressing the PLAYbutton so she could fall asleep to thefamiliar image of her mothers face and avoice shed known since before birth.

New Ways to Meet Family NeedsThe Songs For Our Child initiative began asan effort to empower parents of infants andtoddlers in the PICU to comfort theirchildren and engage in meaningful ways atthe bedside. The University of MinnesotaAmplatz Childrens Hospital provides highlyadvanced medical care to some of the mostcritically ill children in the upper Midwest

and from around the world. Many parentsstruggle with feelings of intense helplessnessat their childs bedside, particularly whentheir child is sedated, intubated and unableto be held for complex medical reasons.Parents are also frequently faced withdemands of maintaining employment andcaring for other children at home and can

experience tremendous guilt when they areforced to leave their childs bedside. Ourcontinuing efforts to serve families such asthese have lead to the development of thisinnovative approach that incorporates thetherapeutic elements of music, poetry andtechnology to provide comfort to some ofour nations most fragile children.

The certified poetry therapist works withparents to explore and articulate theirintense feelings of love and nurturance fortheir child in the form of a lullaby that canbe spoken or sung. The board-certifiedmusic therapist then educates parents about

the importance of tempo and coaches andaccompanies them in singing or rhythmicallyspeaking their lullaby. The slow, soothingtempo of the lullaby, along with personalmessages, stories, prayers or othermeaningful expressions are video-recordedin a special way that focuses on the parentsvoice, close-up images of the parents facesand facial expressions. The recordings arethen played on a portable DVD player inthe childs crib to help the child calm andrelax.

The music entrainment process along withthe close-up images of the parents speakingheartfelt words of love directly to their childcreates the foundation of the lullaby DVDand its amazing impact on the child. Wehave seen the lullaby DVDs promoterelaxation and calm, accentuate theeffectiveness of pain medications and havea positive impact on child attachment withthe parents. Currently, the team is workingon designing a pilot study to measure theimpact and effectiveness of the lullaby DVDintervention. Enrollment for the study istargeted for Fall 2009.

A parents familiar face the video

A parents calming voice the song

A parents loving words the poetry, the connection


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Children with autism often demonstratesignificant developmental delays in theirability to identify the primary emotions(American Psychiatric Association, 2000).However, understanding emotions conveyedthrough facial expression is an importantskill in communicating with others anddeveloping relationships (Katagiri, 2009).

We conducted a multisite study to examinethe effects of social stories with and withoutsongs on increasing the identification ofemotions in twelve 4-5 year-old children withAutism Spectrum Disorder. All children wereenrolled in two self-contained community-based preschools in upstate New York.Additionally, we examined whether childrenchoose the musical presentation more oftenthan the spoken presentation of a socialstory, and wether parents would be able toidentify enhanced learning of emotionidentifications in the home environment.

For each participant, we created fourindividualized social storybooks (Gray,2000) displaying the emotions happy, sad,angry, and scared, respectively. Each socialstory captured childrens everyday situationswith one of the four emotions displayed.Photographs of facial expressions of adultsfamiliar to each child accompanied thesocial storybooks (see Example 1 on theright side bar).

During an Initial and Post Assessment Phase,we determined each participants capabilityto identify emotions correctly. In theIntervention Phase, we alternated singingand reading the individualized storybook toeach child followed by a Testing Phaseduring which we asked the individual childto identify the emotions presented in thephotographs (see Example 2 on the rightside bar) and whether they would like torepeat the story. In other words, wecompared a music condition (story booksung to the child) and non-music condition(story book read to the child) in terms of theeffectiveness on the study participantsemotion identification by using a single-subject randomized alternating treatmentdesign (Barlow, Nock, & Hersen, 2009).

We found that all study participantsimproved their emotion identification skillsthrough the social storybook intervention,although it was unclear whether the musicor non-non-musicmusic condition was moresuccessful. However, children requestedsinging the social story more often thanreading the story, and parents reported an

increase in emotion identification andexpression after the intervention. Overall,we concluded that the musical adaptation ofindividualized social stories may providefamiliarity and motivate children to furtherfacilitate the learning and generalization ofemotion identification (Hinze, Larkin, &Stanton, 2008).

ReferencesAmerican Psychiatric Association (2000).

Diagnostic and statistical manual ofmental disorders (IV-TR). Washington,DC: Author.

Barlow, D. H., Nock, M. K., & Hersen, M.(2009). Single-case experimentaldesigns: Strategies for studyingbehavior change (third edition).Boston, MA: Allyn & Bacon.

Hinze, Larkin, & Stanton (2008). The Effectof Music on Enhancing the LearningProcess of Emotion Identification inChildren With Autism SpectrumDisorder. Unpublished masters thesis,State University of New York, NewYork.

Gray, C.A., (2000). The new socialstorybook: Illustrated edition.Arlington, TX: Future Horizons.

Katagiri, J. (2009). The effect ofbackground music and song texts onthe emotional understanding ofchildren with autism. Journal of MusicTherapy, 56 (1), 15-31.

Contact: Cristina Larkin [email protected]


How does Garrett feel? Enhancing EmotionIdentification in Children with Autism

BY RACHEL M. HINZE, HPMT, MT-BC, CRISTINA A. LARKIN, MT-BC, &GARRETT M. STANTON, MT-BC

SUNY at New Paltz, NY

Example 1: Pictures presented in anindividualized social story for Happy.

Example 2: Pictures presented during theInitial/Post Assessmentand Testing Phase.


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PRACTICE

Why Babies Need Music

BY CHRISTINE BARTON, MM, MT-BC

Once upon a time, a very long time ago, a newmother gazed into her babys eyes and beganto sing. Why? Because she quickly learned thatsinging helped to calm her baby, capture itsattention and forge a bond so strong as to benearly unbreakable. What she probably didntrealize was that it would also help her baby toacquire spoken language later on. Scientistsnow refer to this kind of sing-songcommunication as Infant Directed (ID) singingor speech. You may recognize it by its commonname, motherese. It is characterized by ahigher than usual pitch, slower tempo and anemotional expressiveness. Studies show thatbabies prefer this kind of communication overtypical adult speech. It is not only mothers whoengage in ID singing, but fathers as well. Infact, this behavior occurs universally among

caregivers!

We also know that for an infant, its primaryresponse to rhythm is movement. Isnt itinteresting that when we hold an infant webegin to rock or bounce, thus reinforcing thatresponse? There is evidence to suggest that astrongly metric rhythm actually induces aninternal clock in infants and that they candiscriminate when that rhythm changes. This isimportant for developing the ability tosynchronize movements to an external source,such as a piece of music.

Babies are also able to recognize a melody

sung at a different pitch as long as therelationships between the tones are unchanged.Its notable that when mothers sing to their

infant, they tend to use the same tempo andpitch over extended periods of time.

One crucial function of ID singing is its ability toteach infants about auditory patterns likephrases, rhythm and grouping. This is critical todeveloping the processing skills needed todecode speech.

But what does this mean for our infants with ahearing loss? Research has demonstrated thatwhen a hearing mother first discovers that herinfant has a hearing loss, she will increase heruse of vocal range, but over time this fades. In astudy conducted by the Department ofOtolaryngology at the Indiana UniversitySchool of Medicine (Bergeson, Miller &McCune, 2006), researchers discovered thathearing mothers of infants with cochlearimplants used typical ID style whencommunicating with their child. They alsoadjusted their vocal style to match the hearingexperience rather than the chronological age o

the child. This is good news, indeed, because ofthe critical link between ID singing and thedevelopment of language, speechdiscrimination and cognitive skills. The currenttechnology that enables early identification ofhearing loss affords us the opportunity for earlyintervention. A natural part of that interventionshould include ID singing.

So, bounce, rock, and SING to your baby!!

Source:Bergeson, T. R., Miller, R. J., & McCune, K.

(2006). Mothers' speech to hearing-impaired

infants and children with cochlear implants.Infancy, 10, 221-240.

Visit the new Infant and Toddler Section atThe Listening Room atwww.hearingjourney.com

This Listening Room is a steady stream ofFREE activities and resources to support thedevelopment of speech, language andlistening skills of children, adolescents andadult cochlear implant recipients.

Music developed by Chris Barton.

Christine Bartonis in private practice and works at the St.Joseph Institute for the Deaf. She is alsothe composer and co-creator, with Amy

Robbins CCC-SLP, of TuneUps, the 2009Award-Winning CD for children with

cochlear implants.

Contact: [email protected]

TuneUps Wins 2009 Therapy TimesMost Valuable Product Award

MVP 2009 Winner: Advanced Bionics' TuneUpsDeveloped by music therapist Chris Bar ton and speech therapist Amy Robbins, this music CD andhabilitation program engages children in a listening, language, and learning experience.

Links

Therapy Times Newsletter July 20, 2009:http://www.therapytimes.com/content=0302J84C48769286406040441/#speech

Advanced Bionics, Hearing Journey, TuneUps:

http://www.hearingjourney.com/Listening_Room/Kids/Tune_Ups/index.cfm?langid=1


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In the Beginning:Music Therapy in EarlyIntervention Groups

BY ELIZABETH K. SCHWARTZ, LCAT, MT-BCAlternatives for Children

Long Island, New York

The music therapists at Alternatives for Childrenon Long Island, New York have been providingservices through early intervention groups forwell over ten years. The program, called MyGrown Up and Me clinically demonstrates therecent positive findings of music therapyresearchers at Florida State University(Walworth, 2009) on the benefits of musicinterventions in infant and toddler groups. Thedocumented positive outcomes for children andfamilies along with solid research and thepopularity of this program support the successof these groups.

My Grown Up and Me is a weekly, one-hourdevelopmental play group for children ages 18to 36 months and their grown up. Eachsession includes playtime with developmentallyappropriate toys, opportunity for peer to peersocialization and parent to parent networking,grownup/child book time and of course, music.The goal of My Grown Up and Me is toprovide a structured, comfortable and familiarsetting that encourages socialization, languageand communication, play activities, groupparticipation and the ability to generalizelearned skills. The groups are held in severallocal libraries and include a mix of children

from the library community as well as childrenreceiving early intervention services.

For the young child receiving early interventionservices, My Grown Up and Me is anapproved service listed on and funded throughtheir IFSP (Individual Family Service Plan). InNew York State, approved Early Interventionservices may include Parent/ Child Groupsdefined as a group comprised of parents orcaregivers, children and a minimum of oneappropriate qualified provider of earlyintervention services at an early interventionprovider's site or a community based setting(e.g., day care center, family day care,

community center); and Group DevelopmentalIntervention which refers to the provision ofearly intervention services by appropriatequalified personnel to a group of eligiblechildren at an approved early interventionprovider's site or in a community based setting(e.g., day care center, family day care,community center). This group may also includechildren without disabilities. Since musictherapy is not on the list of approved servicesunder IDEA (Individuals with DisabilitiesEducation Act) Part C, the music therapist worksin collaboration with a social worker or specialeducation partner, allowing for a broad range

of knowledge and experience in meeting theneeds of the children.

For the library, My Grown Up and Meprovides their patrons with quality earlychildhood programming run by qualifiedprofessionals who also serve to reach out tofamilies in the community with special needs

children.

For parents and grown ups, this program givesthem the opportunity to join in the childs musicand play in a positive way. The music therapistsshare songs and musical games that promotebonding and two-way communication.Grownups report that the songs learnedbecome a staple of the childrens play at homeMy Grown Up and Me is also known in thecommunity as a place where community parentcan feel comfortable sharing concerns abouttheir childs development with knowledgeableprofessionals in a non-judgmental, non-pressured environment and meet with otherfamilies that are struggling with understandinga child with special needs.

For the professionals providing this program,My Grown Up and Me fulfills the spirit andletter of IDEA (Individuals with DisabilitiesEducation Act) through providing services withtypical peers in a natural environment. IDEAstates that services for young children to themaximum extent appropriate, are provided innatural environments, including the home, andcommunity settings in which children withoutdisabilities participate. It is a win-winsituation for all involved.

My Grown Up and Me follows a familiar

routine each week, which allows grown up andchild alike to feel at home and safe. Musictherapy interventions are a key ingredient ofthe program and are included in each step ofthe session. Interventions were developedbased on the five levels of musical developmentarticulated by Schwartz in Music, Therapy andEarly Childhood- A Developmental Approach(2008). All music for My Grown Up and Meis created and composed by the therapists withthe childrens needs and developmental level inmind. The music is unaccompanied vocal songsrepeated each week so children can rememberand reproduce them independently or with theifamily. The key and pitches chosen are in a

comfortable range so that grownups willfreely participate and share in the musicmaking. Instrument play and movement isintegrated throughout the session. Compellingrhythms and minor and modal melodies openup new musical worlds to the children whiletaking advantage of these elements incapturing attention and focus. Language usedmodels functional and social phrases such asCome and play or Thank you very much.

continue


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Resources


My Grown Up and MeSession Outline

Each portion ofthe My Grown Up and Mesession is designed to provide a normal earlychildhood experience. For our library friends,

playing with toys or sitting and reading bookscomes easily. For our early intervention friends,music is used to facilitate maximum involvementin these activities and with their grown upand peers.

Toy Play and Socialization: Music therapystrategies use embedded music- short phrasesor song fragments that mirror and rhythmicallyor grammatically support interaction and mutualplay. The snippets of music are informal, veryshort and immediately responsive to the childsactions.

Transitions: Unique, composed songs signal

each and every transition throughout the hour-long session. To encourage generalization, thetimbre of these songs are varied while themelody and rhythm stays the same - sometimessung, sometimes whistled, sometimes played ona pitched instrument.

Gathering: Gathering songs are used in severalplaces throughout the more structured circletime. Gathering songs use strong-meteredrhythm, synchronous musical movements andclear structure.

Bonding: Bonding songs allow the grownup andchild dyad to move together and develop trust

by playing together in structured songs that use

movement, close touch, and rhythmic andtempo variations to draw the pair close.

Movement: Movement songs encourageindependence and freedom of expression withinthe group setting. The movement songs oftenuse instrument play and have a clearpredictable structure and strong rhythm and

meter.

Connections: Connection songs move to freestructure, melodic freedom and call andresponse phrases. In the connection songs,children return once again to their grownup orto a peer.

Book Time: A simple repeated melody is sungas a backdrop to the sounds of grownupsreading to their child. The tempo slows and thedynamics drop as the volume of the spokenwords increases.

Bye-Bye: Pentatonic bells are played by grown

ups and children alike in the only harmonicintervention of the session. The timbre of thebells and the calmness of the pentatonic scaleset the tone of resolution, as the children getready to leave. The final music is once again asimple embedded phrase Thank you, thankyou, thank you, thank you, thank you verymuch as the children and grownups shakehands.

The music therapists of Alternatives for Childrenwould be happy to share their musical materialand interventions with you and can becontacted via Elizabeth K. Schwartz [email protected]

Models of Early Intervention ServiceDelivery. New York StateDepartment of Healthwww.health.ny.us

Individuals with Disabilities Act Part Chttp://idea/ed.gov

Schwartz, E.K. (2008). Music,Therapy, and Early Childhood: ADevelopmental Approach.Gilsum, New Hampshire:Barcelona Publishers.

Standley, J. M., Walworth, D., &Nguyen, J. (2009). Effect ofparent /child group musicactivities on toddler development:A pilot study. Music TherapyPerspectives, 27(1), 11-15.

Walworth,D.D. (2009). Effects ofDevelopmental Music Groups forParents and Premature or TypicalInfants Under Two Years onParental Responsiveness andInfant Social Development.Journal of Music Therapy, 46 (1),3252.


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Early Childhood Inclusion: A SummaryA Summary of the Joint Position Statement of the Division for Early Childhood (DEC)and the National Association for the Education of Young Children (NAEYC).

Background

Today an ever-increasing number of infantsand young children with and withoutdisabilities play and learn together in avariety of placeshomes, early childhoodprograms, and neighborhoods, to name afew. Promoting development and belongingfor every child is a widely held value amongearly education and interventionprofessionals and throughout our society.Early childhood inclusion is the term used toreflect these values and societal views.

However, the lack of a shared nationaldefinition has created somemisunderstandings about inclusion. TheDEC/NAEYC joint position statement offersa definition of inclusion. It also includesrecommendations for how the joint positionstatement can be used to improve earlychildhood services for all children.

Definition of Early Childhood Inclusion

Early childhood inclusion embodies thevalues, policies, and practices that supportthe right of every infant and young childand his or her family, regardless of ability,to participate in a broad range of activities

and contexts as full members of families,communities, and society. The desired resultsof inclusive experiences for children withand without disabilities and their familiesinclude a sense of belonging andmembership, positive social relationshipsand friendships, and development andlearning to reach their full potential. Thedefining features of inclusion that can beused to identify high quality early childhoodprograms and services are access,participation, and supports.

What is meant by Access, Participation, andSupports?

Access means providing a wide range ofactivities and environments for every childby removing physical barriers and offeringmultiple ways to promote learning anddevelopment.Participation means using a range ofinstructional approaches to promoteengagement in play and learning activities,and a sense of belonging for every child.Supports refer to broader aspects of thesystem such as professional development,incentives for inclusion, and opportunities

for communication and collaboration amongfamilies and professionals to assure highquality inclusion.

Recommendations for Using this Position

Statement to Improve Early Childhood

Services

The following recommendations describehow the joint position statement can be usedby families and professionals to shapepractices and influence policies related toinclusion.1. Create high expectations for every

child, regardless of ability, to reach hisor her full potential.

2. Develop a program philosophy oninclusion to ensure shared assumptionsand beliefs about inclusion, and toidentify quality inclusive practices.

3. Establish a system of services andsupports that reflects the needs ofchildren with varying types ofdisabilities and learning characteristics,with inclusion as the driving principleand foundation for all of these servicesand supports.

4. Revise program and professionalstandards to incorporate keydimensions of high quality inclusion.

5. Improve professional developmentacross all sectors of the earlychildhood field by determining thefollowing: who would benefit fromprofessional development on inclusion;what practitioners need to know andbe able to do in inclusive settings; andwhat methods are needed to facilitatelearning opportunities related toinclusion.

6. Revise federal and state accountabilitysystems to reflect both the need to

increase the number of children withdisabilities enrolled in inclusiveprograms as well as to improve thequality and outcomes of inclusion.

Suggested citationDEC/NAEYC. (2009). Early childhoodinclusion: A summary. Chapel Hill: TheUniversity of North Carolina, FPG ChildDevelopment Institute.

Summary drawn fromDEC/NAEYC. (2009). Early childhoodinclusion: A joint position statement of theDivision for Early Childhood (DEC) and theNational Association for the Education ofYoung Children (NAEYC). Chapel Hill: TheUniversity of North Carolina, FPG ChildDevelopment Institute.

Permission to copy not required distribution encouraged. http://community.fpg.unc.edu/resources/articles/Early_Childhood_Inclusion_Summary

April, 2009


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Resources

Shelden, M. L. & Rush, D. D. (2001).The ten myths about providingearly intervention services innatural environments. Infants andYoung Children, 14 (1), 1-13.

Hilton, D., Day, C., & Bidmead, C.(2002). Working in partnershipwith parents: the parent advisormodel. London: HarcourtAssessment.

Hanson, M.J., & Bruder, M.B. (2001).Early intervention: Promises tokeep. Infants and YoungChildren, 13 (3), 47-58.

The Royal Children's Hospital- Centrefor Community Child Health,Melbourne, Australiawww.rch.org.au/ccch

Early Childhood Intervention Australiawww.ecia.org.au

Grace Thompsonworks at the Broad Insight Group

Early Childhood Intervention Centre,Melbourne, Australia. Currently

working towards a PhD looking at theeffects of family-oriented music

therapy on the social communicationdevelopment of young children with

autism at the University of Melbourne,supervised by Dr. Katrina McFerran.

Contact:[email protected]


Music Therapy Within aPartnership Model

GRACE THOMPSON, BMUS(HONS) RMT

In 2001, Broad Insight Group Early ChildhoodIntervention Center (BIG) made the decision tochange its practice model to one that embracesworking in partnership with families. Prior tothis, parents and caregivers brought theirchildren with special needs into the centre forcentre-based group programs. Sometimesparents stayed for the sessions, sometimes theydidnt, and occasionally staff visited the familyand child at home or preschool. Making thechange to a partnership model came aboutthrough recommendations from ourprofessional body - the Early ChildhoodIntervention Association (ECIA) - and theliterature presented to the sector by the Centerfor Community Child Health (CCCH). Workingin partnership is seen as preferable, so thatparents can be actively involved in theinterventions for their child, learn problemsolving strategies to assist their childsdevelopment and provide the interventions fortheir child consistently in the childs naturalsettings.

In particular, the work of Hilton, Day &Bidmead (2002) was influential in the directionBIG took. Working in partnership with familiesmarked a change in the style of relationshipsbetween families and early interventionprofessionals. At the same time, there was alsorecognition of the importance of working in

natural settings, such as home, childcarecentres and preschools (Shelden & Rush 2001,Hanson & Bruder, 2001). These two factorsimpacted greatly on the delivery of therapyservices.

As a music therapist, this was a challengingtime. Making the shift to working in naturalsettings meant not only a change in whereservice was delivered, but how it wasdelivered. Sharing music therapy methods andstrategies with family members, childcareworkers and preschool teachers necessitated are-thinking of what was being offered. Itsurprised me how much recorded music was

being used in these other sett ings and how shyand hesitant many adults were in using music.There was a lot of work to be done.

When I look back now, and as I prepare toundertake some research in this area, there area couple of case vignettes that particularlystand out. In particular, I am moved by theimpact of music therapy participation not onlyon the child, but on other family members andcarers.

One father, who rarely came in the roomduring music therapy sessions with his two sonsand wife, suddenly started playing the guitar

again. His four year old son was significantlyaffected by cerebral palsy with some autisticcharacteristics, and was greatly limited in hismotor and communication skills. However,during music therapy, his son would becomelively and request more music through gestureand a switch device. His wife later describedhow her husband got out his guitar and tried a

few of the activities that he had heard us doing.His son responded to the music of fered by hisfather, and this interaction became ameaningful and communication-rich interaction.

Another mother had lost touch with how muchshe used to enjoy music, and reflected on thefact that since her child had been diagnosedwith an intellectual impairment, she had noteven played much recorded music in the house.She said that she just didnt feel like beinghappy or lively. When she heard herdaughters attempts to sing, she rememberedher own childhood love of singing, and greatlyidentified with her daughter. One day duringthe session she said that she wasnt a goodsinger, but loved to sing, and heard somethingof herself in her daughters efforts. Thestrengthening of connection between parentand child was beautiful, and through acommon love of music, relationship and hopehad been rekindled.

In preschools and childcare centers the impactof music therapy is slightly different. Creatingopportunities for the child with special needs tobe included, and for their strengths to shine,can have an effect on the quality of theirinteractions with peers. At a preschool, puppetsand songs were used to teach key-word signingand to introduce the children to different ways

that people can communicate. Within thesemotivating activities, the children quicklylearned the keyword signs that were beingused by the child with special needs. They alsoquickly picked up other important messagesabout tolerance and difference, affirming that itis okay if you cant use words because you cantalk with your hands. Through the use ofnonverbal music therapy methods such asinstrumental improvisation, an inclusiveenvironment for participation was createdwhere each child could make a valuable andunique contribution.

While there are still many challenges for music

therapists in the partnership model, such asrole release and coaching the adults aroundthe child, its a great model for promoting andproviding access to music and music therapywith a wide range of adults and children.When the childs carers are confident toprovide motivating and therapeutic strategiesfor their child throughout the day or week, thechild has many more opportunities for learningand development.

works at the Broad Insight GrouEarly Childhood Intervention Centre


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Disaster Events and Young Children

BY BARBARA A. ELSE, MPA, LCAT, MT-BC

The Context of Disaster and Traumatic Events with Young ChildrenIn order to tailor music therapy services for children affected by

disaster, it is important to understand the context and typicalimmediate goals of music therapy and music-based activity duringdisaster recovery periods.

Preschool and young school-age children exposed to a traumaticevent may experience a feeling of helplessness and uncertaintyabout whether there is continued danger. They may have a generalfear that extends beyond the traumatic event into other aspects oftheir lives. Young children have difficulty describing in words what isbothering them or what they are experiencing emotionally.Therefore, music may help address and mediate that difficulty.

Feelings of helplessness and anxiety are often expressed as a loss ofpreviously acquired developmental skills. Children who experiencetraumatic events might not be able to fall asleep on their own or

might not be able to separate from parents at school or daycare.Children who normally venture out to play prior to a traumatic eventnow might not be willing to play in the absence of a caregiver.Often, children lose some speech and toileting skills, or their sleep isdisturbed by nightmares, night terrors, or fear of going to sleep.Parents, family, caregivers, clinicians, and teachers may need totolerate regression in developmental tasks for a period of timefollowing a traumatic event.

In many cases, children may engage in traumatic play. This type ofplay is a repetitive and less imaginative form of play that mayrepresent the childs continued focus on the traumatic event or anattempt to change a negative outcome of a traumatic event.

The therapist can support the child during this period using the basicsof emotional first aid such as listening, being compassionate, showinggreat interest in the child, being persistent and calm, asking simplequestions (where appropriate), and acknowledging the childsresponses and behavior (Buell, 2006). Parents and caregivers mayoffer support, by providing comfort, rest, and an opportunity to play,draw, and engage in music, movement and the ar ts. Parents andcaregivers need to provide reassurance that the traumatic event isover and that the children are safe. It is helpful when caregivers,clinicians, and teachers assist children in verbalizing and expressingtheir feelings so that they dont feel alone with their emotions.Providing consistent caretaking and a reasonable sense of routine isimportant. In some situations this may mean creating pseudo-routinewithin temporary or transitional living situations such as shelters,shared housing, or hotel rooms.

Development and Age Variance in Responding to Children Affected byDisasterWhat children worry about varies and depends on their age. Firstly,if you listen to a child's questions and observe their behavior, youwill have a better idea of what they are concerned about. Second,because children depend on the adults around them for safety andsecurity, it is important for the adults to take care of themselves inorder to take care of the children.

Infants (ages 0-2)Infants depend totally on the adults who look after them. They sensethe emotions of their caregivers and react accordingly. If the adult iscalm and confident, the child will feel secure; if on the other hand,the adult is anxious and overwhelmed, the infant will feelunprotected. When adults are overtly anxious and distressed, infantsmay react. Infants may respond with fretful fussing, difficulty beingsoothed, or sleep and eating disturbances, or they may withdrawand seem lethargic and unresponsive.

Adults can help by remaining calm and maintaining ordinary routinesof life.

Toddlers (ages 2-4)

At this age children have begun to interact with a broader physicaland social environment. They still depend on the adults who lookafter them and therefore will respond to the situation depending onhow adults react. As with infants, if the adult is calm and confident,the child will feel secure; if on the other hand, the adult is anxiousand overwhelmed, the toddler will feel unprotected. Commonreactions include disturbances in eating, sleeping and toileting,increased tantrums, irritability and defiance. They may also becomemore passive and withdrawn. It is also very common for children tobecome clingier.

Adults can help by remaining calm and maintaining ordinary routinesof life. At this age, children have access to television. Television cangenerate anxiety because of the repetitive and graphic images itprojects. Exposure should be limited as much as possible.

Preschool Children (ages 4-6)At this age, children usually have become part of a social groupbeyond their family. Their language, play, social, and physical skillsare more advanced. Through their play, talk and behavior, theyshow their ideas of good and bad, their pride in all the things theycan do with their bodies, and their fears about possible injury.Common reactions include disturbances in eating and sleeping, bed-wetting, increased tantrums, irritability and defiance. Changes inplay and drawings may include more aggression, fighting, or re-enactments of the frightening events. Some children may show theyare upset through their inability to take part in play and otheractivities that usually give them pleasure. Children can havedifficulties separating from parents or caregivers; they can also makea big fuss about small injuries. Preschoolers may be verypreoccupied with questions related to who did it and what willhappen to them.

Adults can help by remaining calm and maintaining routines.Caregivers can become aware of the specific worries of individualchildren by listening to their comments and questions and observingtheir play and other behavior. Once adults understand children'sworries, they can answer questions, correct misunderstandings andoffer reassurance. Exposure to television should be limited. An adultshould be present to monitor and protect children from theoverwhelming graphic images and to talk about what they arewatching.

Source: National Center for Children Exposed to Violence at the YaleChild Study Center

continued


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The Role of Music and Music Therapy in DisasterRecoveryDuring and immediately following a disasterevent, responders must deal with immediateconcerns related to rescue and safety. Typically,music and music therapy interventions beginonce there is stability around the event and anygeographic or physical hot zones. A programof music and music therapy interventions in theimmediate days following a disaster generallyfocuses on establishing stability and some senseof normalcy, even if that normalcy is reinventedand a new normal is established. Musictherapy in response to crisis or trauma mayprovide opportunities for:

Non-verbal outlets for emotionsassociated with traumatic experiences

Anxiety and stress reduction Positive changes in mood and

emotional states Active and positive participant

involvement in treatment Enhanced feelings of control,

confidence, and empowerment Positive physiological changes, such

as lower blood pressure, reducedheart rate, and relaxed muscletension

Source: AMTA Fact Sheet: Music Therapy inResponse to Crisis and Trauma

Music therapists are reminded to only provideservices within their scope of practice, training,and qualifications. There are numeroustechniques and approaches available and inuse by some music therapists such as SomaticExperiencing, Psychological First Aid, and anew modified technique under developmentand study by music therapy Professor Tian Gaocalled Music Entrainment Desensitization andReprocessing (MEDR). However, only trainedand qualified clinicians should consider usingthese techniques.

Following a disaster, young children oftenrespond well to individual or small groupactivities. Preferably, this is with the consistentpresence of a parent or caregiver. Initially, themost important function of live music is toquickly establish a relationship with thechildren (Gao, 2008). Music based activitiestailored to the needs of the children providemuch needed structure and routine, especiallyin temporary housing situations. Music-basedactivities should be designed to facilitate asense of emotional stability and control.Therefore, activities should engage the childand/or allow the child to have some sense ofempowerment in the process.

The music therapist can also provide animportant consultation service with respect tothe availability of live and recorded music foryoung children for the purpose of creating acalming environment, masking noise, andcueing children about transitions to nap time,bedtime, meals, and other daily activities thatmay be taking place in an unfamiliar,distracting, and/or transitional environment.

Finally, music therapists should considerdesigning activities that incorporate movementand touch with the music to reinforce a senseof presence, self, and being in their own

body. This is because trauma can triggerenormous physiological reaction as well asdifficulty in focus and being present in themoment. Children (and adults) need time torest, settle, and allow the body to return to astate of balance or homeostasis. Theneuroscience and neuro-physiology behindthese recommendations is a rapidly growingarea of inquiry with positive trends in favor ofthe use of music and music therapy.

Contact:[email protected]@developmentlaboratory.com

Disasters: Common Symptoms and Suggested Approaches: Ages 1-5

Resources

Buell, J. (2006). Emotional first aidmanual. San Juan Capistrano,CA: Innovations Press.

Coping With Traumatic Events: Tipsfor Talking About TraumaticEvents. Retrieved June 2, 2009from the SAMHSA Center forMental Health Services Website: http://mentalhealth.samhsa.gov/cmhs/

TraumaticEvents/tips.asp#workers

Disaster Help for Children andParents. Retrieved June 2, 2009from The Child Advocate Website: http://childadvocate.net/disaster.htm

Field Manual for Mental Health andHuman Service Workers inMajor Disasters. Retrieved June2, 2009 from the SAMHSACenter for Mental HealthServices Web site: http://mentalhealth.samhsa.gov/dtac/FederalResource/Response/3-

Field_Manual_MH_Workers.pdfMusic Therapy in Response to Crisisand Trauma. Retrieved June 12,2009 from the American MusicTherapy Association Web site:http://www.musictherapy.org/factsheets/MT%20Crisis%202006.pdf

National Center for Traumatic Stress National Resource Centerhttp://www.nctsnet.org

T. Gao (personal communication,November 20, 2008).

Source: Field Manual for Mental Health and Human Service Workers in Major Disasters. DHHS ADM 90-537, 2006.

Behavioral Symptoms Physical Symptoms Emotional Symptoms Intervention Options

Fears of dark

Avoidance of sleepingalone

Increased crying

Resumption of bed-wetting,thumb sucking, clinging toparents

Loss of appetiteStomach aches

Nausea

Sleep problems, nightmares

Speech difficulties

Tics

Anxiety

Fear

Irritability

Angry outbursts

Sadness

Withdrawal

Give verbal assurance and physical comfort

Provide comforting bedtime routines

Avoid unnecessary separations

Permit the child to sleep in parents roomtemporarily

Encourage expression regarding losses (i.e.,deaths, pets, toys)

Monitor media exposure to disaster trauma

Encourage expression through play activities


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She listens to the music andturns around...


Music Therapy in BilingualEarly Childhood Education

BY BILL MATNEY, M.A., MT-BC &CHRISTINA STOCK, M.A., MT-BC

IntroductionBilingual education offers children anopportunity to learn in their native languagewhile also facilitating their acquisition ofEnglish. Most English Language Learners (ELLs)in the United States are native Spanishspeakers. While individual student needs areprioritized, studies suggest that both typically-developing bilingual students and learners withdisabilities appear to benefit from both Englishand native language instruction (Bruck, 1997;Muller, 2004). Music shares many componentswith language, including sound categorization,rhythm, tonal properties, syntax, and culturalrelevance. Music therapists who work in early-

childhood bilingual education settings encounterunique challenges and opportunities; they workto maximize learning while also validating thecultural and individual identities of theirstudents.

Facilitating Second Language AcquisitionLanguage acquisition is the subconsciousinternalization of language. Language theory(Pinker, 1994; Barber, 1980) and research(Krashen, 1973; Perani, 1998) both point toearly childhood as a beneficial time to beginsecond-language acquisition. Research alsosuggests that while formal language learninghelps to refine our understanding of language,almost all of our fluency and accuracy is aresult of language acquisition. Early-childhoodlanguage acquisition can be best facilitatedthrough the following: a) continued native-language development, b) comprehensibleinput, c) strategies that promote involuntaryverbal rehearsal, d) kinesthetic reinforcement ofwords and phrases, and e) environments thatpositively modify the affective filter. Thefollowing offers a brief description of each ofthese areas, and discusses how music therapycan play a salient role.

Continued Native-Language DevelopmentChildrens native language skills are crucial totheir second-language development (Randall,

2009). Music therapists can build bridgesbetween languages by learning introductorywords and concepts, such as colors, shapes,and foods, in their clients native language.Internet resources and language CD-Roms canact as helpful materials.

Comprehensible InputComprehensible input means that studentsshould be able to understand the essence ofwhat is being presented to them, even if theyare receiving new vocabulary. Music therapistscan create comprehensible input by associatingnative-language words with second-language

vocabulary. Music therapists may also createstrategies that incorporate familiar objects,movements, pictures, and manipulatives. Activeexperiences can engage multiple learningmodalities and increase the relevance oflanguage skills.

Involuntary Verbal Rehearsal

Involuntary verbal rehearsal has beendescribed as the din in my head phenomenon(Krashen, 1983). We largely acquire languagethrough unconscious practice. Music, with itsuse of predictable melody, rhythm, repetition,and rhyme, can facilitate subconsciouslanguage rehearsal (Murphey, 1990).

Music, Rhythm, and LanguageRhythm is the first characteristic of languagethat we are able to discern (Bosch, 1997;Nazzi, 1998; Mehler, 1988). Language typesare categorized by their rhythmic qualities.English and Spanish belong to two dif ferentrhythmic classes (Pike, 1945). Studies haveindicated that both folk and classical music from

different cultures are written with both therhythmic and tonal qualities of their nativelanguages (Patel, 2007). The use of indigenoussongs will likely facilitate a more consistentprosody and intonation in the target language.

Kinesthetic ReinforcementKinesthetic reinforcement of language occursthrough physical movement and sensorystimulation, commonly referred to as totalphysical response. Physical movement is usefulfor imprinting and internalizing both first andsecond languages. Movement games mayutilize sign language (indigenous to the targetlanguage), or use movements that creatively

resemble animals, mimic actions, or focus onprepositional words (Asher, 1969).

Affective FilterThe affective filter is an impediment to ourlearning; a psychological obstruction usuallytriggered by negative emotional states such asanxiety, boredom and low self-esteem.Immigrant learners may be experiencing cultureshock, and may be anxious about learning thenuances of a new language. Music canfacilitate active practice and learning in a funand non-threatening manner, sparking interestand strengthening self esteem in students.Studies indicate that music can also be

neurologically linked to reward and motivation(Menon, 2005).

Music Therapy StudiesThere are many articles addressing English as aSecond Language (ESL) and other educationaljournals advocating the use of music to facilitatelanguage learning (Darrow, 1998), but therecurrently exists a scant amount of literature onmusic therapy and second-language acquisition.A total of three articles have been publishedbetween 1998 and 2008 in theJournal ofMusic Therapyand Music Therapy Perspectives

continued

Bill Matneyworks full time in the LewisvilleIndependent School District, where he

currently works with early-childhoodbilingual co-teach classes. Bill is anadjunct lecturer at Texas Womans

University, and runs a book publishingcompany (www.sarsenpublishing.com)

that focuses on materials for musictherapists and music educators.


orks full time in the Lewisville


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Christina Stockreceived her Bachelor of Arts in Music

from the University of Texas,concentrating on Ethnomusicology. Shereceived her Master of Arts in Music

Therapy at Texas Woman's University.She works as a contract music

therapist in the Dallas area. Herinterest in music and culture has led

her to pursue research andinterventions involving the needs ofSpanish-speaking second language

learners.


that specifically address the use of musictherapy in ESL classrooms (Schunk, 1999;Kennedy & Scott, 2005; Kennedy, 2008).

The purpose of a recent study by Stock (2009)was to determine the effect of bilingual musictherapy on the expressive language output inspecial needs children who are learningEnglish in early childhood classrooms. ElevenEnglish-language learners at an earlychildhood education center in north Texasparticipated in an English-only control groupand a bilingual experimental group. In theEnglish-only group, the researcher utilizedWestern songs, spoke and sang only inEnglish. In the bilingual group, the researchersang indigenous folk songs in Spanish andEnglish, and communicated with the students inboth language

Early Childhood Newsletter 2009[1]

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