Synthesis Sunday: Music, Therapy, and Early Childhood: A Developmental Approach - Chapters Four and Five

Happy Synthesis Sunday, all! Today's reading and overview is Chapters Four and Five of Music, therapy, and early childhood: A developmental approach by Elizabeth Schwartz. Chapter four is titled "Models of musical development in early childhood," and can be found on pages 29-38. Chapter five is titled "Musical response in early childhood: What develops musically and when." Are you ready for this? I think I am.

Chapter four provides an overview of four music education models, termed "sequential music-learning systems" with brief descriptions of Dalcroze, Orff, Kodaly, and Suzuki learning models, but the meat of the chapter comes from two music therapists, Cynthia Briggs and Kenneth Bruscia (p. 37-38). The Briggs and Bruscia model is linked to "other major models of developmental psychology" and offers a sequence anticipated responses for musical development in the areas of auditory perception, vocal/tonal exploration, rhythmic development, and cognitive development (p. 30-36). Split into phases, this model discusses the reflex, intention, control, and integration stages of musical development.

I'm wondering where this was during my undergraduate training. It makes so much sense for me. This particular model assists me in my work with persons with developmental concerns as it links specific musical behaviors to development. This is a scale that I can use to identify areas of focus for my clients - it can form the basis of an assessment of musical skill in relation to development. Hmmm. 

The last idea presented in Chapter four is that of Edwin Gordon. I've studied Gordon's model quite often, but it has never really seemed all that relevant to my work as a music therapist. I am glad to see the Briggs and Bruscia model again. Something to think about.

Chapter five includes another list of characteristics of musical behaviors and preferences. (Did I ever mention that I LOVE lists??) I find this also to be something that I use when assessing where a client is musically and developmentally. For me, knowing these typical developmental progressions assists me in figuring out what types of things my clients (who have experienced developmental interruptions in their lives due to life events and neurological issues) could be expected to do and should address to assist in reaching developmental milestones. It is important to remember that developmental level does play a part in the musical interactions of clients during music therapy sessions and treatment.

These chapters serve to remind me that there are many things to remember when working with human beings. That's kinda a "duh" statement, but it easy to move away from the mindset that music is something that has developmental markers and a progression just the same as motor skills and cognition. I often stray away from thinking about music as a treatment domain, but it can be. I've been thinking about this more and more lately as I have been trying to expand my views of music therapy with my clients.

I've never been one of those music therapists who think that you cannot address musical goals in the treatment arena. I am one of those music therapists who feels that you do not address only one treatment domain each and every time that you participate in a musical intervention or experience or event. Musical development has to be part of that intervention, experience, or event because music is a part of that same intervention, experience - you get the idea. There is nothing wrong with looking at the musical development of clients in the same way that I look at cognitive development, social interactions, and emotional recognition. You cannot separate the musical development from the other treatment domains. If nothing else, this text reminds me of that one fact - music is an essential part of music therapy.

Next week, we'll be moving into Part Two of this text - "From Theory to Practice." I will be looking for ways to incorporate Schwartz's theories into my own practice, keeping in mind that my clients and hers are different. I expect that there will be some room for transfer into my practice. I am looking forward to the next section and maybe coming up with something that I can take into my direct client interactions. An assessment, maybe? Who knows!!

Happy Sunday, all!



 
Schwartz, E. (2008). Music, therapy, and early childhood: A developmental approach. Gilsum, NH: Barcelona Publishers.