New Songs and Ideas
I admit. I am stumped right now. I don't have any new ideas going through my head.
This ever happen to you? You find yourself doing the same old things in the same old way with the same old folks? How do you get yourself out of the rut?
Over the years, I have had so many of these brain freezes that I have become pretty good at shaking up my own creative process. It is time to be inspired by someone or something. So, let's get started...
Within reach of my computer keyboard I have a bunch of Star Wars stationary, a fish clacker, a weather board for school calendars, several kids' poetry books. and wall borders with transportation pictures and other themes. Here is where inspiration starts.
(Now, here is where some of the more psychodynamically-oriented music therapists may feel that I practice at an auxiliary level in my sessions - starting with the activity rather than the client, but I am not necessarily developing Therapeutic Music Experiences (TMEs) right now, I am jumpstarting my creative process as a composer and a therapist. I feel that the song development is just the first step in being a therapist. Once I have the framework, I can then transform the song into a TME directed and customized for each and every client that crosses my path.)
So, I'm looking around wondering where to start. I think I'll start with the poetry. Shel Silverstein is one of my favorites and Where the Sidewalk Ends is my favorite favorite! So, I'll flip through this book in an attempt to find something new in familiar poems. My absolute favorite poem in the entire book is Invitation on page 9. I can't replicate the poem here since it is protected by copyright, but the theme of poem is creativity and interaction with others who are creative as well. When I read this poem, I know that I am not the only person in the world who is a dreamer. There are more of us out there, all struggling with various life situations and waiting for others.
Page 23 has a poem entitled, Ourchestra. It is an ode to body percussion. Why not use it as a framework for a rhythmic improvisation and discussion with clients about percussion sounds? That will work with some of my clients - others will not respond well to the poem, but will really respond to the improvisation and movements.
Listen to the Mustn'ts is on page 27 and tells me that the monkeys (the monkeys, the MONKEYS!) of shoulda, woulda, and coulda are not barriers but are obstacles that can be stepped around. This is a message that everyone of my interns needs to hear as well. Some of my clients would also benefit. Hmmm. Inspiration starting...
Silverstein, S. (1974). Where the Sidewalk Ends. Evil Eye Music: New York.
This ever happen to you? You find yourself doing the same old things in the same old way with the same old folks? How do you get yourself out of the rut?
Over the years, I have had so many of these brain freezes that I have become pretty good at shaking up my own creative process. It is time to be inspired by someone or something. So, let's get started...
Within reach of my computer keyboard I have a bunch of Star Wars stationary, a fish clacker, a weather board for school calendars, several kids' poetry books. and wall borders with transportation pictures and other themes. Here is where inspiration starts.
(Now, here is where some of the more psychodynamically-oriented music therapists may feel that I practice at an auxiliary level in my sessions - starting with the activity rather than the client, but I am not necessarily developing Therapeutic Music Experiences (TMEs) right now, I am jumpstarting my creative process as a composer and a therapist. I feel that the song development is just the first step in being a therapist. Once I have the framework, I can then transform the song into a TME directed and customized for each and every client that crosses my path.)
So, I'm looking around wondering where to start. I think I'll start with the poetry. Shel Silverstein is one of my favorites and Where the Sidewalk Ends is my favorite favorite! So, I'll flip through this book in an attempt to find something new in familiar poems. My absolute favorite poem in the entire book is Invitation on page 9. I can't replicate the poem here since it is protected by copyright, but the theme of poem is creativity and interaction with others who are creative as well. When I read this poem, I know that I am not the only person in the world who is a dreamer. There are more of us out there, all struggling with various life situations and waiting for others.
Page 23 has a poem entitled, Ourchestra. It is an ode to body percussion. Why not use it as a framework for a rhythmic improvisation and discussion with clients about percussion sounds? That will work with some of my clients - others will not respond well to the poem, but will really respond to the improvisation and movements.
Listen to the Mustn'ts is on page 27 and tells me that the monkeys (the monkeys, the MONKEYS!) of shoulda, woulda, and coulda are not barriers but are obstacles that can be stepped around. This is a message that everyone of my interns needs to hear as well. Some of my clients would also benefit. Hmmm. Inspiration starting...
Silverstein, S. (1974). Where the Sidewalk Ends. Evil Eye Music: New York.
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