Synthesis Sunday: More from Music, Therapy, and Early Childhood: A Developmental Approach
It is Sunday again, and I am skipping in my reading a bit. I've been talking to my intern about human development and musical development, so I skipped into the appendix of this particular book where Elizabeth Schwarz has compiled all of the information in the next several chapters into a checklist. The appendix contains Music Indicators of Early Childhood Development, a three-page list of information that operationalizes specific characteristics of musical behavior in a way that allows me to evaluate some of my students even though they are way older than early childhood. Rather than focusing on age, this list of indicators focuses on musical behavior.
I use this at times. I go through the list of items contained under the three categories, singing, playing instruments, and music movement, and I use this appendix to figure out strengths and next steps in music experience. The indicator does need some more knowledge of the rest of the book - you have to read the rest of the book to really be able to use this list effectively - so, we will be returning to those chapters soon.
Now, there is a caveat to using this list with my clients. This list is written for use in early childhood treatment settings. It is not appropriate for me rock my clients using my body as the primary source of vestibular and proprioceptive stimulation. It is completely appropriate to do this with little bits, but not with my older clients. So, some of the indicators have to be either assumed or go untested because of the life situations of the clients in front of of the therapist. Most of them, however, are appropriate markers for musical experience and skill development.
I am thankful that this book actually exists. It helps me explain developmental concepts and concerns to those who are not really in the know about music and the body and the brain. It offers me a way to organize treatment planning and my therapeutic music experiences because it standardizes my language in a way that is supported by a theoretical framework and lots of experience.
See you next Sunday for the next chapters in the book. I'm looking forward to this continued reminder of what this book tells me and how it works in my daily clinical practice.
I use this at times. I go through the list of items contained under the three categories, singing, playing instruments, and music movement, and I use this appendix to figure out strengths and next steps in music experience. The indicator does need some more knowledge of the rest of the book - you have to read the rest of the book to really be able to use this list effectively - so, we will be returning to those chapters soon.
Now, there is a caveat to using this list with my clients. This list is written for use in early childhood treatment settings. It is not appropriate for me rock my clients using my body as the primary source of vestibular and proprioceptive stimulation. It is completely appropriate to do this with little bits, but not with my older clients. So, some of the indicators have to be either assumed or go untested because of the life situations of the clients in front of of the therapist. Most of them, however, are appropriate markers for musical experience and skill development.
I am thankful that this book actually exists. It helps me explain developmental concepts and concerns to those who are not really in the know about music and the body and the brain. It offers me a way to organize treatment planning and my therapeutic music experiences because it standardizes my language in a way that is supported by a theoretical framework and lots of experience.
See you next Sunday for the next chapters in the book. I'm looking forward to this continued reminder of what this book tells me and how it works in my daily clinical practice.
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