· Web viewThe Intro to Music Therapy series features e-courses for continuing education credit...

Music Therapy in Early Childhood:Meaningful music from infancy to kindergarten

Marcia Humpal, M.Ed., MT-BCRonna Kaplan, M.A., MT-BCAmy Furman, M.M., MT-BC

American Music Therapy Associationhttp://www.musictherapy.org

AMTA E-course producers:Cathy Knoll, MA, MT-BC

Dwight Knoll

2013, American Music Therapy Association, Inc.8455 Colesville Rd., Ste. 1000Silver Spring, MD 20910 USA

All rights reserved.No part of this e-course, the workbook or the audio,

may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, sharing links,

recording, or by any information storage and retrieval system, without prior written permission from the Executive Director

of the American Music Therapy Association.

Produced in the United States of America

2013, American Music Therapy Association, Inc. 2

http://www.musictherapy.org/


AMTA E-courses

Welcome to this AMTA E-course from the American Music Therapy Association. The user-friendly format of the self-study AMTA E-courses allows participants to listen and learn at their leisure, sharpening their professional knowledge and skills while earning CMTE credits from a CBMT Approved Provider. The core of the AMTA E-courses is the audio presentation, topical segments where the speaker talks about various aspects of the e-course subject matter. AMTA E-course workbooks include detailed discussion outlines, references, resources, and supplementary materials as well as information about earning CMTE credits. AMTA E-course participants will listen to the audio discussion and review workbook. When ready to earn CMTE credits, e-course participants will submit the CMTE Evaluation electronically.

AMTA Clinical Practice E-course Series The e-courses in the Clinical Practice Series feature experienced music therapy clinicians sharing their expertise about music therapy interventions, applications, strategies, protocols, group management, program and service-delivery models, research, and other issues related to delivering quality music therapy services to a variety of populations in various settings.

AMTA Professional Issues E-course Series The self-study e-courses in this series provide in-depth, practical information about the “business” of music therapy, e.g., standards of clinical practice, ethics, career enhancement, supervision, leadership, job development, copyright, and other high-priority career and business issues.

The AMTA Intro to Music Therapy E-course Series The Intro to Music Therapy series features e-courses for continuing education credit for professionals in medicine, adjunct therapies, education, and other related fields, providing basic information about music therapy research and services. The series also includes accessible resources introducing music therapy to consumers and parents, career counselors, and other interested parties.

An up-to-date listing of available AMTA E-courses and pending self-study e-courses is on the AMTA website, www.musictherapy.org Questions about the AMTA E-course series or about this particular AMTA E-course can be addressed via email <[email protected]>




Introduction

Welcome to this AMTA E-course about meaningful music from infancy through kindergarten. Music Therapy in Early Childhood features the work of three music therapy clinicians with many decades of experience working with young children. First, Marcia Humpal talks in chapters 1 through 4 about music therapy for infants and toddlers, exploring the manner in which very young children learn through play, and discussing considerations for planning effective music therapy for little ones. In chapters 5, 6, and 7, music therapist Ronna Kaplan talks about music therapy in preschool groups, using examples from her experiences at The Music Settlement and in community outreach programs, and providing details about her Hierarchical Model of Music Therapy and the Arts Integration Model. Music therapist Amy Furman talks in Chapters 8, 9, and 10 about the application of music in therapy for young children in the public schools, based on her extensive experience in the Minneapolis Public Schools. Amy provides numerous examples of programmatic and IEP-specific music therapy in preschool and kindergarten classrooms.

You will want to take a close look at the ten take away points in Chapter 11 as well as the wealth of resources in Chapter 12 of this workbook. Among other helpful links, references, and other materials is a valuable bonus - a complimentary pdf copy of the 62-page booklet from the well-received 2011 AMTA Institute, Developmental Approaches to Early Childhood Music Therapy, featuring Marcia Humpal, Dr. Rebecca Wellman, Elizabeth Schwartz, and Dr. Darcy Walworth.

Please note that the e-course instructors will occasionally refer to power point slides in their audio discussion. E-course participants will find all the e-course materials in this workbook, including the content of power point slides, the detailed e-course outline, the “Click and Learn” information and links, references and resources, and details in Chapter 13 about earning CMTE credits from AMTA, a CBMT Approved Provider.

Please feel free to contact us via email <[email protected]> with any questions or comments when taking the e-course or completing the CMTE e-course evaluation for CMTE credit.

Best wishes as you take this AMTA E-course, a resource provided by the American Music Therapy Association.

Marcia Humpal, Ronna Kaplan, and Amy Furman

Music Therapy in Early Childhood:2013, American Music Therapy Association, Inc. 4

Meaningful music from infancy to kindergarten

E-course objectives

Participants in the Music Therapy in Early Childhood e-course will be able to:

1. Identify at least three attributes and levels of play in music therapy interventions for children in various stages from infancy through age six. (CBMT Scope of Practice, IV.A.2)

2. Describe at least four ways parents, caregivers, or professionals can facilitate musical play with young children. (CBMT Scope of Practice, II.A.5.e, k, m)

3. Describe at least four developmentally appropriate music experiences for young children in various stages. (CBMT Scope of Practice, II.1, 3b, 4a, b5, IV.B.2, II.A.2h, j, p, s, w, ag, ak)

4. Cite and describe at least four models of hierarchical development both within and outside the music therapy field. (CBMT Scope of Practice, IV.A.2)

5. Define arts integration and state examples of at least two non-arts standards and related goals and two music standards and goals addressed in a music therapy arts integration program for children ages three to six. (CBMT Scope of Practice, I.C.3 and 1.C.4)

6. Outline possible roles of music therapists in music therapy settings for young children, infancy through age six. (CBMT Scope of Practice, I.C.2, I.C.3, I.C.4, IV.A.4)

7. Consider what is developmentally appropriate given client’s age, culture, music background, and preferences when designing music therapy experiences. (CBMT Scope of Practice 1.C.9)

AMTA E-courses are approved by the Certification Board for Music Therapists for the specified number of Continuing Music Therapy Education (CMTE) credits. Credits awarded by CBMT are accepted by the National Board for Certified Counselors (NBCC). AMTA (#P-051) maintains responsibility for program quality and adherence to CBMT policies and criteria.

http://www.musictherapy.org/careers/continuing_music_therapy_education/

Music Therapy in Early Childhood:


http://www.musictherapy.org/careers/continuing_music_therapy_education/

Meaningful music from infancy to kindergarten

E-course instructors

(l-r) Amy Furman, Marcia Humpal, Ronna Kaplan

Marcia Humpal, M.Ed., MT-BC is a graduate of Baldwin-Wallace College where she majored in music education. She taught general music for several years. When she was assigned to teach music to a special education class, she recognized the unique powers that music had for individuals of all ability levels. An equivalency in music therapy and a master’s degree in special education followed, and she was hired as a music therapist/instructor with the Cuyahoga County Board of Developmental Disabilities in Cleveland, Ohio. Following a long career, she retired from this agency; still passionate about her profession, Marcia today maintains a small private practice. She conducts early childhood music therapy groups at locations such as area YMCAs and at the Rock and Roll Hall of Fame and Museum’s Toddler Rock program. An advocate for including music therapy in early intervention, she thoroughly enjoys sharing her knowledge with practicum students at Cleveland State University in her role as an adjunct faculty member in the music therapy department.

A past vice president of AMTA, Marcia serves on the editorial board of the early childhood music therapy online magazine imagine, and is co-chair of AMTA’s Strategic Priority on Autism workgroup. She was co-founder of AMTA’s Early Childhood Network, and co-chair through 2006. She represented music therapy on Sesame Street’s Music Works Wonders project, and Start the Music, a national music education initiative. She is a recipient of AMTA’s Award of Merit, Great Lakes Region’s Honorary Life Award, and the Association of Ohio Music Therapists’ Past Presidents Club Award. Marcia has presented at national and international professional conferences and authored numerous articles and book chapters. She is the co-editor of the recently released book Early Childhood Music Therapy and Autism Spectrum Disorders and also AMTA’s Effective Clinical Practice in Music Therapy: Early Childhood and School Age Educational Settings. Ronna Kaplan, M.A., MT-BC, is Director of Music Therapy at The Music Settlement, a community music school in Cleveland, Ohio. She has served premature infants to adults up to


103. She has researched the effect of music on premature infants and music therapy program goals and outcomes for clients with autism spectrum diagnoses. Her special interests are young children and individuals with autism spectrum disorders, language delays and/or problems in the area of social skills, as well as teen parents or those with mental illness. She is very passionate about giving children and families the best possible start in life and using music therapy to support growth and development.

Ronna earned an MA in special education, a B.Mus. in music therapy and music education, and certificates in Nonprofit Management, Neurologic Music Therapy, Orff Level I and the DIRR/FloortimeTM Basic Course.

Having published and presented nationally and internationally, Ronna writes a column on music therapy for the Huffington Post. Presently serving as Immediate Past President of the American Music Therapy Association and chair of AMTA's Diversity Task Force, she chaired AMTA's Autism Think Tank/Task Force from 2008-09 and co-chaired its Early Childhood Music Therapy Network from 1994-2006. She is the recipient of the Association of Ohio Music Therapists Past Presidents' Club Award, the AMTA Professional Practice Award and the Great Lakes Region of the National Association for Music Therapy’s Service Award.

Amelia Greenwald Furman, M.M., MT-BC, is a music therapist/music specialist with the Minneapolis Public Schools. After working with adults in a variety of settings, she has focused on early intervention and helping students with special needs be successful in the school setting.

Amy holds a BA in harp performance, a master’s degree in music therapy, a music education license and certificates in Orff Level I and Neurologic Music Therapy. Her clinical specialties include early childhood, autism spectrum disorder, English language learners, and inclusion/mainstreaming in the music education classroom. She has worked with Minnesota Music Educators Association as a state mentor in the areas of urban education and special needs students. She provides training on successful accommodations and adaptations for students in the music education classroom for Minnesota music educators and pre-service college students.

Amy has presented at national and international professional conferences most recently in Seoul and Greece. She has served on the editorial board of the Journal of Music Therapy, and has written articles for a variety of professional journals and music therapy publications. She received a national Fund for Teachers Fellowship Award in 2010 and the Great Lakes Region of the National Association for Music Therapy’s Life Time Service Award. Amy is a member of the AMTA Board of Directors and currently serves as President-Elect.



http://www.huffingtonpost.com/ronna-kaplan-ma/music-therapy-and-technology_b_972955.html

Table of Contents

Introduction to the Early Childhood E-course

Marcia Humpal

Chapter 1: How do young children learn?

Chapter 2: Learning through play

Chapter 3: Music therapy for very young children

Chapter 4: Meaningful music for toddlers

Ronna Kaplan

Chapter 5a: Music therapy for preschool children, part 1

Chapter 5b: Music therapy for preschool children, part 2

Chapter 6: Hierarchical Model of Music Therapy for preschool groups

Chapter 7: Arts Integration Model

Amy Furman

Chapter 8: Music therapy for young children in public schools

Chapter 9: Overview of programmatic and IEP-specific music therapy

Chapter 10: Examples of music therapy interventions in preschool classrooms

Resources and Information

Chapter 11: Ten Take Away Points

Chapter 12: References and supplemental resources

Chapter 13: CMTE Information – step-by-step instructions for earning CMTE credits



E-course introductionWhat do I do next?

Step 1: Find materials and resources on the E-course Landing Page.

http://www.musictherapy.org/careers/03050113/

This link leads to the E-course Landing Page with access to all the resources necessary for taking the e-course, for sharpening professional skills, and for earning CMTE credits.

Links to the audio segments of the discussion by Marcia Humpal, Ronna Kaplan, and Amy Furman about music therapy in early childhood. The audio discussion is the core of this AMTA E-course.

The Click-and-Learn references and links.

The Department of Education Questions and Answers document related to music therapy

The 62-page booklet in pdf format from the 2011 AMTA Institute “Developmental Approaches to Early Childhood Music Therapy” featuring speakers Marcia Humpal, M.Ed., MT-BC; Rebecca Wellman, PhD, MT-BC, DT; Elizabeth K. Schwartz, MA, LCAT, MT-BC; Darcy Walworth, PhD, MT-BC.

The E-course CMTE Evaluation with step-by-step instructions for earning 5 CMTE credits from AMTA, a CBMT Approved Provider.

Step 2: Take a look at the AMTA E-course Workbook.

Take time to look at this AMTA E-course Workbook for an introduction to the e-course and speakers, a list of CMTE objectives, an abundance of resources related to this topic, information about earning CMTE credits, and a detailed outline to follow when listening to the audio discussion.

Step 3: Listen to audio discussion.

Download the audio discussion to any device(s) and listen to each chapter at your leisure. You can refer back to any chapter - or chapter segment - at any time now and in the future.

Step 4: Take a look at the supplementary resources.



You can check out the wealth of references and supplementary resources in this workbook now and/or at any point in the future.

Step 5: Submit CMTE Course Evaluation for CMTE credits.

When you are ready to earn 5 CMTE credits from AMTA – a CBMT Approved Provider – you will submit the CMTE Course Evaluation found on the E-course Landing Page. Just as with a “live” CMTE course, you will receive a CMTE Certificate of Completion for 5 CMTE credits once AMTA receives your completed evaluation. Note that you will receive your CMTE Certificate of Completion via email from the AMTA national office with an email domain name of <musictherapy.org>

You may submit the 5 CMTE hours to CBMT as soon as you send the CMTE Evaluation for this AMTA E-course. It is not necessary to wait for the “Certificate of Completion” to arrive before you submit these pre-approved CMTE credits to CBMT. Detailed CMTE information and step-by-step instructions are in Chapter 13 of this workbook.

Step 6: Contact us with questions.

If you have any questions about this AMTA E-course or about the process for earning CMTE credits, please feel free to contact us via email <[email protected]>



Chapter 1How do young children learn?

Listen to the audio segment With Marcia Humpal for Chapter 1

Discussion Outline

1. Background information

A. Lyrics to a tried and true Hello Song

Golly, golly, golly good afternoon,Good afternoon, good afternoon.

Golly, golly, golly good afternoon,Good afternoon to YOU!

B. Why do music therapists need to know developmental milestones?

C. What is meant by the term “early childhood”?

2. Developmental Milestones

A. Typical milestones and “red flags”

B. General milestones for infants

1. Top down and from middle out

2. Visual and auditory tracking

3. Communication

4. Motor skills

5. Interaction with others

C. General milestones for toddlers

1. Mobility


2. Fine motor control

3. Language and communication

4. Knowledge of concepts

5. Expressing feelings

D. Developmental milestones

1. Generalizations function as milestones

2. Peek-a-boo Song

Click and Learn

At what age would a baby probably be able to play peek-a-boo?

Check the website below for information about this developmental milestone:

http://www.cdc.gov/ncbddd/actearly/milestones/

3. Musical Development

A. Briggs (1991) - Musical Development Stages

1. Reflex Stage (0 to 9 months)

2. Intention Phase (9 to 18 months)

3. Control Phase (18 to 36 months)

B. Schwartz (2008) – Developmental Music Milestones

1. Awareness

2. Trust


http://www.cdc.gov/ncbddd/actearly/milestones/

3. Independence

4. Control

5. Responsibility

4. Developmentally Appropriate Practice (Bredekamp, 1987; Copple & Bredekamp, 2009)

A. Basic philosophy and underpinnings

B. 2009 Revisions to D.A.P.

C. Principles that drive D.A.P.

5. Developmentally Appropriate Music

A. Considerations - all aspects of play, musical development, and individual differences

B. Prototype of a music therapy session for an infant

C. Prototype of a music therapy session for a toddler

6. Principles of child development and learning inform music therapy practice.

A. Complex and comprehensive principles are based on research and experience.

B. Principles apply to cognitive, communication, social/emotional, and motor domains.

C. Research in neuroscience about early learning informs music therapy practice.

7. Points to ponder

A. Development and learning advance when children are challenged to achieve at a level just beyond their current mastery.


B. Development and learning advance when children have opportunities to practice newly acquired skills.

C. Children learn in a variety of ways.

D. Children often actively seek to understand the world around them.

E. A wide range of strategies and interactions, such as those used in music therapy, support all kinds of learning throughout a child’s day.


Chapter 2


Learning through play

Listen to the audio segment with Marcia Humpal for Chapter 2.

Discussion Outline

1. What is play?

2. Therapeutic benefits of play

A. Self-regulation

B. Language

C. Cognition in areas such as math, literacy, and science

D. Social competence

E. Physical competence

F. Understanding the world around us

3. Levels of social play (Parten, 1932)

A. Unoccupied behavior

B. Solitary play and onlooker play

C. Parallel play

D. Associative play

E. Cooperative play

4. Categories of purposeful play (Piaget, 1962)

A. Sensorimotor (0 to 2 years):

1. Explore through their senses (taste, touch, sound)


2. Repeat actions again and again

B. Preoperational (2 to 7 years):

1. Use materials to satisfy a purpose

2. Able to construct and create

C. Musical examples of play by purpose based on Piagetian approach

1. Functional play: banging and babbling

2. Constructive play: arranging drums in a row

3. Symbolic play: using scarves to move to music

4. Games with rules: playing musical chairs

Click and Learn

This YouTube video illustrates developmental levels of play

http://www.youtube.com/watch?v=nhF6E7zHqWI

5. Facilitating musical play to make it more playful and more purposeful

A. Know typical developmental milestones

B. Take into consideration a child’s individual needs

C. Determine a child’s current levels of play

D. "Bump up" a child’s established level of play to enhance and build on skills

6. Musical examples (Humpal, 2002) based on Linder’s play-based approach (Linder, 1990)

A. Exploratory stage: making noises with mouth as it presses against one's hand


B. Relational stage: playing an instrument according to function

C. Constructive stage: playing a sequence, e.g., 3 drum beats followed by cymbal crash

D. Dramatic stage: using props in a song


Chapter 3


Music therapy for very young children

Listen to the audio segment with Marcia Humpal for Chapter 3

Discussion Outline

1. American Music Therapy Association (AMTA) supports music therapy for young children

A. Early Childhood Network roundtable at annual national music therapy conference

B. AMTA conference sessions, CMTE sessions, and Institutes

C. AMTA-Pro Podcasts and AMTA E-courses

C. Articles in Journal of Music Therapy and Music Therapy Perspectives

D. Monographs and books published by AMTA

Click and Learn

Read one or more articles in imagine, the early childhood music therapy online magazine

Access imagine at http://imagine.musictherapy.biz/Imagine/home.html

2. Examples of research supporting benefits of music therapy for young children

A. Research about music therapy for premature infants in hospital settings (Standley, 2003; Walworth, 2009)

B. Research about music therapy in small groups (Hanson-Abromeit, 2011; LaGasse, 2011)

3. Music therapy service delivery to very young children

A. Settings for music therapy service delivery

1. Hospital and medical settings, e.g., NICU, pediatrics

2. Community settings, e.g., child’s home, day care, early childhood music


classes, individual and group therapy in music therapy clinics

3. Educational settings, e.g., preschool, early intervention programs, special education classes and services

B. Examples of advantages of providing music therapy in early childhood settings

1. Music therapists have skills and expertise to meet needs of young children.

2. Music therapists can adjust and adapt music experiences to meet specific needs.

3. Music therapists can identify developmental “red flags” for young children.

4. Music therapists can recommend and provide assessment for early intervention.

4. Federal Laws with Ramifications for Early Intervention

A. P.L. 99-457 (1986) extended P.L. 94-142 to ages 3 to 5 plus established early intervention programming birth to 2 years old.

B. IDEA Part C (2011) supports early intervention services from birth to 3 years in home and community settings covered by IFSP – Individual Family Service Plan.

C. American Music Therapy Association provides up-to-date information about music therapy and early childhood http://www.musictherapy.org

Click and Learn

Read Judy Simpson’s article Inclusion of Music Therapy in Early Intervention Programs in imagine, Vol.2, 2011

http://www.musictherapy.biz/Imagine/Imagine/archive_files/imagine%202%281%29%202011.pdf

5. Selling points of music therapy

A. Rationale for music as a therapeutic medium

1. Even very young infants relate to music.

2. Music occurs naturally in many settings.


http://www.musictherapy.biz/Imagine/Imagine/archive_files/imagine%202(1)%202011.pdf

3. Music is a socially appropriate activity.

B. Ways in which music therapy addresses a child’s needs and enhances learning

1. Music therapy allows children to participate at their own level of ability.

2. Music therapy can address a child’s needs in a positive setting.

3. Music therapy can provide pleasurable learning that promotes success.

4. Music therapy supports all aspects of a child’s programming and needs.

5. Music therapy helps parents interact with their children through meaningful musical play.


Chapter 4Meaningful music for toddlers

Listen to the audio segment


with Marcia Humpal for Chapter 4Discussion Outline

1. Musical characteristics of toddlers 18 to 36 months (NAFME, 2012; Tweedle, 1999)

A. Singing: can create their own songs and sing simple songs or parts of songs

B. Moving: can perform basic gross motor movements and move spontaneously to music

C. Listening: can discriminate musical and non-musical sounds

D. Playing instruments: can play rhythm instruments by striking, shaking and patting

2. Toddlers in music therapy

A. Challenges and rewards

B. “Tunefully Terrific” toddlers

3. Types of music therapy services in early intervention

A. Home-based: Music therapist often working with or supporting developmental specialists or other team members such occupational, speech, physical therapists.

B. Community: Music therapist may work in family or child groups for children of all ability levels or in specialized groups.

4. The basic music therapy process in home or community sessions for individuals or groups

1. Immerse young children in musical experiences.

2. Encourage their musical responses.

3. Motivate their playful exploration of musical experiences.


5. Considerations when planning music therapy for toddlers

A. Provide structure in a seemingly unstructured environment.

1. Use the music to structure the session.

2. Provide a gathering place that marks a boundary.

3. Plan enough instruments for parallel play.

4. Have some instruments that encourage sharing.

5. Utilize music for commenting and seamless transition.

B. Understand age-appropriate social and emotional issues of toddlers.

C. Purposefully engineer the environment to define spaces and maximize the experience.

1. Consider children’s needs when setting up environment.

2. Keep it simple. Avoid offering too many choices.

3. Provide an obvious music area.

4. Define individual spaces with strategies such as using Tuffets.

D. Take time to provide opportunities for response.

1. Be expressive.

2. Encourage any type of communication and interaction.

3. Adjust the pace and use “pregnant pauses” and wait for responses.

E. Use age-appropriate and developmentally appropriate instruments and props.

1. Commercially available smaller versions

2. Mallets with two heads

3. Conventional objects used in unconventional ways

4. Found sounds


5. Scarves, transparent cloths, parachutes, nets

6. Puppets

7. Books/pictures

F. Use transition songs purposefully.

1. Provide non-threatening, simple messages.

2. Capture attention and calm children or groups.

3. Organize the session and give advance notice of change.

G. Plan activities that teach sensory awareness and skills.

1. Directionality, e.g., up and down, front and back

2. Ability to cross midline

3. Left to right experiences

4. Body awareness

` 5. Define space and gathering area

H. Types of music appealing to and developmentally appropriate for toddlers

1. Live singing

2. Repetitive words, simple accompaniment, and sound effects

3. Contrasts in dynamics, tempo, and other musical elements

4. Music from the child’s culture and from other cultures

5. Universal children’s chant – so-mi-la-so-mi

6. Recorded instrumental music

7. Wiggles, tickles, bounces, nursery rhymes


I. More strategies for successful music therapy with toddlers

1. Capture attention, build anticipation, use varied and expressive tones.

2. Pay attention to the pace of the session.

3. Make personal connections with face-to-face activities.

4. Observe each child carefully and adapt to unique needs of each individual.

5. Repeat music to develop familiarity, and bump up to a higher level when appropriate.

6. Provide opportunities for inclusion of children at various developmental levels and stages of play.

7. Plan for purposeful transition and closure with calming music at end of session.

J. Share music and strategies with families, teachers, and other caregivers.

1. Coach and teach during the session, demonstrating routine, structure, playful interaction, and flexibility.

2. Actively involve adults and give them opportunities to practice.

3. Provide materials and ideas to use at home.

K. “Goodbye, Goodbye” closing song

1. Call response song with pentatonic melody accompanied by Studio 49’s Easy Cussion Alto Glockenspiel

2. Familiar song brings closure to the session and allows for work on fine motor skills, waiting and taking turns, relaxing, and listening.


Chapter 5AMusic therapy with preschoolers, part 1

Listen to the audio segment with Ronna Kaplan for Chapter 5A


Discussion Outline

1. Why use music in preschool settings?

A. Music is a “universal language” appealing to all ages and cultures.

B. Music occurs naturally in our environment and in our daily lives.

C. Music is a socially appropriate activity and leisure skill.

D. People of all ages, especially children, enjoy music.

E. Music often captures attention.

F. Music can provide a predictable time-ordered and reality-ordered structure.

G. Music provides opportunities for experiences in “self-organization” and self-expression.

H. Music allows each person to participate at his or her own level of ability and interest.

I. Music provides natural opportunities for experiences in relating to others.

J. Music may be adapted for group or individual experiences and may draw a child into a group in a non-threatening manner.

K. Music experiences may encourage positive behavior and may make a child feel good about himself or herself.

2. Where does music therapy occur for preschoolers?

A. Early childhood centers

B. Day care or day schools

C. Public or private preschools

D. Community music schools

E. Recreation centers

F. Other settings

3. Music therapy sessions may be:

A. Group sessions or individual music therapy.


B. Determined by ages of participants or not.

B. For children with or without specific disabilities or for those at-risk.

C. A specialized program such as “Lullaby 101.”

D. Cross-categorical or non-categorical.

E. Highly structured or more child-directed.

F. Inclusion groups, revers inclusion groups, or self-contained groups.

G. Only for preschoolers or for family members as well as children.

4. Non-music components addressed in music therapy sessions may include:

A. Behavioral, social, and emotional skills

B. Communication and language skills

C. Perceptual motor skills

D. Cognitive and academic skills

E. Physiological responses

5. Pre-school music experiences may include:

A. Singing or chanting

B. Playing instruments

C. Moving

D. Listening

E. Creating music, writing songs

F. Consistent opening and closing songs and transition songs to signal children

G. Music experiences reflective of classroom themes

6. Uses of music in preschool settings


A. As a cue for transition

B. As a carrier of information or directions

C. As a motivator or reinforcer for completing less preferred tasks

D. As a mood-setter

E. As an aid in practice of modulation of voice or body

F. As an auditory cue

G. Making and playing instruments

H. As an aid for relaxation

I. As an energizer and motivator

J. As a background for learning

K. As material for a task

L. As a physical structure for learning activities

M. As a reflection of skills or processes to be learned

N. As an activity for developing responsibility

O. In performance

P. In theme units

7. Examples of tunes for transition

Click and Learn

Use this template to write your own transition song for an actual music therapy group/individual or for a hypothetical group/individual.

Note: This assignment will not be submitted for CMTE credit, but is, instead, a self-guided learning experience for e-course participants.


.

1. Target situation:

2. Familiar tune or song:

3. Key words or targeted concepts:

4. Your new lyrics:

5. Object or picture cues:


Chapter 5BMORE music therapy with preschoolers, part 2

Listen to the audio segment with Ronna Kaplan for Chapter 5B

Discussion Outline


1. Examples of music applications in therapy for preschool children

A. Using music as a “carrier of information” to convey specific information, to give directions, or to provide scenarios to assist children in communicating their needs.

B. Using music as an aid to encourage preschoolers to calm down or relax.

C. Using music as a physical structure for learning skills, e.g., greeting, passing, sharing objects, sharing ideas, leading, and following.

2. Services and roles of a music therapist in preschool settings

A. Assessment of eligibility for music therapy as a Related Service

B. Programmatic music therapy

C. IEP-specific music therapy

D. Direct music therapy services to group or individual

E. Music therapy on the playground

F. Plan and lead group performances

G. Consultation with regular education or special education classroom or with other professionals

H. Assist with sensory issues, relaxation, and other periodic needs

I. Co-treat or co-teach with other professionals



Chapter 6Hierarchical Model

Preschool MT groups Listen to the audio segment with

Ronna Kaplan for Chapter 6

Discussion Outline


1. Examples of non-music hierarchical theories

A. Piaget (1936) - Theory of Cognitive Development (intellectual growth)

B. Erikson (1963) - Eight Ages of Man (psychosocial development)

C. Kohlberg (1964) - Stages of Moral Development

D. Maslow (1954) - Hierarchy of Needs (self-actualization)

E. Linder & Parten (1994) - Levels of Social Play

F. Greenspan & Wieder (1998) - Milestones for Early Phases of Development

1. Self -regulation and interest in the world

2. Intimacy

3. Two-way communication

4. Complex communication

5. Emotional ideas

6. Emotional thinking

G. Example of a developmental sequence for language development

1. 4-8 weeks: first smile

2. 2-4 months: cooing and laughter

3. 4-6 months: vocal play

4. 6+ months: babbling

5. 10+ months: jargon

6. 12-18 months: first words


7. 18-24 months: vocabulary spurt and use of simple sentences

8. 2-3 years: increasing sophistication, asking “who,” “what,” “where,” “why,” “how” questions

9. 3-4 years: learning concepts

10. Preschool years: uses 5-7 words sentences, conversational, asks questions, categorizes, defines, etc.

11. 5-6 years: storyteller

2. Review of Examples of Music Therapy Hierarchies

A. Briggs (1991) - Model of Understanding Musical Development

1. Reflex Phase (0-9 months)

2. Intention Phase (9-18 months)

3. Control Phase (18-36 months)

4. Integration Phase (36-72 months)

a. Discriminate loud/soft dynamics and high/low pitches

b. Sing spontaneous songs

c. Increase in song repertoire

d. Pitch contour and memory for lyrics & rhythm improves

B. Hanser (1991) – Response Hierarchies

1. Receptive Communication

a. identify objects

b. perform simple actions

c. perform actions involving space

d. follow sequence of actions


e. pair related objects

f. sort similar objects

g. perform actions involving body-space awareness

h. perform actions involving object-space awareness

2. Expressive Communication

a. imitate vowels, then consonants

b. imitate words

c. expression/identification (name objects, possession, name object placement, name missing object)

d. complete sentences

e. correct pronoun use

f. correct tense

C. Dimmick & Humpal (1990) – Facilitating interaction for social play

1. Issue a directive.

2. Issue an indirect request.

3. Provide a specific cue within a song.

4. Issue a group cue for spontaneous selection or nondirective facilitation.

3. Kaplan (2006) - Hierarchical Approach to Group Music Therapy in Preschool Settings

A. Level 1: New students

1. Presenting needs and skills for Level I

a. Often first preschool experience

b. Frequently out of seat/ area

c. Possible low language


d. Low interaction with peers

e. May be self-centered or self-absorbed

f. Inconsistent or low participation in group

g. Difficulty with taking turns or waiting for turns

h. May display attention-seeking behaviors

i. May talk out of turn

j. May be self-abusive or aggressive to others

k. May display separation anxiety which may inhibit participation

2. Sample Objectives for Level I

a. Social and Behavioral – Level I

1. Increase play skills

2. Broaden repertoire of activities

3. Improve basic motor participation

4. Decrease interfering behaviors

5. Increase ability and/or willingness to wait for turn

6. Increase verbally prompted motor social interaction with peers

b. Expressive Communication – Level I

1. Increase spontaneous or imitative verbalizations or vocalizations

2. Increase sign language

3. Use simple pragmatics of language

4. Verbal social interaction with others

5. Greet peers & adults during “Hello” and “Good-bye” songs


c. Receptive Communication – Level 1

1. Attending to verbal cues

2. Following simple 1-step directions with prompting

B. Level II: Returning students

1. Presenting needs and skills for Level II

a. Basic group participation

b. Improved language

c. Ability and/or willingness to wait longer for turns

d. Ability and/or willingness to follow group structure or routines

e. May need modeling or cueing to interact with a peer

2. Sample goals and objectives for Level II

a. Social and Behavioral – Level II

1. Increase spontaneous rather than prompted independent motor interaction with peers - passing/trading, holding hands, or sharing with partner

2. Increase waiting for one’s turn cooperatively

3. Make transitions from play to music therapy with no prompting

b. Expressive Communication – Level II

1. Increase child’s mean phrase length

2. Increase child’s use of sentences

c. Verbal Social Interaction – Level II

1. Increase frequency of spontaneous speaking to peer

2. Greet peers


3. Ask someone else to play

4. Increase verbal responses to request from peer

5. Increase verbal leading of group

6. Make comments or ask questions related to music or discussion topic

7. Decrease instances of verbal interruptions

d. Receptive Communication – Level II

1. Increase willingness and/or ability to follow 1-step directions without prompting

2. Increase following of directions using prepositions

e. Visual Attending – Level II

1. Increase following of adult or child leader to play or move

2. Increase visual attending to index cards with one color or picture each to play song by “matching to sample”

C. Level III: Pre-Kindergarten students

1. Presenting needs and skills for Level III

a. Often display independent interaction with peers

b. Often in second or third year of preschool

c. Language may continue to improve

d. May display ability to delay gratification, e.g., in waiting for a turn

e. May need to develop kindergarten readiness skills

f. May need to develop ability to follow more complex types of directions or sequences of directions

2. Sample objectives for Level III


a. Social and Behavioral – Level III

1. Wait for turn cooperatively for longer time

b. Expressive Communication – Level III

1. Answer “wh” questions regarding music experiences

c. Verbal Social Interaction – Level III

1. Speak to peer(s)

2. Take successive turns reciprocally in conversation about designated topic

d. Receptive Communication – Level III

1. Increase willingness and/or ability to follow multi-step directions

2. Repeat information they have heard other students or MT say

e. Visual Attending – Level III

1. Increase or sustain eye contact with people or task

2. Play one-line song by matching colors/symbols from song sheet to instrument with pointing prompts only

f. Cognitive and Vocabulary – Level III

1. Increase vocabulary related to classroom themes

2. Name primary colors or common shapes

3. Match and/or recognize letters or numerals

4. Recognize one’s printed name

5. Count objects or play correct number of beats requested

4. Examples of music experiences addressing some objectives for preschoolers

A. Roving Reporter Song (to the tune of “Chiquita Banana”)

B. Hello Song (K Guilmartin,


http://store.musictogether.com/family-favorites-download info.php)

C. Fine motor experience: Put Your Finger in the Air

D. Books: From Head to Toe, Eric Carle or Spider on the Floor, Raffi

E. Instrument experience

1. Tambourine Song (Purvis, 1976)

2. Stick Tune (http://store.musictogether.com/family-favorites-download-info.php)

F. Gross motor movement

1. Move Your Head Like This (Farnan & Johnson, 1988)

2. Hokey Pokey

G. Manipulative experience

1. Put the Beanbag on Your Shoulder

2. Beanbag, Beanbag, Where Ya Been? (source unknown)

H. Turn-taking experience: Head & Shoulders, Baby 1, 2, 3

Click and Learn

After selecting an objective from one of the three Kaplan levels, use the sample template to develop music experiences for a 30-minute music therapy

session for an actual or hypothetical preschool group.

Note: This assignment will not be submitted for CMTE credit, but is, instead, a self-guided learning experience for e-course participants

Sample template for planning music experiences for a preschool group:


http://store.musictogether.com/family-favorites-download-info.php

http://store.musictogether.com/family-favorites-download%20%09%20info.php

http://store.musictogether.com/family-favorites-download%20%09%20info.php

1. Objective(s)

2. Theme for music therapy session

3. Song for greeting and opening

4. An age-appropriate book to reinforce theme

5. A fine motor music experience

6. A gross motor music experience

7. Playing instruments

8. A music experience requiring students to take turns

9. A music experience using props or a manipulative

10. Good-bye and closing song


Chapter 7Arts Integration Music Therapy Model

Listen to the audio segment with Ronna Kaplan for Chapter 7

Discussion Outline


I. Arts Integration Model

A. The Arts Integration approach to teaching and learning uses the arts as primary pathways to learning.

B. Arts Integration differs from traditional arts education by its inclusion of both an arts discipline and another core subject area.

C. The goal of arts integration is to increase knowledge of a general subject area while concurrently fostering a greater understanding and appreciation of the arts.

2. Examples of arts standards based on MENC PreK Music Education Standards (1995)

A. Singing and playing instruments

B. Creating music

C. Responding to music

D. Understanding music

3. Examples of music to address topics listed in the state’s academic standards

A. Social Studies: social interaction and cooperation, civics, and history (giving turns, waiting for turn, sharing, problem-solving, and other key areas)

1. We Are Playing

2. The Passing Song (Purvis, 1976)

3. Look Who’s Come to Music Today (Farnan and Johnson, 1988)

4. Play with Your Partner (to the tune of “Skip to My Lou”)

5. Sharing Song (Raffi, 1976)B. English and Language Arts: rhyming, vocabulary, and effective communication

1. Willoughby Wallaby Woo (Raffi, 1990)

2. The Rhyming Game

3. Ants Go Marching

C. Mathematics: counting, numbers, and one-to-one correspondence

1. Can You Clap What I Clap After Me


2. One for the Money

3. Stick Tune (http://store.musictogether.com/family-favorites-downoad-info.php)

4. Establishing target objectives and documenting progress

A. Academic objectives are based on teacher requests related to state standards.

B. Data is usually collected by teaching assistants or classroom aides.

C. Data collection scales rate and document progress in targeted areas.

0 – resisted or refused to participate or respond 1 – cooperated but needed physical assistance 2 – responded with one or more prompts (verbal, visual, gestural, multi-modal) 3 – responded spontaneously and unassisted

D. Progress is also based on teacher observation and on assessment programs such as GetItGotItGo.com

5. Generalization of newly learned skills

A. Music therapists must purposefully plan for generalization to daily life.

B. Classroom teachers involved in the Arts Integration Program fill out a Generalization Questionnaire about individual student or the class.

6. Benefits of partnership as stated by a staff member of Art is Education at Young Audiences of Northeast Ohio

A. Collaborative partnership involved collective decision-making and team effort.

B. Program allowed peer coaching and observation of and by other arts organizations.

C. Music therapy process can be applied to other programs.


D. Experience and knowledge of music therapists encouraged students to actively engage in learning.

Click and Learn

Develop an Arts Integration Music Therapy Session Plan

1. Choose a core academic subject area.

2. Look up PreK standards for an academic subject in your state or school.

3. Choose one benchmark in one of the standards.

4. Write one or more target objectives.

5. Develop one or more music therapy experience(s) to address the objective(s).


Chapter 8Music therapy in public schools

for preschoolers and kindergarten students

Listen to the audio segment with Amy Furman for Chapter 8

Discussion Outline


I. Overview of music therapy services in public school early childhood and kindergarten

A. Substantial increase in music therapy jobs in public schools from 1998 to 2009

B. 1975 PL 94-142 Education for All Handicapped Children Act

1. Free, appropriate public education (FAPE) in least restrictive education (LRE) for all children ages 5-21

2. In 1986, extended to include ages 3-21 and added early intervention for under 3 years old

C. 1990 Individuals with Disabilities Education Act (IDEA) PL 101-476

1. IDEA increased the range of disabilities included, emphasized access to the general education curriculum

2. 1997 IDEA reauthorized

3. 2004 IDEA Improvement Act with increased emphasis on accountability and services based on peer-review, evidence-based, and research-based interventions

II. Implications of federal education guidelines for music therapists and disability services

A. IDEA – Department of Education Questions and Answers document

1. Review the Department of Education Questions and Answers document available in pdf format on your AMTA E-course Landing Page


2. In June 2010, the U.S. Department of Education issued Questions and Answers document on Individualized Education Programs (IEPs), Evaluations, and Reevaluations. This document provides guidance representing the interpretation of the Department and clarifies the recognition of music therapy as a related service under IDEA.

a. Question 1E: Can artistic and cultural services, such as music therapy, be considered related services under the IDEA?

b. The Department’s long-standing interpretation is that the list of related services in the IDEA and the Part B regulations is not exhaustive and may include other developmental, corrective, or supportive services (such as



artistic and cultural programs, art, music, and dance therapy), if they are required to assist a child with a disability to benefit from special education in order for the child to receive FAPE. The requirements for related services are found in 34 CFR §300.34.

3. Music therapy services are based on a decision by the student’s team (including family members) and needs to make a significant difference in the student’s responses on IEP goals and objectives.

B. National standards for services and goals and objectives related to arts education

1. National Standards for Arts Education National Standards for Arts Education, Music Educators National Conference, 1994www.menc.org/publication/books/standards.htm

2. The National Standards for Arts Education outline basic arts learning outcomes integral to the comprehensive K-12 education of every American student regardless of their abilities.

3. “All students deserve access to the rich education and understanding that the arts provide, regardless of their background, talents, or disabilities.”

4. National Pre-K competencies include singing and playing instruments, creating music, responding to music, and understanding music.

5. National Standards for Music Education (Kindergarten-12th grade)

a. Singing, alone and with others, a varied repertoire of music.

b. Performing on instruments, alone and with others, with varied repertoire of music.

c. Improvising melodies, variations, and accompaniments.

d. Composing and arranging music within specified guidelines.

e. Reading and notating music.

f. Listening to, analyzing, and describing music.

g. Evaluating music and music performances.

h. Understanding relationships between music, the other arts, and disciplines outside the arts.

i. Understanding music in relation to history and culture.


III. State and local school district arts standards also impact music therapy.

A. Each state and/or district has its own standards and/or benchmarks. The standards are often the same or very similar to the national but there are differences.

B. It is important to be aware of the federal, state and local policies and standards when job seeking or writing grants. Check websites for updates and revisions.


Chapter 9Music therapy in public schools


Discussion Outline


I. Three manners of providing music therapy services in public schools

A. Option 1: Programmatic music therapy

B. Option 2: Music therapy specified on IEP

C. Option 3: Consultative music therapy services

2. Examples of programmatic music therapy

A. Part of the scheduled day for students, often during teachers’ preparation time.

B. Teachers and classroom aides request music therapy services.

C. Music therapists can provide music experiences for students with significant limitations.

D. Programmatic music therapy services can address students’ IEP goals.

E. A music therapist needs familiarity with each building’s protocols as well as with entire range of school staff; secretary, assistants as well as the education professionals.

F. A music therapist must be aware of each student’s specialized education and behavior plans.

G. Music therapy can assist in teaching skills necessary for the next grades or phase of education

3. Music therapy on the Individualized Education Plan (IEP).

A. Music therapy is specified on the IEP after a qualifying assessment.


B. Each IEP is just that, individualized.

C. Goal categories on IEP address academic performance, communication, health/physical, sensory/hearing/vision, motor skills/physical development, emotional, social and behavior development, and self-help/functional skills

4. Benefits of working in group setting for students in early childhood and kindergarten

A. Normal learning structure in the public schools for students is a group.

B. Opportunity to imitate both adults and their peers.

C. Broadens repertoire of activities.

D. Increases ability and/or willingness to wait for turn.

E. Increases spontaneous rather than prompted motor and social interaction with peers.

F. Music therapy experiences address necessary academic and social skills.

G. Prepares students for larger class size.

5. Examples of music therapy experiences that address needed classroom skills and IEP goals.

A. Following instructions, e.g. come over, stop and go, imitate

B. Taking a turn, requesting a turn, leadership skills

C. Making choices appropriately, communication, anticipation

D. Addressing multiple target areas


E. Expanding familiar music experiences to require more sophisticated responses

F. Learning school-appropriate responses and actions in various situations with social stories

G. Generalizing skills learned in one-to-one setting into the group setting

H. Making necessary accommodations and modifications adapting educational experiences to maximize learning by each student with special needs.

Click and Learn

Take a look at resources related to specialized populations on the AMTA website http://www.musictherapy.org

Fact Sheets and Annotated Bibliographies include:

Autism Spectrum Disorders: Music Therapy Research and Evidenced-Based Practice SupportSpecial Education: Music Therapy Research and Evidenced-Based Practice Support

Williams Syndrome: Recent Research on Music and SoundMT and Early Childhood


Chapter 10More examples of music therapy in action with students in public school classrooms


Discussion Outline



1. Music therapy to build imitation skills leading to language development

A. Example of building on a student’s limited strengths to lead him toward language

B. Example of building language to express wants or to describe objects

C. Examples of teaching language commonly used in the classroom

D. Example of music therapy to teach new routines and following directions on cue

E. Examples of building vocabulary, question and answer skills, making choices

F. Examples of teaching students in groups with different levels of development

G. Examples of books to expand music therapy’s focus on learning certain concepts

H. Examples of learning and practicing flexibility and tolerance for change

2. Considerations when planning music therapy interventions and learning experiences

A. Music therapy interventions must address each student’s educational plan.

B. Purposefully plan and implement socially, academically, and musically appropriate learning experiences and materials.

C. Structure room and materials to ensure success of each student.

D. Carefully model appropriate responses, i.e., what we expect when we give directions.

E. Plan carefully for allergies, seizures, and other needed health and safety procedures.


F. Respect cultural diversity in students and staff.

G. Structure classroom experiences to allow all children, including those with multiple needs, to participate to their best ability.

H. Build as many skills as possible and help students generalize so they are prepared for learning and participating in school both now and in the future.

3. Some thoughts about literature resources for music therapy

A. Network with colleagues – music therapists, parents, early childhood professionals, and others.

B. Search the internet for books related to a specific topic or theme area.

C. Share your finds and favorites with others.

D. Books with beat, repeated words and patterns help develop fluency and reinforce language patterns.


Chapter 11Top Ten Take-Away Points

Listen to the audio segment for Chapter 11

1. Music therapists need to know typical developmental milestones as well as developmental “red flags.”


2. Skills and materials being taught should be developmentally age appropriate: musically, academically and socially.

3. Knowing the various levels of play helps music therapists design interventions and sessions that not only foster children’s success but also helps each child build on present skills and move to the next level.

4. Music therapy interventions should teach the children to interact with each other, and not just with the adults.

5. We must be very skilled and comfortable using music in a variety of ways when working with young children, their families, and other professionals.

6. Music therapists need to be aware of the many possible roles they might play and models they might use when providing music therapy to young children. No one size fits all!

7. Staying abreast of past and current practices, trends, and research in our own profession as well as in our communities helps us to be well educated about possible directions we might offer to everyone working with these young children.

8. Share and demonstrate your students’ successes in a way that can be valued by the families, teachers, and administrators.

9. AMTA has a strong history of supporting music therapists who work with young children. So check out the AMTA website: http://www.musictherapy.org

10. Remember the fun and joy in the process of making MEANINGFUL MUSIC TOGETHER…


Chapter 12References

Adamek, M. & Darrow, A.A. (2005). Music in special education. Silver Spring, MD: American Music Therapy Association.

Adamek, M.S., Thaut, M.H., & Furman, A.G. (2008). Individuals with autism and autism spectrum disorders. In D. Williams, K. Gfelller, & M. Thaut (Eds.), An introduction to music therapy: Theory and practice (pp. 117-142). Silver Spring, MD: American Music Therapy Association.


Aprill, A., Burnaford, G., & Weiss, C. (Eds.) (2001). Renaissance in the classroom: Arts integration and meaningful learning. Mahwah, NJ: Lawrence Erlbaum Associates.

Bernstorf, E. (2001). Paraprofessionals in music settings. Music Educators Journal, 87, 36-40.

Booth, D., & Hachiya.M. (Eds.). (2004). The arts go to school: Classroom-based activities that focus on music, painting, drama, movement, media and more. Markham, Ontario, Canada: Pembroke Publishers.

Bredekamp, S. (Ed.). (1987). Developmentally appropriate practice in early childhood programs serving children from birth through age 8. Washington, DC: NAEYC.

Briggs, C. (1991). A model for understanding musical development. Music Therapy, 10 (1), 1-21.

Brown, W., Ragland, E., & Bishop, N. (1989). A naturalistic teaching strategy to promote young children’s peer interactions, Teaching Exceptional Children, 21 (4), 8-10.

Brownell, M. D. (2002). Musically adapted social stories to modify behaviors in students with autism: Four case studies. Journal of Music Therapy, 34 (2), 117-144.

Copple, C., & Bredekamp, S. (Eds.). (2009). Developmentally appropriate practice in early childhood programs. Washington, DC: NAEYC.

Dacus, D., & Harmon, C. (2004). Teaching social skills through scripts and songs: A powerful approach to communication. Grapevine, Texas: Prelude Music Therapy Products.

Davis, R. (1990). A model for the integration of music therapy within preschool classrooms for children with physical disabilities or language delays. Music Therapy Perspectives, 8, 82-84.

Davis, R. (2000). First steps in preschool: A hierarchical approach for group music therapy intervention (in Proceedings of the Institute on Music Therapy with Young Children). Silver Spring, Maryland: American Music Therapy Association.

Davis, R. (2001). Taking first steps in preschool together: A hierarchical approach to group music therapy intervention. Early Childhood Connections, 7 (2), 33-43.

Dimmick, J. A., & Humpal, M. E. (authors) & Quill, M (director). (1990). Together as friends [videotape]. Cleveland, OH: Cuyahoga County Board of Mental Retardation and Developmental Disabilities.

Erickson, E. H. (1963). Childhood and society. New York: Norton.

Farnan, L., & Johnson, F. (1988). Music is for everyone. New Berlin, WI: Jenson Publications.

Farnan, L., & Johnson, F. (1988). Everybody can move. New Berlin, WI: Jenson Publications.

Furman, A. G. (2002). Music therapy for learners in a community early education public School. In B.Wilson (Ed.), Models of music therapy interventions in school settings, 2nd


edition (pp. 369-388). Silver Spring, MD: American Music Therapy Association.

Gadberry, A. (2005). Reaching students with special needs through the Orff approach. The Orff Echo, 38 (1), 27-32.

Gibson, J. T. (1976). Psychology for the classroom. Englewood Cliffs, New Jersey: Prentice-Hall.

Gleitman, H., Fridlund, A., & Reisberg, D. (1999). Psychology (5th ed.). New York: W. W. Norton and Company.

Gray, C. A. (1994). Comic strip conversations. Arlington, Texas: Future Education.

Gray, C. A., & Garand, J. D. (1993). Social stories: Improving responses of students with autism with accurate social information. Focus on Autistic Behavior, 8 (1), 1-10.

Gray, C., & Jonker, S. (1994). The social story book 1994. Arlington, Texas: Future Education.

Greenspan, S., & Wieder, S. (1998). The child with special needs. Reading, MA: Addison-Wesley.

Hanser, S. (1999). The new music therapist’s handbook. Boston: Berklee Press.

Hanson-Abromeit, D. (2011). Early music therapy intervention for language development with at risk infants. imagine, 2, 34-35.

Hatters-Friedman, S., Kaplan, R. S., Rosenthal, M. B., & Console, P. (2010). Music therapy in perinatal psychiatry: Use of lullabies for pregnant and postpartum women with mental illness, Music and Medicine, 2 (4), 219-225.

Hughes, J., Rice, B., DeBedout, J., & Hightower, L. (2002). Music therapy for learners in comprehensive public school systems: three district-wide models. In B. Wilson (Ed.), Models of Music Therapy Interventions in School Settings: Institution to Inclusion (pp.319-324). Silver Spring, MD: American Music Therapy Association.

Humpal, M. (1990). Early intervention: The implications for music therapy. Music Therapy Perspectives, 8, 31-34.

Humpal, M. (1991). The effects of an integrated early childhood music program on social interaction among children with handicaps and their typical peers. Journal of Music Therapy, 28 (3), 161-177.

Humpal, M. (2002). Music therapy for learners in an early childhood community interagency setting. In B. Wilson (Ed.), Models of Music Therapy Interventions in School Settings, 2nd

edition (pp. 389-420). Silver Spring, MD: American Music Therapy Association.

Humpal, M.A., & Colwell, C. (Ed.) (2006) Early childhood and school age educational settings: Using music to maximize learning. Silver Spring, MD: American Music Therapy Association.


Kern, P., & Humpal, M. (2012). Early childhood music therapy and Autism Spectrum Disorders. Philadelphia, PA: Jessica Kinglsey Publisher.

Kaplan, R. S. (2006). Step by Step: A Hierarchical Approach to Group Music Therapy Intervention in Preschool Settings, In M. Humpal & C. Colwell (Eds.), Early childhood and school age educational settings: Using music to maximize learning (pp.97-109). Silver Spring, MD: American Music Therapy Association.

Kern, P. (2002, November). Hey You! Integrating children with autism on childcare playgrounds. Paper presented at the National Conference of the American Music Therapy Association, Atlanta, GA.

Kern, P., & Aldridge, D. (2006). Using embedded music therapy interventions to support outdoor play of young children with autism in an inclusive community-based childcare program. Journal of Music Therapy, 43 (4), 270-294.

Kern, P., Woolery, M., & Aldridge, D. (2007). Use of songs to promote independence in morning greeting routines for young children with autism. Journal of Autism and Developmental Disorders, 377, 1264-1271.

Koegel, L. K. et. al. (1998). Strategies for increasing positive social interactions for children with autism. The Advocate, 30 (2), 10-11.

Kohlberg, L. (1964). Development of moral character and moral ideology. In M. L. Hoffman & L. W. Hoffman (Eds.), Review of child development research (Vol. 1). New York: Russell Sage Foundation.

LaGasse, B. (2011). Research snapshots 2011: Music and early childhood development, imagine, 2, 28-30.

Lehman, P. (1996). Performance standards for music - Strategies & benchmarks for assessing progress toward the national standards, grades pre-k-12. Reston, VA: MENC-The National Association for Music Education.

Linder, T. (1990). Transdisciplinary play-based assessment: A functional approach for working with young children. Baltimore: Paul H. Brankes.

Maslow, A. (1954). Motivation and personality. New York: Harper & Brothers.

Molenberghs, P., Cunnington, R., & Mattingley, J. B. (2009). Is the mirror neuron system involved in imitation? A short review and meta-analysis. Neuroscience and Biobehavioral Reviews, 33, 975- 980.

Purvis, J., & S. Samet (Eds.). (1976). Music in developmental therapy. Baltimore, Maryland: University Park Press.

NAEYC (2009). Position statement on developmentally appropriate practice. Washington, DC: NAEYC.


National Association for Music Education (NAFME, formerly MENC). (2012). Performance Standards for Music -Pre-Kindergarten, http://musiced.nafme.org/resources/performance standards-for-music/prekindergarten-ages-2-4.

Orff, C. & Keetman, G. (1950). Orff-Schulwerk music for children, volume I. (English version adapted by M. Murray). London, England: Schott & Co.

Parten, M. (1932). Social play among preschool children. Journal of Abnormal and Social Psychology, 27, 243-269.

Pasiali, V. (2004). The use of prescriptive therapeutic songs in a home-based environment to promote social skills acquisition by children with autism: Three case studies. Music Therapy Perspectives, 22 (1),11-20.

Piaget, J. (1962). Play, Dreams, and Imitation in Childhood. New York: W. W. Norton & Co.

Piaget, J. [The moral judgment of the child] (M. Gabain, trans.). (1952). (Originally published, 1936).New York: International Universities Press.

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

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

Silverman, M. J., & Furman, A. G. (2010, November). Employment trends in the American Music Therapy Association, 1998-2009. Poster session presented at the 12th annual meeting of the American Music Therapy Association, Cleveland, OH.

Standley, J. (2003). Music therapy with premature infants, research and developmental interventions. Silver Spring, MD: AMTA.

Swaggart, B. L., et al. (1995). Using social stories to teach social and behavioral skills to children with autism. Focus on Autistic Behavior, 10 (1), 1-16.

Tweedle, R. (1999). Musical characteristics of young children. Handout for M. Humpal & R. Tweedle, Play – It’s fundamental. Presentation at World Congress of Music Therapy, Washington, D.C.

U.S. Department of Education. (2002). Twenty-fourth annual report to Congress on the Implementation of the IDEA. Washington, DC: U.S. Government Printing Office.

Walworth, D. (2009). Effects of developmental music groups for parents and premature or typical infants under two years on parent responsiveness and infant social development. Journal of Music Therapy, 46(1), 32-52.


http://musiced.nafme.org/resources/performance%20standards-

http://musiced.nafme.org/resources/performance%20standards-

Wan, C. Y., Demaine, K., Zipse, L., Norton, A., & Schlaug, G. (2010). From music making to speaking: Engaging the mirror neuron system in autism. Brain Research Bulletin, 82, 161-168.

Selected Music Resources

Berkner, Laurie. (2001). We are the dinosaurs. Whaddaya Think of That? Two Tomatoes CD.

Birkenshaw, L. (1977). Music for fun, music for learning. Toronto: Holt, Rinehart, and Winston.

Bitcon, C. H. (1976). Alike and different. Santa Ana, CA: Rosha Press. Farnan, L. & Johnson, F. (1988). Music is for everyone. New Berlin, WI: Jenson Publications.

Feierabend, J.M. (2003). First steps in music for preschool and beyond. Chicago: GIA Publications. Floyd, M. (1991) Folksongs from Africa. London: Faber Music.

Gilpatrick, E. (1996). Come join in! Van Nuys, CA: Alfred Publishing Co.

Greg & Steve. (2000). Brown bear, brown bear. Playing Favorites. Youngheart Music CD.

Johnes, B. & Hawes, B. L. (1972). Step it down: A collection of African American singing games. New York: Harper and Row.

Kern, P. & Snell (2007). Songs & laughter on the playground. Santa Barbara, CA: De La Vista Publisher.

Kleiner, L. (2003). Kids can listen, kids can move! Miami: Warner Bros.

Kleiner, L. (2000). Toddlers make music. Miami: Warner Bros.

Kleiner, L. (1998). Kids make music, babies make music too! Miami: Warner Bros.

Miller, A. (2007). Toddler sing and sign. New York: Marlowe & Co.

Miller, A. (2006). Baby sing and sign. New York: Marlowe & Co.

McLaughlin,B. (1995). Songs for stories. Albany, NY: PODS Music.

Nash, G. C. (1973). Today with music. New York: Alfred Publishing Company.

Nash, G. C., Jones, G. W., Potter, B. A., & Smith, P. S. (1977). The child’s ways of learning. Sherman Oaks, CA: Alfred Publishing Company.

Nash, G. C., & Rapley, J. (1988). Holidays and special days: A sourcebook of songs, rhymes and movement for each month of the school year. Los Angeles: Alfred Publishing Co.


Orff, C. (1982). Music for children, Orff-Schulwerk American edition, volume 1. London: Schott Music Corporation.

Orff, C. (1991). Music for children, Orff-Schulwerk American edition, volume 1I. London: Schott Music Corporation.

Orff, C. & Keetman, G. (1950). Orff-Schulwerk music for children, volume I. (English version adapted by M. Murray). London: Schott & Co., Ltd.

The Raffi singable songbook (1980). New York: Crown Publishers.

Richards, M. H. (1971). Threshold to music. Belmont, CA: Fearon Publishers.

Rounds for children (1986). New York: Amsco Publications.

Schwartz, A. (1992). And the green grass grew all around. New York: HarperCollins Publishers.

Schwartz, E. (2012). You and me makes....We. Kearney, NE: Morris Publishing.

Seeger, R. C. (1948). American folksongs for children. Garden City, NY: Doubleday & Company.

Steen, A. (1992). Exploring Orff: A teacher’s guide. New York, NY: Schott Music Corporation.

Warren Mattox, C. (1989). Shake it to the one that you love the best. El Sobrante, CA: Warren Mattox Productions.

Weikart, P. (1988). Movement plus rhymes, songs, and singing games. Ypsilanti, MI: High/Scope Press.

Wheeler, L., & Raebeck, L. (1972). Orff and Kodaly adapted for the elementary school. Dubuque, IA: Wm. C. Brown Company Publishers

www.traditionalmusic.co.uk

www.kindermusik.com

www.musictogether.com

Selected Children’s Literature Resources

Adams, P. (2000). There was an old lady who swallowed a fly. Auburn, Maine: Child’s Play International.

Aylesworth, J. (1995). Old black fly. New York: Henry Holt and Co.


http://www.musictogether.com/

http://www.kindermusik.com/

http://www.traditionalmusic.co.uk/

Brett, J. (2007). Three snow bears. New York: G.P. Putnam’s Sons.

Campbell, R. (1982). Dear zoo. New York: Simon & Shuster Children’s Publishing Division.

Carle, E. (1969). The very hungry caterpillar. New York: Philomel.

Carle, E. (1982). Let’s paint a rainbow. New York: Putnam Publishing Group.

Carle, E. (1997). From head to toe. New York: HarperCollins Publishers.

Crews, D. (1978). Freight train. New York: Greenwillow.

Casanova, M. (2003). One dog canoe. New York: Farrar, Straus & Giroux.

Harter, D. (2008). Animal boogie. Concord, Massachusetts: Barefoot Books.

Hillenbrand, W. (1999). Down by the station. New York: Voyager Books Harcourt, Inc.

Litwin, E. (2010). Pete the cat: I love my white shoes. New York: HarperCollins.

Litwin, E. (2011) Rocking in my school shoes. New York: HarperCollins.

Mahan, B.(1996). Old McDonald had a farm. Lincolnwood, Illinois: Publications International.

Martin, B. (1967). Brown bear, brown bear, What do you see? New York: Henry Holt and Co.

Rose, D. (2000). Into the a, b, sea. New York: Scholastic.

Seuss, D. (1970). Mr. Brown can moo! Can you? New York: Random House, Inc.

Stickland, P. (1996) Dinosaur stomp! Hong Kong: Scholastic Inc.

Sturges, P. (2001) I love trains! New York: HarperCollins.

Tolpa, B. (2009). Everyone says I love you. New York: Penguin Young Readers Group.

Wilson K. (2002) Bear snores on. New York: Margaret K. McElderry Books.

Wilson K. (2003) Bear wants more. New York: Margaret K. McElderry Books.

Wilson K. (2011) Bear’s loose tooth. New York: Margaret K. McElderry Books.

Zelinsky, P. (1990). The wheels on the bus. New York: Dutton Children’s Books.

Zelinsky, P. (1992). This old man. New York: Dutton Children’s Books.


Supplemental resources on the Music Therapy and Early Childhood E-course Landing Page


1. U.S. Department of Education Questions and Answers on Individualized Education Programs(IEPs), Evaluations, and Reevaluations (Revised June, 2010)

2. Developmental Approaches to Early Childhood Music Therapy, a 62-page booklet from the 2011 AMTA Institute featuring speakers Marcia Humpal, M.Ed., MT-BC, Rebecca Wellman, PhD, MT-BC, DT, Elizabeth K. Schwartz, MA, LCAT, MT-BC, Darcy Walworth, PhD, MT-BC.


Chapter 13CMTE Information

The Music Therapy in Early Childhood E-course is designed to help sharpen critical professional knowledge and skills about music therapy in early childhood, while, at the same time, giving music therapists the option to earn 5 CMTE credits from the American Music Therapy Association (AMTA), an approved provider (#P-051) of the Certification Board of Music Therapists (CBMT), and giving other professionals the option of earning continuing education credits.



E-course description. Music Therapy in Early Childhood features the work of three music therapy clinicians with many decades of experience working with young children. First, Marcia Humpal talks in chapters 1 through 4 about music therapy for infants and toddlers, exploring the manner in which very young children learn through play, and discussing considerations for planning effective music therapy for little ones. In chapters 5, 6, and 7, music therapist Ronna Kaplan talks about music therapy in preschool groups, using examples from her experiences at The Music Settlement and community outreach programs, and providing details about the Hierarchical Model of Music Therapy and the Art Integration Model. Music therapist Amy Furman talks in Chapters 8, 9, and 10 about the application of music in therapy for young children in the public schools, based on her extensive experience in the Minneapolis Public Schools. Amy provides numerous examples of programmatic and IEP-specific music therapy in preschool and kindergarten classrooms. Chapter 11 features Ten Take-Away Points, and Chapter 12 contains numerous supplemental resources. Among other helpful links, references, and other materials in Chapter 12 is a valuable bonus - a complimentary copy of the 62-page booklet from the well-received 2011 AMTA Institute, Developmental Approaches to Early Childhood Music Therapy, featuring Marcia Humpal, Dr. Rebecca Wellman, Elizabeth Schwartz, and Dr. Darcy Walworth.

E-course instructors. Marcia Humpal, M.Ed., MT-BC, is a past vice-president of AMTA, co-founder of AMTA’s Early Childhood Network, and current co- chair of the Strategic Priority on Autism workgroup. She maintains a small private practice specializing in early childhood, following retirement from a long career with the Cuyahoga County Board of Developmental Disabilities in Cleveland, Ohio. She is the co-editor of two books, author of numerous articles and book chapters, guest lectures and presents both nationally and internationally, and continues to serve AMTA on various committees and projects.

Ronna Kaplan, M.A., MT-BC, is Director of Music Therapy at The Music Settlement, a community music school in Cleveland, Ohio. She earned an MA in special education, a B. Mus. in music therapy and music education, and certificates in Nonprofit Management, Neurologic Music Therapy, Orff Level I and the DIRR/FloortimeTM Basic Course. Having published and presented nationally and internationally, Ronna writes a column on music therapy for the Huffington Post. Ronna has served music therapy organizations in many capacities, with her most recent office being Immediate Past President of AMTA.

Amelia Greenwald Furman, M.M., MT-BC, is a music therapist/music specialist with the Minneapolis Public Schools. She holds a BA in harp performance, a master’s degree in music therapy, a music education license and certificates in Orff Level I, and Neurologic Music Therapy. Amy has presented at national and international professional conferences and has written for a variety of professional journals and music therapy publications. She has served music therapy organizations in many capacities and currently serves on the AMTA Board of Directors as President-Elect.


Learner Objectives. These objectives are based on the 2010 CBMT Scope of Practice. Participants will be able to:1. Identify at least three attributes and levels of play in music therapy interventions for children in various stages from infancy through age 6. (CBMT Scope of Practice, IV.A.2)2. Describe at least four ways parents, caregivers, or professionals can facilitate musical play with young children. (CBMT Scope of Practice, II.A.5.e, k, m) 3. Describe at least four developmentally appropriate music experiences for young children in various stages. CBMT Scope of Practice, II.1, 3b, 4a, b5, IV.B.2, II.A.2h, j, p, s, w, ag, ak)4. Cite and describe at least four models of hierarchical development both within and outside the music therapy field. (CBMT Scope of Practice, IV.A.2)5. Define arts integration and state examples of at least two non-arts standards and related goals and two music standards and goals addressed in a music therapy arts integration program for children ages 3-6. (CBMT Scope of Practice, I.C.3 and 1.C.4)6. Outline possible roles of music therapists in music therapy settings for young children, infancy through age 6. (CBMT Scope of Practice, I.C.2, I.C.3, I.C.4, IV.A.4)7. Consider what is developmentally appropriate given client’s age, culture, music background, and preferences when designing music therapy experiences.( CBMT Scope of Practice 1.C.9)

Procedure. You may submit paperwork to earn five CMTE credits from AMTA, a CBMT Approved Provider, now or at anytime in the future. To earn CMTE credits, listen to the audio discussion, read the e-course workbook, then complete and submit the CMTE Evaluation Form as instructed. The links to the audio discussion and the CMTE Evaluation Form are located on the E-course Landing Page. After verification of completion of the required paperwork, the AMTA will send a CMTE Certificate of Completion within approximately 60 days via an email with domain name <musictherapy.org>

Please note that you may submit the 5 CMTE credits to CBMT as soon as you submit your CMTE Evaluation Form to AMTA as instructed. It is not necessary to receive the CMTE Certificate of Completion prior to submitting the credits to CBMT. Your CMTE Certificate will be sent attached to an email from AMTA with the domain name <musictherapy.org>

Evaluation procedures. Your attainment of the learning objectives for this professional study course is documented in the CMTE Evaluation Form you submit to AMTA when applying for CMTE credit. The CMTE Evaluation Form is on the E-course Landing Page. Answer the questions directly on that form and click “submit.” You will receive a Certificate of CMTE Credit via email from the AMTA.

Confidentiality. All information received from the AMTA e-course participants will be confidential. The American Music Therapy Association, Inc. will protect the legal, professional, and personal rights of all participants. Records, assignments, and written materials will be secured according to the CBMT guidelines. Participants may change the names of individuals or mark through names of clients, agencies, or other entities to ensure confidentiality.


Statement of relationship to CBMT. The AMTA E-course, Music Therapy in Early Childhood, is approved by the Certification Board of Music Therapists (CBMT) for 5 Continuing Music Therapy Education credits (CMTE). Credits awarded by CBMT are accepted by the National Board for Certified Counselors (NBCC). The American Music Therapy Association (#P-051) maintains responsibility for program quality and adherence to CBMT policies and criteria.

Questions? Send an email to AMTA staff at this address [email protected]


mailto:[email protected]

· Web viewThe Intro to Music Therapy series features e-courses for continuing education credit...

Documents

Transcript of · Web viewThe Intro to Music Therapy series features e-courses for continuing education credit...