Musical Developmental Levels Self Study Guide
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1 Musical Developmental Levels Self Study Guide Meredith Pizzi MT-BC Elizabeth K. Schwartz LCAT MT-BC Raising Harmony: Music Therapy for Young Children
2
3 Musical Developmental Levels: Provide a framework for practice that can be used across models of music therapy and models of service provision Recognize that music development happens in a progression or sequence just as other developmental milestones Are not dependent on music learning Recognize that development can be horizontal or vertical. Briggs, C. A. (1991). A model for understanding musical development. Music Therapy, 10 (1), Feierabend, J. (2000). First Steps in Music for Infants and Toddlers. Chicago: GIA Publications. Gordon, E. E. (2003). A Music Learning Theory for Newborn and Young Children. Chicago: GIA Publications, Inc. (Original published 1990). Schwartz, E.K. (2008). Music, Therapy, and Early Childhood: A Developmental Approach. New Hampshire: Barcelona Publishers.
4 Awareness Trust Independence Control Responsibility
5 Awareness Awareness is an awakening of the senses, of physical and sensual being. It is the beginning of thoughts and feelings. Awareness is reflexive and instinctual (Music, Therapy and Early Childhood: A Developmental Approach; Schwartz, 2008 p. 49)
6 Awareness: Musical Characteristics Can discriminate pitches Prefers pitches Uses pitch in vocalizations Recognizes changes in vocal timbre Prefers familiar vocal timbre Movements and vocalizations are in simple rhythms Rhythmic movements are Recognizes pitches in a Distinguishes changes in melodies Can demonstrate different durations in sounds Prefers over Responds differently to sedative versus playsong music Transitory Embedded in everyday activities (Music, Therapy and Early Childhood: A Developmental Approach; Schwartz, 2008 p 51-51)
7 Musical Choices AWARENESS To look or not to look To reach toward music To turn attention toward music or turn away
8 Awareness MUSIC INTERVENTION OUTCOME Embedded music Use of Pitch Repetition Sound/ No Sound Timbre Joint Attention Tolerance for setting Facial Presence Physical Proximity Movement Change Vocalization
9 Within the level of trust, the young child reaches out and finds a response that helps to form a perception of the world as a place that has meaning, reliability and safety. Trust also means looking inward and finding constancy and stability Trust (Music, Therapy and Early Childhood: A Developmental Approach; Schwartz, 2008 p 59)
10 Trust: Musical Characteristics Makes purposeful, pitched vocalizations Matches selected pitches about Processes absolute pitch in short-term memory Focuses inwardly in response to style singing Focuses outwardly in response to style singing Responds to music with repetitive movement Displays movement that is rhythmic but not synchronized to the music Recognizes changes in rhythm in familiar songs Generally uses intervals in melodic contour Recognizes familiar melodies Detects changes in familiar Briefly uses pulse and meter Can locate sounds at a distance Creates spontaneous melodies (Music, Therapy and Early Childhood: A Developmental Approach; Schwartz, 2008 p 62-63)
11 Musical Choices TRUST To turn attention toward music or turn away To choose how to explore instruments: hands or mouth The duration of instrument play
12 Trust MUSIC INTERVENTION OUTCOME Rhythmic Regularity Defined structure Vocal matching Predictable tempo and key Active silence Reciprocal communication Language approximations Joint Referral Movement synchrony Tolerance of novel experiences
13 Independence The child gaining Independence can have experiences separate from another person. He or she can create the opportunity for experience in response to his or her own internal motivation (Music, Therapy and Early Childhood: A Developmental Approach; Schwartz, 2008 p 69)
14 Independence: Musical Characteristics Uses repeated sounds Use of major interval is prevalent Sings mostly descending intervals Uses glissando Uses varied vowels and consonants when vocalizing Uses to strike drumhead or tambourine Grasps and shakes maraca or jingle bell Transfers instrument from one hand to another Uses whole body rhythmically Isolates body parts to move rhythmically Babbles with Has no set tonal center Briefly uses pulse and meter Enjoys crescendo Begins to match intensity of movements to intensity of music Enjoys musical surprises of,, (Music, Therapy and Early Childhood: A Developmental Approach; Schwartz, 2008 p )
15 Musical Choices INDEPENDENCE INDEPENDENCE How long to play instrument Which instrument to play Whether to use one hand or two Favorite song Which musical movement to use To imitate or create Where to position themselves in the music environment Music dynamics Music tempo
16 Independence MUSIC INTERVENTION OUTCOME Opportunity for response Rhythmic imitation Pitch/interval imitation Use of meter Crescendo/ Glissando Melodic intonation /speech inflection Communicative intent Generalization
17 Control As children move into the level of Control they can use their cognitive abilities and communication skills to make choices. These choices become integrated into the self. (Music, Therapy and Early Childhood: A Developmental Approach; Schwartz, 2008 p. 79)
18 Control: Musical Characteristics Produces discrete pitches Generally matches Sings intervals of 2nd, minor and major 3rd, 4ths, and 5ths Imitates before pitch or rhythm Groups vocalizations according to meter and pulse Dances spontaneously to music Imitates learned movements to music Generally has internal rhythm Follows of familiar song Uses multiple repetitions of familiar words of phrases Likes to pound and bang Uses varied vocal Sings spontaneous songs that lack and rhythmic regularity Engages in both standard songs and spontaneous singing (Music, Therapy and Early Childhood: A Developmental Approach; Schwartz, 2008 p. 83)
19 Control MUSIC INTERVENTION OUTCOME Tempo/dynamic matching Songs structures Sustained play Call and response Intervals/Words Functional communication Turn taking Initiation
20 Musical Choices CONTROL Favorite song CONTROL Music dynamics To sing or not to sing Which instrument to play Color, shape or size of instrument To imitate or create Music tempo How to move musically Where to position themselves in music environment Vocal quality
21 Responsibility Responsibility implies the recognition of the interdependency of the self with the external world while preserving the capacity to maintain the self. (Music, Therapy and Early Childhood: A Developmental Approach; Schwartz, 2008 p. 91)
22 Responsibility: Musical Characteristics Increases ability to match pitch center Uses melodic contour, but discrete pitches within are not always accurately Identifies low pitches easier than higher pitches Can s and w Imitates simple rhythm patterns Uses melodic rhythm in familiar songs Increases recognition of melodic rhythm without lyrics Maintains a Groups beat into duple and triple Increases length of melodic phrases Recognizes and reproduces loud and soft Controls of play to match music Sings in both major and minor keys Maintains play of instrument within a group Groups rhythm patterns into a Plays beats and rests within a familiar structure Uses musical movements in sequence Listens to the play of (Music, Therapy and Early Childhood: A Developmental Approach; Schwartz, 2008 p )
23 Musical Choices RESPONSIBILITY Musical language RESPONSIBILITY To sing or to listen Structure of songs Music dynamics To play or to listen To imitate or create Music tempo
24 Responsibility MUSIC INTERVENTION OUTCOME Harmonization and accompaniment Melodic/Rhythmic creation Instrument sequencing Song melodies Independent singing Creativity Peer to peer cooperation Direction following
25 Music Understanding Strategies Information Collaboration
Elizabeth K. Schwartz, MA, LCAT, MT-BC
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