What are some important considerations of music for baby in early infancy? How does using music in the prenatal stage bring the family together and create a deeper bond? What are cultural considerations of the use of music in infancy?
What are some important considerations of music for baby in early infancy? For the baby in early infancy, we need to pay important attention to the music’s tempo, intensity,motion, shape, and contour, the structure and repetition of the lyrics, and more important, baby’s status, alertness or not. Because different initial cortisol levels will influence the baby’s alertness after she/he listened the music.
How does using music in the prenatal stage bring the family together and create a deeper bond? Using the music in the prenatal stage provides mothers-to-be with the possibility of establishing a very special connection with their unborn babies during pregnancy. Such a use of music improves the quality of pregnancy, labor and childbirth; reducing the anxiety of the expectant mother as well as the neonatal stress. Music therapy facilitates expectant mothers to experience pregnancy; while unborn babies gradually relate to and recognize tunes which stimulate their autonomic nervous system, providing diverse and rich experiences. Relaxation brings by the music enables the expectant mother to be deeply connected with the physical sensations produced by her child. Music works as an interactive neurotransmitter directly on the baby’s cell system and hypophyseal system, making a permanent impression. Therefore, a variety of sensations will be incorporated by the baby and, after birth, repeating these sound-musical experiences will once again evoke a memory of that pleasant state in the womb. The motherly relationship builds the bond of affection through sound, especially from the voices of the parents.
What are cultural considerations of the use of music in infancy? a) observe and note the sonorous parameters of physical and vocal expression (e.g., rhythmic patterns, heights of sounds, vocal timbre, etc.); b) manipulate the sonorous parameters in order to facilitate adapted responses in terms of the affective processes (e.g., regulation of the affect) or cognitive processes (e.g., preferential attention, etc.); and c) measure the behavioral changes induced by a given sonorous intervention. a) to understand the importance of parental language and of parental singing in the baby's development; b) to initiate spontaneous attachment behavior; c) to have the reflex to respond vocally to the baby's sounds and signals of anxiety; d) to enrich his or her lullaby and play song repertoire; e) to become conscious of changes in the affective state of the baby and of his or her levels of anxiety and arousal; f) to recognize the need of the baby for increased or limited stimulation; g) to synchronize a vocal response adapted to the baby's signals of anxiety; h) to maintain a sustained interaction with the baby (or with the therapist); etc. Certain general objectives might be common to both parent and infant (e.g.: b) to initiate spontaneous attachment behavior or g) to maintain sustained interaction). The plan for intervention also takes into account objectives that are specific to each dyad participant. For example, the general objective "b) to initiate spontaneous attachment behavior" might operationalize by "humming in rhythm with the baby's movements" on the part of the parent, by "leading his or her gaze toward the music source" for the infant or also, "smiling in response to the expression of a positive affect" on the part of one or the other. In a more general manner, the intervention will aim at assisting the parent with facilitating "the infant's information processing by adjusting the mode, amount, and timing of information to the infant's actual integrative capacities" (p. 86, Papousek & Papousek 1984 in Schore, 1994) and with increasing the chances for the latter to live the experiences of cathexis.
What are some important considerations of music for baby in early infancy?
ReplyDeleteFor the baby in early infancy, we need to pay important attention to the music’s tempo, intensity,motion, shape, and contour, the structure and repetition of the lyrics, and more important, baby’s status, alertness or not. Because different initial cortisol levels will influence the baby’s alertness after she/he listened the music.
How does using music in the prenatal stage bring the family together and create a deeper bond?
ReplyDeleteUsing the music in the prenatal stage provides mothers-to-be with the possibility of establishing a very special connection with their unborn babies during pregnancy. Such a use of music improves the quality of pregnancy, labor and childbirth; reducing the anxiety of the expectant mother as well as the neonatal stress.
Music therapy facilitates expectant mothers to experience pregnancy; while unborn babies gradually relate to and recognize tunes which stimulate their autonomic nervous system, providing diverse and rich experiences. Relaxation brings by the music enables the expectant mother to be deeply connected with the physical sensations produced by her child.
Music works as an interactive neurotransmitter directly on the baby’s cell system and hypophyseal system, making a permanent impression. Therefore, a variety of sensations will be incorporated by the baby and, after birth, repeating these sound-musical experiences will once again evoke a memory of that pleasant state in the womb.
The motherly relationship builds the bond of affection through sound, especially from the voices of the parents.
What are cultural considerations of the use of music in infancy?
ReplyDeletea) observe and note the sonorous parameters of physical and vocal expression (e.g., rhythmic patterns, heights of sounds, vocal timbre, etc.); b) manipulate the sonorous parameters in order to facilitate adapted responses in terms of the affective processes (e.g., regulation of the affect) or cognitive processes (e.g., preferential attention, etc.); and c) measure the behavioral changes induced by a given sonorous intervention.
a) to understand the importance of parental language and of parental singing in the baby's development; b) to initiate spontaneous attachment behavior; c) to have the reflex to respond vocally to the baby's sounds and signals of anxiety; d) to enrich his or her lullaby and play song repertoire; e) to become conscious of changes in the affective state of the baby and of his or her levels of anxiety and arousal; f) to recognize the need of the baby for increased or limited stimulation; g) to synchronize a vocal response adapted to the baby's signals of anxiety; h) to maintain a sustained interaction with the baby (or with the therapist); etc. Certain general objectives might be common to both parent and infant (e.g.: b) to initiate spontaneous attachment behavior or g) to maintain sustained interaction). The plan for intervention also takes into account objectives that are specific to each dyad participant. For example, the general objective "b) to initiate spontaneous attachment behavior" might operationalize by "humming in rhythm with the baby's movements" on the part of the parent, by "leading his or her gaze toward the music source" for the infant or also, "smiling in response to the expression of a positive affect" on the part of one or the other. In a more general manner, the intervention will aim at assisting the parent with facilitating "the infant's information processing by adjusting the mode, amount, and timing of information to the infant's actual integrative capacities" (p. 86, Papousek & Papousek 1984 in Schore, 1994) and with increasing the chances for the latter to live the experiences of cathexis.