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A while back I came across some interesting articles and books that dig into what psychologists today are seeing: a rising number of 20-somethings who are depressed and don't know why. One article mentions incoming college freshmen known to deans as "teacups" for their fragility in the face of minor problems. With this said, I've outlined 10 common mistakes that parents today -- me included -- often make. But I think it's important to keep in mind that our children were made to be loved, not worshipped. As a Children's of Alabama psychiatrist recently told me when I interviewed her on teenage depression, early intervention is key because it can change the trajectory for the child's life. But if we're overly involved and invested in their lives, it gets hard to see where they end and we begin. Seeking to be our child's BFF can only lead to permissiveness and choices made out of desperation because we fear losing their approval. I hear these stories a lot at the junior high and high school levels, stories of broken friendships and betrayals due to one family blindsiding another family.
I believe children need to work hard and understand that dreams don't come on a silver platter; they have to sweat and fight for them. But as we project into the future, wondering if our child's knack for art will make them a Picasso, or if their melodic voice will create a Taylor Swift, we may forget to soak up the splendor in front of us: toddlers in footed pajamas, bedtime stories, tummy tickles and elated squeals.
Kousuke* was writing quickly in his notebook, but hesitated when he reached the fourth item. Most of the items were familiar to them, after all they'd been speaking about dogs, bats, cups and foxes for several weeks. It might be considered surprising that none of these first graders had ever seen these items in print before, or that letters were never mentioned.
There are four surface skill areas in language study- Listening, Speaking, Reading and Writing (thinking and comprehension are underlying skill areas).
When they are taught carefully in a coordinated manner, each of these skills help develop the other three.
The first step of writing, as shown in the final photo in the previous article, is simply learning to write individual letters, as a symbol for a phoneme. Once Taro has learned a dozen basic single letter graphemes, he should be able to write several of the words that he has been using already in spoken class activities. If the teacher models a basic sentence structure (the first letter is upper case, there are spaces between each word, there must be a period at the end) and introduces the written words 'is' and 'a', Hanako can now write full sentences ('It is a mop.'), and by the time she's learned 24 basic single-letter alphabetic symbols, can now write over a hundred basic nouns. Words that are within her growing spoken vocabulary, but are written in patterns that are well beyond her beginning stage alphabetic code instruction, can still be part of beginning writing tasks, although in a reduced form. There are four stages of logic and complexity in the English alphabetic code, and as the class curriculum gradually advances through those levels, more and more of the vocabulary that is being spoken in class activities (which are also constantly expanding in scope and complexity) comes within the margins of the student's alphabetic code understanding. It is hard to overstate the value of writing by pronunciation as a teaching and verification method. Writing by personal pronunciation onto blank lined paper also forces Taro to listen carefully (even to himself), something many students don't bother to do. In an intermediate stage of code instruction, the pattern 'ing' (actually a phonogram, a spelling pattern of multiple graphemes representing multiple phonemes) is commonly introduced, which enables students to now write verbs in present continuous sense (jumping, standing, fishing). When taught carefully and in a coordinated curriculum, individual writing by pronunciation and alphabetic code understanding helps the student develop an accurate understanding and perception (and production) of the spoken language. It would be dishonest to suggest that this procedure of writing by personal pronunciation and code recall is a smooth process for every student, or even for any student. Because the sound structure of spoken Japanese is so dramatically different from spoken English, every Japanese speaker will struggle to perceive, produce and blend the phonemes of the spoken English language, but avoiding that challenge only leads to confusion and inability to communicate, solidifying poor habits and delaying language ability. Because the spelling patterns of romaji taught in public school in fourth grade in Japanese study are so dramatically different from basic English graphemes, every Japanese student will struggle to overcome the distractions of romaji patterns when trying to recall the spelling patterns of written English.
Most students (and many teachers as well) would prefer to avoid these difficulties, and certainly, writing by copying is easier, faster and less demanding.
When students learn to copy text as complete words, there is no clear connection between what they are writing and what they are saying.
The results can be alarming: it is not unusual at all for students to match the numbers 1, 2, 3 and 4 to their text forms, and yet then recite them confidently as 'wum', 'tsuu' 'suree' and 'foe'. When students are taught to copy whole words as stroke patterns, the vital connection between spoken language and its written form is often ignored and unappreciated. When beginning English students write independently by personal pronunciation and alphabetic code recall, all four surface skills of language (Listening, Speaking, Reading and Writing) are integrated in one focused personal activity.
This will all be happening in a visible and precise format which is both personal and time efficient, which students can use to self-correct some errors in learning, and which their teachers can also use to correct previously unidentified misunderstandings about English, before those misunderstandings become deeply ingrained bad habits which are much more difficult to correct. Peter Warner (USA, 1953) has been teaching young students in Nagoya, Japan for twenty years, and has been applying the principles of Linguistic Phonics (see Diane McGuinness) to EFL for fifteen years. If the teacher models a basic sentence structure (the first letter is upper case, there are spaces between each word, there must be a period at the end) and introduces the written words 'is' and 'a', Hanako can now write full sentencesA  ('It is a mop.'), and by the time she's learned 24 basic single-letter alphabetic symbols, can now write over a hundred basic nouns. But not until a few years ago did someone actually point out that loving a child means wanting what's best for them long-term.
I think about the kind of adults I hope my children will be and work backward to ask, "What can I do today to foster that?" Being mindful of their future has changed my parenting paradigm, because what makes my children happy at age 10 or 15 is somewhat different from what will make them happy at age 25, 30, 40 and beyond. We don't want our children to fall, so instead of letting them experience adversity, we clear the path.
So when we treat them like the center of the universe, we create a false idol, turning a good into an ultimate. One thing I often hear from professionals who work with children (counselors, teachers, etc.) is that parents today don't want to hear anything negative about their kids. She said that's why she enjoys child and adolescent psychiatry -- because kids are resilient, and it's a lot easier to intervene effectively when they're young instead of years later, when the problem has gone on so long it's become incorporated into part of their identity. When I asked a priest to name the biggest mistake he sees in parenting, he thought for a moment and then said, "Parents not being parents. But when we instill a "win at all costs" attitude, permitting them to throw anyone under the bus to get ahead, we lose sight of character. There won't be Barbies in my bathtub, baby dolls on my bed or Mary Poppins in the DVD player.
At times it's so physically and emotionally exhausting we wish they were older to make our life easier. When we rush children through it, we rob them of an innocent age they'll never pass through again. Sometimes when my kids ask a question, they'll say, "Please answer in one sentence." They know me well, for I'm always trying to squeeze life lessons into teachable moments.
No matter how much we disagree with someone's parenting style, it's not our place to judge. And while we can't control judgmental thoughts, we can cut them short by seeking to understand the person instead of jumping to conclusions. Staring at the row of images I had propped up along the chalk tray, he yelled across the room, 'What's number four?' Glancing at that image of a leg, I answered playfully, 'Hmmmm, a nose?' Kousuke wasn't fooled a bit: 'No! It might be surprising that all they were doing was saying the words, and then writing them down. Because the foundation of language is spoken communication, each of these four skills are based on the spoken language. The implication of that is quite strong: as soon as Taro begins developing a sense of the sounds of spoken English, he will benefit tremendously if he also is introduced (gradually) to a basic set of symbols (graphemes) for each of those sounds. The teacher dictates a single sound (like 'mmm'), and demonstrates a correct stroke pattern for the grapheme, which the students would then write a series of in their large lined notebooks. In fact, he will be eager to, because there is a great personal satisfaction in being able to apply his growing understanding of this letter code to words he actually knows and speaks. Encoding even simple three-letter CVC pattern words correctly requires both accurate pronunciation and also accurate grapheme recall.
For example, students who are familiar with even just basic colors can be asked to write the first and last 'sounds' of black, pink, brown and green, and in the process will find their perception of even basic vocabulary is improved. If the reading and writing tasks are coordinated with the code instruction and speaking activities, the process of writing by pronunciation becomes a lesson multiplier: accurate writing encourages careful language perception, and verifies correct pronunciation.
When Taro is writing by his personal pronunciation and code recall, what he puts on the paper reveals what he actually hears and speaks.
If Taro avoids the effort of clear enunciation, his errors might never be noticed in a group activity, but the instant he is required to write that vocabulary, his true ability is plainly revealed. It is not unusual to see students who have been speaking for years about sitting and running to write 'sittin' or 'runnin', even though they may have been enunciating the phonogram 'ing' flawlessly for months.
Indeed it may be the most effective method: working through words like 'branch', 'trumpet', 'studying' and 'very many' is often a process of personal discovery for the student, and a practical validation of the alphabetic code instruction.
Any task that depends on both the student's personal pronunciation (which itself requires an accurate production of English pronunciation to be provided by the teacher) and the student's accurate recall of the code correspondence for that pronunciation, is going to produce a fair share of errors. There is a world of difference between a 'retto retto bahkku' and a little red bag: if the student pronounces them as the same, accurate understanding and perception of the language cannot advance. If the purpose and object of English language study is to gain competence in the language, these struggles are a necessary effort, and indeed writing by pronunciation compels the student to face that challenge directly. This may explain why almost every published EFL text provides tracing or copying exercises, instead of having students write independently into blank lined spaces. When Taro writes 'sock' and says 'sox', or writes 'apple' and yet reads it as 'ahppuroo', it indicates he lacks a clear understanding of the alphabetic letters he is writing; they mean nothing to him as a phonic code.


This can explain why students can write 'It's big' and then read their own writing a moment later as 'They're bick', or read 'two subs under a ship' as 'two suns under a ship' five times over.
This lost opportunity often results in misperceptions and errors in all four skill areas, encouraging guessing instead of providing clarity.
In fact, the effort involved, and the materials required, to have students writing independently is not overwhelming.
It is important that the vocabulary which students are asked to write independently on blank lined paper is selected from words they have used in meaningful spoken activities (i.e.
This kind of beginning writing instruction needs to be included as a regular part of beginning English language lessons. This can explain why students can write 'It's big' and then read their own writing a moment later as 'They're bick', or read 'two subs under a ship' as 'two suns under a ship' five times over.A  These students have not learned to perceive the phonic value of alphabetic letters, instead they have been taught to perceive (trace, copy,A  memorize) whole words as single symbolic units. While I find it great that today's parents are more invested in their children's lives than previous generations, our involvement can go overboard.
When concerns are raised, even concerns voiced out of love, the knee-jerk reaction is often to attack the messenger. All it takes to stir this monster in us is another parent giving his or her child a leg up at our child's expense.
My windows will be clear of sticky handprints, and my home will be quiet because my daughters will be hanging out with friends instead of nesting at home with me. We need to let them have fun and grow at their own pace so 1) they can explore their interests without fear of failure and 2) they don't get burned out.
Our job is to figure out their inherent, God-ordained bent and train them in that direction.
Nobody in this world is "all good" or "all bad"; we're all a mix of both, a community of sinners struggling with different demons. When my life is overwhelming, I'm forgiving of others who slip up and let things fall through the cracks.
We know that what will matter at 25, 30 and 40 is not how far they once threw the football, or whether they made cheerleader, but how they treat others and what they think of themselves. There are a million ways to love a child, but in our quest to make them happy, let us stay mindful that sometimes it takes short-term pain to earn long-term gain. A couple they hadn't seen before, like the cot and the rip, so I had to tell them what those were.
Actually, the really surprising thing is that this wasn't surprising at all- this has been their closing activity of each class for the last four months.
This is why the ability to discriminate and produce the sounds (phonemes) of the spoken language (phonemic awareness) is an essential first stage for every language student.
Conversely, his perception and understanding of the spoken pronunciation will be delayed or even misled if he is deprived of a logical and gradual instruction of that alphabetic code.
While this might appear to be penmanship, it's important to note that the letter names are not mentioned, because letter 'names' are both unnecessary and highly interfering with learning the direct sound-to-symbol correspondence of the code. Writing familiar spoken words like 'cup', 'bag', 'hen' and 'pot' correctly just from seeing images of those items and then speaking the words to himself, not only verifies to Taro that this code works, but he also discovers that he can use it himself. Although this is more demanding, when Hanako does it successfully she gains a sense of personal confidence, because the encoding process exercises and validates her ability in all four skill areas. Common words like elephant, pencil and fourteen do not need to be avoided (or their graphemes exposed prematurely) with this approach. This gives the teacher a direct window on Taro's language perception, which can reveal his misperception and mispronunciation in a clear and helpful way.
Watching a student write 'It's sinnin', and then helping them discover through correcting their own pronunciation how to write the verb correctly 'It's singing' exposes their misperception and mispronunciation that has gone on unnoticed, and clearly reveals to themselves the correct pronunciation and structure of the spoken verb.
Seven minutes of such writing as a concluding class activity brings all four skill areas together and allows each student to personally retain all the previous instruction in tangible form, in a way that speaking or reading activities on their own cannot. However, it would be a grave mistake to think that the mistakes that each student goes through in this effort are better left avoided. The necessity of clear enunciation required by independent writing on blank lined paper is actually valuable for learning. Copying, because it is usually accurate (although frequently it isn't), can give the appearance of understanding and competence. This is a logical consequence of being taught whole words as a pattern of strokes to copy, just like many Japanese kanji. Staring at her text, Hanako reads aloud 'fost', and from hearing that spoken, you're not sure if she meant fast or first. Equipped with an understanding and lesson plan of the four stages of the alphabetic code, all that is really needed is your clear voice to model pronunciation, and blank lined paper. Conversely,A  his perception and understanding of the spoken pronunciation will be delayed or even misled if he is deprived of a logical and gradual instruction of that alphabetic code. Writing familiar spoken words like 'cup', 'bag', 'hen' and 'pot' correctlyA  just from seeing images of those items and then speaking the words to himself, not only verifies to Taro that this code works, but he also discovers that he can use it himself. Watching a student write 'It's sinnin', and then helping them discover through correcting their own pronunciation how to write the verb correctly 'It's singing'A  exposes their misperception and mispronunciation that has gone on unnoticed, and clearly reveals to themselves the correct pronunciation and structure of the spoken verb. By means of therapeutic music, we can assist these children to come to maturity in many ways. But adversity is a part of life, and only by facing it can our children build life-coping skills they'll need down the road. Our children will still be loved, only in a better way, one that promotes selflessness over selfishness. We fear that if we don't jump into the craziness, and pull out every stop to help them excel early, they'll be stuck in mediocrity the rest of their life.
If we want them to build character, confidence, strength and resilience, we need to let them face adversity and experience the pride that follows when they come out stronger on the other side. There had been an occasional misspelling, which they had each corrected themselves after I'd coached them to produce a clearer pronunciation, as I'd just done with Kousuke and the 'leg'. They are not copying words from the board (or a textbook), nor are they following spelling dictation; they are simply putting their own spoken words onto paper. As discussed in the previous article on reading, the English alphabetic code (letters) is simply a phonic code (although sometimes imprecise) for the sounds of spoken English.
If Hanako can speak clearly with confidence and can control a pencil, she can (and should) also be writing. This personal sense of success and ownership is the start of a lifetime of English literacy, and is extremely rewarding to offer and observe as a teacher.
Of course, he can also now be asked to read them in print form, now that they are fully within his code instruction, or 'decodable'.
Writing 'cyp' for cat, 'bik' for big, 'jag' for jug, 'sox' for sock, and 'tem' for ten are all clear indications of personal pronunciation errors that have gone unnoticed in spoken class activities, which can now be corrected with precision. In most cases, however, this appearance is misleading, and it would be dishonest to pretend otherwise. When the text includes katakana furigana in small print above the English being copied, the written English is almost overlooked and certainly not appreciated as a phonic encoding of a spoken language.
With a set of images illustrating common nouns and verbs, students can begin putting their spoken language onto paper.
It is also important that the words they are asked to write are within their alphabetic code instruction (i.e that they already know how toA decode the letters in those written words into sounds). Just as writing by pronunciation and internal alphabetic code understanding reinforces a clear perception of spoken language, writing by copying does not: in fact, it can actually reduce phonic awareness and delay language understanding.
Staring at the written text 'Two dogs in a box', Taro vocalizes 'the dog's in the box', a clear indication that he's projecting his concepts onto the print, instead of drawing the author's message out by accurate decoding.
The sense of discovery and understanding is instant, and the sense of satisfaction in personal success builds excitement and confidence.
As parents we hope so, for knowing which strengths to nurture enables us to point them in the right direction. In short, these students lack a healthy sense of the language that they are supposedly being taught. Personal writing tasks bring together kinetic, aural, visual and spatial aspects of learning, and provide a physical record of accomplishment that many students thrive on. It has been used with persons, of all ages from preschool to late adulthood and with many types of disabilities whether congenital or adventitious. He was eager to catch up with his classmates who were also busy writing, some of them already on the eighth item. In the next seven minutes, each student had finished writing twenty neat sentences, naming twenty vocabulary items displayed on the board, by themselves, with no spelling or punctuation mistakes.
Because music is reinforcing, it can be used to motivate movements or structure exercises which are prescribed in physical rehabilitation.
A Music therapy sessions Music therapy sessions incorporate the use of different musical media to achieve individualized treatment goals.
Through movement to music and dance routines, movements may become more controlled, fluid and purposeful. Contemporary (Must have Jazz A & Ballet A Experience)Contemporary (Must have Jazz B Experience)Jr.
Live music offers increased flexibility and adaptability to match and guide physical movements elicited by the client. Musical instruments may be used to work on range of motion, handgrasp strength, and non-verbal self-expression.


These instruments are often adapted to fit the specific physical capabilities of each client. The use of computer-aided and electronic musical equipment also allows severely physically disabled clients to reach their fullest creative potential.
The act of singing may assist in the maintenance and improvement of oral motor skills and pulmonary functioning.
Singing provides opportunities to improve breath-control, rate of speech,A articulation and pronunciation skills. Discussion of lyrics and songwriting may provide opportunities to discuss and share personal thoughts and experiences. Music therapy can increase an individual's level of independence, and enhance feelings of self-confidence, self-worth and self-esteem.
Facilitate relaxationRelaxation is an important component in achieving increased range of motion and flexibility. Music experiences that can promote relaxation include listening to carefully chosen music, instrumental improvisation and music-assisted relaxation exercises.
Although most people may find sedative music effective in achieving a relaxed state, this may not be true in all cases. The music therapist is able to recognize and monitor the effects of the presented music on the individual. Increase motor coordinationMotor coordination can be improved through many musical experiences. The use of selected instruments can improve range of motion as well as fine and gross motor skills through strategically, placing instruments around the individual or using instruments that require the use of specific muscle groups or, body parts.
Eye hand coordination can also be improved through the use of instruments that require increased precision in physical motion. The use of rhythmic auditory stimuli has been shown to increase independent, even control of ambulation in individuals with uneven or arrhythmic gait patterns and to facilate temporal and quantitative muscular control in children with gross motor dysfunction.3. Reinforce and provide motivation for physical exerciseThe use of music in therapy provides a positive and enjoyable atmosphere for persons with physical disabilities to experience success. Through providing live background music, adaptability and flexibility is maintained so that the music therapist can more easily match the individual's motions in tempo, style and rhythm. Music can help provide distraction and diversion from exercises that may be difficult for the individual, provide motivation to maintain participation and make a regular exercise routine seem less tedious.4.
Foster independence, self-confidence- and self-esteemAs physical abilities improve, and persons have increased opportunities to practice and acquire new skills and abilities, independence can be fostered and self-confidence and self-esteem enhanced.
A positive self-image and self-concept can be developed through music therapy interventions and music therapy activities can be adapted according to the individual's needs and capabilities. Develop functional speech and communication abilitiesSinging and speech have many commonalities. The use of vocal exercises used in singing can enhance oral motor skills such as articulation, breath control, and vocal intensity.
Through manipulating tempo and rhythm, clarity of speech can be enhanced and the rate of speech can be modified to provide increased communication abilities for the individual. Melodic intonation therapy involves the sung intonation of propositional sentences in such a way that the intoned pattern is similar to the natural prosodic pattern of a sentence when it is spoken. This technique has been shown to be effective in improving word-morpheme performance levels, sentence lengths, articulation skills and intelligibility for language delayed apraxic children and has been an effective treatment for some persons with severe aphasia . Music has also been effective as a stimulus to promote spontaneous speech with physically challenged children and to promote non-verbal communication through bliss symbols or sign language.6. Motivate interaction with othersPersons with physical disabilities may encounter decreased opportunities and motivation for social interaction. Music therapy can provide opportunities to interact with peers through a shared experience.
Group ensembles provide opportunities to develop peer relationships, develop social interaction skills and provide opportunities for cooperation and working together as a group toward a common goal. Group music therapy sessions can also provide opportunities to share personal experiences with others and provide a means and an outlet for appropriate self-expression.A Music therapy and children with autism Music Therapy is particularly useful with autistic children owing in part to the nonverbal, non threatening nature of the medium. Parallel music activities are designed to support the objectives of the child as observed by the therapist or as indicated by a parent, teacher or other professional. A music therapist might observe, for instance, the child's need to socially interact with others.
Musical games like passing a ball back and forth to music or playing sticks and cymbals with another person might be used to foster this interaction.
Eye contact might be encouraged with imitative clapping games near the eyes or with activities which focus attention on an instrument played near the face.
Preferred music may be used contingently for a wide variety of cooperative social behaviors like sitting in a chair or staying with a group of other children in a circle.A Music Therapy is particularly effective in the development and remediation of speech.
The severe deficit in communication observed among autistic children includes expressive speech which may be nonexistent or impersonal.
Speech can range from complete mutism to grunts, cries, explosive shrieks, guttural sounds, and humming. There may be musically intoned vocalizations with some consonant-vowel combinations, a sophisticated babbling interspersed with vaguely recognizable word-like sounds, or a seemingly foreign sounding jargon. Higher level autistic speech may involve echolalia, delayed echolalia or pronominal reversal, while some children may progress to appropriate phrases, sentences, and longer sentences with non expressive or monotonic speech. Since autistic children are often mainstreamed into music classes in the public schools, a music teacher may experience the rewards of having an autistic child involved in music activities while assisting with language.It has been often noted that autistic children evidence unusual sensitivities to music. Some have perfect pitch, while many have been noted to play instruments with exceptional musicality.
Music therapists traditionally work with autistic children because of this unusual responsiveness which is adaptable to non-music goals Some children have unusual sensitivities only to certain sounds.
One boy, after playing a xylophone bar, would spontaneously sing up the harmonic series from the fundamental pitch.
Through careful structuring, syllable sounds were paired with his singing of the harmonics and the boy began incorporating consonant-vowel sounds into his vocal play. Soon simple 2-3 note tunes were played on the xylophone by the therapist who modeled more complex verbalizations, and the child gradually began imitating them.Since autistic children sometimes sing when they may not speak, music therapists and music educators can work systematically on speech through vocal music activities. In the music classroom, songs with simple words, repetitive phrases, and even repetitive nonsense syllables can assist the autistic child's language. Meaningful word phrases and songs presented with visual and tactile cues can facilitate this process even further. Parents and teachers alike can assist the child in remembering these prosodic features of speech by prompting the child with the song.While composing specialized songs is time consuming for the teacher with a classroom full of other children, it should be remembered that the repertoire of elementary songs are generally repetitive in nature. Even in higher level elementary vocal method books, repetition of simple phrases is common. While the words in such books may not seem critical for the autistic child's survival at the moment, simply increasing the capacity to put words together is a vitally important beginning for these children.For those teachers whose time is limited to large groups, almost all singing experiences are invaluable to the autistic child when songs are presented slowly, clearly, and with careful focusing of the child's attention to the ongoing activity. To hear an autistic child leave a class quietly singing a song with all the words is a pleasant occurrence. To hear the same child attempt to use these words in conversation outside of the music class is to have made a very special contribution to the language potential of this child.
Music is effective because it is a nonverbal form of communication, it is a natural reinforcer, it is immediate in time, provides motivation for practicing nonmusical skills, and is successful because almost everyone responds positively to at least some kind of music.A Music therapists work in a variety of settings, including medicine, rehabilitation, psychiatric care, special education, correctional facilities, state schools, community-based health care, and private practice. For example, the therapist and client might compose songs for the purpose of expression of feelings; one client might learn to play the piano for the purpose of improving fine motor skills, while another client might use instruments to improvise unspoken emotions. Following coursework, students complete a six-month full time clinical internship and a written board certification exam. Music therapy can increase an individual's level of independence, and enhance feelings of self-confidence, self-worth and self-esteem. Through providing live background music, adaptability and flexibility is maintained so that the music therapist can more easily match the individual's motions in tempo, style and rhythm. A positive self-image and self-concept can be developed through music therapy interventions and music therapy activities can be adapted according to the individual's needs and capabilities. A music therapist might observe, for instance, the child's need to socially interact with others. In the music classroom, songs with simple words, repetitive phrases, and even repetitive nonsense syllables can assist the autistic child's language. Music therapy with young children is the functional use of musical interactions to enhance and develop socialisation, communication, self-expression, and sensory-motor skills.Who is a registered music therapist (RMT)?Registered Music Therapists (RMTs) are skilled and qualified musicians and therapists who assess, design and implement programs to meet the needs of young children.
When applied therapeutically by a RMT, music becomes a pleasurable therapeutic medium that facilitates advancement toward articulated and often multi-purpose goals and objectives.
Music therapy can address several needs simultaneously and is highly transferable to the home environment. Furthermore, as young children with delay in development are not necessarily delayed in their music skills, music therapy allows them to experience a sense of success and fun whilepursuing other non-musical goals. The Music Therapy Process Specific music therapy goals are determined by the RMT through initial music therapy assessment and ongoing review of the child.



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