Denise Elam Dauw - Blog

You're Invited: Virtual Book Release Party

12/28/2020

Today's blog is a celebration of hope for the future.

After years in the revision stages, this novel (inspired by real events) is now gently released to the adept hands of the public with ardent gratitude. Readers can expect to find meaningful, heartfelt love stories in this poignant and relevant work lapsing over generations, while articulate flow easily transports the 21st century audience.

On behalf of myself and Stellar Press, please enjoy this humble December 16, 2020 book release event to wet your reading palette. Please know that every book sold benefits a great cause! Purchase information HERE.

Book Release Events:

Inspiration for writing
Signed paperback drawing
Why the second edition?
Three excerpt readings
Mystery guest
Q & A
Music trivia & signed hardback drawing
How to make a purchase

Thank you for watching and stay well everyone!

Synopsis: Journey through time to relive the passion and romance of three women whose lives were forever altered through the powerful presence of music, opening gateways to true love. Is music enough to save them?

#historicalfiction #novel #musicians #musicandmemory #secondedition #bookstagram #goodreads #endalz #music #musiceducation #authors #publicspeakers #neurologists #romance #fiction #bookreleaseparty

Imprint: Second Edition Release

9/29/2020

Creative beings live inside us, and to paraphrase M.C. Richards, author of Centering in Pottery, Poetry, and the Person, we must get out of the way and surrender to these ideas and feelings within us. We will never be at peace until we recognize our own unique imprint, and if we refuse said impulses along our path, we will continue to feel cheated by our own life.

My friends, some of us work tirelessly to live a life of meaning beyond the one, two, or perhaps three diplomas we strived to achieve. The daily regime of work and sleep is not enough. For the strong-willed, this journey is never about a piece of paper, but rather, the impact of what our choices can mean or do for others.

When you metaphorically stretch out your arms, do you feel your fingertips expanding fully to encompass all those in need of a warm embrace? Are you using your gifts to alleviate other people’s deficits? When you hear a whisper or cry for change, internally or externally, are you truly listening?

"When the deepest part of you becomes engaged in what you are doing, when your activities and actions become gratifying and purposeful, when what you do serves both yourself and others, when you do not tire within but seek the sweet satisfaction of your life and your work, you are doing what you were meant to be doing. The personality that is engaged in the work of its soul is buoyant. It is not burdened with negativity. It does not fear. It experiences purposefulness and meaning. It delights in its work and in others. It is fulfilled and fulfilling." -Gary Zukav, The Seat of the Soul

In an unprecedented time where uncertainty sits in our subconsciousness, it is easy to take the onslaught of catapulted massive boulders and say, “I can’t do it; it’s too much.” While the pandemic has drained us, it cannot take away the freedom to create meaningful opportunity. Granted, the ability to function in the same manner drastically evolved overnight; however, Covid has yet to stop those dedicated to thinking outside the box.

The bottom line? Never make excuses for setting goals and exercising creativity.

I started this fiction writing journey to create a commercial pathway to help others discover the power of music for loved ones with memory loss; specifically, Alzheimer’s Disease. From my novel’s initial release in 2013, I have met thousands of people due to one miraculous visit with my ailing grandmother, which shifted my entire trajectory. Making the decision to create was simple. Making a continued commitment to nurse revisions with updated science over the years was exceedingly difficult. But, of course, it was never about me.

When you hear a whisper, you listen.
When you know your skill sets carry weight to impact change, you move.
When you feel like it’s too much, you persevere knowing your imprint will help others.
Don’t. Give. Up.
Believe, then succeed.

Please consider placing a pre-sale order here for my novel coming out this fall. Once again, every book sold will benefit the Alzheimer's Association! Please reach out if I can ever be of service lecturing about music and memory or my writing journey (I'm not done yet!) at your professional organization, book club, business, school, local library, et cetera. Thank you for your support!

#EndAlz #Musicandmemory #Musicians #Novel #SecondEdition #Music #goodreads #instagram #bookstagram #musiclovers #historicalfiction #romance #stlgram

Feature: Dr. Andrew E. Budson

6/29/2020

“I’m actually in St. Louis today for the Alzheimer’s disease center meetings. Would you be interested in meeting sometime between 9:30 and 1PM for either coffee or lunch?”

Pick your jaw up from the floor, Denise, and cue Handel’s “Hallelujah Chorus” from The Messiah!

While I’ve had the honor of meeting numerous neurologists along my journey, this particular invitation was the beginning of a wonderful liaison with Andrew E. Budson, MD.

The back story? After reaching out to our mutual friend and neurologist, Dr. John C. Morris, he virtually introduced Dr. Budson, asking if he would write a foreword for the second edition of my novel. Dr. Budson was not only happy to write it, but I found in him something quite unique through our initial interactions, which was confirmed later in person...

Dr. Budson is a rare gem, not only having an spectacular list of neurology accolades and credentials, but also a warm, gentle nature that kindly welcomes people without agenda or judgment.

Upon our first greeting at Starbucks that cold October morning, he had already finished my novel. Although nervous, my main priority was to make this novel the best it could be; otherwise, why bother? I was hungry for any suggestions to make the work count. Truth be told, my first edition was exceedingly far from where I desired it to be for readers, and a fresh perspective from one so accomplished was critical. He tapped into my inspirations for writing the novel, asked which parts were fact or fiction (always fun!), and promoted a massive vortex of more thought-provoking author questions to dissect moving forward. Dr. Budson humbly reminded me to keep learning, both as an author and educator.

I did my homework long before October, viewing the uber impressive curriculum vitae hiding on his website. In addition to being a fine neurologist, Dr. Budson is an author, speaker, and has reviewed publications for over 40 journals! What is most inspiring is his accessibility, however. He is attentive not only to the sharing of pertinent research in his field, but also in providing everyday people with resources to assist further understanding of dementia (Alzheimer’s and related disorders) and care. He is committed to helping from every facet, whether fellow colleagues, students, patients, or caregivers.

For my readers interested in learning more about memory, I highly recommend Dr. Budson’s book, Seven Steps to Managing Your Memory: What's Normal, What's Not, and What to Do About It.

This work is an easy, comprehensible read that provides real-life examples for how to manage memory loss. [*Formats available in hardback, paperback, and e-book - click link above for purchase.]

Dr. Budson’s co-authored several books for clinicians as well, which you can read about here.

So, what of Dr. Budson’s foreword?

It’s all in the second edition of my novel, coming out this summer. Stay tuned! … pun intended.

#musicians #neurologists #authors #EndAlz #Memory #Alzheimers 

PANDEMIC-0, MUSIC-1

3/29/2020

Where COVID-19 attacks, music shouts back! Forced quarantine and isolations have revealed a blatant truth that academics on every rooftop can pile behind: Music fuels humanity.

Where musicians once feared the onslaught of technology creating machines and overtaking the future pool of young pedagogues, they can now witness an explosion of inspiration, spanning toddlers to elderly all over the world. Social media and news reports are on fire with stories of music-making. Whether in the apartment next door, across the city, or the other side of the world, the oppositional debate that music can wash away the dust of everyday life, or virus in this case, is deceased.

Leaders like President Barack Obama have used it to console sadness and celebrate triumphs. Scientists from Darwin to Einstein have often referred to music’s importance serving humanity, though researchers could not produce quantitative data as to why.

David A. Sousa explains that music is basic to the human experience in How the Brain Learns (5th ed.):
“These cerebral talents did not develop by accident. They are the result of many centuries of interaction between humans and their environment, and the continued existence of these talents must indicate they contribute in some way to our survival. In those cultures that do not have reading and writing, the arts are the media through which that culture’s history, mores, and values are transmitted to younger generations and perpetuated.” (p. 244)

Moreover, “we have never discovered a culture - past or present - that doesn’t have music, art, and dance.” (Sousa, p. 245)

The Coronavirus pandemic has certainly impacted our ability to publicly enjoy the arts, but why are people singing and playing to each other from balconies across Italy and Spain? Why are people creating family videos performing music? Why are the world’s top artists making music at home for fans? #TogetherAtHome

Why do humans need music, especially at times of dissonance?

It is biological. “The biological aspect is supported by the fact that the brain has specialized areas that respond primarily to music, and these areas are able to stimulate the limbic system, provoking emotional response.” (Sousa, p. 256)

As addressed in previous blogs, no creature’s limbic system (where we process emotions) functions like the human brain, and research suggests our brain’s emotional center is evolving to be more complex. Listening to music stimulates the brain in a vastly different way than creating music; however, our emotional responses to what we hear can be a point of connection across the waves and all borders.

COVID-19 may assault and alter our society physically, but its effects have unleashed what makes us human. Music’s inability to be created and heard in a vacuum is shattered via technology, as we now have a new norm of exploration and sustainable evidence proven on record.

Government officials, take heed! In fact, music is essential to our survival. Contemplation of slashing budgets is unsubstantiated and void. Music educators and advocates around the globe will hold you accountable.

#COVID19 #Music #MusicEducation #MusicAdvocacy #MusicForAll #NAfME #nationalendowmentforthearts

Guest Blog: Long-Distance Caregiving

12/28/2019

In September's article, presented Alzheimer's statistics promoted a necessity for all to step into a role initiating difficult conversations with family members on preparedness: "Certainly sharing facts and figures creates awareness, but the sting of today is temporary. We need permanent solutions in place for tomorrow."

Understanding that these encounters are exceedingly tough to navigate in person, we must also evaluate how we can cover our bases when loved ones are far away. How do we handle strenuous situations from afar when it's hard enough to master in person?

To discuss some ideas, we are welcoming Ms. Claire Wentz of Caring from Afar!

Long-Distance Caregiving: How to Keep Your Senior Loved One Happy and Healthy

It can be extremely difficult to be a caregiver to someone you love when you live in different states. However, many adults are unable to move closer to an aging parent or relative. Fortunately, with a little help from technology and a great support team, you can ensure your senior loved one is happy and healthy. Here’s what you need to know:

Get Connected with the Right Phone
To stay connected with friends, family, and medical providers, your loved one must have a reliable, easy-to-use phone. For example, if your loved one prefers flip phones, then opt for something like the LG Exalt LTE, which still offers functionality such as texting and calling. For seniors who want the power of a smartphone, the Samsung Galaxy J3 V 3rd Gen is the way to go. There are also a number of accessories that will help seniors enjoy their phones.

Evaluate the Home for Safety
Even if you are not residing in the immediate area of your senior parent or loved one, you need to check that the home is safe and secure. If they are living independently, visit their home and make sure it’s had all the necessary renovations, including doorways widened and ramps installed for wheelchairs. It should also feature bathroom modifications, such as shower chairs, walk-in tubs, and safety bars. Adequate lighting is vital throughout the home to help avoid falls. The right home improvements can help ensure a senior will be able to age in place at home where they are comfortable and familiar. An easy-to-use security system is also essential.

If your loved one is residing in assisted living or a nursing home, it’s also important to visit the facility as well. Talk to the staff about everything from meals to medication and visiting hours to social activities. Schedule regular conference calls with any doctors and staff to get up-to-date information about your loved one’s health and well-being.

Arrange for In-Home Care if Necessary
For those aging in place, you may need to arrange for in-home care on a part- or full-time basis. Get local referrals from friends and doctors, or use a caregiver service to find the right person for the job. Even if your relative doesn’t need in-home care quite yet, you may want to consider hiring an aging life care professional or geriatric care manager to evaluate their unique situation. These providers are licensed nurses or social workers who can evaluate senior’s needs and coordinate necessary services needed.

Get Local Assistance
If the older adult has no relatives in the immediate geographical area, enlist the help of neighbors, church members, and others nearby to keep an eye out on your loved one and notify you immediately if any issues arise. When your parent or family member is living alone and begins to have difficulties with daily living activities, such as preparing meals, toileting, or bathing, then it may be time to consider assisted living or a nursing facility. These types of facilities can provide assistance with daily activities, as well as access to medical care, transportation, social activities, wellness programs, and other amenities.

If circumstances prevent you and your aging parent or relative from living in the same city, it can be difficult — but not impossible — to make sure they get the care they need. Visit as often as you can, touch base on a daily basis by phone or video chat, and enlist the help of local caregivers, medical providers, neighbors, and friends. It will take research and dedication, but you can keep your loved one happy and healthy from afar.

Photo via Pixabay

Preparing the Way

9/29/2019

2019 Facts & Figures
Between 2000 and 2017, the United States Alzheimer's mortality rates grew 145% while other leading causes of death plummeted (heart disease decreased by 9%, which is number one). Alzheimer’s is the sixth leading cause of death overall, and the fifth leading cause among those age 65 or older. Someone develops the disease every 65 seconds, and one in three seniors dies from Alzheimer's or another form of dementia.

Upon further investigation regarding cause of death, neurologists believe Alzheimer’s is closer to number three or four due to the large number of seniors going undiagnosed. When organs start shutting down, ER doctors assign heart failure as cause of death when a dementia diagnosis is absent; thereby ballooning the heart disease figure and negating Alzheimer's statistics.

Sadly, as the populous ages these numbers will skyrocket. Without a cure or the ability to slow down Alzheimer’s progression in the brain, researchers estimate that nearly 14 million US citizens will be diagnosed with the disease by 2050.

Alzheimer’s is an epidemic.

Are you being proactive?
People handle things one of two ways: Proactively or reactively. With the data above in tow, one’s approach to preparation may be the most important decision made for their family. Alzheimer’s is not an isolated disease burdening solely the individual diagnosed. The effects of this disease can encompass and consume everyone in the family - mentally, emotionally, physically, and financially.

“Eighty-three percent of the help provided to older adults in the United States comes from family members, friends or other unpaid caregivers. Nearly half of all caregivers who provide help to older adults do so for someone living with Alzheimer's or another dementia.”

Every day, people shift out of successful lines of work, leave jobs all together, or retire early to be a caregiver.

“More than 18.5 billion hours of informal care were provided by Alzheimer's and other dementia caregivers in 2018, a contribution to the nation valued at nearly $234 billion.” (www.alz.org, 2019)

For one’s own mental health, a thoughtful plan is a must. Approximately two-thirds of all caregivers are women, and of those, most are daughters. As of 2018, the lifetime cost of care for someone living with dementia is over $350,000.

This disease is costly for our nation.

“In 2019, Alzheimer’s and other dementias will cost the nation $290 billion, including $195 billion in Medicare and Medicaid payments. Unless a treatment to slow, stop or prevent the disease is developed, in 2050, Alzheimer's is projected to cost more than $1.1 trillion (in 2019 dollars). This dramatic rise includes more than four-fold increases both in government spending under Medicare and Medicaid and in out-of-pocket spending.” (www.alz.org, 2019)

Difficult Conversations
The time to plan is yesterday. It is not a matter of IF this disease will impact you or your loved ones, the question is when. Certainly sharing facts and figures creates awareness, but the sting of today is temporary. We need permanent solutions in place for tomorrow.

Start by having a conversation with spouses, siblings, and parents. If a parent has no plan for their future, attempt to create an opportunity for discussion. Listen to their needs. By understanding what an ideal, perfect euphoria looks and feels like to them, whether living life in their own home or a resort style assisted living facility on a beach in Hawai’i, a compromise can then be built where everyone is collectively invested and appreciative together.

The worst place to be is reactive in nature (i.e late to the conversation). The stress induced among partners, between siblings, and from parent to child can be life-altering and traumatic. Consider cortisol, the chemical released in the brain during stress, like pouring gasoline on a fire for those with Alzheimer’s. Research shows that being in familiar locations can help reduce cortisol release and stabilize emotional well-being. Having a plan in place where loved ones are comfortable promotes independence longer for those with dementia.

Part of the discussion should include how technological advances are helping seniors be safer and the freedom to be home longer. Both medical and smart home breakthroughs can provide years of extra in-home monitoring and care. Those with Alzheimer’s visit the hospital two times more than other seniors, and a majority of admissions are from falls. Medical alert systems can save lives! And, smart homes are also becoming popular, from automatic bulbs to vacuums to video doorbell services. The security of our loved ones can alleviate much concern physically and emotionally for caregivers. (Article links embedded!)

We all want to live our days without the burden of a stressful disease consuming our thoughts. One can ignore the oncoming fire swallowing the trees whole and reactively run, or fight with the water hose planted perfectly in place on the ground. When it comes to Alzheimer’s, however, ignoring the issue will consume you and everyone around you.

#EndAlz #Alzheimers #AlzheimersAwareness #BePrepared

Talent: It's What's for Dinner!

6/28/2019

In both Nurtured by Love and Where Love is Deep, Master Teacher Shin’ichi Suzuki reminded us talent is not born in us, it’s nurtured over time. During his time alive, he lacked the underlying science behind those truths in his back pocket, but now we can further rejoice in his teachings with solid data.

Edwin Gordon, researcher/music professor/author/lecturer, taught there’s no period so critical to the development of the musical child than birth-5 years of age. “A child’s musical experiences from birth to age five have a particularly profound impact on the extent to which she will be able to understand, appreciate, and achieve in music as an adult. Children must be exposed to a rich variety of music during these years in order to develop the necessary readiness for formal music learning when they are older.” https://giml.org/mlt/earlychildhood/ While Gordon had thoughts on music aptitude, he never claimed learning to sing or play an instrument in adulthood was unrealistic, unachievable, not encouraged, or not beneficial.

As music educators, we often hear adults describing their lack of talent as some contorted genetic description of not being “given the gift.” I would equate the subsequent teacher’s reaction to the known meme of Batman slapping Robin, responding with something to this effect:

No human being is born able to walk either. We process through observation, we access pre-programmed circuitry in our brains, then we fail and fall. Excessively! Failure causes modifying synapses to fire in the brain, creating new neurotransmitters to connect cellular information, then we get up and try again.

For years, neurologists spent much time researching how the brain learns on this cellular level, but they ignored the insulation that helps explain how people learn complex skills: Myelin.

“Every human skill, whether it’s playing baseball or playing Bach, is created by chains of nerve fibers carrying a tiny electrical impulse - basically, a signal traveling through a circuit. Myelin’s vital role is to wrap those nerve fibers the same way that rubber insulation wraps a copper wire, making the signal stronger and faster by preventing the electrical impulses from leaking out. When we fire our circuits in the right way - when we practice swinging that bat or playing that note - our myelin responds by wrapping layers of insulation around that neural circuit, each new layer adding a bit of more skill and speed. The thicker the myelin gets, the better it insulates, and the faster and more accurate our movements and thoughts become.” (pg. 5, The Talent Code by Daniel Coyle)

Without myelin, which begins to form 3 months before birth, no human would have been able to learn to walk, talk, count, or learn any skills. This spark in our circuits happens with the flip of a switch, focusing on isolating the mistakes so the circuit fires effectively and myelin layers can grow with sequential slow repetition.

Many refer to this process in error as “muscle memory.” Your muscles do not not have memory - it’s brain circuits, connecting at exactly the right moment. As Daniel Coyle describes, myelin functions through some primary principles (pg. 44-45):

“The firing of the circuit is paramount.” People cannot wish or will circuits to create myelin. It takes work and repetition.
“Myelin is universal.” It doesn’t discriminate whether you’re building it for dodgeball or learning piano, and it doesn’t care about your genetic dispositions. “Circuits that fire get insulated… myelin doesn’t care who you are - it cares what you do.”
“Myelin wraps - it doesn’t unwrap.” Once it’s learned, it’s learned, which includes poor habits and explains why they are so difficult to overcome (one must build new behaviors to override them, like a software update). Certain diseases and aging (if left unattended) can destroy the myelin layers, but otherwise myelin is there to the end!
“Age matters.” We all know the older and longer one waits to acquire skills that the process becomes more challenging and requires more time to achieve. We can still build myelin, but children will always learn faster.

“A horse is born with its muscles already myelinated, online, and ready to go.” (pg. 68, Coyle) Humans were not made this way, but we can evolve. The most important aspect of gaining a particular skill set is to remember never to shut off one’s belief that myelin can be built. Unfortunately, many people with and without music skills alike still believe it’s too late. Worse yet, some believe it’s even too late to learn how to read music… I’ll again point to the loving Batman meme above and respond with, “Musicians only use 7 letters of the alphabet!” Of course IT’S NOT TOO LATE!

What is also intriguingly fascinating as it is frustrating, is when music educators succumb to the retort of people saying (on repeat) that they or their child plays by ear. Is that truly worth boasting? That equates to announcing great speaking/speech skills with no fluency in reading and writing - a mere one-third of the entire communication spectrum. Playing by ear, while it may contribute to an emotional connection in practice and performance (nothing to dismiss), only allows a portion of the brain to be activated upon ignition compared to those who are musically literate.

We know through vast amounts of research that the study of music is the ONLY activity that activates not only both hemispheres of the brain, but it lights up all four lobes of the brain and nearly every subsystem like it’s the Fourth of July! Every time a musician reads music, ignites the circuits to form muscles, modifies practicing, and creates or performs music, the brain does pushups and becomes SMARTER! The message here is not to give up if you are a play by ear person, but rather to pursue a fuller comprehension and apply previously learned information to new circuitry… BECAUSE YOU CAN!

While childhood is the prime target for nurturing aptitude as Gordon describes below, it is not beyond our scope of ability at any age. I do, however, strongly recommend a wide variety of informal exposure (absorption) to assist in creating easier processing. Start with acculturation teaching yourself or your own child, then work your way down the chart with the end goal being assimilation (sound before sight). Just as we hear speech in infancy to learn how to speak, children must hear a variety of patterns in rhythm and pitch before having a primer or library from which to choose as well. When provided an adequate toolbox, learning to read then becomes a matching game like Old Maid, where we make connections to previously learned rhythm patterns and pitches.

The imperative messages are as follows:

1. Talent is not born in us, nor is the acquisition of music ability dependent upon a genetic code.
2. “Skill is insulation that wraps neural circuits and grows according to certain signals.” (The Talent Code, Coyle)
3. Myelin can be built at ANY age, but the earlier the better.
4. It is never too late to learn to read or play music.
5. The study of music makes your brain stronger and smarter; however, mistakes and failures are part of the myelin building process - don’t let perfect get in the way of the good.

So go on, get smarter - put down your phone and make the time because your brain is ready for anything!

#Talent #Myelin #Music #Musicians #MusicEducators #MusicEducation #BuildMyelin #NeverTooLateToLearnMusic #MusicInTheBrain #MusicForAll #SkillsAreMade #BrainCircuits

Giving Back

3/29/2019

I believe we are all called to serve.

The concept of serving others before self may not be an inherent trait; in fact, you may recall playing in the sandbox or sharing your toys to be a rather traumatic experience in childhood. The idea of protecting ourselves from loss, whether of a materialistic or intrinsic nature, is normal. Our parents tell us to share and be nice in hopes of creating honest, kind, and good mannered human beings. However, sometimes these basic ideologies and principles for living get lost in the climb to find maximum success in attaining our goals.

Early on within the thrusts of parental nurturing and cultural norms as human beings, an innate response forms called GIVING:

“Giving is one of our greatest joys. It’s also one of the most fearless and powerful gestures there is. When we trust that we live in an abundant universe and allow ourselves to give freely, we raise our frequency, strengthen our faith, and feel awesome, thereby putting ourselves in flow and the position to receive abundant amounts in return.

“When we’re in fear, we hold onto what we’ve got because we don’t trust that there’s more. We pinch off the energy, we’re scared to share, and we focus on, and create more of, the very things we’re hoping to avoid, which is lack.” -Jen Sincero, You are a Badass

A vast percentage of young adults fall victim to the adage that being charitable, even in non-monetary ways, is something to provide later in life when time and resources become readily available. Admittedly, I was in that category in my twenties as well, not believing I could truly make a difference outside of the hundreds of students taught yearly. In reflection, neither karmic balance nor the understanding that simply a volunteering presence alone can leave an impact was registering in my mind. But, something is always better than nothing.

“We live in a universe of give and receive, breathe and exhale, live and die, suck and awesome. Each side depends on the other-- every action has an equal and opposite reaction-- so the more you give, the more you receive. And vise versa.” -Jen Sincero, You are a Badass, pg. 10

I fear a society that does not comprehend what one human does, affects us all; and, what one person does not do, affects us all. These are two critical ideologies. Giving is becoming more difficult as our society clings to new waves of technology, a double-edged sword with severe consequences over time as one looks down to communicate instead of up. I hear of children texting parents from within the same home to ask what’s for dinner where parents will actually text back instead of engaging in conversation. Look up my friends, LOOK UP! Observe the earthly beauties commonly taken for granted, enjoy and admire creative minds unlike your own by actually visiting art museums and concert venues, and most importantly, engage in human interaction so that you may come to know people and their stories. It is through human beings that we actually learn how to be more human; sympathy, remorse, and compassion are acquired emotions needed to selflessly give.

My friends, I’m here to tell you to listen. Listen to the call to serve. To help. To use your time and talents to do what you can to make a difference – no matter how small. We are all called to serve in some way, but sadly those unwilling to listen often find their work meaningless and unfulfilling.

However, we all have a choice, and it all comes down to the original parental lessons: Share, and be nice.

LISTEN. Answers on what and how to serve may come in the subconscious of a dreamy slumber, in prayer, meditation, or in powerful reflection of quiet observation.

Meaningful work promotes a meaningful life of purposeful fulfillment!

Musicians and Directors, our music should not be made or produced in the vacuum of our school buildings and stages! Here’s a fantastic way to serve and create meaningful connections with those who need YOU most. Spread this video to your buildings, ensembles, or students so they might know their gifts are POWERFUL and should be shared!

#musiciansformemories #musicians #musiceducators #EndAlz #TheLongestDay #AlzheimersAssociation #BandDirectors #ChoirDirectors #OrchestraDirectors #SymphonyOrchestras #MusicEnsembles #Conductors #music #musicandmemory #musicinthebrain #MusicServiceLearning #CommunityOutreach #GivingBack #MusiciansGive

Music for ALL... right?

12/17/2018

Stagnancy promotes failure. In contrast, an evolving philosophy is the root of growth. The conundrum of these two principles can, however, sit in juxtaposition.

What was once a steadfast approach to building a foundation, and the strategic layers that sat upon it, can become irrelevant over time due to multiple facets. We know that education systems were created to alter as society changes, intelligences shift, and technology advances; thus, the truths of appropriate instruction must conform or get left behind.

Unfortunately, the current system in place for the study of music has and continues to be an elitist, excluding art form . Elitism can hide in plain sight:
“We know enough about our ancient past to be able to say that most ancient civilizations, once they were big enough to have cities, had elitism. Human civilizations have always had power relatively concentrated in the hands of a few, and the elite have often received that status from parentage and wealth, although with many exceptions; at times, the strongest, smartest, or boldest individuals have been able to raise themselves to elite status.

“Throughout human history, most people have believed that the elite ruled by right; that they deserved to be the elite, and had better personal qualities than the rest of us, whether that was supposed to be because of the families they came from, because they were chosen by God, or because they competed for their status with superior strength or intelligence...But even if you reject heredity and God as sources of elite status, you may believe that the people who are raised in the best environments and receive the best educations are going to end up most qualified to wield power.”

Prolific pedagogues such as Mozart who played for royalty further propelled the notion that the study of classical music (as a genre) and the instruments therein were only available for the financially wealthy or privileged. Expensive symphony tickets and extravagant formal attire worn by upper class in attendance also rooted us in these elitist ideals. Social status labels were not isolated or unique to Europe.

In 17th century United States, however, the initial call for music education served primarily to increase singing and notation reading skills specifically for the church congregation. By nature, it promoted inclusion of all people as a community. This initiative did not have an elitist or exclusive undertone, but empowered participation by all.

It was not until 1950 that the Child’s Bill of Rights in Music was written as a model by MENC, which outlined that every child have the opportunity to a music education. Sadly, writers did not anticipate how to provide these same rights to all students at every age in public, private, and urban/city systems who were interested in music beyond the scope of singing. Our children want to make music not just with their voices; therefore, granting access to instrumental music at every grade, finding solutions for instrument affordability, and providing a quality, process-based method of instruction (over that of ensemble product) in all schools is key.

Access
Granting access to instrumental music education for all students means we have to eliminate the notion that musicians must start at a certain young age to reach proficiency. Knowing the science of how our brains illuminate upon learning an instrument should deem any access point in school worthy of our consideration. (The point of how that affects program quality efficiency is addressed later.) It may not be financially feasible to offer every beginning instrument each school year, but providing students ample opportunities for entry into instrumental study is critical to granting our students their natural rights.

In 2017, a Yale Symposium on Music in Schools created a dedicated document to address inequity and lack of accessibility within urban or city systems:
“This document is designed primarily for the fields of music and education at their broadest contexts, and we challenge these fields to assertively claim music as a social, educational, and cultural right for our cities’ students. It will also inform urban education policy discussions, ensuring that music is recognized as an important part of a comprehensive education system. We choose to provide a policy framework rather than a “road map” because each city’s needs, history, and populations are unique. It is up to the members of each city’s “music ecosystem” to determine how best to provide a robust music life to its students.”

While this document addresses equitable access for urban and city areas, a parallel comparison can be made to that of isolating entry points in larger suburban school districts, who exercise exclusion by only allowing beginning instrumental music at specific grades. Student realizations and roadblocks arise such as:

What if I want to try an instrument now?
My parents couldn’t afford an instrument before, but now they can.
I moved into the district after beginning band or orchestra started, so how can I be part of it now?
I feel like I’m on the wrong instrument for me, but I can’t afford private lessons to switch.

All of these restrictive circumstances are well within the realm of approach to a district dedicated to music for all students at every level of maturity. If a well-rounded education system is providing tiered ability-based performance ensemble opportunities in the high school setting, then students who begin later ideally all have a place for the advancement of their playing. Furthermore, if choral programs offer yearly access points in school (typically with no prerequisite), then instrumental programs must provide the same equality.

The first call to action bullet on the 2017 Declaration on Equity in Music for City Students states:
“We call for every student in every city in America to have access to a robust and active music life.”
It then affirms:
“Every student in every school in America deserves opportunities to make and learn music. A student’s access to an active music life should not be dependent on zip code, socioeconomic status, racial or ethnic background, country of birth, or language spoken at home.”

We must do our part as teachers, administrators, parents, and students to voice advocacy for all students at every level in education to promote the opportunity to grow musically via instrumental instruction.

Affordability
“In its most recent report on arts education, U.S. Department of Education noted that "whether a school offered music instruction varied by its concentration of poverty."⁶ For example, elementary schools with higher concentrations of poverty were significantly less likely to offer music year-round, to have dedicated rooms and equipment for music instruction, and to have arts specialists available to teach music."

We all understand the financial burdens of learning a musical instrument, and some are more costly than others. Often times, larger suburban districts have the upper hand when it comes to availability of finances per student, but a resourceful answer could be endowments or donations that fuel need-based scholarships for struggling families in smaller or private schools. When there is nowhere else to turn, districts must be held accountable to uphold the premise of Goals 2000: Educate America Act, No Child Left Behind, and now the Every Child Achieves Act approved by Congress, which slated music as a core subject.

“It is essential to recognize that “access” does not simply refer to the existence of music opportunities at a school: it means that opportunities are easily accessible to all interested students. While a school may report “offering” music, it does not always follow that all interested students are able to participate; some remain excluded from this fundamental part of a well-rounded education due to a variety of financial, social, structural, and musical barriers. Each student should have equal access to a rich, meaningful, and inclusive music life. To address this, we must make existing music opportunities in city schools more robust and inclusive."

Elitism is further ignited when high schools require camps, charge marching band fees, attend regular competitions, and offer trips, which again engages the manifestation of exclusionary elements.

“We call for both school leadership and classroom music educators to consider the ways in which their current practices might be exclusionary to students. By examining current practices and trends—however uncomfortable doing so might be—it is possible to identify the barriers that prevent potentially interested students from participating in music. These may include:
Financial barriers: prohibitive costs, including purchase/rental of an instrument and fees for uniforms or transportation; incapacity to pay for outside-of-school enrichment opportunities including private lessons and summer music intensives; the need to spend out-of-school hours in employment rather than in rehearsals or practicing.”

Keep in mind instrument rental stores acquire playable overflow that can be made available through the course of the year as well. Stores may even donate instruments to schools as tax write offs; therefore, making a phone call when a student is in need never hurts. Reaching out to parents, whether PTO or booster representatives, can often have powerful social media pull in acquiring instruments through donation.

No matter how difficult or seemingly expensive opening multiple grade-level access points might be, our students have the right to an instrumental music education.

Process over Product
Over the last 300 years of music education in the United States, there is and continues to be an emphasis on developing well-polished, elitist products to promote the recognition of performance accolades at state and national conventions. Our measurement of quality music programs tends to rest entirely on an ensemble’s ability to record and be selected by a panel of university professors, but what about all the other underlying factors that could be used to determine the success of a well-rounded music program?

Perpetually, directors pose these types of judgmental notions to fellow music educators:

How many students are in your program?
What percentage of students make the honors band/orchestra yearly?
How many students were selected for state this year?
How many entries do you have attending solo and ensemble festival?
What number of those entries received Superior ratings?
What grade literature does your top ensemble perform?
What did your ensembles receive at contest this spring?
Do your students receive regular private lessons?

All of these ruminating questions tend to define the success of one’s program, and they all have to do with developing a product. Why?

“We have to trust these feelings. We have to trust the invisible gauges we carry within us. We have to realize that a creative being lives within ourselves, whether we like it or not, and that we must get out of its way, for it will give us no peace until we do. Certain kinds of egotism and ambition as well as certain kinds of ignorance and timidity have to be overcome or they will stand in the way of the creator. And though we are well thought of by others, we will feel cross and frustrated and envious and petulant, as if we had been cheated, somehow, by life". –M.C. Richards, Centering in Pottery, Poetry, and the Person

Directors, NAfME members, and administrators alike, your challenge is to raise the bar for the artistic processes so encouraged by the National Coalition for Core Arts Standards (NCCAS) and redefine your expectations. Some considerations:

Why are we still writing classroom assessments based on product preparation or performance?
Why does large ensemble festival merely take a snapshot of performing elements alone?
Why are we allowing ensembles to perform at state and national conventions without analyzing the entire program’s artistic processes output as a whole?
Where are the new curricula, accounting for less concert preparation and more project-based learning and ideals to enable this shift to the NCCAS?

Engaging in the intended shift means analyzing student understanding of these processes (creating, responding, and performing); not putting out performances for spectatorship alone. It may also allow directors breathing room to effectively enjoy their craft, and in turn, our students to further appreciate our programs.

“Innate human dignity implies innate human rights. The right to enjoy and participate in society and culture is a natural extension of this relationship.”

Lastly, in order to accommodate the rewiring of our student’s brains in a technologically advanced era and shortening attention spans, we must agree that perhaps the time of child prodigies and pedagogues is coming to a close. Children are unable to engage in mastering skill sets for hours, and so, the original foundation of our music education system must relocate and rebuild to survive.

The landscape is vastly different than even 10 years ago, and the time to provide access at every age, and at any cost, is now. The basic fundamentals of what it means to promote humanity through the vehicle of music is at stake.

#MusicEducation #musiceducators #musicians #education #NCCAS #MusicforAll #MusicInclusion #NAfME #MusicEducatorsAssociation #MusicAccess

Guest Blog: A Calling, Music Therapy St. Louis, and Kids Rock Cancer

9/29/2018

This quarter’s guest blog features Jaime Kennington Wilhite, MMT, MT-BC, and Owner/Director of Services & Clinical Supervision at Music Therapy STL, LLC. I’m thrilled to bring her unique story, research, and new business venture to the forefront as her particular story serves to provide a gateway to understanding the powerful call of music therapy.

"As a child, I was always a dreamer: a kid with big eyes and big ideas. Too often I was reminded they were too grandiose for our reality. But, what is our reality? It’s what we make it.

At the age of 30 with a successful career in marketing, I found myself at a life roadblock. I had done everything perfectly. I followed the path of opportunity with provided privileges. I did what I was supposed to do. At the end of the day, I felt empty - like what I did really didn't matter. This feeling was a constant reminder after suddenly losing my mother at the age of 24. What did I want to do with my life? How can I make a difference?

A year prior, I shadowed a board certified music therapist in a phase 4 school working with an autistic child. The child walked in, head down, and did not use words to communicate. By the end of the session, his eyes were looking at mine, he was engaged, and energetically said, “Bye!” That moment changed my life. I cashed it all in for two more degrees: music and a masters in music therapy.

Years later doors started opening to work with various populations, from disabilities, to memory care, psych, education, brain injuries, and hospitals. I became a trained in NMT (neurologic music therapy), studying the brain and music therapy interventions based on scientific outcomes and practice. Specifically, I was one of two board certified music therapists to work for a non-profit 501c3 under Maryville University called Kids Rock Cancer. In joining the team, I met Tracie Sandheinrich, MT-BC (pictured below), who helped start Kids Rock Cancer. To say we hit it off is an understatement. With Tracie specializing in hospice, palliative care, and geriatric, she and I both had private practices and shared our woes of the contract-driven side of the music therapy world in our community: How can we take care of music therapists so they don’t burn out? How can we provide consistent and quality care? How can we be the most reliable resource to our community? How can we advocate and let people know music therapy is a thing and very much a clinical practice?

Well, no one else was doing it, so we did. We joined forces to create Music Therapy St. Louis, LLC where we now serve nearly every population. We are both trained in NMT and have post-graduate work under our belt. We are the first company in our area to hire board certified music therapists as employees to co-treat and support clients as a team. We often find ourselves driving around town speaking, advocating and supporting community groups. Music Therapy St. Louis is hoping to have a brick and mortar home base where we can host music therapy and community groups. Furthermore, we are working towards building a scholarship program for families who may not be able to afford services but could significantly benefit from them. With Kids Rock Cancer, Pujols Family Foundation, St. Louis Arc, Lafayette Industries, St. Francis of Assisi, a plethora of Hospice Organizations and more, we find ourselves grateful every day, and continue to strive to offer consistent and quality care on both sides of the river in Missouri and Illinois. All of this would not have possible without big eyes, being big dreamers, and the creation of Kids Rock Cancer.

Kids Rock Cancer is free for families by the generosity of donors and grants. We do therapeutic songwriting, recording, and performance with children diagnosed with cancer or blood disorders, and help the children affected by close relatives suffering from those ailments. In some cases, we provide services bedside to make it as comfortable as possible for the child. Music therapy is a safe playground for children to express, cope, and digest the feelings of diagnosis. It gives them control when they have lost every bit of it, and allows them to play when they have to grow up so quickly.

Before I was brought on to the team, I decided to do my masters specialization thesis on therapeutic songwriting themes in pediatric oncology. While doing the research I found only two published pieces on this topic. Globally.
Our answer was releasing groundbreaking research with Understanding Lyrical Expression: Songwriting Themes in Pediatric Cancer, soon to be published in music therapy’s leading qualitative journal Music Therapy Perspectives. In addition to music therapy, we are looking into child psychology journals to aid child life staff on the findings.

Here is a brief abstract from the research:
The purpose of the study was to identify song themes from the Kids Rock Cancer program through mixed method lyrical inductive microanalysis, quantitative measurement of word and category frequency and deductive analysis. Thirty oncology pediatric patients participated in the study (n=30). Inductive microanalysis revealed eight key themes: emotions, experience (inside the hospital), support, identification, outside the hospital, wants/desires, third party and future. Quantitate analysis of word and category frequency determined “hospital related experiences” as the most frequent category expressed and the word “family” as the most frequent word used in therapeutic songwriting. It is critical to understand common themes developed from the therapeutic songwriting process. If therapists better understand the content and potential of expression, they can improve services and, as a result, enhance therapeutic outcomes.

What is the benefit to this research?
There is a need for more research on therapeutic songwriting in this population. First, music therapy promotes active engagement, encouraging independence through choice making initiation of ideas and problem solving (Aldridge, 1993; Barrickman, 1989; Froehlich, 1996; Magill, Coyle, Handzo & Loscalzo, 1997; McDonnell, 1984; Robb, 2003, 2000). In addition to engagement, songwriting maintains “open communication and hope, which have been identified as aspects of good coping in children diagnosed with cancer” (Artinian, 1976; Cordobes, 1997; Froehilch, 1984; McConville et al., 1990; O’Callaghan 1996, 1997; Robb, 2003, 1996; Wiley & House, 1988). Furthermore, “it can provide insight about how the child is adjusting to the illness or coping with the treatment, and provide opportunities to acknowledge, support, and explore feelings regarding hospitalization” (Kennelly J., 2001). Moreover, music therapy can be used to address a variety of complexities experienced by children and families during hospitalization and treatment of cancer and blood diseases. These goals include, but are not limited to, pain reduction and tolerance, pain control, distraction, relaxation, expression, positive environmental stimulus, normalization, play and support (Davis, W., Gfeller, K., Thaut, M., 2008). Of all the benefits music therapy brings, pain is important with this population because recent findings state that pain is most common and prevalent for pediatric inpatients (Cotton, et al, 2014, p. 98). In addition to pain, decreasing anxiety is another reported benefit of music therapy (Wheeler, B., 2015, p. 108). According to O’Callaghan, C., Baron, A., Barry, P., & Dun, B. (2011), a substantive grounded theory emerged when examining music relevance for pediatric cancer patients. Unfavorable cancer experiences were relieved with the use of music. Furthermore, music promoted pediatric resilience and development. In addition, music therapy would frequently ease distress. (p. 779). Qualitative research suggests that “any fragment of joy and beauty that can be shared is treasured” when using music therapy with children diagnosed with a potentially terminal illness (Lindenfelser et al, 2008, p. 343). O’Callaghan reinforces this idea when examining oncology parent inpatients to their children. The research “indicated that song writing can enable important yet difficult communication at this time” (O’Callaghan, C., Grocke, D., 2009, p. 321).

Therefore, these evidence-based benefits to patients along with the demand increase of therapeutic services, increased use of therapeutic songwriting and lack of research focusing on lyrical understanding in pediatric oncology determine a critical need for this research to ultimately enhance quality of therapeutic services. As therapeutic songwriting increases in popularity among music therapy interventions so does the importance of demonstrating program outcome and success. According to Jones, “additional research on the clinical efficacy of original songs and therapist’s compositional processes is needed to identify best practices models for strategic songwriting” (Jones, J. D., 2006, p. 94). However, the only way to understand therapy efficacy to is understand the lyrical expression first. Additional knowledge will help inform educators, music therapists, administrators and hospitals how to grow and maximize benefits to patients. The purpose of this study is to identify common lyrical themes of the retrospective and released songs written in the Kids Rock Cancer program. If therapists better understand the content and potential of emotional expression, they can improve and enhance therapeutic services.

So much has happened in 10 years; however, dreamers are dreamers and doers are doers. It wasn’t an easy road but worth the reward. During that time, I had to seek out my support system. Surprisingly, not everyone in my life was understanding of this life choice. For me, it was the best choice I could have made. I had to work hard to digest and accept those feelings, and be okay with the idea that people in my life were disapproving of my decision to leave my opportunistic and safe path. I created my own. I live everyday with a Mark Twain quote, “Keep away from people who belittle your ambitions. Small people always do that, but the really great make you feel that you, too, can become great.” You never know where your dreams may take you.

Photo Credits: Richard A Nichols. Bottom: Jaime watching her patient with cancer listen to a recording of her first original song.
#MusicTherapy #MusicTherapySTL #KidsRockCancer #MusicTherapists #Musicians #MusicEducators #AMTA #MusicTherapies #therapeuticsongwriting #mtstl #songwriting #grouptherapy