Derbyshire Children’s Hospital

Nick and I began playing in the Sunflower waiting area – three children aged around 8 years of age were waiting, a little bored, and seemed eager to join in.

We sat down and played a tune for them to listen to – they gathered round immediately – Nick began to give out percussion instruments.

We turned to Gallopede (one of our favourites for facilitating participation). Each child joined in with their own rhythmical pattern with the music – Nick led them for a while and showed a slightly more complex patttern to try.

We changed the dynamics – we led – they led.

The tempo changed – with different leaders here again.

Nick tried a different style – could we slow things down and change the mood with a waltz? We played Valse vor Polle – and the children changed what they were doing and matched the style.

Finally our musical friends found our box of musical instruments and had a little session exploring some of the sounds that could be made on each of them – including trying out my violin and bow.

I felt that the interaction had been successful and complete, and thought it best to start packing the instruments away, with their help. It is always good to have a thought for when a session should finish – before anyone gets overexcited – end with positive experiences.

This felt like a really good all-round musical experience and it appeared as though the children involved had really been engaged and enjoyed it for about 20 minutes.

 

On 7th Oct, as part of our usual Wednesday work around Puffin Ward in Derby Children’s Hospital, we overheard a young boy in isolation, crying and thoroughly focussed on the marks that appeared to cover his body, itching and quite distressing him. He had toys all over his bed that seemd to be new – still to be unwrapped – but not distracting him from his discomfort.

We started playing an upbeat version of the “Valse vor Polle”, in 4 time – this did not seem to connect with him. Richard suggested we play something different – something with a gap in it…….an interesting suggestion – why would the space in the music grab someone’s attention more than continuous sound?

We started to play “Who stole my chickens and my hens?” leaving a rest in the music after each line of question in the song. After about the second time, he turned to look at us playing through the doorway. Still crying, but with gaps in his noise now, so he could hear when the music continued. Slowly but surely, his crying sounds resided and he started talking to his Mum about tthe chickens in the song – what a silly song!

There came a request – something about a frog? Nick fetched our speckled frog guiro instrument and we started playing and singing “Five Little Speckled Frogs”. We had only got as far as frog number 3, and he was smiling and opening his new toys, calmly and more relaxed.

We left them smiling, playing with new toys, and with their atmosphere changed at least for the time being. It appeared as though this young man was sufffereing with chicken pox, and we had sung songs about speckled things and chickens – only we saw the funny side to this – he did not notice at all, but seemed to benefit from the change in his day.

 

I spent two consecutive Fridays shadowing the Musicians from OPUS on the children’s wards at the Royal Derby Hospital. On the first Friday the instruments that the musicians performed with were the guitar, a bodhran drum, ukelele and the melodeon. The second Friday the melodeon was replaced by violin. The musicians would travel from ward to ward performing a mixture of songs, such as “sunshine in my heart” and “wind the bobbin up”, as well as an array of instrumental pieces.

We also brought a trolley filled with various percussion and melodic instruments, these instruments were dispatched to the children whenever a musical connection was established. The musicians also had a designated play area on one of the wards where these instruments were laid out and the children were able to explore and express themselves whilst playing with the instruments.

Whilst observing the musicians in these various settings I was able to witness how the personalities of the children impacted on the music and vice versa. For example: when they were working in the designated play area, one particular child cautiously started playing with the instruments, warily experimenting with the volume and sound of the instrument. As the child interacted with the instruments they seem to be testing the musician’s reactions. This opened a gateway of communication for the musicians, allowing them to instil confidence in the child’s expression with the instrument. The musicians achieved this by mimicking back to the child what they played on the instrument. It was interesting to observe how some children became excited and others became more thoughtful in their musical expression after this communication had taken place.

Another interesting observation I made whilst shadowing the musicians as they travelled around the wards was, how the songs and the instrumental pieces produced different effects. The instrumental pieces seemed to create a deeper connection with the children and their families. On many an occasion emotions were unveiled by the instrumental pieces. Whilst the songs seemed to act as more of an interlude, almost having an element of play attached to them.

As the musicians went from areas of play to, areas where children were suffering with serve illnesses, I was able to witness how the musicians musically sensed the environment. They seemed to know whether a song or an instrumental piece was required in order to connect with the children or individual child. This displayed a deep sensitivity to the children’s physical and emotional situation. It was a very powerful and positive experience that has left me with many new questions and profound memories.

Sarah Steenson, July 2012