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May. 6th, 2005 @ 10:55 am My baby registry
I've been looking through my baby registry to check out the developmental value of the toys and other stuff I'm registered for. The world is so exciting from a baby's perspective! Here are some highlights:

Baby's First Toys: This is a huge assortment of brightly-colored baby-safe objects, from letter-shaped teethers to rattles and crinkly animals. I think the greatest value in this set is that there are so many objects in it. Piaget would love it--a very young baby in the earliest sensorimotor stage needs to experience as great a variety of colors, shapes, textures, etc. as possible to learn about the world. These toys are small enough for even a very small baby to hold onto, and begin to learn the difference between objects and herself. About half of the items here also provide some sort of interactive experience--rattling, moving parts, crinkling, etc. I think this set will be one of the first things our baby is able to play with, before she's old enough for the more complex toys.

Einsten Number Blocks: OK, so I do realize that our baby won't be reading the numbers and words for some years. Even so, these blocks are just great for the developing infant, and are sized especially well for a sitting baby to pick up and move around. These are potentially more interactive than Baby's First Toys, with different pictures/words/numbers on each side of each block, as well as a number of interactive features like a grabbable tiger tail, rattles, and bells. Baby-safe soft blocks are a great way to learn about cause and effect (a primary goal of the sensorimotor stage, right?) because you can toss them, stack them and knock them over, etc. One Amazon reviewer said that these also seemed to encourage large movement in her baby because they will roll away from the baby a little, but not as far as a ball, which will roll too far for the baby to get it herself.

LeapStart Learning Table: This one is for our baby once she starts to sit (legs can be removed so it can be used on the floor), and pull up to standing (put legs back on!). I'm realizing looking through these toys that in the sensorimotor stage, great toys are really all variations of the same thing--lots of textures, colors, etc. and plenty of opportunities to examine cause and effect. The LeapStart table is much more complex than the other toys, but it's based on the same principles. Depending on the operating mode the parent selects, activating parts of the table through buttons and other devices will produce sound effects, music, or words. Younger babies can enjoy just pressing the different buttons to see what happens, while older babies and toddlers can start to learn more advanced concepts like how the notes move on the little piano keyboard. Does that adorable little kid come with it, I wonder?

Crib CD Player: As a musician, I can't forget the developmental importance of sound and music! Of course, our baby is already being exposed to music day in and day out, but from most accounts of other musician-parents, it seems likely that music will comfort our baby even more than most since that's what she'll be used to. Though the "Mozart Effect" research (or lack thereof) is currently getting a bad rep, numerous studies have shown that most musicians and great music appreciators were exposed to a lot of good music as babies. It's not just the old boy's network that created the great musical families. Plus, musical intelligence has been shown to be deeply connected to mathematical (logical-mathematical, according to Howard Gardner) intelligence. And if it helps the baby sleep, who cares? :=)

So that's just a small sample of our registry... I'm starting to think our baby will be a bit overstimulated!
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Apr. 15th, 2005 @ 11:49 am Behaviorism and my show...
I've been thinking a lot about the behaviorists since our last class session. I've been familiar with the ideas behind behaviorism for some time, most notably when training my dogs. Whatever else people may say about behaviorism, especially as it relates to humans, there's no denying that it's the key to creating civilized furry friends!

I'm currently musically directing a run of "Fiddler on the Roof," and week before last was the week affectionately known to theater folks as "Hell week." And yes, it is. Every show I've been involved with completely falls apart during this maddening last week of rehearsals before opening, and is just barely glued back together for opening night. Even in the best companies, tempers flare, feelings are hurt, actors who still don't know their parts suffer public humiliation... yet we always come back for more, show after show. Baffling... or is it? I started looking at this phenomenon from a behaviorist perspective and maybe it makes sense after all. I notice the little rewards people receive during Hell week--murmurs of approval from fellow cast members when a scene goes well, friendships (i.e., attention and, dare I say, stimulation) developing backstage, words of praise from the director (or even the musical director!)... the list goes on and on. But of course the most significant reward is that rush of adrenaline and the knowledge that an entire audience is focused on YOU, opening night. After early childhood, the world is never so centered around a single person in a socially acceptable way as it is during a theatrical performance. It feels like a very cynical point of view to me, but I suppose that from a behaviorist's perspective, this total attention and (hopefully) approval from a large group of people is the reward that conditions actors to confront the same difficulties time and time again.

I like to think that it's something deeper. Certainly, there are performers out there who are all about themselves--and perhaps every truly charismatic performer has some of that element. However, I see among our cast and the many other performers I've worked with a genuine desire to make a positive difference in others' lives. How does that fit in with the behaviorists? What about self-reflection, both on the part of the actors and the audience? More food for thought...
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Mar. 30th, 2005 @ 05:13 pm Poppy and Zoe demonstrate Id and Superego
TheBeags
Isn't a picture really worth a thousand words?
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Mar. 18th, 2005 @ 10:02 am Freud's impact
Everywhere I look this week I see vestiges of Freud's theories of psychoanalysis. I'm realizing that no matter how much the facts behind his ideas are debunked, the influence on our culture is truly permanent. Even young children are so familiar with the image of the adult lying on the couch, with the psychoanalyst taking notes. A few weeks ago I watched a Veggie Tales video with my niece, and there was an entire "Silly Song with Larry" called "I Love My Lips" where Larry the cucumber lies on his psychologist's couch and sings about how attached he is to his lips, and how he stays awake at night worrying that he might lose them. He goes through all the traumatic lip-related events of his childhood. When he mentions his dad, his psychologist wakes up and says, "your father? Tell me more!" It's really hilarious--and wouldn't be nearly so funny if we didn't already understand the situation. I'm also a big Woody Allen fan and, thinking back on my favorite movies, realize that even those that don't have a Freudian psychologist as a character are very much based on Freudian ideas--repression, projection, childhood trauma, etc.

It's so easy to belittle Freud's ideas now that we have a better understanding of both the nature and nurture aspects of the mind, though it seems that his largest ideas--i.e., childhood experience can have a dramatic effect on adult personality and actions, defense mechanisms such as repression, etc.--are still a major part of psychology. Perhaps his most important impact is on the way we think of ourselves. We are such complex beings, made up of a multitude of experiences and learned behaviors, and one can spend a lifetime just getting to know oneself.

I tend to relate everything historical to the development of music at the time (that's what comes from so many years of studying music history!). I find it interesting that Freud's work corresponds with the "Second Viennese School" of composition. Led by Arnold Schoenberg, many German and Austrian composers just after the turn of the century were experimenting with doing away with tonality and all other traditionally appealing characteristics of classical music. Though there are some true masterpieces from these composers, the movement created a school of composers who wrote music that was incredibly unappealing to the average listener, and the further it went, the more audiences became alienated from classical music and turned to other genres. However, the amazing diversity of "classical" music today (and the return to the audience) would have never happened if these "crazy" folks hadn't spent their careers going against the grain and creating much of what now seems to be singularly ugly music. It's like a catastrophic split had to occur before composers could find the middle ground. It's no coincidence that these composers were greatly influenced by the work of Freud and were interested in delving into the darkest parts of the mind/soul. Freud was similarly extreme in his new ideas, and in his extremism came up with some ideas that have basically been debunked (comparable to the truly ugly/purely mathematical works of music from the time), but without Freud or someone like him, it's unlikely that all the many moderns schools of psychology would have flourished. Without extremists on all sides, there isn't really a middle ground.
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Feb. 20th, 2005 @ 07:13 pm Intro to Me
As I sit down to write this introduction, I'm realizing that it really is difficult to write an introduction to oneself without writing one's entire memoirs. This is part vanity, I'm sure, but also part desire to give an accurate picture of who I am. I imagine that most folks with a true interest in psychology are constantly grappling with that most intimidating of questions: "who am I?", which in my experience doesn't lend itself well to short answers. Of course, we'll all be painting more of that picture through future entries, and in the meantime, I've imported my list of interests from my "real" blog (see my intro page) and provided some links for the terminally curious.

Before tackling the main issue, I'll explain why I'm here in the first place. I'm taking this class to help me determine whether I want to seriously follow a leading (as we Quakers say, and no, that's not like Amish) to pursue a career change from music to psychology. I've always been fascinated with all things related to the brain and what makes people tick. From early childhood until college, I spent most dinnertimes grilling my pediatric neurologist father about his day. I learned about everything from seizures to obsessive compulsive disorder to Down's syndrome. I've always thought that if I hadn't become so involved in music, I would have likely gone into a first career in medicine or psychology.

I've most often defined myself through my chosen educational background and career, that of a professional "jack of all trades" musician. In addition to performing flute around L.A. and teaching many private flute and piano students, my most recent career endeavors include directing and performing in my own new music ensemble, L.A. Sound Circle, musically directing for several local theater companies, and founding Music to You, a company offering private lessons in students' homes. If you're really curious about my professional background, check out my bio at my company website. With an undergraduate degree and two graduate degrees, some might consider me a prime example of overeducation in my field, but I truly love to learn and don't regret a minute of my education even as I contemplate a career change. Personally, I don't believe in overeducation, though in my academic career I met my share of "professional students," who in many cases were in school for all the wrong reasons (living off financial aid, personal insecurity, etc.). This to me is an entirely different thing from the student/seeker who loves learning. I feel that my education was more of a "life education" than most institutional experiences. The schools and programs I chose allowed me to explore a huge variety of subject areas, while gaining professional performing and teaching experience.

During the last few months, my personal life has been at the forefront as my wonderful husband and I are expecting our first child (due Aug. 5!). More than anything else, the prospect of becoming a mother has inspired me to rethink what's really important to me in life. The best parents I know are those who are strong, positive role models for their children--parents whose everyday lives reflect their life goals and values--and I want to strive to be that kind of parent. Reflecting upon my current career in music, I find that the work I consider most valuable, and that brings me and others the most joy and fulfillment, is my work with amateur musicians and musical theater. There's something much more rewarding about working with musicians and actors who practice their art purely because they love it, not because they have to make their living at it. I just know too many bitter, unhappy professional musicians, and I fear becoming one myself. I do very much enjoy teaching music, and I find that one of my favorite aspects of teaching is examining how different students learn. It fascinates me to find where their real interests and talents lie, and to discover for each student how to tap into that area to make music an interesting and enlightening experience for them. It is that strong interest in the inner workings of people, from the internal workings of the mind to the complex web of relationships we form just by being alive, that makes me think my own talents might be put to better use with a professional career in psychology, and an amateur career in music.

I'm excited to find such an innovative class and I'm looking forward to reading my classmates' introductions as we begin to work together. See you Friday!
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