I met Joy Sikorski about three years ago. At the time, I wanted to take voice lessons over Christmas, and my current voice teacher was going on vacation. For some reason unknown to me, I felt I really needed to continue studying through those few weeks. From the moment I met Joy, I knew she was an extraordinary woman. Her unadulterated joy in singing and her ability to help me find that joy in myself when I sang has seeped into other areas of my life... much to my delight.

When Joy told me about her CD for babies, of course, I was interested. I use the CD often, and Aurora responds wonderfully. Matter of fact, she cries if I turn it off. Joy also happens to be one of the most talented and beautiful women I know.

WCP: How do you go about creating your work? In other words, what is your creative process?

Joy: I'll be happy to share that with you, but before I do, I must express my appreciation to you for the opportunity to share some of my insights with Wild Child Publishing. And I couldn't say another word if I didn't also give due credit to Michael Silversher, an amazing human being and composer who not only helped to create the music we are going to talk about, but who also taught me the deep importance of being completely true to the creative spirit within.

Now on to your questions about the creative process. It's all about story -- the one that needs telling in the moment. First, I have to clear my mind of distractions that come from things over which I have no control. Other people's attitudes towards me (eh, sometimes good, sometimes bad), the weather (can we say hurricanes, earthquakes and tsunamis?), the abysmal state of affairs in Iraq and the Middle East, the avian flu, terrorism and our Bill of Rights. You know, "little things" like that.

Next, I have to deal with my own attitudes and worries. These are the biggest ones, and we all have them. Concerns about finances and health, family and friends, how to nurture and protect relationships. Those small things that grow because we let them unravel us until we are out of control. Oh, and I mustn't forget my own perfectionism and tendency to be too harsh when judging the value of what I create. All of these barriers have to go quickly, or my time is wasted with internal fretting and complaining, fears and doubts.

My creativity springs from empathy with the world around me, so I have to tune things out in order to tune into what needs to be created in words or in music, which again, is the story. It's like a stream constantly pulled by gravity to the sea. If a tree or boulder diverts or threatens to stop its flow, it finds a way around it or pushes it out of the way.

WCP: When did you first start composing and when did you first start adding words to your compositions?

Joy: In first grade, before I knew how to use symbols or recording devices to capture the music, I made up songs and danced to them as I sang to the birds and flowers. I still do this in the middle of the city.

WCP: How did your time in Alaska influence your life as it is now and did your Alaskan experiences change your creative process?

Joy: It would take too much of your time to say how living in Alaska influenced my life, but I can say that it profoundly changed the way I see the world. In fact, the "Great Land," as Alaska has been dubbed, changed my world view so much that I'm writing a book about it, which will begin to appear on my web site soon. Alaska's harsh climate, majestic beauty, hearty people and isolated geographic location allowed me to more clearly hear the music that hides in silence, waiting for someone to tell its story.

WCP: How was SingBabySing birthed?

Joy: It was conceived in a log cabin, which I helped to build in the Alaskan wilderness where I also birthed and raised my three children. I realized back then that few people in the world, whether they live in small towns or big cities, have access to voice training. I knew that music can either agitate or soothe, that it has a powerful impact on the brain in early childhood, and that language development is directly related to the voice or voices a child hears from inside the womb and after she is born. Other research led me to a logical conclusion: if a baby could listen to a voice that introduced simple singing principles in a fun yet calming way, that child would stand a better chance of speaking or singing effectively later in life. I worked out these theories giving voice lessons to children and adults in Alaska. Then a few years after I left Alaska and came back to Los Angeles, I was fortunate to live amidst a group of people who understood the concept and encouraged me to develop something for the benefit of others. Many intensive labor pains later, SingBabySing Interactive Calming Music popped out.

WCP: What do you envision happening when your music is used?

Joy: I see mommies, daddies and babies relaxing. I hear babies cooing, toddlers squealing with delight, and parents sighing with relief and gratitude. I see a peaceful home environment, a safe place to unwind from the troubles of life. I watch as children and parents listen to the bird sounds around them and don't feel too silly to sing out to them, just for the liberating fun of it. I care deeply about the struggles of young mothers and babies and I feel their joy when the music helps to answer their cries. The testimonies of mothers and grandmothers who already play SingBabySing in their homes tell me that my vision is coming to pass, but we have only taken baby steps together. Much work remains before we will more fully see a calm baby...calm mommy...a better world.

WCP: What research have you utilized to develop this product?

Joy: I sigh in recalling the countless early childhood development, neuroscience, music, physics, psychology and philosophy studies and papers - anything from MUSica (UCI) and other university (including international) findings to string theory texts, ancient cultural music pattern examples or Psychology Today articles. To give one example, most people don't know that babies can vocally match music pitches as early as three to four months of age, but according to Lili M. Levinowitz, a professor of music education at Rowan University of New Jersey, Glassboro, they can. My experiences tell me that she is right. Other research comes from my personal observations as a professional composer, performer and educator and the hands-on experiences I have had in vocal workshops I have given around the country.

WCP: I'm intrigued by what you call the "Puccini Effect." I've never heard of it before and I'm a classically trained singer. Please tell me more.

Joy: Ah, yes, (she softly laughs), the "Puccini Effect," a term I've coined. It has to do with the above-mentioned research and relates to the Mozart Effect, which most of us know about by now. We know that classical music is more complex than most other music forms and, therefore, stimulates parts of the brain like nothing else can. What most of us do not know, however, is how the human voice gets into parts of the brain like no other instrument on earth. Think about this fact. We can buy a guitar, violin or drum set, but we cannot buy a human voice. We cannot market it or sell it in a store. This is precisely the reason why most of us do not know much about the voice or how to use it to its fullest potential. Yet it is our primary tool for communicating words to tell our stories, express our thoughts and feelings. Knowledge about it, therefore, takes what we generally know about early childhood language development to a much higher plane of possibility. People ask me, "But how does singing relate to language development, and how can I, someone who doesn't sing, help my child?"

A famous European voice teacher from the nineteenth century named Lamperti said that singing is speech a thousand times refined, yet who has ever heard of him? I take his words and work them backwards. If we use singing to refine speech, we get the best of both worlds. I wish I had a penny for every time I've heard someone apologize for their voice or tell me they couldn't sing well and wish they could but feel that learning anything about singing is reserved only for those with so-called talent.

Puccini was a great opera composer so I am coining the phrase, "Puccini Effect," to bring awareness to the public about the importance of giving babies and young children the chance to learn simple singing techniques during those crucial early years of childhood development when language skills are formed.

WCP: Are there specific links that parents can go to about the "Puccini Effect" -- the effects of singing on early childhood development?

Joy: Yes. They will soon be available at singbabysing.com.

WCP: As a singer, when I'm upset, I can sing, and my mood changes almost immediately. But I've had extensive training. How does your CD help someone to calm down if they haven't had any training?

Joy: Although designed for babies and toddlers, my CD helps adults to calm down for the same reason it helps soothe children. Singing produces endorphins, those neurotransmitters so essential for mental and physical health. Laughter does the same thing. This CD is designed to cause deeper breathing, which gives more oxygen to the brain, which helps to reduce the tensions that pinch nerves. Certain repetitive music patterns lower the metabolic rate or heart beat. SingBabySing music is dynamically designed to combine these elements so that anyone (singer or not) can benefit from using the CD. The voices of babies laughing and making early singing sounds coupled with repetitive instrumental patterns reminiscent of Pachelbel's Canon in D serve to compliment and enhance the soothing adult voice (me!) that teaches the simple singing skills. I don't usually reveal this fact, but adults who have always wanted to learn how to sing can actually learn from this CD too.

WCP: There's another thing you have created and developed called Impropera. I've experienced that with you, and it was absolutely amazing, one of the most liberating, and awe-inspiring, experiences I've ever had. Would you tell us more about Impropera?

Joy: (Another gentle laugh). It's an outcome of that creative process we talked about earlier and it was easy to introduce you to it because you are so wonderfully intelligent and talented. Impropera is a unique impromptu "music in the moment" that I create by evoking themes from thin air, or poetry and words given by an audience. I sit at a piano and sing while instantly creating the new music, the story, if you will, which usually includes an accompaniment as well as words and vocables that I call "opera scat." Most of the time, I do this myself, but other times, I might have a "player" sing or play the piano with me. Sometimes, people will simply pick out their favorite poem or prose and I'll create something from that. I have to admit that Impropera is one of the greatest joys I have in life and I hope to share it with more people in the future. If anyone wants to know more about it or would like to see what other people say about it, they can go to http://www.singbabysing.com/impropera.html.

WCP: Are there any other projects you are working on?

Joy: Yes. Mommy Meditation Music and Vision 47. These will be available shortly.

WCP: One final questions: do you write anything other than music or songs?

Joy: Yes, I've been writing poetry and stories for many years. If anyone would like to read a poem or two, they can follow this link.

And now please allow me to say thank you once again for your kindness in doing this interview and to wish you, your writers and editors great success!