Creativity and partnership

Adapting to change, welcoming otherness

This study explores the main changes gained from Guided Imagery and Music (GIM) therapy as described by former clients. It also explores whether gains are integrated into the clients' lives and if those changes stabilize over periods of time after finishing GIM therapy. Questionnaires were sent to GIM therapists who forwarded them to former GIM clients. Twenty-five former GIM clients returned questionnaires directly to the researcher. Results show that the main gains reported by former clients of GIM therapy are (a) getting more in touch with one's emotions, (b) gaining insights into some problems, (c) spiritual growth, (d) increased relaxation, and (e) discovering new parts of oneself. Results also show that GIM therapy might be helpful for clients with symptoms of anxiety and/or fear, and for clients who want to increase their self-esteem. Changes gained during GIM therapy appear to stabilize over a period of time after finishing GIM therapy. They improved after termination of therapy, especially in the mental and transpersonal areas.

Guided Imagery and Music (GIM) can be considered a specialism in which qualified music therapists may train, along with mental health practitioners from other professional backgrounds including psychotherapists, psychologists, and psychiatrists. For this latter group of practitioners, identifying themselves as music therapists, or implying this when describing GIM as a music therapy method in advertising their services, is controversial. It may indeed even be unlawful in countries where music therapy training and practice are regulated by the state.
 The situation is a complex and inherently confusing one. This is because on the one hand GIM is an acknowledged international model of music therapy. On the other hand, as a specialism, GIM is distinct from music therapy in both training and practice, with GIM practitioners having various professional backgrounds.
 It is proposed that international collaboration and discussion are needed, with recommendations made to foster public confidence based on a clear understanding of who is and is not a qualified music therapist and member of the music therapy profession, and who is qualified to practice what safely and effectively. The article aims to illuminate the issues that may need to be taken into consideration in developing a consensus position.

Introduction The COVID-19 pandemic thrust telehealth practices, education, and clinical training into the professional conversation. However, regulations for telehealth practice are lagging. We sought to assess how music therapy (MT) educators include telehealth training in their curriculum. Method We globally distributed a cross-sectional online survey with 32 questions to MT educators covering four sections: (a) demographic information, (b) Telehealth Music Therapy (TMT) education and training at participants’ institution, (c) educator training/perspectives/perceptions on TMT, (d) resources participants use to teach TMT. We used descriptive statistics and correlation analysis for quantitative data and thematic analysis for qualitative responses. Results Sixty-one music therapy educators responded to the survey. Most respondents (n = 51, 85%) do not require students to practice TMT as part of their training nor offer opportunities for telehealth placements (n = 36, 60%), yet the majority believe TMT should be taught in all programs and therapists should offer accessible services for clients in isolated contexts. Several respondents reported that technology was the largest challenge in teaching TMT. Respondents also noted the complexities of building online relationships, along with balancing a busy curriculum. Finally, culture was highlighted, with differing perceptions and relevancy of TMT across the globe. Discussion While the professional music therapy associations responded quickly with guidance for clinicians during the COVID-19 pandemic, we found that education and training vary between institutions and across countries, which points to the need for TMT to be formally included in music therapy training and education programs.

Goodman, K. D. (201 1 ). therapy and training: From theory to practice. Springfield, IL: Charles C. Thomas. 324 pages. ISBN 978-0-398-08609-1. $69.95Goodman's text represents an ambitious undertaking and will serve as a timely, valuable resource for music therapy educators. With recent advances in science, research, and data collection techniques that have transformed clinical practice, the time is right to examine educational practices in music therapy, thus ensuring the best possible preparation of future generations of clinicians. Goodman's approach consists of examining what students learn in the classroom (i.e., theory, skills, etc.) and considering ways to help students transfer that information to the clinical setting. Overall, she provides a broad overview of music therapy and training, with an impressive amount of detail in certain areas.In the first chapter, Music Therapy Education and Training in the United States, Goodman offers a comprehensive historical review of and in music therapy, including university programs, curricula, and professional organizations as well as guidelines for university program approval and a detailed discussion of levels of professional practice. This information will serve as a helpful guide for the newly-hired assistant professor or a rich resource for anyone wishing to pursue research on music therapy education. The details included here would also play a vital role in the establishment of a new music therapy program at a university or even as part of accreditation reviews (i.e., the Joint Commission on Accreditation of Healthcare Organizations) when questions arise as to the of clinicians. The content reflects a depth of knowledge that can only be gleaned from years of teaching experience and first-hand knowledge of music therapy governing bodies (i.e., American Therapy Association [AMTA], National Association for Schools of [NASM]), as well as the peculiarities of academia.The chapter provides a clear presentation of factual information with little analysis or interpretation. Questions that appear to remain unanswered in this chapter include: which universities offer both undergraduate and graduate music therapy education? What are the philosophical positions of these programs? Additionally, the chapter does not explore the status of the educational competencies for the doctoral degree and gives no information on the Registered Therapist credential.Chapter 2, Competency-Based Education and Training, details the development of professional music therapy competencies and offers considerations for how to address the competencies in education. Goodman clarifies the difference between education (i.e., the initial introduction of skills and knowledge in the classroom) and training (i.e., application of skills and knowledge in the clinical realm) and places a strong emphasis on the value of the competencies and their relevance to clinical practice, specifically for music foundations, clinical foundations, and music therapy. Furthermore, Goodman draws in and reflects upon research that has been done on the competencies; an effort that very much strengthens and deepens the material. Once again, this chapter would be of significant benefit to any educator looking to establish a music therapy program or revise a curriculum.Chapter 3, Preprofessional Clinical Training, presents an overview of practicum and internship, with discussion of appropriate degrees of structure, support, and supervision in both areas. Goodman explores additional competencies such as client assessment, treatment planning, therapy implementation, therapy evaluation, documentation, termination/ discharge planning, professional ethics, interdisciplinary collaboration, supervision, and administration. She integrates findings of previous research on the identified competencies when this information is available. …

In this paper, I illustrate how the Field of Play model, developed by Carolyn Kenny (1989) as a guide for the theory and practice of music therapy, can also serve as a model for educational practice. Descriptions of each of the fields that comprise this model - aesthetic, musical space, field of play, ritual, a particular state of consciousness, power and creative process - provide a springboard for reflecting on my role as a music therapy educator in sowing a Field of Play with my students. I also discuss some of the theoretical and philosophical ideas that inform my work. I conclude with some ‘food’ for thought, including a list of questions for reflection aimed at inspiring you, the reader, to begin, or continue, reflecting on the assumptions, theories and values that inform your work as music therapy clinician, educator and/or researcher.

ABSTRACT: Historical research contributes a perspective on the evolution of the music therapy profession and creates an opportunity for reflection. The development of music therapy practice and formal education in Iowa have a rich and interesting history dating before the formation of the National Association for Music Therapy (NAMT) in 1950. As part of the Iowa Lecture Series at the 2006 AMTA Mid-western Regional Conference, this paper reflects on the origins and development of music therapy practice and education in the state of Iowa. Historical research contributes a perspective on the evolution of the profession and creates reflection. Reflection provides an understanding of past decisions, directions, trends, and theories. Reflection also informs the future (K. Gfeller, personal communication, May 9, 2006). Historical research puts together the stories of individuals, places, cultures, and time. These stories on their own may only be interesting to those involved, but by placing the smaller stories into the context of the profession, a foundation of understanding is built. With a strong foundation, current and future generations of music therapists have a connection with their past that engages them in meaning for the future. Presented as part of the Iowa Lecture Series at the 2006 AMTA Midwestern Regional Conference, this paper reflects on the origins and development of music therapy practice and education in the state of Iowa and thereby contributes to the past, present, and future narrative of the music therapy profession. The development of music therapy practice and formal education in Iowa have a rich and interesting history dating before the formation of the National Association for Music Therapy (NAMT) in 1950. The first substantial accounts of music therapy clinical work occurred in 1949 at the Cherokee State Hospital, a state facility that provided treatment for individuals with mental illness (Gingrich, 1949). Later, the growth of clinical music therapy programs at the Knoxville Iowa Veterans Hospital and at the University of Iowa hospital provided substantial evidence that music therapy practice existed in some of the most prominent health care facilities in the state. The first attempt to educate musicians to work as therapists began in 1949 at the Cherokee State Hospital. This short-lived program offered musically gifted employees of the Iowa state hospital system a chance to learn music therapy techniques to use with clients who had mental illness (Gingrich, 1949). In 1976, The University of Iowa created a music therapy training program whose evolution provides a historical reflection of music therapy education in the United States. The Early Years In the late 1940s a typical psychiatric facility would have been overcrowded, housing in excess of 1000 clients, and would have provided limited treatment to their patients. The four largest mental hospitals in Iowa at this time were no exception; they were overcrowded and only offered treatment to select clients. Located in Cherokee, Mount Pleasant, Clarinda, and Independence, these facilities were constructed using the Kirkbride model, a style of construction intended specifically for psychiatric facilities (http://www.kirkbridebuildings.com/about/index.html). Named after Thomas Storey Kirkbride, a 19th century mental health reformer, these structures were massive multiple story buildings designed to house hundreds (and later thousands) of patients in an efficient manner, by segregating patients according to gender, race, diagnosis, and severity of disorder. Originally, treatment was the goal for all clients, but as the 20th century drew near and funding became scarce, these enormous hospitals largely provided custodial care. Even by the mid-twentieth-century, therapy was in most instances limited to patients with the best prognosis for recovery. Music Therapy Training at Mount Pleasant State Hospital The September 1949 issue of the Hospital Music Newsletter contained a brief description of a unique music therapy aide training program offered at Mount Pleasant State Hospital (Gingrich, 1949). …

Η πανδημία COVID-19 είχε επιπτώσεις σε όλο τον κόσμο, επηρεάζοντας πολλές πτυχές της ζωής, συμπεριλαμβανομένης της ψυχικής υγείας και των μουσικοθεραπευτικών πρακτικών. Λόγω της σχετικά πρόσφατης εμφάνισης της COVID-19, είναι περιορισμένες οι μελέτες που διερευνούν τον αντίκτυπό της στην μουσικοθεραπευτική πρακτική. Η παρούσα μελέτη έχει στόχο να διερευνήσει τις εμπειρίες τριών μουσικοθεραπευτών που εργάζονταν στο Ηνωμένο Βασίλειο σε πλαίσια ψυχικής υγείας ενηλίκων κατά τη διάρκεια αυτής της περιόδου, ώστε να παρέχει μία εις βάθος κατανόηση του πώς επηρεάστηκαν τόσο οι ίδιοι όσο και οι θεραπευτικές τους προσεγγίσεις. Η ερμηνευτική φαινομενολογική ανάλυση (IPA) χρησιμοποιήθηκε ως μεθοδολογία της μελέτης, αποτελώντας τη βάση της μεθόδου. Τρεις μουσικοθεραπευτές συμμετείχαν σε ημι-δομημένες συνεντεύξεις. Από την ανάλυση των δεδομένων προέκυψαν έξι κοινές θεματικές κατηγορίες: «Αρχικά οι μουσικοθεραπευτές βίωσαν τον αντίκτυπο στη δική τους ψυχική υγεία», «Οι μουσικοθεραπευτές είναι ευπροσάρμοστοι», «Η διαδικτυακή μουσικοθεραπεία είναι ουσιώδης», «Μπορεί να υπάρχουν εμπόδια για την παροχή διαδικτυακών συνεδριών στους χρήστες υπηρεσιών», «Οι θέσεις των μουσικοθεραπευτών ως προς την αποδοχή περισσότερου φόρτου εργασίας διαφέρουν» και «Η μουσικοθεραπεία είναι πιο σχετική τώρα από ποτέ». Αυτές οι θεματικές αποδίδουν τις ποικίλες προκλήσεις και ευκαιρίες που βίωσαν οι μουσικοθεραπευτές, που μπορεί να έχουν επιπτώσεις για την άσκηση της μουσικοθεραπείας κατά τη διάρκεια αυτής της πανδημίας, για την μουσικοθεραπευτική άσκηση γενικότερα αλλά και για την περίπτωση μελλοντικών πανδημιών. Με αυξημένες τις προκλήσεις της ψυχικής υγείας του ενήλικου πληθυσμού, η παροχή μουσικοθεραπείας σε πλαίσια ψυχικής υγείας ενηλίκων μπορεί να παίξει σημαντικό ρόλο.

This report discusses the creation of a COVID-19 Guided Imagery and Music (GIM) self-help resource available on YouTube in nine different languages. GIM, which is a specialist area of practice in music therapy, is best understood as a spectrum of methods. The COVID self-help resource is an example of ‘directed music imaging’, which is an outcome-specific GIM method where a talk-over or imagery script is spoken aloud whilst the music is playing. The resource is intended both to support the body’s own healing process in patients with mild to moderate disease and to provide psychological and emotional support. The suitability of the music used, Pärt’s Spiegel im Spiegel, is discussed, as is the talk-over and its relationship with the music. Special concerns that needed to be addressed in creating a generic online GIM resource for COVID patients are also discussed.

The article focuses on a qualitative music psychotherapy research project at Set. Hans Hospital in Denmark. Nine patients participated in a group music therapy setting over six months. The article describes the effect of music therapy on the patients' level of functioning and the patients' own evaluation of the music therapy. Data sources included the GAF (DSM axis 5), a self-administered questionnaire and semi-structured interviews. The music therapy model used is a receptive approach using music and imagery inspired by GIM. The model used is based on patients' imagery during selected, primarily classical, music specially designed for an inpatient setting. Results: The GAF investigation showed a positive effect of 7.2% in a meridian score, and the interview and questionnaires pointed out which parts of the therapy the patients found most supportive. The study indicates that the music therapy group was a good support for the patients, and the identified results suggest the need for investigations and empirical studies within this area. The patients benefited from the structured form, and they found the music part of the therapy helpful, both emotionally and structurally. It can be concluded that even if the study includes only a small number of participants, the music therapy method described here as modified GIM, may be a suitable treatment for schizotypical and schizophrenic patients in long-term therapy, with careful selection of musical pieces. The patients' own comments about the music therapy group show that eight out of nine patients were satisfied with the therapy and felt themselves supported. This was also evident in a decidedly stable attendanceof 98 %.

ABSTRACT: This article reports on the Symposium of Experiential Learning in Music Therapy, the second symposium of the World Federation of Music Therapy (WFMT) Commission on Education, Training, and Accreditation, held as part of the 10th World Congress of Music Therapy in Oxford, England, in July, 2002. The symposium focused on approaches, research, and issues surrounding experiential learning in music therapy education. Thirty-four music therapy educators and supervisors from 12 countries participated in the symposium. This paper summarizes the 12 presentations as well as the dialogue and debate that followed. The article concludes with a summary of the issues related to experiential learning that were identified. The Symposium on Experiential Learning in Music Therapy, the second symposium of the World Federation of Music Therapy (WFMT) Commission on Education, Training, and Accreditation, was held as part of the 10th World Congress of Music Therapy in Oxford, England, in July, 2002. The topic of experiential learning was selected as an outgrowth of the first symposium of the same WFMT commission, held in 1999 during the 9th World Congress of Music Therapy in Washington, DC, where many issues about experiential learning emerged (Wheeler & Grocke, 2001). The program included presentations on various aspects of experiential learning and was organized around four themes: broad views, approaches, research, and issues. Group discussion followed each set of presentations. Thirty-four music therapy educators and supervisors from 12 countries participated in the symposium. The presenters included Barbara Wheeler (USA); Lia Rejane Barcellos (Brazil), Rachel Darnley-Smith (England), Cheryl Dileo (USA), Denise Grocke (Australia), Nigel Hartley (England), Connie Isenberg-Grzeda (Canada), Mechtild Jahn-Langenberg (Germany), Kathleen Murphy (USA), lnge Nygaard Pedersen (Denmark), Benedikte Scheiby (USA), Chava Sekeles (Israel), and Elaine Streeter (England). Barbara Wheeler, chair, opened the symposium by providing a context for the day's program. She noted that this was the second symposium sponsored by the WFMT Commission on Education, Training, and Accreditation. The First Education Symposium, held in 1999, led to the development of WFMT Guidelines for Music Therapy Education and Training. Experiential learning was chosen as the topic for this second symposium as it is an important issue in music therapy education and had received the most spirited discussion at the first symposium. This symposium also recognized the importance of experiential learning in music therapy and the many unresolved issues that surround it. While Bruscia's (1998) definition of experiential learning2 was provided as a reference, the term was used broadly to include all the various models and approaches that were to be presented. Broad Views This section opened with Self-Experiencing of the Music Therapy Student, presented by Chava Sekeles, who discussed her rationale for including self-experiences as a component of music therapy education. She believes that self-experiences should be used to help students develop careful listening and empathy. They also help students understand that their imprinted musical memories will impact their work as a music therapist. Sekeles suggested that self-experiences should be combined with other forms of therapy, experiential training, and education. These include: (a) individual and/or group therapy, in class or in a private setting; (b) formal and nonformal music studies; (c) peer activities outside the official program-attending concerts, improvisation groups; (d) studies of specific music therapy models through simulation and role plays; (e) the interrelation between music and words, individual and group observations, and supervised internship; (f) nonfrontal seminars; (g) workshops-music, self-experiences, vocal improvisation; (h) movement for self expression; (i) visits to therapeutic settings; and (j) giving concerts in therapeutic settings. …

The purpose of this literature-based study was to assemble the present uses of music and music therapy during pregnancy to decrease maternal emotional and physiological stress and anxiety. The assembling of extant literature in this study intends to serve the health profession by 1) providing a clear explanation of the effects of untreated maternal stress and anxiety on fetal brain and physical development, 2) demonstrate that music and music therapy interventions are a powerful, safe and affordable intervention that can be recommended to all pregnant women, 3) elevate this common yet usually unaddressed experience of prenatal stress and anxiety to the forefront of discussion among music therapists and 4) inspire more music therapists to specialize in treating this delicate population. Based on those findings it intended to make recommendations for informed strategic interventions. Several studies have demonstrated the serious, negative, short and long term health effects of untreated prenatal stress, anxiety and depression on maternal and fetal, infant and child health. Other studies have demonstrated serious risks of traditional pharmaceutical interventions on both short and long term health of fetus, infant and child development. There is a dearth of research on non-traditional herbal interventions. Present medical recommendations are to avoid administering pharmaceuticals during pregnancy except under extreme and life threatening situations. The rationale for this study was to assemble successful uses of music and music therapy interventions which seemingly pose no risk to these two vulnerable and inextricably linked populations. Several thorough studies have demonstrated in the short term that listening to specific selections of recorded music positively affect both maternal stress hormone levels and individual reports of the experience of stress and anxiety. Sundry applications of music therapy including but not limited to guided imagery and music (GIM), individual and group clinical music therapy and medical music resonance therapy have also been researched. In some studies, experiment groups were large enough and methods were thorough enough to demonstrate effectiveness. In smaller studies, findings give cause for an optimistic continuation of further research. The results of this literature based study suggest that music listening and music therapy are useful tools when administered alone or when integrated with other interventions for the treatment of prenatal stress and anxiety. It also emerged in the literature that the therapeutic relationship between patient and music therapist is a crucial ingredient to the desired long term positive therapeutic effects.

Journal Article A Survey of Online Courses in Music Therapy Get access Victoria P. Vega, Victoria P. Vega Loyola University New Orleans Search for other works by this author on: Oxford Academic PubMed Google Scholar Douglas Keith Douglas Keith Georgia College and State University Search for other works by this author on: Oxford Academic PubMed Google Scholar Music Therapy Perspectives, Volume 30, Issue 2, 2012, Pages 176–182, https://doi.org/10.1093/mtp/30.2.176 Published: 01 November 2012

Thirty individual Guided Imagery and Music (GIM) therapies have been evaluated using the Symptom Check List 90 (SCL–90), The Inventory of Interpersonal Problems (IIP) and the Sense of Coherence (SOC) scale. The application of normative Swedish data to the pretreatment SCL–90 ratings produced two distinct subpopulations, a dysfunctional and a functional group. Apart from high symptom scores, the dysfunctional group had a high proportion of psychiatric complaints, whereas the functional group mostly consisted of clients coming for self–actualization, interpersonal problems and crisis reactions. Indications of clinical improvement were found in the movement of six often persons from dysfunctional to functional status according to the SCL–90 scores. The functional group had effect sizes mainly in a low to moderate range. However, in contrast to the dysfunctional group, they showed improvements in subscales of the SCL–90 and IIP that are generally reported to be hard to change through psychotherapy. In the SOC, both functional and dysfunctional groups showed moderate beneficial effects in the Manageability subscale, interpreted as a reflection of increased imagined competence. Keywords: Guided Imagery and Music (GIM), Psychotherapy outcome, Music Therapy, Creative Arts Therapies, Symbolization.

Hibben, Julie (1999). Inside Music Therapy: Client Experiences , Gilsum: NH: Barcelona Publishers. 305 pages. ISBN 1-891278-08-8. $28.00 Get access Hibben Julie ( 1999 ). Inside Music Therapy: Client Experiences , Gilsum: NH : Barcelona Publishers . 305 pages. ISBN 1-891278-08-8 . $28.00 . Lillian Eyre, M.M., MTA Lillian Eyre, M.M., MTA Montreal, Quebec, Canada Search for other works by this author on: Oxford Academic PubMed Google Scholar Music Therapy Perspectives, Volume 22, Issue 2, 2004, Pages 132–133, https://doi.org/10.1093/mtp/22.2.132 Published: 01 November 2004