Abstract
Music therapy scholars have suggested that verbal processing is widely integrated into music therapy practice, though specific implementation varies based on the therapeutic approach and the clients’ level of functioning. Results from music therapy studies have suggested that clients find verbal processing both important and useful, yet the development of verbal processing skills can be difficult for music therapists and music therapy students. Given the complexity of the skills needed, inclusion of a model or framework may help focus and organize skill development. One model that may have wide utility among music therapy practice is the microskills model (microcounseling). Microcounseling is built upon ethical and cultural competence, addresses skills in a hierarchical manner, and can be combined with a number of theoretical approaches. Research shows that this model has been successfully translated into 21 languages, used in a range of helping professions, and taught in both traditional and self-instruction formats. Perhaps most importantly, the model initially focuses on skills needed by all music therapists, regardless of theoretical orientation, and then progresses to skills needed to effectively facilitate common music therapy interventions like song discussion. Combining this model with other elements of music therapy education may better promote skill development and guide music therapists in skill usage.
Highlights
Nolan (2005) defined verbal processing in music therapy as the “talking that facilitates the therapeutic process during, and in response to, music making or music listening” (p. 18)
Communication is a fundamental component of music therapy practice, and verbal processing can be an effective tool to facilitate communication with clients, parents, and colleagues
Students and professionals have expressed a desire for additional training in verbal processing skills, and scholars have called for inclusion of basic counseling skills training in music therapy education
Summary
Nolan (2005) defined verbal processing in music therapy as the “talking that facilitates the therapeutic process during, and in response to, music making or music listening” (p. 18). These skills have been used to facilitate verbal processing of thoughts, behaviors, and emotions (Amir, 1999; Gardstrom, 2001; Grocke & Wigram, 2007; Linblad, 2016). In music in therapy models, therapists place equal importance on musical and verbal interventions (Amir, 1999) Therapists practicing from this perspective use music interventions to explore and discuss an individual’s extra-musical experiences (Gardstrom, 2001). Verbal processing may promote increased awareness of the present moment (Lindblad, 2016) or facilitate psychoeducation (Silverman, 2009) It can help the music therapist determine what learning and/or understanding has occurred during group exercises (Dvorak, 2016) and may play an important role in communicating therapeutic progress to parents and other professionals (Baek, 2007). Guidelines for the use of verbal processing in terms of timing, indications, and considerations do appear in the music therapy literature, but they too are limited (Amir, 1999). Nolan (2005) and Amir (1999) discussed the use of specific elements or techniques like silence within verbal processing. Gardstrom and Hiller (2010) addressed other considerations like the use of probes and decisions related to music delivery (live vs. recorded music, playing the music more than once, etc.) in their writing regarding song discussion procedures. Grocke and Wigram (2007) provided procedural instructions for song discussion as well as strategies for responding to clients. Dvorak (2016) provided a conceptual framework for lyric analysis to assist music therapy students and beginning clinicians in planning, implementing, and evaluating lyric analysis interventions
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