Music therapy works…but how do music therapists assess it? Experiences from practitioners.

The National Association of Music Therapy (NAMT) was formed by individuals whose contributions to the Association remain largely unknown. Dr Erwin H. Schneider (17 February 1920 to 28 September 1985) was one of those individuals. The purpose of this study was to trace the career of Dr Schneider as a music educator and music therapist, and explore his impact on NAMT and the profession of music therapy as committee member, editor of Bulletin of the National Association for Music Therapy and Music Therapy: Book of Proceedings of the National Association for Music Therapy and as president of NAMT from 1963-65. Biographical information was drawn from primary and secondary sources as well as interviews with individuals who knew Schneider. Data were assessed for credibility and accuracy, and organised both chronologically and topically. Finally, themes and major accomplishments of his life were identified. Findings show the impact that Schneider had on the fields of both music therapy and music education. As president, he steered NAMT away from potential bankruptcy and towards the creation of the Journal of Music Therapy. As a teacher, he educated hundreds of music therapists and music educators, many of whom would become educators themselves. By studying past pioneers of NAMT such as Schneider, music therapists can gain clarity as to how the Association and the field of music therapy became what it is today.

This article describes the development of a music therapy assessment form for use with hospitalized children. Assessment is an important aspect of the music therapy process because it helps the therapist to identify patient needs, communicates to other parties the rationale for music therapy treatment, and guides the choice of objectives and the on-going evaluation of treatment benefits. The steps taken to develop the assessment tool are described, including determining the needs of the target population, examining existing assessment tools used by music therapy professionals, determining format and content, piloting the form with patients and revising initial drafts based on feedback, and determining the validity and reliability of the form.

The purpose of this study was to systematically examine the levels of evidence from articles published in the Journal of Music Therapy (JMT) from 2000 – 2009 using the classification taxonomy established by Melnyk and Fineout-Overholt (2005). Most JMT studies were Level VI (single descriptive or qualitative study, n = 83, 45.36%) or Level II (randomized & controlled trial, n = 32, 17.49%). The populations most studied were other (n = 31, 16.94%), nondisabled persons (n = 24, 13.12%), medical/surgical (n = 16, 8.74%), Alzheimer’s/dementia (n = 12, 6.56%), and school-age populations (n = 12, 6.56%). As many systematic reviews only include Level II evidence, there is a need for additional randomized controlled trials. The variety of research designs and clinical populations are a testament to the breadth of JMT and the profession. Limitations, implications, and suggestions for future research are provided.

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

This thesis poses three questions about the work of the music therapist and the possibilities for future research in a children's hospital context. These questions are addressed through the practical implementation of clinical studies, the soliciting of opinion of expert colleagues and a review of relevant clinical and research literature from music therapy and wider publications. Key issues relating to clinical research including the philosophical foundation of inquiry and ethical aspects of research with children are considered throughout the thesis in discussion, critical debate and practical application. Music therapy with hospitalised children is at a development stage in Australia. This thesis proposes and demonstrates ways by which the development of research may be undertaken. The three main questions guiding the thesis, and the consideration provided are: 1. What are the parameters of the existing research in paediatric music therapy? A critical overview of current music therapy research in paediatrics is presented to answer this question. A small number of experimental studies have been documented. Outcomes of these studies provide support for music therapy's role in meeting clinical goals; either at the bedside, in private sessions or during treatment procedures with hospitalised children. These studies have shown efficacy in the use of music therapy to assist in relaxation, increasing coping and reducing anxiety for paediatric patients. 2. What is the philosophical basis for further research endeavours in paediatric music therapy? The discussion and outcomes of the thesis argue that the post-positivist philosophical frame is the most congruent with the music therapy research and practice writings reviewed. Music therapy research with children in hospital, whether undertaken using a quantitative or qualitative method, has reflected the post-positivistic paradigm characteristics of use of natural setting, the attainment of outcomes that can be generalised, and the use of either experimental research or qualitative methods. Demands for efficacy and accountability within the medical context are likely to remain key directives for the types of research activity supported and the types of research information valued. 3. What are the main considerations in developing future research projects in paediatric music therapy? Three studies are presented in response to this question. In the first study, a Delphi method investigation synthesises the opinion of experts in the field of music therapy in Australia as well as the fields of medicine and allied health at The University of Queensland. The top five items of importance for the total group of expert respondents in the Delphi reported in the thesis are that ethical procedures are followed, children1s responses are included, results obtained are valid and reliable, the research methods are suitable and qualitative methods are used. Considerations arising from the responses of these experts are then used to inform and support the development of two further research studies undertake n at a paediatric hospital. A pilot study of the effects of music therapy with children newly diagnosed with cancer, and a further grounded theory study with children following car accidents receiving music therapy in the Statewide Paediatric Rehabilitation Service (SPRS) at the hospital, are presented. The findings of the oncology study showed that the measures used were appropriate, the research was minimally intrusive and the patients and their families were able to follow the protocol. Some further attention to staff participation is needed for the continuation of the study beyond pilot stage. The qualitative study in the SPRS uncovered eight techniques used consistently by the therapist in her sessions with the children. These techniques are cueing, synchrony, choice, orientation, preparation, feedback, incorporation and humour. As music therapy practice in the children's hospital context develops and expands further, it is intended the findings of this thesis serve as a platform for research endeavours to further refine knowledge about this field.

Welcome to this special feature of Approaches: An Interdisciplinary Journal of Music Therapy. Edited by Giorgos Tsiris and Enrico Ceccato, this edition is inspired by the 1st Mediterranean Music Therapy Meeting, which took place in Padua, Italy, on 22nd September 2018. I want to congratulate and thank the organising team of this event, Scuola di Musicoterapia Giovanni Ferrari de Padova, with the patronage of the Italian Association of Professional Music Therapists (AIM) and the Italian Confederation of Associations and Music Therapy Schools (CONFIAM), for their initiative and efforts to create a space for music therapy professionals from different Mediterranean countries to meet, share and exchange experiences. The title of the meeting, ‘Dialogue on Music Therapy Interventions for Dementia and End-Of-Life Care: Voices from Beyond the Sea’ illustrates clearly the focus of the event. The programme incorporated a beautiful balance of theoretical presentations, workshops and music performances. It was certainly a unique opportunity for me to participate in this meeting as an expert in music therapy with PWD and as President of the World Federation of Music Therapy (WFMT).
 I have worked as a clinician, teacher, and researcher within the field of music therapy for over 30 years, and have had the opportunity to be a part of, and witness, the development of music therapy in different parts of the world. These experiences have taught me to celebrate two things. Firstly, that it is important to praise the many layers of diversity that exist among all of us, such as the various theories and approaches to research, cultural intricacies, training backgrounds, therapeutic methodologies, and the many languages through which we express ourselves. To embrace all these layers of diversity requires openness and an ability to listen, connect, and work together. Secondly, it is important to celebrate the oneness that we have together. Many commonalities exist across the eight regions of the globe encompassed by the WFMT; many more than we often perceive.
 The WFMT was established in 1985 by a team of dynamic, pioneering music therapists to strengthen international links and promote the profession of music therapy globally. The awareness that the establishment and recognition of the music therapy profession is varied across countries calls for a delicate balance between global and local aspects of professional development. To this end, the growth, organisation and professionalisation of music therapy continues across the world. At the various conferences, meetings and symposia held to further our profession, practice examples are shared and we can all learn from one another. Subsequently, topics related to training, current situation, future prospects and viability for professional regulation are addressed in many countries from different perspectives.
 The Mediterranean countries fall into two of the WFMT regions: Europe and the Eastern Mediterranean. Each region has a dedicated member of the WFMT Council, a Regional Liaison, who establishes contact with representatives from professional associations or individual music therapists in relevant countries, and who presents regular reports of local news via the WFMT website and social media. The WFMT members are a mixture of professional bodies, music therapists, students and allied organisations from around the world. In Europe, many of the Southern countries bordering the Mediterranean have qualified, practising music therapists with considerable years of experience and professional associations who are actively contacting and communicating with their governmental institutions to promote and/or improve the recognition process of music therapy. Both the European Music Therapy Confederation (EMTC) and the WFMT play a part in promoting collaboration and exchange between therapists, helping to equip them for this task.
 The Eastern Mediterranean Region of the WFMT extends to the continents of Africa and Western Asia, containing countries set within diverse cultural and political contexts, and where our profession is, in many cases, barely represented. We hear of widely differing attitudes towards the recognition of the psychosocial needs of individuals within healthcare systems, and such diversity is also reflected in the music therapy profession. This presents itself at different stages of development in each of the countries in regard to: number of professional music therapists, training courses, professional associations, number and type of facilities which offer music therapy services, populations served by music therapists, recognition of the profession, research activity/production and music therapy-specific publications. These variations highlight another issue: the challenge of diversity, tensions and contradictions in the field of music therapy. However, these challenges can also be looked as an opportunity for current as well as future music therapists in these countries. Certainly, the field is in the very pioneering stages in this huge region, with very few professional music therapists. However, the hard and continuous work of those who are there contributes to raising awareness about the possibilities and benefits music offers to people with specific needs and helps to create job opportunities. On the other hand, the current challenges and struggles music therapists face in these countries, where the profession is in its infancy, are the overall lack of awareness of what music therapy is, sustainability of practice, and having no standardised guidelines to support practice. It is enlightening for the WFMT to learn from those stories in order to help promote the field in the best way possible in the Eastern Mediterranean, in liaison with national and other international associations and professional bodies.
 Events such as the 1st Mediterranean Music Therapy Meeting are always enriching and motivating, since they foster collaboration and welcome dialogue. In addition, it is an opportunity to meet professionals from other countries and learn about their work while highlighting some common elements and patterns. Meetings, working group discussions, coffee breaks, walks and dinners – all have offered opportunities for exchange, debate, and mutual support. The international professional group who gathered on this occasion certainly highlighted the diverse landscape of music therapy across cultures; bringing to the fore varied histories and paths of professional development, as well as financial and political priorities and needs. I hope this is the beginning of many more in this region of the world, and that they allow diverse voices to be heard. Research, theory development and dialogue are essential components for maintaining a reflexive stance while revisiting music therapy’s histories and envisioning its future development in relation to the changing needs and resources of society.
 As President of the WFMT, attending and presenting at these types of events, it is a great opportunity to talk about the WFMT and to share the work of the Council and of our members. This reaffirms why the WFMT exists, and what it can offer to assist all the music therapy professionals and pioneers who work persistently to advance the development and growth of the profession in their own countries. When we work together, we can accomplish much. Thank you for hosting an amazing educational, networking, cultural and social event! It was an honour to represent the WFMT and to support the continued efforts to foster communication between therapists and countries within the Mediterranean region.

Societal changes, economic challenges, and multiple global crises require reorienting and repositioning in relation to ethical questions. The need to deal and cope with these challenging circumstances also applies to music therapists and the field of music therapy. To address such ethical issues in music therapy and to provide a forum for exchange and discussion, we started organising online meetings open for music therapists and music therapy students in June 2020. Each meeting is dedicated to a topic or question illustrated by case vignettes. In some cases, experts with specialised knowledge in music therapy or related fields are also invited as discussants to speak on specific topics. So far, the following topics have been covered: (1) ethical issues in times of the pandemic, (2) ethical aspects of listening, (3) facts and opinions: What to do when "conspiracy theories" emerge in music therapy sessions?, (4) the virtuous music therapist, (5) decision-making models, (6) confidentiality, (7) music therapy with people affected by migration or those forced to flee, (8) dealing with the history of colonialism in songs in music therapy, (9) the art of confidence in times of crisis, and (10) ethical implications of the use of artificial intelligence (AI) in music therapy. In this report, we describe the advantages and challenges of this new online format as a case example for developing an open space for ethical discourse. Connecting ethical theories to questions arising from clinical work in music therapy is at the core of this approach. We consider this new format an essential add-on for teaching ethics in music therapy and for continued professional development.

This study examined Israeli therapists' attitudes toward the valence of emotions expressed by clients in music therapy (MT), an issue discussed in-depth during supervision that has never been studied empirically. In the first study, 22 MT students were asked to recall a meaningful therapeutic session, describe the emotions that were part of this session, and rate their respective contribution to the therapeutic process. The prevalence of negative emotions almost doubled that of the positive emotions. In the second study, 21 music therapists (11 students and 10 experienced music therapists) were asked to listen to musical improvisations, expressing different emotions, and were told that the improvisations were played by a different client. After identifying the emotions, participants were asked to rate the chances that the client’s therapy would be meaningful. Sadness was reported by the students as contributing significantly more to a meaningful therapy than happiness. In the third study, 43 clinical psychologists, 22 music therapists, and 28 medical clowns underwent a similar procedure. In general, medical clowns evaluated happiness as the most significant emotion for therapy, while music therapists and clinical psychologists rated sadness as being the most significant emotion. The findings of the three studies which require replication in other countries suggest that Israeli music therapists (in particular students) tend to view negative emotions as contributing more than positive emotions to a meaningful therapy. An integration of recent developments in the field of positive psychology to the field of MT might contribute and advance the work of music therapists and other therapeutic professions.

Welcome to this new issue of Approaches. Although published with some delay, we hope that this issue will stimulate dialogue and offer new perspectives to practice, theory and research. Some articles were included in Approaches’ First View section one or two years ago but their content remains relevant to contemporary developments in the music therapy field. In her article, Saville focuses on outcome measurement with specific reference to the ‘East Kent Outcomes System’ (EKOS). The application of EKOS, as a means of identifying and tracking outcomes of participation in music therapy, is illustrated through a case example with an adult with intellectual disability. Saville’s work adds to the expanding interest in outcome measurement in music therapy (Spiro, Tsiris & Cripps 2018a, 2018b). Similarly, Pasiali, Schoolmeesters and Engen present a detailed analysis of measures of resilience. They outline various ways music therapists may look into assessing resilience and use the results as a way to inform their clinical practice. Silverman and Baker turn the spotlight on the notion of flow. They explore its meanings and its potential as a possible mechanism of change that can explain research outcomes in music therapy. On the other hand, Neudofer presents a metatheoretical perspective of music therapy through the lens of Baier’s anthropological theory of spirituality. Through patient narratives emerging from an action research study, she explores how patients with cancer identify their unique stories and find a sense of identity and meaning. Based on an ethnographic study in two homes for the elderly, the final article offers an experiential description of tango during the interwar period in Greece. Koufou explores people’s experiences of tango from a socio-cultural point of view, weaves oral history snippets together, and presents the potential impact of tango on the current sense of identity and wellbeing of the participants. In addition to these five articles, in this issue you will find an interview with Barbara Wheeler, a prominent figure and author of multiple music therapy textbooks. Interviewed by Daphne Rickson, Wheeler reflects on music therapy research, using the publication of the third edition of Music Therapy Research as a springboard. Some of the historical perspectives offered in Wheeler’s interview resonate with those in Suzanne Hanser’s report. Through the account of the establishment and development of music therapy at Berklee College of Music in the USA over the past 20 years, Hanser outlines some broader issues pertaining to the contemporary training of music therapists (see also: Coombes & Etmektsoglou 2017). This journal issue also includes seven book reviews, nine conference reports, as well as a tribute to Mary Priestley, who died on 11th June 2017. Since the last journal issue in 2017, the team of Approaches has been busy improving the journal’s infrastructure and streamlining its reviewing and publication procedures. This work that happens behind the scenes is essential for the sustainability of the journal as we are gradually entering the second decade of its life. Among other developments, a five-year service period has been introduced for all Advisory Editorial Board members. As such, some longstanding members stepped down and some new members joined the team. With this opportunity we would like to warmly thank Catherine Carr, Theo Dimitriadis, Ioanna Etmektsoglou, Panagiotis Kabilis, Panagiotis Kanellopoulos and Evangelia Papanikolaou for their service over the past years. At the same time, we have welcomed Bolette Daniels Beck, Kjetil Hjørnevik and Mike Silverman. The voluntary work of all team members has played, and continues to play, a decisive role in ensuring the quality of the publications appearing in Approaches. With the ultimate goal of advancing music therapy knowledge and practice, our editorial team has collaborated with over 400 contributing authors and 100 reviewers to date. A full list of their names has been made available online: https://approaches.gr/editorial-board In closing, we warmly thank the sponsors of Approaches and we are pleased to announce two new sponsors: ‘echo’ Music Psychotherapy Center, and Music Therapy New Zealand. The support of all sponsors provides the essential means to continue our work and maintain Approaches as an open-access journal. References Coombes, E., & Etmektsoglou, I. (2017). Glimpses into the challenges and opportunities of a new training programme: The MA Music Therapy programme at the University of South Wales. Approaches: An Interdisciplinary Journal of Music Therapy, 9(1), 120-127. Spiro, N., Tsiris, G., & Cripps, C. (2018a). A systematic review of outcome measures in music therapy. Music Therapy Perspectives, 36(1), 67-78. Spiro, N., Tsiris, G., & Cripps, C. (2018b). “Sounds good, but… what is it?” An introduction to outcome measurement from a music therapy perspective. Approaches: An Interdisciplinary Journal of Music Therapy, First View (Advance online publication), 1-19. Suggested citation:Tsiris, G., & Pasiali, V. (2018). Behind the scenes. Approaches: An Interdisciplinary Journal of Music Therapy, 10(1), 5-6.

Background: This qualitative study explores the considerations of music therapists and musicians who provide environmental music therapy (EMT) and environmental music (EM) in hospital settings. EMT is an approach within the field of music therapy, utilized by trained, certified professionals who apply live music to address the physical, psychological, and cultural needs of patients, caregivers, and staff in the hospital environment. EM is defined as live music performed by musicians in public areas of hospitals typically on a volunteer basis. Both models might appear to be similar in actual presentation. However, the underlying differences warrant discussion.Objective: This study explores the similarities and differences between musicians and music therapists’ experiences of playing music within the sound environment of hospitals, and the unique considerations and impact their music conditions may have upon patients, and caregivers.Method: Interviews were conducted with 6 musicians providing EM and 5 music therapists providing EMT. Data were analyzed using a modified grounded theory approach.Results: Results suggest that music therapists and musicians consider their contributions to be beneficial to the hospital environment and to the emotional states of individuals, as well. Findings indicate that music therapists’ considerations are more goal-directed. Of the 11 participants- 5 were music therapists from urban hospital settings and 6 were performing musicians who were involved with community music programs. All of the interviewees expressed unique understanding of music’s value in medical settings, which can often be associated with anxiety and stress. Discussion includes considerations for collaborations between music therapists and musicians in the hospital setting inclusive of administrative understanding of the essential differences between music therapists and musicians. Keywords: music and medicine, music and health, environmental music, Environmental music therapy, community music, attunement, deep listening. multilingual abstract | mmd.iammonline.com

ABSTRACT: Music therapy can be a vocally demanding profession. The purpose of this article is to raise awareness within our profession of the physiological, environmental, and personal factors that may lead to vocal strain or abuse. In an extensive literature review and database search, no articles were found on the prevalence of vocal health issues among music therapists. However, it is logical that with the daily vocal demands faced by music therapists, they may be at risk for vocal problems. This article identifies some of the environmental and habitual factors that influence vocal health. Parallels are drawn between the vocal demands and working environments of music therapists and other professional voice users such as teachers for whom prevalence, causal factors, and treatment modalities are known. It is hoped that by raising awareness, music therapists experiencing difficulty with their voices will be more likely to seek medical assistance and consider the habits and surroundings that may pose risks to their vocal health. There is a great deal of literature that addresses the use of percussion, guitar, and piano in the field of music therapy. Though instrumental and vocal improvisation have emerged as viable music therapy approaches and techniques, an area that has had little exposure is the role of vocal health for the music therapist. Many students receive only the minimum amount of voice training required by their collegiate program. As a result, these same students may receive little or no guidance in vocal health issues that can arise once they are working as a professional music therapist. Vocal problems develop for individuals in the teaching profession as well as other vocations that require a high level of voice use (Koufman, 1999; Voice Academy, 2003e). Music therapists are not exempt from these problems. Even those students with several years of applied vocal study can develop vocal problems once they enter the professional realm. As music therapy educators, we have observed vocal health issues arise for our students in music therapy fieldwork, during internship, and into the professional world. These issues have affected both those who claim the voice as a primary instrument of study as well as those who claim it as a secondary instrument. There appears to be little to no awareness about the vocal demands and needs of music therapy students among conventional voice instructors. In addition, many attendees at our state, regional, and national music therapy conference presentations, who have ranged from students through seasoned professionals, have discussed their own vocal struggles and clinical challenges and have expressed eagerness for more information on this topic. The current American Music Therapy Association (AMTA) (2004) professional competencies addressed the vocal ability/ skills required for entry-level practice are as follows: 1. Music Theory and History 1.3 Sight-sing melodies of both diatonic and chromatic makeup 6. Voice Skills 6.1.1 Lead group singing by voice 6.1.2 Communicate vocally with adequate volume (loudness) 6.1.3 Sing a basic repertoire of traditional, folk, and popular songs in tune with a pleasing quality 8. Improvisation Skills 8.2.1 Compose and develop original melodies, accompaniments, and short pieces extemporaneously in a variety of moods and styles, vocally, and instrumentally (p. 27) Clearly, the AMTA places a major emphasis on the use of voice by music therapists. While the AMTA professional competencies outlined the use of voice in various capacities, curriculum in schools can vary greatly thus impacting the level of awareness about vocal health issues for each music therapist. Undergraduate requirements for students not pursuing a concurrent degree in vocal performance do not necessarily address physiological understanding or care of the voice, yet the voice is a primary instrument in a music therapist's clinical work. …

Indigenous music therapy theory building through grounded theory research: The developing indigenous theory framework

Music therapy is a field of knowledge that studies the effects of music and the use of musical experiences on human beings. Music Therapy being considered as related to Education is not self-evident. In this sense, this scoping review aims to identify different theoretical perspectives of Music Therapy and their educational proposals. Seven fields of Music Therapy were identified that dialog with the field of Education: Educational Music Therapy, Social and Community Music Therapy, Clinical Music Therapy, Hospital Music Therapy, Neurological Music Therapy, Creative Music Therapy, and an incipient field in Palliative Care. The results show that Music Therapy offers innovative applicability in the field of Education, favoring a more inclusive, holistic, and student-centered learning environment.

The number of music therapy private practices in the United States is growing. While it is thought that improving business skills can improve business success, it is not clear what business education was received by music therapy business owners (MTBOs). The purpose of this qualitative inquiry was to explore MTBOs business education in the United States and their views on business education for music therapists and music therapy students. Following an interpretivist theoretical framework, we conducted semi-structured interviews with 21 MTBOs representing all seven regions of the American Music Therapy Association. Using thematic analysis, we created five themes with supporting subthemes. Our findings indicate that the amount of business education participants received as students did not match the amount of business education they perceived necessary to be business owners, and that they sought out additional training from a variety of sources. Participants’ views on music therapy business education and skills important for business ownership in the field of music therapy are explored.

The field of music therapy in the United States is undergoing a transformation that has been fueled by changes in healthcare, insurance reimbursement criteria, and requirements of evidence-based research in clinical practice. In addition, requirements within the profession as a whole are changing the landscape of education and specialization. One response to these changes is evident in the training of music therapists (MTs), as the American Music Therapy Association (AMTA) and its members consider the relative advantages of creating a Master's-Level Entry (MLE) into the profession. Healthcare delivery in the field of mental health, in particular, has been transformed, as advances made in the pharmaceutical treatment of psychiatric disorders has shifted care from the acute inpatient setting to the recovery community model. This change in treatment approach has resulted in increasingly shorter length of inpatient stays. An average length of stay of a 1987 inpatient cohort was 22.6 days (Weiden & Oltson, 1995, table 1 ), but it had fallen to 8 days in 2005 (Stranges, Levit, Stocks, & Santora, 2011) and is estimated at 7.2 days in 2015 (Centers for Disease Control and Prevention, 2015).This new treatment model is reflected in the recent music therapy literature, where short-term acute stays have resulted in a need for practices that are focused on single sessions (Carr, Odell-Miller, & Priebe, 2013; Jones, 2005; Silverman, 2014'), and address immediate areas of concern (e.g., de l'Etoile, 2002; Silverman & Rosenow, 2013,) rather than provide process or depth-oriented therapeutic experiences with a goal of insight as the outcome (Carr et al., 2013). Carr et al/s (2013) systematic review of music therapy practices in psychiatric acute care in the United States and Europe provides insight into some of the ways that music therapists have adapted to these changes. These authors found that MTs conducted a high number of sessions per week, and that the music experiences they implemented required greater therapist direction, flexibility, and predictable musical structure. This review also indicated that music therapists often found it difficult to engage patients in music therapy, especially early in their care. Because of the constant changes in group participants and functioning levels, fostering group process was often not a realistic goal. Patients in the acute unit are often in crisis; thus, goals for inpatients were focused primarily on symptom management and fostering relationships with peers and healthcare professionals in the here and now (2013). Carr et al. (2013) concluded that the current music therapy models of Guided Imagery and Music (GIM), Analytical Music Therapy (AMT), and Nordoff Robbins Music Therapy (NR) have been developed with depth-oriented care in mind and may not address the needs of acute-care patients.This interpretation may be supported by recent music therapy research literature in the acute-care setting, wherein the focus has been on single sessions that use interventions such as music games (Silverman, 2005, 2014), music games and other recreational activities (Silverman & Rosenow, 2013), music psychoeducation (Silverman, 2009, 2014), and songwriting (Jones, 2005; Silverman, 2012b; Silverman & Leonard, 2012). In contrast, in the recovery or community treatment setting, MTs use music experiences in a different way, or use other music experiences that may be more suitable for longterm treatment. This includes choirs (Bailey & Davidson, 2003; Eyre, 2011), songwriting (Vander Kooij, 2009), songwriting and recording (Grocke et al., 2014), Sound Training for Attention and Memory protocol (Ceccato, Caneva, & Lamonaca, 2006), and adapted GIM (Moe, Roesen, & Raben, 2000). Although some studies have been carried out in the community setting (e.g., Grocke, Bloch, & Castle, 2009), there is a relative lack of research and clinical literature that focuses specifically on music therapy in the community setting. …