Percussion Pedagogy: A Survey of Music Therapy Faculty

Abstract

Music therapists have used throughout the his- tory of the profession. While has been largely asso- ciated with its ability to express rhythm (Gaston, 1968; Reuer, Crowe, & Bernstein, 1995), more expansive views of percus- sion-as-music may be of benefit to the field. Philosophical (Mowitt, 2002) and ethnographic (Charry, 2000) writings imply a greater musical potential. Furthermore, the important use of explicit nontempered pitch and timbre relationships (Patel, 2008; Radocy & Boyle, 1997) may facilitate a greater understanding of instrumental capacity. Most recently, Knight and Matney (2012) discussed a broader impetus to base the use of in music therapy.According to a content analysis by Matney (2004), pub- lished articles and studies regarding the use of in therapy have focused primarily on, but are not limited to, improvisational and re-creative methods. Some examples include Liederman (1967), and Clair and Bernstein (1990), who engaged clients with dementia through various percus- sion utilizing rhythm and vibrotactile response. Likewise, Cevasco and Grant (2006) employed instruments to elicit rhythmic responses from clients diagnosed with Alzheimer's Disease. Lehrer-Carle (1971) explored the use of body and vocal with adolescents diagnosed with schizophrenia. Sausser and Waller (2005) utilized drums and auxiliary instruments to facilitate behav- ioral support, expression, and social cohesion with children diagnosed with emotional and behavioral disorders. Cohen and Ford (1995) note the use of body to facilitate speech production in persons with aphasia. Silverman and Marcionetti (2004) conducted a pilot study where clients who experience auditory hallucinations played hand drums while a therapist accompanied them on guitar. Nordoff and Robbins (1971) offered their Categories of Rhythmic Response within improvisations, including references to instru- ments such as cymbals and drums. Moreno (1980) noted the use of improvisation in conjunction with dramatic reenactments of events in a nonclinical setting. Bruscia (1991) provided several examples of use within a case study structure. Hilliard (2007) utilized xylophones and auxil- iary in Orff Schulwerk-based music improvisation to address childhood grief symptoms and behaviors. More recently, Hiller (2009) noted that is the most com- monly used instrumentation within clinical improvisation. Percussion appears to have a substantial instrumental pres- ence in music therapy literature, as well as in clinical practice.Even more, usage seems to be maintaining, and perhaps even expanding, its presence in the profession. Cassity (2007) conducted a Delphi poll of psychiatric music therapists that suggested interventions related to drumming were to see the biggest increase in usage by future clinicians in this area com- pared to several other intervention types. The American Music Therapy Association (AMTA) Assembly of Delegates voted in 2008 to add a separate section devoted to percussion to the Professional Competencies document (AMTA, 2010).Under this subheading, the competencies are listed as:7. Percussion Skills7.1 Accompany self and ensembles proficiently7.2 Utilize basic techniques on several standard and ethnic instruments7.3 Lead rhythm-based ensembles proficiently.Item 9.1 Improvise on instruments, although separate, is also important to the overall scope of functional skills. The Certification Board for Music Therapists (CBMT, 2010, II.A.5.w.4.) also states, To achieve therapeutic goals...employ functional skills with...percussion.An examination of the literature regarding music therapy pedagogy revealed limited information on teaching percus- sion. There exists a critical need to better understand how uni- versity faculty teaches skills to students, as well as what perceptions music therapy faculty have about teaching to their students. …