Music Therapy Education Research Articles

Student music stimuli composition in a scaffolded course-based undergraduate research experience

Course-based undergraduate research experiences (CURE) allow students opportunities to develop research skills. In a scaffolded CURE, music therapy and music education students composed, evaluated, and selected the music stimuli used in a music and mindfulness study with non-musicians at Site 1 and musicians at Site 2. The purposes of this paper are to (a) describe the process of student music stimuli composition and evaluation for use in a course-based undergraduate research experience and (b) identify benefits, challenges, and lessons learned from the viewpoints of students, graduate assistants, and faculty who participated in the multi-site study. Eight students, two graduate assistants, and two faculty provide an overview of the CURE teaching model and assignments, and share first-person accounts of their experiences participating in this CURE.

The Global Music Therapy Educators Network

Music therapy educators around the globe are united in their commitment to the development of the profession through the education of new professionals. Although different university programmes emphasise diverse approaches and are representative of their surrounding cultures, there is much that is shared between different programmes and educators. However, prior to the COVID-19 pandemic, there was minimal interaction between educators as a group, possibly due to time pressures and a lack of need to unite and celebrate our diversities. With the onset of the pandemic and the rapid transition to online learning, an unexpected space emerged for collective dialogue among the music therapy educator community. Brought together by the challenges imposed on professional training due to a global pandemic, a number of global educators united in discussion to seek a way forward.

Sexism and cisgenderism in music therapy spaces: An exploration of gender microaggressions experienced by music therapists

Gender microaggressions are everyday assaults, insults, or invalidations that occur towards persons with marginalized gender identities (including trans/cis women, trans men, and nonbinary persons). As music therapy spaces are microcosms for larger sociopolitical contexts, music therapists are prone to enacting microaggressions verbally, non-verbally, and musically. In this narrative inquiry, semi-structured interviews occurred with eight participant music therapists to examine their experiences of gender microaggressions in music therapy. Results demonstrated that gender microaggressions manifest in a variety of ways and enactors include music therapy colleagues, presenters, internship directors, educators, and clients. Five themes were found: qualities of microaggressions, impact of incident, survival tactics, interpersonal dynamics, and gender in music therapy, with a total of 33 sub-themes. From these findings, it is clear that there is a need for music therapists to develop greater awareness of ways in which they enact gender microaggressions and to create more spaces for music therapists with marginalized gender identities to process these incidents.

Intergenerational Choir: A Qualitative Exploration of Lived Experiences of Older Adults and Student Music Therapists

The purpose of this phenomenological study was to explore the essence of an intergenerational choir experience for older adults and student music therapists. Data were gathered through a series of open-ended individual interviews with older adult participants (n = 10) and student participants (n = 5). Analysis of data revealed four emerging themes common to both older adults and students: mutual learning, social bonding and support, feelings of accomplishment, and appreciation and enjoyment. Emerging themes unique to the older adult community members were that (a) participation challenges came from differences in musical culture; (b) intergenerational choir promoted experience of emotional health and helped maintain an active lifestyle; and (c) community members were passionate about recruiting new members to expand the choir. Emerging themes unique to the student music therapists were that (a) intergenerational choir provided unique ensemble experiences and (b) students reported positive changes in perception of older adults. Implications of intergenerational music engagement for music therapy clinical practice, research, and education are discussed.

Knowledge and training of Orff-based music therapy among students, clinicians, and educators

The purpose of this research study was to examine knowledge and training of Orff-based music therapy among music therapy students, clinicians and educators using a variety of demographic, training, and outcome variables. The measurement tool was an online survey designed to satisfy this primary purpose and seven associated research questions targeting: (1) Demographics, (2) Definitions, (3) Training, (4) Professional Development (5) Clinical Practice, (6) Treatment Outcomes, and (7) Professional Competencies. Basic descriptive statistics were provided through SurveyMonkey, although the researcher condensed provided narrative content as needed to present summarised text responses. Results and Discussion are organised around these seven primary research questions, with Implications for Training and possibilities for Future Research included. In summarising just a few pertinent results, 56% of the 262 survey respondents indicated having training in Orff- based music therapy within their academic programme. One hundred and four respondents (39.7% of 262) said they used it in their clinical practice and 95.4% thought it could be effective within the social domain. Respondents felt the following professional competencies could be addressed through training in the Orff process for student music therapists: transpose simple compositions; compose songs with simple accompaniment; adapt, arrange, transpose and simplify music compositions for small vocal and nonsymphonic instrumental ensembles; utilise basic percussion techniques on several standard and ethnic instruments; and improvise on pitched and unpitched instruments, and vocally in a variety of settings including individual, dyad, small or large group.

A Problematic Conflation of Justice and Equality: The Case for Equity in Music Therapy

AbstractA historical basis and a therapeutic foundation are given for understanding the importance of equity when considering contexts of race in music therapy, specifically with African-American or Black clients. Those contexts are broad, including, but not limited to Black clients, Black music, diversity and inclusion, safe spaces, multiculturalism, access to music therapy education, access to services. Examples are given of the Black experience in the United States related to self-definition, self-sufficiency, growth, and resiliency. Both cultural and musical aesthetic contextualization are pointed to, and connections are drawn between the navigation of Black people through different types of oppressive systems, and the negotiation of double-bind dilemmas that try to force Black disembodiment when trying to live authentic personhood in the face of proscriptive and prescriptive forces. Despite this systemic oppression, Black people continue to show a resilience in society as well as therapeutic and health settings, which is seen more readily when therapists and professionals can center in the margins the lived experience of Black clients, decenter themselves where appropriate, and practice a critical consciousness that actively uses counterhegemonic and antiracist practices. As music therapists have begun to understand joining ethics and evidence together through the self-advocacy of some populations, we must do the same while explicitly centering equity in our work with Black clients. If music therapists truly espouse justice, then there should be a critical examination of this in the profession-- in ourselves, our work, our relationship to music, our organizations, and in our education and training.

Replication of a course-based undergraduate research experience for music students

ABSTRACT Introduction Research skill development is a current need in music therapy education. Course-based undergraduate research experiences (CUREs) may address this need. The purpose of this study was (a) to replicate a CURE for students enrolled in a required music psychology course at a university in the United States, (b) to measure student outcomes, and (c) to compare results with the original study. Method Students (N = 17) completed the Undergraduate Research Student Self-Assessment (URSSA) and the Research Skill Development Questionnaire (RSDQ), as outcome measures. Likert-type items on the URSSA were analyzed using descriptive statistics; open-ended responses were evaluated through content analysis. Independent-sample t tests were used to compare average scores in the URSSA subscales (Thinking Like a Scientist, Personal Gains, Research Skills, and Attitudes and Behaviors) between the original and replication study. Results No significant differences were found between the original and current studies, indicating the replication of results. Similar to the original study, open-ended responses indicated an interest in graduate school, greater understanding of research, appreciation of hands-on experience, and plans to use research in their career. For suggestions for improvement, most students in both studies indicated an interest in being more involved and learning more about statistics. In the current study, students’ RSDQ pre and posttest subscale scores showed significant improvement in Research Dispositions (paired-sample t tests). Discussion These results indicate the feasibility of using CURE projects to support research skill development and the feasibility of replicating a protocolized experience in a university program with different research traditions and resources.

Development and Evaluation of a Hospice and Palliative Care Music Therapy Education Program.

This study was conducted to develop a hospice music therapist training program and to evaluate its effects. The educational program consisted of training on the theory of hospice and the theory and practice of hospice music therapy. The course lasted for 4 weeks, with 8 hours of training per week, and 33 music therapists completed the course. In order to assess the effectiveness of the course, participants' knowledge and confidence regarding hospice music therapy and readiness for hospice music therapy before and after education were measured. The statistical analysis was done using SPSS version 18.0 and the paired t-test was used to assess the effectiveness of the program. The trainees showed significant improvements in knowledge (P<0.001) and confidence (P<0.001) in all areas of this course, as well as in readiness for hospice music therapy (P<0.001). Participants' satisfaction with the lectures was assessed using a 5-point Likert scale. The average score for all lecture areas exceeded 4 (yes), and the satisfaction level was mostly high. Students were most satisfied with the lectures on music therapy theory, followed in order by those on music therapy practice and hospice theory. This hospice music therapist training program is considered to be suitable because of its positive educational effects and the high satisfaction of participants with the lectures. In order to provide high-quality music therapy services to patients and their families, this training course should be regularly offered to cultivate competent music therapists, and the content of the education should be standardized and applied in various clinical settings.

Ethics in Music Therapy Education: Four Points to Consider

Abstract Ethical thinking in music therapy is a vital aspect of the profession. However, little is published on the subject of ethics in the music therapy academic setting. Therefore, this article explores the complex issues of ethics and ethical thinking in music therapy education from the perspective of two music therapists who have held various positions within academics in music therapy. The purpose of this article is to encourage integrity within music therapy education and to draw attention to the complex ethical issues within music therapy academics. Four points are described for music therapy educators: (1) Assess positions of power, (2) Explore your adaptability, (3) Assess possible infringement of rights, and (4) Consider cultural bias in your responses. These points are offered as recommendations inserted into the Dileo Model of Ethical Thinking for Music Therapists for people in academia when faced with ethical dilemmas.

Using Case-Based Learning to Teach Information Literacy and Critical Thinking Skills in Undergraduate Music Therapy Education: A Cohort Study

Abstract Higher education traditionally focuses on didactic, or passive, teaching and learning techniques as these are efficient ways of conveying information to the students. However, passive learning places the responsibility for students’ learning on the instructor rather than the students themselves. Constructive learning techniques, such as case-based learning (CBL), give students opportunities to apply previous knowledge while constructing their own deep learning. The purpose of this article is to describe both the implementation and evaluation of a CBL unit in a junior-level undergraduate music therapy theories and methods course. The cohort study utilized student reflection papers, faculty observations, class materials, and a student survey to evaluate the impact of a behavioral health-focused CBL unit on information literacy, critical thinking skills, and student enjoyment of learning. Students answered both Likert-type and open-ended questions on these topics. Open-ended questions were analyzed using a directed qualitative content analysis. Students felt that the CBL unit was effective in increasing their information literacy and critical thinking skills, and they enjoyed the unit. According to survey results, the CBL developed several measured areas of student critical thinking skills, with the exception of the students’ abilities to analyze their own biases. The CBL unit appeared to be an effective and efficient way of simultaneously covering multiple learning outcomes and music therapy competencies. However, students did not perceive any changes in their ability to analyze their own biases which, based on previous psychology and sociology research, takes more than one isolated learning unit to address. Implications for music therapy education are addressed.

Integrating Music Therapy Students into Interprofessional Education: Academic Program Development

Abstract Interprofessional education (IPE) occurs when students from two or more professions associated with health or social care engage in learning with, from, and about each other. IPE addresses four essential competencies that not only seek to prepare students for interprofessional practice, but also strive to improve the overall quality of healthcare delivery for patients and their families. This article describes the development of an IPE program that fully integrates music therapy students into program-wide and program-to-program IPE events. We identify core components of IPE, describe the development of program-wide and program-to-program events involving undergraduate and graduate music therapy students, and discuss the benefits and challenges encountered during program development. In doing so, we advocate for IPE as a core component of music therapy education and training.

Systematic Review of Course-based Undergraduate Research Experiences: Implications for Music Therapy Education

Abstract Course-based undergraduate research experiences (CUREs) involve entire classes of students in addressing research questions or problems of interest to the scientific community. The purpose of this study was to systematically examine the available literature for CUREs and explore implications and best practices for inclusion in music therapy education and training. The research questions included: (a) What are the characteristics of course-based undergraduate research experiences (i.e., participants, grade level, course, field of study, course type, duration, terminology, study design)? (b) What are the outcomes of course-based research experiences and how are these outcomes measured? Searching ERIC, PubMed, and Web of Science, authors identified articles published between 2000–2017 meeting criteria. Of 5,809 articles, 54 met inclusion criteria: published quantitative, qualitative, or mixed methods study; involved undergraduate students; and the intervention met the five dimensions of CURE models. The majority of CURE studies were implemented in one-semester required courses in the life sciences for a variety of student grade levels. CURE outcomes frequently included increased research knowledge, increased course content knowledge and skills, improved attitudes and beliefs, general perceptions of the learning experience, and improved course satisfaction. CURE measurement tools were varied, but several used a researcher-created posttest, standard university course evaluations, researcher-created pretests/posttests, or standardized research skill development surveys. The majority of studies indicated a positive student response to CURE implementation. Implications and recommendations for music therapy education and training are discussed.

Queering the Curriculum: Why Music Therapy and Other Creative Arts Therapy Trainings Need Queer Theory

Music therapy academic faculty responsible for teaching the next generation of healthcare practitioners have a responsibility to ensure that the learning environment is one in which the principles of equity and inclusion are upheld and practiced. Without queer perspectives included in the curriculum, promotion and continuation of heteronormative and cisnormative attitudes and beliefs increase. As media, culture, and society reflect increasing awareness of and open-mindedness toward queerness, so does the opportunity for reflection and questioning regarding binary identities and exploration of the need to shift to fluid, spectrum identity categories. This questioning begins with perceiving that contemporary social identities are formed from a limited conception of a normative binary that recognizes only heteronormative and cisnormative sexual orientation and gender identities, which can be extended to other inadequate and unhelpful binaries, for example dis/abled and racial binaries that entrench prejudice. Reviewing current teaching environments and methods allows for consideration of how social constructions limit the capacity of educators to fully include attention to, and critique of, all thoughtless binaries – whether gay/straight, female/male, old/young etc. In this paper we reflect on and reveal predominant heteronormative and cisnormative values in music therapy education, advancing ways to make classroom and practicum settings a safe and exploring space, with the potential to positively impact all students and their current and future clients.

Composition Primer: An Educator’s Guide to Teaching Foundational Composition Skills for Music Therapy

Abstract The purpose of this article is to outline foundational techniques and strategies that music therapy educators can use to teach students to compose music for clinical practice. The overarching goals are to highlight the importance of therapeutic design and rational, and the intentional use of musical form and function to address clinical goals and objectives. The techniques described can be implemented in the classroom, with the goal of supporting students to transfer these skills to fieldwork and internship experiences.

Quantitative comparison of group-based music therapy experiences in adults with substance use disorder on a detoxification unit: a three-group cluster-randomized study

ABSTRACT Background: Service users’ values and preferences are components of evidence-based practice and recovery. Methods: Adults (N = 113) with substance use disorder (SUD) on a detoxification unit were cluster-randomized to one of three group-based single-session conditions: Recreational music therapy (RMT), educational lyric analysis for illness management and recovery (ELA-IMR) or educational songwriting for illness management and recovery (ESW-IMR). Participants completed the Ferrara Group Experiences Scale after their session. Results: There were significant differences in the sharing of emotions and experiences subscale between the RMT and both the ELA-IMR and ESW-IMR conditions, with the educational conditions having higher scores. There was a significant difference in the total group experience between the RMT and ELA-IMR conditions, with the ELA-IMR condition having a higher score. Conclusions: Merging the results of previous literature with the current study, educational music therapy interventions can positively impact recovery-based objectives and the group-based experience in adults with SUD.

국악치료교육이 정서지능과 사회성 증진에 미치는 영향 －초등학교 5~6학년을 중심으로－

국악치료교육이 정서지능과 사회성 증진에 미치는 영향 －초등학교 5~6학년을 중심으로－

Spring EngAGEment: An Interprofessional Collaboration to Enhance Community Interaction and University Education

Purpose Interprofessional education and practices are increasingly recognized as vital to addressing complex health needs, including individuals living with Alzheimer's disease or other associated dementias (AD/OAD). An innovative approach to meet this need is to create a meaningful engagement experience, Spring EngAGEment, following a multidisciplinary patient-centered model to serve individuals with AD/OAD and their care partners in the community and to offer new interprofessional collaboration opportunities for college students and faculty across disciplines in nursing, recreation, and speech-language pathology. The Spring EngAGEment program was developed by lead undergraduate students in an outcome-based program planning course from the Department of Recreation, Parks &amp; Leisure Services and implemented by student volunteers and faculty across the disciplines with ongoing mentorship from the author team and feedback from the local ACT on Alzheimer's team. The program offered community resource booths, gardening, music therapy, and physical activity education as a way to inform individuals with AD/OAD and their care partners on available community resources, increase their mental outlook, and help reduce their isolation and stress. Conclusions This interprofessional practice/interprofessional education experience not only allowed college students to facilitate collaboration with future health care professionals from a variety of disciplines but also provided the participants living with AD/OAD and their care partners with new ideas and strategies to help adjust to their life changes. Program outcomes from event participants with AD/OAD and student volunteers were reported. Lessons identified by the author team are discussed.

Comparing Educational Music Therapy Interventions via Stages of Recovery with Adults in an Acute Care Mental Health Setting: A Cluster-Randomized Pilot Effectiveness Study

The purpose of this cluster-randomized pilot effectiveness study was to compare two different group-based educational music therapy interventions with a control condition as measured by the stage model of recovery in adults on an acute care mental health unit. Participants (N = 69) were cluster-randomized to one of three single-session conditions: educational lyric analysis (ELA), educational songwriting (ESW), or control. ELA and ESW conditions targeted motivations for and factors contributing to recovery. Results indicated no significant between-group difference. However, ELA and ESW conditions tended to have slightly more favorable stage of recovery mean scores than the control condition. Generally, educational music therapy may be clinically relevant for impacting stage of recovery within the temporal parameters of a single session. As ELA and ESW conditions had similar results, the specific educational music therapy intervention did not affect results. Implications for clinical practice, limitations, and suggestions for future research are provided.

Outcomes of a Course-based Undergraduate Research Experience (CURE) for Music Therapy and Music Education Students.

Course-based undergraduate research experiences (CUREs) involve entire classes of students researching a question or problem that is of interest to the scholarly community with an unknown outcome to both students and instructor. The purpose of this pre-experimental one-group posttest design study was to explore outcomes of a CURE for music therapy and music education students enrolled in a music psychology course. Specifically, we examined differences in scientific thinking, personal gains, research skills, and attitudes and behaviors of students resulting from their participation in a CURE experience, as well as students' perceived benefits of a CURE experience. Student participants (N = 30) completed the Undergraduate Research Student Self-Assessment. Likert-type items from the self-assessment were analyzed using descriptive statistics, and open-ended questions analyzed for common themes using content analysis. Students reported moderate gains across three areas (i.e., thinking and working like a scientist, personal gains, and research skills), with greatest gains reported for thinking and working like a scientist. Students reported limited change for changes in attitudes and behaviors as a researcher. The authors discuss implications and recommendations for future CUREs.

The Rhythmic Acuity Measurement Scale: Implications for Music Therapy Education, Training, and Practice

The Rhythmic Acuity Measurement Scale: Implications for Music Therapy Education, Training, and Practice