Music Therapy Students Research Articles

Introduction to Guitar Techniques and Genres for the Utilization in Improvised Active Music Therapy

Abstract Guitar is a popular instrument for music therapy clinicians and students because it is portable and musically versatile. Guitar training is increasingly shared through music therapy literature, professional conferences, and workshops. However, there is still a lack of literature regarding the use of guitar improvization techniques for beginner and intermediate-level music therapists. The purpose of this manuscript is to provide the first simplified and standardized guitar methodological system for beginner and intermediate-level music therapy students and clinicians for the use in Improvised Active Music Therapy sessions in neurological rehabilitation. Improving guitar skills is important to increase confidence among students and clinicians and to enhance clinical outcomes. The manuscript is divided into two groups of exercises. The first group consists of four exercises with chord progressions. The second group consists of six strumming exercises. The strumming exercises should be combined with the chord progressions in the first group to expand upon the first position and aesthetic qualities. The exercises incorporate extended, chromatic, and suspended chords in Rock & Roll, Blues, Hip-Hop and rap, Reggae, folk, country, Latin American, and Spanish styles in key of E major. The goal is to stimulate the skill of music therapy students and clinicians, and perhaps add some extra motivation and ideas for guitar improvization skills to enhance clinical outcomes.

An open door to the job market? Music therapy students’ reflections on practice placement in Norway

This study explores the transition between learning at university and learning in a work context through practice placement. It was conducted at the University of Bergen (UiB), which offers a five-year programme in music therapy. Practice placement is integrated at all levels of the programme, starting with observation of music therapy, to a placement where students work more autonomously. The aim of this study was to learn from the experiences of students participating in the programme, as their insights are crucial for informing the programme’s content. Our question was: How do students from the UiB five-year integrated music therapy programme reflect on their internship experiences, and how can we understand their reflections from a work-based learning perspective? To investigate this, we conducted two focus groups, each with five students. Following a thematic analysis of the data, three main themes and six sub-themes were developed: 1. Developing an identity as a music therapist (1.1. Gaining a professional identity, 1.2. Finding a voice in interdisciplinary meetings); 2. An open door to the job market (2.1. Learning from experience, 2.2. Developing new networks); and 3. Challenges with the music therapy practice placement (3.1. Feeling side-lined, 3.2. Lack of a broader teaching model). The themes, grounded in the empirical findings, are discussed from a sociocultural perspective, drawing on concepts such as apprenticeship learning, community of practice, and weak ties. This article concludes with implications for practice and suggestions for further research.

A descriptive review of the impostor experience to support the health of music therapy students and professionals

The impostor experience (IE) is an inaccurate self-assessment negatively impacting a person’s internal sense of success despite objective evidence to the contrary. IE commonly occurs in a variety of students and professionals and is associated with negative affective states as well as occupational burnout. The purpose of this descriptive review was to survey the existing IE literature and describe, normalize, and mitigate IE specific to music therapy students and professionals. I conducted a descriptive review of the IE literature to determine how IE might manifest itself in music therapy students and professionals as well as potential ways to mitigate IE. IE is highly prevalent and may be especially widespread in students, healthcare professionals, musicians, academics, and people who are from communities who have been marginalized. Music therapy students and professionals may be at heightened risk for IE because they exist at the intersection of a small creative arts profession within various larger healthcare systems. Resultant of the review, I developed a model to name and normalize IE for music therapy students and professionals and provided specific recommendations for mitigating IE to augment the health and wellbeing of music therapy students and professionals. Through exposure to the IE scholarly literature and unpacking unique challenges that music therapy students and professionals encounter, I hope that IE can be named, normalized, and mitigated. Implications for academic and clinical training, limitations of the literature, suggestions for future research, and recommendations for continuing education to prevent and mitigate IE are provided.

Development and implementation of self-care strategies in undergraduate music therapy students: A qualitative thematic analysis

ABSTRACT Introduction Music therapy students may encounter a variety of stressors throughout their undergraduate careers and require self-care strategies to maintain their health and wellbeing. To date, there is a dearth of literature regarding self-care strategies for undergraduate music therapy students. Understanding the development and implementation of self-care strategies in undergraduate music therapy students may enable students, their peers, professors, and institutions to better support students throughout their academic careers. Therefore, the purpose of this interpretivist study was to understand how undergraduate music therapy students in the United States of America develop and implement self-care strategies. Method We conducted semi-structured interviews with nine undergraduate music therapy students at public universities geographically located in four regions of the American Music Therapy Association. Results We used an inductive approach to thematic analysis to analyze data and identified six themes: (a) Recognizing the need to shift to intentional self-care; (b) Developing an awareness of how and when to use self-care strategies; (c) Identifying specific strategies to support the self-care journey; (d) Circumstances impacting self-care; (e) Adjusting music as a self-care strategy; and (f) Advice for music therapy students and professors. We developed a model to depict the sequence of and relationships among themes. Discussion This study provides an understanding of the processes and products of undergraduate music therapy students’ self-care strategies. We recommend integrating self-care into the music therapy curriculum as early as possible and empowering students with agency and autonomy to determine the best proactive and reactive strategies to maintain their health and wellbeing.

A Position Paper on Paid Music Therapy Internships: An Analysis of Strengths, Weaknesses, Opportunities, and Threats to Initiate Dialogue

The music therapy internship represents the culmination of students’ clinical training. Currently, most music therapy internships are unpaid while other healthcare professions offer paid internship options or do not require an internship. The purpose of this position paper was to conduct a SWOT (strengths, weaknesses, opportunities, and threats) analysis and initiate dialogue regarding paid music therapy internships in the United States. Designed to initiate dialogue and conversation, this article is not a research paper. I conducted an initial SWOT analysis on paid music therapy internships. I then shared the analysis with music therapy students, internship directors, clinicians, business owners, and faculty and integrated their feedback. Although the SWOT analysis indicated that the current internship model can result in strong clinicians, there are weaknesses regarding workforce diversity, accessibility, and finances. There may be numerous opportunities for the profession to strengthen itself through paid internships. The profession’s mission and values regarding increased access to music therapy for service users, greater workforce diversity, and quality of care amid escalating tuition and cost of living expenses are consequential factors that may influence paid music therapy internships. Although paid internships may be beyond the control of clinical training directors and thus may not be feasible in all contexts, the large number of unpaid internships may hinder the music therapy profession from thriving and advancing toward its mission. The profession may have an opportunity to use its own agency by valuing itself through paid music therapy internships. Questions and considerations are provided to conclude the paper.

Outcomes and Experiences of Students in Course-based Undergraduate Research Experience (CURE)

Research is a pivotal element of music therapy education. Finding, interpreting, and integrating research into clinical practice are required in the professional competencies (American Music Therapy Association, 2013, 2021). Course-based undergraduate research experiences (CURE) have been identified by the National Science Foundation to increase access to underrepresented student populations in STEM programs. Fewer studies have been seen in humanities. To develop competency in a cohort of music therapy students, a CURE was developed with student research collaborating on all parts of the study. Elements of the CURE were guided by Dvorak and Hernandez-Ruiz (2019); one of the first publications in music therapy using this approach with students. However, in the present CURE each student developed their own research question within a larger project, modeled after a lab-based approach. Students who wished to present their research as a poster for the regional or national conference were prepared to do so. Significant improvements in were found (p<.0001) three categories on the Research Skill Development Questionnaire (RSDQ: Dvorak et al., 2021) including knowledge of research-related content, research skills, and research dispositions. Student reflections share a growth in comfort with and accessibility of conducting research as something “not just for scientists and doctors” but that was “a lot less stressful, and really fun!” Others reported a motivation to identify questions and conduct research in the future. The outcome was a fully immersive educational experience and functional a resource for members within the School of Music to educate on hearing loss prevention.

An Eight-Week Zen Meditation and Music Programme for Mindfulness and Happiness: Qualitative Content Analysis

Mental wellness can be related to healthier living, the learning process and working environments for people in the university community. A wide range of mental wellness programmes have been explored to provide students with pleasant and satisfying experiences. The purpose of this study is to explore the effects of integrating Zen meditation and music listening on the mindfulness and happiness levels of university music therapy students. A qualitative methodology was used, and data were collected through surveys and semi-structured interviews. To investigate various aspects of data regarding the role of the meditation and music (MM) programme for mindfulness and happiness, this study used thematic analysis within a qualitative research design. The findings of this study suggest that the 8-week Mindfulness Meditation (MM) programme is a potential approach for enhancing mindfulness, happiness and stress management. These results carry broader implications, particularly in terms of supporting mental health resources in higher education. Furthermore, the study contributes to the ongoing discussion regarding the positive impact of combining meditation and music to promote mental well-being. This integrated approach has the potential to strengthen coping strategies and further promote the integration of music and meditation practices in various contexts, including higher education.

Online music listening programs for older adults with dementia during the COVID-19 Pandemic: A feasibility study

Older adults and people living with dementia experienced high degrees of social isolation and reduced access to support during the recent COVID-19 pandemic. However, worldwide, including amongst people living with dementia and their caregivers, musical engagement provided some relief and social connection. This study examines the feasibility of transforming a personalised playlist program for people living with dementia for online delivery. A mixed methods approach was taken in which quantitative data (facial action unit activation) and qualitative data (interviews) were collected from 5 people with dementia and their caregivers. Interviews were also conducted with 5 music therapy students undergoing clinical placements who participated in the study as program facilitators. Results demonstrated the feasibility of delivery of online music playlist programs for supporting people living with dementia living in isolation. Caregivers reported increased understanding about how to use music in targeted ways to support mood and behaviour. Despite the limitations of the online format, facial action unit activation suggested that people with dementia experienced increased enjoyment when listening to energising playlists, confirming the feasibility of this as an outcome measure. However, increased challenges to developing a rapport with clients in the online context were highlighted.

Evidence-Based Music Therapy: Clinical Practice

As students learn and new professionals establish themselves in the field, they often refine their ability to understand and communicate the ever-present question of “what is “music therapy?” Furthermore, many might be seeking to better understand and communicate what music therapy looks like in practice. In the e-book Evidence-Based Music Therapy: Clinical Practice, Robertson and Standley present a collection of brief but comprehensive case examples that illustrate the music therapy treatment process and what it looks like for many of the populations that music therapists commonly serve. The authors have curated an impressive 50 case examples across 24 areas of practice. The authors identify music therapy students and new professionals as the main audiences for the book. With these audiences in mind, a noticeable strength of the book is that each case is structured to provide a comprehensive picture of the treatment process. In each case, the authors define goals, objectives, and assessment strategies. They go on to provide evidence (references) for selected therapeutic music experiences, share sample session procedures and plans with implementation strategies, and show explicit processes of evaluation and documentation. This layout serves to reinforce terminology and clinical processes that students are learning to apply in addition to following the American Music Therapy Association (AMTA) Standards of Clinical Practice.

Ethical thinking in music therapy

The second edition of Ethical Thinking in Music Therapy is a highly anticipated addition since the release of its first edition (Dileo, 2000). The transformation of and new challenges in the field of music therapy over the last two decades necessitated the re-evaluation of the contents and functions of ethical guidelines. For instance, the most recent revision of the American Music Therapy Association Code of Ethics (AMTA, 2019) illustrates a shift of paradigm in their functions from prescribing ruled-based articles echoing standard-based norms to aspiring toward ideal behaviors that uphold the highest possible standard. To prepare music therapy students, interns, educators, clinicians, supervisors, and researchers for these challenges, Dileo included literature and learning contents reflecting the complexity of ethical thinking in the 13 chapters and 554 pages of writing referring to 1,221 sources, which is a significant increase from its first edition consisting of 12 chapters, 324 pages, and 375 references (Young, 2022). Instead of effortlessly gliding through a series of predetermined actions, readers at various levels of advancement in their professional practice are guided to develop the crucial ability to think critically and ethically. The question “What should I do” (p. xvii), echoing through ethical dilemmas as well as additional learning experiences in each chapter, exercises readers’ newly acquired decision-making strategies.

"Taking Time": Exploring Music Therapy Student Self-Care Definitions and Practices.

The concept of self-care for music therapists is not a new topic in the literature, yet music therapy students' perspectives have largely been excluded from formal discussions and research studies. For this reason, this study aimed to examine music therapy students' conceptualizations of self-care and identify practices that students frequently engage in for self-care. As part of a national survey, music therapy students currently enrolled in an academic degree program for music therapy within the United States defined self-care and identified up to three of their most frequent self-care practices. We analyzed the student self-care definitions and self-care practices using inductive content analysis. Two primary categories emerged from the student definitions-the Act of Self-Care and the Desired Outcomes of Self-Care-with several more detailed subcategories. Additionally, we grouped participants' most common self-care practices into 10 categories and identified two emergent areas for exploration: self-care practices done with others/done alone and engaging in self-care practices that intentionally do not involve anything related to academics/coursework/clinical work. Together, these findings indicate that students' conceptualizations of self-care and their self-care practices have similarities and differences with music therapy professionals' perspectives and practices. We discuss these findings in depth and provide recommendations for future self-care discussions that emphasize the need to prioritize students' perspectives and to expand conceptualizations of self-care to include contextual and systemic impacts and factors that influence the individual self-care experience.

Undergraduate Music Therapy Students’ Perspectives on Curricular Self-Experiences

Abstract Experiential learning is a key component of the education and training of music therapists in the United States. Currently, there is limited peer-reviewed, English-language literature that explores undergraduate student perspectives of curricular self-experiences. The purpose of this study is to help fill this gap and better understand undergraduate music therapy students’ experiences of participating in curricular self-experiences in order to inform best practices for implementation. Three recent graduates of a music therapy program engaged in semi-structured, individual interviews. Interview transcripts were analyzed using the process of Interpretative Phenomenological Analysis. Group superordinate themes emerged from the research question and subquestions about benefits and drawbacks of curricular self-experiences and what facilitated or impeded students’ participation. Participants identified empathy and skill development as benefits and that peer relationships and clear expectations facilitated participation. They also identified vulnerability and boundaries as drawbacks, and that professor/student relationships and cohort interactions impeded participation. Findings from this study highlight shared experiences among students and provide concrete examples of what educators should consider when designing curricular self-experiences.

Applying Integral Thinking to Music Therapy Education

Educating music therapy students is a complex task as a result of laws and regulations, professional biases, and a desire to produce students who will be competent and thoughtful music therapists. The purpose, or outcome, of this article is to outline a curriculum re-design implementing Integral Thinking in Music Therapy (ITMT) as applied to the academic and clinical aspects of two university music therapy training programs in the United States. The history and philosophy of ITMT are explained to give context to this approach. An overview of the innovative curriculum design and teaching resources are included for direct implementation of experiences into the classroom. Recommendations include the uses of ITMT in music therapy education as well as possible limitations to this pedagogical approach.

An Exploratory Thematic Analysis of Factors That Influence Sleep in Music Therapy Undergraduate Students

Abstract Sleep has an essential role in the health, wellbeing, and ability to learn of undergraduate college and university students (UCUS). Due to high credit loads, the music curriculum, and music therapy competencies, music therapy students may experience difficulties obtaining adequate sleep. Therefore, the purpose of this study was to understand factors that enable or inhibit sleep in undergraduate music therapy students. We conducted semi-structured interviews with 14 junior and senior level music therapy UCUS at public institutions in the United States. We used an inductive approach to thematic analysis to analyze data and incorporated member checking and trustworthiness to clarify and verify the results. We identified three themes (supported by seven subthemes) as factors that impacted the sleep of undergraduate music therapy students: (a) academic schedule and expected time commitment; (b) intrinsic motivation to become better student music therapists; and (c) wellness-based education and personal factors. The results of this study provide insight into the various factors that might adversely affect sleep in undergraduate music therapy students and have consequences on their health, wellbeing, and learning. Implications for students and educators, limitations of the study, and suggestions for future research are provided.

Lived Experience Perspectives on Ableism Within and Beyond Music Therapists’ Professional Identities

Abstract The 10 authors contributing to this reflective essay are comprised of music therapy practitioners, academics, and students with lived experience of disability, neurodivergence, or/and chronic physical and mental health conditions. We will discuss the impact of ableism in our music therapy work, both for participants and for music therapists. Beyond outright discrimination of people with disability, ableism is typically linked to an agenda to normalize and cure. In contrast, music therapists working from a position of post-ableist music therapy seek to collaboratively provide conditions and musical experiences that are less disabling and restrictive through addressing barriers and facilitating connections. We will discuss how including post-ableist perspectives might also create safer spaces for music therapists with lived experience of disability, neurodivergence, and/or chronic physical and mental health conditions. In this critical commentary, we wish to move from a deficit understanding of therapists with lived experience that is often implicit in codes of ethics and standards of practice, to one that celebrates the richness and knowledge that our experience brings. To embed post-ableist perspectives into our profession at all levels, we will discuss the implications for student training and supervision when accessibility is centered in practicum and classroom learning activities. In conclusion, we aim to make apparent the fact that therapists can and do come in all forms and with all backgrounds and that recognizing health diversity in our profession benefits us all.

Understanding the Experience of Discussing Race and Racism During Clinical Supervision for Black Music Therapy Students

Abstract The experiences of Black music therapy students discussing race and racism in clinical supervision were explored in this study. Participants included 5 Black music therapy students with at least one semester of supervised fieldwork. Recruitment occurred through varied methods utilizing professional networks and snowballing. Data included written survey responses and individual interviews. Utilizing a thematic analysis approach, researchers reviewed that each participant’s dataset generated preliminary codes. Next, researchers grouped codes and compared groupings across datasets. Researchers reached an agreement on 7 themes. Theme 1 addressed the immense vulnerability it takes for Black students to discuss race in and out of supervision. Theme 2 described defensive behaviors from white supervisors, staff members, and peers in response to discussing race. Theme 3 revealed the significance of validating that racism happens to Black students. Theme 4 noted the power supervisors wield over Black students, the privilege white supervisors possess, instances of racism from supervisors, and retaliation from supervisors in response to conversations of race. Theme 5 uncovered a pattern of white supervisors “acknowledging” their privilege and not acting on this self-discovery. Theme 6 examined participants’ feeling like an outsider and supporting themselves in their education. Theme 7 addressed exasperation due to an unchanging oppressive system. Findings connect to the emerging literature on culturally responsive supervision, provide new insights into the supervision of Black music therapy students, and identify the need for change.

The Impact of English Language Dominance in Music Therapy Learning Resources on Indonesian Music Therapy Students’ Practice

English remains one of the top global languages that is used to bridge language differences in various regions in the world. According to Szmigiera (2021), in 2020 there were approximately 1.35 billion English speakers around the world. English is one of the foreign languages often used by Indonesians to connect with people and explore knowledge from other countries. A few roles that the English language plays in Indonesia are supporting economic and business development, building international relations, supporting the education system, and others (Crystal, 1997). This is also the case with music therapy education in Indonesia. Ever since the beginning of the music therapy program at Universitas Pelita Harapan in Indonesia, the program coordinators were all educated through – and have taught the students in the university with – English-dominated education materials and resources. Despite its benefits, this also had posed an issue with a few students in the past due to the difference in their cultural and language background. Some of the students had struggled to comprehend the learning materials; this, in turn, affected their understanding of the practice. However, despite the struggles, some students had also reported the benefits of using English education materials. This study aims to: 1) reveal the impact of English-language resources on the students’ music therapy understandings and practice, and 2) evaluate whether there is a concrete action that can be taken to improve the system. Both will be explored through the perspective of the students. In this narrative inquiry study, ten Indonesian students from Universitas Pelita Harapan, Indonesia, were interviewed on their experiences of using English-language learning materials and resources, the impact on their practice, and their opinion on actions for improvements. This study hopes to raise the awareness of the wide impact that English-dominance in music therapy learning resources might impose. Abstrak Bahasa Inggris adalah salah satu bahasa global yang digunakan untuk menjembatani perbedaan bahasa di berbagai belahan dunia. Menurut Szmigiera (2021), di tahun 2020 tercatat sekitar 1.35 miliar pengguna Bahasa Inggris di dunia. Bahasa Inggris merupakan salah satu bahasa asing yang sering digunakan oleh penduduk Indonesia untuk berinteraksi dan memperoleh wawasan dari luar negeri. Beberapa peran yang dimiliki bahasa Inggris di Indonesia adalah mendukung laju pekembangan ekonomi dan bisnis, membangun relasi internasional, mendukung sistem edukasi, dan lainnya (Crystal, 1997). Salah satu contohnya adalah edukasi terapi musik di Indonesia. Sedari awal dibentuknya program terapi musik di Universitas Pelita Harapan di Indonesia hingga sekarang, semua koordinator program menamatkan pendidikan - dan mengajar mahasiswa dengan - materi edukasi dan sumber daya yang didominasi bahasa Inggris. Perbedaan latar belakang budaya dan bahasa menimbulkan permasalahan bagi beberapa mahasiswa. Mereka merasa kesulitan untuk memahami materi pembelajaran dan akibatnya berdampak pada pemahaman mereka akan praktik terapi musik. Namun di samping kesulitan yang dialami, beberapa mahasiswa juga menyampaikan dampak baik dari penggunaan materi pembelajaran berbahasa Inggris. Tujuan dari penelitian ini adalah: 1) mengungkap dampak dari materi pembelajaran berbahasa Inggris terhadap pemahaman dan praktik mahasiswa terapi musik, dan 2) mengevaluasi apabila ada hal konkrit yang dapat dilakukan untuk memperbaiki sistem edukasi terapi musik di Indonesia. Keduanya akan dieksplorasi melalui perspektif mahasiswa. Studi ini adalah studi naratif, dimana sepuluh mahasiswa Universitas Pelita Harapan, Indonesia diwawancarai tentang pengalaman mereka dalam menggunakan materi pembelajaran berbahasa Inggris, dampaknya terhadap praktik mereka, dan opini mereka tentang hal yang dapat dilakukan untuk perbaikan. Melalui studi ini, peneliti berharap dapat meningkatkan kesadaran akan dampak luas dominasi bahasa Inggris dalam materi pembelajaran terapi musik.

Business Education for Music Therapists: A Qualitative Exploration

Abstract 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.

Survey of Current Financial Needs of Undergraduate Music Therapy Students

Abstract Students attending college rely on a variety of social and financial resources to cover the personal and academic costs of higher education. The most common tool for students is financial aid, which may include loans, needs-based grants, and work–study. Federal financial aid is designed to increase accessibility for individuals to pursue a college degree and is generally determined by their family’s assets or socioeconomic status. Research has suggested positive and negative relationships between students’ socioeconomic status and their academic outcomes. As this relationship has yet to be explored in music therapy, the primary purpose of this study was to explore the current financial needs and economic diversity of American undergraduate music therapy students. A survey was sent in April of 2020 for dissemination to undergraduate music therapy majors. Students from across the United States (n = 346) completed the questionnaire. Key findings included (a) most music therapy students (61.7%) took out student loans during the 2019–2020 academic year and expect substantial levels of debt upon graduation (>$10,000); (b) about one-third (34.4%) of respondents received the Pell Grant, a needs-based grant, in the past year; (c) a considerable majority (77.5%) were employed during school; and (d) 97% of students received additional financial assistance from their families. This study also compared the needs between BIPOC (Black, indigenous, people of color) and white students. Implications of findings as they relate to music therapy education and further research regarding the financial need and socioeconomic status are also discussed.

Students' Perception of Online Learning During COVID-19: A U.S.-Based Music Therapy Survey.

The Coronavirus disease 2019 (COVID-19) global pandemic affected music therapy education, with many university programs instantly shifting from in-person to remote online teaching. As literature related to various aspects of COVID-19 is emerging, none has yet examined music therapy students' responses to the sudden modification of teaching modalities. The aim of this study was to understand how the music therapy learning environment changed during the COVID-19 pandemic; students' experiences with unexpected remote learning, clinical training, and examination; and their perception of barriers and benefits of online learning. American Music Therapy Association students attending courses from Spring 2020 through Spring 2021 were invited to participate in this national survey. In total, 230 music therapy students across seven regions responded to the 26-item questionnaire through Qualtrics®. Seven questions were further explored with a student focus group. Results indicated that courses were mainly altered to synchronous lectures, clinical training changed to varied telepractice experiences, and examination was modified across universities. Students spent about the same time in remote learning and found synchronous lectures mostly engaging. Commonly perceived barriers included screen fatigue, physical isolation from peers, and poor internet connection. Safety during COVID-19, no traveling time, and being more comfortable at home were noted as key benefits. In conclusion, online learning allowed the continuation of music therapy education during the COVID-19 pandemic. Moving forward, the development of effective online courses and research-based guidelines for tele-interventions is desirable to improve the music therapy educational landscape during future crises and to prepare students for competent services in a digital world.