WFMT 2018 2

Music Therapy
Today
WFMT online journal
Volume 14, No. 1
Music Therapy Today publishes articles that are related to music therapy
education, practice, and research. Categories may include, but are not li-
mited to Editorials, Presidential Notes, Position Statements, Curriculum
Reports, Clinical Case Studies, Research Reports, Service Projects, World
Congresses Proceedings, Interviews, Book Reviews, and Online Resources.
2018 WFMT. All rights reserved. ISSN: 1610-191X

MuSICThERAPyToday, Volume 14, No. 1, 2018
Suggested Citation of this Publication
author a. a., author B, B., & author C. C. (2018). Title of

article. Music Therapy Today 14(1), pp-pp. Retrieved
from http://musictherapytoday.wfmt.info
2
Disclaimer
The opinions and information contained in this publica-

tion are those of the authors of the respective articles
and not necessarily those of editors, proofreaders, or
the World Federation of Music Therapy (WFMT). Con-
sequently, we assume no liability or risk that may be in-
curred as a consequence, directly or indirectly, of the
use and application of any of the contents of this publi-
cation.
For this issue authors have prepared their own manus-

cripts attending to content, grammar, language fluency,
and formatting. any errors may be discussed with the
authors.
3
Music Therapy Perspectives
2018 Edition
Editor
Annie heiderscheit, Ph.D., MT-BC, LMFT
Business Manager
Melissa Mercadal-Brotons, Ph.D., MT-BC, SMTAE
Editorial Board
Juanita Eslava, Ph.D.
Nancy Jackson, Ph.D., MT-BC
Doug Keith, Ph.D., MT-BC
Jin Lee, Ph.D.
Satoko Mori-Inoue, Ph.D.
Kathleen Murphy, Ph.D., MT-BC
Karyn Stuart, MMT
Translations
Melissa Mercadal-Brotons, Ph.D., MT-BC, SMTAE
Graphic Design
Editorial Médica Jims, S. L.
Published by
World Federation of Music Therapy (WFMT)
www.wfmt.info
Music Therapy Today

ISSN 1610-191X
4
CONTENTS
GRoWiNG MusiC TheRapy kNoWledGe FRoM aRouNd The WoRld ..... 31

Melissa Mercadal-Brotons
TRaNsiTioNs & NeW BeGiNNiNGs ..... 31

Annie Heiderscheit
15th World Congress of Music Therapy

Congress Proceedings
MusiCal iNTeRaCTioN To FaCiliTaTe CoMMuNiCaTioN iN auTisM iN aN iNdiaN

CoNTexT ..... 11
Baishali Banerjee Mukherjee
The deVelopMeNT oF CReaTiVe TheRapy-Based play GRoups FoR pRe-sChool

ChildReN aNd paReNTs iN iNNeR CiTy loNdoN ..... 13
Katherine Walters & Claire Everest
lookiNG BaCk aNd MoViNG FoRWaRd: 25 yeaRs oF a MusiC TheRapy

BusiNess ..... 15
Jody Conradi Stark
pRaCTiCe oF FuNCTioN TRaiNiNG assiGNMeNT applied euRyThMiCs

aNd JapaNese soNGs ..... 17
Inoue Kaoru
esTaBlishiNG a TheoReTiCal Basis FoR eVideNCe-Based pRaCTiCe

iN MusiC TheRapy ..... 20
Masako Otera
ReFleCTioNs oF aN oFF-duTy MusiC TheRapisT aNd a hoMeless

day laBoReR ..... 22
Eric Miller & Floyd Wilkins
aNalyTiCally iNFoRMed GRoup MusiC psyChoTheRapy helps iNCaRCeRaTed

MeN TRaNsiTioN iN The CoMMuNiTy ..... 29
Amanda MacRae
The ColoR oF us: MoViNG FoRWaRd WiTh iNClusioN pRoGRaMMiNG

WoRldWide ..... 31
Petra Kern
5
iNTeRCulTuRal CoMpeTeNCies: iNspiRiNG sTudeNTs, pRaCTiTioNeRs,
aNd aCadeMiCs aCRoss GeNeRaTioNs aNd NaTioNs ..... 33
Petra Kern & Satoko Mori-Inoue
iNTRoduCTioN To healThRhyThMs® GRoup eMpoWeRMeNT dRuMMiNG ..... 35

Annie Heiderscheit & Alyssa Janney
Research Article
iMpleMeNTiNG a soNG as a ReWaRd FoR TRaNsiTioN FRoM FRee-play TiMe

To a GRoup aCTiViTy ..... 37
Kumi Sato & Shigeki Sonoyama
Book Reviews
CliNiCal TRaiNiNG Guide FoR The sTudeNT MusiC TheRapisT (2Nd ed.).
WRiTTeN By doNNa W. poleN, CaRol l. shulTis, aNd BaRBaRa
l. WheeleR ..... 53
Melissa Mercadal-Brotons
aN iNTRoduCTioN To MusiC TheRapy ReseaRCh. ediTed By BaRBaRa

l. WheeleR & kaThleeN M. MuRphy ..... 56
Heidi Ahonen
aN iNTRoduCTioN To MusiC TheRapy ReseaRCh. ediTed By BaRBaRa

l. WheeleR & kaThleeN M. MuRphy ..... 60
Ludwika Konieczna-Nowak
CulTuRal iNTeRseCTioNs iN MusiC TheRapy: MusiC, healTh aNd The peRsoN.

ediTed By aNNeTTe WhiTehead pleaux & xueli TaN ..... 64
Ronna Kaplan
WoRkiNG WiTh Goals iN psyChoTheRapy aNd CouNseliNG. ediTed By MiCk

CookeR aNd duNCaN laW ..... 69
Annie Heiderscheit
Conference Report
15Th WoRld CoNGRess oF MusiC TheRapy: CoNFeReNCe RepoRT ..... 74

Annie Heiderscheit
6
Presidential note
MUSICTHERAPYTODAy, Volume 14, No. 1, 2018
GROWING MUSIC THERAPY KNOWLEDGE FROM AROUND THE WORLD
In this edition of Music Therapy Today you The journal’s reading audience is also diverse:
will find an article on “Implementing a song educators, clinicians, students and allied health
as a reward for transition from free-play care practitioners. Our aim is to attract authors
time to a group activity”. Alongside this pa- from around the globe to share their clinical
per, you will find five book reviews, 10 pa- work and research in order to grow the body
pers which were absent from the 2017 world of knowledge on music therapy. The WFMT
congress proceedings, and a conference re- strives to produce a publication that is accessi-
port on the 15th World Congress of Music ble to everyone who endeavors to continue to
Therapy. learn and develop their practice as music the-
rapists and health care practitioners. The pa-
The WFMT journal is a peer-reviewed publi- pers for this issue indicate a real desire and
cation which is made possible through the commitment by authors to contribute to the
editorial directorship of Dr. Annie Heiders- knowledge base of music therapy and grow our
cheit and the dedicated Music Therapy Today profession internationally.
editorial review board comprised of revie-
wers from various regions of the globe. Mu- I trust you will enjoy this edition and hope that
sic therapy practice is diverse around the it inspires you to consider submitting an article
world, and this diversity is also reflected in the for publication in future editions. As President
publications. The purpose of the journal is to of the WFMT I am honoured to serve as the Bu-
disseminate current knowledge and informa- siness Manager for this important publication.
tion about music therapy education, clinical
practice, and research worldwide. I am deligh- Regards,
ted that in this edition, we have papers that Melissa Mercadal-Brotons, PhD, MT-BC, SMTAE
represent music therapy practice and topics president@wfmt.info
of interest from different parts of the globe.
About the Author

Melissa Mercadal-Brotons, PhD, MT-BC, SMTAE
Melissa Mercadal-Brotons is the Director of the Music Therapy Mas-
ter Program, Escola Superior de Música de Catalunya (ESMUC), and
Coordinator of Research and Master Programs at ESMUC. She is the
President of the World Federation of Music Therapy (WFMT) and
the Spanish Delegate of the European Music Therapy Confederation
(EMTC).
7
Transitions & New Beginnings
Annie Heiderscheit, Ph.D., MT-BC, LMFT

Chair, Publications Commission, WFMT
Editor, Music Therapy Today
It is an honor and privilege to continue my music therapy practice. These valuable re-
service to the World Federation of Music views provide readers with insight into the
Therapy (WFMT) by serving as Chair of the value of these publications.
Publications Commission and as editor of
Music Therapy Today. This journal is a valua- Lastly, there is a conference report. This re-
ble resource to the global profession of mu- port highlights the 15th World Congress of
sic therapy, as it serves to provide a platform Music Therapy held in Tsukuba, Japan in July
to share and exchange knowledge and infor- 2017. Documenting and reviewing our con-
mation. This resource strives to meet the ferences provides a historical report and do-
mission of the WFMT through this exchange. cumentation in our professional literature
and it provides information about the event
This issue of Music Therapy Today continues for those that were not able to attend.
this tradition of sharing information from
colleagues all around the world. This issue in- I would like to express my gratitude to the
cludes contributions from colleagues from Ca- editorial review board for their work on re-
nada, India, Europe, Japan, Poland, and the viewing and preparing manuscripts for pu-
United States. These contributions represent blication. I also want to thank Dr. Melissa
the importance of our global community and Mercadal-Brotons the previous publications
what we gain through our willingness to learn commissions chair and editor for her assis-
from each other. tance in transitioning the journal operations.
This 2018 edition includes several World Enjoy reading the valuable contributions in-
Congress of Music Therapy Proceedings that cluded in this issue. I hope as you read the
were not able to be published in the 2017 proceedings, article, book reviews, and con-
edition, so we are publishing them here. ference report that you may consider sub-
There is an original research article exploring mitting a manuscript for the next issue of
the use of a song as a reward in helping chil- Music Therapy Today. I encourage you to
dren transition. We have several book re- join your global community in exchanging in-
views included in this issue as well. These re- formation.
views represent the continued growth in the
number of texts being published related to Sincerely,
8
About the Author
Annie Heiderscheit, Ph.D., MT-BC, LMFT is the

director of music therapy at Augsburg University
in Minneapolis, Minnesota, where she oversees
the undergraduate and graduate music therapy
programs. She is currently the Publications Chair
of the WFMT and the Communication Chair for
the International Association of Music and Me-
dicine. She is a senior music therapist at the Uni-
versity of Minnesota Masonic Children’s Hospital,
maintaining an active clinical and private prac-
tice, as well as an active research practice.
9
15th World Congress of Music Therapy
Congress Proceedings
10
MUSICAL INTERACTION TO FACILITATE COMMUNICATION IN
AUTISM IN AN INDIAN CONTEXT
Dr. Baishali Banerjee Mukherjee

Faculty and Research Associate, Chennai School of Music Therapy, Chennai;
Faculty, Center for Music Therapy Education and Research,
Mahatma Gandhi Medical College and Research Institute, Pondicherry, India
This case study of ten children aged be- tive information/data gathered from video
tween three and seven years with the diag- and audio recordings of all the sessions to
nosis of autism was designed to investigate demonstrate the skills progressed through
the facilitation and enhancement of commu- musical interaction, the nature and pace of
nication and interaction skills through a progress and the individuality expressed
number of individual sessions of musical in- by each and every child during the sessions.
teraction. The present research was based A detailed category system to analyze com-
on evidence of beneficial effects of music munication skills was formed where per-
therapy on communication in children with formances were scored in the areas like
autism. receptive communication, emotional ex-
pressions, intentional expressions, expres-
The study was conducted in United King- sive musical communication, expressive
dom (2003 - 2008), the data collection of intersubjective engagement etc. Along with
which was done in India to introduce musi- quantitative analysis the narrative analysis
cal intervention to facilitate communication was also conducted by capturing the stories
skills in autism by using Indian music. All the from therapist-child musical interaction
children participated in the study were first leading to engagement, analyzed in the form
time exposed to such an intervention. In of episodes. Later each episode was micro
musical interaction with children the tech- analyzed using computer aided software to
niques of improvisational music therapy demonstrate nonverbal-vocal and bodily ex-
(Bruscia, 1987; Wigram, 2004) and the pressivity by children in musical interaction.
techniques of musical interaction therapy Both qualitative and quantitative analyses in
(Wimpory, Chadwick and Nash, 1995; Pre- an integrated form contributed to develop
vezer, 1998) were employed with tunes of an insight towards the cause of progress in
Indian Ragas, Talas, structured songs and communication skills made by all ten chil-
lullabies. dren. As well as it helped to reflect individual
variations in the nature and rate of progress
The analysis of the study was designed to in communication skills.
produce a detailed record of the progress in
communication skills made by each child The case study was an appropriate approach
participated in the study. An effort was to use in that context as it was a first attempt
made to combine quantitative and qualita- by the researcher to explore whether Indian
11
music used in an improvised and interactive References
way can enhance and facilitate communica-
tion skills in children with autism that differed Bruscia, K. E. (1987). Improvisational models
from the traditional music healing practices of music therapy. Springfield: Charles C.
in India. The healing potentiality of Indian Thomas.
music lies in its melodies, which expresses Deva, B. C. (1995). The music of India: A scien-
emotions through its variation in tonal quali- tific study. Munshiram Manoharlal Publis-
ty, level and movement (Deva, 1995). The hers Pvt. Ltd. Delhi.
power of improvisation lies at the heart of In- Prevezer, W. (1998). Entering into interaction:
dian music. The principles of Improvisational Some facts, thoughts and theories about au-
music therapy (Bruscia, 1987; Wigram, 2004) tism, with a focus on practical strategies for
which were used to match, mirror, reflect, enabling communication. Report published
synchronize, and accompany the children’s at The Elizabeth Newson Centre, 272 Long-
communicative expressions with the inten- dale Lane, Ravenshead, Notts NG15 9AH.
tion to enhance the expressions of emotions Wigram, T. (2004). Improvisation: methods
and intentional communications were com- and techniques for music therapy clini-
patible with the non referential nature of In- cians, educaors and students. London and
dian music (Deva, 1995). Improvisation in In- Philadelphia: Jessica Kingsley Publishers.
dian music is uninfluenced by language, ex- Wimpory, D., Chadwick, P., Nash, S. (1995).
press the inner state or inner music of the Brief report: musical interaction therapy
musician as well as it reaches to the inner for children with autism: An evaluative
most level of listener’s mind. case study with two years follow up. Jour-
nal of Autism and Developmental Disor-
The therapeutic techniques adapted to in- ders, 25 (5), 541- 552.
teract with children with autism to facilitate
communication skills through improvised About the Author
vo-cal and instrumental music based on In-
dian melodies and rhythms had a core foun- Baishali Banerjee Mukherjee. Interested to
dation for support of communication that introduce music therapy for children with
naturally motivated them to express their mental challenges in India adapting objective
emotions and communicative intentions and methods and techniques of therapy from
also helped to evoke that inner music or mu- Western approaches.
sicality in all the children which was veiled Email: baishalim@yahoo.co.in,
under the disability. baishalimukherjee@gmail.com
12
THE DEVELOPMENT OF CREATIVE THERAPY-BASED
PLAY GROUPS FOR PRE-SCHOOL CHILDREN AND PARENTS
IN INNER CITY LONDON

Katherine Walters
Senior Music Therapist – Coram, UK
Claire Everest
Community Engagement – Coram, UK
Context parent isolation; attachment difficulties;

specific diagnoses such as Autism. Many fa-
Having established a flexible method of wor- milies have additional needs such as over-
king in children’s centres in London, Katherine crowded living conditions; single parenting;
realised there was a huge need for therapeutic siblings with Autism etc.
work within this area. Parental depression and
its impact on attachment was particularly These inclusive groups focus on nurturing
prevalent. In March 2015 many state-run chil- early attachments and provide a space for
dren’s centres (including two where Katherine children to develop communication in a the-
worked) were closed, due to government rapeutic environment. Parents can gain advice
changes. There was a general move toward and support from staff and each other as
fewer, more specialised services. needed: The closed nature of the group
means that stronger support-networks are
In the creative therapy department at Coram, formed amongst parents. This also means
there has been an increase in referrals to music children who may find relating difficult, are
and art therapy for children who present able to progress within the predictable mem-
with attachment disorders. The need for early bership and format of the groups.
intervention alongside parents and children is
therefore increasingly evident in this work. Modelling a child-led approach
How the groups work By participating in the groups parents and

children build trust and understanding of the
Claire and Katherine launched the Under 5’s music and art therapists’ techniques in a non-
Creative Groups at Coram in May 2016. Pa- threatening setting. Secure attachments are
rents, children, therapists and early years staff fostered between parents and children through
come together for two hours a week and par- the use of modelling by staff, using motivating
ticipate in child-led creative activities. Parents media.
and children attend the groups through agency
or self-referrals. Referral reasons can include: Parents are also able to attend a taster session
social, emotional and behavioural concerns; of music therapy with the therapist and their
13
child in a separate therapy room during the Health Care Plan. Crucially this intervention
main group session. Here, child-led techniques gave his mother something positive at a
are modelled by the therapist in a nurturing difficult time. Video feedback was used to
way and parents are given ideas of how to show his mother and new teacher how the
continue these at home. sessions impacted positively on his relating
and communicating whilst providing an
Each group ends with a singing session: here outlet for non-verbal emotional expression.
children can develop their communication
and relating skills in the familiar group setting References
with motivating, musical activities adapted to
meet the needs of the families. Flower, C. & Oldfield, A. (Eds.). (2008). Music
Therapy with children and their families.
London: Jessica Kingsley Publishers.
Levinge, A. (2011). Music therapy for depres-
sed mothers and their infants. In Edwards, J.
(Ed.), Music Therapy and Parent-Infant Bon-
ding. Oxford, UK: Oxford University Press.
About the Authors
Katherine has set up & delivered music the-

Staff can identify families who may benefit rapy & skill-sharing projects in schools and
from further therapeutic intervention and children’s centres in London for six years.
therapy sessions can be arranged outside of Email: katherinew@coram.org.uk
the groups. Onward referrals have included
a non-verbal three-year-old and his mother Claire delivered the Coram Early years ‘Stay
attending music therapy sessions: his mo- and Play’ provision; coordinates the Creative
ther was supported in getting music therapy Groups and leads the young Parents’ Peer-
included as part of her son’s Education & Education Programme at Coram.
14
LOOKING BACK AND MOVING FORWARD:
25 YEARS OF A MUSIC THERAPY BUSINESS
Jody Conradi Stark, Ph.D., MT-BC

Creative Arts Therapies, Inc., USA
Abstract moving forward into the future of service de-

livery.
Music therapists face an increasing number of
employment options in their career (American References
Music Therapy Association, 2016; Wheeler,
2015). One of these options is a community American Music Therapy Association. (2016).
based private practice or music therapy busi- 2016 AMTA member survey and workforce
ness. analysis. Silver Spring, MD: American Mu-
sic Therapy Association.
With 14,623 music therapists worldwide American Music Therapy Association. (2015).
(World Federation of Music Therapy, 2012), Leading the way: Music therapy businesses
there is an increasing need and opportunity of the future: A workbook. Silver Spring,
to explore the music therapy business as a MD: American Music Therapy Association.
service delivery model (American Music The- Thomas, T., Ledger, A., Kern, P., Lindahl Jacob-
rapy Association, 2015; Thomas, Ledger, Kern, sen, S., Abad, V. (2014). The economics of
Lindahl Jacobsen, & Abad, 2014). therapy: Clients, colleagues, cash, and
competition. In J. Fachner, P. Kern, & G.
Established in 1991, Creative Arts Therapies, Tucek (Eds.). Proceedings of the 14th World
Inc. provides music, dance/movement, and Congress of Music Therapy. Special issue
art therapy services to community agencies of Music Therapy Today 10(1), pp. 266-
and private clients throughout the metro- 267. Retrieved from http://musictherapy-
politan Detroit area and Southeast Michi- today.wfmt.info.
gan, USA. Individuals of all ages and abilities Wheeler, B. L. (2015). Music therapy as a pro-
are served through creative arts therapy fession. In B. L. Wheeler (Ed.), Music therapy
modalities in the accomplishment of thera- handbook. New york, Ny: Guilford Press.
peutic aims: addressing physical, emotional, World Federation of Music Therapy. (2012).
cognitive and psychosocial and spiritual Accreditation and Certification Commis-
needs. sion: Music therapy certifications and li-
censes worldwide. Retrieved from http://
This presentation looks back on the author’s www.wfmt.info/newsite/wp-content/up-
experience of 25 years of music therapy busi- loads/2014/05/Music-Therapy-Certifica-
ness ownership, with recommendations for tions-2012.pdf
15
About the Author
Jody Conradi Stark, Ph.D., MT-BC is Presi-

dent/Owner of Creative Arts Therapies, Inc.,
Site Director of Music Therapy Clinical Servi-
ces at Michigan State University Community
Music School - Detroit, and Part Time Lectu-
rer and Music Therapy Clinical Supervisor at
Eastern Michigan University.
Email: creativeartstherapiesinc@gmail.com
16
PRACTICE OF FUNCTION TRAINING ASSIGNMENT APPLIED
EURYTHMICS AND JAPANESE SONGS
Inoue Kaoru
Day care center for seniors Nagoyaka Tsukiji, Japan
Abstract
In my facility [image 0-1], clients who are sep-

arated into seven care-levels train altogether
while sitting in armchairs to improve their
function. It is difficult to train per individual.
Therefore, we practice the activities of [Beat +
Time] [Basic-rhythm] [Poly-rhythm] which is
Eurhythmics. We started Eurhythmics includ-
ing [Muscle training of leg] [range of motion
exercise] [flexibility exercise of ribcage].
Image 1-1. Step
Image 0-1. Facility
Description
Image 1-2. Deep breath
January
With singing [Dokokade haru ga (Spring is February

Everywhere)], clients step the part of the first
tune Dokokade haru ga~ and the second tune Clients sing [Mame(beans)maki] with step-
Dokokade Hibari ga~ [image 1-1]. ping a quarter note (named Human) [image
1-1] or [image 2-1].
They sing with hand motion breathing deeply
during the third tune yama no sangatsu~ by They sing stepping a half note (named Turtle)
8 beats [image 1-2]. and a eighth note (named Rabbit).
17
Image 2-1. Clap stick Image 4-2. 2nd beat
March
Clients swing at a half note with singing [Edo

komorisuta (Edo lullaby)] as if they hold baby
in their arms [image 3-1].
Image 4-4. 4th beat
The rule
Image 3-1. Swing Five points when all could do well; 4 points
when almost could do well; 3 points when
April the half could do well; 2 points when few
could do well; 1 point when nobody could
With singing [Haru no Ogawa (Whisper, Whis- do well. According to this rule, we total the
per Little Stream)], clients raise arm (the first average of months. This was conducted 14
beat) [image 4-1] -open hand (the second beat) times in a month.
[image 4-2] -close hand (the third beat) [image
4-1] -down arm (the fourth beat) [image 4-4]. A table (Leader-style) 4.21-4.43-4.57-4.71, B
table (Following level of A) 3.29-3.36-3.86-
3.93, C table (Following level of B) 2.43-3.29-
3.50-3.57, D table (Mainly Men) 2.29-3.00-
3.07-3.14, E table (Long-term care level 5)
0.43-0.50-0.64-0.77.
Even though the point difference by table is

large, every tables could increase points. The
body movement of participants became bigger
Image 4-1. 1st beat & 3rd beat and accurate. Introduction of the assignments
18
made the repetition of function training pos- Eurythmics Research Center (1994). Kodomo
sible such as function training-assignment- no tameno Rythmique~Nenkan curricu-
function training. Therefore, the amount of lum to sonojissen~ (Eurythmics for Chil-
time that participants move their body with dren~annual curriculum and the practi-
keeping their concentration increased. Also, ce~).
middle and serious care level participants, who
are likely to fall behind, could move actively. Mini-Biography of presenter
Light and middle care level participants em-
bodied their goals by being evaluated, and Inoue Kaoru. Graduated from musical educa-
completed both step 1 and 2 assignments tion and a special study of Rythmique in Ku-
every month. We are supposed to continue nitachi Music College, Bachelor of arts, RMT
the assignments and to try more accurate (Japan).
quantitative evaluation as positive proof could E-mail: i_roui@jcom.home.ne.jp
be obtained.
Reference music score website
References
http://ototama.com/music/folksong/score.p
Takahashi, T. (2006). Hokan Daigae-iryo On- hp?id=200
gaku-ryoho Supplement and Replacement http://ototama.com/music/folksong/score.p
Medicine Music Therapy. hp?id=240
Kato, M., Niikura, A., & Okumura, T. (2000). https://ja.wikipedia.org/wiki/%E6%B1%9F%E
Ongaku-ryoho no Jissen koresha/kanwa- 6%88%B8%E5%AD%90%E5%AE%88%E5%
kea no genbakara. Practice of Music The- 94%84
rapy from the field of care for seniors/ http://ototama.com/music/folksong/score.p
palliative care. hp?scoreID=77
19
ESTABLISHING A THEORETICAL BASIS FOR
EVIDENCE-BASED PRACTICE IN MUSIC THERAPY
Masako Otera
Shikoku University, Junior College, Japan
Abstract of evidence (Abrams, 2010). Although their

conclusions suggest the existence of multiple
This paper focuses on evidence-based prac- types of evidence, discussion is needed to
tice (EBP) in music therapy, providing an overcome the conflict between quantitative
overview of EBP discussions in music therapy, and qualitative evidence, establish a theore-
existing issues on the EBP movement, and tical basis for evidence, and determine the
theoretical discussions based on Structural existence of multiple types of evidence in
Constructivism to establish a foundation of music therapy. Kyougoku (2008) theoretically
evidence and for the existence of multiple demonstrated the idea of multiple types of
types of evidence in music therapy. evidence using Structural Constructivism,
which is an epistemological framework pre-
Description sented by Saijo (2005). A core concept of
Structural Constructivism is intention-correla-
Evidence-based practice (EBP) as a movement tion. This proposition states that all objects
in music therapy has been a subject of discus- and events around us are cons-tructed from
sion regarding accountability to music therapy individual intentions and, therefore, multiple
clients and for music therapy to gain social realities of constructed structures are unavoid-
recognition as a new profession. Otera (2013) able. The intention-correlation principle sup-
reviewed EBP discussions on music therapy ports the idea of multiple types of evidence.
through 2012 and noted the following issues Kyougoku (2008) proposed that all evidences
based on Saito’s (2012) discussion of evidence- are intention-correlation constructed struc-
based medicine. First, it is important that mu- tures. Individuals’ intentions regulate their rea-
sic therapists are aware of the ways that they sons to use evidence. In other words, the use
recognize or understand EBP and evidence be- of evidence depends on the individual’s pur-
cause different interpretations of EBP and ev- pose. Kyougoku (2008) asserted that “evidence
idence could cause unnecessary confusions is a tool for achieving a purpose of solving clin-
and conflicts. Second, some discussions have ical questions regarding prevention, diagnosis,
suggested that the definition of evidence in prognosis, treatment, causal relationships,
EBP should not be limited to quantitative re- process, values, meanings, and needs” (p.
sults. However, a problem remains regarding 1070). He presented Structure-Construction
how to incorporate multiple different types of Evidence-Based Practice (SCEBP) and demon-
evidence into EBP. Previous studies have criti- strated the use of multiple types of evidence
cized narrowly defined evidence (Aigen, 2015) according to the reason to practice. SCEBP has
and have attempted to classify different types a five-step exercise similar to that of the origi-
20
nal EBP. However, the SCEBP has relatively bet- Journal of Music Therapy, 47(4), 351-379.
ter flexibility for formulating clinical questions, doi:10.1093/jmt/47.4.351
searching, examining, and applying evidence to Aigen, K. (2015). A critique of evidence-based

clinical practice, and the intention-correlation practice in music therapy. Music Therapy
principle in Structural Constructivism is a the- Perspectives, 33(1), 12-24. doi:10.1093/
oretical basis supporting the flexible exercises. mtp/miv013
Kyougoku, M. (2008). Atarashii EBM-SCEBP ga
Conclusion motarasu kanosei [New EBM - The poten-
tiality of SCEBP], Japanese Journal of Nurs-
The author suggests that SCEBP is applicable ing, 72(12), 1070-1075.
to EBP in music therapy and that a new Otera, M. (2013). Is the movement of evi-
methodology of EBP in music therapy could be dence-based practice a real threat to
established by incorporating new ideas and music therapy? Voices: A World Forum
philosophies, such as SCEBP. Because music for Music Therapy, 13(2).doi:10.15845/
therapy is a new profession, music therapists voices.v13i2.696
should take advantage of learning new theo- Saijo, T. (2005). Kozokoseishugi toha nanika?
ries and avoid unproductive conflicts of belief, [What is Structural Constructivism?]. Kyo-
such as quantitative versus qualitative or ben- to, Kitaoji shobo.
efits versus detriments of EBP, which people Saito, S. (2012). Iryo ni okeru naratibu to
in other professional fields have previously ex- ebidensu. tairitsu kara chowa e [Reconcil-
perienced. The establishment of a new EBP iation between narrative and evidence in
methodology could benefit clients and their medicine: Beyond the dichotomy]. Tokyo,
families and could advance clinical practice Tomi shobo.
and research in the field of music therapy.
About the Author
References
Masako Otera is an associate professor at
Abrams, B. (2010). Evidence-based music the- Shikoku University, Junior College.
rapy practice: An integral understanding. Contact: m-otera@shikoku-u.ac.jp
21
REFLECTIONS OF AN OFF-DUTY MUSIC THERAPIST
AND A HOMELESS DAY-LABORER
Eric B. Miller Ph.D. MT-BC

Montclair State University
Floyd Wilkins
Smashville Badminton Center
Abstract professional or therapeutic relationship! As

both a quantitative and qualitative resear-
This phenomenological inquiry explores the cher, as well as humanistic clinician, I reso-
development of a shift in consciousness from nate with Ken Aigen’s identification of the im-
that of habitual incarceration to freedom, portance of the therapist’s creativity, intui-
through the vehicle of musical expression. tion, and flexibility (Aigen, 1993) as integral
Floyd’s thirty-plus years in prison contributed to a client-centered approach.
to a way of thinking that might be characte-
rized as “institutionalized,” or “confined.” I started off by teaching Floyd how to use a
Here, an off-duty music therapist runs with a power drill, circular saw, and tape measure.
hunch that tapping into musical expression From day one, it was abundantly clear that
could create a way to literally think outside Floyd LOVED MUSIC and practically required
the box. Together, the two document the his radio in order to work! After a couple of
process of Floyd’s rise out of homelessness months, I showed him a few riffs on the bass
consciousness via a youTube video called guitar.
“Choices.” Ethical issues are considered.
Floyd had been in prison off-and-on since age
Eric: 15. He was 52 now. This was his first time ty-
ping on a computer. He told me that he
Day-in, day-out, Floyd and I were just two couldn’t do it, but I suggested that it was really
guys on a construction site, nailing down kind of like texting on his cell phone. He gave
flooring, putting up insulation and drywall, it a shot.
painting, drilling metal, and sawing wood to-
gether – and, of course, listening to music Floyd:
while we worked.
My name is Floyd Wilkins. Before I entered
How often does a music therapy professor this program, I was messed up on drugs and
get a chance to leave the ivory tower and alcohol. I was homeless and living on the
work deep in the trenches? I suspect not that streets of Pottstown. During the day, I did
often. I actually felt I had more latitude with whatever I had to do to get money for drugs
what I could do, being “off-duty” and not in a and alcohol. I pan-handled, conned, and even
22
robbed people to support my habit. I had just Eric:
been released from jail.
Floyd had over 30 years total behind bars in

Eric: prison, and I felt like I had no clue as to how
he would be able to change his thinking – let
I was coordinating the renovation of a dilapi- alone, behavior – to adapt to life on the out-
dated attic into an arts and badminton center. side. He had a habit of going back to jail after
All of a sudden, my construction crew vani- being out for short periods. He even des-
shed! The head worker got a DUI and could cribed trying to get back to jail!
not drive any more; his assistant stopped re-
turning phone messages. I was stuck and One thing, however, was abundantly striking
needed some labor help big time! – this man LOVED music. As soon as he hit
the work floor, on went the radio. Song after
There were a lot of street people in Potts- song played over a gritty old radio speaker,
town, and periodically some would ask if I ad infinitum. Floyd also sang along and had
had work. Most of the time, you could smell a rich expressive voice, perfectly in key!
the alcohol when they came near, or they However, when asked, he said he did not
looked like they were high on drugs. Potts- sing or play music. I wondered if he might
town has a thriving heroin epidemic. We have change his perception of himself if he could
robberies and shootings in the neighborhood see his own talent – maybe in a recording or
regularly. Maybe I was just desperate for video.
help, but I thought there was something dif-
ferent about Floyd. He carried himself diffe- Floyd:
rently and referenced God a lot in his pitch –
actually, a bit too much. There was still a dis- This man taught me about trust, self-respect,
tinctive aroma of hard liquor, but he spoke responsibility, and self-worth. He gave me a
coherently and I got the sense that he ge- job and taught me a few skills to help me sup-
nuinely wanted to work. He had a nice rhythm port myself.
to his patter.
Myself – Ever since I’ve been in the program,
Floyd: I realize that I am becoming a better man
than I use to be.
With no skills and nowhere to go, my family
didn’t want to deal with me because of my I’m drug free and I’m working a new job.
past history of drug abuse. My drug abuse Thanks to the program, I’m back with my fa-
had me living like an animal on the streets. I mily. I’m healthier and I’m involved with the
moved into a crack house where I was ac- family business. I don’t associate with nega-
cused of murdering the lady who allowed me tive people from my past. I’m going to church
to move in with her. and bible study. I try to go to as many mee-
tings as possible for my drug addiction. This
I was innocent, but that only drove me program is very important to this community.
deeper into my addiction. I was a lost soul It gives the younger generation something to
wandering the streets until I met Eric who got look forward to after school besides being
me involved in his badminton program. around negative influences.
23
Eric: if the experience of playing music and seeing
oneself playing might alter self-perception
I was intrigued by Floyd’s writing about his ex- and maybe tap into a spiritual connection.
perience working at Smashville as a “pro-
gram.” Floyd himself talks about being “insti- I had started a work pattern of changing the
tutionalized,” so it might seem to be the norm tasks at hand from one day to the next – from
that wherever he is, he is part of a “program” painting and flooring to electrical wiring and
that is attempting to help in its own particular drywall. While initially, Floyd voiced his pre-
way. For me, actually not being part of a pro- ference to just stick with the same job, after
gram opened up new avenues for potentially a while he appeared amused, wondering
beneficial experiences. For example, if I was “what the Boss had in store” for the day. So
“on-duty” – say, working with an outpatient on the day I suggested we start a music video,
at a counseling agency in session with a ho- Floyd’s reaction was partly skeptical and
meless alcoholic – I might have a discussion partly amused – “There goes the Boss again!”
about the impact of alcohol on their life and I showed him the root notes of the two-chord
advise attending AA meetings. Being on a vamp on the chorus of Reeling in the years.
construction site however, Floyd and I could Floyd loved Steely Dan and played his Mp3s
go for a beer during dinner break and listen daily. Floyd picked it up – no problem. The
to live acoustic music at a classy restaurant verse was a little more complicated, but he
down the street! This kind of “real-world” ex- was able to hit the descending line most of
perience appeared to have a big impact. It the time. Most challenging was the 3rd bar of
was something outside of his typical range of the verse where the descending line changes
activities, and he really enjoyed it. Maybe it from diatonic to a chromatic run – going back
helped him feel more a part of the “outside” and forth between the two lines up to tempo
world. I’m not sure if I would call these ou- was difficult. We managed to get enough
tings, or even working with him on the bass clean passages over several video takes. I was
guitar, “therapy” – despite its seeming to able to complete a successful edit between
have a clear impact. cuts of Floyd, perfectly in tune and on beat
with Steely Dan!
One theory of addiction posits the necessity
of a “spiritual emergence” in order to be- How was playing at first with just the bass and
come free of the power of the substance. guitar?
Drugs and alcohol are great at filling a spiri-
tual void with a substitute “feel good” fee- Floyd:
ling, albeit temporary. I started to wonder
about the possibility here of a “musical Tricky – that’s the word that describes it. I
emergence!” I have previously written about had to really listen and pay attention to
the impact of music on the biological, psy- every note. Once I heard the beat and ap-
chological, and social aspects of addiction plied it to the chords on the bass, it was
(Miller, 2011); however, my emphasis at that magical! It took me a minute to get it on the
time was on physiological self-regulation via bass, but once my teacher, Eric, showed me
biofeedback. Here, I was most interested in how to listen and play the bass at the same
the spiritual experience that helps break the time, it was a wrap. That truly was a beauti-
cycle of addiction. Specifically, I was curious ful thing!
24
Eric: ways stayed in some type of trouble, be it in
the streets or with the law. Negativity was my
How did you like seeing your first video life. Crime and destruction was my life. All
playing Steely Dan? that changed, thanks to Eric Miller and the
Smashville organization. The reason I look at
Floyd: that video so much is because that video is
one of the first positive things I did in my life.
It blew my mind! I never knew I had it in me
to make a video, much less learn the bass! Eric:
All my life I’ve been into negative things, but My wife, Lynn, is also a music therapist and a
learning something new like playing the bass fantastic singer. She would periodically come
opened up a whole new world to me – lear- by the work site and help with painting and
ning that Steeley Dan song was hard, but my cleaning, and would supervise Floyd working
boss hung in there with me until we got it on those jobs. He would refer to Lynn as
done. Seeing that video after it was done was “Mom” and appeared to have a lot of respect
special. for her. Floyd was amidst a relapse as I was
mixing down the audio tracks of a new re-
Eric: cording, and I asked Lynn if she would like to
sing a message to him. He had never heard
Around this time, we were doing some her sing live, so the first time he heard Lynn’s
fundraisers to help raise Floyd out of home- singing voice was on an early audio mix-down
lessness. He had picked up enough badminton of the Choices soundtrack.
to be able to play in a tournament fundraiser.
I also taught him racquet stringing so that What was it like hearing “Mom’s” singing for
once construction work was finished, he could the first time?
have an ongoing role with a skill that was
needed by our players. I was impressed with Floyd:
how quickly he picked up racquet strin-ging
after a little initial frustration. Once through It was a thing of beauty! you have to unders-
that first learning phase, stringing racquets to tand that Ms Miller – “MOM” (that’s what I
music started to look almost like meditation. called her because she treated me like family)
I was also very glad to have replaced that never judged me. She accepted me for who I
junky radio with a nice sound system playing was. This beautiful woman has seen me at my
portable mp3s and Spotify channels. That old best and my worst. Even after seeing me in
radio had been driving me crazy! another world and under the influence of
drugs, she never turned her back on me. Of
Why do you think you watched that video of course, she was disappointed, but all that
you playing to Steely Dan so many times? made her do was tighten up on me. yeah, she
was up my ass for awhile but she never gave
Floyd: up on me. I’ll be the first to admit that I was
making some messed up decisions that were
That goes back to one word – positivity. After destroying my life, but Mom hung in to the
coming up in the mean streets of Philly, I al- end. I make better choices now because life
25
has so much to offer. Mom was the person our video powerful. We did things to make
who sung the hook to our video, Choices. To that video no one else in their right minds
be honest with you, I didn’t know Mom could would. If the truth be known, we almost got
sing. Boy was I wrong! Mom took that song arrested in the course of making that video!
and ran away with it. Mom gave that song so Let’s just say the cops don’t like being put on
much soul. I still get a little misty eyed when film. We knew some of the things we did was
I hear her voice on that song. risky, like filming cops while they were pulling
people over, but at that time, we were in that
Eric: “getting our video done by any means neces-
sary” phase. Once it was done and I saw it, it
After numerous mix-downs and 12 video hit me hard. Eric really caught the true
edits, we had a final version of our video “We essence of who I was as a man. He didn’t pull
All Have Choices” (https://www.youtube.com/ any punches. He showed the good, the bad,
watch?v=7mzhORxHWvE). In this video, we and the ugly part of my life.
juxtapose the building of the Smashville Bad-
minton center with Floyd’s story of being re- In that video, you see the hurt and pain – the
leased from prison and developing essential destruction of what drugs and hardship did
skills needed to make it on the outside. I put to the area of the city I lived in. Eric Miller
in a huge amount of hours editing, and was took you on a journey into my world, where
quite satisfied with the final result. Of course, drugs and crime were an everyday occur-
when I watch it, there are always a couple of rence. He took you through the jails and pri-
small things I see that I would do over. sons I’ve been in. He did this in one video.
The first time I saw it, I literally cried right in
Floyd was impressed and amazed by the front of Eric. The reason I watch that video so
video. He listened to the audio alone over much is because it’s the raw truth about my
and over, sometimes 20-30 times a day. Once life!
when I asked him how many times he lis-
tened, he said, “you don’t even know!” After Eric:
that, he watched the video numerous times
on end, as well. “Choices” is, in fact, a powerful video. I have
also watched it numerous times in the post-
Why do you think you watched the Choices editing phase. We presented it at a social
video so many times? workers’ conference in Atlantic City for al-
most a thousand attendees, where it was ex-
Floyd: ceptionally well-received. The “Choices” vi-
deo presents stark contrasts in ways of life
The reason I watched that video so much is and ways of thinking, and tells an unlikely
because that video hit on a lot of things I was- story of transformation against the odds
n’t ready to deal with. It was one of the har- through musical expression.
dest things I ever had to do. In the beginning,
I was sort of oblivious to what we were doing. There are interesting questions that arise
We didn’t just go out there and make a video. here for music therapists. I showed the
No – we talked about it; we suggested things; video to one of my MT classes, split into two
and imagined what we would need to make groups of students and asked them if “music
26
therapy” occurred, given that the music Eric:
therapist was off duty, and Floyd articulated
several beneficial outcomes. I loved the class I was often mind-boggled by how Floyd could
response! One group argued that music seemingly be on a new positive track, looking
therapy did not occur due to context, citing well-groomed, talking about saving money,
Bruscia and AMTA. The other group also working and going to church, and then come
cited Bruscia and AMTA and argued that mu- in to work late and flat broke, asking for a few
sic therapy did occur in the form of “recrea- quarters for smokes. Saving money was not
tional music therapy!” Ethical questions his forte, and cash was a pretty strong relapse
could be considered if MT did occur as to trigger, but for a few weeks he kind of latched
what responsibilities the music therapist on to the suggestion of putting 5 or 10 dollars
had. More broadly, however, one might ask per pay away into savings. I suppose from his
if it is possible for an off-duty music thera- perspective, I’m the one who was terribly in-
pist to not think or even play music as a mu- consistent by always changing up the tasks for
sic therapist. the day!
Floyd: Floyd:
you should ask me if my life was any different I must admit that I’ve had a rough past, and
after making that video! struggled through a lot of trials and tribula-
tions. I’ve had my ups and down, but through
Eric: the grace of God, today I can actually say I’m
a changed man.
Was life any different after the video? How
did your family react seeing what you were Being involved with Smashville, things have
into now? Was it unexpected? Why? changed miraculously. People, places, and
things – that’s an expression that’s used a lot
Floyd: in recovery. Well, I’ve found it to be true. I’m
around good people most of my day. Every
Was life any different after the video? To be day when I wake up, I love the person looking
honest, No! I continued to make bad choices. back at me. I never knew I would enjoy bad-
At the time, I was working for Eric and Mark, minton so much. I’ve learned about disci-
money was plentiful. Every day, the more pline, self-control, and anger management.
money I made, the worse my choices be- Well, I won’t lie – I still get a little upset when
came. I was living in a high drug area and I I lose. But, hey, who doesn’t? LOL! My family
was fighting my demons. I don’t have to tell has embraced me with open arms because
you that on a lot of nights, that demon got even they can see the changes I’ve made in
me. Life was definitely different. Things got my life.
so bad that messing with drugs landed me in
the hospital for almost two months. And yes, It’s funny how your life can change when you
my family was a little shocked to see me in- make a decision to put all the bull behind you.
volved in something so positive, especially It’s all about keeping the faith. you have to
when they knew I was still out here getting believe in yourself. you have to love yourself.
high and wasting my money. you have to believe that there isn’t anything
27
in life you can’t do. Today, I have two job op- lishers of London. He is certified in music
portunities I’m working on. I’m healthy and I therapy and biofeedback and directs the Ott
make better choices. you might not believe Lab for Music & Health at Montclair State
this, but I credit a lot of the changes in my life University. Miller holds a doctoral degree
to that video I participated in called – now get from the Bryn Mawr Graduate School of So-
this – CHOICES! The reason this video means cial Work and Social Research. International
so much to me is because of the simple fact presentations include sessions at the World
that life is based on the choices we make Music Therapy Congress in Seoul, S. Korea,
every day. I’m making better choices. I’m liv- Hsien Chuan University in Tapei, Taiwan, and
ing better. I’ve stopped dealing with negative workshops in Switzerland, France and Italy.
people, places, and things. Life is good, and Dr. Miller was the keynote at a 2012 Banga-
for once I can truly say that things are looking lore University conference on music and
up. I’m content and happy, and truly blessed. mental health in India. Miller has vast clinical
THAT SONG, CHOICES, BECAME My INSPIRA- experience serving children, adolescents and
TION AND MOTIVATION TO FIGHT My adults for over 25 years in inpatient, outpa-
DEMONS AND TRy HARDER TO MAKE BETTER tient, crisis and community settings. He was
DECISIONS AND CHOICES. Executive Director of nonprofits Music for
People, Expressive Therapy Concepts and
References founded the Biofeedback Network. Miller col-
laborated with Grammy-winning cellist, David
Aigen, K. (1993). The Music Therapist as Darling on the instrumental CD: Jazzgrass.
Qualitative Researcher. Music Ther 12 (1):
16-39 doi:10.1093/mt/12.1.16 Floyd Wilkins is a writer and videographer
Miller, Eric (ericmiller58). 2016, April 16. We with experience in recovery from addictions
All Have Choices. Retrieved from: https:// and expertise in the US penal system. He
www.youtube.com/watch?v=7mzhORxH- serves as Director of Community Outreach for
WvE the Smashville Badminton and Fitness Center
Miller, E (2011). Bio-Guided Music Therapy. in Pottstown, Pennsylvania. Mr. Wilkins also
Jessica Kingsley, London coaches community badminton players and
has become well-known in elite player circles
About the Authors for his expert racquet stringing. When not at
the Badminton center, Mr. Wilkins may be
Eric Miller, Ph.D., is the author of Bio-guided found blogging on Facebook and posting
Music Therapy (2011) Jessica Kingsley Pub- youTube videos.
28
ANALYTICALLY INFORMED GROUP MUSIC PSYCHOTHERAPY
HELPS INCARCERATED MEN TRANSITION IN THE COMMUNITY
Amanda MacRae
Temple University, USA
Introduction community by means of improving his ability

to think independently.
Persons who are incarcerated for any pe-
riod of time may experience difficulty when Sessions began with a brief, unstructured im-
the time comes to reintegrate into the com- provisation followed by verbal processing.
munity. These difficulties have the potential The body of each session also included struc-
to become compounded when these per- tured music interventions designed to ad-
sons also experience mental, and develop- dress specific areas of need, such as problem
mental, health challenges. Accordingly, a solving, self-awareness or environmental
music therapy group was designed to assist awareness.
four men who had been incarcerated for
over five years each, to address concerns Roles
surrounding transition into the community,
and to provide them with the necessary The role of the music was to allow for safe ex-
tools to improve the likelihood of success pression of thoughts and feelings, and to fa-
upon release. cilitate access to uncomfortable or uncon-
scious material. The role of the therapists was
Group Description to support, and encourage, clients while they
explored these expressions.
Group members were identified based upon
their impending release dates. Due to time Analytical Music Therapy Techniques
constraints, and in order to provide more
group structure, group members were given Holding – the therapist provides musical sup-
a ten-week time-frame. Sessions were held at port in any manner that will allow the clients to
the same time each week for 50-minutes, and feel safe to express their thoughts and feelings.
were facilitated by a board-certified music
therapist (MT-BC) and a board-certified be- Free association – used when the client is not
havior analyst (BCBA). Group goals were set yet able to verbalize material to be worked
by the music therapist and were as follows: with therapeutically.
1) to recognize changes in one’s environment,
2) to adapt to changes in one’s environment, Subverbal communication- used to allow the
and 3) to recognize personal strengths. The client to express thoughts and feelings that
overarching aim of the group was to improve may either be uncomfortable, or consciously
the client’s readiness for discharge into the inaccessible (Priestley, 1994).
29
Themes members were able to channel their thoughts
towards problem-solving when angry (as op-
Throughout the group’s therapeutic process, posed to behaving aggressively without

there were several themes that emerged thinking), and 3) one of the four members
while verbally processing musical material. was willing to become involved in the deve-
These themes directly related to their im- lopment of a relapse prevention plan (which
pending release and they were as follows: he was unwilling to do prior to the group).
Fear of judgement, the need for acceptance
(of self and from others), communication and Future Considerations
making meaningful connections with others,
owning personal strengths, taking personal Longer time frame.
responsibility, and using isolation as a coping Standardized measurement tools to conduct
mechanism. Through verbal discourse, the research.
men were challenged to relate these themes
to their impending discharge. References
Outcomes Priestly, M. (1994). Essays on analytical music

therapy. Phoenixville, Pa.: Barcelona Pub-
Despite several challenges, such as participa- lisher.
tion resistance, cognitive deficits which im-
peded client’s ability to fully recognize and About the Author
explore expressed material, and client’s diffi-
culty with thinking independently there were Amanda MacRae is a PhD candidate at Tem-
a number of positive outcomes. Upon comple University, in the final phase of Analytical
pletion of the group, follow-up communica- Music Therapy training, and has over ten
tion with the BCBA who co-facilitated the years of experience working with men diag-
group revealed the following outcomes: 1) nosed with co-occurring developmental and
three of the four members displayed in- mental health challenges and are incarcera-
creased social awareness, 2) two of the four ted.
30
THE COLOR OF US: MOVING FORWARD WITH INCLUSION
PROGRAMMING WORLDWIDE
Petra Kern
Music Therapy Consulting, USA
University of Louisville, USA
Introduction Japan
Worldwide, professional music therapists ad- In Japan, considered a Cohesive Society, all
vocate and support the concept of including people respect each other and actively par-
young children with disabilities in their com- ticipate in society despite having a disability.
munities. yet, inclusion practice varies greatly. Therefore, the Japanese government has built
This paper provides a snapshot of five coun- an inclusive education system that allows chil-
tries regarding a) the status of including dren with disabilities to learn in regular classes
young children with disabilities, b) music and receive special education services in sepa-
therapy inclusion practice, and c) potential rate settings. Inclusive music therapy sessions
contributions of music therapists to the inclu- are mainly coled with childcare professionals
sion movement. or related therapists. Parents typically attend
the sessions, which allows them to learn
U.S.A. about their child’s abilities, developmental
needs, and parenting skills. While inclusive
In the U.S.A., inclusion of young children with music therapy programs are emerging, more
disabilities has been mandated by federal are needed to support the core values of
laws and policies since 1975. A large body of Japanese’s Cohesive Society.
research supports the positive effects of in-
clusion practices for children with and with- Argentina
out disabilities alike. yet, access to high-quali-
ty early childhood inclusion programs and In Argentina, inclusion programming has be-
services vary from state to state. While re- coming more popular, but it is not supported
search in music therapy inclusion practice is by law. While some preschool settings accept
sparse, music therapists across the country as small number of children with special
offer inclusive services in various settings needs, educators are usually not trained to
through small group sessions or consultation provide effective inclusion services. The pri-
with parents and educators. In the future, mary roles of music therapists are to support
music therapists should be part of system- children of all abilities to function indepen-
level supports for inclusion, engage in music dently, to demonstrate the benefits of music
therapy-based inclusion research, and pro- therapy interventions, and to learn about
mote inclusion practices in collaboration with successful music therapy inclusion programs
various organizations. for possible future implementation.
31
Thailand cess, participation, and supports for children
of all abilities. Music therapists can be criti-
In Thailand, the government introduced and cal partners in providing inclusive learning
funded inclusion programs since 1999. There opportunities across a variety of contexts,
are currently over 22,000 schools providing in- activities and routines. Ultimately, inclusive
clusive programs. yet, challenges are the lack programming will support children with di-
of qualified teachers, resources, and modified sabilities to become full members of their
environment offer challenges. Because music communities and society at large – a noble
therapy is a new discipline in Thailand, music goal for all.
therapists are primarily working in private and
hospital settings. As the profession grows, op- References
portunities for research and practice in special
education settings should emerge. Kern, P., & Fienman, R. (2015). Color of us: In-
clusion programming worldwide. imagine
Poland 6(1), 110-121.
In Poland, inclusion is legally grounded, thus Contributing Authors

ensuring all children the right to education
based on their abilities and needs. Over the
years, many education institutes embraced the
idea of inclusion, but have faced the challenges
of negative attitudes and lack of knowledge
about disabilities and inclusion practices.
While music therapists increasingly have of-
fered services in schools, educators and musi-
cian implement Mobile Musical Recreation, a
method presented for inclusive groups. Clari-
fication of roles, goals, benefits, and services
will be necessary before music-therapy based Petra Kern (USA)
inclusion programs can develop. Kumi Sato (Japan)
Gabriel F. Federico (Argentina)
Conclusion Patchawan Poopit-yastaporn (Thailand)
Krzysztof Stachyra (Poland).
Inclusion matters and should concern peo-
ple around the world as it targets equal ac- Email: petrakern@musictherapy.biz
32
INTERCULTURAL COMPETENCES: INSPIRING STUDENTS,
PRACTITIONERS, AND ACADEMICS
ACROSS GENERATIONS AND NATIONS

Petra Kern
Music Therapy Consulting, USA
University of Louisville, USA
Satoko Mori-Inoue
yamato International School, Japan
Introduction relationship building, and cultural humility

(UNESCO, 2013). Intercultural competences
Due to the globalization of the world, cultural are necessary for music therapists in today’s
diversity and intercultural connections have globalized world; they provide the foundation
become facts of today’s life and therefore also of meaningful music therapy services. ~Kumi
have impacted music therapy research, edu- Sato (Japan)
cation, and practice worldwide. More than
ever, intercultural competent music therapists Culture Context
need to be aware of their own cultural identi-
ties, values, beliefs, and attitudes while being The increasing diversity of cultures implies in-
confident in implementing culturally-sensitive tercultural competences in various contexts.
repertoire (e.g., songs, rhythms, scales) to Deciphering other cultures promotes mutual
overcome cross-culture boundaries and shape understanding, solitary, and peace (UNESCO,
a common future of the field. Furthermore, 2013). Cultural context shapes music therapy
music therapists across generations and na- practice as music is strongly influence by cul-
tions must address resilience – a topic that in- ture. ~Kazumi Yamaura (USA)
vites debate on preserving or respecting
tradition vs. cultural evolution and modernity Resilience Debate
(Hadley & Norris, 2015; UNESCO, 2013).
Resilience is a core issue one must face when
Attaining Intercultural Competences looking at different cultures’ handling of tra-
dition and modernity. Preserving and respec-
Intercultural competences refer to knowledge ting traditions while embracing innovation
about particular cultures and issues that may and change in creative ways is key for moving
arise when interacting with different cultural forward as a society and profession in a global
groups. Basic requirements to attain intercul- world (UNESCO, 2013). In Japan, the resilience
tural competences include respect, self- debate in music therapy should address the
awareness/identity, seeing from other pers- generational and training differences. ~Keiko
pectives/worldviews, listening, adaptations, Shiokawa (Japan)
33
Cultural Concepts and global context not only to find their
own place, but also to develop the field in
Social codes such as the Japanese Uchi-soto a ra-pidly evolving cultural landscape. Gain-
describe interrelationships and appropriate ing intercultural competences is a lifelong
behavior between individuals and groups task, evolving over time through experien-
across situations. Intercultural competences ce, exchange, and ongoing critical reflection
embody respecting these concepts and lear- (UNESCO, 2013). There is no better way to
ning to be flexible across cultural groups move forward with music therapy than dis-
(UNESCO, 2013). “Moving forward in music covering cultural similarities and differences
therapy” in Japan means to integrate dif- during an intercultural event such as the
ferent cultures and expand cultural concepts 15th World Congress of Music Therapy in
~ June Katagiri (Japan) Tsukuba, Japan.
Tips for Being Interculturally Competent References
Becoming an interculturally competent pro- Hadley, S. & Norris, M. S., (2015). Musical mul-
fessional requires KNOWING about cultures, ticultural competency in music the-rapy:
DOING by interacting with cultural others, The first step. Music Therapy Perspectives.
and BEING reflective about one’s place in the Advanced Access December 7, 2015.
world Intercultural citizens engage in clari- United Nations Educational, Scientific, and
fying, teaching, promoting, and supporting Cultural Organization (UNESCO) (2013). In-
intercultural competences (UNESCO, 2013). tercultural Competences: Conceptual and
Music therapists across generations and na- operational framework. Paris, France: UN-
tions should be sensitive and respectful of ESCO.
other cultures, because it has meaning for in-
dividual clients and the therapeutic process. Contributing Authors
~Makiko Chiashi (Japan)
Dr. Kern and Dr. Mori-Inoue lived, studied,
Conclusion and worked in various countries. In-text state-
ments provided by contributing authors who
Past, present, and future generations of mu- are bi-cultural music therapists as well.
sic therapists need to think within a local Email: petrakern@musictherapy.biz
34
INTRODUCTION TO HEALTHRHYTHMS®
GROUP EMPOWERMENT DRUMMING
Annie Heiderscheit
Augsburg University, Minneapolis, MN, USA
Alyssa Janney
Remo, Inc., Valencia, CA, USA
HealthRHyTHMS® is an evidence-based group This presentation will give attendees an intro-

empowerment drumming program that builds duction to the HealthRHyTHMS® group em-
and fosters socialization, connection, cama- powerment drumming program and share
raderie, respect, communication and personal the various settings and ways this is being im-
expression. Group empowerment drumming plemented by professionals all around the
can be implemented in a variety of clinical set- world. The presenters will also share the re-
tings and the wide array of benefits of this search surrounding this program. The presen-
therapeutic strategy. Music therapists from ters will facilitate portions of the protocol to
around the world have received Health allow attendees to experience the power of
RHyTHMS® training and are utilizing group actively making music as a group, as well as
empowerment drumming the following types examples of the use of empowerment drum-
of clinical settings: long-term care, mental ming in clinical practice. The presenters will
health day programs, chemical dependency also explore how to potentially utilize this
treatment programs residential care and the- type of active music making in their own fa-
rapeutic day programs and public schools. cility and community and ways this may be
adapted to meet they specialized and unique
Active music making & group drumming needs of clients.
Active music making and group drumming References

are effective ways to engage clients in a va-
riety of clinical and community based set- Bittman, B., Felten, D., Westengard, J., Simon-
tings. Research demonstrates that actively ton, O., Pappas, J., & Ninehouser, M. (2001).
making music provides a variety of health Composite effects of group drumming
and wellness benefits. These benefits in- music therapy on neuroendocrine-immune
clude improved mood states (Bittman, et al, parameters in normal subjects. Alternative
2004), stress reduction (Bittman et al, 2001), Therapies Health Medicine, 738-47.
decreased burnout rates (Bittman et al, Bittmans, B., Bruhn, K., Stevens, C., Westen-
2003a), increased natural killer cell activity gard, J. & Umback, P. (2003). Effectiveness
(Bittman et al, 2001), and improved creati- for employee burnout & turnover reduc-
vity and bonding in seniors (Bittman et al, tion. Advances in Mind-Body Medicine,
2003b). Fall/Winter, 19 (3/4), 4-13
35
Bittman, B., Bruhn, Lim, P., Neve, A., Stevens, About the Authors
C. & Knudsen, C. (2004). Recreational music
-making inspires creativity & bonding in Annie Heiderscheit, Ph.D., MT-BC. LMFT is the
long-term care residents. Provider, Novem- Director of Music Therapy at Augsburg Univer-
ber, 39-41 sity in Minneapolis, MN. She is the Chair of the
Bittman, B. Snyder, C., Bruhn, K., Liebfried, F., Publications Commission WFMT. Annie is also
Stevens, C., Westengard, J., Umback, P. an endorsed facilitator of HealthRHyTHMS®.
(2004). Recreational music-making: An in-
tegrative group intervention for reducing Alyssa Janney, MBA is the Health Program
burnout and improving mood state ins Development & Marketing Manager at Remo,
first year associate degree nursing stu- Inc. She is an executive board member of the
dents: Insights and economic impact. In- SCV Education Foundation, board director for
ternational Journal of Nursing Education International Foundation for the Healing Arts
Scholarship, 1(1), 1-26. and serves on the Able Arts Work Wellness
and Research Advisory Council.
36
Research Article
37
Implementing a Song as a Reward for
Transition from Free-Play Time to a
Group Activity
Kumi Sato
Shigeki Sonoyama
Abstract Resumen
Even though there are substantial numbers A pesar de que hay un número considerable
of studies investigating transition strategies, de estudios que investigan estrategias de tran-
there is still an interest in and the need for sición, todavía existe un interés y la necesidad
research on transition due to its frequent oc- de investigar sobre la transición debido a su
currence in everyday life. Research suggests frecuente ocurrencia en la vida cotidiana. Los
implementation of music as a prompt effec- estudios existentes sobre este tema sugieren
tive to promote smooth transitions; how- la implementación de la música como un
ever, the effect of music implemented as a medio eficaz para promover transiciones sin
reward has not been discussed yet. Since re- problemas; sin embargo, el efecto de la mú-
wards are used as commonly as prompts in sica implementada como recompensa no se
educational settings, the current study exam- ha discutido aún. Debido a que las recompen-
ined the effect of a song as a reward for sas se utilizan con tanta frecuencia como pau-
younger children with developmental disabi- tas en entornos educativos, el estudio actual
lities during transitions, in comparison with comparó el efecto de una canción como re-
the effect of a song as a prompt. The parti- compensa para niños con trastornos del desa-
cipants were three children at the age of 3 or rrollo durante las transiciones, con el efecto de
4, who required support to initiate and com- una canción como aviso. Los participantes
plete transitions, especially from free-play eran tres niños con edades de 3 ó 4 años, que
time to a group activity. The result indicates requerían apoyo para iniciar y completar las
two of the participants initiated the transi- transiciones, especialmente del tiempo de
tion faster when the song was implemented juego libre a una actividad grupal. El resultado
as a prompt (Intervention A), whereas the indica que dos de los participantes iniciaron la
time they took after initiation of the transi- transición más rápidamente cuando la can-
tion was reduced when the song was imple- ción se implementó como aviso (Intervención
mented as a reward (Intervention B). For the A), mientras que el tiempo que tomaron des-
other participant, implementing the song as pués del inicio de la transición se redujo
a reward was effective to decrease the time cuando la canción se implementó como re-
needed for initiating and completing the compensa (Intervención B). Para el otro par-
38
transition. The effect of these interventions ticipante, la implementación de la canción
on their independence during the transition como recompensa fue efectiva para disminuir
will be discussed also. el tiempo necesario para iniciar y completar la

transición. También se discutirá el efecto de
Keywords: song, reward, transitions, children estas intervenciones en su nivel de indepen-
with developmental disabilities, single-sub- dencia durante la transición.
ject research design
Palabras clave: canción, recompensa, transi-
ciones, niños con discapacidades del desarrollo.
Implementing a song as a reward for transi- ving a larger selection of alternative rewards
tion from free-play time to a group activity as would be beneficial for practitioners because
interest in and needs of therapeutic use of they can attempt to find which type of re-
music is growing in the area of education, rewards is suitable for the child and provide the
searchers have investigated its effect to teach best support. Contrary to importance and
children, especially individuals with disabili- popularity of rewards in educational settings
ties who need special support. Since learning (Hoffmann, Huff, Patterson, & Nietfeld, 2009),
in a similar environment, which children with- research on use of music as a reward is limited
out disabilities have, is one of the general in music therapy literature. Lim (2010) stated
goals for children with disabilities, research in that music stimuli worked as both a prompt
music therapy has shown how music can as- and an automatic reward, but the function
sist them acquiring necessary or expected of music as a reward was not directly exa-
skills (Katagiri, 2009; De Mers, Tincani, Van mined in this study. Although research has
Norman, & Higgins, 2009; Register, Darrow, explored effective use of music as a prompt,
Standley, & Swedberg, 2007). Some studies potential effect of music as a reward has not
were conducted in a school or home setting investigated yet.
so that the participants can maintain the skills
after termination of the music therapy inter- Research on effective strategies incorpora-
vention without additional training (Kern, ting rewards is needed in other area of dis-
Wakeford, & Aldridge, 2007; Kern, Wolery, & ciplines also. Sterling-Turner and Jordan
Aldridge, 2007; Pasiali, 2004; Register & (2007) conducted a literature review of re-
Humpal, 2007). Music was used to deliver a search on interventions to support transi-
cue or create a structure in these studies; in tions in individuals with autism, and they
other word, music was provided to promote pointed out most of the available studies exa-
specific behaviors before the target behaviors mined interventions using some kinds of
occur. prompts including verbal prompts/audio
cues, visual support, and video priming.
In practical educational settings, however, re- They argued the need for further studies in-
wards are selected and offered as much as vestigating consequent components in tran-
prompts, depending on social context and sitions. Even though there is a substantial
environmental conditions, to enhance appro- number of empirical studies about promo-
priate behaviors of children. Therefore, ha- ting smooth transitions, interest in research
39
associated with transitions is ongoing due to The effect of music in promoting smooth
its frequent occu-rrence in daily life and the transitions has been examined also (Gad-
likelihood that children with disabilities find berry, 2011; Register & Humpal, 2007). The
it challenging. results of these studies demonstrated musi-
cal interventions decreased transition times
A few studies about the effect of rewards in as well as increased independence in the par-
transition times include the research con- ticipants during transitions. In the guideline
ducted by Waters, Lerman, and Hovanetz for identifying appropriate transition support,
(2009). The participants were two 6-year music and singing are also listed as an exam-
old boys diagnosed with autism, and they ple of auditory prompts besides verbal war-
had difficulty terminating a preferred activ- nings and timers (Hume, Sreckovic, Snyder, &
ity and initiating a non-preferred activity. Carnahan, 2014). However, music was incor-
The results indicate that a visual schedule, porated as a prompt in these models. There-
which is a commonly used prompt, would fore, the current study will examine the effect
not be effective by itself, and it should be of music provided as a reward in transition
combined with appropriate rewards and times, compared to the effect of music pro-
limited access to preferred activities, that vided as a prompt.
is extinction. Cote, Thompson, and McKer-
char (2005) provided three typically deve- Furthermore, since transition requires a se-
loping toddlers with interventions for tran- quence of tasks including terminating an
sitioning from the play area to the toileting engaged activity, physically moving or shif-
area. They found that the participants’ ting attention, and preparing for the next
compliance increased if access to preferred activity, what part of transition a child find
activities was not allowed after the initial it challenging should be different. Some
instruction; moreover, the effect was even children might need support to start physi-
more significant when a reward (e.g. a toy cally moving even though they can finish
to carry with) was delivered with the ex- the previous activity without any prompts
tinction procedure, compared to when a (Sterling-Turner & Jordan, 2007). Others
verbal warning was given 2 minutes prior might need prompts to terminate an en-
to a transition. Hanley, Tiger, and Ingvarsson gaged activity though they can quickly clean
(2009) investigated strategies to increase up and move to a different area once they
preschoolers’ selection of non-preferred finish the previous activity. Hume, Srec-
but academically important activities during kovic, Snyder, and Carnahan (2014) argued
free-play time. Although their research was how important it is to individualize transi-
not conducted in scheduled transitions, tion support because the best intervention
they encouraged the participants to transi- and when it should be implemented varies
tion from a preferred activity to a non-pre- depending on the child’s chronological/de-
ferred activity in the free-play period. The velopmental age or abilities. In addition to
results revealed embedded reinforcement, comparing the effect of music as a reward
such as decorating the activity area with and its effect as a prompt during transitions,
popular children’s cartoon characters, in- the authors will deeply discuss how diffe-
creased and maintained the participants’ rently each participant in this study, who
engagement in originally non-preferred ac- had different learning needs, responded to
tivities. the interventions.
40
Method (b) pseudonyms would be used as information
of their child would be kept strictly confiden-
Setting tial; and (c) they had a right to withdraw from

the study if they thought their child would not
This study was conducted at a day treatment benefit by participating in it. All of the parents
facility in Japan, which provides services for were willing to have their child participate in
children with developmental disabilities un- the study and signed the consent form.
der 6 years old. Children and their parents
can decide how many days in a week they use Kenta was a 4-year-old boy diagnosed with
the services depending on the child’s learning Autism Spectrum Disorders. His score on the
needs. Most of the children uses the services Tsumori-Inage Infant Developmental Scale,
approximately 3 hours a day to learn self-care which is a parent questionnaire–based test
or academic skills, which cannot be ad- commonly used in Japan (Kurita, Osada,
dressed on an individual basis at regular pre- Shimizu, & Tachimori, 2003), was 75 indicating
school/kindergarten and go to regular pre- the severity of the disability was mild. Impro-
school/kindergarten for the rest of the day. ving attention span was one of the challenges
Some children come to the facility to practice for him and he required frequent prompts to
learning in a group before they start going to stay on task. Sometimes he didn’t use the
regular preschool/kindergarten. bathroom even though he spontaneously said
he wanted to use it and went into the room.
After a circle time in the morning, at this faci- Kenta could engage in a task/activity relatively
lity, each child follows a schedule shown on longer if there were no peers around; in other
own schedule board, which is planned for in- words, he was greatly influenced by other
dividual learning needs to be addressed. The peers’ behaviors. When he heard the timer,
basic schedule includes: circle time, toilet, which was used as the signal for cleaning up
hand washing, snack, pre-academic tasks, at the day treatment facility, he often said “It’s
free-play time (i.e. unconstructed play), group time to clean up” or “Let’s put toys away” to
activity, lunch, tooth brushing, and going peers. However, he didn’t finish playing if
home. In this daily schedule, not all of the chil- other peers were still engaging in the play.
dren were able to have smooth transitions
from free-play time to group activity. There- Sara was a 4-year-old girl who had no speci-
fore, music intervention was implemented to fied developmental delays. According to the
encourage children finish playing, putting toys Tsumori-Inage Infant Developmental Scale
away, and having a seat for the next activity. she took at 27 months, her developmental
age was diagnosed as 21 months (DQ 78). At
Participants the time of the study, Sara had no difficulty
understanding verbal directions or expressing
The purpose of this study and its procedure her needs in words except when she had
was clearly explained to parents of three chil- tantrums. She also spoke to her peers often
dren who needed support during transitions though she rarely played interactively with
from free-play time to group activity. Their pa- them. Sara was able to perform most of the
rents understood: (a) this study was approved tasks independently without much physical
by the University of Tsukuba Ethics Committee support; however, she spent long time com-
for Research in the Faculty of Human Sciences; pleting a task since her movements were
41
slower generally. She had a tendency to re- Beat
fuse new or unfamiliar activities because of
her anxious personality. 4/4 64

3/4 3
Masa was a 3-year-old boy diagnosed with no
specified developmental delays. His DQ score 2/4 31
on the Tsumori-Inage Infant Developmental
others** 2
Scale, that he took at 26 months was 62.
However, by the time of the study, he was **These two songs are played in 6/8 beats.
able to communicate verbally with adults or
peers. Although he had the ability to perform Tempo (BPM)
most of the tasks, the child care aides consis-
tently needed to provide prompts for him. Presto (168-208) 2
Masa particularly had difficulty in finishing his Allegro (120-168) 48
play. He understood he was supposed to put
toys away if he heard the sound of a timer, Moderato (108-120) 16
but he often said “I don’t want to” or “Wait!” Andante (76-108) 23
and refused to finish playing.
Adagio (66-76) 3
Songs
Largo (40-66) 8
The authors conducted a brief analysis of chil-

dren songs to investigate some characteristics Based on the brief analysis, two original songs
in popular and well-known children songs in were composed for this study; “Clean Up, Up,
this culture. A CD set with 100 children songs Up!” was to use as a prompt to encourage
(Minnna, 2014) was selected for the analysis children putting toys away, and “Well Done,
because it included both new and traditional Finished!” was to use as a reward to praise
songs. Table 1 shows the characteristics of for cleaning up (See Appendix). Both songs
well-known children songs. It implies songs in were composed in a major key in 4/4 beats
a major key, in 4/4 beats, and at a faster and played at a faster tempo between 120
tempo are preferred. Moreover, 53 out of 100 and 168 BPM. Additionally, repeated sounds
songs used repeated sounds, words, or ono- were included in the lyrics to create some
matopoeia to create some rhythmic patterns. rhythmic patterns.
Table 1. Brief analysis of 100 children songs in Prior to the study, many of the child care aides
Japan. reported they felt uncomfortable leading the
songs because they didn’t have an advance
Key music educational background. Some studies
major 92 indicated live music was more effective than
recorded music (Gadberry, 2011). However,
minor 3 since the authors placed importance on de-
veloping teaching strategies, which can be im-
others* 5
plemented easily without special instruction,
*Others include traditional folk songs using spe- the songs were recorded instrumentally and
cial melodic scales. played with a CD player for the child care aides
42
to sing along in this study. Two recorded CD player when the timer rang, instead of pro-
were placed at the facility for the child care viding a verbal direction. For Intervention B
aids to learn the songs. (the song provided as a reward), the basic
procedures during were identical to those in
Procedure the baseline phase except that the child care
aides sang “Well Done, Finished!” along with
This study was conducted using a single-sub- the participants after they had a seat, instead
ject research design across participants. The of providing verbal praises. In the follow-up
data was collected for four weeks in each session, the procedure was identical to the
phase and follow up data was taken one baseline phase.
month after the termination of interventions.
The latency until the participant initiated the Interobserver agreement. The first author
cleaning task, the total transition time until the watched the video recordings of all sessions
participant required to have a seat for the next as the first observer. Then, the second ob-
activity, the number and kinds of prompts pro- server, who was a doctoral student studying
vided, toy categories the participant was play- special education, watched the video recor-
ing with, and the child care aide who sup- dings and collected the data for 40% of all
ported the participant were recorded. A video sessions for Masa, 38% of sessions for Kenta,
camera was set up in the corner of the room and 35% of sessions for Sara. The IOA rate
to record the latency, the total transition time, was assessed by the length of time each par-
and the prompts later; in addition, the first au- ticipant required after the initiation of the
thor was present every time to record the toy cleaning task, which was calculated by sub-
categories and the child care aides on a data tracting the latency from the total time taken.
collection sheet. The mean duration per occurrence IOA was
97% for Masa, 96% for Kenta and Sara.
Baseline. When a timer rang as a signal to fi-
nish playing and put toys away, the child care The number of verbal, visual, and physical
aides gave a verbal prompt such as “Please prompts were recorded separately by the
put your toy away.” Then, they waited for 1 same observers. Any verbal directions were
minute without providing any other prompts defined as verbal prompts, and visual cues in-
to see if the participants spontaneously start cluding pointing, showing a picture card, pre-
cleaning up. Additional prompts were given senting a box to put the toys in, or demonstra-
as much as the participants needed to finish ting the cleaning task were defined as visual
playing, put toys away, and have a seat for the prompts. Physical contacts including tapping,
next activity after the 1-minute interval. Ver- holding a hand, or holding the participant up
bal praises were provided for completing the were defined as physical prompts. The exact
cleaning task as it had been practiced at the agreement IOA for Masa was 67% in verbal
facility. prompts, 100% in visual prompts, and 78% in
physical prompts. The exact agreement IOA for
Interventions and follow-up. The basic pro- Kenta was 60% in verbal prompts, 100% in vi-
cedures during Intervention A (the song pro- sual prompts, and 100% in physical prompts.
vided as a prompt) were identical to those in The exact agreement IOA for Sara was 80% in
the baseline phase except that the song verbal prompts, 60% in visual prompts, and
“Clean Up, Up, Up!” was played with a CD 100% in physical prompts.
43
Results quired the participants to complete the
cleaning task, physically move to another
Figure 1 shows the total transition time as area, and have a seat for the next activity.
well as latency to initiation of the cleaning The number of data points is different since
task, which required the participants to fi how many days in a week each child used
nish an engaged activity, and the time after the facility was decided by their parents, de-
initiation of the cleaning task, which re- pending on their learning needs. Kenta re-
quired slightly less time for the transition
during Intervention A, while the transition
time Sara took was reduced in Intervention
B. The total time Masa spent on the transi-
tion decreased when the song was imple-
mented as a reward; however, it increased
again as the intervention continued.
Table 2 shows the mean time of before (i.e.

latency) and after initiation of the cleaning
task in each phase respectively. Kenta and
Masa initiated the cleaning task faster du-
ring Intervention A; on the other hand, in
regard to the time required after initiation
of the task, their compliance was increased
in Intervention B, when the song was deli-
vered as a reward. They did not spend much
time once they finished playing and started
putting toys away. Sara was stably able to
start putting toys away within 100 seconds
during Intervention B. Although she com-
pleted the cleaning task quickly during
Baseline without considering the toy cate-
gories she was playing, she required less
time after initiation of the task in Interven-
tion B, in a comparison between Interven-
tion A and B.
Table 3 shows the average number of

prompts provided for each participant. For
Sara and Masa, the number was the mini-
Figure 1. The filled circles represent the total
mum in every kind of prompts during Inter-
transition time. Two different dotted areas
vention B. Although the number of prompts
represent the latency to initiation of the
cleaning task (low density) and the time af- provided for Kenta decreased in Intervention
ter initiation of the cleaning task (high den- A, it increased again in Intervention B. He re-
sity) respectively. The blank circle in the fol- quired more verbal and physical prompts in
low-up session represents the latency. this phase compared to baseline.
44
Table 2. The mean of latency and the time after initiation of the task in each phase.
Baseline Intervention A Intervention B

Latency 158.7 72.8 146.4

Kenta
After 121.7 141.0 94.7
Latency 227.5 199.2 41.6

Sara
After 34.8 137.0 102.8
Latency 209.9 141.9 176.0

Masa
After 107.0 160.6 80.2
Table 3. The average number of prompts provided for each participant.
Baseline Intervention A Intervention B

verbal 3.7 2.4 6.0
Kenta visual 3.0 1.0 1.6
physical 1.3 0.6 1.4
verbal 3.5 4.6 2.0
Sara visual 2.5 3.8 1.4
verbal 5.6 5.7 5.1
Masa visual 4.4 1.0 1.0
Discussion tive for them to complete the cleaning task

and be ready for the next activity in shorter
The total transition time required for the time. On the other hand, for Sara, imple-
transition decreased in either Intervention menting a song as a reward was effective to
A or B in every participant. However, how finish playing as well as be ready for the next
these musical interventions functioned was activity. In terms of how independently the
different in each participant. The mean time participants completed the transition, Table
of before and after initiation of the cleaning 3 suggests the amount of support Sara and
task implies implementing a song as a prompt Masa required was decreased as the study
was effective for Kenta and Masa to finish continued, and it can be concluded they
playing and start putting toys away, whereas learned what is expected during the transi-
implementing a song as a reward was effec- tion.
45
Detailed discussion on each participant song implemented in Intervention B and sang
it along with a smile, he required more
Kenta. Kenta regularly told his peers to put prompts to initiate the cleaning task. There-
toys away when he heard the sound of the fore, it is difficult to conclude that musical in-
timer though he did not initiate the cleaning terventions helped him improve his inde-
task until the child care aides gave him the di- pendence during the transition. Since he still
rection. He had difficulty staying on task, and needed a certain amount of support to stay
his behaviors were highly influenced by other engaged, the song as a prompt would be
peers’ behaviors; for example, he stopped his more effective for him, in terms of the total
hands and stared at a peer for a while if the transition time.
peer started crying. Kenta often played with
Masa, and he followed Masa especially for Sara. Sara strongly refused to finish paying
the initiation of the cleaning task. If Masa and put toys away at first. She expressed her
started the cleaning task faster, he could start anger not only by saying “No” but also by cry-
it faster. If Masa took time to finish playing, ing loudly or thrashing her arm and legs.
Kenta needed time to finish playing. Thus, while she spent time regulating herself,
the child care aides put most of the toys away
When a song was implemented as a prompt and left one piece for her to complete the
during Intervention A, Kenta stared at the cleaning task. Due to this flexible response to
child care aide singing the song, and he was her behaviors, the time required after initia-
able to start putting toys away immediately af- ting the cleaning task was significantly shorter
ter the song. He sometimes stopped his hands in the baseline phase, besides the difference
if he saw peers still playing, yet he could in the toy categories she preferred playing
restart the cleaning task and have a seat with with in each phase. The child care aides had
a few verbal prompts usually. He said “Let’s been struggling to have her finish playing
start (the next activity)” and invited peers to without difficulty and put all the toys away by
come after him when he became ready for the herself.
next activity. Kenta’s behaviors during Inter-
vention B were very similar to what was ob- In the beginning of Intervention, A, Sara
served in the baseline phase. He told his peers stared at the child care aide singing the song,
or himself to put toys away when he heard the yet after a while, she started refusing to finish
sound of the timer; however, he could not playing. However, those behaviors were gra-
spontaneously initiate the cleaning task until dually decreased, and she did not exhibit any
prompts were provided after the 1-minute in- behaviors, which refuse the cleaning task, at
terval. One of the reasons why the total tran- all after Day 8. One possible reason for this
sition time dropped dramatically in the follow- sudden change is she preferred playing with
up session is that Masa was absent on that the same toy from that point. It was a set of
day. If Kenta was playing alone, he followed finger puppets, and she did not have to share
directions without difficulty. it with other peers like blocks; therefore, she
might have been highly satisfied with her
Kenta needed fewer prompts in Intervention playtime before finishing the play. Sara liked
A, yet this is partly because he had the same the song implemented as a reward and some-
child care aide for support during this phase. times sang it by herself although she had
Although he showed a great interest in the never sung a song during music activities.
46
Sara was able to put all the pieces of the toy, the song gradually, however, and this could
which she preferred playing in the second be the reason why the total transition time
half of the study, back to the original place by he required increased towards the end
herself. She spent longer time to complete again.
the cleaning task since her movements were
slow, yet the child care aides respected her In the second half of the study, Masa often
independence and did not provide additional had a seat with a toy in his hand immediately
help unless she asked for it. The decrease in after he heard the sound of the timer. He was
the number of prompts suggests her inde- redirected to put the toy back to the original
pendence during the transition improved place as the cleaning task was a part of the
throughout the study. Although the toy cate- transition practiced at the facility, yet his be-
gories are considered as one of the factors havior told he became able to shift his atten-
which reduced the total transition time, a tion to the next activity in shorter time. His
song as a reward was more effective to ad- behaviors were easily changed by health con-
dress her learning needs generally. ditions or feelings as well as how much time
he could have for free-play time on the day,
Masa. At the beginning of the study, Masa re- thus his performance during the transition
fused to finish playing almost every time he was variable overall. If he could not have a
heard the sound of the timer. He knew the smooth transition, he usually had difficulty
timer meant it was time to put toys away be- engaging in an activity later on the day. Al-
cause he asked the child care aides “Did it though there was not a significant decrease
ring?” and then said “I’m not coming.” In ad- in the total transition time, some changes,
dition, even though he put toys away, he which would probably lead to the decrease in
could not have a seat immediately after that. the time in the future, were observed in his
He lied down on the floor and rolled around behaviors.
until the child care aid took him to the chair.
Therefore, finishing the play and having a seat Limitations and implications
for the next activity were both challenging for
him. In order to closely examine the difference in
the effects between two interventions, Inter-
During Intervention A, the frequency of his vention A and B should have been repeated
verbal refusals to finish playing decreased in an A-B-C-B-C design; furthermore, the
gradually, and Masa became able to initiate combined effect needs to be investigated in
the cleaning task with a few verbal prompts. addition to the independent effect of each in-
He sometimes sang a part of the song along tervention. However, besides this study was
with the recorded music. However, he still conducted at the end of a school year, Sara
had difficulty having a seat, thus the time re- and Masa decided to terminate the use of the
quired after the initiation of the cleaning task services and go to regular kindergarten/
did not improve much. When the song was preschool in the next school year. Additio-
implemented as a reward in Intervention B, nally, since it was carried out during winter,
Masa showed a great interest in the song. He some participants were absent for a longer
said “yay!” and had a seat immediately if the period due to their health conditions, and
child care aide told him he was going to sing thus it was difficult to collect data as much as
the song. Masa became less interested in scheduled.
47
The authors respected the management po- ventions and extinction on toddlers’ com-
licy of the facility and determined not to as- pliance during transitions. Journal of Ap-
sign a specific child care aid to each partici- plied Behavior Analysis, 38, 235-238.
pant. If each participant had the same child De Mers, C. L., Tincani, M., Van Norman, R. K.,
care aid throughout the study, however, the & Higgins, K. (2009). Effects of music ther-
data, especially the number of prompts taken apy on young children’s challenging be-
to analyze the change in their independence, haviors: A case study. Music Therapy Pers-
would have been more validate. pectives, 27(2), 88-96.
Gadberry, D. L. (2011). The effect of music on
In addition, the sample size was limited be- transitions and spoken redirections in a
cause there were not many children using the preschool classroom (Doctoral disserta-
services more than three days a week regu- tion). Retrieved from ProQuest Central;
larly at the time of study. Recruiting more par- ProQuest Dissertations & Theses Global.
ticipants at the day treatment facility or other (Order No. 3458216)
educational support centers is needed for fu- Hanley, G. P., Tiger, J. H., & Ingvarsson, E. T.
ture research to increase research validity as (2009). Influencing preschoolers’ free-play
well as examine if the findings could be gener- activity preferences: An evaluation of sa-
alized. tiation and embedded reinforcement.
Hoffmann, K. F., Huff, J. D., Patterson, A. S., &
The result of this study implies music as a Nietfeld, J. L. (2009). Elementary teachers’
prompt could be effective to encourage initia- use and perception of rewards in the
ting a task whereas music as a reward could classroom. Teaching and Teacher Educa-
be effective to completing a task. Further- tion, 25, 843-849.
more, it suggests how and when musical in- Hume, K., Sreckovic, M., Snyder, K., & Carna-
terventions should be implemented would be han, C. R. (2014). Smooth transitions: Hel-
different depending on individual learning ping students with autism spectrum disor-
needs. Since rewards are commonly used in der navigate the school day. Teaching Ex-
practical educational settings as well as ceptional Children, 47, 35-45.
prompts, additional research is needed to ex- Katagiri, J. (2009). The effect of background
plore more strategies to implement music as music and song texts on the emotional un-
a reward so that educators, parents, and other derstanding of children with autism. Jour-
specialists working for children with special nal of Music Therapy, 46(1), 15-31.
needs can have a larger repertoire of alterna- Kern, P., Wakeford, L., & Aldridge, D. (2007). Im-
tive teaching strategies. It is highly recom- proving the performance of a young child
mended future research considers use of with autism during self-care tasks using em-
recorded music so that those who are not mu- bedded song interventions: A case study.
sic therapists or who do not have an advance Music Therapy Perspectives, 25(1), 43-51.
music educational background can incorpo- Kern, P., Wolery, M., & Aldridge, D. (2007).
rate the strategy without special training. Use of songs to promote independence in
morning greeting routines for young chil-
References dren with autism. Journal of Autism & De-
velopmental Disorders, 37, 1264-1271.
Cote, C. A., Thompson, R. H., & McKerchar, P. Kurita, H., Osada, H., Shimizu, K., & Tachimori,
M. (2005). The effects of antecedent inter- H. (2003). Validity of DQ as an estimate of
48
IQ in children with autistic disorder. Psy- Register, D. & Humpal, M. (2007). Using mu-
chiatry and Clinical Neurosciences, 57, sical transitions in early childhood class-
231-233. rooms: Three case examples. Music

Lim, H.A. (2010). Use of music in the Applied Therapy Perspectives, 25(1), 25-31.
Behavior Analysis Verbal Behavior ap- Minnna ga Eranda Kodomo no Uta [CD]. Shi-
proach for children with autism spectrum nagawa, Tokyo. NIPPON CROWN Co.,Ltd.
disorders. Music Therapy Perspectives, (2014).
28(2), 95-105. Sterling-Turner, H. E. & Jordan, S. S. (2007).
Pasiali, V. (2004). The use of prescriptive ther- Interventions addressing transitions diffi-
apeutic songs in a home-based environ- culties for individuals with autism. Psy-
ment to promote social skills acquisition by chology in the Schools, 44, 681-690.
children with autism: Three case studies. Waters, M. B., Lerman, D. C., & Hovanetz, A.
Music Therapy Perspectives, 22(1), 11-20. N. (2009). Separate and combined effects
Register, D., Darrow, A., Standley, J., & Swed- of visual schedules and extinction plus
berg, O. (2007). The use of music to en- differential reinforcement on problem
hance reading skills of second grade stu- behavior occasioned by transitions. Jour-
dents and students with reading disabilities. nal of Applied Behavior Analysis, 42, 309-
Journal of Music Therapy, 44(1), 23-37. 313.
49
Appendix
This song was sung in Japanese in this study. The syllable “su” was repeated in the boxed parts.
The translation of the lyrics is as follows: Let’s clean up. It’s time to clean up. We can put toys
away super quickly. Let’s clean up. It’s time to clean up. How nicely done!
*This song was sung in Japanese in this study. The syllable “ta” was repeated in the boxed parts.
The translation of the lyrics is as follows: We did it. We did it. We did it. Very well done, finished!
50
About the Author
Kumi Sato
Kumi Sato, MS, MT-BC is a doctoral student in Disability Sciences
at University of Tsukuba, Japan. She received her MS in Music
Therapy from State University of New york at New Paltz, U.S. Af-
ter returning to Japan, she continues her study to explore the
applied use of music to support children with special needs.
About the Author

Shigeki Sonoyama
Shigeki Sonoyama, Ph.D. is a Professor in Faculty of Human De-
velopment at University of Tsukuba, Japan. His research focuses
on development of strategies for children and adults with
Autism, Selective Mutism, or Behavioral Disturbances. He has ex-
tensive experience in practical studies conducted at school, pre-
school, and other facilities for people with disabilities. He is the
former president of the Japanese Association for Behavioral
Analysis and currently serving as a board member of Japanese
Association of Special Education.
51
Book Reviews
52
Clinical Training Guide for the
Student Music Therapist (2nd ed.)
Written by Donna W. Polen, Carol L. Shultis,

and Barbara L. Wheeler.
Barcelona Publishers, Dallas, TXISBN 9781945411168 (219 pages)
Reviewer: Melissa Mercadal-Brotons, PhD, MT-BC, SMTAE

Professor and Director of the Music Therapy Master’s Program, Escola Superior de Música de
Catalunya (ESMUC), Barcelona, Spain.
“Clinical Training Guide for the Student Music reflect on: a) what it means to do therapy in
Therapist”, is a comprehensive book that co- general, and music therapy in particular, b)
vers a broad variety of topics related to the what is involved in the therapy process. They
clinical work of the music therapist, and is emphasize the importance of self-know-
conceived for music therapy students at all ledge and continuous growth for the deve-
levels of training who are working with a wide lopment of oneself as a therapist. This first
range of populations. This volume has been chapter also introduces the idea of unders-
written by expert music therapists Ms. Donna tanding the therapy process, which includes
W. Polen, Dr. Carol L. Shultis and Dr. Barbara identifying client needs, understanding the
Wheeler, all of whom have many years of ex- therapist’s role and working with music.
perience both in the field of music therapy
and in the education of music therapists. This In Chapter 2, the authors present different
text goes from basic fundamental concepts levels of involvement in music therapy clini-
such as what it means to be a music therapist cal contexts. These levels range from obser-
to what is involved in planning and imple- ving professional music therapists to partici-
menting active and receptive music therapy pating and assisting as a student therapist,
strategies, and the tasks of documenting and planning and co-leading, and finally leading
self-assessing as a music therapist. the session. The different responsibilities
and functions are described for each of the
Music Therapy Handbook unfolds in 18 chap- levels of involvement.
ters which have a similar structure, with sug-
gestions for assignments, journaling and dis- Chapter 3 outlines the various facets in the
cussion at the end of each chapter. process of becoming a music therapist, par-
ticularly focusing on how they are deli-
In Chapter 1: Doing Music Therapy, An Ex- neated in the United States. The first step to-
ploration, the authors introduce concepts to wards becoming a professional music thera-
53
pist involves the academic preparation, to be decided when planning an interven-
which occurs at three different levels: Ba- tion, such as the room arrangement, equip-
chelor, Master and Doctoral programs, each ment, instruments which will be needed and
with its own objectives and competencies to other materials which may be handy.
achieve. Another part of the process is the
clinical training or practical component, Chapters 8-11 describe various experiences
which occurs throughout the academic stu- that may take place during a music therapy
dies. Supervision is another important as- session: improvising, re-creative, composi-
pect for the music therapist, both as a stu- tion and receptive experiences, each with its
dent and as a professional. The MT-BC cre- own variations. The four chapters follow the
dential is the culmination of the process of same structure: an explanation of the activi-
becoming a professional music therapist, ty itself, how it can be used with a variety of
which is obtained after passing the CBMT populations (from children to adults), and
examination. how their uses are documented in the litera-
ture. Also, each chapter has a section on the
Chapter 4 introduces the issues music thera- materials needed for each type of activity,
pists need to consider in the process of plan- considerations when using them, materials
ning for music therapy: the client’s perspec- and tips for using each of the techniques.
tive, the music therapist’s perspective and
ethical considerations. Chapter 12 delves more into some of the as-
pects that should be considered when plan-
Chapter 5 focuses on client assessment. ning music therapy interventions. These re-
This is a very comprehensive chapter, which fer to the characteristics of the client, such
walks the reader through the different pur- as diagnosis, developmental level, and the
poses of assessment and the domains to be client’s needs, and how they affect the level
evaluated by the music therapist. It presents of structure needed in the sessions, and the
different specific music therapy assessment therapist’s self-awareness of the rationale
models, developed by music therapists to be behind whatever he or she is doing. The
used with a broad range of populations, topic of ethics is presented here, clarifying
from children to adults, in order to evaluate the importance for a music therapist of fol-
non-music skills. lowing ethical standards.
Chapter 6 introduces the topic of defining In chapter 13, the authors present several ver-
goals and objectives as the first part of for- bal techniques to facilitate client responses in
mulating a treatment plan. music therapy settings such as forms of ques-
tioning, reflecting and sharing, interpreting,
Chapter 7 focuses on aspects to consider confronting and providing feedback. They
when planning and implementing appropriate also describe other techniques that should
music therapy strategies, The client’s iden- be avoided as they are not helpful, such as
tified level of functioning, interests, goals making judgments, presenting solutions and
and objectives all need to be considered avoiding client’s concerns. They also point out
when choosing music therapy experiences nonverbal strategies to facilitate nonverbal
to use in the intervention phase. This chap- responses such as body language, physical
ter also addresses practical details that need proximity and the music itself.
54
Chapter 14 delves more into the role of music The last chapter of the book, Chapter 18, is
as the main tool in the music therapist’s daily totally devoted to the music therapist and
work and how it has been addressed by seve- emphasizes the importance of continuous
ral authors in the music therapy field. self-growth throughout his or her profes-
sional life. It includes some ideas, directions
Chapters 15 and 16 tackle the work with groups and tools which can be helpful during one’s
and with individuals, respectively. The advan- career.
tages and challenges of working with groups are
pointed out: different levels of functioning and This is a wonderful reference book which
stages of development, types of problems, ages walks the reader through every single aspect
as well as level of structure needed for each of of the music therapy process illustrated by
the participants in a group. Chapter 16 exa- very clear examples. It is a significant contri-
mines several factors to consider when working bution to the music therapy literature, and al-
with individuals in order to maximize the suc- though it is intended for music therapy stu-
cess of the music therapy intervention. dents, at all levels of training, it is also highly
recommended to music therapy educators,
Chapter 17 focuses on aspects of documen- and clinicians to refresh their skills. All of the
ting and communicating client progress and chapters offer unique and valuable informa-
presents different strategies to measure and tion which is applicable to many global con-
evaluate their responses. The concept of ope- texts. The book is written by distinguished au-
rationally defining expected outcomes in or- thors who weave research results, personal
der to choose the best measurement system and professional experiences into their wri-
is emphasized. Examples of progress notes ting with great examples that bring the daily
are also included in this chapter. work of music therapists to life.
55
An introduction
to music therapy research
by Barbara L. Wheeler and Kathleen M. Murphy Dallas

TX, Barcelona Publishers, 2016. ISBN: 9781945411120
By Heidi Ahonen, PhD, RP, MTA, FAMI

Professor of Music Therapy, Wilfrid Laurier University. Director of the Manfred and Penny
Conrad Institute for Music Therapy Research
Through the years since finishing my PhD in Therapy Research (2016) and acknowledge
1998, I have observed first hand the noticeable the overall tone of mixed-methods approach
climate change in the music therapy research and the equal implementation of both quan-
field. I have not only witnessed the various titative and qualitative music therapy re-
paradigm debates but also the full circle deve- search designs. I believe that with the release
lopment of music therapy research - from of this inspiring book, also available as an
strictly quantitative inquiries to qualitative, epublication, Barcelona Publishers, Barbara
and from qualitative to the home-coming of Wheeler, and Kathleen Murphy have made an
evidence-based research. At the end of the indispensable provision to the field of music
80’s, only quantitative approaches were ap- therapy research. This book is not only an up-
propriate, but the ‘marching in’ of the qualita- dated revision of the second edition, but a
tive approaches was already in motion, crea- major expansion that includes new themes,
ting the attitude sometimes that they came to topics, chapters, authors, and discussions.
replace the quantitative altogether. Utilizing
Wheeler’s pioneering Music Therapy Research, The massive 3rd edition of Music Therapy Re-
1st edition (1995) during my doctoral studies search covers detailed processes and issues
became my most valuable methodological of music therapy research, outlining the di-
guidance, and thereafter I incorporated the verse research genres for designing and con-
second edition (2005) as the main textbook ducting music therapy research, whether
when teaching music therapy research at Lau- quantitative, qualitative, evidence-based, or
rier. While the 1st edition of Music Therapy Re- practice based, or as the new book differen-
search introduced the two paradigms as dis- tiates them, objectivist or interpretivist re-
tinctively separate, night and day worlds of search orientations. The editors’ choice to
music therapy research, the 2nd edition intro- classify the quantitative and qualitative para-
duced the dialogue between the two. digms as objectivist or interpretivist is inte-
resting and only time will show whether or
It is now my great privilege to be given the not the concepts will be adopted by music
opportunity to review the 3rd edition of Music therapy researchers. As a music therapy re-
56
search educator, I can see this conceptualiza- The Introduction Unit provides an overview
tion opening up more choices for research of music therapy research, its historical por-
questions, and inviting the researchers to trait, and the introduction to the relationship
openly investigate their epistemological be- between research, practice, and theory1. The
liefs in light of different characteristics of the content is crucial for new music therapy re-
two paradigms as a foundation for their researchers and students, giving them different
search rather than first deciding their para- ideas and solid foundations that will assist
digm. Furthermore, what I really appreciated them to ground their chosen methodology
in this book and view as one of it’s greatest with their epistemological beliefs.
strengths in this revision of the earlier edi-
tions, is the refreshing tone of a preferred dia- Furthermore, the Preparations Unit delivers
logue between the two paradigms, avoiding practical guidelines for new music therapy re-
the attitude of a division or ranking between searchers and students on developing a re-
them but rather emboldening the idea of search topic, literature review, ethics, re-
having different options. Encouraging resear- search funding, while also providing ideas of
chers to use what ever paradigm, approach, multicultural considerations and inter/multi-
or technique as their tool to conduct a good, disciplinarity - both fresh and essential topics
innovative, and ethically sound research. highlighting the current research needs and
While reading the book I was pleased that the challenges2. A must-read for any research
diverse orientations were presented as equal class preparing students to implement their
yet different. No paradigm was presented as research topic and proposal draft, before
more superior than another. Furthermore, as launching their journey into the deeper forest
a music therapy research educator, I appre- of different research methods. I particularly
ciate the provision of the clear map of both appreciate the practical ideas, i.e. introducing
objectivist and interpretivist research para- key terms, search engines, and current ten-
digms, thus allowing students to compre- dencies in research reporting.
hend the various research approaches,
methodologies, and techniques, their place While Unit three equally introduces the epis-
on this map, and their interconnections with temological foundations and principles of
each others. both objectivist and interpretivist research3,
Units four and five specialize in methodolo-
The 758 page book contains 68 chapters, gical concerns of both paradigms describing
and nine units: introduction, preparations, areas of data collection, analysis and interpre-
foundations and principles, methodological tation of both musical and clinical data, dis-
concerns in objectivist research, methodo- cussing potential problems, statistical con-
logical concerns in interpretivist research, cepts, and introducing the most commonly
objectivist designs, interpretivist designs, used data analysis softwares4. I particularly
other types of research, and evaluating, found the chapters concentrating on analysis
reading, writing, and submitting music therapy of musical and clinical data important, thus
research. combining evidence-based and practice-
1. Chapters 1-4 by Wheeler, Bruscia, Merrill, Baker, young, Amir, Blythe LaGasse, and Crowe.
2. Chapters 5-10 by Darrow, Abbott, Murphy, Kim, Elefant, Magee, Heiderscheit, Skewes McFerran, and Hunt.
3. Chapters 11-13 by Hiller, Cohen, and Wheeler.
4. Chapters 14-23 by Waldon, Fachner, Krout, Sulliva, Meadows, Behrens, Keith, Bonde, Eyre, and Baker.
57
based research. I would recommend inclu- tic, ethnographic, critical, arts-based, mor-
ding them into every music therapy research phological, phenomenological, first-person,
course outlines mandatory for all students. I or narrative, as well as grounded theory, and
would also highly recommend the The Objec- discourse, content, thematic, and case-study
tivistic Design Unit for qualitative researchers analysis6. The rich examples of current music
who never amassed any statistics courses be- therapy research and the clear descriptions
yond their second year psychology as it sys- of various research steps and different ways
tematically introduces the most common re- to analyze the data are valuable, practical in-
search designs that could be incorporated formation, again compulsory reading stu-
into mix-method research. On a personal dents choosing their research methodology,
level, I found the unit very concise, and well i.e. before submitting their letter of intent.
written, providing well-justified options for The research examples presented in Units six
different research settings. I believe for stu- and seven are also thought-provoking for mu-
dents it is useful that the different designs sic therapy practitioners, and I applaud the
have already been categorized as single sub- link between theory, research and practice
ject/small, descriptive pre-experimental, or being so clearly presented. Each chapter pro-
experimental designs. The chapters in this vides concrete examples with a wide variety
unit introduce different designs such as with- of music therapy topics.
drawal, multiple treatment, one-sample, lon-
gitudinal, static group comparison, parallel Unit eight presents current research on mi-
group, crossover, and factorial designs, as croanalysis, both in objectivist and interpre-
well as surveys, objectivist case study, corre- tivist fields, combining methods of both para-
lation and regression, economic analysis, and digms. The chapters also introduce the syn-
dephi technique5. The strength of this unit is thesis of interpretivist research and mixed
the clarity of descriptions of the different de- methods research, as well as historical re-
signs and the variety of clear examples from search and philosophical inquiry7. Personally,
the music therapy research. I find this unit most intriguing as it reflects the
current music therapy research field and its
Also useful for a new researcher and students real opportunities and challenges. I apprecia-
is The Interpretivist Design Unit, which distin- te the clear rationale presented for mixed
guishes the different approaches based on methods when researching clinical practices.
distinctive focuses such as meaning, lan- I would definitely include this Unit into my re-
guage, theoretical, or case-study focuses. It search course, as a mandatory reading, du-
is imperative that phenomenology is intro- ring the early stages of planning the research
duced as both philosophy and research in- topic as I think it could broaden a student’s
quiry as this is often confusing for students. perspectives, allowing them to reach new vi-
The chapters comprehensively introduce dif- sions to challenge the traditional thinking of
ferent research inquiries such as hermeneu- research. Chapter 59, introducing the syste-
5. Chapters 24-36 by Ridder, Fachner, Jones, Brown, Napoes, Curtis, Ghetti, Else, Cassity, Ledger, Jones, l’Etoile, Silver-
man, Wheeler, DeLoach, Murphy, and McKinney.
6. Chapters 37-53 by Stige, Ledger, Arnason, Skewes McFerran, Jackson, Hunt, Loewy, Paulander, Rolvsjord, Hadley,
Viega, Forinash, Weymann, Tupker, Talbot, Ghetti, Keith, Hadley, Edwards, O’Callaghan, Abrams, Kim, Hoskyns, and
Murphy.
7. Chapters 54-64 by Erkkila, Trondalen, Wosch, Burns, Masko, Magee, Zanders, Bradt, Meadows, Wimpenny, Solomon,
Davis, Hadely, Stige, and Strand.
58
matic review, meta-analysis, and synthesis is cise outline of the different paradigms, their
particularly useful for any music therapy stu- typical research methodologies, particular fo-
dent, as it will assist them with their literature cuses, specific techniques, opportunities, and
review and reference critique. challenges. This comprehensive book will
bring inspiration for music therapy students,
Unit nine provides readers with comprehen- educators, research supervisors, and re-
sive guidance in evaluating, reading, writing, searchers, dispensing practical ideas, re-
and submitting both objectivistic and inter- search steps, data-analysis descriptions, and
pretivistic music therapy research8. The con- diverse examples of different methods and
tent is valuable for new researchers taking research designs that have been utilized in
their first steps into publishing as it outlines music therapy research, and is a must-have in
the different sections of different types of any credible graduate level music therapy
publications in a practical manner. Chapters training programme. Every music therapy re-
67 and 68 should be incorporated into every search course should include this indispensa-
master’s level music therapy research course ble book as mandatory text as any current
outline. The unit will also prove useful for any graduate level thesis must reference this
senior level researchers conducting peer re- book. I want to congratulate both Barbara
view processes. Wheeler and Kathleen Murphy for their ex-
tensive and profound work, and their com-
In conclusion, the 3rd edition of Music Ther- mitment to the advancement of music ther-
apy Research provides a very clear and con- apy research and practice worldwide.
8. Chapters 65-68 by McKinney, Abrams, Meadows, and Gardstrom.
59
An Introduction to
Music Therapy Research (3rd edition)
Edited by Barbara L. Wheeler & Kathleen M Murphy

Bookreview by Ludwika Konieczna-Nowak
The Karol Szymanowski Academy of Music in Katowice, Poland
Research is an area of exceptional signifi- this practice to grow, we can expect to ulti-
cance and importance as regards the deve- mately improve the lives of many. The body of
lopment of music therapy in general. As mu- research is growing fast in many centers, which
sic therapy is a relatively new academic disci- are scattered all over the world. In many re-
pline that combines clinical practice with gions, however, music therapy still struggles to
emerging theories, it needs to be supported be recognized as a valid and science-based
by studies, which will not only prove its effec- practice.
tiveness, but also explain the mechanisms un-
derlying the complicated process of therapy Doing research on music therapy is neither
that uses music as a tool and medium. To be- simple nor obvious. “Being both an art and a
come a permanent element of care in various science practiced within an interpersonal and
applications, such as working in different sociocultural matrix [music therapy] requires
kinds of facilities and with various groups of the integration of many seemingly contradic-
people, music therapy has to fight for recog- tory elements. Music therapy can be both ob-
nition and respect that are rooted in well-es- jective and subjective, individual and collec-
tablished standards of practice, and therefore tive, creatively unique and replicable, intra-
truly deserved. personal and interpersonal, sociocultural, and
transpersonal” (Bruscia, 2014, p. 11). More-
High quality research is the best weapon in over, music therapy is usually placed in an in-
this ‘peaceful fight’. Only a substantial num- terdisciplinary context, being a multi-span
ber of studies will give music therapy a voice bridge between aesthetic, musicological, psy-
that will be heard and understood by other chological, educational, medical and social
disciplines and professions; it will also inspire territories (to name only a few). Considering
further inquiries that might reveal new fasci- such a complexity of the field and many dif-
nating areas in realms such as functioning of ferent perspectives that inevitably arise from
music, people, and relationships between this richness, it becomes obvious that metho-
them. It is good to remember that with dological reflection on various aspects of mu-
proper dissemination of knowledge reaching sic therapy must also be diverse. Specific
the extensive therapeutic, academic and models and approaches focus rather on one
artistic community and therefore allowing component or another of the therapeutic
60
process, different theories and philosophies music therapy research (chapter by Barbara
form the basis for practice, personal beliefs Wheeler and Kenneth Bruscia) and an expla-
and worldviews also influence the way in nation of primary concepts such as objec-
which one would make a move for the re- tivism and interpretivism as the ways of con-
searching adventure within this area. ceptualizing research and general classifica-
tions. A historical portrait of music therapy
Regarding research methodology, music the- research follows; its development is pre-
rapy can be proud of having a great resource sented starting from the so-called “preprofes-
– the invaluable book Music Therapy Re- sional era” (understood as the times before
search, whose 3rd edition was released in the first professional association of music
2016 (edited by Barbara L. Wheeler and therapy in the world was established) up to
Kathleen Murphy). This fundamental publi- this day (by Theresa Merrill). The next two
cation gets richer and more capacious every chapters discuss the first stages in the re-
time a new version appears. search process – Developing a Topic (by Alice-
Ann Darrow) and Reviewing the Literature (by
The multidimensional picture of music therapy Elaine Abbott). These phases are in fact cru-
presented in this ‘methodological Bible’, to- cial to the progress of research and actually
gether with its overall weight – on both literal contribute directly to the value of the whole
and metaphorical levels – might be a little in- study, so careful considerations here are
timidating, especially for a less advanced music truly needed. Ethical Thinking in Music Ther-
therapist or researcher. But here comes assis- apy (by Kathleen Murphy) gives a broader
tance for such people – a lighter and shorter context to the researching and the re-
publication, released by the same editors: An searchers themselves. It not only enhances
Introduction to Music Therapy Research (3rd edi- reflection on a personal level, but also pre-
tion). These two books – MTR3 and Introduc- sents important practical, procedural issues
tion… have a lot in common, but at the same that need to be taken under consideration.
time, their strengths lie in different places. Usefully, it includes an appendix – informa-
tion from Guidelines for Research Protocols,
Introduction… “was designed for those who developed by CIOMS and WHO. The next
are beginning their studies in music therapy chapter – Multicultural Considerations in
research, and it is especially well-suited for Music Therapy Research (by Seung-A Kim
use as an accompaniment to classroom ins- and Cochavit Elefant) – brings a wide social
truction” (Bruscia, 2016). It includes twenty context to the attention of the reader,
chapters, a foreword and a preface, a glossary namely reflection on how different faces of
and a subject index. Just to compare – the culture might and should influence the in-
number of chapters in MTR3 is sixty-eight. quiry and its performers.
Seventeen chapters (from 1 to 14 and 18 to
20) are taken directly from MTR3 and placed In MTR3 and, accordingly, Introduction…, the
in Introduction…, forming a common ground terms “objectivist” and “interpretivist” are in-
for both books. The remaining three were troduced and used – instead of quantitative
written specifically for this book. and qualitative. Using new terminology was
motivated by various reasons, mostly – “to in-
The structure of the book is logical and well- dicate the broadening of the understanding
ordered. It starts with a general overview of of ways if classifying research” (Wheeler &
61
Rickson, 2017). Chapters 7-13, written by of book. It is quite extensive and gives a short
James Hiller, Nicki Cohen, Barbara Wheeler, description of individual terms, frequently
Eric Walden, Arthur and John Sullivan, An- with references (name of the authors) to the
thony Meadows and Douglas Keith, respec- chapter from MTR3, therefore the reader is
tively, are dedicated to these two kinds of able to deepen the understanding of the con-
methodologies and include general contexts, cept.
such as epistemological foundations and prin-
ciples of both objectivist and interpretivist re- It seems that one of the greatest values of the
search, together with more “technical” as- book lies in the balance it keeps between ob-
pects, like measurement issues and statistical jectivist and interpretivist research options. It
concepts in objectivist work and data collec- shows that they are different on many levels,
tion in interpretivist work. but there is neither conflict nor superiority
here, and that together they can build a fuller
The above-mentioned, newly added part of and richer body of knowledge. A beginning
the book covers objectivist and interpretivist researcher can therefore get a grasp of diffe-
research designs and other types of research. rent ways that are available in doing research
This important contribution is authored by and follow the one that seems most appea-
Ken Bruscia. It is concise and at the same time ling and convincing. After taking the first
comprehensive, providing a bird’s eye view of steps, one can reach for the next resource –
different ways in which different types of re- MTR3.
search might be conducted. In the objectivist
part, single subject and small n research, des- It is perhaps worth noting that almost all of
criptive research, pre-experimental, quasi-ex- the authors, who contributed to this book,
perimental and experimental designs are dis- are US-based (one comes from Israel). This
cussed. Natural setting approaches, phenom- fact might be seen both as a plus and a mi-
enology, meaning-focused research, langua- nus. On one hand, the USA can certainly be
ge-focused research and theoretical and case considered a center of music therapy re-
approaches are presented in the interpretivist search, with its long traditions in the field,
part. Short descriptions of microanalysis, mu- professional journals, vivid academic commu-
sic-focused research, mixed methods re- nities and ever-increasing popularity of the
search, systematic review, meta-analysis, syn- practice itself. On the other hand, research is
thesis, historical and philosophical research also being conducted in other parts of the
constituted the last of the chapters written world, and authors from other countries and
specifically for this book. The last chapters often very different cultures could very well
contain information on how to evaluate both provide valuable additional expertise and in-
objectivist and interpretivist research (chap- sight. Nevertheless, it should be remembered
ters by Cathy McKinney and Brian Abrams, that this book is just an introduction and its
respectively) and finally – how to read, write point was not to present the vast variety of
and submit objectivist and interpretivist methodological nuances and branches but
manuscripts (by Anthony Meadows and Su- rather to outline the main trails in methodo-
san Gardstrom, respectively). logical labyrinths. The main material for mu-
sic therapy researchers who want to go fur-
A Glossary (the same as the one in MTR3) ther – MTR3 – is much more international in
makes a valuable addition to the main body its character.
62
Summing up, this book is undoubtedly highly- Bruscia, K. (2016). Preface. In B. L. Wheeler &
recommended for students and young re- K. M. Murphy (Eds.), An Introduction to
searchers as well as all those who are not music therapy research (3rd ed.) Dallas, TX:
only interested in complicated relations be- Barcelona.
tween art, science, and human functioning, Wheeler, B. L.,& Murphy, K. L. (Eds.).(2016).
but also are looking for ways in which careful, Music therapy research (3rd ed.). Dallas,
reflective observations, analysis and interpre- TX: Barcelona.
tations can be performed. Wheeler, B., & Rickson, D (2017). The third edi-
tion of ‘Music Therapy Research’: An inter-
References view with Barbara Wheeler. Approaches:
An Interdisciplinary Music Therapy Journal,
Bruscia, K. (2014). Defining music therapy (3rd First view (Advance online publication),
ed.). University Park, IL: Barcelona. 1-5.
63
Cultural Intersections in Music Therapy:
Music, Health, and the Person
Edited by Annette Whitehead-Pleaux and Xueli Tan

Barcelona Publishers, Dallas, TX, ISBN 9781937440978 (298 pages)
Reviewer: Ronna Kaplan, MA, MT-BC

Chair, Center for Music Therapy, The Music Settlement, Cleveland, OH, USA.
Cultural Intersections in Music Therapy: Mu- pects of “Cultures of Sexual Orientation and
sic, Health, and the Person was edited by An- Gender,” while Unit V is devoted to “Cultures
nette Whitehead-Pleaux and Xueli Tan, two of Disability and Survivorship.” Unit VI relates
remarkable music therapy colleagues, with to “Inclusive Music Therapy Education and
partially shared and partially disparate back- Practice.”
grounds and experiences. A very impressive
array of 23 additional contributors, a combi- In the Preface the editors share how the stage
nation of clinicians and academics, brings was set for the book upon completion of the
much richness to the personal stories and de- American Music Therapy Association
tailed information gathered therein. (AMTA)’s 2012 Multicultural Music Therapy
Institute: The Intersections of Music, Health
Given that the mission of the World Federa- and the Individual. Panelists from this insti-
tion of Music Therapy is “to promote global tute, which was chaired by the book’s editors,
awareness of both the scientific and artistic each contributed a chapter to a manual pro-
nature of the profession, while also contribu- vided for the institute. With the belief that
ting to its development,” a review of this this work was quite relevant to music therapy
book devoted to cultural intersections in mu- in all of North America, the editors went
sic therapy in the WFMT journal, Music Ther- about augmenting the manual with addi-
apy Today, seems most appropriate. tional chapters and creating greater depth in
terms of the original topics covered. They
The book is extremely well-organized. In ad- state the purpose of the book: “to bring to
dition to a Preface and Conclusion, there are the forefront of our consciousness the notion
six distinct overarching units within the volu- that the world is becoming more pluralistic,
me. Unit I, “Understanding Discrimination, that it is becoming increasingly challenging to
Oppression, and Bias” lays the groundwork define and pigeonhole any one individual into
for the remaining sections. Unit II explores a cultural corner fenced in by myths, assump-
“Cultures of Heritage,” while Unit III focuses tions and stereotypes” (p. xi). Throughout the
on “Cultures of Religion.” Unit IV discusses as- volume the focus is placed on cultures that
64
are in the minority in North America, rather of the culture(s); (4) historical realities versus
than on majority cultures, including White, popular myths; (5) diversity within the cul-
Christian, male, and cisgender. ture(s); (6) acculturation and assimilation

(more vocabulary words!); (7) minority stress,
Unit I (chapters 1-3) addresses discrimination minority discrimination, and microaggres-
and oppression, microaggressions in every- sions; (8) meaning of medicine and well-be-
day encounters, and reflections on personal ing in the culture(s); (9) meaning and function
bias. These are aptly included to provide an of music in the culture(s); and (10) conclu-
understanding of systems that limit the voices sion. It quickly becomes apparent that in-
of minorities. To develop a better grasp of creasing familiarity with the meaning of me-
the complexities involved in examining and dicine and well-being in each culture and of
addressing the myriad cultural intersections the varieties of meaning and function of mu-
of music, health, and the person, the editors sic in the culture are crucial to assist the mu-
rightly begin with definitions of some chal- sic therapist on the road to cultural compe-
lenging concepts, such as power, privilege, tence.
discrimination, prejudice, injustice, bias, and
oppression. Presentation of Collins’ Matrix of Cultures of heritage explored in Unit II (chap-
Domination/Interlocking Systems of Oppres- ters 4-10) consist of Hispanic/Latino clients,
sion Theory (pp. 6-7), allows readers to exa- East and Southeast Asian culture, the South
mine themselves in terms of how we are op- Asian-American diaspora, Arab/Middle Eas-
pressed, how we might oppress others, how tern culture, African-American perspectives,
we resist oppression and how we enable op- cultures of Native Americans/First Peoples,
pression. Institutional, interpersonal, and/or and identities which fall somewhere in be-
internalized oppression may occur with re- tween. Interestingly, as I was reading the
gard to sexism, racism, classism, heterose- chapter on Native Americans/First Peoples, I
xism, ableism, ageism, genderism, imperia- happened to be traveling through a portion
lism, and/or Protestantism. of North Carolina where the Cherokee Nation
resides. I believe this timing heightened the
Reading this book has vastly increased what I poignancy and impact of what I learned, from
had previously considered to be my already four embodied concepts guiding the lives of
excellent vocabulary! I am now more aware tribal people—land, ancestors, Elders, and
of macroaggressions, which are names for story—to the fact that “most Americans are
overt discrimination and hate crimes, and mi- not aware of the continuing political and so-
croaggressions (most often unconscious, un- cial tensions that are a reality for many mo-
intentional and automatic) and their distinct dern indigenous peoples who are still suffe-
categories, microassaults, microinsults, and ring the effects of oppression” (p 128). Fur-
microinvalidations. thermore, the authors, Carolyn Kenny and
Therese West, remind readers of many im-
To sharpen the focus on the intersections of portant lessons, including that while as thera-
culture, health, music and the individual, and, pists we are trained in observation skills, “it
in my opinion, to provide greater consistency, is important to remember that observations
ten common themes are utilized across all are influenced by who is doing the observing
chapters within Units II-V: (1) personal reflec- and the assumptions the observer brings to
tion or epoch; (2) introduction; (3) worldview the situation” (p. 128) and that “identity is a
65
precious thing” and we need to develop and leadership, male privilege, gender role sociali-
know our identities including our cultural zation, body politics, human rights, and vio-
roots” (p. 131). lence against women (pp. 209-216).
Islam and Judaism are the Cultures of Religion Unit V examines the unique cultures of sur-
into which the contributors delve in Unit III vivorship (chapter 15) and disability (chapter
(chapters 11-12). Paige Robbins Elwafi shares 16). Chapter 15 authors Dawn McDougal
her unique journey of conversion to Islam, re- Miller, Deforia Lane and Annette Whitehead-
sulting in a change in her worldview as well Pleaux articulate additional terminology, such
as in her status in society, as she moved from as what it means to be a survivor, “survivor
a majority culture member to an American syndrome,” posttraumatic growth, and trau-
minority. She outlines a helpful cross-cultural matic events. While acknowledging the many
music therapy plan or guide for working with types of survivors and that survivor cultures
Muslim clients, providing general suggestions are “cross-cultural,” this chapter focuses on
on the use of music therapy techniques, ins- cancer survivorship. We are reminded that “as
trument choices and musical idioms “based music therapists, we are partners/participants
on the client’s level of assimilation and eth- in the survival of our clients” (p. 233). The
nic/religious identity” (pp. 162-164). reader is drawn to several generalized areas of
music and its function, along with examples in
Chapters in Unit IV relate to Cultures of Se- each: music descriptive of the cancer experien-
xual Orientation and Gender. Chapter 13 des- ce, music that advocates for survivorship, and
cribes cultures of lesbian, gay, bisexual, trans- healing, expressive or inspirational music.
gender, and questioning communities, while
Chapter 14 highlights intersections of gender Just as individuals who are survivors are also
and culture in great detail. One of the impor- part of other cultures, so too are individuals
tant generational differences highlighted by with disabilities members of other cultures.
authors Spencer Hardy and Annette White- Chapter 16’s author Marcia Humpal remarks
Pleaux in chapter 13 is that very few LGBTQ that often how those with disabilities are
individuals are raised in households with treated depends on the view held by the
LGBTQ parents. Thus, unlike in many other dominant culture in which they live. She fur-
cultures, history and cultural norms in the ther reports that in the USA cross-disability
LGBTQ culture are not learned from an early rights activism emerged in the 1960’s, with
age. Minority stress, excessive stress individ- the African-American Civil Rights and Women’s
uals from stigmatized groups experience as a Rights movements. More definitions and dis-
result of the discrimination they face, may tinctions are discussed. What is an impair-
manifest for LGBTQ individuals as significant ment? What is a disability? Finally, according
mental health problems, including increased to the World Health Organization (WHO) and
suicidal ideation. the World Bank, as of 2011, there are “over
one billion people with disabilities in the
In chapter 14 author Sandra Curtis brings to world, making this the largest minority group
the forefront myths specific to music thera- on earth” (p. 238).
pists and cites eight areas that more globally
challenge men and women as myths, stereo- Chapters 17-20 in Unit VI are, according to
types and double standards: work, education, the editors, “dedicated to practical solutions
66
for use by music therapists to begin to bridge While pointing out there is no endpoint in the
these cultural divides (p. xii).” Topics are mi- path to becoming an effective ally, their des-
nority educators, allies for social justice, cul- cription of Bennett’s Developmental Model
turally competent music therapy assess- of Intercultural Sensitivity includes six stages,
ments, and technology and culturally compe- denial, defense, minimization, acceptance,
tent music therapy practice. adaptation and integration. The model is
helpful and relevant to both dominant and
Chapter 18, written by Leah Oswanski and nondominant group members in guiding us
Amy Donnenwerth, addresses what appears from ethnocentric to ethnorelative world-
to be a very broad topic, “Allies for Social Jus- views.
tice.” However, they make a strong case that
for music therapists there is an “imperative Annette Whitehead-Pleaux, Stephanie Brink
need for both individual and systemic ally de- and Xueli Tan present a Cultural Paradigm in
velopment, personally and professionally, in chapter 19 to illustrate the hierarchy from
order to serve our clients and communities in most global cultural factors to the individual
an ethical and empowered approach” (p. client and lay out a circle of culture types sur-
259). They list critical attributes of allies, pu- rounding a client that may influence identity.
blished by Bishop in 2002, that are easily They propose that throughout the music
translatable to music therapy clinical practice: therapy assessment process we expand our
Allies possess a sense of history and know- exploration into culture(s) of heritage; cul-
ledge, an understanding of their own roots, a ture(s) or religion; socio-economic culture(s);
solid understanding of self and an absence of generational culture(s); culture(s) of gender,
an ego-driven stance on matters, knowledge identity and orientation; culture(s) of loca-
of social structure concepts and shared res- tion; culture(s) of disability; survivor cul-
ponsibilities, a sense of process and change, ture(s); and culture(s) of identification. Sam-
and a sense of connection with all other people questions are provided as starting points.
ple. They accept struggle and have an accu- And, as in previous chapters, we are provided
rate wisdom of their own influence and a with descriptions and definitions, in this case,
mindfulness regarding their own process of as to what is “cultural competence” and what
learning. They view their own limitation with is “multiculturalism.”
honesty, sincerity and no embarrassment.
They understand the concept of standing Sandra Curtis states that music therapists
with others rather than over others and that have a responsibility to ensure a gender- and
good intentions have no value if there is no culturally-sensitive practice for all our clients.
action against oppression. This “requires change that involves both ac-
tions and attitudes” (p. 219). If we are open
Selfishly, I was pleased to read mention of the to the work and experience, this book may
AMTA Diversity Task Force, which I initiated help each reader in a journey to become
during my time as AMTA President in 2010. more culturally competent. The Conclusion is
The task force is an example of a systemic ally a call to action for individual music therapists
group, and its initial work paved the way for and our profession as a whole.
an ongoing focus in AMTA on diversity and
multiculturalism, with the establishment of a This volume is a “must-read” for any music
standing committee of the same name. therapist or intern. Chapters 1-3, as well as
67
16, 18, and 19 should be required for any- wishing to research additional cultures could
one in our profession. The first three chap- utilize the framework of common, crucial
ters lead to a better understanding of the themes the editors have devised to help in
many complex layers of discrimination and their investigations.
oppression and the vocabulary used to des-
cribe these systems. Chapter 16 provides It is not necessary to read the book all in
much valuable history and information re- one sitting. Rather, one can go back to it
lated to the culture of disability, and almost again and again, as the need arises, particu-
every music therapist at some time works larly when embarking on work with some-
with individuals with some sort of disability. one whose culture or cultures are not the
Chapter 18 affirms that the “development same as the therapist’s dominant culture(s).
and practice of an ally is not optional as a Revisiting the book’s contents would also be
music therapist, but an ethical requirement” beneficial as one moves through different
(p. 258), and chapter 19 offers numerous stages of Bennett’s Developmental Model of
significant assessment questions to make Intercultural Sensitivity (pp. 262-264), ever
our music therapy assessment process more striving to reach the final stage of integration,
“culturally competent.” Contributors offer a where “a music therapist is truly multicultural,
myriad of references and resources, inclu- moving in and out of different cultural expe-
ding articles, books and websites. Several riences comfortably with clients while still be-
glossaries and lists of holidays, life cycle ing their authentic selves.” The book would be
events and customs are usefully included in a very important addition to personal and or-
appendices throughout the book. Anyone ganizational music therapy libraries alike.
68
Working with goals in
psychotherapy and counseling
Edited by Mick Cooper & Duncan Law

Oxford University Press, Oxford, United Kingdom ISBN 9780198793687 (215 pages)
Reviewer: Annie Heiderscheit, Ph.D., MT-BC, LMFT

Associate Professor and Director of Music Therapy at Augsburg University
Minneapolis, Minnesota, United States
Goals and objectives are a necessary aspect client and therapist work collaboratively in
of clinical practice in music therapy, not only identifying and developing the goals and ob-
to evaluate the progress clients make during jectives for the therapeutic process. The key
the therapeutic process, but are also docu- aims of the book focus on addressing the dif-
mentation required by third party payers. ferent ways goals can be used in therapy,
While goals and objectives are required for what kinds of goals may be most helpful in
prior authorization and reimbursement of the therapeutic process, the best methods
services, they can also serve a variety of other and practices for setting goals, and how dif-
functions in the psychotherapy and counse- ferent orientations view working with goals
ling process. This new text, while focused in in therapy.
psychotherapy and counseling practices, pro-
vide valuable information for music therapists Chapter 2 focuses on the philosophical, con-
working with clients in various settings. ceptual, and ethical perspectives on working
with goals in therapy. For example, in some
The introduction of the book provides a clinical settings therapeutic goals are a part
clear rationale for the book and operational of a formal therapy contract, while in other
definitions of the terms to give the reader settings the goals of therapy may emerge in
an understanding of how they are using ter- the process. The manner in which a therapist
minology. The editors provide a balanced per- approaches incorporating goals in the thera-
spective as they explore the benefits, chal- peutic process is based on how they view and
lenges, and limitations in working with goals in understand human behavior, which is in-
the psychotherapy and counseling. Copper formed by their theoretical orientation. This
and Law also provide an overview of the de- also determines whether the clinician em-
velopment of working with goals. They sup- ploys a formal or informal approach with
port this information with brief case vignettes goals in the therapeutic process. The case vig-
that illustrate the points they are addressing. nettes included in this chapter help to explore
These vignettes help to demonstrate how the how theoretical orientation informs and im-
69
pacts the process. They also explore how tal- tand the level of knowledge and skill needed
king with the client about goals can help for the client to attain the goal and help the
them connect therapy to their everyday life client develop these skills. The authors also ad-
and can serve as an entry point into therapy dress developing approach oriented goals
and a point of connection for the client. They rather than avoidance goals. Approach goals
discuss the benefit of co-constructing thera- focus on a positive and desirable outcome,
peutic goals with the client and how this can rather than a focus on the negative state.
empower and foster a client’s investment in Lastly, understanding the intrinsic or extrinsic
their therapeutic process. Ethical and value nature of the goal, as intrinsic goals tend to
dilemmas are also discussed, as a clinician lead to positive outcomes.
and client may have differing perspectives
and values that may create conflict in deve- The chapter explores how helping the client
loping goals. There are important points pre- develop a conscious awareness of their
sented for clinicians to consider when they power of choice greater impacts ability to at-
encounter these dilemmas and case vignettes tain their therapeutic goals. The case vig-
also illustrate how to work through these is- nettes in this chapter further illustrate the
sues. Lastly, the lived experience of setting implications of the development of goals in
goals in therapy is studied, as a way of helping therapy and their impact on clients.
clients explore this practice for their life out-
side of therapy. In Chapter 4, the focus is on the lived expe-
rience of using goals in therapy. This includes
Chapter 3 addresses the psychology of goals exploring the importance and challenges of
and the research surrounding the use of goals setting goals, helping clients determine their
in therapy. The research on goals has been goals for therapy, and disagreement about
growing since the 1980’s and has explored and resistance to setting goals. Each of these
several areas addressed in therapy. This evi- focus areas include clinical vignettes to illus-
dence provides a way of grounding a clini- trate how this may appear in practice and
cian’s practice. The research surrounding this how to work through each of these issues.
topic focus on the following: client’s aware- The authors also discuss the risks of setting
ness, client’s affective when goals are per- unattainable and unsafe goals and include
ceived as attainable, progress toward goals client insights on these topics as well. An
enhances well-being, rate of progress impacts open talk model is also included in the chap-
positive affect, and that clients feel good ter to provide clinicians with an example of
when they achieve their goals. This evidence how to approach addressing goals with
indicates that a process of actualization of clients.
goals holds a variety of benefits for clients.
The evidence also indicates that the benefits Chapter 5 explores goals in psychotherapy
are dependent upon the type of goals. These and how they related to clinical outcomes of
goals include: interpersonal, career, coping therapy. In therapy, clients may have personal
with problems or symptoms, personal growth, goals that differ from goals addressing clinical
wellbeing, and existential and functional is- outcomes. In order to ensure that a client’s
sues. The importance of the goal to the client personal goals and clinical outcomes are de-
is a key element in this process as well. There- termined, the therapist and client must work
fore, it is important for the clinician to unders- collaboratively in setting goals to meet per-
70
sonal and overall treatment goals. This helps they are seeking help for. When this has been
to meet the personal desires of the client, determined, the next step is working colla-
support their motivation for therapy, and boratively to determine the goals for the
connect their personal progress to desired therapeutic process. This chapter also in-
clinical outcomes. Sections in this chapter cludes case vignettes illustrating how clients
focus on setting goals collaboratively with enter therapy, present a problem, and how
clients of various ages and discusses different the therapist works to understand the pro-
considerations for therapists relating to child, blem, help the client understand the pro-
adolescent, and adult clients. blem, and then works with the client to de-
termine the goals for therapy. The cases illus-
Measuring outcomes using goals is the focus trate some of the challenges that may arise
of Chapter 6. While goals are often the way in the process, and how to work through
in which therapeutic outcomes are tracked these issues with the client.
and evaluated, this chapter explores the use
of standardized problem-based measures and In Chapter 8, the focus is on the application
the challenges and benefits of these types of of goals and goal setting in a goal-oriented
measures. Psychometric tools that focus on therapeutic practice. A goal oriented practice
symptomology can provide concrete evi- requires the therapist to understand the pre-
dence of progress, it does not provide a ho- senting problem through diagnosis and for-
listic view of a client’s progress in therapy. As mulation, and to recognize that this goal
a result, a therapist may need to consider orientated focus shifts therapy from unders-
multiple ways to track and measure out- tanding to change. While a therapeutic goal
comes to provide an effective evaluative pro- does not dictate a specific therapeutic orien-
cess for client progress. Chapter 6 also includes tation, it does give direction and focus for
an appendix that lists eight goal-based mea- therapy. Delineating therapeutic goals can
sures for use with adults and children. A des- help actively engage the client in the thera-
cription of each measure is included, as well as peutic process and focus their motivation.
directions for administering, scoring and the Goals can help keep clients focused in thera-
psychometric properties. The overview and in- py and support conversations about lack of
formation of each measure provides sufficient progress, and determining therapy comple-
data for clinicians to determine appropriate tion and termination. Case examples explore
use in their practice. several issues pertinent to a goal-oriented
practice, such as understanding external con-
Chapter 7 addresses a shift from problems to textual issues, developing therapeutic al-
goals in therapy and Identifying good goals in liance, and assessing client readiness.
psychotherapy and counseling. While the
goals of psychotherapy are often to alleviate Chapter 9 addressed goal oriented practice
suffering and foster growth and develop- across therapeutic orientations, including
ment, these goals general refer to the ab- cognitive behavioral therapy, psychoanalytic
sence and presence of a psychological state, psychotherapy, systemic family therapy, inter-
but lack specificity. While a client seeks the- personal psychotherapy, humanistic and exis-
rapy to address a problem, it is important as tential therapy, and online therapy. An
a therapist to understand the problem and overview and description of each therapeutic
help the client understand the problem(s) orientation provided, the process of deter-
71
mining, setting, and utilizing goals as a part with goals from various therapeutic stand-
of the specific therapeutic process. Additional points. Additionally, many considerations are
resources and references are provided for introduced when considering a goal-oriented
each orientation as well. practice. The authors give a balanced pers-
pective evaluating the benefits and challenges
The conclusion in Chapter 10 is brief. The au- of working the goals in therapy. The case vi-
thors explore the analogy of therapy as a gnettes throughout the book further illustrate
journey. Viewing the client as the traveler, the in real clinical examples how to approach and
therapist needs to understand what the client work through various aspects of the therapeu-
wants from the journey and where they want tic process surrounding goals. The cases in-
to go. A therapist’s theoretical orientation clude clients of various ages ranges from
and the client’s motivation related to their adults, adolescents, children, and families.
goal(s) will determine the scope of discovery,
exploration and achievement of the thera- The text is focused on psychotherapy and
peutic goals. The process of the journey re- counseling, which may not apply to all clinical
quires the therapist to know the client, to settings in which music therapists work. The
determine the pacing and interventions that material in this text is geared toward thera-
will be most helpful, and work collaboratively pists working with clients that are able to en-
with the client throughout the process. gage in dialogue with the therapist and to
work collaboratively with the therapist in
Overall, Working with goals in psychotherapy identifying and determining their personal
and counseling, provides a thorough review goals for therapy. For clinicians working to
and analysis of utilizing goals in the therapeu- third party payers for reimbursement for
tic process. The text brings a wide lens re- services, this text may prove helpful to work
garding therapeutic orientation, allowing the more effectively with setting and tracking
reader to explore and examine how to work progress with goals in therapeutic practice.
72
Conference Report
73
15th World Congress of Music Therapy:
Conference Report
Annie Heiderscheit, Ph.D., MT-BC, LMFT
Introduction rent regions of the world, time to network

and connect with colleagues regarding clinical
The World Federation of Music Therapy practice and research, and to experience and
(WFMT) has been cohosting the World Con- explore the culture of the host country
gress of Music Therapy with music therapy as- through music and various cultural events.
sociations from around the world since the The WCMT also offers opportunities and ex-
first congress was held in Paris, France in 1974. periences for students as well. Students can
Congresses are held every three years and engage in the WFMT Assembly of Delegates,
they strive to foster the development of music present and attend at the student poster ses-
therapy as a profession and support the inter- sion, engage in multicultural jam sessions,
national exchange of information. Co-hosting connect with international internship sites,
the world congress is a key component of the and learn about music therapy in various
vision and mission of the WFMT (Heiderscheit, countries and cultures (Mercadal-Brotons,
Kern, Clements-Cortes, Gadberry, Milford, & Clements-Cortes, Tague, & Heiderscheit,
Spivey, 2015). July 4-8, 2017, the 15th World 2017).
Congress of Music Therapy was held in Tsu-
kuba, Japan at the International Congress Cen- Over 2,900 delegates attended the 15th
ter. The theme for the congress was, ‘Moving WCMT, representing 48 countries. Additional-
forward with music therapy-inspiring the next ly, nearly 400 citizens from Tsukuba City and
generation’. The Japanese Music Therapy As- the surrounding area attended public lectures
sociation co-hosted the congress in partner- that were made available to the public free
ship with the WFMT. Michiko Kato served as of charge. Over the five days, the congress
the congress organizer, overseeing the con- was comprised of 506 concurrent presenta-
gress planning with, and between, the JMTA tions, 246 oral communications, 168 posters,
and the WFMT. 53 workshops, 16 symposiums, 23 round ta-
bles and 4 spotlight sessions. In addition to
The WCMT offers opportunities for current re- the various congress sessions, there were cul-
search to be shared and points for view shared tural programs and experiences for congress
from researchers and clinicians around the participants to take part in. These included
world, exploration of contemporary clinical experiences like Taiko drumming, traditional
applications and strategies utilized in diffe- tea ceremony, and flower arranging.
74
Pre-congress Seminars and Events 3. Mindfulness based music therapy and Bud-
dhism meditation: Dialogue of Regulative
Eight pre-congress seminars were offered Music Therapy and ZEN: Presented by
prior to the official start of the world con- Naoko Moridaira and Issho Fujitsu (Japan)
gress. The pre-congress seminars provide op- The seminar focused on mindfulness, a
portunities for participants to choose to en- technique now widely utilized in psycho-
gage in additional learning experiences prior therapy practice. It has its root in Buddhist
to the official start of the congress. The ses- meditation and is significantly influenced
sions offered on July 4th focused on topics by the philosophy and the method of Bud-
unique to the host country and relevant to dhism. Additionally, Regulative Music
the current clinical practice needs. These Therapy (RMT) was developed in East Ger-
seminars included the following: many in 1970s, this approached focused
on creating a mindfulness experience
1. It all begins with the music: Developing through listening to music. This hands-on
your clinical skills through the concepts of workshop focused on learning the basic
Neurologic Music Therapy: Presented by theory and clinical adaptations for mind-
Sara Johnson (USA) fulness meditation and RMT.
This seminar focused on the creative and
musical drive of music and music therapy, 4. How music helps: in music therapy and
and developing interventions based on everyday life: Exploring the ‘how?’ of mu-
scientific, therapeutic, and musical logic sic’s help at micro, meso, and macro levels:
ba-sed on research in neurologic, physio- Presented by Gary Andsell (UK)
logical, and cognitive processes in music This seminar explored the concept of a
perception of Neurologic Music Therapy ‘joined-up music therapy’ that links micro
(NMT). The seminar included video exam- and macro contexts through the idea of
ples and live demonstrations from the the ‘meso’ level of working. This draws
presenter’s clinical work in NMT, to illus- from Nordoff- Robbins Community Music
trate the wide range of possibilities of Therapy traditions, and ‘commonsense’
working within NMT. theory, exploring how music helps in
everyday life and mobilizing music’s ability
2. Let’s play on traditional Japanese drums! to help.
Basic skills and adaptation for music thera-
py: Presented by Michiko Kato and Natsuko 5. Music therapy and palliative care for pedi-
yasujima (Japan) atric cancer patients and their families:
This workshop was an introduction to the Presented by Sheri Robb (USA)
traditional Japanese instruments utilized in The focus of this seminar was on palliative
Taiko drumming. The presenters provided an care, which is a comprehensive system of
introduction to the basic skills need for this care that provides comfort, pain and symp-
type of drumming and the importance of tom management, and psychosocial sup-
the use the body and voice. Attendees had port to patients and families with poten-
the opportunity to play on different types of tially life-threatening or chronic illnesses.
Japanese drums and to learn how to cons- Participants learned how music therapy is
truct a short performance which could be being used to address psychosocial and
adapted for different music therapy sites. symptom management needs of children
75
and adolescents with cancer and their fam- presented a range of philosophical and
ilies. Video case examples and research theoretical stances that frame the applica-
findings, were utilized to explore under- tion of music in the NICU and Special Care
lying theory, clinical processes, and out- Nurseries. Rhythm, Breath, and Lullaby
comes. Therapeutic music video interven- (RBL) utilizes live music making between
tion utilizing songwriting/video produc- infants and their caregiver and is informed
tion to improve positive health in adoles- by theories of healthy dyadic, triadic, and
cents/young adults during high risk cancer neuropsychological development, and cul-
treatment was presented along with active turally informed applications. The inter-
music engagement intervention incorpo- ventions demonstrated encouraged and
rating music-play to help young children supported caregiver-infant bonding pro-
and parents manage distress and improve cess and offer a means of coping.
health outcomes.
8. The Bridge: from Student to Music Thera-
6. Music therapy based on Usagawa Theory pist: Presented by Amy Clements-Cortes
for children with developmental disabili- (Canada) and Katrina McFerran (Australia)
ties: A systematic approach developed in This seminar was designed specifically for
Japan: Presented by Kenji Tsuchino (Japan) students to explore the transition from
This seminar provided an introduction and school to professional practice. The pre-
overview of Usagawa Theory, developed senters explored the many paths available
Japanese developmental clinical psycholo- to pursue in the field of music therapy.
gist, Dr. Hiroshi Usagawa. He established Topics for the seminar included: internship,
this theory that focused on “higher per- education/training and research, profes-
formance in sensory processing and move- sional advocacy, creating proposals, profes-
ment”, which has had an enormous impact sional writing, and integrating research
on music therapy practice for children with and evidence into clinical practice.
disabilities in Japan. Focus on assessment,
goals, programs, and evaluation utilizing Congress Spotlight Sessions
Usagawa Theory were presented and video
clips of sessions further addressed deve- Each day of the world congress is launched
lopmental perspectives in music therapy. with a spotlight session. Each spotlight ses-
sion is developed around an emerging or im-
7. First sounds: Rhythm, Breath & Lullaby portant topic relevant to the profession of
NICU music therapy training: Presented by music therapy. Additionally, each session in-
Joanne Loewy and colleagues (USA) cludes presenters who are experts in the con-
This seminar educated participants on the tent area and represent music therapy from
intra-uterine sound environment which regions throughout the world. Each spotlight
fosters a wordless and amorphous me- session is moderated by a member of the
mory trace in the infant and is the tem- WFMT Council, with each speaker sharing
plate for all future rhythmic responses. Un- their unique perspective and expertise.
derstanding this lifelong sound and rhyth-
mic symbolic image of security, can allow Spotlight session one was entitled, ‘Music
clinician to provide continuity between in- therapy and well-being of older adults’. The
tra- and extra-uterine worlds. The seminar session was moderated by WFMT President,
76
Amy Clements-Cortes (Canada) and focused kers shared concepts, protocols, research,
on issues related to aging populations around and their experiences related to various
the world. Healthcare organizations and go- stages of responding to trauma including di-
vernment agencies are exploring various saster preparedness. The session was mode-
ways to address issues related to aging. Each rated by WFMT Global Crisis Commission
speaker presented on the current situation in Chair, Gene Ann Behrens (USA) and presen-
their respective country and reported on ters included: Elizabeth Coombes (UK), Bar-
their unique perspectives and experiences re- bara Else (USA), Mireya Gonzales (Chile), and
garding music therapy and well-being for Sanae Hori (Japan).
older adults. Presenters for this spotlight ses-
sion included: Imogen Clark (Australia), Coombes presented on a project she con-
Hanna Mette Ochsner Ridder (Denmark), ducted in Palestine training local staff to fa-
Mayu Kondo (Japan), and Karyn Stuart (South cilitate music groups with children to sup-
Africa). port development of healthy coping skills
and resilience. Else shared the process and
Ridder presented on the use of music to fos- disaster response efforts of the American
ter interaction and wellbeing for clients with Music Therapy Association. Gonzalez dis-
dementia and their caregivers. She explored cussed how music therapy is being imple-
the unique role music plays in enhancing the mented in burn rehabilitation centers in
relationship with caregiver and client and Chile. She identified the various ways music
how caregivers under estimate their ability therapy methods support the unique patient
and the impact in utilizing this attuned musi- care needs during burn rehabilitation. Hori
cal interaction. Clark discussed healthy aging presented on the 1995 Great Hanshin-Awaji
policies in Australia and how music therapy is Earthquake, through personal accounts she
being utilized to meet to the needs of clients explored the impact of this natural disaster.
with dementia and cardiovascular disease. She explored the variety of patient needs that
Kondo presented the state of care for the ag- emerge as a result from a natural disaster.
ing in Japan and how music therapy groups
are being integrated community settings, Spotlight session focused on ‘Research of Mu-
care setting, and hospitals. Stuart presented sic Therapy: Evidence and Story’ and how mu-
a pilot study she conducted with clients and sic therapy continues to develop and advance
their caregivers during morning care routines. as a profession through clinical and evidence
based research. While music therapy re-
Spotlight session two addressed, ‘Music the- search is conducted around the world, dis-
rapy and trauma work. The incidence of disas- semination can be limited and impeded due
ters, wars, acts of violence, and abuse across to language and translation difficulties. The
the world continues to escalate each year. As presenters addressed the latest trends and
a result, music therapists are observing an in- developments in music therapy research. The
crease in the comorbidity of trauma with moderator for the session was WFMT Re-
clients with various other diagnoses. There- search and Publications Commissions Chair,
fore, more than ever before it is important for Melissa Mercadal-Brotons (Spain) and pre-
music therapists to be trauma-informed and senters included: Hyun Ju Chong (South Ko-
to understand research outcomes from the rea), Jaakko Erkkilä (Finland), and Katrina Mc-
neurobiology of trauma literature. The spea- Ferran (Australia).
77
Chong presented her research on the use of opportunities for the to engage with clini-
keyboard playing in the treatment of forearm cians from other cultures. Ikuno-yamamoto
rehabilitation and discussed the importance presented the variety of genres of music uti-
of research evidence and patient narratives lized in modern Japanese daily life. She pro-
to present the impact of the intervention. vided an overview of the changing musical
Erkkilä discussed his research with clients landscape in Japan over the past 200 years.
struggling with anxiety and depression. He Stige spoke about health as a universal hu-
presented the use and potential of improvi- man right and how it is also informed and
sation as a viable and safe treatment and the situated with culture. He encouraged and
need for structure to in the process. McFer- recommended that clinicians and resear-
ran encouraged and challenged music thera- chers discuss the pros and cons of current
py researchers to conduct rigorous qualitative medical and social models of practice in
studies. She also focused on providing a cri- healthcare. Additionally, he suggested great
tique and exploring the limitations of quanti- exploration of ‘health musicking’ as a means
tative and evidence based research. of foster health and wellbeing.
Spotlight session four addressed ‘Music in mu- At the conclusion of each spotlight session
sic therapy and the cultural context’, exploring there was time for questions from participants
how music varies from culture to culture and to be addressed by the speakers. This Q & A
how the selection of music is an important time allowed congress participants to foster
consideration in the music therapy process. further exploration through their questions.
The presenters explored the importance of the Questions explored during this time repre-
cultural context from their own culture and sented some the unique challenges that music
how this impacts therapeutic process. The therapy clinicians and researchers encounter
Moderator WFMT Past President Annie Hei- in their respective part of the world, as well as
derscheit and presenters included: Sunelle a desire to connect and seek out information
Fouché (South Africa), Rika Ikuno-yamamoto from colleagues with diverse experiences.
(Japan), and Brynulf Stige (Norway).
Congress proceedings and congress reports
Fouché is the co-founder and executive di-
rector of MusicWorks, a non-profit organiza- The World Federation of Music Therapy pu-
tion in South Africa that provides services in blishes Music Therapy Today. The 2017 issue
marginalized communities. She discussed of the journal includes the proceedings of
the challenges and complexities in working the 15th World Congress of Music Therapy
within a culturally diverse community. She (WCMT). Volume 13, Issue 1 of this online
encouraged music therapists to honor and journal includes 287 contributions from the
value cultural differences and focus com- music therapists, educators, researchers,
monalities and a shared humanity. Beer fo- and allied health care professionals that pre-
cused on developing a reflective practice sented at the congress. The abstracts in-
around the use of music from other cultures cluded in this issue of the journal represent
and shared examples from her own experien- all eight global regions of the WFMT. All the
ces with music from other cultures. She en- presenters whose papers were accepted to
couraged educators to integrate discussions be presented at the WCMT were invited to
on this topics with students and to provide submit a short paper about their presenta-
78
tions. The special issue of Proceedings of The WFMT Council holds meetings through-
the World Congress of Music Therapy is out the congress to do the work of the organi-
available on the World Federation of Music zation. During each world congress the new
Therapy website and available for public ac- elected council is announced. During the clo-
cess. sing session at the congress the new WFMT
President is announced. Melissa Mercadal-
Disseminating information about the world Brotons (Spain) was elected President for the
congresses serves many important functions. 2017-2020 term. The entire 2017-2020 WFMT
While many music therapists attend the Council was introduced at the congress and a
WCMT every three years, many are not able complete listing of the council is available at
to make the journey across the world for the http://www.wfmt.info/leadership-2017-
event. Congress proceedings and reports pro- 2020/ (WFMT, 2017).
vide not serve as archival evidence, but help
to inform those that are unable to attend. While the WCMT provides opportunities for
Boom (2017) published, Conference report: participants to engage in shared experiences,
15th World Congress of Music Therapy in Ap- each participant has their own unique expe-
proaches: An Interdisciplinary Journal of Mu- rience as well. While this congress report
sic Therapy. provides an overview of the congress, read-
ers are encouraged to talk with colleagues
Congress highlights that have attended to understand the close
up, personal, and unique professional expe-
Throughout the world congress there are rience of the world congress. Each WCMT of-
many events and experiences to help parti- fers a variety of unique musical and cultural
cipants experience the culture and music of experiences, as well a plethora of opportuni-
the hosting country and the clinical practice ties to support knowledge and clinical devel-
of music therapy. During the congress parti- opment.
cipants meet clinicians from all over the
world, build new friendships and profes- Future Congresses
sional collaborations. There are also oppor-
tunities to honor the work and service of The World Federation of Music Therapy Coun-
music the-rapy colleagues. The WFMT ac- cil meets during each WCMT. One of the tasks
cepts nominations for the various awards for the council during this time is to review
that are given to outstanding members of congress proposal bids for future world con-
the international music therapy community gresses. The WFMT reviews bid proposals and
during the world congress. At the 15th World meets with organizational representatives that
Congress Barbara Wheeler (USA) was the developed the bids. The WFMT Council
awarded the Lifetime Achievement Award, then discusses the bid proposals and votes on
Joanne Loewy was bestowed with the Clini- the next congress location. At the 15th WCMT
cal Impact Award, Felicity Baker was awar- in Tsukuba, Japan, the WFMT Council reviewed
ded the Research and Special Projects bids for the 2020 and 2023 congresses. The
Award, Alexia Quin was given the Advocate WFMT Past President then announces at the
of Music Therapy Award, and Jen Spivey was closing session of the congress the location of
awarded the Service Award for her many the next world congress. At the closing session
years of service to the WFMT. in Tsukuba, it was announced that the 2020
79
WCMT will be held in South Africa and in 2023 Mercadal-Brotons, M., & Clements-Cortes, A.
it will be held in Melbourne, Australia. (Eds.). (2017). Proceedings of the 15th
World Congress of Music Therapy. Special

References Issue of Music Therapy Today 13(1). Re-
trieved from http://wcmt2017.com/en/
Boom, K. (2017). Conference report: “15th proceedings/pdf/WFMT-Vol.13-1.pdf.
World Congress of Music Therapy ‘Moving Mercadal-Brotons, M., Gadberry, A., Clements-
forward with music therapy’”. Approa- Cortes, A., Tague, D. & Heiderscheit, A.
ches: An Interdisciplinary Journal of Music (2017). Music Therapy World Congresses: A
Therapy, First View (Advance online pu- Unique Opportunity to Grow and Share.
blication), 1-6. Presentation presented at the 2017 Ameri-
Heiderscheit, A., Kern, P., Clements-Cortes, can Music Therapy Association Conference
A., Gadberry, A., Milford, J. & Spivey, J. in St. Louis, MO.
(2015). Advancing the World Federation of World Federation of Music Therapy (2017).
Music Therapy (WFMT) organization: Stra- Leadership: WFMT Council 2017-2020.
tegic planning process. Music Therapy http://www.wfmt.info/leadership-2017-
Today, 11(2), 23-39. 2020/. Retrieved April 30, 2018.
Photograph of WCMT 2018 delegates gathered for a group photo

(Photo used with permission of the Japanese Music Therapy Association).
80

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Music Therapy

2018 WFMT. All rights reserved. ISSN: 1610-191X

Suggested Citation of this Publication

author a. a., author B, B., & author C. C. (2018). Title of

The opinions and information contained in this publica-

For this issue authors have prepared their own manus-

Music Therapy Today

GRoWiNG MusiC TheRapy kNoWledGe FRoM aRouNd The WoRld ..... 31

TRaNsiTioNs & NeW BeGiNNiNGs ..... 31

15th World Congress of Music Therapy

MusiCal iNTeRaCTioN To FaCiliTaTe CoMMuNiCaTioN iN auTisM iN aN iNdiaN

The deVelopMeNT oF CReaTiVe TheRapy-Based play GRoups FoR pRe-sChool

lookiNG BaCk aNd MoViNG FoRWaRd: 25 yeaRs oF a MusiC TheRapy

pRaCTiCe oF FuNCTioN TRaiNiNG assiGNMeNT applied euRyThMiCs

esTaBlishiNG a TheoReTiCal Basis FoR eVideNCe-Based pRaCTiCe

ReFleCTioNs oF aN oFF-duTy MusiC TheRapisT aNd a hoMeless

aNalyTiCally iNFoRMed GRoup MusiC psyChoTheRapy helps iNCaRCeRaTed

The ColoR oF us: MoViNG FoRWaRd WiTh iNClusioN pRoGRaMMiNG

Petra Kern & Satoko Mori-Inoue

iNTRoduCTioN To healThRhyThMs® GRoup eMpoWeRMeNT dRuMMiNG ..... 35

iMpleMeNTiNG a soNG as a ReWaRd FoR TRaNsiTioN FRoM FRee-play TiMe

aN iNTRoduCTioN To MusiC TheRapy ReseaRCh. ediTed By BaRBaRa

aN iNTRoduCTioN To MusiC TheRapy ReseaRCh. ediTed By BaRBaRa

CulTuRal iNTeRseCTioNs iN MusiC TheRapy: MusiC, healTh aNd The peRsoN.

WoRkiNG WiTh Goals iN psyChoTheRapy aNd CouNseliNG. ediTed By MiCk

15Th WoRld CoNGRess oF MusiC TheRapy: CoNFeReNCe RepoRT ..... 74

GROWING MUSIC THERAPY KNOWLEDGE FROM AROUND THE WORLD

About the Author

Annie Heiderscheit, Ph.D., MT-BC, LMFT

Annie Heiderscheit, Ph.D., MT-BC, LMFT is the

Dr. Baishali Banerjee Mukherjee

IN INNER CITY LONDON

Context parent isolation; attachment difficulties;

How the groups work By participating in the groups parents and

About the Authors

Katherine has set up & delivered music the-

Jody Conradi Stark, Ph.D., MT-BC

Abstract moving forward into the future of service de-

Jody Conradi Stark, Ph.D., MT-BC is Presi-

In my facility [image 0-1], clients who are sep-

Image 0-1. Facility

With singing [Dokokade haru ga (Spring is February

Image 2-1. Clap stick Image 4-2. 2nd beat

Clients swing at a half note with singing [Edo

Image 4-4. 4th beat

Even though the point difference by table is

Abstract of evidence (Abrams, 2010). Although their

searching, examining, and applying evidence to Aigen, K. (2015). A critique of evidence-based

Eric B. Miller Ph.D. MT-BC

Abstract professional or therapeutic relationship! As

Floyd had over 30 years total behind bars in

Introduction community by means of improving his ability

Throughout the group’s therapeutic process, posed to behaving aggressively without

Outcomes Priestly, M. (1994). Essays on analytical music

In Poland, inclusion is legally grounded, thus Contributing Authors

ACROSS GENERATIONS AND NATIONS

Introduction relationship building, and cultural humility

Tips for Being Interculturally Competent References

HealthRHyTHMS® is an evidence-based group This presentation will give attendees an intro-

Active music making and group drumming References

will be discussed also. el tiempo necesario para iniciar y completar la

Setting tial; and (c) they had a right to withdraw from

her anxious personality. 4/4 64

The authors conducted a brief analysis of chil-