music therapy assignment

What is Music Therapy and How Does It Work?

Perhaps the music leaves you feeling calmer. Or happy. Or, let’s face it, downright sad. I am sure all of us can attest to the power of music.

Did you know, however, that music therapy is in itself an evidence-based therapy? Keep reading to learn more about the profession of music therapy.

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This Article Contains:

A look at the psychology, a brief history of music therapy, research and studies, the different types and methods of music therapy, a list of music therapy techniques, what does a music therapist do, the best instruments to use in music therapy, available music therapy apps, voices: a world forum for music therapy, what is music therapy perspectives.

• The 5 Best Books on the Topic

Recommended Articles

5 recommended youtube videos, a take-home message.

Bruscia (1991) defined music therapy as ‘ an interpersonal process in which the therapist uses music and all of its facets to help patients to improve, restore or maintain health ’ (Maratos, Gold, Wang & Crawford, 2008).

A little later, in 1998, Bruscia suggested another alternative definition of music therapy as ‘ a systematic process of intervention wherein the therapist helps the client to promote health, using musical experiences and the relationships that develop through them as dynamic forces of change ’ (Geretsegger, Elefant, Mössler & Gold, 2014).

Does music therapy simply consist of music used therapeutically? As Bruscia’s definitions demonstrate, music therapy is much more complex. It shouldn’t be confused with ‘music medicine’ – which is music interventions delivered by medical or healthcare professionals (Bradt & Dileo, 2010).

Music therapy, on the other hand, is administered by trained music therapists (Bradt & Dileo, 2010).

How does music therapy work? Well, it is claimed that five factors contribute to the effects of music therapy (Koelsch, 2009).

Modulation of Attention

The first aspect is the modulation of attention. Music grabs our attention and distracts us from stimuli that may lead to negative experiences (such as worry, pain, anxiety and so on). This may also explain the anxiety and pain-reducing effects of listening to music during medical procedures (Koelsch, 2009).

Modulation of Emotion

The second way music therapy work is through modulation of emotion . Studies have shown that music can regulate the activity of brain regions that are involved in the initiation, generation, maintenance, termination, and modulation of emotions (Koelsch, 2009).

Modulation of Cognition

Music also modulates cognition. Music is related to memory processes (including the encoding, storage, and decoding of musical information and events related to musical experiences) (Koelsch, 2009). It is also involved in the analysis of musical syntax and musical meaning (Koelsch, 2009).

Modulation of Behavior

Music therapy also works through modulating behavior. Music evokes and conditions behaviors such as the movement patterns involved in walking, speaking and grasping (Koelsch, 2009).

Modulation of Communication

Music also affects communication. In fact, music is a means of communication. Therefore, music can play a significant role in relationships, as alluded to in the definition of music therapy (Koelsch, 2009).

• Musical interaction in music therapy, especially musical improvisation, serves as a non-verbal and pre-verbal language (Geretsegger et al., 2014).
• It allows people who are verbal to gain access to pre-verbal experiences (Geretsegger et al., 2014).
• It also gives non-verbal people the chance to communicate with others without words (Geretsegger et al., 2014).
• It allows all people to interact on a more emotional, relationship-oriented way than may be possible relying on verbal language (Geretsegger et al., 2014).

Interaction also takes place with listening to music by a process that generally includes choosing music that has meaning for the person, such as the music reflecting an issue that the person is currently occupied with (Geretsegger et al., 2014).

Wherever possible, individuals are encouraged to reflect on personal issues that relate to the music, or, associations that the music brings up. For individuals who have verbal abilities, another important part of music therapy is to reflect verbally on the musical processes (Geretsegger et al., 2014).

Looking at a psychological theory of music therapy is extremely challenging, given the fact that there are multiple ideas regarding the mechanisms of music used as a therapeutic means (Hillecke, Nickel & Volker Bolay, 2005).

The psychology of music is a relatively new area of study (Wigram, Pedersen & Bonde, 2002). Music therapy is a multi-disciplinary field, and the area of music psychology is an innovative interdisciplinary science drawing from the fields of musicology, psychology, acoustics, sociology, anthropology, and neurology (Hillecke et al., 2005; Wigram et al., 2002).

Psychologists use experiments and diagnostics such as questionnaires, and the paradigm of cognition, to analyze what happens in music therapy (Hillecke et al., 2005).

Important topics in the psychology of music are:

• The function of music in the life and history of mankind
• The function of music in the life and identity of a person
• Auditory perception and musical memory
• Auditory imagery
• The brain’s processing of musical inputs
• The origin of musical abilities and the development of musical skills
• The meaning of music and musical preferences for the forming of identity
• The psychology of music performance and composition (Wigram et al., pp 45 – 46).

In understanding how people hear and perceive musical sounds, a part of music psychology is psychoacoustics – one’s perception of music. Another important facet of the psychology of music is an understanding of the human ear, and also the way the brain is involved in the appreciation and performance of music (Wigram et al., 2002).

Lifespan music psychology refers to an individual’s relationship to music as a lifelong developmental process (Wigram et al., 2002).

The earliest reference to music therapy was a paper called “Musically Physically Considered”, that was published in a Columbian magazine (Greenberg, 2017).

Even long before that, Pythagoras (c.570 – c. 495 BC), the Greek philosopher and mathematician prescribed a variety of musical scales and modes in order to cure an array of physical and psychological conditions (Greenberg, 2017).

However, perhaps the earliest account of the healing properties of music appear in the Jewish bible. In it, the story was that David, a skilled musician, could cure King Saul’s depression through music (Greenberg, 2017).

This was told in Chapter 16 in Prophets:

“And it happened that whenever the spirit of melancholy from God was upon Saul, David would take the lyre (harp) and play it. Saul would then feel relieved and the spirit of melancholy would depart from him”

(1 Samuel, 16:23).

There may even be earlier accounts of music therapy. Whether such religious texts are historically accurate or not, music was conceived as a therapeutic modality when such texts were written (Greenberg, 2017).

Music therapy emerged as a profession in the 20th century after World War I and World War II. Both amateur and professional musicians attended veterans’ hospitals to play for the veterans who had suffered physical and emotional trauma (The American Music Therapy Association, n.d.).

The impact of the music on the patients’ physical and emotional responses saw the doctors and nurses requesting to hire the musicians. It became apparent that the hospital musicians required training before starting, and thus ensued the beginning of music therapy education (The American Music Therapy Association, n.d.).

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To begin this discussion into musical therapy research, I will share a couple of Cochrane Reviews. Cochrane Reviews are systematic reviews that are internationally recognized as the highest standard in evidence-based health care.

A Cochrane Review of 5 studies examining music used in different ways as a part of the psychological treatment of people with depression found that reporting of the studies was poor. It did, however, find that most of the studies that made up the review did show positive effects in reducing depressive symptoms (Maratos et al., 2008). Therefore, the authors suggested that further research in this area is necessary.

Another Cochrane Review looked at 10 studies (a total of 165 participants) that assessed the effect of music therapy interventions that were conducted with children with autism spectrum disorder (ASD) over periods ranging from one week to seven months (Geretsegger et al., 2014).

Individuals with ASD experience impairments in social interaction and communication. Music therapy provides a means of communication and expression through musical experiences and the relationships that develop through them (Geretsegger et al., 2014).

Geretsegger and colleagues (2014) found that in terms of social interaction within the context of therapy, music therapy was associated with improvements in the non-verbal communicative skills, verbal communication skills, initiating behavior and social emotional reciprocity of individuals with ASD. However, there was no statistically significant difference in non-verbal communication skills outside the context of the therapy (Geretsegger et al., 2014).

In terms of secondary outcomes, music therapy was found to be superior to ‘placebo’ therapy or standard care in promoting social adaptation and quality of the parent-child relationships (Geretsegger et al., 2014).

In a Cochrane Review, authors found that a limited range of studies suggest that music therapy may be beneficial on improving quality of life in end-of-life care (Bradt & Dileo, 2010). However, the results are derived from studies that have a high risk of bias. Bradt and Dileo (2010) therefore concluded that more research into this particular area is needed.

In other studies, Klassen and colleagues (2008) looked at 19 randomized controlled trials and found that music therapy significantly reduced anxiety and pain in children undergoing medical and dental procedures.

The study also showed that rather than the use of music alone, use of music as a part of a multifaceted intervention may be more effective (Klassen, Liang, Tjosfold, Klassen & Hartling, 2008). The music is used to distract the patient from painful or anxiety-provoking stimuli, and this can also reduce the amount of medication required (Klassen et al., 2008).

Gerdner and Swanson (1993) examined the effects of individualized music in five elderly patients diagnosed with Dementia of Alzheimer’s Type. The patients resided in a long-term care facility and were confused and agitated.

Results from the study, both the immediate effects and the residual effects one hour after the intervention, suggest that individualized music is an alternate approach to management of agitation in confused elderly patients (Gerdner & Swanson, 1993).

Forsblom and colleagues (2009) conducted two parallel interview studies of stroke patients and professional nurses to ascertain the therapeutic role of listening to music in stroke rehabilitation.

They found music listening could be used to help patients relax , improve their mood and afford both mental and physical activation during the early stages of stroke recovery. Music listening was described as a ‘participative rehabilitation tool’ (Forsblom, et al. 2009).

The final study I will review, by Blood and Zatorre (2001) showed that music modulated amygdala activity. Using brain imaging techniques, the researchers played participants a piece of their own favorite music to induce an extremely pleasurable experience – described as “chills”.

In the control condition, participants listened to another participant’s favorite music. The intensity of the ‘chills’ experienced by participants correlated with increases in regional cerebral blood flow in brain areas believe to be involved in reward and emotion. This study supports the argument that music can induce ‘real’ emotions, as the brain regions for emotional processing were modulated by music (Blood & Zatorre, 2001).

Music-based therapy is based on two fundamental methods – the ‘receptive’ listening based method, and the ‘active’ method based on playing musical instruments (Guetin et al., 2009).

There are two receptive methods. The first of these, receptive ‘relaxation’ music therapy is often used in the treatment of anxiety, depression and cognitive disorders . Receptive ‘analytical’ music therapy is used as the medium for ‘analytic’ psychotherapy (Guetin et al., 2009). ‘Music medicine’ generally involves passive listening to pre-recorded music provided by medical personnel (Bradt & Dileo, 2010).

In terms of other types of music therapy, there is the Bonny Method of Guided Imagery and Music . This was developed by Helen Lindquist Bonny (Smith, 2018). The approach involves guided imagery with music.

With music added, the patient focuses on an image which is used as a starting point to think about and discuss any related problems. Music plays an integral role in the therapy and may be called a ‘co-therapist’. Individual patient needs and goals influence the music that is selected for the session (Smith, 2018).

The Dalcroze Eurythmics is a method used to teach music to students, which can also be used as a form of therapy. Developed by Èmile Jaques-Dalcroze, this method focuses on rhythm, structure, and expression of movement in the learning process. Because this method is apt for improving physical awareness, it helps those patients who have motor difficulties immensely (Smith, 2018).

The therapist may also ‘prescribe’ music medicine or guided imagery recordings containing music for the client to listen to outside the therapy room by making use of a digital psychotherapy platform such as Quenza (pictured here).

Therapists can use modern platforms such as these to send pre-recorded audio clips directly to the client’s smartphone or tablet according to a predetermined schedule.

Likewise, the therapist can track clients’ progress through these audio activities via their own computer or handheld device.

It is thought that Zoltàn Kodàly was the inspiration for the development of the Kodaly philosophy of music therapy (Smith, 2018). It involves using rhythm, notation, sequence, and movement to help the patient learn and heal.

This method has been found to improve intonation, rhythm and music literacy. It also has a positive impact on perceptual function, concept formation, motor skills and learning performance in a therapeutic setting (Smith, 2018).

Neurologic Music Therapy (NMT) is based on neuroscience. It was developed considering the perception and production of music and its influence on the function of the brain and behaviors (Smith, 2018).

NMT uses the variation within the brain both with and without music and manipulates this in order to evoke brain changes which affect the patient. It has been claimed that this type of music therapy changes and develops the brain by engaging with music. This has implications for training motor responses, such as tapping the foot to music. NMT can be used to develop motor skills (Smith, 2018).

Orff-Schulwerk is a music therapy approach developed by Gertrude Orff. When she realized that medicine alone was not sufficient for children with developmental delays and disabilities, Orff formed this model (Smith, 2018).

“Schulwerk”, or ‘school work’ in German, reflects this approach’s emphasis on education. It uses music to help children improve their learning ability. This method also highlights the importance of humanistic psychology and uses music as a way to improve the interaction between the patient and other people (Smith, 2018).

• Listening to live or recorded music
• Learning music-assisted relaxation techniques, such as progressive muscle relaxation or deep breathing
• Singing of familiar songs with live or recorded accompaniment
• Playing instruments, such as hand percussion
• Improvising music on instruments of voice
• Writing song lyrics
• Writing the music for new songs
• Learning to play an instrument, such as piano or guitar
• Creating art with music
• Dancing or moving to live or recorded music
• Writing choreography for music
• Discussing one’s emotional reaction or meaning attached to a particular song or improvisation

This information about what music therapists do was found on the ‘Your Free Career Test’ (n.d.) website.

Music therapists work in a variety of settings, including schools, hospitals, mental health service locations, and nursing homes. They help a variety of different patients/clients.

A music therapist evaluates each clients’ unique needs. They ascertain a client’s musical preferences and devises a treatment plan that is customized for the individual.

Music therapists are part of a multi-disciplinary team, working with other professionals to ensure treatment also works for the client to achieve their goals. For example, if a person is working on strengthening and movement in order to address physical limitations, a music therapist could introduce dance into their treatment plan.

Therapists are advised to follow their own preferences, and as explained by Rachel Rambach (2016) a board-certified music therapist – instruments are the tools of a music therapist and should be specifically chosen based on the needs and goals of clients.

Some instruments are, however, more popular.

Muzique (a company promoting creative art experiences) has listed three instruments that have been proven most effective.

The first of these is the Djembe , or hand drum. Given that this single drum does not have a central melodic component, the client is free to express and connect with the musical rhythms without fear of playing a ‘wrong note’. The use of a small drum also facilitates a connection between the therapist and client by allowing them to be in close proximity.

They can play together at the same time, which may not be possible with a piano or guitar.

The guitar , according to Muzique (n.d.) is generally the top instrument used by music therapists. Again, a guitar can be used in close proximity to a client. The music therapist can also maintain melodic or harmonic control whilst allowing the client to play. The guitar can help maintain control in a group setting, but it can also be soothing and relaxing.

Muzique (n.d.) suggests that the piano is probably the instrument of choice when working with large groups. As the sound of a guitar can be drowned out by other instruments being played by clients, the piano can be more steady and holding background.

The music therapist should be mindful, however, of the apparent physical barrier between themselves and the client, and if possible, have the client sit next to the piano.

When Working With Children

Rachel Rambach (2016) concedes that there are certain instruments that she tends to utilize more often than others in her work with children. These include the 8 note hand bell set , which consists of a group of bells that each have their own color, number and letter of the medical alphabet (which can be ordered by pitch) and the mini guitar (which is very child-friendly and portable).

Another instrument Rambach (2016) likes is the frog guiro , which can be used in various ways – such as a guiro making a croaking sound, like a frog, or as a wood block. Castanets make a fun sound, and also help children acquire a pincer grip.

Rambach (2016) favors fruit shakers , which although they don’t make a unique sound, have a very realistic appearance and thus appeal to children. The cabasa does, on the other hand, make a unique sound and also brings in a tactile element to music therapy.

The cabasa is good for targeting fine and gross motor skills. The ‘lollipop’ drum is light, and not too loud so these are often preferred by Rambach (2016) over bigger paddle drums.

Rambach (2016) thinks every music therapist should have a ukulele . Their sound is sweet and inviting, and the ukulele makes the perfect alternative to a guitar.

They can be used as an accompanying instrument, but also for adapted lessons. Finally, the gathering drum encourages group cohesion in group settings or classes. They encourage children, or adult clients, to work together – sharing, and interacting with others (Rambach, 2016).

Anytune – slow down music BPM

Get it from the App Store .

Get it from Google Play .

Garage Band

This app provides a great tool for song-writing or improvisation. The individual can create literally hundreds of realistic, high-quality sounds (Fandom, n.d.).

Guitarist’s Reference

The app provides guitar triads, arpeggios, a reverse chord finder tool, alternate guitar tunings, chords scale relationships and a guitar chord quiz (Fandom, n.d.).

Magic Piano

The app can also be switched to where you have to hit the right spot (or the note will sound out of tune if not) or just tap the screen with the rhythm. It has 4 different difficulty settings: easy, medium, hard and auto mode that senses the person’s ability after a few songs (Fandom, n.d.).

Real Guitar Free

It has a vast range of options and is perfect for both beginners and experienced guitarists (Sena, 2012).

The following information was found on the ‘ Voices ’ website.

This is an open-access peer-reviewed journal. It welcomes dialogue and discussion across disciplines about music, health, and social change. The journal promotes inclusiveness and socio-cultural awareness. It features a focus on cultural issues and social justice.

‘Voices’ is published by the University of Bergen and NORCE Norwegian Research Centre through GAMUT – The Grieg Academy Music Therapy Research Centre. The vision statement of ‘Voices’ is:

“ Voices: A World Forum for Music Therapy seeks to nurture the profile of music therapy as a global enterprise that is inclusive and has a broad range of influences in the International arena. The forum is particularly interested in encouraging the growth of music therapy in developing countries and intends to foster an exchange between Western and Eastern as well as Northern and Southern approaches to the art and science of music therapy ”.

An official publication of the American Music Therapy Association aim, is to inform readers from both within and outside the music therapy profession.

By disseminating scholarly work, this journal sets out to promote the development of music therapy clinical practice, with a particular focus on clinical benefits.

Music Therapy Perspective seeks to be a resource and forum for music therapists, music therapy students, and educators as well as others from related professions.

The Journal of Music Therapy

The Journal of Music Therapy disseminates research (edited by A. Blythe LaGasse) that advances the science and practice of music therapy. It also provides a forum for current music therapy research and theory, including music therapy tools , book reviews, and guest editorials.

“ Its mission is to promote scholarly activity in music therapy and to foster the development and understanding of music therapy and music-based interventions…The journal strives to present a variety of research approaches and topics, to promote clinical inquiry, and to serve as a resource and forum for researchers, educators, and clinicians in music therapy and related professions ”.

The 5 Best Books on the Topic (Incl. The Music Therapy Handbook)

There is such a lovely selection of books on music therapy, but to be concise, we only reflect on five.

1. Music Therapy Handbook – Barbara Wheeler

This book is a key resource for music therapists and also demonstrates how music therapy can be used by other mental health and medical professionals.

It provides case material and an extensive look at music therapy, including both the basic concepts as well as the emerging clinical approaches. It contains a comprehensive section on clinical applications.

Find the book on Amazon .

2. The New Music Therapist’s Handbook – Suzanne Hanser

This is a revised, updated version of Hanser’s 1987 book. It reflects recent developments in the field of music therapy.

This book serves as a ‘go-to’ resource for both students and professionals. It contains an introduction to music therapy as a profession, provides guidelines for setting up a practice, and describes new clinical applications as well as relevant case studies.

3. Case Studies in Music Therapy – Kenneth Bruscia

This book is suitable as a reference, a textbook for students, or simply to provide an introduction to the field of music therapy.

It is made up of 42 case-histories of children, adolescents and adults receiving group and individual therapy in a range of different settings, in order to demonstrate the process of music therapy from beginning to end.

The book describes various approaches and techniques in music therapy, and captures moving stories of people worldwide who have benefitted from music therapy and the relationships developed with music therapists.

4. Defining Music Therapy – Kenneth Bruscia

Bruscia’s book examines the unique difficulties of defining music within a therapeutic context and, conversely, defining therapy within a music context. It compares and examines more than 40 definitions of music therapy and provides a new definition.

Bruscia discusses each component of this new definition and by doing so suggests boundaries for what music therapy IS versus what it IS NOT.

5. Musicophilia: Tales of Music and The Brain – Oliver Sacks

This book is slightly different to the others. It examines the place music occupies in the brain, and how music affects the human condition.

Sacks explores cases of what he terms “musical malalignment”.

He explains why music is irresistible and can be both healing and unforgettable.

Bunt, L., & Pavlicevic, M. (2001). Music and emotion: Perspectives from music therapy. In P.N. Justin & J.A. Sloboda (Eds), series in affective science. Music and emotion: Theory and Research (pp. 181 – 201). New York, NY, US: Oxford University Press

Stultz, D. L., Lineweaver, T. T., Brimmer, T., Cairns, A.C., Halcomb, D. J., Juett, J. et al. (2018). “Music first”: An alternative or adjunct to psychotropic medications for the behavioral and psychological symptoms of dementia. GeroPsych: The Journal of Gerontopsychology & Geriatric Psychiatry, 31, 17 – 30. http://dx.doi.org/10.1024/1662-9647/a000180

Landis-Shack, N., Heinz, A. J., & Bonn-Miller, M. O. (2017). Music therapy for posttraumatic stress in adults: A theoretical review. Psychomusicology: Music, Mind, and Brain, 27, 334 – 342. http://dx.doi.org/10.1037/pmu0000192

Bell, T. P., McIntyre, K. A., & Hadley, R. (2016). Listening to classical music results in a positive correlation between spatial reasoning and mindfulness. Psychomusicology: Music, Mind, and Brain, 26, 226 – 235. http://dx.doi.org/10.1037/pmu0000139

Barrett, F. J., Grimm, K. J., Robins, R. W., Wildschut, T., Sedikides, C., & Janata, P. (2010). Music-evoked nostalgia: Affect, memory, and personality. Emotion, 10, 390-403. http://dx.doi.org/10.1037/a0019006

Ladviig, O., & Schellenberg, E. G. (2012). Liking unfamiliar music: Effects of felt emotion and individual differences. Psychology of Aesthetics, Creativity and The Arts, 6, 146 – 154. http://dx.doi.org/10.1037/a0024671

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Some of these heart-warming videos are perfect to illustrate the benefits of Music Therapy.

What is Music Therapy?

This video features a board-certified musical therapist, Ryan Judd. He answers the questions “What is music therapy?” and “how do I find a music therapist?”

Music Therapy: Healing Music Sound Therapy for Relax, Chakra Balancing, and Well-being.

From the Meditation Relax Club .

Suitable for use in relaxation exercises or meditation, this video features peaceful, calming music set against a tranquil video.

My Job: Music Therapist

Trish, a music therapist, explains her role. She also explains how music therapy can help clients to meet both medical and emotional needs.

What a Music Therapy Session Looks Like

By sharing a description of working with a child with autism spectrum disorder, this board-certified music therapist explains what happens in a music therapy session. This video gives a brief snapshot of what music therapy looks like.

Music Therapy

This video shows the music therapy department at the Children’s Hospital of Pittsburgh of UPMC. It explains how board-certified music therapists assist patients to cope with procedures, pain and anxiety.

The power of music has been evident since the earliest days of humankind. However, after the world wars of the 20th century, music therapy heralded the beginning of a powerful new profession.

Since then, various types and methods of music therapy have been developed, and music therapy has been practiced in a variety of settings with far-reaching benefits.

Hopefully, this article has provided you with a helpful overview of the music therapy profession. What are your experiences with music therapy? What do you think it offers clients in conjunction with traditional therapies? Or, have you had experience of music therapy as a stand-alone intervention? Please feel free to share your thoughts and ideas.

We hope you enjoyed reading this article. For more information, don’t forget to download our three Positive CBT Exercises for free .

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• Therapedia (n.d.). Music Therapy. Retrieved from https://www.theravive/therapedia/music-therapy
• Wigram, T., Pedersen, I. N., & Bonde, L. O. (2002). A Comprehensive Guide to Music Therapy: Theory, Clinical Practice, Research and Training . London: Jessica Kingsley Publishers
• Wong, H. L., C., Lopez-Nahas, V., & Molassiotis, A. (2001). Effects of music therapy on anxiety in ventilator-dependent patients. Heart and Lung: The Journal of Acute and Critical Care, 30 , 376 – 387.
• Your Free Career Test (n.d.). What does a music therapist do? Retrieved from https://www.yourfreecareertest.com/what-does-a-music-therapist-do/

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That was a great article .Thank you

So informative

Wonderful Post, simple, clear, direct, Very Informative…..Great Job Heather!!!…BRAVO,….Am musician, composer & arranger and I’m actually working on a Research Proposal for an MPhil by Research will be exploring in the field of Music Therapy. All the Best to You Heather

Thanks for sharing, great article.

This was very helpful. It helped in my understanding of the connection between music and wellness.

This article is so good. I got all the information I need. Thanks for sharing.

That’s really nice post. I appreciate, Thanks for sharing.

Thank you Heather. I am researching music and the therapeutic effects it has on those of us with brain injuries, to put together a small book on How To Recover From. A Brain Injury. Interestingly enough, my sister played music for me, while I was in a coma. I then went through a post injury (10 years later) phase of recovery where I loved live music. I would like to contribute this idea, although I am sure you are aware of it yourself, and that is the ability of music to bring you into the moment so fully, that all the deficits and disabilities fall away. I found my whole being enveloped in the music being performed, and forgot all about who I was. It was fabulously wonderful to feel so lifted up from a world of always working on improving yourself.

Great book Heather with so much information, I am researching for a uni essay and this has been most helpful,

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A Quick Reference Guide to Lyric Analysis

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AMTA-Pro Podcast April, 2019

Karen Miller, MM, MT-BC

1. Introduction

2. Rationale for developing the quick reference guide as a tool for music therapists

3. Common psychosocial music therapy techniques, including lyric analysis

4. Best practice components: theory, research, practice

5. Process for developing the quick reference guide as a tool for music therapists

6. 3-stage process of lyric analysis: explore, relate, apply

7. An overview of the Quick Reference Guide (see below)

Quick Reference Guide to Solution-focused Lyric Analysis  in Psychosocial Music Therapy Treatment

Recommendations and Procedural Menu

Introduction

The Quick Reference Guide to Solution-Focused Lyric Analysis in Psychosocial Music Therapy Treatment  is a procedural guideline for the use of lyric analysis as a tool within psychosocial music therapy treatment. The tool is intended for use by professional music therapists as well as music therapy students and educators. While lyric analysis is widely accepted as a method used to assist music therapy clients in identifying personal issues, exploring emotions, and relating to the experiences of others, the present tool is intended to pool information gained from research and clinical experience that will inform best practice by providing an easily accessible system for clinical decision-making. The tool is also intended to assist therapists and their clients in moving from the identification and expression of therapeutic material to positive action, thereby facilitating practical steps toward problem solving.

The Quick Reference Guide was built within the theoretical framework of cognitive behavior therapy (CBT). Resulting recommendations are consistent with CBT principles as well as informed by both research and practice, intentionally providing a solid foundation of theory, research, and practice upon which to base clinical decisions.

The tool may be useful when clinical goals are centered on the amelioration of various forms of distress. It is intended for work with clients exhibiting psychosocial needs who demonstrate verbal skills and reality-based cognitive processes sufficient to complete the steps involved. Emotional, social, cognitive, and communication ability should be considered carefully in the decision-making process along with other factors outlined in the guide.

Guidelines presented were gathered from existing peer-reviewed publications as well as from extensive clinical practice. Those recommendations found in published research are referenced throughout the document. The Quick Reference Guide to Solution-Focused Lyric Analysis in Psychosocial Music Therapy Treatment was developed by Karen Miller, MM, MT-BC, while Professor of Music Therapy at Sam Houston State University, with research assistance from the following graduate students:

Mary Kate Becnel, MM, MT-BC Alexandra Brickley, MM, MT-BC Joyce Chun, MM, MT-BC Marcus Hughes, MM, MT-BC Karina Melara, MM, MT-BC Chen Peng, MM, Zachary Pollard, MM, MT-BC Nicole Rogers
Sarah Rossi, MM, MT-BC Hannah Sopher, MT-BC
Annie Vandervoort, MM, MT-BC Michael Way, MM, MT-BC

NOTE: ( ) denotes research reference throughout the document.

Song Choice Recommendations

Consider client’s choice vs. therapist’s choice of song and the benefits of each (2,6,8,9,10,11,21,22)

Be aware of client’s potential associations (4,6,8,11,15)

Identify positive and negative messages in songs before choosing – consider the usefulness of each (6,8,15)

Choose music and lyrics that are relatable to clients in their current state (2,4,5,6,8,15,18,19,20)

Pay attention to music style and characteristics; impact of the music as well as lyrics (2,4,5,6)

Consider the impact of repetition in lyrics (6,14)

Realize the power of both music and poetry (lyrics) to elicit emotion (2,4,5,15)

Choose songs that address specific topics and/or cognitive distortions related to the client’s goals (2,4,5,6,8,9,10,11,15,20,21,22,23)

Consult team members on appropriate topics (3)

Song Presentation Recommenadations

Use the Three Stage Procedural Menu as a guide in preparation, being mindful that it may be necessary or beneficial to skip Stage 1 or move in and out of stages in a different order.

Allow ample time, typically 30 minutes or more, for a complete process leading to specific problem-solving (20,21,22,23)

Consider the benefits of live vs. recorded music (7,8,9,10,11,18,19,22,23)

Ensure high quality music and sound to maximize attention and impact (19)

Stress that there are no right or wrong answers when interpreting songs (4,19)

Adapt for varying levels of functioning, including verbal, sensory, and cognitive abilities and medication effects
Give individual copies of lyrics to clients before beginning
 (4,6,8,9,10,11,18,19,20,21,22,23)

Use large, bold font and easy reading format and consider numbering lines (4,19)

Instruct clients to mark lyrics that particularly stand out to them or give other assignment to actively engage clients with the lyrics (10,19)

Have clients re-read lyrics following song presentation (8)

Remain empathetic and use active listening skills to determine direction of discussion (3,4,6)

In a group setting, hear from everyone, and prompt clients to relate to and support one another (4)

Consider use of other modalities (illustration, art, movement, dance) to process the song prior to verbal processing (2)

Unless otherwise indicated, re-play song after the analysis (8)

As appropriate, encourage clients to share song with family, caregivers (11)

Assign specific homework related to discussion – consider use of worksheets as visual cues and structure for homework (1,8,19,22)

Always work within the boundaries of your training and ability; collaborate with team members, and refer clients to other therapists and health professionals when needed; maintain client’s emotional and physical safety as your top priority (4)

Three Stage Procedural Menu for Lyric Analysis Following Song Presentation

General Probes for Any Stage

Tell me more about that.

How did that make you feel? (8,9,11)

What does that remind you of? (8,9,11)

You seem (fill in emotion).

Stage 1: Explore (focus on the song)

~ Create probes directly from lyric content (e.g., Let’s talk about lines ________, What does the singer mean when he says ______? ) (2,4,5,6,18,20)

~ Other sample probes: (1,4,5,6,8,10,11,15,22)

Talk to me about this song.

What images were going through mind as you listened?

Tell me about the lyrics you highlighted/underlined.

What was the singer/songwriter experiencing?

What is the overall mood or message of the song?

Which lyrics represent thoughts or ideas that are rational or healthy?

Which lyrics represent thoughts or ideas that are distorted, irrational, or unhealthy?

What specific cognitive distortions can you identify in the lyrics?

What does this person do when he or she experiences difficult feelings?

How does that work for him/her?


How can he/she cope?

What would you tell this person?

What is this person most afraid of/angry about/happy about, etc.? (Follow up with, What are YOU most afraid of/angry about/happy about, etc.? then continue at Stage 2.)

Who can this person depend upon, and for what? (Follow up with, Who can you depend upon, and for what? then continue at Stage 2.)

Stage 2: Relate (focus on the client, including the client’s identification with the song, connection to the songwriter, client’s own thoughts, feelings, and behaviors)

~ Create probes directly from lyric content (e.g., How do you relate to the line ______? )
 (2,4,5,20,21,22)

~ Other sample probes: (1,2,4,5,6,8,9,10,11,21,23)

In what ways is your life like this person’s life?

What would you like to be different?

How does the song connect with what you are going through?

How do you relate to that?

Which of those thoughts or feelings have you experienced? When?

Which lyrics stand out most to you?

What makes them stand out?

What emotions or personal experiences/memories are triggered by those lyrics?

When have you felt that way?


What was, or is, going on in your life that causes you to relate?


What was going through your mind when you heard this?


What was going through your mind when you felt that way?

What makes you feel that way now?

What needs to change?

Describe what a better future would look like.

What is going through your mind now?


What is the quick, passing thought that triggers/triggered that emotion?

On a scale of 1-100, how much did you believe that thought?

How much do you believe it now?

 What evidence can we find for that thought being true?

What evidence can we find for that thought being false?

If that thought is likely false, what true statement can we make to replace it?

Stage 3: Apply (focus on coping and follow through)

~ Sample probes: (1,4,6,8,9,11,20,23)

When you have felt that way, how did you cope?

What coping strategies have you tried?

How did they work? What happened? And then what? And then what? And then what?

What are your options?

What will be the consequences of that option? And then what?

(repeat for other options)

What would you tell a close friend or family member in a similar situation?

Next time you feel that way, what will you tell yourself?

What seems to be the best direction or choice?

What is the first step?

What will you do today to get started?

May I follow up with you to see how it went? (Assign specific homework related to discussion.)

References


1. Beck, Judith S. Cognitive Behavior Therapy: Basics and beyond . New York: Guilford, 2011. Print.

2. Bednarz, L. F., & Nikkel, B. (1992). The Role of Music Therapy in the Treatment of Young Adults Diagnosed with Mental Illness and Substance Abuse. Music Therapy Perspectives, 10 (1), 21-26. doi:10.1093/mtp/10.1.21.

3. Boenheim, C. (1966). Music and Group Psychotherapy. Journal of Music Therapy , 3 (2), 49-52. doi:10.1093/jmt/3.2.49.

4. Dvorak, A. L. (2017). A Conceptual Framework for Group Processing of Lyric Analysis Interventions in Music Therapy Mental Health Practice. Music Therapy Perspectives , 35 (2), 190-198.

5. Edgar, K. (1979). A case of poetry therapy. Psychotherapy: Theory, Research & Practice, 16 (1), 104-106. doi:10.1037/h0085863.

6. Heimlich, E. P., & Mark, A. J. (1990). Metaphoric Lyrics as a Bridge to the Adolescentâ € TMs World. Paraverbal Communication with Children , 159-173. doi:10.1007/978-1-4613-0643-6_10.

7. Hilliard, R. E. (2006). The effect of music therapy sessions on compassion fatigue and team building of professional hospice caregivers. The Arts in Psychotherapy , 33 (5), 395-401. doi:10.1016/j.aip.2006.06.002.

8. Ho, M. K. (1984). The Use of Popular Music in Family Therapy. Social Work, 29 (1), 65-67. Retrieved January 21, 2017, from http://www.jstor.org/stable/10.2307/23714274?ref=search- gateway:1ef22f67741f6661fe52abdffd94003b.

9. James, M. R. (1988). Music Therapy Values Clarification: A Positive Influence on Perceived Locus of Control. Journal of Music Therapy , 25 (4), 206-215. doi:10.1093/jmt/25.4.206.

10. Jones, J. D. (2005). A Comparison of Songwriting and Lyric Analysis Techniques to Evoke Emotional Change in a Single Session with People Who are Chemically Dependent. Journal of Music Therapy , 42 (2), 94-110. doi:10.1093/jmt/42.2.94.

11. Lelieuvre, R. B. (1998). “Goodnight Saigon”: Music, fiction, poetry, and film in readjustment group counseling. Professional Psychology: Research and Practice , 29 (1), 74-78. doi:10.1037//0735-7028.29.1.74.

12. Maultsby, M. C. (1977). Combining Music Therapy and Rational Behavior Therapy. Journal of Music Therapy, 14 (2), 89-97. doi:10.1093/jmt/14.2.89.

13. Montello, L., & Coons, E. E. (1998). Effects of Active Versus Passive Group Music Therapy on Preadolescents with Emotional, Learning, and Behavioral Disorders. Journal of Music Therapy, 35 (1), 49-67. doi:10.1093/jmt/35.1.49.

14. Nunes, J. C., Ordanini, A., & Valsesia, F. (2015). The power of repetition: Repetitive lyrics in a song increase processing fluency and drive market success. Journal of Consumer Psychology , 25 (2), 187-199. doi:10.1016/j.jcps.2014.12.004.

15. Sargent, L. (1979). Poetry in Therapy. Social Work , 24 (2), 157-159. Retrieved January 21, 2017, from http://www.jstor.org/stable/10.2307/23713665?ref=search-gateway:912083b6ff7392e3266b89282b21ef4f

16. Silverman, M. J., & Leonard, J. (2012). Effects of active music therapy interventions on attendance in people with severe mental illnesses: Two pilot studies. The Arts in Psychotherapy, 39 (5), 390-396. doi:10.1016/j.aip.2012.06.005

17. Silverman, M. J. (2007). Evaluating Current Trends in Psychiatric Music Therapy: A Descriptive Analysis. Journal of Music Therapy, 44 (4), 388-414. doi:10.1093/jmt/44.4.388

18. Silverman, M. J. (2009). The Effect of Lyric Analysis on Treatment Eagerness and Working Alliance in Consumers Who Are in Detoxification: A Randomized Clinical Effectiveness Study. Music Therapy Perspectives, 27 (2), 115-121. doi:10.1093/mtp/27.2.115

19. Silverman, M. J. (2009). The Use of Lyric Analysis Interventions in Contemporary Psychiatric Music Therapy: Descriptive Results of Songs and Objectives for Clinical Practice. Music Therapy Perspectives, 27 (1), 55-61. doi:10.1093/mtp/27.1.55

20. Silverman, M. J. (2010). The effect of a lyric analysis intervention on withdrawal symptoms and locus of control in patients on a detoxification unit: A randomized effectiveness study. The Arts in Psychotherapy, 37 (3), 197-201. doi:10.1016/j.aip.2010.04.001

21. Silverman, M. J. (2015). Effects of educational music therapy on illness management knowledge and mood state in acute psychiatric inpatients: A randomized three group effectiveness study. Nordic Journal of Music Therapy, 25 (1), 57-75. doi:10.1080/08098131.2015.1008559

22. Silverman, M. J. (2015). Effects of Lyric Analysis Interventions on Treatment Motivation in Patients on a Detoxification Unit: A Randomized Effectiveness Study. Journal of Music Therapy, 52 (1), 117-134. doi:10.1093/jmt/thu057

23. Silverman, M. J. (2016). Effects of a Single Lyric Analysis Intervention on Withdrawal and Craving With Inpatients on a Detoxification Unit: A Cluster-Randomized Effectiveness Study. Substance Use & Misuse, 51 (2), 241-249. doi:10.3109/10826084.2015.1092990

About the Podcast Speaker

Ms. Miller has presented clinical and research material regionally, nationally, and internationally. Her research is published in the  Journal of Music Therapy  and  Music Therapy Perspectives . She is a Past-President of the American Music Therapy Association’s Southwestern Region (SWAMTA) and has served the American Music Therapy Association (AMTA) as a long-standing Assembly Delegate and as co-chair of the organization’s Academic Program Approval Committee.

As Director of Music Therapy at SHSU, Professor Miller contributed to both qualitative and quantitative growth of music therapy programs through endeavors such as overseeing the development of graduate programs in music therapy, developing the on-campus SHSU Music Therapy Clinic, and establishing a wide variety of practicum and internship programs. Professor Miller gained prior university teaching experience at both the University of the Pacific in Stockton, California, and The Florida State University in Tallahassee, Florida.

Ms. Miller is also a singer/songwriter and has produced two CD’s of original songs.

Her music education and music therapy studies were completed at Oklahoma Baptist University (B.M.E.) and The Florida State University (M.M.).

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Online undergraduate-level course, music therapy techniques for wellness.

Authored by Suzanne Hanser

Course Code: OMUTH-105

Next semester starts June 24 Enroll by 5 PM ET. Limited seats available.--> Enroll by 5 PM ET. Limited seats available.-->

3-credit tuition, non-credit tuition.

Have you found that music can immediately change your mood? Have you seen how music brings back special memories and pictures in your mind's eye? Have you noticed that a song can express exactly how you feel? This course explores these questions and more. You’ll learn how music affects your mind, body, and soul, and you’ll practice evidence-based musical activities and exercises that can enhance your general well-being and wellness.

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Lesson 1: An Introduction to Integrative Health

• Music for Sickness and Health
• The Impact of Music on Our Lives
• Integrative Medicine/Health and Music Therapy
• Holistic Healing
• Healing Music
• Assignment 1: Music Healing

Lesson 2: Tuning In: Your Journey

• Physical Preparation
• Emotional Preparation
• Mental Preparation
• Existential Preparation
• Spiritual Preparation
• Musical Preparation
• Assignment 2: Tuning In

Lesson 3: Music for Comfort

• Music for Comfort: The Lullaby
• Comforting the Body with Music
• The Power of Breath
• What is Pranayama?
• Comforting the Mind Through Breath
• Assignment 3: Your Lullaby

Lesson 4: Music for Awakening

• Awakening through Music
• Awakening through Chant and Mantra
• Creating and Integrating Mantra (Jingles) into Your Wellness Practice
• Awakening through Imagery
• Awakening through Power Songs
• Assignment 4: Your Music for Awakening

Lesson 5: Finding Your Voice

• The Science Behind Singing
• Singing How You Feel
• Circle Singing
• Songwriting
• Ways to Integrate Creating Music into Your Music Wellness Practice
• Assignment 5: Your Music Wellness Practice

Lesson 6: Listening for Wellness

• Deep Listening
• Listening with Imagery
• How the Brain Processes Music
• Iso-Principle Technique
• Assignment 6: Matching Your Mood

Lesson 7: Music for Peace

• What is the Meaning of Peace?
• What is Gratitude?
• Musical Rituals
• Assignment 7: Your Song of Peace and Ritual

Lesson 8: Assessing Stress and Pain

• Stress Assessment Log
• Pain Assessment Log
• Music Listening Log
• What Music Can Do for You
• Assignment 8: Stress, Pain, and Music Listening Logs

Lesson 9: How to Apply Music for Wellness Every Day

• When Do You Need Music?
• Music-Based Applications for Every Day
• Implementation of a New Day
• Assignment 9: Your Music Plan

Lesson 10: How to Apply Music for Wellness for Stress and Pain

• Music Listening Applications for Serious Stress and Pain
• Playing Instruments as a Coping Strategy
• Singing as a Coping Strategy
• Creative Musical Solutions for Stress and Pain
• Improvisation as a Coping Strategy
• Songwriting as a Coping Strategy
• Assignment 10: Stress and Pain Strategy

Lesson 11: Your Personal Music Wellness Plan

• Evaluating Your Initial Contributions to the Course
• Music for Comfort
• Music for Awakening
• Finding Your Musical Voice
• Listening for Wellness
• Music for Peace
• Assignment 11: Music Wellness Re-Evaluations

Lesson 12: Bringing Meaning to Your Learning

• Integration
• Your Values
• Your Relationships
• Assignment 12: Final Music Wellness Play

Requirements

Prerequisites and course-specific requirements .

Prerequisite Courses, Knowledge, and/or Skills This course does not have any prerequisites.

Textbook(s)

• Integrative Health Through Music Therapy: Accompanying the Journey from Illness to Wellness  by Suzanne B. Hanser (Palgrave Macmillan, 2016)
• Manage Your Stress and Pain Through Music  by Suzanne. B. Hanser & S. E. Mandel (Berklee Press 2010)
• Digital or paper journal. Digital options include Google Keep ,  Penzu ,  Notes for Mac ,  Notepad for Windows ,  Evernote , etc.

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Instructors

Author & Instructor

Dr. Suzanne B. Hanser is founding chair of the Music Therapy Department at Berklee College of Music. She is President of the International Association for Music & Medicine and past president of both the World Federation of Music Therapy and the National Association for Music Therapy. Dr. Hanser is the author of research articles, as well as several books: The New Music Therapist's Handbook, Manage Your Stress and Pain, with co-author Dr. Susan Mandel, and Integrative Health through Music Therapy: Accompanying the Journey from Illness to Wellness. In 2006 she was named by the Boston Globe as one of eleven Bostonians Changing the World. In 2009 she was awarded the Sage Publications Prize for her article, “From Ancient to Integrative Medicine: Models for Music Therapy.” She received the Lifetime Achievement Award from the American Music Therapy Association in November 2011.

What's Next?

When taken for credit, Music Therapy Techniques for Wellness can be applied towards the completion of these related programs:

Related Certificate Programs

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• General Music Studies Advanced Professional Certificate

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Employers look for skills learned in this course, when hiring for the following music career role:

Music Therapist

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• My Publications

Must-have Musical Skills for Student Music Therapists to Develop

by Kimberly on October 22, 2020 · 0 comments

My primary responsibility in my current academic position is to train future music therapists. The vast majority of my more traditional teaching load is geared towards the preprofessional music therapist—introduction to music therapy, two music therapy methods courses, and pre-practicum, a course where students learn foundational elements of how to “do” music therapy (assessment, goals and objectives, etc.). As Clinical Training Director I oversee student fieldwork experiences, from placements to assignments to clinical supervision.

Suffice it to say I’ve spent a fair amount of time and energy over the past 7 years thinking about what’s needed to be an effective music therapist (more, really, since I started teaching and supervising students about 12 years ago now).

This post focuses on the musical skills I aim to nurture and help develop in my students. More specifically, I’m focusing here on the live musical skills needed to effectively facilitate therapeutic music experiences, whether they be recreative, receptive, improvisational, or compositional (with a nod to Bruscia (2014) for his description of music-based methods). There are other aspects of music therapy treatment that go beyond live music of course (recorded music, anyone?), but let’s stick with this idea of live musical skills for now.

On the AMTA end, the Standards for Education and Clinical Training (2018) state that training programs should help students develop “competencies in functional keyboard, guitar, voice, percussion, and improvisation.” The AMTA Professional Competencies (2013) document is a bit more detailed, listing specific (and arguably basic) music, conducting, and compositional skills a professional music therapist should be able to complete, with a focus on guitar, piano, voice, and percussion. The most detailed is the CBMT Board Certification Domains (2020) , which under section III.A.5 lists 34 distinct mostly-musical skills a board certified music therapist should be able to demonstrate to achieve therapeutic goals.

For me, when I take a step back and consider what I see as integral to contemporary music therapy practice, the musical skills I aim to help my students develop are intended to promote authenticity, adaptability, holistic musicianship, and/or healthy practice. What do I mean by these?

“ Authenticity ” means you have the technical and aural skills to be able to learn and play music in a way that’s stylistically…well, authentic. Given the rich diversity of musical traditions, there is no way to “teach them all” within the time constraints of a college degree. Rather, I aim to help my students develop skills they can use to listen to music in order to learn and play it for clients in a way that’s authentic to (or reflective of) the intended style.

“ Adaptability ” means you have the technical and aural skills to be able to change the music. Sometimes this happens during the planning stage. I often tell my students that part of the “fun” of being a music therapist is we have permission to take a song and change it to meet an intended therapeutic purpose. Other times this adaptability occurs on-the-spot in response to what you observe in the client. Maybe we need to musically redirect a client or aim to shift them to a different state of physiologic arousal. In either case we need to have certain musical skills in place in order to change the music we provide to meet client needs. 

“ Holistic musicianship ” means you have skills beyond singing and playing music, you must be able to compose and improvise music as well. This is often closely tied to music theory—we need to have an understanding of the structure of music (including form, harmony, melody, texture, and more) in order to create music…and by extension help clients create music.

“ Healthy practice ” means you perform music in a way that protects your vocal and musculoskeletal health. This means working to maintain healthy back, shoulder, and wrist alignment, keeping space for breathing and breath support, and singing with resonance. It’s a major shift to go from facilitating one session a week to multiple sessions a day, so I aim to help my students develop healthy habits and abilities before sending them off to internship. 

Within these areas there are of course certain technical skills that need to be rehearsed and solidified before any of the authenticity, adaptability, and holistic musicianship can come to fruition. These include things like:

• Singing on pitch with appropriate breath support and resonance, both a capella and with accompaniment.
• Smoothly playing and transitioning between different chords/chord shapes on various harmonic accompaniment instruments. (Although in the US the transitions between chords will most likely start with traditional Western harmonic progressions, we need not be limited to this.)   
• Applying different accompaniment patterns. On stringed accompaniment instruments (typically guitar and ukulele) this includes strumming and fingerpicking patterns, as well as percussive effects such as stops. On keyboard instruments this includes at minimum playing the bass note in the left hand (or variations such as bass and fifth, bass and octave, or bass, fifth, and octave) with chords in the right hand, as well as effective use of the sustaining pedal.
• Leading a musical experience, including the ability to prep and cue an entrance in time, as well as incorporate a musical introduction that establishes tempo and tonality.
• Transposing between keys, which on the guitar includes accurate use of the capo. 
• Understanding and executing appropriate playing techniques, which can be for the purposes of resonance as well as proper (i.e., healthy) technique. This can apply to vocal placement, how you play different percussion and drum instruments, and knowing, for example, where to strum on a ukulele (which is different than on a guitar).

This is not intended as an all-inclusive list—there are myriad other musical skills that can encompass a music therapist’s practice. But when I reflect on what to me are the foundational skills to nurture (and why), this is where I land. I share my thoughts here with the understanding that others have thoughts on this topic too. In that spirit, I welcome your thoughts, comments, questions, and suggestions below.

American Music Therapy Association. (2013). Professional competencies. https://www.musictherapy.org/about/competencies/

American Music Therapy Association. (2018). Standards for education and clinical training . https://www.musictherapy.org/members/edctstan/

Bruscia, K. (2014). Defining music therapy (3rd ed.). Barcelona Publishers.

Certification Board for Music Therapists. (2020). Music therapy board certification: Board certification domains—2020. https://www.cbmt.org/wp-content/uploads/2020/03/CBMT_Board_Certification_Domains_2020.pdf

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Welcome! My name is Kimberly Sena Moore. I’m a board certified music therapist, associate professor in the Bower School of Music & the Arts at Florida Gulf Coast University , and advisor on legislative and policy issues for Certification Board for Music Therapists . Feel free to explore this site for information on music therapy and my journey as a working mama in academia. Thanks for visiting!

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The Harmony Handbook Vol. 1

Resources for music therapists working with adolescents and adults in mental health treatment, this 50-page ebook will help you by: .

• Decreasing session planning time. All interventions come with instructions and worksheets.
• Allowing you to take a break from constantly having to come up with your own session plans.
• Supplying you with a go-to resource when wondering, “what should I do in my session today?”
• Giving you a fresh starting place to implement and generate new ideas.
• Expanding your abilities and skills as a music therapist.
• Providing music therapy resources, ideas, and interventions for your clientele.

This eBook is divided into 3 sections and includes:

• Music therapy worksheets  may serve as assessment tools, self-reflection tools, session openers, or topics for discussion. These worksheets provide an opportunity for reflecting on music and creativity, and can be useful as a break from playing music, homework assignments, and for facilitating music based discussions and reflections.
• 10 Music therapy interventions  are presented in universal themes, each with instructions, suggested music, and accompanying worksheets to facilitate a structured and goal-oriented session. The interventions used within these themes are meant to stimulate a deeper level of emotional connection with the theme and music, to later be processed within the group and/or with the therapist. These interventions were designed for groups but may be also used with individuals and adapted to suit various functioning levels and time frames.
• 5 Guided meditation  scripts that are short and simple. They may be used to open or close sessions, and support the interventions.

Payments are made securely by credit card or PayPal Download of eBook as PDF file will be available immediately after payment

PREVIEW & REVIEWS

Working with adolescents and adults in acute mental health is very rewarding.   The Harmony Handbook   is a helpful sourcebook full of creative, insightful, and realistic interventions to improve and supplement current music therapy practice for this population.  Ami leaves room for the music therapist to determine the best uses for each section of interventions, which allows the reader the chance to not just follow a recipe, but integrate the ideas into their own practice.  The structure of this book permits easy understanding of how each intervention can unfold with mindful attention to important themes that can be addressed with this population.  Ami also offers further suggestions to help develop the theme or intervention further.   The Harmony Handbook  is a valuable sourcebook, full of ideas that aim to inspire clients to connect with music and their treatment objectives.

My testimony to this work of art is one filled with deep gratitude and appreciation. Ami obviously has not only worked well with these individuals, but has done so in a way that authentically embodies the artistic expression of what we do as music therapists. Members of my substance abuse rehab groups have resonated with these ideas telling me things like, “I not only like these songs, but what you do with them; it applies directly to what I’m going through.” Her brilliant tapestry of weaving together specific interventions that can be molded to fit the varying needs of clients in mental health treatment has also helped in shaping my own work in this field.

About the Author

Ami Kunimura, MA, MT-BC is the founder of The Self-Care Institute and a writer, speaker, and music therapist.

Ami has been a board-certified music therapist since 2006, specializing in mental health, trauma, and addictions treatment. Ami also holds certifications in yoga education and first and second degree reiki, with training in mindfulness and meditation.

Ami received her BA in Psychology from Loyola Marymount University and her MA in Music Therapy from Saint Mary-of-the-Woods College. She is currently pursuing a PhD in Mind-Body Medicine at Saybrook University.

Ami (pronounced ah-me) was born in Hawaii and splits her time between Southern California and The Big Island of Hawaii.

Mar 2 9: Using Music in Play Therapy

Note: Play Therapy Across the Lifespan is created to be heard. If you are able, we strongly encourage you to listen to the audio so that you are able to appreciate the emotion and emphasis that cannot be captured by text alone. Transcripts may contain errors and differ slightly from the audio. Please check the corresponding audio before quoting it in print.

Resources and Links

https://www.musictherapy.org/

de l’Etoile, S. K. (2002). The effectiveness of music therapy in group psychotherapy for adults with mental illness.  The Arts in Psychotherapy ,  29 (2), 69–78. https://doi.org/10.1016/S0197-4556(02)00139-9

Did you notice the music at the beginning of the podcast? What kinds of thoughts and emotions surfaced as you listened? If you want to learn more about why that song was written, go back and listen to episode 6, but if you want to learn more about using music techniques in your therapy work, then this is the episode for you.

Each week, Billboard’s Hot 100 compiles a list of the top songs based on sales and airplay. In 2019, the top song was  Old Town Road , a country/rap hybrid that set a new record for the longest-running number one. Mariah Carey hit number one with  All I Want for Christmas is You , the first number one Christmas song since the ’50s, even more remarkable since it was originally released 25 years ago. This makes me wonder about the tension between things that are new and push boundaries – what genre does country-rap even fit in? – and nostalgic Christmas tunes about being special to someone. How do our clients feel this?

You know already that a certain song can transport you back to high school, movie scores can cue you for humor or terror, and catchy jingles can get stuck in your head for hours. But how can you use music in your play therapy? That’s our topic for today.

Disclaimer – Music Therapy vs. Music in Therapy

 Speaking of same song, second verse, I want to remind you that Music Therapy is a specialized field with specific education and training. To call yourself a music therapist, you must have earned the proper credential. Here in the United States, that is through the American Music Therapy Association and you can learn about it at musictherapy.org. The same is true about calling yourself a play therapist. You need to earn the Registered Play Therapist credential. Please don’t misrepresent your credentials.

Now that I’ve covered the disclaimer, you can still use music techniques in your play therapy work. Music is one thing that you can add in the background, even if you don’t use it as part of a technique. I am not a music therapist, so I’ll give you a few ideas today, but I can’t even come close to covering this entire field.

What Is Music in Therapy?

Music is an amazing way to connect to emotions. You probably already have a playlist (or maybe a retro album collection) of music that energizes you, some that you gravitate towards when you feel down, sappy love songs, and what I call fight music. That’s what I listen to when I want to feel sassy or have some attitude. Companies are built around creating music to help you focus or study, and most yoga classes walk you through mind/body work with relaxing music. And some songs just seem to be written for a road trip. 

Restaurants use music to subtly get us to eat faster, movies keep us on the edge of our seats with dramatic crescendos, and you’ve probably caught yourself thinking the lyrics to elevator music intended to soothe you while on hold. Once, I was studying for class, and I noticed I was reading frantically fast while my body tensed up because of the classical music that I didn’t consciously even notice my roommate was playing.

Music is everywhere, and it truly does provide a soundtrack to our lives.

But just because music is playing, doesn’t mean that sound translates into therapeutic work. Like other expressive arts, we use music techniques strategically, and with purpose. Anxious clients might calm with soothing, instrumental music in the background. A little psychoeducation could help clients learn to select the music to change their moods, not just match them. Or, asking clients about the music they selected to hear in the last day might help us understand and build rapport with them better. 

Music may be instrumental or with lyrics, so we can use both words and sounds in our work with clients. Beats, varied tempos, or even discordant sounds from an instrument can all be used. Songwriting might fit better in the expressive writing category, but you could argue that it fits here, too. What kind of song would you write to describe the last week?

What Materials Are Needed?

 One thing I really like about the field of counseling is that we can adapt our counseling space to incorporate lots of different ways to work with clients. With little clients, having toy instruments available may invite natural play, making music or even singing impromptu lyrics. With older clients, you might have real instruments like a guitar, keyboard, tambourine, bells or bongos. If you don’t have space for a band, though, you can still use apps like Spotify or Pandora on a phone, tablet or laptop. Speakers might help the sound. Paid and free software (like Garage Band or Audacity) can make it accessible to use techniques where clients create a piece of music to share their experiences and emotions. If lyric creation is part of a technique, then you’ll need paper and writing utensils. You can find just about any song with lyrics on the internet. What song really speaks to you about what your diagnosis is like? Then, read the lyrics together as the client shares the ones that stand out. 

To Prompt or Not To Prompt?

I teach using any expressive art as a way to “see” what is internal for the client. With music, I can see the nonverbal body language as the client uses the technique, but I rely more on my senses of hearing and feeling with this one. Your choice to prompt or not will be based on your theory, your personal counseling style, and whether your client needs one. An older client without a music training background might be hesitant to pick up what they perceive as your instrument, so a prompt could introduce music and an acceptance of the client’s fumbling early attempts, even if you are typically nondirective. On the other hand, you could overtly prompt creating a playlist, singing a song you picked with a purpose, or homework to create a music track to help you hear the anger, grief, or fears. Prompting doesn’t need to be always or never. Use prompts (or not) in a way that is consistent with the way you use play therapy. Remember, if you use music techniques, the goal is to introduce them, guide them, and understand what comes out of them through your theoretical and philosophical lens. It’s never just a technique.

Music Across the Lifespan

Music is great in therapy across the lifespan. Babies rock to music and are soothed by humming. Dementia patients may come alive when hearing music from their generation. Personally, I love the upbeat 80’s music because some of it was poignant to significant life experiences, both positive and negative. I want to share some admittedly overgeneralizations to help you understand some ways that you might incorporate music in your work.

Some children may “talk” by singing their stories unscripted. They generally will play on toy or real instruments with little need to self-censure what they think is not good. Often, music is a way to explore and delight in the ability to make noise. Have toy instruments, microphones, and maybe a full-length mirror for the role-playing performer.

Adolescents and Young Adults

Adolescents and Young Adults often accumulate music and gravitate to songs that fit their experiences, but songs also define their experiences. They usually have strong opinions about the music they like and hate. They may listen to songs on repeat, cultivate specific playlists for moods, events and friends, and you likely see them in the waiting room with earbuds pushed in their ears. This makes it fairly easy to bring their music into therapy. Youtube has a lot of videos that include lyrics, so you can read them while listening if you are unfamiliar with the song. All you need is their playlist or laptop to find an important song. Occasionally, you may work with an adolescent or young adult who writes songs, and you can also include those.

Adults tastes in (and time for) music changes. Adults may begin to listen to podcasts, audiobooks or talk radio more and songs less. When they listen to music, they may explore jazz, classical or ambient music more and music with lyrics less, unless they have chosen a career related to music. For some, this may mean they age out of popular music and prefer the music they enjoyed in their adolescent and young adult years. Some may even be stumped when you ask for their favorite song now. Still, music may be a valuable tool for mood regulation, revisiting earlier life challenges, and creating safe spaces for trauma work.

In this section, I mostly focused on music with lyrics, but music is much, much broader than that. You might use techniques that include drumming or electronic beats, explore pitch or distorted sounds. Even silence is important with music.

Interview with Sheldon Clark

[The interview portion of this episode was not transcribed. To listen to the interview click the episode link at the top of the page.]

Research Summary

The article I’m going to discuss today is on the effectiveness of short-term music therapy in a group of adults with chronic mental illness, such as bipolar and schizophrenia. Music’s effectiveness in therapy tends to stem from how it influences feeling and thinking patterns via physiological and neurological arousal, which is conceptualized by many music therapists to lead to behavioral change.

There are several research studies that show how trained and licensed music therapists have reported positive behavior changes for both adult and adolescent psychiatric patients, as well as with psychiatric prisoner-patients, and college students with depression.

This researcher was specifically interested in studying how music therapy might relate to changes in psychiatric symptomology, curative factors, and participants attitudes towards seeking professional psychological help.

The participants were recruited from a day treatment program for adults at a community mental health center. There were only 8 participants in the study, which is a limitation that will impact the generalizability of these results. It is important to note that this was a pilot study which serves as a prerequisite of sorts to a larger-scale, more costly study. Participants attended a 1 hour long, group music therapy session once a week for 6 weeks led my both a certified music therapist and a licensed mental health professional. They followed an evidence-based form of music therapy called Neurological Music Therapy created by Dr. Michael H. Thaut.

Of the psychiatric symptomology measured, only hostility and paranoid ideation significantly decreased. Other symptoms, such as anxiety and depression, also decreased but not by much. From pre to post testing, 8 out of the 10 curative factors had increased but none of these changes were statistically significant. Finally, the participants attitude towards seeking professional help, and more specially, the recognition for needing help had increased—but again, this wasn’t statistically significant.

Research always has to be read with a critical and curious eye. Just because this one study didn’t have many statistically significant results, we cannot conclude that music therapy is ineffective for this specific population because of the many factors that were not controlled for and the overall design of the study. The authors point out that a 6-week long therapeutic intervention may have been too short to produce lasting change. They also note that given that the participants in the study had been receiving treatment for a major mental illness for more than 10 years, it may be that these individuals have strong negative attitude towards therapy in general.

What I did find fascinating was how music therapy was related to a decrease in paranoid ideation. I wonder if that is related to the self-regulating and calming impact that music can have for people. There are so many factors that influence the results of any given study, and it’s important to always, when you are reading research, consider other biopsychosocial factors that may have contributed to a study’s results.

As is the case with many studies, additional research is needed to confirm or dispute the findings from this study. This study does, however, provide a step in the right direction for implementing music therapy in group work in potentially effective and meaningful ways.

Thank you to our Expressive Arts Technique guest, Sheldon Clark.

Try this today: Visit the American Music Therapy Association’s web site to learn more. Ask your client to play a meaningful song and then process it together. If I asked you, what would you tell me is the Song of Your Life?

Mar 23 10: Using Drama and Puppets in Play Therapy

Feb 17 8: Using Movement in Play Therapy

Related posts.

Feb 7 27: Defining a Play Space

Michele Schnur Ritholz, MA, LCAT, MT-BC

Nordoff-Robbins Music Therapist

• Part I: Composition in Music Therapy

Introduction

If you are working actively in music therapy sessions, spontaneously creating music with your clients, then you are likely already composing. You're using elements of your musical craft to create themes, harmonic progressions, or musical forms that support clients and move them toward greater well-being. Clinical composition is one aspect of "clinical musicianship", a term defined by Nordoff and Robbins in the following way:

Quick Links:

• Introduction & Home Page
• Part II: Musical Example & Analysis
• Part III: Video Excerpt & Commentary
• Part IV: Resources
• Digital Worksheet Help

“ ...the dedicated, utterly contemporary confluence of the art of musicing and the craft of musicing in the service of therapy. ”

Simply put, in composing music for therapy, we focus our musical creativity on the therapeutic needs of our clients while remaining sensitive to what in music will engage them.

There are various ways in which we can compose for therapy. All are valid ways of working: 

Composition "in-the-moment": Spontaneous musical improvisation (in session) in which you create a musical vehicle, in a fully-realized form, which captures the needs/actions/feelings of your client.

Compositions developed from previously improvised Ideas: Particular motifs emerging in sessions, such as a melody, a certain style, or an engaging rhythm, can be notated afterwards and developed more fully outside of sessions.

Composing completely "on your own": Writing music entirely outside of a session, with your client’s process, character, clinical needs and preferences in mind. Composition naturally involves improvising or creating ideas vocally or instrumentally; recording and/or notating it; and then developing the idea over time, outside of sessions.

My focus in this course (as well as in Course II) will be on the third approach—the value of introducing goal-directed compositions to clients and the process of composing instrumental pieces "on your own." 

Music therapists traditionally use familiar, pre-composed songs and activities in sessions. Similarly, clinical compositions that we craft ourselves can become a dependable facet of the therapy process, providing consistency and satisfaction for the client from week to week.  

When we offer pre-composed music containing specific opportunities for playing or singing, we are entering into what Kenneth Bruscia calls a “Re-Creative” aspect of music making (Bruscia, 2014). Inviting a client to participate in instrumental music possessing special parts for various levels of participation can provide positive challenges and a sense of accomplishment if done with sensitivity to the relationship and clinical process. Some clients may be unable to enter into musical activity on their own, and a facilitated piece can help guide them.  Importantly, the use of specially composed and facilitated instrumental pieces can serve as an important step in leading those individuals towards a greater ability to express and improvise through music.

Throughout this course I wish to emphasize the following principles and core values of clinical composition as I see them:  

Specially crafted compositions can enhance opportunities for musical involvement, expression and interaction.

The use of Clinical Composition can facilitate growth in specific and sometimes unexpected goal areas.

Equal consideration of both the musical and clinical makeup of compositions is vital in order to bring clients a satisfying, motivating and clinically effective experience. 

Awareness of and attention to all facets of music by the music therapist can lead to a parallel process of creative engagement for you and your client. What this can bring is truly the unique offering of music therapy.    

The following example illustrates one way in which a pre-composed instrumental piece was integrated into music therapy sessions. I worked with an adolescent boy whose family encouraged him to begin therapy because of his deep interest in music. Intelligent and highly verbal, he was born with cerebral palsy, and his physical challenges led him to be especially self-conscious and withdrawn during this time in his life. 

I anticipated that therapy goals would eventually include:  1) developing relationship and confidence through musical play, as well as 2) increasing the ability to express his feelings musically and/or verbally. As  sessions went on, however, he seemed guarded and expressed very little personally, verbally or musically.  He usually entered the room with headphones on, listening to music in order to, as stated by him, "shut everyone out.” Around this time, I composed an instrumental piece, “Lydian Dream” with parts for triangle, metallophone, and reed horn. The music requires simple responses but offers enrichment through a variety of timbres and the particular tonality.

“ There is a gentle flowing momentum in the triple meter, the accentuation of the bass motif and the colorful harmonic progression. All combine to carry the player’s participation. Every such piece offers the participant a journey through a musical landscape. The serenity of the Lydian mode creates the mood and climate of this journey. The fact that a client becomes closely involved in making music with the therapist involves him or her ever more deeply in realizing the musical experience. ”

When I introduced "Lydian Dream" in session, the client was open to participating and seemed to feel an immediate affinity for the musical-emotional atmosphere of the piece. He concentrated and played the instrumental parts with care. After a period of silence, and a visible change of mood, he opened up verbally about his difficulties.  In this instance, the composition offered a musical experience which seemed to touch on feelings he tried to avoid but needed to express. Creating or offering such music is just one of the ways in which composition can enrich the therapy process for our clients. 

Historical Context and Clinical Rationale for Integrating Composition in Music Therapy

As a young musician and psychology major exploring the field of music therapy, I was fortunate to come upon the work of Paul Nordoff and Clive Robbins. Their creative, improvisational approach to individual music therapy beginning in 1959 had a significant influence on my career and life.  So too, their compositions created for the special classroom setting in which they first worked together were inspiring and unlike anything I expected to hear.  (See Part IV Resources for texts on the Nordoff-Robbins music therapy approach).

Creative depth and attention to musical detail are evident throughout their recorded clinical work, books and compositions for therapy. As I wrote in “The Primacy of Music and Musical Resources in Nordoff-Robbins Music Therapy,” 

“ Nordoff and Robbins composed songs and instrumental pieces prior to sessions that, in their quality, clarity and beauty, serve as models of musical form fashioned with developmental challenges embedded within. ”

This music originated from the synergy of Nordoff’s sophisticated musical palette, Robbins’ intuition and wealth of experience in special education, and the particular needs of each child.  (Please note: While most of their writing refers to “children” or “students”, the ideas are applicable to all age groups.) 

Musical forms—whether improvised or fully pre-composed—encouraged emotional engagement and positive focus as, through them, the team facilitated a process of creative work in a musical community.  The practice of offering musical pieces with special instrumental parts enabled Nordoff & Robbins’ students to become music makers. They learned to handle instruments, developed the ability to play with expressive flexibility, shared musical activity, and through this gained new developmental skills.  

In Defining Music Therapy: 3rd Edition, (2014) Bruscia describes some of the demands involved in re-creating music in general.

“ Singing or playing pre-composed music involves the body and the senses in the same ways as improvising. The main difference is in the degree of physical structures and demands required to play or sing an existing composition. In improvisation, there is no musical model; the improviser literally makes up the music moment-to-moment and therefore is able to adapt the music somewhat according to his own physical capabilities. In contrast, when re-creating a piece of music, the singer or instrumentalist has a model; they are expected to fit within the physical structures and meet the physical demands built into the composition by the composer.  They have to produce the correct notes in the correct rhythm and tempo and in the designated timbre and dynamics.   This requires the person re-creating music to use and control his body to create sounds in the way specified and in the amount of time allotted by the composer. Vocal and instrumental performers cannot adapt the composition to fit their physical capabilities; they have to develop their capabilities to meet the physical demands of the composition. ”

Bruscia goes on to describe the implications for integrating compositions in music therapy sessions.

“ Given all that is involved, singing and playing pre-composed music can be used therapeutically to establish, maintain, and improve the ability to use and control different parts of the body, to develop and integrate sensorimotor skills, to structure or modify behavior, to promote temporally ordered or time-appropriate behavior, to build self-discipline, and to teach working toward a goal with perseverance and self-confidence. ”

In clinical composition, parts can be written that enable experiences of success and also of challenge. It is important to note that, in a music therapy context, the work of mastering a piece of music is viewed as a gradual musical/therapeutic process. Clients will require time to grasp, internalize and participate fully. Attention must be paid to how the client is relating to the overall experience and, as in all our work, it is crucial to remain sensitive to the balance of creative and interpersonal process. 

Musical Content and Its Impact on Therapy

In 1971 Nordoff & Robbins wrote Music Therapy in Special Education , currently in its second edition published by Barcelona Publishers, who has kindly granted permission to share content from several sources.  Throughout the book the authors remind us of the very heart of music, the art in the practice of music therapy.  The book is filled with practical musical wisdom, including chapters on singing, instrumental activities, and musical plays. Whatever your client population or music therapy approach, there are likely ideas in their books that can enrich your practice.  

Consider the context of their work: a very early period in our field, a time of exploration into what music therapy could be, and the presence of proscribed views of music for children.   

“ Music is a language, and for children it can be a stimulating language, a consoling language. It can encourage, hearten, delight, and speak to the inmost part of the child. Music can ask stimulating questions and give satisfying answers. It can activate and then support the activity it has evoked. The right music, perceptively used, can lift the (handicapped) child out of the confines of his pathology and place him on a plane of experience and response where he is considerably free of intellectual and emotional dysfunction. ”

The team boldly advocated for providing the same musical richness in therapy with children that any of us would desire in the various musical contexts of our lives. One aspect which they emphasized is the use of harmony.

“ The harmony in many children’s songs consists of two chords-the tonic and dominant-and possibly a third—the subdominant. The harmonic element of music directly affects our emotions; when it is consistently this restricted the children receive limited musical-emotional experience. This is especially true if the chords are played only in the closed root position.  More open voicings will add tonal breadth and fullness. These same harmonies can become more dynamic and varied in emotional effect when inverted. They then provide harmonic support-yet keep a melody moving by withholding the sense of stable balance the root position triad carries, until this is right for the melody.    Songs with limited harmonization can be given increased vitality and emotional richness by the addition of secondary seventh chords, those on the 1st, 2nd, 3rd, 4th, 6th and 7th scale tones. These may be used in both root position and inversion. ”

In Music Therapy in Special Education , the traditional “Here We Go 'Round the Mulberry Bush” is used as an example of a popular children's song, in a major diatonic tonality, that is often played with 2 primary chords, I and V in root position, as in the following:  

Now listen and play Example 2 offered by Nordoff & Robbins (p.31) which provides a different musical experience with added tones and inversions. If you are playing on a guitar, work to use the same harmonies and inversions as the piano score. (Please note that the roman numerals in mm.1 and 7 for the II7 chords omit the inversions, but please play as written.)

From Music Therapy in Special Education , p. 31

Nordoff and Robbins continued to write about the impact of harmony as well as melody in their later book,  Creative Music Therapy: A Guide to Fostering Clinical Musicianship (Second Edition, 2007, Barcelona Publishers) . 

“ Harmony does more than harmonize. How it harmonizes is more to the point. The balance between tension and resolution in a song’s harmonies determines the quality of its movement in time, how smoothly, gracefully, excitingly, joyfully, or thoughtfully it flows, and how clearly and cogently its content is enhanced. The character of its sonority will affect how satisfyingly it fills the feeling space of the moment.   Harmony animates the melody and the melody invites the singer: if the harmonies have movement written into them, they keep the melody moving and directly draw the singer into song. Tension is created by the so-called dissonant harmonies: the seventh chords, superimpositions, and suspensions; there can be soft dissonances and forceful dissonances, lesser or greater tension, different qualities influencing how a melody is supported and propelled in time. Resolution comes from the consonant chords: the holding stability of the root position triad, or the subtler pausing or transitioning effect of an inversion.  ”

“ A well-structured dynamic harmony intimately suited to a song’s melody and expressive content can make all the difference in how livingly a song is experienced and sung.  Other factors such as the voicing and density of chords, the rate at which the harmonies change, will all affect the singability and impact of a song. ”

Here is one more example of the traditional song you played earlier. It contains more quickly changing and sometimes unpredictable harmonies, as well as more dissonance. Play, and consider the various experiences these variations create in you.  

Arranged by Michele Ritholz

We have just touched upon some of the basic components of music, involving tonality (Eb Major), chords (content, position, spacing of tones), and chord progressions.  Our choices as music therapists are broad. With awareness, we can work to bring creative contrasts to our compositions and improvisations. Expressive elements such as rhythm, tempo and timbre are just some of the additional ways we can convey musical meaning and motivate engagement in therapy. While it is not possible to touch in depth on every element of music in this course, it’s valuable to visualize the musical palette available to us. In this way we can stay conscious of our many options as composers (and improvisers) and avoid limiting the music for our clients.  

                                                    Musical Palette:

Basic musical components.

Tones, Intervals, Melody

Scales, Modes, Idioms 

Chords—their content, and the position and spacing of tones  

Chord progressions 

Phrase structure & Musical Form 

Expressive Variations

Tempo & Dynamics 

Touch/Articulation 

Register 

Timbre 

Rhythm & Meter 

Texture 

Character or Mood 

Let's focus for a moment on the expressive variations of Rhythm and Tempo that we can consider in writing a composition. What kinds of musical experience would be constructive for a particular person with whom you are working?  Consider how you might compose in order to encourage greater attention and interaction.

Will the client or group benefit by learning to organize themselves through a musical piece that highlights the basic beat or pulse?

Is there an individual who would be intrigued by imitating a rhythmic idea in response to one played by the therapist?

Contrasts of slow and fast tempos might be captivating.

To enhance the experience, perhaps the distinct timbres of drum and cymbal would be engaging.

Playing along with the natural rhythms of sung lyrics (melodic rhythm) might bring clarity to the experience, and encourage confidence.

We can base a composition, in any scale, mode or idiom, on those expressive frames. As Nordoff & Robbins write, in C reative Music Therapy,

“ In using songs for this purpose be attentive to the expressive components that vivify their melodies: dynamics, crescendo, diminuendo, ritardando, rubato, the fermata.  Exaggerate the components to increase attentiveness or to heighten pleasure in coactivity; “underplay” them when structural stability is necessary to help a child grasp their rhythms. ”

As we begin to create a composition, we assess a client’s present level of functioning and consider the next steps in his development, determining what musical elements would help achieve these.

“ It is uniquely important when engaging a child’s inborn musicality to respond to his musical enthusiasms, gratify his eagerness for musical pleasures, and lead him into the adventures of gaining musical achievements.  For example, with a child who tends spontaneously to beat the rhythms of melodies, select songs for his beating which differ in time signature, rhythmic structure, tempo, mood, and key.  A child so inherently disposed to melodic experience can find a deeply personal fulfillment in his capabilities being activated, developed, and made communicative. ”

We’ll focus on additional musical elements through the study of several compositions in “Musical Examples and Analyses” Section II.

Using Compositions in Music Therapy Sessions

In the introductory section of Themes for Therapy: New Songs and Instrumental Pieces , editors Michele Ritholz and Clive Robbins describe the practice of composing, and the impact of this music on clients: 

“ Composing or improvising songs and instrumental pieces for children is an inevitable part of the practice of creative music therapy. The themes offered…are a natural outcome of meeting clients, their needs, and their abilities, in and through music. The pieces originated in therapists’ responses to individuals or groups and are therefore truly client-inspired. All were created at various stages of therapy to reach out, express relationships, and at times celebrate achievements. Much of the music also facilitated the growth of group cohesion, so creating a healthy working environment in which each client’s activities and discoveries became shared and enhanced. To the extent that an individual or group identified positively with a particular song or instrumental activity we saw that these pieces had the potential to play unique roles in courses of therapy, and so in the development of clients’ lives generally. ”

Additionally, experience has shown that while we may compose a piece for a specific person, it may be very effective with a different individual. 

“ Not every song used in individual music therapy has to be created specifically for the child in question to be effective. The creative adaptation of an existing song or melodic idea — triggered by a therapist’s insight into a child’s needs at a moment in therapy — may well provide a needed entrance into a new experience. Also, a musical idea or song originally improvised to structure a certain mode of rhythmic work, or to create a mood, or as a welcome with one child — or possibly even a group — may be used or adapted, as appropriate, with another individual, whether or not for a similar purpose, into enjoying participation. ”

The use of instrumental compositions enhanced the music therapy group process with 3 lively children ages 5-7.  Two of the boys were diagnosed with PDD (pervasive developmental disorder) and the third boy coped with a rare condition which led to malformations of his skull, impaired vision and and decreased hearing. Despite individual challenges, each child showed particular strengths, and a special joy in participating in music. Our therapy team's humanistic, client-centered and flexible approach created an environment in which each child could thrive and build relationships with us and one other.

Early on, the children related more fully with their therapists than with their peers, became easily overexcited, and had difficulty with attention. Therapy goals were defined yet evolved as each child--at their own pace--became involved in musical experiences involving pre-composed and improvised songs and instrumental activities.

The following therapy goals became the emphasis of group activities:

1.            To develop greater awareness of and empathy for peers        

2.            To strengthen social skills, by waiting a turn, listening to others, sharing instruments, playing together

3.             To increase and use expressive language, in improvised and pre-composed songs, and in transitions between activities

4.            To play with flexibility and control, i.e. in a range of tempi and dynamics

5.            To experience joy and success in shared musical activity

Introducing and working on a song such as "Beat! Beat! Beat the Drum!" (Ritholz, Themes for Therapy , pp.74-75) served as a vehicle for increasing their focus, physical control, dynamic expression, and positive cooperation. Through its upbeat mood, contrasting B section, clear phrasing with easily perceived places for participation, and use of inversion, dissonance and harmonic surprise, the song motivated and challenged the group.  Compositions such as this were worked on over time, and the group happily anticipated playing and achieving their parts each week. 

Importantly, when the children made suggestions verbally, or played variations musically, these could be taken up in repetitions of the song. The atmosphere was energetic, cooperative and joyful much of the time.

The Interplay of Composition and Improvisation

Music therapists Alan Turry and David Marcus describe the advantages of including compositions in group music therapy in the chapter “Using the Nordoff-Robbins Approach to Music Therapy with Adults Diagnosed with Autism” in Action Therapy with Families and Groups: Using Creative Arts Improvisation in Clinical Practice , (Weiner & Oxford (Eds.) (2003). They use the term “realization” to describe the process of recreating a specially composed piece of music that has particular parts for players. 

“ We call the action method that uses pre-composed pieces in the process of group music therapy realization.  In actualizing the potential of working in a musical environment, the action method of realization offers the following particular benefits:  Stimulation: The most obvious aspect of the realization environment that makes it a unique source of stimulation is that is an aural/tonal environment.  Hearing can be every bit as important as sight in functioning in this environment, and often the former supersedes the latter.  In fact, many of the cues for musical participation can have a threefold nature: They can be aural, visual, and verbal.  This overabundance of directive stimulation can have several beneficial effects.  The intensity of such stimulation can motivate clients to be more active.  It can help in diverting the attention from internal preoccupation and self-stimulation and focusing it on outside stimuli.  It also can help sustain and increase the intensity and duration of concentration.  Finally, the clarity of such stimulation can be reassuring to the client, leading to greater confidence and higher levels of activity  Socialization:  Realization necessitates a basic social awareness of other members of the music therapy group.  The initial awareness of the leader (or therapist) as the person who facilitates by giving musical directions expands to include the therapist at the piano and the other group members.  Awareness of others may reach the point at which it is independent of the leaders’ activities and persists in the absence of music.  Clients become aware of each other as people and peers as well as fellow musicians.  Community: A sense of belonging, of camaraderie and cohesion, develops with the memory of the successful completion of the pieces and the anticipation of new experiences.  The aspects of participation that are common to all help to form a bond: the risk of facing the challenge of attempting things that are untried, the willingness to work to overcome individual difficulties for the sake of the group, the willingness to persevere in one’s efforts in order to experience a sense of musical completion, and the ability to tolerate and appreciate differences in levels of participation. ”

Experiences with specially designed pieces can enable greater participation in improvised musical experiences. Marcus and Turry write: 

“ Realization emphasizes the awareness, perceptions, and behaviors that enable the clients to make pre-composed musical statements at prescribed times.  Improvisation uses the prerequisites for realization and further expands awareness and perception to enable the clients to make spontaneous, self-expressive yet relevant musical statements when they themselves feel them to be appropriate.  Full participation in realization is a developmental step in the process that leads to full participation in improvisation. ”

The authors’ experience with a group of adults with varying levels of ability leads to the following observations: 

“ Realization brings assurance and reassurance.  As clients gradually become acquainted with and master their parts, their sense of assurance grows.  As the various parts are woven together, they become aware of the interrelation of the parts and the resultant whole, and their assurance grows still further.  As they change parts and recreate the piece several times, they are reassured with each realization of their own abilities as individuals and as a group. ”

Turry and Marcus note that clients may naturally lose interest in such music over time, at which point improvisation may be clinically warranted. 

“ Although realization may become stale, it usually has a favorable effect on the music that is subsequently improvised.  The experience of realizing carefully crafted melodies and consistent rhythms leads to coherence in the freely created music that is immediately noticeable. ”

Concluding Instructor Remarks:

Whatever the musical medium we offer in sessions, we need to do so flexibly in order to invite participation, support client initiatives and make musical changes as needed. This is especially important to remember when bringing in pre-composed music. Music therapy students and therapists often speak of “getting stuck” in written music, as if its mere presence creates a block against spontaneity. This may stem from the way we have previously learned music, or the ways in which we experience the pre-determined structure of musical form, with its particular beginning, middle and end. This mindset can cut us off from the possibility of creating something new in the moment, the opportunity to form new music that flows from the original composition and the client’s responses to it.  

COMPLETE PART I ASSIGNMENT ON YOUR SAVED GOOGLE DOC BEFORE PROCEEDING TO PART II

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20 Melodic & Marvelous Music Therapy Activities

March 9, 2023 //  by  Angie Starr

Music certainly lifts blue spirits and is therefore a wonderful tool for therapy. Music therapy involves singing, listening, moving, playing, and engaging in creative activities like art. Music therapy activities help children develop self-awareness, confidence, and social behavior. Here are 20 melodic and marvelous music therapy activities to support children’s social and emotional well-being.

1. Become a Songwriter

Music therapy activities like songwriting benefit the activation of the brain associated with emotion processing and regulation. When children try to write songs, they will think about words and feelings. These songwriting templates can help with the writing process to unleash every child’s inner songwriter. 

Learn More: Groovy Garfoose

2. Songwriting Templates

Some students require scaffolding when engaging in music therapy activities like songwriting. This wonderful site has a collection of templates for different themes. The templates are free and provide students with an opportunity to re-write existing songs or fill in templates to create their original songs.

Learn More: Aspire Music Therapy

3. Drumming

Drums may be loud but they are certainly fun for music therapy activities. Kids can communicate without words by simply drumming their emotions or repeating the beat pattern created by the teacher or other students. Drums are wonderful communicative tools that allow children to express themselves musically and creatively.

Learn More: Normans Musical Instruments

4. Let’s Make a Drum

Music therapy activities involving drums are fantastic ways to get students to communicate emotions with music. What does happy sound like? Let your students create the beat with their DIY drum! Empty cans of different sizes and rubber balloons are all you need to create these fun instruments.

Learn More: It’s Always Autumn

5. Personal Soundtrack

Music therapy activities use songs to improve mood and self-expression. Here’s a clever way to have older kids think about song choices and their daily routines. The free templates are great for writing their personal playlist for each routine of the day like waking up or getting ready for school.

Learn More: Pineapple Paper Co.

6. My Mix Tape

Songs are used in music therapy to recall memories or make new ones. This visually appealing template helps students associate music with a particular event for reflection and discussion.

Learn More: Education.com

7. Lyric Discussion

Students have favorite songs but have they ever taken the time to analyze the song’s meaning? Song lyric discussion in music therapy discusses emotions and provides an opportunity for self-expression. This resource provides effective question stems to use during lyric discussions. 

Learn More: Metro Music Maker

8. 4 Easy Steps for Song Lyric Discussion

Song lyric therapy helps with expressing emotions and communicating mood. If you aren’t sure how to incorporate lyric discussion with your students, this resource will walk you through 4 easy steps to using song lyrics in music therapy activities.

Learn More: Positively Present

9. Music Therapy Activities Without Music

Chanting, naming a tune, and showing off dance moves are three creative ways to engage students in music therapy activities without a lot of music. These activities involve collaboration, socializing, and of course laughter!

Learn More: West Music

10. Drum Circle

Music therapy activities that incorporate drums help students reduce stress and improve their focus. The teacher will be the conductor and must instruct students when to drum. 

Learn More: Bow Tie Music

11. 7 Instruments for Music Therapy Activities

Music therapy activities are effective in reducing anxiety and providing emotional support. This resource provides the top 7 instruments teachers can bring into the classroom. Make music a creative part of a lesson by allowing students to choose an instrument and create a harmonious melody before or after a lesson.

Learn More: Music Therapy Works

12. DIY Music Instruments 

Your kids don’t need to know how to read music or play an instrument to actively participate in music therapy activities! They can make their own instruments with materials easily found in the home such as cans, beans, a balloon, and elastic bands.

Learn More: Mini Eco

13. Creative Castanets

Playing instruments during music therapy activities helps with self-expression. This tutorial shows students how to make DIY castanets. Students will express themselves musically by clicking their castanets. 

Learn More: Houston Music Therapy

14. Music and Movement

Get students activated with music therapy activities that promote exercise and movement. Students will think they are having fun when they row, row, row their boat but teachers are cleverly getting them to improve their mental and physical well-being.

Learn More: Gympanzees

15. 30 Music Therapy Songs for Early Childhood

Choosing the right song for younger children participating in music therapy activities is key to achieving learning goals. This website offers 30 songs for music therapy activities for early childhood to improve motor movement and cognitive functioning during playtime.

Learn More: Listen & Learn Music

16. Drawing to Music 

Combining art with music therapy activities increases cognitive functioning and critical thinking skills. Young children will listen to music while they artistically depict the mood they are feeling. Every scribble and line is drawn from the child’s emotional response to music.

Learn More: Artful Parent

17. Music & Mindful Art

A simple but impactful music therapy activity is having students listen to music and paint or draw while they listen. This is a soothing activity to help students activate their imaginations. Students will use pictures instead of words to depict the lyrics and sounds. 

Learn More: Creativity in Therapy

18. Community Mandala

Incorporating creative arts into music therapy enhances emotional expression. Students will participate in a drum circle and one by one come to the middle and add their art to the community mandala before returning to the drum circle.

Learn More: Music Worx Inc.

19. Dice Games in Music Therapy

Playing games during music therapy activities increases participation and establish rapport. Dice games are easy and fun for children of all ages. For example, assign a genre to each number on the dice. The participant rolls the die and tries to name a song based on the genre they roll.

Learn More: RGV Music Therapy

20. Music Therapy Activities From Home 

Can a picture be worth a thousand song lyrics? This fun music therapy activity allows students to pick and choose segments of a song’s lyrics and paste them into an image. Prepare a variety of images and song lyrics for students to use in this activity.  

Learn More: InJOY Life Resources

Music Therapy

Music therapy is a therapeutic technique that uses music to meet physical, emotional, cognitive, and social needs. It is delivered by trained professionals who employ music and its components—such as rhythm, melody, harmony, and lyrics—in therapeutic relationships to improve clients’ quality of life. Music therapy, which is a field of allied health care, “is the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program.”

Music therapy is a vast field. Music therapists employ music-based experiences to meet client needs in one or more areas of human functioning, including cognitive, academic, emotional/psychological, behavioral, communicative, social, physiological (sensory, motor, pain, neurological, and other physical systems), spiritual, and aesthetics. It is also a vocation, requires a strong passion for music and a desire to utilize it as a tool to benefit others. Although music therapy was only recently recognized as a profession, the relationship between music and therapy is not new.

Music experiences are purposefully created to use musical aspects such as melody, harmony, key, mode, meter, rhythm, pitch/range, duration, timbre, shape, texture, and instrumentation to achieve therapeutic benefits.

Here are some key aspects and benefits of music therapy:

• Emotional Well-being: Music can evoke emotions and memories, allowing individuals to express themselves in ways they might not be able to with words alone. Music therapy can help individuals manage stress, anxiety, depression, and other emotional issues.
• Physical Health: Music therapy can be used to improve physical health by aiding in pain management, promoting relaxation, and enhancing motor skills and coordination. For example, rhythmic auditory stimulation can help individuals with motor disorders improve their movement.
• Cognitive Function: Music therapy has been shown to enhance cognitive skills such as attention, memory, and problem-solving. It can be particularly beneficial for individuals with neurological conditions such as dementia, Alzheimer’s disease, or traumatic brain injury.
• Social Interaction: Music therapy encourages social interaction and communication. Group music-making activities can foster a sense of belonging and connection among participants, promoting social skills and teamwork.
• Developmental Goals: Music therapy can help children achieve developmental goals like language learning, social skills, and emotional regulation. It can be especially beneficial for children with developmental delays or autism spectrum disorders.

Music therapy can help with personal development and self-awareness by creating a safe environment for exploration and self-expression. It can help people develop coping methods, gain confidence, and boost their self-esteem.

Overall, music therapy provides a comprehensive approach to well-being, addressing the physical, emotional, cognitive, and social dimensions of health. It’s a diverse and effective technique that can work with standard therapy and healthcare.

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Music Therapy Session Planning For Groups: Using Themes

Hi there everyone, and welcome to another blog post! 

This week, we’re going to talk about themes! This can be a great option to help plan your session for several reasons which we will break down more later, including…

• It can help clients with reality orientation
• Centers the session around a specific topic
• Helps the therapist narrow down songs to use (while always taking into consideration client-preferred music) 
• Educate clients about topics that may be unfamiliar to them

Choosing themes to center your session around based off of the current season or holiday is a great way to orient your clients to the here and now (for example, what time of year it is, important events, time of day, etc.). For example, during June-August, I would do summer-themed sessions, and talk about different activities you might do in the summertime, different summertime foods, etc. During August, I would facilitate a “back to school” theme with my groups at a school setting, and then would move onto fall themed sessions in September. There are endless options for themes to incorporate, and the fall/winter is a great time to use themes with all of the holidays.

When starting out as an intern or student, it can be difficult to smoothly transition between different interventions and songs that you use. However, if your session centers around a specific topic, it can be much easier to tie together everything that you are doing in a session. For example, a theme I have used with older adults is a “back to school” theme. You can first start with a PSE intervention and use the song “School Days”. Afterwards, while you’re getting the next intervention ready, you can tie together the previous intervention by saying something like, “Not only are elementary aged kids also going back to school, but college kids are moving into their dorms and starting back at school too! Something fun that a lot of college students participate in include going to football games and watching the marching band! Let’s get our muscles moving by playing in our own drum circle and making our very own band!” Then, you can smoothly transition into TIMP by doing a drum circle. 

• Helps the therapist narrow down songs and interventions to use

So. Many. Songs. To. Choose. From. This is a great problem to have, but can often be quite overwhelming when choosing what songs to use in your sessions! However, if you choose a theme, it immensely narrows down songs you can use that will fit your theme. Google is your best friend when it comes to this. For example, are you doing a fall themed session plan? No problem! Type in “fall-themed songs” into Google, and it will automatically pop up the most popular songs in that category. Or, you can also check out these Spotify playlists that I made with different themes in this blog post! This also fits into what we talked about above, where it can center your session around a specific topic if you choose songs that fit into a similar category. As a quick note, client-preferred music is also key, so make sure you are also choosing songs that you are confident your clients enjoy! Some songs that I have used in a summer-themed session plan include: 

• Summer of ‘69
• Under the Boardwalk
• Surfin’ Safari 
• Hot, Hot, Hot
• Jump in the Line 
• My Bonnie Lies Over the Ocean
• In the Good Old Summertime
• Under the Sea 
• Let’s Go Fly A Kite
• Any Beach Boys song!

Choosing different themes is also a great way to educate clients on topics that they may not have a lot of opportunities to learn about. For example, I have facilitated a camping theme with groups before, which also ties into fall. A lot of clients most likely have not had the opportunity to go camping, so this is another educational opportunity for them to learn something new. For this session plan, I have different visuals that correlate to different interventions, and I allow clients to pick a visual out of a drum, or I hold up two options for them to choose from. This also gives them the power of choice. For example, there is a visual of a picnic table, and then that correlates with our “question of the day”, which asks clients what their favorite camping snack food is. I also facilitate upper body PSE by using scarves as kites, and a movement intervention with a parachute as the “tent”. Afterwards, our visuals each have velcro, and they stick onto a larger visual that makes an entire camping scene.

To make this visual, I printed out and laminated a generic forest background. Then, I googled stock images, cut out and laminated the visuals, and then finally put velcro squares on different parts of the background picture and my visuals. If you want to save yourself some time from making your own visuals, there are already lots of ready-made visuals that you can find on Pinterest or teacher websites! 

Some more examples of different themes you can use for teaching topics include world music, surfing, show tunes, movies, love songs and sports! 

I want to hear from you! What are some themes that you use?

Thank you for reading and see you in the next post!

-Juliana Hsu, MT-BC

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The work of music therapy: Helping others reach their full potential through music

Music therapy isn't a one-size-fits-all profession. Music therapists are skilled not only in finding creative and unique ways to help clients express themselves, but also in fostering a sense of well-being in their clients. As dealing with human emotions is so complex, music therapists must be thoroughly trained to understand and respond to those complexities. This requires years of schooling and training.  

Music therapists require specialized training

Music therapists are highly trained, board-certified practitioners who work with a wide variety of individuals to address their unique needs in physical, emotional, cognitive, and social domains. Their patients can include those with developmental disorders, mental health disorders, neurological conditions, trauma, and other medical needs. A music therapist works in many different settings: hospitals; individual clinics; group therapy settings; classrooms; and more.  

Because of the wide variety of settings and clients that music therapists work with, they need comprehensive and diverse training. Before becoming a board-certified music therapist, a person has to get a bachelor’s degree in music therapy. The curriculum for a bachelor's degree in music therapy is designed to provide basic education in three main areas: musical foundations; clinical foundations; and music therapy foundations and principles as outlined in the American Music Therapy Association Professional Competencies .

What education do music therapists need?

Education in music therapy includes a few different tracks. A student engaging in this education would learn music theory and music history, receive training in playing instruments (you will play a main instrument like guitar, for example, and then undergo introductory training on many others), and practice performing in front of audiences. Depending on the music therapy program, this training will come in the form of testing, formal performances, one-on-one instruction, and practicum.  

While music therapists cannot make formal clinical diagnoses, they do need to have an in-depth understanding of mental health conditions. As you’ve read here, assessment is a very important part of a music therapist’s job. Whether a client already has a formal mental health diagnosis, or they are exhibiting symptoms of a mental health condition, a music therapist has to understand what tools can be used to best treat the client. Because of this, people training to be music therapists receive plenty of education in the clinical foundations of mental health and psychology.  

Standards of conduct and best practices for music therapists

Music therapists adhere to specific standards for clinical interventions and ethical conduct in professional practice, which are defined by several AMTA documents. These include the Scope of Music Therapy Practice , Music Therapists' Standards of Clinical Practice , Music Therapists’ Code of Ethics and the AMTA Professional Competencies, which define the current entry-level skills of a music therapist who has completed either a bachelor's degree or its equivalent in music therapy. As part of their training and in their professional lives, music therapists become very familiar with these principles.

After all of the educational training with the clinical training and internship, aspiring music therapists go on to take the national board certification exam to get the credential MT-BC (Music Therapist - Board Certified), which is required for professional practice.  

Music Therapy

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For Music assignments, use Chicago.

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We can help you: Find or narrow a paper topic, locate appropriate sources, and more.

Need to cite your sources? Use  APA  for all Music Therapy coursework.  

APA is one of the most important citation styles, used not only in Music Therapy but across all of the social sciences and other disciplines, including: Psychology, Social Work, Business, Marketing, and more.

References are made through in-text, parenthetical notation and a full reference list at the end of the paper.

See a librarian if you need help using this or any citation style.  

• Using APA Style 7th Edition A handout for APA citations created by the library and the Writing Lab. Includes a sample reference list and basic tips on proper formatting and what to do when you don't know the publication date, the author, etc.
• APA Style and Grammar Guidelines APA style information directly from the American Psychological Association.
• APA Overview at Purdue OWL Learn about APA style in this guide published by Purdue's Online Writing Lab.
• APA Formatting and Style Guide at Purdue OWL This is a quick but detailed reference to working in APA style, published by Purdue's Online Writing Lab.

The Writing Center at Augsburg University is a place where students can work with tutors on written assignments and find useful information and resources about writing.

During Augsburg's COVID-19 modified operations plan, all writing support is provided through the  Online Writing Center , which allows you to video conference with a peer tutor and receive 1:1 feedback on your writing. The Center uses a combination of Zoom for the video conference and Google Docs to share your draft with the tutor. The online tutor can help with anything from brainstorming to improving your argument to integrating sources to clarifying sentence structures.

The Center's website offers a variety of useful web resources  and handouts to help you refine your writing skills. 

For more information, please contact Writing Center Director Jennifer Forsthoefel at [email protected] . 

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• Last Updated: Dec 13, 2023 10:46 AM
• URL: https://library.augsburg.edu/musictherapy