The purpose of this qualitative study was to explore music therapists’ beliefs, education, and uses of Hip Hop in clinical work through interviews with board-certified music therapists who incorporate elements of Hip Hop into their work. Specifically, the researcher sought to ascertain how music therapists use elements of Hip Hop culture in clinical practice, the training and education these music therapists received about Hip Hop culture, and the suggestions they have for professional and preprofessional music therapists who wish to incorporate elements of Hip Hop into their clinical work. Participants were board-certified music therapists who incorporate elements of Hip Hop into their work. These participants have either written scholarly, given presentations or contributed to the music therapy body of knowledge in this area through trainings such as continuing music therapy education courses or in-services. Participants completed semi-structured interviews that were recorded, transcribed, and coded. Four themes with eleven subthemes emerged. The themes included (a) motivations for incorporating Hip Hop (subthemes: responding to service users’ musical preference, and cultural responsiveness), (b) therapeutic goals in music therapy (subthemes: emotional processing, self-expression, and group support), (c) how participants learned about Hip Hop (subthemes: self-study, wisdom from service users, personal, and/or cultural connections), (d) recommendations from participants (subthemes: seek supervision, commit to reflexivity, and seek deeper knowledge). Implications gleaned from this study include the need for better university education in this area that centers cultural responsiveness and authenticity and issues of access in music therapy for service users, clinicians, and academics in the field.
{"title":"A Qualitative Exploration of Music Therapist Beliefs, Education, and Uses of Hip Hop in Clinical Practice","authors":"Kailey S Campbell","doi":"10.1093/mtp/miac011","DOIUrl":"https://doi.org/10.1093/mtp/miac011","url":null,"abstract":"\u0000 The purpose of this qualitative study was to explore music therapists’ beliefs, education, and uses of Hip Hop in clinical work through interviews with board-certified music therapists who incorporate elements of Hip Hop into their work. Specifically, the researcher sought to ascertain how music therapists use elements of Hip Hop culture in clinical practice, the training and education these music therapists received about Hip Hop culture, and the suggestions they have for professional and preprofessional music therapists who wish to incorporate elements of Hip Hop into their clinical work. Participants were board-certified music therapists who incorporate elements of Hip Hop into their work. These participants have either written scholarly, given presentations or contributed to the music therapy body of knowledge in this area through trainings such as continuing music therapy education courses or in-services. Participants completed semi-structured interviews that were recorded, transcribed, and coded. Four themes with eleven subthemes emerged. The themes included (a) motivations for incorporating Hip Hop (subthemes: responding to service users’ musical preference, and cultural responsiveness), (b) therapeutic goals in music therapy (subthemes: emotional processing, self-expression, and group support), (c) how participants learned about Hip Hop (subthemes: self-study, wisdom from service users, personal, and/or cultural connections), (d) recommendations from participants (subthemes: seek supervision, commit to reflexivity, and seek deeper knowledge). Implications gleaned from this study include the need for better university education in this area that centers cultural responsiveness and authenticity and issues of access in music therapy for service users, clinicians, and academics in the field.","PeriodicalId":44813,"journal":{"name":"Music Therapy Perspectives","volume":" ","pages":""},"PeriodicalIF":1.2,"publicationDate":"2023-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47208213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When the Covid-19 pandemic began, music therapists moved quickly to adapt services across many clinical settings. Many music therapists shifted their service delivery model to telepractice. Music therapists also worked to adapt in-person services to integrate the emerging risk mitigation strategies required or recommended by various public health bodies and healthcare organizations. When public health circumstances are changing rapidly, how do music therapists make decisions regarding service delivery and risk mitigation, while balancing the requirements of public health directives and organization policies? Considering evidence-based practice and ethical thinking, we propose a risk mitigation decision-making model for providing clinical music therapy services during the Covid-19 pandemic. We consider the intersection of public health guidelines and orders, service delivery options (i.e. telepractice), and risk mitigation strategies for in-person services. Case studies follow, as well as discussion of how to use this model in future public health crises.
{"title":"The Risk Mitigation Decision-Making Model for Music Therapy Services During the Covid-19 Pandemic","authors":"Rachelle Morgan, D. Knott","doi":"10.1093/mtp/miac015","DOIUrl":"https://doi.org/10.1093/mtp/miac015","url":null,"abstract":"\u0000 When the Covid-19 pandemic began, music therapists moved quickly to adapt services across many clinical settings. Many music therapists shifted their service delivery model to telepractice. Music therapists also worked to adapt in-person services to integrate the emerging risk mitigation strategies required or recommended by various public health bodies and healthcare organizations. When public health circumstances are changing rapidly, how do music therapists make decisions regarding service delivery and risk mitigation, while balancing the requirements of public health directives and organization policies? Considering evidence-based practice and ethical thinking, we propose a risk mitigation decision-making model for providing clinical music therapy services during the Covid-19 pandemic. We consider the intersection of public health guidelines and orders, service delivery options (i.e. telepractice), and risk mitigation strategies for in-person services. Case studies follow, as well as discussion of how to use this model in future public health crises.","PeriodicalId":44813,"journal":{"name":"Music Therapy Perspectives","volume":" ","pages":""},"PeriodicalIF":1.2,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48509722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Genre-bending is an evolving term that indicates the tendency for musical and cultural elements to interact with each other, often defying previously established genre distinctions. Evolutions of technology have expanded the way music is both created and consumed, and together with globalization, has shaped the development of a global music landscape. Hybrid elements and dynamics of music and culture have important implications for the development and exchange of musical identities outside of and within music therapy. In this article, there is a brief review of the digitalization of music technology related to consumers and curators. We highlight how digitalization and globalization have increased access through media democratization and afforded a global digital agency. This agency is explored with both the access and engagement of consumers, and the impact on curation by music creators. Those introductory elements are used for grounding the article’s main idea of genre-bending; including what it is, the ways it functions in popular music today, sociocultural and relational elements, and implications for music therapy. As part of this discourse, we highlight how the global music landscape has encouraged diverse music tastes and normalized inclusive engagement, and the subsequent importance of understanding individuals as being situated through multicultural music personhood. These shifts shape the intersubjective meaning making between therapist and client, impacting musical identities. The article concludes by delving into the ways these realities influence how music therapists hold space for curation, clients’ resources, and cultural assets through hybrid therapeutic dynamics.
{"title":"Genre-Bending: A Discourse on Globalization and Culture with Implications for Music Therapy","authors":"Gabrielle Banzon, Hakeem Leonard","doi":"10.1093/mtp/miad004","DOIUrl":"https://doi.org/10.1093/mtp/miad004","url":null,"abstract":"\u0000 Genre-bending is an evolving term that indicates the tendency for musical and cultural elements to interact with each other, often defying previously established genre distinctions. Evolutions of technology have expanded the way music is both created and consumed, and together with globalization, has shaped the development of a global music landscape. Hybrid elements and dynamics of music and culture have important implications for the development and exchange of musical identities outside of and within music therapy. In this article, there is a brief review of the digitalization of music technology related to consumers and curators. We highlight how digitalization and globalization have increased access through media democratization and afforded a global digital agency. This agency is explored with both the access and engagement of consumers, and the impact on curation by music creators. Those introductory elements are used for grounding the article’s main idea of genre-bending; including what it is, the ways it functions in popular music today, sociocultural and relational elements, and implications for music therapy. As part of this discourse, we highlight how the global music landscape has encouraged diverse music tastes and normalized inclusive engagement, and the subsequent importance of understanding individuals as being situated through multicultural music personhood. These shifts shape the intersubjective meaning making between therapist and client, impacting musical identities. The article concludes by delving into the ways these realities influence how music therapists hold space for curation, clients’ resources, and cultural assets through hybrid therapeutic dynamics.","PeriodicalId":44813,"journal":{"name":"Music Therapy Perspectives","volume":" ","pages":""},"PeriodicalIF":1.2,"publicationDate":"2023-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44390403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Guitar is a primary clinical instrument for many music therapists; however, minimal research focuses on effective guitar teaching methods (GTMs) in music therapy education. The purpose of this integrative review was to synthesize and critically evaluate the existing literature on GTMs to develop recommendations for music therapy guitar education. The research questions included: (a) What are the characteristics (i.e. participants, study design, teaching method, course type, dosage) of studies using GTMs in music therapy education and training? (b) What are the measures, outcomes, and de/limitations from GTMs studies in music therapy education? Three studies met the criteria. These studies included GTMs of behavioral contracting, audio and video modeling, and learning music “by ear.” Studies indicated that (a) playing “by ear” may improve student musicianship, (b) experienced instructor modeling improves learning, (c) evaluation could include accuracy behavioral markers, and (d) experiential and social learning benefit students in introductory guitar courses. Implications for music therapy education and training and recommendations for further research are discussed.
{"title":"Integrative Review of Introductory Guitar Teaching Research and Recommendations for Music Therapy Education","authors":"Livia S. Umeda, Abbey L. Dvorak","doi":"10.1093/mtp/miad006","DOIUrl":"https://doi.org/10.1093/mtp/miad006","url":null,"abstract":"\u0000 Guitar is a primary clinical instrument for many music therapists; however, minimal research focuses on effective guitar teaching methods (GTMs) in music therapy education. The purpose of this integrative review was to synthesize and critically evaluate the existing literature on GTMs to develop recommendations for music therapy guitar education. The research questions included: (a) What are the characteristics (i.e. participants, study design, teaching method, course type, dosage) of studies using GTMs in music therapy education and training? (b) What are the measures, outcomes, and de/limitations from GTMs studies in music therapy education? Three studies met the criteria. These studies included GTMs of behavioral contracting, audio and video modeling, and learning music “by ear.” Studies indicated that (a) playing “by ear” may improve student musicianship, (b) experienced instructor modeling improves learning, (c) evaluation could include accuracy behavioral markers, and (d) experiential and social learning benefit students in introductory guitar courses. Implications for music therapy education and training and recommendations for further research are discussed.","PeriodicalId":44813,"journal":{"name":"Music Therapy Perspectives","volume":" ","pages":""},"PeriodicalIF":1.2,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46588554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The voice—from the utility of oral traditions to the pedagogy of singing as performance—is essential to the human experience, yet its use of it has become the narrow purview of those privileged enough to study or make a career out of teaching or performing. In this article, the authors lend unique perspectives on the voice as an instrument of tremendous capacity by providing a lens on its utility in oral traditions. Lullaby, chants, work songs, and vendor songs as specific oral traditions offer entry points to understanding vocal utility that synthesizes both practicalities with aesthetics. Their study within the context of vocal improvisation offers much value to those seeking an understanding of the voice’s potential and for those whose access and comfort with their own voice has been diminished. Such liberation afforded by the exploration of these oral traditions can inform the work of music therapists, voice coaches, students, and everyday singers.
{"title":"The Voice Essential: Exploring Oral Traditions in the Study of Vocal Improvisation","authors":"John Mondanaro, Emily Nicholas-Curnutte","doi":"10.1093/mtp/miad009","DOIUrl":"https://doi.org/10.1093/mtp/miad009","url":null,"abstract":"\u0000 The voice—from the utility of oral traditions to the pedagogy of singing as performance—is essential to the human experience, yet its use of it has become the narrow purview of those privileged enough to study or make a career out of teaching or performing. In this article, the authors lend unique perspectives on the voice as an instrument of tremendous capacity by providing a lens on its utility in oral traditions. Lullaby, chants, work songs, and vendor songs as specific oral traditions offer entry points to understanding vocal utility that synthesizes both practicalities with aesthetics. Their study within the context of vocal improvisation offers much value to those seeking an understanding of the voice’s potential and for those whose access and comfort with their own voice has been diminished. Such liberation afforded by the exploration of these oral traditions can inform the work of music therapists, voice coaches, students, and everyday singers.","PeriodicalId":44813,"journal":{"name":"Music Therapy Perspectives","volume":" ","pages":""},"PeriodicalIF":1.2,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43279118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sociocultural identities in music therapy","authors":"Gabrielle Banzon","doi":"10.1093/mtp/miac029","DOIUrl":"https://doi.org/10.1093/mtp/miac029","url":null,"abstract":"","PeriodicalId":44813,"journal":{"name":"Music Therapy Perspectives","volume":" ","pages":""},"PeriodicalIF":1.2,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43937292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A substantial number of children and adults in American society have been exposed to violence, marginalization, prejudice, or other traumatic experiences. Thus, it is imperative that those in helping professions have adequate training and resources to recognize and respond to the signs, symptoms, and risks of trauma. Like other helping professionals, music therapists are increasingly called to recognize the impact trauma can have on the communities they serve, but little is known about music therapists’ knowledge and awareness of trauma concepts. A survey was distributed to all board-certified music therapists in the United States that sought to examine the accessibility of educational and professional trainings related to trauma, as well as self-perceived competency in working with service users who have experienced trauma. Of the 8,602 emails distributed (CBMT), 958 different responses were returned, 945 of which consented to participate for a 10.9% response rate. Results indicated a substantial interest in trauma work among music therapists (88.04%); however, almost half of respondents (48.86%) have indicated a lack of access to these trainings for any given reason, leading to limited self-perceived competency in trauma work. This limitation in self-perceived competency in trauma work might exist due to a lack of consistent education and training provided to music therapists, regardless of the mode of education. By not addressing this gap in the profession, harm might be done to those who utilize music therapy services. A breakdown of conglomerate music therapist trauma-specific knowledge is provided, along with identified areas of trauma-concept interest.
{"title":"An Exploration of Accessibility to Trauma-Focused Education and Knowledge Among Music Therapists","authors":"Christopher Beach","doi":"10.1093/mtp/miad005","DOIUrl":"https://doi.org/10.1093/mtp/miad005","url":null,"abstract":"A substantial number of children and adults in American society have been exposed to violence, marginalization, prejudice, or other traumatic experiences. Thus, it is imperative that those in helping professions have adequate training and resources to recognize and respond to the signs, symptoms, and risks of trauma. Like other helping professionals, music therapists are increasingly called to recognize the impact trauma can have on the communities they serve, but little is known about music therapists’ knowledge and awareness of trauma concepts. A survey was distributed to all board-certified music therapists in the United States that sought to examine the accessibility of educational and professional trainings related to trauma, as well as self-perceived competency in working with service users who have experienced trauma. Of the 8,602 emails distributed (CBMT), 958 different responses were returned, 945 of which consented to participate for a 10.9% response rate. Results indicated a substantial interest in trauma work among music therapists (88.04%); however, almost half of respondents (48.86%) have indicated a lack of access to these trainings for any given reason, leading to limited self-perceived competency in trauma work. This limitation in self-perceived competency in trauma work might exist due to a lack of consistent education and training provided to music therapists, regardless of the mode of education. By not addressing this gap in the profession, harm might be done to those who utilize music therapy services. A breakdown of conglomerate music therapist trauma-specific knowledge is provided, along with identified areas of trauma-concept interest.","PeriodicalId":44813,"journal":{"name":"Music Therapy Perspectives","volume":" ","pages":""},"PeriodicalIF":1.2,"publicationDate":"2023-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47243347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Music therapists practice from different clinical approaches; however, these approaches have not been compared in a research study. The purpose of this descriptive case study was to examine differences in behaviors for one participant on the autism spectrum and their therapist practicing from two different clinical approaches. We examined five videos where treatment was delivered in a neuroscience-informed approach and five videos in a DIRFloortime®-informed approach. We used observational behavioral coding for three nonmusical social skill behaviors, three musical social skill behaviors, and four therapist behaviors. We also examined the presence of critical elements of each approach within the videos. Results indicated that the therapist overall showed the critical elements for each approach within the examined videos. Targeted participant social behaviors were present in each of the approaches; however, the manner in which they were facilitated was different. Descriptive statistics and visual analysis were used to show similarities and differences between the approaches. Further studies are needed to explore different approaches in music therapy clinical practice.
{"title":"Comparison Between Neuroscience- and DIRFloortime®-Informed Approaches Within Music Therapy: A Descriptive Case Study","authors":"H. Shinn, A. LaGasse","doi":"10.1093/mtp/miad007","DOIUrl":"https://doi.org/10.1093/mtp/miad007","url":null,"abstract":"\u0000 Music therapists practice from different clinical approaches; however, these approaches have not been compared in a research study. The purpose of this descriptive case study was to examine differences in behaviors for one participant on the autism spectrum and their therapist practicing from two different clinical approaches. We examined five videos where treatment was delivered in a neuroscience-informed approach and five videos in a DIRFloortime®-informed approach. We used observational behavioral coding for three nonmusical social skill behaviors, three musical social skill behaviors, and four therapist behaviors. We also examined the presence of critical elements of each approach within the videos. Results indicated that the therapist overall showed the critical elements for each approach within the examined videos. Targeted participant social behaviors were present in each of the approaches; however, the manner in which they were facilitated was different. Descriptive statistics and visual analysis were used to show similarities and differences between the approaches. Further studies are needed to explore different approaches in music therapy clinical practice.","PeriodicalId":44813,"journal":{"name":"Music Therapy Perspectives","volume":" ","pages":""},"PeriodicalIF":1.2,"publicationDate":"2023-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48025764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Parkinson’s disease (PD) is a complex, progressive, and degenerative neurological disorder. With millions affected worldwide, music therapists may have the opportunity to work with individuals with PD and their families. To better understand biological, psychological, and social factors associated with PD, and the interactions between these three systems, researchers encourage a biopsychosocial approach. A biopsychosocial approach supports the idea that biological, psychological, and social systems influence and interact with each other, affecting overall health and quality of life. Music therapy affects biopsychosocial functioning through the use of evidence-based music interventions. One such music therapy intervention supported in the literature for use with individuals with PD and their families is therapeutic group singing. However, this research evidence is diverse and complex. Thus, the purpose of this paper is to present a conceptual framework of the biopsychosocial approach in music therapy focused on therapeutic group singing for individuals with Parkinson’s disease (PD). Our aims include: (1) identifying biopsychosocial (i.e., physical, psychological, and social) factors associated with PD, (2) presenting evidence-based outcomes of therapeutic group singing on biopsychosocial functioning, and (3) crafting a conceptual framework to consolidate evidence about therapeutic group singing as an effective intervention for this population. Research outcomes from various studies demonstrate benefits in biological, psychological, and social functioning from therapeutic group singing interventions. Overall, evidence suggests that therapeutic group singing – as visualized in the conceptual framework – is an effective intervention to address biopsychosocial functioning for individuals with PD and their families.
{"title":"Therapeutic Group Singing for Individuals with Parkinson’s Disease: A Conceptual Framework","authors":"Sun Joo Lee, Abbey L. Dvorak","doi":"10.1093/mtp/miad008","DOIUrl":"https://doi.org/10.1093/mtp/miad008","url":null,"abstract":"\u0000 Parkinson’s disease (PD) is a complex, progressive, and degenerative neurological disorder. With millions affected worldwide, music therapists may have the opportunity to work with individuals with PD and their families. To better understand biological, psychological, and social factors associated with PD, and the interactions between these three systems, researchers encourage a biopsychosocial approach. A biopsychosocial approach supports the idea that biological, psychological, and social systems influence and interact with each other, affecting overall health and quality of life. Music therapy affects biopsychosocial functioning through the use of evidence-based music interventions. One such music therapy intervention supported in the literature for use with individuals with PD and their families is therapeutic group singing. However, this research evidence is diverse and complex. Thus, the purpose of this paper is to present a conceptual framework of the biopsychosocial approach in music therapy focused on therapeutic group singing for individuals with Parkinson’s disease (PD). Our aims include: (1) identifying biopsychosocial (i.e., physical, psychological, and social) factors associated with PD, (2) presenting evidence-based outcomes of therapeutic group singing on biopsychosocial functioning, and (3) crafting a conceptual framework to consolidate evidence about therapeutic group singing as an effective intervention for this population. Research outcomes from various studies demonstrate benefits in biological, psychological, and social functioning from therapeutic group singing interventions. Overall, evidence suggests that therapeutic group singing – as visualized in the conceptual framework – is an effective intervention to address biopsychosocial functioning for individuals with PD and their families.","PeriodicalId":44813,"journal":{"name":"Music Therapy Perspectives","volume":" ","pages":""},"PeriodicalIF":1.2,"publicationDate":"2023-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44537145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Experiential learning is a key component of the education and training of music therapists in the United States. Currently, there is limited peer-reviewed, English-language literature that explores undergraduate student perspectives of curricular self-experiences. The purpose of this study is to help fill this gap and better understand undergraduate music therapy students’ experiences of participating in curricular self-experiences in order to inform best practices for implementation. Three recent graduates of a music therapy program engaged in semi-structured, individual interviews. Interview transcripts were analyzed using the process of Interpretative Phenomenological Analysis. Group superordinate themes emerged from the research question and subquestions about benefits and drawbacks of curricular self-experiences and what facilitated or impeded students’ participation. Participants identified empathy and skill development as benefits and that peer relationships and clear expectations facilitated participation. They also identified vulnerability and boundaries as drawbacks, and that professor/student relationships and cohort interactions impeded participation. Findings from this study highlight shared experiences among students and provide concrete examples of what educators should consider when designing curricular self-experiences.
{"title":"Undergraduate Music Therapy Students’ Perspectives on Curricular Self-Experiences","authors":"Courtney Belt","doi":"10.1093/mtp/miad002","DOIUrl":"https://doi.org/10.1093/mtp/miad002","url":null,"abstract":"\u0000 Experiential learning is a key component of the education and training of music therapists in the United States. Currently, there is limited peer-reviewed, English-language literature that explores undergraduate student perspectives of curricular self-experiences. The purpose of this study is to help fill this gap and better understand undergraduate music therapy students’ experiences of participating in curricular self-experiences in order to inform best practices for implementation. Three recent graduates of a music therapy program engaged in semi-structured, individual interviews. Interview transcripts were analyzed using the process of Interpretative Phenomenological Analysis. Group superordinate themes emerged from the research question and subquestions about benefits and drawbacks of curricular self-experiences and what facilitated or impeded students’ participation. Participants identified empathy and skill development as benefits and that peer relationships and clear expectations facilitated participation. They also identified vulnerability and boundaries as drawbacks, and that professor/student relationships and cohort interactions impeded participation. Findings from this study highlight shared experiences among students and provide concrete examples of what educators should consider when designing curricular self-experiences.","PeriodicalId":44813,"journal":{"name":"Music Therapy Perspectives","volume":" ","pages":""},"PeriodicalIF":1.2,"publicationDate":"2023-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48800812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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