Cross-cultural music therapy: Reflections of American music therapists working internationally

2018 ◽  
Vol 61 ◽  
pp. 21-32 ◽  
Author(s):  
Miranda S. Grimmer ◽  
Melody Schwantes
Author(s):  
Jonathon Oden

Abstract The purpose of this study was to descriptively analyze music therapy employment data from 2013 to 2019, including years in the field, gender, age, ethnicity, hours worked, jobs created, number of new board-certified music therapists (MT-BCs), funding sources, and wages. A database was created to analyze descriptive data from the 2013–2019 American Music Therapy Association Workforce Analysis Surveys as well as data from the Certification Board for Music Therapists. Results indicate a large portion of music therapists (MTs) have been in the field for five years or less. Though the majority of MTs work full time, there is a high rate of part-time employment. An estimate of the total number of new full-time jobs represented a ratio of 57% of new MT-BCs during the period. Private pay was the most reported funding source for music therapy services. Music therapy wages tended to be higher for those with higher levels of education. Limitations of the study and suggestions for future research are provided.


Author(s):  
Martina C Bingham ◽  
Elizabeth K Schwartz ◽  
Anthony Meadows

Abstract Twelve music therapists were observed working clinically in 3 to 5 of their music therapy sessions and subsequently interviewed about their clinical work in order to further examine and define the essential characteristics of therapeutic singing in music therapy clinical practice. Observational and interview data were analyzed separately using procedures consistent with qualitative content analysis and then integrated to provide a comprehensive picture of these singing practices. Analysis of these data revealed 3 interrelated dimensions of therapeutic singing that were integrated into the larger realization of therapeutic singing: (1) foundational vocal skills, (2) vocal engagement, and (3) authenticity. Implications for the education and training of music therapy students, vocal health, and a reevaluation of the American Music Therapy Association’s competencies contextualize these findings for the profession as a whole.


Author(s):  
James Hiller ◽  
Courtney Belt ◽  
Susan Gardstrom ◽  
Joy Willenbrink-Conte

Abstract The purpose of this paper is to put forth a model to support the psychological safety of undergraduate students as they engage in a form of experiential learning called self-experiences (SEs). SEs pair active engagement in learning episodes with learner self-inquiry. The need to safeguard curricular SEs is grounded in the American Music Therapy Association’s Professional Competencies and Code of Ethics and the Certification Board for Music Therapists’ Board Certification Domains. We first explicate several types and benefits of SEs and identify potential risks and contraindications that may compromise learners’ psychological safety and even cause harm. Next, we describe the steps we took in developing the model and gaining administrative approval. We outline major tenets and describe specific safeguarding practices at various levels of implementation. We offer a hypothetical vignette to contextualize the information, address certain challenges in implementing this model, and offer recommendations for future research related to undergraduate experiential learning. Educators, clinical trainers, and supervisors who employ SEs are encouraged to implement safeguards toward upholding professional ethics and supporting learners’ personal and professional development.


2020 ◽  
Vol 38 (1) ◽  
pp. 38-41
Author(s):  
Gene Ann Behrens

Abstract While the writing and presentation of most general consent forms can be accomplished using a checklist of what to include and say, different nuances and considerations enter the process when the participants of a research study involve present or past clients who retain their legal rights. This process is even more challenging for student music therapists conducting research as part of a school-related project. While the Belmont Report1 and the American Music Therapy Association’s (AMTA) Code of Ethics (https://www.musictherapy.org/about/ethics/) provide some insights and direction for many ethical research decisions, music therapy researchers also must be aware of their values, morals, and integrity, as well as various ethical considerations. Based on an example scenario, six ethical questions related to writing and presenting a consent form for a past client are discussed along with references to the Belmont Report and AMTA’s Code of Ethics.


2002 ◽  
Vol 2 (2) ◽  
Author(s):  
Carolyn Kenny

Soon music therapists will be gathering again for another World Congress of Music Therapy, this time in Oxford, UK. Each time these gatherings become more and more exciting. It is good that the numbers of music therapists around the world keep increasing. But the exciting aspect of these International gatherings, for me, is the opportunity to experience the tremendous diversity, which is also growing each year. More and more countries are learning about music therapy and setting up training programs for music therapists. And the organizers of the Oxford conference are creating an event that is very respectful of this diversity and one that will provide many opportunities for cross-cultural exchanges.


2019 ◽  
Vol 37 (2) ◽  
pp. 169-175
Author(s):  
Cecilia E Burns

AbstractThe purpose of this study was to describe flute usage among current, professional music therapists. The broad term “flute” included any instrument with sound created by blowing air across or into an aperture hole. Members of the American Music Therapy Association (AMTA) were sent an electronic survey consisting of 25 questions pertaining to the flute and music therapy. Descriptive statistics describe how flutes were being used in music therapy sessions, and chi-square tests were used to determine whether music therapists who studied flute as a primary instrument used the flute as an instrument within a music therapy setting more frequently. Results showed that 42.4% of the 387 respondents were actively using flute music in some way within music therapy sessions while 67.8% of respondents reported using flute music at some point in the past. Flute-playing music therapists reported using flutes more frequently in a music therapy context than music therapists who did not study flute as a primary instrument. It appears that the flute is a viable instrument for music therapy practice.


2016 ◽  
Vol 2 (6) ◽  
pp. 124
Author(s):  
Jiří Kantor Kantor ◽  
Lenka Kružíková

<p>“Hello Songs” is a ritual musical expression of the non-musical communication occurring at the beginning and the end of a music therapy session with a client. 49 “Hello Songs” composed for children by 11 Czech and 8 American music therapists were examined during a qualitative research described in this paper. Through inductive content analysis seven categories were identified that characterise the content of the “Hello Songs”, and four findings described that relate to good practice in composition and application of the songs. Recommendations for music therapy practice were formulated based on the results.</p>


2021 ◽  
Author(s):  
Kyle Wilhelm ◽  
Lindsey Wilhelm

Abstract As a music therapy private practice is both a business and a healthcare service, it should adhere to ethical standards from both disciplines. However, this topic has rarely been examined in the music therapy literature. The purpose of this phenomenological study was to explore ethical dilemmas experienced by music therapy business owners (MTBOs) in their private practice and how MTBOs avoid or address ethical dilemmas. Utilizing convenience and snowball sampling techniques, 21 MTBOs in the United States were interviewed using semi-structured interviews. To answer the two areas of inquiry, we identified three themes and 12 subthemes: (1) Ethical issues related to client welfare, (2) Ethical issues related to business relationships and operation, and (3) Strategies to address or avoid ethical dilemmas. MTBOs also shared how they ensure ethical behavior in themselves, with their employees or independent contractors, and when interacting with professionals outside the private practice. These findings provide a better understanding of MTBOs’ lived experiences of ethics in their private practice and may benefit other music therapists who are in private practice or are wanting to go into private practice. Limitations and recommendations for further research are provided.


Author(s):  
Lucia Kantorova ◽  
Jiří Kantor ◽  
Barbora Hořejší ◽  
Avi Gilboa ◽  
Zuzana Svobodova ◽  
...  

Background: In the midst of a worldwide COVID-19 pandemic, music therapists previously not involved in telehealth had to develop effective remote forms of music therapy. The objective of this review was to systematically explore how music therapists previously working in-person adapted to the transfer to remote forms of therapy in the context of the coronavirus outbreak. Methods: We searched Scopus, Web of Science Core Collection, CINAHL, Medline, ProQuest Central, PubMed, EMBASE, PsycINFO and PsyARTICLES, grey literature (to October 2020), and websites of professional organizations. We followed the JBI methodology for scoping reviews. Results: Out of the 194 screened texts, we included ten very heterogeneous articles with an overall very low quality. Most texts described remote therapy in the form of synchronous video calls using the Internet, one paper described a concert in a patio of a residential home. We report the authors’ experience with the adaptation and activities, challenges and benefits of remote forms of therapy, recommendations of organizations, and examples and tips for online therapies. Conclusions: Music therapists have adapted the musical instruments, the hours, the technology used, the therapeutic goals, the way they prepared their clients for sessions, and other aspects. They needed to be more flexible, consult with colleagues more often, and mind the client-therapist relationship’s boundaries. It seems, when taken as a necessary short-term measure, online music therapy works sufficiently well. The majority of papers stated that benefits outweighed the challenges, although many benefits were directly linked with the pandemic context.


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