Whose Voices? Whose Knowledge?

Members of the Voices editorial team grapple with ....

Significant Moments in Improvisational Music Therapy

Four composite case examples are presented and discussed as they relate to emotional expression, significant moments in the therapeutic process, and communication using a variety of modalities in music therapy with adults diagnosed with intellectual and developmental disabilities. Building on therapeutic awareness through discussing musical elements, body movement and posture, countertransference, and interactional patterns, the implications of deep emotional connection and processing are approached using primarily nonverbal methods. Composite vignettes from the author’s clinical work demonstrate awareness of these factors in the moment as they impacted the session, therapeutic relationship, and other professionals’ understanding of music therapy in this population. Implications for emotional processing in clinical practice are presented as they relate to the concepts presented in this paper.

Exploring the Use of Hip Hop-Based Music Therapy to Address Trauma in Asylum Seeker and Unaccompanied Minor Migrant Youth

There are numerous young asylum seekers and unaccompanied migrant minors around the globe. A comprehensive literature review revealed that post traumatic stress disorder (PTSD) is the most common disorder that affects the asylum seeker youth and migrant minor populations. Many of these individuals struggle with PTSD and show resilience in their daily lives while also learning, discovering, and surviving. Accordingly, therapeutic interventions directed to them must be trauma-informed, phased, engaging, empowering, and impactful to support the needs of these young people. A seven-month-long music therapy intervention experience that was applied to young asylum seekers in Spain, and found that the most effective intervention tools were Hip Hop Therapy-related interventions. This study resulted in a new intervention model, The Integral Hip Hop Methodology. This paper highlights the importance that intervention models be engaging and considerate to the necessities and preferences of the addressed population and presents The Integral Hip Hop Methodology as an example.

Review of Music for Women (Survivors of Violence): A Feminist Music Therapy Interactive eBook (2019) By Sandra L. Curtis

This article is a review of Sandra L. Curtis' book, Music for Women (Survivors of Violence): A Feminist Music Therapy Interactive eBook (2019). Published by Barcelona Publishers, Dallas TX, USA. E-ISBN: 9781945411465

Clinical Training in Music Therapy

Objective: This paper examines the experiences of music therapy students throughout their clinical training. Three surveys inquired about: 1) the perception from both interns and supervisors as to interns’ needs, 2) interns’ preparedness, their skills, their priorities when choosing an internship, and whether their expectations for training were met (with comparisons between American and International respondents), and 3) satisfaction with clinical training. Method: Three separate surveys were distributed. The first survey’s respondents included pre-interns ( n = 19) and internship supervisors (n = 14) who had completed their training in the Great Lakes Region of the United States. The second survey’s respondents included American interns (n = 50), American professionals (n = 353), International interns (n = 12), and International professionals (n = 50). Respondents for the third survey included professional music therapists who completed their curriculum in the United States and held the MT-BC professional credential (N = 777). Results: Some differences between interns’ and supervisors’ perceptions of the interns’ needs were found in Survey 1; significant differences were found between the preparedness and strengths/weaknesses between groups in Survey 2; and Survey 3 found general satisfaction with training with some areas respondents felt needed improvement. Conclusions: While there is overall satisfaction with training for music therapists, there are inconsistencies in students’ experiences in, and perceptions of, their training.

Exploring a Music-based Intervention Entitled "Portrait Song" in School Music Therapy

Songwriting has gained footing as one of the main approaches in music therapy. Many of the publications focus on various techniques whereby children and adults are assisted, individually or in groups, to create songs collaboratively. This study explored a non-collaborative song-based intervention entitled "Portrait Song"; namely, an original song composed by the therapist for and about specific recipients as a therapeutic tool. The "Portrait Song" intervention was initiated and implemented by Ms. Stella Lerner, an Israeli music therapist and composer. Two specific aims were set for the study: (1) to explore the nature of the "Portrait Song" practice as a means for school music therapy; and (2) to examine the effect of the "Portrait Song" intervention on students' outcomes. The author/researcher acted as an outside observer, evaluating the "Portrait Song" intervention and the students' experiences in two schools in Israel, which provide music therapy programs for children possessing a broad range of disorders. Data included field notes compiled during class observations, extensive interviews with the therapist, and examination of musical scores and written material. The study showed that the "Portrait Songs" intervention guided participants to higher levels of social adjustment, refined physical skills, and assisted with areas of self-identity and self-efficacy. Lerner's innovative "Portrait Song" intervention can give music therapists some perspectives about the possibility and benefits of composing complete therapeutic songs (lyrics and music) for and about specific clients in school settings.

Decolonise This Space

The 15 th April 2016 marked the 25-year anniversary since the Royal Commission into Aboriginal Deaths in Custody (RCIADIC) in Australia handed down its Final Report. The report signified a landmark in the relationships between Indigenous Australians and the post-colonial State and Federal governments. Established by the Hawke Labor Government in 1987, the Commission examined 99 Indigenous deaths. Most significant was the finding that the deaths were due to the combination of police and prisons failing their duty of care, and the high numbers of Indigenous people being arrested and incarcerated. In the wake of the RCIADIC, cross-cultural sessions and cultural competency workshops have become ubiquitous for public servants, therapists, and legal and welfare employees, in attempts to bridge gaps in cultural knowledge between agents of the welfare state and Indigenous clients. Using Indigenous Knowledges theory, this chapter assesses how cultural misalignments between Indigenous clients and those who work with them in the name of therapies designed to improve Indigenous lives, dominate cross-cultural interactions. In so doing the questions are posed: how do good intentions become part of the discourses and practices of on-going colonialism for Indigenous Australians, and what can be done to change the balance of power in favour of therapies of relevance to Indigenous people?

Exploring Current Music Therapy Practices in India

The concept of music therapy in India is addressed with different terms such as musical therapy, therapeutic use of music, music or musical healing, Nada Chikitsa, Nada Yoga, Raga Chikitsa, Raga Therapy, संगीतीय उपचार, सांगीतिक चिकित्सा, etc. People working in this area are addressed as music therapists, music healers, संगीत चिकित्सक, नाद चिकित्सक, etc. With the establishment of organizations like Nada Centre for Music Therapy (2004), The Music Therapy Trust (2005), Indian Association of Music Therapy (2010), and Indian Music Therapy Association (2018), the application of music in various environments for its therapeutic and healing properties has improved. People in India have been working in this field as full-time professionals and part-time healers for almost four decades now. But it is also true that people are still unaware of music therapy practices in India, how it works, how to use music in a therapeutic setting, how changes and improvements must be assessed, where to learn and receive training in music therapy, how to receive professional education in music therapy, etc. Since this profession deals with the physical, mental, and emotional health of people, it is important to establish a more formal training system that is required for any healthcare services. In return, such developments will positively impact music therapy practices in India. This paper is a small attempt to explore the current music therapy practices in India. For this purpose, a telephonic interview was done with Dr. Nishindra Kinjalk, who is a music therapist, a Doctor of Medicine, and a Sitar as well as a Surbahar player. The interview focused on his comprehensive understanding of music therapy practices, his research, his music application model known as Kinjalk Mode of Music Application or KIMMA, developed by him and his fellow doctors, potential barriers to the expansion of this field, and the future of music therapy in India. Also, a Google Form survey was designed and shared with people working with music therapy in India who had completed any of the certificates, diploma, or degree courses offered by private and government institutes through online, in-person instruction, or distance mode. The Google survey was used to collect their responses to learn about their music therapy practices, therapy methods, interventions, assessment process, and the population they have been working with, etc. The survey respondents included both people trained in music therapy practices and those who use music therapeutically. It is important to recognize that during the writing of this report, India was under complete lockdown due to the Covid pandemic. So, telephonic interviews and online surveys were found appropriate to collect information.

Music in a Concussive Monologue

The co-authors, a music therapist and a musicologist who suffered a concussion, collaboratively develop an autoethnography detailing the phenomenological experience of concussion and the gradually increasing role of music throughout the recovery process. Along the way, they discover new things about music, the mind, scholarship, and themselves.

Kelly Meashey

This is a book review of The Use of Voice in Music Therapy by Kelly Meashey published in 2020.