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Written by Jaylee Sowders
Research has been my primary teacher throughout my undergraduate experience. This sentiment does not intend to discredit my incredible professors, supervisors, and mentors, especially since my research and the opportunities associated with it would not have been possible without their support and guidance. But truly, research has served as my teacher, my motivator, my escape, and the source of my most influential opportunities. Many undergraduate students do not have the opportunity to take on long-term research projects, so today, I want to share my research experience to advocate for undergraduate research and hopefully inspire young researchers. My thesis pertaining to music therapy treatment considerations for teens with attachment trauma began in the second half of my second year of college, through applying for a summer research program at my university. When beginning this research, I had little experience with research and had little direction for this project. However, my thesis advisor, Joy Willenbrink-Conte, MA, MT-BC, was incredibly supportive and willing to guide me through the start of the research process. When first indicating interest in this topic, I was around 20 years old, barely removed from the teenage experience. I faced many questions about my interest and positionality within this research. As I have developed along with this project, I have come to understand that my positionality, identities, and experiences within my role as a researcher is an asset to the qualitative research itself, not a detriment. Some of my identities include being a young, white, queer, non-religious, able-bodied, and neurodivergent person. In entering college at the height of the pandemic in 2020, the phenomenon of isolation and social distancing sparked my interest on the developmental and social necessity of relationships and their impact on mental health. This interest was only confirmed after hearing a guest presentation about clinical work with foster care youth in my “Introduction to Music Therapy” course. In this presentation, I learned about the foster care to prison pipeline, and I wanted to investigate how relationships during childhood affect our development into adulthood, and more specifically, how we, as therapists, can support individuals with traumatic attachment experiences. In the Summer of 2022, I participated in my university’s Summer Thesis Institute program, where I lived on campus with 9 other student researchers to get a head start on our theses. Through this program, I learned about research ethics, completed the majority of my literature review and case study analysis, and learned to create a network of peers and mentors who can support my research. Furthermore, I received a generous research budget to purchase necessary materials and texts, and was financially supported with free housing and a stipend. This experience served as a launchpad for establishing the foundations of my research and beginning my career as a researcher. I met weekly with my thesis advisor and spent roughly 30 hours per week reading and annotating music therapy and psychology literature. Through reading, I learned so much about music therapy, including much of its history, theoretical foundations, and modern practices. This acquired knowledge has served me incredibly in future classes and conversations with professional music therapists. At the end of this experience, I wrote a preliminary literature review as a part of our program's Proceedings, and now have the opportunity to cite myself and this publication in my thesis. Through this summer program, I fell in love with the research process, including reading, writing, and collaborating with peers and professionals. Throughout the 2022-2023 academic year, I worked with my thesis advisor on my own time to continue work on my thesis, which included IRB applications for conducting interviews with music therapists with relevant experience in treating teens with attachment trauma and applying for additional research funding. This also included applying for another university sponsored summer program, the Oxford Flyers program, which supports selected students in attending Oxford University for a 6 week tutorial, which is an individual course. My participation in this experience in the summer of 2023 truly reshaped my life and my long-term goals. I had the opportunity to transfer skills learned in my first summer research program to an international level, and found safety and comfort within the supportive academic environment in Oxford. Along with learning more about attachment trauma through my personalized course, I learned so much more about myself and my goals as well. I fell in love with the UK and academia, and realized that I want to pursue graduate studies. I also found new confidence in myself and my independence, as I not only lived in the UK for 6 weeks, but had the opportunity to backpack across Europe alone for another 17 days following the tutorial. Lastly, my relationship with my research developed further, and I found insight in my research as I grew personally and sought out experiences to explore and travel. I gave myself space to ask questions and just think about my work, which proved to be one of the most beneficial experiences in actually progressing my research. In my final year of college, I am continuing and completing my research process through conducting and analyzing interviews and writing the full thesis. Though my thesis will be complete in the spring, I am confident that my research on music therapy treatment for teens with attachment trauma will not end with my graduation. My relationship with this work has been one of the most valuable relationships of my life, as it has supported my holistic development. Research has been one of the most rewarding, challenging, overwhelming, and incredible experiences of my life, and I want to encourage more young people to pursue this area of music therapy, as it is vital to the development of our profession. As a young researcher myself, I often have to remind myself that even with limited experience as a practicing music therapist, my vast knowledge of this vital topic within our profession is valuable and valid. It is easy to feel alone and isolated as a young researcher, so through my various roles within AMTA and my university, I hope to create a community of young students who feel empowered and supported when sharing their voices and their work. You are incredibly valuable to our profession, and your voice can inspire true and essential change to better our practice. So apply to research programs, say yes to experiences, and create that network of people who will support and empower you to make your voice heard.
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Written by Kayla Duncan, MT-BC Burnout is a significant risk in professions demanding high emotional and mental energy, including music therapy. While our passion drives us to help others with open hearts and minds, it can also expose us to stress and frustration, setting the stage for burnout. The World Health Organization defines burnout as a result of unmanaged chronic workplace stress. It comprises three aspects: occupational exhaustion, depersonalization, and reduced personal accomplishment (Maslach & Leiter, 2016). Occupational exhaustion manifests as overwhelming mental and physical fatigue. Depersonalization leads to detachment from work, potentially causing a loss of empathy. Reduced personal accomplishment results from inadequate resources and support (Valcour, 2021). Maslach & Leiter (2016) identify six domains contributing to burnout: 1. Increased Workload: Too much work without adequate recovery. 2. Lack of Control: Feeling powerless in decision-making. 3. Insufficient Reward: Lack of recognition and rewards. 4. Limited Sense of Community: Isolation at work. 5. Inequality: Unfair treatment. 6. Misaligned Values: Conflict between personal and professional values. Recognizing burnout symptoms is crucial. Fatigue, headaches, muscle tension, mood swings, and vulnerability to illness are common signs. If left unaddressed, burnout can worsen and spread. To combat burnout, the Mayo Clinic suggests:
In conclusion, as music therapists, we must be mindful of the risk of burnout and take proactive steps to maintain our well-being. Recognizing the signs and seeking support can help us continue to make a meaningful difference in the lives of our clients while safeguarding our own mental and emotional health. References Maslach, C., & Leiter, M. P. (2016). Understanding the burnout experience: Recent research and its implications for psychiatry. World Psychiatry, 15(2), 103–111. https://doi.org/10.1002/wps.20311 Mayo Foundation for Medical Education and Research. (2021, June 5). Know the signs of Job Burnout. Mayo Clinic. Retrieved January 2, 2023, from https://www.mayoclinic.org/healthy-lifestyle/adult-health/in-depth/burnout/art-20046642 Valcour, M. (2021, August 27). 4 steps to beating Burnout. Harvard Business Review. Retrieved January 2, 2023, from https://hbr.org/2016/11/beating-burnout World Health Organization. (n.d.). Burn-out an "Occupational phenomenon": International Classification of Diseases. World Health Organization. Retrieved January 2, 2023, from https://www.who.int/news/item/28-05-2019-burn-out-an-occupational-phenomenon-international-classification-of-diseases Cultural Music in Music Therapy: Presenting, learning, and fostering a respectful curiosity9/11/2023 Written by Acksharaa Balaji, B.M. Music Therapy Berklee College of Music
Current Advanced Graduate Music Therapy Student at New York University Steinhardt One of the greatest things about each individual person is their cultural heritage and how that influences something as widely discussed as a political opinion to something as unique as a comfort meal. When thinking about how much music is out there in the world, it genuinely is overwhelming. What if there’s a style of music out there that is just what you need to hear but you haven’t been remotely exposed to it? What if you want to learn about another culture’s musical styles and techniques but have no idea where to start? I do not claim to have all the answers or any for that matter. However, what I do want to encourage you to consider is how a teacher/learner of cultural musical styles may create a space where they can teach/learn about such topics and feel encouraged to broaden their ideas of music. The goal is to support music therapists in including these ideas in their interventions and practice. I write this post as someone who wants to normalize the use of Indian classical Carnatic music in music therapy practices. I recently conducted my first workshop on this topic and am looking on expanding this topic throughout my next two years at graduate school and beyond. Running this workshop taught me the importance of invitation, as well as creating a safe space for all kinds of questions. Some questions that could be “obvious” to me, may not be for others; that is why they have come to learn! A constant reminder to myself was that I am learning from my audience just as much as they are learning from me. After all, this was the first time I had ever conducted a workshop. I encourage readers to not take this blog post as a “how-to” manual but rather as a self-assessment of what resonates with you. How does one go about teaching the music of their culture? First, consider your own world of knowledge. What do you have to offer? The music that has shaped you and connects you to your culture is a fundamental area that should not be forgotten during discussion. The job of the presenter is to invite the audience into your world. This begins the pathway to a clearer understanding of the line between cultural appropriation and appreciation. The cloud of appreciation forms a safe space and serves an important role for the audience where they are more willing to ask questions and bring the music you have introduced to them in their music therapy practice. When presenting about your musical culture, it is difficult to cover every single foundational root that makes the music what it is. By over-generalizing you could risk overlooking your personal connection with that music, dampening that cloud of appreciation. This emphasizes the significance in explaining the basic foundation of a style to understand why certain techniques may hold various levels of importance. Additionally, when talking about an entire musical topic that may be new for so many people,it would make the concept more approachable to sort various topic areas into different parts or even presentations. Who says you can’t run multiple workshops about your topic? There will always be someone who will listen. As a learner, what are your intentions? Are you open to changing your perspective on something by learning more about it? These questions are vital to reflect on whenever you are learning something new. In all honesty, it is intimidating to learn about cultures different to your own. Evaluate that perhaps this is a basic feeling that others may experience with you. Let’s say that we have accepted this feeling altogether. Perhaps, it does not mean anything bad and speaks more to your intentions with learning something new. It could speak to your interest and desire in decolonizing a Eurocentric field. Deep down, there is a part of you wanting to expand your repertoire to other languages, or wanting to connect with a client of colour who may not know mainstream English music. Ask questions! There really is no such thing as a stupid question when learning. You want to be informed and clear about how to bring forward new interventions. The main person I think about when considering this hypothetical (or reality for me) is my mother, an Indian woman, whose entire life revolves around Carnatic music. I think about if one day, should she work with a music therapist, what type of music will they bring forward to her. When she talks about her preferred music, will the MT be able to satisfy her musical needs and administer interventions that fulfill her desire to be one with Carnatic music? The majority of people are generally afraid to indulge in presenting or learning from cultures that are not their own. In my humble opinion, I see intimidation as a desire to learn. We should learn to accept that this fear speaks to a need for an accurate and respectful execution of cultural humility. In turn, we create a space within and for ourselves and others to learn and support an indispensable diverse field. Written by Tess Vreeland, MT-BC, AMTAS Secretary 2023 It's an exciting, yet sometimes overwhelming, time to begin a new school year! Some students may be just beginning their path to becoming a music therapist as freshmen, some may be working on applying to internships, and some may be somewhere in between. Wherever you are in your academic journey, the AMTAS board would like to wish you a happy and growth-filled school year. The start of a new academic year brings potential for new opportunities to learn in the field of music therapy. Getting involved with (or starting!) your school's music therapy club is a wonderful way to form connections with peers and get involved with music therapy advocacy efforts on your campus. Consider also looking into workshops and other opportunities available through your regional music therapy associations for students. Our regional boards work hard to provide support for students and universities across the country! This fall, AMTA has provided a coupon code to assist with textbook purchases! Now through September 30th, students can input the code "MTSTUDENT2023-BOOK" at checkout to receive 25% off their AMTA published book purchase. AMTAS has some exciting dates to mark in your planners for this semester!
Staying organized is a useful skill to acquire and maintain as a future music therapist. There are resources available to help facilitate the growth of this skill, such as planners designed for music therapists. One planner available on Etsy is linked here, and it is specifically designed for music therapy students juggling practica experiences, homework, practice, and more! Looking for some back-to-school music therapy advocacy merch? Keep looking out on our social media @_amtas_ on Instagram and American Music Therapy Association Students on Facebook for big things to be announced soon!  Written by Nina Stecker, MM, MT-BC
In the field of music therapy, small businesses such as private practice are constantly opening. The American Music Therapy Association (AMTA) reported that five new private practices were opened and one practice closed in the year 2020. AMTA (2020) asked participants if they were a business owner. After gathering 1,826 responses, 419 participants reported that they identified as a music therapy (MT) business owner (AMTA, 2020). There is limited current research regarding the responsibilities and activities of music therapy private practice owners. Choices concerning such responsibilities include finances, marketing, supervision, advocating for the field, face-to-face client interaction, and many more. These responsibilities influence the model of the practice and how it is administered. For my Masters thesis, I conducted a survey with 3 main research questions: 1. What were the demographics of current AMTA private practice owners? 2. How was weekly time allocated by music therapy private practice owners? 3. How was revenue generated and is it differentiated by region of the United States? The results of the survey showed that the majority of music therapists who owned their own private practice were new to the field within the most recent decades (70.2%), devoted the most of their time, on average, to direct client interaction, and offered their services to a variety of populations. Differences in average annual income varied from each region of the United States. New England had the highest average annual income at $97,500. There was a notable outlier, reporting an annual income in New England of $290,000. This survey did not inquire about practice expenses, so net income cannot be determined. AMTA (2020) reported that the average salary range for music therapy business owners was between $28,000 and $490,000. Information obtained in future surveys could include location of the private practice within the region, cost of rent and utilities if the practice had an office space, and other expenses that affected the financial responsibilities of the private practice. Overall, the data collected was beneficial for visualizing an idea of how different private practices are managed and how the responsibilities of the owners are reported. Such information may be useful to help future music therapy entrepreneurs. American Music Therapy Association (AMTA). (2020). 2020 AMTA member survey and workforce analysis. Retrieved from: musictherapy.org Written by Anna Delaney, AMTAS Parliamentarian
“The darkness only exists in the shade of the light. Your shadows will hide away once you know you are bright”. It’s rare that I manage to finish a song once I’ve started writing it. The only exceptions I’ve noticed are when they’re due as assignments for various classes or if they have a specific purpose in the near future. I often get too focused on each word, each measure, each note being absolutely perfect, not allowing myself to revise. So I’m left with a notebook of half-finished sentences, inspiration leaving as soon as it’s struck, gathering dust and lost amidst the piles of responsibilities in my life. It wasn’t until I finished my first proper song (yes, for a class assignment) that I realized how reflective the songwriting process can be, particularly as a form of insight into your own self-esteem and habits. Even more than that, though, it made me consider my journey as a student music therapist. What populations would be better suited for me, how to better avoid burnout, how to better understand my own mental state based on the themes I was writing about and genres I was exploring. And perhaps most importantly: how to process my own emotions through songwriting. To me, songwriting is one of the most vulnerable forms of creative expression. You have the ability to share your innermost thoughts and feelings through carefully shaped melodic structures and lyrical choices. I suppose that is part of what makes it so difficult for me since, even though I experience emotions very profoundly, verbalizing them can often be nearly impossible. And this realization has truly made me think: if songwriting is such a daunting task for me as a student music therapist, how much more so must it be for clients with significantly less musical experience? I have been keeping this question in my mind as I have not only continued writing songs, but as I’ve reflected on lyrics from my past, and two things stuck out to me. First, most of my lyrics tend to be incredibly emotionally charged, written during periods of intense feeling. And second, these emotionally charged pieces are always left unfinished. In my mind, this could mean that the act of writing these lyrical snippets was enough for me to fully process the intense emotions I was feeling at the time. On the other hand, though, part of me believes that the state of vulnerability needed to continue writing these lyrics is fleeting, meaning there is a strong chance they will never get finished. And that is okay. My insight through my own songwriting has made me aware of my strong tendency to strive for perfection. Whether it be through having ‘perfect’ relationships with everybody I meet, or writing the ‘perfect’ song. What I see in my writing, however, shows the self-destructive nature of my own habits, and reveals the turmoil that results from attempting to achieve an impossible goal. There is such a drastic shift between “Living your life catering to the perceptions of the rest/All the while not permitted to acknowledge your success” and “Don’t you get butterflies when you realize you’re in love with yourself?” Both of which being things I wrote within the same semester. The main difference, however, was that the second lyric arose organically when I was taking a moment for myself. Letting myself breathe. Everybody’s experience with songwriting will look incredibly different, but upon a closer look it can truly make you reconsider your perception of yourself. Songwriting can be intimidating, absolutely, but it can help make you aware of things which you otherwise might never have known. So go write a song! Or even a line. It’ll pay you back tenfold if you give it some time. Written by Tess Vreeland, MT-BC, NICU-MT, AMTAS Secretary
While music therapists’ skills are largely transferrable and board-certified music therapists are equipped to work with most populations, some vulnerable settings, such as the Neonatal Intensive Care Unit (NICU), require additional training. Music therapy can be impactful for patients and families with premature infants when appropriate interventions are facilitated by an MT-BC with the credentials NICU-MT. The primary two evidence-based interventions used in the NICU are known as Multimodal Neurologic Enhancement and the Pacifier Activated Lullaby (PAL®️). Multimodal Neurologic Enhancement is a progression incorporating auditory, tactile, and vestibular stimulation aimed to increase tolerance to environmental stimuli for premature infants. This is important to premature infants due to the overstimulating environment of the NICU and the procedures they are experiencing. The Pacifier Activated Lullaby or PAL®️ is a device that uses contingent music as reinforcement to promote the development and strengthening of the non-nutritive suck. This is impactful for infants in the NICU and supports their developmental milestones. These are just two of many interventions a NICU music therapist can facilitate. In order to work with infants in the NICU, one must take steps to become certified through The National Institute for Infant & Child Medical Music Therapy. This training includes a NICU-MT class, held in person or virtually, a hands-on fieldwork component, and an exam. CMTE credits are also offered for obtaining the certification. More information can be found at https://music.fsu.edu/Music-Research-Centers/NICU-MT/ or @nicu_mt_institute on Instagram! Written by Sydney Winders, MT-BC, AMTAS President-Elect
Released in 1972, “Lean On Me” by Bill Withers, is a soulful anthem. This track is listed as number five on the album Still Bill. “Lean On Me” is categorized under the singer-songwriter, soul music, R&B, and funk genres. Lyrics to this song can be found here. In 2006, American Songwriter conducted an interview with Withers. When asked about the meaning of this song he responded, “The consistent kind of love is that kind that will make you go over and wipe mucus and saliva off somebody’s face after they become brain-dead,” he said. “Romantic love, you only wanna touch people because they’re pretty and they appeal to you physically. The more substantial kind of love is when you want to touch people and care for them when they’re at their worst,” (American Songwriters, 2021). Due to the nature of the simply beautiful melody, this message of authentic love has been uplifting many individuals. Song themes that connect to what Withers describes as “more substantial love” include support, connection, community, forgiveness, friendship, trust, and caring. “Lean On Me” is an appropriate song to facilitate a song discussion / lyric analysis of these themes. Generally, the music and meaning of this tune could be accessible to many individuals and groups. Additionally, “Lean On Me” has been known as an educational children's song and Black nationalism anthem (Genius, 2023). References Beviglia, J. (2021, August 2). Bill Withers, “Lean on me.” American Songwriter. https://americansongwriter.com/bill-withers-lean-on-me/ Bill Withers – Lean On Me. Genius. (2023). https://genius.com/Bill-withers-lean-on-me-lyrics By Sydney Winders, MT-BC, AMTAS President-Elect
Happy Pride Month! With gratitude we celebrate and support our students and professionals in the LGBTQIA2+ community. As a student community we are proud to honor all contributions to growth, innovation, and resilience in our community. We stand in acceptance as we focus on supporting the LGBTQIA2+ to celebrate pride this month and throughout the year. Below is a list of resources with information about the LGBTQIA2+ community and music therapy! Please feel free to include any helpful resources in the comments section of this blog to share with other students and professionals. LGBTQIA2+ Music Therapy Affinity Facebook Group: https://www.facebook.com/groups/1266098273579817/ Research Article: Annette Whitehead-Pleaux, Amy Donnenwerth, Beth Robinson, Spencer Hardy, Leah Oswanski, Michele Forinash, Maureen Hearns, Natasha Anderson, Elizabeth York. (2012). Lesbian, gay bisexual, transgender, and questioning: Best practices in music therapy. Music Therapy Perspectives, 30(2), 158-166. https://doi.org/10.1093/mtp/30.2.158. Informational Video: “Mindstorm Monday with Team Rainbow” by Music Therapy Ed https://youtu.be/otu0i0v-bSM Comprehensive Resource: Lee, Colin Andrew. (2022). The Oxford handbook of queer and trans music therapy. Oxford Academy. https://doi.org/10.1093/oxfordhb/9780192898364.001.0001. Written by Sydney Winders, MT-BC- AMTAS President-Elect
For most students, summer allows for a refreshing break from classes. This is an opportune time to reconnect with self-care practices. Defined by the Global Self-care Federation, self-care is “the practice of individuals looking after their own health using the knowledge and information available to them. It is a decision-making process that empowers individuals to look after their own health efficiently and conveniently, in collaboration with health and social care professionals as needed,” (Global Self-care Federation, 2023). Taking time for yourself is an investment in your future. Use summer break to care for yourself! Self-care looks different to everyone. The National Institute of Mental Health provides multiple suggestions for general wellness with self-care such as the following:
Citation: Global Self-care Federation. (2023). What is self-care?. https://www.selfcarefederation.org/what-is-self-care U.S. Department of Health and Human Services. (2022). Caring for your mental health. National Institute of Mental Health. https://www.nimh.nih.gov/health/topics/caring-for-your-mental-health |
