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Most would agree with the idea that music can have a powerful hold over us—our thoughts, feelings, and movements. Given this, how might music help measure thoughts, feelings, and movements in a way that allows professionals in healthcare improve client treatment? The music therapy profession seems to be experiencing a surge in developing data-measuring tools that incorporate music in the client assessment.
For many years, the prevailing view among both cognitive scientists and philosophers has been that the brain is sufficient for cognition, and that once we discover its secrets, we will be able to unravel the mysteries of the mind. Recently however, a growing number of thinkers have begun to challenge this prevailing view that mentality is a purely neural phenomenon.
Arts Based Research offers a new and diverse method for inquiring about the world around us. Whether examining social sciences or healthcare, this field offers a different approach and establishes an innovative framework for inquiry. We spoke with Professor Jane Edwards, the guest editor for a special issue of the Journal of Music Therapy, about her perspective on this emerging field.
More than ever before, educators around the world are employing innovative methods to nurture growth, creativity, and intelligence in the classroom. Even so, finding groundbreaking ways to get through to students can be an uphill battle, particularly for students with special needs.
There are many rewards that can be garnered through sharing our cultural reflexivity, honoring the voices of the people we serve, involving ourselves in honest and open cultural dialogue, and delving into uncomfortable topics involving race, class, power, and privilege.
Imagine someone close to you disappears. She no longer shows up on the day on which she always visited. She does not call or write. No one says where she has gone or if she is coming back. To make matters worse, you cannot ask about her. You experience feelings of sadness, anger, disappointment, and grief, to name a few. The only way you have to express yourself is through your behavior. You may retreat into yourself or lash out at others, but those who provide your care do not understand the source of your behaviors.
Every day after school, eager children cross the doorstep of a suburban Melbourne house. It’s the home of Daphne Proietto, an exceptional piano teacher who gives lessons to children six days a week, entirely pro bono. While some kids would be more inclined to see piano lessons as a chore, these kids can’t wait. The reason? Music for them is more than just an activity.
We have all experienced the effect music can have on our emotions and state of mind. We have felt our spirit lift when a happy song comes on the radio, or a pinging sense of nostalgia when we hear the songs of our childhood. While this link between music and emotion has long been a part of human life, only in recent decades have we had the technology and foundational knowledge to understand music’s effect on our brains in concrete terms. This knowledge has enabled trained professionals to use music therapy to help people with symptoms of depression, addiction, autism, and more.
I recently worked with a group, called Clarity Way, to put together an informative infographic all about modern music therapy and how it works. The infographic shows everything from how the field is growing–over 70 colleges offer a degree in music therapy–to how it can be applied to patients such as children with speech impediments.
While the concept of music therapy may be quite old, new techniques and applications are being discovered and developed all the time. We may even start to see more and more hospitals and medical institutions employ full time music therapists as part of their staff in the next few years. It will be interesting to see just how powerful music can be.
Headline image credit: Baby Bloo taking a dip. Photo by Marcus Quigmire. CC BY 2.0 via Wikimedia Commons.
Music therapy involves the use of clinical, evidence-supported musical interventions to meet a patient’s specific goals for healing (a useful fact sheet). The musical therapist should have the proper credentials and be licensed in the field of music therapy.
Music therapy is performed in rehabilitation centers such as 12 Keys Rehab, psychiatric and even general hospitals, private practices, nursing homes, schools, etc. to treat a wide variety of issues, including social, cognitive, emotional, and physical needs. After an initial assessment, the musical therapist prescribes a treatment plan in which the patient sings, moves and dances, creates, or simply listens to music. This experience facilitates a healthy outlet for patients to communicate and express their feelings, in addition to rehabilitating the patient physically.
Rand De Mattei, a music instructor with Blues in the Schools, gets in tune with Petty Officer 2nd Class Tyreen S. McRae, a participant in neurologic music therapy, at Naval Medical Center San Diego Feb. 28. Neurologic music therapy helps Wounded Warriors recover. Public domain via Wikimedia Commons
Music therapy and special populations
As it has become more prevalent, music therapy has proven to be useful for a wide variety of populations. One such population is victims of crisis and trauma. After the 9/11 terror attacks in New York City, the American Music Therapy Association founded The New York City Music Therapy Relief Project. The goal of the project was to serve the children and adults living in the metropolitan vicinity by providing them with music therapy services. Some of these musical therapy programs were customized with the specific needs of caregivers in mind, targeting teachers, counselors, social workers, doctors, and nurses. More than 3,000 teachers and students were served through eleven different music therapy programs that reached out to eight local schools.
Music therapy has also been used in the treatment of mental illness. In addition to the basic care they should be receiving, music therapy helped patients with schizophrenia to achieve an enhanced mental state along with improving their overall condition. What’s more, music therapy has been shown to drastically reduce the unwanted symptoms these patients sometimes experience, making them more capable of having conversations with other people, thereby alleviating feelings of isolation and giving them more of an interest in what is going on around them.
Along with helping those suffering from schizophrenia, music therapy has also been used as an effective way to treat clinical depression. Studies have shown that when adolescents who were depressed listened to music, they had a notable drop in the levels of cortisol (a stress hormone), and the left frontal lobe of their brain was activated, which was reported to be a positive outcome.
Those who struggle with anger have also benefited from music therapy treatments. When assessed with the Achenbach’s Teacher’s Report Form, music therapy patients made significant improvements on the scale of aggression and hostility. Studies suggest that group sessions of music therapy allow patients to express themselves in a positive way, transforming their aggression and rage into healthier forms of communication.
While music therapy can go a long way in improving the mental health of a patient, it can also help in more physical ways. For one thing, music therapy lowers a patient’s perception of their pain so that what might normally be extremely painful becomes a much more tolerable experience. For patients suffering with cancer and undergoing chemotherapy, music therapy has been known to lower incidences of nausea and anxiety, sometimes significantly lowering the fatigue, anxiety, and pain of those in hospice care.
Talking to a music therapist
I caught up with Alyssa Regan, who is in her second year in the master’s equivalency program for music therapy at Immaculata University. She’s also near the end of her full-time internship at Children’s Hospital of Philadelphia.
How have you personally seen music therapy work on someone?
I was planning on having a session with one of my patients that I had been seeing regularly since the beginning of my internship. This patient was only 16 months old and suffered from many medical complications. When I arrived at his room, I noticed an entire medical team standing around his bed; his monitor was beeping, his heart rate and respiratory rate were so erratic that numbers weren’t even showing. My patient’s face was red and he seemed to be writhing in discomfort. With approval from the medical team, I came in and began to quietly play guitar. Around the same time, the patient was given some medication. As I began to sing, my patient’s face calmed. I aimed to match the tempo of my music with his breathing and then gradually slow it down. His HR and RR appeared on the monitors and slowly decreased. After 20 minutes or so, his vitals were stable and he was asleep. After the session, one of the nurses said, “Well, either you’re a miracle worker or those drugs kicked in extremely fast!” I’m sure the medicine had a little to do with it, but it was also the music.
Since you started studying music therapy, have you seen it grow?
Yes. I think that more of the general population is beginning to recognize it as a credible field, especially as it seems to be gaining more publicity recently (e.g. the Gabby Giffords documentary and the recent segment on the news about music therapy with premature infants). I hope it continues to grow!
Is music therapy becoming more recognized in hospitals, nursing homes, etc.?
I think it is becoming more recognized in general, which hopefully means that there will be more jobs available. The most growth seems to be happening in hospice care.
How do you see music therapy expanding over the next ten years?
Ideally, I’d like music therapy to be seen as important as physical therapy, speech therapy, or occupational therapy. Will that happen over the next ten years? Probably not. However, I would not be too surprised if every hospice care organization, children’s hospital, and major medical and psychiatric institution in the United States had at least one music therapist on staff in ten years.
Scott Huntington is a percussionist specializing in marimba. He’s also a writer, reporter and blogger. He lives in Pennsylvania with his wife and son and does Internet marketing for WebpageFX in Harrisburg. Scott strives to play music whenever and wherever possible. Follow him on Twitter at @SMHuntington.
Oxford Music Online is the gateway offering users the ability to access and cross-search multiple music reference resources in one location. With Grove Music Online as its cornerstone, Oxford Music Online also contains The Oxford Companion to Music, The Oxford Dictionary of Music, and The Encyclopedia of Popular Music.
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I spend around 12 hours a week – every week – sharing thoughts, feelings, new ideas, reminiscences and even jokes with some very special children who have extraordinary musical talents, and many of whom are severely autistic. I’m Professor of Music at the University of Roehampton, and the children come to see me in a large practice room in Southlands College where there are two pianos, so we don’t have to scrap over personal space. My pupils usually indicate what piece they would like us to play together, and they tell me when they’ve had enough. Sometimes, they tease me by seeming to suggest one thing when they mean another. We share many jokes and the occasional sad moment too.
But the children rarely say a word. They communicate everything through their playing. For them, music is a proxy language.
On Sunday mornings, at 10.00 a.m., I steel myself for Romy’s arrival. I know that the next two hours will be an exacting test of my musical mettle. Yet Romy, aged 11, has severe learning difficulties, and she doesn’t speak at all. She is musical to the core, though: she lives and breathes music – it is the very essence of her being. With her passion comes a high degree of particularity: Romy knows precisely which piece she wants me to play, at what tempo and in which key. And woe betide me if I get it wrong.
When we started working together, four years ago, mistakes and misunderstandings occurred all too frequently, since (as it turned out), there were very few pieces that Romy would tolerate: the theme from Für Elise (never the middle section), for example, the Habanera from Carmen, and some snippets from ‘Buckaroo Holiday’ (the first movement of Aaron Copland’s Rodeo). Romy’s acute neophobia meant that even one note of a different piece would evoke shrieks of fear-cum-anger, and the session could easily grow into an emotional conflagration.
So gradually, gradually, over weeks, then months, and then years, I introduced new pieces – sometimes, quite literally, at the rate of one note per session. On occasion, if things were difficult, I would even take a step back before trying to move on again the next time. And, imperceptibly at first, Romy’s fears started to melt away. The theme from Brahms’s Haydn Variations became something of an obsession, followed by the slow movement of Beethoven’s Pathetique sonata. Then it was Joplin’s The Entertainer, and Rocking All Over the World by Status Quo.
Over the four years, Romy’s jigsaw box of musical pieces – fragments ranging from just a few seconds to a minute or so in length – has filled up at an ever-increasing rate. Now it’s overflowing, and it’s difficult to keep up with Romy’s mercurial musical mind: mixing and matching ideas in our improvised sessions, and even changing melodies and harmonies so they mesh together, or to ensure that my contributions don’t!
As we play, new pictures in sound emerge and then retreat as a kaleidoscope of ideas whirls between us. Sometimes a single melody persists for 15 minutes, even half an hour. For Romy, no matter how often it is repeated, a fragment of music seems to stay fresh and vibrant. At other times, it sounds as though she is trying to play several pieces at the same time – she just can’t get them out quickly enough, and a veritable nest of earworms wriggle their way onto the piano keyboard. Vainly I attempt to herd them into a common direction of musical travel.
So here I am, sitting at the piano in Roehampton, on a Sunday morning in mid-November, waiting for Romy to join me (not to be there when she arrives is asking for trouble). I’m limbering up with a rather sedate rendition of the opening of Chopin’s Etude in C major, Op. 10, No. 1, when I hear her coming down the corridor, vocalising with increasing fervour. I feel the tension rising, and as her father pushes open the door, she breaks away from him, rushes over to the piano and, with a shriek and an extraordinarily agile sweep of her arm, elbows my right hand out of the way at the precise moment that I was going to hit the D an octave above middle C. She usurps this note to her own ends, ushering in her favourite Brahms-Haydn theme. Instantly, Romy smiles, relaxes and gives me the choice of moving out of the way or having my lap appropriated as an unwilling cushion on the piano stool. I choose the former, sliding to my left onto a chair that I’d placed earlier in readiness for the move that I knew I would have to make.
I join in the Brahms, and encourage her to use her left hand to add a bass line. She tolerates this up to the end of the first section of the theme, but in her mind she’s already moved on, and without a break in the sound, Romy steps onto the set of A Little Night Music, gently noodling around the introduction to Send in the Clowns. But it’s in the wrong key – G instead of E flat – which I know from experience means that she doesn’t really want us to go into the Sondheim classic, but instead wants me to play the first four bars (and only the first four bars) of Schumann’s Kleine Studie Op. 68, No. 14. Trying to perform the fifth bar would in any case be futile since Romy’s already started to play … now, is it I am Sailing or O Freedom. The opening ascent from D through E to G could signal either of those possibilities. Almost tentatively, Romy presses those three notes down and then looks at me and smiles, waiting, and knowing that whichever option I choose will be the wrong one. I just shake my head at her and plump for O Freedom, but sure enough Rod Stewart shoves the Spiritual out of the way before it has time to draw a second breath.
From there, Romy shifts up a gear to the Canon in D – or is it really Pachelbel’s masterpiece? With a deft flick of her little finger up to a high A, she seems to suggest that she wants Streets of London instead (which uses the same harmonies). I opt for Ralph McTell, but another flick, this time aimed partly at me as well as the keys, shows that Romy actually wants Beethoven’s Pathetique theme – but again, in the wrong key (D). Obediently I start to play, but Romy takes us almost immediately to A flat (the tonality that Beethoven originally intended). As soon as I’m there, though, Romy races back up the keyboard again, returning to Pachelbel’s domain. Before I’ve had time to catch up, though, she’s transformed the music once more; now we’re hearing the famous theme from Dvorak’s New World Symphony.
I pause to recover my thoughts, but Romy is impatiently waiting for me to begin the accompaniment. Two or three minutes into the session, and we’ve already touched on 12 pieces spanning 300 years of Western music and an emotional range to match.
Yet here is a girl who in everyday life is supposed to have no ‘theory of mind’ – the capacity to put yourself in other people’s shoes and think what they are thinking. Here is someone who is supposed to lack the ability to communicate. Here is someone who functions, apparently, at an 18-month level.
But I say here is a joyous musician who amazes all who hear her. Here is a girl in whom extreme ability and disability coexist in the most extraordinary way. Here is someone who can reach out through music and touch one’s emotions in a profound way.
Romy playing piano with musical savant Derek Paravicini and Adam Ockelford
I explore the science of how Romy and her peers are able to do what they do in my new book Applied Musicology, which uses a theory of how music makes sense to all of us to explore intentionality and influence in children who use little or no language. If music is important to us all, it is truly the lifeblood of many children with autism. Essential brain food.
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