Rap—perhaps uniquely among musical styles—invites expressions that explicitly draw on the prisoner identity as a vital resource for artistic credibility and creativity. Progressive rock often privileges an aesthetic of compositional complexity and technical proficiency on a musical instrument, whilst punk is often associated with DIY ethics and antivirtuosic approaches to musicking. How can such apparently disparate attitudes towards music making be met, respected and reconciled in music therapy group work in prison, and how do these attitudes correspond to different strategies for “being a prisoner”? This article explores music therapy in a Scandinavian prison with a focus on prisoner participants’ notions of authenticity in musical performance. Through the presentation of two cases derived from an ethnographic enquiry into music therapy in prison, I introduce the musicking persona as a concept for understanding how the participants’ emerging identities as musicians were defined not only by their musical histories, aesthetic preferences, cultural affiliations or musical abilities, but also by the style of their musical participation. The analysis is discussed with reference to cultural criminology and desistance research. Implications for music therapy practice are addressed, including professional dilemmas linked to censorship and paternalism in creative processes in prisons.
A neonatal intensive care unit (NICU) is often a stressful environment for infants, potentially impeding developmental progress. Each interaction between a premature infant and their caregiver holds the potential to influence the infant’s neuro-emotional developmental trajectory. Premature birth can interrupt the natural bonding process, leading to increased parental stress levels. A parent’s ability to appropriately respond to their baby’s behavior is fundamental to the development of attachment and early relational connection. This article details the establishment and implementation of a live music therapy (LMT) program within a level III NICU in Italy. Situated within the Italian healthcare tradition of “humanization of care,” this program reflects a culturally responsive, family-centered approach. It operates in collaboration with other nonpharmacological interventions, including positive touch (PT), kangaroo care (KC) and babywearing (BW). These flexible interventions were delivered individually or in combination, tailored to meet the specific needs of each family, from the earliest days of NICU admission. This approach aims to provide age-appropriate and evidence-based sensory experiences across tactile, auditory, visual, and kinesthetic domains. The program was led by a certified NICU music therapist and a pediatric nurse babywearing consultant, both trained as infant massage instructors through the International Association of Infant Massage (IAIM) and as positive touch specialists for preterm infants. This paper provides a reflective account of the program’s establishment, focusing on its integration into clinical practice rather than formal research findings. Declarations Competing Interests The authors declare that they have no competing interests. Funding The music therapy program described in this article was supported by the Pulcini Combattenti ONLUS Parents’ Association (a non-profit organization dedicated to supporting families in the NICU).
Music is a common resource for adolescents, but relatively few studies have empirically investigated adolescents’ use of music for relaxation. This study aimed to answer the following questions: (1) Does self-selected music promote relaxation (at both subjective and physiological levels) in adolescents? (2) How does the listening setting (the length of listening and the content of music selection) relate to the relaxation response? Twenty-six adolescents had a twenty-minute long individual relaxation session with selfchosen music in two consecutive years. Participants assessed their Valence, Arousal, and Tension pre and post sessions, and Heart Rate Variability (HRV) was recorded throughout the sessions. Music was reported by participants in a free form. Results showed a significant increase in Valence, decrease in Tension, and increase in the HRV, indicating a significant relaxation response for the music listening. This physiological response was reached already after 5 minutes of listening. Participants with stronger relaxation response showed a stronger within-individual stability in responsiveness to music and tended to describe their music in greater detail than those with weaker relaxation response. This indicates that an in-depth personal relationship to music fosters musicfacilitated relaxation. Music-facilitated relaxation is a cost-efficient and individually adaptable approach for stress reduction. Our findings provide support for the efficacy of music-facilitated relaxation for adolescents. While the definition of relaxation is explored, the concept of personal relationship to music deserves further examination in future research. Funding The current study received financial support from Research Council of Finland (project numbers 136358, 316912, 346210) and European Union (ERC, MUSICONNECT, 101045747). Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Research Council. Neither the European Union nor the granting authority can be held responsible for them. Acknowledgements We wish to thank our project coordinator Markku Pöyhönen and research assistant TittaMarianne Tiihonen for their help in data collection for this study. Research Data The data is of sensitive nature and contains health-related information. Data sharing consent was not asked at the point of data collection. Specific anonymised parts of the data can be provided upon a special request. Conflicts of Interest The Authors declare that there is no conflict of interest.
Researchers have largely failed to examine why music therapists are leaving the profession and there is minimal research on career longevity within the field of music therapy. However, between the years 2020 and 2021 almost 300 music therapists, out of a total of 9,594, left the field in the United States (Certification Board for Music Therapists [CBMT], 2022). The purpose of this quantitative study is to examine workplace attitudes of former music therapists. Understanding workplace attitudes may help those in the music therapy profession at large understand the factors behind why music therapists—specifically new professionals—may leave the field. One hundred former music therapists located in the United States participated in the survey, which was an adapted version of the COPSOQ III (Burr et al., 2019). This study identified six main themes associated with leaving the music therapy profession: lack of safety in the workplace, lack of community and support, role ambiguity, high rates of demand, little possibility for development, and high rates of burnout. Prioritizing safety and support within clinical practice may help to address all six areas of concern. Additional research into what professions former music therapists pursue following their departure from the field, and similar analyses of related fields (social work, child life, etc.) is recommended to develop an understanding of this nuanced and challenging issue. Acknowledgements I would like to thank all the incredible people who helped to make this research a reality: Gray Baldwin, Dr. Sharon R. Boyle, Spencer Hardy, Dr. Virginia D. Driscoll, and Dr. Tracy Richardson. This study was completed as part of the Master of Art in Music Therapy program at Saint Mary-of-the-Woods College. I am incredibly grateful for my professors and thesis committee members who provided unwavering support and guidance throughout the program and research process. I would also like to thank my family and friends, without whom this would not have been possible. Special thanks to my cats—Fig, Fearne, and Arizona—who helped keep me company during all those late nights of writing.
This qualitative study explores how LGBTQ+ music therapists’ identities and lived experiences impact their therapeutic practices and relationships with service users. Through semi-structured interviews with three LGBTQ+ music therapists, this research investigates authenticity, empathy, identity expression, and intersectionality with neurodivergence. The findings highlight how participants’ personal histories of marginalisation and queerness inform their approach to music therapy, influencing their relational depth, therapeutic flexibility, and ability to foster safe, inclusive environments. Music becomes a medium not only for emotional expression but also for affirming identity and challenging social norms. Therapists’ experiences with internalised oppression, fear of disclosure, and navigating professional boundaries reveal the complex dynamics of being LGBTQ+ in clinical practice. A key insight is the therapists’ use of shared or parallel experiences of exclusion as sources of empathy, enhancing connection and trust with service users—especially queer and neurodivergent youth. The study concludes that LGBTQ+ therapists’ identities are not separate from their professional roles but are essential to their therapeutic ethos. The findings contribute to growing conversations around inclusivity in music therapy and suggest systemic support structures that affirm the identities of LGBTQ+ therapists in practice. Aknowledgements I would like to thank all the participants for their contributions to this research and for taking the time to share their experiences openly. Thank you to my supervisor for their guidance and support.
In this article, the author offers exploration and insight, building on Dr. Carolyn Kenny’s metaphor of the great river of humanity that flows underneath all music therapy practice. Adapted from a recent music therapy regional conference keynote, the author draws on local contexts and themes of resource, relationship, and refusal, to frame insights for readers to apply to their reflexive thinking in music therapy. These ideas are grounded on examples from theory and practice representing scholarship in areas such as Indigenous ways of being, resource-oriented music therapy, anti-colonial framing, human flourishing, cultural humility, and Disability justice. From this foundation for reflexivity, the question is asked, “How would we define music therapy differently if we are reframing in these ways?” A definition for music therapy is offered from this context that is not meant to be the newest and best definition, but to give a grounded example of how our resource- and ecologically-oriented dispositions should shape our thinking. Instead of viewing ourselves in fixed roles and as centered with the most resources for change in therapeutic contexts, we are invited to a sustained reflexive process through a journey of capacity building that supports transformation.
Up to 50 million individuals in the United States are currently living with autoimmune diseases (AD). ADs can affect multiple systems in the body and impact the daily life and mental health of those living with ADs. While there are several pharmacological treatments that improve symptoms, many individuals, often women, remain underdiagnosed and have a high occurrence of mood disorders. Since music therapy has been shown to have a positive impact on individuals with mood disorders, it may be effective for adults with AD who have mood disorders, particularly when a resourceoriented approach is utilized. This study will outline the clinical treatment protocol used within the context of a feasibility study. This research will present the overall clinical approach and music therapy interventions. It is our hope that these descriptions and reports may be useful to other clinicians supporting adults with ADs. Limitations and suggestions for future research and clinical practice will also be discussed.
In this exploratory qualitative study using Memory Work methodology, we focused on the lived clinical training experiences of undergraduate music therapy students through collaborative reflection. Seven students and one instructor participated as co-researchers within a course-based undergraduate research experience (CURE). Initially, participants composed detailed “thick descriptions” of significant moments from their first clinical experiences. These narratives were then shared and coded in vivo during class read-aloud, followed by a focus group discussion that probed similarities, differences, and unspoken expectations related to clinical practice. Data were captured through transcripts of video recordings and analyzed manually complemented by AIsupported coding. The process distilled into three themes that illuminated pathways during clinical experiences that buoyed progress: (a) resilience in clinical placement as a catalyst for professional growth; (b) building therapeutic relationships and support networks fosters trust and emotional safety; and (c) understanding the therapy process and its impact cultivates professional insight and fulfillment. Two additional themes which illuminated dimensions that deepen an understanding of students’ growth include: (d) coping with anxiety in clinical settings is part of the emotional journey and (e) sensory awareness and personal presence support preparedness. Findings highlight how Memory Work facilitates reflective inquiry into varied aspects of clinical practice, with insights into flexibility, adaptation, resilience, vulnerability and psychological safety in supervision. Disclaimer/Acknowledgement An earlier version of this manuscript was presented at the research poster session of the American Music Therapy Association regional conference, LaGrange (March, 2020). ChatGPT version 4.1 was used to generate ideas for qualitative data analysis. The data that support the findings of this study are available from the corresponding author upon reasonable request.
The Rocking Rainbows is a music band that began in 2019, blending therapeutic musicmaking with a spirit of collaboration and self-expression. What started as a simple idea between Reg (band member) and Sophie (music therapist), soon grew into a band with three other members: Michael, Matthew and Ina, the latest joining in 2024 and bringing a new musical energy with his Pacific Island drum (pātē). The story of the band is shaped by the voices of disabled musicians who have used music as a tool to build confidence, express emotions, and navigate challenges. Through collaborative songwriting, the band created songs inspired by personal experiences, relationships, struggles, and joy. Their performances at events like the New Zealand Fringe Festival and Newtown Festival in Wellington, New Zealand allowed them to share their music with wider audiences, building self-esteem and fostering a sense of community. The band’s journey highlights the power of music to connect, grow, and inspire, turning obstacles into opportunities for growth. The Rocking Rainbows’ evolution is a testament to the transformative nature of music and its potential to empower disabled individuals, to promote their creativity and share it with the world. Notes All the people involved in this paper have chosen to keep their real names and to share the fruit of their work in music therapy as well as in public performances. Before publishing this article, we discussed in clear terms that photos, videos, and text presented here would be publicly accessible. All participants gave informed consent to be publicly identified, a decision that reflects their sense of ownership, pride, and agency over the music they create. As Krüger and Murphy (2023) emphasise, acknowledging clients’ rights to their creative work is not only an ethical requirement but also an opportunity to strengthen their sense of identity and authorship. The Rocking Rainbows take great pride in sharing their musical journey. They are proud of the work they do, the music they compose, record, and perform and they value opportunities to share their talent with the wider world. As Krüger (2018) notes, the act of public performance can be deeply validating, allowing creators to “stand out as someone worth listening to, with a voice and a story to tell” (p. 473). The purpose of this article is to serve as a platform for the band members’ voices and perspectives, giving them rightful authorship, visibility, and agency over their own narrative. Their decision to appear publicly and to be credited for their creative work reflects a core value in community music therapy: that disabled individuals have the right to be heard, recognised, and celebrated as artists.
This study aims to connect discourses about allyship and reconciliation to music therapy by centring the voices of Indigenous practitioners. Canada is working toward reconciliation with Indigenous Peoples and aspiring allyship is a way to guide this pursuit both in general and in therapy settings. Music therapy researchers have discussed components of allyship through explorations of anti-oppressive practice, social justice, and cultural competence, but this field of scholarship is continuing to emerge. In this study, the experiences and stories of three Indigenous music therapists in Canada are analyzed within narrative inquiry and phenomenological frameworks. Data represent the personal stories, perspectives, and lived experiences of these practitioners related to the dimensions of allyship. A co-developed framework for allyship emerged that includes becoming informed, advocacy, listening and openness, collaboration and relationship, accountability, reflexivity, words and actions, and individual and community contexts. Building on this framework, the co-authors discuss allyship’s congruences with therapeutic skills and music therapy contexts to build opportunities for reconciliation in Canada.
The provision of mental health and therapeutic services is deemed a vital response to the vast traumatisation of the largely bicultural community of Northern Ireland resulting from the “Troubles” conflict. Music therapy research places importance on understanding, interacting, and valuing the culture of a client. Irish traditional music is often regarded as an integral part of the Irish self-identity in Catholic/Irish identifying members of Northern Irish society; accordingly, investigation into its use in Northern Irish music therapy is necessary. Following ethical approval, semi-structured interviews were conducted with Northern Irish music therapists (n = 3), and a thematic analysis was undertaken. Three main themes were identified: (1) the music therapist’s musical identity, (2) client centred practice, and (3) Northern Ireland as a workplace. The findings demonstrate cross-cultural music therapy in Northern Ireland and support the use of cultural music in Northern Irish music therapy practice.
This exploratory case study focuses on a 90-year-old female dementia patient, a veteran of the Second World War, who participated in multiple face-to-face singing and activating sessions. These sessions utilised interactive singing designed to stimulate cognitive, emotional, and motor engagement. The primary objective was to explore the sensorystimulating techniques used by the music therapist and to document the patient’s emotional, social, and motor responses. A case study was employed, combining qualitative and quantitative analyses of two video-recorded sessions. Findings reveal that familiar songs evoked autobiographical memories, enhancing emotional engagement and facilitating verbal and non-verbal psycho-social interaction. Rhythmic cues stimulated motor activation, while communal singing improved affective (emotional) responses. The study emphasises the importance of cultural and historical relevance in selecting musical material to optimise emotional and cognitive engagement in dementia care. Findings suggest that personalised interactive music interventions may improve motor, cognitive, emotional, and social engagement in dementia patients, supporting communication and reducing social isolation. Further research is recommended to validate these findings and explore the underlying mechanisms of music-induced cognitive and emotional activation in dementia patients.
Imposter syndrome describes a phenomenon where individuals undervalue their competence by attributing successes to external factors. The experience encompasses feelings of anxiety and shame, leading individuals to perceive themselves as frauds who do not belong in their professional roles. Music therapists, including both interns and seasoned professionals, are not immune to this phenomenon. If individuals do not address their imposter experience, it can negatively affect clinical performance, professional growth, and overall well-being. This article examines the professional and personal impact of imposter syndrome on music therapists by exploring the authors’ experiences as interns creating a virtual bereavement group. Additionally, drawing on current research, we explore various strategies for managing imposter syndrome including a process-oriented approach, journaling, peer support, interdisciplinary collaboration, and supervision. In conclusion, our analytical reflections aim to deepen understanding of the characteristics and effects of imposter syndrome on the professional and personal lives of music therapists while offering practical strategies to mitigate its impact.
This paper investigates the role of music therapy in supporting refugee children and youth from Ukraine during their initial resettlement in Norwegian schools. With the ongoing war in Ukraine escalating since 2022, a significant number of refugees have sought safety in Norway, prompting the exploration of music therapy as a tool for their emotional and social adaptation. The study employs focus group interviews with school staff, utilizing thematic and narrative analysis to uncover key insights. The findings are categorized into two main themes: How Music Provided Support andChallenges in Implementing Music Therapy. The first theme highlights the positive impact of music therapy, including its ability to provide emotional support through calming activities, foster relationships among peers and between students and teachers, and promote a sense of fun and mastery. The second theme addresses the obstacles encountered during implementation, such as the initial lack of structure and continuity, limited understanding of music therapy’s role, and the need for stronger institutional support at higher levels within the school system. These findings underscore the value of music therapy in promoting resilience and social cohesion, while also emphasizing the importance of clear organizational frameworks and interdisciplinary collaboration for successful implementation. The paper concludes by proposing implications for practice. Acknowledgements The project received support from Polyfon knowledge cluster for music therapy, to create a qualitative study of the initial phase.
Individuals with Substance Use Disorders (SUDs) require multiple levels of care and support for recovery. Moreover, people with SUDs must adopt a new way of living which fosters meaning, personal growth, and connection with others to sustain ongoing sobriety. Research suggests that spirituality can often play an integral role for persons in recovery. There is a paucity of research which examines music therapy’s efficacy for addressing the spiritual health needs of individuals with SUDs. A survey was conducted to learn more about how, and if music therapists in the United States are treating the spiritual health needs of people with SUDs. Music therapists reported that “connection with others” and “exploring relationship with self” were the most common spiritual health goals addressed in music therapy. Song discussion and lyric analysis were the most used methods to address spiritual goals. The United States’ imperative for the “Gold Standard” of evidence-based practice and its potential influence on music therapy treatment are considered and explored in the context of spiritual health needs. The present study can help to broaden the knowledge base of current trends in music therapy practice in meeting the spiritual health needs for persons with SUDs, as well as provide recommendations for future research, and music therapy educators in the United States. Acknowledgements I would like to thank Dr. Jingwen Zhang for her support and invaluable feedback. Additionally, I would like to thank Dr. Annie Heiderscheit and Jim Borling, for their input which was used to help construct aspects of this study’s survey questionnaire, as well as their encouragement and support. Lastly, I would like to thank Dr. Kathleen Murphy, whose endless support and inspiration helped me to fulfill this project.
Music continues to play an integral role for First Peoples around the world in practicing and sustaining Culture, as well as maintaining connection to spirituality. In the face of enduring colonialism and its devastating impacts on First Nations communities, music keeps stories, language, and identity alive. In the Lands of so-called “Australia,” these stories sustain the longest continuing culture on the planet, stretching back at least 60–80,000 years. Yet, while these Cultures are timeless, ways of expressing them are constantly evolving, becoming infused with cultural traditions from around the world. Through interview, this article explores Indigenous creative practice in the context of contemporary post-colonial “Australia,” focusing on four key topics: creative practice as an Indigenous artist in present-day society; implications for intercultural music engagement; impacts of global events like COVID-19; and Indigenous creative practice in industry contexts. The discussion further explicates the unique experiences and challenges of contemporary Indigenous artists, and implications for connections between arts, healing and social justice. Finally, some brief learnings for music therapy are offered to help the field reflect critically and honestly on the benefits and implications of combining arts and healing on Indigenous Lands, and our collective responsibilities in honouring Indigenous Culture in therapeutic spaces.
This editorial provides different perspectives on access and invites readers, authors and reviewers to actively join the collective process of improving accessibility.
This editorial pays tribute to former Voices Editorial Team member Barbara Wheeler, acknowledges service from people stepping down from the editorial team and welcomes new editorial team members. It also provides an overview of the articles in this March 2026 issue of Voices.
Growing attention highlights the potential of music as a social prescription to enhance wellness. Explicating music’s function in communities can lead to healthy outcomes. During the COVID pandemic, communities tended to isolate, increasingly avoiding in-person interactions. Progress in music-based interventions highlights the potential of live music to improve our sense of community. The need for social prescribing to develop and maintain community brings us together. We propose a model that highlights how music serves as a social modality for maintaining wellness. As a musician and a music therapist, our focus includes analyses of historical contexts through time, and how through humanity’s struggles we’ve relied on music’s integrative elements to unite us, moving toward resilience as a quest to survive. Integrating these trajectories and expanding upon them, we elucidate ways that live engagement in music can strengthen performance and health and wellness. Music’s capacity to treat social aspects of humanity changes the way humanity works within community. This includes our sense of feeling connection and togetherness that feeds social willingness to perceive intimate relationships. In contexts where healthcare systems prioritize symptom management, we must realize that the larger picture includes how we socialize, thus Social Music is supported herein as an inclusive model of care.
