This chapter focuses on therapeutic songwriting approaches and techniques for supporting bereaved students. Music therapy-based songwriting offers grieving students a myriad of opportunities to validate, identify, normalize, and express thoughts and emotions, as well as to understand, feel, remember, integrate, and grow. An overview of the “VINE principle” (validation, identification, normalization, and expression of feelings and emotions) is provided as a useful way to support healthy grieving. The Grief Process Scale is an evidence-based measure of five grief process areas (understanding, feeling, remembering, integrating, and growing) and has been used in music therapy to document changes in core behaviors, thoughts and feelings regarding a child’s loved one, and how the child is coping since the death. Recommendations for those leading music interventions are included, as well as song resources and tips for non-music therapists.

As a way of staying current with electronic music technologies, this article describes four categories of these technologies and provides evaluative considerations to help clinicians efficiently and effectively understand potential applications. Through vignettes of music therapy practice, this article will elaborate on the clinical use of these software, stand-alone products, electronic keyboards, and iPads/tablets categories. Specific therapist action steps for evaluating the usefulness of these products are provided for each category. A summary section details nine considerations for clinicians when determining which resources could be used in their work.

Journal Article Songs in group psychotherapy for chemical dependence Get access Reitman A. D. ( 2011). Songs in group psychotherapy for chemical dependence. Gilsum, NH: Barcelona Publishers, 148 pages, ISBN 978-1-937440-07-7. Robert E. Krout Robert E. Krout Dallas, TX Search for other works by this author on: Oxford Academic PubMed Google Scholar Journal of Music Therapy, Volume 50, Issue 1, Spring 2013, Pages 58–63, https://doi.org/10.1093/jmt/50.1.58 Published: 01 March 2013

This article reports on a study of 21 Australian and United States (US) tertiary/university students involved in training to become professional music therapists. The study aimed to identify the learning outcomes – musical, professional, and personal – that occurred when students participated in collaborative peer songwriting experiences. Student dyads (and one triad) co-created two songs with peers related to their clinical experiences. After the study, participants provided written reflections on pre-determined questions to identify students’ perceived learning. A content analysis of their responses was undertaken by the authors and forwarded to students for verification. Analysis of student reflections revealed that students developed a deeper understanding of the therapeutic potential of songwriting, including its capacity to express mixed emotions. Their professional skills were enhanced, particularly that of insight and reflection. Further, learning about the self was evident in their identification of their own strengths and weaknesses, the way they respond to stress, and how they can utilize songwriting as a tool for managing their emotional states. In addition to how these results relate to music therapist training, we outline how these findings relate to and may be applied within music teacher education training as well.

Songwriting has become increasingly prominent in music therapy literature as have investigations of it. This is illustrated by a recent international survey (Baker, Wigram, Stott, & McFerran, 2008, 2009) of songwriting practice by professional music therapists, which was completed by 477 individuals in 29 countries. With a pool of 3,152 music therapists in the survey, this implies that at least 15 percent of music therapists are using songwriting within their practices internationally. Assuming this represents a conservative estimate of the number of therapists who write songs with clients, the survey reveals the importance of investigating songwriting from a number of perspectives.Lyrics are an important element of therapeutic songwriting, which combines the non-literal meanings inherent in instrumental music with the precise connotations of words. The focus of this article follows a tendency in the literature to emphasize lyrical over musical interpretations when examining original song composition with clients. Music therapists typically use songwriting with clients who have verbal capacities and who are interested in exploring their therapeutic needs through words. Improvisation is suitable for those who are not able to express themselves using words or are uninterested or ineffective in doing so. The use of familiar songs is appropriate for those requiring directed or structured interventions.Collaborating with clients (in contrast to writing songs for clients) in songwriting most often involves the creation of lyrics as a priority, although this does not suggest that the music is not highly valued. Baker et al. (2009) found that music therapists and clients were inclined to compose the words first, followed by the music. Similarly, a survey by Jones (2006) of the literature on how therapists write songs for use in their work implies that lyrics are written first and play a critical role, with the music in a supportive role. Lyrics are an important element of songs written with and by clients and are worthy of significant investigation; however, this acknowledgment does not suggest that the music plays a subservient role.To date the largest study of the therapeutic purpose of songs written as a part of music therapy was carried out by Jones (2006), who focused on songs written for clients. In addition, an international survey of songs written with clients was undertaken by Baker et al (2008, 2009). For the latter, 20 categories of goals were identified from the literature, and the 477 survey participants were asked to comment on the degree to which they addressed each category in their work. The most common goals were the following:* to externalize thoughts, fantasies, and emotions* to experience mastery and enhance self-confidence/self-esteem* to gain insight or clarify thoughts and feeling* to validate experiences/coping* to reduce anxiety, anger, and tensionIn addition to these goals, therapists who had been practising for more than ten years also focused on telling the client's story as a goal priority. The goals listed above emphasize the value of putting words to experiences and appear to draw heavily on a psychodynamic framework where cognitive processing of experiences are considered critical for therapeutic growth (Yalom, 1995). This is congruent with the knowledge gathered from the international survey that collaborative songwriting most commonly takes place in psychiatric and oncologic settings and that music therapists are likely to write songs for clients in special education or aged care where language skills may be minimal or diminishing (Jones, 2006; Williamson, 2006). Given the emphasis on meaning-making based on a psychodynamic orientation, two meta-levels of purpose were extrapolated by the researchers who divided the songs into those that focused on positive affirmation and those who grappled with, and expressed, complex aspects of experience. …

Songwriting is an increasingly prominent topic in music therapy literature. A number of large-scale investigations have examined strategies used by music therapists to compose songs with, and for, clients. Lyric analyses have also been published; these have canvassed small groups of clients in the areas of neurorehabilitation, palliative care, bereavement, and eating disorders. This paper describes an investigation that included a meta-analysis of client composed lyrics published in the music therapy literature and that aimed to make generalizations about the purpose of songwriting. It was hypothesized that goals being addressed through songwriting could be classified as either affirmation-oriented or process-oriented. This hypothesis was not confirmed; instead, the complexity of analyzing lyrics without sufficient contextual or insider information was confronted. Recommendations for future studies include the use of more systematic approaches to soliciting raw data and the use of analytic strategies.

Self-reflection is integral to effective clinical practice and yet is a skill that many intelligent students struggle to develop. This paper reports on the findings of a pilot study where students shared both positive and challenging experiences with each other and co-wrote songs that captured their experiences. Four students attending clinical practicum engaged in collaborative songwriting experiences with peers from both the same and different universities in the US and Australia. These experiences utilized both face to face and online environments utilizing Skype communication software. Lyrics were reviewed by the researchers and were compared with themes and categories about music therapy clinical training found in the literature. Findings suggest that collaborative songwriting provides opportunities for students to engage in experiences of reflection with other peers.

Songwriting and electronic technology applications are two areas utilized in music therapy. Students learn about these topics in university training programs. The purpose of the study was to engage students in collaborative songwriting to help them develop their songwriting skills while utilizing Skype technology. Four clinical placement students engaged in collaborative songwriting with peers from both their own and different universities Data consisted of student written reflections on their experiences of Skype technology for peer songwriting and comparison of those experiences with face to face peer songwriting. A six-stage process of thematic data analysis identified seven themes about students' perceptions of songwriting and five themes about the impact of the Skype technology on the songwriting experience. Six specific recommendations and suggestions were made by students as to how to improve the set-up of the music therapy telehealth environment for songwriting sessions.

The provision of therapy to clients online is gaining strong recognition as effective in medicine, psychiatry, and other allied health fields. However, music therapists are yet to engage with this therapy context. Working with an adolescent with Asperger's Syndrome, we trialled an online songwriting intervention via videoconferencing software (in this case Skype Ltd) and compared the adolescent's participation with participation in a face-to-face context. A microanalysis of video footage combined with interview reflections from the treating therapist and adolescent were analysed to build a picture of engagement and skills in social interaction. Our investigation showed that the adolescent was highly engaged in the Skype session, offered more eye contact, was more creative in his lyric creations and was more confident to offer disagreeing statements. Further trials using online approaches are needed to ensure that music therapy approaches are aligning with practices occurring in other health disciplines and that therapy services can be accessed by those unable to attend music therapy clinics.

This clinical case study describes a 3-year-old girl diagnosed with childhood apraxia of speech and her progress in weekly music therapy. The child was seen for a total of 24 sessions over a period of 9 months. The music therapy treatment involved a mixture of behavioral, improvisational, and creative approaches in what has been termed a data-based music therapy approach. A variety of musical interventions, visual, and interactive aids were used, as well as an engaging, playful dialogue between child and the clinician. The child's communicative methods at the beginning of her treatment process were almost exclusively non-verbal. By the final session, she was pronouncing a number of syllables, combination sounds, and words. The treatment program is described as it unfolded in three phases, and significant events from each individual session are described in detail.

This article is a description of the Music Therapy Assessment of Automatic Thoughts (MTAAT), a cognitive behavioral intervention designed to help couples improve communication. This method was designed to be a part of the type of communication training exercises that may take place in marriage counseling. It involves spouses taking turns improvising on percussion instruments to depict musically what they perceive as their typical pattern of communication. While one improvises, the other writes thoughts that result from what the other is musically “saying.” These are designed to serve as assessments of the automatic, conscious thoughts each spouse has when communicating. The results of an initial clinical application suggest that the MTAAT may successfully enable couples to communicate musically with one another and may reveal a degree of interpersonal knowledge about their relationship and the types of automatic thoughts they have while communicating verbally with one another. The authors suggest the need for research on the applicability of the MTAAT in a marriage counseling setting and other settings where therapists use cognitive behavioral music therapy interventions.

The guitar has been referred to as both one of the principal instruments in music therapy and an instrument of motivation, preference, and choice, partly because clients may express preference for the guitar or seem attracted to or motivated by it. In this article, an examination of the literature is made to determine how the guitar has been reportedly used in clinical music therapy settings. English-language sources were searched both electronically and by hand, and were only included if the criteria of client preference for, attraction to, choice of, or motivation towards guitar was discussed. The search yielded a total of 64 sources representing a 40-year period (1966–2005). The total number of sources for each of the age categories included: children, 19; adolescents, 18; adults, 23; and seniors, 4. Within each age range, sources are reviewed by special need areas, with the areas ordered alphabetically. Finally, sources within these need areas are reviewed in chronological order of publication. A conclusion section summarizes the findings in three broad areas. These include the increased use of guitar as reported across the 40-year period, the shift in the percentage of age ranges with whom music therapists are using guitar by decade of review, and the relationship between client populations and need-related focuses across the four age ranges.

Journal Article The Grief Song-Writing Process with Bereaved Adolescents: An Integrated Grief Model and Music Therapy Protocol Get access Thomas A. Dalton, Thomas A. Dalton Indian Ridge School, West Palm Beach, Florida Search for other works by this author on: Oxford Academic PubMed Google Scholar Robert E. Krout Robert E. Krout Meadows School of the Arts, Southern Methodist University, Dallas, Texas Search for other works by this author on: Oxford Academic PubMed Google Scholar Music Therapy Perspectives, Volume 24, Issue 2, 2006, Pages 94–107, https://doi.org/10.1093/mtp/24.2.94 Published: 01 January 2006

Wellness as a movement for both healthy persons and those with diagnosed diseases has been growing in both popularity and acceptance by consumers and the health industry. Wellness in part includes an individual's positive attitude towards, and active engagement in the health environment in which they function. A focus of wellness can include techniques and methods that people can use in their lives to combat stress and facilitate relaxation. Music as a sound medium has been used as part of wellness programs in a variety of ways, including as a sonic background for relaxation experiences. In this article, the role of music listening to positively affect neurophysiological and emotional responses related to relaxation is examined. Neurological bases of music listening and sound processing are reviewed, with emphasis on how music is processed by the limbic and related biological systems, including endocrine and hormonal responses. Suggestions for how consumers may use music listening in their own wellness and relaxation regimens are provided, including descriptions of which music to consider, where to obtain it, and how to use it.

The Resilience Songwriting Program (RSP) for adolescent bereavement aims to offer a space for adolescents to nurture strengths and inner resources while also processing grief alongside peers. This study explored the feasibility and acceptability of the RSP with five males and five females (ages 11–17 years) who self-identified as grieving. Implemented as eight, 90-minute sessions at two community-based settings and as eight, 60-minute sessions at a middle school, feasibility data included tracking referrals, enrollment, attendance per site, reasons for missed sessions, and reasons for withdrawal. Input from three music therapists on barriers to and facilitators of successful RSP implementation was also collected. Acceptability data were obtained through individual post-program qualitative interviews and journaling completed during RSP sessions. The adolescents found the RSP acceptable, relevant, and meaningful. Recruitment was most feasible in the school setting, yet the music therapist found it challenging to complete the RSP protocol within the 60-minute session time frame. Music therapists in the community-based settings found the RSP protocol feasible to implement in the 90-minute session time frame. Future studies on the RSP should consider group composition, participants’ readiness to share song recordings with non-group members, and the clinical appropriateness of taking home song recordings.

As members of interdisciplinary bereavement and grief counseling teams, music therapists may have opportunities to be involved in designing and facilitating one-time grief-related support groups and programs. The aim of these groups and programs is not to replace or to substitute for on-going or in-depth grief counseling for bereaved persons. Rather, they are designed as one-time group experiences to aid in the grieving processes of persons who have experienced the death of a loved one. These participants may or may not have taken part previously in organized grief therapy. These onetime programs may take place in health, professional, school, and community-at-large facilities and settings. This article describes how music therapist-composed original songs have been used to help meet the goals of such programs. The article begins with a brief overview of some common tasks and processes of grieving. An example of how a music therapy department supports the bereavement department in an interdisciplinary approach to designing and implementing such programs at a hospice organization in the southeastern U.S. is described. Several different types of one-time grief-related programs and groups are outlined. An introduction to the use of precomposed original songs in one-time brief grief programs is given, focusing on the use of song metaphors to create participant connections, introduce and explore session themes and topics, and in particular to help facilitate one-time group rituals. Examples of four original therapist-composed songs using metaphor in group programs are shared.

Contemporary Guitar Applications Robert Krout, Dr., RMT-BC Robert Krout, Dr., RMT-BC Director of Music Therapy Music Department, SUNY at the New Paltz , New Paltz, NY 12561 Search for other works by this author on: Oxford Academic PubMed Google Scholar Music Therapy Perspectives, Volume 14, Issue 1, 1996, Pages 10–11, https://doi.org/10.1093/mtp/14.1.10 Published: 01 May 1996