Exploring music therapists' experiences of sharing pronouns within group therapy

Ambrose, Elizabeth

If music therapists are following the code of ethics, they should be striving to provide inclusive practices. This includes how gender, and its concepts are communicated by therapists. In context of clinical group work, promoting gender inclusivity can be cultivated ...
Show moreIf music therapists are following the code of ethics, they should be striving to provide inclusive practices. This includes how gender, and its concepts are communicated by therapists. In context of clinical group work, promoting gender inclusivity can be cultivated through disclosure and musical choices. Additionally, there are contextual factors that influence clinical decisions made by the therapist. These factors can impact how gender identity is shared and explored by the therapist and clients in the group setting. There is growing research in the music therapy and counseling field regarding the impact of disclosing gender pronouns as well as how the therapeutic relationship is perceived to be impacted by the act of sharing pronouns with clients. However, minimal research has been curious towards how these decisions are made by the clinicians. This thesis aimed to explore the experiences of music therapists sharing or not sharing their pronouns within group settings, and how pronouns are considered when selecting songs for clinical experiences. Semi-structured interviews were conducted with five participants, who were recruited from social media postings. Through thematic analysis, four themes emerged from the data: 1) potential for harm, 2) culturally affirming practices, 3) context, and 4) musical considerations. The researcher hopes this research will be a useful addition to the growing literature exploring gender-inclusive music therapy practices.
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2024

Perspectives of Music Therapists Working with Sibling Pairs with at Least One who is Neurodivergent

Auty, Rebecca

This thesis explored music therapists’ perceptions of the benefits and challenges of working within a sibling structure, with at least one sibling identifying as neurodivergent. This research adds to the literature by contributing the perspectives of music therapists...
Show moreThis thesis explored music therapists’ perceptions of the benefits and challenges of working within a sibling structure, with at least one sibling identifying as neurodivergent. This research adds to the literature by contributing the perspectives of music therapists that work within this framework. Data was analyzed from two participants who completed a semi-structured interview focused on their experiences engaging in this work. Five primary themes emerged in the data: 1) training, 2) goal work, 3) session space, 4) therapist role, and 5) family. Overall, both participants shared similar experiences with their clients. The findings showed that music therapy is beneficial when working with siblings. However, due to the lack of research and minimal research participants, more research needs to be conducted in order to fully support these findings.
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2024

Music therapists' experiences working in a setting that values censorship

an interpretative phenomenological analysis

Boyce, Emily

This qualitative study examined the experiences of music therapists that work in an environment that promotes censorship practices. There are several studies that discuss censorship practices across helping professions but few studies within music therapy literature....
Show moreThis qualitative study examined the experiences of music therapists that work in an environment that promotes censorship practices. There are several studies that discuss censorship practices across helping professions but few studies within music therapy literature. Music therapy code of ethics and education stress the importance of self-reflection and recognizing biases for the therapist, however there is minimal information on biases when applying censorship practices. As a helping profession nonmaleficence is emphasized, however there is a paucity of research that includes the relationship between harm and censorship. Additionally, music therapy research and education identifies the need for culturally responsive practices, however have not included censorship and its effects on the therapist and participants in this movement. In this study seven participants engaged in one semi-structured interview to describe their experiences and relationships with self, clients, coworkers and larger institutions when experiencing censorship practices. Results demonstrate three overarching themes of values and beliefs, responses and navigating power in relationships. Each theme had at least three levels which described the experience of the client, therapist, co-workers and institution. These narratives and results suggest the need for continued research and discussion in the music therapy community on harm that may occur through censoring songs and experiences and ethical implications.
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2023

Unhoused veterans' experiences of song sharing in music therapy

Webster, Brianna

The purpose of this study was to explore the experiences of adult male veterans experiencing homelessness or poverty participating in group music therapy in a medium intensity residential treatment program. The intent was to gather service users’ perspectives about h...
Show moreThe purpose of this study was to explore the experiences of adult male veterans experiencing homelessness or poverty participating in group music therapy in a medium intensity residential treatment program. The intent was to gather service users’ perspectives about how music therapy, and the effectiveness of song sharing in particular, is useful to them in this context and what about it has been helpful. The study utilized thematic analysis with the intention of highlighting the voices of unhoused male veterans as limited research exists on song sharing within this group context, and particularly less that highlights the voices of the participants. Through qualitative analytic procedures, 4 overarching themes encapsulated the experiences of the participants: song sharing (1) is a positive experience, (2) integrates client choices to build community and connection, (3) supports relationship with music, and music (4) elicits a variety of responses. Each theme and 18 preliminary subthemes are outlined and discussed in detail, along with implications for music therapy practice and future research.
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2023

Potentials and barriers to culturally responsive music therapy education

Perspectives of music therapy educators

Bain, Candice

Abstract This qualitative focus group study explored perceptions of potentials and barriers to cultural responsiveness in music therapy education. Music therapy literature calls for an increase in culturally informed music therapy practice. However, despite cultural ...
Show moreAbstract This qualitative focus group study explored perceptions of potentials and barriers to cultural responsiveness in music therapy education. Music therapy literature calls for an increase in culturally informed music therapy practice. However, despite cultural considerations present in music therapy professional competencies, there are no standards for culturally responsive pedagogical practices. Simultaneously, there has been an acknowledgment in the music therapy literature of challenges to culturally responsive practices, such as the homogeneous, privileged identities dominant in music therapy's professional demographics, compounded by the privileging of Western classical music in music therapy education. In this exploratory study, an online focus group discussion was facilitated with seven music therapy educators to explore their perspectives on the definition of culturally responsive education, their reflective evaluations of their pedagogical practices, their perspectives on how standards of music therapy education inform and/or hinder the ability to foster cultural responsiveness, and their respective outlooks on how potentials and barriers to cultural responsiveness are impacting education, research, theory, and practice. Results demonstrated that educators who value cultural responsiveness believe it is being overlooked in the field of music therapy. Six themes with 34 sub-themes were found: defining cultural responsiveness (stances of humility, self-awareness, continual and constant attention, knowledge of systems of power, self-critique, process, accountability, skills), relevance to clinical practice (ethical responsibility, effect on the therapeutic relationship, effective versus ineffective practice), approaches in education (dedicated course work, infused throughout the program, gradually increasing depth, beyond the classroom, from the beginning, dialogical over technical, experiential learning), preparedness (personal/professional growth practice, training for supervisors and faculty, staying informed), institutional attitudes (the need for changing attitudes, the field is improving, superficiality, the burden on marginalized faculty, commitment to social justice, support from administration), and barriers (Eurocentricity, lack of diversity, AMTA, jam-packed program, no specific training, the need for research). These findings offer recommendations for how the field of music therapy approaches cultural responsiveness in our training programs.
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2019

The development of a reflective wellness self-assessment for music therapists

Chambers, Janelle

The inspiration behind developing a reflective wellness self-assessment tool for music therapists came from the rationale that 1) burnout is an ethical issue that is prevalent in our profession and 2) no other tool which encourages therapist self-reflection on this i...
Show moreThe inspiration behind developing a reflective wellness self-assessment tool for music therapists came from the rationale that 1) burnout is an ethical issue that is prevalent in our profession and 2) no other tool which encourages therapist self-reflection on this issue exists in the field of music therapy. In an effort to create a unique tool that is relevant to the uniqueness of the profession, this self-assessment resource was based on pre-existing research and literature specific to music therapists and their experiences of burnout and burnout prevention. The development of this tool involved four phases: 1) an extensive investigation and organization of music therapy literature regarding personal and professional wellness; 2) the development of the wellness self-assessment tool based on the results found in the literature; 3) an evaluation process of the self-assessment by advanced and student music therapy professionals; and 4) an examination of the evaluation results and making changes to the assessment based on those results. In addition to their questions and suggestions that contributed to changes made to the assessment, the evaluators also identified multiple uses of the wellness self-assessment for music therapists, such as: bringing results into individual, group, or peer supervision; administering it to interns and students; completing it at regular intervals (i.e. 5-year re-certification); using it for future research on music therapy burnout; and incorporating it into the music therapy curriculum. The evaluators also indicated that the strengths of the wellness self-assessment tool were that it is specific to the field of music therapy, it is holistic and comprehensive, and it inspires critical and valuable self-reflection. The Wellness Self-Assessment for Music Therapists has ethical implications and is designed to be a preventative resource that promotes self-awareness, self-reflection, and overall wellness for the music therapist’s personal and professional self.
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2019

The experiences of women in substance use disorder treatment engaging in parent-child music therapy groups

Cole, Halley

This thematic analysis explores the experiences of women in substance use disorder treatment who have participated in parent-child music therapy groups (“Mommy & Me Music Therapy”) and how these groups may contribute to parent-child bonding, parental self-efficacy, a...
Show moreThis thematic analysis explores the experiences of women in substance use disorder treatment who have participated in parent-child music therapy groups (“Mommy & Me Music Therapy”) and how these groups may contribute to parent-child bonding, parental self-efficacy, and social support among parents. Five women with substance use disorders who resided at the participating facility and engaged in at least six weeks of Mommy & Me Music Therapy groups took part in semi-structured interviews. Interview content was transcribed, analyzed, and coded. Themes that arose include improved parenting skills, parent-child relationship, feelings about self, community support, and outside uses of music. Throughout these themes, participants acknowledged how these groups impacted them in terms of bonding with their child, connecting with other women in the group, and striving to be the best possible parent for their child. Implications from the research include the importance of allowing a space for verbal processing within music therapy and including systems and family-based therapy training in music therapy education.
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2023

In a Big Voice

An autoethnography on entering, being in, and leaving the field of music therapy

Cumine, Colby

In this autoethnography, I utilized a handful of different techniques to recall, examine, and share my experiences while entering, being in, and leaving the field of music therapy. Those included: chronological listing, narrative journaling, songwriting, lyric analys...
Show moreIn this autoethnography, I utilized a handful of different techniques to recall, examine, and share my experiences while entering, being in, and leaving the field of music therapy. Those included: chronological listing, narrative journaling, songwriting, lyric analysis, and external collaborators. Examining the autoethnography revealed specific themes about my experience with music therapy, including the role of my identity and privilege, systemic pressures, resistance to systemic pressures, non-profit specific ethics, and community support. Sharing these specific experiences and themes aims to add to a growing literature of music therapy burnout, including why music therapists leave the field, what specific experiences feel like, and where music therapists go after leaving the field.
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2024

Music therapists and feelings of clinical inadequacy

A narrative analysis

Dalessandro, Susan

Abstract In this narrative analysis, semi-structured interviews occurred with six music therapists to examine their experiences of feelings of clinical inadequacy in music therapy. Five themes with twenty-one subthemes emerged in the data: professional development (i...
Show moreAbstract In this narrative analysis, semi-structured interviews occurred with six music therapists to examine their experiences of feelings of clinical inadequacy in music therapy. Five themes with twenty-one subthemes emerged in the data: professional development (insufficient knowledge, lack of training, lack of experience in field/setting, lack of professional support), workspace issues (lack of knowledge of music therapy by others, feeling like an outsider, unrealistic expectations, unfair comparisons, pressure from unrealistic parental expectations), intrapersonal issues (historical wounds, personal vulnerabilities, personal traits), felt experiences (emotional, psychological, visceral, social, physiological, physical), and coping strategies (honest internal observation, professional vulnerability/humility, and compassion). The findings of this study hold implications for education, supervision, and further music therapy research.
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2022

Experiences of trust in music therapy

perspectives of child survivors of domestic violence

Doron, Ashely

This qualitative thematic analysis explored children’s varying degrees of trust during music therapy after having witnessed domestic violence. As rates of domestic violence increase across the United States, children’s sense of trust is affected and there is a need f...
Show moreThis qualitative thematic analysis explored children’s varying degrees of trust during music therapy after having witnessed domestic violence. As rates of domestic violence increase across the United States, children’s sense of trust is affected and there is a need for further music therapy research from the perspectives of these children. In this study, semi-structured interviews were conducted with four child survivors of domestic violence after receiving four months of music therapy to explore how they understand and experience trust, as well as how trusting relationships are established and maintained with a therapist. Additional questions considered personal qualities that lead to trust or distrust, aspects of music therapy experiences that lead to additional trust in the therapist at different times, how experiences of trust change over time, what contributes to this change, and how the sociocultural locations of the therapist and child influence trust. The findings demonstrated that trust is a complex process that evolves over time and depends on certain qualities in a therapist, familiarity, and various aspects of music therapy. Three main themes with 13 sub-themes were found: qualities for trust and distrust (qualities that increase trust, qualities that decrease trust), process of developing trust and overall evolution (initial distrust/trust, insecurities and fears from participants’ past, familiarity leads to trust, connection to family/friends, feelings and experiences with trust, builds over time), and qualities of music therapy experiences (autonomy and choice, familiarity and predictability, types of instruments, types of experiences, music contains a wide range of expression). Findings provide recommendations for how practicing music therapists can create a trusting therapeutic relationship with child, adolescent, and adult survivors of domestic violence.
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2023

A survey of the experiences of Arab music therapists' academic and cultural adjustment in music therapy training

a mixed-methods analysis

Foster, Kristal

The field of music therapy is currently working towards increasing cultural awareness, equity, social justice, and belongingness for the wide diversity of music therapists and the people we work with. Due to the Eurocentric approach to music therapy education and tra...
Show moreThe field of music therapy is currently working towards increasing cultural awareness, equity, social justice, and belongingness for the wide diversity of music therapists and the people we work with. Due to the Eurocentric approach to music therapy education and training, the Arab community is a cultural group that has minimal representation in the music therapy literature. Throughout the Arab world the music therapy profession could still be regarded as being in its infancy stage. With limited international higher education programs in music therapy, most people living within the Arab region must travel to study. Previous research in music therapy and other mental health professions have indicated that international programs have fallen short in their ability to support the needs of international students, instead assuming they will acculturate with ease, and provide minimal education and guidance on ways therapeutic interventions can be adapted in various cultural contexts. This research study utilized a mixed-methods approach within a constructivist paradigm that pulls from feminist theoretical perspectives to better understand the educational and cultural experiences of Arab music therapists through an anonymous online survey. The data was analyzed for common themes that emerged. Overall, a majority of respondents felt that their music therapy education and training experience did not meet all of their cultural needs. The researchers hope that the data gathered will be useful for other Arab international music therapy students, but more importantly, that it will help guide and inform music therapy programs globally in their efforts to better support the needs of Arab music therapy students.
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2024

Ableism and colonialism in international music therapy service-learning settings

A critical discourse analysis

Gilman, Vee

Music therapy settings are often marked by multiple power hierarchies, in which music therapists hold privileged identities in areas such as race, disability, language, and class in relation to clients who may carry multiple oppressed identities. In international ser...
Show moreMusic therapy settings are often marked by multiple power hierarchies, in which music therapists hold privileged identities in areas such as race, disability, language, and class in relation to clients who may carry multiple oppressed identities. In international service-learning settings, these dualities can be even more pronounced. As international service-learning projects market themselves to young music therapists and students, they emphasize these projects’ ability to accelerate music therapists’ advancement in the profession. However, analysis of visual and written discourse can reveal subtler and more insidious consequences of such projects, particularly in the ways they uphold colonial and ableist paradigms. In this paper, I will outline some foundational understandings regarding Indigenous studies, Disability studies, “voluntourism,” and the relevance of representation. I will then analyze publicly available photos and text from four international music therapy service-learning projects, using Actor-Network Theory to identify colonial and ableist themes. The analyses will demonstrate that these experiences align and prepare young music therapists for broader music therapy practice mainly by reinforcing music therapy’s deeply colonial and ableist foundations. Music therapy identity in these images is white, settler, nondisabled, and aligned with Western music and culture; client identity is Indigenous, colonized, Disabled, and represented without markers of local cultural resources. Beyond identity, these images reveal relational patterns that align with colonial and ableist tropes. As represented in these images and texts, music therapists purportedly give, help, act, distribute, teach, and transform, whereas clients receive, wait, accept, assimilate, and “overcome.” The representations are not merely neutral agents that reveal existing dynamics; they also perpetuate problematic notions of music therapy as an assimilative and charitable agent, enacted by active “helpers” upon passive “sufferers.” They both accentuate and perpetuate assumptions of Black and colonized people as needy or deficient, positioning Western music therapists conversely as helpful and sufficient. In analyzing and interpreting these representations, I will approach the following questions: How much does music therapist identity depend on the construction of a needy other? In representing ourselves as helpers, how do music therapists unwittingly create or emphasize deficits in clients?
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2021

The music therapist's experience of conflicting approaches in the workplace

Goodenough, Haylee

This thesis aimed to explore the lived experiences of music therapists who practice from a different approach than the behavioral setting in which they work. I was interested in whether other music therapists experienced a dissonance that stemmed from conflicting app...
Show moreThis thesis aimed to explore the lived experiences of music therapists who practice from a different approach than the behavioral setting in which they work. I was interested in whether other music therapists experienced a dissonance that stemmed from conflicting approaches in their workplace, as I experienced this dissonance as a new music therapist. After completing an initial interest and demographic survey, nine participants were selected to participate in interviews, where they were asked predetermined questions about their approach to treatment, their facility's approach to treatment, and how they experienced and navigated this conflict. After coding, themes were organized using ATLAS.ti. Five themes emerged: 1) relationships, 2) power dynamics, 3) perceptions, 4) feelings, and 5) bridging approaches. Interpretations of the findings were provided, as well as recommendations for future research and implications for music therapy practice.
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2023

Embodied Speech Through Song

A Queer Autoethnographic Exploration of Gender Affirming Voicework in Music Therapy

Gumble, Maevon

Through queer autoethnography (i.e., queerly telling stories), I have explored the beginning development of a gender affirming voicework method within music therapy, informed by my personal experiences of seeking a more affirming voice for myself as a nonbinary trans...
Show moreThrough queer autoethnography (i.e., queerly telling stories), I have explored the beginning development of a gender affirming voicework method within music therapy, informed by my personal experiences of seeking a more affirming voice for myself as a nonbinary trans person, specifically doing this through my singing voice. This was further informed by literature from the fields of speech-language pathology, vocal pedagogy, and music therapy. This method will potentially provide a uniquely holistic space, working with the physical voice in terms of working on gendered behavioral changes and healthy vocal habits; the psychological voice in terms of supporting the emotional relationship that a person has with their voice, body, and Self; and the body in terms of encouraging relaxation and groundedness as well as working with the ways a person expresses/relates to their voice, body, and Self. In attempts to ignite a conversation around the possibilities of gender-based work within music therapy for trans, nonbinary, and cis individuals, I share my experiences of engaging in gender affirming voicework. Although this voicework is likely relevant to all individuals, it is perhaps more pertinent for trans and nonbinary folk. This is reflected throughout my autoethnography.
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2019

Understanding safety in music therapy

Hales, Grant

Although there is a growing emphasis on trauma-informed care in music therapy clinical practice, research specifically addressing the concept of safety—particularly psychological and physical safety—remains limited. Therefore, this thesis aimed to understand the conc...
Show moreAlthough there is a growing emphasis on trauma-informed care in music therapy clinical practice, research specifically addressing the concept of safety—particularly psychological and physical safety—remains limited. Therefore, this thesis aimed to understand the concept of safety in the field of music therapy and how it informs practice, education, and professional interactions. Given the limited existing research on this topic, a grounded theory methodology was employed to generate a deeper understanding of how safety is conceptualized in the field based on the lived experiences and insights of practitioners. The primary researcher conducted semi-structured interviews with a total of 11 participants. The interviews were recorded and transcribed, and the transcripts were analyzed and coded using ATLAS.ti. The findings proposed the following theory: Within music therapy contexts, safety is a dynamic experience that is constantly negotiated and co-constructed by participants through prioritizing care and well-being in the relationship and conditions for safety, including trust, are present. Interpretations of findings, implications for music therapy practice, and recommendations for future research were included.
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2024

Imagining a post–intentional phenomenology of cisnormativity

A philosophical inquiry

Inmon, Braedyn D'mitri

My original plan for this thesis project was to conduct a phenomenological study that focuses on how cisnormativity influences and emerges through a clinician’s development of micro-skills, especially those who are transgender, Two Spirit, and Intersex or otherwise n...
Show moreMy original plan for this thesis project was to conduct a phenomenological study that focuses on how cisnormativity influences and emerges through a clinician’s development of micro-skills, especially those who are transgender, Two Spirit, and Intersex or otherwise non-conforming to the colonial gender paradigm (TTSI+) (Lugones, 2007). However, I struggled to find any phenomenological or clinical consideration of cisnormativity as a phenomenon, and it is rarely articulated as a system immersed in white supremacist bio-essentialism. So, this thesis is a philosophical inquiry that is grounded in Vagle’s post-intentional phenomenological (PIP) paradigm (2018). This inquiry details: 1) how the PIP paradigm may nurture more nuanced investigation of bio-essentialist systems of oppression, 2) how critical phenomenological and post-structural concepts in may be utilized to attend to cisnormativity as a phenomenon that is a part of the imperialist white supremacist capitalist cisheteropatriarchy (hooks, 1997; Yancy & hooks, 2015), 3) the productions and provocations of cisnormativity that emerged through my research process, 4) how these findings connect to current music therapy and related care work literature, and 5) what research project ideas have emerged for future study. Overall, I assert cisnormativity affects everyone, not just TTSI+ people. It is urgently important to slow down and open up to ways cisheteropatriarchy emerges through our habits, through text, and through theoretical frameworks, and to ways we may retroactively and proactively shift these dynamics. I hope my work enables all to nurture their reflexivity and resistance to bio-essentialist oppression through attending to relationships and holding consideration for the more-than-visual.
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2023

Sexual offenders in western Pennsylvania

An analysis of Megan's Law registrants

Kuhn, Elizabeth

In the United States, the implementation of sex offender legislation, such as the passing of the Jacob Wetterling Act in 1994, was initiated to improve the response to the increasing perception of public safety concerns that individuals convicted of sexual offenses p...
Show moreIn the United States, the implementation of sex offender legislation, such as the passing of the Jacob Wetterling Act in 1994, was initiated to improve the response to the increasing perception of public safety concerns that individuals convicted of sexual offenses posed to community members. However, despite the enactment of such policies, debates regarding the effectiveness of sex offender registration and notification (SORN) requirements continue, with critics arguing that policies are founded on conclusions gained from research that overlooks a portion of the sex-offending population: females who sexually offend. Therefore, the objective of this paper was to explore the prevalence and nature of female sex offending in Allegheny County. Results demonstrated that female sex offenders accounted for 2.8% of the total convicted sexual offender population in Allegheny. Additionally, females were primarily White and, on average, younger than male offenders. A significant proportion of females (82.1%) had a minor victim, and the study's findings also determined that lifetime registry was the highest occurring tier classification for both males and females. Types of primary offenses that females were convicted of included charges such as sex trafficking (7.7%) and indecent assault (30.8%), with indecent assault also as the most frequent sub-offense conviction (12.8%). Lastly, results exhibited that male (M = 7.46, SD = 3.221) and female (M = 6.46, SD = 2.602) sex offenders in Allegheny County did not have significantly different offense gravity scores.
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2023

Music therapists' perceptions of the effects of tele-music therapy on client access

Landes, David

This qualitative focus group study explored how music therapists are understanding and responding to changes in client access since the move toward tele-music therapy spurred by the recent COVID-19 virus outbreak. Coming from a recognition of histories of health acce...
Show moreThis qualitative focus group study explored how music therapists are understanding and responding to changes in client access since the move toward tele-music therapy spurred by the recent COVID-19 virus outbreak. Coming from a recognition of histories of health access disparity for underserved populations, this study also sought music therapists’ perspectives on how specific cultural groups and identities may have been unequally affected in terms of access to tele-music therapy. In this study, a synchronous online focus group discussion was facilitated with six music therapists to explore their perspectives regarding the benefits and challenges of tele-music therapy, particularly in terms of client access, and to explore ways these therapists found to respond to any challenges or disparities in access they encountered. Results suggest that music therapists are finding a complex set of both benefits and challenges in terms of their clients accessing tele-music therapy. Four themes with 18 sub-themes were found: challenges/barriers to access (technology challenges, inequities in access, facility- or population-related barriers, safety concerns, challenges of in-home sessions, and hard choices), bridging the barriers (benefits to specific populations, in-home session benefits, bridging distance, and finding solutions), making music in tele-music therapy (music-making challenges, singing, musical instruments and technology, and musical solutions), and the future role of tele-music therapy (hopes and concerns, preparing for the future, and possibilities.) These findings offer recommendations for the continued use of tele-music therapy even beyond the current pandemic. Keywords: telehealth access, barriers to access, underserved populations, COVID-19
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2021

Embodying the Black/African-American experience through collaborative improvised music and dance/movement

implications for the practice of music therapy

Martin, Tatyana

This thesis is the dissemination of the findings of an arts-based research study exploring the collaborative improvised music and improvised dance/movement on the experience of being embodied as Black. The overall aim was to explore the interpersonal and intrapersona...
Show moreThis thesis is the dissemination of the findings of an arts-based research study exploring the collaborative improvised music and improvised dance/movement on the experience of being embodied as Black. The overall aim was to explore the interpersonal and intrapersonal experiences of one Black/African American musician and one Black/African American dancer engaging in a collaborative creative process focusing on the experience of being embodied as Black. This study grew out of my own experiences when engaging in collaborative improvised music and collaborative dance exploring my racial identity. Participants were chosen through convenience sampling. Data was collected through video recording the collaborative improvised music and dance/movement collaborative experience, written responses to questions about the experience, and through a group discussion. Participants were asked to write down their feelings, thoughts, sensations, imagery, memories, perceptions of cultural aesthetics, interpersonal dynamics, intrapersonal dynamics, and any transpersonal experiences immediately after the experience. Cultural dynamics were explored individually and relationally. Questions posed were centered around connection/disconnection, shifts in power, being in the moment, perceived interpretations of what contributed to the overall collaborative engagement, and perceptions of cultural aesthetics. A poem was created from the themes and subthemes collected from the data. Member checking was utilized for the accuracy of the representation of the participants’ collaborative experience. To authentically represent the essence of the participants’ narratives through music and dance, a multimedia arts reflection of their expressions of being Black in the United States was cultivated. Themes of 1) resilience, 2) resistance, 3) Black aesthetics, 4) spirituality 5) connection, 6) trauma, 7) subjugation/oppression, and 8) Black power emerged in the data and are discussed in the context of individual and collaborative Black experiences. Implications for the practice of music therapy will be addressed.
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2021

Sexism and cisgenderism in music therapy spaces

An exploration of gender microaggressions experienced by music therapists

Kristen McSorley

This narrative inquiry examined the experience of gender microaggressions in the music therapy field. Gender microaggressions are defined as everyday assaults, insults, or invalidations that occur towards persons with marginalized gender identities (including trans/c...
Show moreThis narrative inquiry examined the experience of gender microaggressions in the music therapy field. Gender microaggressions are defined as everyday assaults, insults, or invalidations that occur towards persons with marginalized gender identities (including trans/cis women, trans men, and nonbinary persons) (Sue et al., 2007). As music therapy academic, clinical, and professional spaces are microcosms for larger sociopolitical contexts, music therapists are prone to enacting microaggressions through verbal, non-verbal, and musical means. Microaggressions accumulate throughout a person’s lifetime to negatively impact a person’s health and well-being. In this narrative inquiry, semi-structured interviews occurred with eight participant music therapists to examine their experiences of gender microaggressions in music therapy. Results demonstrated that gender microaggressions manifest in a variety of ways and enactors include music therapy colleagues, presenters, internship directors, educators, and clients. Five themes with 33 sub-themes were found: qualities of microaggressions (cumulative, intersectional, subtle, systemic), impact of incident (gender dysphoria, hurt, indignant, internalization, invalidated, lingering, questioning, regret, shame, shocked, stereotype threat, tired, tokenized, visceral reaction), survival tactics (avoidance, caregiving for the enactor, forgiveness, intellectualizing, minimizing, processing, self-protection, vigilance), interpersonal dynamics (impact on relationship, professional boundaries, power dynamics, response of enactor), and gender in music therapy (feeling affirmed, need for dialogue and support, perceived advantage of cis men). From these findings, it is clear that there is a need for music therapists to develop greater awareness of ways in which they enact gender microaggressions and to create more spaces for music therapists with marginalized gender identities to process these incidents.
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2019

Exploring music therapists’ attitudes towards disability and sexuality

Miller, Francesca

Music therapy has historically not addressed sex as a topic within clinical practice despite its clinical relevance to the human experience. As a field that works with an abundance of disabled clients who are often harmed by social and systemic infantilization which ...
Show moreMusic therapy has historically not addressed sex as a topic within clinical practice despite its clinical relevance to the human experience. As a field that works with an abundance of disabled clients who are often harmed by social and systemic infantilization which prevents them from access to sexual knowledge, it could be argued that music therapists should be trained to provide basic levels of support to this community in particular given the high level of need. Nevertheless, there are many questions and conflicting ideas around music therapy scope of practice as it pertains to these topics, barriers to education and clinical implementation and viable solutions to this gap in knowledge as a profession. While the music therapy literature has seen an increase in disability justice research in recent years, it offers little to nothing on the topic of engaging in clinically relevant discussion of sex, and most certainly not within the context of disability. This study aimed to examine music therapists’ educational and clinical experiences on engaging in sexual topics with disabled clients, as well as measuring personal feelings of comfort in engaging in these conversations. It was conducted via an anonymous survey intended to collect quantitative and qualitative data from a wide array of music therapists. Data was collected and analyzed according to an objectivist framework and qualitative data in particular was analyzed for common themes. Results indicate a lack of training and education in the facilitation of such topics, and the majority of participants reported complex feelings on the various intersecting layers of these conversations. While many reported feeling discomfort in relation to this topic, so too did many indicate a desire to reflect more critically and intentionally on the subject. It is hoped that this study’s data will serve as an impetus for our field to shift cultural and education practices to better prepare therapists for these conversations on these topics.
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2024

Clinicians' perceptions of the certification board for music therapists exam

Miller, Sara

This study utilized survey research to determine contributing factors to the downward trend in passing rates for the board certification examination for music therapists from the test takers’ perspectives. This was accomplished by inquiring about test preparation, te...
Show moreThis study utilized survey research to determine contributing factors to the downward trend in passing rates for the board certification examination for music therapists from the test takers’ perspectives. This was accomplished by inquiring about test preparation, test-taking experiences, test accessibility, and perceptions about the overall structure of the exam. 76.67% of participants indicated that they were White or European, 16.67% were Hispanic or Latino/a, and 3.33% were American Indian or Alaska Native, 96.43% were female, and 61% passed the exam on their first attempt. 75% of survey respondents said that the exam was accessible to their individual test taking needs. Survey participants in both categories, those who passed on their first attempt and those who did not, reported experiencing restrictions that hindered them from (re)taking the CBMT exam. When asked whether or not they agreed with the statement “My exam score(s) reflect my competence as a music therapist,” 57% of participants disagreed to some extent. When those who did not pass on their first attempt were asked how this impacted their self-concept, there was a common theme among respondents. Using words like failure, dreadful, discouraged, and defeated to describe how they felt after not passing, it was clear that many exam candidates put a strong emphasis on this exam and what it indicates about them as a music therapist. Nearly half of the respondents admitted to experiencing test taking anxiety which made taking the CBMT exam more challenging. Participants noted that the most challenging section for exam candidates overall was treatment, implementation, and termination. 67% of respondents agreed to some degree that their undergraduate program’s approach/philosophy was well-rounded enough to fully prepare them for the exam. Yet, 46% believe that the content of these same programs did not fully prepare them for the exam. That said, most survey respondents also disclosed that they received little to no support from academic professors when preparing for the exam.
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2024

Group music therapy for LGBTQIA+ parents experiencing postpartum depression and anxiety

a mixed methods study

Nelson, Maryrose Nieman

A mixed methods research study involving an eight-week music therapy group was facilitated virtually for LGBTQIA+ parents experiencing postpartum mood and anxiety disorders. The Edinburgh Postnatal Depression Scale was administered upon first session and last session...
Show moreA mixed methods research study involving an eight-week music therapy group was facilitated virtually for LGBTQIA+ parents experiencing postpartum mood and anxiety disorders. The Edinburgh Postnatal Depression Scale was administered upon first session and last session to capture potential impact of music therapy group on mental health over time. The Brief Mood Introspection Scale was administered at the beginning and end of each session to capture short term impact of group music therapy. A semi-structured focus group was facilitated to capture experiences of and feedback from participants, and interviews were scheduled with participants who did not attend the focus group. Interviews and the focus group were transcribed and analyzed and six themes were identified: community and solidarity built around shared experiences, music within and beyond the group, expansiveness and generativity in parenthood, response to experience, attendance and timing challenges, and accessibility. The Edinburgh Postnatal Depression Scale did not show statistically significant changes in mood over the course of the eight-week group but was limited by sample size and an outlier score. The Brief Mood Introspection Scale showed more significant trends in increased pleasant mood, decreased stress, and increased positivity after the session. When LGBTQIA+ parents were able to attend the session, they reported meaningful impacts despite attendance challenges. Findings may be useful in developing music therapy practice and research.
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2023

Queer clients' experiences of harm in therapy

Neumann, Jess

This thesis aimed to explore how queer clients experience harm in music therapy and how that harm impacted the therapeutic relationship and process. Upon completing an initial interest and demographic survey, four participants were selected to participate in semi-str...
Show moreThis thesis aimed to explore how queer clients experience harm in music therapy and how that harm impacted the therapeutic relationship and process. Upon completing an initial interest and demographic survey, four participants were selected to participate in semi-structured Zoom interviews. Interviews were transcribed and coded, resulting in seven themes: 1) therapist responses, 2) client responses, 3) qualities of the therapeutic relationship, 4) client perceptions of therapist, 5) impact on client and the therapeutic process, 6) barriers to accessing therapy, and 7) what builds safety and trust. Findings are discussed in relation to the research questions, and implications for clinical practice and suggestions for future research are also provided.
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2023