Music Therapy for Clients with Hearing Impairments

In 2014, it was estimated that about 17% of the American population, or 36 million individuals, have some degree of hearing loss (Lathom & Peters, 2016, p. 175). Hearing impairment affects an individual's ability to hear and process speech, which in turn causes deficits in social and communication skills. Although hearing loss varies among individuals, at least 90% of the individuals who have hearing impairments have some degree of residual hearing (Lathom & Peters, 2016, p. 171). Hearing impairments can affect the intensity in which a sound is heard, the clarity in which the sound is heard, or both (Lathom & Peters, 2016, p. 172). 

Hearing impairments are categorized based on age of onset, type of hearing loss, and degree of hearing loss (Gfeller & Darrow, 2008, p. 370). Hearing loss can be present at birth or can occur after birth. Acquired hearing losses can occur before learning a language, while learning a language, or after a language (Gfeller & Darrow, 2008, p. 371). Hearing impairments can ultimately lead to difficulty developing or maintaining communication skills, depending on when it occurs in an individual’s life. 

In addition to potential deficits in communication and social skills, individuals with hearing impairments often struggle academically. Children and adolescents with hearing impairments often have poorer academic performance in comparison to their peers without a known hearing impairment (Lathom & Peters, 2016, p. 176). This may cause children and adolescents with a hearing impairment to become frustrated in the academic setting. Hearing impairments may additionally cause other issues in relation to academic learning, such as a short attention span due to difficulty concentrating on auditory activities (Lathom & Peters, 2016, p. 176). 

Adults who have acquired hearing loss struggle socially, emotionally, and cognitively while executing activities in daily life. Adult individuals with hearing loss are faced with adjusting to their reduced level of hearing. This may cause them to struggle in social settings in which they once thrived due to difficulty hearing and understanding conversations. Difficulty understanding and hearing conversations may lead to an increase in social isolation (Lathom & Peters, 2016, p. 176). Acquired hearing impairments may also affect an individual’s job performance because it has become more difficult to decipher conversations. 

It is a common misconception that individuals with hearing loss cannot engage and enjoy music related activities. Music therapy interventions benefit individuals with hearing impairments by assessing auditory functioning, assisting in auditory training, enhancing speech production, encouraging language development, and promoting social skills (Lathom & Peters, 2016, p. 185). Listening to musical cues allows for individuals to maximize their use of residual hearing. Music therapists working with hearing impaired clients often work to increase the client’s ability to detect the presence or absence of a sound as well as differentiating between different auditory stimuli. Musical elements, such as tempo, pitch, timbre, rhythm, and duration of sound  allow for clients to exercise their auditory discrimination skills in an engaging way.

Rhythm is often used in music therapy interventions to improve speech production in clients with hearing impairments (Lathom & Peters, 2016, p. 187). Music therapists often address speech production with hearing impaired clients by aligning speech production to rhythms. Rhythmic chanting of a word or phrase allows for the client to become aware of their speech rate. Music therapists also work to improve vocal intonation and inflection by increasing awareness of pitch movements (Lathom & Peters, 2016, p. 187). Music therapy interventions can allow for a client with a hearing impairment to become aware of their speech production, improve their vocal quality, and enhance their articulation skills (Lathom & Peters, 2016, p. 189).

Individuals with hearing impairments often self-isolate due to difficulty understanding others in conversations. Music therapy interventions can improve a client’s social skills by allowing for communication in a group setting. Structured music therapy interventions such as songwriting provides opportunities for the client to engage in topic-related interactions and provide targeted responses. Singing in group settings allows for clients to participate, whether they are verbalizing the lyrics, using signed language, or using a communication device. Additionally, group settings may improve the client’s overall comfort level in social settings. 

In order to provide individualized treatment, the music therapist should consult with other professionals involved in the client’s treatment, such as a speech language pathologist or audiologist, to obtain information regarding the client’s receptive and expressive communication levels (Lathom & Peters, 2016, p. 193). Music therapists should have an understanding of how a client’s assistive hearing devices work, if used. Room fixtures, such as carpeting, curtains, and upholstery can serve to minimize environmental sounds. The music therapist should also consider the client’s intensity of hearing and place them closer to sound sources if needed. Finally, the music therapist should consider the use of visual aids, tactile cues, and multisensory strategies to emphasize auditory information.

-Jasmine Bailey, Music Therapy Intern

References

Gfeller, K., & Darrow, A. (2008). Music therapy in the treatment of sensory disorders. In W. Davis, K. Gfeller, & M. Thaut (Eds.), An introduction to music therapy: Theory and Practice, (pp. 365-404). American Music Therapy Association

Lathom, W. & Peters, J. (2016). Music therapy for hearing impaired individuals. In W. Latham & J. Peters (Eds.), Peter’s music therapy (pp. 171-200). Charles C. Thomas.

The Emotional Benefits of Songwriting among the Adolescent Population

     Adolescence, the transition from childhood to adulthood, is not always a seamless developmental stage. A major trait seen in the adolescent population is emotional dysregulation (Doak, 2012, p. 172). Adolescents are entering a phase in life in which they are given the task of identifying themselves, and for some, this may be a daunting responsibility. Additionally, adolescents are attempting to find their place in the world and may be susceptible to peer pressure (McFerran, 2010, p. 61). Researchers have defined four key elements that contribute to adolescent health: identity formation, resilience, competence, and connectedness (McFerran, 2010, p. 61). 

            Music therapists have identified common diagnoses seen among adolescent clients (Doak, 2012, p. 170). Emotional dysregulation may manifest itself in diagnoses such as depression, anxiety disorders, personality disorders, and less commonly schizophrenia (Doak, 2012, p. 171). According to the Substance Abuse and Mental Health Services in 2016, about 2.2 million adolescents have had at least one experience with major depressive disorder (Johnson & Heiderscheit, 2018, p. 464). Adolescents with these diagnoses or those who are exhibiting symptoms of these disorders are often struggling with the concept of self-identity and interpersonal functioning. 

            It has been estimated that the average adolescent spends two and a half hours daily listening to their preferred music (McFerran, 2010, p. 60). In general, adolescents use music to relax and escape reality, become in touch with oneself, foster creative thinking, connect to personal experiences, access subconscious thoughts and feelings, and as a means of communication (McFerran, 2010, p. 70). It can be assumed that adolescents listen to songs in which they can relate to on some level, and their preferred music can serve as an indication to their thought process and mood. 

Music therapy has been shown to improve the social, emotional, and cognitive skills of adolescents with various diagnoses. Music therapy provides a safe environment in which adolescent clients are encouraged to engage in self-expression and self-reflection. The music therapy space allows the adolescent to develop and foster communicative patterns with the music therapist and/or peers and provides experience for relating to others (Baker & Wigram, 2005, p. 68). Music therapy can serve as a method of support and assistance in which the adolescent can identify their needs and ways to address them (Baker & Wigram, 2005, p. 68). Among this population, music therapists address emotional regulation by providing safety, support, and calming experiences while developing coping skills, self-awareness, and problem-solving skills (Doak, 2012, p. 172). 

Songwriting is a technique commonly used in music therapy treatment. Although different methods exist, the act of songwriting involves creating original lyrics based on the writer’s thoughts regarding a topic. An adolescent client may initially be hesitant to engage in songwriting. However, introductory methods of songwriting exist that can allow the client to become more comfortable with the technique. An introductory method to songwriting is the Cloze procedure. This procedure uses a fill-in-the-blank method that encourages the client to provide new words for a pre-composed song (Johnson & Heiderscheit, 2018, p. 472). An additional introductory method to songwriting is piggyback songwriting. This method involves using pre-existing music to compose original verses (Johnson & Heiderscheit, 2018, p. 172).

Free-form songwriting is the process of creating an original composition in all aspects of the music (Stewart & McAlpin, 2016, p. 184). This form of songwriting is very involved, and there is often as much focus on the process of songwriting as the final product. Although the method of free-form songwriting varies, the first step usually involves brainstorming a topic (Baker & Wigram, 2005, p. 72). The topic or theme of the lyrics is usually tailored to address a difficulty the client is facing. The subsequent steps of free-form songwriting involve writing lyrics and deciding on the type of music accompaniment. The finished song allows for discussion between the music therapist and client regarding the client’s thought process regarding the lyrical content, development of the music accompaniment, and opinions regarding the final product. 

Improvisational songwriting involves creating new song content in a spontaneous method. This method is designed for the client to verbalize thoughts regarding certain themes without much consideration. In this way, the music therapist and client can address the content created. The final method of songwriting is creating a song collage. This method involves taking lyrics from pre-composed songs, arranging them in a different structure, and creating a new melody (Johnson & Heiderscheit, 2018, p. 472). 

            An example piggyback songwriting intervention utilizes “My Fight Song” by Rachel Platten. As the song title implies, Platten describes overcoming hardships of her life and becoming empowered. Adolescent clients who are experiencing various hardships may relate to this song. This song may represent their desire to prevail over their identified struggles. Using the framework of this song, the music therapist may introduce this intervention by retaining the original chorus, but providing opportunity for the client to create personalized verses. These verses can describe what the client desires to overcome or gain control over. 

            The process of songwriting provides adolescent clients with an effective means of self-expression and self-awareness (Baker & Wigram, 2005, p. 68). Songwriting can serve to empower the client and foster independence. The music therapist assists the client throughout this process by offering empathy, support, and validation. The four key elements of adolescent health can be addressed and fostered through songwriting interventions. Songwriting provides an adolescent with insight into their own thoughts and identity. Songwriting allows the client to discuss coping skills and problem solving skills through composing lyrics. Finally, songwriting in the music therapy setting provides the client with a safe, supporting environment to flourish. 

This period of uncertainty caused by COVID-19 has affected our society in many ways. For the majority of adolescents, their school has either transitioned to online learning or ended completely for the school year. Memorable high school events, such as graduation and prom, have been canceled. Their normal daily life has been completely altered for the foreseeable future. It is important for our adolescents to explore their feelings during this pandemic and to have their feelings validated. Songwriting is an excellent way to foster self-expression, collect and organize thoughts, and maintain creativity. Music therapy telehealth sessions can allow adolescent clients to retain their therapeutic relationship and continue to have an outlet for self-expression.

-Jasmine Bailey, Music Therapy Intern 

References

Derrington, P. (2005). Teenagers and songwriting: Supporting students in a mainstream secondary school. In F. Baker and T. Wigram (Eds.), Songwriting: Methods, techniques and clinical application for music therapy clinicians, educators, and students (pp. 68-81). Jessica Kingsley. 

Doak, B. (2012). Children and adolescents with emotional and behavioral disorders in an inpatient psychiatric setting. In L. Eyre (Ed.), Guidelines for music therapy practice in mental health (pp. 168-204). Barcelona Publishers.

Johnson, K., & Heiderscheit, A. (2018). A survey of music therapy methods on adolescent inpatient mental health units. Journal of Music Therapy, 55(4), 463-488.

McFerran, K. (2010). Adolescents, music and music therapy: Methods and techniques for clinicians, educators and students. Jessica Kingsley.

Stewart, R., & McAlpin, E. (2016). Prominent elements in songwriting for emotional expression: An integrative review of literature. Music Therapy Perspectives, 34(2), 184-190. 

Reminiscence in Music Therapy among Clients with Dementia

Twenty years ago, it was estimated that about 50% of the American population over 85 years old had a diagnosis of dementia and over 4 million Americans were affected by this disease (Ashida, 2000, p. 171). It is now estimated that 5.8 million Americans are living with dementia (Alzheimer’s Association, 2019, p. 17). Dementia is considered an umbrella term that refers to a cognitive decline that affects cognitive function and memory. Alzheimer’s disease is the most frequent type of dementia seen among the geriatric population (Palisson et al., 2015). Dementia is a progressive disease that causes cognitive function to deteriorate over time.

There has been a growing interest in non-pharmaceutical approaches in alleviating symptoms of dementia. Prescription drug treatment has had limited effectiveness in slowing the deteriorating of cognitive ability as well as in treating co-diagnoses (Evans et al., 2019, p. 1181). A frequently occurring diagnosis with dementia is depression (Ashida, 2000, p. 171). Older adults with dementia may emotionally struggle with the loss of memory and executive planning. As long-term memory begins to fade, the individual struggles with self-identity and self-concept. This understandably can lead to a depressive or agitated mood (Ashida, 2000, p. 172).

            Reminiscence has been used as a non-pharmacological treatment intervention among patients with dementia. Reminiscence involves prompting individuals to recall past memories about the self, such as previous experiences and events. These discussions are usually aided by tangible props, such as objective, photographs, or music (Haslam et al., 2014, p. 425). Because autobiographical memories are integral to a sense of self-identity, reminiscence is extremely beneficial among dementia patients who struggle with memory recall.  

            The body of music therapy research shows that reminiscence focused interventions are beneficial among dementia patients in increasing motivation and self-expression, evoking memories and associated feelings, and reducing behaviors related to depression (Ashida, 2000, p. 171). Music provides points of references of the important events in a patient’s life, and allows them to reconnect with past memories (Evans et al., 2019). Familiar music engages the episodic memory system among multiple sites in the brain. Reminiscence based music therapy ignites the hippocampus, which plays a major role in learning and memory retention, as well as areas in the parietal and frontal lobes (Sarkamo, 2018, p. 672).

            Researchers investigated the effects of a music therapy reminiscence program on the memory skills of patients with dementia (Evans et al., 2019). The “My Musical Memories Reminiscence Programme (MMMRP)” was used over 10 sessions with the participants of the study in a group setting. Data were collected by nurses and other medical staff working with each participant. The patients participated in each session by listening to music and engaging in discussion. Results of this study showed music therapy was a beneficial non-pharmaceutical intervention to counter symptoms, such as depression and agitation (Evans et al., 2019). Additionally, the music therapy sessions allowed the patients to communicate more freely and to reconnect with memories more readily.

            Ashida (2000) studied the effects of reminiscence based music therapy on the depressive behaviors exhibited in older adults with dementia. Music therapy sessions took place in a group setting in which participants were able to discuss topics such as home life, nature, events, places they previously traveled, and love (Ashida, 2000, pg. 175). The participants were observed by the music therapist as well as staff members. Video of the recorded sessions showed the participants engaging in active participation, on-task behavior and an overall positive affect. Results of this study showed a statistically significant decrease in the depressive symptoms of the participants (Ashida, 2000, pg. 181)

            In designing a reminiscence-structured music therapy intervention, it is essential to use the client’s preferred music. The music is intended to be used as a catalyst to recall past events. This is only possible if the client is familiar with the music. After incorporating a known song, the music therapist should spend time engaging the clients in a song-based discussion. The music therapist could start out by asking clients if they know the song or the artist. The music therapist will then proceed to ask specific questions regarding the client’s time period surrounding this song. Example questions may include: When was the first time you listened to this song? How old were you? How did this song make you feel when you first heard it? These questions will serve as a prompt to engage the clients in residents.

            The prevalence of dementia is increasing with each generation. However, there is no medical cure for this disease. Prescription drug treatments have limited success in alleviating symptoms of dementia, such as depression and agitated behaviors. Reminiscence-based music therapy has been shown to improve a client’s overall emotional wellness and to enhance a client’s episodic memory.

-Jasmine Bailey, Music Therapy Intern

References

Ashida, S. (2000). The effect of reminiscence music therapy sessions on changes in depressive symptoms in elderly persons with dementia. Journal of Music Therapy, 37(3), 170-182.

Evans, S.C., Garabedian, C., & Bray, J. (2019). Now he sings: The my musical memories reminiscence programme: Personalised interactive reminiscence sessions for people living with dementia. Dementia, 18(3), 1181-1198.

Haslam., C., Haslam, S.A., Ysseldyk, R., McCloskey, L., Pfistere, K., & Brown, S.G. (2014). Social identification moderates cognitive health and well-being following story-and-song based reminiscence. Aging & Mental Health, 18(4), 425-434.

Sarkamo, T. (2018). Music for the ageing brain: Cognitive, emotional, social, and neural benefits of musical leisure activities in stroke and dementia. Dementia, 17(6), 670-685.

Autism, Routines, and COVID-19

The month of April is Autism Awareness Month. Within the United States, the prevalence of autism spectrum disorders (ASD) has increased from affecting 1 in 125 children in 2010 to affecting 1 in every 59 children in 2020 (Autism Society, 2020, para. 3). Markers of autism include verbal and non-verbal communication deficits, social skill deficits, and restricted and/or repetitive behaviors (The Autism Community in Action [TACA], 2019, para. 1). In this blog post, the third marker– repetitive behaviors–will be addressed in response to COVID-19. 

Repetitive behaviors include an insistence on sameness and an inflexible adherence to routines (Applied Behavior Analysis Edu., n.d., para. 1). Changes in routines such as eating new foods, having visitors in the house, or cancelling activities can incite anxiety-induced or problem behaviors from individuals on the autism spectrum.. With the outbreak of COVID-19, day-to-day routines have been uprooted with school closures, shelter-in-place orders, and social distancing policies. The current situation can be difficult to navigate for families with special needs individuals. Listed below are a few different techniques and supports that are used within a music therapy session that can be used to help individuals with ASD and their caregivers and parents as well. 

1. Visual Schedule: In music therapy sessions, visual schedules are used with many clients to provide structure on what the individual can expect and what will happen next. These are shown to reduce anxiety, reduce frustration, and decrease problem behaviors (Autism Speaks, 2018, para. 6). In a music therapy setting, visuals might include song choices or instruments. To build a visual schedule for learning purposes, Autism Speaks recommends starting with the first subject that an individual would normally begin with at school and then follow the same order of subjects and activities they would normally do (Autism Speaks, 2020, para. 4). For younger individuals, a visual schedule with just 2 items shown in a “first, then” manner may be more appropriate. A free visual schedule template and icons can be found HERE as well as an First/Then schedule template can be found HERE. A preview of the two can be seen below: 

2. Positive Reinforcement: One of the guiding principles of Applied Behavior Analysis –ABA therapy– is positive reinforcement. When a desired action or behavior is completed by an individual, positive reinforcement or a reward is given (Autism Speaks, n.d., para. 5). This can be verbal praise, toy, food, a phone call to a relative, or anything meaningful to the individual. This increases the likelihood of the behavior in the future. In music therapy, a favorite song or instrument may be played or sung upon completion of another intervention. A popular non-musical reward is bubble blowing. Verbal praise is given frequently as well. Finding rewards for individuals with ASD can help them complete desired tasks when they understand that they will gain something upon completion. 

3. Movement: Movement to music is an essential part of every music therapy session, regardless of diagnosis. For some individuals, movement acts as a reward for a completion of a task. For others, movement acts as a break between different interventions. GoNoodle provides movement-based videos for various ages. Video times range between short 3-minute videos and longer compilations up to 20 minutes. Non-screen options can include playing recorded music and having individuals mirror movements of another individual or using movement visuals to direct movements. 

4. Breaks: While individuals with ASD may find comfort in routine, certain tasks may still pose a challenge. This is true within the music therapy setting as well. Taking breaks in between tasks or even during tasks can be beneficial to the individual. Setting a timer for a break can aid in providing structure as well, with the expectation that once the timer is done, work resumes (Raising Children Network, 2017, para. 7 ). For those individuals who are non-verbal, a free printable break visual can be found HERE. 

5. (Indirect) Contact: Therapists and teachers alike are still eager to help in whatever capacity they can during these uncertain times. At this time, Therabeat music therapists are not only providing virtual music therapy but can provide home health videos and audio recordings as well. These videos/recordings can be movement–based or transition songs or songs based on academic concepts.  Please do not hesitate to reach out if you are feeling overwhelmed by your child’s schoolwork or behaviors. Many of the techniques and supports listed above are very familiar to educators and therapists who can help guide implementation. Additional (non-affiliated) resources with more information about supporting your child with autism during this time have been included below:

• Autism Speaks: How to cope with disrupted family routines during COVID-19 

• Autism Speaks: Visual Supports and Autism Spectrum Disorders

• Raising Children Network: Changing Routines: Children and Teenagers with Autism Spectrum Disorders

• The Autism Community in Action (TACA): Coronavirus and Students with Autism

-Sarah Deal, Music Therapy Intern

References:

Applied Behavior Analysis Edu. Why Is Routine So Important to People with ASD?. Retrieved April 4, 2020, from https://www.appliedbehavioranalysisedu.org/why-is-routine-so-important-to-people-with-asd/ 

Autism Society (2020). National Autism Awareness Month. Retrieved April 4, 2020, from https://www.autism-society.org/get-involved/national-autism-awareness-month/ 

Autism Speaks (n.d). Applied Behavior Analysis (ABA). Retrieved April 4, 2020, from https://www.autismspeaks.org/applied-behavior-analysis-aba-0 

Autism Speaks (2020). How to cope with disrupted family routines during COVID-19. Retrieved April 4, 2020, from https://www.autismspeaks.org/news/how-cope-disrupted-family-routines-during-covid-19 

Autism Speaks (2018). Visual Supports and Autism Spectrum Disorders. Retrieved April 4, 2020, from http://www.autismspeaks.org/sites/default/files/2018-08/Visual%20Supports%20Tool%20Kit.pdf 

Raising Children Network (2017). Changing Routines: Children and Teenagers with Autism Spectrum Disorder. Retrieved April 4, 2020, from https://raisingchildren.net.au/autism/behaviour/understanding-behaviour/changing-routines-asd 

The Autism Community in Action [TACA] (2019). What Is Autism?. Retrieved April 4, 2020, from https://tacanow.org/about-autism/

The Month of Music

Not only is March Music Therapy Awareness month but it is also Music In Our Schools month! This post seeks to bring awareness to both fields by addressing misconceptions, providing ways the two fields can collaborate, as well as emphasizing the importance of music therapy and why it works within the school setting for special needs populations.

Music education is a type of learning wherein students gain musical skills to develop artistic and aesthetic activities and attitudes to create music (Duerksen, 1967, pg. 95). In many school systems, students start out in a general music class through their K-5 education and continue into either band, chorus, or orchestra in grades 6-12. During this period, students learn about the elements of music (rhythm, melody, harmony, dynamics, tone color, texture, form) in order to become musicians that read, write, and perform music. 

In contrast, music therapy seeks to “use music therapeutically to address physical, psychological, cognitive and/or social functioning” (American Music Therapy Association [AMTA], 2006, para. 1). While a board-certified music therapist uses musical interventions to help an individual, the emphasis is not on a musical performance but the individual’s progress towards meeting a goal using music as a medium. Oftentimes, a client or patient can achieve their goal without needing a high level of musicianship, which is why music therapy is effective for children with exceptionalities or special needs (Duerksen, 1967, pg. 95). 

One misconception is that music therapy for children is similar to early childhood music programs such as Kindermusik or Musikgarten or Music Together. While many of the songs may overlap or be similar, the difference lies in instruction and implementation. For each of the three early childhood music programs, no formal degree in music or in teaching is required of instructors. Instructors are trained by the company and are given licenses to teach after the workshop is concluded. In terms of implementation, the programs’ pedagogy is education-based in teaching musical concepts that aid in development. 

This contrasts with a music therapy session in which music interventions– such as therapeutic singing, instrument play, movement to music– are implemented to help an individual achieve physical, psychological, cognitive, or social functioning goals. A music therapist holds such knowledge through obtaining a bachelor’s degree or higher in music therapy from one of 80 American Music Therapy Association’s accredited music therapy programs (AMTA, 2014, para. 17). Music therapists are board-certified once they have passed their national board certification exam. Music therapy is considered to be an allied health profession, similar to the fields of occupational therapy and physical therapy. Through their extensive coursework, music therapists are trained musicians in addition to being well-informed about childhood development through their degree program. 

While a licensed music educator with a music education degree may go through a degree program experience comparable to a music therapist (practicum experience and student teaching), their expertise lies in teaching music to neurotypical students. Since the passing of the Individuals with Disabilities Education Act in 1990, an increasing amount of students with special needs are being included into education classes with typically-developing peers (Jellison, 1995, pg. 229). This includes special areas such as art and music. Music educators are still responsible for modifying curriculum and making accommodations for those students that have an Individualized Education Program (IEP) or 504 plan. Because of their lack of experience with special education students, music educators may consult with a music therapist to help them modify their lessons or make the necessary accommodations for specific students that are mainstreamed into their classes (AMTA, 2006, para. 6). Additionally, a music therapist may aid a music educator in using specific techniques to work in self-contained music class. However, it is important to note that music therapy services can only be delivered by a board-certified music therapist. 

The most direct service a music therapist can provide within a school is music therapy sessions to special education classes. In a 1995 case study, Jellison & Gainer observed a singular child with special needs that was in both school music education class as well as a weekly music therapy session. This child exhibited mild intellectual disabilities but did not have any physical or sensory impairments. She was included in a music education class with typical peers every 3rd day and participated in group music therapy sessions with her special education peers every other day (Jellison & Gainer, 1995, pg. 231). Over an eight-month period, the participant engaged in more on-task behaviors than off-task behaviors in each setting. However, the participant exhibited twice the amount of on-task behaviors in the music therapy session than the music education class (Jellison & Gainer, 1995, pg. 228). From the study, researchers concluded that a smaller class size and  greater therapeutic practices contributed to increased participation of the individual during music therapy sessions (Jellison & Gainer, 1995, pg. 237). Additionally, Jellison & Gainer conclude that music therapists can also aid music educators in helping students with special needs transition into their mainstreamed classroom through teaching specific skills that a student would need to be successful in the music education setting (Jellison & Gainer, 1995, pg. 238).

During this time of an international pandemic, people turn to music to stay connected. The power of music transcends words, space, and time. Music teachers and music therapists have continued to provide music to their students and clients however they possibly can, knowing how essential it is to so many of us. However, there are distinct differences between the two disciplines. Knowing the differences can help students, clients, teachers, and music therapists alike. 

-Sarah Deal, Music Therapy Intern

References:

Duerksen, G.L. (1974). Some Current Trends in Music Education: Implications for Music Therapy. Journal of Music Therapy, 11 (2), 65-67. https://doi.org/10.1093/jmt/11.2.65

Jellison, J.A. & Gainer, E.W. (1995). Into the Mainstream: A Case-Study of a Child’s Participation in Music Education and Music Therapy. Journal of Music Therapy, 32(4), 228-247. https://doi.org/10.1093/jmt/32.4.228

American Music Therapy Association (2006). Music Therapy and Music Education: Meeting the Needs of Children with Disabilities. Retrieved March 10, 2020, from https://www.musictherapy.org/assets/1/7/MT_Music_Ed_2006.pdf  

American Music Therapy Association (2014). How AMTA and Music Therapy Relate to the Documentary Film "Alive Inside" and the Organization "Music and Memory". Retrieved March 10, 2020, from https://www.musictherapy.org/music_therapy_and_the_film_alive_inside/