Abstract:

The purpose of this qualitative study is to examine and present a client’s point of view of their own music therapy experiences. Purposeful sampling was employed to identify a client who was able to provide an insightful and articulate account of their personal music therapy process. Sources of data include reflective journals, interviews, and one video recording of a music therapy session with the client participant and his music therapist. This narrative, single case study project seeks to describe the music therapy process from a client’s perspective more than from the music therapist’s or researcher’s point of view.

Wilfrid Laurier University
Waterloo, Ontario, Canada

Laurier Centre for Music Therapy Research (LCMTR) is dedicated to the advancement of music therapy through research and continuing education. Our mission is to advance the disciplines and profession of music therapy. This is the reason why the LCMTR to organizes the international music therapy conference every third year.

OUR PREVIOUS INTERNATIONAL RESEARCH CONFERENCES:

First International Music Therapy Research Conference:

“ Music – The Royal Road to the Unconscious: Researching Unconscious Dimensions in Music Therapy” May 13 – 15, 2005

Second International Music Therapy Research Conference:

“Making Connections – Exploring the relationship between music therapy and music education” June 13-15, 2008

OTHER RESEARCH SEMINARS AND SYMPOSIA AT LCMTR:

“Evidence-based Music Therapy Research Symposium” April 5-7, 2004

“Physioacoustic Research Seminar” November 25, 2006

For more information, please go to www.soundeffects.wlu.ca

Call for Papers: Closed

Thank you for your submissions

3rd International Music Therapy Research Conference

Improvisation – Exploring the Art & Science of Clinical Practice

DEADLINE FOR SUBMISSIONS: Closed. Thank you

Details:

Organizer:
Manfred & Penny Conrad Institute for Music Therapy Research
Wilfrid Laurier University Waterloo, Ontario, Canada
Location: Wilfrid Laurier University, John Aird Building, Maureen Forrester Hall
75 University Ave. West, Waterloo, ON

TARGET AUDIENCE: Researchers in music therapy and improvisation.

Music therapists, psychotherapists, creative arts therapists, health care professionals, teachers, musicologists, pastoral counsellors… researchers, clinicians, educators, and students.
Both evidence-based and practice-based research studies are welcome.
We will offer:
One hour presentation followed by 45 minutes discussion.
Presentations and discussions will be videotaped and the presenter receives
DVD of presentation and discussion.
Book of Abstracts.
Publication in the Soundeffects Newsletter

Submit proposals, including the information
detailed below, prior to deadline to Dr Heidi Ahonen: hahonen@wlu.ca

Include in the Submissions:

Title of the presentation
Abstract (max 250 words)
5-6 discussion questions (related to your topic/interest)
Bio (max 100 words)
Contact name and information (e-mail address, mailing address, phone number)
All authors of accepted proposals will be notified by January of 2011, and the presenters will be asked to submit their final abstract (including their photo) to the book of abstract.

Additional Notes

The Congress programme will be posted at the website by March 2011
The Early-Bird registration fee will take place prior April 1
The book of abstract will be available at the conference.

May 25-28, 2011

Dr. Heidi Ahonen Professor of Music Therapy. Director of the Manfred & Penny Conrad Institute for Music Therapy Research, Conference Chair

Dr. Colin Andrew Lee Professor of Music Therapy. Head of Music Therapy Department WLU

This Third International Music Therapy Research Conference will explore past and present research on clinical improvisation and create a community of innovation and collaboration. Integrating the science and art of clinical practice is a debate that has been central to the development of music therapy and is a subject that has caused much controversy. Improvisation as clinical practice is at the interface of this questioning. This International Music Therapy Research Conference aims to bring together improvisation researchers and practitioners, to facilitate discourse, and encourage connections.
Welcome

Workshop:

The therapist’s and counselor’s own self is a tool s/he uses as a transference object and role model in the therapeutic relationship. They also uses themselves as containers  into which a client can release life’s burdens and emotional pressures or stresses.
This experiential workshop will introduce a group analytic music therapy supervision model, which I have developed and practiced as a clinical supervisor with music therapists, creative art therapists, social workers, and psychotherapists since 1995. During this creative process the supervisee and the whole supervision group will learn more about themselves as individuals and as therapists. The goal is to expand participant’s understanding about the therapeutic relationship and its various aspects and elements i.e. being a container and gaining understanding about transference and counter transference issues. They also learn to concentrate on their inner images, physical sensations and feelings, and to alternate in their own and the clients` role.

The following procedure of group analytic music therapy supervision may include both a small group (inner circle) and a reflection group (outer circle) processing:

(1.) The presenter (=supervisee) describes his/her case without preparations. S/he can also tell his/her dreams about the situation.

(2.) Musical improvisation: Anything that the presenter needs to improvise. The small group reflects him/herself. The referential improvisation usually deals with the feelings, counter transference issues or needs of the presenter. The improvisation may be audio taped and listened to afterwards.

(3.) Small group processing.

(4.) Discussion with the presenter.

(5.) Improvisation of the Reflection group.

(6.) Discussion of the Reflection group.

(7.) Large group discussion and conclusions.

References:
Ahonen-Eerikainen, Heidi. 2007. Group Analytic Music Therapy. Barcelona Publishers. Gilsum. NH. USA.
Ahonen-Eerikainen, Heidi. 2003. Using Group-Analytic Supervision Approach When Supervising Music Therapists.  Nordic Journal of Music Therapy. 12(2). Pp. 173-183.
Tsekos, Y.K. 1995. A Greek Model of Supervision. The matrix as supervisor – a version of peer supervision developed at IGA (Athens). In Sharpe, M. (Ed.) The Third Eye: Supervision of analytic groups. London. Karnac.

Bio:

Dr. Heidi Ahonen works as a professor of music therapy at Wilfrid Laurier University, in Waterloo, Ontario, Canada and as a director of the Manfred and Penny Conrad Institute for Music Therapy Research (www.soundeffects.wlu.ca). She is also a clinical psychotherapist and group analyst. As author of Group Analytic Music Therapy (2007, Barcelona Publishers) and founder of the Group Analytic Music Therapy model (GAMT), Heidi uses improvisation and collective unconscious level image work as a key element of her music psychotherapy work with music therapy students and adult clients who suffer trauma related issues or burn-out. She has presented the improvisation-based group analytic music therapy model and GAMT supervision workshops at numerous conferences all over the world.

Contact:

Tel: 1-519-8840710  ext. 2431#,

hahonen@wlu.ca,

www.soundeffects.wlu.ca,
www.lowfreqsoundresearch.net

Abstract:

Music can be understood fundamentally as a human, arts-based phenomenon, centrally involving the dimension of relationship, or ways of being together in and through the time-ordered aesthetics, creativity, and imagination. Given that music is the foundation of the
music therapy discipline, the practice of music therapy can be understood as the practice of being together musically for the purpose of promoting health. The present paper will explore an application of this perspective to Analytical Music Therapy, as a way of being together aesthetically, through improvisation and discourse, to promote emotional health.

The paper will begin by establishing a theoretical framework of music as relationship, based upon Martin Heidegger’s construct of mitsein. Considerations for how aesthetic being together manifests through various elements of improvisational music making (rhythm, melody, harmony, form, etc.), as well as through verbal discourse and other modalities not conventionally considered to be music, will be explored. Following this, the question of how the various ways of being together aesthetically/musically in Analytical Music Therapy carry implications for promoting emotional health. Finally, several case illustrations of being together in Analytical
Music Therapy, for the purpose of promoting emotional well being, will be demonstrated.

DISCUSSION QUESTIONS:

1. What is the role of the mitsein construct across various models and methods of music therapy?
2. In what ways does music represent a unique way of being-together?
3. How do each of the elements of music represent different aspects of being-together?
4. In what ways does a music-based relationship promote health?
5. How can verbal discourse and other nonverbal modes of interaction in therapy be considered musical ways of being-together for clinical purposes, even when musical sound is absent?

BIOGRAPHICAL DETAILS:

Brian Abrams, Ph.D., MT-BC, LPC, LCAT, Fellow of the Association for Music and Imagery, has been a music therapist since 1995, with clinical experience involving a wide range of populations. Prior to his current position as Coordinator of Music Therapy at Montclair State University, he served on the faculty at Utah State University (2001-2004) and Immaculata University (2004-2008). He has published and presented internationally on a wide range of topics such as music therapy in cancer care, music psychotherapy, and humanistic dimensions of music therapy. His current interests include contributing to the development of the global, interdisciplinary area of Health Humanities.

CONTACT INFORMATION:
abramsb@mail.montclair.edu

Abstract:

Exploring one’s identity through sounds and improvisation is a means of increasing awareness of who one is, how one relates to others and what one’s place is in the world. Specifically, this presentation is based on group improvisations of adolescents as they explored what is meaningful and defines him or her as well as sounds that reflect their dreams and fears towards the future. Current phase of my research is analyzing data and continuing to write and edit my thesis. This study has been reviewed and approved by the University Research Ethics Board at Wilfrid Laurier University.

Improvisation is one technique in music therapy and has been used towards establishing positive forms of communication, developing self-awareness and improving social skills. Improvisation through sounds is a medium that provides safety and security as well as allows for creativity, spontaneity, and exploration. Through improvisation, adolescents were encouraged to
listen in multi-layered ways and participants had the opportunity to enter, create and sound their dreams in the most supportive manner. Having the experience of voicing one’s wishes amongst peers is especially meaningful as adolescents are grappling with identity and their future. Music in this sense is used as an empowering tool to help clarify one’s future as well as reframe
obstacles.

Means of processing the improvisations include art mediums such as: sculpting clay, drawing mandalas and further musical improvisations. Improvisational resources and therapeutic interventions designed for adolescents will be discussed.

References:

Bunt, L. (1994). Music therapy: An art beyond words. New York: Routledge.
Linesch, D.G. (1988). Adolescent in art therapy. New York: Brunner/Mazel Publishers.
McFerran, K. (2010). Adolescents, music and music therapy: methods and techniques for clinicians, educators and students. London: Jessica Kingsley Publishers.
Rudd, E. (1997). Music and identity. Nordic Journal of Music Therapy, 6, 3-13.

Discussion Questions:

1) How can an improvisation with sounds translate into forming elements of one’s identity?
2) In what way is improvisation an effective or ineffective means to exploring one’s dreams and fears?
3) What role does the music therapist play in facilitating improvisation?
4) What are the implications of investing in adolescents’ musical creativity?
5) What value might music therapy have in offering support to adolescents?

Biographical details:

Music, therapy, education, improvisation, expression and identity are key elements of curiosity for Patricia. As a teacher and student music therapist, creating opportunities for self-awareness, expression, creativity and supportive group interactions are of importance in helping our youth find their passion and path towards the future. Patricia is a second year Master’s in Music Therapy candidate at Wilfrid Laurier University. Patricia holds a BMus with specialization in music education and a minor in piano from the University of Ottawa, and a MA in music education and a BEd in music education from McGill University.

Contact information:

e-mail address: patriciadeek@yahoo.com

Abstract:

The purpose of this study is to examine potential therapeutic applications of electric bass guitars in music therapy sessions. The researcher conducted interviews with music therapists who have used the bass guitar during sessions, providing information regarding the salient aspects of the experience. These interviews have been scrutinized through a phenomenological lens in order to deconstruct various aspects of the bass guitar experience for both the clients and the music therapists involved. Specific interventions, techniques, and improvisatory styles provide a context for the instrument’s use in therapy sessions. The study will offer music therapists who have little or no training with bass guitars to gain an appreciation for the versatility of the instrument. It will also offer music therapists a general framework for integrating the bass guitar into their own clinical work. The final research project is scheduled
for completion in June, 2011.

Abstract:

The purpose of this research is to incorporate Tango music into a clinical improvisational setting. The main question being, how does the musical component of tango affect the therapeutic process? The objective is to analyze the qualities of improvised tango, specifically dynamics, rhythmic, melodic patterns, and tempo, while expanding the client’s level of musical communication. Combinations of both qualitative and quantitative research methods are used. Qualitative research incorporates both theoretical and practical applications. The methodology of the research is founded in grounded theory. Quantitative methods are used to analyze the music notation of the improvisation.

Three clients from Forest Heights Long Term Care Center are followed on a case study basis. Clinical improvisation intervention frames the structure of the sessions. Clients play metallphone while the researcher plays guitar. After approximately 5-10 minutes, the researcher transitions to tango style for approximately 2-4 minutes, and then returns to the style of music before the tango was introduced.

Client response to the improvisation serves as the dependent variable, as it compares to the pre and post tango section. The tango portion of the improvisation acts as the independent variable and has a predetermined set of chord progressions and rhythmic patterns. These sets of progressions and rhythmical patterns increase the internal validity, reflecting the researcher’s ability to anticipate factors or situations other than the independent variable that may influence the dependent variable or, in other words, design an experiment with a high degree of control. Audio/Videotaping is the primary data collection source. The research includes a microanalysis of the improvisation. The researcher selects the tango portion and 30 seconds before and after the tango portion. The 30-second portions are used to compare the tango portion against the general musical style of the improvisation.

Biographical details:

Demian Kogutek is a music therapist currently working in Long Term Care and will graduate with his Master’s degree in music therapy at Wilfrid Laurier University, Waterloo, ON (Canada), in September 2011. Affiliated with the Canadian Association for Music Therapy (CAMT), after graduating from the Honors Bachelor of Music Therapy program at the University of Windsor in 2009; he specializes in geriatrics, oncology and palliative care in private practice.

Contact information:

dekogu@hotmail.com