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Music Therapy Training Manual for Students

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Music Therapy Training Manual for Students OUTLINE OF COURSES IN MUSIC THERAPY TRAINING MANUAL FOR STUDENTS Compiled by CHARLES BRASWELL Chairman Department of Music Therapy College of Music Loyola University NEW OR LEANS, LOU IS IANA Copyright, 1959 Printed Courtesy of the Musfo Therapy Fund INTRODUCTION This syllabus was prepared at the request of Myrtle Fish Thompson, Chairman of the Committee on Education, National Association for Music Therapy, and is a requirement for colleges and universities offering degree programs in music therapy. In addition to its primary purpose, the syllabus will be used by music therapy students at Loyola University as a training guide. Jn September, 1957, the Loyola University College of Music organized the department of music therapy. Under the present system the department offers a program of studies leading to a bachelor of music degree with a major in music therapy. The Loyola University College of Music is a member of the National Association of Schools of Music. The curriculum outlined in this syllabus is somewhat different from the course of study suggested by the National Association for Music Therapy. The core courses (The Psychology of Music, The Influence of Music on Behavior and Hospital Orien- tation) have been retained. However, the following courses have been added: Introductory Reading for Music Therapists, Applied Functional Music, Music Therapy Workshop and Hospital Techniques in Music Therapy. These additions were made because of the be- lief that it is no longer possible to include all of the recent theories and t.eclmiques in the core courses. It seems that each ii year brings a new fund of important information that should be included as instructional material. It could be argued that some of the material presented in these courses should be learned by the student during clinical training. It is possible, however, that the practice of includ- ing important educational material in the clinical training period is one of the real weaknesses of our present educational system in music therapy. To some extent the college or university must depend upon existing educational procedures in its affiliated hospitals; i. e. , the music therapy trainee usually attends classes already set up for student nurses, psychiatric aides, etc. Often these classes do not meet the real needs of music therapy students. If the university depends upon the hospital for training in important areas such as professional ethics, cata- loguing, programming for patients , etc. , the ordinary student will be limited by the standards of his training hdspital, good or bad. For example, it has been reported that trainees in one hospital attend orientation lectures for volunteer personnel; this is supposedly the extent of their formal education in that insti- tution. Another type of problem in this area concerns the differences between private hospitals, Veteran's Administration hospitals and State institutions. Administrative procedures, types of patients, range of activities and even treatment con- iii cepts are often quite different in the three types of institutions. Students training in one setting might have real difficulties later in adjusting to another setting. Also, when students finish clini- cal training and begin careers as professional therapists, they often organize their programs in much the same manner as the ones experienced during clinical training, thereby perpetuating the limitations and weaknesses of the training hospitals. It seems that the responsibility for correcting this situation must be assumed by our colleges and universities. Educators in these institutions should present as much of the existing knowledge as possible and utilize the existing educational structure of the clinical training hospital for reinforcement of learning that has already occurred. The following curriculum adheres as closely as possible to this philosophy. Except for one introductory course , students at Loyola do not enter the music therapy department until the Junior year. The first two years parallel, with some exceptions, the course of study in the department of music education. Under this system, suggest- ed by Gaston, students deciding not to major in music therapy may change their degree programs to music education and still graduate after four years of study. This also gives the music therapy department time to evaluate each student thoroughly. The last evaluative procedure consists of a formal period iv of psychological testing for each student, including the Rorschach and Thematic Apperception tests administered by a professional psychological clinic; and a psychiatric inter- view conducted by a staff psychiatrist in on.e of the depart- ment's affiliated hospitals. Results of these evaluations are forwarded to the music therapy department and students are allowed to continue their programs only after a positive evaluation is completed. The department of music therapy expresses its appreciation to the following publishers who permitted quotations from their publications: Prentice-Hall, Inc., (Bartholomew, Acoustics of Music, 1945); Henry Holt and Company, (Farnsworth, Social Psychology of Music, 1957); The Humanities Press, (Portnoy, The Philosopher and Music, 1954); and Columbia University Press, (Soibelman, Therapeutic and Industrial Uses of Music, 1948)0 Hospital forms for the outline on pages 27 and 28 were provided by Carol Marsh, Central State Hospital, Pineville, Louisiana; Ann Whitworth Howe, South Carolina State Hospital, Columbia, South Carolina; and Glen.n Lightsey, also from Columbia State Hospital. Al Iv'Ieuli, Normal Beatty Memorial Hospital, Westville, Indiana, provided bibliography for the "levels of media" section on pages 51 and 52. v TABLE OF CONTENTS Page INTRODUCTION •.......•. o ............... ., • • .. • • • • • • • • • • • • i TABLE OF CONTENTS o () o o. o o •• " ••• o ••• o o • Ct o ••• Cl • o 4it Q • • • • v THE MUSIC THERAPY FUND ... o...... .. vii MUSIC THERAPY CURRICULUM . o. o....................... 1 Freshman e<JQeeoeeeeeeeeeeeeeeeeaeeeeeeeeeoeseeee• 1 Sophomore e • • • • • e • • • • • • • • • e • e • • • • • • • • e • • • • • • • • • • • • 2 Junior •e•••11•e•••Oo<t••••••f'e•••o•••••••o••••••••o 3 Senior 4 INTRODUCTORY READING FOR MUSIC THERAPISTS ·• • · · · 5 Requ.ired Reading . • . • . • . • . • . • . • • • • . 7 APPLIED FUNCTIONAL MUSIC ......... o............. o.... 9 Pedagogical Techniques for the Hospital Musician · • • · • 9 Keyboard Facility, Transposition and Reading • • . • • • . 10 Guitar and Autoharp .......... ., o ................... o .. • 10 MUSIC THERAPY WORKSHOP ....................... • .... • . 12 Orientation . .. • . • . • . • • . • . • • . • 12 Principles of Research .•.• o ............... o • • • • • • • • • 14 Professional Source Materials .......•.. o •••• ., • • • • • • 17 Techniqu.es of Scientific Writing . • . • • . .. • . • . • . • • . .. 19 HOSPITAL TECHNIQUES IN MUSIC THERAPY . • • • . • . .. • . • 21 The Goal-Directed Hospital Music Program . • . • • . • . 21 Initiation of Music Therapy Activities ••••••••••• 0 ••• 22 Programming for Specific Groups of Patients • . • . • 22 Activities in the Music Department . .. • • . • . 24 vi Orientation in Elementary Dance Therapy 25 Mechanics of the Music Therapy Department 26 PSYCHOLOGY OF MUSIC 33 The Science of Sound 33 Anatomy of the Hearing Process 37 Social Psychology of Music 42 THE INFLUENCE OF MUSIC ON BEHAVIOR 48 Historical Orientation 48 Basic Concepts in Music Therapy 49 Research Studies in Music Therapy 58 HOSPITAL ORIENTATION 59 Psychiatric Terminology 59 Medical Terminology; Prefixes and Suffixes 64 Professional Departments Within the Hospital 67 Hospital Observation 69 The Adjunctive Department and the Teamwork Approach 70 Professional Ethics 74 vii THE MUSIC THERAPY FUND The establishment of music therapy as a recognized profession in New Orleans and Southern Louisiana can be attributed to Mr. Dural Black, philanthropist, business and civic leader of New Orleans. Mr. Black became convinced of the need for music therapy in the psychiatric hospitals of the state early in 1952. His first step toward realizing this goal was the establishment of a grant for music therapy to be administered by the Louisiana Association for Mental Health, Dr. Loyd Rowland, director. This grant financed an experimental program in music therapy at DePaul Hospital, New Orleans, in 1952. Sister Anne Aycock, administrator of the hospital, was designated as administrator of the fund and Mrs. Jane Douglas was named as music therapist. This program was continued until 1958 with the cooperation of Sister Henrietta, the present administrator; Dr. Justillien Ho Foret, Medical Director; Dr. Walter J. Otis, Chief of Neuropsychiatry; and Mrs. John F. Roth, Jr. , Administrative Assistant. In 1956 Miss Patsy Shinn assumed duties as music therapist, replacing Mrs. Douglas. viii In 1953, Dr. E. Thayer Gaston, Chairman of the Depart- ment of Music Education, Kansas University, was invited to New Orleans by Mr. Black to explore the possibilities for the expansion of music therapy in Louisiana. A workshop was held at DePaul Hospital for this purpose. In 1954 Mr. Black contacted the State Department of Hospitals in B~ton Rouge and arranged for superintendents of various psychfa.tric hospitals in the state to observe the music therapy program.at DePaul. During this period Mr. Black addressed the superintendents and urged that music therapy be instituted as one of the adjunctive therapies in the Louisiana hospitals. In 1956 a non-profit corporation was formally estab-
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