Newsletter - Manfred and Penny Conrad Institute for Music Therapy ...

LCM TR Annual NewsletterThe LAURIER CENTRE for MUSIC THERAPY RESEARCHAMusic at the CentreInsideAnnual V o l u m e 2 • I s s u e 1 • F a l l 2 0 0 5N OTE FROMTHECANADIANCelebrating the Centrewith Dr. Tony Wigram > 1Canadian CornerFran Herman’s - 50+years > 3CORNERMusic as a Possibility of ChanceKimmo Lehtonen > 4ReflectionsMusic Analysis in Music T herapyC elebrating her 50th year as an advocate for themusic therapy profession in Canada ...Dr. Colin Andrew Lee > 6Research at LCMTR - WLUDr. Carolyn Arnason > 8F RANH ERMANResearch Initiatives > 9Sung Yong ShimMichelle SongAndrea LamontAaron LightstoneCalendar of Events > 10Music Therapy News andResearch at Laurier > 11International SymposiumMay 13-15, 2005 > 12LAURIERThe Laurier Centre for MusicTherapy Research Centre’s firstresearch symposium was impressive, drawing a largeaudience to hear one of the world’s leaders in MusicTherapy. Tony Wigram’s credentials are extensive --Professor and Head of PhD Studies in Music Therapy atAalborg University, Denmark; Research Associate inMelbourne University, Australia; and Research Advisor,Hertfordshire Partnership NHS Trust, UK -- and the symposium he conductedin Waterloo and repeated the two days later in Toronto, was impressive.Dr. Heidi Ahonen-Eerikainen, Director of LCMTR, said that scheduling twodays with Wigram made good sense. “We decided to offer the symposium intwo locations because of Tony Wigram’s incredible stature in the world ofMusic Therapy. Canada is just now starting to recognize music therapy’splace in the world of health and there’s a great deal that health professionalslearned from him when he visited.”About 100 people attended each symposium and Wigram started his presentationin Waterloo by recognizing Laurier’s commitment to Music Therapy. “Iam delighted to be a part of the Centre’s first formal event,” he said. He predicteda bright future for the centre and Lauriers’ Music Therapy program,then launched into his presentation, “Evidence-Based Music TherapyResearch,” providing a comprehensive overview of current trends in MusicTherapy research.continued inside on page 4 >

A Message of Introduction22Another winter sped by as we all prepared for a busy spring and (hopefully)relaxing summer time. Since the first Soundeffects and our first Annual SpringSymposium I have found it very interesting to hear about the research interestsof the LCMTR members all around the world. I have been especiallyimpressed with the high level of enthusiasm displayed. It has also been mostenjoyable to develop and start several Canadian interdisciplinary music therapyresearch projects.With this second issue of Soundeffects I hope to extend not only our readership,but also our topics, concerns and lines of communication. As a musictherapy researcher I often feel frustrated when applying for health care relatedfunding in Canada, and as a result find out that the reason I did not receiveanything was because “music therapy is not a recognized health care profession”or, because “there are not enough previous research available.” As aresponse for that, I personally have two options to choose: either become traumatized,paralyzed, depressive and stop trying, or start doing something veryconcrete... Since I obviously chose the latter of those options my passion stillremains in music therapy. My mission is to strengthen the relationshipbetween clinical practice and research, and my vision is to advance the statusof the music therapy discipline and profession. Doing something concretetogether will ultimately make some difference. To being with, we in the mentalhealth/medical/rehabilitation communities are living in an age of accountability!The global problem all over the world is that governmental money is beingslashed. Crucial questions we are facing are “Does music therapy work?” and“How can you prove that music therapy is working?” Concerns about theanswers to these questions have given rise to the LCMTR.It is not enough if we have this personal passion for music therapy. We oughtto do something in order to encourage government, private industry, insurancecompanies, mental health professionals, and consumer groups to understandand support music therapy as a viable health care profession. It is anodd paradox that music therapy has been recognized by the modern world foralmost seventy years and we music therapy researchers are still consideredpioneers of the field! In order not to behave like storks (those birds who hidetheir heads on the ground), we need to do something concrete. Building theLCMTR together could be one of those activities.One major objective I have is to promote a closer relationship between us(management board people and research cluster co-ordinators) and membership.I really believe there is no effective leadership without effective participatorymembers. We all need to be working together on the same page, topursue a shared set of destinations that stimulate a greater sense of mutualownership and responsibility for LCMTR. This will depend upon increasingcommunication between membership and administration. We need to continueto build an open, courteous contributory culture. I want you to feel thatyour voice is being heard, and that your voice can make a difference. I hopeto capture and make powerful use of the resources of our members in orderto continue to expand. That’s why I want to learn about the members’research needs, dreams and passions. I urge you to take your part in theLCMTR. The availability of this Soundeffects newsletter, our brand newwebsite, our chatting-rooms under each research cluster that will soon be upand running, memberships, e-mail correspondence, along with the more traditionalforms of mail and fax, all make it possible to keep closer communication,exchanging ideas, and collaborating.By completing research projects together at the LCMTR, we will endorse evidence-basedand practise-based approaches, maintaining the understandingthat research should represent the bedrock of clinical music therapy practise.As a music therapy research community we need to address how to definesuccess in music therapy treatment, and what constitutes satisfactory evidence.Our music therapy techniques, our understanding and our fields ofoperation are constantly expanding. LCMTR would like to be part of thisprocess.The following are the research clusters that we already have:>a “music psychotherapy cluster” accommodates research topics interested indifferent music psychotherapy and music group psychotherapy issues;>a “neuropsychological music therapy cluster” concentrates on music therapywith clients with neuropsychological challenges, such as dementia,Alzheimer’s and Autism;>a “communication accentuated music therapy cluster” includes early-infantinteraction research and music based communication research adapted tomusic therapy;>a “clinical recording of popular music as a music therapy tool cluster,”>a “using voice as a music therapy tool cluster,”>a “using voice as a music therapy tool cluster;”>a “music therapy and child birth cluster” researches the use of music therapyin the birthing process and in the development of mother-child relationships;>a “vibro-physioacoustic music therapy cluster” accommodates studies involvingvibroacoustic or physioacoustic research;>a “clinical improvisation and clinical listening cluster” includes studies thatare interested in analysing improvisation and clinical listening;>an “aesthetic music therapy cluster” welcomes a variety of musicological andethno musicological studies, Please, investigate our web-site and join theresearch cluster of your interest.Dr. Heidi Ahonen EerikainenDirector LCMTR

Over the next three years, as my morning walks got longer and longer and I took inmore of my community’s landscape and nuances, the proposal for the research centrealso got longer, more complex, and indeed more interesting.D r. Charles MorrisonTheCanadianCornerbyLaurel Young (LCMTR)1. For the readers of our newsletter who may not know who you are,how would you describe yourself and your role in the development of music therapyin Canada?This year I am celebrating my 50th year as an advocate for the music therapy profession.As a past President of the Canadian Association for Music Therapy (CAMT),author and editor of several publications, fundraiser and clinician, my efforts havealways been directed toward raising the profile of music therapy in Canada. In 1995 Ibecame the Chair of the Canadian Music Therapy Trust Fund (CMTTF) and with thehelp of the Canadian Music Industry we have financially supported over 290 projectsfrom coast to coast. These range from hospice for those in need of palliative care, centrefor the elderly, schools/treatment centre for children with special needs as well aswork with street kids, women in prison and persons who have experienced trauma.The CMMTF is celebrating its 10th Anniversary this year with several special initiativesand events, which will further raise the profile of the profession and increase publicawareness in terms of how music therapy can make a difference.2. In what ways do you feel that music therapy research is important tothe development of the profession in Canada?From my first years in the field until now I have seen many changes -- from workingin isolation to seeing a profession, which numbers over 400 persons -- 5 (soon to be 6)undergraduate courses for music therapy - A Masters Program, a music therapy centre,a centre for research and a trust fund which raises monies to support various musictherapy endeavors throughout this country. High quality research is one way in whichwe can keep our momentum moving forward as well as demonstrate the value of thework.3. Do you think that Canadian music therapy researchers can contributeto the profession on an international level? If so, how?As local chair for the first North American Joint Conference in Toronto in 1993 andperson responsible for creating the tapestries for the succeeding 1996 Joint Conferencein the USA, I strove to project our Canadian identity as a creative, energetic force, ableto take our place within the international community. I believe that music therapyresearchers who conduct academic and practical inquires that also reflect our uniqueCanadian identity and values will make the most important contributions.In this issue, apart from news, view and events, there are also articleswritten by Dr. Kimmo Lehtonen, Dr. Colin Andrew Lee, and Dr.Carolyn Arnason. The Soundeffects welcomes articles by any LCMTRmember. The newsletter is a place to share your research passion oryour research journey. Preparing an article for Soundeffects can be ahelpful step towards developing a longer, more academic journal submission.If you have an idea or a potential article please contact meat hahonen@wlu.ca. In the future we want to increase our effectiveness,our influence, and publish more statements and elaborations ofthe work we are all doing. So we need your help in this endeavor,and look forward to receiving contributions connected with music therapyresearch in its many aspects and applications from all over theworld. Also, if you have not already done so, we invite you to joinLCMTR and announcement lists, details of which can be found on theLCMTR website.Dr. Heidi Ahonen-Eerikainen,MTA, Psychotherapist, Group AnalystAssociate Professor of Music TherapyDirector of Laurier Centre for Music Therapy Research (LCMTR)t4. What kinds of research do you think are most importantand/or will have the most impact on the profession?In promoting music therapy to other professionals, I have had to justify ourexistence time and again. Research projects that are relevant to frontlinemusic therapy practice are very important. One of the best ways to “prove”that music therapy is effective is by doing strong clinical work and researchthat supports this idea is a worthwhile endeavor.5. You have been a pioneer in the development of several successfulmusic therapy professional initiatives over the years. Do youhave any “words of wisdom” for the LCMTR?In 2001, the Canadian Music Therapy Trust Fund opened The MusicTherapy Centre, the first freestanding clinic/office of its kind in Canada. TheLCMTR has a similar opportunity to make unique and important contributionsto the field. It will be essential to create a centre that demonstrates a clearlydefined vision supported by partnerships that reflect both Canadian andInternational perspectives.ic therapy community are welcome.Contact managing board members by e-mail or call(519) 884-1970 ext. 2658/ext. 2431.Editor:Heidi Ahonen-Eerik inenAssistant Editor: Sunil KuruvillaLayout:Dawn www.wlu.caWharnsby33

Welcome to the official opening ofThe Laurier Centre for Music Therapy ResearchDr.Tony Wigram cont d. from page 1Frequently citing his own experiences as a clinician, Wigram spoke about the need forresearch to address the needs of front-line music therapists and how findings needed tobe communicated to them. “Most music therapists are, after all, employed to treatpatients, write reports, and attend meetings closely connected to their clinical caseload... they are certainly not paid to be researchers.”While in Waterloo, Wigram conducted a masterclass with students in Laurier’s undergraduateand graduate Music Therapy programs. The topic was Improvisation, the subjectof Wigram’s most recent book, and the visitor wowed the crowd as he frequentlycalled students to the stage, improvising on instruments with them then exploring themusical conversation that had transpired. He stressed that music is a language, repletewith interruptions and silence. He told the students they need to know how to make aframework and how to back off from it when working with a client.“Tony’s visit was very informational and more importantly, very inspiring,” Ahonen-Eerikainen says. “The students were so impressed -- he showed how complex andwonderful Music Therapy can be. How you have to keep asking questions. How youhave to keep learning. How you have to keep growing to meet the needs of the client.”Tony Wigram on life and work:How he got started:I’m a good musician. I know that and am not shy about that fact. Early on when I wasstudying music I realized my skill was improvisation. A professor told me I should getinto Music Therapy and so I did, encouraged by the realization that I could help peoplewith mental and physical challenges. For years I was a clinician. Now I’m on theUniversity-side of things but my research is a natural extension of my clinical work, thework I started when I got into Music Therapy in the first place.On his clinical work and research then:My early research in the 1980s grew out of my desire to evaluate therapeutic practice. Isuppose the first type of research I was involved in was tidying noise levels in hospitals.I was interested in finding out when clients were really listening, observing their reactionsto noise and music. I also looked at people with physical handicaps and howmusic affected then, the physical effects of sound on the body.On his clinical work and research now:In England, my clinical work is primarily with children with communicative disorders particularlythose in the autistic spectrum. That forms the basis of my research -- I analyzeclinical behavior. I also teach at Aalborg University in Denmark and a large part of theresearch I’m doing now is working out improvisational skills, formalizing what hasn’tbeen made formal before. My book “Improvisation: Methods and Techniques for MusicTherapy clinicians, Educators, and Students”, published by Jessica Kingsley Publishersin 2003 has been years in the making, studying how to do improvisation systematically.On championing the profession:The other thing people know me for has nothing to do with research. Rather, I’m knownfor politics. In England, in the early 80s, I became an advisor for the department ofhealth and worked to get music therapy to be recognized by Parliament. My work continuedin this area as I became involved in the ENTC[European Music TherapyConfederation] in 1989, serving as its co-ordinator. At that time there were five countriesin the organization. By 1999, when I left, there were 24 countries. I was one of the peoplewho founded and developed the World Federation of Music Therapy, serving as itspresident from 1996 to 1999. I’ve just tried to get music therapy to nationally and internationally-agreedupon standards of practice and to promote music therapy within theprofession and to the outside world.44“My research is a natural extension of my clinical work, the work I startedwhen I got into Music Therapy in the first place.”Dr. Tony Wigram*************************************************************************Kimmo Lehtonen, Ph.D. Professor of Education, Department ofEducation, Assistentinkatu 5, 20014 University of Turku,Finland,email: kimleh@utu.fiMUSIC AS A POSSIBILITY OF CHANCEVisions, scenes and dreams -- Jungian archetypes in musicThis article is based on the meaningful moments described in stories ofFinnish life histories and pieces of music related to them. The theoreticalbackground is based on the psychodynamic theory of music and meaning asa transitional object. The authors assumed that different pieces of musiccould in different traumatic life situations help the psychic work of an individual.In this working through process music binds traumatic and painful psychictension as well as the original contents of the original experiencesbehind these traumas. In this process musical pieces get loaded with psychicenergy that remains during years of the life span. This means thatpieces of music can act as “memory anchors”, which contain meaningsbound to different kinds of life experiences.This is quite obvious for those therapists who work with the elderly. Thereare pieces of music, which immediately arouse strong memories, emotionsand mental pictures for example from distant childhood or other meaningfulmoments of one’s life. This happens also with demented people. A piece ofmusic can remind them of many lively memories of people and social interactionwith meaningful persons. These experiences are often such as:“This is a song my long lost mother sang to me. I remember when I wasform years old and my mother sang this song (Somewhere over theRainbow). I wassitting in her lap and there was this specific feeling when we were together.Soon after my mother died and I was thinking that I can never be happyagain. So this is my mother’s song. Everytime I hear it I get this nostalgicfeelign which is happy and sad at the same time.This is also an interesting capability of music because it can expres socalledmixed feelings” -- it can be sad and happy at the same time. Thesekinds of experiences are familiar for clinical music therapists. Few years agoI became more aware of them while making a research of meaningful musicof the Finnish hospitalized psychiatric patients (Lehtonen & Niemela, 1997).As a result we got almost a thousand pieces of music and after that we analyzedthe most meaningful of them. It was obvious that these pieces ofmusic were anchored to the meaningful life experiences of these patients.For example:

“I was listening to this piece over and over again during my despair after divorceand thinking about committing suicide. -- There was a story in the piece which toldabout the only girl standing on the bridge and staring at black water of the riverflowing underneath.”Many of the pieces investigated seem to tell sad stories about loss and mourning.They were loaded with strong metaphors, figures of speech that seem to containJungian (Jung, 1978) archetypical material. The main archetypes were related towater, crossing a river, standing on a bridge, foggy landscape, shadows and oneof the most important -- the archetypal female figure “anima,” which could befound in many songs. These songs seemed to have a close relation to the unconscious,the content of which they were transferring to the conscious in a symbolicform.The songs seemed to tell stories to the suffering individual which on the one handgave hope and on the other hand seemed to help the individual to calm down andwork through her/his strong emotional problems, which could not be handled otherwise.The pieces contain a lot of psychic meanings related to people life situations.After this investigation I became strongly interested in the Jungian analyticpsychology and symbolism. Jungian archetypes and their relation to music andmusical expression are seldom related to theories of music therapy. This is a bitstrange because Jung himself once said: “Music is irritating me because musiciansare handling very deep archetypal psychic material without being aware ofthis.” Jung himself wrote very much about symbolism and forms of art without sayinganything about music. Perhaps this is why Jungian analytic psychology,archetypes, synchrony and collective unconscious have remained a kind of unwrittenpage in the “theoretical book” of music therapy. I started systematically investigatingJungian theory and archetypes and started an on-going research project ofmeaningful life experiences and music, which is explained in brief in the nextchapter. Actually I also have a limited number of materials from Canadian musictherapy students which Professor Ahonen-Eerikainen kindly helped me to collect.Nothing Else Matters -- Music as a means of working through traumasI was thinking about my research design and decided to use music as a means oftuning on the subject group’s imagination with suitable pieces of music. Then thesubject group (at the time approximately 250 persons) was asked to write a storyof their most important life-experience and tell about the piece of music related tothis experience.I applied a diary writing method developed by Jungian psychoanalyst Ira Progoff(1973, 1975) that I modified by using a particular piece of music (Apocalyptic’scello version of Metallica’s Nothing Else Matters piece) in order to evoke the subjectgroup’s memories and mental pictures. I have by now got 250 rich and manyfacedstories about the most meaningful moments in the subject group’s life historiesand pieces of music essentially related to them.These experiences were mostly dramatic, very much alike and they weredescribed by using quite similar metaphors. The most meaningful moment were1) the lost idyll of childhood, 2) first love and getting a baby as a life changingexperience, 3) despair and mourning related to losing one’s love, 4) other meaningfullife experiences and losses and 5) the experience of finding a new direction,individuality and integration. These themes were not separate but usually many ofthem were represented in a single story. Some examples:“I was sitting at home in great anxiety. I was feeling bad because I could not at allopen myself in the music therapy group meetings. I put the radio on and there itwas: “If you wish you can fly, if you believe you have wings...when you look at themirror you can see your opponent”...this gave me strength to open up and mirrormyself through the therapy group. Something just slick to its place in my mind.”“I was coming back from the hospital where I was meeting my deadly sick father.The next day I was told that I don’t have to come anymore because my fatherdied last night. Mother’s helplessness and grief was awful and I tried to hide mypain somewhere. Suddenly a piece of music is coming in my mind “I Gotta GetOut Of This Place” (The Animals). So I traveled away after a couple of days.”“My mother died suddenly. I was listening to the Rolling Stones’ piece Mothers littleHelper -- I just understood the meaning of these words later.”I could not get a child and we were trying and trying with my husband. I was sosad and lonely. During evenings I was playing my piano and I played very oftenthe same piece, Rolling Stones’s Tears are Passing by... It is the evening of theday. I sit and watch the children play. The smiling faces all I see they are not forme...this piece is telling my story. I could work through my problem and we decidedto prepare for adopting a child.”The life-stories represented existential depth underlining the constant change oflight and shadows in human life. The experiences were very strong and suddenand they seemed to be related to the Jungian archetypes and synchrony. Theform of these experiences was often such that somebody who is suffering is sittingalone and then he/she hears a song from example the radio, which is tellinghis/her story. Usually they were the metaphors, which said that you can solveyour problem, there is a way out from your despair and it is only you who canmake a change. Music and songs seem to have this kind of function becausemusic says much more that you can say only by words. It is just songs that relateemotions and words together in new ways and “the symbolic distance” from musicis giving the extra energy for the psychic work needed for solving one’s personalproblems.The stories also told about the process where losses in earlier life phases arereactivated and repeated in later life experiences - one must move from onephase of life to another without sufficient maturity. Music seems to play a verymeaningful and important role in working through these experiences. Music is givinghope, consolation and new ideas in the hard situations of life. Music is givinghope, consolation and new ideas in the hard situations of life. In this sense musicalso functions as an important means of self-healing. The meaning of music isbased on moving and flexible cathexes (psychic energy) of human psyche, whichhelp the individual to bind his/her anxiety and restlessness of musical objects. Sothis is some kind of a shortcut to my research project.I am very honored and proud because I could write to your new journal and wishthat Finnish music therapists could continue this kind of collaboration with ourCanadian friends and colleagues.KEY WORDS: Music, life histories, meaningful moments in one’s life, mourning,cathexis and binding.References:Jung, C.G. (1978). Man and his Symbols. Conceived and Edited by Carl Jung.London: Picador.Lehtonen, K. & Niemela, M. (1997). Kielikuvista Mielikuviin (from language picturesto mental pictures). Publications of the Unviersity of Turku. Department ofEducation A: 177.Progoff, I. (1973). Jung, Synchronity and Human Destiny. New York : Dell.Progoff, I. (1975). At the Journal Workshop. New York: Dialogue HouseWorkshop.www..wlu.ca.5

eflections reflectionson music analysis in music therapyd r .abstractTo compose is to be a architect...In musical terms,c o l i n a n d r e w l e earchitecture spreads out over time. When time haspassed by and the architect has been deployed, onesenses an inner perfection in the mind. Only at thatmoment may one say, the composer...music therapist...hassucceeded.Alberto GinasteraIn the above quote Ginastera eloquently expressesthe need to know how music proceeds in time whencomposing. The same can be said of the clinicalimproviser. The building of an improvisation as it iscreated and then passes in time is dependent onmany factors. To learn musical resources and howmusic can be used therapeutically is an exacting dis-----------------------------------------------------------------cipline. To chose from a myriad of musical optionsand then build themes that are musically and clinicallyappropriate and that will allow the client to findtheir place in the music, and thus their place in theworld, is an exacting surgical science. As improvisation“spreads over time” the music therapist mustassimilate the moment-to-moment content, musicallyand therapeutically and then make future decisionsthat are precise yet creative.Why is it important to analyze the music in clinicalimprovisation alongside the more standard forms ofanalysis and assessment? Can music analysis complementand add to the on-going psychoanalytic andnon-musical outcome research, evaluating the structuresof improvisation in music therapy? The clinical----------------------------------------------------------------------------------.6Invitation to Join the AeMTResearch Chapter- Do you think the quality of the music weuse in music therapy is important?- Do you think the aesthetics of music hasa role to play in our understanding of themusic therapy process?- Do you think by understanding musicmore we may understand more the overalltherapeutic structures of improvisation?- Do you think music therapists need to bemore aware of the music they use?- Do you think music therapists need more educationand knowedge of musical components andimprovisational tools?- Do you think music centered theories of musictherapy need greater attention in our developingfield?If your answer to any of the above questions isyes you may be interested in joining the AeMTResearch Chapter. In this group I hope to fosterand encourage questions that pertain to the use ofmusic and music therapy. Taking a primarily musicologicalfocus it is the intention of AeMT to forgelinks with theories of music. That is not to promotea purely musical bias but rather to balanceour long history of non-musical research. Once agreater understanding of music in music therapyhas been achieved then it will be possible to integrateevery aspect of practice and make links thatwill be truly inclusive. AeMT’s mandate is thus toencourage these beginnings in what I believe isthe newest and most important branch of musictherapy research.Dr. Colin Andrew Lee, Professor and Head ofMusic Therapy, Wilfrid Laurier University

Clinical musicianship includes:r e s e a r c h p r o f i l e >clinical listeningclinical applications of aesthetics, music analysisand musicologyclinical form and musical formclinical understanding of seminal worksclinical relationship and aestheticsclinical analysis from a composer s perspective(Lee, C.A. 2003 pp. 1–2)precision available through musical analysis gives emphasis to theargument that musical structures can be counted just as can theempiricism of numbers necessary for control studies. It is the interpretationof the data that provides illuminating results. Of course is itimpossible to explicitly know and categorize the creative responses tomusic through numbers. That would deny the essence of music as aliving and therapeutic force. What music analysis can do is to exposethe potential musical complexities that exist beneath the surface. It isthese complexities, I believe, that hold the answers to the enigmas ofmusic therapy. By investigating and knowing the precise relationshipbetween musical and therapeutic frameworks, a new level of understandingappears, one that gives equal weight to the ‘art’ and ‘science’of clinical practice.Listening to a great piece of pre-composed music for the first timeone can be overwhelmed by the experience. One instinctively knowsit is impossible on one hearing to fully grasp the overall compositionalform. Listening again one begins to understand the essence of musicaldevelopment that constitutes the music’s genius. Looking to thescore it is possible to further uncover complexities of how the music isconstructed. As one listens more the piece begins to uncover evernew layers. One’s emotional responses to this greater understandingfurther ads to the greatness of the piece. Listening repeatedly to aclinical improvisation is a similar process. One listening is often notsufficient to fully grasp the impact of the music and thus make a consideredinterpretation of the musical therapeutic relationship. If thetherapist can notate sections or indeed the complete improvisationfurther aspects are unraveled. Thus the improvisation begins to takeon a whole new light. The therapeutic content begins to be illuminatedin a way that allows the therapist to understand the client in atotally new light. The therapist’s emotional responses to the musicalso begin to change in a way that allows greater understanding ofthe client and their place within the thereapeutic alliance. By repeatedlisting and study, just as in the case as the pre-composed piece ofmusic, future sessions may become ever more finely tuned.In April 2004, the 5th International Symposium for Qualitative Research devotedone of its groups to music analysis. An extract from an improvisation, of a client inindividual music therapy, was distributed to each of the members. Each member thenprepared a musical analysis of the improvisation and for four days the responseswere collated and compared. The results that came from this initial meeting were illuminating.Representing different music therapy theories the responses to finding amethod of analysis varied greatly. As each member struggled to find a method ofrepresentation a level of cohesiveness appeared, one based on the groups unwaveringbelief that music analysis could provide answers to how clinical improvisation iscreated, developed and structured into architectural ways of being. This work is verymuch in the beginning stages of what I believe is crucial research for the future ofmusic therapy questioning.Musically analyzing a clinical improvisation reveals multi layers of information necessaryfor the music therapist’s future responses and interventions. By better understandingprevious musical encounters, their structural make-up, their precise combinationof tones, harmonies, rhythms and textures, the therapist is able to keep refiningthe music therapy process. A client’s musical creativity is a highly complex phenomenon.The developing music therapy relationship is equally complex. I believe itis imperative that a music therapist pay equal attention to the musical components ofa clinical improvisation as they do a psychoanalytic, medical, psychological or behavioralone.Music is a volatile yet precise phenomenon. It can affect our emotions more directlythan any other human experience, yet can also be condensed to numerical formsthat are exacting and scientific. As a clinical improviser I am constantly amazed andin awe of how small musical nuances can affect a therapeutic outcome. That the differencebetween one interval can so dramatically change the direction of an improvisation.As my research in music analysis has developed I have become ever moreaware of the power of the medium we use with our clients. To take music therapyseriously we must take music seriously. To acknowledge that musical structuresthemselves are at the heart of our work. If we deny the intricacies of music then wedeny the intricacies of a clients potential. With music at the center of our practice weare prepared and ready to know and understand the evolving therapeutic relationship.Dr. Colin Andrew LeeDirector, Music TherapyWilfrid Laurier UniversityDecember 2004.7

The Laurier Centre for Music Therapy Research is poised to lead the field inmusicological research. It is my hope to begin initiatives linking the disciplines ofmusicology, aesthetics, composition, ethnomusicology, and music therapy, and to lookfor connections that will inform our practice as well as cultivate an understanding fromthe professions contained in music. Future projects may include comparisons of theories ofimprovisation and developments in contrasting theories of world music and the implicationsfor developing musical resources.As Director of the Music Therapy program at Wilfrid Laurier University, I am honoured tobe involved in the development of our innovative research centre. As music therapyresearch moves into the next millennium, we are poised at Laurier to make significantcontributions to the future of clinical practice both nationally and internationally.–Dr. Colin Andrew LeeResearch at LCMTRWilfrid Laurier University“A Sampling of Listening Perspectives”Listening to the musicPerhaps the most obvious, although multifaceted level of listeningis a musical one. In this perspective, music therapistsattune to the music itself, keeping in mind that music is composedof sound and silence. They may also interpret themusic on a descriptive level, including a client’s musical characteristicsor emerging musical shapes and patterns. Whenlistening to improvisations (either in or after sessions), musictherapists may differentiate the client’s musical responsesfrom their own music or focus more on the musical dialogue.This perspective can also be a “listening out there” to themusical totality of an improvisation co-created by both clientand therapist.Listening from musical historyOur musical background, culture, gender, experiences as amusician, music listened to, and musical education influencehow we listen as music therapists. As a pianist, I learned andinternalized classical and contemporary piano repertoire andtechnique. When improvising with clients, these musical influencescan be quite subtle such as a melodic shape, phrasingor elements of a composer’s style, or they may be actualmotives from composers’ pieces.Listening by observingThis perspective draws on visual information in order to formulatetherapeutic interpretations. Music therapists listen byobserving a client’s body movements or stillness, gestures,breathing, gaze, and actions. Based on these observations,possible interpretations are made of a client’s mood, facialexpression, body language or quality of presence.Listening for significanceThis perspective could be described as a kind of listening“vision.” Music therapists listen for changes in a client’s energy,intention, relatedness, expressiveness or the ability to bepresent. They listen for a client’s potential to be engaged ininteraction, to communicate, and to be creative. Listening inthis perspective includes the potential for musical connectionand flow. When improvising or listening back to improvisations,music therapists may listen for both intentional and intuitiveelements of their own music.Listening with an improvisational attitudeThis kind of listening rests on the ability to enter into theimprovisational experience with its qualities of ambiguity andunpredictability. It is allowing ourselves to be in music withanother person, to be spontaneous and to take needed risks.An improvisational attitude assumes a curiosity about theworld, a delight in being surprised, and emotional sturdinessfor coping with unexplainable events. This attitude is a willingnessto go beyond what is know or comfortable, to sharemusic with others, and to learn from others’ music-making.Taken from Arnason, C. (2003). Music Therapists’ ListeningPerspectives in Improvisational Music Therapy: A QualitativeInterview Study. Nordic Journal of Music Therapy, 12(2), 124-138.Dr. Carolyn Arnason, MTA, Associate ProfessorWilfrid Laurier University.8

“Searching for milestones: The analysis of clinical improvisationfor music therapy students and music therapists”Abstract: The research is intended to provide an opportunityfor music therapists and music therapy students to be able toinspect where they are now, and also where they need to proceed,in order to possess and present an appropriately highlevel of proficiency in clinical improvisation. The research wasdesigned to analyze and compare the contents of clinicalimprovisation sessions collected from four interviewed participantsfor an educational purpose. The study investigated howmusic therapists and music therapy students perceive clinicalimprovisation, and sought to establish possible guidelines or criteriafor successful clinical improvisation. The process of analysisand description was divided into two different levels: musicaldata analysis and verbal data analysis. The main focus of theresearch findings dealt with the critical analysis, not only from amusicological perspective, but also clinical perspective.Through the comparative analysis, the researcher found anddiscussed three significant points: 1) clinical improvisation as aclinical form of communication 2) the use of vocalization in clinicalimprovisation as an effective and empathetic means of communication3) the correlation between clinical judgment andclinical listening and response. One of the unique qualities ofthe research content was to present solid information in theform of aurally transcribed musical analysis in addition to theverbal analysis from the interviews. The method of musicaldata analysis was adapted from that of Aesthetic MusicTherapy (AeMT) model (Lee, 2003)Sung-Yong Shim, MMTAbstract: This qualitative research study stemmed out of theresearcher’s quest to gain a deeper understanding of the therapeuticprocess in her music therapy practice. The analysis ofsessions with three individual clients using modified protocolanalysis and conceptions of grounded theory revealed five categoriesof themes present in the therapeutic interventions andrelationships. Investigating the categories of expectation, invitation,challenge, being present, and validation led to a discoverythat the researcher-therapist’s value system, which was shapedby her life experiences, upbringing and culture, played a significantrole in the therapeutic process. Conducting this study hashelped the researcher to gain more awareness in both personaland professional aspects of her self, thereby contributing to thequality of her music therapy practice.Michelle Song, MMT“Burnout of operatic proportions: The impact of trauma on theexperience of burnout of Canadian Music Therapists”Abstract: The impact of unresolved personal trauma (Figley,1985) and unaddressed issues stemming from one’s family ororigin (Rompf & Royce, 1994) as well as workplace trauma(including trauma and vicarious traumatization) (Figley, 1985)impact on the experience of burnout in Canadian MusicTherapists. In addition, workplace and professional factorssuch as a lack of supervision, debriefing and support, exacerbatethe experience of burnout as found in other helping professions(Cherniss, 1995). The dynamic and at times immediateprocess elicited in musical interventions (Lee, 2003) suggest adifferent therapeutic relationship from other helping professions.Therapist countertransference and/or vicarious traumatizationcan contribute to the experience of burnout, especially if thetherapist is lacking in study participant-identified skills such verbalinterventions and self-awareness (Rogers, 1992).Andrea Lamont, MMTAbstract: Introduction: Rap music and the aesthetics of HipHop culture represent a powerful, counter-cultural art form thatis omni-present in the lives of members of contemporary youthculture. A weekly drop-in music therapy group was held for residentsof a youth shelter in Toronto. The most frequently usedclinical technique was clinical-improvisations in recognizablepopular music genres. Rap was the genre most frequentlyused. Mixed messages are imbedded in the culture of rapmusic as there are many examples of lyrics with anti-socialcontent and many examples of positive, potentially transformativelyrics. The positive and anti-social aspects of popular rapmusic were reflected in the sessions and resulted in clinicalchallenges and a rich body of recorded lyrics.Methods & Analysis: Clinical improvisations were recordedand lyrics transcribed verbatim. A qualitative, grounded theorymethod was used, to identify major themes. Major themeswere analyzed to determine what the potential, meaning of therap-therapy experience might be for the participants, and todetermine the therapeutic potential of this technique.Results: Major themes discovered in the lyrics closely paralleledverbal self-expression in psychotherapy. Participantsused the performance of rap to express emotions, spirituality,and vulnerability. The raps were also used to depicts threatsand violence. Additionally strong connections were foundbetween the lyric analysis and a number of traditions in AfricanAmerican oral culture.Conclusions: The popularity, expressive power, and culturecontext of rap music combine to make it a potentially importantand exciting resource for music therapists.Aaron Lightstone, MMTwww.wlu.ca99

2005-2006 Calendar of EventsOn May 13-15, 2005, the LCMTR hosted a unique international Music PsychotherapySymposium: “Music - the Royal road to the Unconscious”, in which each presenter will presenteda music psychotherapy case. The format of this symposium will allow for in-depth discussionsafter each presentation. Watch our website for future details on the 2007 Symposium.The Laurier Centre for Music TherapyResearch, in collaboration with the Officeof Continuing Education, Wilfrid LaurierUniversity is pleased to announce plansto offer a non-credit certificate in MusicGroup Psychotherapy, beginning in 2007.Principal trainers will be Allan Sheps(Canadian Group Psychotherapy Trainerand ex-President) and Heidi Ahonen-Eerikainen, Ph.D.Future information will be available at:www.soundeffects.wlu.caFor more information, please contact:lfanjoy@wlu.ca.10Editor: Dr. Heidi Ahonen-EerikainenPhotographer: Sunil KuruvillaLayout: Debra Martz Melansonwww.soundeffects.wlu.ca • Tel: (519) 884-1970 x2431/x2658

Management BoardS e n d a l l r e p l i e s t o :Dr. Heidi Ahonen-Eerikäinen, EdD, MA, MTADirector of LCMTR, Wilfrid Laurier UniversityPsychotherapist, Group AnalystAssociate Professorhahonen@wlu.ca************************************************************************please detachLaurier Centre for Music Therapy ResearchWilfrid Laurier Universityc/o Dr. Heidi Ahonen-EerikäinenFaculty of Music • 75 University Avenue, WestWaterloo, ON CANADA • N2L 3C5Dr. Colin Andrew Lee, PhD, RMTh, BA Hons, MTAProfessor, Director of Music Therapy, WLUclee@wlu.caCaryl Ann Browning, BMus Th, BEd, MMT, MTAcarylbrowning@execulink.comDebra Martz Melanson, Administrative Assistant,WLUdmartzme@wlu.caLaurel Young, MMT, MTA, Sunnybrook and Women’sCollege Health Sciences CentreLCMTR Research Projectslaurel.young@sw.ca1. “The Impact of Music Therapy for theClients and Residents of St. Joseph’s HealthCentre.” The multi-disciplinary research projectstarted on January 2005. Funded by the Lloyd-Carr Harris Foundation: $40,891.00.Name:Address:City: S tate/Prov.Country: Postal/Zip Code:Telephone: Fax:E-mail: Institutional affiliation:Profession:Research interests:Become a memberIndividual Membershipin music therapy research?Are you interested or involved2. “Enhancing active participation throughmusic therapy with the VMI” was funded for the full$19,569.00 by the Bloorview Children’s HospitalFoundation.3. “An Inquiry Into the Effectiveness of Music-Based Communication Therapy”. This multi-disciplinarystudy started on January 2005..11The LAURIER CENTRE for MUSIC THERAPY RESEARCHLCM TRan invitation to the annual meeting of the General Assembly(with eligibility to vote on policy and procedures).free membership; subscription to the centre s semi-annualnewsletter Soundeffects;Benefits of membership include:are committed to advancing the discipline of music therapy.An international group of researchers and practitioners whoJoin the LCMTR General Assembly

LCMTR LCMTR 2005music therapy news at Laurier >The LAURIER CENTRE for MUSIC THERAPY RESEARCHInternational SymposiumMay 13 - 15, 2005please detachMusicThe Royal Road to the Unconscious:Researching Unconscious Dimensionsin Music TherapyR e s e a r c h a t L a u r i e r > 2 0 0 5The Laurier Centre for Music Therapy ResearchW ilfrid Laurier University75 University A venue WestW aterloo, OntarioCanada N2L 3C5affixpostagehereKeynote Speakers:Dr. Michele Forinash, USAElizabeth Moffit, CanadaPresenters:Dr. Brian Abrams, USARachel Darnley-Smith, UKDr. Colin Andrew Lee, WLUNiels Hannibal, DenmarkLillian Eyre, CanadaDr. Rod Paton, UKNiels Hamel, GermanyMariella Greil, AustriaHelena Bogopolsky, IsraelHanna Hakomaki, FinlandTsvia Horesh, IsraelCynthia Chhina, CanadaHeidi Ahonen-Eerikainen, WLU.124261 - Resonance MT News 5.1.04