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E-Book of Articles - World Federation of Music Therapy

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Wheeler, Barbara: WMFT Proceedings <strong>of</strong> the Education Symposium<br />

3. A degree in music or its equivalent. Some programs provide gradual training. For<br />

example, the first two years may be devoted to a basic background in music and other<br />

subjects, while the next two years focus specifically on music therapy. One school, for<br />

example, devotes the first year to general creative studies, and only allows students to<br />

choose a specific creative modality afterwards.<br />

4. Other acceptance criteria are: maturity and experience, appropriate personality,<br />

personal interview, <strong>of</strong>ficial and dynamic testing in music, usually including an<br />

audition.<br />

It seems to me that, notwithstanding differences in acceptance criteria, there are many<br />

similarities in the course requirements. In this particular case, developing a basic<br />

standard may be easier than I had imagined. In fact, this is one <strong>of</strong> the topics I propose<br />

for today's discussion.<br />

Duration <strong>of</strong> Program<br />

Depending on the beginning level <strong>of</strong> the program, I suggest that two<br />

full years <strong>of</strong> studies be set as the minimum requirement for candidates who<br />

have already earned a Bachelor degree in music and have a sufficient<br />

background in one <strong>of</strong> the health pr<strong>of</strong>essions. Another possibility is a degree<br />

in one <strong>of</strong> the health pr<strong>of</strong>essions and high level <strong>of</strong> music.<br />

Main Therapeutic Approach<br />

Most programs have based their approach on one <strong>of</strong> the wellestablished<br />

psychological models: Psychoanalytic, Psychodynamic,<br />

Humanistic, Developmental-Integrative, Gestalt, Eclectic. Generally<br />

speaking, there is no possibility <strong>of</strong> dictating any standard orientation or<br />

philosophy, as programs are initiated and established by individuals who<br />

stand behind a specific approach. Since this is a very interesting issue in<br />

itself, I would suggest organizing a seminar in which program directors deal<br />

with the impact <strong>of</strong> the original philosophy on their music therapy program.<br />

Academic Studies and Workshops<br />

In sum, the following conclusions can be drawn:<br />

1. Many programs lack medical courses. Since music therapy by nature influences<br />

locomotion, senses/sensations, vocality - as well as emotions, cognition and<br />

socialization - a training program in the field must provide tools for proper treatment<br />

<strong>of</strong> psychological/neurological/physical/medical disabilities. For this purpose, a basic<br />

paramedical background is obligatory. From my point <strong>of</strong> view, we are talking about<br />

subjects such as: anatomy, neuroanatomy, pathology, sensory-motor integration,<br />

kinesiology, development <strong>of</strong> speech and language and, <strong>of</strong> course, psychiatry. 59<br />

2. Special Education is not always considered important. Taking into consideration<br />

the damage that learning disabilities and other childhood problems might cause to the<br />

life <strong>of</strong> the adolescent and adult, courses in special education (at least some main<br />

topics) are highly recommended.<br />

329

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