The American Harp Journal - Extras - Summer 2018

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for me because it was also the year that I married the love of my life, Prentice Pilot. We have enjoyed 38 wonderful years of marriage and his love and support has been invaluable in my journey. My years with the BSO were so rewarding that I stayed for 40 of them and was asked to stay longer but to me it was of the utmost importance to retire at the top of my game and it was the right move for me. I have performed the concerto that John Williams wrote for me about 20 times since my retirement. I have enjoyed many opportunities to perform other concertos and to play chamber music with wonderful musicians. I have enjoyed playing for special occasions such as the opening of the Museum of African American History in Washington, D.C. in September of 2016 and a performance of the Ginastera Concerto in Buenos Aires for the 100th anniversary of his birth. Prentice and I have also been able to enjoy traveling and cruising to our favorite destinations. So now that I’ve told you, graduates, about the fulfillment of my dream job, my dream marriage and my dream semi-retirement—what advice do I have for you? I hope that my message has been clear about overcoming adversity. I truly believe that adversity has made me a better and stronger person. All of you will have some adversity in your lives—some of you probably already have. The important part is not getting discouraged and never giving up. We have a friend’s son who at 16 years old came to our program last summer at the Boston University Tanglewood Institute. He was clearly very talented and played very well. This past January his mother passed away unexpectedly and when I heard him play again very recently I was stunned by his improvement—not technically but the amount of feeling he was now putting into his playing was touching. Also make sure you are ready for whatever opportunities come along. Taking an audition when you are not prepared is never a good idea because it can lower your confidence for the next time. The second bit of advice is to remember those who have supported you. The support of my parents, my sister, my husband and my teachers were very important to my success and I could not have done as well without them. The last bit of advice is to appreciate the journey that music affords us. Appreciate the friends you have made here at CIM. I still have good relationships from my days so many years ago. One of my best friends from that time is Alyce Rideout, Alice Chalifoux’s daughter who is here with us this morning. Her support during those trying years was invaluable to me and we have maintained our friendship for all those 55 years. I wish you the best as you embark on this new and exciting adventure that is your life in music. Good luck and stay safe and strong. —Ann Hobson Pilot ABOUT THE AUTHOR Emily Laurance is a harpist, musicologist, and educator. She is Principal Harp of the Firelands Symphony Orchestra and freelances in the greater Cleveland area. She is a member of the writing faculty at Case Western Reserve University and serves as Associate Editor of The American Harp Journal. V 6 THE AMERICAN HARP JOURNAL – EXTRAS
The Therapeutic Use of Harp: Modalities, Programs and Training by Bethany Wheeler, MA, MT-BC Editor’s Note: The author categorizes performance in healthcare settings by musicians without specific therapeutic music training as “volunteering.” Although not specifically mentioned, the commentary regarding this category could also apply to those harpists who may be hired to perform or “entertain” in healthcare facilities. This is the first article in what we hope will be an ongoing series about this important topic. Introduction ANN 1 had been playing the harp for several years and thought it would be nice to share some of her music as a volunteer at a local hospital. Thinking that harp music could be very soothing, she inquired about volunteer opportunities on the hospital’s hospice floor. Her desire was to provide some enjoyment and comfort to anyone who stopped to listen. The nurses on the hospice floor were very excited for Ann to come and readily agreed. However, when she arrived, instead of being shown to the lobby, Ann was taken to one of the private rooms where she was asked to play for a dying patient and her grieving family. She played for the patient and her family for twenty minutes and then excused herself. Ann was shaken by this experience, feeling that the emotional weight of the room had been too much for her to bear. After this experience, Ann told the nurses that she preferred to volunteer in common areas rather than private rooms. She spent the next several weeks playing in the hospice floor’s family lounges, which turned out to be a positive experience for both Ann and the patients’ families. Although it may not reflect a typical experience, this real-life vignette sheds light on an important ethical issue related to the use of the harp in health- 1 A harpist whose name has been changed for privacy. care settings—namely, that any individual seeking to enter into a healthcare setting to use the harp in a therapeutic manner should have adequate therapeutic training. A talented and proficient harpist who lacks suitable therapeutic training may be unequipped to understand, respond to, or cope with the nuanced medical, social and psychological situations encountered in healthcare settings. Additionally, there exists a great diversity of physical and emotional needs, cultural values, and musical preferences within healthcare populations 2 ; this necessitates that the musician not only cultivate an exceptionally broad repertoire, but also be able to implement it in a flexible manner, responding to the moment-bymoment needs of each individual. How, then, can harpists ensure that they are adequately prepared to interact with patients and their families effectively? What steps can a harpist take towards ensuring that the patients, their families, and the harpist all emerge from the musical experience with a positive rather than a negative outcome? In recent decades, several different therapeutic modalities 3 and training programs have emerged seeking to equip musicians to use their instruments in a therapeutic manner within healthcare settings. However, within the harp and healthcare communities, there remains some confusion surrounding these various therapeutic modalities, particularly regarding the training and settings associated with each. In an attempt to clarify these issues, this article includes the following: 1) a description of four modalities available to harpists who wish to use the harp 2 Many diverse populations may be found in healthcare settings, including: the geriatric population, hospice population, pediatric population, non-English speaking population, etc. 3 Throughout this article, modality refers to a therapeutic method, approach or application. 7 THE AMERICAN HARP JOURNAL – EXTRAS
Page 1 and 2: The American Harp Journal 1 THE AME
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Page 5 and 6: admired how she rocked a pair of le
Page 7: Ann Pilot, commencement address, CI
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Page 13 and 14: Table 1. Therapeutic Modalities: An
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Page 17 and 18: American Music Therapy Association
Page 19 and 20: Seen at Redlands... Additional Phot
Page 21 and 22: Anne Adams Awards Recitals
Page 23 and 24: Evening of Jazz, June 28 Open Conce
Page 25 and 26: Open Concert Reception, June 27
Page 27 and 28: Open Concert Reception, June 27
Page 29: Around Redlands

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