This post relates to a very basic part of what we consider to be “advocacy”. It is yet another response to that question we always get: So what do you do? We have all rehearsed little elevator pitches and definitions. My approach to answering this question changed a bit over the course of last year, and I hope it will spark some ideas in others.

Whereas I used to launch into a mini-lecture involving several buzz words (goals, objectives, non-musical, outcomes, research-based, blah blah blah…), I now say, “Do you have a minute for a story?”

Everyone likes stories. It’s what we fill our lives with. Movies, television, books, even songs tell stories. People get excited for them. And stories work. They tug on the heartstrings. They are as effective at the grassroots level of advocacy as they are in an address to Congress. There are high-profile stories, such as Gabby Giffords’ road to recovery, and there are the stories you create every day as a music therapist. I find myself briefly referencing high-profile stories, but talking more about what I have actually experienced.

I generally keep a few stories in mind that really illustrate the benefits of music therapy. Instead of saying, “Music therapy addresses physical, emotional, social, and communicative needs”, I try to have a story that demonstrates each of those. It is even better when you know a little about the person with whom you are speaking so that you can tailor your stories and definitions to his or her own personal experiences.

One story I always tell is that of Charlie (name changed for confidentiality). He was a hospice client of mine, and he had been physically disabled because of a stroke for at least 8 years. He was a bluegrass musician when he was younger. Before receiving music therapy, he struggled with depression. His caretaker was ill herself, and his support dwindled. Music therapy sessions consisted of him singing along with tons of songs, even teaching me new ones on a regular basis. We were able to make a recording, which his family really valued. One day, his grandson (also a musician) and great-grandchildren showed up during a session. It turned into a beautiful sing-along jam session filled with smiles and a few tears.

This is an abbreviated version, but it is still a touching story. It can also be broken down into specific parts. His physical needs were addressed because engaging in music resulted in pain reduction. The enjoyment and affirmation of his identity met his emotional needs, and the family components met social needs. He was able to communicate more clearly after singing. And all of this was facilitated through music. People get excited about that.

So, what stories are (or will become) part of your explanation of your profession?

Caitlin, the author of yesterday’s post (5 Things to Do Before the End of Internship) also sent along this little bonus section. I think everyone can benefit from this list of tips!

BONUS Section! Staying centered during your final days of internship.

For a yoga fanatic such as myself, I am constantly pursuing my center!  The craziness of growing up can often be over whelming; here are some quick tips to keeping a healthy mind, body and spirit.

Mind

1. SLEEP. Sleep is essential for a sharp mind and happy intern.
2. FOCUS.It is easier to do the work NOW than to worry about not having done the work later.
3. Free reading.  Your brain is a muscle that requires consistent workouts.

Body

1. Eat Healthy. Whatever healthy means for you, use food as fuel but don’t be afraid to treat yourself.
2. Stretch it out.  When feeling overwhelmed a little stretch goes a long way. (Yogajournal.com)
3. Remember to breathe. Inhale…and…exhale.

Spirit

1. Self-centered time. What do you like to do? For me it is yoga…for you it could be knitting, cooking, reading, singing, football, dancing, weight lifting, basket weaving…you get my point.

2. Stay connected. Re-connect with old friends and chat with family members.

3. Observe quiet time.  Take a minute away from everything-it is easy to get over stimulated-so be aware of what you need and don’t be afraid to say no.

It is my pleasure to share a guest post by my friend and fellow Iowa alum, Caitlin Krater. Caitlin recently finished her internship in Indianapolis, and will begin working on a research project with Sheri Robb, PhD, MT-BC, in February. We all remember the craziness that is internship, as well as the slightly terrifying question, “Well, what next?” In this guest post, Caitlin provides some great tips to those who are currently in the internship stage or who will be soon. Enjoy!

You have worked hard to complete your coursework, obtain an internship and continue to develop and grow during the past few months. Stop for a moment and take a deep breath; in fact take two! Questions that may be looming at this point are “what do I do now? “What’s the next step?” “How do I put all my knowledge into practice?”

In an effort to make the transition from intern to professional as smooth as possible, I have complied a list of 5 things to do before the end of internship.  I tried to keep the list as general as possible because what you do during this transition time will be what works best for YOU-these are just suggestions. Create a timeline for yourself.

1. Refresh your knowledge of music therapy competencies and scope of practice. Before the end of your internship is a great time for self-evaluation! Look over the competencies and items on the CBMT scope of practice. The scope of practice can be found at both the AMTA website  and the certification board for music therapists website.  Be aware of the requirements of a MT-BC, which is what you are striving for! Evaluate where you are and where you want to be by the end of your internship. (Take a few minutes to look over your mid-term review if you have it. Take advantage of the supervision from your supervisors while you have them.) This is a good place to start.
2. Check the AMTA and regional AMTA websites for job postings. While you’re completing your final weeks, it is a great time to begin thinking about your future goals as MT-BC.  It is a time to make several professional decisions: what is the ideal job for you, what experiences do you hope to gain, as well as what you need from post internship employment. Remember to consider population, location, salary, benefits and any other special interests and requirements you may have. In addition to online job postings, your supervisors often receive mailings from regional job postings and you can also get on a list serve to receive e-mail updates about jobs and other MT information. It is appropriate to begin applying before the end of your internship if that is the timeline you would like. Before applying for jobs, do your research-what is the facility like, where is it located, what are the benefits (what are benefits anyways?!) what is their mission statement and what is their philosophy.  The more information you have, the better the content of your cover letter and interview!
3. Revise resume and references. One aspect of internship is professional development.  This will come in handy when reviewing your resume.  Revise, revise, revise! Don’t forget to add your internship site, experiences gained and new references you know have.  Also, have your supervisor and/or professor look over your resume to insure it is ready to present to a potential employer.  It is important to contact people you would like to include as references to ask their permission and notify them of any jobs you apply for.  It may be helpful to send them a copy of your resume and a very brief (less than 50 words) summary of the job position so that they are well informed when contacted.
4. Network with professionals and seek mentors Start making connections during your internship! Use social media to connect via twitter, blogs, LinkedIn and other websites. Attend conferences; state, regional and national (whatever your bank account allows).  Make connections with other professionals in your setting beyond the music therapists. I learned so much from the occupational therapists, physical therapists and art therapists during my internship and will continue to keep in touch as I begin my professional career.  You NEVER know when a connection will lead to a job.   Because of the strong connections I built with the child life specialist, nurses and respiratory therapists on the pulmonary unit, I was asked to present my findings on the benefits of music therapy in respiratory care to the entire pulmonary treatment team.  Finding mentors is also important during the transition from intern to professional.  Seek out someone in the community (music therapist or not) who you can go to for professional advice and guidance will be invaluable.  These types of relationships often form by attending state and regional meetings where rubbing elbows with more established and experienced music therapists.
5.  THE EXAM - Ok so don’t pay attention to the scary font-you already have the tools you need to be a successful MT-BC! The test is a review of everything you have learned and are currently putting into practice.  I will not tell you how to study, but how to apply for the exam.  You will need:
   1. A completed application (CBMT.org)
   2. Transcripts
   3. Verification from Professor and Clinical Supervisor
   4. Payment (credit card, debit card or check)

What is your timeline for getting things done? Don’t procrastinate! If you want to be able to take your test by Jan. 1, it is best to mail your documents by Dec. 1. Etc.  But…I’ll let you in a secret-the processing time is often much quicker and may take as little as a week.  Once you hear back from CBMT, you can usually take the test within 3 days! I also recommend purchasing the $60 practice exam ( CBMT.org). The practice exam will help you get a feel for how the questions will be worded and what the EXAM is looking for.  Often times there is more than one correct answer so you must determine the BEST answer for the particular situation.

The end of internship can be a stressful time.  I encourage you all to remember to live in the moment during your final days.  Celebrate each success and each learning experience.  Remember to enjoy your time of learning and growth- the rest will fall into place.  Don’t worry about how fast or slow the transition is for you, do what fits best with your life!

Stay organized, respect yourself and find happiness-

Caitlin Krater

Music Therapist Almost Board Certified

caitlincommunitymusic.blogspot.com

Martin is happy because the humidity level is 50%

This is your annual reminder to take the necessary steps to keep your guitar happy this winter. You see, Jack Frost can be quite mean-spirited. He likes to make the air very dry, which can have a negative effect on your instruments.

The dryness of the air will dry out the wood, which can lead to shrinking, warping, and cracking. If you happen to live in a part of the country that experiences significant humidity changes during the winter, this post is for you.

There are a few simple things you can do to keep your guitar at the right humidity level, which for most guitars is between about 45-55% humidity.

1.) Buy a room humidifier for wherever your instrument spends the most time. As an aside, *THIS SHOULD NOT BE YOUR CAR. I use one with a built-in humidistat so I can set it at exactly 50%. I use distilled water, because otherwise the humidifier gets gunked up, and I’ve experienced a dusty sediment that covers everything in the room when using tap water. There are other water purification options, though. That is your call.

2.) Use a small instrument humidifier that resides in your instrument’s case, and make sure it is always damp. For tips on how to purchase or make your own guitar humidifier, check out this video I did a couple years ago. There is also some great additional information there, such as how to tell if your guitar is too dry.

3. Pack up your things and move to a warmer, more guitar-friendly climate. As I’m writing this, the humidity level is 49% in San Diego (perfect), 60% in Nashville (I can live with that), and 78% in Orlando (too much humidity is generally less damaging than too little-with the exception of submersion). This third tip is perhaps unrealistic, so I strongly encourage tips 1 and 2.

Happy humidifying!
-Matt

*Leaving your guitar in your car, especially in the winter, is a dangerous game to play. Not only is the humidity an issue, but extreme changes in temperature cause the wood to rapidly shrink or expand. This can make the would crack, or can lead to the glued parts of your guitar becoming separated. If you slip up and forget, which we all do at some point, bring the guitar into the house, but don’t open the case for 24 hours. This will give the guitar a change to gradually get back to room temperature.

In October, I did a guest post for Michelle Erfurt about choosing an acoustic guitar. Be sure to check out her site!

I wanted to share that video on Music Therapy Source, too. I included a few extra tips on Michelle’s site – to see the entire post, click here.

It’s a Sunday afternoon and I’m working on grad school stuff – statistics – and drinking decaf tea. I’ve been checking out some music therapy blogs and doing other music therapy-related things. But in a couple hours, I’ll have to make a pretty substantial mental shift. I’ll be on stage with my band, just like I was last night.

Performing with my band, Slip Silo, balances my role as a music therapist.

It’s an interesting shift, and there are many aspects of it that I could talk about here. But today I’m going to talk about what I get out of performing with my band.

The first and foremost benefit is definitely the creative outlet. While creativity is absolutely a component of therapy, it is always for the benefit of the client. That is how it should be. However, as an artist, I need to have an environment for expression and creativity as well. Performing my own music and improvising in front of an audience is refreshing, even cathartic. In a way, it’s my own therapy, and helps me cope with the week’s challenges and triumphs.

I am fortunate to play with a group of outstanding musicians. The aesthetic experience of playing with them is a weekly reminder of the importance of quality in music. We constantly push each other to be better musicians, and this transfers to my work with my clients.

My focus so far has been on my own experience of the music. My final point relates to the shared musical experience with the audience. Performance requires an audience. I don’t have the same internal experience playing alone or rehearsing as I do when there is an audience. The energy exchange between a band and the crowd is an incredible experience. There is a mutual give and take, and it can be exhilarating or depleting. When an audience is into what the band is doing, we play at a higher level. If the crowd is not responding, it can be really hard to be enthusiastic.

In summary, performing with a band is, for me, an important part of my musical identity. Instead of conflicting with my identity as a music therapist, it balances it. To conclude, here is a live recording of an instrumental song my band plays. It’s called Super Slow. Enjoy, and happy Sunday!

Wow! What a conference! I am totally on a music therapy mountaintop, and I can’t wait to see what unfolds this next year. Here are a few highlights from my conference experience in Atlanta.

1. Idea-sharing

I was fortunate enough to get to talk with some real music therapy rock stars this year. Being a part of the panel facilitated by Kimberly Sena Moore was most definitely a highlight. It was so interesting to hear how people use social media to advocate for the field of music therapy, as well as to promote their own companies and personal brands. For a picture of the panelists, check out the link to Kimberly’s site. Links to the other stellar panelists can be found in my earlier post, Five Things I’m Going to Do at Conference 2011.

I also got to speak with some experts about my lullaby CD and got some great feedback. It’s validating to know that the concept makes sense to them.

Some foreshadowing: Rachel Rambach and I chatted about balancing the roles of music therapist and gigging musician. The conversation is going to continue, and could very well turn into a presentation…

2. The Music

Drumming seemed to predominate conference this year. I’m primarily a guitarist, but I thought this was awesome. Opening session featured Japanese Taiko drumming. It was as visually exhilarating as it was rhythmically exciting. And for the closing ceremonies, we did it all again with another drum group. There appears to be a threshold where, if the drumming gets to just the right point, people can’t resist getting up and moving. We got there many, many times.

3. Iowa Moments

I received my bachelor’s degree at the University of Iowa, and I’m currently doing graduate work there. Naturally, I felt a strong sense of pride when Dr. Adamek won the Merit award and when Dr. Gfeller won the Research award. I feel fortunate to be a part of that program, and am equally excited about what other Iowa graduates are doing.

4. Uniting and Reuniting (and it felt so good!)

It is always good to see old friends. It is true that the field is rapidly growing. However, it is still small enough that relationships are maintainable from year to year. This being my 5th national conference, I am starting to recognize some of the same characters who come each year. And because of social media and other communication forms, I arrived already having established “digital relationships” with some people. It is amazing how tools like twitter can build relationships before ever meeting someone in person!

5. Evidence of Understanding

Over the last year, the field of music therapy received quite a bit of good press. This was highlighted at #AMTA11. Jodi Picoult published Sing You Home, a book about a music therapist. The Music Never Stoppedwas featured at the Sundance Film Festival. Music therapy was credited as an integral therapy in Gabby Gifford’s continued recovery. And to top everything off, recording artist and The Sing Off judge, Ben Folds, showed up in honest curiosity about the profession. He attended presentations and graciously chatted with many music therapists, myself included.

All in all, it was an outstanding conference experience. Next year, it will be in Chicago. Also of note, it will be in OCTOBER. That means we’re less than 11 months away from #amta12. 

Conference is a complete whirlwind! I’ve learned that you can’t go in without a plan. So this year, I’ve made a top 5 list of the things I’m going to do. You should do the same!

1. Present I am honored to be part of a panel on social media and advocacy with a group of MT blogging rock stars. It’s called “How Social Media Creates New Music Therapy Advocates”. It was organized by Kimberly Sena Moore, and will also feature Meryl Brown, Michelle Erfurt, Kat Fulton, Bill Matney, Roia Rafieyan, Rachel Rambach, Sarah Sendlbeck, and Michelle Strutzel. It’s on Friday from 2:00-3:30 – hope to see you there!

2. Network Conference is not the time to be shy. While I want to talk with as many people as possible, I have a list of MT’s that I want to chat with. If you see someone you’ve always wanted to talk to, I strongly encourage you to just go on up an introduce yourself. You might not get another chance until next year. Here’s another tip: after the introduction is complete, follow up with an email or letter in a few days.

3. Jam I’ve been to many a conference, yet I have never participated in any of the jam sessions. It’s hard to beat spontaneous, co-creativity. This year, it’s on my list. #facemeltingguitarsolos????

4. Sleep Each year, I leave conference feeling as though I’ve been slugged with a djembe. This year, I aim to get more sleep. But I also acknowledge that this is unlikely. After all, did you see what time the jam sessions start??

5. Implement The awesome thing about conference is that you get so many good ideas! The bad thing is that you have so many ideas! I’m setting a realistic goal for myself this year. I want to learn 2 or 3 techniques that relate directly to the clients I am working with right now, and implement them when I get back home.

That’s it! A simple little list. Look for me out and about and say hello!

-Matt

Shame on you, American Idol!

“What?! I love that show!”

This is not actually an attack on Mr. Seacrest and the gang, but rather an observance of some of the downsides of the commercialization (and professionalization) of music.

In short, people are scared to sing. And specific to this post, moms are tentative about singing to their babies. Moms may believe, “If I don’t sound like Kelly Clarkson, I shouldn’t sing at all.” But this is untrue! We know an infant prefers his mother’s voice to any other. Period. And I have yet to meet an infant with an ear as discerning as Simon Cowell’s.

If you are reading this as a fellow music therapist or musician, you’re thinking, “I have absolutely NO problem singing to babies!”. But you have had musical training. You are way more confident and comfortable with your singing voice than the average Jane or Joe.

So…what’s the problem here? Well, the problem is that babies may be missing out on some of the amazing benefits inherent in infant-directed singing. As musicians and MT’s, you likely already know that there is purpose behind a lullaby or play song. The elements of the music itself regulate mood. Emotions are conveyed through music. The repetitive nature of songs can be the building blocks for language development down the road. All of these things enhance the attachment experience. For more on Infant Directed Singing and attachment, check out Kimberly Sena Moore’s article in Psychology Today. She even makes a similar American Idol reference

We know that developing a secure attachment with your baby is a good thing. Some outcomes, when compared to children who had an insecure attachment experience, include better emotional regulation, better social skills, and higher academic achievement. We want that for our children, right? Or grandchildren? Or nieces and nephews?

So music can help with establishing secure attachment, and secure attachment leads to a whole host of positive outcomes. The question, then, appears to be, “How can we encourage tentative mothers and fathers to sing?”

In preface to this post, I want to define the word “affect” as it is used here. In psychiatric or psychological terms, affect basically refers the emotions expressed non-verbally by a patient or client. For example, you might hear or see terms such as flat affect (showing no emotion at all), blunted affect (showing little emotion), labile (shifting between intense emotions) or full range (appropriate display of emotions). In the music therapy world, you hear many of the previously mentioned affective descriptions, and you might also hear things such as “bright affect” or “positive affect”, which essentially means pleasant expression, often accompanied by smiles, even laughter.

Eliciting a brightened affect from your client is generally regarded as a good thing. In fact, it could even be an objective, especially in a psychiatric or behavioral health setting. We know that smiling makes us feel good, and so at that very basic level, we know we are accomplishing something when we get smiles from our clients. But what I wish to focus on in this post is the role our own affects, or facial expressions, play in that process.

I regard my affect as an important therapeutic tool, maybe even more so than my guitar. My affect is the first thing a client or patient sees, and it’s the non-verbal signals I send that shape a client’s initial impression of me. I firmly believe that a first impression can significantly influence the rapport-building process. Though I don’t practice this per se (not that it would be a bad idea!), I’ve thought about the characteristics I want to convey non-verbally when first encountering a client. I try to project two things: confidence and sincerity. I think this results in feelings of safety and trust, which sets the foundation for a therapeutic relationship. And this is applicable to more than just first encounters. Many of my clients have Alzheimer’s or other dementia diseases. I have to gain their trust every time I see them, and maintain it throughout a session.

I am fairly convinced that my non-verbal communication is the most important factor in maintaining rapport with my clients. Our non-verbal signals are interpreted at a subconscious level, and those interpretations manifest themselves as feelings. How a client feels around me is going to significantly impact the therapeutic relationship.

In addition to rapport-building, affect can be useful in the execution of music therapy interventions. I’m sure you’ve used facial expressions as a form of non-verbal prompt (like raising your eyebrows). I find that varying my affect can keep people engaged. Think about the exaggerated expressions you use with children – they serve a purpose! Additionally, people have a tendency to imitate or mirror the expressions of those around them. In other words, smiling is contagious!

I’ve been reflecting on this for the last couple years, and felt validated when Andrea Cevasco, Ph.D., MT-BC (University of Alabama) published an excellent article on this topic in the Journal of Music Therapy. The article is entitled, “Effects of the Therapist’s Nonverbal Behavior on Participation and Affect of Individuals with Alzheimer’s Disease During Group Music Therapy Sessions” (2010). I highly recommend checking out the study. What her findings essentially suggest is that non-verbal behavior, affect, and proximity elicit a positive affect when used effectively and in combination, as opposed to those elements on their own. I would like to discuss the article more, but this is already such a long post!

Thanks for reading! I would like to know: how do you use facial expressions as a therapeutic tool with your clients? What other insights do you have on this topic?