Read Music Therapy a Fieldwork Primer Pdf
The field of music therapy has significantly grown in the past, and although the number of publications on music therapy itself has increased, the literature on music therapy education and training has non grown to the same extent. This is surprising, because how important we recall education and training are in preparing students to become confident music therapists and eventually ameliorate serve their clients. Borczon's book, Music Therapy: A Fieldwork Primer is therefore quite significant, in that it focuses our attention on publication needs in the areas of music therapy teaching and training.
As beginning therapists, students can accept difficulty knowing what to observe in their field training, and can become overwhelmed when conducting music therapy sessions independently for the outset time. Preparing students for their fieldwork experience represents a real challenge for their teachers and supervisors. Based on his 25 years of experience as a music therapist and his experiences every bit a music therapy educator, Borczon introduces the possibility of providing written guidelines that can benefit students, educators, and supervisors.
Borczon'south writing style is personal and piece of cake to understand. The book contains an introduction and nine capacity. 2 chapters are written by other music therapists. Concepts, practical strategies, and pertinent information are included. Borczon uses the affiliate summary efficiently and emphasizes important points past highlighting them in enclosed boxes throughout the volume. In addition, some directions and structures are addressed by using bulleted points.
Borczon begins the book by describing his own personal experience every bit a fieldwork student. It is intended as a "roadmap" to help students in their "journey towards becoming a good music therapist." In the introduction, Borczon shares his own experience of going through what he calls Pre-Session Operational Anxiety (PSOA). He identifies two reasons why music therapists could feel a bang-up deal of anxiety. First, information technology is considering of their responsibilities as musicians. Musicians are expected to perform well. Secondly, it is because music is the master modality in music therapy. In both cases, "Mistakes are bad." With this in the forefront of their awareness, students experience great anxiety. Borczon encourages music therapists to "Stay open up to challenges because they pb to growth" (p. xii).
Borczon identifies several goals during fieldwork. They are: expanding who y'all are, learning how music is utilized with diverse populations, learning helping skills along with your musical skills, and growing equally a person.
In Chapter 1, Borczon addresses Attributes of a Music Therapist. He encourages the students to think about "Why are you lot in music therapy?" He firmly believes that this is the first step for the students to become "a good music therapist." He introduces the personal qualities that music therapists should accept, as they are defined past the American Music Therapy Clan.
The title of Chapter 2 is The Start Come across. In this chapter, Borczon discusses the preparation that students demand prior to the first music therapy session with the customer. It is credible that the more than the pupil prepares, the less broken-hearted he/she will become. The author assures the students that the client and the student therapist volition survive through this first session.
Chapter 3 came out of his class discussions with the students nigh the experiences they take had with the clients. As he states, "Very oftentimes the music therapists get caught up in the activity or programme of the session and can exist bullheaded to what the clients really demand at the moment of intervention" (p. 36). The writer believes that the client is "the best teacher" as they often teach the music therapists how the music therapy should keep. He encourages flexibility in the students' interventions or handling approaches, and suggests they be exploratory and complimentary from rigidity, as the client is the one who can show what their needs are.
Chapter 4, Talking as an Intervention, introduces applied interventions that are useful for educatee therapists. As outset therapists, they might exist unsure what to say and how to say it. Borczon states, "Clients are always giving yous information. Even if it seems resistive and counter productive, it is nonetheless information" (p. 61). In this chapter, he presents various verbal techniques, examples and interventions. Verbal interventions for the students tin can be as difficult equally musical interventions. Verbal techniques covered include: exact reflection of feelings/music, restatement of content, noticing the incongruence, using your own words sparingly, information technology is ok to exist silent, and the modulation through process. He also encourages the students to develop their ain intervention styles. This chapter also includes how to bring closure to a session.
Chapter 5, Various Intervention Strategies for the Difficult Client, is written by a few authors. This chapter is organized by using a description of a specific situation and offering various verbal or nonverbal approaches to handle the situation. Since each client can be dealt with in a unique way and we serve a variety of populations, it is impossible to encompass all of the approaches. Therefore, these are the starting points that focus on, but are not limited to, children with special needs. Borczon includes resistive behaviors, self-stimulating behaviors, tearing behaviors, aggressive behaviors, lack of motivation, etc.
Chapter six contains the methods of Documentation. As a novice student therapist, documentation does non necessarily come naturally. Therefore, the author explains each aspect of the documentation process, specially what to include and what not to include. He defines the divergence between goals and objectives, and discusses referral, assessment, handling planning, data collection, progress notes, narrative notes, and termination notes. As a method of documentation, the SOAP style is introduced: Southward: subjective, O: objective, A: assessment, P: plan.
In Affiliate 7, Borczon deals with Starting time to Build Your Style. He believes, "Existence a person who wants to help others is at the core of your way" (p. 123 ). Building one's way will take time and necessitates doing some piece of work. It may involve reading theory, finding a mentor, observing, experiencing, and reflecting. He continues, "In your evolution of style, you lot will meet that ultimately who you are as a person, your life, your experience, and the nature of your clients accept a part in defining unique way" (p. 125).
Chapter 8 is written by Holly Baxter, a music therapist. It contains a discussion near how students benefit the well-nigh from supervision. It is sure that "Developing and maintaining a strong supervisory relationship is key to your success" (p. 127). She as well discusses common ground and uncommon ground, supervision style, various forms of supervision, alive and videotaped supervisions, and cocky-critique and evaluation. She emphasizes that in order to have effective supervision, the students must be willing to acquire and filter information appropriately.
Chapter ix, "Words of Feel" is written by Borczon too equally other music therapists. The music therapists are asked to respond the following question: "If yous had the opportunity to pass on something to a developing music therapist, what would y'all say to him/her?" Many of them suggest that it is important for students to go far touch with their ain need for playing music and to seek continuing growth. In addition, the author suggests that the students read this advice very slowly. He hopes that the readers will exist able to give "the same gift" some twenty-four hours.
Borczon emphasizes that it is important to remember that every musical response of the client is "a valid response" and it is important that he/she does not go emotionally involved in a reaction from a client at whatever level. Rather the students should exist an observer of the response and endeavour to find meaning in the response.
Given the intent, scope, and developmental level of this book, certain topics are not covered, and would therefore accept to be addressed straight by the student'due south teacher or supervisor, as the need arises. These include: how to develop one'southward musical skills, how to interact with the customer's family unit and other professionals, how to participate in supervision, how to stop therapy with the customer, co-leadership and squad work, and transference and countertransference. Additionally, more clinical examples would accept been helpful.
Though Borczon consistently tries to apply "educatee" language, I would take preferred the discussion, "confident" therapist instead of "adept" therapist, to avoid the connotations of being evaluated and to avert anxiety. Equally the author emphasizes, "mistakes" are necessary in the form of the grooming, and I would not want trainees to remember they are "bad" therapists because of their mistakes.
Overall, this volume is very informative and practical. The specific examples and instructions are clear and helpful. It is a adept starting point for students to gain pertinent information regarding fieldwork. I would recommend this volume to whatsoever student, educators and supervisors in music therapy.
Source: https://njmt.w.uib.no/2007/12/19/music-therapy-a-fieldwork-primer/
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