Back at it!

Okay. Seriously, this break from the blog has gone on way too long. Here's the thing though: 

I retired from my job in 2021. 

Yeah, I know. I never would have thought I'd be capable of it either, but here I am. Alive. Retired! And, astonishingly, kind of digging it. So...what the heck am I doing with myself?

I just finished a draft of an article for a special edition of Voices (with huge thanks to my friend, Dr. Henny Kupferstein, who kindly helped me re-organize and finish the thing already, before it ended up becoming a 387 page book). The title is Getting to 'no' you: When nonspeaking autistic people refuse music therapy. Here's the Abstract, in case you're curious:

Nonspeaking autistic people frequently begin music therapy at the request of others. Typically, family or care systems are tasked with making decisions on their behalf and have decided this service will be of benefit. Consequently, music therapy is a given rather than a choice. For this paper I have used my own evolving understanding to explore the complexities and power dynamics related to nonspeaking people being able to say ‘no’ to music therapy. Elements in this discussion include: (a) the ability, and safety, to say 'no' in the context of a culture of compliance (b) the complicated relationship between music therapists and the systems within which they work, and how this affects the therapy relationship, and (c) the role of music therapy practice standards. I advocate the following:  (1) presume competence; (2) enter the therapy space with curiosity and openness, (3) be willing to ‘get to know’, (4) coping skills or communication attempts are not ‘behavior’ in need of correction, and (5) learn how each nonspeaking person communicates ‘no.’ Actively encouraging and respecting treatment refusal goes a long way toward building a respectful music therapy practice/relationship.

 It was, as most things I seem to do are, a complicated topic. Not so much complicated because nonspeaking people should be listened to (that's a given), but more because I wanted to address (in as respectful and calm a way as possible) how many elements stand in the way of nonspeaking autistic people being heard at all, let alone experiencing self-determination. It, um, required a lot of editing before I could submit it. 

I finally finished reading Music heard so deeply: A music therapy memoir, by my colleague, Betsey King, which I quite enjoyed (especially the stories of her work). In fact, as I've discovered, one of the nicest things about being retired is having time to read! 

I've been exploring collage, because...why not? This one was inspired by one of the folx I worked with for a long time. He is a brilliant, curious man, who, besides being a news junkie, wanted to learn about space. 

As you might imagine, I miss the people who I spent so many years with as a music therapist. I suspect you'll be hearing about what it was like to spend my last year or so working, and retiring,  during a pandemic. 

So....you know...welcome back!  

Grateful

On this quiet Thanksgiving day, it seems right to reflect on the many aspects of being a music therapist for which I'm grateful. 


Since I've just returned from a trip to Atlanta where I participated in the national music therapy conference, it's one of the things that's very  much on my mind (oops! That was very "Georgia On My Mind" there, wasn't it?). To that end, I'm sending out a big thank you to all the folks at the American Music Therapy Association (AMTA) as well as the conference chair-people and numerous volunteers for the huge amount of work that went into putting together a conference of this size! It was a great conference, and I truly enjoyed being there.


I'm also appreciative of the fact that I had the opportunity to meet many of the large collection of music therapists I've gotten to know through their blogs, tweets and list-serv postings in person. Even though I've been a part of this field for quite a long time, it was a comfort to be a part of an already existing online community, many of whom would be at the conference.  Now I can imagine all of your faces and voices as I read your online thoughts! Yay!


A particularly cool element of all that was having the opportunity to be a participant in a social media as music therapy advocacy tool panel, conceived by Kimberly Sena Moore, and joined by Michelle Erfurt, Michelle Strutzel, Matt Logan, Kat Fulton, Sarah Sendlbeck, Meryl Brown, Rachel Rambach, and Bill Matney. What a joy to be with this articulate and energetic group of professionals!


The renegade jam session (for those of us who can not function after 11 PM) was a lot of fun, and we sang and played our collective hearts out in a quieter corner of the giant hotel. 


As I gradually transition back to my usual hectic schedule (not to be confused with the completely crazy conference schedule! Yow!), I extend gratitude for the fact that I have a job and work with clients who, even after almost 24 years, challenge me to learn and grow and get better at serving them. And nowadays I get to add my supervisees to the list of folks who help me think and invite me to push the limits of my knowledge.


My co-workers at the developmental center also inspire my appreciation. We have struggled together to understand what might be going on when our clients try to convey their distress. At times we've sung and laughed and  at times we've cried together. We don't have an easy job, and, at this point, I don't think we'd really want one.


I'm thankful for the happiness that comes with playing music (either by myself or with other like-minded folks), and when people say, "wow, you're really lucky," I have to say, "Yes! Yes, I am!" 


Happy Thanksgiving to you all. May you also feel lucky and fulfilled in your chosen profession!

How wonderful that you're here!

Image via WikipediaWe music therapists are always trying to define what we do. Or, more specifically, help other people understand what it is we do. We write books and articles about it, we blog about it, we put together podcasts- all in an effort to convey to the masses a sense of what makes us go into this profession that seems to defy description!


But, if someone were to have asked me yesterday "what is music therapy and how does it work?", I would probably have said that it's about inviting people to be present to each other, and we use the music to help make that happen. 


Mondays are long days. For me, I go into work a little later and stay a little later. And, I think we can all agree: it's hard for any of us to transition into a Monday, which is, for most folks, the beginning of the work week. And I would say that it requires even more fortitude to get into the Monday spirit of things after a particularly long Thanksgiving weekend, which, of course, marks the beginning of the (dreaded) holiday season.


While staff frantically decorate the cottages and prepare for Open Houses (where everyone's family is invited to come and visit and there's food and music and merriment and so forth), my clients prepare for the annual anxiety of "will my family be coming to spend time with me this year?" 


So, this is a bit of the sense I got when I showed up to work with the group yesterday (Monday) afternoon- "the group" being ten men and me. 


Oh, where to begin? 


Well, let's see. There was a whole lot of messing with chairs (that would be P), switching of seats (that would be R), tossing instruments, trying to pick up instruments and then getting stuck on the floor and needing help to get up (that would be T), repeatedly rearranging and fixing the curtains so the sun wasn't blinding us (um, well, actually, that would be me), coming in, turning off the lights, and then leaving (that would be K), coming in, crying and starving to death and then leaving (a different K who does use some speech), and on and on, all accompanied by a low moaning (courtesy of J), the periodic fist to the head (of B), and the festive crashing of the tambourine (P again).


Can I get a witness? Anyone? Anyone?


Uuuhmmm. Now what?! (And if any music therapist tells you they know exactly what to do when their clients are all freaking out at the same time...just so you know- They. Are. Lying!)


I managed (do not ask me how) to get my thoughts together enough to be aware of the fact that, while the guys were all there, they weren't really There. Nobody was listening to anyone else in the room, we were all kind of...everywhere, but none of us was present to the experience of being in music therapy. 


I pointed this fact out to the guys (who, God bless them, heard me above the drama-filled din), and I asked them, "Gentlemen. What can we do here? How can we use the music? How can we use our thinking, to get ourselves to be here in this room, in music therapy, together? Why don't we just work on that, so that if we do nothing else today, we'll know that we cared about each other enough, that we mattered enough to each other, to notice that we were all here together."


Enter music. 


I moved over next to B, because I didn't want him to be hitting his head, and offered him my hand (he took it). He had been vocalizing while he was hitting himself, in a kind of a hum. So, since I couldn't play guitar with only one hand, I invited the guys to find some kind of way to hum with B to help him settle down.


I started to hum (in B's general key), and it didn't take long at all before the men found ways to join in with their voices and actions. J moved his arm, every few measures, up and then down to the beat. P, in spite of his tambourine prowess (and he really does rock on the tambourine) used his voice- which has more of an "oh" and "ah" quality. Yet another K quietly chimed in on the cabasa he was holding. R stopped moving around and sat, listening, with his eyes closed, breathing deeply. 


B calmed down and kept singing (but stopped hurting himself), so I was able to make use of both of my hands again. I played a very simple progression on the guitar- kind of an Asus4, Cmaj7, to D/F#, B, E (sometimes major and sometimes minor), and I repeated it as we sang and came together.   


It was lovely. 


There was smiling. The moving around and in and out stuff stopped. There was presence. We were looking at and acknowledging each other. 


We managed to be present in the session and we used the music to make it happen. The definition of music therapy on a Monday afternoon. 


And what makes this way of using music so cool is that this particular piece of improvised music  could only have happened on this day and with this group for it to have had any meaning. Taken out of context, it might sound okay, but it will never have the same impact as it did yesterday afternoon as we all sat quietly, after we finished, even after we sang goodbye, nobody wanting to leave quite yet, watching the sun set together.

So you want to become a music therapist...

Image by doug88888 via FlickrI, rather regularly, receive emails and blog comments from people who are interested in becoming music therapists.  And I regularly send back big, long emails with information I hope they'll find to be useful. Well, suddenly, one of my slower neurons fired, and I thought, "why on earth haven't you written a blog with this advice in it, so you don't have to keep repeating yourself?!" 


Somewhere a dog barked. 


Aaaand, we're back.


Okay. So you want to become a music therapist. Fabulous! And you want to know what it will take, what kind of advice I can offer, whether you'll ever have an actual salary, what to write for that research paper that's due in 13 hours...and so forth.


(Stand back. I'm about to jump into list-making land.) (Actually, even though my blog posts aren't usually in list form, I have a deep and abiding love of lists.) (But I digress.)


1. It helps to be a fairly good musician.That said, it also helps if you learn to play guitar and piano.
Different schools that offer music therapy as a major have different requirements. I think, ultimately, the more skill you have as a musician, the more you have to offer your clients. If you're busy focusing on yourself trying to play a song or a particular instrument, you're no longer focusing on your client, and that sort of defeats the whole purpose of therapy. You know? You don't have to know how to play guitar and piano before you go to school, because that is part of the music therapy curriculum. Those are, however, two instruments that are used an awful lot in the course of a music therapist's day/week/life, so it's worth getting to a point where you're relatively comfortable with them.


2. And, while you're at it, get comfortable with using your voice.
When I first started out as a music therapist I was really shy, and I found it difficult to sing in front of anyone. Mercifully, I managed to move beyond that. We don't have to be brilliant singers, but it's important to carry a tune and be comfortable improvising and playing around with vocal sounds. I still remember a client I worked with who tore up an entire room and threw my entire music cart on the floor. For a good solid year I had to go and do his sessions with nothing but me and my voice. 


3. Be careful of your "helpful" intentions. 
When you're trying to figure out what you want to do with your life, it's not unusual to think, "you know, I really want to do something that helps people." We all have our reasons for wanting to somehow be useful in this world, and they're all valid and important. When we come to a profession like music therapy, though, I think it's important to be mindful of the various implications of being "helpful" (in terms of power, control, what it means to be "the helped", etc.). Because Norman Kunc and Emma van der Klift said it a lot better already, I  highly recommend reading their article, "Hell-Bent on Helping: Benevolence, Friendship, and the Politics of Help". It will, I hope, give you a whole new perspective on being "helpful".


4. Learn to pay close attention. Notice stuff.  
So much of my job is about paying attention. Whenever I have students come to do their practicum experiences with me, I have them fill out an observation form that I developed. It's an insanely complicated form, because in a music therapy session there is so much going on at any given moment and on so many levels. You have to be aware of your client (s), the music, yourself, the environment, the history...there's a lot of stuff happening. This is what makes music therapy so completely fascinating! You can practice at an activity level and be quite effective, and you can also decide that you want to go deeper and explore the therapy relationship, the dynamics within it, and how it's all expressed within the music, and that's really nifty as well! 


5. Expect that this will be a life-long learning experience. 
Music therapy is a growing and evolving field. Because there's so much to know (and you can't cram it all in at school!), so much to pay attention to, and because you can work at a lot of different levels, there's always something new you can be learning. For that reason, getting professional clinical supervision in music therapy after you've graduated is extremely helpful to your growth as a new clinician. Moreover, there are lots of trainings that music therapists can take to deepen their knowledge/skill in specific areas (GIM, Nordoff-Robbins Music Therapy, Neurologic Music Therapy, NICU Music Therapy, Hospice Music Therapy, Austin Vocal Psychotherapy, and I'm sure there'll be more sooner or later). 


6. Get used to advocating for yourself. 
Music therapy isn't the huge mystery it once was. These days when I say I'm a music therapist, people are way less likely to say "a what?!" than they were back when I first started out. Now I'm usually greeted with something along the lines of "oh, how cool!" As nice as that is, people often think they know what we do, but they really don't. Co-workers who've known us for years may still not have a clear idea of what happens in a session. I'l be straight with you: It can be quite frustrating when you see that someone who hasn't gone through the years of training you have is calling him/herself a music therapist (or being called one by the media). It can be even more challenging when supervisors, colleagues, and various other people/organizations who fund our services (who aren't music therapists) feel compelled to tell us how we should do our job.  Having said that, I would still maintain (and I think my music therapy colleagues would agree) that being a music therapist still far outweighs the difficult stuff. 


7. You'll need to figure out a semi-quick way to explain what it is you do for a living. 
Given that you'll have to spend some time advocating for yourself and showing people what music therapy is, it's important to have your "elevator speech" prepared shortly after you graduate from your program. I usually tell people I use music to listen to people. That usually makes them curious enough to want to know more. Then, depending on how much time they're willing/able to spend, I can expound until they're sick of me. Ahem.  


8. It's not likely you'll be rich beyond your wildest dreams, but you can definitely make a living as a music therapist.
A few months ago, our Rabbi at work asked me, as nicely as he could, on behalf of one of his congregants, "can music therapists make a living doing this work?" I assured him that we could. We can find jobs (we've been doing a lot of advocating- trust me), we can get health benefits, and we can make enough money to live peacefully. We'll never get the kind of money that, say, a computer programmer or a financial analyst would make, but most of us aren't starving. And if this is truly what you want to do, then you should do it. [2024 Update: Having written this some time ago, I want to acknowledge that these days it may be a bit more of a challenge, given the financial realities of the current day. And a lot of younger music therapists have expressed dismay when they can't find full-time jobs, they can't afford housing, and they are often expected to have a Master's degree. This is decidedly problematic, and I will not deny the situation can be quite frustrating. At the same time, there are also a LOT more music therapist-owned businesses, and people are actually familiar with music therapy (or know a music therapist) (of have had their own music therapist) (or have at least heard of it). So, I believe, still, with some flexibility, you'll probably be able to find a job. It may not be where you hoped/expected to work, but it may end up being the right place. Or, like many people do nowadays, you can get some experience and move to an employment situation that feels more in line with who you are.]


9. Get used to not knowing what's going on and sometimes being uncomfortable or awkward. Or at least come to terms with it. 
I would have to say that it's rarely dull being a music therapist. Sometimes your clients will do unexpected sorts of things, or you'll find yourself dealing with really uncomfortable feelings. And sometimes you can go for a really long time and not be at all sure you're on the right track with a client/group. Again, this is what makes this work so fascinating and so completely worthwhile! It's difficult when your own issues are triggered, but, heck! Your issues will be triggered no matter what you do. You may as well have an interesting job within which to notice them. 


10. Consider getting your own therapy (or your own music therapy, if you can). 
Being a therapist is hard work. Being a client is also hard work. If you've never gone through  your own therapy, and if you've never struggled in a big way with your own problems and emotional baggage, it will be hard for you to have a real understanding of what it's like to see yourself in a new way (which is not always a pleasant experience at first). Making changes in our lives is something most of us resist mightily. Looking at our resistance- ugh! It's not always fun. It's a long, bumpy road. And we ask our clients every day to allow us to stumble along that bumpy road with them. We owe it to ourselves and to our clients to at least bring along the map we saved from our own journey (even if they decide to take a different route). (Okay, I'm getting a bit nuts with the metaphors here, but you get the idea, yes?)


So there you have it. That's the list I have going in my head when people ask me for advice on becoming a music therapist, and now here it is! In blog-land! And if any of you music therapists out there in the world have other advice to offer, bring it on!


The good news (well, to me anyway) is this: I worked as a music therapist for 34 years. Even on the worst of days, I have never regretted my decision to do this work! Much good luck to you as you go forth and consider whether or not the life of a music therapist is one you'd like as your own.

The big comfy couch incident

Image by SimplySchmoopie via FlickrWell! Work, this morning, was a bit crazy (to put it mildly). 


Both the 9 AM and 10:30 AM groups were either getting ready to take part in or getting ready to watch the big Halloween parade at our facility (which is actually pretty cool- a local high school marching band comes, there are costumes, people bring their dogs, their babies, etc.). 


There was all kinds of flurry and insanity, what with trying to get the guys/gals outfitted with their various costumes and such. There was annoyance, there was attitude, there was drama...well, you know how it goes.


Now, mind you, the guys in the second group weren't actually going to be in the parade. We were just working on getting chairs outside and guys assembled in heavy sweatshirts and caps (it was cold out there today!) so we could all watch before the parade, er, passed us by (as the saying goes). 


Mercifully, we got ourselves all out there in time, caught the all-too-brief parade, cheered loudly for the guys who had gone to boldly march in their costumes (the cottage had gone as race-cars, and they were all sporting their "cars" with frames draped over their shoulders- it was pretty nifty), and managed to get everyone safely back inside with only one incident report having to be filled out (um, that was me, because one of the guys who used to love watching parades and being in the middle of the action...well. He wasn't in that good of a mood to be moved around. My deepest apologies to R for my misunderstanding.)


To put it mildly, we were all shot!


I went to join E on a big, mushy couch, because he seemed to have been out of sorts all week, and I just wanted to check on him. We've known each other for 22 years. To not check on him would have been totally rude. 


So E and I were just sitting there, hanging out and decompressing from the morning's events, and T came over and decided to join us. 


Now, the reason this is news (and very cool) is that T's usual approach to sitting on couches is to shove whoever is on the couch off. This is usually accomplished by pressing his fingers firmly into the back of the person's head, but bopping people over the head has also been employed at various times. 


But he didn't do that. T came over, sat on the other side of me (I was in the middle), and he took my hand, carefully, and he held it for about five minutes. Then he smiled, got up, and continued walking around the room


Now, that's what I'm talking about!

The joy and rapture of questions

Image by Oberazzi via Flickr

People who read my blog know I'm a big fan of questions. And that I obsess over, well, everything. 


Why?


Because the only way to find out more is to ask more. And if we're not willing to ask ourselves questions, then we run the risk of walking around in life in a state of automatic. 


As music therapists, if we don't learn how to ask ourselves bigger and better questions (it really seems to be about learning how to ask ourselves better questions, I think), then our work stagnates. 


And we stop paying attention.


So I thought it was interesting (okay, yes, and delightful) that, in one day, I happened on two rather interesting items related to questions. I thought you might enjoy them as well, so I'm sending you along to have your own questioning party.


Here's where to go:

1. One is an excerpt from the book, The Interrogative Mood: A Novel? by Padget Powell. The entire thing  seems to be written in the form of a series of questions! And they're great questions! I've ordered it, and I'm awaiting it with great anticipation.


2. As if there weren't enough glorious questions in that bit of readery, I somehow discovered Jeffrey Tang's blog, The Art of Great Things. And, darn if he didn't just make a case in his most recent post for the good people of the world to ask the difficult questions. 


In keeping with the spirit of questioning, I have to wonder: What's next?

"...let nothing you dismay..."

For some reason I was dragging through work today. Actually, to tell the truth, I was tired before I even got to work.

I was so exhausted I could barely tolerate the idea of walking all the way to one of the farthest cottages (in a very cold New Jersey "Spring" wind, mind you) to pick up (and walk back with) a very bouncy 20-year-old young man with whom I recently began doing music therapy. 

I managed to temporarily get over myself though, and I'm glad I did. 

As soon as he saw me (and his vision isn't all that great), he leaped up (leaped, I tell you- I have witnesses) and bounded over to his box of stuff to drop off the little wrestler action figure he was holding. (He has a small collection of muscle-bound action figures, which: 1) I think are so darn cute, and 2) I find interesting, because he himself is tall and quite slender as yet.) 

Within seconds he was by my side, waiting for me to fish out his flimsy Spring jacket from the closet. (Someone needs to remind the people in his cottage that Spring only happens in name in these parts at this time of year- it's still March, for crying out loud!)

We hummed little rhythms on our way to the Music Room, and he was all chipper and cheery. When we got there, he quickly tossed aside his jacket (after neatly putting his hat in the sleeve) and sat at the piano with the flourish of Liberace. He began playing a dramatic series of clustered notes on the piano (using some of the rhythms he'd been humming as we walked). 

He decided my role for today was to play the guitar, and he waited patiently until I had assembled myself and handed me the instrument. After some dramatic piano music (he had to keep reminding me to keep my hands on the guitar, not the piano), and a couple of quick treks to the window and back, he turned his attention to the guitar. 

He pushed my hands away from the neck and strings, and he gave it a solid strum. As the notes quieted he listened thoughtfully, and he began to sing (he uses a half hum and half "uh" sound to sing) the notes of the open strings on the guitar. He kept repeating them in various patterns (it was very cool), and the pattern he settled on sounded so much like "God Rest Ye Merry Gentlemen" that I had to hum it to him.

And there we were, both of us with the tune completely stuck in our heads, humming away. What particularly intrigued me was that he listened to me carefully and kept adding the different sections as we went along. In other words, he kept humming, over and over, the part he'd learned, and as I added the different sections he added them gradually too.  

I think it was difficult for both of us when it was time to leave. 

I gave up on the usual singing of "goodbye" and improvised some "I'll see you next Monday" sorts of lyrics to the tune of "God Rest Ye Merry Gentlemen" instead. He seemed okay with that mercifully. 

After that we scrambled back into our respective outer gear and headed back to the cottage, still humming the song as we walked. It was very sweet to see how excited he was. 

Admittedly, it's a rare treat to spend time with someone who so bubbles over with music, seemingly from his very soul (!).  Many of the folks I work with love music, but here is someone who just seems positively enchanted with sound!

It was definitely worth the long, chilly walk, and even in my tired state, I was glad to share in his enthusiasm for a time.

Is this the end?

I had a strange experience today.  I actually had to say to one of my clients that we’ve gone about as far as we can go.  I didn’t want to have to say that to him, but it’s true.  We’ve worked together for about 19 years, and there really isn’t much else I can offer him other than my presence.  

It’s not as if he doesn’t have issues (I mean, who doesn’t have issues?).  It’s mostly that he seems to be letting me know that we aren’t going to be doing any more music therapy.  I can’t say I blame the man.  How much therapy can a person stand in his lifetime (well, some of us can stand a lot, I guess)?

I’m not sure whether he’s ready to actually stop coming to sessions.   I’m fairly certain he values our relationship a great deal.  I don’t think I’ve ever seen him rush up to other people and take their elbows and pull them to the door.  And I know I’m not the only person who takes him out of the cottage.  

I’m not sure how I feel about this.    

As it happens I just said “goodbye” to another long-term client (admittedly, since it’s an institution, the majority of my work with people is long-term...VERY long-term) who has been gradually moving toward ending in the past three or four years.  I still run into him regularly, because I work with other people in his cottage (which has to be weird for him- I know it’s weird for me).  In the last month or so, as we’ve gone from sessions to checking in to just saying “hi,” he’s needed to avoid me.  It hurts to be rejected, but I understand that he needs to do that.  

We had an amazing last session.  We didn’t exactly plan for it to be The Last Music Therapy Session, but I think we both knew it was.  It was joyful, it was celebratory, and it was moving.  Considering this particular person has not been feeling physically well for a rather long time, it seemed clear to me that he and I were absolutely in sync on this closing.  He was more animated during this ending session than I’ve seen him be in almost a year.   It felt to me as if he had the kind of goodbye he might have liked to have had when his family sent him off to live at our facility (back when he was a youngster- he’s in his 40s now).  

I so value both of these men.  They have allowed me into their lives, they’ve used the music, they’ve grown, and they are loving, sensitive guys who care about other people.  Both men also enjoy laughter and playfulness.  What wonderful gifts they bring with them (and they have shared with me) as they move on from our time together!  And what a collection of feelings- joy, sadness, pride, excitement, and a bit of nervousness- I feel as I begin to let them go.