Experiential Learning in the Music Therapy Curriculum

Becoming a Reflexive Practitioner: Exploring Music Therapy Students’ Learning Experiences with Participatory Role-Play in a Norwegian Context

“…Educational research in the field of music therapy has specifically included focus on the use of musical instruments and musical skills (Kennedy, 2001;Silverman, 2011), supervision (Forinash, 2001;Tanguay, 2008), clinical practice development (Madsen & Kaiser, 1999;Wheeler, 2002), models for self-experiential learning and psychotherapy in education (Gardstrom & Jackson, 2011;Murphy, 2007;Scheiby & Pedersen, 1999), reflexive journaling (Barry & O'Callaghan, 2008) and research on feminist pedagogy in music therapy (Hahna & Schwantes, 2011). Role-play as a form of learning in music therapy education is associated with various domains, such as preparation for practicum placements or in the supervision of practice (Goodman, 2011;Murphy, 2007;Tims, 1989). Tanguay (2008) mentions role-play in the supervision of practice placement and students' processes of learning to practice music therapy.…”

Personal Therapy for Undergraduate Music Therapy Students: A Survey of AMTA Program Coordinators

“…As for other therapists, the value of personal psychotherapy for music therapists has been advanced by noted scholars as a way to improve therapy skills, increase awareness about feelings and attitudes that impact one's work (including negative countertransference), and nurture oneself (Bradt, 1997;Bruscia, 1998;Goldberg, 1989;Loewy, 2003). Student participation in therapy during undergraduate and/or graduate levels of music therapy training has also been promoted in this country and abroad (Bonde, 2007;Chong, 2006;Hesser, 1985;McGuire, 2006;Munro, 1985;Pedersen, 2002;Prefontaine, 1997;Tims, 1989). Unfortunately, scant literature exists about any kind of personal therapy in the training of music therapists and, for that matter, in the training of expressive arts therapists.…”

“…Again, little is known about the extent to which psychotherapy is included as a required or encouraged component of music therapy training programs in this country, nor about the nature and corollaries of its incorporation. Over twenty years ago, Tims (1989) hypothesized that only a handful of programs in the United States offered therapy for students, unlike in Europe where music psychotherapy at that time was viewed as an essential component of training.…”

“…In music therapy, the broad term "experiential instruction" has been used to reference a host of distinct methods and techniques, all of which attempt to promote learning through direct encounters with the material to be learned. Examples include but are not limited to the following: 1) musical skill rehearsal in the classroom; 2) roleplaying (Stige, 2001;Tims, 1989); 3) supervised practica and internships (Tims, 1989;Wheeler, 2002); 4) peer support groups (Milgram-Luterman, 2000) and peer group supervision (personal communication, J. Hiller, February 28, 2010; Summer, 2001); and 5) experiential music therapy groups (Hesser, 1985;Stephens, 2001). The last of these, the experiential music therapy group, bears an especially close resemblance to personal therapy but is not synonymous in the opinion of the present authors.…”

Korean Music Therapy Students’ Experience of Group Music Therapy: A Qualitative Case Study

“…For music therapy students, the direct experience of group music therapy can be “also excellent for opening up creative potential and exploring the possibilities of music therapy” (Tims, 1989, p. 92). Jackson and Gardstrom (2012) indicated that after participating in a group music therapy, students reported increased self-insight, experienced emotional support, enhanced relationships with others, and cultivated musical creativity and clinical skills.…”