Music therapy practicum practices: a survey of music therapy educators

Music therapy program directors were surveyed about various aspects of their music therapy practica. The survey addressed various aspects of the structure of the practicum, on-campus clinics, faculty supervision, videotaped supervision, and evaluation of practicum students. Responses were received from 38 educators from undergraduate programs. Results indicate that there is wide variety in the number of practica required and in the amount of time spent in practica. Several populations are included in the practicum experiences offered by every university, although the means of achieving this variety varies. Results also showed variations in the way that practicum experiences are set up so that in some cases students observe and assist, sometimes eventually assuming full responsibility for the session, while in others the students are responsible for the entire session from the beginning. The content of classes that accompany the practica, when such classes exist, is similar from program to program. There are also wide variations in practicum supervision and faculty compensation for this supervision.     

Collaboration and consultation: a survey of board certified music therapists

The purpose of this study was to examine the consultation and collaboration practices of board certified music therapists (MT-BC) in order to establish a baseline of service provision for this profession. Board certified music therapists who are members of the American Music Therapy Association (n = 2039) were asked to complete a survey regarding collaboration and consultation in their professional practice. Specific areas of investigation included (a) population(s) with whom the MT-BC works and site of service delivery, (b) selfidentification as a collaborator and/or a consultant (c) populations with whom the MT-BC collaborates, and (d) frequency, methods, purpose, locations, and personnel for whom they provide consultative services. Responses (n = 873, 42.8%) from each of the 8 regions designated by the American Music Therapy Association (AMTA) indicated a significantly higher report of collaboration versus consultation among music therapists. Implications for music therapy education and need for further research are discussed.     

Feminist music therapy pedagogy: a survey of music therapy educators

This study surveyed 188 music therapy educators regarding their views and use of feminist pedagogy and feminist music therapy. The purpose of this study was two-fold: (a) to determine how many music therapy educators used feminist pedagogy and (b) to determine if there was a relationship between the use of feminist pedagogy and academic rank of the participants. Seventy-two participants responded to this study, with 69 participants included for data analysis. Stake and Hoffman's (2000) feminist pedagogy survey was adapted for this study, examining four subscales of feminist pedagogy: (a) participatory learning, (b) validation of personal experience/development of confidence, (c) political/ social activism, and (d) critical thinking/open-mindedness. The results revealed that 46% (n=32) of participants identified as feminist music therapists and 67% (n=46) of participants identified as using feminist pedagogy. Results of a mixed analysis of variance revealed a statistically significant difference within the four survey subscales (p<.0001), no significant difference (p=.32) for academic rank, and no significant interaction (p=.08) of academic rank and the four survey subscales. Tukey's post hoc analysis of the data indicated that the survey subscale measuring political activism (p<.0001) was significantly lower than the other three survey subscales. In addition, a qualitative analysis on open-ended responses is also included. Discussion of the results, limitations, and areas for future research are addressed.     

Professional music therapy supervision: a survey

Clinical supervision is regularly given to music therapy students and interns, but the need for professional music therapy supervision has largely not been discussed or explored. In order to better understand prevailing thoughts about professional music therapy supervision, music therapists were surveyed and asked if they participate in supervision and how important they think supervision is for professionals. The results indicated that almost two thirds of professional music therapists do not participate in supervision. Differences in participation and importance ratings were found between several demographic groupings including years of practice and level of education. Two-tailed t tests revealed a significant difference in importance rating between those who participate in supervision and those who do not, with those who participate giving a higher importance rating. However, the majority of all respondents indicated that they felt professional supervision is at least moderately important. These results are explored and discussed, and recommendations are given.     

A survey of clinical practice in music therapy. Part 1: The institutions in which music therapists work and personal data

In the spring of 1978, 1,064 questionnaires were mailed to registered music therapists working in clinical settings. Part 1 of this paper reports on the types of institutions in which music therapists work, who employs them, and the salaries they earn. This section also deals with age, sex, religion, job satisfaction, job security, types of handicapped persons with whom music therapists prefer to work, work experience, and longevity.     

Research in music therapy: a survey of music therapists' attitudes and knowledge

To examine attitudes toward and knowledge of research in music therapy, a three-part survey was administered to 150 randomly selected music therapists, with complete surveys returned by 66 respondents. The survey consisted of a cover page gathering background information, a series of 20 statements assessing attitudes toward music therapy research, and 25 true-false questions examining subjects' knowledge of research terminology and methodology. Analysis of survey responses indicated a generally positive attitude toward research, but dissatisfaction with the current status of research in the field. No relationship was found between research attitudes and research knowledge, and no significant effects on research knowledge were discerned for education, present position, or research background. Results of this study are discussed in terms of implications and issues to be addressed by academicians, clinicians, and researchers in music therapy.     

Personal therapy for undergraduate music therapy students: a survey of AMTA program coordinators

The primary purpose of this study was to gather information in order to understand if and how various modalities of personal therapy are employed with undergraduate music therapy students in the United States. AMTA degree program coordinators were asked about 3 therapy modalities, in particular: verbal therapy, music therapy, and expressive arts therapy (excluding music therapy). It was predicted that less than a quarter of the respondents would indicate that personal therapy of any modality was required in their undergraduate curricula, but that a larger percentage would indicate that it was encouraged. Both hypotheses were supported, with just over 14% of the respondents indicating that they require some form of personal therapy and 32% indicating that they encourage it, with 73% of this latter subgroup encouraging verbal therapy and 46% encouraging music therapy. It was further predicted that, when therapy was required or encouraged, it was most often provided by an individual who was associated with the college/university and that therapy was usually provided in a group format. Respondent comments related to these 2 questions revealed considerable confusion between experiential exercises and personal therapy, leading to dubious validity of some of the numerical data. Qualitative treatment of narrative responses illuminated 4 salient issues regarding personal therapy for undergraduate music therapy students, as follows: (a) the legal and ethical feasibility of making personal therapy a requirement; (b) the cost and availability of qualified professionals; (c) the benefits of personal therapy as an integral facet of undergraduate music therapy training and education; and (d) the appropriateness of personal therapy at the undergraduate level of training.     

High-flow nasal cannula therapy: A multicentred survey of the practices among physicians and respiratory therapists in Singapore

BackgroundUse of high-flow nasal cannula (HFNC) has become a regular intervention in the intensive care units especially in patients coming in with hypoxaemic respiratory failure. Clinical practices may differ from published literature.ObjectivesThe objective of this study was to determine the clinical practices of physicians and respiratory therapists (RTs) on the use of HFNC.MethodsA retrospective observational study looking at medical records on HFNC usage from January 2015 to September 2017 was performed and was followed by a series of questions related to HFNC practices. The survey involved physicians and RTs in intensive care units from multiple centres in Singapore from January to April 2018. Indications and thresholds for HFNC usage with titration and weaning practices were compared with the retrospective observational study data.ResultsOne hundred twenty-three recipients (69.9%) responded to the survey and reported postextubation (87.8%), pneumonia in nonimmunocompromised (65.9%), and pneumonia in immunocompromised (61.8%) patients as the top three indications for HFNC. Of all, 39.8% of respondents wanted to use HFNC for palliative intent. Similar practices were observed in the retrospective study with the large cohort of 63% patients (483 of the total 768 patients) where HFNC was used for acute hypoxaemic respiratory failure and 274 (35.7%) patients to facilitate extubation. The survey suggested that respondents would initiate HFNC at a lower fraction of inspired oxygen (FiO₂), higher partial pressure of oxygen to FiO₂ ratio, and higher oxygen saturation to FiO₂ ratio for nonpneumonia patients than patients with pneumonia. RTs were less likely to start HFNC for patients suffering from pneumonia and interstitial lung disease than physicians. RTs also preferred adjustment of FiO₂ to improve oxygen saturations and noninvasive ventilation for rescue.ConclusionsAmong the different intensive care units surveyed, the indications and thresholds for the initiation of HFNC differed in the clinical practices of physicians and RTs.     

Emotional communicability in improvised music: the case of music therapists

Musical improvisation is considered an efficient way to express emotions in music therapy. We examined the ability of music therapists (MTs) to convey emotions and their ability to accurately decode the emotional content of musical improvisations. Twenty-one MTs improvised on emotions they found difficult or easy to express in life, using or not using an emotional imagery technique. Fifty-five judges, some being MTs others nontherapists, evaluated the emotional content of the improvisations. Results showed that neither experience in therapy, nor musicianship or gender of the improviser were connected to emotional communicability (EC). Emotions that were reported as easy to express in life were communicated more accurately than those difficult to express in life. Emotional imagery did not facilitate and, to some extent, hindered emotional communicability. Some emotions were found to be difficult to express (e.g., anger) in comparison to others (e.g., happiness). MTs decoded the emotional content of the improvisations more accurately than nontherapists. Implications for the practical musical and emotional training of music therapists are discussed.     

Theory use in practice: a national survey of therapists who use the Model of Human Occupation.

OBJECTIVE: This study describes how occupational therapists who reported using the Model of Human Occupation (MOHO) actually use the concepts and tools of this model in everyday practice as well as identifies supports and barriers to its use. METHOD: A systematic random sample of 1,000 occupational therapists was surveyed as to what theories they used in their practice. Those using MOHO (430) were sent a detailed questionnaire; 259 therapists (60.2%) responded to the survey questionnaire. RESULTS: More than 80% of respondents indicated that they used MOHO in their practice at least some of the time. Therapists reported that MOHO supports holistic, occupation-focused, client-centered, and evidence-based practice. They reported finding MOHO concepts useful for treatment planning and intervention. Most saw the major barrier to using MOHO as their own lack of knowledge. CONCLUSION: Making resources more readily available and accessible to therapists might enhance the extent to which they use conceptual models such as MOHO.     

Pain assessment and management in end of life care: a survey of assessment and treatment practices of hospice music therapy and nursing professionals

The primary focus of this paper is to describe current trends in pain assessment in end of life care with a secondary focus on music therapy techniques commonly used to address pain for hospice patients. These trends were determined through a survey of 72 board certified music therapists and 92 hospice and palliative nurses. Survey results indicate that most music therapists in the hospice setting incorporate formal pain assessment into their practice; both nursing professionals and music therapists surveyed utilize multiple assessment tools to assess patient pain. Although there are currently a variety of pain assessment tools used, this study indicates that nursing professionals most frequently use the Numerical Rating Scale (NRS) and FACES scales, and identified them as appropriate for use by nonnursing members of the interdisciplinary hospice team. This paper also describes music therapy techniques most often utilized by music therapists with hospice patients to address acute and chronic pain symptoms.     

Implications of technology in music therapy practice and research for music therapy education: a review of literature

This article reviews the use of technology in music therapy practice and research for the purpose of providing music therapy educators and clinicians with specific and accurate accounts of the types and benefits of technology being used in various settings. Additionally, this knowledge will help universities comply with National Association of Schools of Music requirements and help to standardize the education and training of music therapists in this rapidly changing area. Information was gathered through a literature review of music therapy and related professional journals and a wide variety of books and personal communications. More data were gathered in a survey requesting information on current use of technology in education and practice. This solicitation was sent to all American Music Therapy Association approved universities and clinical training directors. Technology applications in music therapy are organized according to the following categories: (a) adapted musical instruments, (b) recording technology, (c) electric/electronic musical instruments, (d) computer applications, (e) medical technology, (f) assistive technology for the disabled, and (g) technology-based music/sound healing practices. The literature reviewed covers 177 books and articles from a span of almost 40 years. Recommendations are made for incorporating technology into music therapy course work and for review and revision of AMTA competencies. The need for an all-encompassing clinical survey of the use of technology in current music therapy practice is also identified.     

Male occupational therapists in Ontario: a survey of work-related issues

Job satisfaction greatly influences an individual's decision to remain in his or her work situation. In many studies, one of the primary reasons for men leaving the profession of occupational therapy was due to job dissatisfaction. The purpose of this study was to further investigate the issue of job satisfaction in male occupational therapists. In March 1992, a survey was mailed to all (n = 82) male occupational therapists practicing in Ontario. A 67% (n = 55) response rate was obtained. This study addressed several factors pertaining to job satisfaction and other work-related issues. When using the median years of OT work experience (ie. seven) to divide the sample, two items were found to be significantly different when using one-way analyses of variance (ANOVA's): "satisfaction with the standing of the profession" and cumulative "satisfaction variable" items. In this study, less experienced male occupational therapists reported themselves to be less satisfied, more inclined to leave the profession or pursue another profession, but did not feel more isolated than their more experienced counterparts. The means of all items revealed a feeling of dissatisfaction on the Likert-scale used in this survey. Although no statistical significance could be achieved, a clear trend existed toward a lower level of satisfaction among the less experienced group.