Due to numerous enquiries regarding music therapy services available at SGH, below is a summary of music therapy services currently available at SGH.

Music Therapy @ SGH aims to provide holistic music experience to patients to help them attain and regain emotional and physical functions as well as to improve intellectual and mental functions. SGH offers a wide selection of music therapy programmes that are proven to be effective in aiding patients of various ages and abilities with specific needs, from insomnia, muscle tension, stress, to speech and hearing impairment and other disabilities. All programmes will be conducted by a US Board-Certified Music Therapist.

INFANT AND CHILDREN’S PROGRAMMES

• Music to the Ears

Music to the Ears is an individualized music therapy programme specially designed for hearing-impaired children. Music therapy techniques can effectively work on issues related to prosodic features of speech, such as rhythm, intonation, rate and stress. Breathing, timing, pitch and articulation needed for singing songs have positive effects on speech. Vocal training on fundamental frequency and singing songs in appropriate keys also help to improve speech intelligibility. This programme also lays the foundation for hearing impaired children to appreciate music like their normal hearing peers.

• Music for Pre-Schoolers

For children with pre-academic skills delay, music therapy techniques can effectively stimulate areas related to receptive and expressive language, phonics, mathematics, sequencing, auditory attention, and social skills development. The aim is to prepare the child for mainstream education.

• Music for Babes

An individualized/group therapy programme specially designed for infants and toddlers with global developmental delay especially those born prematurely. Music therapy techniques can effectively work on developing the whole child in a fun and non-threatening environment. The programme includes fine/gross motor skills, cognitive, speech and language, social, and emotional skills development.

ADULTS PROGRAMMES

• Strauss for the Stressed

Studies have shown that music therapy is an effective treatment for stress and anxiety and insomnia. This programme aims to enhance relaxation of the body and help stressful individuals to achieve better sleep, and better mental and physical health. The programme is also useful for individuals who are anxious due to maladjustment to hospital environment or medical procedures. Normal healthy working adults who has work related stress may come for a relaxation session.

• Music & Voice

Adults with communication disorders such as aphasia/dyspraxia due to brain injury or hearing impairment can benefit from music therapy techniques such as breath control, rate of speech, and intonation exercises that improve vocal power, melodic and rhythmic inflection for clarity of articulation. Individuals in this programme may need to a speech therapist and/or Auditory-Verbal Therapist in addition to music therapy depending on severity of condition.

• Music Therapy for Support Groups

Group music therapy offers an effective and safe outlet for expression of emotions for patients and families with difficulties in coping with their illnesses, e.g. cancer support group, heart failure support group as well as heart and lung transplant support group. Through their active participation in creative activities like singing, guided imagery, patients and families can foster trust, empathy, and validation, which empower them to better cope with their illnesses or disabilities.

INPATIENT PROGRAMMES

• Music to a Fun Environment

Music to a Fun Environment is an individualized/group therapy programme specially designed for children admitted for medical procedures. Music activities can effectively help young children get adjusted to hospital environment and conditioned for surgical procedures such as those going for cochlear implant. The aim is to minimize fear, anxiety and stress the child as well as family members.

• Music to a Dreamy Wonderland

Studies showed that sedative music enhances relaxation of the body, which in turn reduces the circulation of norepinephrine that is associated with sleep. Thus, Music to a Dreamy Wonderland is an individualized therapy program aims to aid in sleep or enhance sleep quality of individuals who are anxious due to maladjustment to hospital environment or medical procedures.

• Music to the Pins and Needles

Music to the Pins and Needles is an individualized pain management programme for individuals who are in pain due to medical condition(s) or procedures which include but not limited to surgery, chemotherapy, and expectant mothers preparing for childbirth. Music can be used as a stimulus for active focus or distraction, to facilitate relaxation response, as a masking agent, as an information agent, and positive environmental stimulus.

OTHER PROGRAMMES

PROGRAMME FOR SCHOOLS

SGH can provide music therapy services to students in both mainstream and special schools on contract basis. A minimum of a one-year contract is required as music therapy is something that requires time in order for results to be observed. For more information including cost, please send email to the email address listed below.

ONE-DAY MUSIC THERAPY LECTURE CUM OBSERVATION PROGRAMME

This programme is designed for individuals who are considering going overseas for music therapy training and would like to have more information on what music therapy is all about before making that final decision. This programme includes (1) A brief overview of music therapy (2) Overview of various training programmes (3) Video viewing on music therapy sessions (4) A tour to the hearing arcade in SGH ENT department. For more information including cost, please send email to the email address listed below.

ONE-MONTH MUSIC THERAPY WORKSHOP FOR TEACHERS

This programme is designed for music teachers or classroom teachers who are working with special needs children and need extra tips on how to make music learning more assessible to the students. Basic musical skills are required in order to participate fully. Participants will meet once a week for 4 weeks. Assignments will be given. The programme includes (1) A brief introduction to music therapy (2) Music and child development (3) Music with the special population (4) Video viewing on music therapy (5) Lesson planning and hands on activities. Please note that participation in this programme does not qualify you to be a music therapist. For more information, please send email to the email address listed below.

Appointment:

If you are interested in the aforementioned programs or have further enquiries, please email: patsy.tan.l.p@sgh.com.sg for an appointment for initial consultation. Initial assessment is required to see if music therapy suits you.

1.  Behavioral Approach to Music Therapy

2.  Psychodynamic Approach to Music Therapy

3.  Nordoff-Robbins Music Therapy Approach (Creative Music Therapy)

4.  Clinical Orff Schulwerk Music Therapy Approach

5.  Clinical Kodaly Approach to Music Therapy

6.  Clinical Applications of Dalcroze Eurhythmics in Music Therapy

7.  Developmental Music Therapy Approach

8.  Gestalt Approach to Music Therapy

9.  Guided Imagery and Music

10. Neurologic Music Therapy

An upcoming Music Therapy workshop came to our attention recently. While we are excited that such events can potentially raise public awareness and understanding of what Music Therapy is, what caused some concern is that the trainer presenting on “Music Therapy” is not a trained “Music Therapist”.

Music Therapists do not “own” music. We also no not claim exclusive rights to the practice of promoting health through music and musical activities. However, as Music Therapists, it is part of our professional responsibility to assist the public in identifying competent and qualified music therapists, and discourage the misuse and incompetent practice of music therapy (American Music Therapy Association Code of Ethics). Unfortunately, there are currently no laws in Singapore that protect the use of the title “Music Therapist”. Thus, it may be relatively common to come across untrained persons who call what they are doing “Music Therapy”.

Also, Music Therapy is different from sound therapy (e.g. Therapeutic Listening, listening therapy, SAMONAS). Unless the practitioner also is formally trained as a Music Therapist, s/he should not self-identify as a Music Therapist.

So, who can call themselves Music Therapists? Basically, only those who have completed an approved Music Therapy program and met requirements in the respective country where training was sought. In the U.K., Music Therapists hold the SRMT credential. Previously, postgraduate diplomas in Music Therapy were earned, but since last year, most U.K. universities have upgraded to the Master’s level. In the U.S., Music Therapists earn Bachelor, Master, and PhD degrees. Moreover, after completing an accredited academic programme, a six-month clinical internship and upon passing the certification exam, the Music Therapist is certified by the Certification Board for Music Therapists. Thereafter, the credential MT-BC can be used. Incidentally, these credentials (from respective countries) are recognized: MTA (Canada), RMT (Australia) and RMth (New Zealand).

The public is encouraged to seek the trainer’s specific credential in order not to be misled. Important questions to ask:

-Does the trainer have a degree in Music Therapy?

-Is the degree from an accredited programme?

-Is his/her certification status current?

For more detailed information, please refer to “Press Release: What is Music Therapy” on our blog.

Author: Ng, W.F. (2007).

Acknowledgement: Thanks to Loi Wei Ming for U.K. update, and Patsy Tan for proof-reading.

            The National Association for Music Therapy (NAMT) was founded on June 2, 1950.  The events prior to the formation of the Association were influenced by various activities of the early musicians who employed music in the clinical setting.  The armed forces for example had longed recognized the value of music for morale purposes, music provided by the music organizations and clubs to the military and civilian hospitals and the growth of music in industry.  These are the developments that led to the growth in utilization of music in the treatment program.  Although several music associations such as Music Teachers National Association (MTNA), Music Educators National Conference (MENC), and National Music Council (NMC) had for many years showed their interest in music in therapy, it was apparent that if the use if music was to be realized fully its therapeutic potential as well as to secure the respect of the medical profession, the music therapy movement would need some sort of judicious leadership (Boxberger, 1962).  The associations also realized that for music therapy to continue to develop into a profession, it would also required trained personnel to carry out the work.

            The first institution to establish education for music therapists was Michigan State University at
East Lansing, Michigan.  The program was established in 1944 and five years later, other institutions such as the University of Kansas, Chicago Musical College, College of the Pacific, and Alverno College also began to offer both undergraduate and graduate degree program in music therapy.  Thus, by late 1940’s, it was apparent that there was a need for some sort of organization to promote the growth and development of the use of music in therapy, as well as the establishment of standards in the education and certification of music therapists.  The establishment of such an organization was seen as a way to avoid exaggerated claims and policies of “self-styled experts” and also to provide the means for the exchange and evaluation of materials and information by the workers.  Perhaps, the most ultimate goal was to promote research so that a body of knowledge based on scientific methods and evidence would eventually be available (Boxberger, 1962).

            The Executive Committee of the National Music Council invited Ray Green to be the Acting Chairman of the Committee on the Use of Music in Hospitals in fall of 1947.  The first issue of the Hospital Music Newsletter was published in the National Music Council Bulletin and also separately for subscribers in the following year. In this issue, a survey reported that there were at that time 117 hospitals employed full-time musicians and of this number 49 were Veterans Administration hospitals (Boxberger, 1962).

            In 1948, the conference on Functional Music was held in November at the Boston City Club and the Musical Guidance Center.  The acting Chairman of the Music in Therapy Eastern Regional, MTNA, Arthur Flagler Fultz, planned and arranged in bringing together full-time hospital musicians for the purpose of discussing common problems that they came across.  One of the problems listed was that there was the lack of research to provide information and knowledge for the hospital musicians.  A desire for more exchange of information was expressed by the musicians. At another conference, the Conference for Hospital Musicians held at the  University of Kansas sponsored by the department of Music Education under the directorship of E. Thayer Gaston, musicians had the opportunity to exchange information and ideas.  The purpose was to hope that ideas from the participants would lead to further growth and progress in the field of music in hospitals.  It was also suggested that a committee be appointed to work on the proposals with the University of Kansas served as a clearing house for the projects (Boxberger, 1962). Gaston was asked to select a committee to communicate with hospital musicians and to plan for an organization.  Gaston on the other hand stated that he would be glad to select a committee but not to form an organization.  The conference thus closed on this decision.

            In March of 1949, a conference on the use of music in hospitals was held in Chicago, Illinois for the purpose of getting hospital musicians, occupational and recreational therapists, psychologist, physicians, and teachers of the handicapped to be interested in the therapeutic uses of music.  The conference committee members were Ester Goetz Gilliland, Roy Underwood, and Beatrice Wade.  The conference promoted discussion on areas of interest for those who engaged in the use of music for therapeutic purposes.

            Roy Underwood, the chairman of Music in Therapy of the MTNA continued to developed programs at various meetings with the intention of bringing music therapy to the attention of musicians and layman. Various sessions on music therapy were held at the MTNA in Cleveland in early 1950.  At the request of Roy Underwood, Ray Green presided at a sectional meeting that was held for the purpose of developing a national organization in the field of music therapy (Boxberger, 1962).  At a general meeting of the NMC held in 1950, Green urged that a meeting was to be held on June 2 to form an organization in the field of hospital music. It was planned to draft a constitution and elect officers for the coming year.  The organizational meeting that marked the birth of the National Association for Music Therapy was ultimately held at the invitation of Ray Green in New York City. The purpose of the meeting was to consider a proposed constitution and bylaws for the organization.  It was at this meeting that the name of the organization was approved as the National Association for Music Therapy (Boxberger, 1962).

            The officers elected during the early formation of the association were: Ray Green, President; Roy Underwood, First Vice-President; Myrtle Fish Thompson, Secretary; and Freida Dierks, Treasurer (Wheeler, 1995).  Research was also an important issue during the formation of NAMT.  In fact, the Research Committee was the only standing committee initially provided for the constitution, and the members of this Committee included: Arthur Flagler Fultz, Ira Altshuler, E. Thayer Gaston, Jules Masserman, and Roy Underwood (Boxberger, 1962).

            Research continued to be an agenda item at NAMT meetings throughout the first decade of the organization.  Standards were adopted at the Third Annual Conference of NAMT to support publication and encourage research.  A survey conducted by NAMT in 1955 showed that scientific methods were needed to determine how music therapy functions in the clinical settings.  Other research activities included the publication of Music Therapy, the first Book of Proceedings of NAMT in 1951.  The constitution also maintained that there would be a publication, the Bulletin, as the official magazine or journal of the Association (Wheeler, 1995).  Research was an important issue not only for establishing sound principles of music therapy intervention, but also as a critical factor in establishing professional credibility and recognition within the medical community (Wheeler, 1995). 

            Education was another important issue in the first decade of NAMT.  In 1952, curriculum was designed to reflect “the ideal program” rather than following any curricula already in existence.  The hope was that these standards for the education and training of music therapists would lead to the certification of music therapists in the future.  The core curriculum was presented and approved in that same year while NAMT continued to assume responsibility for the approval of the clinical training programs for interns in music therapy.  By the eighth annual conference, educational standards were more or less set with the assumption that eligibility for registration as a music therapist would in the future be dependent on the completion of a college degree that included a period of internship.  The degree program would be based on the core curriculum adopted back in 1952 by NAMT and approved by NASM (Boxberger, 1962).

            By the end of the first decade, members of the Executive and Research committees were voicing the need for a professional journal (Solomon, 1993).  It was believed by some that the establishment of a professional journal would increase the professional image of NAMT (Wheeler, 1995).  Despite very limited financial resources, the first Journal of Music Therapy was published in 1964.  For the next few decades, most of the research studies accepted by the editorial boards were either experimental or descriptive research, and the Publication Manual for the American Psychological Association became the required style manual for all articles.  Historical scholars expressed frustration with APA style as inappropriate for historical research submission and it was not until in the 1980’s that the Chicago style was accepted as an option for historical and philosophical papers.  Some music therapists had complaint that the Journal of Music Therapy had lost its relevance to clinical practice, and thus, this led to the establishment of Music Therapy Perspective in 1983 (Wheeler, 1995).

            Perhaps, the most significant event for NAMT at the end of last century was its unification with another music therapy association known as the American Association for Music Therapy (AAMT), which will not be discussed in this paper.  In short, NAMT and AAMT is now known as the American Music Therapy Association (AMTA).  Research is still an important issue after the unification and publications currently under AMTA include: Journal of Music Therapy, Music Therapy Perspectives, Music Therapy Matters, and a newsletter.

REFERENCES 

http://www.namt.com/about.html

Boxberger, R. (1962).  A historical study of the National Association for Music Therapy. In E. H. Schneider (Ed.), Music Therapy 1962.  Lawrence, KS: The Allen Press.

Solomon, A. L.  (1993).  A history of the Journal of Music Therapy: The first decade (1964-1973).  Journal of Music Therapy, 30, 3-33.

Wheeler, B.  (1995).  Music Therapy Research:  Qualitative and Quantitative Perspectives. 
Barcelona Publishers.

* Author: Tan, L. P. (2007)

Many allied health professionals are aware of the therapeutic effect of music and many have utilized music in their session with clients.  However, this has created many confusions to the general public as to what is true music therapy and who are the truly trained music therapists especially if the term “music in therapy” is casually used.

A distinction has been made between music as therapy and music in therapy by Bruscia (1998):

Music as therapy:

1.  “In music as therapy, music serves as the primary medium and agent for therapeutic change, exerting a very direct influence on the client and his/her health.  In this approach, the therapist’s main goal is to help the client relate to or engage in the music, thus serving as a guide or facilitator who has the expertise neede to prescribe the appripriate music or music experience for the client.”

2. “In music as therapy, music is the focus of therapy, thereby serving as the primary medium or agent for therapeutic intercention, interaction, and change, while the personal relationship between client and therapist and the use of other arts or therapeituc modalities provide a context which facilitates that focus.”

3.  When music is used as therapy, music is the foreground.

Music in therapy:

1.  “In music in therapy, music is used not only for its own healing properties but also to enhance the effects of the therapist-client relationship or other treatment modalities (e.g. verbal discussion).  Here music is not the only or primary agent of change, and its use depends upon the therapist.  In this approach, the therapist’s main goal is to address the needs of the client through whatever medium seems most relevant or suitable, whether it be music, the relationship, or other therapeutic modalities.”

2.  “In music in therapy, the focus is on either the personal relationship between the client and therapist, or an experience in a modality other than music, while music provides the context or background which facilitates that focus.”

3.  When music is used in therapy, music is the background.

Music therapists can choose to use music as therapy or music in therapy, however, both processes must involve intervention by a trained music therapist.  In other words, any use of music for therapeutic benefit which does not involve a music therapist is not considered music therapy.  In addition, any form of intervention that does not involve music in assessment, treatment and evaluation is also not considered as music therapy.  Music therapists who are trained in the United States hold the credential MT-BC.  When in doubt, their credential can be verified with the Certification Board for Music Therapist at: www.cbmt.org. Last but not least, although music does not belong to music therapists, but if one would like to receive authentic music therapy intervention, it is wise to seek a truly trained music therapist.

*Author: Tan, L. P. (2007)

Should music therapy be called music therapy services if it is one of the many interventions offered by the clinic? Perhaps, to help other professionals understand our field a little better, let us examine the difference between the two terms.

Music therapy is a process, not merely the outcome, and that it requires time. It involves a sequence of experiences before a desired state is reached. Experiences that turn out to the beneficial or “therapeutic” does not qualify as “therapy.” For instance, going to a concert, listening to music alone or with a close friend, singing in a choir or playing an instrument can all be regarded as therapeutic to a certain extend, but they cannot be regarded as a “process” of therapy. Having a therapeutic experience with music is not equivalent to entering the process of music therapy. As such, the “process” of music therapy requires ongoing assessment, treatment and evaluation.

“Services” by nature of its definition, does not require “process.” Thus, music therapy services refer to brief encounters on a particular part of the entire music therapy process. Such services are frequently seen in music therapy workshops or seminars where the participants participate in demonstration sessions. In the music therapy “process,” a client-therapist relationship is developed through a series of committed musical experiences. A shared commitment between client and therapist in achieving a purpose is always present. However, in music therapy services, no commitment in time or relationship is required. After all, it is only a brief encounter between the therapist and client.

With the aforementioned in mind, should music therapy be called music therapy services? Well, that has to depend on what the clinic expects from the music therapist.

*Author: Tan, L. P. (2007)

Misconception 1: Music therapy is about listening to music.

Clarification 1: Listening to music is only one of the many techniques used in music therapy.

Misconception 2: There is specific “over the counter” music Rx.

Clarification 2: “Over the counter” music Rx is an idealogy that has yet to be proven.

Misconception 3: The patient needs to have some level of music ability in order to benefit from music therapy.

Clarification 3: Nope! One does not need to have prior musical training in order to benefit from music therapy.

Misconception 4: Classical music is more therapeutic than any other styles of music.

Clarification 4: All styles of music can be useful. Individual’s preferences, circumstances for treatment and patient’s goals help determine the types of music that music therapists may use.

Misconception 5: One can be completely cured upon receiving music.

Clarification 5: Not everybody can see significant improvement in short period of time. Besides, music therapy is not a cure-all. It is a behavioral science, i.e. it seeks to change the behavior of the client so that maladaptive ways of coping brought about by unwanted, uncomfortable and unhappy conditions can be replaced with more adaptive behavior.

* Author: Tan, L. P. (2007)

In the United States, persons who have completed music therapy program from one of the approved college music therapy curricula including a 6-month full-time internship are eligible to sit for the national examination offered by the Certification Board for Music Therapists (http://www.cbmt.org). Those who have successfully passed the examination will hold the MT-BC credential and will then be allowed to practice music therapy. Those therapists holding RMT, CMT and ACMT credentials are also allowed to practice music therapy, however, their credential will expire by the year 2020. Thus, most facilities now require music therapists to hold the MT-BC credential. In addition, music therapists who have the MT-BC credential need to earn continued education credits for re-certification every five years.

In the United Kingdom (U.K.), music therapists earn postgraduate diplomas in Music Therapy.

According to the American Music Therapy Association (AMTA), music therapy is an established healthcare profession that uses music to address physical, emotional, cognitive, and social needs of individuals of all ages.  Music therapy improves the quality of life for persons who are well and meets the needs of children and adults with disabilities or illnesses.  Music therapy interventions can be designed to promote wellness, manage stress, alleviate pain, express feelings, enhance memory, improve communication, and promote physical rehabilitation.