1 / 92

Kevin Hahn, MT-BC Supervising Rehabilitation Therapist Supervising Music Therapist

Structured and Spontaneous Lyric Analysis: Facilitating Effectively While Managing “Clinical Realities ”. Kevin Hahn, MT-BC Supervising Rehabilitation Therapist Supervising Music Therapist Atascadero State Hospital. Session Intro. Welcome. Session Format.

morey
Download Presentation

Kevin Hahn, MT-BC Supervising Rehabilitation Therapist Supervising Music Therapist

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Structured and Spontaneous Lyric Analysis:Facilitating Effectively While Managing “Clinical Realities” Kevin Hahn, MT-BC Supervising Rehabilitation Therapist Supervising Music Therapist Atascadero State Hospital

  2. Session Intro Welcome

  3. Session Format • Experiential and didactic workshop to: • Identify, define, and consider applications of “structured” and “spontaneous” lyric analysis experiences • Provide tools to entry-level MTs to refine lyric analysis technique • Practice and discuss strategies for handling challenging moments that require MT to be spontaneous

  4. Relation to Scope of Practice • CBMT Scope of Practice (2010) • II-A-1. Develop a therapeutic relationship • II-A-5-e. Employ active listening • II-A-5-g. Use creativity and flexibility in meeting client’s changing needs

  5. Relation to Scope of Practice • CBMT Scope of Practice (2010) • II-A-5-l. Mediate problems among clients within the session • II-A-5-s. Apply receptive methods • II-A-5-z. Empathize with client’s music experience

  6. Relation to Scope of Practice • CBMT Scope of Practice (2010) • II-A-5-aa. Observe client reactions • III-B-1. Identify information that is relevant to client’s treatment process

  7. Relation to Scope of Practice • CBMT Scope of Practice (2010) • III-B-2. Differentiate between empirical information and therapist’s interpretation • III-B-3. Acknowledge therapist’s bias and limitations in interpreting information

  8. What Brings You Here? • I’d like to get to know you • Who are you? • What do you hope to gain from this group? • (I’ll answer, too) 

  9. What Brings Me Here? • I am here as the result of my: • Clinical experience • Work with ‘difficult’ populations • Internship supervisor observations • Interest in quality of practice issues • Personal reflections on methodology • Desire to understand approaches and processes in lyric analysis

  10. What Brings Me Here? • I am here as the result of my: • Interests in research • Desire to connect with Western Region • Hi 

  11. A Disclaimer • This is not the outcome of a legacy of good scientific research • (As if lyric analysis isn’t hard enough to study already…) • This is however an attempt to “understand” from the viewpoint of a working clinician

  12. A Disclaimer (Continued) • These are essentially my opinions as supported by clinical evidence: • Observations of trends (practice-based evidence) • Critical thinking about music therapy practice

  13. A Disclaimer (Continued) • My ideas are fallible: • Would love to design the research for you to test • But seriously: • Only way to achieving EBP in music therapy is throughcollaboration and communication

  14. Contextualizing Lyric Analysis What’s the big picture?

  15. Music Therapy Methods • Bruscia’s four methods • Improvisation • Re-creation • Composition (creation) • Receptive Experiences Gardstrom, S. C., & Hiller, J. (2010). Song discussion as music psychotherapy. Music Therapy Perspectives, 28(2), 147-156.

  16. Receptive Methods • MT uses live or recorded music • Client listens and responds to music in some capacity Gardstrom, S. C., & Hiller, J. (2010). Song discussion as music psychotherapy. Music Therapy Perspectives, 28(2), 147-156.

  17. What’s in a Name? • Several intervention names • Lyric analysis • Song discussion* • Music communication • Unconscious song recall • Song Choice Gardstrom, S. C., & Hiller, J. (2010). Song discussion as music psychotherapy. Music Therapy Perspectives, 28(2), 147-156.

  18. What’s in a Name? • Several intervention names • Song lyric discussion* • Song sharing • Music discussion • Song analysis • Song reminiscence Grocke, D., & Wigram, T. (2007). Receptive methods in music therapy. Philadelphia, PA: Jessica Kingsley Publishers.

  19. “Lyric Analysis” and “Song Discussion” are the most commonly used names in current MT literature

  20. Hierarchy of Receptive Exp. (Example Interventions) Adapted from: Gardstrom, S. C., & Hiller, J. (2010). Song discussion as music psychotherapy. Music Therapy Perspectives, 28(2), 147-156.

  21. But… Huh? (Example of Types of Lyric Analysis Interventions)

  22. Although we have several intervention names that fall under lyric analysis, their differences may seem relatively subtle

  23. Now Even More Complicated Clients reflecting on past experiences to some degree (Can clients analyzefree of external influences?) Both based on “here and now” Client picks music to express something

  24. (Only?) One Common Thread • Three stages of the process: • Music is chosen • Music is heard or performed • Music is discussed Grocke, D., & Wigram, T. (2007). Receptive methods in music therapy. Philadelphia, PA: Jessica Kingsley Publishers.

  25. Rather than investigate these subtle differences, what if we considered how we approach the lyric analysis experience?

  26. Main Differences in Approach Structured Spontaneous • Pre-planned approach • Example indicators: • Prepared questions or prompts • Therapist selecting music • Client selecting music before session • More time to prepare supplementary materials • Responsive approach • Example indicators: • Questions prepared on spot • Therapist responds to ‘live’ choices by clients • Less time (or none) to prepare supplementary materials • Possibly less formal structure

  27. Defining Lyric Analysis (Can we?)

  28. An Attempt to Understand • How can music therapists facilitate lyric analysis (LA) both effectively and ethically? • What are the components and mechanisms involved in LA?

  29. Steps Toward Defining LA • Understanding ethical boundaries and considerations • Using the “Five W’s” to formulate as inclusive a definitionas possible

  30. Integrity and Fidelity • How music therapists strive to facilitate as ethically as possible: • AMTA Code of Ethics • HIPAA • Group agreements as safeguard • Professional boundaries and supervision

  31. Group Agreements (ideas) • Confidentiality • How will it be implemented? • When will it not? How/why? • Respect and individual needs • How to handle various preferences? • Encourage clients to participate?

  32. Where do we facilitate LA? • Context affects preparation • Group therapy • Closed groups • Open groups • Individual therapy

  33. Who facilitates LA? • Music therapists • Board-certified, licensed, etc. • Supervised students • Who else can facilitate LA? • Thoughts and concerns about other professionals and individuals facilitating LA?

  34. What positive outcomes could occur through LA? • Improved self-awareness • Emotional release and growth • Positive peer relationships • Personal insight and fulfillment Gardstrom, S. C., & Hiller, J. (2010). Song discussion as music psychotherapy. Music Therapy Perspectives, 28(2), 147-156.

  35. Why does LA work for clients? • Lyric analysis as a wheel • A vehicle that we help establish for our clients so they can make progress in treatment

  36. Why does LA work for clients? • Theoretical framework of ‘ideals’ • An effective LA experience… • Seeks or maintains safety • Inspires hope • Sets the stage for success or growth • …allowing the client to move forward in treatment

  37. What affects LA experiences? • What external and internal variables could affect a client’s experience in lyric analysis? • Values? Hopes? Biases? Goals? • Experiences? Thoughts? Feelings? • Family? Vocation? Education? • Music Preference? Taste? Dislikes?

  38. What affects LA experiences? • “Psychological Processes” • Identification • Empathy • Projection Gardstrom, S. C., & Hiller, J. (2010). Song discussion as music psychotherapy. Music Therapy Perspectives, 28(2), 147-156.

  39. What affects LA experiences? • Intentionally selected components of our intervention: • Music components • Therapy components • Music therapy components

  40. What affects LA experiences? • Intentionally selected components of our intervention: • Music components include… • Rhythm and meter • Melody and harmony • Timbre and quality • Genre and form

  41. What affects LA experiences? • Intentionally selected components of our intervention: • Therapy components include… • Active listening and counseling skills • Critical thinking and responding • Awareness of therapist biases, limitations, transference issues, etc.

  42. What affects LA experiences? • Intentionally selected components of our intervention: • Music therapy components include… • Design of LA experience / session plan • Blend of music/lyrics to elicit specific intended outcomes • Presence and presentation of materials • Professional boundaries

  43. Although we may intentionally plan individual components of LA, in the MT experiencethese components appear to work in conjunction

  44. Components of a LA Experience If only it were so easy…

  45. Components of a LA Experience We may set up the individual components… But when the session starts, these work in conjunction with one another…

More Related