Philosophy
Every so often, I review my written philosophy of music therapy. I require that my interns write a philosophy statement for their marketing packet, and it is important that I have my own as an example. So, I review it periodically and change it as needed. As I have changed in my clinical
interaction, my philosophy has also changed. I find the exercise of writing a personal philosophy of music therapy practice an interesting and revealing one.
I have taken my inspiration from several places throughout the years. I was raised by Gaston/Sears descendents, so Gaston and Sears are my first influence. The first two chapters of Music In Therapy offer me the general truths about music that I firmly believe. Music is human behavior (p. 7). Rhythm organizes and also energizes human behavior (p. 17). Esthetic expression is part of being human (p. 21). Music is interpreted through social and cultural modes (p. 22). Music is communication (not a universal language, by the way; p. 23). Music requires time, ability, and sensory ordered behaviors (p. 33). Music provides clients with opportunities to interact with others in real time in a group (p.33). I could go on and on.
My second major philosophical influence is Kenneth Bruscia. Through reading and rereading his text on defining music therapy, I have found many elements that challenge my practice as a music therapy clinician. I continue to debate whether my level of practice is auxilliary, augmentative, intensive, or primary. I have had to decide that my level of practice flows through all four levels at various times. I find that Bruscia's thoughts about defining music therapy help me to analyze this thing I do every day.
My last major philosophical influence is Carl Rogers. I do not have a text reference for him, but his humanistic approach to psychology and education, with its focus on person-centered planning, has influenced my own ideas about client-directed therapy. His thoughts seem to inform my way of working with my clients rather than what I do with my clients in sessions.
Bruscia, K. E. (1998). Defining Music Therapy (2nd Ed.). Barcelona: U.S.A.
Gaston, E. T. (Ed.) (1968). Music In Therapy. Macmillan: New York.
I have taken my inspiration from several places throughout the years. I was raised by Gaston/Sears descendents, so Gaston and Sears are my first influence. The first two chapters of Music In Therapy offer me the general truths about music that I firmly believe. Music is human behavior (p. 7). Rhythm organizes and also energizes human behavior (p. 17). Esthetic expression is part of being human (p. 21). Music is interpreted through social and cultural modes (p. 22). Music is communication (not a universal language, by the way; p. 23). Music requires time, ability, and sensory ordered behaviors (p. 33). Music provides clients with opportunities to interact with others in real time in a group (p.33). I could go on and on.
My second major philosophical influence is Kenneth Bruscia. Through reading and rereading his text on defining music therapy, I have found many elements that challenge my practice as a music therapy clinician. I continue to debate whether my level of practice is auxilliary, augmentative, intensive, or primary. I have had to decide that my level of practice flows through all four levels at various times. I find that Bruscia's thoughts about defining music therapy help me to analyze this thing I do every day.
My last major philosophical influence is Carl Rogers. I do not have a text reference for him, but his humanistic approach to psychology and education, with its focus on person-centered planning, has influenced my own ideas about client-directed therapy. His thoughts seem to inform my way of working with my clients rather than what I do with my clients in sessions.
Bruscia, K. E. (1998). Defining Music Therapy (2nd Ed.). Barcelona: U.S.A.
Gaston, E. T. (Ed.) (1968). Music In Therapy. Macmillan: New York.
Interestingly, MJ, I think in his talk at the AMTA conference this past November, Ken Bruscia noted that we are always flowing in and out of the four levels of practice he identified, depending on what/who our clients need us to be at a given moment.
ReplyDeleteI absolutely agree it's important to have a strong sense of who we are as music therapists and what we believe is curative about music. We had to articulate our music therapy identity when I was in graduate school. I also think you're wise to re-visit your thoughts every so often, because, of course, as we continue to grow and evolve as people and professionals, our ideas change and/or solidify in various ways.
Thanks for the comment and for reading Roia!
ReplyDeleteMy professors have always required philosophy statements - all the way through my music therapy training. It is fascinating to read the philosophical viewpoints of others and to take bits from here and there.
This was a really great contest and hopefully I can attend the next one. It was alot of fun and I really enjoyed myself.. philosophy
ReplyDelete