Just A Song Sunday: Ability-Ordered Behavior

The journey through the second chapter of Music In Therapy, edited by E. T. Gaston, continues this week with an examination of the second part of William Sears' outline under the delineation of "Experience within structure." This week's thought is "music permits ability-ordered behavior."

Sears defines this thought further on page 36 of the book. "Behaviors ranging from simple to complex may coexist among several individuals, as in group performance where the behavioral requirements of one musical part are of a more simple nature, such as beating the bass drum, than those of another part, such as playing the melody on a trumpet. Also, especially desired musical experiences, such as playing a certain piece, can be modified or adapted (rearranged) to fit the capabilities of each individual" (p. 36). Under this section of the outline, Sears points out that music does a couple of different things as well - music allows humans to engage in ways that are relevant to their physical response abilities as well as ways that are relevant to their psychological response levels. 

Music permits ordering of behavior according to physical response levels
In this paragraph, Sears remarks that musical instruments can be adapted to encourage participation in music regardless of physical ability, but I think there is more to this than musical adaptations. Sure, instruments can be modified to provide clients with success in playing those same instruments, but there is so much more than playing an instrument to music and music therapy.

There are many different ways to participate in music in a physical manner. Movement, playing an instrument, completing tasks - all these things are things that require a physical response. If my clients have significant involvement with their symptoms, they may not be able to hold an adapted instrument, but there will be something they can do with the music.

Music permits ordering of behavior according to psychological response levels
Sears points out four bases of consideration when thinking about music in this manner - mood, motivation, intellect, and levels of musical knowledge (p. 37). For me, this paragraph probably has had the biggest impact on my therapy style. These things that Sears identifies on page 37 are things that each and every one of us bring into each and every session.

My interpretation of this passage of the chapter includes the following thoughts...

• Everyone has a place in making music. The biggest hurdle that I've found in getting clients to make their own music is their own expectations and beliefs about themselves. I know that making music does not require training or study, but clients often resist because they don't think that they are worthy to make music.
• All musical contributions are important. Making music can be a collaborative effort. Whether collaboration and sharing includes a piano duet or the initiation of music through a finger wiggle. For me, the most important part of music therapy is when a client decides to try something that he or she didn't think he or she could do.
• No one has to be excluded. Music is something that everyone can do, in one form or another. Any contribution to a musical experience can be included in that experience. I seem to shock some of the staff members at work when I encourage my clients to add their unique sounds into my music. The staff members try to shush my clients from singing, but I encourage that contribution. It is not my job to be an entertainer, but they don't seem to get that concept. I take the sounds that my clients make, and we put them together into the music. The music becomes something unique that is shared by all of us.
• There will be some times when a client just isn't into what I am trying to do. Admit it, we all have those days when we just don't want to do things. Sometimes the motivation just isn't there. In those moments, it is part of my job as the therapist to change my plan. I can change the musical elements to match things I am observing. I can change the entire plan and scrap the dancing for relaxation techniques.

As I finish my school year (tomorrow, tomorrow, last therapy day is tomorrow), I am refocusing on my foundational learning to refresh my thoughts about what my job can and (shudder) should be at my facility. Remembering what Sears thought about music and its role in the lives of humans is my first step. After Sears is done (and we still have at least 13 outline points to go - I may need to speed up all this talking...), Bruscia's three editions of Defining Music Therapy will be next.

I continue to enjoy my journey through this chapter. Thank you for reading.



Sears, W. W. (1968). Processes in music therapy. In E. T. Gaston (Ed.) Music in therapy (30-44). New York: MacMillan.