When you first looked at the title of this blog, you might have thought - "He's going to be looking at behavioural modification therapy and music therapy!". Sorry to disappoint - no, I won't be looking at behavioural modification techniques today.
As readers of my blog, you will have noticed that I have not kept up with the "daily" part of my postings. I had originally conceived this blog to be updated daily, in much the same way as a photographer might complete a "365 project". The reality, I am finding, is much harder. There are a myriad of reasons that I could give for my tardiness and lack of posts however it comes down to motivation and interest. Am I really willing to put the time into the regular posting of comments? Upon reflection, I would have to say; no, not on a daily basis. That said, I remain committed to updating and posting on a regular basis a couple times a week. I must also apologize to those of you who were hoping for better.
Content quality is paramount. I remain committed to ensure that what I write is appropriately researched and documented. I don't want to post short "snippets" of information for the sake of fulfilling my posting ambitions. This means that sometimes it will take me longer than a day to post.
Content sourcing is complex. There are a myriad of sources available for searching and researching new topics and information. My browser bookmarks of "reference tools" is long and varied. However, like many people, I often use Google to search out topics (at least as a STARTing point). Many educational professionals bemone the fact that students often "Google" something and take the first couple references that they are given. The difficulty with that approach is, quite simply, that many search engines like Google post items based on "popularity" and not necessarily on "quality". Thus, a much better article might exist on page 3 of the search results. I want this post to be about the location and distribution of significant and meaningful information about a particular topic. This means that sometimes it will take me longer than a day to post.
I want to learn too! It is well and good for me to post my opinions and findings, but I would be nieve to think that I know everything that there is to know about a particular subject. That is, in part, why I try to come up with a question at the end of my posts. The are both a challenge to you, the reader, and to me, the creator. In this way, we can both benefit from the exchange of information and ideas.
To conclude - please continue to follow this blog. I can no longer say that I will be posting on a daily basis but I do commit to posting on a regular basis.
Sunday, June 14, 2009
Wednesday, June 3, 2009
Day 12 - Recent finds
Today's post is all about resources that I have found in researching for this blog and navigating the internet. Some of them are fun, some are directly related to work that I do as a music therapist. I do not intend it to be a complete list, nor do I profess any professional training in library literacy/searching. I do, however, profess to be a life-long learner with an interest in adding to my knowledge of, and practice of, music therapy! Please note - resources are listed alphabetically with no intended inference to a ranking of preference.
Websites
Center for Lifelong Music Making
http://www.lifelongmusicmaking.org/
Paranada*
http://dev.paranada.org/
*Note: I received an e-mail that stated that a personal profile had been set up for me on this website. I'm not sure how I feel about that? The information, however, was correct and linked to activity that I undertake on the net such as this blog. The website also contains links to conferences/training that I was not aware of previously. I'll keep you posted on my opinions of this website after I've had more of a chance to explore it.
Teenager Listening Test*
http://trainhorns.net/soundtest/
*Not that teenagers listen to anything resembling music today anyways LoL
Who says music doesn't make a difference?
http://www.openculture.com/2009/04/who_says_music_doesnt_make_a_difference.html
Videos/Documentaries
Music Therapy at The Hospital for Sick Children (Toronto, ON CANADA)
www.friendsofmusictherapy.com
Nordoff-Robbins Music Therapy Video Portrait (Part 1)
http://www.youtube.com/watch?v=_CuAjiU7RBg
The Music Instinct (PBS)*
http://www.pbs.org/wnet/musicinstinct/
*Note: Available as a 2 hr documentary on DVD (To be released June 24, 2009). Several interesting segments are available via this website pre-distribution.
Podcasts/Mp3 Clips
AMTA.pro*
http://www.musictherapy.org/amtapro.html
*Note: I hesitantly suggest this link because it is only available to members of the American Music Therapy Association (AMTA). Hopefully they will consider releasing some of the material via a restricted Creative Commons License. (Hint, hint!)
Conclusions
Of course, I recommend that you revisit previous postings to find links and resources that have been suggested or mentioned.
Websites
Center for Lifelong Music Making
http://www.lifelongmusicmaking.org/
Paranada*
http://dev.paranada.org/
*Note: I received an e-mail that stated that a personal profile had been set up for me on this website. I'm not sure how I feel about that? The information, however, was correct and linked to activity that I undertake on the net such as this blog. The website also contains links to conferences/training that I was not aware of previously. I'll keep you posted on my opinions of this website after I've had more of a chance to explore it.
Teenager Listening Test*
http://trainhorns.net/soundtest/
*Not that teenagers listen to anything resembling music today anyways LoL
Who says music doesn't make a difference?
http://www.openculture.com/2009/04/who_says_music_doesnt_make_a_difference.html
Videos/Documentaries
Music Therapy at The Hospital for Sick Children (Toronto, ON CANADA)
www.friendsofmusictherapy.com
Nordoff-Robbins Music Therapy Video Portrait (Part 1)
http://www.youtube.com/watch?v=_CuAjiU7RBg
The Music Instinct (PBS)*
http://www.pbs.org/wnet/musicinstinct/
*Note: Available as a 2 hr documentary on DVD (To be released June 24, 2009). Several interesting segments are available via this website pre-distribution.
Podcasts/Mp3 Clips
AMTA.pro*
http://www.musictherapy.org/amtapro.html
*Note: I hesitantly suggest this link because it is only available to members of the American Music Therapy Association (AMTA). Hopefully they will consider releasing some of the material via a restricted Creative Commons License. (Hint, hint!)
Conclusions
Of course, I recommend that you revisit previous postings to find links and resources that have been suggested or mentioned.
If you have any suggestions or resources that have been helpful to you, PLEASE comment away!
Tuesday, June 2, 2009
Book Review: This is your brain on music
Levitin, D. J. (2007). This is your brain on music: The science of a human obsession. London, England: Plume. ISBN: 978-0-452-28852-2. 322 pgs.
One of the advantages of travelling by train - lots of time to read, think, and generally de-stress! The book listed above was one of two books that I picked up for reading on my recent train vacation. The first, Travels with Farley, was excellent but more geared towards the "recreational reading" side of my brain. This book was the second that I read, however, I had picked it for professional, rather than recreational, reasons.
The book, quite simply, is a great read for the professional and non-professional alike. Although the concepts can be quite involved, Levitin does a great job of writing the book, "for the general reader and not for my colleagues... (p. 12)". It is easily understood and yet I found that I needed to take the book in chunks, reading a maximum of two chapters at a time before setting it aside and contemplating the deeper meanings and relationships to my work as a music therapist.
Along the way, there were a number of surprises. The first, that neuroscience divides the "Study of the mind" and "Study of the brain". He explains it this way:
I had always considered neurology and neuroscience to be concerned only with how the individual parts of the brain were related to music appreciation and interpretation.
The second surprise came from evidence that suggests that memory strength, "is also a function of how much we care about the experience (p. 197)." Professionally, this was a reminder that the work that we do must be client centered, in order to help them to assimilate and consolidate the musical experiences that we/they create during a session.
Finally, there was a discussion of "the music listener" vs. "the music performer/expert". According to the author, "music making has become a somewhat reserved activity in our culture, and the rest of us listen (p. 7)". As music therapists, we encourage everyone to make music, accepting the results as skillful and a reflection of the clients' inner being. Are we simply too accepting or is their something different about how we are wired, such as a desire to see everyone succeed as a "performer of music"?
If I could criticize one aspect of the book, it would be the selection of music. As a music therapist, I use the general rule of thumb that the most significant music for most clients will be music that they experienced in their late adolesence to early adulthood. Levitin seems to fit this mold perfectly with most of the musical examples coming from the 70's and the rock and roll genre. Arguably, no one book can faithfully represent all time periods and musical genres however I would have preferred to see a wider variety of musical genres, and diversity in time periods evident in the musical examples chosen as illustrations.
Professionally, this book was a great confirmation of the meaningfulness of music therapy and the work that I do on a daily basis. I highly encourage everyone to pick up a copy and give it a read. I'll leave you with a challenge that Levitin describes being given by a friend and colleague (p. 51).
Challenge: In six songs, capture the essence of a musical genre such as rock and roll or jazz?
Good luck!
One of the advantages of travelling by train - lots of time to read, think, and generally de-stress! The book listed above was one of two books that I picked up for reading on my recent train vacation. The first, Travels with Farley, was excellent but more geared towards the "recreational reading" side of my brain. This book was the second that I read, however, I had picked it for professional, rather than recreational, reasons.
The book, quite simply, is a great read for the professional and non-professional alike. Although the concepts can be quite involved, Levitin does a great job of writing the book, "for the general reader and not for my colleagues... (p. 12)". It is easily understood and yet I found that I needed to take the book in chunks, reading a maximum of two chapters at a time before setting it aside and contemplating the deeper meanings and relationships to my work as a music therapist.
Along the way, there were a number of surprises. The first, that neuroscience divides the "Study of the mind" and "Study of the brain". He explains it this way:
I am not interested in going on a fishing expedition to try every possible musical stimulus and find out where it occurs in the brain...The point for me isn't to develop a map of the brain, but to understand how it works, how the different regions coordinate their activity together, how the simple firing of neurons and shifting around of neurotransmitters leads to thoughts, laughter, feelings of profound joy and sadness, and how all these, in turn, can lead us to create lasting, meaningful works of art (p. 96).
The second surprise came from evidence that suggests that memory strength, "is also a function of how much we care about the experience (p. 197)." Professionally, this was a reminder that the work that we do must be client centered, in order to help them to assimilate and consolidate the musical experiences that we/they create during a session.
Finally, there was a discussion of "the music listener" vs. "the music performer/expert". According to the author, "music making has become a somewhat reserved activity in our culture, and the rest of us listen (p. 7)". As music therapists, we encourage everyone to make music, accepting the results as skillful and a reflection of the clients' inner being. Are we simply too accepting or is their something different about how we are wired, such as a desire to see everyone succeed as a "performer of music"?
If I could criticize one aspect of the book, it would be the selection of music. As a music therapist, I use the general rule of thumb that the most significant music for most clients will be music that they experienced in their late adolesence to early adulthood. Levitin seems to fit this mold perfectly with most of the musical examples coming from the 70's and the rock and roll genre. Arguably, no one book can faithfully represent all time periods and musical genres however I would have preferred to see a wider variety of musical genres, and diversity in time periods evident in the musical examples chosen as illustrations.
Professionally, this book was a great confirmation of the meaningfulness of music therapy and the work that I do on a daily basis. I highly encourage everyone to pick up a copy and give it a read. I'll leave you with a challenge that Levitin describes being given by a friend and colleague (p. 51).
Challenge: In six songs, capture the essence of a musical genre such as rock and roll or jazz?
Good luck!
Monday, June 1, 2009
Day 11 - On the Rebound
It is said that "there are two sides to every story". The same can be said of vacations!
As readers of this blog know, I have recently taken a 2 week train vacation. It was, absolutely, one of the best vacations that I have ever taken. I visited our cottage, a few "historic" sites from my childhood and renewed acquaintances with friends that I haven't seen for a few years. Returning home to Edmonton, my children were eager to visit me, and I soon felt like I needed another vacation after my vacation! Among my "to do" items yet to be completed, a big belated thank-you to my guest bloggers. I really enjoyed your posts and I look forward to working together in the future. A special note about the third guest author (
As readers of this blog know, I have recently taken a 2 week train vacation. It was, absolutely, one of the best vacations that I have ever taken. I visited our cottage, a few "historic" sites from my childhood and renewed acquaintances with friends that I haven't seen for a few years. Returning home to Edmonton, my children were eager to visit me, and I soon felt like I needed another vacation after my vacation! Among my "to do" items yet to be completed, a big belated thank-you to my guest bloggers. I really enjoyed your posts and I look forward to working together in the future. A special note about the third guest author (
Saturday, May 16, 2009
Guest Post - Rhythm in Art
"Cattle Cadence" pastel by Robin Maria PedreroJohn, thank you for inviting me as a guest to post on your Music blog. I am always intrigued at how all of the arts inspire and influence one another. Masterpieces encompass multiple art forms; performance, film, fine art, music, dances, etc. Interestingly rhythms in one art form like music can inspire rhythms or creativity in another form like fine art or dance. Rhythm usually brings music or dance to mind, yet it plays more than one part in the life of visual artists. Often I will listen to the same music or series of songs while working on a piece of art. Music sets a mood. We rely on all of our senses to create and music can be stimulating even intoxicating as we inhabit our own world of creation. I play particular music to accommodate looseness in my motions to carry through to the work or another style of music for more detailed concentration. The movements I make in creating can carry the rhythm of what I hear. Many titles to my works of art reference music.
"Ripples in the Pond" pastel by Robin Maria PedreroRhythm is also a visual tempo or beat within the artwork itself. Rhythm is an art principle. Artists create visual rhythm by repeating art elements and patterns. The repetition of elements adds balance and harmony to artwork. Alternating lights and darks gives a sense of rhythm. The shapes, colors, lights and darks are the instruments an artist uses to give rhythm to their creations. Rhythm is a principle of design with regular repetition of elements that produce the look and feel of movement. It can be achieved through the careful placement of repeated components which invite the viewer's eye to jump rapidly or glide smoothly from one to the next. Rhythm is important to composition and harmony in a work of art. Elements can carry their own separate rhythms; color rhythms, line rhythms, and form rhythms.
"Deja Vous" pastel by Robin Maria PedreroLet’s look at some possible rhythms; the most common type, visually could be dark light - dark light - dark light or insert another element like a shape, line or color. There are alternating rhythms. Progressive rhythms occur when there is a gradual increase or decrease in the size, number, color, or some other quality of the elements repeated. Rhythms can flow and also be random. "Rhythm is as necessary in a picture as pigment; it is as much a part of painting as of music." (Walter J. Phillips) My motto as I mentor is "Pay Attention" by that I call you to do what we as artists do, in our job we take time to look, really experience the moment in the present with all of your senses. Can you feel the rhythm?
Thursday, May 14, 2009
Guest Post - Person-First Terminology
Person-first terminology, also commonly referred to as person-first language, is currently utilized across many professional fields, from special education to health care to therapeutic settings to public school systems. But why is it important? What’s the big deal?
Person-first terminology is not quite how one of my college professors explained it to our Special Education 101 course. Her explanation? Instead of saying, “That Autistic girl’s name is Sally,” her explanation was to say “Sally is Autistic.” Close – oh so close! But still not quite the concept! Person-first terminology does not mean that you call a person by their name.
Thankfully, my music therapy professor explained it with much more accuracy.
Person-first terminology suggests we state phrases stressing the person (name or pronoun) first, followed by their disability or diagnosis.
Similarly, this can be compared to the movement to remove outdated words from our vocabulary that have since developed new and often offensive connotations. For example, the words idiot, retarded, imbecile, handicapped, and mongoloid were once more widely accepted. In modern times, these terms are usually considered derogatory. The Education for All Handicapped Children’s Act of 1975 has even been revised and given the name IDEA, or Individuals with Disabilities Education Act.
While this movement in semantics means well, many differing points of view exist on the matter. Some prefer person-first terminology and find it politically correct and a little more dignifying, but some think that this effort takes away from their identity. For example, those involved in Deaf culture (with a capital D) sometimes feel that their deafness is not a disability at all but a mere trait. Many people with blindness and Autism feel the same way and do not mind being called “blind” or “Autistic.”
All in all, it comes down to what your patients / clients and their families prefer. This can become troublesome when switching terminology back and forth so as to earnestly avoid offending someone, but the effort is usually appreciated. Find out what your clients and employers prefer.
Hopefully this short introduction to person-first terminology will not only give the reader insight into a relevant concept, but perhaps it will leave the slightest thought in the back of your mind. As a therapist, educator, health care provider, or paraprofessional, how do you refer to your patients in your daily progress notes? What is your perception of your clients? How do you see them – as people with disabilities, or as disabilities who happen to be people?
Please post your thoughts and discussion questions in the comments section of this blog.
Helpful Links:
Nikki Belshe, MT-BC, NMT
Music Therapist – Board Certified
Neurologic Music Therapist
Longmont, CO
Person-first terminology is not quite how one of my college professors explained it to our Special Education 101 course. Her explanation? Instead of saying, “That Autistic girl’s name is Sally,” her explanation was to say “Sally is Autistic.” Close – oh so close! But still not quite the concept! Person-first terminology does not mean that you call a person by their name.
Thankfully, my music therapy professor explained it with much more accuracy.
Person-first terminology suggests we state phrases stressing the person (name or pronoun) first, followed by their disability or diagnosis.
- “Matthew is a Downs kid” becomes “Matthew has Down Syndrome.”
- “ He is ADHD” becomes “He has ADHD.”
Similarly, this can be compared to the movement to remove outdated words from our vocabulary that have since developed new and often offensive connotations. For example, the words idiot, retarded, imbecile, handicapped, and mongoloid were once more widely accepted. In modern times, these terms are usually considered derogatory. The Education for All Handicapped Children’s Act of 1975 has even been revised and given the name IDEA, or Individuals with Disabilities Education Act.
While this movement in semantics means well, many differing points of view exist on the matter. Some prefer person-first terminology and find it politically correct and a little more dignifying, but some think that this effort takes away from their identity. For example, those involved in Deaf culture (with a capital D) sometimes feel that their deafness is not a disability at all but a mere trait. Many people with blindness and Autism feel the same way and do not mind being called “blind” or “Autistic.”
All in all, it comes down to what your patients / clients and their families prefer. This can become troublesome when switching terminology back and forth so as to earnestly avoid offending someone, but the effort is usually appreciated. Find out what your clients and employers prefer.
Hopefully this short introduction to person-first terminology will not only give the reader insight into a relevant concept, but perhaps it will leave the slightest thought in the back of your mind. As a therapist, educator, health care provider, or paraprofessional, how do you refer to your patients in your daily progress notes? What is your perception of your clients? How do you see them – as people with disabilities, or as disabilities who happen to be people?
Please post your thoughts and discussion questions in the comments section of this blog.
Helpful Links:
- American Psychological Association
- Disability is Natural
- Individuals with Disabilities Education Act
- Why I Dislike Person-First Language
- Wikipedia on Deaf Culture
- Erasing Autism
Nikki Belshe, MT-BC, NMT
Music Therapist – Board Certified
Neurologic Music Therapist
Longmont, CO
Wednesday, May 13, 2009
Guest Post - Self-Care
Anyone who has ever flown on an airplane has heard the pre-flight safety schpeel: this is where the emergency exits are, in case of turbulence return to seats and put on your seat belts, no personal electronic devices until the plane reaches the cruising altitude. We're also told, in the case that the cabin pressure drops, oxygen masks will fall down from the panels above us. The flight staff reminds us that if/when this happens, to place this mask over our own faces before assisting those next to us.
During my final music therapy practicum experience as a student, my supervisor used this example to illustrate the importance of music therapists (as well as others in helping professions) taking care of ourselves in order to provide the best quality services to our clients. We spent some time during each of our supervision sessions discussing self-care and steps we were taking to build healthy mental, physical, and spiritual habits to effectively deal with stress and burnout. Up until this point, none of my supervisors had spent much time emphasizing self-care. Today, I find myself using the same metaphor of the oxygen mask with the students and interns with whom I work as a way to illustrate the importance of self-care in our profession.
When I think about my experiences with stress as a music therapist, I can generally categorize my stress into 2 distinct areas: external and internal. External stressors are those that one has little or no control over (for example: lack of funding/resources at your facility, layoffs/hours being cut, or unrealistic expectations from your supervisor), while internal stressors are generated inside of ourselves (for example: low self-esteem, taking on too much work, or vocal health problems due to lack of proper technique). While some of these stressors are unavoidable, burnout or extreme stress reactions which take a major toll on our health are preventable. The following are some basic wellness tips that I have found to be helpful in my clinical work at as a music therapist no matter which population I am working with:
1. Use common sense: We all know that there are certain habits that are just plain good for everybody, like eating well, exercising, drinking water, and getting adequate sleep. Along with these, there are a number of other "basic" habits that music therapists should strive to develop (many of which I am guilty of neglecting!) -- things like warming up our voices prior to sessions, or taking some sort of break each day eat/recharge our batteries, for example. Even something as simple as deep breathing for a few minutes can dramatically improve acute stress reactions when we are on the job. Sometimes it may seem difficult to make these seemingly little things a part of our daily routines when we're strapped for time between sessions and meetings, but they truly make all the difference when it comes to our wellness as practitioners.
2. Ask for help: Over time, I've learned that a lot of the major stress related to my job could have been prevented if I had asked someone for help. Several years ago, a co-worker accepted a position at another unit at our facility, and I was left to cover both of our caseloads while also supervising 2 interns and preparing for special holiday events. It was important to me that all the clients participating in music therapy prior to my co-workers move continued to receive services, my interns were getting the support that they needed, and that the upcoming events were planned...but I couldn't do it all alone. Luckily, my supervisor sensed that I needed her help to stay afloat until we could hire a new music therapist, and I finally realized that I couldn't do it all by myself.
Whether it is your family, friends, co-workers, supervisor, mentor, personal therapist, or other people in your PLN (see John's posts below for more info), find someone (or several someones) who you can ask for help when you feel the stress creeping on, and call on them when you need them.
3. Get back to your roots: I have a friend who worked for several years as a hospice music therapist and absolutely loved her job. She is an incredibly talented musician, proficient on voice, piano, guitar, and violin, and often performed with different groups or got together to jam with other musicians. After awhile, however, she found that she was no longer making music for herself as a recreational activity or hobby, simply because she was so mentally and physically exhausted from the demands of her job.
Before we were music therapists, we were musicians, and we mustn't lose sight of our deep-seeded passion for our craft. Making music for yourself - whether you're involved with performing ensembles, take lessons, or simply play around for fun at home - is one of the most nuturing and loving things you can do for yourself as a music therapist.
Ultimately, music therapists have the tools to take care of ourselves, but sometimes we can all use a reminder that taking care of ourselves should be a priority -- doing so assists us in continuing to provide excellent services to our clients and ensures a happy, healthy, and long career.
Please, do post your tips and suggestions for wellness and stress management in the comments section!
-- Carolyn Dachinger, MT-BC
Boca Raton, FL
During my final music therapy practicum experience as a student, my supervisor used this example to illustrate the importance of music therapists (as well as others in helping professions) taking care of ourselves in order to provide the best quality services to our clients. We spent some time during each of our supervision sessions discussing self-care and steps we were taking to build healthy mental, physical, and spiritual habits to effectively deal with stress and burnout. Up until this point, none of my supervisors had spent much time emphasizing self-care. Today, I find myself using the same metaphor of the oxygen mask with the students and interns with whom I work as a way to illustrate the importance of self-care in our profession.
When I think about my experiences with stress as a music therapist, I can generally categorize my stress into 2 distinct areas: external and internal. External stressors are those that one has little or no control over (for example: lack of funding/resources at your facility, layoffs/hours being cut, or unrealistic expectations from your supervisor), while internal stressors are generated inside of ourselves (for example: low self-esteem, taking on too much work, or vocal health problems due to lack of proper technique). While some of these stressors are unavoidable, burnout or extreme stress reactions which take a major toll on our health are preventable. The following are some basic wellness tips that I have found to be helpful in my clinical work at as a music therapist no matter which population I am working with:
1. Use common sense: We all know that there are certain habits that are just plain good for everybody, like eating well, exercising, drinking water, and getting adequate sleep. Along with these, there are a number of other "basic" habits that music therapists should strive to develop (many of which I am guilty of neglecting!) -- things like warming up our voices prior to sessions, or taking some sort of break each day eat/recharge our batteries, for example. Even something as simple as deep breathing for a few minutes can dramatically improve acute stress reactions when we are on the job. Sometimes it may seem difficult to make these seemingly little things a part of our daily routines when we're strapped for time between sessions and meetings, but they truly make all the difference when it comes to our wellness as practitioners.
2. Ask for help: Over time, I've learned that a lot of the major stress related to my job could have been prevented if I had asked someone for help. Several years ago, a co-worker accepted a position at another unit at our facility, and I was left to cover both of our caseloads while also supervising 2 interns and preparing for special holiday events. It was important to me that all the clients participating in music therapy prior to my co-workers move continued to receive services, my interns were getting the support that they needed, and that the upcoming events were planned...but I couldn't do it all alone. Luckily, my supervisor sensed that I needed her help to stay afloat until we could hire a new music therapist, and I finally realized that I couldn't do it all by myself.
Whether it is your family, friends, co-workers, supervisor, mentor, personal therapist, or other people in your PLN (see John's posts below for more info), find someone (or several someones) who you can ask for help when you feel the stress creeping on, and call on them when you need them.
3. Get back to your roots: I have a friend who worked for several years as a hospice music therapist and absolutely loved her job. She is an incredibly talented musician, proficient on voice, piano, guitar, and violin, and often performed with different groups or got together to jam with other musicians. After awhile, however, she found that she was no longer making music for herself as a recreational activity or hobby, simply because she was so mentally and physically exhausted from the demands of her job.
Before we were music therapists, we were musicians, and we mustn't lose sight of our deep-seeded passion for our craft. Making music for yourself - whether you're involved with performing ensembles, take lessons, or simply play around for fun at home - is one of the most nuturing and loving things you can do for yourself as a music therapist.
Ultimately, music therapists have the tools to take care of ourselves, but sometimes we can all use a reminder that taking care of ourselves should be a priority -- doing so assists us in continuing to provide excellent services to our clients and ensures a happy, healthy, and long career.
Please, do post your tips and suggestions for wellness and stress management in the comments section!
-- Carolyn Dachinger, MT-BC
Boca Raton, FL
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