5 Hour CMTEs
CMTE A: Composition method-variations: Decision-making for design, implementation, and facilitation
March 9th, 7:15am – 12:15pm
Presenter: Annie Heiderscheit, Ph.D., MT-BC, LMFT and Nancy Jackson, Ph.D., MT-BC
Abstract:
Clinical decision-making is not a predetermined procedure that can be copied outside the original therapeutic context. It requires awareness, discernment, and reflexivity in relation to interactions with the client and their therapeutic music process. This workshop focuses selecting and designing compositional method-variations to address unique needs of clients.
Description:
The four methods of engaging clients in music processes offer infinite possibilities for design and implementation of experiences tailored to the specific needs and preferences of the client. Selecting and designing appropriate and effective music experiences involve a critical thought process that includes consideration of the affordances of the method-variation, as well as multiple aspects of your client and their personal, interpersonal, and therapeutic contexts. This presentation will focus specifically on composition method-variations and developing an understanding of why and how you might design and implement them. The presenters will outline the affordances and demands of composition method-variations, and the shaping of opportunities and challenges that meet clients’ individualized needs. The freedom and flexibility of this decision-making process also allow a music therapist to be consistently respectful of the cultural and aesthetic contexts of the client. Participants will learn to recognize and integrate this multifaceted information to make clinical decisions that are meaningful, effective, and ethical, both in preparation for and during the music therapy session. This will stimulate participants’ critical thinking and creativity as you select, design, and implement music experiences that are the most effective and most responsive to clients’ development and well-being. Participants will also learn terminology to describe aspects of music experience so that they can best be understood as a part of our clinical thought processes, as well as a means for clear communication with others about why we are doing what we are doing with clients within music therapy sessions.
CMTE B: What Are We Doing?: Exploring Theoretical Orientation, Bias, and Their Ethical Considerations
March 9th, 7:15am – 12:15pm
Presenter: Alecia M. Meila, MM, MT-BC
Abstract:
This presentation will examine music therapy’s theoretical orientations, approaches, and models, and investigate how they are often – incorrectly – seen as oppositional, leading to professional and clinical bias. Participants will explore clinical and ethical implications of biases by engaging in group discussion, and through considerations of bias-related ethics questions.
Description:
While all music therapists agree that music therapy is evidence-based and effective, this evidence is interpreted by each of us individually. This leads to misunderstandings and misinformation being spread to us, by us, causing biased interpretations of and interactions between therapists with differing theoretical orientations, coloring our interpretation of our profession and impacting our clinical practice. It is an ethical imperative to thus examine and challenge our professional biases, both in service to our clients, and to promote harmonious growth within the field of music therapy. This presentation will examine and discuss theoretical orientations, approaches, methods, and models utilized by music therapists and publicized by the AMTA and CBMT, and will seek to promote an open, accepting dialog between therapists who may align strongly with one orientation or another (including so-called “eclectic”). Because music therapists are called to conduct ourselves with best practice, it is ethically imperative to discuss these professional beliefs and to understand and challenge the biases that accompany them. Additionally, as ethical professionals, it is vital for us to determine ways to address these biases within ourselves, and when confronted with them in informal and formal settings. This presentation will include opportunities for group problem-solving and discussion, and experientials to highlight professional biases and corresponding ethical considerations.
CMTE C: Engaging with Songs for Self Care in the Music Therapy Student Supervision Process
March 9th, 7:15am – 12:15pm
Presenter: Amy Clarkson, MMT, MT-BC, LCAT, TEP; Brian Abrams, PhD, MT-BC, LCAT
Abstract:
This course will center upon the role of songs in self-care, relative to the music therapy student supervision process. In an asynchronous component, participants will share and reflect upon songs that, for them, embody an experience of self-care. In a live, virtual component, parallel considerations will be discussed around promoting personal engagement in song repertoire as part of clinical musicianship development for students and interns in supervision processes.
Description:
This course will include both an asychronous and synchronous/live remote component.
Asynchronous Component, in advance of the live remote component at conference:
Participants will (a) Share a song that, for them, embodies and/or supports an experience of self-care; (b) Provide a summary description about how the song embodies and/or supports self-care, for them, in terms of aesthetic form, lyrical content, biographical and cultural contexts, and/or any other features
Synchronous/Live Remote Component, at conference:
Participants will (a) Respond to the songs of fellow course participants, by commenting upon their own experience of the song choice, responding through improvisational music, movement, art, etc.; (b) Comment upon at least five [5] other participants’ songs/summaries; (c) In commenting upon their own and others’ songs/summaries, include parallel considerations in promoting personal connection and engagement in song repertoire and clinical musicianship for music therapy fieldwork students and interns, in supervision processes; (d) Integrate key, relevant points from literature resource selected by the facilitators; (e) Contribute at least one literature resource (an article, book chapter, etc.) pertinent to the song choice, its self-care implications, and/or implications for integration of songs and development of song repertoire/song-based clinical musicianship via music therapy supervision.
Ideas for promoting an ongoing experience of community support, connection and collaboration among music therapy student supervisors will be discussed.
CMTE D: Hush little baby: Infant/Early Childhood Social-Emotional and Attachment Development
March 9th, 7:15am – 12:15pm
Presenter: Megan Smith, LCAT, MT-BC, IMH-E; Sarah Kliman, LCSW, MT-BC, IMH-E
Abstract:
This CMTE provides an in-depth overview of the overlapping domains of typical social-emotional development that occurs in children prenatal to three years and the onset and formation of secure attachment from a relationship-based, culturally sensitive framework. Participants will explore their work through case review and group discussion.
Description:
Music Therapists are unique members of multidisciplinary teams that work directly with infants, young children, and their families. This CMTE will provide an in-depth overview of the overlapping domains of typical social-emotional development that occurs in children prenatal to three years from a relationship-based, culturally sensitive framework. As professionals tasked with assessment and intervention, it is vital that we understand typical development as the context for observing atypical developmental presentations. Early relational health, attachment, and social-emotional development set the foundation for lifelong health and wellness and music therapists play an important role in bolstering young children’s health and wellbeing in the context of their primary caregiver relationships.
CMTE participants will didactically learn about the theoretical foundations of attachment in the context of social-emotional development. This understanding is grounded in the neuroscience of secure attachment. Participants will then cultivate a nuanced understanding of social-emotional development from prenatal to three, in the context of a child’s important relationships. We will then practice applying this lens in our scope of practice, through case review and group discussion.
3 Hour CMTEs
CMTE E: Music Based Experiential Supervision
March 9th, 9:00am – 12:00pm
Presenter: Mike Zanders, PhD, MT-BC
Abstract:
This CMTE promotes a stage model of supervision using music based experiences. Music therapy is an experienced based practice. As part of learning the competencies needed for practice it would seem essential that students encounter experiential learning. Not only through direct experiences such as practicum, but through academic education and supervision training as well.
Description:
One of the fundamental questions in music therapy is how to train and educate pre-professionals (practicum and internship students) to have competent therapeutic skills. This CMTE will promote a stage model of supervision using music-based experiences. As part of learning the competencies needed for practice it would seem essential that pre-professionals encounter experiential learning. Music-based experiential supervision is an effective means for increasing pre-professionals perceived music therapy competence, particularly the students’ understanding of the dynamics of a therapeutic relationship.
CMTE F: Introduction to Incarcerated Women: The Population, the Program, the Music Therapy Experience
March 9th, 9:00am – 12:00pm
Presenter: Karen Anne, Melendez, LPC, MT-BC, FAMI, Student
Abstract:
In this course, participants will begin to learn about the increasing population of women in prison. Program recommendations and music interventions that support these recommendations will be discussed. Participants will be encouraged to develop a deeper understanding of working in the correctional setting.
Keywords: Incarcerated women, adjustment, music interventions
Description:
This course offers an introduction to the population of incarcerated women and is organized into three sections. First is an overview of the population. This includes general statistics; common mental health problems and factors associated with adult female imprisonment. A narrative scenario of a woman’s entrance and adjustment to prison introduces attendees to the prison environment. This scenario includes a description of correctional staff, privacy concerns, assessment procedures, accessing music therapy, housing challenges and the pains of imprisonment. Second is a discussion of adjustment and its significance for survival and successful re-entry. In this section, program recommendations which support healthy adjustment are identified. A history of documented music interventions with incarcerated women is included and compared to these recommendations. Third is a summary and video example of the instructor’s professional experience developing and implementing a music therapy program at a state women’s correctional facility. Interspersed throughout the course are opportunities for personal reflection and shared discussion (in pairs, breakout groups and as a whole). Each experience encourages critical thinking and the development of a deeper understanding of this unique and vulnerable population. The course additionally provides increased awareness of resources and special requirements, giving attendees the chance to conceptualize music therapy interventions for incarcerated women. A summary of setting-specific definitions is included; as is a multiple-choice test for evaluating course objectives.
Link to Keynote Presenter: Jana Stanfield
Link to Conference Schedule: 2023 Conference Schedule
Link to COVID-19 Information: COVID-19 Information & Waiver
Frequently Asked Questions: FAQ 2023