AMTA 2017 the Department of Paediatrics, Faculty of Medicine at UQ. Her BMus and MMus were awarded from The University of Melbourne

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www.amta2017.com.au

AMTA 201743rd Australian Music Therapy Association National Conference

14 - 17 September 2017 | Brisbane, Australia

Program and Abstracts

Thank you to our Sponsors

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Contents

Welcome ................................................. 3

National Conference Committee ...... 4

General Information ............................ 6

Venue Map ............................................ 7

Keynote Speakers ................................. 8

Program Overview ............................. 10

Conference Awards ............................ 15

Scientific Review Committee List .... 17

Exhibitor Profiles ................................ 18

Abstracts

Friday 15 September ................. 22

Saturday 16 September ............ 49

PDS - Sunday 17 September .... 70

Conference Secretariat and Management by

ICMS AustralasiaPO Box 3599South Brisbane QLD 4101

P: +61 (0) 7 3255 1002E: [email protected]

Front and back cover guitar illustration by couch time creations

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WelcomeOn behalf of the National Conference Committee, I would like to welcome you to the 43rd Australian Music Therapy Association National Conference held in Brisbane, 14-17 September 2017.

Last year we reflected on our role as consultants and collaborators

in nurturing equitable participation in music for health and well-being. As our profession is moving into the ‘40’s’ this year we feel it is important to reconnect with the music, and its capacity to change lives. In particular, providing a diverse range of opportunities to contemplate perspectives towards our own music as a key tool in developing our capacity and potential as professionals with a unique skill set in an ever-changing landscape.

The National Conference Committee are excited to present a program that will deliver a diverse range of opportunities to tap into our musical selves.

Angela DelaneyConference Convenor

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National Conference Committee

Angela Delaney Conference Convenor

[email protected]

Angela is a passionate music therapist working within medical and community settings. She has been a pioneer in Qld Palliative Care & Community-based Music Therapy. Currently, Angela is the Clinical Lead of Music Therapy at the Lady Cilento Children’s Hospital Qld, and a Allied Health Clinical Educator Coordinator on a National Paediatric Palliative Care Educational Research Project 2015-2017. She has a reputation to engage through her application of innovative programs, using music to effect change.

“I am honoured to take on the role as Conference Convenor for 2017. I am very much looking forward to working with these amazing of RMTs! The collective passion, and varied professional and personal experiences will contribute to what we hope will be an excellent 2017 AMTA Conference.”

Fiona LambConference and PDS Chair

[email protected]

Fiona Lamb RMT is a highly-experienced music therapist and past NSW State Branch Chair, National PDS Advisor and outgoing Chair, National Conference and PDS. Specialising in paediatrics and early intervention, she is also director of two Sydney based a cappella choirs “Good Vibrations” and “Café of the Gate of Salvation” and currently coordinates the education of junior medical staff at Sydney Children’s Hospital.

Dr Jeanette KennellyScientific Chair

[email protected]

Jeanette is a highly-experienced music therapist whose work in pediatrics and supervision is published in a variety of music therapy and non-music therapy specific refereed journals and books. Jeanette was the inaugural senior music therapist at the Royal Children’s Hospital, Brisbane between 1995-2009 and an academic lecturer/tutor in music therapy at the University of Queensland between 2003-2014. She completed her PhD on the topic of professional supervision for Australian-based music therapists and is a recipient of the 2013 Dean’s award for Research Higher Degree Excellence (UQ). Jeanette is an Honorary Research Fellow with the School of Music, (UQ) and the Australian and New Zealand representative for the World Federation of Music Therapy (WFMT) Commission on Education, Training, and Accreditation. Jeanette currently works in adult oncology, with children in a family medical clinic, and runs a supervision private practice.

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Cass HuntleyPDS Chair

[email protected] [email protected]

Cassandra Huntley is a QLD RMT/NMT who currently works for QLD Health at the Sunshine Coast Hospital on the Child and Adolescent Ward. Cass also operates InHarmony Music Therapy, a private practice music therapy service also based on the Sunshine Coast.

Cass has spent the last 4 years transitioning what was an initial 2hr per week contract into a 20 hour per week permanent QLD health position - it is now one of the few permanent music therapy positions in health in Australia. This is one of her proudest achievements to date and she continues to develop this service in collaboration with a highly supportive multidisciplinary team. Cass is honoured to be the 2017 Professional Development Seminar Convenor.

“I am so excited to bring together a PDS program that offers participants the opportunity to delve into their practice... gain greater wisdom from the presenter’s insights ... reignite the flickering flame of musicality... offer a shared learning experience that allows RMT’s to return to their professional lives renewed and inspired.”

Kylie FerrisSocial Chair

[email protected]

Kylie Ferris is an experienced music therapist working clinically in adult oncology and acute paediatrics in Brisbane hospitals.

“I am looking forward to joining together with these talented RMT’s to bring you a fantastic conference in 2017. A big part of AMTA conferences for me is the networking and socialising with other music therapists, and I’m looking forward to making 2017 a fun-filled, connected conference!”

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General Information

ClimateThe average temperature for Brisbane in September ranges from 15°C (minimum) to 24°C (maximum)

Conference Party & Registration CeremonyWill be held on Friday 15th September from 6.00pm onwards at Royal on the Park Brisbane

HashtagThis year’s official conference hashtag is #AustMTA2017

InternetThe conference venue has complimentary internet Wi-Fi access for all delegates. Details for connection are:

Wi-Fi Network = Royal_Park_PublicPassword = AMTA2017

Lost and FoundAny found items may be turned into the registration desk located in the foyer of the conference venue.

Mobile PhonesDelegates are requested to switch off their mobile phones or set them to silent when in sessions.

Name BadgesFor security purposes, delegates, speakers and exhibitors are required to wear their name badges to the sessions. Entrance into sessions is restricted to registered delegates only.

ParkingThere are many parking options around the Brisbane CBD at varying rates. To find a convenient location, you can visit Secure Parking’s website.

Registration DeskThe registration desk is located in the foyer of the conference venue. The registration desk will be open at the following times:

Thursday 4.30pm – 6.00pm Friday 7.30am – 5.00pmSaturday 8.00am – 5.00pmSunday 8.00am – 4.00pm

SpeakersPlease ensure that you are available in your presentation room at least 15 minutes prior to the start of the session. Speakers will need to upload their presentations onto the computer in the session room at least 2 hours before the session starts.

CateringMorning tea, lunch and afternoon tea will be available during the Conference and PDS and is included in your registration fees. All dietary requirements will be catered for according to the information provided on your registration. Catering times are as follows:

Friday Saturday Sunday (PDS)

Morning Tea 10.00am – 10.30am 10.15am – 10.30am 10.15am – 10.45am

Lunch 12.30pm – 1.15pm 1.00pm – 2.00pm 12.45pm – 1.45pm

Afternoon Tea 3:15pm – 3:45pm 3.30pm – 3.45pm 2.45pm – 3.15pm

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Venue Map

Royal on the Park Brisbane152 Alice Street, Brisbane City QLD 4001

Ground Floor

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Keynote Speakers

A/Prof Sheri L. Robb, PhD, MT-BCIndiana University School of Nursing, Indianapolis, USA

Sheri serves as Editor-in-Chief for the Journal of Music Therapy and is an Associate Professor at the Indiana University School of Nursing, Indianapolis, IN. Sheri’s program of research focuses on development and testing of music therapy interventions to manage distress, improve positive health outcomes, and prevent secondary psychosocial morbidity in children and adolescents with cancer and their parents. Her work has received intramural and extramural support from the National Institutes of Health and Children’s Oncology Group. She enjoys mentoring young authors and research scientists through her roles as journal editor, and Director of the Undergraduate Nursing Honors Program and the Indiana Clinical and Translational Sciences Institute KL2 Young Investigators Program.

Music Engagement and Therapeutic Benefit: The Role of Music as Contextual SupportActive engagement increases the likelihood that an individual will derive positive, lasting change from therapy. Yet, client engagement remains a vexing problem that is not specific to any one clinical population or therapeutic service. The Contextual Support Model of Music Therapy (CSM-MT) situates engagement as an important part of the therapeutic process that moderates treatment benefit. During our time together, we will explore the concept of engagement as an interplay between client, therapist, and music, and more specifically how the CSM-MT informs theory-based tailoring of music experiences to create a supportive, engaging therapeutic environment. We have used the CSM-MT to guide the design of two music therapy interventions including the Therapeutic Music Video intervention for adolescents/young adults undergoing high-risk cancer treatment, and an Active Music Engagement intervention for young children with cancer and their parents. Through these multi-site trials, we are examining music engagement as a moderator of therapeutic benefit, and how music therapists use theory to guide their clinical decision making and tailor interventions based on the unique needs of patients and families. To illustrate and deepen our exploration of these concepts, we will examine clinical examples and data from each trial and consider broader implications for music therapy practice.

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A/Prof Jane Edwards, PhD RMTDeakin University, Victoria, Australia

Jane is Associate Professor in Mental Health at Deakin University in Victoria. Since 2015 she has served as Editor-in-Chief for The Arts in Psychotherapy; the first Australian, and first music therapist in this role. She has published multiple papers and has edited 3 books including The Oxford Handbook of Music Therapy (2016), and Music Therapy and Parent-Infant Bonding (2011). She is a Founding Member, and was inaugural President, of the International Association for Music & Medicine.

Jane recently returned to Melbourne from Ireland. She held various academic roles at the University of Limerick (2000-2014) including Director of the Music & Health Research Group, course director Master of Music Therapy, Director of Psychology, Director of Clinical Therapies, and Associate Dean for Research, and obtained the equivalent of 20 million Australian dollars in research and development funding.

Previously Jane was inaugural lecturer in music therapy at The University of Queensland (1993-2000). She founded the music therapy programme at the (then) Royal Children’s Hospital in 1993 successfully gaining competitive funding to develop clinical services and research. Her PhD is from the Department of Paediatrics, Faculty of Medicine at UQ. Her BMus and MMus were awarded from The University of Melbourne..

On the relational in music and music therapyRelational processes are the core of music therapy practice whatever our theoretical orientation. Music therapy is enacted through the presence of the therapist with the client, learning and growing together in the process of therapeutic change. In this paper the basis of relational therapeutic work will be described with reference to the role of early interplay between parents and infants, and the capacity for relational growth through the early years. Theoretical perspectives informing lifespan practice will be shared, focussing on experiences of infants and their caregivers. The dynamics of caregiving relationships, along with multiple theoretical perspectives informing contemporary parent-infant work will be explored with reference to trauma-informed practice. Challenges in research will be discussed, and the capacity for further national and international growth in music therapy practice in this field will be considered.

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Friday 15th September 2017

8.30 - 9.00 Conference Opening Avro Bristol RoomNational Conference CommitteeAngela Delaney, Dr Jeanette Kennelly, Cassandra Huntley, Kylie Ferris and Fiona LambOfficial WelcomesAngela Delaney, Conference Convenor & Dr Grace Thompson, AMTA President

9.00 - 10.00 Keynote Presentation Avro Bristol RoomMusic Engagement and Therapeutic Benefit: The Role of Music as Contextual SupportA/Prof Sheri Robb

10.00 - 10.30 Morning Tea

Room: Avro Bristol Room Catalina Room Dehavilland Room

Stream 1Music as an element of change and connection for young children

Stream 2 Changing landscapes of professional roles for the music therapist

Stream 3 Interdisciplinary partnerships within/across music & music therapy

10.30 Dr Alison CreightonConnecting homeless children to resilience factors through the Sing&Grow music therapy program

Elly ScrineSharing power and holding space: articulating a critical feminist music therapy practice through the voices of young people

Bronte ArnsThe Music Therapy Hive Mind: How Transdisciplinary Team Experience Shapes Practice in an Autism Specialist School

11.00 Tim Minchin & Angela DelaneyStraddling the last breath: A reflection of music therapy as an element of change and connection.

Dr Jennifer Bibb‘Musical Recovery’? What does mental health recovery mean for music therapists?

Tanya Silveira & Hilary CoxMoving to the Music: a pilot physiotherapy / music therapy exercise group

11.30 Rebecca Eager, Laura Morell, Belinda McNamara & Mia ChiangTapping In To The Senses: Using Rhythm to Regulate Children with Autism

Simone ArmstrongMe Mood Music - An On-line Resource for the Adolescent

Madeline BridglandStaff Perceptions on the Role of Music Therapy within Inpatient Mental Health

12.00 Laura Morell & Belinda McNamaraBridging the communication barrier: Using song writing with non-verbal young adults with autism spectrum disorder to connect, express and advocate

Angela Delaney & Helen CarringtonKey change: The impacts, challenges and opportunities experienced by a large music therapy service following significant transition.

Matt RalphRMT’s facilitating children and family sessions with community musicians and multidisciplinary clinicians as a collaborative model within a tertiary paediatric hospital

12.30 - 1.15 Lunch

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Stream 1a Changing landscapes for the music therapist’s role in the area of disability

Stream 2 Music as an element of change and connection in acute/post-acute care settings

Stream 3A Music as an element of change and connection in health and well-being contexts

1.15 Joshua BirchThe Developing Role of Music Therapy in Special Education

Jeanette TamplinExploring the self through therapeutic song writing: Analysis of songs composed by people with acquired neurodisability undergoing inpatient rehabilitation

Anita Connell*Student/New Grad Paper“Impossible is Nothing”… the journey of a group of adults with disabilities from community music therapy to musical independence and live performances.

1.35 Stream 3BMusic as an element of change and connection in cancer & palliative care

1.45 Stream 1bInterdisciplinary partnerships within the creative arts therapies

Beth Dun, Belinda Tucquet, Lauren Miller & Melina RobertsThe Central Role of the Musical Self in Acute Paediatrics

1.35pmKylie FerrisNot just a cancer patient… how music therapy is changing lives for people diagnosed with cancer

2.15 1.45pmKylie Hinde & Cate CallopyAn Explorative Look at Client Transitions Between Therapists Within a Multi-Disciplinary Team Environment

Alison ShortMusic medicine and music therapy in the cardiac context: How much music and when?

2.05pmKylie Ferris & Andrew Kennelly*60 Minute WorkshopStepping into the rhythm of spirituality: collaborations between music therapy and pastoral care in palliative care

2.45 Tanya SilveiraStroke SURVIVORS who are Stroke SURVIVING: using music to maintain upper limb function post discharge

3.15 - 3.45 Afternoon tea

3.30 - 4.10 Local spotlight paper: Dr Libby Flynn Avro Bristol RoomThe Health Enhancement Program: Helping people tap into and understand the potential of music for their wellbeing

4.30 - 6.00 AGM Avro Bristol Room

6.00 - 10.00 Conference Party and Registration Ceremony Southern Cross Pavillion

12.40 - 1.15 Poster Express Plenary Session Southern Cross Pavillion

PO1 - Jamie Rowitsch & Renae Stevens Music Therapy as Healing in Adolescents with Refugee Backgrounds

PO2 - Allison Fuller “What’s Next?” The Use of Visual Aids within Family-Centred Music Therapy Programs

PO3 - Alison Talmage Musical improvisation in supervision: A process-consistent approach to developing professional practice

PO4 - Cameron Haigh Where the music lives: Creating the Music Therapy Room

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Saturday 16th September 2017

8.45 - 9.00 Welcome & House Keeping Avro Bristol RoomFiona Lamb, Conference Chair & Dr Jeanette Kennelly, Scientific Chair

9.00 - 10.00 Keynote Presentation Avro Bristol RoomOn the relational in music and music therapyA/Prof Jane Edwards

10.00 - 10.15 Music Performance by D&K DuoDavid Waldie & Kate Fletcher

10.15 - 10.30 Morning Tea


Student and New Grad Papers

Stream 1Music as an element of change and connection in health and well-being contexts

Stream 2 Music as an element of change and connection in health and well-being contexts

Stream 3 Changing landscapes of roles and partnerships for music therapists

10.30 Chanelle HendersonPossum Magic: Using music to strengthen ties in families affected by substance abuse

Rachael Regina Mackay Utilising technology to enhance our understanding of music therapy’s effect on motor movement and sequencing

Thomas McGrath The impact of blended learning on professional identity formation for post-graduate music therapy students

10.50 Sophie Mason Creating and relating in mental health: The role of improvisation for a man with schizophrenia

Phoebe Stretton-Smith‘We all did it together’: Exploring a collaborative community-based songwriting program from the perspectives of people living with dementia

Lauren Bortolazzo Community Conga: Collaborative partnerships with community organisations

11.10 Will Darbyshire Speaking and Singing: Supporting the differing needs of the family in a palliative care setting


Stream 1Music as an element of change and connection: Theory & Practice

Stream 2 Collaboration in research on music and music therapy

Stream 3 Music as an element of change and connection in community care contexts

11.30 Dr Katrina McFerranPlaylists: A tool for music therapists or for everyone?

Dr Grace Thompson & Larry Abel“The music made me look”: fostering spontaneous visual attention in children on the autism spectrum.

Helen CameronMusic therapy and social inclusion of people with intellectual disabilities- reflections on community music therapy

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12.00 Cameron Haigh‘Sound Thinking’: Developing a Neurologic Music Therapy Cognitive Skills Training Program in adult mental health

Dr Jennifer BibbUsing group singing for regaining healthy relationships with music during mental health recovery

Stream 4Interdisciplinary partnerships within/across music & music therapy

12.30 Claire Stephensen & Minky van der WaltTapping into the music, tapping into the body: exploring regulating mechanisms in rhythm

Alison Short, Allison Fuller & Ben Rockett*RoundtableLinking industry and academia to promote music and music therapy initiatives: Strategic reflections from three different partnership engagements.

1.00 - 2.00 Lunch

OPS COMM Chairs Meeting Terrace Room


Stream 1 Interdisciplinary partnerships within/across music & music therapy

Stream 2 Relationships between the music, music therapy & the music therapist

Stream 3 Changing landscapes of professional roles for the music therapist

2.00 Claire StephensenAre we ready for a new practice framework? Considering a neurobiopsychosocial approach to music therapy.

Oliver O’ReilleyTapping into diversity: Curating strategies for musical connection

Tara Shrestha & Monique BathisMusic therapist to mum to music therapist: Reflections on returning to work in the acute paediatric setting after having children.

2.30 Dr Libby Flynn“Down memory lane”: developing consultative and collaborative partnerships to bring music to people living with dementia

Jacinta Calabro*60 Minute WorkshopMusic Therapy Online - Changing the landscape of professional development by utilising e-learning platforms to share ideas and leverage our knowledge for income.3.00

3.30 - 3.45 Afternoon tea

3.45 - 4.40 Coda Avro Bristol Room

Conference Closing Avro Bristol Room Angela Delaney, Conference Convenor

Grocke and Bright Awards and Best Poster Presentation

Sunday 17th September 2017

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Professional Development Seminar

8.30 PDS Registrations

9.00 Opening and Welcome Avro RoomPDS Chair Cass Huntley

Room: Avro Room Bristol Room

9.15 - 10.15 Track 1The Joy of SingingBrian Martin

Track 2Embodied Joy...NIA DanceSophie Marsh

10.15 Morning Tea

Room: Avro Room

10.45 Track 3 Avro RoomClinical Practice Knowledge, Patient Preferences, Clinical Context: Finding Relevant Clinical Gems in Published Music Therapy Research Associate Professor Sheri Robb & Associate Professor Jane Edwards


11.45 Track 4“I can see clearly now...” Roundtable Discussion on the Development of Supervision Guidelines for RMTsDr Jeanette Kennelly, Beth Dunn & Natalie Jack

Track 5Research in Music Therapy: A call for actionProfessor Felicity Baker & Professor Katrina McFerran

12.45 Lunch

State Chairs Meeting Terrace Room


1.45 Track 6Body Percussion with Greg SheehanCreative Games & Rhythmical ImprovisationGreg Sheehan

Track 7NDIS and Music TherapyMelissa Murphy

2.45 Afternoon Tea

3.15 Bonus Track - Sustain Avro Room

Closing Panel Discussion NCC & Keynotes and TBC

4.00 PDS Close Avro Room

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Conference Awards

Each year, the National Council of the Australian Music Therapy Association presents two awards for excellence for a presentation during the closing ceremony of the National Conference.

These awards are intended to recognise both the quality of the content of the presentation and the professionalism of the presenter. These awards particularly value a well articulated and presented session, with innovative and inspiring content. The recipients are presented with a certificate of achievement and cheque for $300, plus the opportunity to be awarded a further $200 if they present the same paper at another conference within 12 months.

The Ruth Bright AwardNamed in honour of Australia’s pioneering music therapist and prolific music therapy author, Dr Ruth Bright, AM, this award is open to RMTs with more than one year’s clinical experience. Dr Bright was the inaugural president of the AMTA, holds of an AMTA Lifetime Achievement Award and is a past president of the World Federation of Music Therapy. Highly regarded for her lectures, as a supervisor and clinician, and for the never-ending support she provides for music therapists, she also laid the foundations for professional training courses in New South Wales. So naming this award for her is most fitting:

Past recipients are:1994 Dr Lorna Lloyd-Green1995 Clare O’Callaghan1996 Jeannette Kennelly1997 Kate Witmee1998 Brigit Hogan1999 Vicky O’Shea (Abad)2000 Alison Fuller2001 Catherine Threlfall2002 Robyn Booth2003 Helen Shoemark2004 Robin Howat2005 No award due to World Congress2006 Maggie Leung2007 John Hedigan and Helen Shoemark2008 Lucanne Magill and Clare O’Callaghan2009 Jeanette Milford2010 Clare O’Callaghan and Richard Hiscock2011 Grace Thompson2012 Kat McFerran and Carmen Cheong-Clinch2013 Priscilla Pek and Angela Mallia2014 Felicity Baker2015 Tim Minchin2016 Jeanette Tamplin

Conference Awards

The Denise Grocke AwardNamed in honour of Emeritus Professor Denise Grocke.This award is open to final year students of AMTA-accreditedmusic therapy courses and RMTs with less than one year’sexperience. Dr Grocke is renowned for, amongst other things, her commitment to the development of music therapy education in Australia. She was pivotal in developing the first Australian course at the University of Melbourne, and taught more than 350 students before she retired earlier this year. Dr Grocke has guided the development of music therapists through undergraduate and graduate courses, including Masters and PhD levels.

A founding member and past president of AMTA, past president of the World Federation of Music Therapy, this award is a recognition of her extraordinary achievement and leadership of the profession.

Past recipients are:1995 Jeanette Kennelly, University of Queensland1996 Melissa Grasso, University of Melbourne1997 Louise Bear (Miles), University of Queensland1998 Patrick Penfold, University of Melbourne1999 Meagan Hunt, University of Queensland2000 Emily Shanahan, University of Melbourne2001 Claire de Bruin, University of Melbourne2002 Tina Liu, University of Queensland2003 Carolyn Jones, University of Queensland2004 Karen Hamlett (Bolger), and Janeen Mackenzie(Bower), University of Melbourne2005 No award due to World Congress2006 Libby Gleadhill, University of Queensland2007 Hayley Miller, University of Queensland2008 Christobel Moore, University of Queensland2009 Astrid Notarangelo, University of Melbourne2010 Kym Weatherley, University of Technology Sydney2011 Jennifer Bibb, University of Melbourne2012 Lene Je”rey, UTS2013 Sian Truasheim2014 Romy Englebrecht2015 Matthew Lewin and Asami Koike2016 Zara Thompson, St John of God Accord

AdjudicationThe awards are adjudicated by a panel of experienced music therapists, representing a broad range of clinical expertise. Should one of them have presented a paper, they are excluded from consideration.The awards are presented at the closing session of the conference. Adjudication takes place during the last afternoon tea.

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Scientific Review Committee List

With special thanks to our Scientific Review Committee

Dr Kate Williams Queensland University of Technology

Dr Libby Flynn University of Queensland

Dr Clare O’Callaghan Cabrini Health and St Vincent's Hospital Melbourne

Dr Alison Short Western Sydney University

Dr Helen Shoemark Temple University, Philadelphia

Ms Lucy Forrest Monash Health

Dr Alison Creighton Sing and Grow

Ms Beth Dun Royal Children’s Hospital Melbourne

Ms Catherine Threlfall Sunraysia Arts and Learning

Ms Allison Fuller Western Sydney University

Mr Cameron Haigh Metro South Health

Dr Carmen Cheong-Clinch Logan Hospital Adolescent Mental Health Unit

Dr Jeanette Tamplin University of Melbourne

Ms Kate AitchisonChild and Youth Mental Health Service, Children’s Health Queensland

Dr Stephanie Thompson The Tasmanian Specialist Palliative Service Care - South

Ms Bronte Arns Giant Steps Sydney

Mr Oliver O’Reilley Western Sydney University

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Exhibitor Profiles

Western Sydney UniversityDr Alison ShortRoom C.G.18, Kingwood CampusSchool of Humanities and Communication ArtsWestern Sydney University

Locked Bag 1797Penrith NSW 2751, Australia

[email protected]://www.westernsydney.edu.au/future-students/postgraduate/postgraduate/postgraduate_courses/therapeutic_studies_and_counselling_courses/creative_music_therapy

https://www.facebook.com/westernsydneyuhttps://twitter.com/westernsydneyu https://www.linkedin.com/school/12769/

Western Sydney is a world-class university offering a Master of Creative Music Therapy preparing students for evidence based professional practice, encompassing growing international research opportunities.

Kids Music BeatSheryl Davies (0419 189 274)Vicky Abad (0430 591 532)

PO Box 452, Nundah, QLD, [email protected] [email protected]/KidsMusicBeat/

We specialise in supplying instruments resources for music therapists. We provide excellent customer service and specialist attention and discounts to music therapists and students.

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WSU Full page advert to go here.

Contact: Dr Alison Short, Senior Lecturer and Course Advisor [email protected]

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MUSIC MATTERSGRANT INFORMATION FOR PRACTITIONERS

THE ROBERT CONNOR DAWES FOUNDATION

MUSIC MATTERS GRANT

The Robert Connor Dawes Foundation’s grant is available for children and young adults, aged 25 years and under, who have been diagnosed with a brain tumour:

• 10 fully funded private music therapy sessions in the young person’s home• Registered Music Therapist matched specifically to the needs and location of the young person• Straightforward and confidential referral process

WE’D LIKE TO HELP

The Robert Connor Dawes Foundation was created in June 2013 in memory of Robert Connor Dawes. During Connor’s treatment for a brain tumour, he had weekly sessions of music therapy. Music was a high note that played on beyond the hour, filling Connor’s heart, home and family with relaxed happy memories. It’s this very personal experience that drives us to support other patients and families.

If you would like to find out how we could match you with a therapist in your area, please contact Sarah Punch.

[email protected] 447 301

Supporting brain matters in the areas of Research, Care and Development.

rcdfoundation.org

Do you know of a young person with a brain tumour diagnosis, who would like to benefit from music therapy following their hospital treatment?

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Abstracts

AMTA2017 – ABSTRACTS

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Music engagement and therapeutic benefit: the role of music as contextual support A/Prof Sheri Robb1,2 1Journal of Music Therapy 2Indiana University School of Nursing

Keynote Presentation - Avro Bristol Room, September 15, 2017, 9:00 AM - 10:00 AM

Active engagement increases the likelihood that an individual will derive positive, lasting change from therapy. Yet, client engagement remains a vexing problem that is not specific to any one clinical population or therapeutic service. The Contextual Support Model of Music Therapy (CSM-MT) situates engagement as an important part of the therapeutic process that moderates treatment benefit. During our time together, we will explore the concept of engagement as an interplay between client, therapist, and music, and more specifically how the CSM-MT informs theory-based tailoring of music experiences to create a supportive, engaging therapeutic environment. We have used the CSM-MT to guide the design of two music therapy interventions including the Therapeutic Music Video intervention for adolescents/young adults undergoing high-risk cancer treatment, and an Active Music Engagement intervention for young children with cancer and their parents. Through these multi-site trials, we are examining music engagement as a moderator of therapeutic benefit, and how music therapists use theory to guide their clinical decision making and tailor interventions based on the unique needs of patients and families. To illustrate and deepen our exploration of these concepts, we will examine clinical examples and data from each trial and consider broader implications for music therapy practice. Biography: Sheri serves as Editor-in-Chief for the Journal of Music Therapy and is an Associate Professor at the Indiana University School of Nursing, Indianapolis, IN. Sheri’s program of research focuses on development and testing of music therapy interventions to manage distress, improve positive health outcomes, and prevent secondary psychosocial morbidity in children and adolescents with cancer and their parents. Her work has received intramural and extramural support from the National Institutes of Health and Children’s Oncology Group. She enjoys mentoring young authors and research scientists through her roles as journal editor, and Director of the Undergraduate Nursing Honors Program and the Indiana Clinical and Translational Sciences Institute KL2 Young Investigators Program.


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Connecting homeless children to resilience factors through the Sing&Grow music therapy program Dr Alison Creighton1

1Sing&Grow Australia

Stream 1 - Music as an element of change and connection for young children, Avro Bristol Room, September 15, 2017, 10:30 AM - 12:30 PM

How can family-centred music therapy promote resilience in young children experiencing homelessness? Literature demonstrates that family provides protective factors against risks associated with homelessness and can also provide context and opportunities for children to develop their own adaptive skills which prepares the child for future resilience (Amatea, 2006; Cutuli, 2014; Masten, 2014; Walsh, 2002; Walsh, 2003). However, homelessness can also have negative impacts on parents’ capacity to provide the necessary safe, secure and stable environment to serve as a protection during crisis. Thus, the most important ways to foster resilience in children is to support good family function (Cutuli, 2014; Masten, 2014). Within the overarching goal of supporting good family function, effective interventions for homeless children, and their families, address four resilience factors (or adaptive systems) particularly important in buffering the risks associated with homelessness, including (Berryman & Fairchild, 2015; Cutuli, 2014; Fairchild, 2011; Masten, 2014): (1) Effective caregiving and parenting quality/secure attachment, (2) Intelligence and problem solving/ cognitive functioning, (3) Self-regulation; self-control, emotional regulation, planfulness, and (4) Competence of family as a system - family roles and routines. This paper explores how the Sing&Grow parenting intervention program may address these four resilience factors with families experiencing homelessness. The 8 week program was offered to families with young children aged 0-5 years old living in temporary crisis accommodation. Discussion focusses on the parent-child interactions that occurred within each type of musical activity facilitated in each session, including: greeting/goodbye song, action songs, hand percussion instrumental playing, drum playing, dancing, movement with/out props, singing with/out props/visuals and quiet/cuddle time. Connections between musical experiences and the promotion of all four resilience factors were identified. Furthermore, the musical and behavioural features of observed parent-child interaction for each type of musical activity was examined to better understand how the music facilitated such connections. Upon reflection of the findings, the musical interactions between parent and child within a Sing&Grow group program may serve as a potential catalyst for connecting the child to both protective factors and opportunities for developing their own resilience capacities to help minimise the risks associated with experiencing homelessness. Biography: Dr. Ali Creighton graduated from Masters in Creative Music Therapy in 2009 and PhD thesis in 2014. She is currently working as a clinical specialist for Sing&Grow. She is passionate about supporting parents in developing their emotional availability and secure attachment with their child/ren


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Straddling the last breath: A reflection of music therapy as an element of change and connection in paediatric death and bereavement. Mr Tim Minchin1, Ms Angela Delaney1

1Children's Health Queensland


Music therapy is poised as an innovative allied health profession that offers potential for change and connection. It can shape our experiences as fragile creatures subject to loss, suffering and death, while facilitating connections in deep and meaningful ways where words are insufficient. This presentation will describe two case examples: both featuring music therapy prior to, and immediately after the death of a child in a paediatric hospital. Death is an experience that is universal, an experience that touches all members of a family. There is both commonality and individuality in the grief experience, and each person reacts differently. A child's death however, is such a devastating loss that exacts an emotional and physical toll on parents, siblings and entire family dynamics. Music is capable of affecting spiritual aspects with emotional needs in health care where medical intervention cannot, and can contribute to the ‘wholeness’ perception of a person. Music therapy approaching, and at end of life is not new, neither is accessing music therapy to support loss and suffering. Zooming in on the hours immediately before and after end of life, we will examine music therapy at the initial point of bereavement. Using a narrative reflection this presentation will explore how music and music therapy is able to support the changing connection between the dying and the surviving during the transition between life and death, in a paediatric setting. Detailed process and observations will be described, including the when, why and how, in exploring the scope of practice for music therapists in this clinical area. Music therapy can be pivotal in bringing comfort, resolution and spirituality, while providing a compassionate space as families navigate changing interpersonal connection after death of a loved one. Though focused on paediatrics, findings from this paper may extend to music therapy in palliative care in all populations. Biography: Tim Minchin is a music therapist at the Lady Cilento Children’s Hospital, working across a range of acute paediatric caseloads including oncology and emergency department. Angela is the Clinical Lead Music Therapist at the Lady Cilento Children's Hospital, and Allied Health Clinical Educator of a National Paediatric Palliative Care Project.


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Tapping in to the senses: using rhythm to regulate children with autism Mrs Rebecca Eager1, Ms Laura Morell1, Ms Belinda McNamara1, Ms Mia Chiang1

1NMTSB


Our senses provide us with vital information about the world around us. The brain processes, organises and interprets information from the various senses so that we can adapt and respond to stimuli accordingly. When this process runs smoothly, our senses are “integrated” and we can function to the best of our ability. If there is a problem with this process, our senses are not integrated and our brain and body becomes dysregulated. Sensory integration or sensory processing challenges are common in individuals with Autism Spectrum Disorder (ASD), and are caused by different neural pathways in the brain (Yack, Acquilla & Sutton, 2002). A growing body of research is informing theories of ASD as a brain connectivity issue. Individuals with autism have many 'short connections' in specific areas of the brain (resulting in ‘overconnectivity’ in local areas), and less 'long connections' (‘underconnectivity’) between larger areas of the brain (e.g. the cerebellum and frontal lobe) than their typically developed peers (Mostofsky & Ewen, 2011). These differences can result in sensory integration challenges. Brain imaging studies from the neuroscience of music field; demonstrate that music engagement results in widespread neural activation across many brain areas (Alluri et al, 2011). In addition to this, music optimises communication between different brain regions and pathways (Thaut, McIntosh & Hoemburg, 2015). Thus, for individuals with ASD and sensory processing challenges, music may be used to activate and improve connections in the brain in order to regulate the body. This presentation will share short clinical case studies demonstrating how music, and in particular rhythm, can optimise sensory processing in individuals with ASD. Techniques involving body mapping (rhythmic squeezes) for proprioceptive input, rhythmic bouncing for vestibular input, and cross mid-line drumming for 'whole brain' and body integration may be demonstrated. Within these clinical examples, we will show how completing sensory integration tasks then allow individuals to fully engage in other goal areas, and thus function at their full potential. Biography: Rebecca Eager heads a team of 4 wonderful NMTs from Brisbane. As the director of NMTSB (Neurologic Music Therapy Services of Brisbane) she works with a diverse range of children and adults with autism and other neurologic conditions.


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Bridging the communication barrier: using song writing with non-verbal young adults with autism spectrum disorder to connect, express and advocate Ms Laura Morell1, Ms Belinda McNamara1 1NMTSB


Approximately 25-30% of individuals with autism are classified as 'non' or 'minimally verbal' (Chenausky, Norton, Tager-Flausberg & Schlaug, 2016). The lack of spoken language can lead to restricted independence and fewer opportunities to communicate with the environment, engage in self-expression and develop self-efficacy (Cehnausky et al., 2016). In lieu of spoken language, some individuals access alternative and augmentative forms of communication (AAC) such as typing (Remington-Gurney, 2009). Typing typically requires the presence of a communication partner to assist the individual to clearly articulate their thoughts (Remington-Gurney, 2009). This presentation will provide three clinical examples of how song writing can be used to 'bridge the communication divide' for three young adults with ASD. Song writing is a well-established therapeutic intervention in the music therapy literature, but less attention has been given to its application with individuals who use AAC to communicate (Baker & Wigram, 2005). We will explore the clinical mechanisms for using song-writing with these clients, each of whom uses typing as their primary communication tool. Video examples and audio recordings of the process will be presented, including how the lyrics are written, and how the songs are realised using methods such as GarageBand. We will then show how the individuals 'share their songs with the world' through platforms such as blogs, Facebook, SoundCloud and CDs. We will aim to demonstrate the inherently collaborative nature of the song writing process, as the music therapist acts at the communication partner for the individual, and thus serves to enable the individual to express their thoughts and feelings through song writing. We will then discuss how this method provides opportunities for self-expression and the development of self-efficacy, and how on a broader level enables community access and social inclusion for the individual. Finally, we will present reflections from the clients about their experiences of using AAC, and the role that song writing plays in their life. Biography: Laura Morell and Belinda McNamara are neurologic music therapists at Neurologic Music Therapy Services of Brisbane (NMTSB). Both presenters are passionate about advocating for those with autism spectrum disorder, and enabling their clients to reach their full potential using evidence-based clinical mechanisms.


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Sharing power and holding space: articulating a critical feminist music therapy practice through the voices of young people Ms Elly Scrine1

1National Music Therapy Research Unit

Stream 2 - Changing landscapes of professional roles for the music therapist, Catalina Room, September 15, 2017, 10:30 AM - 12:30 PM

This paper aims to articulate an emerging application of music therapy, drawing on data collected in an ongoing feminist participatory action doctoral research project. The project introduced music therapy as a space for young people in high school to explore and examine their experiences of gender and power, and music as a tool for change-making in this context. This study investigates how the participants understood and named this critical feminist music therapy practice. Informed by a burgeoning field of research that emphasises the use of creative mediums for exploring gender with young people, this project is also a response to key music therapy literature that highlights the need for music therapists to account for their own political presence in the therapeutic relationship (Edwards & Hadley, 2007; Edwards, 2015; 2017). While there are several influential frameworks in the creative arts therapies that critically examine power and seek to unsettle dominant socio-political structures (Rolvsjord, 2010; Sajnani, 2012; Stige & Aarø, 2012; Baines, 2013), I contend that we have little sense of how these approaches applied in practice are understood by the people we seek to empower, collaborate with, and emancipate. This study is based on the premise that young people’s experiences and ideas should be taken seriously, and aims to explore whether beliefs about what we are trying to represent and offer young people, are actually apparent and understood by them. I interviewed 16 young people for the project, asking the question, “How would you describe my role?”. This paper will explore the three key salient themes which emerged from how the young people articulated role of a critical feminist music therapist. 1) that taking up this role requires creating a safe space to explore the “real world issues”, 2) that such an approach involves sharing power and holding space, and 3) that with this role come both possibilities and consequences. Biography: Elly Scrine is a PhD Candidate at the University of Melbourne. Her research seeks to develop a feminist music therapy practice, and investigates music therapy as a space for young people in schools to explore experiences of gender, power and violence.


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'Musical recovery'? What does mental health recovery mean for music therapists? Dr Jennifer Bibb1, 2

1University of Melbourne, 2St. Vincent's Hospital Melbourne


Recovery-oriented mental health care denotes a paradigmatic shift in focus from ‘treating’ illness in an attempt to achieve ‘clinical recovery’ and symptom remission, to a focus on supporting personal recovery by promoting well-being (Slade, 2009). Within the music therapy profession, a number of research studies have contributed to this emerging discussion by providing examples of the way music therapy practice can contribute to recovery-oriented mental health care (Solli, Rolvsjord & Borg, 2013). These authors offer valuable perspectives on the potential for music therapy to support recovery-oriented practice. However, for music therapy work to continue to grow in this field, music therapists must acknowledge the changing landscape of their role when working in these settings. Recently published representations of music therapy work in this area indicate that recovery-oriented principles are not prominent in the work of music therapists and demonstrate the way recovery-oriented work could be seen as a separate 'optional' approach to music therapy practice. However, in order for music therapists to adhere to new Australian mental health policy a recovery-oriented approach to music therapy is essential. Adopting a recovery-oriented framework may require a major shift in attitude and practice for music therapists who currently work within a medical model of mental health care. Some music therapists may fear the de-professionalisation of music therapy through acknowledging the power of the people they work with by adopting a user-led approach. However, this presentation aims to demonstrate that recovery-oriented music therapy work does not imply the exclusion of the expertise of music therapists. In fact, recent research in this area highlights the prominent role of music therapists and musicians in the process of musical recovery (Bibb, 2016). This presentation will discuss the importance of striving for a collaborative approach to practice which supports consumers to claim ownership over their music experiences, and will argue that in order to achieve this, a conscious choice must be made by the music therapist to adopt a recovery-oriented perspective. Biography: Jennifer is an industry post-doctoral research fellow in music therapy at the University of Melbourne and St. Vincent’s Hospital Melbourne. She has been working as a music therapist in inpatient and community mental health for seven years.


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Me mood music - an on-line resource for the adolescent Ms Simone Armstrong1

1Centennial Park School SSP


The Commonwealth Government provided $48 million in 2012 and 2013 to assist schools in meeting the educational needs of students with a disability. This Commonwealth funding supported the state initiative of Every Student, Every School (ESES), where 106 schools for specific purposes (SSP’s) were provided with the financial resources to create a project with the expertise present in their school. In a government SSP for students with a mental health disability, an online student and teaching resource ‘Me Mood Music’ was developed to increase student’s ability to identify and express emotions and to assist in regulating mood through music. As mood is a major barrier for attention, memory, learning and consequently access to the curriculum it was intended that the website could encourage students to increase their emotional awareness and build confidence in managing their own mood states. The development of the on-line resource to increase student’s access to the curriculum was conceived, developed and managed by the registered music therapist at the SSP. The music therapist practicing in the SSP was uniquely positioned to draw upon her experience as a music therapist within a specialised educational environment to develop a wellbeing tool that would be relevant to the immediate and wider school communities. As the ESES project developed, so too did the music therapist's ever-changing role to that of content creator, graphic art designer and promoter. ‘Me Mood Music’ is presently live and has been rolled out to students, teachers and school counsellors across metropolitan and rural NSW. The on-line website ‘Me Mood Music’ is aimed at adolescents within the high school sector and is organised into six key areas: Mood, Emotions, Music and Mood, My Music, Music eScape and Teachers Information. Students are able to engage in interactive on-line activities to increase their emotional awareness and can participate in live music making activities, music listening and creating their own play lists according to their mood states. This presentation will introduce each of the key areas of the website and will explore applications of ‘Me Mood Music’ for the high school student, music therapist, teacher and school counsellor. http://www.memoodgetactive.det.nsw.edu.au/?music_home_page=me-mood-music Biography: Simone practices at Centennial Park School, working with adolescents with mental health disorders. Simone in 2016 created the Me Mood Music website to assist students in developing emotional awareness, expressing emotions and regulating their mood through music. She is currently studying Honours in Psychology at the University of New England.

http://www.memoodgetactive.det.nsw.edu.au/?music_home_page=me-mood-music


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Key change: the impacts, challenges and opportunities experienced by a large music therapy service following significant transition. Miss Angela Delaney1, Mrs Helen Carrington1 1Children's Health Qld


This presentation will examine a significant organisational change process undertaken during the merging of two well established paediatric hospitals and music therapy services, a changing healthcare landscape. This unique experience presented privileges to cherish and risks to heed. We will briefly explore the ‘re-establishment’ of the music therapy service, and the individuals within a team situation, and the connection and overlying impacts in creating a culture of best practice and service innovation. Music therapy is an increasingly sought after allied health profession in paediatric medical settings with emerging specialties which are enhanced by the interdisciplinary collaborations of medical, nursing and Allied Health. Music Therapists are integral members of many medical teams providing patients and their families who, when faced medical and often life changing circumstances, are able to support physical, psycho-social, emotional, spiritual and cognitive aspects of admission. The mismatch between the incremental growth of children’s services referring music therapy and the existing capacity and relevant skills of music therapists in the various specialties indicates a need for high quality, compassionate, consistent, coordinated care and management. We will draw attention to a transformational change plan in the context of health care and attempt to capture some team-based cultural challenges and day-to-day experiences in a new tertiary health facility, relevant to many clinical settings where music therapists are experiencing change and the need to adapt. From these experiences common aspects will be identified including the impacts, challenges and opportunities experienced by a team of music therapists, including the realisation that many opportunities are also potential challenges. The potential to contribute to paediatric health care quality will be framed by opportunities including growth in expanded scope of practice, peer supervision models, and inter-professional collaboration. Challenges such as meeting the incremental growth in need, related competencies, confidence and self-efficacy, the physical working environment and consequential difficulties, and maintaining quality health care will also be presented through creative encounters. The impact of these experiences, highlight the ethical imperative and professional responsibility to value one self. We hope to illustrate how the music therapy team engages in a continuum that involves identity development, connection, trust, self-awareness, celebration, clinical capacity development and practice during various stages of professional transition. As Britton (2013) notes, helping individuals discover and grow their unique potential within the structure of ensembles, as training ‘self-with-others’. Biography: Angela is the Music Therapy Clinical Lead, Lady Cilento Children's Hospital, and Allied Health Clinical Educator Coordinator for National Paediatric Palliative Care Project. Helen is the Senior Music Therapist, establishing service and processes for Qld Paediatric Persistent Pain Management Services at Lady Cilento Children's Hospital


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The music therapy hive mind: how transdisciplinary team experience shapes practice in an autism specialist school Ms Bronte Arns1

1Giant Steps Sydney

Stream 3 - Interdisciplinary partnerships within/across music & music therapy, Dehavilland Room, September 15, 2017, 10:30 AM - 12:30 PM

Working within a transdisciplinary model can offer rich learning experiences to music therapists, but it also requires that they navigate multiple professional relationships in order to effect positive change in the lives of students with autism and their families. In this setting, the music therapists collaborate with teachers, occupational therapists, speech therapists, educators and families, but also within a team of 5 music therapists. Whilst there is a growing body of literature around music therapists working with other disciplines, there is little regarding the experience of music therapists working with each other in groups. Collaboration within interdisciplinary and transdisciplinary teams is often identified in the literature as best practice with high and complex needs populations (Wheeler, 2003; Twyford, 2008), and the NDIA echoes this recommendation with regard to Early Childhood Intervention supports (NDIS, 2016). The aim of this study originated from my need to understand the lived experience of these music therapists from a leadership perspective, and involved learning more about where they were finding useful information and what factors were shaping practice. Descriptive phenomenology guided the process (Giorgi, 2009) and data was gathered through interviews. Questions were open-ended, allowing participants to identify the experiences and influences in their work that were important to them, as well as describing what it was like to be a team player in a specialist school culture. Group themes revealed some of the benefits and challenges of working across programs and within the BOS curriculum. They also identified factors that sustained them in their work over the long term, and what was most personally meaningful to them. An interesting concept was the nature of ‘transdisciplinary knowledge’, that which is drawn from long periods of time working alongside professionals from other disciplines in an atmosphere of open-ness and information sharing. Baker in Wheeler (2016) suggests that best practice should be informed by evidence drawn from both research and academic literature, but also from real-world experience, and this view was clearly reflected in the study results. This presentation links to the conference theme by exploring interdisciplinary partnerships and learning in the special education setting, as well as the unique processes of collaborating within a music therapy team. Findings from this research will contribute to the dialogue around relevant professional learning for RMTs that is based both in research and in practice wisdom. Biography: Bronte Arns is Director of Music Therapy at Giant Steps Sydney specialist school for students with autism. She is currently studying a Research Masters through the University of Melbourne looking to describe the experiences of a music therapy team, with a focus on key factors informing practice.


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Moving to the music: a pilot physiotherapy / music therapy exercise group Ms Tanya Silveira1, Ms Hilary Cox1

1MetroRehab


Music Therapy seems to be an underutilized option for stroke rehabilitation in Australia. Though there is evidence for group work using the neurologic music therapy (NMT) technique Patterned Sensory Enhancement (PSE), the current evidence for Rythmic Auditory stimulation (RAS), is focused on the individual treatment, specifically investigating walking activities. Collaborative approaches to implementing these NMT techniques have the potential for more patient access to rehabilitation. This "Moving to the Music" group is investigating the effect of combining music therapy / NMT and physiotherapy interventions through group exercise; based on the premise that using functional movement changes the temporal aspects of the functional activities of sit-to-stand and walking. Patients are referred to the group by staff. These referrals are then screened by the Stroke and Neuro Co-ordinator to ensure that patients are appropriately grouped together based on their functional abilities. The patients attended weekly 45 minute sessions which was conducted by a physiotherapist AND NMT. Assessments including the 10 metre walk test (10MWT) and the 5 sit to stand test (5STS) were taken pre and post each session, along with a questionnaire for patient feedback. The exercise sessions consisted of the regular functional movements (e.g. sit to stand, step up, walking activities, etc) with the addition of standard music therapy and NMT interventions such as PSE and RAS, with the goal to improve the quality and speed of movements. The preliminary data collection has identified the tendency of some patient sub groups to increase speed, and other sub groups to become more stable and reduce speed of movement immediately in the post tests. There was a Minimal Clinically Importance Difference (MCID) identified with the 5STS test post session; the preliminary data show an average improvement by 5.83 seconds in the post test. According to relevant literature (Meretta et. Al, 2006), the MCID is a mere 2.3 seconds. The questionnaire / feedback has indicated that patients are more engaged in the therapy session and report an increased awareness of body movement and position post session. It is worthy to note that for the question "did you feel this session has helped you?", 100% of patients (so far) have indicated "yes". This collaborative approach to the rehabilitation regime of inpatients has the potential to reach more patients and further their rehabilitation and motivation for recovery (Silveira & Barlow, 2014). Biography: Tanya Marie Silveira is an RMT/NMT based in Sydney and has presented internationally and nationally on her work. Tanya has recently commenced her PhD study with the National Music Therapy Research Unit, looking at upper limb stroke rehabilitation. Tanya enjoys collaborating with physiotherapists, occupational therapists and speech pathologists.


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Staff perceptions on the role of music therapy within inpatient mental health Miss Madeline Bridgland1

1Queensland Health


Music therapy is an effective form of treatment for people with mental illness, highlighted in the growing evidence base supporting the increased presence of the role within inpatient psychiatric settings (McCaffrey et al., 2011). Despite this, the discipline is still not yet in the mainstream of public awareness or widely understood by health professionals throughout Australia (Register, 2013). This study aimed to contribute an insight into the perceptions of interdisciplinary staff members regarding the role of music therapy within an inpatient mental health setting. This qualitative study was conducted with mental health staff across two large hospitals within the Gold Coast Hospital and Health Service. Staff who had exposure, awareness, or participated in the inpatient music therapy program were eligible for inclusion in this study. Recruitment was employed using convenience sampling from the cohort of interdisciplinary team members across nursing, medical, allied health, consumer/carer, and operational streams. Data was collected through the use of a written survey, with open questions regarding the role of music therapy; (i) with consumers, (ii) within the multidisciplinary team, (iii) and within mental health/ the hospital inpatient setting. Forty surveys were collected and a thematic analysis using Braun and Clark’s (2006) six-phase approach revealed the results. Ten main themes across the three areas of focus emerged from data. Staff perceptions of music therapy with consumers revealed that music therapy: 1) promotes therapeutic and clinical outcomes, 2) enhances engagement in treatment and recovery, 3) reduces symptoms, and 4) is non-threatening. Within the multidisciplinary team, staff thought that the music therapist: 5) plays an important role in informing assessment and treatment, 6) can facilitate stronger connections with consumer and treating team, and 7) offers a unique perspective. Finally, when describing their understanding of music therapy within inpatient mental health treatment, three themes were revealed: 8) music therapy is an essential part of treatment in mental health, 9) more music therapy is needed, and 10) the music therapist should be a fixed part of the treating team. Biography: Madeline is a Music Therapist working within inpatient mental health on the Gold Coast. She recently completed a Masters in Mental Health (in psychotherapy) after developing a strong passion for the field. She is recognised locally for her efforts in the inclusion of non-pharmacological forms of treatment in mental health.


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RMT's facilitating children and family sessions with community musicians and multidisciplinary clinicians as a collaborative model within a tertiary paediatric hospital Mr Matt Ralph1

1Sydney Children's Hospital, Randwick


This case study examines a model of practice for Registered Music Therapists collaborating with a charity organisation to provide music to patients in a tertiary paediatric hospital. The RMT’s relationship with this organization enables and creates opportunities for volunteer musicians to visit the hospital and share their music as well as contribute to the therapeutic work of RMTs and other clinical teams in sessions with children and their families. The visiting musicians collectively contribute a diverse range of musical experience and instrumentation to the music therapy program, as well as strengthen relationships between the hospital and the wider community. Visiting musicians include Sarah Blasko, Ben Lee, Old Man River and Lisa Mitchell with instrumentation ranging from hang drums, to string quartets, vocal improvising and African dun-duns. RMT’s aim to facilitate meaningful and supported sessions, which utilize the skills of the musician by identifying children who would most benefit from the musician’s style, skill set and experience based on clinical assessments and therapeutic objectives. This presentation provides a brief history and overview of visiting musicians to date and the ways in which these sessions have assisted RMT's and multidisciplinary clinicians meet therapeutic objectives. In this investigation, we examine the difference between simply hosting visiting musicians, and actively harnessing and guiding the musician’s skills to include them in the therapeutic process with health and well-being goals in mind. As a result, many of the musicians visit regularly and are included collaboratively with clinicians such as speech therapists to assist them meet their goals such as encouraging and building confidence in self-expression through guitar skills and drumming. This collaborative partnership between Registered Music Therapists and community musicians in promoting well-being through music offers an opportunity to discuss the roles, issues and benefits of working towards common therapeutic goals within the context of themes raised in Ansdell’s (2002) Community Music Therapy Model. This presentation would provide a review of this two-year collaborative relationship by examining the potential for RMT's to assist clinicians in a multi-disciplinary team to work with music and community musicians to promote well-being and positive health outcomes in a paediatric hospital. Biography: Matt Ralph RMT is a senior fulltime music therapist at Sydney Children's Hospital, Randwick. For the AMTA conference in 2016, Matt Ralph co-authored a poster presentation on paediatric oncology positions funded by Red Kite and in 2015 he co-presented with Verena Clemencic-Jones on community involvement in paediatric music therapy programs.


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Music therapy as healing in adolescents with refugee backgrounds Miss Jamie Rowitsch1, Miss Renae Stevens1

1HEAL Program, Milpera State School

Poster Express Plenary Session, Southern Cross Pavillion, September 15, 2017, 12:45 PM - 1:00 PM

I. Introduction A Registered Music Therapist and an Art Therapist who work within the same program, focussed in refugee adolescent mental health, will deliver an oral presentation together. Within this program, trauma-informed Humanistic Music Therapy is utilised to carry out the mission, which is based on life without barriers, helping culturally diverse adolescents to experience good mental health necessary to participate fully in learning. II. Population and Setting In this setting, music therapy works within a state high school with a focus on English as a second language. This school is where students, aged 11-21, are often first exposed to classroom-style learning. Specifically, the music therapist utilises active and passive music-making to address needs which include; social, behavioural, and emotional issues, improving ability to learn at school by helping allay the symptoms of trauma, improve confidence and self-esteem, and address the needs of individual student and group members working to envision their place in a new country with good understanding of rights and acceptable behaviours. III. Music Therapy Interventions and Music Utilised A short video of the music therapist and student (with permission) will be shown to help illustrate the work done within this program. Beginning to learn to play, relax and/or move within musical landscapes for adolescents who may have not had the opportunity to previously do so are highlights of this work. The grounding essence of the drum beat, the expressive quality derived from singing in first language, or the irreplaceable pride that comes from singing in English after working very hard to quickly learn a new language are ways music connects like no other medium. Also, using improvisation on piano to connect nonverbally and to explore support vs. feeling unsafe or unsure, to improve receptive social skills and develop emotional regulation in a safe, holistic manner. IV. Collaboration with Other Disciplines Due to the nature of the work, and the short time we work with students, it is essential to have connections with community and state run mental health support for children, as well as the home liaison teacher and other members of administration at the school. As a music therapist it is also important to work with art therapists at the school to reflect, share ideas, share concerns, and influence each other to continuously grow in more effective practice. Biography: Jamie is a Registered Music Therapist, Board Certified Music Therapist, and Neurologic Music Therapist who worked in mental health and with community populations in New York before relocating to Brisbane in May 2016. Renae is a Registered Art Therapist and Antigravity Yoga Master and Instructor who practices in Brisbane.


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“What’s next?” The use of visual aids within family-centred music therapy programs. Mrs Allison Fuller1

1Western Sydney University


Utilising visual aids to assist receptive and expressive communication with children and adults with Autism Spectrum Disorders is considered a common practice in current times (Beukelman & Mirenda, 2013). Music therapists often include the use of such supports in sessions with this client group (Griggs-Drane & Wheeler, 1997). However, minimal research currently exists regarding incorporating visual aids within music therapy programs with a broader range of client populations. This paper explores the use of incorporating visual aids into group music therapy practice with families who have young children, that are considered to be vulnerable or marginalised. Facilitating a successful and beneficial group music therapy program with vulnerable families with young children requires that the music therapist has advanced skills in planning and delivering structured sessions (Thompson & Skewes, 2015). A clear and appropriately planned session structure can help the parents and young children in the group develop a sense of trust and confidence in the music therapist, therefore potentially increasing attendance and participation. Incorporating visual supports into music therapy sessions potentially provides clients with a sensorily integrated experience with auditory, visual, tactile, vestibular and proprioceptive systems all being stimulated to provide an engaging and developmentally appropriate session. This paper aims to clearly articulate practice approaches using visual aids within sessions within an evidenced-based framework. Based on scoping and key information, results related to the assessment of current practice knowledge with regards to visual aids being used in music therapy practice will be presented. Plans for the development of a systematised visual support program specifically for use in music therapy practice will also be discussed. Articulation of current practice knowledge in this area, and the development of materials aimed to advance clinical practice and contribute evidence-based knowledge for effective future training practice in music therapy will be presented. Biography: Allison Fuller has over 21 years of experience as an RMT, working across a range of settings, with a focus on family-centred practice. Her present roles are as lecturer and clinical placement coordinator at Western Sydney University and as Director of MusicConnect.


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Musical improvisation in supervision: a process-consistent approach to developing professional practice

Mrs Alison Talmage1, Miss Angela Jeong 1Private practice


This poster presentation illustrates the use of improvisation in individual music therapy. Supervision is a highly regarded (and required) element of professional practice in New Zealand, and “reaffirms connections, with an individual sense of belonging to a professional group that values common approaches and theories” (Warren & Rickson, 2016, p.74). While we recognise the importance of confidentiality to safe and ethical practice, we wish to share our experience of working together in this way, illustrated by a short improvisation transcription and commentary. Music therapy and clinical supervision experiences both build and require trust and a sense of safety. Improvisation is central to the work of many music therapists and offers people an accessible means of active participation – “the potential to ‘join in’ with a musical experience through improvising is inborn in everyone” (Wigram, 2004, p.19). In all contexts – clinical, community and supervisory – our theoretical frameworks will influence whether we understand improvisation to be primarily music-centred, relational, symbolic or – in our integrated approach – all of these. As well as its intrinsic musical and creative elements, co-improvisation can encompass the tasks of emotional holding (Winnicott, 1971) and containment (Bion, 1962), and provide a secure base (Bowlby, 1988) from which to explore. Improvisation encourages spontaneity and flow (Csikszentmihalyi, 1990), and this experience leads to shared reflections, theorising and opportunities for further exploration (Kolb, 1983). This approach values the recommended integration of musical and verbal elements in supervision (Sutton & De Backer, 2014). In supervision, role play and improvisation provide process-consistent opportunities to explore issues brought by the supervisee. When the discourse of clinical or community music therapy is musical improvisation, then we believe that this approach also belongs in the supervisory space. Improvisation provides an opportunity for mutual experiential learning about the roles of therapist, supervisee, supervisor and client, and ensures that the supervisee’s clinical/community practice remains at the heart of the supervision process. Biography: Alison has a diverse practice as music therapist and supervisor in Auckland, NZ. She is a member of the Music Therapy NZ Council and Music Therapy Registration Board and editor of the New Zealand Journal of Music Therapy.


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Where the music lives: creating the music therapy room Mr Cameron Haigh1

1Metro South Health


BACKGROUND: Music therapists fight hard to fund music therapy positions but facilities often lack adequate physical resources for optimal music therapy service delivery. This project consolidated an existing music therapy position by fitting out a dedicated room for music therapy mental health treatment. Pavlicevic (2003) writes helpfully about the 'music space' in hospitals, however searching the literature revealed little to illuminate the process of designing a music therapy room. This poster discusses the challenges, considerations and outcomes of converting an inpatient hospital room to a music therapy treatment room. AIMS: The project aimed to create a warm and inviting therapeutic space for music therapy treatment as well as create a hub for communicating current evidence and information to consumers and staff on the influence of music in mental illness. METHOD: In the absence of published guidelines, ideas were generated and colleagues consulted on how to transform and resource an available room. Consumers and community were engaged by planning and building fixtures for the room including artwork and acoustic treatment ‘baffles’, in conjunction with a local hardware retailer. RESULTS: After completion of the project consumers have been observed to engage with music therapy more spontaneously and clinician-to-patient contact time has increased for the music therapy role. There is now greater integration of music therapy as part of the ward and the rehabilitation treatment ‘package’. Consumers have utilised scheduled independent time working in the music therapy room when the music therapist is not on-site. Linkages with community music programs have been developed and resources are available to consumers to help them understand and utilise music in their mental health recovery. CONCLUSIONS: Innovation and attention to physical space has enabled a therapy which has often been viewed as ‘adjunct’ to become integrated into the therapeutic environment and treatment offered by the mental health service. This improvement demonstrates possibilities both for environmental change in mental health services and the further implementation of music therapy within treatment for mental illness. Additional note: This poster presentation will feature photographs of the room and can be supplemented with wireless virtual reality goggles enabling delegates to enter an immersive experience of the room. Biography: Cameron has been a Registered Music Therapist for 17 years and enjoyed working in hospital, residential and community settings over that time. His work is currently focussed on mental health rehabilitation, brain injury rehabilitation, and clinical education. He has recently enjoyed creating a music therapy room for the first time.


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The developing role of music therapy in special education Mr Joshua Birch1

1EACH

Stream 1a - Changing landscapes for the music therapist’s role in the area of disability, Avro Bristol Room, September 15, 2017, 1:15 PM - 3:30 PM

In response to Western society’s commitment towards an inclusive approach within special schools, music therapy practice in this context has critically begun to adapt and align itself with the new values underpinning the education system. Although contemporary theoretical notions suggest that this inclusive approach creates greater potential for music therapy in special schools, current literature is limited in supplementing these modern concepts with practical applications in a manner which is readily accessible. This systematic review, presented as a narrative synthesis, analyses eight recent articles and case studies to reveal the developing role of music therapy in special schools. Inherent focus upon understanding a child’s complex idiosyncrasies, whilst acknowledging and encouraging the student’s full potential, highlights the fundamental aims of relationship and communication underlying music therapy; creating a foundation upon which subsequent educational goals can be appropriately addressed. To facilitate a meaningful and engaging environment in which these emerging goals can be realised, practitioners are primarily informed by a child-led approach and process of affect attunement. As such, session structure, methods and resources are shaped to create a responsive, flexible and emotionally secure container. Within this non-invasive and reflective setting, teachers, support workers and therapy staff can be educated on the effective use of music and its benefits whilst gaining greater insight into a child’s natural individual resources. Perhaps more significantly, other professionals can be informed by a music therapist’s practices. It is becoming increasingly evident that the role of music therapy in special schools is developing, with a growing capacity to advocate the education system’s inclusive approach. Biography: Currently working as a music therapist in an early intervention service offering one-on-one music therapy in the home, a range of music groups and consultation to fellow allied health professionals in the team.


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‘An explorative look at client transitions between therapists within a multi-disciplinary team environment’ Ms Kylie Hinde1, Ms Cate Collopy 1Kylie Hinde

Stream 1b - Interdisciplinary partnerships within the creative arts therapies, Avro Bristol Room, September 15, 2017, 1:15 PM - 3:30 PM

This presentation seeks to identify and explore key elements that facilitate a client’s smooth transition between therapists and/or therapy disciplines, specifically in the context of art and music therapy. Limited literature has explored the process of client transition between therapists. This is surprising considering the commonality of this phenomenon within therapeutic practice. Existing literature on the topic comes mostly from a psychodynamic perspective and focuses heavily on the difficulties experienced by the client, the departing therapist and the incoming therapist (Flower & Booraem, 1995; Wapner et al, 1986). More recently Williams & Winter (2009) summed up the ideal client transition as one in which the needs of all three stakeholders were identified and met. These identified needs encompassed the continuity of care, confidence, relationship, preparation, and communication and informed the basis for inquiry in this paper presentation. Through the exploration of one individual therapy case, in which a client was transitioned from art therapy to music therapy, the departing and incoming therapists identified several elements that contributed to a positive transition process for both therapists and the client. This particular case was chosen for further exploration due to the positive treatment outcomes that resulted for the client, which were identified to have occurred specifically as a result of the therapy transition. In this case, consistencies were found between Williams and Winter’s (2009) needs base perspective specifically in terms of recognizing the importance of the client’s role in the process. In addition, the therapists identified an inter-play of other organic elements such as the therapist-to-therapist working relationship, the reciprocal nature of art and music therapies and, the fostering of a ‘family’ dynamic between the triad of therapists and the client. While these elements and insights may have been specific to the environmental and client context, they contribute a new dimension to existing literature on the topic. The literature and case example findings discussed in this presentation may be applicable to therapists and health professionals working within multidisciplinary teams in which clients are shared and/or client transitions occur on a regular basis. Strategies for client transitions will be presented along with recommendations for future investigation within therapeutic practice. Biography: Kylie is a Registered Music Therapist with a background in adolescence, refugee mental health and psychology. Cate has a Masters in Arts Therapy (MIECAT) and is an accredited Art Therapist with a background in adolescent and refugee mental health.


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Exploring the self through therapeutic songwriting: analysis of songs composed by people with acquired neurodisability undergoing inpatient rehabilitation Dr Young-eun Claire Lee1,2, Professor Felicity Baker1, Dr Jeanette Tamplin1,2, Dr Nikki Rickard3, Ms Chantal Roddy3

1Melbourne Conservatorium of Music, The University of Melbourne, 2Austin Health, 3School of Psychological Sciences, Monash University

Stream 2 - Music as an element of change and connection in acute/post-acute care settings, Catalina Room, September 15, 2017, 1:15 PM - 3:30 PM

Background: Individuals with Acquired Neurological Injury (ABI) and Spinal Cord Injury (SCI) face unique identity challenges associated with their physical limitations, higher comorbid depression, increased suicidality and reduced subjective wellbeing (Migliorini, New, & Tonge, 2011). Therapeutic songwriting has been associated with changes in self-concept and improved psychological wellbeing (Baker, Rickard, Tamplin, & Roddy, 2016). The aim of the current study was to analyse the lyrics of songs composed by inpatients with neurological injuries who participated in a targeted songwriting program to understand which of the self-concept subdomains were most frequently expressed in songs. Method: Six participants with ABI and six participants with SCI (11 males; mean age = 41 years +/-13) undergoing inpatient rehabilitation were recruited to participate in a six-week, tailored identity-focused therapeutic songwriting intervention (see Tamplin, Baker, MacDonald, Roddy, & Rickard, 2016 for intervention protocol). An independent, deductive content analysis of 36 songs composed by the 12 participants were independently conducted by two experienced music therapists. Results: Deductive analysis indicated that when writing about the past self, people created songs that reflected a strong focus on family and descriptions on their personality. In contrast, there was found to be a clear preoccupation with the physical self, on the personal self, and a tendency for spiritual and moral reflections to emerge during the active phase of rehabilitation (song about the present self). Conclusion: These findings provide additional evidence that songwriting can be a vehicle that allows for exploration of self-concept in individuals with neurological impairments and suggests that it can be a therapeutic tool to target the most prevalent areas of self-concept challenges for individuals undergoing inpatient neurological rehabilitation. Biography: Dr Young-Eun Claire Lee is a Postdoctoral Research Fellow at the Melbourne Conservatorium of Music, University of Melbourne. She is a trained music therapist and a Clinical Neuropsychology Registrar (M Psych/PhD). Claire has extensive clinical and research interests encompassing neurorehabilitation, dementia, songwriting and epilepsy.


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The central role of the musical self in acute paediatrics

Ms Beth Dun1, Belinda Tucquet1, Jo Rimmer1, Lauren Miller1, Melina Roberts1, Nicholas Ogburn1, Michelle Fisher1 1Royal Children's Hospital


The music therapy team at The Royal Children’s Hospital, Melbourne undertook a process of service review which included an investigation of the role of contextual influences upon clinical practice (Shoemark et al., 2015). One of the outcomes was the identification that information about the client’s musical preferences was not just the starting point, but rather the client’s ‘Musical Self’ was core to decisions the team continuously make when working with clients. The team explored this concept further and the encompassing title of ‘Musical Self in Acute Paediatrics’ was introduced to describe the broad considerations of music therapy practice at The Royal Children’s Hospital.

The premise is that the client’s Musical Self is pivotal to their capacity to engage in music as a therapeutic medium. On referral, the music therapist first establishes the influence of hospitalisation on the client’s musical culture and context and thus whether music is still a sufficiently accessible experience to be a clinical pathway. Once confirmed, the music therapist then assesses the client’s current and likely musical manifestations to construct a pathway to meet the needs of the client.

This presentation will begin by providing an outline for the ‘Musical Self in Acute Paediatrics’ model (Shoemark et al., 2017) which includes two integrated aspects: 1. Culture and context – exposure, experience, culture (everyday environment of music) collected from patient or family in first or early meetings. 2. Musical manifestations – capability or skill: what the client can do or know about music that can be observed or shared with others. Capacity of the client to generate music-making informs the expectation for active and skilled music engagement, discussion and therapeutic alliance.

This will be followed by a practical description of how the Musical Self can serve as a key pathway for music therapy in the acute medical environment, not just as assessment or preparation, by sharing case examples from varied clinical specialties. The flexibility of the model will be demonstrated in order to stimulate other music therapists’ consideration of Musical Self constructs and how they may be adapted and applied to their own work environment.

Note: The term ‘Musical Self’ has previously been described by Stevenson (2014) in relation to aged care. The model described in this presentation has been developed by the team at The Royal Children’s Hospital.

Biography: Beth Dun, Belinda Tucquet, Lauren Miller and Melina Roberts are part of the seven-member music therapy team at the Royal Children's Hospital in Melbourne. Music Therapy is part of Allied Health at RCH and provides clinical music therapy services to children and young people with a range of medical conditions.


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Music medicine and music therapy in the cardiac context: How much music and when? Dr Alison Short1

1Wesytern Sydney University


Whilst it is generally assumed by music therapists that “more music is better!”, this presentation explores clinical issues and challenges related to the use of music in the hospital setting. Two projects applying music to cardiac care within music medicine and music therapy frameworks are examined in terms of dose-response effects, in conjunction with clinical and organisational factors. “Dose-response” is a general term within health care. When referring to music therapy is about “how much, how often, for how long, of what type of interventions, for which diagnoses, will music therapy treatment be effective in yielding changes and betterment?” (1). Dose response concepts and explorations have previously been applied to, for example, the case of a young boy with autism (1) and mental health contexts (2), but have not yet been applied to the use of music in cardiac care. In the current presentation, the first project applied music listening for relaxation after percutaneous coronary intervention (PCI) procedures, commonly known as stents, within a hospital environment. Time and access to patients was limited, and issues about the type and duration of music where noted. The second project occurred during a cardiac rehabilitation project using the typically longer sessions of Guided Imagery and Music (GIM); and clinical decision-making about length and modification of sessions is explored. Although no firm conclusions can yet be drawn due to limited evidence, suggestions are made for further research and development in this important area of music therapy practice in cardiac care. Biography: Dr Alison Short, PhD, MA, BMus, GCULT, AMusA, CertIV, RMT, MT-BC, RGIMT, FAMI, is Senior Lecturer in Music Therapy at Western Sydney University, holding international accreditations in music therapy. She is also an experienced health and medical researcher, and has taught and written extensively.


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Stroke SURVIVORS who are Stroke SURVIVING: using music to maintain upper limb function post discharge Ms Tanya Silveira1,2

1MetroRehab, 2National Music Therapy Research Unit


Stroke has been identified to be the most important single cause of severely disabled people living in their own homes (Carr & Shepherd, 2011). Further to the stress placed upon the self and the family as a result of stroke, the costs of ensuring the access of appropriate care places a financial burden. Specifically looking at the approach to rehabilitation of the upper limb due to stroke, the main avenues are within “conventional treatment”, consisting of physiotherapy and occupational therapy. Though there is also an array of research regarding collaborative music-based approaches to rehabilitation of the upper limb due to stroke, the collaboration with an RMT appears to be absent. Further to this, existing literature regarding approaches to upper limb music therapy methods are not specifically aimed for stroke survivors. Within the allied health literature, there is a plethora of studies highlighting the use of “music-supported therapy” (MST) when working with stroke survivors. When engaged in MST, the stroke survivor is encouraged to use a musical prompt (for example a tone or an instrument) to engage in their upper limb exercise. It is important to distinguish MST from music therapy as the MST approach is based on music training (learning) and is led by a physiotherapist with the goal of further encouraging motor rehabilitation. It is important to note that an RMT is not a part of the usual treatment protocol in MST. By acknowledging the fact that the allied health literature is drawing upon music learning and training to further encourage the rehabilitation of stroke survivors, we can infer that rehabilitation facilities may value the inclusion of music therapy as part of the treatment protocol. This presentation will discuss the potential of music therapy within the area of upper limb stroke rehabilitation. The importance of an intervention protocol, including the intervention itself and relevant measures of evaluation will be discussed. The 3 specific steps of the intervention will be explained. These include; (1) Therapeutic improvisation (2) The NMT technique of Patterned Sensory Enhancement (3) Song learning Using an accessible iPad instrument for the intervention, carryover will be discussed. Though this topic seems specific, the presenter will discuss a modified approach while working in paediatric hearing impairment to exemplify the flexibility and generalisation of skills. An approach to setting up a program in a rehabilitation hospital will also be discussed, drawing on the insight of the presenters’ allied health team. Biography: Tanya Marie Silveira is an RMT/NMT based in Sydney and has presented internationally and nationally on her work. Tanya has recently commenced her PhD study with the National Music Therapy Research Unit, looking at upper limb stroke rehabilitation. Tanya enjoys collaborating with physiotherapists, occupational therapists and speech pathologists.


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“Impossible is nothing”... the journey from community music therapy to musical independence and live performance for adults with intellectual and physical disabilities. Mrs Anita Connell1

1Tuned In Music Therapy

Stream 3a - Music as an element of change and connection in health and well-being contexts, Dehavilland Room, September 15, 2017, 1:15 PM - 3:30 PM

This study focuses on a group of six adults with intellectual and physical disabilities, aged 20-25 and their experiences through a 16-week community music therapy program to live performance. The program was held collaboratively with Evergreen Music, a large provider of music tuition with core values centered upon building community. The theoretical foundations of the community music therapy program are rooted in a disability studies perspective (Barnes, 2014). The PREPARE model of community music therapy (Stige and Aaro, 2011) alongside the social and affirmative models of disability (Cameron, 2010) inform the community music therapy approach resulting in a focus on strengths, equality, opportunity and inclusion and a celebration of music, disability and community. The themes emerging from the study of the band’s journey to live performance reveal a transformation in the participants' everyday life, the formation of an inclusive musical community and social and musical togetherness. While positive themes emerge, there is data that alludes to performance anxiety, and the study outlines the benefits and considerations of performance within a music therapy context for adults with disabilities. Implications from this study include a discussion of the music therapist role and responsibilities where performance is part of a community music therapy program. Biography: Anita completed her Masters of Creative Music Therapy at Western Sydney University. Upon graduating, Anita launched her own private practice, Tuned In Music Therapy and was recently awarded the Robin Howat small business grant from AMTA NSW. Anita's works primarily with adults with disabilities.


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Not just a cancer patient… how music therapy is changing lives for people diagnosed with cancer Miss Kylie Ferris1

1Mater Hospital Brisbane

Stream 3b - Music as an element of change and connection in cancer & palliative care, Dehavilland Room, September 15, 2017, 1:15 PM - 3:30 PM

Background: The physiological, psychological and spiritual benefits of music therapy for adult oncology care have been well documented (Bradt, Dileo, Magill, & Teague, 2016; Gutgsell et al., 2013; O’Callaghan & Magill, 2016). Music interventions have been shown to decrease pain and anxiety, and improve mood and quality of life for patients diagnosed with cancer (Bradt et al., 2016). It has also been demonstrated to provide an outlet for self-expression, increase motivation, improve communication with others, and maintain feelings of dignity, self-accomplishment and self-worth (Beggs, 1991). Aims: The following evaluation project aimed to elicit patient, family member and staff perceptions of the benefits of music therapy interventions in an oncology centre. The project also sought to identify priority areas for service delivery improvement, and to create a framework for measuring and monitoring program outcomes in the future. Method: A sample of patients (n=7), family members (n=5) and staff (n=5) engaged in 15-minute qualitative phone interviews with external researchers. Topics covered in the patient and family member interviews included the experience of the music therapy program, benefits of the program to the patient and family members, and feedback and suggested changes for the program. Staff member interviews included questions about the experience of the music therapy program as a staff member, benefits to patients, family members and staff, examples of observed patient experiences, and suggested changes to program processes. Outcomes: Four major areas of benefit were elicited from patient and family qualitative interviews; (1) reduction of patient stress, anxiety, fear, pain and treatment tolerance; (2) improving communication and patient-centred care through facilitating patient voice and increased care for the emotional, social and cultural; (3) increasing patient connection to an expanded identity beyond “cancer-patient” and increased positive connection to spirituality, family and community; and (4) transformation of the hospital environment into something more positive, to a community where staff and patients are more prone to relate to each other as people. Factors contributing to the success and satisfaction of the program included; flexibility of processes, openness of program staff to patient-initiated interventions and appropriateness for a range of clients, and consistency and regularity of contact with patients. Areas identified for program improvement included promotion and education about the program to patients and staff, environmental considerations and consideration of the negative impacts of program on the hospital experience of non-participating patients. Biography: Kylie Ferris is a skilled music therapist, with experience in palliative care, oncology, paediatrics, disabilities and mental health settings. Kylie is currently working in both acute paediatrics at the Lady Cilento Children's Hospital, and has co-developed the inaugural music therapy program for cancer care at the Mater Hospital Brisbane.


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Stepping into the rhythm of spirituality: collaborations between music therapy and pastoral care in palliative care Miss Kylie Ferris1, Mr Andrew Kennelly1

1Mater Hospital Brisbane

Stream 3b - Music as an element of change and connection in cancer & palliative care, Dehavilland Room, September 15, 2017, 1:15 PM - 3:30 PM

“Dying is hard, and we need to acknowledge its intrinsic difficulties – for our patients and families as well as for ourselves as clinicians” (Rattner & Berzoff, 2016, pp. 243). What is spirituality? How does it differ from religion? How can music therapy and pastoral care assist palliative patients to connect to their individual spirituality? In ‘Stepping into the rhythm of spirituality’ we explore the notion that each individual has their own spirituality which may or may not be religious based (Le Roux & Sauer, 2016). We suggest that spirituality is the inner voice, compass, the guiding principles that exist within each of us. Bringing your own definition of what spirituality is for you, we’d like to explore how tapping into the inner self and spirituality, both of our patients and of ourselves, can in turn help to support better health outcomes for our patients. As music can innately tap into a patient’s spirituality, it is our role as music therapists and pastoral care practitioners to explore spirituality in sessions to support patients who may be affected by life limiting illness. When we’re unwell, we look internally. We reflect on life and its meaning. Music therapy can act as a conduit to exploring the inner life of the patient. As discussed by Rattner and Berzoff (2016), we explore music therapy’s ability to assist patients to sit with the intrinsic “unrelievable suffering” (pp. 255) at the end of life. Given the above, we demonstrate the advantages of music therapy and pastoral care to work in collaboration to support patients in the palliative care setting. Biography: Kylie is currently working in paediatrics at Lady Cilento Children’s Hospital, and has co-developed the inaugural music therapy program for cancer care at Mater Hospital Brisbane. Andrew is a Pastoral Care Practitioner at the Mater Hospital Brisbane working in oncology. His background includes studies in Theology, Education and Counselling.


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The health enhancement program: helping people tap into and understand the potential of music for their wellbeing

Dr Libby Flynn1, Prof Annemaree Carroll1, Ms Emma Sanders1, Dr Kylee Forrest1, Dr Julie Bower1, Ashley York1, Dr Lars Marstaller1, Sam Fynes-Clinton1, Dr Maryam Ziaei1

1University of Queensland

Spotlight Paper, Avro Bristol Room, September 15, 2017, 3:45 PM - 4:30 PM

In the World Health Organisation’s (2013) current action plan for mental health, prevention is one of the key objectives, with a specific focus on strategies that will assist in the promotion of mental wellbeing. Until recently, the profession of music therapy has largely occupied a clinical space, working with those that are vulnerable, unwell, and disenfranchised. However, with an increasing focus on wellness, wellbeing, and mental health rather than illness, it is timely that we continue the dialogue as a profession as we move towards better understanding the capacity for music and music therapy within this space. The following paper therefore will report the findings from the Health Enhancement Program (HEP). The HEP was an eight-week interdisciplinary program that included the domains of music therapy, psychoeducation, exercise physiology and nutrition. Participants (n=40) engaged in and learnt evidence-based interventions and activities within each of the domains which aimed to reduce stress and improve the wellbeing of school teachers. Unlike traditional therapy programs, the HEP worked with a high functioning and relatively ‘well’ group of professionals who also identified stress within their working lives. Results will explore the effectiveness of the program in relation to a wide range of psychological measures and fMRI data, with a specific emphasis on findings pre and post intervention for the Healthy Unhealthy Music Scale (HUMS). Originally developed as a scale to measure musical engagement as a predictor of wellbeing in adolescents (Saarikallio, Gold, & McFerran, 2015), the results of the HUMS in relation to the HEP will be one of the first known discussions of its use and outcomes with an adult population. Positioning the profession of music therapy at this new intersection of prevention and health, the Health Enhancement Program provides a strong example of how music therapy can tap into and inhabit the health and wellbeing space; equipping people with the tools to make significant positive changes to their everyday lives. Biography: Dr Libby Flynn is a music therapy researcher based at the University of Queensland. She is currently involved in a number of different projects exploring music and music therapy across the life span. Libby is the current Chair of Ethics for the Australian Music Therapy Association.


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On the relational in music and music therapy

A/Prof Jane Edwards1 1Deakin University

Keynote Presentation - Avro Bristol Room, September 16, 2017, 9:00 AM - 10:00 AM

Relational processes are the core of music therapy practice whatever our theoretical orientation. Music therapy is enacted through the presence of the therapist with the client, learning and growing together in the process of therapeutic change. In this paper, the basis of relational therapeutic work will be described with reference to the role of early interplay between parents and infants, and the capacity for relational growth through the early years. Theoretical perspectives informing lifespan practice will be shared, focussing on experiences of infants and their caregivers. The dynamics of caregiving relationships, along with multiple theoretical perspectives informing contemporary parent-infant work will be explored with reference to trauma-informed practice. Challenges in research will be discussed, and the capacity for further national and international growth in music therapy practice in this field will be considered. Biography: Jane is Associate Professor in Mental Health at Deakin University in Victoria. Since 2015 she has served as Editor-in-Chief for The Arts in Psychotherapy; the first Australian, and first music therapist in this role. She has published multiple papers and has edited 3 books including The Oxford Handbook of Music Therapy (2016), and Music Therapy and Parent-Infant Bonding (2011). She is a Founding Member, and was inaugural President, of the International Association for Music & Medicine. Jane recently returned to Melbourne from Ireland. She held various academic roles at the University of Limerick (2000-2014) including Director of the Music & Health Research Group, course director Master of Music Therapy, Director of Psychology, Director of Clinical Therapies, and Associate Dean for Research, and obtained the equivalent of 20 million Australian dollars in research and development funding. Previously Jane was inaugural lecturer in music therapy at The University of Queensland (1993-2000). She founded the music therapy programme at the (then) Royal Children’s Hospital in 1993 successfully gaining competitive funding to develop clinical services and research. Her PhD is from the Department of Paediatrics, Faculty of Medicine at UQ. Her BMus and MMus were awarded from The University of Melbourne.


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Music performance by D&K Duo

David Waldie1, Kate Fletcher1

1D&K Duo

Music Performance - Avro Bristol Room, September 16, 2017, 10:00 AM - 10:15 AM

D&K Duo is a Brisbane based music duo made up of David Waldie & Kate Fletcher. Kate is a music therapist who has a passion for working with people with disabilities and neurologic differences, and making sure that their voices are heard. Dave is a professional artist who works with Indelibility Arts (a NFP theatre company working towards sustainable employment for artists with disabilities). He is an advocate for people with disabilities, mental health, and Australian music. Dave and Kate joined forces in 2013 to do favourite covers and write original songs.


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Possum magic: using music to strengthen ties in families affected by substance abuse Mrs Chanelle Henderson1


Stream 1 - Music as an element of change and connection in health and well-being contexts, Avro Bristol Room, September 16, 2017, 10:30 AM - 11:30 AM

Possum Playgroup is a weekly support group, initiated and facilitated by specialist nurses and social workers, for families whose lives have been affected by substance abuse. The group is co-ordinated by a nursing staff member of the Perinatal and Family Drug Health team, who sought out music therapy to assist with family engagement, and to support attendance and consistent interaction. This presentation details the research, methodology and process of developing a music therapy program for Possum Playgroup, with special consideration to the needs of the client population. An interdisciplinary approach was necessary as the playgroup sought to facilitate neonatal health appointments, social workers appointments, Indigenous worker support contact, drug health counselling and Tresillian baby nurse health checks. The program was delivered in two periods. The first period was conducted informally, with spontaneous musical and non-musical interaction leading the sessions. This period showed increased regularity of attendance and promoted positive interaction within the playgroup. Following the success of this initial period, another block of sessions was planned. This was approached with the added understanding of the space, the clients, and the goals, and was written as a formal music therapy parent/infant group session. Following a study period in New York with Dr Joanne Loewy, the student therapist brought additional knowledge and perspective to this second block of therapy. Approaches to Neonatal Abstinence Syndrome, families affected by addiction, and the environment of the Neonatal Intensive Care Unit were influenced by practical experiences and theoretical learning. This case study provides insight into the stages of initiating a new music therapy program in an established playgroup. Music therapy goals were based on supporting healthy and appropriate family interaction, including bonding and relating to a young infant, in a population where difficult emotional issues such as guilt, distance and avoidance are evident. Building rapport and relating with empathy were crucial to both the spontaneous interactions and the development of a music therapy program. Music was used as a catalyst for positive change to break cycles of abuse, neglect and addiction, in collaboration with a team of nurses and allied health professionals. Biography: Chanelle Henderson (B Mus) is a final year music therapy student at Western Sydney University. She has worked in music education, special education, and early childhood contexts. Chanelle has a special interest in family music therapy and neonatal music therapy.


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Creating and relating in mental health: The role of improvisation for a man with schizophrenia Miss Sophie Mason1, Mr Cameron Haigh2 1Western Sydney University, 2Queensland Health


Music therapists are valued members of allied health teams in the Australian mental health system, and have become skilled professionals. Working within the medical model, there is more than an expectation that assessment tools are valid, and methods efficacious. In response, music therapy clinicians have developed effective, short-term strategies that can be utilised in populations that are often transient, with limited time to foster the in-depth therapeutic relationship music therapy is founded upon (Eyre & Lee, 2015). This does not spell the end of organic, improvisational spontaneity in the mental health system though; in fact, this creativity needs to be maintained within music therapy practice in order to meet the needs of a recovery model, and to retain the unique skill set of music therapists (Aigen, 2015). Current assessment tools in mental health are generally based on a psychological understanding of cognition and behaviours, like the oft used Mental State Examination (MSE), or the Proactive Coping Scale – used by Pitts and Silverman (2015) to measure the flow on increases of proactive skills in people with schizophrenia after music therapy. Some tools are more musically based, like the Healthy/Unhealthy Musical Scale (HUMS) (Saarikallio, et al., 2015). Pavlicevic developed an improvisational assessment tool that explores the interaction in improvisation between therapist and client, finding that those with a diagnosis of schizophrenia were less interactive and aware of the musical nuances introduced by the therapist within sessions (Pavlicevic, 1995). This tool, the Musical Interaction Rating Scale (Schizophrenia) (MIRS(S)) was used in this single case study to explore musical communication with a man with schizophrenia, featuring overwhelmingly negative symptoms. The skills of this consumer for written expression far surpassed his verbal communication, indicating not a poverty of thought, but of verbal expression. The MIRS(S) tool provided direction for therapy, and was subsequently a clinical marker to examine improvements and gains in social interaction made by the consumer. Music therapy lends itself to the recovery model in mental health services, and particularly for this man, goals of increased social interaction (music and verbal) and increased expression of affect were made accessible through improvisational music therapy. These in turn were made evident to the music therapist and allied health team through the MIRS(S) tool, which showed an increase in affective responses and spontaneous verbal communication over four months of care. Biography: Sophie is a second-year student in the Masters of Creative Music Therapy at Western Sydney University. Having completed her undergraduate degree in Psychology, Sophie's interests lie in mental health, and how music therapy can enhance models of recovery in this area.


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Speaking and singing: supporting the differing needs of the family in a palliative care setting Mr Will Darbyshire1

1University of Melbourne


The act of sharing music is a powerful experience, and can allow clinicians to bridge various therapeutic barriers, such as language, age, and culture. This presentation describes the interaction between a music therapy student and an older Peruvian male and his family, situated in a specialised palliative care setting. This case study describes an 88-year-old male of Peruvian descent with a diagnosis of light chain multiple myeloma presenting with a range of symptoms (confusion and anxiety, pain, cognitive decline), and limited English. In addition, his family were having trouble coping, with members of the multidisciplinary team expressing concerns that the daughter was at risk of developing a co-dependent relationship with her father. This case study describes the different techniques and theoretical frameworks adopted to meet the client’s physical, emotional, and familial needs. This presentation explores the complexity of simultaneously meeting the physical needs of the patient and the emotional needs of the family, and examine the different professional roles required to meet the differing needs of the patient and his daughter. Drawing from the literature, the presentation discusses the use of verbal processing and musicking at different stages throughout the grieving process, and explore the strengths and limitations of both approaches (Archie, Bruera, & Cohen, 2013). The use of legacy creation to facilitate healthy emotional expression is also explored, and the presentation discusses the practical implications of incomplete legacy creations for both the client and therapist. In conclusion, the presentation discusses the complex multiple roles of the music therapist within a palliative setting, and reflects on how these various roles fit into the highly personal and intimate palliative care environment. Biography: Will is a final year masters of Music Therapy student currently studying at the University of Melbourne. He completed his bachelors of Behavioural Science at the University of Queensland in 2014, and is particularly interested in how music can assist adolescent's emotional expression.


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Utilising technology to enhance our understanding of music therapy’s effect on motor movement and sequencing. Miss Rachael Regina Mackay1 1Nordoff-Robbins

Stream 2 - Music as an element of change and connection in health and well-being contexts, Catalina Room, September 16, 2017, 10:30 AM - 11:30 AM

This paper will explore the efficacy of computer aided music therapy practice, for evaluating the music therapy goals of increasing gross and fine motor movements and sequencing. Music therapy’s impact on these goals is extremely complex, considering the elaborate and delicate structure of our hands which is reflected in the motor cortex of the brain. Up to a quarter of this brain structure is needed in order to work the 34 muscles of the hands which control 27 bones, 48 nerves, and 19 joints respectively. This paper arose from ongoing concerns about the general lack of quantifiable evaluation that currently exists and was originally asserted by Streeter (2010), who stated that ‘aesthetic beauty, inspiration and spirituality often bedazzle’ the effect of music therapy in a type of ‘Alice-in-Wonderland’ world (Streeter, 2010, p. 35). Despite the impact we may see as music therapists it is no longer sufficient to merely neither observe nor believe that music therapy makes a difference. As professionals, we need to justify our practice quantifiably through the use of technology, with an aim to inform the procedures/methods music therapists use. The author, a music therapist with a sound design background, will describe examples of existing and original technologies currently on trial in her own practice. These include; an assistive device in the form of an interactive pool noodle that is being trialled in an exercise program at a nursing home. The device has been built in collaboration with an occupational therapist with an aim to motivate and increase gross motor movement amongst residents while simultaneously providing data to track the increase/decrease of movement. This paper will also address and describe an array of technologies for evaluation of fine motor movement and sequencing. The paper will conclude with current results from software that captures quantitative data of piano playing and sequencing in the rehabilitation of fine motor skills, thereby contributing to enhancing a better understanding of music therapy’s procedures and methods. Biography: Rachael Mackay is a technophile music therapist. She has recently graduated from her Master of Creative Music Therapy and has specialised training in electronics and audio. Rachael is highly passionate about the efficacy of technology and the benefits it has to offer music therapy practice.


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'We all did it together': exploring a collaborative community-based songwriting program from the perspectives of people living with dementia Ms Phoebe Stretton-smith1


Stream 2 - Music as an element of change and connection in health and well-being contexts, Catalina Room, September 16, 2017, 10:30 AM - 11:30 AM

The World Health Organisation has declared dementia a public health priority. Evidence suggests increasing trends towards early intervention with aims of reducing social-emotional isolation, slowing deterioration in cognitive functions and improving quality of life. However, the majority of music therapy research is focussed on behavioural symptoms of late-stage dementia, including measures based largely on methodological rigour rather than relevance to people with dementia (PWD) (McDermott et al., 2013). This is despite evidence that PWD are capable of offering their perspectives through interviews and that these should be sought ‘before moving to proxy and observational measures’ (Woods, 2001, p. 13). Further, the dominance of such approaches risks placing PWD as passive recipients of care rather than active consumers who have a right to voice their perspectives. Therapeutic songwriting (TSW) offers a unique medium to support the health and wellbeing of PWD (Baker et al., 2008). However, only two studies (Hong & Choi, 2011; Silber & Hes, 1995) have documented its impact. This presentation describes a pilot study answering the question, ‘how do four people with mild-moderate dementia describe their experience of a group TSW program?’. This research was conducted at a dementia care day centre and includes the observations of three support staff. Interviews were analysed using interpretative phenomenological analysis, with specific focus on what participants described as meaningful and how they experienced writing songs with others. This study found TSW enhanced positive self-experiences, fostered connection and collaboration, and stimulated engagement in creative, cognitive, language and learning processes. Participants described songwriting as an enjoyable and rewarding experience, motivating participation, enhancing confidence to actively engage, and leading to feelings of accomplishment and ability. Participant collaboration required group skills and enhanced feelings of connection, belonging and group cohesion. Staff members additionally noted that their assumptions about what PWD could do were challenged and changed during the songwriting process. Many people in early-stage dementia experience attention shift from strengths and capacity to disability and decline (Leung et al., 2015). Although challenges in the songwriting process were acknowledged, this study highlights TSW as an opportunity to focus on ability rather than disability. Connections to music and others, and changes in confidence, knowledge, and openness to future musical processes were core to PWD's described experiences. These preliminary findings promote the voices of PWD and provide a basis for future research, which has the potential to shape how music therapists and researchers work in dementia care. Biography: Phoebe is a newly graduated music therapist. She is currently working in the community with people with dementia and their family caregivers, people who have had surgery to correct epilepsy and people who have experienced sexual assault. She also works as a research assistant for the University of Melbourne.


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The impact of blended learning on professional identity formation for post-graduate music therapy students Mr Thomas McGrath1


Stream 3 - Changing landscapes of roles and partnerships for music therapists, Dehavilland Room, September 16, 2017, 10:30 AM - 11:30 AM

The expansion of technology use in higher education, creates new opportunities and advantages for music therapy students living in the vast country of Australia. The emergence of the blended learning modality (an integration of online digital media and intensive face-to-face teaching) at the University of Melbourne, offers the Master of Music Therapy course to students from a variety of locations in the country, thus promoting geographical diversity of the pedagogy. Traditionally, music therapy training approaches emphasise experiential and active learning tasks and supportive teacher and peer connections (Murphy, 2007). Blended learning aims to foster similar relationships delivered in intensive experiential and active learning tasks as well as theoretical learning which is administered wholly online (Clark & Thompson, 2016). However, the impact blended learning has on professional identity for students remains ambivalent. Throughout the music therapist’s career, professional identity remains a dynamic concept which is influenced by the ever-changing landscape of the music therapy profession (Warren & Rickson, 2016). Professional identity formation plays a prominent role in the music therapy student’s training as they recognise their personal attributes, beliefs, values, motives and experiences which they use to identify themselves within their professional framework (Ibarra, 1999). This comparative study aims to identify the similarities and differences in the formation of professional identity between Blended Learning Graduates and On-Campus Graduates of the Master of Music Therapy course at the University of Melbourne. A survey was distributed throughout Australia to Master of Music Therapy alumni from the University of Melbourne who are now Registered Music Therapists. Participants were recruited from both Blended Learning and On Campus cohorts with questions focused on the multiple dimensions of professional identity. Results will be presented at the conference. This study links to the conference theme by acknowledging the integration of Blended Learning in Music Therapy education and its capacity to change lives by giving greater access to study music therapy. This study also explores if the Blended Learning modality adequately supports students to make connections in and through music. Biography: Thomas McGrath is a Master of Music Therapy Blended Learning student at the University of Melbourne. His masters research concentrates on the impact of Blended Learning on professional identity formation for music therapy students.


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Community conga: collaborative partnerships with community organisations Miss Lauren Bortolazzo1

1MusicConnect

Stream 3 - Changing landscapes of roles and partnerships for music therapists, Dehavilland Room, September 16, 2017, 10:30 AM - 11:30 AM

Collaborative partnerships allow for a multitude of benefits, particularly in regards to improved capacity to demonstrate best practice. Collaborative work allows for a more holistic approach to meeting client needs, with often better and more efficient access to services required, as well as improved quality and a greater response to needs. MusicConnect is a NSW based music therapy start-up that collaborates with community organisations supporting families with young children who are in challenging and complex situations. SaCCs (Schools as Community Centres), an initiative of the NSW government, seeks to support families and to enhance early learning and wellbeing. The shared goals between MusicConnect and SaCCs have created an ideal opportunity to build a strong collaborative framework to best meet the needs of the families involved in the programs. In 2017 collaboration between MusicConnect and SaCCs has involved two group music therapy programs. This presentation will examine the overall benefits of collaboration, as well as how MusicConnect has been able to establish a collaborative relationship with the SaCCs program. An exploration into identifying the positive outcomes for families and children and linking these to the results-based accountability that government programs require will also be highlighted. This presentation will highlight that, over time, the combined benefits of the collaborative work between MusicConnect and SaCCs have created continued opportunities to build strong, safe, and healthy communities together. Biography: Lauren completed a Masters in Creative Music Therapy (Distinction) at WSU in 2016, having graduated with Honours from Sydney Conservatorium of Music, majoring in Flute Performance, in 2012. Lauren currently works throughout Sydney as an RMT at the Salvation Army and MusicConnect.


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Playlists: a tool for music therapists or for everyone? Prof Katrina Mcferran1

1The University of Melbourne

Stream 1 - Music as an element of change and connection: Theory & Practice, Avro Bristol Room, September 16, 2017, 11:30 AM - 1:00 PM

Playlists are the natural evolution of mixed cassette tapes, and an even more accessible tool due to new technologies. Whilst it is not known how many people utilise playlists as part of their daily listening habits, they have become standard features in all forms of music programs. Anecdotal report from a range of clients suggests that they are mostly used to gather together favourite songs, but less often used to intentionally address personal health and wellbeing outcomes. Some apps and online technologies have been developed that more expressly address this purpose. Online project Tuneyourmood.com was developed by music therapist Dr Carmen Cheong-Clinch in collaboration with 'Tune In Not Out' to promote positive youth health and help-seeking through online playlist construction and sharing. Music eScape is a phone app developed by Dr Genevieve Dingle and colleagues at QUT which allows users to create a mood map of their music library and develop dynamic playlists to match music to their mood. In NSW, music therapist Simone Armstrong has created a site for the NSW Department of Education called Me, Mood and Music, which also explores the connections between emotions and music and includes a number of dynamic, interactive tools. Although music psychologists have taken a leading role internationally, music therapists have been involved in all of these important projects and have influenced the focus away from simplistic tools that prescribe personal outcomes to particular pieces of music and towards more nuanced understandings. Despite the relevance of playlists to music therapy practice, little has been written about incorporating playlist creation into therapeutic work. Our interdisciplinary research has attempted to develop understandings about the ways in which music therapists, psychologists, youth workers, teachers and others might be able to most effectively utilise the potential of playlist construction. After focusing on research into helpful and unhelpful uses of music by young people, we began to design brief music therapy interventions for youth mental health that involved playlist creation and increasing conscious uses of music. Piloting of this strategy has generated fascinating results and reflections on when this technique is more relevant and how young people in hospitals, outpatient, community based programs respond to this opportunity. These outcomes will be presented along with implications for practice. Biography: Professor Katrina McFerran is Head of Music Therapy and Co-Director of the National Music Therapy Research Unit at the University of Melbourne. She is currently supervising 9PhDs and 3 Post-Doctoral Researchers who are all investigating helpful and unhelpful uses of music across a range of contexts.


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'Sound thinking': developing a neurologic music therapy cognitive skills training program in adult mental health Mr Cameron Haigh1

1Metro South Health


INTRODUCTION: Severe and persistent mental illness can cause ongoing cognitive challenges which outlive the acute positive symptoms of major mental illness (Kahn & Keefe, 2013). Cognitive Remediation Therapy involves the use of computer programs to train cognitive skills and has developed a substantial evidence base (Cella et al, 2017). Neurologic Music Therapy is a neuro-science based approach to therapeutic treatment and includes a range of techniques for cognitive rehabilitation (Thaut, 2015). AIMS: With a growing shift towards recognising and addressing psychiatric illnesses as cognitive disorders (Kahn & Keefe, 2013) and the effectiveness of music therapy to engage psychiatric populations (Silverman, 2013; Gold et al, 2013) this program aims to assist mental health patients to retrain cognitive skills through a group program incorporating Neurologic Music Therapy and Cognitive Remediation Therapy. METHODS: A 5-week pilot group program was devised using techniques of Musical Attention Control Training and Musical Executive Function Training. Data was collected on the patient experience of the sessions and perceived helpfulness. Based on feedback from patients, additional Neurologic Music Therapy techniques of Auditory Perception Training and Musical Echoic Memory Training were incorporated into the sessions. Planned research will be presented investigating the outcomes of the program on participant's cognition. Standardised neuro-psychological measures will be implemented at baseline and longitudinally at intervals. RESULTS: Results of the pilot program and plans to further the research on this method will be presented. Biography: Cameron has been a Registered Music Therapist for 17 years and enjoyed working in hospital, residential and community settings over that time. His work is currently focussed on mental health rehabilitation, brain injury rehabilitation, and clinical education. He has recently enjoyed creating a music therapy room for the first time.


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Tapping into the music, tapping into the body: exploring regulating mechanisms in rhythm Ms Minky van der Walt1, Mrs Claire Stephensen2 1Australian Childhood Foundation, 2Press Play Music Therapy


“…the rhythm of life is a powerful beat Puts a tingle in your fingers and a tingle in your feet rhythm on the inside, rhythm on the street yes, the rhythm of life is a powerful beat…” (Sammy Davis Jnr) Music therapists are well versed in the use of music and relationship to meet a person in the moment, to acknowledge experience, to foster connection and to bring about positive, integrated change. Indeed, we are experts in co-regulation, the essential precursor to self-regulation. Self-regulation is a complex process that involves “understanding, tolerating, and managing feelings and physiological states” (Blaustein & Kinniburgh, 2015). The ability to self-regulate enables us to effectively manage and control cognitive, emotional, physiological and behavioural impulses, so that we can integrate our internal and external experiences in order to lead connected, healthy, holistic lives. Multi-disciplinary research advances in the areas of neuroscience, attachment, trauma theory and sensorimotor development provide insights into neurobiological, somatic and sensory understandings of the complex road to self-regulation. Whilst there is increasing research into the mechanisms of regulation through music and music therapy (LaGasse & Hardy, 2013; Sena Moore, 2013; Williams, 2014), there is scant literature synthesising a multi-disciplinary understanding of these processes. Music therapy research, trauma theorists, neuroscientists and early childhood experts have ratified music, song and rhythm as valid and useful interventions for regulation and connection (Hughes, 2007; Malloch & Trevarthen, 2009; Perry, 2008; Porges, 2008). Whilst rhythm is known to be a valuable organising and communicative tool, there seems to be little integrated understanding of its regulatory mechanisms. This paper proposes to undertake an interdisciplinary approach to synthesising current understandings of regulation from a breadth of areas: social engagement theory (Porges, 2011), attachment (Hughes & Baylin, 2016), sensorimotor development (Donnellan et al, 2013), music neuroscience, and therapeutic applications in the fields of mental health, relational trauma, Autism Spectrum Disorder and early childhood development. Focusing on rhythm and the body, this paper will form an inquiry into the literature and how it translates to music therapy practice. Case examples will explore the connecting and integrative roles of the body, bottom up vs top down brain processes, neurobiology, sensory processes, and collaborative efforts in the therapeutic relationship, to describe positive change for children and adults with mental health issues who have experienced relational trauma. Biography: Minky, a clinician at the Australian Childhood Foundation, uses relational, somatic and expressive approaches to support children and families experiencing mental illness and relational trauma. Claire is a Music Therapist and Neuropsychotherapist in Brisbane. Her work in mental health and medical settings is influenced by music, interpersonal and trauma neurobiology.


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“The music made me look”: fostering spontaneous visual attention in children on the autism spectrum. Dr Grace Thompson1, A/Prof Larry Abel1


Stream 2 - Collaboration in research on music and music therapy, Catalina Room, September 16, 2017, 11:30 AM - 1:00 PM

Children on the autism spectrum are reported to have lower rates of social eye gaze as early as toddlerhood (Clifford & Dissanayake, 2008), and this pattern persists across the lifespan (Nakano et al., 2010). Finding ways to promote more natural and spontaneous engagement in social interactions may help to boost the developmental opportunities in the child’s home and community settings. Music may prove to be an effective strategy to promote natural social communication development. Emerging research suggests that familiar music arouses stronger emotional responses in people on the autism spectrum than non-preferred music and conversational contexts (Hillier et al., 2015). Evidence for music therapy’s effectiveness is emerging, with families of preschool aged children on the autism spectrum reporting improvements in the quality of social interactions in the home and community following music therapy (Thompson, McFerran, & Gold, 2013), and improved language outcomes when singing and rhythm activities are used to introduce target words and phrases compared to speech and language training without music (Lim, 2010). However, there is a lack of understanding about whether children’s active engagement in music activities translates into better emotional engagement and visual attention crucial for social learning and development (Hillier et al., 2015). This paper reports on a proof-of-concept study exploring whether a video of a singer would elicit more attention to the performer, particularly to her face, than a video of her reading a story and that the child’s familiarity with the material would enhance attention. Eye movements were recorded as the children watched four videos consisting of a favourite song or story of the child, along with an unfamiliar song and story that were the same for all children. This research is the first eye-tracking study to explore singing versus speech. Results found that children were significantly more likely to 1) look at the performer’s face during familiar songs and stories, 2) look at the performer’s face and body for both the familiar and unfamiliar songs, and 3) have larger pupils during familiar material indicating greater arousal. These findings link to the conference theme by examining the power of music to support social development of children on the autism spectrum and promote better engagement with others. Biography: Grace Thompson is a researcher and lecturer in the Master of Music Therapy degree at the University of Melbourne. Her research focuses on exploring child and parent outcomes following family-centred music therapy sessions with pre-school aged children with autism. She is currently the President of the Australian Music Therapy Association.


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Using group singing for regaining healthy relationships with music during mental health recovery Dr Jennifer Bibb1, 2

1University of Melbourne, 2St. Vincent's Hospital Melbourne

Stream 2 - Collaboration in research on music and music therapy, Catalina Room, September 16, 2017, 11:30 AM - 1:00 PM

This paper will present the results of a grounded theory research study which investigated the role of group singing during mental health recovery. Findings suggest that the supportive conditions within a therapeutic group singing context is important for regaining healthy relationships with music during periods of acute illness. The role of music therapy in influencing positive mental health recovery is well documented. However, there is little research into the ways that people’s relationships with music can become complicated during periods of acute illness. Existing research suggests that the way people engage with music is influenced by their fluctuating mental health and if unhealthy music choices are made music use can result in unhelpful outcomes (McFerran, 2016; Saarikallio & Erkkilä, 2007). This research project investigated the role of group singing in inpatient and community contexts during mental health recovery. A constructivist grounded theory approach (Charmaz, 2014) was used and 29 participants were interviewed about their experience of engaging with songs in isolation and in a group singing context. Findings suggest that the supportive conditions within a therapeutic group singing context is important for regaining healthy relationships with music during periods of acute illness. Participants reported ‘triggering encounters’ with songs played in the group experiencing intense emotional reactions due to pre-existing associations with songs or their similarity to their current situation. Participants described using the encouraging conditions of the group such as being with co-consumers who understood, singing ‘painful’ songs together and getting support from a music therapist to ‘de-sensitise’ songs which they previously had avoided or used in unhealthy ways in isolation. Participation in group music therapy acted as a resource for regaining healthy relationships with songs. This paper will discuss the importance of guiding and supporting consumers in their music use during acute periods of illness to ensure music is a healthy resource for their long-term mental health recovery. Clinical implications for music therapists will be discussed, as well as the importance of the facilitator’s role in supporting and containing intense emotions that may be experienced by mental health consumers in community choirs and singing groups. Biography: Jennifer is an industry post-doctoral research fellow in music therapy at the University of Melbourne and St. Vincent’s Hospital Melbourne. She has been working as a music therapist in inpatient and community mental health for seven years.


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Examining social inclusion of people with severe and profound intellectual disabilities- reflections on community music therapy Ms Helen Cameron1,2

1JAM music therapy, 2Bayside Special Developmental School

Stream 3 - Music as an element of change and connection in community care contexts, Dehavilland Room, September 16, 2017, 11:30 AM - 1:00 PM

Social inclusion is broadly accepted as a source of individual health and wellbeing. This paper looks at the current research on the social inclusion of people with disabilities and how this intersects with the practice of music therapy in the community. The importance of the social inclusion of people with disabilities has its roots in the Principal of Normalisation and Social Role Valorisation theories of Wolfensberger and Nirje in the 1970’s (Mann & van Kraayenoord, 2011). Social inclusion has recently been examined by Simplican, Leader, Koscuilek and Leahy (2015) and comprehensively redefined.

What community is and how it can enable meaningful inclusion for people with severe and profound intellectual disabilities is examined in the light of both radical democratic theories and prevailing theories and practice of community music therapy. This paper critically examines the concepts of community and inclusion and the ramifications for people without a voice. The discourse within the literature to date has not critically examined these questions and continues to privilege inclusion into a mainstream society, inhabited principally by non-disabled persons. For people with a disability, community and inclusion may have different meanings and alternative conceptions.

In contesting these conceptions this paper looks at how people with severe and profound intellectual disabilities are able to inhabit a community of their making and preference through music therapy and achieve a sense of belonging and wellbeing.

Through involvement in an exclusive disability focussed music therapy group, people without verbal language skills are able to experience the benefits of inclusion in a community of choice. Semi segregated settings are explored with reference to a successful and long-standing group music therapy program situated in the community. Belonging to an exclusive community of people is proposed as a valid and authentic. This paper highlights how community can be re-imagined for this vulnerable group and how this conceptualisation of community music therapy can be relevant and meaningful for people with severe and profound intellectual disabilities.

Biography: Helen Cameron is a Registered Music Therapist with extensive experience working in the field of intellectual disability. Previously a manager in community and health sectors, she now enjoys a burgeoning private practice in the southern suburbs of Melbourne, offering individual and group music therapy services for children and adults.


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Linking industry and academia to promote music and music therapy initiatives: Strategic reflections from three different partnership engagements. Dr Alison Short1, Ms Allison Fuller1, Mr Ben Rockett2, Salle-Ann Ehms, Ivan Wong

1Western Sydney University, 2KidsXpress


In the past, universities operated solely from their own research or academic agenda, but current thinking about industry engagement goes far beyond teaching and research practices “through engaging scholars with the public in creating knowledge that is of value to both scholars and society.” (1). Demonstrating mutual benefit, this presentation introduces and reviews three stakeholder projects, with the industry representatives involved in the development and delivery of this presentation. The first project focuses on a collaborative teaching activity with a specific cultural community, where community leaders learned about music therapy and music therapy students learned about aspects of that culture, with opportunities to apply their music therapy knowledge. The second project focuses on responding to an expressed knowledge need about using music with an aged care population in a major hospital, through a volunteer training project and later with music therapy students. The third project looks at underpinning and supporting an interprofessional service to children who are recovering from experiences of trauma by using the creative arts to bring out and deal with therapeutic issues for the children. As a review framework for each of the three projects, this presentation applies Glass and Fitzgerald’s seven guiding principles of academic industry engagements to review the partnerships. These are: 1) responsiveness, 2) respect for partners, 3) academic neutrality, 4) access, 5) integration, 6) coordination, and 7) resource partnerships (1). It is found that each of the three collaborative projects developed differently according to their specific industry needs. Interestingly, in all cases, initial contact and partnership access was based on brokering by a third party. Listening, responsiveness and mutual respect were fundamental to the developing collaboration in each instance. Once a secure working relationship was established, unexpected benefits and connections continued to flow from each of these partnership engagements, even after the end of the project itself. This presentation summarises and contrasts the innovative industry, educational, and research outcomes resulting from each of these projects. It concludes with reviewing the flow-on benefits and further implications for music therapy development and practice in relation to such partnership projects between university and industry. Biography: Dr Alison Short, PhD, MA, BMus, GCULT, AMusA, CertIV, RMT, MT-BC, RGIMT, FAMI, is Senior Lecturer in Music Therapy at Western Sydney University, holding international accreditations in music therapy. She is also an experienced health and medical researcher, and has taught and written extensively.


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Are we ready for a new practice framework? Considering a neurobiopsychosocial approach to music therapy. Mrs Claire Stephensen1

1Press Play Music Therapy

Stream 2 - Interdisciplinary partnerships within/across music & music therapy, Avro Bristol Room, September 16, 2017, 2:00 PM - 3:30 PM

Internationally, music therapists identify with various models, frameworks and approaches to practice. Including music therapy specific frameworks such as Neurologic Music Therapy, Resource Oriented Music Therapy and Creative Music Therapy; and psychological approaches such as psychodynamic and cognitive behavioural; music therapists practice according to training, practice experience and client needs (McFerran, 2010). It is common for music therapists to work in an eclectic manner (Silverman, 2007), integrating frameworks of practice to meet the changing needs of the client. Recent developments in neuroscience and psychology have seen a shift in practice frameworks towards brain-based, trauma-informed approaches (Rossouw, 2014), however, there is limited recognition of this in the music therapy literature (Stephensen, 2016). Furthermore, leading neuroscience experts are recommending music intervention to support therapy (Perry, 2006; Porges et al., 2014), suggesting awareness of the therapeutic benefits of music. With increasing interest in the field of neurobiology, attachment, music and health, it is timely to consider the need for an integrated neurobiopsychosocial framework of music therapy that regards the complex interplay of the brain, body, mind, relationship and environment in health and wellness. This presentation will comprise of two components: A narrative exploration and literature review. The narrative exploration will share the author’s journeying through various psychological frameworks of practice, verbal therapy techniques and frameworks and neuroscience before her return to ‘the music’. The author will share how she integrated each of these frameworks and techniques into her psychosocial practice whilst being in-formed by interpersonal, trauma and music neurobiology. Furthermore, the author will share how this journey helped her to ‘tap’ into the unique capacities of music and music therapy. Following the personal narrative, the presentation will outline results from a literature review from fields of neuroscience, psychology, music psychology and music therapy that may contribute to development of a neurobiopsychosocial framework of music therapy practice. This paper aims to introduce potential concepts of a neurobiopsychosocial approach, arguments for and against developing such a framework and invite the reader to consider their readiness and/or need for an integrated framework of practice. It is hoped that the presentation will stimulate dialogue at the end of the session, which may contribute to ongoing research development in this area. Biography: Claire is a Registered Music Therapist and Certified Clinical Neuropsychotherapist, based in Brisbane. With experience working in mental health, community and medical settings, Claire is interested in drawing from the latest in music, interpersonal and trauma neurobiology to influence her music therapy practice and research.


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"Down memory lane": developing consultative and collaborative partnerships to bring music to people living with dementia"

Dr Libby Flynn1, Ms Bianca Wilson, Mr Kenneth Herington1

1University of Queensland

Stream 2 - Interdisciplinary partnerships within/across music & music therapy, Avro Bristol Room, September 16, 2017, 2:00 PM - 3:30 PM

By 2020, it is estimated in Australia that approximately 400,000 individuals will be living with dementia. With our ageing population, this disease is one of the leading causes of death and growing financial burden, with an expenditure of $4.9 billion in 2010 (AIHW, 2012). Alongside the physiological and cognitive impairment, the behavioural and psychological symptoms of dementia (BPSD) can be even more challenging and often linked to burnout of caregivers and health care professionals (Azermai, 2015). Australian Clinical Practice Guidelines and Principles of Care for People with Dementia (2016), recommends that non-pharmacological approaches to BPSD should be the first-line approach. Within these guidelines, music is listed as one possible strategy for addressing these symptoms. The following paper therefore will report upon a year-long project which saw music therapy consultants review and research the perceptions and practices of Silver Memory Radio station in aged care homes. Specific focus will be given to the Down Memory Lane research study which aimed to identify whether a music therapist-designed radio program played during typical onset times of Sundowning Syndrome assisted in reducing agitation of residents. Furthermore, the study sought to understand whether there was a dosage requirement for effect to take place. Given considerations of the Australian Guidelines as outlined above, alongside the evidence that dementia rates are rising in Australia with our ageing population, it is imperative that as a profession we start to take stock on a number of fronts. This paper will conclude by positing the question of whether as music therapists we have come to a point where we need to start thinking and working outside of the box. The Down Memory Lane project provides a strong example of how music therapists can use their skill sets and knowledge to work collaboratively in interdisciplinary partnerships, enabling the benefits of the music to reach many more people in need. As music therapists, we have already tapped into the music; now it is time to start letting it be heard. Biography: Dr Libby Flynn is a music therapy researcher based at the University of Queensland. She is currently involved in a number of different projects exploring music and music therapy across the life span. Libby is the current Chair of Ethics for the Australian Music Therapy Association.


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Tapping into diversity: curating strategies for musical connection Mr Oliver O'reilly1


Stream 3 - Relationships between the music, music therapy &the music therapist, Catalina Room, September 16, 2017, 2:00 PM - 3:30 PM

People use music in many ways across numerous aspects of their lives. Music can act as a structure to support people learn more about ourselves and build stronger connections with those around us. These connections manifest in diverse ways across ethnic, religious, generational and geographic boundaries. Bourdieu (2010) explored the inaccessibility of the unfamiliar in his concept of habitus. The capacity of musicians to engage with music outside their own music culture depends on how it aligns with their established musical identity. Music therapists have invested decades in musical training before training in music therapy. Many learned to play music in recitative traditions, focusing on recreating scores (Deas, 2007; Wigram, 2004). In some cases, music students are discouraged from exploring music beyond the score (Knight, 2010). Flexibility in a crucial skill for music therapists establishing therapeutic relationships with their clients through music. The score is not always appropriate in engaging clients in music therapy. However, diverging from the score is unfamiliar for this cohort of students and can expose vulnerability and induce significant anxiety (Wigram, 2004). While some musical traditions veer towards this fixed, recitative approach, many are inherently more open in their approach to musical interactions (Knight, 2010; Wigram, 2004; Aigen, 2002; Schaefer, 1987). A series of semi-structured interviews targeted music practitioners who feature elements of flexibility and strive for social connection in their creative practice. Participants’ musical evolution and approaches to musical connection were explored. All participants practice across multiple musical disciplines including performance, composition, improvisation, DJ, therapy, research and education. A sub section of the respondents experienced barriers to musical flexibility in the early stages of their careers and developed strategies to overcome them. Significant musical moments and approaches for musical connection and multimodal practice were compared and contrasted across participants. Strategies were curated to support the development of musical flexibility and responsiveness in early career music therapists and music therapy students. These strategies will feed into a subsequent research project: a professional development to support registered music therapists access a broader range of music approaches to enhance their capacity to establish connections with their clients. Biography: Oliver O’Reilly is a Registered Music Therapist, multi-instrumentalist and Higher Degree Research candidate at Western Sydney University. Oliver’s clinical work focuses on promoting interpersonal communication with people experiencing barriers to communication. His research interests include links between un-scored musical ensembles from different musical traditions and their application in clinical settings.


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Music therapist to mum to music therapist: reflections on returning to work in the acute paediatric setting after having children Ms Monique Bathis1, Ms Tara Shrestha1

1Children's Health Queensland

Stream 4 - Changing landscapes of professional roles for the music therapist, Dehavilland Room, September 16, 2017, 2:00 PM - 3:30 PM

Background: There is limited research on the psycho-social impacts of health professionals returning to work in the acute paediatric setting after having a child. After a long absence, many professionals may experience significant levels of stress and anxiety that can affect their transition back into the workplace. Literature highlights the daunting process of reorientating back into professional life and can subsequently affect sleep quality, threaten identity and self-confidence. Furthermore, research on mothers returning to work generally portrays it as a negative, tense and anxious experience, filled with sleep deprivation, guilt, and many practical and emotional challenges. Additionally, new parents working in the acute paediatric setting can experience further occupational hazards and risks that can potentially increase vulnerability to develop symptoms of compassion fatigue, vicarious trauma and burnout. The Music Therapy Community in Australia is predominantly female, with many leaving the workplace to have children. In order to support music therapists returning to work we need to explore how becoming a Mother has impacted our practice. Identifying this changing landscape experienced by many music therapists, we anticipate an increased awareness of risk factors for the working music therapist mum. Aims: This presentation aims to explore the roles of motherhood and music therapist; and how these roles impact us personally and professionally. We will discuss self-care strategies that have become critical in promoting resilience and decreasing burnout, compassion fatigue and vicarious trauma; and explore whether music has the potential to be a protective factor when working within the acute paediatric setting. Method: Three music therapists working in an acute paediatric hospital in QLD will reflect on their experiences as mothers returning to work within the following themes that are commonly identified throughout the literature. Returning to work: Experiencing challenges, changes in roles, priorities, identities and attitudes towards having a career and motherhood. Vicarious trauma and compassion fatigue: Exploring empathy as a vulnerability or strength when working with sick children who are often of similar age to your child and how memories and associations can affect approaches to parenting and therapy. Self-care and resilience: Exploring activities and strategies used to promote self-care, sustainability and longevity in the workplace and home. Recommendations: This presentation will provide information for consideration on how we can better prepare and support those returning to work after maternity leave, providing a foundation for self-care and maximising health and well-being in the workplace. Biography: Monique works as a Senior Music Therapist Lady Cilento Children’s Hospital with 6 years’ experience in the acute paediatric setting across a range of caseloads. Tara works as a Music Therapist at Lady Cilento Children's Hospital within burns and oncology caseloads, with previous experience in early intervention and disabilities.


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Music therapy online - changing the landscape of professional development by utilising e-learning platforms to share ideas and leverage our knowledge for income. Ms Jacinta Calabro1

1Music Therapy Online

Stream 4 - Changing landscapes of professional roles for the music therapist, Dehavilland Room, September 16, 2017, 2:00 PM - 3:30 PM

Continuing professional development is an important indicator for success in the music therapy profession and is now a compulsory requirement of our ongoing registration. However, there can be many barriers to finding and accessing relevant ongoing learning. Due to the breadth and depth or our work it is not always easy for music therapists to find suitable ongoing learning opportunities. It can be difficult for us to tick all the boxes: learning opportunities that are affordable; easy to access; available when (and where) you are; that address our specific interests; and match our level of experience. Online professional development is a fantastic solution to this problem. Easy to access quality information at an affordable price, wherever you are. E-learning platforms make it easy to share music therapy ideas worldwide.

Music Therapy Online is a new website providing high quality ongoing professional development for music therapists. Tutorials and short online courses are provided online and available to you wherever you are in the world, and wherever you are in your career. Music Therapy Online provides tutorials on a diverse range of topics to enable you to continue to learn and grow in your career, with advanced education across a range of categories such as clinical skills, methods, theories and frameworks, research, supervision, business skills and self care.

The tutorials and short courses are provided by music therapists, for music therapists. Researchers, academics and clinical experts from around the world are using Music Therapy Online to share their knowledge more broadly and support other music therapists to learn, grow and thrive in their careers.

E-learning platforms like Music Therapy Online also provide the opportunity for music therapists to use their unique expertise to generate multiple passive income streams. Creating tutorials, workshops, webinars and courses is well within your reach. Learn how you can leverage your knowledge and increase your income by thinking outside traditional models of service provision.

In this workshop/paper I will discuss how music therapists can use Music Therapy Online to create educational resources that not only benefit other music therapists but also generate an income. Learn how you can create a music therapy tutorial that makes you money while you sleep. Come and join an inspiring new generation of music therapy entrepreneurs and learn how you can utilize e-learning and online platforms to access new ideas, learn new skills, generate passive income streams and create a life you love.

Biography: Jacinta Calabro is the founder of Music Therapy Online and lives in Melbourne, Australia. She is passionate about ongoing learning, sharing ideas and empowering music therapists to leverage their knowledge for income.


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Track #1 - The joy of singing Mr Brian Martin1

1Joy of Singing

Avro Room, September 17, 2017, 9:15 AM - 10:15 AM

Joy of Singing is an exciting A Cappella singing workshop for shower singers and experienced singers alike. Singing together creates a magical experience that opens the heart and connects people. It is an incredible tool for the release of stress and helps us to relate to others. This workshop covers skills on how to hold your own part in a harmony, how to hear the sound and aligning your voice to it by exploring the exciting sounds of A Cappella music. Biography: Brian Martin is highly qualified in all areas of voice and performance and has developed the BMM method © and is training other teachers nationally and internationally in this highly successful technique and has up to date ‘Jo Estill’ training in voice physiology and application. Brian has spent much of his 20 years+ musical career teaching, including lecturing at various Universities and conducting numerous choirs and workshops, touring nationally and internationally, as a musician and a facilitator. His vast knowledge in A Cappella singing has enabled him to develop an intricate understanding of the elements involved with singing world music, African, gospel and contemporary styles, in harmony.


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Track #2 - Embodied joy...NIA dance Ms Sophie Marsh1

1 Nia Technique International

Bristol Room, September 17, 2017, 9:15 AM - 10:15 AM

When was the last time you moved your body for the sheer joy of it? Join Nia Black Belt teacher and Trainer, Sophie Marsh for a morning of movement medicine for your body, mind and spirit. We’ll explore pleasure-based healing practices that take you through the 5 pre-verbal stages of Embryonic, Creeping, Crawling, Standing and Walking as well as powerful and expressive movement that will leave you feeling calm and grounded, invigorated and alive! Inspired by a sonic landscape of world music you’ll be guided to drop out of your busy mind and discover endless opportunities to celebrate your uniqueness and connectedness through the body. Biography: Sophie Marsh is a dynamic mover, teacher, leader, healer, mother, and lover of life. She is the Australian Trainer for Nia Technique International, a holistic movement and lifestyle practice taught in over 50 countries. She stands for embodied Joy and her playfulness and passion are contagious! Sophie guides people 'home' to their body, inspiring them to move out of habits and stuck ways of being and into the dance that accesses their true magnificence. She connects people of all ages and backgrounds in her classes, playshops, retreats and trainings. As a Nia Trainer she has been awarded for her contribution to transforming lives while pioneering and collaboratively building an Australia-wide community of conscious movers.


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Track 3: Clinical practice knowledge, patient preferences, clinical context: finding relevant clinical gems in published music therapy research Associate Professor Sheri Robb1 & Associate Professor Jane Edwards2 1Indiana University School of Nursing, 2Deakin University

Avro Room, September 17, 2017, 10:45 AM - 11:45 AM

Evidence that informs music therapy clinical practice comes from a variety of sources, and is not limited to published research. Rather, four-core elements inform good music therapy practice: 1) clinical practice knowledge and experience, 2) patient/client preferences, values, and beliefs, 3) clinical context, and 4) research. Published research can serve as a resource for clinical decision-making, but it represents a source of information that becomes most relevant when used by the skilled clinician who interprets and applies findings based on their own clinical practice knowledge and that of their colleagues, takes into account the specific needs of patients/clients and their families, and considers the realities of their unique practice setting. “Gleaning the gems” from published research is more meaningful and relevant when it comes from a position of action, requiring critical evaluation of research by clinicians within the context of specific practice scenarios. In advance of this session, participants will receive case scenarios and a variety of published articles to read and reflect on (e.g., program description, randomized controlled trial, phenomenological study, systematic review). During the session, the group will share their perspectives about the clinical relevance of content from each source – highlighting relative strengths and limitations of its application based on participating clinicians’ practice knowledge, the realities of the clinical context where they work, and the described needs, values, and beliefs of the patient/client and their families.

Biography:

Sheri serves as Editor-in-Chief for the Journal of Music Therapy and is an Associate Professor at the Indiana University School of Nursing, Indianapolis, IN. Sheri’s program of research focuses on development and testing of music therapy interventions to manage distress, improve positive health outcomes, and prevent secondary psychosocial morbidity in children and adolescents with cancer and their parents. Her work has received intramural and extramural support from the National Institutes of Health and Children’s Oncology Group. She enjoys mentoring young authors and research scientists through her roles as journal editor, and Director of the Undergraduate Nursing Honors Program and the Indiana Clinical and Translational Sciences Institute KL2 Young Investigators Program.

Jane is Associate Professor in Mental Health at Deakin University in Victoria. Since 2015 she has served as Editor-in-Chief for The Arts in Psychotherapy; the first Australian, and first music therapist in this role. She has published multiple papers and has edited 3 books including The Oxford Handbook of Music Therapy (2016), and Music Therapy and Parent-Infant Bonding (2011). She is a Founding Member, and was inaugural President, of the International Association for Music & Medicine.

Jane recently returned to Melbourne from Ireland. She held various academic roles at the University of Limerick (2000-2014) including Director of the Music & Health Research Group, course director Master of Music Therapy, Director of Psychology, Director of Clinical Therapies, and Associate Dean for Research, and obtained the equivalent of 20 million Australian dollars in research and development funding.

Previously Jane was inaugural lecturer in music therapy at The University of Queensland (1993-2000). She founded the music therapy programme at the (then) Royal Children’s Hospital in 1993 successfully gaining competitive funding to develop clinical services and research. Her PhD is from the Department of Paediatrics, Faculty of Medicine at UQ. Her BMus and MMus were awarded from The University of Melbourne.


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Track #4 - “I can see clearly now...” Roundtable discussion on the development of supervision guidelines for RMTs Dr Jeanette Kennelly1, Beth Dunn2 and Natalie Jack3 1Inspiravision, 2Royal Children's Hospital, 3Australian Music Therapy Association

Avro Room, September 17, 2017, 11:45 AM - 12:45 PM

Music therapists practising in Australia seek supervision to support their professional practice and the maintenance of competencies. While formal guidelines published by international music therapy organisations can assist the Australian profession, it is important that guidelines which are appropriately designed for Australian-based RMTs be developed. For the past two years work has been fervently conducted in this area by a group of RMTs, firstly by raising awareness to the AMTA Board through a formal submission regarding improving competency and accountability in supervision practice followed by the establishment of a Supervision Working party. Recent initiatives conducted by this group include the establishment of a Supervision Facebook group, the facilitation of a supervision workshop at PDS in 2016 and the inclusion of specific questions about supervision practice in the recent AMTA 2016 Workforce Census. The next step in the plan towards improved supervision practice is the development of supervision guidelines and standards.

We want to hear your thoughts, ideas, questions about what these guidelines and standards should look like. We want to hear and listen to your input, feedback about what currently works well in relation to supervision practice in our profession and where the gaps are. Our aim is to create guidelines and standards which will be useful, informative and supportive to your professional practice as an RMT. This roundtable discussion will provide opportunities for us to brainstorm together and collect important information which will be used to inform the next step of this exciting initiative.

Biography:

Jeanette is a highly-experienced music therapist whose work in paediatrics and supervision is published in a variety of music therapy and non-music therapy specific refereed journals and books. Jeanette was the inaugural senior music therapist at the Royal Children’s Hospital, Brisbane between 1995-2009 and an academic lecturer/tutor in music therapy at the University of Queensland between 2003-2014. She completed her PhD on the topic of professional supervision for Australian-based music therapists and is a recipient of the 2013 Dean’s award for Research Higher Degree Excellence (UQ). Jeanette is an Honorary Research Fellow with the School of Music, (UQ) and the Australian and New Zealand representative for the World Federation of Music Therapy (WFMT) Commission on Education, Training, and Accreditation. Jeanette currently works in adult oncology, with children in a family medical clinic, and runs a supervision private practice.

Beth Dunn is Manager of Music Therapy and Educational Play Therapy at the Royal Children’s Hospital in Melbourne and has been involved in the supervision of students and staff at the facility for over 25 years.

Natalie became an RMT in 1999, and has since then worked with various clinical populations including neurorehabilitation, special education and adults with disabilities. Natalie followed her passion for working in mental health while living in Canada, and spent ten years working with offenders with mental illnesses in high secure hospital settings, and completed a Masters in Mental Health Science (Forensic Behavioural Science specialty) in 2015 at Monash University. Natalie has worked, lectured and given conference presentations in Canada and Australia at local, national and international events, and has served in various capacities on committees for the Australian Music Therapy Association (AMTA) and the Canadian Association for Music Therapists (CAMT). Natalie currently works for the AMTA as their Policy & Projects Officer and runs a private practice in supervision.


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Track #5 - Research in music therapy Prof Felicity Baker1, Prof Katrina McFerran1


Bristol Room, September 17, 2017, 11:45 AM - 12:45 PM

Music Therapy research is needed to drive our profession forward, to ensure our practice meets contemporary needs, and that we are able to generate the kinds of research outcomes that will secure our profession in the 21st century. The XX Unit has been in existence since 1999, and has graduated many masters and doctoral research students spanning neonates to palliative care, in hospital and community contexts. New models of doctoral studies such as thesis with publication have emerged in recent years and opened up possibilities for different styles of doctoral work. Presenters will provide an overview of the research unit, the skills of the researchers within the unit, and the types of research methods that are currently being undertaken. We then encourage you to come forward with research ideas and we will workshop these ideas within the group. We will talk through issues such as feasibility, ethics, design, and research models.

Workshop participants are invited to bring along a short summary of an area of research interest for them, based on practice or interest. This should include a one-line description of the topic area, a short explanation of why that topic is of interest, a statement about their preference for qualitative or quantitative research and their reason for that preference, as well as a description of where they might consider collecting data for the study.

Professor Felicity Baker will co-present via skype/zoom while Professor Katrina McFerran will lead the workshop face to face with participants. Biography: Katrina and Felicity are co-directors of the National Music Therapy Research Unit at the University of Melbourne. Both are highly published in music therapy and interdisciplinary journals, and both have attracted extensive external grant funding. Katrina and Felicity are passionate about stimulating research activity throughout the membership.


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Track #6 - Body percussion with Greg Sheehan: creative games & rhythmical improvisation Mr Greg Sheehan

Avro Room, September 17, 2017, 1:45 PM - 2:45 PM

Greg’s Body Percussion workshops are introduction to all the basics you need to pursue body percussion! Greg will be walking us through:

- Polyrhythms - Creative Games - Improvisation - Rhythmic numbers and patterns (Diamonds Theory) Biography: Legendary musician Greg Sheehan has long been regarded as one of the finest percussionists in Australia, yet ‘percussionist’ doesn’t’ really do justice to the kind of musician he really is. Greg is a pioneer of contemporary rhythm in Australia and with his propensity for experimentation & exploration on all sorts of instruments – tuned and un-tuned, man-made and earth-made, he is firmly in the realm of Australia’s great musical innovators. Join the brilliant rhythmatist and teacher Greg Sheehan for a very special PDS workshop! Learn to create your own rhythms and music through clapping walking and number games! This will undoubtedly be an educational and fun experience!


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Track #7 - National Disability Insurance Scheme Ms Melissa Murphy1,2

1University of Melbourne, 2Scope Australia

Bristol Room, September 17, 2017, 1:45 PM - 2:45 PM

The National Disability Insurance Scheme (NDIS) is the new funding model for people aged 65 and under living with life-long disability in Australia. After a trial period in beginning in 2013 in several states, it is now being rolled out across the country. The model is based on the United Nations Convention on the Right of Persons with Disability (United Nations, 2006). It is designed to give greater independence and quality of life to people by providing funding directly to individuals rather than to organisations. The NDIS, as an insurance model is in contrast to what was previously described as a welfare model. This change to disability support in Australia has been described as the biggest reform since the introduction of Medicare in the 1980’s and it is expected to have 460,000 participants by the end of the roll out in 2019. Music therapy has been included in the approved list of funded supports under allied health professions and as such, registered music therapists are eligible to become providers within the scheme. This is a significant development for our profession given that we are currently unable to be listed under Medicare. The NDIS has specific expectations for the function of allied health and this has meant that each profession has needed to consider the way in which it operates within the scheme. The way that music and music therapy may be utilised as part of people's supports has necessitated particular considerations for our profession and marks the beginning of a change in working in this new consumer led environment. The NDIS reference group of Allied Health Professions Australia (AHPA) includes representation from AMTA and has been working to ensure that the needs of allied health professionals, as well as participants accessing allied health supports are being addressed. The aged care sector is currently preparing for a similar funding model change. This workshop will begin with a brief overview of the scheme and its expectations for allied health professions and will then move into a practical component. It will cover the process of registration, navigation of the NDIS online portal Myplace, including how to set up a service agreement, organise payments and meet the documentation requirements of the scheme. There will be time set aside for questions and discussion at the end. Biography: Melissa is an experienced music therapist and doctoral researcher at the University of Melbourne. Her research investigates equitable access to music for young people living with disability. She is the National Disability Insurance Scheme (NDIS) representative for AMTA and sits on the Allied Health Professions NDIS reference group.

Notes

www.ausmta2016.com.au

AMTA 201743rd Australian Music Therapy Association National Conference

14 - 17 September 2017 | The Royal on the Park Brisbane

Documents

AMTA 2017 the Department of Paediatrics, Faculty of Medicine at UQ. Her BMus and MMus were awarded from The University of Melbourne