The Creative Arts in Counseling - Samuel T. Gladding

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approaches to music making” (J. J. Moreno, 1988a, p. 17). Even for clients who are unfamiliar with classical music, this genre can have a powerful effect. When chosen carefully and played softly, classical music “can be a tremendous aid in producing an atmosphere conducive to creative activity” (Nadeau, 1984, p. 68). Compositions by Schubert, Copeland, Strauss, Tchaikovsky, and Pachelbel, for example, can create an ambiance that encourages imagination and productivity.

      Individual need is yet another crucial variable to consider in music-oriented counseling. For example, trauma victims need calmer types of music than those who are not so physically or psychologically distressed. Likewise, aerobic and exercise groups need and prefer rock, pop, and new age music. With regard to needs and music, it is helpful to realize that some clients need to be actively involved in making music (e.g., individuals who are depressed), but for others, simply listening to music may be most beneficial (e.g., individuals who are anxious or manic).

      Furthermore, the decision as to which music activities to use in counseling is rooted in genuine sharing and self-disclosure about whether both parties in the counseling process are open to exploring this means of help. If the participants reach consensus, the musical pieces used are likely to produce positive results because an atmosphere of trust and expectation has been created. These qualities, along with the skills of counselors and the courage of clients to participate, ultimately dictate how powerful the musical experience will be. Well-chosen music used in collaboration with the client has the capacity to calm, relax, and help the client feel secure (Hodas, 1994; Owens, 1986). There is no substitute for personalizing the process.

      The degree to which counselors and clients relate to one another when music is a part of counseling depends on whether music is used as therapy or in therapy (Bruscia, 1987). When music is used as therapy, the counselor is likely to take an active role, whereas when it is used in therapy, the counselor’s involvement may vary considerably.

       Music Therapy

      Music as therapy is usually known as music therapy. Techniques associated with music therapy are production, reproduction, and reception. Production techniques focus on emotional expression and the creation of relationships through musical improvisation in which the client and therapist create something musically new. Reproduction techniques involve the client and therapist playing or singing precomposed pieces of music as well as learning or practicing musical skills. These pieces may be especially powerful in exploring memoires and relationships. Reception techniques involve the client listening to live or recorded music. These musical experiences may be used to focus on conscious awareness of the client’s current mental state as well as to facilitate relaxation or pain management (Mössler et al., 2012; Verstegen & Silverman, 2018).

      In music therapy, sound, whether played or listened to, often serves as a musical symbol of a symptom (McClary, 2007). According to the American Music Therapy Association (AMTA), music therapy is offered as a degree in more than 70 American colleges and universities and is practiced all over the world. In addition, in 2015, AMTA formally defined music therapy as “the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program” (AMTA, n.d., para. 1). It is meant to effect positive changes in the psychological, physical, cognitive, or social functioning of individuals. Thus, the process is goal directed. It may take one of many forms, but according to Peters (2001, pp. 6–8), music therapy has five main elements:

      1 It is prescribed.

      2 It involves the use of musical or music activities; for example, “singing, playing musical instruments, listening to music, composing or creating music, moving to music, or discussing lyrics and characteristics of songs or instrumental compositions” (p. 6).

      3 It is directed or supervised by specially trained personnel.

      4 It is received by clients from newborns to geriatrics.

      5 It is focused on achieving definite therapeutic goals (e.g., physical, psychological, cognitive, or social goals).

      According to Hadley et al. (2001), music therapists do some or all of the following:

       Assess emotional well-being, physical health, social functioning, communication abilities, and cognitive skills through musical responses

       Design music sessions for individuals and groups based on client needs using music improvisation, receptive music listening, song writing, lyric discussion, music and imagery, music performance, and learning through music

       Participate in interdisciplinary treatment planning, ongoing evaluation, and follow-up

      To become professional music therapists, individuals graduate from specifically designed college programs with a minimum of a bachelor of music in music therapy. Educational standards are established and approved by AMTA, which is the integrated organization formed from its predecessors, the National Association for Music Therapy and the American Association for Music Therapy. For a person to become a music therapist, AMTA requires successful completion of a specific number of coursework hours as well as supervised internships in approved programs of study.

       Music in Counseling

      Counseling that includes music in its overall structure is not nearly as encompassing or direct as music therapy, but it involves activities such as listening, performing, improvising, and composing that are beneficial for clients. Each activity has a population that profits from its use.

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