Josee Prefontaine's article addresses some important issues concerning music therapy training, education, and its exceptional qualities as a field. She describes the unique dynamics involved in the process of "becoming a music therapist": experiential learning; improving self-awareness; experiencing a program with faculty, supervisors, and students that interact with openness, safety, and support; the importance of music psychotherapy opportunities for students; the integration of emotional and rational work; coming face-to-face with one's own limitations; and integrating our relationships with our selves, music, and others. The article truly captures the multifaceted intensity involved in developing a music therapy identity. As a senior music therapy undergraduate from the University of Louisville, I am currently experiencing some of the educational qualities discussed in Prefontaine's article, in addition to some other dilemmas on my path toward "becoming a music therapist."
There is no one way of being a music therapist. Personality traits, previous experiences, educational backgrounds, musical skills, belief systems, and philosophical approaches make each music therapist unique. But when and how does a beginning music therapist establish an identity that will determine the fate of their career?
The infinite possibility of options in the field of music therapy can make it overbearing for an undergraduate to know exactly what music therapist they want to be and how they want to be it. In addition to developing skills in musicianship, therapy, and research, music therapy students gain a theoretical understanding of many different philosophies, techniques, approaches, foundations, and principles behind music therapy being practiced around the world. We also gain clinical experiences involving a variety of settings, supervisors, and populations.
As I choose and apply for internships, think about graduate school, and imagine my future career as a music therapist, I feel like I am at a crossroads between, not two, but one million paths. My interest spreads across such a variety of areas that I am unsure as to which is meant for me.
When I meet successful music therapists at conferences or read their work, it appears that each practicing individual belongs to a subgroup of music therapy. Individual personalities, musical skills and styles, and philosophical bases all blend to create an identity that is unique, but also similar to other members in that subgroup. I can't help but question, "What subgroup am I meant to be in?" My present answer is, "I have no idea." With so many fascinating areas of music therapy, how can I automatically know what is meant for me?
While I rely on the hope that all these issues will work themselves out over time and gradually allow my professional identity as a music therapist to become clearer to me, it is hard to go through the threshold of becoming a professional in the mean time. As I grow in to a music therapist, the field will grow, and our educational programs will grow. I suppose one could say we're all "becoming...." something.
My name is Joanna Blacha and I have already finished a second year of music therapy studies in the Academy of Music In Katowice, Poland.
I would like to give a short comment of this article, because I find it very important for future and of course present music therapy students. Why so important? The Author brings up a few characteristics of a music therapist, explains the matter of comprehending our emotions, describes the process of learning in this area and finally gives many precious clues of self- awareness.
Firstly, to avoid misunderstanding, I have to describe how is it to study music therapy in Katowice. It is a brandnew speciality in the Academy of Music that started in 2008. As it is still forming, there are still changes in amount and type of subject areas. The whole study plan is divided into two stages. First one lasts 6 semesters (3 years) and the second one lasts 4 semesters (2 years). Both grades finish with the diploma exams and the student receives the academic title.
As I mentioned, I am a second year student and for this moment I am able to perceive the importance of Author’s ideas during the process of becoming a music therapist.
I would like to thank Mrs. Prefontaine for centering on the learners perspective. I think this article should be translated into Polish and shown in the first classes of music therapy training. Apart from this, I can truly say that many of Author’s leads are applied in Katowice.
It must be acknowledged that our academic educators during the classes create the atmosphere of openness and expressive freedom from the first meeting, which I am very glad of. Several exercises I took part in directed on awareness of my emotions, intentions and generally speaking myself, fruitfulled with the ability of listening and recognizing my problems. As I read in the article this ability is basic for future music therapist who wants to understand others.
Secondly, I am happy to say that during the music therapy studies, my friends and I created a unique expressive space , which allows us to be spontaneous and thus to learn from the experience. As the Author says, it has an impact on the music therapist’s personality development.
Thirdly, my friends and I in Katowice’s Academy are taught from an early beginning about these three foundations in music therapy practice. I would like to be an example showing that the understanding everything as a music- matter makes me creative and opened for every way of communication. During the practice on workshops with our educators I realized that the lack of barriers in music language gives me the freedom in opportunities of understanding someone else’s needs.
The Author talks about three more features of learning music therapy. Briefly speaking, there are psychodynamic movement, clinical improvisation and the phenomenon of what is a song. I can only say that during my studies I encounter the confirmation of the Author’s opinion.
Second foundation of music therapy practice is understanding of what the client and a therapist give and receive. How could it be done in the academia? The author suggests that learners should practice that in pairs, being with the same partner once a client and once a therapist. Again, I have to agree that this type of exercise gives students an awareness of what they are experiencing. In our Academy we try to improvise some tasks together and after that we can freely comment out what we learned.
Third aspect of music therapy practice is that the therapist may be confronted with clients’ various limitations and disorders, so the foundation is to "center ourselves on the learning process and to let time do its job." That is why during my therapeutic practice I am always supported by teachers and whenever I make mistakes I can be honestly guided and patiently taught step by step how to become a confident music therapist.
Conclusion
Based on this article I am able to say that the skills and abilities which young music therapist have to gain during the learning process are being taught in the Academy of music in Katowice, because of the reliable supervisor and teachers, atmosphere of openness and congruent attitude of colleagues. In my opinion the task of music therapy which is to "open up paths of communication" must be fulfilled during the learning process and after that music therapist may be fully aware of her/him self and finally be able to help the others.