Undergraduate music therapy students are introduced to the concept of constructing goals and objectives very early in the course of study. As semesters and years of study progress, the process may begin to feel rudimentary. Students may find themselves recycling the same sets of goals across semesters of practicum work because they are familiar, “feel good” goals. While goals to provide social interaction may be relevant, the unique function of music therapy can address much more complex issues. Without considering the physiological basis for goals and objectives from a clinical standpoint, the student music therapist cannot expect to set in motion significant changes from a client throughout the course of practicum work. Berger’s article On Developing Music Therapy Goals and Objectives highlights the importance of formulating goals and objectives unique to music therapy for effective clinical practice. As a student music therapist approaching internship, I read this article for renewed understanding on why we develop goals and objectives, how they are unique from other therapies, and what I can be doing now to develop a clinical eye for writing goals and objectives.
Berger introduces this idea of the clinical eye as a necessary tool for realizing effective goals and objectives. Addressing the client’s symptoms is not adequately addressing the problem. Using the example from the article of a nonverbal boy diagnosed with Autism, it is reasonable to assume that much of the music therapist’s work will be to address stereotypic behaviors like hand-flapping and poor attending to task. Understanding the physiologic cause from which the behaviors are derived is key for developing the most effective goals and objectives. I cannot institute change in the boy’s stimming behavior if I do not understand that it a mechanism for self-regulation, to counteract overwhelming sensory input. I must be aware of the physiologic causes of behaviors if I am to develop measurable and effective goals and objectives.
Berger makes a point to distinguish music therapy goals from the goals of other allied professions. This is particularly resonating because, before reading this article, I might have reasoned that music therapy goals are entirely reliant on the goals of other therapies. While it is important to consider the goals of the treatment team in developing the goals of music therapy for a particular client, I must not lose sight of why music therapy is an independent allied profession. Music therapy has the unique ability to translate across populations and deficits because music is adaptable to every level of functioning. Berger recognizes that goals and objectives in music therapy may coincide with other therapies, but warns against leaning on colleagues in speech pathology or occupational therapy to generate goals for music therapy. I must be proficient in distinguishing the causes of behaviors, developing goals and objectives that address the behaviors with respect to their underlying the causes, and implementing effective strategies to help clients progress in music therapy.
Moving forward from this point of renewed understanding, questions arise as I continue undergraduate coursework and prepare for transition to internship. How will I train my clinical eye to recognize the needs of my clients upon assessment, and how is this best articulated? How will I organize goals and objectives in a concise manner, while providing sufficient clinical evidence on the effectiveness of music therapy sessions? What collection of resources will be most helpful as I continue to expand my understanding of the physiologic bases of clients’ symptoms and behavior? I realize that answers to these questions will come with continued clinical experience. For now, Berger’s article provides many concepts on which to ruminate as I work to complete my undergraduate music therapy coursework.