Some Considerations for Further Development of Music Therapy in Korea
Introduction
The development of music therapy in Korea has been rapid as any other nation in Asia. Music therapy curriculum was first established in 1997 at the graduate level, and the educational and clinical trainings have become strong. Among many reasons, the main one is that the trained music therapist from U.S., Europe, and Australia have returned, contributed their expertise and incorporated insightful ideas to the music therapy program.
The public relations activities to promote music therapy in various fields and related professional areas have been increasing. Interest in studying music therapy has been continuously growing despite the economic downside and decreasing employment rate for the last three years. The competition rate has been over 8:1 on average for admission into the music therapy program at Ewha Womans University and this has been the case for the past 8 years ever since the program was established. With government recognition, research grants have been increasing to develop music therapy protocols and programs.
The power of music is shared and it triggers curiosity of what music therapy is all about. At Ewha Women's University, "Introduction to Music Therapy" is offered every semester at the undergraduate level. The class has been packed in every semester with 200 students, registered with special open-class slip. They are eager to take the class to learn about music, talk about music, engage in music, and further understand music on a scientific basis.
Music therapy is an attractive field , with lots of spot light and vision. However, music therapists should work out some of the intra-discipline issues on the professional and educational/training, in order to facilitate further development of music therapy. Among many issues, I would like to articulate a few.
Respecting the Difference, and Collaborating with the Difference.
In the beginning of the 1980s, music therapy was first introduced by self-taught music therapists or faculty from other discipline, such as psychology or special education. They had heard and learned about therapeutic use of music, and started to introduce music therapy. In fact, they were pioneers. With time, the trained music therapists from overseas have returned home. In the process of communicating ideas about music therapy related issues, there were differences in perspectives and opinions. These differences resulted in reduced interaction and communication, working on an individual basis, instead of collaborating with one another.
The fact is that the pioneers and trained music therapists have made their own meaningful contributions in the field of music therapy for it to be where it is now. These contributions should be acknowledged, not in terms of who is better than the other, but for the unique and significant role each of them has played. Pioneers constantly seek external recognition and respect, however, they themselves should be grounded first with what they have. With this self-recognition, they can be open to accept others' perspectives and collaborate productively. It is time for communication and active interaction.
Comprehensive Curriculum for Quality Training
Music therapy is an applied discipline. This makes studying music therapy more difficult. One needs knowledge not only on the music therapy, but the discipline where music therapy is related. This is because music therapy deals with human beings, and understanding human nature is the prerequisite part. With the "right" understanding of human behavior comes appropriate use of music.
In order to offer a music therapy program, the program either has to offer relevant courses on the applied discipline or have students take classes from other departments. If the university is big enough, the students are able to take classes at their level to gain full understanding of the related field before the therapeutic application of music. For example, understanding developmental disabilities is the first step to taking "music therapy for exceptional children." Therefore, the curriculum should be well staged and sequenced.
Quality training of students will certainly contribute to further developments in music therapy both as discipline and profession. Some universities established a music therapy program without sufficient preparation, therefore, program directors should look into their own program and contemplate how to balance between music therapy courses and related courses for basic understanding of human nature. Especially when the university is small and it does not have psychology or special education department, then appropriate courses should be offered within the program.
Importance of "Owning" a Clinical Technique/Skill
Music therapy is a discipline "spreading thin and wide." Often students graduate without the comprehensive picture of its depth and breadth. In Korea, all of the music therapy programs are established at the graduate level. Therefore, the curriculum is very extensive and compact. Through graduate thesis writing, students select their own interest area for clinical research, and some opt for a survey study or historical review.
As program director, I realized that it is so important for them to "own" at least one of the clinical techniques or approaches during the clinical practica and internship. This is one step towards gaining a professional identity as a music therapist. Of course, on top of this "owning," students should know other approaches in order to meet clients' needs. However they should know at least one method with confidence. It is after graduation that many students experience insufficient confidence in practical skills and experience to work in the clinical field.
When Ewha music therapy clinic has opened, I wanted to provide students a center where they can be exposed to intensively of one clinical approach at least. Despite the fact that I am not trained as Nordoff-Robbins (NR) therapist, I initiated a NR program in our clinic. Since there were two NR therapists teaching the program, it was possible for Ewha clinic to offer NR program. Now the clinic functions as an educational setting where students can be exposed to NR sessions. On top of learning other skills, clinic offers students a chance to be trained in using music with a NR orientation. As a music therapist, "owning" at least one clinical technique is essential.
Creating Music Resources: Ours vs. Theirs
At Ewha, students are first encouraged to use musical material in different ways depending on the therapeutic goal. After this, students are encouraged to create their own material. I often find it is more important for students to learn how to use existing musical material in various ways purposefully, before developing their own. I think the best way to learn creating is after having sufficient exposure and musical explorations. However, because the existing music materials are usually the Western music, some criticize the cultural identity of the music.
There are many statements regarding the universality of music, whether it is universal or not. Among many musical elements, mode plays authentic role. The Arabian mode certainly depicts its context, as do the Japanese and Spanish modes. Other than this authentic essence of mode, I think music can be universal. "Twinkle, twinkle, little start" certainly has universality, so does "Mary had a Little Lamb." There are other songs which have universality as well. These songs are not Korean songs, but work fine with children, because the musical characteristics, such as melodic progression, range, rhythmic pattern, suit the developmental level of children. During the case conference of Ewha clinic, we often talk about careful use of modes in the improvisation. Other than this, the precomposed NR songs are universal. I observed many "Music Children" responding to these NR songs and engaging in full attention.
It is important for the students to learn how to utilize the music and its resource. Students should gain knowledge and insight in terms of how music can be used differently, instead of what music it is, whether Korean or Western. Of course it is important to develop "our" own, culture-sensitive, musical resource. However, understanding the flexible application the resources is also an important part of training.
I have touched on some of the professional and educational/training issues in Korea. Some may overlap with those raised in other countries. It would be very interesting to find out how these issues are dealt in other countries. In the process of sharing and discussing them, I hope to hear about different perspectives on these issues.
