Interview with Donald E. Michel, 1921-2010

By Michael Rohrbacher

Introduction to the Interview

This interview was conducted in June, 2009, and is presented as a retrospective on the life of Donald E. Michel, who passed away on December 19, 2010. Several themes emerged as our dialog unfolded and are presented below, including music, clinical practice, service, teaching, and music & medicine.

Dr. Michel's life is best expressed as one of completeness. He readily included his violin in music therapy practice. He viewed his behavioral approach as complementary to other modes of psychotherapy, including psychoanalysis. His professional colleagues were equally his personal friends. The discipline he brought to his professional life was equally matched with his love and commitment to his family and community. His contributions to the music therapy profession were evident at all levels, from local to international influence. He was as passionate about introducing others to music therapy as he was in guiding graduate students toward the completion of research projects. At many points in his career he was simultaneously a clinician and an educator. Even as this interview unfolded, he remained aware of the need for self-care, as he periodically did arm curls with a small, hand weight.

Music

Active music making was central to Dr. Michel throughout his life. As a high school student his choral director gave him the "confidence to be a vocalist," that "you could sing." As an adult he continued his enjoyment in singing as a member of barbershop ensembles. While in Denton he joined a local barbershop association, performing regularly throughout the community for several years. When asked regarding the impact on this activity on his family, Dr. Michel expressed this as an overall positive experience, as it "brought music into the home." Even as a youngster, Dr. Michel described his learning to play the harmonica in the 4th grade, including the use of the harmonica to learn "how to read music." He also stated that he "kept a harmonica in my car" for enjoyment. Later, as a music therapist and educator, he encouraged the use of such "unusual instruments as breathing techniques" for such conditions as asthma. In reflecting on his effort to stay musically active, he stated, "music therapists need to go off by (themselves) and unwind."

Among Dr. Michel's musical skills, it was his mastery of the violin that appeared most influential, both personally and professionally. He continued violin lessons throughout his studies in music therapy at the University of Kansas, and later became Concertmaster of the Topeka Civic Symphony. Dr. Michel spoke of being very fortunate in having been employed as music therapist at the Topeka Veteran's Administration Medical Center in Topeka, Kansas. Among his responsibilities, he was asked to teach a class in music appreciation for a "closed ward" of residents at this institution. While initially unsure as to his approach to teaching this class ("What am I going to do?"), he "figured out ways to get them interested." Through his violin studies and knowledge of music literature as Concertmaster, he constructed a course of study based on recordings, supplemented with the use of violin. Dr. Michel also spoke of a resident who prior to World War II was a violinist for the Baltimore Symphony Orchestra. This resident "would only listen to a little music," indicating that "(he) was a violinist." Dr. Michel decided to "establish a relationship (with him) through the fiddle." He indicated to the resident, "I'm taking violin lessons and maybe you can help." As sessions progressed Dr. Michel reported that they eventually mastered a concerto for 2 violins by Bach and performed a concert together. Dr. Michel's recognition of the importance of client preference also brought additional challenges. Another resident "wanted to learn bass," including jazz. "I needed a bass . . . got a bass, and was able to play (it)." However, Dr. Michel reported that he was not as knowledgeable or skilled in jazz, and turned to his friend, Wayne Ruppenthal for jazz lessons. "Ruppenthal taught me a lot about jazz." Finally, in addition to Dr. Michel's musicial skills, he also acknowledged his father's influence, stating, "My father was a good salesman."

Clinical Practice

The Menninger School of Psychiatry was established in 1946 at the Topeka Veterans Medical Center, a short distance from the University of Kansas where Dr. Michel completed his music therapy studies under the guidance of E. Thayer Gaston. Dr. Michel stated, "I wanted to be a music therapy researcher, to take an afternoon off and go there." He indicated that during this time period there were "commonalities regarding applications of music" in therapeutic environments, yet, greater specific information was needed regarding applications of music therapy for individual cases. Dr. Michel was eventually able to take time off to pursue this direction, evolving into a period of approximately seven years as music therapist at the Topeka Veterans medical Center. Among his accomplishments at the Topeka Veterans Medical Center, Dr. Michel reported that he established the first affiliated internship program with the University of Kansas in 1948. Wayne Ruppenthal and Bill Unkefer were among his first interns, who all became close friends throughout their lifetime.

When asked regarding the degree to which other staff were open to an interdisciplinary approach, Dr. Michel stated, "I didn't realize how lucky I was to be in that hospital with medical doctors and psychiatrists; everything was patient based; everybody had the opportunity to interact with the patient's psychiatrist. Other programming included art, physical therapy, occupational therapy, leatherwork and shoe repair. We naturally had the same patients and asked (one another), what did you do? They were good friends, good people to work with." Dr. Michel did speak of difficulties through the first few years regarding the degree to which music therapy was recognized as a specific discipline, including qualifications to be a music therapist. "I was hired as a recreation therapist." As he attempted to distinguish music therapy, he encountered such difficulties as in the hiring of an "organist who called himself a music therapist," but not qualified according to education and training standards established by the National Association for Music Therapy, Inc.

In contrast to a generalist-approach to applications of music at the Topeka Veterans Medical Center, Dr. Michel recognized the importance of specific applications of music therapy enhanced through continuing education, as well as the need to build upon the type of education and training received at the University of Kansas. With funding available for training, he enrolled in courses associated with neurology, anatomy and physiology. Now equipped with new knowledge and principles, as well as having day-to-day access to " medical doctors, psychiatric residents, (and even) famous psychiatrists," Dr. Michel described his being able to successfully converse with the medical community. "The principles I learned in class came back to me many times. They recognized that I got to a level that I could understand it (and) we could talk about it." In describing his formal education and training, Dr. Michel indicated that "goals and objectives are what my education was all about." His specificity of understanding at the biological level, paired with a goal oriented approach, provided the necessary foundation for his ability to recognize ways in which music can behaviorally complement the psychoanalytical approach which was the predominant method of treatment for patients at the Topeka Veterans Medical Center.

Dr. Michel reported that the psychiatrists on staff came to rely on such services as music therapy as the context for evidence of behavioral improvement. Dr. Michel went as far as to say, "You would have to be undergoing psychoanalysis. We got tired of hearing people talk about themselves and became more interested in what they were doing. They had some behavioral things they could look at (through such services as music therapy)." In recreation therapy, including music therapy, Dr. Michel indicated that a patient's goal was determined by the psychiatrist through a prescription. For example, Dr. Michel was directed to "see if you can control (the patient's) anger," or, "describe (the patient's) mood" in music activities to compare with what was reported in psychoanalysis. But to not cross any professional boundaries, Dr. Michel reported being cautioned, "don't try to do any analysis. Tell (the patient) to talk to his psychiatrist." Dr. Michel did indicate, however (with a whispered voice), that "this was difficult." In support of his efforts, he described one patient with psychosis who stated that music therapy is "driving me sane!" Regardless of such boundary issues, Dr. Michel did indicate that what was most rewarding was his participation on the treatment team. The psychiatrists appeared truly interested in learning what was happening in music therapy sessions. Dr. Michel stated, "(for the music therapy profession) that was progress and exciting."

Dr. Michel's engagement with a clinical practice continued, even as a music therapy educator. While at the Topeka Veteran's Administration Medical Center he was introduced to biofeedback. "That is where I got interested in this; (the Menninger Clinic) was advanced in psychoanalysis, but (biofeedback) offered concrete results- one more thing to document." During the 1980's, through a friendship with a psychologist, he was reintroduced to biofeedback. While for most of his prior clinical experiences he "generally worked with others in groups," he saw biofeedback as an opportunity "to work with someone individually." As he progressed in the training, he recognized, "I knew I had a lot to learn." Dr. Michel later set up a private office separate from his teaching responsibilities at Texas Woman's University. In response to a question regarding future directions for music therapy, Dr. Michel clearly saw this as a kind of "private practice" for persons having day-to-day difficulties in response to life-circumstances. He shared one example in which he provided tapes of relaxing music for a client to use in between biofeedback sessions. In contrast to expressions of rage in response to life stressors (including "catching hell at home"), Dr Michel reported that the client "learned to control his own behavior" and reported "this is really helping me."

Service

Dr. Michel was uniquely qualified to lead the National Association for Music Therapy in multiple ways, including service as the first two-term President beginning in 1960. Before entering music therapy studies at the University of Kansas he received a bachelor of administration degree from the University of Kansas and was a decorated naval officer during World War II, seeing action in Okinawa. When asked to reflect on his experiences as leader of NAMT, particularly during its formative stages, Dr. Michel's reoccurring theme was one of collaboration and close friendships. Regarding this time period, Dr. Michel stated, "(We) were still a small group; everyone had time to say something; good people- helpful; close friendships; a good time. We had plenty of ideas to move ahead and keep going with." "It was great to be among leaders, I was learning all of the time. I had the best support of the Executive Committee."

When asked if there were any particular challenges during his presidency, Dr. Michel compared his problems to those of today, stating, "I guess if you look back, there are common problems we all face." He shared only a few difficulties, including there being "no (expense) budget while serving as President." He found his degree in business administration useful in helping the treasurer to "keep the books" in good order. Dr. Michel described his presidency as an "exciting time to watch." "Support for music therapy from the Menninger was in place. Greater organizational structure and rules were established, as well as further study of ways to improve music therapy curricula." Dr. Michel also enjoyed sharing perspectives of travel experiences to conferences, including a carload with 5 other persons on an overnight ride to Chicago, as well as his first experience on jet plane in 1960 as he traveled to San Francisco for the NAMT Annual Conference.

In reflecting on his international activities, Dr. Michel quickly conveyed his travels to several countries, as well as brief mention of formal contacts and collaboration with other international leaders and scholars in music therapy. As a founding member and Past President of the Denton South Rotary Club, Dr. Michel encouraged contacts with such service organizations at the international level. Dr. Michel's activities included an invitation to speak in Istanbul, Turkey as a Rotary Scholar. "(They) have the potential for seeing our service in a larger sense," suggesting potential for funding opportunities to support the growth of music therapy internationally.

Teaching

When asked about his views on the scope of information now finding its way into music therapy curricula, he encouraged music therapy educators to attend conferences to become aware of new information to "integrate into courses." Further, "You can always improve your courses and teaching. That is the nice thing about teaching." Dr. Michel emphasized that we must "teach what we have to," but also stressed the importance of educators engaging in their own research and clinical projects. He indicated that when such activities are personally conveyed in a lecture, you may in fact "wake them up."

Dr. Michel and his family moved to Tallahassee, Florida, in 1954 to begin the music therapy program at Florida State University (FSU). Race relations during this time period were difficult, with segregation well in place. Dr. Michel spoke of his interest in being a constructive force during this time period, including a desire to guide students toward potential applications of music therapy in the midst of such societal difficulties. He was hired as a consultant to determine if music therapy was able to enhance the self-image of children in the African-American community, including an evaluation of teacher perceptions of the children. "Black schools were often neglected." He chose to teach the children ukulele, finding that the "kids were willing to try." Dr. Michel indicated that his music therapy students participated in the collection of data, with "pre-tests indicating that the children scored low on self-reliance and that the teachers had poor perceptions of the children." He acknowledged that there were some statistical errors in the collection of data during the post-test period, however, he "had results and was able to get funding again for the second year." Dr. Michel was eager to share another positive, unexpected outcome. "The next year, one kid came up to me to report that his instrument was broken. I replaced the ukelele (for him)." According to Dr. Michel, it was evident that the student wanted to keep playing, providing a "vision of what can happen" when an opportunity such as this is presented.

In describing his contribution to one of the first music therapy textbooks, Music in Therapy (Gaston, 1968), Dr. Michel described this as "an exciting time." "The processes- for the people who worked on them, they wanted to make sure that they were on the right track, that music was the most important thing, (including) how a person processes (music)." Dr. Michel served as a 'sub-editor' for Part IV, "Music Therapy for Children and Adolescents with Behavioral Disorders," including Chapter 12, "The Psychiatric Approach and Music Therapy." Dr. Michel's commitment to providing new students with a high standard scholarship across music therapy theory, practice and research continued in later years with his publication of Music Therapy: An Introduction to Therapy and Special Education through Music (1981, 1985), and most recently, with co-author Joseph Pinson, in Music Therapy In Principle And Practice (2005).

Music and Medicine

When asked about what he considers to be directions for music therapy that are most important for us to pursue over the next five years, Dr. Michel immediately emphasized the importance of music and medicine to our future. He spoke with reflection on the passing of his wife, Mary Jeane, and her hospital experiences as an in-patient over the period of a month. With his frequent visits he saw many specialists coming and going, but not music therapists. Yet, when his good friend and colleague, Joe Pinson "brought in his keyboard and played, his wife immediately felt so much better. Why aren't we in hospitals more?" he asked. It was apparent that "not many people visit their friends" while in the hospital. "We need to know more medical information and how treatment takes place in hospitals- what we can contribute and what our limitations are." Dr. Michel indicated that even as a "distraction" to a patient's aversive medical condition and environment, there is value in music being present.

Dr. Michel described a course of action for us to achieve a greater presence in medical environments. "We have to know (more) about the brain. Principles I learned in neuroanatomy keep coming back to me. (To) see the brain on the table, a specimen; (to) touch it- I can never tell you how much I learned about the organization of (our) nervous system; you can overcome many things physiological using the top level of (our) neuroanatomy. (It) still excites me to think about this in some ways." He emphasized that even if we are working on behavior and collecting data from machines, we need to know "what is going on inside." As benefits of music therapy are increasingly identified, Dr. Michel indicated that we need to convey "more information" to the medical community, including "demonstrations" of our work.

Summary

The life and legacy of Dr. Michel remains worthy of study, but not simply in relation to his being a "music therapy pioneer" that is often stated in relation to his name. He was the right person, at the right time, in the right place, with the right skills to move the profession of music therapy forward in ways necessary for our very existence as music therapists today. As suggested in the thematic content above, Dr. Michel brought a practical sense to the wide range of topics and issues inherent to music therapy. To grow musically, to increase in one's knowledge and skills in clinical practice, to engage in service to others with purpose and responsibility, to be passionate about our work as music therapists and in teaching and learning, and to have an eye on the future- these are basic truisms for us all, each lived in an exemplary fashion by Dr. Michel that we might strive to emulate.

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Michael Rohrbacher, PhD, MT-BC, is Director of Music Therapy at Shenandoah University, located in Winchester, VA (USA). He first collaborated with Dr. Michel in 1980 (along with several other music therapists from across the United States) on the topic of assessment (as part of a federal grant awarded to the National Association for Music Therapy). Since 1980 Dr. Michel has remained influential in Michael's career path, including ongoing engagement with music as a pianist, service to CBMT as member of the Board of Directors, service to AMTA as former President of the Mid-Atlantic Region, international service as Visiting Professor at Tokushima Bunri University, the publication of an assessment tool (monograph) as part of a federal grant from the Administration on Aging, and most recently, in guiding music therapy students to provide instruction in the use of baritone horns and harmonicas for children at the local summer "asthma camp."