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   <front>
      <journal-meta>
         <journal-id journal-id-type="DOAJ">15041611</journal-id>
         <journal-title-group>
            <journal-title>Voices: A World Forum for Music Therapy</journal-title>
         </journal-title-group>
         <issn>1504-1611</issn>
         <publisher>
            <publisher-name>Grieg Academy Music Therapy Research Centre, Uni Research
               Health</publisher-name>
         </publisher>
      </journal-meta>
      <article-meta>
         <article-id pub-id-type="doi">10.15845/voices.v18i4.2589</article-id>
         <article-categories>
            <subj-group subj-group-type="heading">
               <subject>Invited Submission - Special Issue</subject>
            </subj-group>
         </article-categories>
         <title-group>
            <article-title>Child Advocacy Centers in the United States and Music Therapy:
               Relationships in the Making</article-title>
         </title-group>
         <contrib-group>
            <contrib contrib-type="author">
               <name>
                  <surname>Blank</surname>
                  <given-names>Carol Ann</given-names>
               </name>
               <xref ref-type="aff" rid="C_Blank"/>
               <address>
                  <email>cblank@musictogether.com</email>
               </address>
            </contrib>
         </contrib-group>
         <aff id="C_Blank"><label>1</label>Drexel University, Music Together Worldwide, United States</aff>
         <contrib-group>
            <contrib contrib-type="editor">
               <name>
                  <surname>Hadley</surname>
                  <given-names>Susan</given-names>
               </name>
            </contrib>
            <contrib contrib-type="editor">
               <name>
                  <surname>Fairchild</surname>
                  <given-names>Rebecca</given-names>
               </name>
            </contrib>
         </contrib-group>
         <contrib-group>
            <contrib contrib-type="reviewer">
               <name>
                  <surname>Oosthuizen</surname>
                  <given-names>Helen</given-names>
               </name>
            </contrib>
         </contrib-group>
         <pub-date pub-type="pub">
            <day>1</day>
            <month>11</month>
            <year>2018</year>
         </pub-date>
         <volume>18</volume>
         <issue>4</issue>
         <history>
            <date date-type="received">
               <day>4</day>
               <month>8</month>
               <year>2018</year>
            </date>
            <date date-type="accepted">
               <day>17</day>
               <month>9</month>
               <year>2018</year>
            </date>
         </history>
         <permissions>
            <copyright-statement>Copyright: 2018 The Author(s)</copyright-statement>
            <copyright-year>2018</copyright-year>
         </permissions>
         <self-uri xlink:href="https://voices.no/index.php/voices/article/view/2589"
            >https://voices.no/index.php/voices/article/view/2589</self-uri>
         <abstract>
            <p>In the United States, children who suffer trauma or abuse receive services through
               Children’s Advocacy Centers (CACs). Over 800 CACs provided treatment and services to
               nearly 325,000 children in 2016 (<xref ref-type="bibr" rid="N2016">National
                  Children’s Alliance, 2016b</xref>). CACs
               coordinate the work of multidisciplinary teams (MDT) including law enforcement,
               mental health, medical, and social service personnel to help children and families
               heal. CACs are autonomous groups made up of affiliations with many local agencies.
               This article provides a description of the National Children’s Alliance (NCA)
               standards for implementing treatment, including the state of music therapy
               implementation in CACs. The literature has shown that music therapy can be helpful to
               address needs of children and families who have experienced trauma, suggesting that
               this may offer a helpful treatment modality in CACs. However, music therapy is rarely
               available in CACs. This may be, in part, a result of the lack of randomized
               controlled trials, a key determining factor for inclusion in the annotated
               bibliography that accompanies the NCA Standards (<xref ref-type="bibr" rid="N2013"
                  >National Children’s Alliance, 2013</xref>). Music therapy practice has addressed
               the clinical needs of children and teens who have been abused. This work is often
               presented in clinical reflections, not randomized controlled trials. Music therapy is
               currently not included in the treatment modalities utilized by CACs because of a
               perceived lack of evidence base. This article attempts to synthesize the information
               available to provide CACs with the current state of research in music therapy with
               children who have been abused. This article also provides music therapists with a
               depth of information about the structure and function of CACs, including a synthesis
               of the NCA Standards of Practice. The article presents a description for the
               implementation of music therapy services in a CAC in New Jersey and includes
               recommendations for music therapists who wish to seek out opportunities for clinical
               practice at CACs.</p>
         </abstract>
         <kwd-group kwd-group-type="author-generated">
            <kwd>music therapy</kwd>
            <kwd>Children’s Advocacy Center</kwd>
         </kwd-group>
      </article-meta>
   </front>
   <body>
      <!-- sec lvl 2 begin -->
      <sec>
         <title>Introduction</title>
         <p>In 2015, four million referrals alleging maltreatment were reported to Child Protective
            Services (CPS). These referrals involved 7.2 million children (U.S. Department of Health &amp; Human Services, 2015). In the
            United States, the National Children’s Alliance (NCA) is a member organization that
            accredits Children’s Advocacy Centers (CACs) (<xref ref-type="bibr" rid="N2017"
               >National Children’s Alliance, 2017</xref>). The NCA is a large network of providers
            with a defined standard of care that attends to a clinical population (children and
            their non-offending parents/adult caregivers) that can benefit from the unique services
            that music therapists can provide. The NCA supports the work of CACs by providing
            advocacy, training, and quality assurance on a national level. Children who suffer
            trauma or abuse receive services through local CACs. In 2017, Over 850 CACs provided
            treatment and services to nearly 334,000 children (<xref ref-type="bibr" rid="N2017"
               >National Children’s Alliance, 2017</xref>). CACs coordinate the work of
            multidisciplinary teams (MDT) including law enforcement, mental health, medical, and
            social service personnel to help children and families heal. CACs are autonomous groups
            made up of affiliations with local agencies across the United States. This enables the
            structure of the local agency to reflect the needs of the community for intervention and
            treatment. This article provides a description of the NCA <italic>Standards</italic> for
            implementing treatment, including the state of music therapy implementation in CACs.
            Suggestions for increasing access to music therapy at CACs are included as well as a
            description for the implementation of music therapy services in a CAC in New Jersey.</p>
      </sec>
      <!-- sec lvl 2 end -->
      <!-- sec lvl 2 begin -->
      <sec>
         <title>Structure of Children’s Advocacy Centers</title>
         <p>Children’s Advocacy Centers can be structured in a variety of ways, in accordance with
            the needs and strengths of the local community (<xref ref-type="bibr" rid="N2017"
               >National Children’s Alliance, 2017</xref>). CACs are non-profit organizations that
            function independent of, but in close collaboration with, other agencies including law
            enforcement, mental health, medical, and social service agencies. CACs may be housed
            within hospitals or governmental agencies. The core function of the CAC is to coordinate
            the work of the multidisciplinary team (MDT) to help children and families heal. The MDT
            is comprised of representatives of the aforementioned disciplines.</p>
         <p>Accredited CACs have shown compliance with the <italic>Standards</italic> developed and
            maintained by the National Children’s Alliance. These <italic>Standards </italic>provide
            a structure by which CACs provide high quality services to children and families.</p>
      </sec>
      <!-- sec lvl 2 end -->
      <!-- sec lvl 2 begin -->
      <sec>
         <title>Description of Standards</title>
         <p>The <italic>Standards </italic>are published by the National Children’s Alliance each
            year. A supplemental document, <italic>Putting standards into practice </italic>(<xref
               ref-type="bibr" rid="FMRM2016">Fine, Marlar, Rioth, &amp; Mullen, 2016</xref>),
            provides member organizations with guidance for member organizations with necessary
            information for evidence-based treatment. The NCA’s <italic>Ten Standards of Practice
            </italic>are to be implemented by CACs in “creatively adapted and operationalized ways”
            (Fine.et al., p. 6). The NCA <italic>Standards</italic> are a set of guiding principles
            that Children’s Advocacy Centers (CACs) adhere to in order to obtain and maintain
            accreditation through the NCA (<xref ref-type="bibr" rid="N2017">National Children’s
               Alliance, 2017</xref>). The purpose of the <italic>Standards</italic> is to “ensure
            that all children across the U.S. who are served by Children’s Advocacy Centers receive
            consistent, evidence-based interventions that help them heal” (p. 6). The
               <italic>Standards</italic> undergo a process of revision every 5 years during which
            time new research is evaluated. The research that informs the development and revision
            of the <italic>Standards</italic> is published in the annotated bibliography of the
            empirical and scholarly literature supporting the ten <italic>Standards </italic>for the
            accreditation by the National Children’s Alliance. The most recent publication of the
            annotated bibliography was published in 2013 (<xref ref-type="bibr" rid="N2013"
               >National Children’s Alliance, 2013</xref>).</p>
         <p>The Ten <italic>Standards</italic> are identified as follows: 1) multidisciplinary team;
            2) cultural competency and diversity; 3) forensic interviews; 4) victim support and
            advocacy; 5) medical evaluation; 6) mental health; 7) case review; 8) case tracking; 9)
            organizational capacity; 10) child-focused setting. A brief summary of each standard
            follows.</p>
         <p>
            <bold>Multidisciplinary team.</bold>
            <italic> </italic>The MDT is a group of professionals (i.e. law enforcement, CPS
            workers, medical providers, mental health providers, victim advocates, and prosecutors)
            who collaborate on the care of the child and family throughout their involvement with a
            CAC. The purpose of the MDT is to facilitate interagency communication. Each profession
            represented by the MTD benefits from the shared information, which, in turn, leads to
            coordinated care for the child and family.</p>
         <p>
            <bold>Cultural competency and diversity.</bold>
            <italic> </italic>In this context, NCA defines cultural competency as “the capacity to
            function in more than one culture, requiring the ability to appreciate, understand, and
            interact with members of diverse populations within the local community) (<xref
               ref-type="bibr" rid="N2017">National Children’s Alliance, 2017, p. 17</xref>). NCA
            accredited CACs exhibit cultural competency and diversity by proactively engaging in
            training and outreach to a variety of communities including degree of acculturation,
            ethnicity, religion, socioeconomic status, disability, gender, gender identity and
            expression, and sexual orientation. Awareness of the aforementioned guides the approach
            care and treatment of a child and family at all levels of their healing experience.</p>
         <p>
            <bold>Forensic interviews. </bold>A key function of CACs is to conduct a forensic
            interview of the child about abuse allegations in a manner congruent with evidence-based
            guidelines. Quality forensic interview impact the CAC’s/MDT’s ability to pursue justice
            while providing the necessary information with which to frame treatment options. The
               <italic>Standards</italic> on forensic interviews include education and training of
            interviewers, protocol for information sharing, and case acceptance criteria, among
            other criteria.</p>
         <p>
            <bold>Victim support and advocacy.</bold>
            <italic> </italic>According to the <italic>Standards, </italic>“victim-centered advocacy
            is a discipline…that coordinates and provides services to ensure a consistent and
            comprehensive network of support for the child and the family” (<xref ref-type="bibr"
               rid="N2017">National Children’s Alliance, 2017, p. 25</xref>). Victim advocates
            provide a variety of services in accordance to the individualized needs of the child and
            family. The services offered by victim support advocates includes facilitating concrete
            support (i.e. housing, transportation, domestic violence intervention), presence at
            interviews or meetings to support and inform the family about the MDT process, plan and
            coordinate services for the child and family, and coordinated case management (<xref
               ref-type="bibr" rid="N2017">National Children’s Alliance, 2017</xref>).</p>
         <p>
            <bold>Medical evaluation.</bold> The <italic>Standards </italic>ensure that health care
            professionals with additional training in child sexual abuse complete medical
            evaluations of children who are suspected victims of abuse.</p>
         <p>
            <bold>Mental health. </bold>According to NCA <italic>Standards, </italic>effective
            therapeutic intervention is best achieved through the implementation of “evidence-based
            treatments and other practices with strong empirical support” in order to “reduce the
            impact of trauma and the risk of future abuse” (<xref ref-type="bibr" rid="N2017"
               >2017, p. 36</xref>). Mental health professionals must undergo 40 contact hours of
            license-specific continuing education, evidence-based treatment for trauma training, and
            clinical supervision hours by a licensed clinical supervisor. Mental health providers
            must be master’s level, “licensed, certified or supervised by a licensed mental health
            professional” (<xref ref-type="bibr" rid="N2017">National Children’s Alliance, 2017,
               p. 37</xref>), be license-eligible, or a student intern in an accredited mental
            health graduate program under supervision of an appropriately credentialed mental health
            professional (Criteria A.2.). Other criteria include: continuing education on child
            abuse (Criteria B); the implementation of evidence-supported, trauma focused mental
            health services (Criteria C); access to services regardless of ability to pay (Criteria
            D); interagency agreements to include access to appropriate services for all CAC clients
            (Criteria E); guidance on the roles and responsibilities of the mental health
            professionals (Criteria F); management and sharing of health protected data (Criteria
            G); the provision of supportive services to caregivers (Criteria H); and clinical
            supervision (Criteria I).</p>
         <p>
            <bold>Case review.</bold> Case review is a “formal process in which multidisciplinary
            discussion and information sharing regarding the investigation, case status, and
            services needed by the child and family must occur on a routine basis” (<xref
               ref-type="bibr" rid="N2017">National Children’s Alliance, 2017, p. 40</xref>). This
            collaborative information-sharing and decision-making process ensures efficient and
            effective handling of the children’s and families’ needs. The <italic>Standards
            </italic>criteria for case review include statements regarding the frequency, duration,
            participation in, and coordination of care following case review.</p>
         <p>
            <bold>Case tracking.</bold> Evaluating outcomes of treatment and
            investigation/intervention outcomes is a process covered under the NCA
               <italic>Standards. </italic>Accredited CACs have established protocols that include
            identifying the personnel responsible for keeping detailed records of cases served by
            the CAC, the interventions utilized, the outcomes of all investigations and
            interventions, and collecting client feedback to inform service delivery (<xref
               ref-type="bibr" rid="N2017">National Children’s Alliance, 2017</xref>). The
               <italic>Standards</italic> on case tracking also includes protocols for including
            coordinating of information gathered by MDT partner agencies for shared cases.</p>
         <p>
            <bold>Organizational capacity. </bold>CACs are structured differently according to the
            needs and capacitates of their local community. This plurality of organizational
            structures allows for the most flexibility in service design and delivery. The NCA
               <italic>Standards</italic> for accredited CACs require “a designated legal entity
            responsible for the governance of its operations” (<xref ref-type="bibr" rid="N2017"
               >National Children’s Alliance, 2017, p. 48</xref>) whose responsibility to ensure
            that all the legal, financial, and regulatory functions of running a service
            organization (independent non-profit agency or affiliated with an umbrella agency) are
            followed. The organizational capacity standard also includes criteria regarding staff
            development, including the effect of vicarious trauma and resiliency in MDT members.</p>
         <p>
            <bold>Child-focused setting.</bold> CACs are required to structure their physical places
            and spaces in a manner that is safe, child-friendly, and accessible to children their
            families from diverse populations (<xref ref-type="bibr" rid="N2017">National
               Children’ Alliance, 2017</xref>). CACs ensure that children who have been abused are
            safe preventing alleged offenders from entering the CAC, and that children and
            non-offending family members are supervised while inside the CAC. The child-focused
            setting criteria also include components of physical and psychological safety:
            cleanliness, childproofing, and physical accessibility.</p>
      </sec>
      <!-- sec lvl 2 end -->
      <!-- sec lvl 2 begin -->
      <sec>
         <title>Evidence-Based Treatment Available at CACs</title>
         <p>In a document based on the 2016 survey of accredited CACs, NCA reported on a variety of
            evidence-based treatments (<xref ref-type="bibr" rid="N2016">National Children’s
               Alliance, 2016</xref>). Trauma-focused cognitive behavior therapy is offered at 73%
            of the responding CACs. Parent–child interaction therapy (PCIT) and eye movement
            desensitization and reprocessing (EDMR) the next most frequently indicated (17%)
            evidence-based practice offered by CACs. Child and family traumatic stress Intervention
            (CFTSI) is offered by 13% of CACs. Problematic sexual behavior cognitive behavioral
            therapy (PSB-CBT) is offered by 12% of CACs. Other evidenced-based interventions offered
            at CACs include child-parent psychotherapy (CPP, 9%), alternative for families cognitive
            behavioral therapy (AF-CBT, 6%), and none (14%). Of interest is the inclusion of the
            category: “other” treatments offered at CACs (9%). Further query to NCA revealed that
            music therapy was not recorded as an intervention reported by CACs in the 2016 survey
               (B. Warenik, personal communication, December 28,
               2017).</p>
      </sec>
      <!-- sec lvl 2 end -->
      <!-- sec lvl 2 begin -->
      <sec>
         <title>Brief Music Therapy Literature Review of Relevance to CACs</title>
         <p>An understanding of the evidence-base for music therapy with children who have been
            abused is required for music therapists who seek to become part of CACs/MDTs. This
            article provides a framework for reviewing music therapy literature with a focus on
            clinician reflections, theoretical papers, and empirical studies addressing music
            therapy with children who have been abused that may be of interest to CACs and music
            therapists wishing to partner with CACs. For example, Table 1 provides one format for
            how information can be arranged to assist the music therapist or CAC clinician in
            accessing the right study to support the inclusion of music therapy in the treatment
            programming. This author found the following information important to know immediately:
            age range of the children, group versus individual therapy, and type of music therapy
            intervention. This information was crucial in articulating the rationale for the music
            therapy program proposal detailed below. However, the review of the literature needs to
            be thorough and on going and may need to include relevant music therapy research in
            trauma with populations beyond childhood in order to establish some clinical relevance.
            For example, reduction of PTSD symptoms as a result of music therapy has been studied in
            the adult population (<xref ref-type="bibr" rid="CASSWPS2012">Carr, d’Ardenne, Sloboda,
               Scott, Wang, &amp; Priebe, 2012</xref>), but a similar study with children is not
            available.</p>
         <!-- sec lvl 3 begin -->
         <sec>
            <title>Music therapy with teens who have experienced abuse</title>
            <p>Research in music therapy with adolescents who have been abused exists. Gonsalves
                  (<xref ref-type="bibr" rid="G2007">2007</xref>) articulated the importance of
               maintaining a developmental treatment focus when providing individual music therapy
               treatment to an adolescent girl who sustained sexual trauma as a child. Music therapy
               interventions that address trauma from a somatosensory clinical perspective provided
               a young teen the opportunity to develop the capacity to manage her anxiety increase
               resilience. Hasler (<xref ref-type="bibr" rid="HA2017">2017</xref>) discussed the
               neurobiological pathways responsible for self-regulation and the healing potential of
               music therapy, with particular attention to rhythm, to promote and support the
               communicative musicality between people (including parent-child dyads).</p>
            <p>Song writing and lyric analysis are frequent interventions to address clinical
               concerns for this population. Adolescents who had been sexually abused reported
               improvement in self-confidence and self-esteem after participation in group music
               therapy (<xref ref-type="bibr" rid="CW1991">Clendenon-Wallen, 1991</xref>).
               Songwriting and lyric analysis positively impacted self-esteem and coping skills for
               youth who were homeless and had experienced trauma (<xref ref-type="bibr" rid="J2012"
                  >Jurgensmeier, 2012</xref>). Curtis (<xref ref-type="bibr" rid="C2007"
                  >2007</xref>) presented a music therapy approach for women and teen girl survivors
               of childhood sexual abuse. Situated in feminist music therapy theory, Curtis outlined
               the therapeutic use of songs by women and teen girls for empowerment and voice
               reclamation. Henderson (<xref ref-type="bibr" rid="H2012">2012</xref>) described
               the application of music therapy interventions of song improvisation, play therapy,
               and other psychotherapeutic techniques to address the therapeutic needs of a
               13-year-old girl who was a victim of sexual abuse.</p>
            <p>Sekeles (<xref ref-type="bibr" rid="SE2012">2012</xref>) described a music
               psychotherapeutic approach in her work with a hospitalized adolescent that highlights
               the role of relaxation in the process of recovery from abuse. In this case, music
               therapy served to lessen the adolescent’s anxiety and allowed her to engage in the
               therapeutic process.</p>
         </sec>
         <!-- sec lvl 3 end -->
         <!-- sec lvl 3 begin -->
         <sec>
            <title>Music therapy with children who have experienced abuse</title>
            <p>The literature suggests a different set of music therapy interventions for children
               who have been abused. LaVerdiere’s model (<xref ref-type="bibr" rid="LV2007"
                  >2007</xref>) provided a therapeutic rationale for the use of the following
               interventions with this population: singing, improvisation, composition, role-play,
               and listening to music. It should be noted that LaVerdiere’s model is for children,
               though the age range is not specified. Robarts (<xref ref-type="bibr" rid="R2012"
                  >2012</xref>) described the role of spontaneously improvised songs in the
               treatment of an 11-year-old girl who had sustained sexual abuse and familial trauma
               throughout childhood. A combination of improvisation with verbal reflection was an
               approach used by Rogers (<xref ref-type="bibr" rid="RO2012">2012</xref>) in her
               work with an 11-year-old girl referred for treatment as part of a child protection
               plan. Schönfeld (<xref ref-type="bibr" rid="S2012">2012</xref>) described a 6 year
               course of music therapy with a female child who had been sexually abused, who was
               conceived as the result of incest, and who had co-occurring medical concerns
               requiring prolonged hospitalizations.</p>
            <p>Individual music therapy cases with male children who have experienced abuse are
               infrequently addressed in the literature. Wesley (<xref ref-type="bibr"
                  rid="W2012">2012</xref>) described a case of a 10-year-old boy for whom
               singing, relaxation, and imagery to music were used to develop self-monitoring skills
               and to decrease explosive behavior.</p>
            <p>Table 1 organizes the above literature in a fashion that is relevant to music
               therapists working, or wishing to work, for a CAC. Note that studies on music therapy
               abuse recovery that addresses child victims (birth through adolescence) are
               included.</p>
            <table-wrap id="tbl1">
               <label>Table 1.</label>
               <!-- optional label and caption -->
               <caption>
                  <p>Music Therapy Literature in the Treatment of Abuse with Age Group Relevant to
                     CACs</p>
               </caption>
               <table>
                  <thead>
                     <tr>
                        <th>Reference</th>
                        <th>Summary of intervention (Age group)</th>
                     </tr>
                  </thead>
                  <tbody>
                     <tr>
                        <td>Clendenon-Wallen, 1991</td>
                        <td><italic>Group (Teens)</italic><break/>Improvement to self-confidence and self-
                           esteem</td>
                     </tr>
                     <tr>
                        <td>Curtis, 2007</td>
                        <td><italic>Group (Teens)</italic><break/>Therapeutic use of songs for empowerment and to
                           reclaim voice</td>
                     </tr>
                     <tr>
                        <td>Gonsalves, 2007</td>
                        <td><italic>Individual (Teen)</italic><break/>Therapeutic use of musical story-telling,
                           improvisation, and client-driven session design</td>
                     </tr>
                     <tr>
                        <td>Hasler, 2017</td>
                        <td><italic>Family Group (Children and Adults)</italic><break/>Overview of music therapy
                           interventions appropriate for families with children recovering from
                           trauma</td>
                     </tr>
                     <tr>
                        <td>Henderson, 2012</td>
                        <td><italic>Individual (Teen)</italic><break/>Improvised songs to address effects of sexual
                           abuse</td>
                     </tr>
                     <tr>
                        <td>Jurgensmeier, 2012</td>
                        <td><italic>Group (Teens)</italic><break/>Therapeutic song writing and lyric analysis to
                           improve self-esteem and coping skills</td>
                     </tr>
                     <tr>
                        <td>LaVerdiere, 2007</td>
                        <td><italic>Group and Individual (Children)</italic><break/>Therapeutic use of singing,
                           improvisation, composition, role-play, and listening to music</td>
                     </tr>
                     <tr>
                        <td>Robarts, 2012</td>
                        <td><italic>Individual (Child)</italic><break/>Spontaneous improvised songs for integrative,
                           healing potential</td>
                     </tr>
                     <tr>
                        <td>Rogers, 2012</td>
                        <td><italic>Individual (Child)</italic><break/>Improvisation and verbal processing</td>
                     </tr>
                     <tr>
                        <td>Schönfeld, 2012</td>
                        <td><italic>Individual (Child)</italic><break/>Puppets, improvised songs, instrument play to
                           support ego development and process effects of trauma and medical
                           procedures</td>
                     </tr>
                     <tr>
                        <td>Sekeles, 2012</td>
                        <td><italic>Individual (Teen)</italic><break/>Music to promote physical and mental relaxation
                           and address emotional problems</td>
                     </tr>
                     <tr>
                        <td>Wesley, 2012</td>
                        <td><italic>Individual (Child)</italic><break/>Singing, music relaxation and imagery to
                           develop self-control and decrease explosive behavior.</td>
                     </tr>
                  </tbody>
               </table>
            </table-wrap>
         </sec>
         <!-- sec lvl 3 end -->
         <!-- sec lvl 3 begin -->
         <sec>
            <title>Theoretical Foundations for Music Therapy with Children and Families</title>
            <p>Music therapists, wishing to work with children who have been abused, need to
               understand the theoretical underpinnings of treatment for complex trauma, neglect,
               and abuse. What follows is a brief introduction to several foundational theories that
               frame trauma work both within and outside of music therapy.</p>
            <p>Schore and Schore (<xref ref-type="bibr" rid="SS2008">2008</xref>) provided a
               summary of constructs and processes related to attachment and how to support
               attachment in service of affect regulation. At the core of attachment is the
               psychobiological processes that mediate interactive regulation. According to Schore
               and Schore, emotional regulation is the outgrowth of the ability of the primary
               caregiver to co-regulate with an infant. This co-regulation is a rhythmic process
               that Schore and Schore asserted is replicated within the parent-child dyad and
               between helping professionals and those receiving assistance. Sena Moore and
               Hanson-Abromeit (<xref ref-type="bibr" rid="SMHA2015">2015</xref>) extended the
               discussion of regulation in their work on the therapeutic function of music to
               promote self-regulation skills in preschoolers. Jacobsen (<xref ref-type="bibr"
                  rid="J2017">2017</xref>) characterized neglect as the failure of the
               parent-child relationship to consistently co-regulate. Jacobsen described the impact
               of neglect on the child within a family and provided justification for family music
               therapy interventions to remediate the effects of neglect on the child’s
               development.</p>
            <p>Perry (<xref ref-type="bibr" rid="P2008">2008</xref>) provided a full explication
               of the neurobiological effects of trauma; Gaskill and Perry (<xref ref-type="bibr"
                  rid="GP2014">2014</xref>) described the importance of developmental approaches
               to play in the healing of neurobiological trauma sustained in childhood. Robarts
                  (<xref ref-type="bibr" rid="R2006">2006</xref>) connects the music therapy
               intervention of improvisation to theoretical foundations of treatment of children who
               have been abused. <italic>Creative therapies for complex trauma: Helping children and
                  families in foster care, kinship care or adoption </italic>edited by Hendry and
               Hasler (<xref ref-type="bibr" rid="HA2017">2017</xref>) provided several
               theoretical frameworks through which trauma recovery can occur through participation
               in creative arts therapies. Hendry’s (<xref ref-type="bibr" rid="H2017"
                  >2017</xref>) chapter “Creative therapies for complex trauma: Theory into
                  practice<italic>”</italic> explicitly outlined the links between neurobiological
               research and current trauma theory and the link between these theories and music
               therapy practice. Trauma therapists, who are not music therapists, may be familiar
               with the research by Schore (<xref ref-type="bibr" rid="S2001">2001</xref>), Siegel
                  (<xref ref-type="bibr" rid="SI2001">2001</xref>), and Perry (<xref
                  ref-type="bibr" rid="P2008">2008</xref>), and van der Kolk (<xref
                  ref-type="bibr" rid="K2014">2014</xref>) as foundational to their own
               approaches to trauma recovery treatment, which are clearly outlined by Hendry (<xref
                  ref-type="bibr" rid="H2017">2017</xref>). Hendry drew together the work of
               these theorists through the lens of music therapy clinical interventions to provide a
               framework from which music therapists can work to support positive growth in families
               after trauma.</p>
            <p>Jacobsen and Thompson (<xref ref-type="bibr" rid="JT2017">2017</xref>) expanded on
               the broader area of theoretical underpinnings of clinical work of music therapy with
               families by drawing together theories of attachment, family systems,
               resource-oriented approaches though the lens of interpretive and effect studies. This
               chapter, co-written by Jacobsen and Thompson (<xref ref-type="bibr" rid="JT2017"
                  >2017</xref>), also elucidated emerging characteristics of working with families
               with young children that music therapists seeking to work within CACs may find
               helpful. These characteristics included the need to be explicit about the focus of
               the music therapy intervention (is the child, the parent, or the dyad the focus of
               therapy) and transparency regarding the role of the therapist (guide/facilitator,
               directive/supportive).</p>
            <p>Table 2 summarizes the theoretical foundations of music therapy treatment for
               children who have been abused. Taken together, the review of the literature may
               assist in future efforts to request that NCA include relevant research in music
               therapy for consideration in the NCA’s annotated bibliography.</p>
            <table-wrap id="tbl2">
               <label>Table 2.</label>
               <!-- optional label and caption -->
               <caption>
                  <p>Theoretical Foundations of Music Therapy Trauma Treatment for Children</p>
               </caption>
               <table>
                  <thead>
                     <tr>
                        <th>Reference</th>
                        <th>Summary</th>
                     </tr>
                  </thead>
                  <tbody>
                     <tr>
                        <td>Jacobsen &amp; Thompson, 2017</td>
                        <td>Synthesis of theories from within and outside of music therapy to
                           provide foundation for music-based interventions for families</td>
                     </tr>
                     <tr>
                        <td>Gaskill &amp; Perry, 2014</td>
                        <td>Provides theoretical framework for developmental approach to play in the
                           treatment and remediation of children who have suffered brain trauma due
                           to abuse or neglect</td>
                     </tr>
                     <tr>
                        <td>Hendry, 2017</td>
                        <td>Links current research in neurobiological processes and trauma recovery
                           with music therapy interventions to address negative effects of trauma on
                           the family unit</td>
                     </tr>
                     <tr>
                        <td>Pasiali, 2012</td>
                        <td>Connects music therapy interventions to literature on resilience and
                           mutual regulation orientation to support music therapy with parent-child
                           dyads</td>
                     </tr>
                     <tr>
                        <td>Perry, 2008</td>
                        <td>Describes the neurobiological processes that are disrupted as a result
                           of abuse in childhood.</td>
                     </tr>
                     <tr>
                        <td>Robarts, 2006</td>
                        <td>Connects music therapy interventions to neurobiological theories of
                           trauma recovery for children who have been abused.</td>
                     </tr>
                     <tr>
                        <td>Schore &amp; Schore, 2008</td>
                        <td>Summary of attachment theory and its role in self-regulation</td>
                     </tr>
                     <tr>
                        <td>Sena Moore &amp; Hanson-Abromeit, 2015</td>
                        <td>Provides theoretical justification for music therapy interventions to
                           increase self-regulation skills in preschoolers</td>
                     </tr>
                  </tbody>
               </table>
            </table-wrap>
         </sec>
         <!-- sec lvl 3 end -->
      </sec>
      <!-- sec lvl 2 end -->
      <!-- sec lvl 2 begin -->
      <sec>
         <title>A brief review of music therapists working in CACs</title>
         <p>It is useful to understand what is known about the presence of music therapists in CACs.
            I used a three-pronged approach to gathering what was known about the state of music
            therapy in CACs. First, I requested information regarding what was known about music
            therapy by NCA. NCA conducts a survey of interventions used by CACs (<xref
               ref-type="bibr" rid="N2016">How CACs are Healing Kids, 2016</xref>). The type of
            professions responsible for implementing the interventions is not represented in the
            survey. It is reasonable to infer the types of professions based on the interventions
            reported in use in the survey: clinical psychologists, licensed professional counselors,
            and social workers are likely the majority of mental health workers responsible for
            intervention implementation. Two reasons may exist for the lack of inclusion of music
            therapy listed as a treatment offered at CACs: 1) the lack designation of music therapy
            as an evidence-based treatment, and 2) the infrequent hiring of music therapists to
            provide treatment at CACs. It is likely that one reason influences the other: the lack
            of awareness of the efficacy of music therapy in the treatment of children who have been
            abused leads to the infrequent implementation of music therapy in CACs; the relatively
            few numbers of music therapists adequately trained in trauma-informed music therapy
            interventions (and other trauma-informed treatment modalities) results in the paucity of
            music therapists employed by CACs/MDTs.</p>
         <p>Next, I attempted to make connections with music therapists working in CACs through the
            CAC member listserv hosted by the NCA initiated by the executive director of the New
            Jersey CAC. This resulted in connection with one music therapist. Finally, I utilized
            social media to find music therapists working in CACs. Together, the two efforts (the
            CAC member listserv and the social media effort) revealed the number of music therapists
            working at CACs in a clinical capacity in the single digits. Two music therapists that I
            spoke with worked full-time as music therapists in CACs<sup>
               <xref ref-type="fn" rid="ftn1">1</xref>
            </sup> as mental health professionals and offered group and individual services. The two
            music therapists worked primarily with early-elementary aged children through
            adolescents (approximately 7–18 years). This age range is consistent with the adoption
            of trauma-focused cognitive behavior therapy as the primary treatment method in CACs
            across the country (<xref ref-type="bibr" rid="N2016">National Children’s Alliance,
               2016</xref>). The music therapists ran group and individual sessions and were
            considered part of the treatment team within the CAC that employed them. A third music
            therapist was in the process of being hired by a CAC in New Jersey. However, the
            clinical responsibilities of that therapist are unknown at the time of this writing. One
            of the music therapists I spoke with created a Facebook group to encourage clinician
            collaboration and information sharing.</p>
         <p>Neither music therapist that I spoke with consistently provided music therapy services
            for children under 7 years old. The lack of availability of music therapy did not
            reflect clinical need: the clinicians felt that there was need for services for very
            young children seen at the CAC, particularly services that included the non-offending
            parent. Rather, the lack of services offered to children less than 7 years seemed to be
            a reflection of the choice of treatment models adopted by the CACs. What follows is a
            description of a small group music therapy approach to fill a need for family-services
            for children under 5 years and their non-offending parents. The CAC identified this need
            and approached a local music therapy private practice with a request for proposal for
            clinical services.</p>
      </sec>
      <!-- sec lvl 2 end -->
      <!-- sec lvl 2 begin -->
      <sec>
         <title>Proposed Music Therapy Services for a CAC in New Jersey</title>
         <p>A proposal to offer music therapy has been accepted by a CAC in New Jersey; the CAC is
            actively seeking funding for the project to go forward. The CAC requested a proposal to
            implement music therapy services for the children they serve under the age of 5 years
            and their non-offending parent/caregiver. The CAC identified a lack of services for this
            population of clients.</p>
         <p>The proposal includes the implementation of group music therapy, using the Music
            Together Within Therapy®<sup>
               <xref ref-type="fn" rid="ftn2">2</xref>
            </sup> framework to support parent-child music-making both within the music therapy
            session and to increase the likelihood of family music-making outside of music therapy.
            The Music Together Within Therapy® (MTWT) program is a set of materials that individual
            clinicians can obtain the trademark license to use in their clinical work. These
            materials provide the clinician with developmentally appropriate music suitable for use
            with children birth trough early elementary age (7-8 years of age) and additional
            materials for parents/adult caregivers. MTWT providers design interventions according to
            the assessed needs of the parent-child dyad. The goals of the proposed program include
            improving parent-child interaction and bonding and supporting parents with additional
            parenting tools as they move through the healing process after a traumatic incident has
            occurred. The decision by the music therapy practice’s clinical director to implement
            the Music Together Within Therapy program is supported by the combination of the
            therapist’s clinical judgment, prior experience offering Music Together for a population
            in crisis (see Guerriero, 2018 in this issues of <italic>Voices), </italic>and the
            alignment of Music Together’s philosophy with parenting programs to support the
            parent-child relationship (<xref ref-type="bibr" rid="MT2012a">Music Together LLC,
               2012a</xref>) and alignment with the
            Strengthening Families Program (<xref ref-type="bibr" rid="MT2012b">Music Together
               LLC, 2012b</xref>). Strengthening
            Families Program is a parenting curriculum designed to increase parental competence in
            five areas: 1) resilience, 2) social connections, 3) concrete support in times of need,
            4) knowledge of parenting and child development, and 5) social and emotional competence
               (<xref ref-type="bibr" rid="C2018">Center for the Study of Social Policy,
               2018</xref>).</p>
         <p>Weekly small-group music therapy sessions will be offered at no cost to families
            identified by the CAC. The program is designed to function under the victim advocacy
            services and is offered to families seeking services for their young child has been a
            victim of abuse. This family-based model is designed to include all children in the
            family and non-offending adults. Program evaluation, including an analysis of the
            response to the music therapy intervention on parenting stress, children’s level of
            engagement in developmentally appropriate music-making, and evidence mutual parent-child
            regulation are planned to inform the development of a model of group music therapy
            treatment for families with very young children.</p>
      </sec>
      <!-- sec lvl 2 end -->
      <!-- sec lvl 2 begin -->
      <sec>
         <title>Recommendations to Music Therapists</title>
         <p>Music therapists in the United States seeking to serve needs of clients through CACs
            will need to be well versed in the mission and philosophy of NCA and have a working
            knowledge of the role of the CACs and MDT. Music therapists outside of the US seeking to
            establish a working relationship with an organization similar to the NCA may find the
            literature review offered here helpful, in addition to country-specific resources and
            research on abuse and neglect. In this author’s experience, a deep knowledge of the
            relevant research in trauma-informed therapy, including trauma-informed music therapy,
            is important.</p>
         <p>The following recommendations are offered based on the author’s experience interfacing
            with the New Jersey Children’s Alliance and the CAC that requested the music therapy
            proposal. These recommendations are offered as “lessons learned” and should be filtered
            through the lens of the specific local organization providing treatment for children who
            have been abused and their families. One hurdle in the establishment of the music
            therapy program was to provide a comprehensive literature review specific to music
            therapy with very young children and their non-offending parents where abuse was the
            central therapeutic focus. It is also clear, from discussion with the CAC
            decision-making staff that the strength of the music therapy proposal rested in the
            clear articulation of how this proposal could assist the CAC in meeting their strategic
            objectives for providing evidenced-based treatment. In the case of the aforementioned
            proposal, the strategic objectives of the CAC were aligned with those of the NCA.</p>
         <p>Music therapists must also be well versed in the primary evidence-based trauma-informed
            interventions employed by mental health professionals at CACs or their local
            organization charged with treating children who have been abused andthe members of their
            family who did not abuse them (also known as “non-offending family members”). For
            example, a review of NCA’s yearly outcome report<sup>
               <xref ref-type="fn" rid="ftn3">3</xref>
            </sup> is a useful first step. Additional information on treatment options were
            described by the National Child Traumatic Stress Network<sup>
               <xref ref-type="fn" rid="ftn4">4</xref>
            </sup>. While the NCA <italic>Standards</italic> state that mental health professionals
            must be appropriately licensed or certified, it is likely that NCA accredited CACs will
            opt for master’s level clinicians over bachelor’s level clinicians to ensure compliance
            with the mental health standard<italic>.</italic>
         </p>
         <p>Music therapists who are not employed by the CAC but are members of the partnering MDT
            agencies should be able to follow the requirements of the <italic>Standards</italic>
            regarding case review and case tracking; this is a requirement of the current NCA
               <italic>Standards</italic> (<xref ref-type="bibr" rid="N2017">2017</xref>). While
            there are currently no known music therapists who contract independently with CACs as
            members of the MDT, the impact of these two standards (in addition to the requirement to
            be appropriately licensed with preference for master’s level clinicians) must be
            considered. The extent to which music therapy private practice owners can ensure that
            they have the ability to meet the NCA <italic>Standards</italic> may impact the ability
            of a music therapy practice to be considered an appropriate partnering agency.</p>
         <p>NCA’s commitment to excellent treatment of children who have been abused and their
            non-offending family may be another point of philosophical congruence and clinical
            collaboration that music therapists can pursue. The NCA measures outcomes of MDT
            coordinated efforts through a yearly retrospective process. At the time of this
            article’s writing, the NCA’s <italic>National Report on Outcomes for Children’s Advocacy Centers<sup>
                  <xref ref-type="fn" rid="ftn5">5</xref>
               </sup>
            </italic> (<xref ref-type="bibr" rid="N2016">2016</xref>) indicated a high level of
            agreement among MDTs and families on the high level of care children and families
            received at CACs. The presence of music therapy at CACs may contribute to the high level
            of satisfaction experienced by families.</p>
         <p>The NCA is a large network of providers with a defined standard of care that attends to
            a clinical population that can benefit from the unique services that music therapists
            provide. The few music therapists that currently work for CACs report that young clients
            and families value their work. CACs desire to provide evidence-based treatment options
            for their clients and currently do not include music therapy among the treatment
            interventions in their annotated bibliography that drives their
               <italic>Standards</italic> for member organizations: a review of the NCA’s (<xref
               ref-type="bibr" rid="N2013">2013</xref>) annotated bibliography for the keywords
            “music”, “rhythm”, “song”, and “melody”, revealed no results.</p>
         <p>The literature on music therapy with children who are victims of abuse exists, but there
            is no availability of a fact sheet or bibliography currently available on the American
            Music Therapy Association (AMTA) website to share with CACs or NCA. The presence of a
            bibliography on this topic would empower music therapists seeking to make their services
            available to CACs/MDTs. Further, the lack of randomized controlled trials on music-based
            interventions for children who are victims of abuse and their families may contribute to
            the relative paucity of music therapy services available at CACs. The above brief review
            of the existing music therapy literature on the topic reveals a predominance of
            literature focused on the treatment of adolescents but a paucity of literature on music
            therapy with children under 7 years of age who have been abused and their non-offending
            parents.</p>
         <p>Consistency of treatment implementation is a primary driver of evidence-based treatment;
            as yet, a standard of music therapy practice for the treatment of children who have been
            abused does not exist. The reader is encouraged to further review the work of Cordobés
               (<xref ref-type="bibr" rid="C2012">2012</xref>) for an example of treatment
            planning for a child victim of abuse.</p>
         <p>Clinician isolation may be a factor in the transmission of best practices between and
            among music therapists. There are relatively few music therapists in the continental US;
            the number of music therapists who report working with populations who have experienced
            abuse may not be sufficient to meet future demand for service. According to the AMTA
            2017 workforce analysis, 84 music therapists reported working with individuals who have
            been abused, including sexually abused; some of the 27 newly created positions and 5
            private practices created in 2016 served the abused/sexually abused population. Some of
            the 47 new positions within existing programs serve individuals who have been abused,
            including sexually abused populations (<xref ref-type="bibr" rid="AMTA2017">AMTA,
               2017</xref>). Deeper analysis of the workforce data may reveal greater specificity of
            the positions. Music therapists interested in connecting with a community of music
            therapists to share best practices in music therapy with trauma, child abuse, neglect,
            and domestic violence can connect in a closed Facebook group.</p>
         <p>Music therapists and other members of society can lend their combined advocacy to the
            work of the National Children’s Alliance by following the legislation on the Victims of
            Child Abuse Act, the primary NCA’s primary source of federal funding) and contacting
            their federally elected representatives to request its reauthorization.</p>
      </sec>
      <!-- sec lvl 2 end -->
   </body>
   <back>
      <fn-group>
         <fn id="ftn1">
            <p>To see public testimony regarding the importance of music therapy services in a TX
               CAC, please watch the public testimony here: <uri>https://youtu.be/RC9_jvG-5jg</uri>
            </p>
         </fn>
         <fn id="ftn2">
            <p>
               <uri>https://www.musictogether.com/parents/special-needs/within-therapy</uri>
            </p>
         </fn>
         <fn id="ftn3">
            <p>Available at
                  <uri>http://www.nationalchildrensalliance.org/measuring-cac-outcomes/</uri>
            </p>
         </fn>
         <fn id="ftn4">
            <p>Available at <uri>https://www.nctsn.org/treatments-and-practices</uri>
            </p>
         </fn>
         <fn id="ftn5">
            <p>
               <uri>http://www.nationalchildrensalliance.org/wp-content/uploads/2018/02/OMS-National-Report-2016-1.pdf</uri>
            </p>
         </fn>
      </fn-group>
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