While recording traditionally has been viewed as a practical, adjunctive role of the music therapist, here the authors examine the skillful use of recording devices and software as fertile ground for the development of therapeutic programs with tangible benefits for adult clients in a concurrent disorders recovery setting. The integration and layering of musical composition with musical performance, digital technologies, and production invite rich and engaging conversations about therapeutic goals, processes, and outcomes. Using program evaluation and reflections on practice, the authors discuss how their interactions with clients through recording have yielded new insights into therapist roles and identities as well as expressions of music therapy. We outline the case for therapy-oriented recording, and a description of the authors' setting and information collection methods identified before a literature review on the use of recording in music therapy. The authors then distinguish four types of therapeutic recording illustrated by case examples from work with clients. The article culminates with a discussion of challenges and benefits associated with therapeutic recording. The authors conclude that recording offers critical and rewarding, yet often unrecognized, opportunities for music therapists to be innovators in their field.
Our focus on the therapeutic benefits of recording has evolved through our professional
roles and commitments. We are staff music therapists at a Canadian public healthcare
facility for the treatment of concurrent disorders: mental health and addiction. The
writing of this article draws on our individual and shared experiences using,
discussing, and reflecting on the uses of recording as a potent and legitimate framework
for music therapy. There is little written on the use of digital music technologies in
music therapy. For readers who wish to develop their knowledge of music technology in
music therapy we refer to the works of Crowe and Rio (
Our emphasis on recording developed after staff music therapists were hired at their current facility approximately six years ago. Our studio resources today include an Apple 24-inch desktop computer with GarageBand, a FocusRite Scarlett 18i6 audio interface device with eight XLR/MIDI/quarter-inch inputs, a Mackie mixing board, and a Røde condenser microphone along with earphones to minimize bleed during recording. A secondary effect of the microphone is that it suggests a professional recording studio environment for clients. The studio also has an electronic drum kit that can be plugged directly into the audio interface; bass, electric, and acoustic guitars with compatible pick-ups; and a full-sized Yamaha digital piano—all of which are capable of input into the same interface. This makes it possible to record up to eight instruments cleanly without background noise and for clients to collaborate in the studio. This realization compelled us to search for ways to make use of our resources, which in turn led us to explore the value of recording in depth. At the same time, clients were extremely motivated to have opportunities to make recordings.
While setting up and using the equipment, we found that many program participants were impressed by the acoustic instruments and a wide range of recording devices around them in the physical environment. Some knew how to use digital and nondigital technologies; others did not, but were mesmerized by resources that were accessible to them and that afforded them a different quality of programming experience than they expected or were familiar with receiving.
When can recording function as a music therapy technique? How important is the product, that is, the actual recording produced in the course of therapy? What do clients notice and hear in their recordings? Can recordings be used as texts to document, analyze, and evaluate individual and group participation, engagement, and progress in specific areas over time? What benefit does recording afford clients in terms of their recovery and well-being? What kinds of planned and organic structures and decisions would support the use of composition, recording, and production as purposeful music therapy interventions? In short, how could we draw on the wonder and power of recording to inform our roles and responsibilities as music therapists to support clients’ health in our sessions?
We are guided by the conviction that music therapy uses music experiences and
client–therapist relationships for therapeutic change (
Our healthcare provider offers treatment services to clients in a
concurrent-disorders, tertiary treatment setting. Tertiary care is for clients
requiring specialized support from staff skilled in the treatment of complex issues.
Concurrent disorders are defined by the Centre for Addiction and Mental Health (
Music therapy is increasingly recognized as an essential modality in the treatment of
concurrent disorders as reflected by the growing number of referrals we receive. It
is documented to be an effective means of motivating clients to engage in recovery
(
In this healthcare environment, a key focus for clients with concurrent disorders is
optimal health at different levels and stages of recovery. One level is the quality
of life for clients through programs that offer a sense of hope and positive change.
Another level is decision-making skills. We ascribe to anti-oppressive practice,
which seeks to empower clients with decision-making processes and to provide
programming centering around the client's musical resources and skills (
As our recording programs became established and we refined our technical skills and understandings of client needs and interests, we decided to delve further into the value of therapeutic recording. Staff music therapists led the practice-based inquiry with music therapy students and interns over six years between 2013 and 2019. Consent to release information about clients’ experiences in music therapy was routinely obtained. Consent included options for audio-recordings or video-recordings as well as options for session content to be used in our informal inquiry, teaching, presentations, and publications. Clients could consent to any or all of these. We also let them know they did not have to provide consent to participate in our inquiry in order to receive music therapy at the facility and that at any time their consent could be withdrawn. To further strengthen our understandings of our fieldwork, we conducted a literature review on therapeutic recording as described below.
A survey of literature reveals growing recognition of recording as an essential
component of music therapy across a range of practices and settings, including mental
health and addiction (
Historical precedence for recording a client's music with therapeutic purposes in mind
occurs as early as Priestley's (
Music therapy pioneers Paul Nordoff and Clive Robbins (
More recently, attention to recording in specific contexts is explored by Hadley et al.,
(
Recording lyrics provides the opportunity to eternalize thoughts and feelings followed
by hearing one's voice in the finished product and the impact of the statements and
emotions expressed (
One reason for music therapists to listen attentively to recorded lyrics is to get a sense of the overall state of health of a client. In the cases of clients with concurrent disorders, we may notice signs of psychosis or mania. At the same time, there may be indicators of hopefulness, determination, and a desire for positive change. The significance of recording in this context is an ongoing mandate to support clients in their pursuit of optimal health.
Though precedents for recording in music therapy are readily available, it is
challenging to find works that identify recording as the primary therapeutic focus.
Recording is routinely perceived as a necessary adjunct to facilitating therapeutic
programming as opposed to the concept that it has the potential to be a key component to
music therapy. In Magee’s preface (
In our music therapy sessions and inquiry, we have found it helpful to consider of four applications of recording, each with its identifying features, considerations, and therapeutic benefits. They include: 1) vocal recording, 2) instrumental recording, 3) recording and video production, and 4) recording and electronic composition. The various forms overlap with each other, but each one can be self-standing. There is a sense that they are qualitatively distinct from one another musically and therapeutically.
We have observed contrasts as well as congruences among the four applications in different music therapy programs we offer three times per week, including Rap and Recovery sessions, a program for recovery-based lyric writing and recording; and, Recording Studio, sessions for individual and collaborative recording projects which can be any variation of vocal, instrumental, and electronic music. Individual music therapy sessions may also include recording. In the writing that follows, we describe each of the four types of recording and provide supporting case examples.
Vocal recording encompasses the range of communicative expression used in conjunction with recording. Examples of vocal recording we witness include songwriting, rapping, singing, vocalization, beatboxing, freestyling, and speaking. In recording sessions, clients may use original music or perform a cover version of a pre-composed song. Vocal recording also includes opportunities for mindful listening, another oral language proficiency.
One popular music therapy group centered around recording that we developed is called
Rap and Recovery. We have found that rap can become a personal avenue of insight and
expression. The result can be engaging explorations and discussions around life
experiences and goal setting, coping mechanisms, personal perspective-taking,
self-awareness, and identity (
The Rap and Recovery program invites clients to create a group recording in order to
listen to, discuss, analyze, and process individual thoughts and feelings as they
relate to recovery. Imagining and planning for change and the future can include
where the hook or chorus comes in and what that message is about, examining the
direction of the song, i.e., where does the story go? What is the outcome of events?
In our concurrent disorders setting, we have found it helpful for clients to consider
what comes after substance use. Planning for a weekly session typically begins with
the music therapist preparing (curating or creating) a beat and a song title/theme.
Examples of themes/song titles include “Why I started using substances,” “I want a
better life,” “I can do this”, “Suffering and transcendence”, “A year from now”, and
“When I’m kind to myself”. An alternative approach is to invite clients to choose a
theme that resonates with the group and the tone of the beat during a session (
Following theme selection, participants write and record lyrics to a beat while the therapist makes notes of images, keywords, phrases, and other elements used by clients during a music therapy group session. Lyric writing is usually preferred over freestyle because planning and execution are valuable where impulse control is often a significant challenge. However, freestyled lyrics can reveal uncensored thoughts, impulses, and default modes of functioning, thus revealing unconscious drives, thought patterns, behaviours, and cognitive distortions that can be worth exploring with a client. On one occasion, a client began a freestyle rap about being broke then stopped himself after he said, “Gonna get a needle….” It is useful at times such as these for clients to reflect on default impulses and be the editor of their own narratives.
When it is time to record, all clients are encouraged to step up to the microphone, listen to the beat and their voice through the headphones, and record their lyrics. In cases where clients are hesitant, the music therapist encourages them to speak or even sing the words over the beat. If clients do not want to record, that is also respected. Clients are also invited to read their lyrics from where they are seated, and once they have a successful experience of that vocalization, they often have the confidence to record their words. When one client leads the way, others will also participate. Experiences creating and recording songs together can strengthen group cohesion.
We believe that insight comes in many forms, and sometimes it emerges from the recording. In one instance, a client came for an individual recording studio session during which she freestyled her lyrics. The therapist and client listened to the completed recording, and the therapist noted to herself that the lyrics consisted of tangential thinking, free association, and random rhymes. Patterns revealed in how a client makes use of music and relates to music can inform the therapist about the psychological state of the client. Questions such as “What's the song about?” may prompt a client to make meaning out of lyrics. “What's the name of the song?” is a question that can lead the client to some insight in attempts to summarize lyrics into a song title, a task that can be challenging for those whose thought processes are disjointed. Whereas music-centered approaches emphasize the centrality of music as a catalyst for change, we feel that insight-based discussions of lyric content offer different perspectives of a topic and that revelations shared can promote bonding and empathic behaviours among group members or within an individual. Follow-up discussions also serve as opportunities for clients to practice their social skills and assertiveness by giving each other feedback about lyrics and by expressing their thoughts, attitudes, and feelings about themselves and their recovery. Social competence is a standard goal area in this population, where the acuity of mental health issues, adverse childhood histories, and cognitive impairment from extensive substance use have disrupted interpersonal relationships.
For clients who do not play an instrument and who do not like rap, another recording-based technique is singing to a karaoke track, though we sometimes re-create a song using acoustic instruments. The latter allows for the concept of a cover version of the song. Doing a cover version implies making the song one's own and can relieve perceived pressures of thinking one needs to replicate the original perfectly. A cover song also allows us to adapt the key to the vocal range best suited to the client.
The importance of the voice in music therapy sessions cannot be underestimated. The
acceptance of one’s voice can be a tender process as clients discover their agency in
singing a personally meaningful song (
When clients want to record precomposed lyrics vocally, we encourage them to choose a personally meaningful song that speaks to their therapeutic goals. This kind of song can be vastly different from a favourite song. In the case of the latter, it may be the accompanying music or beat and not the words that are liked or even consciously noticed. Sometimes clients may need permission and coaching to alter original lyrics in ways that are personally significant and potentially transformative.
The impact of recording a profoundly moving song exists in Owen's story, a man in his fifties with a history of severe alcoholism and Major Depressive Disorder. He came for treatment on two separate occasions at the healthcare facility where we work. In his second stay, he focused on his expressive domain.
Owen showed up at the door of the music therapy studio, saying he wanted to record. Owen began by participating in karaoke in music therapy, but remained shy about his voice and was self-critical. Still, he continued to sing and record in music therapy sessions and made significant progress around his self-worth and agency. Owen later reported to the music therapist that he felt he had been limiting himself by only focusing on his physical health during his previous stay and that he wanted to broaden his resources and discover more about his creative self in hopes that this would help with relapse prevention. His music therapy began with singing and recording songs to acoustic accompaniment, then participation in music therapy groups, eventually becoming the lead singer in a band consisting of clients that were video-recorded. As another domain of recording, video-recordings of performances and concerts, whether individual or group, provide a tangible outcome of a client's accomplishments.
In initial band practices, Owen and other band members decided on a set of songs.
We printed lyric and chord books and scheduled regular rehearsals on Sunday
evenings. At the onset, Owen sat in a chair and cast his eyes down on the
songbook. He was worried where to come in after instrumental breaks, was reticent
to use the microphone, and looked more like the wounded boy he carried within him
than a self-assured man in his fifties. He was experiencing a degree of regression
related to childhood trauma. It is not uncommon for clients who have endured
traumatic early life experiences to present as regressed, that is, functioning
from or sometimes retreating to, an earlier developmental phase (
Music therapy goals for Owen included fostering his agency, adopting a singing posture of confidence, and engaging successfully in leadership. He responded well to coaching. We encouraged him to own the stage, to make eye contact, and to stand when singing in order to “own” his presence. If the key was not right for him, he spoke up and said so, and modulations were made. A second client played electric bass. A third client who played electric guitar attended only sporadically was later discharged against medical advice. We continued to be enthusiastic about continuing with the show. As the concert neared, we discussed the need for a master of ceremonies, believing it is best if a client can fulfill that role. Owen and another client volunteered to share the responsibility. They independently researched background information about the songs, created cue cards, and were very well prepared. On concert night they introduced each song with confidence, stage presence, and humour. There was consistent enthusiasm in rehearsals because of the joy of music, the collaborative energy, and anticipation of the concert, also because the concert would be filmed. We filmed the clients featured in the band using informed consent then provided copies of the DVD to each participant. The following is a segment of a letter Owen wrote where he detailed his experiences in music therapy during his recovery. Citations are added where he references songs.
According to Carl Jung, some of our most precious and extraordinary gifts lie
in the shadow of our unconscious, devoid of expression. They may be utterly
unknown to us, or we may have banished them there for our reasons. I had no
notion of this when, as a new client at the facility, I first wandered
downstairs to listen to others sing karaoke. Music and song held power to move
me, but addiction had sickened my mind, body, and heart. One by one, other
clients sang, then the music therapist asked me if I'd like to pick a song. The
previous client had sung Johnny Cash's rendition of “Hurt” (
Midway through my second stay at the facility, I signed up for “Recording
Studio,” which is offered twice weekly. I had heard the commotion of others
laying down rap beats, but I had something milder and “Gentle on My Mind”
(
“Hallelujah” by Leonard Cohen (
Owen's process of expressing himself through his voice facilitated improved
self-confidence and self-worth, a finding supported by Baker, Wigram, Scott, and
McFerran (
Recording instruments, both acoustic and electronic, is useful for clients who want to rehearse and capture their music to produce an audio-recording. Their music can be improvised or based on songs created by themselves individually or in a group; it may also be precomposed songs written by others. In the case of the latter, this affords opportunities to do a cover version. The music therapist offers to hook up equipment and run recording software, guide and give prompts about sound levels, checks positions of clients with each other, and monitors any other elements the group may need to consider for optimum recording success.
For certain clients, the opportunity to record instrumental music is particularly well suited to their skills within this expressive domain. While some individuals may combine all forms of recording, including vocal and electronic composition, others are most comfortable on an instrument only since it does not require verbal communication. Bear in mind that the vast majority of clients have had no formal training in music lessons and music theory. They rely primarily on their innate capacity to play by ear and to learn music through repeated listening and repetition. We have noticed that in the case of clients with substance use issues before admission who also have psychosis, music often serves to fascinate and engage. Although recording is not required during an improvisational session, clients remain enthusiastic about recording their music, and it is common to record a 20-minute improvisation without a break.
Among those clients who wish to play and record an instrument are those who practice consistently in isolation. While they desire to record their music, they may find it challenging to record with someone else. Although recording is not required during an improvisational session, clients remain enthusiastic about recording their music, and it is common to record a 20-minute improvisation without a break. We store all client recordings in an individual client's folder on an office computer specifically for music therapy sessions. When listening to their recordings, clients can not only focus on technical elements of recording, but also discuss their future plans, the general mood of the piece, and respond to prompts from the therapist about favourite moments, song title, endings, structure, musical dialogue, and other potentially therapeutic topics. Based on the feedback we have received, clients feel that being in a recording studio elevates the experience of music-making.
When Dean attended his first Rap and Recovery session, he entered the room and headed towards the electronic drum set and began playing. It was apparent that he had musical skills. Once settled into the rap session, however, Dean found he was unable to write lyrics based on the session's theme. Even with individual coaching during the group, he struggled with this task. We recognized that his diagnosis of Fetal Alcohol Spectrum Disorder might be interfering with his ability to produce written lyrics. He encountered this challenge each week, but wanted to persevere. While exploring ways to support him, we were also mindful that Dean's initial focus of attention in the studio had been the drum set. One week, when the rap group had ended early, we asked if anyone wanted to “jam”. Dean volunteered to play drums and, to our surprise, Mark, another reticent client, said that he would play acoustic guitar. Mark had refractory psychosis and was also significantly challenged in verbal-centered groups, but had never expressed an interest in or capacity for playing guitar. Both Mark and Dean asked if we could record their improvisations.
In this particular situation, recording occurred by capturing music from the microphone in the room, but for a cleaner and acoustically balanced effect plugging in the instruments to the audio interface supports a higher quality recording. By hooking up instruments, a clean rendition allows clients and therapists to talk (e.g., cues to count in order to finish a song) and ignore unanticipated noises such as the ring of the office phone or a knock at the studio door. Typically, the music therapists intervene musically and verbally as minimally as possible during a recording when clients desire to play music together. Instead, we observe clients' potential to self-organize and assess the degree of assistance they want or need as we did with Dean and Mark on this occasion.
Both enjoyed listening to their final recording. The process of listening also made the clients aware of what happened when they did not play music together. For example, they would increase their speed as the music continued, and they would struggle to find a satisfying ending to their performance. Recording together required planning, timing, and a measure of reciprocal listening. After listening to their improvisations, both clients heard imperfections and errors, but were coached to understand that their performance did not have to be perfect. Improvisation, like life, can include both dissonance and beauty.
Nevertheless, we were able to inquire about the parameters of an improvisation that would lead to the feeling of a more polished recording. Factors such as making eye contact or giving a verbal cue when both clients wanted to end the song were elements they wanted to improve. Part of this could be supported by asking them to position themselves in each other's lines of sight, so they could rely on visual as well as auditory cues as the song unfolded. Questions around musical endings also led to a discussion about ways of tying up a song. With supportive questions and input, we collectively problem solved for the next recording and invited them to sign up for a Recording Studio session.
Dean and Mark made use of Recording Studio sessions each week. Plans to do further recordings resulted in the ambition to practice between sessions. The result was ongoing rehearsal and collaboration between them in the music therapy studio and during the week in the practice room that sits adjacent to the studio. Both clients recorded several improvisations and cover songs. The music therapist sometimes assisted structure by playing a third instrument such as a keyboard or electric bass or by using the click track in GarageBand to help the clients maintain a steady beat.
One result of both clients playing and recording together regularly was that
Dean's musicality in other areas began to shine. It was evident that he possessed
musical skills not only on drums, but also on acoustic guitar and as a singer. His
strong musicality, including perfect pitch, enabled him to reproduce complex
chords and rhythmic patterns that he had learned by listening to one of his
favourite bands, Porcupine Tree. He recorded an initial draft of a song of theirs
called
Music today often consists of its portrayal through a visual form on the Internet and television channels featuring music videos. For this reason, some clients feel like it is a natural outcome of creating music to produce their music in a visual format. There are different scenarios in which recording and video production operate together. They include: 1) videotaping clients who record music while rehearsing, 2) videotaping a polished recording of a song; 3) videotaping live client performances, including on-site concerts, and 4) videotaping clients who may wish to post a song on social media.
There are significant benefits to each type of video production as well as specific decisions from creative and therapeutic perspectives why one form of video production might be valued over another. In the case of rehearsal videotaping, the music therapist may wish to provide feedback to clients regarding musical technique, lighting, vocal and on-stage presence, eye contact, and opening and closing of a song. Video production of a final recording that clients have rehearsed is comparable to a music video in the music industry. It serves as motivation for clients to plan, practice, and adjust their performance towards this desired outcome.
Videotaping a live performance creates a legacy or permanent record for clients to share with others. It is also a tangible reminder of success that allows the music to remain with the client and offers a sense of completion and satisfaction. Beyond creating an mp3, clients can distribute their music to share with friends and family through social media platforms. Posting a recovery-themed song to a social media site can be straightforward, but requires an image or visual embedded in it to be posted there. We sometimes use iMovie or similar software to create a simple video with a client-generated title. Even a single, public domain image or photo of the client can readily lead to video creation.
Sometimes ideas for video production emerge from the recording process. Such is the case with the creation of a music video of a feature song or tribute song. These are best made when filmed live rather than dubbed over because of the challenge of lining up the audio with the visuals. We use a hand-held camera purchased for use in the music therapy studio. This allows us to film clients such as Owen or to assist others in the production of their music video as illustrated in the upcoming case example of Geoff.
Clients are still developing self-confidence and social skills as part of their recovery. On one occasion, the first author started supporting a client with schizophrenia who had hopes of creating a music video. Geoff experienced anxiety when working on the production of a music video. In both cases, the recording and video production processes raised technical considerations as well as artistic and therapeutic forms of assistance.
When Geoff entered treatment for schizophrenia and addiction, they reported at rounds that his only self-identified strength was rap. He had refractory psychosis, a symptom of schizophrenia. He also had a diagnosis of antisocial personality disorder. Geoff was barely engaged in other programs on the assessment unit and routinely self-isolated in his room.
An invitation to come to the music therapy studio was met with enthusiasm. He brought a few pages of written lyrics, and the music therapist gave him a notebook to continue writing new material. This first song contained disparaging remarks about his brother, which the client was reluctant to discuss in any detail.
After many challenges with psychosis and about three months into his stay, his psychiatrist recommended that Geoff take clozapine, an atypical antipsychotic medication mainly used for persons with persistent symptoms of schizophrenia. Geoff revealed to the music therapist that he was hesitant to take medication for fear it would dampen his creativity. His concerns allowed us to discuss perceived drawbacks versus the possible benefits of the medication. Geoff wondered if it would lessen his psychosis and, if that were the case, what his writing would reflect. Maybe it would be different. Maybe a new style would emerge. Geoff decided to try the medication.
The results were dramatic. Geoff gained insight and was less isolative and calmer. Before clozapine, he had done recordings of lyrics that he had written and given freestyled performances to beats that he had chosen. The lyrics used clever rhyme schemes that were tangential, roaming from one idea to another, lacking a cohesive narrative or central theme. While exploring his lyrics with the music therapist, Geoff understood that he could not give his raps a title because his thematic content was unclear and at times obtuse. Asked about writing a hook, he needed support to identify threads that tied his writing together. It is important to note that Geoff appreciated such questions; he wanted to better himself as an artist and understood the need to connect with his audience. His initial goal was to write songs in order to become famous, but slowly he began to recognize that songwriters sometimes write about their own lives and experiences.
With a nudge from the music therapist, he began to write about personally meaningful topics, including the experience of having schizophrenia. The music therapist noticed that his lyrics were expressing greater care for others as evidenced by songs he wrote for patients in a children’s hospital and later about his stepfather and brother.
As his self-confidence continued to grow, Geoff decided that he would like to produce a post-recording music video on YouTube featuring him performing one of his original songs, a composition about his mental health. Using a handheld camera, we filmed him rapping his song as he listened to it in his headphones. Videotaping took place in the music therapy studio and outdoors to allow for different locations and angles. The video was edited in iMovie and overlaid with the original recording. Geoff was impressed with the final product then posted the video on his YouTube channel. With the culmination of a recovery and mental-health-themed music video, Geoff fulfilled his goal.
With the posting of the video, though, he became fearfully anxious about having to perform on tour if the song went viral. “Though maybe thinking it will go viral is my psychosis”, it was a moment of self-awareness followed by a discussion about how being hopeful is healthy, but it is important to maintain realistic expectations and to write songs first and foremost for oneself because creativity is a rewarding component to life. The music therapist said, “Even if it does go viral, you can choose how you respond. You do not have to give concerts unless you want to. You're in charge here. You can continue producing the occasional song for release on YouTube. You can keep it manageable.” Geoff looked visibly relaxed and nodded, exhaling loudly. From an anti-oppressive perspective, Geoff was supported to develop his agency and was able to recognize that he was the decisionmaker regarding his creative output. He also developed an awareness of whether his psychosis was being activated, showing progress from his initial admission to the facility.
There were also opportunities for Geoff to review his lyrics and artistic style. After he started taking clozapine, he listened to several recordings from previous music therapy sessions. He re-examined disparaging comments he had made about his brother in the first session. In response, he wrote a new song that expressed feelings of care for his brother and newborn baby while describing how he had felt cast aside, as well as how his schizophrenia and addiction had fractured his relationship with his brother. He also commented that in many songs he was speaking very quickly and that the content did not make much sense. The music therapist agreed that the pace was fast, but also noted important phrases that were worth writing down as focal points.
There was therapeutic value in this discussion and a positive rapport between Geoff and the music therapist. Geoff requested that the music therapist delete his first song that denigrated his brother. He was concerned about how his brother might feel if he heard the song. These moments of empathy contradicted his other diagnosis of antisocial personality disorder, which is sometimes assigned early in a client’s medical history when under the use of substances and in psychosis, where their presenting behaviours can be markedly different. When mentioned at rounds, the psychiatrist agreed that Geoff no longer met the criteria for the disorder.
Intentionality and planning, identified by Bent Jensen (
Electronic composition involves the use of software to create music and soundtracks
on a computer. In addition to electronic composing software, we use an audio
interface, music effects processors, a MIDI keyboard, synthesizer, mixer, speakers,
and headphones. Technologies and equipment available for electronic composing and
recording are continually evolving. At its simplest, electronic composition can occur
with only a computer, which is often more accessible to clients than a studio with a
variety of equipment input options. It is vital for music therapists to take an
interest in electronic recording and to familiarize themselves with the most current
technologies, then develop the skills needed to use the technologies effectively for
specific therapeutic purposes. Our work is informed by Michael Viega’s (
Electronic composition and recording may involve multiple segments of recordings
sourced from other inputs or software loops. Skillful use of software, like hardware,
allows clients different options for expressing their creativity and refining the
type of recording they wish to produce (
There are similarities and differences between electronic and traditional forms of
composing and recording. Traditional views of composition may include creating chords
and lyrics or score for a song. Electronic composition is done on screen and is,
therefore, more visual and auditory rather than written. Possibilities for creative
expression through electronic means are akin to those expressed on traditional
instruments. However, electronic composition may also involve experimental forms of
composing, using new elements, frameworks, sounds, genres, and ideas about what
constitutes music. Beat making used for electronic composition, for example, falls
into the category of sound expression and musical talent (
The use of electronic composing and recording can shift roles and responsibilities in the client-therapist relationship. Typically, there is an ongoing need for collaboration, consultation, and willingness to support a client’s vision for a particular type of recording. Clients in our music therapy sessions have different backgrounds and levels of comfort using recording software. Although some may have advanced digital literacy skills, others may require assistance from the music therapist to make optimal use of an application in order to produce a final recording. Clients are also encouraged to spend time by themselves in the studio wearing headphones to continue work on their compositions. The therapist is accessible nearby should the client need support.
Electronically produced music has shared and distinct benefits. The first is that it responds to a client's area of passion in music and therefore serves as a point of entry into music therapy. While it involves more time in front of a computer, it engages the same skills as those used in other types of recording: planning, listening, skill acquisition and development, discussing and critiquing a draft or complete work, editing, product creation, and dissemination. By integrating clients' creative expression with music therapy purposes, processes, and outcomes, the recording process will serve types of artistic and personal needs for those living with concurrent disorders.
I find my personal taste now driven towards Techno, Tech House, House, EDM …it keeps my brain active and intuitive and creative. Music’s played a different role in my recovery…it’s really changed my perspective. Being able to do something like this [composition] gave me the happiness of believing in myself. In this last relapse I knew I was pretty far off …I didn’t want to just chase a dream. Music therapy has taught me how to do it and create something that is tangible. It helps me organize my thoughts. Music, it’s a beautiful thing, right? It’s like my eyes open up, like ahhh, I breathe a sigh of relief because I’ve found something that calms my schizophrenia.
Vincent, a 40-year-old man with schizophrenia, was already skilled at creating
ambient soundtracks. “Ambient” does not refer to background music, but rather
music that possesses an aesthetic quality paired with a therapeutic purpose for
the client. Michael Viega (
Sometimes we teach clients how to record and then we stay off to the side to work
on another task, but remain available should our assistance be needed. To this
end, there is a parallel between a recording based on what Winnicott (
In our roles as music therapists, we have found that all four types of recording have
therapeutic value. However, there are also challenges involved when using recording in
music therapy. The first is having space, equipment, and versatility to record. Although
music therapists as a whole are increasingly comfortable using technology for
therapeutic purposes (
Another challenge to recording in a therapeutic context may be the duration of
therapist–client contact. In many instances, a group or individual may benefit most by
completing a recording in a single session.
Time limitations, along with a client's mental health status, are factors to weigh in session planning and timetabling. Single-session formats may also mean that attention to specific therapeutic goals and artistic elements of the recording may not receive in-depth attention.
For some clients, the public expression of private thoughts and feelings may be another challenge. A recording can transform personal experience into a shared experience in a group music therapy setting, providing a means to uncover underlying feelings, worries, and hopes. With the careful and attentive acknowledgment of their lyrics, clients can experience being heard.
Some clients arrive enamoured with the prospect of recording, but become self-conscious or anxious when standing before a microphone, which is quite a normal response if we place ourselves in the shoes of the clients. Teasing apart professionally rehearsed and mastered recordings by famous artists in contrast to personal and informal types of recording often helps clients persevere with their musical ambitions. Feelings of inadequacy may be metaphors for other aspects of a client’s life in other non-musical domains. When viewed as a parallel to ongoing substance use, breaking a musical pattern may have implications for other areas. Consequently, helping a client to make informed decisions in order to change a pattern and make a shift to a new song may be beneficial. Deciding how and to what degree to edit and complete a recording can provide productive avenues of inquiry, exploration, reflection, and support for clients with diverse needs.
While software programs allow for extensive editing and levels of enhancement, such as layers of tracks and auto-tuning, we try to avoid overproducing and altering a client’s authentic voice. We aim for the recording process to be something they can replicate on their own after discharge from the facility.
Our experiences recording over time demonstrated the impracticalities of CDs for most clients. CDs are easily damaged and scratched and get lost when clients transfer to other facilities for further treatment, stay at halfway houses or shelters or lose all belongings because of substance use relapse. Fortunately, reliance on the use of CDs has mostly been replaced by more efficient technologies. Cloud-based storage offers clients ongoing access to their recordings. Using cloud-based services allows clients to manage their music. It also allows them to share personalized recordings easily with friends and loved ones.
Notwithstanding this convenience, songs—recorded or not—that glorify substance use, are misogynistic, sexually vulgar, violent, racist, sexist, or that intentionally demean others, should not be posted or shared publicly. In these instances, attempts to process lyrics with a client are often the first recourse. The discussion aims at generating insight and building rapport with a client working on recovery. Dissemination of a recording, even the provision of a personal copy, is not permitted when guidelines about respectful content are not present. We practice a zero-tolerance approach when music therapy is used to victimize others.
The importance of respectful conduct by clients and therapists adheres to our Canadian
Association of Music Therapists’ Code of Ethics (CAMT) (
As the field of music therapy continues to expand, one of the challenges that music
therapists need to consider in a restless reflection on practice is how to integrate new
and emerging digital music and video technologies into professional practice. Although
decisions about whether or not to use specific digital music and video technologies for
specific purposes and populations vary according to context, budget, time, personal
preference, support systems, accessibility, and other factors, options to use one
technology or another will influence efficiencies and possibilities for understanding
and supporting clients. Even as advances in hardware and software have created
far-reaching changes in education, consumer spending and finance, and other areas, their
underlying impact on music therapy has been no less dramatic. We are mindful when we
develop and refine music therapy programs that we need to consider what roles technology
might play and what digital and electronic advances have occurred since we last used a
particular technology. The need for music therapy clinicians and educators alike to
develop basic proficiency with music technologies (
It is in this landscape that we have identified recording as an essential therapeutic
component to client self-development. Drawing on our experience at a concurrent
disorders treatment facility and the data we collected, we described four types of
recording—vocal, instrumental, video production, and electronic composition—and
illustrated each with a case example. We hope that by deconstructing recording into
these categories that they will be more concrete and therefore accessible to music
therapists. Although we have a recording studio and excellent resources at our facility,
we believe that the types of sessions we offer can likewise see implementation with
equal success across a diverse spectrum of music therapy settings with varying levels of
digital music technology. Emerging technologies make it possible to produce quality
recordings in a variety of music therapy settings (
Programs that include mindful use of recording offer substantial therapeutic, supportive opportunities for methodical listening, planning, self-organization, rehearsal, patience, collaboration, creativity, performance, comprehension, and self-expression, as well as teamwork, reflection, and insight.
Another way to think about recording as a catalyst for personal growth and well-being is
to pair recording with opportunities for clients to reflect on and recompose their
lives, akin to life review using lyric analysis of their self-composed songs (
Kevin Kirkland is an instructor in the music therapy program at Capilano University in North Vancouver, Canada and also works as a certified music therapist in a concurrent disorders setting for Provincial Health Services Authority.
Shannon Nesbitt holds bachelors degrees in both music and music therapy, as well as a masters in music performance. She has been working as a music therapist in a concurrent disorders setting for Provincial Health Services Authority for 5 years.