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A substantial number of children and adults in American society have been exposed to violence, marginalization, prejudice, or other traumatic experiences. Thus, it is imperative that those in helping professions have adequate training and resources to recognize and respond to the signs, symptoms, and risks of trauma. Like other helping professionals, music therapists are increasingly called to recognize the impact trauma can have on the communities they serve, but little is known about music therapists’ knowledge and awareness of trauma concepts. A survey was distributed to all board-certified music therapists in the United States that sought to examine the accessibility of educational and professional trainings related to trauma, as well as self-perceived competency in working with service users who have experienced trauma. Of the 8,602 emails distributed (CBMT), 958 different responses were returned, 945 of which consented to participate for a 10.9% response rate. Results indicated a substantial interest in trauma work among music therapists (88.04%); however, almost half of respondents (48.86%) have indicated a lack of access to these trainings for any given reason, leading to limited self-perceived competency in trauma work. This limitation in self-perceived competency in trauma work might exist due to a lack of consistent education and training provided to music therapists, regardless of the mode of education. By not addressing this gap in the profession, harm might be done to those who utilize music therapy services. A breakdown of conglomerate music therapist trauma-specific knowledge is provided, along with identified areas of trauma-concept interest.
A substantial number of children and adults in American society have been exposed to violence, marginalization, prejudice, or other traumatic experiences. Thus, it is imperative that those in helping professions have adequate training and resources to recognize and respond to the signs, symptoms, and risks of trauma. Like other helping professionals, music therapists are increasingly called to recognize the impact trauma can have on the communities they serve, but little is known about music therapists’ knowledge and awareness of trauma concepts. A survey was distributed to all board-certified music therapists in the United States that sought to examine the accessibility of educational and professional trainings related to trauma, as well as self-perceived competency in working with service users who have experienced trauma. Of the 8,602 emails distributed (CBMT), 958 different responses were returned, 945 of which consented to participate for a 10.9% response rate. Results indicated a substantial interest in trauma work among music therapists (88.04%); however, almost half of respondents (48.86%) have indicated a lack of access to these trainings for any given reason, leading to limited self-perceived competency in trauma work. This limitation in self-perceived competency in trauma work might exist due to a lack of consistent education and training provided to music therapists, regardless of the mode of education. By not addressing this gap in the profession, harm might be done to those who utilize music therapy services. A breakdown of conglomerate music therapist trauma-specific knowledge is provided, along with identified areas of trauma-concept interest.
Background: The literature highlights the profound psychological impact of war on children, families, and communities, emphasizing the prevalence of Post-Traumatic Stress Disorder (PTSD), anxiety, and other symptoms among affected individuals. Interventions, such as Child-Parent Psychotherapy (CPP) and music therapy, show promise in mitigating trauma effects, underscoring the need for holistic approaches that address familial and community dynamics alongside individual well-being. Methods: Aiming to explore the influences of dyadic music therapy sessions on parents’ capacity to support their children, this study involved four families displaced from their home-kibbutz as result of a terrorist attack. All dyads participated in music therapy sessions with a focus on parent–child interactions and trauma processing (CPP informed). Embedded in a qualitative, phenomenological approach, the research utilized interpretative phenomenological analysis (IPA) and micro-analytic methods to explore meaningful moments in the music therapy sessions. Results: Findings identified four central categories: (1) Discovering the child’s grounding song: identifying resources; (2) Musical improvisation sets the grounds for parent–child mutual recognition of the child’s traumatic experience; (3) Musical performance empowers child and parent; (4) A sense of agency is gained through controlling the musical environment. Conclusions: The significance of restoring the children’s freedom of play, the parents’ sense of competency, and of enhancing families’ capacity to connect to their traumatic experiences through the musical environment is discussed.
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