Spontaneous Lyric Analysis Facilitating Effectively While Managing Clinical Realities Kevin Hahn MTBC Supervising Rehabilitation Therapist Supervising Music Therapist Atascadero State Hospital ID: 335794
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Slide1
Structured and Spontaneous Lyric Analysis:Facilitating Effectively While Managing “Clinical Realities”
Kevin Hahn, MT-BC
Supervising Rehabilitation Therapist
Supervising Music Therapist
Atascadero State HospitalSlide2
Session IntroWelcome
2Slide3
Session FormatExperiential and didactic workshop to:
Identify, define, and consider applications of “structured” and “spontaneous” lyric analysis experiences
Provide tools to entry-level MTs
to refine lyric analysis technique
Practice and discuss strategies for handling challenging moments that require MT to be spontaneous
3Slide4
Relation to Scope of PracticeCBMT Scope of Practice (2010)
II-A-1. Develop a therapeutic relationship
II-A-5-e. Employ active listening
II-A-5-g.
Use creativity and flexibility in meeting client’s changing
needs
4Slide5
Relation to Scope of PracticeCBMT Scope of Practice (2010)
II-A-5-l. Mediate problems among clients within the session
II-A-5-s. Apply receptive methods
II-A-5-z. Empathize with client’s music experience
5Slide6
Relation to Scope of PracticeCBMT Scope of Practice (2010)
II-A-5-aa. Observe client reactions
III-B-1. Identify information that is relevant to client’s treatment process
6Slide7
Relation to Scope of PracticeCBMT Scope of Practice (2010)
III-B-2. Differentiate between empirical information and therapist’s interpretation
III-B-3. Acknowledge therapist’s bias and limitations in interpreting information
7Slide8
What Brings You Here?I’d like to get to know you
Who are you?
What do you hope to gain from this group?
(I’ll answer, too)
8Slide9
What Brings Me Here?I am here as the result of my:
Clinical experience
Work with ‘difficult’ populations
Internship supervisor observations
Interest in quality of practice issues
Personal reflections on methodology
Desire to understand approaches and processes in lyric analysis
9Slide10
What Brings Me Here?I am here as the result of my:
Interests in research
Desire to connect with Western Region
Hi
10Slide11
A DisclaimerThis is not the outcome of a legacy of good scientific research
(As if lyric analysis isn’t hard enough to study already…)
This is however an attempt to “understand” from the viewpoint of a working clinician
11Slide12
A Disclaimer (Continued)
These are essentially my opinions as supported by clinical evidence:
Observations of trends (practice-based evidence)
Critical thinking about music therapy practice
12Slide13
A Disclaimer (Continued)
My ideas are fallible:
Would love to design the research for you to test
But seriously:
Only way to achieving
EBP in music therapy is through
collaboration and communication
13Slide14
Contextualizing Lyric Analysis
What’s the
big picture?
14Slide15
Music Therapy MethodsBruscia’s
four methods
Improvisation
Re-creation
Composition (creation)
Receptive Experiences
15
Gardstrom
, S. C., & Hiller, J. (2010). Song discussion as music psychotherapy.
Music Therapy Perspectives, 28
(2), 147-156. Slide16
Receptive Methods
MT uses live or recorded music
C
lient
listens and responds
to music in some capacity
16
Gardstrom
, S. C., & Hiller, J. (2010). Song discussion as music psychotherapy.
Music Therapy Perspectives, 28
(2), 147-156. Slide17
What’s in a Name?Several intervention names
Lyric analysis
Song discussion*
Music communication
Unconscious song recall
Song Choice
17
Gardstrom
, S. C., & Hiller, J. (2010). Song discussion as music psychotherapy.
Music Therapy Perspectives, 28
(2), 147-156. Slide18
What’s in a Name?Several intervention names
Song lyric discussion*
Song sharing
Music discussion
Song analysis
Song reminiscence
18
Grocke
, D., &
Wigram
, T. (2007).
Receptive methods in music therapy
. Philadelphia, PA: Jessica Kingsley Publishers. Slide19
“Lyric Analysis” and “Song Discussion” are the most commonly used names in current MT literature
19Slide20
20
Gardstrom
, S. C., & Hiller, J. (2010). Song discussion as music psychotherapy.
Music Therapy Perspectives, 28
(2), 147-156.
Adapted from:
Hierarchy of Receptive Exp.
(Example Interventions)Slide21
21
But… Huh?
(Example of Types of
Lyric Analysis Interventions)Slide22
Although we have several intervention names that fall under lyric analysis, their differences may seem relatively subtle
22Slide23
23
Now Even More Complicated
Client picks music to express something
Both based on “here and now”
(Can clients analyze
free of
external influences?)
Clients reflecting on
past experiences to some degreeSlide24
(Only?) One Common ThreadThree stages of the process:
Music is chosen
Music is heard or performed
Music is discussed
24
Grocke
, D., &
Wigram
, T. (2007).
Receptive methods in music therapy
. Philadelphia, PA: Jessica Kingsley Publishers. Slide25
Rather than investigate these subtle differences, what if we considered how we approach
the
lyric analysis experience?
25Slide26
26Slide27
Main Differences in Approach
Structured
Spontaneous
Pre-planned approach
Example indicators:
Prepared questions or prompts
Therapist selecting music
Client selecting music before session
More time to prepare supplementary materials
Responsive approach
Example indicators:
Questions prepared on spot
Therapist responds to ‘live’ choices by clients
Less time (or none) to prepare supplementary materials
Possibly less formal structure
27Slide28
28Slide29
29Slide30
Defining Lyric Analysis
(Can we?)
30Slide31
An Attempt to UnderstandHow can music therapists facilitate lyric analysis (LA)
both effectively and ethically?
What are the components and mechanisms involved in LA?
31Slide32
Steps Toward Defining LAUnderstanding ethical boundaries and considerations
Using the “Five W’s”
to formulate as
inclusive a definition
as possible
32Slide33
Integrity and FidelityHow music therapists strive to facilitate as ethically as possible:
AMTA Code of Ethics
HIPAA
Group agreements as safeguard
Professional boundaries and supervision
33Slide34
Group Agreements (ideas)
Confidentiality
How will it be implemented?
When will it not? How/why?
Respect and individual needs
How to handle various preferences?
Encourage clients to participate?
34Slide35
Where do we facilitate LA?
Context affects preparation
Group therapy
Closed groups
Open groups
Individual therapy
35Slide36
Who facilitates LA?
Music therapists
Board-certified, licensed, etc.
Supervised students
Who else can facilitate LA?
Thoughts and concerns about other professionals and individuals facilitating LA?
36Slide37
What positive outcomes could occur through LA?
Improved self-awareness
Emotional release and growth
Positive peer relationships
Personal insight and fulfillment
37
Gardstrom
, S. C., & Hiller, J. (2010). Song discussion as music psychotherapy.
Music Therapy Perspectives, 28
(2), 147-156. Slide38
Why does LA work for clients?
Lyric analysis as
a wheel
A vehicle that
we help establish
for our clients
so they can make progress in treatment
38Slide39
Why does LA work for clients?
Theoretical framework of ‘ideals’
An effective LA experience…
Seeks or maintains safety
Inspires hope
Sets the stage for success or growth
…allowing the client to move forward in treatment
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40Slide41
What affects LA experiences?
What external and internal variables could affect a client’s experience in lyric analysis?
Values? Hopes? Biases? Goals?
Experiences? Thoughts? Feelings?
Family? Vocation? Education?
Music Preference? Taste? Dislikes?
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What affects LA experiences?
“Psychological Processes”
Identification
Empathy
Projection
42
Gardstrom
, S. C., & Hiller, J. (2010). Song discussion as music psychotherapy.
Music Therapy Perspectives, 28
(2), 147-156. Slide43
What affects LA experiences?
Intentionally selected components of our intervention:
Music components
Therapy components
Music therapy components
43Slide44
What affects LA experiences?
Intentionally selected components of our intervention:
Music components include…
Rhythm and meter
Melody and harmony
Timbre and quality
Genre and form
44Slide45
What affects LA experiences?
Intentionally selected components of our intervention:
Therapy components include…
Active listening and counseling skills
Critical thinking and responding
Awareness of therapist biases, limitations, transference issues, etc.
45Slide46
What affects LA experiences?
Intentionally selected components of our intervention:
Music therapy components include…
Design of LA experience / session plan
Blend of music/lyrics to elicit specific intended outcomes
Presence and presentation of materials
Professional boundaries
46Slide47
Although we may intentionally plan
individual components of LA,
in the MT experience
these components appear to
work in conjunction
47Slide48
48Components of a LA Experience
If only it were so easy…Slide49
49Components of a LA Experience
We may set up the individual components…
But when the session starts, these work in conjunction with one another…Slide50
50Slide51
How can we guide clients in LA?
Common themes in how we can help move clients forward
“Tools” for lyric analysis
“Rock the High Cs!” theme
Seven “Considerations”
Acknowledgement
51Slide52
Tools for Staying On-Task in LA
“Seven Cs and an A”
Context
Congruence
Contrast
Conversation
Censorship
Confrontation
Closure
Acknowledgement
52Slide53
How we use our “tools” for LA will depend on which component of the session we are tweaking
as well as the LA
approach
being utilized in the moment
53Slide54
Definitions and Examples
Context:
Awareness of variables related to current situation
Music: History of song
Therapy: Client’s background, life experiences, progress in therapy
Music Therapy: Selecting intervention to match group needs
Helpful websites:
54Slide55
Websites for researching songs:www.songfacts.com
www.songmeanings.net
www.snopes.com
www.wikipedia.org
55Slide56
Definitions and ExamplesCongruence:
Alignment
(or nonalignment) of various parts of a greater whole
Music: Sound differs from title or words
Therapy: Client behavior does not match affect; affect does not reflect thoughts
Music Therapy: Music selection does not match what client states
Audio Example:
56Slide57
57“Wonderful” - Everclear
(Na
na
na
na na na
na
)
Please don't tell me everything is wonderful now
I go to school and I run and play
I tell the kids that it's all okay
I like to laugh so my friends won't know
When the bell rings I just don't
wanna
go home
Go to my room and I close my eyes
I make believe that I have a new life
I don't believe you when you say
Everything will be wonderful someday
YouTube LinkSlide58
58“Wonderful” - Everclear
Promises mean everything when you're little
And the world is so big
I just don't understand how
You can smile with all those tears in your eyes
When you tell me everything is wonderful now
(Na
na
na
na
na
na
na
)
I don't
wanna
hear you tell me everything is wonderful nowSlide59
Definitions and ExamplesContrast:
Differentiation between two or more entities
Music: Different sections of songs
Therapy: Emotions associated with different behaviors
Music Therapy: Feeling/descriptive words to identify differences in songs
Audio examples:
59Slide60
60“Landslide” Two Ways
(Instrumental Solo)
Well, I've been afraid of
changin
'
Cause I've built my life around you
But time makes bolder
Children get older
And I'm getting older too
Well, I'm getting older too
So take this love and take it down
Yeah, and if you climb a mountain and you turn around
And if you see my reflection in the snow-covered hills
Well, the landslide brought it down
And if you see my reflection in the snow-covered hills
Well maybe...
YouTube Link - Dixie Chicks
YouTube Link - Stevie NicksSlide61
Definitions and Examples
Conversation:
Flow of therapy experience that is comfortable and inclusive of client input
Presence and openness to experience
Connecting client comments
Setting the stage for clients to take the lead in their treatment
61Slide62
Definitions and Examples
Censorship:
Intentional suppression of ‘undesirable’ or ‘objectionable’ content
Know your facility/business policies
Know personal limits/boundaries
Your clients know the
real words
‘Radio edits’ are not always enough
Audio Example:
62Slide63
63Rihanna – “S and M”
Feels so good being bad
There’s no way I’m turning back
Now the pain is my pleasure cause nothing could measure
Love is great, love is fine
Outta
box, outta
line
The affliction of the feeling leaves me wanting more
Chorus
Cause I may be bad, but I’m perfectly good at it
Sex in the air, I don’t care, I love the smell of it
Sticks and stones may break my bones
But chains and whips excite me (x2)
YouTube LinkSlide64
Definitions and ExamplesConfrontation:
Clashing of ideals; “to face in challenge”
Could be censorship
in
experience
Raising awareness of incongruence
Occurs in further stage of treatment
How well do you know this client?
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Definitions and ExamplesClosure:
Sense of finality when terminating session or experience
Summarize what happened
Tie ‘themes’ together across clients
Don’t leave your clients “hanging”
65Slide66
Definitions and ExamplesAcknowledgement:
Therapeutic reinforcement of positive gains in treatment
Validates client experience
Could be represented with music
What are you acknowledging?
Specificity and
recency
are key
66Slide67
Tools for Staying On-Task in LA
“Seven Cs and an A”
Context
Congruence
Contrast
Conversation
Censorship
Confrontation
Closure
Acknowledgement
67Slide68
68
Congruence
ContextSlide69
Structured Lyric AnalysisPreparation
and Practice
69Slide70
Recommended Readings for structuring LA experiences:
Gardstrom
and Hiller (2010)
MTP
Grocke
and
Wigram
(2007)
70Slide71
Group Role PlaySong will be presented
Group will discuss elements of the song as well as possible questions they could prepare for a structured lyric analysis
71Slide72
72Slide73
Additional Group ProcessingWhat are the salient music elements?
What are the salient text features?
What goals or outcomes could be measured using this song?
What themes are present in the song?
What populations are indicated or contraindicated?
73Slide74
Spontaneous Lyric Analysis
Preparation
and Practice
74Slide75
A Few Caveats(Especially for students, but good reminders for ourselves as well)
Unstructured LA ≠ unplanned LA
Based on your facility/group structure;
therapist still selects guiding themes, etc.
“
Primum
non
nocere
.”
Music therapists should “do no harm.”
75Slide76
A guiding principle for facilitating Spontaneous LA experiences:
“Think critically,
Act clinically.”
76Slide77
Practicing Spontaneous LAExposure to many types of music and the normative culture
Example: Hip-hop culture and musical “references”
(Continue to) educate yourself about context of selected songs
77Slide78
Group Role PlayGroup will listen to song and discuss possible questions and responses
Facilitator will give feedback and provide possible client responses
78Slide79
“Smiling Faces Sometimes” Undisputed Truth
79
YouTube LinkSlide80
Small Group Role PlaySplit into small groups
One person will be the therapist
One person will be the main client
Others will be observers
Listen to and discuss song as it relates to theme of “life changes”
80Slide81
81“Thank U” – Alanis Morissette
YouTube LinkSlide82
82“Let the Rain” – Sara Bareilles
YouTube LinkSlide83
Even during structured LA experiences,
we may encounter times
that require us to be
spontaneous and flexible
83Slide84
Some “What if…?” MomentsSong is only loosely tied to song title
Title is only part that reflects theme
Person is hogging the conversation
Off-task behaviors
Uncomfortable response to music
Strong religious associations/group with differing religious affiliations
84Slide85
Some “What if…?” MomentsSong is perceived to enable behavior
Content is more offensive than you originally expected
Substance abuse theme
You don’t know what to say or do
85Slide86
Handling “What if…?” TimesRemember to be ethical
(“Think critically, act clinically”)
Know your boundaries
Seek supervision
Be genuine
86Slide87
Also- Don’t Forget Your LA Tools!
“Seven Cs and an A”
Context
Congruence
Contrast
Conversation
Censorship
Confrontation
Closure
Acknowledgement
87Slide88
Role Play: Saying NoSetting boundaries with a client can be difficult or uncomfortable
“Client” will ask therapist to play an ‘inappropriate’ song
“Therapist” will respond by respectfully declining to do so
88Slide89
“Unexpected” Observations“Music video as literal meaning” phenomenon
In your own experience facilitating spontaneous lyric analysis, what are other issues or “unexpected” observations you have encountered?
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90
Congruence
ContextSlide91
Questions?91Slide92
Thank You-Kevin Hahn
92