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Our rapidly expanding San Diego team is hiring TWO passionate, creative, and fun-loving music therapists to join us.

Are you looking for a place with a mission?
Excellence, heart, and lots of ambition?
Make a difference in the community!
Does music therapy get your blood pumpin`?
And seeing new clients gets your feet jumpin`?
It sounds like you need to join our team!

Working with this team, such a great way to make a livin’
This feels like a dream, with the hope that we are givin’
Use your heart and mind, helping clients be their best
Transforming lives and watching so many progress
Join our team, and we can work together
Live the dream, and would a signing bonus make it better?

Want to find a place where you can really soar?
Apply today, what are you waiting for?

Learn more! It’s easy as 1, 2, 3:

  1. Send an email to Julie@themusictherapycenter.com
  2. Attach your resume
  3. Include your sprit animal

Start date: “Yesterday all my troubles seemed so far away”… whoops sorry, sadly life isn’t actually a musical but the position is open immediately.

 

P.S. Thanks to Dolly Parton’s hit song, “9 to 5” for inspiring the lyric parody above and on the following video. Note we do not own the rights to the song.

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You’ll hear music therapists tell you time and time again, “Music therapy is an EVIDENCE BASED field!” What we do it backed by empirical research, and we’re very proud of this fact. However, the fact that the field is supported by research showing the efficacy of using music as a therapeutic tool for accomplishing non-musical goals does not make music therapy a lone-ranger in the world of therapies. There’s a key phrase I used in the previous sentence: “non-musical goals”. This means that the goals we are addressing in music therapy are similar to the goals our client’s are working on in their other therapies (speech, occupational, physical, behavioral, and cognitive rehabilitation therapies, etc.). So, in the Neurologic Music Therapy branch of our field, in particular, when setting up our interventions for addressing a non-musical goal, we like to use a model called the Transformational Design Model (TDM).

Transformational Design Model! It sounds like a superpower. And in a way, it is. It’s the superpower model that transforms non-musical interventions into musical interventions. Because music therapy has the same functional structure as other therapies, music therapists use this model to see where the overlap is with other fields, and then how the addition of music to a treatment intervention can benefit the client. But wait, there’s more! This superpower model transforms the functional music intervention into functional, non-musical real-world application. In short, we’re not going to let you walk around singing the steps to making conversation. We’re going to help you generalize the information you learned through music, so that when you apply it to everyday life, you’re doing it in a socially acceptable and sustainable (functional) way.

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I know you’re dying to find out how one mere mortal can acquire such a superpower. Well, lucky for you, we can let you in on the bare bones of the model. I take myself through these steps every time I develop an intervention for a client, and it helps ensure the quality and efficacy of my interventions. Ok, are you ready to be transformed?

  1. Asses the client’s strengths and needs
  2. Develop the goals and objectives
  3. Research how a non-music therapist addresses this same goal and design a functional non-musical intervention
  4. Translate step 3 into a functional musical intervention
  5. Transfer step 4 to functional, non-musical real-life application

This model is a superpower not just in the fact that it transforms a non-musical skills into a musical experience and then back into a non-musical skill, but also in the fact that it allows multiple therapeutic fields to see their overlap. The more therapists from varying fields can work together, the more well-rounded the treatment plan becomes, and the more the client will benefit. Go transform something!

-Chiara

Your body is always touching SOMETHING. What an interesting thought that most people don’t spend too much time dwelling on. That’s because the brain with a well-regulated tactile sense only briefly makes note of the thing that the body is touching, and then ignores it in favor of more important thoughts and sensations it needs to process. But for a person whose tactile sense is out-of-sync, the textures of certain fabrics or presence of a tag on their clothing may be a source of extreme discomfort and the cause for much distress. Or they may lunge at you for a bear hug because they crave the feeling of deep pressure squeezes. Or they may not seem to notice that their hand is on a hot pan until they have a third degree burn. These are only a few examples, of course. The main point is, our tactile sense helps us determine what we are touching and if the things touching us at every moment of every day are harmful or helpful. An out-of-sync tactile sense may make a person overresponsive to stimuli, underresponsive to stimuli, sensory seeking, or a combination of these, or may make it difficult to determine what the tactile stimulus is or where it is touching.

How does this affect my work as a music therapist? I can start by considering the environment of my treatment space. What is the client’s reaction to the texture of the chair he/she is sitting in? For some of my clients with tactile sensory needs, sitting on a fuzzy pillow that buzzes provides the tactile sensations they need to be aware and in control of their bodies. For other clients, sitting on a rubbery and bumpy cushion serves this same purpose. What is the client’s reaction to the carpet? I have clients who prefer to have their shoes off during sessions. One such client likes having the afore mentioned rubbery cushion under his feet. From which direction is the air conditioning blowing and is it blowing directly on my client? I’ve barely scratched the surface of tactile elements to consider in the environment of the treatment room, but you get the picture.

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What about my choice of instruments I use with my clients? Does the client seem to want to touch textured things? I have many clients who are more engaged in our interventions when they play an instrument like the cabasa (picture below), which allows them to rub their fingers along the bumpy beads. Other ideas of instruments with great sensory feedback are guitar strings, chimes, hand drums, ocean drums, and resonator bells. The cabasa is one of my favorite instruments because it acts as a great massager, providing sensory input to arms, legs, backs, and soles of feet. For clients who are seeking tactile sensory stimulation, instruments like the cabasa can provide this in an appropriate way. Encourage the client to play the cabasa (or other instrument) and use it to provide sensory input independently. This way, the client is learning to self-regulate his/her out-of-sync sensory systems.

 

3317_cabasa_a.jpgOr for clients with an overresponsive tactile sense, choose instruments that don’t have a rough or uneven texture. Then encourage them to explore tactile sensations using the texture and vibrations of various instruments. This could help reduce defensiveness to certain tactile sensations.
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As with all other sensory systems, there are so many things to consider when your child or client has an out-of-sync tactile system. Hopefully the ideas and considerations discussed here have sparked some ideas and increased your awareness of needs related to the tactile sense. Now, I challenge you to stop every now and then and become aware of the sensations on your skin and the things touching your body. Then imagine what it would be like if you could not seem to get enough of or control one of these sensations. How would you fix that?

-Chiara

I recently completed my case study on the NMT technique Rhythmic Speech Cueing, also known as RSC. This technique was not a frequently used technique in my internship. It is used for speech and language rehabilitation. The techniques I have encountered most for speech and language training/rehabilitation are; Oral Motor and Respiratory Exercises (OMREX), Developmental Speech and Language Training through Music (DLSM), and Therapeutic Singing (TS).

What is Rhythmic Speech Cueing (RSC)? RSC is a rate-control technique that uses auditory rhythm- in metronome form or embedded in music-to cue speech.

How does it work? The impelling and anticipatory action of a rhythmic stimulus sequence can help initiate speech.

Who can benefit? RSC has been shown to be effective in fluency disorder rehabilitation for stuttering and cluttering.

Types of RSC: 

  1. Metric Cueing – Rhythmic beats are matched to syllables, resulting in speech inflection in which each syllable is of equal duration across and utterance. Metric cueing does not create normal time patterns of speech inflection.
  2. Patterned Cueing- uses beat patterns that stimulate stress patterns of normal speech inflection. The rhythm of speech synchronized to patterned cues is much closer to normal speech.

Exploring a new technique was very exciting and I found it to be incredibly useful for the particular individual involved in my case study. My case study results show that RSC is an effective NMT technique for childhood apraxia of speech. The patterned speech cueing used allowed for the client to decrease their rate of speech and providing the opportunity to increase their intelligibility of speech.

 

-Kristin