logo

Drop us a Line

info@themusictherapycenter.com

mobile logo

Uncategorized

Producing speech is a complex process that involves coordination between the diaphragm, vocal folds, jaw, lips, tongue, and more.  Speaking requires motor skills that need to be practiced and learned, like riding a bike or shooting baskets (Marisette, 2016). Some of the most common speech and language disorders in our clients are dysarthria and apraxia.  In both disorders, clients know what they want to say, but the quality of their speech can be unclear and difficult to understand, even for close friends and family.

What’s the difference between dysarthria and apraxia?  Dysarthria is characterized by impaired movement of the muscles used for speech production, including the diaphragm, lips, tongue, and jaw (Marisette 2016).  The brain sends motor plans to the articulators, but they struggle to execute them. In contrast, clients with apraxia have difficulty planning and sequencing movements, including movements required for speech (Marisette, 2016).  The brain struggles to send efficient motor plans to the articulators.

Children with dysarthria and apraxia improve speech quality with mass practice (Marisette, 2016).  SLPs commonly use auditory and visual cues to help their clients see and hear how sounds are produced (Marisette, 2016).  There is a growing body of evidence that suggests tactile cues can also be an effective treatment for dysarthria and apraxia (Grigos, Hayden, and Eigen, 2010).

Tactile cues are becoming widely used by speech-language pathologists, related disciplines, and parents.  Tactile cues use a light physical touch on the jaw, tongue, or lips to support and shape correct movement.  There is a specialized touch cue protocol called PROMPT (Prompts for Restructuring Oral Muscular Phonetic Targets).  The PROMPT Institute offers specialized training for SLPs (The Prompt Institute, 2019).  However, you don’t need to be a specialized SLP to use touch cues to benefit your client or loved one!  Here are three touch cues Laura M. Kunz, M.A., CCC-SLP uses with her clients to produce the bilabial sounds /m/, /b/, and /p/:

/m/ – lips together, hold 3 fingers in front of lips (horizontally), as making ‘mmmmm’ sound slide fingers across the lips.

m cue

/b/ – lips together, hold four fingers in front of lips (vertically), as you say the sound move your fingers in a downward motion.

b cue

/p/ – lips together, hold index finger in front of lips (vertically), as you say the sound move your finger in a downward motion.

p cue

Music therapists can incorporate touch cues when working on articulation of consonant sounds with clients, especially when using NMT techniques DSLM (Developmental Speech and Language Training through Music) or OMREX (Oral Motor and Respiratory Exercises).  Try it out and see let us know how it works out!

– Molly, Music Therapy Intern

For more information, see the following articles and videos:

Grigos, M., Hayden, D., and Eigen, J. (2010). Perceptual and Articulatory Changes in Speech

Production Following PROMPT Treatment. Journal of Medical Speech-Language Pathology, 18, 46-53.

Kunz, L. (1983). Touch Cue System [PDF file]. Retrieved from:

www.northroyaltonsd.org/Downloads/TouchCue.pdf

Longwood CSD YouTube Channel. (2016, August 20). Childhood Apraxia of Speech: Tactile

Cues [Video file]. Retrieved from: https://www.youtube.com/watch?v=pfTlTRV-yV8

Marisette, C. (2016). PROMPT: A ‘Hands on” Approach to Improving Speech Clarity [Web

page]. Retrieved from https://1to1therapy.ca/prompt/

The Prompt Institute. (2019). What is PROMPT? [Web page]. Retrieved from:

https://promptinstitute.com/page/FamiliesWIP

counting pic

Learning to count is an essential skill for daily life.  For example, children count to make sure they have both shoes, communicate their age with their hands, and even make sure they get the same number of cookies as their siblings (Sadler, 2009).  I used to think that children who can recite numbers 1-10 in order could count up to ten, but my clients taught me that sorting, counting, and finding the quantity of a set of items is a separate, complex cognitive process.

Counting requires procedural skills and conceptual understanding.  Sadler (2009), a specialist in early childhood mathematics in special education, explains that counters must not only follow the procedure of saying number words in the correct order, but also demonstrate one-to-one correspondence by saying only one counting word as they point to each item. One-to-one correspondence is also known as “tagging” because it requires counters to assign one number to each item.  Lastly, children must understand conceptually that when they count correctly, the final number is the total number of the set. This concept is called cardinality. Children who understand cardinality can count the number of items in a set and answer the question, “How many?”

How do children develop the skills needed for cardinality?  Saddler (2009) synthesized research on the development of cardinality to construct a developmental trajectory.  Both special learners and typically developing children usually acquire cardinality skills in the following order:

The above chart has greatly helped me when working on one-to-one correspondence or cardinality goals with young clients.  This trajectory helps me assess where clients are in this developmental process, as well as create a task analysis for clients.

Music therapists can use counting songs to keep clients engaged and motivated while developing their cardinality skills.  In her article, “The Who and What of Counting,” Plata (2017) writes, “For centuries, children’s rhymes, games, and songs have set the stage for the seemingly effortless acquisition of verbal counting.  Young children happily sing songs in which ducks disappear and monkeys fall off beds.” Music therapists can adapt counting songs, such as “Who Stole the Cookies from the Cookie Jar,” “10 Little Racing Cars,“ “5 Little Ducks,” “10 Little Racing Cars,” “The Ants Go Marching,” “5 Little Apples/Cookies,” and “10 Little Monkeys Jumping on the Bed,” to help clients move through the stages of cardinality, or even write an original song.

The biggest tip I took away from Sadler’s (2009) article is the importance of understanding how counting errors can lead to an incorrect quantity.  Sandler recommends asking children in stages 4 and 5 to check their answers by counting again. If children reach a different answer when checking their work, adults can ask questions such as, “I wonder which answer is right?  How many are there for sure? How can we figure it out? Why do you think you got a different answer that time?” (Sadler, 2009). Asking children to reason their way to the correct answer prepares them for a lifetime of learning.

– Molly, Music Therapy Intern, who never thought she would teach math

 

References

Platas, L. M. (2017). The What and Why of Counting [Web page]. Development and Research in Early Math Education. Retrieved from: https://dreme.stanford.edu/news/why-and-what-counting

Sadler, F. H. (2009). Help! They Still Don’t Understand Counting. TEACHING Exceptional Children Plus, 6(1), n.p.

 

Rhythmic Speech Cueing (RSC) and Developmental Speech and Language Training through Music (DSLM) are two Neurologic Music Therapy (NMT) techniques that work on gaining and rehabilitating accurate and fluent speech. While their overall goals overlap, they take distinctly different paths.

DLSM is more often used when speech has not yet been developed to its appropriate level due to a developmental delay, rather than a loss of speech. In short, DLSM is used to habilitate, while RSC is more often used to rehabilitate. Due to the nature of each technique, DLSM is often used with younger populations and RSC with older ones. However, they are not exclusive to those population and can have effective uses, when used appropriately, with their counter “age group”. As always, choosing interventions that are age and developmentally appropriate is imperative.

RSC is much more formulated by a specific protocol. Its purpose is to decrease stuttering and cluttering that may occur in a fluency disorder, control rate of speech to increase intelligibility, and facilitate rhythmic sequencing. Overall, RSC should increase oral motor planning. RSC is effective because of how rhythm entrains to stimulate interaction between auditory and motor systems within the body.

There are three primary steps to RSC. Step 1: Find the initial rate of speech by having the client repeat a pattern of sound such as “pa”, “ta”, etc. Step 2: Slow down talking approximately 60% from the initial rate of speech. Step 3: Repeat functional phrases to a metronome at the new rate. There are two ways in which a phrase can be set to the rhythm. Metered, which is when every syllable of a phrase is beat/tapped out, or patterned, which is when the rhythm is still controlled for clarity in pace of speech, but not every beat is denoted. Patterned phrases should rhythmically imitate the prosody of how a phrase would actually sound, emphasizing what would be in natural speech.

DLSM does not have a specific protocol. It can be carried out in many ways and for multiple purposes. Because of this, it can also be more “fun”, contributing to its lean towards children. In its broadest form, this technique’s purpose is to use music and related materials to enhance and facilitate speech (e.g. singing, playing musical instruments, and combining music, speech, and movement). Broken down, this takes many forms, such as articulation, phrase lengths, and receptive and expressive language comprehension and production. The goals surrounding DLSM can also go beyond simply speech production. Then can often be in conjunction with expanding social and academic skills. For example, learning to ask and answer “WH” questions (i.e. who, what, where, when)

As stated previously, these techniques are not exclusive. They can, in fact, be paired together to increase an intervention potency. For example, I worked with a young client who loved the song “You’re Welcome” from Disney’s Moana. If you are familiar with the tune, you will recall a bridge section of the song that is a rap. We would sit at the piano together, with the lyrics of the song in front of us. I would play the piano as my client sung along. Going at a moderate pace, we would sing through the chorus using the catchy melody and funny lyrics as motivations to practice her articulation in a DLSM fashion. However, when the rap portion would arrive, I would play the chord with each beat of the rhythm (patterned RSC), going even slower for longer phrases and syllabic words, in a modified RSC fashion. We would go through particularly challenging phrases at varying speeds until there was clarity in the articulation. 

Like all techniques, there is a time and place for them. The key is having a solid understanding in order to carry them out in a way that maximized their effects. However, just as understanding is important, so is patients. Techniques are not magic wands and their interventions spells you cast. It may take time and modifications, but diligence on both the client and therapists part will produce results that have life changing consequences. 

-Noriah Uribe

Before internship, I had not thought about clients in the context of their families and the larger community.  Knowing the dynamics, stressors, coping skills, and strengths of the client’s family can help therapists know how to best serve the client.  When the client’s family feels that their priorities and goals are understood, it can help build rapport and keep the lines of communication open.  Open communication is important to make sure there is consistency between home, school, and other therapies.

Some therapists create visual family maps for their clients.  Family maps can show not only outside resources such as extended family, friends, support services, or even hobbies, but also dynamics between immediate family members.  Here’s an example of a family map from Bennett:

family map example

When I learned about family mapping, I wondered, Do I need to draw an elaborate diagram for every child I work with?  When and how do I gather this information without interrogating parents?  However, I learned that most music therapists create informal family maps gradually as families disclose more information about their lives.

I was most surprised to learn from Bennett’s (2007) writing that families tend to have stronger connections with informal support than formal support.  Informal support includes extended family, friends, neighbors, faith community, etc. During a challenge or crisis, families will usually reach out to their informal support system first.  Formal support includes teachers, doctors, therapists, and other professionals assisting the family. Formal support, such as a child’s teacher, tends to change more frequently than informal support, such as extended family.

I learned that family mapping is not necessarily another step to do during assessment or reevaluation of clients, but another lens through which to see the client, their family, and their larger network of support.  I find that piecing together informal family maps helps me see the bigger, holistic picture of my clients, their need areas, and their overall functioning, which helps me be a more effective music therapist.

– Molly, Music Therapy Intern

Making sure that clients learn the skills you are working on and are able to generalize them to other settings and in their day to day life is essential for their growth! One effective tool for structuring this learning is using a Hierarchy. Below is the layout of a Learning Hierarchy from The Music Therapy Center of California that leads these clients through these steps. This hierarchy helps clients to start by learning a skill through music and then eventually be able to translate it into their daily life. This uses a scaffolding approach, which starts with support and direction, and eventually fades out so that clients are able to use these skills on their own. 

A Music Therapy Learning Hierarchy: for Children with ASD: by the Music Therapy Center of California

Interact and learn: First, listen to the song. Give clients the opportunity to play or dance along, and eventually sing-a-long as they get to know the lyrics. 

  • Example: if working on a social skills song about what to do when you first meet a stranger, you would first introduce the song to the client. You could play along on instruments and dance along with the client. 
  • Example Lyrics: When you meet someone for the first time, Smile at them and say “Hi!”

Pause for Understanding: Use song review, by pausing the recording or your playing at the end of a phrase and see if the client is able to fill in the words. This gives clients an opportunity to practice the lyrics without any help, and is a cognitive exercise, requiring them to stay engaged and focused! When they are ready, you can also encourage clients to sing the entirety of the song karaoke style!

  • Example: Sing the song again with the client, but leave out the final phrase. With the example song given above, you could sing the full phrase but leave out “Hi!” and the end, and have the client fill it in to check for understanding. 

Fade the Music: Next, you take out the melody entirely, and you chant the lyrics. You can do this while drumming a steady beat, or while tapping along. If the client is having difficulty remaining on beat, you can tap on their arm/shoulder to help them entrain to the rhythm of the chant. This helps clients on their way to generalizing this skill, by removing the musical melody component. Lastly, you remove the chant entirely. Instead, clients simply say the lyrics, and they do not have to be in the rhythm of the song. You can use visuals to have clients practice putting the steps of the skills they are learning in order, or you can practice by acting the skill out together.

  • Example: First, remove the melody and simply chant “when you meet someone for the first time, smile at them and say hi”. Once this has been mastered, remove the chant and rhythm and simply say the lyrics: “When you see someone for the first time, you can smile and say hi!”. You could add in scenarios and act out this scenario by pretending you are a stranger that they have just met, so they can practice how to behave. 

Generalize: In this final step, the goal is to generalize the skill to other areas of the client’s life, outside of your music therapy session. To add another level of practice, you can have the client practice this skill with someone other than you (another therapist, family member, or friend).

  • Example: Ask another therapist or nearby individual to come into the therapy session, so that the client can practice how to say hello to someone new! Or bring the client around to surrounding businesses if possible, so they have more opportunity for practice. 

 

Some tips to help increase success for the client: 

  • Create visuals for your song (steps to take, scenarios, lyrics) 
  • Create a video acting out the skill you are working on 
  • Practice with costumes on 
  • Use a microphone to encourage client to sing along and practice lyrics 
  • Create actions/motions to go along with your song 
  • Create a dance for your song that corresponds with lyrics 
  • Practice the skill in new places/new scenarios

You will know that you have been successful when your client goes from simply singing along to the song, to being able to use this skill in their everyday life! Being able to generalize these skills outside of their music therapy session is an important goal to work towards. 

If you’d like to see these techniques in action, watch the following video, created by The Music Therapy Center of California: https://www.youtube.com/watch?v=zqb_Pxd8hyY&feature=youtu.be

Imagine Child Magazine has an article about this topic, it is linked here: http://issuu.com/ecmt_imagine/docs/imagine_7_1__2016/97?e=1466273/39224725

See you in the next post!

Audrey

 

Teaching Social Skills Through Song: A Music Therapy Learning Hierarchy for Children with ASD. (2016). Retrieved November 1, 2019, from https://issuu.com/ecmt_imagine/docs/imagine_7_1__2016/97?e=1466273/39224725

 

Hello everyone, welcome to another blog post!

I realize that it is now November, but I still wanted to share some Halloween music therapy intervention ideas so that you all can start preparing for next year’s Halloween! All credits go to one of our wonderful music therapists, Esther Hood! She is the queen of coming up with new and creative intervention ideas for our clients.

One of the best things about these interventions is that they can be adapted for individual and group clients. We used these with our individual clients with autism, along with clients with special needs at group homes (6-8 people), and clients with special needs at a day facility (20-30 people). All of these interventions are based on attention goals, more specifically, MACT (for those of you who are familiar with NMT!) I will specify later on what goals we used for each intervention. 

  1. Halloween Hike

This is such a fun song to use, all of our clients really enjoyed all of the sound effects and interactive visuals! The lyrics to the song can be found here. A recording of this song can be found here. For this intervention, we worked on sustained attention. Visuals are passed out to the clients, each person either getting 1 or 2 depending on the size of the group. Visuals can be found here. If there are not enough visuals to go around, you can have the rest of the clients participate by making the sound effects and listening for what is next in the song! During the Halloween Hike, different objects are spotted throughout the song, and it is the clients’ job to pay attention to when their object is called, and then hold it up for the whole group to see, and then drop it in a plastic cauldron (if available), or a frame drum. For example, the first thing found on the hike is an owl, and whoever is holding the owl, they hold it up, and then drop it in the cauldron. 

You can also choose to make noises that associate with each object as another way to engage your clients, such as hooting like an owl. Continue this until all the objects have been called until the end of the song. During the line, “let’s get out of here!”, you can rapidly strum the guitar and have the clients run in place. This intervention can also be easily adapted for an individual client, but instead of giving them all 12 of the visuals at once, you can split them up into a field of 3 or more, depending on your client. 

 

      2. ~Spooky~ Bear Went Over The Mountain

This intervention takes the traditional song, “Bear Went Over the Mountain”, and gives it a spooky twist by playing the song in a minor key! I have been playing it in A minor, and the chords are I-IV-V. For this intervention, you can work on several different goals. I have used it with one of my clients who has a goal about decision making (MEFT), or you can also use this as another attention intervention (MACT). You may also choose to use this in a group setting. The visuals needed for this intervention can be found here and here. 

For this intervention, the client gets the opportunity to choose the lyrics that go into the song. The traditional version has the lyrics, “the bear went over the mountain”, but for this intervention, the client chooses words that replaces “bear” and “mountain”, with Halloween-related objects. For example, one of the flash cards says “bat” and “black cat”, which you would then insert into the song, and sing:

“The bat flew over the black cat, 

the bat flew over the black cat, 

the bat flew over the black cat 

to say Happy Halloween!” 

You can engage the client even further by having them sing along with you, or pausing before the object, and having them read the card out loud to you as a fill-in-the-blank exercise. 

 

      3. Hound Dog, but with monsters! 

 Another great intervention that I’ve seen Esther use is a piggyback version of the song “Hound Dog”. She first starts by showing the group pictures of different monsters related to Halloween, such as Frankenstein, a mummy, a vampire, etc. She asks the group (or can also be an individual client), what the monster is, and then what is something that they would do. For example, a common action for a vampire is to flip their cape. After deciding on an action, have clients mirror the action of the monster. Then, you can start singing “Hound Dog”, but insert the name of the monster into the song. Here is an example:

“You ain’t nothing but a vampire,

Flipping your cape all around [pause for action], 

You ain’t nothing but a vampire,

Flipping your cape all around [pause for action],

Well you ain’t never caught a rabbit,

And you ain’t no friend of mine!”

 

   4. Ghostbusters!

One of the most iconic and recognizable Halloween songs of all time is Ghostbusers! This is a great intervention that I have used with both older adults and adults with special needs. For older adults, this can work on short term memory and gross motor movements, and with adults with special needs, this can work on attention and gross motor movements.

For this intervention, I play a recording of Ghostbusters, and explain to the clients that every time they hear “Ghostbusters”, to raise their shakers high up in the air. If they have never heard the song before, I like to do a few trial runs by singing, “who you gonna call… Ghosbusters!” and modelling holding my shaker high up in the air. For adults with special needs, you can also use instruments, or you can use visuals of ghosts or other Halloween related objects. 

Throughout the entire song, you can explain to your clients that they can shake along with their instruments to get some exercise, and to be sure they are listening for their musical cues of when to hold up their shakers.

I’d love to hear from you all! What are some Halloween interventions that you’ve used in your music therapy sessions, or what are some of your favorite holidays to plan themes around? 

See you in the next post!

– Juliana Hsu 

 

Greetings, everyone- welcome to another blog post! 

I would love to share with you all a cool opportunity that occurred a few weeks ago, as well as some information about a few of our clients that I have the privilege to work with. On October 5th, we had the honor of going to the Autism Speaks Walk San Diego! In addition to that, some of our clients are in bands that The Music Therapy Center facilitates, and these bands got to perform on stage at the walk!

The walk was truly heartwarming and touching. One really special part from the morning was everyone gathering around together by the stage, and the emcee, Little Tommy gave special shout outs to all of the individuals that are either diagnosed with autism, or people who have family members and friends with autism. This was really special to see a sea of people who have come together for the same reason: to empower and celebrate individuals with Autism, and to look at the strengths that they hold instead of the “disabilities” part that people tend to focus on. A lot of Banding Together’s Jam Session members also were able to come up on stage and help us sing and dance right before this, which also made it very special! 

That being said, once a week, I have the opportunity to help facilitate a rock band that consists of four of our young adults with autism. We have a vocalist/keyboard player, an electric guitarist, a saxophonist, and a drummer. These four individuals are incredibly bright and talented individuals, each with their own big personalities. These clients never fail to make me smile and laugh every time I see them! For the past few months, we have been working on writing and performing an original blues song, and they were able to premiere that song at the walk! This was a huge step for them, as every person got a turn to improvise during the blues song. 

 

One of our goals as clinicians is for them is to step outside of their comfort zone and their box, because for individuals with Autism, getting stuck inside a routine and their own cycle can happen frequently. A lot of the times, The Kingsmen desire playing a song from top to bottom the same way every time, especially if the song is a cover, it has to sound exactly the same. Our goal with The Kingsmen Blues was to empower them to improvise and to let their own individual musicality and personality shine with their solos. Our electric guitar player was really excited to tell us that during his solo, he moved closer to the stage and went for it, because he has seen rock stars do that before, which was such a great thing for him! 

This event just made me realize even more how much talent and potential all of these individuals in the band have, and sometimes for them to reach their full potential, you may have to push them outside of their comfort zone. Even if they resist and may not like it at first, it can really help their confidence and self esteem, and they can learn a lot about themselves and improve as musicians as well. 

I’d love to hear from you! If you give adapted lessons, what are some of the ways you empower your clients to step out of their comfort zone? 

See you in the next post!

-Juliana Hsu

Hey, everyone! My name is Audrey and I am just finishing up week two of my internship at The Music Therapy Center of California! I wanted to give you all a couple tips on how to survive your first couple weeks of internship, and some encouragement for the journey are about to embark on! 

First, you will experience a whole new level of exhaustion. Now, I know what you’re thinking- How could anything be as exhausting as studying music therapy: taking upwards to 21 credits, ensembles, rehearsals, practicum sites, tests, homework, attempting a personal life, and time for yourself?! While those things are exhausting, starting your internship is a whole new ballgame! Unlike in school, you have to be “on” all day. When interacting with supervisors, clients, parents, other therapists, and anyone else you come across, you always have to put forth your best self and always be professional! After my first day of internship, I came home and fell asleep within 30 minutes-I even forgot to eat (oops. Don’t do that. Self-care, folks!). Taking every opportunity you can to rest in a way that works for you will give you energy for the next day.

68557814_908084099547260_1062305670415515648_n

Because of how exhausted you will become, rest is more important than ever during internship. You have to learn what works best for YOU. I am an extrovert, so I found that I personally don’t need a lot of time in my evenings or weekends by myself or doing things such as watching TV, reading, or laying in bed. I have found that I am best filled up and energized by spending time with people I enjoy and being active! This has been a challenge moving to a place where I know nobody, and living alone, but I have found ways to stay connected with people who are important to me! Find what you need-whether that be spending your time alone, exercising, hanging out with friends, napping (always a yes), journaling, or whatever works for you! Give yourself time to figure out what fills you up, so you can pour out on others!

Second, TAKE NOTES. Your first couple of weeks is a whirlwind, and you can’t possibly remember everything that you have to do or everything you have seen. I observed so many therapists my first two weeks, I had to make notes at the end of the day about things I admired in the other therapists’ work, things to remember, and ideas that came to mind throughout the day. I created a notebook with sections about my internship to help me retain all of the info, which will be a great tool to have when I am done!

Third, attitude is everything. I’ve only barely started and this has already become a huge lesson for me. Yes, things will be hard. Yes, you will be working a lot and likely unpaid. Yes, things won’t always go as planned. Despite all of this, you still have control over your own attitude and the way you react. I have already made mistakes throughout internship, but that is how you learn! Internship is likely one of the last times you will ever get this close of supervision and feedback, so soak up as much as possible! Choosing to take this time as a huge learning experience, instead of just a box to check off will make a huge difference. You will get out of it what you put in. Plus, you chose this internship. Remember when you applied and couldn’t wait to hear back? Keep it all in perspective! 

_) tell the one i likr thst i likrhim

Lastly, internship is a huge time of self-discovery and learning about yourself. Soon before coming to my internship, I learned about the Enneagram. For those of you that haven’t heard of it, the Enneagram is essentially a personality test that puts you into one of nine personality types. When I found out I was a six, the loyalist, I was surprised by how accurate it was. Through my Enneagram number, I have realized that I am someone who doubts myself a lot. I know I am talented and a hard worker, but I often jump to worse case scenarios and worry that I am not good enough.I have to remind myself that I was chosen for this internship, and I am 100% capable as long as I am willing to learn. One of my favorite artists, Sleeping At Last, wrote a song for each enneagram type, and the song he wrote about my Enneagram type (Atlas: Six) has resonated so deeply with me, particularly for this time in my life at internship. I am far from family, friends, living in a completely new place, being pushed to new levels in my career, and trying to find my way. One of my favorite lyrics in his song says “Maybe I’m stronger than I realize.”

Maybe YOU are stronger than you realize. Internship will be hard and there will be things that you don’t know if you can handle, but it is all a part of the process, as long as you are willing to let it change and grow you. You got this!!

For anyone who wants to learn about their Enneagram type! I highly suggest it: https://www.enneagraminstitute.com/

See you in the next post!

Audrey

 

 

 

 

 

 

This infographic was created by one of our talented music therapists, Megan Miller, MT-BC to summarize the results of a research study about the impact of dyadic drumming on social skills conducted by Yoo and Kim (2018). Significant increases were seen in cooperation and self control.

Drumming and Social Skills (6)