By Scott Huntington

Music therapy involves the use of clinical, evidence-supported musical interventions to meet a patient’s specific goals for healing (a useful fact sheet). The musical therapist should have the proper credentials and be licensed in the field of music therapy.

Music therapy is performed in rehabilitation centers such as 12 Keys Rehab, psychiatric and even general hospitals, private practices, nursing homes, schools, etc. to treat a wide variety of issues, including social, cognitive, emotional, and physical needs. After an initial assessment, the musical therapist prescribes a treatment plan in which the patient sings, moves and dances, creates, or simply listens to music. This experience facilitates a healthy outlet for patients to communicate and express their feelings, in addition to rehabilitating the patient physically.

Rand De Mattei, a music instructor with Blues in the Schools, gets in tune with Petty Officer 2nd Class Tyreen S. McRae, a participant in neurologic music therapy, at Naval Medical Center San Diego Feb. 28. Neurologic music therapy helps Wounded Warriors recover. Public domain via Wikimedia Commons

Music therapy and special populations

As it has become more prevalent, music therapy has proven to be useful for a wide variety of populations. One such population is victims of crisis and trauma. After the 9/11 terror attacks in New York City, the American Music Therapy Association founded The New York City Music Therapy Relief Project. The goal of the project was to serve the children and adults living in the metropolitan vicinity by providing them with music therapy services. Some of these musical therapy programs were customized with the specific needs of caregivers in mind, targeting teachers, counselors, social workers, doctors, and nurses. More than 3,000 teachers and students were served through eleven different music therapy programs that reached out to eight local schools.

Music therapy has also been used in the treatment of mental illness. In addition to the basic care they should be receiving, music therapy helped patients with schizophrenia to achieve an enhanced mental state along with improving their overall condition. What’s more, music therapy has been shown to drastically reduce the unwanted symptoms these patients sometimes experience, making them more capable of having conversations with other people, thereby alleviating feelings of isolation and giving them more of an interest in what is going on around them.

Along with helping those suffering from schizophrenia, music therapy has also been used as an effective way to treat clinical depression. Studies have shown that when adolescents who were depressed listened to music, they had a notable drop in the levels of cortisol (a stress hormone), and the left frontal lobe of their brain was activated, which was reported to be a positive outcome.

Those who struggle with anger have also benefited from music therapy treatments. When assessed with the Achenbach’s Teacher’s Report Form, music therapy patients made significant improvements on the scale of aggression and hostility. Studies suggest that group sessions of music therapy allow patients to express themselves in a positive way, transforming their aggression and rage into healthier forms of communication. 

While music therapy can go a long way in improving the mental health of a patient, it can also help in more physical ways. For one thing, music therapy lowers a patient’s perception of their pain so that what might normally be extremely painful becomes a much more tolerable experience. For patients suffering with cancer and undergoing chemotherapy, music therapy has been known to lower incidences of nausea and anxiety, sometimes significantly lowering the fatigue, anxiety, and pain of those in hospice care.

Talking to a music therapist

I caught up with Alyssa Regan, who is in her second year in the master’s equivalency program for music therapy at Immaculata University. She’s also near the end of her full-time internship at Children’s Hospital of Philadelphia.

How have you personally seen music therapy work on someone?

I was planning on having a session with one of my patients that I had been seeing regularly since the beginning of my internship. This patient was only 16 months old and suffered from many medical complications. When I arrived at his room, I noticed an entire medical team standing around his bed; his monitor was beeping, his heart rate and respiratory rate were so erratic that numbers weren’t even showing. My patient’s face was red and he seemed to be writhing in discomfort. With approval from the medical team, I came in and began to quietly play guitar. Around the same time, the patient was given some medication. As I began to sing, my patient’s face calmed. I aimed to match the tempo of my music with his breathing and then gradually slow it down. His HR and RR appeared on the monitors and slowly decreased. After 20 minutes or so, his vitals were stable and he was asleep. After the session, one of the nurses said, “Well, either you’re a miracle worker or those drugs kicked in extremely fast!” I’m sure the medicine had a little to do with it, but it was also the music.

Since you started studying music therapy, have you seen it grow?

Yes. I think that more of the general population is beginning to recognize it as a credible field, especially as it seems to be gaining more publicity recently (e.g. the Gabby Giffords documentary and the recent segment on the news about music therapy with premature infants). I hope it continues to grow!

Is music therapy becoming more recognized in hospitals, nursing homes, etc.? 

I think it is becoming more recognized in general, which hopefully means that there will be more jobs available. The most growth seems to be happening in hospice care.

How do you see music therapy expanding over the next ten years?

Ideally, I’d like music therapy to be seen as important as physical therapy, speech therapy, or occupational therapy. Will that happen over the next ten years? Probably not. However, I would not be too surprised if every hospice care organization, children’s hospital, and major medical and psychiatric institution in the United States had at least one music therapist on staff in ten years.

Scott Huntington is a percussionist specializing in marimba. He’s also a writer, reporter and blogger. He lives in Pennsylvania with his wife and son and does Internet marketing for WebpageFX in Harrisburg. Scott strives to play music whenever and wherever possible. Follow him on Twitter at @SMHuntington.

Oxford Music Online is the gateway offering users the ability to access and cross-search multiple music reference resources in one location. With Grove Music Online as its cornerstone, Oxford Music Online also contains The Oxford Companion to Music, The Oxford Dictionary of Music, and The Encyclopedia of Popular Music.

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It began with John McCain’s selection of Sarah Palin as his running mate in 2008. The choice of this incompetent, unqualified, inexperienced, and stupid person as a vice presidential candidate called McCain’s judgment into serious question. Had the old war hero turned senile? How could he have put such a person a heartbeat from the Presidency? The mere thought of Palin in the White House was frightening. But McCain’s choice was far more than a scare—it insulted America and unleashed a wave of violence and racism that continues.

Never forget the crosshairs map Palin posted on her Facebook page. She urged her Twitter followers, “Don’t retreat, reload.” Arizona Congresswoman Gabrielle Giffords’ face was in one of the crosshairs. On January 8, 2011, Congresswoman Giffords was shot in the head outside a Tucson Safeway supermarket. Fortunately she survived and is making a remarkable recovery. But America is still coping with the incivility and insults initiated by Palin and taken up by the Tea Party and Congressional Republicans.

The insults continued after President Obama was elected and took office. With exhortations to “take back our country,” the Tea Party, overwhelmingly made up of whites, spread its unsubtle racist message. It didn’t take a rocket scientist to figure out that “take back our country” meant take it back from the black guy who’s President.

Four days before the President was inaugurated, the tone was set by radio talk show bloviator Rush Limbaugh. On January 16, 2010, Linbaugh said, “I hope Obama fails.”

During the President’s first term, Congressional Republicans took up Limbaugh’s mantra, deciding to do everything in their power to destroy the Obama presidency by holding up, blocking, weakening, misrepresenting, and voting against everything the President and Democrats wanted to accomplish.

Republican senator Mitch McConnell stated the Republicans’ position quite clearly: “The single most important thing we want to achieve is for President Obama to be a one-term president,” McConnell told Major Garrett in an interview published in the National Review in October 2010. A month later, in a speech to the conservative Heritage Foundation, he repeated his position: “Our top political priority over the next two years should be to deny President Obama a second term.” In another time, such a call of opposition to a sitting President would have been considered treason. But over the past two years, Republicans have, like obedient little soldiers, followed McConnell’s marching orders, turning their backs on their country and the people who elected them and abandoning their responsibility to participate in government.

Despite repeated attempts by the President to work in a bipartisan fashion, Republicans refused, becoming the “Party of No.” No to health care for all Americans. No to the President’s job creation bill. No to restoring regulations of the banks whose fraudulent practices caused the worst economic meltdown since the Great Depression. No to repealing the Bush tax cuts that added billions of dollars to the deficit. No to taxing millionaires and billionaires so they pay their fair share. Last summer, Republicans’ political brinksmanship with the debt ceiling resulted in the first downgrade in the national credit rating in U.S. history. In carrying out Rush Limbaugh and Mitch McConnell’s dictum to bring about failure of the Obama administration, Republicans have made Congress dysfunctional and the economic recovery slower than it might have been had they spent more time working with the President instead of working against him. That President Obama has been able to accomplish so much despite Republicans’ intransigence is a tribute to his political skill, patience and intelligence.

Now we come to this election year and the line-up of potential Republican presidential candidates who are as insultingly unqualified as Sarah Palin. All celebr

Simon & Schuster has bought a memoir by US congresswoman Gabrielle Giffords, who was gravely wounded in a shooting earlier this year which cost the lives of six people.

The book, Gabby: A Story of Courage and Hope, will be co-written with her husband Mark Kelly, a US Navy captain and astronaut. World and audio rights were acquired from  Robert B Barnett by Susan Moldow, executive vice-president and publisher, and Nan Graham, senior vice-president and editor in chief of Scribner.

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Today Scribner announced a November 15 publication date for Gabrielle Giffords’ and Mark Kelly’s new memoir, Gabby: A Story of Courage and Hope.

Wall Street Journal columnist and The Last Lecture co-author Jeffrey Zaslow also worked on the book. The cover for the memoir is embedded above.

Here’s more from the release: “Gabby will be a deeply personal account of Gabrielle Giffords’ and Mark Kelly’s lives together, recounting their courtship, Ms. Giffords’ rise in U.S. politics, and the tragic January 8th shooting in Arizona which killed six people and gravely wounded Representative Giffords and twelve others.  The book will also tell the story of her recovery process and will trace Mark Kelly’s career from decorated Desert Storm combat pilot to his recent mission as the commander of Space Shuttle Endeavour’s final flight.”

New Career Opportunities Daily: The best jobs in media.

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By Dennis Baron

Despite the claims of mass murderers and freepers, the government does not control your grammar. The government has no desire to control your grammar, and even if it did, it has no mechanism for exerting control: the schools, which are an arm of government, have proved singularly ineffective in shaping students’ grammar. Plus every time he opened his mouth, Pres. George W. Bush proved that the government can’t even control its own grammar.

Nonetheless, grammar conspiracy theories abound. In a YouTube video, Jared Lee Loughner, arrested for the Tucson assassinations that so shocked the nation, warns, “The government is implying mind control and brainwash on the people by controlling your grammar.” As further evidence that Loughner’s own grasp both of grammar and of reality is tenuous, he is reported to have asked Rep. Gabrielle Giffords the truly bizarre question, “What is government if words have no meaning?” three years before he put a bullet through the left side of her brain, the part that controls language.

But wresting control of grammar away from the government the same way other revolutionaries might take over the newspapers and the radio stations is the underlying theme of another denier of government authority, the right-wing loony-toon David Wynn Miller, a former pipe-fitter who made up his own language in order to challenge the government’s legitimacy and avoid paying taxes. News accounts detail attempts by Miller’s followers, after attending his expensive how-to seminars, to bring the courts to a standstill by filing stacks of incomprehensible legal motions written in what Miller calls “Quantum Language,” or sometimes, “communication-syntax-language,” but is literally psychobabble.

The idea that government controls language, which appeals to conspiracy theorists, is just a subset of the more-commonly-held view that language controls thought. George Orwell used Newspeak to illustrate this kind of linguistic mind control in his novel Nineteen Eighty-Four (1949), and in his essay “Politics and the English Language (1946), where he decried the connection between “politics and the debasement of language.” In the essay, Orwell presents a “catalogue of swindles and perversions” of words like “class, totalitarian, science, progressive, reactionary, bourgeois, equality“–together with syntactic forms like the passive voice. Orwell claimed that all of these were used in political writing “in most cases more or less dishonestly,” and, using the passive voice, he added that “political language . . . is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind.”  0 Comments on The Government Does Not Control Your Grammar as of 1/28/2011 6:14:00 AM