Interview on Music Therapy / Special Needs
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Interviewed by Simon Garry, for City College Manchester, 17th March 2008

1 – How did you begin working as a music therapist?

In a word: ‘networking’. I’d been attending various music workshops through Music Leader / Youth Music and the Musicians Union and was aware that work in health was available for musicians. I’d previously gained a part-time music tutor place at a local college having heard that they needed someone urgently, and it was the same with a place working at a local special school – they need a music teacher part-time, I was looking for work with special needs children, so I immediately picked up the phone and sent my cv. Basically, it was a case of opportunity and desire.

2 – Are there any skills or qualifications that are essential/desirable?

That depends on the post. In my case, yes they wanted to have a look at my qualifications and experience, however because it’s a private school I think they were looking for the right person, someone who instinctively could provide support through music, someone who wanted to, someone who would embrace the school, it’s ethics, it’s ‘family’, it’s issues and challenges. I have since, in order to keep the post and develop it, taken on mentoring with Nordoff Robbins, provided courtesy of Music Leader, and this has brought ideas and great personal confidence, which the school is very pleased with .

3 - What is involved in a “typical” therapy session?

For me there is no ‘typical’ session. The children I work with take music as an activity, and it is very much lead by them. Depending on their day, their mood swings, the issues within school, I provide a range of group things to take part in, or some one-to-one work if the opportunity arises. Personally therefore, for me it’s improvisation within a structure – kinda like jazz if you like the analogy – whereby getting to know the child’s abilities and interests is key to involving the child.

A music therapist working in a more acute situation, with for example severely handicapped people, would probably play rather than lead an activity, and look to achieve response in a much more delicate way; the tapping of a percussion instrument; a smile of recognition; etc.

Working with behavioral issues again would mean that planning has to be loose-fitting, but ultimately still within a structure.

In all cases, a session could be a complete and utter failure and you have to be prepared for that. Or it could exceed your wildest dreams …

4 – Are there any areas in the music industry that are directly related to being a music therapist?

First and foremost you need to have a creative soul. And you have to want this, be strong enough to deal with the human issues, the mixture of tragedy and hope, and see music as an answer, a solution, a medication, a pleasure, a way to communicate and share love, understanding, an outlet for anger and frustration.

If you have these, then organisations such as Music Leader, the Musicians Union, Nordoff Robbins, music colleges and health organisations, can all lead you to opportunities to work in health and education, in areas you wouldn’t normally expect to work.

5 – What are the working patterns for a therapist?

Again for me it’s very much improvisation within a workshop. The more tools you have at your disposal – and I use everything from basic percussion to an i-pod full of songs for listening pleasure, to full blown music technology for creating beats and exploring sounds – the more chance you have of achieving stimulation and response.

6 – Do you get paid per session or on salary?

Personally by the hour as I am self-employed, and this is usually the way it goes. Work is not easy to find, so self-employed hour by hour is the way of the freelance musician these days! And my work is only part-time in this area – I work also as a semi-pro live musician and web designer, and many who work in this area are similar freelancers.

7 - How does the healing process take place?

This is the most difficult question, because in some cases and depending on how you see it, there is probably no healing as such, only the hope that the work you do brings a little something to the lives of people who have issues and pain beyond our comprehension. Healing is a long term comfort zone, a life-time of support and care that embraces music as a therapy, an activity, a change of sensual environment and stimulation that helps to achieve greater goals. How you perceive those goals is paramount to how you perceive healing. On a good day, healing begins and ends with a smile …

8 – Are the effects of the therapies noticeable straight away or is it more of a long-term healing method?

It’s an individual thing. In my place, children are first and foremost children, so by nature they will pick something up with a passion, and with equal passion walk away, dismiss it and in some cases destroy it. I think generally everything has to be perceived long-term, and as part of a bigger picture. You are after all providing music as a support service to a life-plan directed by health care and welfare professionals, so they will, you hope, ultimately see positive results in your work.

9 – What is the best advice you would give to someone starting out as a music therapist?

Be the musician - if you see the beauty and magic in the music, know that you are on your way. Experience the work before you take it on. Ask for advice, always, and be a part of a team. You will need the support of that team throughout, and they will need you. Always be ready to learn and change your expectations to suit the challenges of the day. Network, network, network … attend courses, workshops, meet and converse with others who work in this field, understand the needs of families affected by disability and mental health on all levels of severity.

And finally, one of the best bits of advice I have been given by Richard from Nordoff Robbins is: “if in doubt, listen to the children”.