“mum“mmwxmwgggmmguggxxn ; 3 1293 104 RETURNING LEBRARY MATERIALS: Place in book return to rem c 25¢ per day per item ve barge from circulation records 3 S E N I F E U nu R E. V. U CONTENT OF MASTER‘S LEVEL CURRICULA IN MUSIC THERAPY AND ACADEMIC PROGRAMME DIRECTORS' ATTITUDES TOWARD TRAINING By Connie Isenberg-Grzeda A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC—MUSIC THERAPY Department of Music 1980 6//@57‘2.. ABSTRACT CONTENT OF MASTER'S LEVEL CURRICULA IN MUSIC THERAPY AND ACADEMIC PROGRAMME DIRECTORS' ATTITUDES TOWARD TRAINING By Connie Isenberg-Grzeda The present study explores the content of Master's programmes in music therapy and educators' attitudes toward the education and differential skills of music therapists with basic and advanced training. A questionnaire served as the research instrument. Results show that music therapy core courses and research were stressed more, and music was stressed less, at the Master's than at the Bachelor's level. Directors of Bachelor's programmes expected a greater emphasis on psychology and Special education at the graduate level than was reflected in programme content. The expressed attitudes of directors of Master's programmes toward speciali- zation, verbal therapy techniques, and musicianship were not consistent with programme content. Educators distinguished between music therapists with graduate and undergraduate training on the basis of clinical skills but not music skills. The development of clinicians was perceived to be the most important goal of graduate training. Overall, many attitudes of educators at both levels coincided. ACKNOWLEDGEMENTS The author would like to express her sincere thanks to Dr. Dale Bartlett for his invaluable contributions in his capacity as advisor and as a friend. She also grate- fully acknowledges the assistance of Mr. Robert Unkefer. - The author is grateful to Dr. Leslie Klein, not only for the time and energy he devoted to the development of the questionnaire and the determination of appropriate statistical procedures, but also for his moral support and friendship. The author wishes to express her appreciation to Dr. E. Brussell for his assistance with the clarification of the appropriate utilization of a variety of statistical :methods. ii TABLE OF CONTENTS INTRODUCTION 1 Studies Related to the Master's Degree in Music - Therapy 8 Studies Related to the Master's of Social Work and Occupational Therapy 13 METHOD 20 Graduate Questionnaire 22 Undergraduate Questionnaire 27 Analysis 29 RESULTS AND DISCUSSION 32 Description of Graduate Programmes 32 Comparison of Graduate and Undergraduate Curricula 48 Comparison of Expectations of Directors of Bachelor's Programmes and Content of Master' 5 . Programmes 67 Comparison of the Attitudes of Directors of Master's Programmes and Content of Master's Programmes 74 Comparison of the Attitudes of Directors of Master's Programmes and Bachelor's Programmes 83 SUMMARY AND CONCLUSIONS lOA LIST OF REFERENCES ‘ _ '112 APPENDIX A _ -ll6 Questionnaires iii APPENDIX B Means and Ranges of Required Credits in Content Areas in Master's Programmes; Frequencies of Selection and Median Ranks Assigned to Backgrounds Considered to Provide Best Clinical and Teaching Skills l3l iv TABLE TABLE TABLE TABLE TABLE TABLE TABLE TABLE TABLE ,LIST OF TABLES Percentages of Master's and Bachelor's Programmes Requiring Content Areas and of Directors of Bachelor's Programmes Expecting Inclusion Percentage of Total Required Coursework Accounted for by Content Areas and Percentages Proposed by Directors of Bachelor's Programmes Percentages of Academic Programmes Requiring Models of Music Therapy and of Directors of Bachelor's Programmes Expecting Inclusion Percentage of Total Exposure to Models of Music Therapy Accounted for by Each Model in Master's and Bachelor's Programmes Percentages of Academic Programmes Requiring Models of Therapy Other than Music Therapy 'and of Directors of Bachelor's Programmes Expecting Inclusion Percentage of Total Exposure to Models of Therapy other than Music Therapy Accounted for by Each Model in Master's and Bachelor's Programmes Percentages of Academic Programmes Requiring Therapeutic Settings and of Directors of Bachelor's Programmes Expecting Inclusion at Master's Level Percentage of Total Exposure to Therapeutic Settings Accounted for by Each Type of Setting in Master's and Bachelor's Programmes Percentages of Academic Directors Including Skills in Definitions of Functional Music 50 51 53 55 56 57 59 6O 62 TABLE TABLE TABLE TABLE TABLE TABLE TABLE 10. ll. 12. 13. IA. 15. 16. APPENDIX TABLE A. TABLE B. TABLE C. Percentages of Academic Directors Including Orientations, Median Ranks Assigned and Ranges 73 Frequencies of Inclusion of Forms of Therapy and Median Ranks Assigned 8A Frequency of Selection and Median Ranks Assigned to Music Skills by Directors of Master's Programmes 9A Frequency of Selection and Median Ranks Assigned to Music Skills by Directors . of Bachelor's Programmes 95 Frequencies of Selection and Median Ranks Assigned to Clinical Skills by Directors > of Master's and Bachelor's Programmes 9% Frequency of Selection and Median Ranks Assigned by Directors of Master's Programmes to Professionals Considered Most Similar to Music Therapists 100 Frequency of Selection and Median Ranks Assigned by Directors of Bachelor's Programmes to Professionals Considered Most Similar to Music Therapists 101 Mean and Range of Required Credits in Content Areas in Master's Programmes in Music Therapy 131 Frequencies of Selection and Median Ranks Assigned to Backgrounds Considered to Provide Best Clinical Skills by Directors of Master's and Bachelor's Programmes 132 Frequencies of Selection and Median Ranks Assigned by Directors of Master's and Bachelor's Programmes to Master's Degrees Considered to Provide Best University Teaching Skills 133 vi P Music therapy is one of several disciplines in which the Bachelor's degree constitutes the basic professional degree. It is during undergraduate training that students acquire the professional knowledge that identifies them as music therapists and enables them to enter the work force. Professional knowledge, as defined by Schein (1972), con- sists of the following three elements: 1. An underlying discipline or basic science component upon which the practice rests or from which it is developed. An applied science or "engineering" component from which many of the day-by-day diagnostic procedures and problem solutions are derived. A skills and attitudinal component that con— cerns the actual performance of services to the client, using the underlying basic and applied knowledge. (p. 43) The three elements, if viewed from the perspective of the training process, encompass both the academic and fieldwork components of professional education. Schein identified a trend in the professions toward increasing convergence in the. knowledge and skill base. increasing degree of consensus among the members of a profes- sion as to which paradigms are "to be used in the analysis of 1 Convergence manifests itself in an phenomena and high consensus as to what constitutes the relevant knowledge base for practice? (Schein, 1972, p. AA). ' Agreement among the members of a profession as to what should constitute the knowledge base for the profession is essential for two reasons. Firstly, it facilitates the ela- boration and integration of a professional identity which is distinct from that of other professions. Secondly, it provides for the delimitation of the scope of the professional degree, thereby facilitating the conceptualization of advanced training.‘\ Theoretically, the skills component of profesSional knowledge is derived from the basic and applied science components. For this to occur, there must be a body of knowledge which is commonly accepted by the members of a pro— fession to represent the theoretical core of the discipline. Perusal of the official publications of the National Associa- tion for Music Therapy and the general music therapy litera- ture emanating from the U.S. reveals a divergence of views regarding the existence of a theory specific to music therapy and the importance of music as the therapeutic tool. Attempts have been made to elaborate conceptual frameworks specific to music_therapy, most notably by Sears (1968) and Gaston (1968).\ Contributions in the form of elaborations or critical analyses of the proposed frameworks have been limited. There are, however, many articles in which an attempt is made to relate music therapy to pre-existing frameworks and to describe V/f\\ music therapy as one member of a group of therapies, thereby circumventing the larger issue of a coherent and internally consistent body of knowledge. Ruud (1973), in his Master's. thesis, attacks this issue directly. He divides the field of psychiatry into four major approaches -- biological, behav- ioural, psychodynamic and humanistic -— and proceeds to 11— lustrate how the various approaches in music therapy and the processes as elaborated by Sears (1968) are derived from these extant psychological schools of thought.{/Unlike Brown (1975), who documents the influence of behaviourism and humanism on music therapy but implies the existence of a distinct theory specific to music therapy, Ruud asserts that music therapy, as a discipline, presently lacks an independent theory and is destined to remain dependent upon psychology for its theoreti- cal framework:) The lack of agreement that characterizes the views re- garding the existence of a theoretical framework specific to music therapy also characterizes the views regarding the im- portance of music, per se, in therapy. Some authors have attempted to explore the basic nature of music therapy by focusing on the relative importance of music and therapy. Whereas Thompson (1960) stressed the importance of musician- ship as equal to that oftherapeuticskill, Braswell (1961) placed the stronger emphasis on therapy, as did Barnard (I953), who considered the therapist to be the true therapeutic agent. Shatin, Kotter and Douglas-Longmore (1963) stressed personality factors rather than music skills as primary contributors to clinical successiU The philosophical type of research described above has been on the decline in recent years (Jellison, 1973). The interest in definitions, theoretical formulations and identi- fication of directions and needs which are characteristic of philosophical research has been supplanted, in the literature, by a focus on experimental research, descriptions of tech- niques and methodologies, and descriptive investigations of various aspects of training. Jellison does not interpret this shift as "a process of decline in valuable ideas and theories" (p. 7), but rather as an increasing demand for the examination of ideas and theories which have already been postulated. An alternate interpretation of this shift is that the philosophical research resulted in the formulation of theories which were tentative and raised issues which were not easily resolved, and consequently, could not provide an ade- quate unifying force for the discipline.i(The shift from philo- sophical to experimental and descriptive research, viewed from the perspective of the latter interpretation, reflects a reduction in research on the basic science component of professional knowledge and an emphasis on the investigation of the applied science and skills components.) ( One research method which has been widely used to explore the applied science and skills components is the deScriptive studyT Various aspects of the training process for music therapists have been subjected to this form of investigation. Particular emphasis has been placed on the Bachelor's degree. (/ Madsen (I965) prOposed changes for the music therapy curri- culum. He expressed the View that music history and theory are not very pertinent to music therapy and should, there- fore, be required for only one year. He also stated that the role of the music therapist does not require professional level performance skills and consequently advocated that the study of the applied major instrument be restricted to one year. GalloWay (1966), in a fairly comprehensive investiga- tion of training, focused primarily on the undergraduate curriculum, the six-month clinical internship, and the Opini- ons of music therapists regarding the extent to which these two levels of training provide music therapists with neces— sary skills;i Iley (1976) did a ten-year follow-up study and found that curricular changes were minimal. A limiting factor in the latter study was the method used to establish curricu- lar content. University and department academic catalogues comprised the investigative tools, and, therefore, shifts in orientation and content could not easily be detected. Braswell, Maranto and Decuir (1979a, 1979b) included an inves- tigation of the Views of music therapists regarding academic and clinical training in a very comprehensive survey which covered many aspects of music therapy. It is possible that the contribution of this persistent investigation of training has extended beyond the purely theoretical realm into the practical. It is not unlikely that these studies have, to some degree, served as the impetus for the current major initiative undertaken by the NAMT in the area of curricular revision. \A revised Bachelor's level curriculum was presented to the Assembly of Delegates at the NAMT 1979 conference and received approval. In the revised curriculum, content statements replace course list- ings in the music therapy and music areas, and "credit distribution is not only given in semester and quarter hours but in percentages of the total degree requirements" (NAMT Newsletter, Dec. 1979):) The latter addition is significant in that it presents us with a clearer delineation of the relative value assigned to mg§i3_and therapy, respectively, by an organized body of music therapists. It would seem that des- criptive studies may contribute to the resolution of some of the issues raised in philosophical papers. Interest in the Bachelor's programme, as reflected in the literature and the policies of the NAMT, has not been paral— leled by equal interest in the Master's programme. In rela- tion to Master's programmes, the NAMT serves primarily as an advisory agency rather than as an official body with the power to grant and withhold approval. 'The guidelines for establish- ing-Master's degree programmes are sketchy and lacking in substantial content. They include the suggestion that only those students who have completed a Bachelor's degree in music therapy or its equivalent and a six-month internship be accepted into a Master's programme. In relation to the content of the programmes, it is recommended that at least one-half of the hours be devoted to courses related to music therapy and should include therapy seminars, a practicum, and research. The tripartite division of music therapy related courses does not seem to reflect an orientation in the conceptualization of Master's level training. The Master's degree constitutes the advanced level of training for the profession and as such implies the refinement of knowledge and skills acquired at the undergraduate level and/or the acquisition of additional and different knowledge and skills. Whereas the refinement of knowledge and skills could produce a clinician superior to the clinician with a Bachelor's degree, the acquisition of new knowledge and skills could produce a music therapist with a professional role distinct from that of a clinician. It is important, therefore, to understand the nature of graduate training in music therapy and to attempt to ascertain is functions and goals. The purpose of the present study is to explore the graduate training of music therapists with particular empha- sis on two major areas. The first area of interest is the curricular structure and content of the Master's degree pro— gramme, per se, and the second area is the attitudes of music therapy educators toward the education and comparative skills, functions, and roles of music therapists with Bachelor's degrees and music therapists with Master's degrees. Studies Related to the Master's Degree in Music Therapy There are only a limited number of studies in the lit- erature which focus primarily on graduate level training in music therapy, per se. There are even fewer studies which investigate the differences between the graduate and under- graduate curricula and between the perceived or actual func- tions and skills of music therapists with Master's degrees and those with Bachelor's degrees. The one component of graduate training in music therapy which has received recognition as a major contributor to the uniqueness of the Master's programme is research. Michel and Madsen (1969) referred to research as "the hallmark of graduate training" (p. 22). Gaston (1955-56) stressed the necessity for members of the faculty to have active interest and involvement in research to ensure the optimal climate for the teaching and sharing of research skills. Neither Gaston (196”) nor Schneider (1965) perceived the development of researchers to be the sole function of graduate training. Schneider viewed the acquisition of financial support for a pilot project in graduate training in 196A and the subsequent gradual increase in the number of graduate programmes as indicative of two changes which were positively affecting the profession. The first change was the increased acceptance of music therapy by the wider community, and the second change was the realization of music therapists that there was a need for "more knowledgeable and sophisticated music therapists -- therapists trained in a more rigorous scientific fashion who will become both researchers and clinicians" (Schneider, 1965, p. 105). Gaston (196A), in reference to the aforementioned pilot project for graduate training, listed the goals of advanced training in music therapy. The goals included advanced clinical training, research, and scholarship in music therapyl Michel (1965) presented a professional profile of NAMT members based on a survey completed in 1963. He compared his results to those of an earlier survey conducted in 1960 and found an increase in the percentage of NAMT members holding degrees in music therapy rather than in music. Des- pite the increase, 9.1% of the respondents held a Master of Music or Arts and only 2.1% held a Master of Music Therapy. Although Michel alluded to the importance of the increase in members holding a Master of Music Therapy, it is not possible to draw conclusions from these data regarding attitudes toward a Master's degree in music therapy for two reasons. The number of people holding an advanced degree in music “ therapy could be related to the relative availability of Master's programmes at that time, and the terminology or labels used, i.e., Master of Music versus Master of Music Therapy, could be subject to differential interpretation. A lO respondent who has received a Master of Music with an emphasis or major in music therapy could indicate either ' response based on interpretation. A much more recent survey of NAMT members conducted by Braswell et al. (1979b) provides a less ambiguous description of attitudes toward the Master's degree in music therapy. Almost 73% of the respondents claimed that they "would not feel more adequately prepared in job performance" (p. 60) if they held a Master's degree in music therapy. Almost 82% of the respondents felt that job security would not be more ensured and almost 69% believed that their status in relation to other professionals would not be raised by the acquisition of a Master‘s degree in music therapy. Music therapy was ranked the third most preferred discipline in which to obtain a Master's degree, following special educa— tion and psychology which were ranked first and second, reSpectively. Although the reasons for this apparent devalua— tion of graduate training in music therapy are difficult to ascertain, this study highlights the need to subject the Master's degree programmes to further investigation. Hanser and Madsen (1972) selected one component of the , curriculum, that is, research, and designed an experiment that would enable them to compare the research skills of undergraduate music therapy students to those of graduate . level music therapy students. The subjects were undergraduate 'students in a Psychology of Music class and graduate students 11 in an Experimental Research in Music class at Florida State University. Both groups of students were required to con- duct experimental research and to submit a research paper. Each of the graduate students contracted with the professor to receive a particular grade contingent upon meeting speci- fic criteria. Undergraduate students, however, were guaranteed a noncontingent_grade of ”A". This differential grading system was intended to lower the motivation of the undergraduate students and increase that of the graduate students. The quality of graduate research, as determined by four independent judges, did not differ significantly from undergraduate research. These findings, although specific to one group of students at one university, reflect a discrepancy between generally accepted expectations of graduate training and the actualities of this level of training. Galloway (1966), in a comprehensive investigation of attitudes toward training in music therapy, focused primare ily on the undergraduate degree and clinical training. Some of his findings, however, touched tangentially on the graduate degree. When asked at which level specialization should occur, the clinical level (sixwmonth internship) was preferred to the academic level (Bachelor's programme), but several respondents stated that specialization should occur at the graduate level. Research projects also tended to be pre; ferred at the clinical level, but some respondents stated 12 that training in research should occur exclusively at the graduate level. The majority of respondents felt that it was not desirable for the NAMT to grant advanced certifica— tion to music therapists with Master's degrees. Iley's (1976) follow-up study concentrated on verifying the presence or lack of curricular changes in the under— graduate programmes ensuing from the Galloway study recommendations. Minimal attention was given, therefore, to the Master's level programmes. Required course titles were listed, but the content of the programmes was not dealt with at depth since the focus of the study was the undergraduate curriculum. In summary, most of the studies relating to graduate training in music therapy are in the form of philosophical and descriptive research. In philos0phical papers the research component of graduate training is stressed. Descrip- tive studies investigate the attitudes of music therapists toward graduate training. Braswell et al. (1979b) found that a majority of the members of the NAMT felt that a Master's degree in music therapy could not enhance job performance or status in relation to other professionals and would not ensure job security. They also found that music therapy was considered the third most preferred discipline in which to obtain a Master's degree, following special education and psychology. Galloway (1966) found that most respondents did. not consider it desirable for the NAMT to grant advanced l3 certification to music therapists holding Master's degrees. Hanser and Madsen (1972), in an experimental investigation of research skills, failed to find significant differences 'between the research skills of students at the undergraduate and graduate levels of training in music therapy at Florida State University. The research presented supports the need to subject the Master's degree in music therapy in: further investigation. Studies Related to the Master's of Social Work and Occupational Therapy Both social work and occupational therapy are disci- plines in which the Bachelor's degree represents the basic professional degree and the Master's degree represents an advanced level of training. Concerns have been raised in the professional literature of both disciplines regarding the distinctions between the Master's and Bachelor's levels of training, but these concerns have been channeled into different forms of investigation. The basic professional degree in social work was ori- ginally the Master's degree but was later defined as the Bachelor's degree. This shift resulted in increased numbers of social workers with varying levels of skills and seems to have generated interest, as reflected in the literature, in assessing and defining the differential skills, roles, and functions of social workers with different levels of educa- tion. Barker and Briggs (1968), as reported in Regan (1976), 1A stressed the importance of clearly defining the tasks which fall under the mandate of the social worker with a Master's degree. They outlined the detrimental effects on the profes- sion and the community of having MSWS and non-MSWS engage in the same tasks. Davis (1971) supported the necessity for MSWS to perform certain tasks which are different from the tasks performed by BSWS and Specified the ability to assess and help a patient with severe emotional problems as falling within the domaine of the MSW. Regan (1976) developed a model for social work practice in which the tasks of the MSW in- cluded the development of a referral procedure, establishing in-service education programmes, staff supervision, consulta- tion, and meeting the emotional—psychological needs of patients and families. The tasks of the BSW revolved around direct service to patients. Lurie (1976) investigated, and made recommendations for, staffing patterns for social workers in hospitals and clinics. Although expressing the view that the differential use of BSWS and MSWS required further study and evaluation, he did pro- vide several guidelines. He suggested that psychosocial assessments be made initially by an MSW; that there be one BSW on staff for every four to seven MSWs; and that experienced BSWS be allowed to undertake counselling responsibilities under the supervision of an MSW. He additionally advocated that BSWS be primarily responsible for the following tasks: interviewing for financial evaluations, arranging alternate 15 care, developing certain liaison relationships with community agencies, initiating and completing nursing home referrals, and serving as advocates for patients and families who are entitled to various benefits not yet received (p. 93). Wattenberg and O'Rourke (1978) designed a study to com- pare the importance ascribed to certain social work tasks by MSWS and BSWS and the frequency with which these tasks were performed by members of the respective groups. A question- naire was used as the instrument and respondents were re- quired to indicate how important they considered each task to be and how frequently the task was performed. In the area of services to patients, there was considerable agreement between the two groups on both parameters —- importance and frequency. Group work was perceived as more important by MSWS than BSWS. MSWS conferred with colleagues more frequent- ly and BSWS helped with finances and routines somewhat more frequently. More MSWS than BSWS helped patients with fears and anxieties. In the area of services to families, there were some discrepancies between the importance attributed to tasks and the frequency with which they were performed, but there were no Significant differences between MSWS and BSWS. In the areas of management, administration, and planning, the only taikwhich was performed more frequently by MSWS was supervision of other social workers. Although there were many discrepancies between the importance attributed to tasks and the frequency of performance in the area of com- munity work, there were no significant between-group 16 differences. MSWS did view research as somewhat more impor— tant than did BSWS, but the difference was not significant. There were no'differences in the importance attributed to educating other professionals or in the frequency with which this was done. Overall, very few significant differences were found and the hypothesis that BSWS regularly performed more rou- tine duties than MSWS was not confirmed. The occupational therapy literature reflects some interest in the delineation of the skills and functions of occupational therapists (e.g., Eliason & Gohl—Giese, 1979, and Gilfoyle & Hays, 1979), but this is largely restricted to basic professional Skills and consequently does not include comparisons between occupational therapists with Master's degrees and those with Bachelor's degrees. Only limited attention has been given to the graduate programme, per se, and-this has taken the form of descriptions of models of education and elaborations of guidelines for graduate education. There are two types of Master's degrees in occupa— tional therapy (Reilly, 1969). The Advanced Professional Master's degree is designed for students who are accredited occupational therapists and the Basic Professional Master's degree is designed for students with undergraduate training in other disciplines. Much of the literature devoted to graduate training has focused on the distinctions between these two degree structures. Rogers (1980a, 1980b) explored 'the Master's degree structure in occupational therapy and compared it to other professions in which the Bachelor's .17 degree is the basic professional degree. She concluded that the occupational therapy graduate degree structure does not differ considerably from that of other professions, but nonetheless recommended that the dualism in graduate train- ing be reduced by including advanced professional training within the Basic Master's curriculum. She recommended that the Master's curriculum include: the professional sciences and their development; application of the professional ‘sciences; and liberal learning (p. 183). Reilly (1969) described the curriculum in an Advanced Professional Master's degree programme. Research methods, directed research, seminars, and a thesis were required. The most commonly selected electives included personality and learning theory, the social-psychological aspects of growth and development, socialization, small groups, and role theory. The goals of the programme were to provide students with knowledge in sociology and psychology beyond that acquired at the undergraduate level, to provide training in research skills, and to provide students with the opportunity to "deve10p the repertoire of Skills, attitudes, and discrimina- tions necessary for acquiring the behavioral science theorizing point of view" (p. 30A). The American Occupational Therapy Association has pro- duced a series of policy statements and guides regarding the establishment and the content of graduate programmes in occupational therapy., The most recent document is a guide 18 (AOTA, 1979) which includes a definition of the functions of graduate training and outlines the competencies which the graduate student is to possess upon completion of a Master's programme. It also includes the contributions which the graduate is expected to make to make to the profession. The ability of a graduate of a Master's programme to provide specialized professional services and to contribute to the development of the profession through research is stressed. The guide, although much more elaborate than the guidelines provided by the NAMT, does not represent an approval mechan- ism for Master's programmes in occupational therapy. It is the individual university which has ultimate control over graduate training. In summary, both social work and occupational therapy are disciplines in which the basic professional degree is the Bachelor's degree. Consideration has been given, in the literature of both professions, to the basic and advanced levels of professional training. Within social work, attempts have been made to assess and define the differential Skills and functions of BSWS and MSWS. Although models of social work practice which clearly distinguished between the two levels of training were elaborated (Began, 1976), Wattenberg and O'Rourke (1978) found that many of the commonly held assumptions regarding the differential tasks of MSWS and BSWS were not confirmed by experimental investigation. In the occupational therapy literature, there were some studies in 19 which Master's level training was described. Comparative studies focused more on the differences between the Basic Professional Master's degree and the Advanced Professional Master's degree than on the differences between occupational therapists with Bachelor's and Master's degrees. The American Occupational Therapy Association has elaborated ‘Several policy statements and guides for graduate training, but these serve as guidelines rather than as official criteria for granting approval to Master's level programmes. METHOD Information regarding the structure and content of an academic programme can be gathered in several ways. One method is to obtain university and department course cata- logues and to compile the information contained in these publications. The two most obvious weaknesses of this approach are the difficulty obtaining current information and the inherent limitations imposed by the actual format of course catalogues. .Practicality and cost dictate that individual course descriptions be concise, thereby limiting the extent to which they can accurately and comprehensively reflect course content. Since it was fundamental for.the purposes of this study to investigate, in depth, certain aspects of course content, this method was considered inap- propriate and was eliminated as an Option” A second method whereby this type of information can be gathered is the interview. Since the universities which offer Master's programmes in music therapy are scattered through- out the United States, this alternative was deemed unsuitable. The method that seemed the most practical and efficient for obtaining information from the small, discrete and scattered population of directors of Master's programmes listed by the NAMT was the questionnaire. A questionnaire which could provide an accurate description of curricular content was 20 21 developed. Since the objective of the study was not only to gather factual information regarding the Master's programme in music therapy, but also to attempt to elucidate the state of graduate training by assessing the degree of consistency be- tween the actual content of, and attitudes toward, graduate training, it was necessary to develop two complementary ques- tionnaires, one seeking factual information, the other, atti- tudinal. Galloway (1966) found that the attitudes of NAMT members toward certain aspects of undergraduate training tended to lack uniformity and that the attitudes of academic directors were at times at variance with those of two other specific categories of music therapists -- music therapy clinicians and directors of music therapy programmes/ internship supervisors -— as well as those of music therapy interns. It was decided, therefore, for the purposes of this study, to define the population in a much more narrow fashion and to focus on intra—group rather than inter;group concordance. Since the attitude questions dealt with as- pects of graduate training and differences between music therapists with Master's degrees and those with Bachelor's degrees, it seemed appropriate to investigate the views of. directors of Bachelor's and Master's programmes since they comprise the group of music therapists who have the greatest direct influence upon, and reponsibility for, the academic programmes. 22 A questionnaire was sent to the director of music therapy at each college and university listed in the NAMT brochure "A Career in Music Therapy". This list included all programmes approved by the NAMT as of August, 1978. There were eleven universities listed which offered graduate programmes, and one additional programme which had received recognitiion prior to the distribution of the questionnaires was included, increasing the total population of graduate programmes to twelve. There were forty-nine colleges/ * universities which offered only undergraduate programmes. (There were, in fact, fifty—two undergraduate programmes listed, but four were members of a consortium and were, there- fore, treated as one programme.) Graduate Questionnaire The graduate questionnaire was sent to the directors of music therapy at the twelve universities offering Master's programmes. Copies of the graduate and undergraduate ques— tionnaire appear in Appendix A. The_graduate questionnaire consists of two major sections, one factual, the other atti- tudinal. Section A5 Factual Information This first section focuses primarily on factual infor¢ mation regarding the content and structure of the Master's programme in music therapy. It is five pages in length and contains fifteen questions. Although many of the questions 23 are subdivided, the majority were designed as filter ques- tions, thereby eliminating unnecessary reading. Most questions are closed in form, but an "other" category was provided to ensure that respondents were not overly res- tricted by the Options provided. Several questions require the respondent to estimate percentages and, consequently, are more time consuming. The length of the questionnaire and the time required to complete it could not have been reduced further without resulting in the loss of pertinent informa- tion. It was recognized that length and time required for completion are factors which ordinarily affect response rate (Warwick, 1975), but it was hoped that the relevance of the questionnaire to the work and professional concerns of the respondents would serve to motivate them sufficiently to counteract the effects of these other factors. Since the function of graduate training in music therapy is, as viewed by Gaston (196A), to produce advanced clinicians, researchers, and scholars in music therapy, these areas were incorporated into the factual section of the questionnaire. To ascertain the role of research in graduate training, thesis requirements, the relative weight of research within the programme as determined by the propor- tion of assigned credits, and the ranking, by educators, of research as a goal of training were all investigated. Aspects of the programmes which could result in advanced clinical skills were also subjected to investigation. Among these were the practicum requirements, Opportunities for 2A Specialization, instruction in functional music, and assessment techniques. Scholarship is sufficiently abstract a term to defy direct correlation with specific tasks or Skills. It undoubtedly overlaps with both research and clinical Skills and extends beyond them. (Of those areas of curriculum investigated, models of music therapy and models of therapy other than music therapy could be perceived as contributing to scholarship while remaining intimately linked to clinical skills. Space was provided for comments and elaboration and clarification of responses. Section B: Attitudinal Information The second section of the questionnaire was developed to obtain the views of academic directors on certain aSpectS of the training and clinical practice of music therapists. This section is two and one—half pages in length and con- tains eleven questions. All but one of these questions are "closed" in form, and the questions which are subdivided were constructed as filter questions. Since dichotomous questions, i.e., questions requiring "yes/no" responses, are subject to the least bias (Young, 1966) but provide only limited informa— tion, the form was employed but was followed by questions which yielded more information. Several of the questions provided respondents with a list of items from which they were required to select the three which they considered to be "the most important", "the most Similar", or "the best" depending upon the question. The three items selected were to 25 be ranked from one to three, where one is equal to the most important. Although the content of the continuum was not 'consistent (for example, in some questions importance was rated, whereas in others similarity was rated), confusion was avoided by explicitly presenting the parameter to be examined within the context of each question. Although the use of rating scales might have facilitated statistical analysis applied directly to the raw ranks, the inherent disadvantages outweighed the advantages and rendered the ranking method described above the preferred method. The format of the questionnaire would have had to be restructured to accommodate rating scales. This would have resulted in a longer questionnaire and one which would have required more time and effort on the part of respondents. Since there was already a risk of the questionnaire being too lengthy and time consuming, the use of rating scales would most probably have had an adverse effect upon response rate. A second problem presented by rating scales is the tendency of respon— dents to stay near the middle of the scale (Warwick, 1975). This obstacle to obtaining Sharply focused responses was surmounted by the use, in this study, of one end of an implicit rating scale continuum. Those items which were perceived by the respondents to be unimportant were not as- signed low ranks, but rather, were not ranked at all. The. one disadvantage of the method used is that, given the limi— ted Size of the population, it lent itself more to 26 descriptive analysis and statistical analysis of frequency of selection than to statistical analysis applied to the ranks. One of the objectives of the study was to evaluate the degree of consistency between attitudes toward graduate training and actual curricular content; and, therefore, the attitude section was constructed to cover several of the same areas as the factual section. Views regarding the in- clusion of verbal therapy techniques, assessment skills, and Specialization in the training of music therapists were investigated, and respondents were asked to indicate at which level of training these Should occur. It was considered important to ascertain at which levels respondents believed Specific skills should be acquired because their responses could indirectly reflect their attitudes toward the function of graduate training, and by extension, their attitudes toward the distinctions between graduate and undergraduate training. Several questions focused directly on these distinctions. Respondents were requested to select specific Skills, musical and clinical, which they felt differentiate between music therapists with Master's degrees and thoSe with Bachelor's_degrees. They were also requested to com- pare the clinical skills of music therapists to those of members of related disciplines. Braswell et al (1979b) reported on music therapists' perceptions of the status of music therapy relative to other disciplines. If a 27 therapist's status within a facility is directly related to demonstrated clinical skills, it is important to examine both the skills acquired and the opinions of educators re- garding these skills. Undergraduate Questionnaire The undergraduate questionnaire was sent to the direc- tors of music therapy at the forty—nine NAMT-approved colleges/universities offering only Bachelor's level pro- grammes. The questionnaire consists of two major sections, one factual, the other attitudinal. The factual section was sent as well to the directors of Master's level programmes. Section A: Factual Information The major purpose of this section was to gather informa- tion regarding the directors' of Bachelor's programmes expec- tations of graduate training. These expectations, if then compared to the actual content of Master's level programmes, could provide a measure of coherence within the discipline.' The second objective was to gather information pertaining to the curricular content at the Bachelor's level in order to facilitate a comparison of certain aspects of the graduate and undergraduate curricula. Section A of the undergraduate questionnaire is identi- cal in design to Section A in the graduate questionnaire. The aspects of the curriculum included in the investigation are also the same. The questions differ only in that 28 "Master's degree" is replaced by "Bachelor's degree", and several questions which had relevance only to the Master's degree were dropped. Questions regarding respondents" views on graduate training were added, in almost all cases, as subsections of existing questions so as to ensure that the format remained consistent with that of the graduate questionnaire. This section is four and one-half pages in length and contains thirteen questions. Space was provided for comments and elaboratibn and clarification of responses. The factual section of the undergraduate questionnaire was sent with the graduate questionnaire to the directors of Master's programmes. The rationale for including it was that it would provide an additional method for determining the degree of consistency among academicians in regard to their views of training, and between their views and the actual training provided. It would provide for a comparison of the undergraduate curricula at universities offering both levels of training and those offering only undergraduate training. A major problem presented by the inclusion of the additional form was that it increased considerably the length of the .questionnaire and the time required to complete it. For this reason, the cover letter (see Appendix A) requested that the educators respond to the graduate questionnaire first, in the hOpe that the rate of return for the graduate question- naire would not be adversely affected. Of those directors Of Master's programmes who did respond, very few (n=A) 29 responded to the undergraduate form, thereby precluding a meaningful comparison of undergraduate programmes at univer- Sities with Master's programmes and at universities without Master's programmes in music therapy. These data were, therefore, omitted and not subjected to any form of analysis. Section B: Attitudinal Information This section is identical in all respects to the cor- responding section of the graduate form. Analysis Analysis of the data was both descriptive and statisti- cal in nature. The descriptive analysis employed primarily means, percentages, and for those questions seeking opinions or attitudes, proportions (based on frequency of selection of items) and medians. The correspondence between the prOpor- tions of respondents who selected items and the importance attributed to the item as measured by the median ranks as— signed was described. The limited size of the populations and the resultant limited size of the samples, and the small and unequal "n's" for individual items in the questions which required ranking were the major factors which rendered statistical analysis applied directly to the ranks less meaningful than descripé _ tive analysis of the ranks and statistical analysis of fre- quencies of selection. The Pearson product moment correla- tion coefficient was employed to measure the degree of 3O relationship between certain aspects of the Master's and Bachelor's programmes, and between the expectations of the 'directors of Bachelor's programmes and the content of the Master's programmes. In questions requiring ranking of only three items, frequencies of selection were converted to ranks and the converted data were subjected to a Spearman's Rank Order Correlation to measure the degree of relationship between the views of directors of Master's and Bachelor's programmes. Statistical comparisons for individual items involving proportions were performed using chi square as a test of the Significance of differences between proportions. For those questions in which the items were not independent and the data did not, therefore, meet the assumptions of a normal distribution, between-group differences were compared with the use of a nonparametric test, the Mann-Whitney U Test. In questions requiring ranking, all items selected by less than 50% of the respondents in both groups were not sub- jected to individual statistical analysis, but were used for discussion purposes if conSidered very relevant to the subject. The significance level was established at a=.05 for two-tailed tests. To provide as complete a description as possible of the degree of consonance between the actual Master's programmes and views regarding this level of training, several compari— sons were made. The Master's programmes were described and then compared to the expectations of the directors of 31 Bachelor's programmes. Certain aspects of the undergraduate curriculum were compared to the graduate curriculum to develop a better understanding of the real differences be- tween these two levels of training. The attitudes of the directors of Master's programmes were compared to the actual Master's programmes. The degree of convergence in the views of academic directors was further explored by comparing the attitudes of the directors of Master's programmes to those of the directors of Bachelor's programmes. RESULTS AND DISCUSSION The information presented is derived from questionnaires sent to the directors of music therapy at the 12 graduate programmes and A9 NAMT—approved undergraduate programmes. A11 questionnaires returned by June 15, 1979 were included. Nine of the 12 graduate questionnaires, or 75%, and 35 of the A9 undergraduate questionnaires, or 71.u%, were returned. These rates of response were considered sufficiently high to provide an adequate representation of the respective popula— tions. Since some of the programmes were on a semester system and others were on a term or quarter system, all credits were converted to semester hours to ensure consistency and avoid confusion. The terms "semester hours" and "credits" are, therefore, used interchangeably in the text and constantly refer to semester hours. Description of Graduate Programmes Clinical experience, beyond that required by the NAMT for the purposes of registration, was not a requisite for entrance into a graduate programme in music therapy. In only one-third of the programmes (n=3) were applicants encouraged to acquire clinical experience as music therapists prior to embarking upon graduate studies. Among those directors who 32 33 did encourage the acquisition of clinical experience, there was no consensus as to the amount of experience preferred. The responses were evenly distributed across the three options offered: one year, two years, and more than two years. Credits The mean minimum number of credits required to obtain a Master's degree in music therapy was 37 semester hours. Since the range was from 30-73 credits and the upper extreme value was far greater than the next highest value of A0 cre- dits, the median, 32 semester hours, better reflects the data. The percentage of the total number of course credits accounted for by the required courses ranged from 53.3%- 100%, and the mean percentage was 67.9%. Content Areas Music therapy core courses (including practicum) and research courses (excluding thesis requirement) were required in 100% (n=9) of the programmes. Psychology of music/ acoustics courses and psychology courses were each required in 55.6% of the programmes, and music courses were required in AA.A% of the programmes. Courses in music education and Special education were required in only 22.2% of the pro- grammes. Recreation courses were not required in any pro- grammes and Sociology/anthropology courses and sciences were required in only one programme. The number of credits 34 required in each of these content areas appears in Appendix B. The proportion of the total number of required credits which each content area represented was calculated. The mean percentages were calculated on the basis of N=9 so as to best reflect the relative importance of each content area across the entire population of graduate schools. Music therapy core courses represented from 16.7% to 77.3% of total required course credits. The mean percentage was 33.12%. One of the responses was not included in the calculation of the mean Since the respondent stated explicitly that all music therapy core courses were, in effect, research courses, and a practicum was not required. This response was, there- fore, included in the calculation of the mean percentage represented by research courses._ Research represented from 4.1% to 53.3% of total required coursework, with a mean of 18.9%. Music courses represented an average of 12.94% of required coursework; the range was.from O to 49%. Psychology courses accounted for an average of 9.52% of required course- work; the range was 0 to 30%. The percentage of the total required coursework accounted for by psychology of music/ acoustics ranged from 0 to 25%, with a mean of 8.48%. These two areas were combined becauSe several respondents stated that they had included acoustics within psychology of music. Music education and Special education courses represented an average of 3.33% and 2.27%, respectively, of the total 35 number of required credits. Sociology/anthropology and sciences represented an average of 1.14% of total required coursework. An "other" category was provided and areas listed represented an average of 10.3% of required course— work. Included in this area were required case conferences, workshops, and seminars. The actual content could not be determined from the responses. Course Content Since university catalogues tend to provide brief, general, and hence, vague descriptions of courses, a more thorough and specific investigation of content was undertaken. This inquiry focused on three major content areas, all of which were considered particularly relevant to therapy, per se, and these were: models of music therapy; models of therapy other than music therapy; and the therapeutic use of music in a variety of settings. Models of music therapy. Models of music therapy were included in the required courses in 66.7% (n=6) of the Master's programmes. Of these six programmes,100% included behavioural music therapy, developmental music therapy, and psychoanalytic based music therapy; 66.7% included guided imagery and improvisational-expressive music therapy; and 33.3% required students to develop their own models of therapy. The mean percentage of the students' total exposure to models of music therapy accounted for by each of the aforementioned models is presented in Table 4. 36 Although all nine Master's programmes had music therapy core courses as requirements, only in two—thirds of these programmes was the study of models of music therapy included within required coursework. The model which accounted for the largest percentage of the students' exposure to models of music therapy was the behavioural model. This emphasis on the behavioural approach is consistent with Brown's (1975) findings that behaviour therapy has had a major impact on the field of music therapy, and has been instru- mental in shaping current music therapy techniques. It is also consistent with the conclusions of Jellison's (1973) investigation of research in music therapy.. She found an increase in experimental research, in general, and in experimental behavioural research, in particular. She also found an increase in the reporting of behavioural techniques. It iS not possible to determine whether the increase in the reported use of behavioural techniques resulted from an in— crease in the clinical use of these techniques relative to other techniques, or whether these techniques, because of their objective nature, lend themselves more easily to investigation and subsequent reporting.‘ In parallel fashion, the emphasis on behavioural music therapy within Master's programmes may reflect on a clinical orientation or on a research orientation. Of the six educators who did include models of muSiC‘ therapy in required coursework, two stated that they 37 encouraged students to do readings in those areas not included, two stated that they did not encourage students to do additional readings, and two did not respond. The three educators who did not require models of music therapy stated that readings in all models were encouraged. Models of therapy other than music therapy. Models of therapy other than music therapy were included in the re- quired courses in 77.8% (n=7) of the Master's programmes. Of these seven programmes, 100% included behaviour therapy; 85.7% included psychoanalytic therapy, gestalt therapy, and client-centered therapy; 71.4% included reality therapy, transactional analysis, psychodrama, and group dynamics; 57.1% included play therapy; and 42.9% included sensory- integrative therapy. The mean percentage of the students' total exposure to models of therapy other than music therapy accounted for by each of the aforementioned models is presented in Table 6. Although behaviour therapy did not represent as large a percentage of the total exposure to models of therapy other than music therapy as it did with models of music therapy, it represented a sufficiently large percentage (35.29%) to reaffirm the apparent trend toward a behavioural approach. The alliance of music therapy with the "activity therapies" was reflected in the large percentage accounted for by the "Other" category (see Table 5). All of the models of therapy traditionally viewed as falling under the rubric of 38 psychotherapy individually represented under 8% of the stu- dents' total exposure to models of therapy other than music therapy. Four of the seven educators who included models of therapy other than music therapy in required coursework en- couraged students to do readings in those areas not covered. Two educators did not encourage readings and one did not respond. The two educators who did not include models of therapy other than music therapy stated that reading was encouraged in all models. The therapeutic use of music. The therapeutic use of music in a variety of settings was included in the required coursework in 88.9% (n=8) of the Master's-programmes. Two respondents did not Specify which settings were included. Of those that did specify, 100% included the use of music in: adult psychiatry, the treatment of mentally impaired, special education, geriatrics, physical disabilities remediation, the treatment of emotionally disturbed and the treatment of deve10pmentally disabled. The use of music in child psy- chiatry, in the treatment of addiction, and in palliative care were included in 83.3%, 66.7%, and 33.3% of the pro- grammes, respectively. The mean percentage of the total coursework devoted to the therapeutic use of music accounted for by each of the aforementioned settings is presented in Table 8. A On the basis of percentages assigned, there seemed to 39 be no single setting which predominated this content area. In combination, however, adult and child psychiatry repre— sented 28.3% of the total coursework devoted to the use of music in a variety of settings. The use of music in the treatment of the mentally impaired comprised the next largest percentage. Specialization Specialization in the use of music within one or several settings was possible in 55.6% (n=5) of the Master's level programmes in music therapy. In only one of these programmes were opportunities for specialization restricted to one Specific type of setting, that being the treatment of the mentally impaired. In the remaining programmes, options were available. Of those programmes in which specialization was possible, 80% provided for Specialization in special edu- cation, with the mentally impaired, with physical disabilities, with the emotionally disturbed, and with the developmentally disabled; 60% provided for specialization in geriatrics; and 40% provided for Specialization in adult and/or child psychiatry and in addiction. Specialization in palliative care was possible in only one programme. Specialization tended to be both clinical and theoreti— cal in orientation and in only one programme was the clinical component not complemented by a theoretical component. Only three respondents specified the number of credits assigned 40 for specialization. The range was from 2 to 12 credits, with a mean of 7.4 credits. Since the response rate for this section of the question was so low, this mean might not accurately reflect the population mean. Functional Music A functional music course was required in 22.2% of the Master's level programmes. In an additional 55.6% of the programmes, students were required to demonstrate functional music Skills. In an attempt to ascertain which specific music skills were commonly considered to be "functional music skills", a list was provided. Seven educators res- ponded by selecting those skills which they emphasized. The ability to play one or several social instruments and the ability to Sightread were included by 85.7% of the respond- ents. The abilities to transpose and to improvise, to match music to moods, and to express emotion through music were included by 71.4%, 57.1%, and 25.6% of the respondents, res- pectively. None of the respondents included the ability to perceive the meaning of emotion expressed through music in their definitions of functional music skills. Assessment Methods Formal assessment methods were taught in 88.9% (n=8) of the Master'sprogrammes. In 50% of these programmes, assess- ment methods develOped by music therapists and methods developed in other disciplines were utilized. In the 41 remaining programmes, the only assessment methods taught were those developed in other disciplines. There were no programmes in which music therapy assessment methods served' as the sole assessment methods. The type of assessment method derived from a related discipline which was cited most frequently (n=5) was behavioural analysis. This finding was consistent with the trend toward behaviour therapy noted earlier. Psychological assessments were next in frequency (n=3), followed by art, dance, occupational therapy, educa— tional, and mathematical, each of which were cited once. Thesis A thesis was required in 55.6% (n=5) of the Master's level programmes, but was optional in the remaining pro- grammes. In those programmes not requiring a thesis, alternative replacements were required. In one of these four programmes, a thesis could be replaced by paper(s) and/or extra course(s). In the remaining three programmes, only one alternative to a thesis was provided. In one programme a paper(s) was required, in another programme extra courses were required, and in the third programme, a clinical alter- native was required. The thesis was worth an average of 4.3 credits, with a range of l to 6 credits. Less than 50% of the respondents considered philosophi- cal and historical research to be acceptable types of re- search at the Master's level. All of the respondents (n=9) 42 considered experimental research to be acceptable and 77.8% considered descriptive research to be an acceptable form of research. It was assumed that the form of research most frequently used was also the preferred form of research. Experimental research was ranked as the most frequent form of research (Mdn=l, where l = most frequent), and descrip- tive research was second (Mdn=2). Experimental research was further subdivided into research in a laboratory setting and research in a clinical setting. The clinical setting was found acceptable by all respondents and the laboratory setting was found acceptable by 77.8% of the respondents. Experimental research in a clinical setting was more frequent than in a laboratory setting (Mdn=l and 1.5, respectively). This finding might reflect a current movement toward re- search which is more practical in nature and, consequently, more relevant to the needs of music therapy clinicians. Practicum A practicum was required in 88.9% (n=8) of the Master's programmes. The number of credits assigned to the practicum ranged from 0 - 14 credits, with a median value of 2.83 credits. The minimum number of hours per week devoted to the practicum ranged from 2 — 20 hours with a median of five hours. The minimum total number of hours devoted to the practicum could not be computed because several educators did not respond and several others seemed to have misinterpreted the question. 43 All of the programmes in which a practicum was required offered a clinical practicum; 87.5% of the programmes offered both clinical and supervisory practica; and 25% of the programmes offered an administrative practicum in addi- tion to the two aforementioned types of practica. Clinical practicum. The types of facilities utilized for clinical practica were specified by Six educators. Geriatric facilities was the only setting cited by all the respondents. Psychiatry, mental retardation facilities, Special schools, and community mental health facilities were cited by 66.7% of the respondents, and facilities for the physically handicapped and for delinquents, prisons and general hospitals were each cited by one respondent. Master's level students were involved in group and in- dividual sessions in all but one of the programmes. In that 'programme, graduate students gained experience exclusively in one-to-one sessions. In none of the programmes were students required or encouraged to use media other than music. In 87.5% of the programmes, students were allowed to use other media, the most commonly Specified media being, in descending order of frequency, art, movement/dance, and drama. 9 In only 25% of the programmes were students required, in the role of therapist, to utilize psychotherapeutic techniques such as verbal interpretation and reflection. In all the programmes, however, students were required to use formal assessment and evaluation tools. 44 In 62.5% of the programmes, Master's level students were supervised by members of the music therapy faculty and in 37.5% of the programmes, they were supervised by members of the faculty and by an on-site supervisor. Supervisory practicum. Master's level students super- vised both upper and lower division undergraduate students in 85.7% of the programmes which offered supervisory practica. In one programme, Master's level students were also respon- sible for supervising RMT-equivalency graduate students. Since experience beyond that required by the NAMT for the purposes of registration was not required for entrance into a graduate level programme in music therapy, it is possible that a large proportion of the Master's level students who supervise upper division undergraduate students have, in actuality, no clinical experience beyond the Six-month in- ternship. It is questionable whether this is a sufficient amount of experience to enable them to adequately supervise undergraduate students who are in their senior year. Graduate students, themselves, were supervised primar- ily by members of the music therapy faculty. Administrative practicum. This form of practicum was offered in only two programmes. One of the programmes used mental retardation and adult psychiatric facilities as the practicum Site. The field supervisors' professions were not specified, but students were supervised by a music therapy professor. In the second programme, the university, 45 itself, served as the facility. A university administrator served as the field supervisor and graduate students were also supervised by the department chairman. Supervisory methods. Videotape, process notes, and direct observation were methods employed for supervision in 100% of the Master's programmes which required a practicum (n=8). Students' verbal reports and audiotape were used in 87.5% and 50% of the programmes, respectively. These methods were ranked according to frequency of use. Based on the median of the ranks assigned, the method of supervision most frequently used was students' verbal reports (Mdn=2, where l = most frequently used), followed, in descending order of frequency, by written process notes (Mdn=2.25), direct obser- vation by supervisor (Mdn=2.83), videotape (Mdn=3), and audio- tape (Mdn=4). It is apparent that those methods utilized in the largest proportion of programmes were not used with the greatest frequency. Minor Area A minor area of study, i.e., a second area of concentra- tion, was required in one-third of the Master's programmes. 'A minor was possible, although not required, in one addition- al programme, and in 55.6% of the programmes, it was not possible. The number of credits required for a minor ranged from 6 — 15 credits, with a mean of 11.1 Credits. The area which was most often recommended as a minor in three of the four programmes which required/allowed a ' 46 second area of concentration was psychology. In the fourth programme, special education was most often recommended as a minor area.' Goals of Master's Level Training To ascertain the views of educators regarding the pur- pose of Master's level training in music therapy, a list of professional orientations was provided and respondents were required to rank them according to importance as goals of training. The median and range of ranks assigned to each professional orientation are presented in Table 10. Clini- cians and researchers were included by 100% of the respon- dents; supervisors and educators were included by 88.9% of the respondents; and administrators was included by 66.7% of the respondents. The importance attributed to the professional orienta- tion corresponded to the frequency of inclusion. The training of clinicians was considered to be the most impor— tant goal of Master's level education (Mdn=l, where 1 = most important), and the training of researchers was second (Mdn=2). From the range it was apparent that there was greater agreement among educators on the importance of train- ing clinicians than there was on the importance of training researchers. It is of note that whereas 100% of the educa- tors perceived the training of researchers to be one of the goals of graduate education and ranked it second in 47 importance, only 55.6% of the Master's level programmes included a thesis as a requirement. Further research may ' reveal whether these findings are truly contradictory or whether the directors of Master's programmes believe that thesis writing is not an essential component of training in research skills. Relationship of Music Therapy to Other Therapies The perceived strength of the relationship between music therapy and various categories of therapy was determined through the use of ranks. The strength of the relationship, as measured by the median rank, corresponded to the frequen— cy of inclusion of the various therapies. Behaviour therapy, which was included by 55.6% of the respondents, was consi- dered most strongly related (Mdn=l, where l = most strongly realted). Activity therapy was included by 44.4% of the respondents and was rated the second most strongly related (Mdn=l.5). One-third (33.3%) of the respondents included psychotherapy and it was ranked third by two of these three respondents. Degrees Granted The titles of the Master's degrees conferred were inves- tigated to determine whether they might be related to cer- tain trends in curricular content or orientation. The data did not, however, reveal the existence of any relationship between the label of the degree and the orientation. This 48 was consistent with Braswell's findings (1979b) in relation to perceptions of various aspects of training. 'Of the nine universities included in the sample, two conferred a Master of Music degree; two conferred a Master of Music Therapy degree; two conferred a Master of Arts in Music Therapy degree; one conferred a Master of Music Educa- tion degree; one conferred a Master of Music Education in Functional Music degree; and one conferred a Master in Creative Arts Therapy - Music Therapy degree. The two uni- versities which conferred a Master of Music Therapy degree also offered a Master of Music degree. Comparison of Graduate and Undergraduate Curricula The purpose of this section is not to provide a detailed and comprehensive description of the content and structure of Bachelor's level programmes in music therapy. Descriptions have been elaborated elsewhere (e.g., Galloway, 1966 and Iley, 1976), and the NAMT has recently (in 1979) subjected the undergraduate curriculum to intensive investigation and has formulated a series of revisions which will take effect in September, 1981. The focus of this section is on speci- fic aspects of the Bachelor's level curriculum as they com— pare to the Master's level curriculum. Content Areas Thirty-three directors of Bachelor's programmes speci- fied which content areas were included in their programmes. 49 The percentages of Master's and Bachelor's programmes in which each of the content areas was required appear in Table l and the mean percentages of the total required coursework accounted for by each content area at both aca- demic levels appear in Table 2. The correlation between the distributions of propor- tions of Master's and Bachelor's programmes which required the content areas was very low (r==.32). Psychology of music/ acoustics courses and psychology courses, music courses, sociology/anthropology courses, sciences, and recreation courses were required in a significantly lower proportion of Master's programmes than Bachelor's programmes. The chi square values for these content areas were 16.2, p < .001; 15.9, p < .001; 26.7, p < .001; 27.8, p < .001; and 7.05, p < .01, respectively, for df = 1. Research courses were required in a substantially larger proportion of Master's programmes, but this difference was not statistically signifi- cant (x2 = 2.97). The distributions of proportions of the total required coursework accounted for by the content areas at the Master's and Bachelor's levels were not Significantly correlated (j'=.33). The Mann—Whitney U Test was utilized to determine the Significance of the between-group differences in propors tions for individual content areas. Since n was greater than 20, the normal deviate, zu, was calculated. Music therapy core courses and research courses represented a Significantly larger 50 Table l Percentages of Master's and Bachelor's Programmes Requiring Content Areas and of Directors of Bachelor's Programmes Expecting Inclusion Programmes Directors Content Areas Master'sa Bachelor'sb Bachelor'sc Music Therapy Core 100 100 90 Research 100 63.6. 100 Pfifigigiiggugtlcs 55.6 100 65 Psychology 55.6 100 90 Music 44.4 97. 55 Music Education 22.2 36.4 35 Special Education 22.2 48.5 75 Sociology/Anthropology 11.1 93.9 15 Sciences 11.1 97 35 Recreation 0 48.5 15 Otherd 44.4 33,3 _ aN=9 bN=33 °N=2o ResponSeS included: seminars, workshOps, case conferences, philosophy, and supportive fields at the Master's level; a variety of subjects falling under Humanities at the Bachelor's level. 51 Table 2 Percentage of Total Required Coursework Accounted for by Content Areas and Percentages Proposed by Directors of Bachelor's Programmes Actual Proposed C Content Areas Master'sa Bachelor'sb Bachelor's Music Therapy Core 33.12 15.03 23.84 Research 18.9 A 1.55 24.67 PSyChMiSIZ/Xgoustics 8.48 “‘37 7'72 Psychology 9.52 11.43 18.37 Music 12.94 45.09 5.75 Music Education 3.33 3.03 3.00 Special Education 2.27 1.96 7.75 Sociology/Anthropology 0.45 5.61 1.25 Sciences 0.69 5.07 2.50 Recreation 0 1.26 1.15 Other 10.3 5.6 - Note: All entries represent mean percentages. b c a N N = 33 II II \0 2O 52 proportion of the total required coursework at the Master's level than at the Bachelor's level (zu = 3.08 and 4.4, respec- tively, p < .01). Conversely, music represented a significant- ly larger proportion of the total required coursework at the Bachelor's level (zu = 3.98, p < .01). It is not surprising that a Significantly larger propor- tion of the total required coursework be devoted to music ther- apy core courses and research courses at the Master's level than at the Bachelor‘s level. The combined percentage, 52.02%, conforms to the guidelines established by the NAMT for gradu- ate programmes in music therapy, and supports the conceptualiza- tion of the Master's programme as the advanced level of training within the discipline. Given the curricular emphasis on re- search at the Master's level, however, it is difficult to ex- plain Hanser and Madsen's (1972) failure to find differences in the research skills of undergraduate and graduate level students. Course Content The three areas of course content which were investigated were: models of music therapy; models of therapy other than music therapy; and the therapeutic use of music in a variety of settings. Models of music therapy. Models of music therapy were in- cluded in required coursework in 66.7% of the Master's pro- grammes and in 91.4% of the Bachelor's programmes. The dif— ference in proportions, although substantial, fell Short of statistical significance (x2 = 3.72). This result obviated the testing of Significance of the differences between proportions 53 Table 3 Percentages of Academic Programmes Requiring Models of Music Therapy and of Directors of Bachelor's Programmes Expecting Inclusion Programmes Directors Models of Music Therapy Master'sa Bachelor'sb Bachelor'sC Developmental 66.7 82.7 75 Guided Imagery 44.4' 65.7 67.9 Behavioural 66.7 88.6 85.7 Improvisational-Expressive 44.4 68.6 71.4 Psychoanalytic based 66.7 42.9 71.4 Otherd . 55.6 42.9 - aN=9 bN=35 cN=28 d Responses included: developing own models, eclectic, and current trends at Master's level; Orff, Dalcroze, creative methods at Bachelor's level. 54 for individual models because none of the individual differ- ences exceeded the arithmetic value of 25%. The proportions of Master's and Bachelor's programmes in which each of the models was included appear in Table 3 and the percentages of the total exposure to models of music therapy accounted for by each model at both academic levels are presented in Table 4. The distributions of percentages of Master's and Bache- lor's programmes which required models of music therapy were not Significantly correlated (r==.52). The distributions of percentages of the total exposure to models of music therapy accounted for by each of the models were Significantly corre- lated (r==.87, p < .05). The difference between the percent- ages which developmental music therapy accounted for at the Master's and Bachelor's level was not significant (zu==1.29) and Since the arithmetic difference for this model was great- er than for all other models, it could be concluded that none of the differences were Significant. Models of therapy other than music therapy. Models of therapy other than music therapy were included in required coursework in 77.8% of the Master's programmes and 85.7% of the Bachelor's programmes. The proportions of Bachelor's and Master's programmes in which each of the models was included appear in Table 5, and the percentage of the total exposure to models of therapy other than music therapy accounted for by each model at both academic levels is presented in table 6. The distributions of percentages of Master's and Bache- lor's programmes which required models of therapy other than 55 Table 4 Percentage of Total Exposure to Models of Music Therapy Accounted for by Each Model in Master's and Bachelor's Programmes Models of Music Therapy Master'sa Bachelor'sb DevelOpmental 9.33 20.48 Guided Imagery 4.17 5.62 Behavioural 43.33 42.1 Improvisational-Expressive 10.83 11.18 Psychoanalytic based 11.67 10.52 Other 20.67 10.1 Note: All entries are mean percentages. b aN=6 N=29 .56 Table 5 Percentages of Academic Programmes Requiring Models of Therapy Other than Music Therapy and of Directors of Bachelor's Programmes Expecting Inclusion Programmes Directors Models of Therapy Master'sa Bachelor'sb Bachelor'sc Psychoanalytic Therapy 66.7 65.7 76 Gestalt Therapy 66.7 74.3 76 Reality Therapy 55.6 82.9 80 Client-Centered Therapy 66.7 71.4 80 Transactional Analysis 55.6 68.6 84 Psychodrama 55.6 40 80 Group Dynamics 55.6 68.6 92 Behaviour Therapy 77.8 85.7 88 Play Therapy 44.4 42.9 68 SenSory Integration 22.2 37.1 76 Otherd 44.4 17.1 - aN=9 IDNa=35 °N=25 Responses included: art therapy, dance therapy, occupa- tional therapy, recreation therapy, and physical therapy at the Master's level; rational emotive therapy, family therapy, art therapy, dance therapy, and relaxation therapy at the Bachelor's level. 57 Table 6 Percentage of Total Exposure to Models of Therapy other than Music Therapy Accounted for by Bach Model in Master's and Bachelor's Programmes Models of Therapy Master'sa Bachelor'sb Psychoanalytic Therapy 7.57 7.48 Gestalt Therapy 5.43 9.07 Reality Therapy 3.29 10.37 Client-Centered Therapy 4.71 12.04 Transactional Analysis 3.29 6.74 Psychodrama 3.29 3.04 Group Dynamics 7.29 12.22 Behaviour Therapy 35.29 28.89 Play Therapy 1.85 3.41 Sensory-Integrative Therapy 0.85 3.96 Other 27.14 2.78 Note: All entries are mean percentages. a b N = 7 N = 27 58 music therapy were significantly correlated (r==.72, p < .02, df=9). The difference between proportions for reality thera- py was not significant (x2 = 3.04), and since this was the largest arithmetic difference between proportions, it could be assumed that the differences between proportions for the other models also were not significant. The distributions of percentages of the total exposure to models of therapy other than music therapy accounted for by each model at the Master's and Bachelor's levels were sig- nificantly correlated (r==.6l, p < .05, df=9). Client- centered therapy and reality therapy represented a signifi- cantly smaller proportion of the total coursework at the Master's level than at the Bachelor's level (zu==2.l, p < .05 and zu==3.08, p < .01, respectively). Behavioural therapy accounted for a larger proportion of the total at the Master's level than at the Bachelor's level, but this difference was not significant (zu==.34). Nor was the difference for group dynamics significant: Therapeutic use of music. The therapeutic use of music in a variety of settings was part of required coursework in 88.9% of the Master's programmes and 100% of the Bachelor's programmes. The percentages of Master's and Bachelor's pro- grammes in which each of the settings was required are pre- sented in Table 7 and the proportion of the total coursework devoted to therapeutic settings accounted for by each set- ting at both academic levels is presented in Table 8. There was a highly significant correlation (r==.925, 59 Table 7 Percentages of Academic Programmes Requiring Therapeutic Settings and of Directors of Bachelor's Programmes Expecting Inclusion at Master's Level Programmes Directors Therapeutic Settings Master'sa Bachelor'sb Bachelor'sc Child Psychiatry 71.4 64.5 95.5 Adult Psychiatry 85.7 83.9 95.5 Mentally Impaired 85.7 74.2. 72.7 Special Education 85.7 93.6 86.4 Geriatrics 85.7 96.8 86.4 Palliative Care 28.6 12.9 77.3 Physical Disabilities 85.7 90.3 90.9 Emotionally Disturbed 85.7 80.7 95.5 DevelOpmentally Disordered 85.7 83.9 95.5 Addiction 57.1 54.8 81.8 Otherd 57.1 19.4 - aN=7 bN=3l ° =22 d medicine at the Master's level; juvenile offenders, correc- Responses included: Juvenile offenders and preventive tions, general hospitals, prevention, and vocational rehabilitation at the Bachelor's level. 60 Table 8 Percentage of Total Exposure to Therapeutic Settings Accounted for by Each Type of Setting in Master's and Bachelor's Programmes b Therapeutic Settings Master'sa Bachelor's Child Psychiatry 11.67 6.54 Adult Psychiatry 16.67 13.94 Mentally Impaired 15.5 11.43 Special Education 10.5 16.06 Geriatrics 11.67 14.9 Palliative Care ' 1.0 0.54 Physical Disabilities 6.83 10.65 Emotionally Disturbed 8.83 ' 10.88 Developmentally Disordered 10.67 9.77 Addiction 2.66 3.61 Other 4.0 1.68 Note: All entries are mean percentages. aN=6 bN----28 61 p < .001, df=9) between the distributions of percentages of Master's and Bachelor's programmes which included therapeu— tic settings. The distributions of percentages of the total coursework devoted to therapeutic settings accounted for by each setting were also significantly correlated.(r'= .763 , p < .01, df=9). Although child psychiatry represented a larger proportion at the Master's level than at the Bache- lor's level and the reverse was true for special education, the differences were not statistically significant (zu= 1.15 and 1.36, respectively). There was no single setting which predominated this_ content area at the Master's or Bachelor's level. In com- bination, however, adult and child psychiatry accounted for 28.3% at the Master's level and 20.5% at the Bachelor's level. The use of music with the mentally impaired comprised the next largest percentage at the Master's level, as did the use of music in special education at the Bachelor's level. Specialization Specialization in the use of music in one or several settings was possible in 55.6% of the Master's programmes and in 28.7% of the Bachelor's programmes. The difference between proportions, although substantial, was not significant 2 = 2.32). Whereas at the Master's level specialization (x tended to be both theoretical and clinical, at the Bachelor's level it was predominantly clinical. 62 Functional Music A functional music course was required in a significant- ly larger percentage of Bachelor's programmes than Master's programmes (x2 = 14.55, p < .001). The percentages of directors of academic programmes who included specific musi- cal skills in their definition of functional music appear in Table 9. The distributions of percentages of academic directors who included the musical skills were significantly correlated Cr= .93,p < .01, df=5). Table 9 Percentages of Academic Directors Including Skills in Definitions of Functional Music Skills —— ability to: Master'sa Bachelor'sb Play social instruments 85.7 100 Sightread 85.7 94.1 Transpose 71.4 88.2 Improvise 71.4 88.2 Match music to moods 57.1 50 Express emotion through music 28.6 44.1 Perceive meaning of emotion _ O . 32.“ expressed through music a N ='7 b N = 34 , Assessment Methods Assessments derived from other disciplines served as the sole forms of assessment in a significantly larger proportion 63 of Master's programmes than Bachelor's programmes (x2 = 4.33, p < .05). Music therapy assessment methods constituted the sole assessment methods in 29.6% of the Bachelor's programmes. There were no Master's programmes in which only music therapy assessments were used. Behavioural analysis and psychology assessments were cited with the greatest frequency by directors at both levels as nonmusic therapy assessments which were taught. Practicum A practicum was required in 88.9% of the Master's pro- grammes and in 100% of the Bachelor's programmes. The set- ting which was cited with the greatest frequency by direc- tors at both academic levels as a site used for clinical practica was geriatrics. Special school settings were cited with equal frequency by directors of Bachelor's programmes. Psychiatry was cited by a substantially larger proportion of directors of Master's programmes (66.7%) than directors of Bachelor's programmes (39.6%). This difference was not, however, statistically significant (x2 = 1.5). The emphasis on geriatrics is consistent with the high proportion of programmes in which the study of the use of music in geriatric settings was required. The findings in relation to psychiatric settings, however, are not as con- sistent. :Whereas psychiatry was required in approximately 78% of the Master's programmes and 73% of the Bachelor's 64 programmes and represented over 20% of the total coursework devoted to therapeutic settings at both levels, psychiatric settings were used for practica in 66.7% of the Master's programmes and in only 39.3% of the Bachelor's programmes. This apparent discrepancy between theory and practice may simply reflect the relative availability of settings such as special schools and nursing homes or, alternately, the rigidity of controls in psychiatric hospitals. The limited exposure to psychiatric settings prior to internship may contribute to the perceived status of music therapists within psychiatry (Braswell et al., 1979b). In the majority of programmes at both levels, students were involved in both group and individual sessions. Stu- dents were restricted to individual sesssions in one Master's level programme and to group sessions in 15.6% of the Bachelor's programmes. Students were required/encouraged to use media other than music in a significantly larger proportion of Bachelor's programmes (44.1%) than Master's programmes (0%; x2 = 5.49, p k .02). Students were allowed to use other media in an additional 51.4% of the Bachelor's programmes and in 87.5% of the Master's programmes. The most commonly cited media at the Bachelor's level were, in descending order of frequency, movement/dance and art. The order was reversed at the Master's level. . Students, in the role of therapist, were required to use 65 psychotherapeutic techniques in 25% of the Master's pro— grammes and in 52.9% of the Bachelor's programmes. Al- though substantial, this difference was not statistically significant (x2 = 2.02). Students were required to use for— mal assessment and evaluation tools in more Master's pro— grammes (100%) than Bachelor's programmes (73.5%). This difference between proportions was not significant (x2 = 2.6). Videotape was employed for supervision in a significantly larger proportion of Master's programmes than Bachelor's programmes (x2 = 11.5, p < .001). However, it was not very frequently used at the Master's level. The three methods used with the greatest frequency at both levels were stu- dents' verbal reports, written process notes, and direct observation by supervisors. Two of these three methods are, by definition, subjective in nature. Studies which have investigated methods of supervision in psychoanalytic train- ing point to the limitations imposed by verbal reports and process notes on the supervisory process. Both have been found to be subject to distortions and omissions and have not been found to contribute substantially to student change (Matarazzo, 1978). In a study on the training of supervi- sors (Southard, 1973), it was found that a taperecording of interviews served as a helpful teaching device. Audiotape' and videotape were not used with great frequency in the Bachelor's or the Master's level music therapy programmes despite their objective nature. 66 Minor Area A minor area of study was required/possible in 44.6% of the Master's programmes and in 50% of the BachelOr's. programmes. The area most often recommended at both levels was psychology, followed, at the Bachelor's level, by music education and special education. Relationship of Music Therapy to Other Therapies The perceived strength of the relationship between music therapy and various other therapies corresponded to the frequency of selection of those therapies for directors at both academic levels. The directors of Master's programmes considered behaviour therapy to be most closely related (Mdn=1, where 1 = most strongly related), followed, in descend- ing order, by activity therapy (Mdn=l.5) and psychotherapy (Mdn=3). The directors of Bachelor's programmes considered behaviour therapy and activity therapy to be most, and equal- ly, related to music therapy (Mdn=l), followed by psycho- therapy (Mdn=2.7). More than twenty percent (22.2%) of the directors of Master's programmes and 7.4% of the directors of Bachelor's programmes considered music therapy to be not strongly related to any other therapy. 6'7 Comparison of Expectations of Directors of Bachelor's Programmes and Content of Master's Programmes The factual section of the questionnaire sent to direc- tors of Bachelor's programmes contained several questions which were designed to obtain information regarding the directors' expectations of graduate training. Each of these questions corresponded to a specific question in the form sent to directors of Master's level programmes. This facili- tated a comparison between the views held by directors of Bachelor's programmes and the actual content of the Master‘s programmes. The content of Master's programmes was considered to reflect, to some extent, the attitudes of directors of the programmes. The Pearson product moment correlation coeffi- cient was used as a measure of the overall degree of relation and chi square was used to test the significance of the dif- ference between proportions for individual items. Content Areas The percentage of directors of Bachelor's programmes who believed that the content areas should be required at the Master's level and the percentage of Master's programmes in which each area was required are presented in Table 1. The distributions of percentages of Master's programmes require ing, and of directors of Bachelor's programmes expecting, inclusion were significantly correlated,(r*= .865,19 < .01, df=8). The preportion of directors of Bachelor's programmes who believed that psychology and Special education courses 68 should be required at the Master's level was significantly greater than the proportion of Master's programmes in which .they were required (x2 = 4.49 and 7.13, respectively, p < .05). The difference between proportions for music courses was not significant (x2 = 2.77). It was assumed, there- fore, that for all content areas in which the difference between proportions did not exceed 10.6% that the differ- ences were not significant. All items which were not in- cluded by at least 50% of the respondents in one group were not tested for significance. The mean percentage of the total required coursework represented by each content area and the mean percentage projected by directors of Bachelor's programmes for the Master's programme are presented in Table 2. The distribu- tions of percentages accounted for by the content areas within the Master's programmes and projected by the directors of undergraduate programmes were significantly correlated (r==.856, p < .01, N=8). Although music therapy core courses actually represented 8.5% more of the total required course- work than was projected and research represented 5.5% less than was projected, these differences were not significant .(U=73, N=9, l8 and U=63, N=9, 20, respectively). The latter difference might have been artifactual in nature since directors of Bachelor's programmes were not instructed to include thesis requirements within the research category. 'The directors of Bachelor's programmes felt that a 69 significantly larger percentage of total required coursework should be devoted to psychology and special education than was actually true (U = 48 and 44.5, respectively, p < .05, N = 9, 20). Music courses actually represented more than double the projected percentage, but the difference was not significant (U 100.5, N = 4, 11). Course Content The three areas investigated were models of music thera- . py, models of therapy other than music therapy, and the therapeutic use of music in a variety of settings. Models of music therapy. The percentages of Master's programmes in which models.of music therapy were required and of directors of Bachelor's programmes who felt that they should be required are presented in Table 3. The distribu— tions of percentages were not significantly correlated (r==.62, df=3). There were no significant differences between propor- tions for individual models of music therapy. Models of therapy other than music therapy. The percen- tages of Master's programmes in which models of therapy other than music therapy were required and of directors of Bachelor's programmes who felt that they should be required at the Master's level are presented in Table 5. The distributions of percentages were not significantly correlated (r==.382, df=8). The proportion of directors of Bachelor's programmes who believed that group dynamics and sensory—integrative therapy should be included in Master's programmes was significantly 70 greater than the proportion of Master's programmes in which they were required (x2 = 6.05, p < .05 and 8.1, p < .01, respectively). Since the difference between proportions for transactional analysis was not significant (x2 = 2.98), it could be assumed that no other differences between propor- tions were significant. The therapeutic use of music. The percentages of direc- tors of Bachelor's programmes who felt that the settings should be required in graduate programmes and of graduate 'prOgrammes in which the settings were actually required are presented in Table 7. The distributions of percentages of directors of Bachelor's programmes who believed that settings should be required at the Master's level and of Master's programmes in which they were included were not significantly correlated (r==.459, df=8). Although there were apparent arithmetic differences in the percentages for child psychiatry, addiction, palliative care, and the mentally impaired, the difference between proportions was significant only for pallia- tive care (x2 = 5.58, p < .05). Although the overall distributions of percentages of directors of Bachelor's programmes who believed that content areas should be required at the Master's level and of Master's programmes in which they were required were not significantly cerrelated and, therefore, failed to reflect convergence of views among educators, there were very few specific areas in which the difference between proportions was significant. 71 Practicum The proportion of directors of Bachelor's programmes who believed that an administrative practicum should be offered at the Master's level was significantly greater than the pro- portion of graduate programmes in which this type of practi- cum was offered (x2 = 13.8, p < .001). Over twenty percent (21.2%) of the directors of Bachelor's programmes felt that a teaching practicum should be offered at the Master's level, but this type of practicum was not available in any of the graduate programmes. The importance attributed to the various forms of prac- tica by the directors of Bachelor's programmes, as measured by ranks assigned, corresponded to the actual frequency of inclusion of the practica in the Master's programmes. The clinical practicum was considered most important (Mdn=l.64) and was included in the greatest number of graduate programmes (100%); the supervisory practicum was considered second most important (Mdn=2) and was included in 87.5% of the Master's programmes; and the administrative practicum was considered least important (Mdn=3) and was included in 25% of the pro- grammes. To the extent that inclusion reflects the attitudes of the directors of Master's programmes, one can conclude that music educators ascribe the greatest importance to the clini- cal practicum and the least importance to the administrative practicum. 72 Goals of Master's Level Training The percentages of directors of Master's and Bachelor's programmes who selected the various professional orienta- tions, the ranks assigned, and the ranges of ranks are presented in Table 10. Although a greater percentage of directors of Bachelor's programmes than Master's programmes perceived the development of administrators to be a goal of graduate training, the difference between proportions was not significant (x2 = 3.39). The frequency of inclusion of the various professional orientations and the importance attributed to them correspond- ed quite well for directors of Master's and Bachelor's pro- grammes. Directors at both academic levels considered the training of clinicians to be the most important goal of gradu- ate education and the training of administrators to be the least important goal. This is consistent with the low propor- tion of graduate programmes in which an administrative practi- cum was offered. Overall, there seemed to be more agreement among the directors of Master's programmes than Bachelor's programmes as reflected by the ranges of ranks assigned. The distributions of median ranks seem to reveal a better capacity among the directors of Master's programmes to view the various orienta- tions as discrete. The lack of tied ranks seems to indicate that the directors of Master's programmes had more precise views regarding the goals of graduate training than did the directors of Bachelor's programmes. 73 .ucmpnoqsa pmoE u H mums: .Azpommumo =ponuo= mCHUSHocfiv m s a 809% owcmn mxcmm o mmuzn . Ouzm O n H m u : m.= O.O 0.00 ~.OO OAOOOaOchHEO< m a H a u m O.m m.m OOH O.OO . mpoumosom : I H. m I a o.m o.m m.mm m.mm whomfi>pmdsm m 4 m s n H O.m . O.m OOH OOH ‘ mausopmmmmm m u H. m n H O.m O.H OOH OOH mcmHOHcHHO m.poamnomm m.pmpmmz m.noaonomm m.pmwmmz nm.poaonomm mm.pmpmm& owcmm . . omxcwm suave: mmmwucmopom macapmucmfipo mowcwm cam cocwamm< mxcmm guano: .mcoapmpccfipo mcfipsaocH mnouooufia anoomo< mo mmwmucmopom OH mant 74 The correlation between the two distributions of rank— ings failed to achieve significance, but was, nonetheless, a high positive correlation (p¥=.894). Despite the views expressed by Michel and Madsen (1969) that research is "the hallmark of graduate training" (p. 22), the directors of Master's programmes ranked researchers as the second most important professional orientation, and the directors of Bachelor's programmes ranked it equal in impor- tance to supervisors and educators. It is of note that researcher was the only orientation which was not assigned a rank of one by any of the directors of Bachelor's programmes. Comparison of the Attitudes of Directors of Master's Programmes and Content of Master's Programmes To measure the amount of congruence between the attitudes held by directors of Master's programmes and the actual con— tent of the programmes, responses to questions in the attitude section (Section B) of the questionnaire were compared to res- ponses in the factual section (Section A). Some comparisons involved one question from each section and others required the pooling of information from several questions. For all 'questions which required ranking, the correspondence between the frequency of selection and the rank assigned was inves— tigated. 75 Relationship of Music Therapy to Other Therapies The perceived strength of the relationship between music therapy and other forms of therapy, as measured by ranks assigned, corresponded to the frequency of selection of the forms of therapy. Behaviour therapy was considered most closely related, followed in descending order by activity therapy and psychotherapy. The correspondence between frequen- cy of selection and ranks assigned did not hold, however, when directors of Master's programmes indicated which forms of therapy they felt contained elements most important in music therapy. The order of frequency of selection was consistent with that in the former question, but the rankings were not consistent. Although behaviour-therapy was selected with the greatest frequency, according to the median rank it was con- sidered to contain elements which were less important in music therapy than those of activity therapy and psychothera- py. (Refer to Table 11.) It is difficult to determine whether this discrepancy was simply artifactual and resulted from the differential wording in both questions, or whether it reflects an inconsistency based on a true divergence of views. Academic Backgrounds There was a consistent emphasis upon the role of the Master's programme in music therapy in the development of clinicians. The emphasis was apparent in the content of the Master's programmes as well as in the views expressed by the, 76 directors of these programmes. The opportunity for a clini- cal practicum was provided in 100% of the graduate program- mes which offered practica, and the development of clinicians was perceived to be a goal of graduate training by all directors of Master's programmes. The background which was considered to be the one which would provide a music therapist with the best clinical skills was two years clinical experi- ence and a Master's in music therapy. An equal amount of clinical experience with a Master's degree in another. discipline and an additional year of clinical experience were not perceived as backgrounds which could furnish music thera- pists with clinical skills equal to those acquired during a Master's programme in music therapy. The Master's in music therapy was ranked as the graduate degree which would best prepare a music therapist to teach music therapy at the university level. This finding was not consistent with the relative lack of importance attributed to the development of educators as a goal of graduate training. Based on the median rank assigned, educator was considered to be the fourth most important goal of graduate training. Al- though some directors of Bachelor's programmes eXpressed the need for a teaching practicum at the Master's level, there were no graduate programmes in which this type of practicum was offered and there was no evidence of a curricular focus on teaching skills. It is possible that the selection of the Master's degree in music therapy as the degree Which would best prepare a music therapist to teach at the university 77 level indirectly reflects the views of educators regarding the distinctions between graduate and undergraduate train- ing in music therapy. 'If it is assumed that a music thera- pist with a Master's degree in music therapy and one with a Master's degree in a related discipline differ primarily in their knowledge of music therapy, it can be concluded that educators do not consider the basic professional training in music therapy to provide sufficient understanding of the discipline to enable one to teach. Verbal Therapy Techniques Although 77.8% of the directors of Master's programmes believed that music therapists should be trained in verbal therapy techniques and 44.4% believed that this training should occur at the Master's level, students were required to utilize psychotherapeutic techniques in only 25% of the pro- grammes which offered practica. Specialization Specialization was possible in 55.6% of the Master's pro- grammes, but only 22.2% of the directors of Master's pro- ,grammes expressed the belief that music therapists should specialize in the treatment of one or several patient pOpula- tions. -One—third of the directors of Master's programmes be- lieved that the working degree for psychiatric settings should be the Master's degree rather than the Bachelor's degree. 78 This was consistent with the finding that psychiatry was cited by a substantially, although not statistically signi- ficant, larger proportion of directors of Master's prdgrammes than Bachelor's programmes as a site used for clinical practica. Assessment Methods The directors of Master's programmes were fairly evenly divided in their views regarding the necessity to have assess- ment tools specific to music therapy. Over fifty-five percent (55.6%) of the directors felt that it is necessary to have assessment tools specific to music therapy and 44.4% felt that .tools developed in other_disciplines adequately meet the needs .of music therapists. The division in views was consistent with the division which characterized the actual use of asa- sessmafi:methods within graduate programmes. In 50% of the graduate programmes, the teaching of assessment methods was restricted to those methods developed in related disciplines, and in the remaining 50%, music therapy assessment methods were taught in addition to methods derived from other discip- lines. There were no programmes in which music therapy assessments served as the sole form of assessment. This may be interpreted in two ways. Either educators believe that instruction in music therapy assessments does not suffice, or the music therapy assessment methods which presently exist are not considered to be sufficiently refined and, conse— quently, must be supplemented by other assessment methods. 79 Differences Between Music Therapists with Master's and Bachelor's Degrees Sixty-two and a half percent (62.5%) of directors of. Master's programmes indicated the same three music skills as being the most important for music therapists with Mas~ ter's degrees and for music therapists with Bachelor's. degrees. An additional 12.5% of the directors considered the two most important skills to be identical for music thera- pists with both levels of training. The lack of distinction made between music therapists with Master's and Bachelor's degrees on the basis of differential music skills was reflect- ed in the significant correlation between the distributions of frequencies of selection of the various skills (p==.73l, p < .01, N=l2). It could be concluded that directors of Master's programmes did not believe that it is necessary for graduate students in music therapy to acquire new music skills. The ma- jority of directors of Master's programmes (88.9%) failed to include musicianship among their selections of the three cli— nical areas in which it is most important for a music thera- pist with a Master's degree to possess greater skill than a music therapist with a Bachelor's degree. It would seem that not only did directors of Master's programmes feel that it is unnecessary to acquire new music skills during graduate train- ing, but they also believed that music skills acquired during prior training need not be refined during the Master's pro- gramme. One can infer from these results that the directors 80' of Master's programmes believed that the music skills acquired during undergraduate training adequately prepare .a music therapist to meet the musical aspects of the demands of the work situation. If the content of Master's programmes conforms to the attitudes of the directors of the programmes, one would assume that there would be no music requirements at the graduate level. This was not found to be true. Despite the directors' expressed view that musicianship was not an important parameter upon which to base a distinction between music therapists with Master's degrees and those with Bachelor's degrees, music courses were required in almost one— half of the Master's programmes (44.4%) and represented, overall, 12.9% of required coursework. The contradiction be- tween the expressed view and the actual programme content ' might be a manifestation of an ambivalent attitude toward the importance of providing graduate students in music therapy with music training beyond that acquired at the Bachelor's level. Alternately, it may be a product of requirements im- posed by the department, rather than a reflection of the ambivalence of directors of music therapy. If the latter interpretation is correct, serious consideration should be given to Madsen's (1965) proposal that music therapy be moved out of music departments. Although models of music therapy constituted part of the required coursework in 66.7% of the graduate programmes, only 33.3% of the directors of Master's programmes included 81 knowledge of models of music therapy among their selections of the three clinical areas in which it is most important for music therapists with a Master's degree to posseSS' greater skill than music therapists with Bachelor's degrees. One must assume that the academic treatment of models of music Itherapy at the graduate level differs from that at the under- graduate level either in the addition of new models or in depth of analysis. It is, therefore, paradoxical that know- ledge of the content area which characterizes the discipline was not perceived, by the majority of directors, to be an area in which it is important for professionals with Master's degrees to have greater proficiency than professionals with Bachelor's degrees. This finding also complicates further the interpretation of the expressed belief that a Master's in music therapy is the graduate degree which would best pre- pare a music therapist to teach at the university level. If the Master's in music therapy was not preferred to other ' related degrees on the basis of knowledge of music therapy, it is difficult to explain the selection. Knowledge of models of therapy other than music therapy, group leadership, and assessment skills were the clinical areas cited with the greatest frequency as those in which music therapists with Master's degrees should possess greater .skill than music therapists with Bachelor's degrees. The dis- tributions of percentages of Master's and Bachelor's programmes which required models of therapy other than music therapy were 82 significantly correlated, as were the distributions of per- centages of the total exposure accounted for by each model. There may well have been a difference in the depth with which the models were covered at the two academic levels, but this study was not designed to provide that information. On the basis of the data obtained, there is no evidence of a greater emphasis on models of therapy other than music therapy at the Master's level than at the Bachelor's level. Group dynamics actually accounted for approximately 5% more of the coursework devoted to models of therapy other than music therapy at the Bachelor's level than at the Master's level. Because this difference was not statistically signi— ficant, one can safely conclude that there was no difference in the quantitative focus on group dynamics between the Master's and Bachelor's programmes. Clinical practica at both levels involved individual and group sessions and only at the Bachelor's level were students in some programmes restricted to group sessions. Although directors of graduate programmes expressed the view that music therapists with _Master's degrees should possess greater skill in group lead- ership than music therapists with Bachelor's degrees, there is no evidence of a greater focus on these skills within Master's programmes._ Assessment methods derived from other disciplines served as the sole forms of assessment in a significantly larger pro- portion of Master's programmes than Bachelor's programmes. 83 Psychological assessments and behavioural analysis were the types of assessments most frequently used. Music therapy .assessments served as the sole forms of assessment in a sub- stantially, although not significantly, larger proportion of Bachelor's programmes. One may conclude that music thera- pists with Master's degrees do have greater exposure to non- music therapy assessments. Comparison of the Attitudes of Directors of Master's Programmes and Bachelor's Programmes In this section, the attitudes of the directors of Master's and Bachelor's programmes toward certain aspects of the training and skills of music therapists were compared. Some questions were dealt with descriptively and others were subjected to statistical analysis. For all questions which required respondents to select three items from a list pro- vided, Spearman's Rank Order Correlation Coefficient was used to determine the significance of the correlation between the distributions of frequency of selection. Chi square was utilized to test the differences between proportions for indi- vidual items. .The correspondence between the frequency of selection and the ranks assigned served as an additional gauge of the convergence of views within groups. Relationship of Music Therapy to Other Therapies ,The frequencies of selection of the various forms of therapy and the median ranks assigned are presented in Table 84 11. The order of frequency of selection is almost identical Table 11 Frequencies of Inclusion of Forms of Therapy. and Median Ranks Assigned Percentages Median Ranksc Forms of Therapy Master'sa Bachelor'sb Master's Bachelor's Activity 88.9 83.9 2.0 ° 2.1 Psychotherapy 66.7 80.7 2.5 3.0 Creative Arts 66.7 77.4 2.0 2.2 Psychoanalytic 55.6 .58.1 5.0 _ 4.6 Behaviour 100.0 93.6 3.0 2.0 a N = 9 b N = 31 c A rank of l = most important. for directors of Master's programmes and directors of Bache- lor's programmes. Behaviour therapy was included by the greatest proportion of respondents in both groups as a form of therapy which contains elements important in music therapy. This finding supports the view that behaviour therapy has had a major impact on the field of music therapy (Brown, 1975). The correspondence between the frequency of selection and the importance attributed to the various therapies is not con- sistent for both groups of directors. Whereas there were no gross departures from correspondence between frequency of selection and importance attributed to forms of therapy for the directors of Bachelor's programmes, this was not true for 85 directors of Master's programmes. Behaviour therapy was in- cluded by 100% of the directors of Master's programmes, but was ranked as containing the elements which were fourth in importance in music therapy. .Academic Backgrounds' The responses of directors of Master's programmes regard- ing which degree should constitute the working degree were evenly distributed across all three Options which were: the Bachelor's degree for all settings; the Master's degree for all settings; and the Master's degree for some settings. The responses of the directors of Bachelor's programmes were somewhat more polarized. Fifty percent of the respondents in the latter group believed that the Bachelor's degree should be the working degree for all settings; 16.7% believed that the Master's degree should be the working degree for all settings; and 33.3% believed that the Master's degree should be the working degree for some settings. The setting cited with the greatest frequency by both groups of directors was psychiatry. There was perfect correspondence between the percentages of directors of Master's programmes who included various back- grounds which would provide a music therapist with the best clinical skills and the median ranks assigned. Two years of 'clinical experience and a Master's in music therapy was in- cluded by 8819% of the directors and was preferred to equal experience with a Master's in a related discipline, which, 86 in turn, was preferred to three years of clinical experience. The correspondence between frequency of selection and ranks assigned was not as exact for directors of Bachelor's pro- grammes (see Appendix B). The academic background which was perceived, by directors of undergraduate programmes, to be the one which would provide music therapists with the best clinical skills was two years of clinical experience and a Master's degree in a related discipline. The disciplines cited with the greatest frequency were, in descending order of frequency, special education and psychology. The choice of disciplines was consistent with the expectations of gradu- ate programmes which were expressed. The proportion of directors of Bachelor's programmes who believed that psychol- ogy and special education courses should be required at the Master's level was significantly greater than the proportion of graduate programmes in which they were required. The direc- tors of Bachelor's programmes also felt that a significantly larger percentage of the total required coursework should be devoted to special education and psychology than was actually the case within Master's programmes. The devaluation of the ability of the Master's programme to provide music therapists with the best clinical skills was inconsistent, however, with the emphasis placed by the directors of Bachelor's programmes on the develOpment of clinicians as a goal of graduate training. The only three academic backgrounds which were selected ' by at least 50% of the directors of Master's and_Bachelor's 87 programmes as being among those which would best prepare a music therapist to teach at the university level were a Master's in music therapy, special education, and psychology. The correlation between the overall distributions of frequen- cies of selection was highly significant (p==.99, p < .01, N=7). A significantly larger proportion of directors of Bachelor's programmes included special education among their choices (x2 = 3.88, p < .05). This was the only degree for which the difference between proportions was significant. The correspondence between the frequencies of seleCtion and the ranks assigned was greater for directors of Master's programmes than for directors of Bachelor's programmes (see Appendix B). The Master's degree in music therapy was seen by directors of Master's programmes and directors of Bache- lor's programmes as the degree which would best prepare music therapists to teach at the university level (Mdn=1, where l = best training). Verbal Therapy Techniques Almost four-fifths (77.8%) of the directors of Master's programmes and 93.3% of the directors of Bachelor's programmes indicated that verbal therapy techniques should be part of the training of music therapists. Although this difference be-_ tween proportions was not significant (x2 = 3.32), it was consistent with the finding that students were required to use psychotherapeutic techniques in only 25% of the graduate pro- grammes, and in 52.9% of the undergraduate programmes. 8.8 Respondents were required to indicate at which level of training they felt verbal techniques should be taught. The 'Bachelor's programme, the six-month internship, the Master's, programme and employment were included by 57.1%, 28.6%, 57.1%, and 42.9% of the directors of Master's programmes, respective- ly, and by 71.4%, 46.4%, 42.9%, and 39.3% of the directors of Bachelor's programmes, respectively. None of the differences . between proportions were statistically significant. In order, chi square was .53, .73, .46, and .03. Specialization A significantly larger proportion of the directors of Bachelor's programmes than_directors of Master's programmes expressed the view that music therapists should Specialize in the treatment of one patient population (x2 = 8.03, p < .01). Those directors Of graduate programmes who believed that Spe- cialization should be part of training (22.2%) felt that it should occur only at the Master's level. Three-quarters (74.2%) of the directors of Bachelor's programmes believed that music therapists should specialize and their responses were fairly evenly distributed across three levels. The six- month internship, the Master's programme and employment were included by 47.8%, 52.2%, and 43.5% of the directors of undergraduate programmes, respectively. Only 4.3% of the latter group of directors included the Bachelor's programme as a level at which specialized training should occur. Specialization was possible, however, in 28.6% of the 89 Bachelor's level programmes. The same inconsistency was present at the Master's level. Although only 22.2% of the directors of graduate programmes believed that Specialization should occur, specialization was possible in 55.6% of the Master's programmes. Fidler (1979) proposed, in relation to occupational the- rapy,that debates regarding specialization be deferred until the generic knowledge base was clarified and the content of basic professional education was delineated. She suggested that emphasis on specialization prior to the development of a substantive base in occupational therapy would result in a ‘ focus on repertoire of techniques and an excessive reliance on related disciplines for a theoretical framework. She equated specialized training with the advanced level of training and stressed the importance specialization could have in the future for occupational therapy. The majority of directors of Master's programmes expressed the view that music therapists should not specialize, and thoSe few who believed that there Should be specialization, restricted it to the graduate degree. It is impossible to interpret the views of the majority of directors of Master's programmes regarding specialization on the basis of the results of the present study. Future investigations should focus on the assumptions underlying the expressed views. .90 Assessment Methods Slightly over one-half (55.6%) of the directors of Master's programmes and 79.3% of the directors of Bachelor's programmes believed that it is necessary to have assessment tools specific to music therapy. The difference between pro- portions was not significant (x2 = 1.99). Those directors who did not feel that it is necessary to have tools specific to music therapy cited psychology and special education as the two disciplines which have assessment tools which meet the needs of music therapists. Although the skills and areas of dysfunction specified by the directors of Master's programmes as those which music therapists should asSess did not reflect a dominant view, they did reflect a grasp of the concept of assessment. The skills and areas of dysfunction listed were: synchrony skills; nonverbal expressive and receptive skills; musicality; abili- ty to produce, create, listen to, and move to music; vocal inflection; speech dysfluency; auditory acuity; gross and fine motor skills; perceptual motor skills; and developmental dis- abilities. It is immediately apparent that some of the areas listed overlap with other disciplines. The responses of the directors of Bachelor's programmes to the sub-questions, rather than serving to elucidate and confirm the belief in the need for assessment methods speCi- fic to music therapists served primarily to obscure it and to render questionable the reliability of the expressed view, 91 i.e., that there is a need for music therapy assessment methods. Respondents who believed that assessment methods are necessary were required to provide a list of skills and areas of dysfunction which they felt should be assessed by music therapists.- ReSpondents who felt that the assessment methods in other disciplines meet the needs of music thera- pists were required to list the disciplines. Of the 23 direc- tors of Bachelor's programmes who stated that assessment tools specific to music therapy are necessary, 21.7% did not provide examples of skills or areas of dysfunction to be assessed. An additional 8.7% did not provide examples of skills, but res- ponded to the sub-question intended for respondents who believed that the assessment needs of music therapists were met by other disciplines. Some respondents (26.1%) responded to both antagonistic subaquestions. The remainder of the respondents (43.5%) responded appropriately. The responses fell into three major categories. The first category con- Sisted of clear examples of skills and areas of dysfunction to be assessed. These included: perceptual awareness; localization; sequencing; recall; group functions; interpretiveeexpressive skills; coordination; discrimination; and motivational value provided by music for the individual. The responses in the other two categories were nonspecific in nature. The first of these categories included assertions that one should assess an individual in as many settings as possible, and hence, in a music therapy setting. The second category included responses which intimated that something 92 unique and special could be learned about an individual in a music therapy setting, but failed to define the special quality. These cryptic responses might well lead one to wonder what it is that constitutes assessment methods at the Bachelor's level. Cohen, Averbach, and Katz (1978) stressed the importance of the role of assessment in ensuring that music therapy pro- gramming consists of clinical therapy rather than diversional activity. They also asserted that music therapy cannot ach- ieve true professional stature until an assessment system which highlights the uniqueness of music therapy is developed. It would seem, based on the responses of educators, that either this system does not yet exist and consequently, there must be reliance on related disciplines for an assessment system, or the importance of such a system is not recognized. It is impossible to determine to what extent the views expressed by educators were influenced by an awareness of the present under- developed state of assessment methods within music therapy, and therefore, impossible to predict to what extent their views would change if an assessment system specific to music therapy were to be developed. Differences Between Music Therapists with Master's and Bachelor's Degrees The frequencies of selection of music Skills considered to be the most important for music therapists with Master's and Bachelor's degrees and the ranks assigned by directors of 93 Master's programmes appear in Table 12. The corresponding data for directors of Bachelor's programmes appear in Table 13. The distributions of frequencies of directors of Master's and Bachelor's programmes who selected music skills on the basis of their importance for music therapists with Master's degrees were significantly correlated (p==.633, p < .05, N=l2). The frequency distributions in relation to music therapists with Bachelor's degrees were also signifi- 'cantly correlated (p==.637, p < .05, N=l2). Both groups of directors did not differentiate between music therapists with Master's degrees and those with Bachelor's degrees on the basis of music skills. 'The distributions of frequencies of selection for directors of Master's and for directors of Bachelor's programmes were significantly correlated (p==.73l and .811, respectively, p < .01, N=l2). The difference be- tween the proportions of directors selecting inprovisation for music therapists with Bachelor's degrees was not signifi— cant (x2 = 2.18). Since the difference for this skill was the largest arithmetic difference, it could be assumed that none of the differences between proportions were significant. The only skill which was selected by at least 50% of the directors of Bachelor's programmes was the ability to im- provise. This was the skill which was also selected by the greatest proportion of directors of Master's programmes. The emphasis on improvisational skills is consistent with Galloway's (1966) finding that music therapists recognized 94' Table 12 Frequency of Selection and Median Ranks Assigned to Music Skills by Directors of Master's Programmes b Percentagesa Median Ranks Skills Master's Bachelor's Master's Bachelor's Ability to: were not assigned median ranks. N=8 8 Rank of 1 = most important. Play instruments 62.5 50.0 3.0 2.8 Sing 50.0 50.0 2.0 2.0 Teach instruments 12.5 12.5 - - Improvise 75.0 87.5 1.8 2.0 Express emotion 12.5 0 - - Perceive emotion 25.0 0 - - Sightread 12.5 37.5 - 2.0 Compose music 0 0 - - Direct groups 25.0 25.0 - - Arrange music 12.5 0 - - Perform 12.5 37.5 - 1.0 Other 0 0 - - N223: All skills included by fewer than three respondents 95, Table 13 Frequency of Selection and Median Ranks Assigned to Music Skills by Directors of Bachelor's Programmes a b Percentages Median Ranks Skills Master's Bachelor's Master's Bachelor's Ability to: Play instruments 37.0 44.4 1.3 1.3 Sing 25.9 29.6 2.0 1.9 Teach instruments 25.9 29.6 3.0 2.2 Improvise 66.7 59.3 1.8 1.8 Express emotion 40.7 18.5 2.0 2.0 Perceive emotion 44.4 25.9 2.3 2.5 Sightread 18.5 25.9 3.0 2.0 Compose music 3.7 7.4 - - Direct groups 3.7 11.1 - 3.0 Arrange music 7.4 14.8 - 2.5 Perform 3.7 14.8 - 1.5 Otherc 11.1 18.5 1.0 2.0 Note: All skills included by fewer than three respondents a N = 27 C were not assigned median ranks. b Rank of 1 most important. Responses included adapting skills to various populations and arranging musical environment. 96 a need for increased training in functional music skills. It is not consistent, however, with the fact that the ability to improvise was not the music skill included by the largest pro- portion of directors when defining functional music (see Table 9). The correspondence between frequency of selection and ranks assigned was not assessed for directors of Bache— lor's programmes since only one skill was included by 50% of the respondents. The correspondence for directors of Master's programmes was not exact. The frequencies of selection and median ranks assigned to those clinical skills in which directors of Master's and Bachelor's programmes believed that it was most important for music therapists with Master's degrees to possess greater skill than music therapists with Bachelor's degrees are presented in Table 14. The majority of directors of Master's programmes (88.9%) and Bachelor's programmes (96.9%) believed that music thera— pists with Master's degrees should possess greater skill in certain clinical areas than music therapists with Bachelor's degrees. The distributions of frequencies of directors selecting those clinical areas in which they believed it to be important that differences exist were not significantly correlated (p==.636, N=7). Although a substantially larger proportion of directors of Master's programmes selected models of therapy other than music therapy, the difference between proportions was not Significant (x2 = 2.28). It could, 97 Table 14 Frequencies of Selection and Median Ranks Assigned to Clinical Skills by Directors of Master's and Bachelor's Programmes Percentages Median Ranksc Clinical Skills Master'sa Bachelor'sb Master's Bachelor's Assessment 57.1 74.2 1.2 2.0 Musicianship lu.3 9.7 - 1.0 Group leadership 57.1 45.2 2.0 31.9 Models of therapy 85.7 54.8 ‘ 2 8 2.0 Models of M.T. . 42.9 41.9 2 O 1.5 Psychopathology 28.6 51.6 - 2.1 Otherd 28.6 22.6 - 1.0 a N = 7 b N = 31 c Rank of 1 = most important. d Responses included research and administrative skills. 98 therefore, be assumed that none of the differences between proportions were significant. The correspondence between frequency of selection and ranks aSsigned, if restricted to those skills selected by at least 50% of the respondents, was quite good for directors of Bachelor's programmes. For the directors of Master's programmes, the frequency of selection had an inverse relationship to the importance at- tributed to the skills. The two skills included by both groups of directors were assessment skills and knowledge of models of therapy other than music therapy. The third skill selected by at least 50% of the directors of Master's and Bachelor's pro- grammes was group leadership and knowledge of psychopathology, respectively. There is no evidence, based on the content of programmes, of a greater quantitative emphasis within Master's programmes on models of therapy other than music therapy, group leadership, or knowledge of psychopathology. The evaluation of qualitative differences does not fall within the scope of this study but should be subjected to investigation in the future. The study of psychopathology would normally fall within the area of psychology. The proportion of directors of Bachelor's programmes who felt that psychology courses Should be required at the graduate level was significantly greater than the proportion of Master's programmes in which psychology courses were required. Directors of Bachelor's programmes 99 also believed that a significantly larger percentage of the total required coursework should be devoted to the study of psychology. Those directors of undergraduate programmes who believed that the Master's degree should be the working degree for some settings cited psychiatry with the greatest frequency. It is possible that directors of undergraduate programmes feel that to work effectively within a psychiatric setting it is necessary to have a good foundation in pSYChO! logyand in the knowledge of psychopathology. If this emphasis is presently lacking within curricular content, it might, to some extent, explain Braswell's (1979) finding that music therapists working in mental retardation settings perceived their status to be higher than did music therapists working within psychiatry. The frequencies of selection of professionals perceived to possess clinical skills most similar to music therapiSts with Master's and Bachelor's degrees and the ranks assigned by directors of Master's programmes are presented in Table 15. The corresponding data for directors of Bachelor's programmes appear in Table 16. One-quarter of the directors of Master's programmes and 21.4% of the directors of Bachelor's programmes did not dif- ferentiate between the two levels of music therapists when comparing them to other professionals. The two distributions of frequencies of selection of professionals compared to a music therapist with a Master's degree were significantly 100 Table 15 Frequency of Selection and Median Ranks Assigned by Directors of Master's Programmes to Professionals Considered Most Similar to Music Therapists Percentagesa Median Ranksb Professionals Master's Bachelor's Master's Bachelor's Clinical psychologist 75'0 25°C 1'5 ' Occupational Recreational Child care worker 0 12.5 - - Music educator 25.0 37.5 - 2.0 Psychiatrist 0 0 - - Social Worker 12.5 25.0 - - Special educator 62.5 75.0 3.0 2.0 Psychiatric case worker 12.5 0 ' Otherc 25.0 0 - - Note: All professionals included by fewer than three respondents were not assigned median ranks. a N = 8 b Rank of l = C Responses included: resource consultant and art/dance/ psychodrama therapists. most similar. 101 Table 16 Frequency of Selection and Median Ranks Assigned by Directors of Bachelor's Programmes to Professionals Considered Most Similar to Music Therapists Percentagesa Median Ranksb Professionals Master's Bachelor's Master's Bachelor's Clinical psychologist 50.0 17.9 1.1 1.0 Occupational therapist “2‘9 53:6 1-7 2.0 Recreational therapist 25.0 78.6 3.0 2.0 Child care worker 0 0 - - Music educator 32.1 60.7 3.0 2.0 Psychiatrist 10.7 0 2.0 - Social worker 42.9 14.3 2.2 2.5 Special educator 71.4 71.4 1.9 1.9 Psychiatric case worker 17'9 3‘6 2'0 ' Otherc 7.1 o — - Note: All professionals included by fewer than three respondents were not assigned median ranks. b a N = 28 Rank of l = most similar. c Responses included: consultant and researcher. 102 correlated, as were the two distributions for a music thera- pist with a Bachelor's degree (p==.721, p < .05 and p==.9, p < .01, respectively, N=10). The within-group distributions of frequencies of selection were also significantly correlated for directors of Master's programmes and for directors of Bachelor's programmes (p==.672 and .689, respectively, p < .05, N=10). A substantially larger proportion of directors of Master's programmes included occupational therapist among their selections of professionals possessing skills similar to those of a music therapist with a Master's degree. This dif- ference between prOportions was not, however, a significant one (x2 = 2.57). 'Since this was the largest arithmetic dif- ference between proportions, it could be assumed that none of the between-group differences between proportions were sign— nificant. The three professionals included by at least 50% of the directors of graduate programmes in comparison to a music therapist with a Master's degree were, in descending order, clinical psychologist, occupational therapist, and special educator. In comparison to a music therapist with a Bachelor's degree, the three professionals were, in descending order, occupational therapist, special educator, and recreational therapist. As the frequency of inclusion increased, there was a corresponding increase in the perceived similarity between that profession and music therapy. 3 There were only two professionals included by at least 103 50% of the directors of Bachelor's programmes in the compari- son to music therapists with Master's degrees, and these were, in descending order of frequency, special educator and clini- cal psychologist. Based on the ranks assigned, however, clinical psychologists were seen as more similar (Mdn=l.l). There were four professionals included by at least 50% of the directors of undergraduate programmes in the comparison to music therapists with Bachelor's degrees, and these were, in descending order, recreational therapist, special educator, music educator, and occupational therapist. All four were perceived to be approximately equally similar (Mdn=2.0, 1.9, 2.0, and 2.0, respectively). The perceived similarity between music therapists with Master's degrees and clinical psychologists is more easily understood in relation to assessment skills than in relation to knowledge of psychology and psychopathology. There was a widespread reliance upon psychological assessments and behavioural analysis as assessment methods within Master's programmes. The emphasis on psychology, however, was rela- tively limited. This limited emphasis on psychology within Master's.programmes was consistent with the low frequency of inclusion of psychopathology among the clinical areas in which it was considered important for music therapists with Master's degrees to possess greater skill than music therapists with Bachelor's degrees. SUMMARY AND CONCLUSIONS The purpose of the present research was to investigate the content and structure of graduate level training in music therapy, to differentiate between advanced and basic profes- sional training, and to assess the degree of convergence of views among educators regarding advanced training and the differential skills of music therapists with Master's degrees and music therapists with Bachelor's degrees. It was expected that there would be a strong emphasis on music therapy core courses and research courses at the graduate level. This expectation was confirmed in one sense since both content areas were included in 100% of the Master's programmes and represented the largest proportions of required coursework. It was surprising, however, to find that models of music thera- py were required in only two-thirds of the programmes and a thesis was required in only 55.6% of the programmes. One would expect that knowledge of models of music therapy would be considered to contribute substantially to scholarship in the discipline and would, therefore, be stressed in all graduate programmes in music therapy. Since theses were not required in almost one-half of the programmes (44.4%), it must be assumed that directors of Master's programmes perceive thesis writing to be only one, and perhaps, not the preferred, method of developing research skills. Clinical specialization 104 105 has been strongly identified with advanced professional train- ing in other disciplines (for example, Fidler 1979) and with- _in music therapy there has been some evidence that specializa- tion is associated with Master's level training (Galloway, 1966). Specialization was possible in slightly over one-half (55.6%) of the Master's programmes and, therefore, did not seem to be a major focus of graduate training. A practicum was required in a majority of the Master's programmes (88.9%); clinical and supervisory practica were the most commonly offered forms of practicum. This was consistent with the rating of clinicians by directors of Master's programmes as the most important goal of graduate training. Psychology of music/acoustics courses, psychology courses, music courses, sociology/anthropology courses, sciences, and recreation courses were required in a signifi- cantly greater proportion of Bachelor's programmes than Master's programmes. Most of these areas represent basic education and, therefore, these findings were not surprising. It is difficult, however, to explain the discrepancy between the proportions of schools at both levels which required psychology courses. It would seem that it has been accepted that a certain amount of basic psychology is necessary in the training of music therapists, but there is no consensus among directors of Master's programmes as to whether it is necessary for graduate students to acquire more advanced know- ledge in psychology. A significantly larger prOportion of 106 required coursework was devoted to music therapy core courses and research courses at the Master's level than at the Bache- lor's level and a significantly smaller proportion was devo- ted to music courses. The distributions of prOportions of Master's and Bachelor's programmes in which models of therapy other than music therapy and therapeutic settings were re- quired were significantly correlated. This was not true, how- ever, for models of music therapy. Client-centered therapy and reality therapy represented a significantly smaller proportion of coursework at the Master's level than at the Bachelor's level. These were the only models for which there was a signi- ficant difference. -A functional music course was required in a significantly larger proportion of Bachelor's programmes than Master's programmes. The distributions of frequencies of selection of the component skills of functional music were significantly correlated. Assessment methods derived from other disciplines served as the sole forms of assessment in a significantly larger proportion of Master's programmes than Bachelor's programmes. This greater reliance on related disciplines was reversed in relation to media used in therapy. Students were required/encouraged to use media other than music in their clinical work in a significantly larger propor- tion of Bachelor's programmes than Master's programmest' This was consistent with the directors' of Bachelor's programmes rating of activity therapy as equally related to music thera- py as behaViohr therapy, whereas directors of Master's pro- grammes rated activity therapy second, following behaviour therapy. 107 The directors of Bachelor's programmes believed that there should be a greater emphasis on psychology and Special educa- tion at the graduate level than was actually reflected in the content of the Master's programmes. The prOportion of direCa tors of Bachelor's programmes who believed that group dynamics and sensory-integrative therapy should be required at the Master's level was significantly greater than the prOportion of Master's programmes in which they were required. Although the distributions of proportions of directors of Bachelor's programmes who believed that various models and settings should be required at the Master's level and of Master's programmes in which they were actually required were not significantly correlated, and, hence, did not reflect con- vergence of views, there were few specific models/settings in which significant differences between proportions were found. The importance attributed to the various forms of practica by directors of Bachelor's programmes corresponded to the frequency of inclusion of the different types within the Master's programmes. Although the proportion of directors of undergraduate programmes who believed that an administrative practicum should be offered was significantly greater than the proportion of graduate programmes in which it was offered, it was ranked as the least important type of practicum. Directors at both academic levels considered the training of clinicians to be the most important goal of graduate education. It is of note that researcher was the 108 only professional orientation which was not assigned a rank of one (where l = most important) by any of the directors of Bachelor's programmes. There were a few areas in which there were discrepancies betWeen the attitudes expressed by directors of Master's pro- grammes and the implied attitudes as reflected in the pro— gramme content. The prOportion of directors who believed that graduate students should be trained in verbal therapy techniques was substantially greater than the proportion of programmes in which students were required to utilize these techniques. The reverse relationship was found in relation to specialization. The proportion of programmes in which specialization was possible was substantially larger than the prOportion of directors who believed that music therapists should specialize. Despite the failure of directors of graduate programmes to differentiate between music therapists _ with Master's degrees and music therapists with Bachelor's degrees on the basis of music Skills and the low frequency of inclusion of musicianship among their selections of those clinical areas in which it was considered important for music therapists with Master's degrees to posSess greater skill, music courses were required in almost one—half of the Master's programmes and represented 12.9% of total required coursework. The prOportion of programmes in which models of music therapy were required was substantially larger than the proportion ' of directors of Master's programmes who included knowledge of 109 models of music therapy among their choices of clinical areas in which it is important for music therapists with Master's degrees to possess greater skill than-music therapists with Bachelor's degrees. There was also little evidence within the curricula to support the hypothesis that there was greater emphasis at the Master's level than at the Bachelor's level upon those clinical areas which were selected with the greatest frequency as areas in which it is important for music therapists with Master's degrees to possess greater Skill. There was considerable agreement in the attitudes ex— pressed by directors of music therapy programmes regarding certain aspects of the training of music therapists and the differential skills of music therapists with Master's and Bachelor's degrees. There were, however, certain areas of disagreement. Whereas the directors of Master's programmes rated two years of clinical experience and a Master's degree in music therapy as the background which would provide music therapists with the best clinical skills, the direc- tors of Bachelor's programmes ranked it second to equal experience and a Master's degree in a related discipline. The apparent devaluation of the capacity of the graduate degree in music therapy to provide music therapists with) superior clinical skills was consistent with the findings of a survey conducted by Braswell et al. (1979b). It was» found that music therapists did not feel that a Master's degree 110 in music therapy would enhance their professional skills or status. In relation to differences between the Master's and Bachelor's level programmes, the present study focused primarily on the respective quantitative emphases on various content areas. It is important that future research focus on the qualitative differences, that is, on the differences in the depth with which content areas are presented at both aca- demic levels. This additional information could only serve to enhance our understanding of the true differences between graduate and undergraduate training in music therapy. A significantly larger proportion of directors of Bache- lor's programmes than directors of Master's programmes includ- ed a Master's degree in special education among their Selec- tions of degrees which would best prepare a music therapist to teachem:the university level. The orientation toward special education was also evident in the directors' of undergraduate programmes expressed expectations of Master's level programmes. A significantly larger proportion of directors of undergraduate programmes believed that music therapists should specialize in the treatment of one patient population. The two clinical areas in which it was considered important for differences to exist between music therapists with Master's degrees and music therapists with Bachelor's degrees which were selected by the greatest frequency of res— pondents were assessment skills and knowledge of models of therapy other than music therapy. The third area selected by 111 directors of Bachelor's programmes was knowledge of psycho— pathology. This was consistent with their expressed view that psychology should be emphasized more at the Master's level than is currently true. It would seem, based on the results of the present research, that convergence of views regarding the graduate training of music therapists and the differential roles and skills of music therapists with basic and advanced training is not yet a reality within music therapy. Whether or not this implies that music therapy still lacks status as a true profession is a moot question. It is apparent, from the literature, that music therapists are not the only profession- als engaged in attempting to define the basic theoretical framework of the discipline, the skill base, and the scope and content of the basic and advanced professional training. Further research may supply some of the required definitions and may also determine the necessity for the degree of convergence postulated by Schein (1972). LI ST OF REFERENCES LIST OF REFERENCES The American Occupational Therapy Association. Guide for graduate education in occupational therapy leading to the Master's degree. ‘American Journal of Occupational Therapy, 1979, 33 (91, 590-599. Barnard, R.I. The philosophy and theory of music therapy as an adjuvant therapy. In E.G. Gilliland (Ed.), Music Therapy 1952. Lawrence, Kansas: National Association for Music Therapy, 1953. Braswell, C. Education and research in music therapy. In E.H. Schneider (Ed.), Music Therapy 1960. Lawrence, Kansas: The Allen Press, 1961. Braswell, C., Maranto, C.D.,& Decuir, A. A survey of clinical practice in music therapy Part I: The institutions in which music therapists work and personal data. Journal of Music'Therapy, 1979, i6 (1), 2-16. Braswell, C., Maranto, C.D.,& Decuir, A. A survey of clinical practice in music therapy Part II: Clinical practice, educational and clinical training. Journal of Music Therapy, 1979, i6 (2), 50-69. Brown, N. An invesitgation of the influence of behaviorism and existentialism on music therapy as found in selected literature. Unpublished Master's thesis, University of Kansas, 1975. Cohen, 0., Averbach, J.,& Katz, E. Music therapy assessment of the develOpmentally disabled client. Journal of Music Therapy, 1978, i5 (2), 88-99. Davis, M. The practice of social work in hospitals. Hospital Progress, 1971, 52, 61-62. Eliason, M.L.,& Gohl-Giese, A. A question of professional boundaries: implications for educational programs. American Journal of Occupational Therapy, 1979, 33 (3), 175-179. . ' Fidler, G.S. Specialization: implications for education. American Journal of Occupational Therapy, 1979, 3; (l), 34F35. 112 113 Galloway, H.F. Articulation problems in the academic and clinical trainipg of music therapists. Unpublished Master's thesis, Florida State University, 1966. Gaston, E.T. A symposium on research: factors Which under— lie the development of a research program. Journal of Research in Music Education, 1955-1956, 3, 21-22. Gaston, E.T. Developments in the training of music thera- pists. Journal of Music Therapy, 1964, i (4), 148-150. Gaston, E.T. Man and music. In E.T. Gaston (Ed.), Music in therapy. New York: MacMillan Co., 1968. Gilfoyle, E.M.,,.& Hays, C. Occupational therapy roles and functions in the education of the school-based handi— capped student. American Journal of Occupational Therapy, 1979, 33 (9), 565-576. Hanser, S.B.,,& Madsen, C.K. Comparisons of graduate and under- graduate research in music therapy. Journal of Music Therapy, 1972, 2, 88-93. Iley, D.J. A curriculum study based upon Herbert Galloway's articulation problems in the academic and clinical train- ingpof music terapists. Unpublished Master's thesis, Florida State University, 1976. Jellison, J.A. The frequency and general mode of inquiry of research in music therapy, 1952-1972. Bulletin of the Council for Research in Music Education, 1973, 35, 1-8. Lurie, A. Staffing patterns: issues and program implications for health care agencies. Social Work in Health Care, 19763 a (1), 85‘9“- Madsen, C.K. A new music therapy curriculum. Journal of Music There-22: 1965: .22. (3)3 83'85- Matarazzo, R.G. Research on the teaching and learning of psychotherapeutic skills. In-S.L. Garfield A.E. Bergin (Eds.), Handbook of psychotherapy and behavior changp (2nd ed.). New York: John Wiley and Sons, Inc., 1978. Michel, D.E. Professional profile: the NAMT member and his clinical practices in music therapy. Journal of Music Therapy, 1965, 2, 124-129. ' Michel, D.E.,&Madsen, C.K. Examples of research in music therapy as a function of undergraduate education. Journal of Music Therapy, 1969, 6, 22-25. 114 National Association for Music Therapy. A career in music therapy. Lawrence Kansas: National Association for Music Therapy, 197é. National'Association for Music Therapy. Guidelines for es- tablishing master's degree programs in music therapy. Lawrence, Kansas: National Association for Music Therapy. Regan, J. Differential utilization of manpower. Health and Social Work, 1976, A, 113-124. Reilly, M. The educational process. American Journal of Occppational Thergpy, 1969, g§_(4), 299-307. Rogers, J.C. Design of the Master's programme in occupational therapy, Part 1. A logical approach. American Journal of Occupational Therapy, 1980, 34_(2), 113-118. Rogers, J.C. Design of the Master's degree in occupational therapy, Part 2. An empirical approach. American Journal of Occppational Therapy, 1980, 33 (3), 176-184. Ruud, E. Music therapy and its relationship to current treat- ment theories. Unpublished Master's thesis, Florida State University, 1973. Schein, E.H. Professional education some new directions. New York: McGraw-Hill Book Co., 1972. Schneider, E.H. The status of music therapy. Journal of Music Therapy, 1965, 2 (4), 105—106. Sears, M. (Ed.). Member newsletter. Lawrence, Kansas: National Association for Music Therapy, December 1979. Sears, W. Processes in music therapy. In E.T. Gaston (Ed.), .Music in therapy. New York: MacMillan Co., 1968. Shatin, L., Douglas-Longmore, G., 8: Kotter, W. A quantified criterion for evaluating the music therapist. Journal of Rehabilitation, 1963, 22 (1), 18-19. Southard, S. The process of student supervision. Journal of Music Therapy, 1973, i0, 27-35. Thompson, M.F. The function of the music therapist. In E.H. Schneider (Ed.), Music Therapy 1960. Lawrence, Kansas: The Allen Press, 1961. Warwick, D.P. The Sample survey: theory and practice. New York: McGraw-Hill Book Co., 1975. 115 Wattenberg, S.H,8:O'Rourke, T.W. Comparison of task perform- ance of Master's and Bachelor's degree social workers in hospitals. “Soc1a1 Work in Health Care, 1978, 4_(l), 93-105. Young, P. Scientific SOCial surveys and research (4th ed.), Englewood Cliffs, N.J.: Prentice—Hall, 1966. APPENDIX A QUESTIONNAIRES I116 DOUGLAS HOSPITAL CENTRE CENTRE l-IOSPITALIER DOUGLAS Adult Services Children's Services Services aux Adultes Services aux Enfanta Telephone: 761.6181 Telephone: 761-6131 6875 3001.. LASALLE BLVD” MONTREAL. QUE. CANADA 841-! 133 April 9, 1979 Dear Music Therapy Educator: You will find enclosed two questionnaires. The first seeks factual information regarding the structure and content of the Master's level program in music therapy at your university, as well as your views on certain aspects of the training and clinical practice of music therapists. The second questionnaire focuses on the Bachelor's level program in music therapy at your university. The two questionnaires have been constructed to provide as detailed and comprehensive a description of music therapy training at your university as possible, while maintaining the anonymity of the respondent. Hence, the length of the question- naires could not be reduced further without resulting in a loss of potentially valuable information. It would be appreciated if you would respond to the Master's level questionnaire first, and refrain from signing either farm. This survey is directed only at music therapy educators in NAMT- approved colleges and universities, and therefore, the limited number of potential respondents makes every response on important one. Since the questionnaires constitute onepart of a Master's level research thesis requirement in music therapy, your full and prompt attention would be greatly appreciated. Results of the study will be made available to all those from whom information was requested. I trust that you will respond at your earliest convenience, preferably prior to May 30, 1979 and I thank you in advance for your time and cooperation. Sincerely, e. ,i?_l. ANT Connie Isenberg-Grzeda Clinical Training Director Graduate Student - Michigan State University CIG/s 1137 THIS SECTION OF THE QUESTIONNAIRE SEEKS FACTUAL INFORMATION REGARDING THE STRUCTURE AND CONTENT OF THE MASTER'S LEVEL PROGRAM IN MUSIC. THERAPY. ALL QUESTIONS REFER ONLY TO THE MASTER'S LEVEL PROGRAM UNLESS OTHERWISE SPECIFIED. SPACE HAS BEEN PROVIDED AT THE END OF THIS SECTION FOR ADDITIONAL INFORMATION REGARDING THE PROGRAM AND/OR FOR ELABORATION ON, AND CLARIFICATION OF, RESPONSES. l. For entrance into the graduate program, post-RMT experience is required (answer la) encouraged (answer la) not required or encouraged (go to #2). a)Indicate no. of years of post-RMT experience required/encouraged. 1 year 2 years more than 2 years Indicate whether the program is a semester system term system. The minimum no. of credits to obtain the Master's degree is . The minimum no. of credits for required courses is . The minimum no. of credits for elective courses is . Of these, how many credits must be within the music department? How many credits may be with1n the music department? The degree conferred is . If other than M.M., daes tFe university offer an M.M. degree? Yes No Is a thesis required? Yes (if yes, answer 5c and 5d) No if no, answer 5a a)Is a thesis optional? Yes (if yes, answer 5b,5c and 5d) No if no, answer 5b b)Ta replace a thesis,students must complete one of the follOwing: paper(s) extra course(s) other,specify: . c)The thesis is worth (na.) credits. d)Indicate acceptable research type(s),and if more than one t pe is acceptable, rank according to frequency (lamost frequent‘. ___philosophical '___historical ___descriptive (e.g.survey) ___experimental: ___laboratary setting ' ___clinical setting 118 M.T. Questionnaire P. 2 6. Is a practicum required? Yes (if yes, answer 6a-6e) No if no, go to #7 a)No. of credits: b)Minimum no. of hours per week: c)Minimum total no. of hours required: d)Rank the following methods employed in supervision according to frequency (lzmost frequent). ___videotape ___direct observation by supervisor ___students' verbal reports I___audiotape ‘___written process notes ___other,specify and rank: e)Indicate type(s) of practicum offered. (i) Clinical: Type(s) of facility: Sessions are: ohe-to-one group Are students required, in the role of therapist, to utilize psychotherapeutic techniques(e.g. verbal interpretation, reflection)? Yes No Indicate (by circling) whether students are: required/ encouraged / allowed / not allowed / to use media other than music. . If other media are used, specify: Are stpdents required to use formal assessment and evaluation tools? Yes No Graduate students supervised by: TIe.g.TM.T. professor} (ii) Supervisory: Type(s) of facility: Student supervises: lower division undergraduates upper division undergraduates ’Graduate students supervised by: (e.g. MIT. professor} (iii) Administrative: Type(s) of facility: Field supervisor's prafession(s): Department(s) used for placement: Graduate students supervised by: . (5.9. M.T. professor) (1v) Other’specify: 7. In the program, students are trained to be the following (rank by importance, l=most important). researchers , clinicians educators supervisors administrators other(s),specify and rank: 1519 M.T. Questionnaire P. 8. Do the reguired courses at the Master's level include specific models a . .. Yes éif yes, answer 8a and 8b) '- No if no, answer 8b a)In the students' total exposure to models of M.T.,indicate what percentage of the total is accounted for by the following. Percentage (1)0.Velopmental HOT. 0 O O O O O O O O O I O O O O (2)Guided Imagery (Bonny) . . . . . . . . . . . . . . (3)80hOVioral "01.0 e e e e e e e e e e e e e e e e e e (4)Improvisational-Expressive(Nordoff and Robbins) . . (5)Psychoanalytic based . . . . . . . . . . . . . . . (6)0ther,specify: a % b)If not included in required courses, is reading in some of the above-mentioned models (8a) encouraged? Yes If yes, specify models using nos. in 8a: 3 No 9. Do the reguired courses at the Master's level include models of therapy at er than M.T.? Yes if yes,answer 9a and 9b) No if no,answer 9b a)In the students' total exposure to models of therapy, indicate what percentage of the total is accounted for by the following. Percentage (1)Psychaanalysis . . . . . . . . . . . . . . . . . (2)6estalt Therapy . . . . . . . . . . . . . . . . . (3)Reality Therapy . . . . . . . . . . . . . . . . . (4)Client-Centered Therapy . . . . . . . . . . . . . (5)Transactional Analysis . . . . . . . . . . . . . (6)Psychodrama . . . . . . . . . . . . . . . . . . (7)6roup Dynamics . . . . . . . . . . . . . . . . . (8)8ehavior Therapy . .. . . . . . . . . . . . . . . (9)Play Therapy . . . . . . . . . . . . . . . . . . (lO)Sensory-Integrative Therapy . . . . . . . . . . . (ll)0ther, specify: a b)If not included in required courses, are some of the above- mentioned models (9a) available in elective courses? Yes If yes, specify models using nos. in 9a: No 1120 M.T. Questionnaire P. 4 10. Do the reguired courses at the Master's level include the therapeutic use of music in a variety of settings? Yes ___ if yes, answer 10a and 10b) No ___ if no, go to #11) a)In the students' total exposure to the therapeutic use of music in a variety of settings, indicate what percentage of the total is accounted for by the following. Music in: Percentage (l)child psychiatry . . . . . . . . . . . . . . . . . (2)adult psychiatry . . . . . . . . . . . . . . . . . (3)treatment of mentally impaired . . . . . . . . . . (4)special education . . . . . . . . . . . . . . . . (5)9eriatrics . . . . . . . . . . . . . . . . . . . (6)palliative care . . . . . . . . . . . . . . . . . (7)physical disabilities remediation . . . . . . . . (8)treatment of emotionally disturbed . . . . . . . . (9)treatment of developmentally disordered . . . . . (10)treatment of addiction . . . . . . . . ... . . . . (ll)other, specify: 3 X b)Is specialization in one of the above-mentioned areas'(lOa) possible? Yes if yes, answer lOc,lOd and 10e) No if no, go to #11) c)Specify possible areas of specialization using nos.: d)Indicate whether specialization is: clinical theoretical e)Haw many credits are available for specialization? 11. List total number of reguired credits in the following areas. M.T. core courses (including practicum) . . . . . credits Research (other than thesis) . . . . . . . . . . Psychology (other than psychology of music) . . . Music (instrumental,history,theory,etc.) . . . . Music education . . . . . . . . . . . . . . . . Special education . . . . . . . . . . . . . . . . Acoustics . L . . . . . . . . . . . . . . . . . Psychology of music . . . . . . . . . . . . . . . Recreation . . . . . . . . . . . . . . . . . . . Sociology/Anthropology . . . . . . . . . . . . . lllllllllll Sciences (e.g.physiolagy,neuroanotomy,etc.) . . . -Other,specify: 12. '13. 14. 15. 16. 1121 M.T. Questionnaire P. 5 If M.T.,as taught,is considered to be strongly related to any of the following therapies,indicate which aneés),and if more than one' rank according to strength of relationship l=mast strongly related). Behavior Therapy Psychotherapy Activity Therapy Other,specify: not strongly related to any other therapy Is a minor area of study,i.e. a second area of concentration, required? Yes if yes, answer 13b and 13c No if no, answer 13a a)Is a minor area of study possible? Yes Eif yes,answer l3b,l3c) No if no,go to #14) b)How many credits are required in the minor area? c)List orea(s) most often recommended as a minor. Most recommended 2nd 3rd Are students required to take a functional music course(s)? Yes if yes, answer 14b according to skills taught No if no, answer 14a a)Are students required to demonstrate functional music skills? Yes ___(if yes,answer 14b according to which skills are demonstrated No ___(if no,go to #15) b)Functional music skills include ability to: ___play one or several social instruments ___sightread transpose improvise match music to moods ___express emotTEn through mUETc ___perceive meaning of emotion expressed through music ___other, specify: Are formal assessment methods taught? Yes (if yes,answer 15a) No if no, go to #16) a)Indicate assessment methods used: assessment methods developed in other disciplines. Specify disciplines: assessment methods developid 5y music therapists Please use available space for additional information,elaboration and/or clarification of responses. 122 DOUGLAS HOSPITAL CENTRE CENTRE HOSPITALIER DOUGLAS Adult Services ' Chlldrcn's Services Services aux Adultce Servlcce aux Enlants Telephone: 761-8131 Telephone: 761-6131 6875 BOUL. LASALLE BLVD~ MONTREAL QUE- CANADA ”41-! 18.3 April 9, 1979 Dear Music Therapy Educator: The enclosed questionnaire seeks factual information regarding the structure and content of the Bachelor's level program in music therapy at your university college, as well as your views on certain aspects of the training and clinical practice of music therapists. The questionnaire has been constructed to provide as detailed and comprehensive a description of music therapy training at your university college as possible, while maintaining the anonymity of the respondent. Hence, the length of the question- naire could not be reduced.further without resulting in the loss of potentially valuable‘information. It would be appreciated if you would refrain from signing the questionnaire. This survey is directed only at music therapy educators in NAMT- approved colleges and universities, and therefore, the limited number of potential respondents makes every response on important one. Since the questionnaire constitutes one part of a Master's level research thesis requirement in music therapy, your full and prompt attention would be greatly appreciated. Results of the study will be made available to all those from whom information was requested. I trust that you will respond at your earliest convenience, preferably prior to May 30, 1979 and I thank you in advance for your time and cooperation. Sincerely, CL. W,&7/J—«’KHT Connie Isenberg-Grzeda Clinical Training Director Graduate Student - Michigan State University CIG/s 1123 THIS SECTION OF THE QUESTIONNAIRE SEEKS FACTUAL INFORMATION REGARDING THE STRUCTURE AND CONTENT OF THE BACHELOR'S LEVEL PROGRAM IN MUSIC THERAPY, AS WELL AS SOME OF YOUR VIEWS ON MASTER'S LEVEL PROGRAMS. ALL QUESTIONS REFER ONLY TO THE BACHELOR'S LEVEL PROGRAM UNLESS OTHERWISE SPECIFIED. SPACE HAS BEEN PROVIDED AT THE END OF THIS SECTION FOR ADDITIONAL INFORMATION REGARDING THE PROGRAM AND/OR FOR ELABORATION ON, AND CLARIFICATION 0F, RESPONSES. 1. Indicate whether the program is a semester system term system 2. The minimum no. of credits to obtain the Bachelor's degree in M.T. is . The minimum no. of credits for required courses is . The minimum no. of credits for elective courses is . Of these, how many credits must be within the music department? How many credits may be w1thin the music department? . 3. The degree conferred is If other than E.H., does the university/college offer a SIM. degree? Yes No 4. Is a practicum (other than internship) required? Yes if yes, answer 4a-4f - No if no, answer 4f a)No. of credits: b)Hinimum no. of hours per week: c)Minimum total no. of hours: d)Rank the following methods em loyed in supervision according to frequency (l=mast frequent). videotape direct observation by supervisor students' verbal reports audiotape - written process notes other,specify and rank: e)Type(s) of facility: Sessions are: one-to-one group Do students observe other students? Yes No Are students required, in the role of therapist, to utilize psychotherapeutic techniques (e.g.,verbal interpretation, reflection)? Yes No Indicate (by circling) whether students are: required / encouraged / allowed / not allowed / to use media other than music. If other media are used, specify: Are students required to use formal assessment and evaluation tools? Yes No Students supervised by: ‘(e.g.,MTT.professor, graduate students) 112M M.T. Questionnaire P. 2 4. f)Indicate by rank which of the following types of practica you 5. g 6. feel should be offered at the Master's'level (l=most important type of practicum). ’ clinical supervisory administrative other,specify: In your opinion, a Master's program in M.T. should be training students to be which of the following (rank by importance, l=most important): researchers clinicians educators supervisors administrators other,specify and rank: Do the re uired courses include specific models of M.T.? Yes‘___51f yes, answer 60,6b and 6c) No ___ if no, answer 6b and 6c a)In the students' total exposure to various models of M.T., indicate what percentage of the total is accounted for by the following. Percentaae * (1)09V010pmen t9]. HeTe e e e e e e e e e e e e e e e e (2)Guided Imagery (Bonny) . . . . . . . . . . . . . . (3)8ehavioral M.T. . . . . . . . . . . . . . . . . . (4)Improvisational-Expressive(Nordoff and Robbins) . . .(5)Psychoana1ytic based . . . . . . . . . . . . . . . (6)0ther,specify: g X b)If not included in required courses, is reading in some of the above-mentioned models (60 encouraged? Yes If yes, specify models using nos. in 6a: No ' c)Indicate, using nos. in 6a, which of the models you feel should be included in a Master's level pragram(even if they are included in the undergraduate program). Yes ___.1 yes, answer 7a,7b and 7c Do the re uired courses include models of therapy other than M.T.? No 51f no, answer 7b and 7c) a)In the students' total exposure to models of therapy, indicate what percentage of the total is accounted for by the following. Percentage (1)P’YChoanalys-is . O O O O C 0 O O O O O O O O O O O (2)Gestalt Therapy . . . . . . . . . . . . . . . . . . (3)R°°lity Therapy 0 O O O O O O O O O O O O O O 0 O O (4)Client-Centered Therapy . . . . . . . . . . f . . . 1235 M.T. Questionnaire P. 3 Z. a)cont'd. Percentage (lO)Sensory-Integrative Therapy . . . . . . . . . . . . . (ll)0ther,specify: (6)Psychodrama . . . . . . . . . . . . . . . . . . . . (7)Group Dynamics . . . . . . . . . . . . . . . . . . . (8)Behavior Therapy . .. . . . . . . . . . . . . . . . . (9)Play Therapy . . . . . . . . . . . . . . . . . . . . (5)Transactiona1 Analysis . . . . . . . . . . . . . . . illllll b)If not included in required courses, are some of the above- mentianed models (7a) available in elective courses? Yes If yes, specify models using nos. in 7a: No ‘ a)Indicate, using nos. in 7a, which of the models you feel should be included in a Master's level program (even if they are included in the undergraduate program . Do the re uired courses include the therapeutic use of music in a variety of settings? Yes if yes, answer 8a and 8b No if no, answer 8f a)In the students' total exposure to the therapeutic use of music in a variety of settings, indicate what percentage of the total is accounted for by the following. Music in: _ Percentage (l)child psychiatry . . . . . . . . . . . . . . . . . (2)adult psychiatry . . . . . . . . . . . . . . . . . (3)treatment of mentally impaired . . . . . . . . . . (4)special education . . . . . . . . . . . . . . . . . (5)9eriatrics . . . . . . . . . . . . . . . . . . . . (6)palliative care . . . . . . . . . . . . . . . . . . (7)physical disabilities remediation . . . . . . . . . (8)treatment of emotionally disturbed . . . . . . . . (9)treatment of developmentally disordered . . . . . . (lO)treatment of addiction . . . . . . . . . . . . . . (ll)0ther, specify: g b)Is specialization in one of the above-mentioned areas (8a) possible? Yes if yes, answer 8c,8d,8e and 8f) No if no, answer 8f c)5pecify possible areas of specialization using nos.: 1226 M.T. Questionnaire P. 4 8. d)Indicate whether specialization is: clinical theoretical. e)How many credits are available for specialization? f)Indicate, using nos. in 8a, which of the settin s you feel should be included in a Master's level program even if they are included in the undergraduate program). 9. List total no. of reguired credits in the following areas. (1)M.T. core courses (including practicum) . . . . . . credits (2)Research . . . . . . . . . . . . . . . . . . . . . (3)Psychology (other than psychology of music) . . . . (4)Psychology of music . . . . . . . . . . . . . . . . (5)Music (instrumental,history, theory,etc.) . . . . . (6)Music education . . . . . . . . . . . . . . . . . . (7)5pecia1 education . . . . . . . . . . . . . . . . . (8)Acoustics . . . . . . . . . . . . . . . . . . . . . (9)Recreation . . . . . . . . . . . . . . . . . . . . (10)Sociology/Anthropology . . . . . . . . . . . . . . (ll)Sciences (e.g.,physiology,neuroanatomy,etc.) . ; . (12)0ther,specify: a)Indicate what percentage of the total required course work in a Master's program ou feel should be in each of the above- mentioned areas (9a) (1) __ (2) _ (3) __ (4) _ (5) __ (6) _ (7)___ (8) __ (9) __ (10) (ll) (12) __ 10. If M.T., as taught, is considered to be strongly related to any of the following therapies, indicate which one(s), and if more than one, rank according to strength of relationship (1: most strongly related). Behavior Therapy Psychotherapy Activity Therapy Other,specify: not strongly related to any other therapy 11. Is a minor area of study, i.e. a second area of concentration, required? Yes if yes, answer 11b and 11c No if no, answer 11a) a)Is a minor area of study possible? Yes ___éif yes,answer llb,llc) No ___ if no, go to #12) b)How many credits are required in the minor area? c)List area(s) most often recommended as a minor. Most recommended 2nd 3rd 2127 M.T. Questionnaire P. 5 12. Are students required to take a functional music course(s)2 Yes if yes, answer 12b according to skills taught) No ‘if no, answer 12a a)Are students required to demonstrate functional music skills? Yes ___(if yes, answer 12b according to which skills are demonstrated No ___(if no, go to #13) b)Functiona1 music skills include ability to: play one or several social instruments sightread transpose improvise match music to moods .- -w- -I" e e e express emotion through mus1c perce1ve mean1ng of emot1on expressed through music other,specify: 13. Are formal assessment methods taught? Yes (if yes, answer 13a) No ___ if no, go to #14) a)Indicate assbssment methods used: assessment methods developed in other disciplines. . Specify disciplines: assessment methods developed by music therapists 14. Please use available space for additional information, elaboration and/or clarification of responses. 128 SECTION 8 THIS SECTION OF THE QUESTIONNAIRE SEEKS YOUR VIEWS ON CERTAIN ASPECTS OF THE TRAINING AND CLINICAL PRACTICE OF MUSIC THERAPISTS. SPACE HAS BEEN PROVIDED AT THE END OF THIS SECTION TO ENABLE YOU TO EXPOUND ON THE OPINIONS EXPRESSED. 1. Which of the following therapeutic modes contain(s) elements that you consider to be important in music therapy? If more than one, rank order according to importance (l=most important). Activity Therapy Psychoanalytic Therapy Psychotherapy Behavior Therapy Creative Arts Therapy Indicate which of the following most closely reflects your views. The working degree for all clinical settings should be the Bachelor's degree. ___The working degree for all clinical settings should be the Master's degree. The working degree for some clinical settings should be the Master's degree. If the latter, specify settings: Indicate by rank, which three of the following backgrounds you feel should provide a music therapist with the best clinical skills (l=superior clinical skills). RMT with: ___2 years clinical experience 2 years clinical experience and a Master's in M.T. ___2 years clinical experience and a Master's in another discipline. Specify discipline: 3 years clinical experience Do you believe that verbal therapy techniques should be part of the training of music therapists? Yes if yes, answer 40 No if no, go to #5) a)Indicate at which level you think training in verbal therapy should occur. during undergraduate academic program during 6-month internship during Master's level academic program during employment Do you believe that music therapists should specialize in the "treatment of one patient population? Yes if yes,answer 5a No if no, go to #6) a)Indicate at which level you think specialization should occur. during undergraduate academic program during 6-month internship during Master's level academic pragram during employment ' 1J29 M.T. Questionnaire P. 82 6. Do you think it is necessary to have assessment tools specific to M.T.? Yes if yes, answer 60 No if no, answer 6b) a)Provide examples of skills and areas of dysfunction that you feel should be assessed by music therapists that are not covered in psychiatric, psychological, occupational therapy and social work assessments. b)Soecify disciplines that have assessment tools which meet the needs of music therapists: ' Z. A clinical music therapist must possess a variety of music skills. Indicate by rank, the skills which you consider to be the three most important for a music therapist with a Bachelor's degree and for a music therapist with a Master's degree (l=most important). Ability to: ~ Bachelor's Master's play a variety of instruments . . sing and harmonize . . . . . . . teach a variety of instruments . direct choral/instrumental groups improvise on an instrument(s . . express emotion through music . . perceive meaning of emotion expres sightread transpose . . . . . . . compose vocal/instrumental music arrange vocal/instrumental music perform on a major instrument . . other,specify: \ eeeefleeeeee eeeeaeeeeee 00.03.0000. C eeoemeeeeee P 0.0.00.0... O e'eeD—‘eeeeee g... eeee‘eeeeee 8. Do you feel that music therapists with a Master's degree should possess greater skill in certain clinical areas than music therapists with a Bachelor's degree? Yes ___ if yes,answer 80) No ___ if no, go to #9) a)Indicate by rank the three areas in which you feel it is most important for differences to exist between Master': and Bachelor's level music therapists (l=most important area). assessment skills knowledge of models of M.T. musicianship understanding of psychopathology group leadership other,specify: knowledge of models of therapy other than M.T. 9. 10. ll. 12. 130 M.T. Questionnaire P. 83 In your opinion, the clinical skills of a music therapist with a Master's degree are most similar to those of a (rank the three most similar, lamost similar ‘___clinical psychologist ___psychiatrist ___occupatianal therapist ___social worker ___recreational therapist ___special educator '___child care worker ___psychiatric case worker ___music educator ___other,specify: In your Opinion, the clinical skills of a music therapist with a Bachelor's degree are most similar to those of a (rank the three most similar, lamost similar ___clinical psychologist ___psychiatrist ___occupational therapist [___social worker ___recreational therapist ___special educator ___child care worker ___psychiatric case worker ___music educator ___other,specify: Given equivalent post-RMT experience, indicate by rank the three graduate degrees which you feel would best prepare a music therapist to teach M.T. at the university level (labest training). ___Master's in Music Therapy ‘___Master's in Social Work ___Master's in Music Education ___Master's in Psychology ___Master's in Special Education ___Master's in Counselling Other,specify: Use the space provided below to elaborate upon opinions expressed. APPENDIX B MEANS AND RANGES OF REQUIRED CREDITS IN CONTENT AREAS IN MASTERIS PROGRAMMES; FREQUENCIES OF SELECTION AND MEDIAN RANKS ASSIGNED TO BACKGROUNDS CONSIDERED TO BEST PROVIDE CLINICAL AND TEACHING SKILLS 131 Table A Mean and Range of Required Credits in Content Areas in Master's Programmes in Music Therapy Content Areas .Meana Range Music therapy core courses I 8.67 0—17b Research 5.0 2-16 Psychology 3.3 0-12 Music “.06 0-16 Music education 1.0 0-7 Special education 0.5 0-3 Psychology of music/acoustics 1.89 O-A Recreation . - - Sociology/Anthropology 0.22 ' - Sciences 0.33 - Otherc 3.uu 0-15 Note: All content areas for which ranges have not been specified were required in only one programme or were not required in any of the programmes. a N = 9 b One reaponse was included under research. c See Table l for responses included. 132 .mHHme HoncHHo LOHpoQSm mooH>onQ u H mo xcmm 0 mm .meMA cwHomE oocmemm no: who; mucocconmoh woman can» pmsou an omosHocH mocsonwxomn HH< "muo m.m o.m H.mm 0.0m oocmHnodxm HMOHCHHO whom» m . . . . ocHHdHomHo pompous cH m.aoummz o H o m H mw m mm new oOCMHnquo HoncHHo whom» m . . . . mquonp onSE :H m.nopmmz m H H H a mm o 00H paw mocmHaoqu HmoHcHHo whom» m .o.m I m.OH . o.mm mocmHnoaxm HmoHcHHo whom» m m.ponnowm m.noummz pm.n0Hmnomm am.nmummz monsopwxomm omxcwm :mHom: mommpcmqpom mmEEMAwoam m.p0Hmcomm paw m.pmpmwz mo mnouomnHa an mHHme HmoHcHHo umom ooH>oLm cu ooaooncoo moCSOpwxomm on oocmem< mxcmm :wHooz can :oHuooHom ho mmHocmsvopm m «Home 133 Table 0 Frequencies of Selection and Median Ranks Assigned by Directors of Master's and Bachelor's Programmes to Masterts Degrees Considered to Provide Best University Teaching Skills Percentages Median Ranksc Master's Degrees Master'sa Bachelor'sb Master's Bachelor's Music Therapy A 100.0 83.3 1.1 1.0 Music education 25.0 13.3 - 2.5 Special education 62.5 90.0 2.0 2.0 Social work 12.5 10.0 — 3.0 Psychology 50.0 66.7 ' 2.5 2.h Counselling 37.5 36.7 3.0 2.0 Otherd 12.5 - _ _ Note: All degrees included by fewer than three respondents were not aSsigned median ranks. a N = 8 b N 30 c Rank of l = best training. Response was Master's in occupational therapy.