Kalani Music

A Quick Guide to Group Drumming

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Group drumming is a popular form of music making, used by all types of people for all types of reasons. From elementary classrooms to advanced ensembles and from drumlines to drum circles, group drumming offers people multiple choices for choosing ways to plug into rhythm and do something that is both fun and rewarding on many levels.

There are many forms of group drumming. Some are defined by the types of instruments that are used, while others are defined by the goals and methods that are used by the participants. This post will help you identify different types of group drumming by name, even when they might look similar in many ways. The most important aspects in identifying any form of group drumming is 1) the qualifications, training, and  experience of the leaders, 2) the dynamics that exist between the participants and the leaders, and 3) the overall goals for the experience (education, recreation, ritual, therapy, team building, etc.)

Note that the following are general descriptions and that in reality, there is some overlap between drumming types. Each type is often used in conjunction with other types. For example, within a group drumming program, the leaders might have participants engage in different types of group drumming at different times (and for different reasons). Some types look very different and some look similar, but they all have different dynamics and qualities that make each type unique.

Drumming Ensemble

Groups of people who meet to develop their drumming skills as a group, often with the goal of performance. Most ensembles fall into two main categories; traditional music and contemporary music. Many ensembles practice and perform both traditional (re-creative) music as well as write their own pieces (compositional). Drumming Ensembles are usually run by a leader or team and often require participants to audition, come to rehearsals, and maintain specific standards of skills and knowledge.

Drum Class

A drum class is a group of students who gather under the guidance of a teacher for the purpose of learning the art of drumming. Most classes meet regularly and are progressive in nature. Some do allow drop-ins, but many are setup as a series of lessons. Students learn how to hold and play their instruments, how to play specific rhythms, how to combine instruments and rhythms to create ensembles, and how to function as a member of the musical community, often guided by traditions that provide status based on someone’s level of skill and experience. Classes are taught by experienced drummers and usually open to anyone who wants to participate.

Drumming in Music Therapy

Music Therapists sometimes use drumming, either with an individual or with a group, within their clinical practice. Within the contact of therapy, group drumming can take the form of an ensemble, an improvisation (similar in appearance to a drum circle), or even a drum lesson (demonstrating, learning, practicing, etc.). The therapist determines which type of drumming experience will best serve the clients’ therapeutic goals. Drumming in music therapy is  guided by the therapeutic needs of the client and shaped accordingly by the therapist. While there might be some similarities in appearance to other types of group drumming, music therapy services are very different with regard to the types of interactions that happen on both a musical and personal level.

Ritual Drumming

Drumming is often used as a form of ritual, as a cultural tradition and within contemporary programs, as a way to structure aspects of a gathering. Ritual literally means ‘to fit together’ and group drumming, by its nature, provides structures and dynamics that assist in the creation of both temporal and textural aspects of a program. Workshop leaders, speakers, and presenters often use drumming or drop rhythm making as a way to bring people together, organize around a central theme, and create a ‘container’ for other elements of the ritual or program.

Drum Circle

A drum circle is a form of community music making where the primary focus is on inclusion and in-the-momement music making (improvisation). The main characteristic of a drum circles is that the music is co-created by the participants, who are often at various levels of technical musical development. There’s no leader in a drum circle and no agenda, except to make music together and have fun. Drum circles take many forms and might have a host, facilitator, or conductor, or they might be completely ad-hoc and open to the public. Drum circles are unplanned and spontaneous. Often, there are no requirements for participation, aside from some etiquette and general guidelines for keeping drums and people safe.

Interactive drumming

Interactive drumming is a structured music-based program that is led by a percussionist for individuals who often have no prior drumming experience and no expectations of continuing to play drums beyond the scope of the program. Interactive drumming provides instruments, musical guidance, and thematic material to safely bring a group of people through a program. ID Programs are often designed to promote certain beneficial qualities and values, such as communication, sharing, teamwork, and mutual support. ID Leaders are sometimes accompanied by dancers, singers, and other musicians. This type of group drumming is very popular in the world of corporate training and events.

Drumming Games

Drumming games, also called Rhythm Games, are uses of drums and percussion instruments within a game or play format. To qualify as a rhythm game, there must be ‘play rules’ that structure and guide participants. The rules often limit, shape, and guide the ways people interact and play the game, just like any other type of game. Games sometimes have a beginning, a middle and an end, but they can also be cyclic – ending when the leader stops the game. Games are often played with teams, but  sometimes participants self-select or switch roles depending on the play rules. Games are typically not focused on creating music as much as they are on creating certain types of relationships and dynamics between group members.

Drum Play

We engage in drum play when we use drums and other percussion instruments in non-musical ways. For example, we might create a sculpture out of instruments, or use instruments as props in a story. We might tell a story about an instrument or use drums to create a kind of ‘obstacle course’ within a space. If there drums are being used for something other than creating music, it’s likely that drum play is happening. Drum Play can be similar to Drumming Games in many ways and the two are often combined.


These are just a few types of group drumming, but there are others. I hope this article has helped you understand some of the differences and similarities between them. As always, if you have questions, please leave them below or send me a personal message.

Selecting Drums for your Classroom

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Teachers often ask me about how to outfit their music classroom with drums and percussion instruments. Which types of drums and how many? Which brands and models should I buy? Which drums are best for which types of music? In this post, I will answer all these questions to the best of my ability and I’ll provide some general guidelines for using drums in the classroom and beyond.

Before we get into the specifics of drum types, we first need to acknowlegde that there are many types of music that use drums as either the primary instrument, or in a foundational and essential role. Drumming cultures tend to be those that play music outside as opposed to inside, and that emphasize community dancing and singing as part of an overall musical celebration. This isn’t to suggest that other cultures that do not rely as heavily on drums do not emphasize dance. They certainly do–only that drumming cultures almost always do.

In most ‘drum-oriented’ musical genres, the role of ‘drummer’ falls to a few select individuals who specialize in the art form. Most everyone sings and dances and the drummers and other musicians provide the musical foundations. Drumming, as an art form, generally takes years of practice and study to master and is as technically challenging as any other instrumental category. Were it not, many people would be drumming at professional levels. Most drums and percussion instruments are accessible at the most basic of levels (making a sound), but quickly require study and practice to move beyond the most elemental of music making. This is one reason that there are usually only a few people in a community that do the drumming for the community.

Most drumming ensembles (and I’m going to generalize here) consist of four to six musicians. Some play drums, usually three to four people, and others play hand percussion (bells, shakers, etc.). This “rhythm section” often supports melodic instruments of various types (xylophones, wind instruments, horns, voices, etc.). Given that most drumming groups consist of from four to eight musicians, I recommend purchasing instruments to reflect this size ensemble.

For example, in the Caribbean, a typical drumming ensemble might consist of two or three conga players, a bongo player, a timbale player, someone playing claves, another person on shekere, and some singers (and dancers). In a West African ensemble, we might find three to four djembe players, someone playing a set of three dundun (or three players, each with one drum), someone playing a rattle, someone on balafone (xylophone), and singers (and dancers). In Brazil, we might see an ensemble with someone on surdo, someone on shaker, someone on panderio, someone playing triangle, and people singing (and dancing).

Where it gets confusing

Many of the large drum companies don’t really want to sell just a few drums and some small percussion instruments. They would much rather that you buy 20 drums and four or five small instruments. Just look in the catalogs you get in the mail or at conferences and you will see ‘instrument sets’ that consist of 12, 15, and even 20 drums! Not only that, but most of those drums are the same basic type of drum, which means that the sound is basically the same. This means that when you play music from different cultures (and genres) it’s all going to sound pretty much the same–at least with regards to the drumming. Where did the idea that we should purchase 20 of the same drum come from? It came  from the drum companies. The thing that teachers have to figure out is “What do I do with all these drums?”

Along comes the drum circle

The idea that you can play virtually unlimited quantities of drums has been promoted in recent years (also by the drum companies) as a way to use all those drums that you purchased! The only problems are: 1) they get so loud you can’t really use any other instruments – because you can’t here them over the drumming!; and 2) There’s no cultural connections to be made through drum circles (because they are essentially jam sessions and have no codified or historical musical foundations on which to build). So if  your goal is to teach culturally-specific music, a drum circle is not an appropriate tool to use (although if your goal is to have fun and make some improvised music–a drum circle is fine). Drum circles are entry-level musical experiences that can be a way to experiment with sounds, practice improvisation, learn how to listen, try new things, and generally have fun, but they won’t teach you or you students how to play traditional music or develop specific pieces of music to be performed. To do that, we turn to traditional drumming ensembles and the music teacher. (If you’re thinking to yourself “But I don’t know how to play drums and create all that different music!” Don’t worry. That’s why I’m here – to help you!)

Here’s the Answer

Rather than buying 20 of the same drum, purchase 3-4 drums from each of the cultures you wish to represent. These can include; congas, bongos, clave, shekere, and cowbells from the Caribbean; djembes, dundun, and bells from West Africa; surdo, shakers, agogo, and triangle from Brazil; darbuka (doumbek), zils (finger cymbals), frame drums, and tambourines from the Arab Nations. This way, when you want to represent the music from a particular region, you can. And when you want to have a drum circle (jam session with everyone playing a drum or percussion instrument) you can do that too–and you will have greater diversity that with all the same type of drum.

When you put together your ensembles, keep in mind that there is usually one drummer per part and only a few drums in the ensemble. You can double up parts, which reenforces learning for some students and provides more opportunities for students to get hands-on experience. You can also rotate students through the drumming ensemble and have those who are not playing drums dance and sing. Remember that only a few people typically play drums and most people dance and sing. Most people learn to play drums by listening first, then dancing, then singing, then playing small percussion, and gradually moving up the ladder – getting to drum (once they know the music). Finally, one may arrive at the master drummer seat (if they really work hard!). To accomplish this, they have to know what everyone is doing and be able to play all the other parts in their sleep!

Keep in mind that most drumming music is played outside and that using large quantities of drum inside can produce unhealthful volume levels. Protect everyone’s ears and drum responsibly! If you can, take your drumming ensemble outside. Sit under a tree or in some shade and drum away! Maybe you can get some pedestrians to dance!

As a drummer, I know how exciting it is to get to play, but I also know that it takes many hours of focused practice to master the instruments that make up the category we call drums and percussion. Using Achievment-Based Community Drumming (ABCD) models helps to develop music skills while honoring traditions. It helps connect students to world music and raises the standards for all music makers–no matter where they are along their journey.

Still need help?

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Leave your questions and comments below. I love to hear from you- What you’re doing and how  you’re helping your students learn and grow.

Achievement-Based Community Drumming

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People of all kinds are gravitating towards community drumming as a format for reaching a number of non-music-related goals and objectives. These can include things such as developing a sense of belonging, increasing self-confidence, becoming more disciplined, increasing team working abilities, and so on.

Not all forms of community drumming operate under the same philosophical principles however. Some deemphasize musical skills and focus more on creating feelings of unity through rhythmic entrainment, often through playing simple rhythms and following the in-the-moment directions of a leader. Other approaches focus on reaching specific emotional states through things like guided imagery and humor. Below is a list of what I consider to be some of the main features of what I call an Achievement-Based approach to Community Drumming.

The term ‘achievement’ is used because in these models, the focus is on the acquisition and development of personal skills as the primary vehicle for individual and community development.

Qualities of an Achievement-Based Approach

Educational in Nature

Participants learn from a trained and experienced teacher who has achieved a level of mastery in the art form that is sufficient to guide them from a very basic to an advanced level. Participants are taught about the craft of drumming within a curriculum that is designed to gently push them forward as they strive to reach new levels of skill. Studies show that personal achievement is what drives most people to engage in activities they find personally rewarding.

Focuses on Developing Skills

By developing skills, the participants gain confidence as they practice and play together. When someone reaches a new level of skill, they generally feel a great sense of accomplishment, which is reenforcing to the process of learning. Participants need to develop skills in order to stay motivated to participate and to reach deep into the music, which will further provide positive reinforcement to individuals and the group as a whole.

Honors Musical Traditions

Working within musical traditions, wether they be from one’s own culture or another, provides a broad and deep resource from which to draw. Music traditions connect participants with each other and those outside of their culture, creating a global network of musicians. Because most musical traditions feature a multitude of skill- and knowledge-based techniques and practices, they provide virtually unlimited opportunities for musical growth and development.

Emphasizes Discipline

Any craft or art form requires a certain amount of discipline to develop. Discipline is a necessary life skill and is a shared trait among high-functioning people. The time one spends practicing and developing the craft of drumming (or playing any instrument) is time that he/she is conditioning him/herself to be someone with the focus and discipline to achieve his/her goals – no matter what they are.

Allows for Diversity of Skills

Because everyone is different, with different strengths, needs, and experience, a community-oriented program must accommodate multiple degrees of skill and various areas of interest. Most drumming traditions offer a variety of options for participation, including playing simple rhythms on basic instruments to directing the group and soling on drums and melodic instruments. As players gain skills, they are able to move from basic to advanced activities, thereby allowing them to remain on a developmental curve that meets their personal needs for meeting level-appropriate challenges.

Is Progressive

The drumming program includes multiple goal levels that can include various aspects of music, such as playing specific sounds and patterns, learning various sequences of patterns, creating various textures and musical arrangements, performing at various functions (private or public), and adding other skills such as singing, dance, and performing.

Celebrates Personal Achievement

Students are acknowledged for attaining various degrees of skill and knowledge as they work through the program. Honoring achievement promotes a healthy environment where participants value work, strive to reach new levels, and celebrate themselves and each other. Honors are often granted through public ceremony, where teachers, peers, and families have an opportunity to show their appreciation. Celebrations add to someone’s personal sense of accomplishment and self-esteem.

Connects Members Through a Shared Community Experience

Participants study, practice, help each other, and perform in a group; thereby strengthening interpersonal relationships, providing opportunities for sharing thoughts, ideas, and feelings, and generally creating a sense of camaraderie between group members. By achieving progressive levels of performance as a group, every member may take pride in his/her achievement.

Summary:

Achievement-Based Community Drumming Programs offer participants with myriad opportunities for personal and community growth through a shared musical experience. Sessions are curriculum-based and educational in nature, honor musical traditions, take place over several sessions, are progressive and developmental, accommodate various levels of skill, celebrate achievement, develop discipline, and connect members.

ABCD programs may take place in schools, recreational facilities, places of business, retreat centers, and used within educational, recreational, developmental, and therapeutic programs. They are presented by someone with adequate drumming experience, as evidenced by training, degrees, certifications, public performances, recordings, publications, teaching experience, and references.

8 Tips for Playing in Rhythm

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I often get questions from teacher, therapists, and music facilitators that have to do with helping their students, clients, and participants entrain to a pulse, otherwise called keeping a beat! With the recent rise in popularity of group drumming and drums as classroom, clinical, and recreational instruments, the need for strategies and techniques that help a group of participants find and keep that beat is on the rise. As it turns out, just having drums doesn’t endow someone with the ability to align with a beat. Who knew?

If you find yourself wondering how you can help your participants feel and align with a pulse, here are a few tips to help you do just that.

  1. Begin with the body.
    Rhythm and drumming ability starts with the body and one’s personal ability to plan, initiate, and execute fine and gross motor movements. Beginning with receptive methods to rhythmic development, such as dance, is an important first step in reaching new levels of rhythmic acuity. Begin with large movements, such as walking, moving the arms, and bending at the hips and knees. Gradually work towards fine motor skills over time.
  2. Begin with the voice.
    There’s a common saying that has been floating around drumming cultures for years: ‘If you can say it, you can play it.” While the origins of this saying are not clear, the message is. Begin with the voice and develop the capacity, through speech, to conceive of and produce rhythmic expressions. You can do this through re-creative, improvisational, and compositional experiences. Using the voice helps people connect to one of their “original” and “native” instruments and offers a way to practice rhythm making anywhere – anytime.
  3. Provide visual support.
    Using a visual, such as a scarf, ribbon, or other manipulative, to act as a kind of ‘visual metronome’ can help people synchronize with the pulse and even complex rhythms. Even having someone look at someone else playing a drum, such as a bass drum played with a mallet or stick, can help provide enough visual input to tip them over the edge and help them fall into the ‘beat bucket.’
  4. Use verbal cues.
    I’ve found it helpful to sit next to someone who is struggling to find the beat and provide verbal guidance in the form of “vocables,” non-word sounds that approximate drum sounds, such as ‘doum,’ and ‘pah.’ You can either do this yourself or have one of your stronger players provide some help to those who need it. Pairing students, clients, and participants has social benefits as well. Sometimes a little personal attention is just what someone needs. Care is taken to not single someone out or make them feel self-concious in that they are getting ‘help from the Teacher.’ Consider moving between players, giving verbal support when needed.
  5. Musicians Unite!
    Begin with unified, rather than differentiated rhythms. There is strength in unity and the more players that are on a specific pulse or pattern, the more weight it carries. This weight is like rhythmic gravity that has the potential to draw players into orbit around the beat (commonly described as entrainment). Once players build up some skill and confidence, add complementary rhythms and more differentiation.
  6. Combine Strategies.
    The more modalities you can align and support at the same time, the better. Most of us learn on many levels; auditory, visual, kinesthetic, interpersonal, etc.. The more of these you can use at once, the more likely you are to entrain to the beat. Consider ways to move through them as a Process, as in the Orff approach to music and movement education. Begin with a receptive method, such as listening to a steady beat while moving (walking or dancing). Add voices via a chant or song. Transfer the beat to body percussion. Invite players to ‘show’ the rhythm in different ways. Have them work in pairs or small groups (Pair strong and ‘challenged’ players).
  7. Songs Songs Songs.
    Using a song as a structure is a great way to stabilize the music and help participants enjoy playing together. Most people have an idea of how fast a song ‘should’ be sung and will tend to reproduce it at that tempo. If you’re trying to have people play drums without singing and dancing, keep in mind that this type of approach is a relatively new idea and and not something that is done in traditional ‘drumming cultures.’ Singing and dancing is traditionally thought of as another aspect of  drumming – not something separate from it. All types of “rhythm making’ work together to provide people with a holistic and musical experience. Rather than looking at the experience as a ‘drumming’ experience, think of it as a creative experience, where people use ALL of their abilities to reach deeply and fully into the music.

What about that “speeding up thing” that is common in groups?

8. Subdivide the Beat.
Speeding up is a result of reducing the space between the notes. In a way, it shows a kind of impatience in getting to the next note to be played. It’s common for players to want to play sooner than later and as a result the spaces between the notes get shorter and this is felt as ‘speeding up.’ Something you can try with your groups, is to have them ‘place something’ in the spaces between the notes. You do this by modeling speaking softly as you play, subdividing the beat with rhythmic speech, ‘nonsense’ vocal sounds, micro-movements, or creating instrumental sounds that can act as a kind of ‘rhythmic graph paper.’ Anything you can do to subdivide the beat will help you keep it steady. Why? Because it’s harder to remove the space from between the notes when that space is already small. When the tempo is very slow, people have a tendency to speed up, but when the pulse is felt as “fast” they don’t. They might even slow down. By feeling a ‘fast rhythm’ inside  a slow one, the rhythm has a better chance of finding balance.

Will any or all of these strategies and techniques work for your groups? There’s only one way to find out. When you do, let us know by telling us what happens.

For more musical resource, visit the Developmental Community Music website

What do you think of this article? Any other tips to share?

Techniques of Empathy

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Empathy has been described as the ability to imagine yourself in someone else’s position, to walk in their shoes, and to imagine what it might be like to be them, to feel what they feel. In his book, A Whole New Mind, author Daniel Pink makes the case that the ability to empathize is not only a skill that helps us comfort those in distress, create stronger business relationships, build-self esteem, and allows a parent bond with their child, he sees it among other much needed ‘high-concept – high-touch’ aptitudes that are essential for professional success and personal fulfillment (Pink, 2006). Because emotions are expressed non-verbally, often through making sounds, moving, and experiencing changes in our vital signs, the medium of music making, with vocal expression, movement, and connection to such vital functions as breathing, makes it a powerful tool for the empathetic process to take place.

Matching

Definition: Playing that corresponds to, and is harmonious with, the music.

Description

Matching includes using a similar degree of rhythmic complexity, dynamic intensity, and melodic and harmonic structure as the music you hear. Matching does not need to imitate or echo the music, only ‘fit’ with it. Matching is what we do most commonly during a jam session, playing your own part, but relating it to what you hear. Another term that one could use to describe this technique is “complementing,” also sometimes referred to in musician circles as comping.

Beyond the Music

Friends, partners and peers all match. People who form groups and organizations do so because they have matching interests or traits they share with others. Salespeople use matching techniques, such as mimicking vocal tone, language, and body posture to make connections with potential customers. The next time you’re talking to someone face-to-face, deepen interpersonal connections by matching their general timbre, dynamics, and rhythm.

Experience: Matching

Player 1 initiates musical play. Player 2 listens, then matches the musical qualities, including volume, timbre, rhythmic density and structure (pulse, meter, accents, etc.), tonality, melodic contour, harmonic structuring, etc.

Just for fun: Perform as described above; however, focus on matching only one category (i.e., rhythm) while allowing other aspects of the music to be differentiated.

Mirroring, Synchronizing, Shadowing, Doubling

Definition: Producing a detailed reproduction of the music as it is being played.

Description

This technique is widely differentiated with regards to its name. In the book, Defining Music Therapy (Bruscia 1987), the author defines the act of “synchronizing” as ‘doing what the client is doing at the same time;’ however this can include various levels of synchrony, from all musical elements to just one, such as rhythm. It may also include “cross-modal synchrony” whereby the music of one player is expressed as movement in another, used to support, stabilize or strengthen another’s response. Wigram (2004) uses “mirroring” to include both the music and body language (behavior). The Music for People term is “shadowing,” which is also a common term used in movement activities where someone stands behind someone else and copies their movements, like a shadow. In the world of music arranging, parts that are the same are often called ‘doubled.’ The person using this technique must be ready to anticipate the movements of his partner through visual cues and using his musical intuition. This technique holds strong potential as a tool for creating empathy; however, care is to be taken so as not to appear as if you are mimicking or mocking your partner. Your training and experience will guide you in this regard. Mirroring is an empathetic technique that shows a great degree of synchronicity between players. It is also the foundation for other techniques, such as supporting, amplifying and matching.

Beyond the Music
Putting yourself in someone else’s shoes means experiencing the world the way they do, seeing what they see, hearing what they hear, feeling what they feel. When we job-shadow someone, we get to see what their life is like, the ‘good’ and ‘bad.’ Companies have people job shadow to train people on their way up, but they also have the ‘higher-ups’ work along side their employees to get a feeling for what it’s like to be them – to gain an empathetic understanding. When we move like someone else, we discover ‘how’ they move, which helps us appreciate how they might experience the world. Psychotherapist and workshop leader, Carolyn Braddock, has her clients move like (mirror) important people in their lives as part of a therapeutic process, to get in touch with and bring out thoughts, feelings, and emotions.

Experience: Mirroring

Unimodal: Player 1 initiates music, playing either slowly or with repetition. Player 2 makes his best effort to play exactly what player A plays as he plays it, matching the rhythm, pitch, timbre and dynamics. If this poses a great challenge, reduce the number of elements you are mirroring.

Crossmodal: Player 1 initiates instrumental music and player 2 synchronizes with it using a different modality, such as through speech or movement.

As the number of musical elements to be mirrored increases, this technique becomes more challenging. Dynamics, timbre, and rhythm are generally much easier to manage than melody and harmony. For this reason, you may wish to begin with one player on or both players using un-pitched instruments, such as most percussion instruments.

Tagging

Definition: Mirroring a portion of the music.

Description

This technique involves momentarily synchronizing (mirroring) with the music you are noticing. It can be thought of as a partial mirroring. While mirroring fuses the music of two or more players, tagging joins them for brief moments at a time. This technique can have an empathetic effect that is similar to that of mirroring. It is not as intense as mirroring and the player has the option of tagging several players in a group, mirroring part of the music played by three different players, for example. Tagging lets someone know that you are hearing them because you are periodically aligning with their music.

Beyond the Music
A group of people who are traveling together represents multiple individuals, even though at times they may be engaged in the same activity. At other times, each individual might be engaged in a somewhat separate activity, such as when a group of tourists leave their bus to explore the local terrain. During this time, it sometimes helps to maintain a sense of connectedness to join different individuals at different times, checking in to let them know you’re there and circulating throughout the group. This type of momentary synchronization allows you to connect with others while still having an individualized experience.

Experience: Tagging

During partner or group play, listen for musical features such as trends and repeating elements. Join with a particular trend or rhythm for a moment, then move to something differentiated. A simple way to do this is to find a rhythmic ostinato, then play only a portion, such as the last two or three. As you tag a pattern, you also amplify it, thereby changing its effect.

Imitating, Echoing, Copying

Definition: Playing the same thing as someone else, after they play it.

 

Description

In the definition provided by Bruscia (1987), he describes this technique as echoing what someone plays. I prefer the term ‘echoing’ because it clarifies that you are playing after someone else and it is a common term used in music education, i.e., “Won’t you be my echo please?” Some may also use the term ‘copying.’ Echoing can happen within a rhythmic framework (phrases that are separated by a set number of beats) or it could be more free-form.

Beyond the Music

When we repeat what we hear, we are affirming the message. We are showing that we were listening. As we converse, we might repeat key terms and phrases that were spoken by our partner to show that we have heard them. Echoing is one of the primary ways we learn, often repeating things before we have any idea what they mean. When we are echoed, we might feel validated and honored. When done with the right intentions, imitation really is the highest form of flattery.

Experience: Imitating

Player 1 initiates a short phrase. Player 2 imitates it, making an effort to reproduce the music as accurately as possible. Begin with rhythm instruments, then move to simple melodies (2-3 notes), then to more complex melodies. It may be helpful to use musical givens, such as limiting to a few notes, playing stepwise melodies and/or imposing other constraints. As you become better at imitating, lift some of the filters to push out the edges of you musicality.

Quoting

Definition: Incorporating previously played material, in whole or part.

Description

Quoting is a kind of musical recycling, where bits of your partner’s music (or you own) appear in yours at a later time. These often take the form of melodic ideas, but they might also include specific rhythms, breaks, or expressive elements. In certain idioms, such as Jazz, it is not uncommon for an artist to ‘quote’ the melody of another tune during an improvisation.

 

Beyond the Music

Like imitation, quoting is a way of honoring someone else. Consider all the quotes in this book, many of them by people who have passed on, and yet their words live on through this text. How would you feel if someone used your words decades or even centuries after you spoke them? When we quote someone, we are saying “I think what you said was incredible! I’m glad to know you!”

Experience: Quoting

Play music with your partner, occasionally quoting something they previously played. A quote may become an ostinato for brief periods. This technique is useful for creating a sense of continuity because musical material is being repeated and recycled. It is also supports empathy because it shows that one player has listened to and remembers what the other player has expressed.

Vignette #1

Identify  the name of the technique associated with the each number.

Brian began experimenting on the woodblock. His rhythms were erratic without any specific patterns or cycles. Charles started playing the shaker in a similar way, experimenting without establishing any specific patterns or structure [1]. Andrea entered on a frame drum, playing what sounded like a rhythmic pattern. Cindy then entered on the cowbell, playing a simple beat under Andrea’s pattern [2]. Brian changed his playing to align with both Andrea and Cindy, playing a pattern that complemented theirs [3]. Brian began playing four-beat phrases, separated by four beats of rest. During the time that Brian was not playing, Charles would repeat whatever Brian had just played [4]. Brian eventually established a repeating four-beat pattern and Andrea mirrored pieces of it [5]. Cindy stopped playing her steady pattern and started playing like Brian did when he began, rather erratic [6]. Eventually everyone abandoned their rhythmic patterns and joined Cindy, playing rhythmic flourishes and eventually ending the same way they had begun [7].

This post is based on a portion from Kalani’s book, The Way Of Music – Creating Sound Connections in Music Therapy. (Sarsen Publishing)

The way of Music
The Way of Music

 

Rep. Gabrielle Giffords & MT

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Some of you may have read my recent post on Music Therapy. Recently, there have been a couple things that have brought this allied health profession into the forefront. You might be surprised to learn that music therapy is now entering its 60th year as a profession. To learn more, visit the American Music Therapy Association website.

One of them is the recent tragedy that befell Gabrielle Giffords, Rep. from Arizona. She was shot, point-blank, in the head and is faced with a challenging recovery. ABC news covered the story, interviewing her husband, a former astronaut and pilot.  He was also faced with a brain injury and has recovered fully. He mentioned the “high-tech” therapies that might help Giffords. An example of this, he says, is music therapy. He gives a short explanation of how it could help his wife recover and develop her speech and communication abilities.

Update as of Feb 20, 2011
This article in CHRON, Houston & Texas news mentions Music Therapy as one of the contributing factors in her recovery.

In addition, there is a movie being shown at the Sundance film festival that features a music therapist: The Music Never Stopped. The Sundance film festival is happening this week. Read about it here, on the AMTA website! And then visit their website and contact them to request a screening in your area.

The Music Never Stopped

Something we can all do, is to investigate and advocate for music therapy treatment for people with all kinds of needs. Music Therapy works with all ages and a wide spectrum of diagnosis. Music Therapists work in all types of settings, from hospitals to schools, and can make a huge difference in the lives of their clients. With more research being published and more people learning about the power of music therapy to help, we can make a difference. Tell your friends, share on Face Book, write a letter to your Representative and Congress person telling them about your support for music therapy.

Music Therapy

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You’ve probably heard the term “Music Therapy” and even if you’re not familiar with the profession, you can probably imagine what it’s about: helping people through the use of music. If you think that, you would be right; however, there’s much more to it.  Despite the fact that Music Therapy, as a profession, is now entering its 60th year, many people are still unfamiliar with it, or don’t understand it.

In order to understand what music therapy is, it helps to know what it is not. Ask someone on the street what music therapy is and you are likely to get all kinds of responses. Some common perceptions of Music Therapy can include:

“It’s playing music for people so they feel better.”
“It’s when you relax to music that you like.”
“It’s when you play those gongs and healing bowls.”
“It’s using instruments to get out your feelings.”
“It’s when a musician receives therapy.”

The Music Therapist

One of the first things to learn about Music Therapy is that it’s something that is done by a trained and certified Clinician. Requirements for becoming a Music Therapist (in the US) include: receiving a Bachelor of Music degree from an accredited Music Therapy program, completing a supervised internship (1100 hours), and passing a certification exam administered by the Certification Board for Musci Therapists. (That’s what the ‘BC’ in ‘MT-BC’ stands for: Board-Certified). The skills, knowledge, and experience needed to become a Music Therapist are similar to those required in other allied health professions, such as speech therapy, physical therapy, and occupational therapy. Music Therapists study physiology, psychology, physics of sound, clinical techniques, musical styles, instrumentation, leadership, discussion techniques, adaptive strategies, documentation, and much more. Additionally, the Music Therapist works within the profession’s Scope of Practice and meets specific Clinical Standards to ensure that clients receive only the highest quality services.

Client-Centered

Another key feature of Music Therapy is that it is designed specifically for the client(s). The Music Therapist gathers information about the client through a process called assessment. This step is a lot like your first meeting with a doctor when they get all your health care history and current condition. They ask you what’s going on, examine you, and try to get a good idea of how best to help you, based on your needs and abilities. It’s the same with Music Therapy. The Music Therapist often works with other members on a treatment team to gather and share information about clients and discusses ways to best serve them. Music Therapy is not a one-size-fits-all approach, but a dynamic  process that is driven by the client and his/her unique needs. Music Therapy is done with someone, not to someone. Music Therapy is not a ‘program’ that can be universally applied to any population with specific outcomes in mind. On the contrary, it honors the unique needs of each client, even in group settings.

Treatment Program

After the initial assessment, the Music Therapist designs a treatment program. The treatment goals in a Music Therapy program are often the same goals as for other forms of therapy (physical, cognitive, occupational, etc.). The main difference is in the way the Music Therapist helps the client reach their goals. While physical therapists uses all kinds of exercise experiences (custom machines, rubber bands, balls, massage, adaptive technology, coaching, etc.) to help their clients reach various therapeutic goals, Music Therapists use music-based experiences (playing instruments, creating music, listening to and discussing music, moving to music, adaptive technology, etc.), to help their clients. It’s quite common for a music therapist to share goals with physical, speech, talk, and occupational therapists. The main difference is in the way each therapist works.

Music Therapy is a dynamic process that is customized for the client(s), before and during a session. For this reason, the music therapist is highly skilled in many areas of music (plays many different instruments and styles of music), able to incorporate a wide variety of interventions (different types of musical experiences), and able to modify experiences to stay focused on the client’s needs (keeping them actively engaged while staying focused on reaching treatment goals).

Because music therapists work with virtually all populations, there is a wide spectrum of techniques and approaches within the field. As in the medical field, it’s quite common for a music therapist to specialize in a particular area, such as pre-natal, special education, traumatic brain injury, addiction recovery, hospice, etc.. Specialized training courses can supplement the music therapist’s core skill set, as well as Master’s and PhD degrees in music therapy.

The Music Therapist maintains documents that record and track client progress. At some point, he/she will determine weather to continue, modify, or terminate treatment. This choices are based on periodic evaluation of the client’s condition, needs, and goals. Music Therapists abide by a comprehensive Code of Ethics when delivering services.

As we learned at the top of this article, it’s not just that someone is playing an instrument or listening to music that produces a desired outcome, but rather that they are working with and under the guidance of a Board-Certified Music Therapist, someone who is knowledgeable and skilled in music, therapeutic interventions, and working with various populations. Music alone can be a power force, but it is when that power is skillfully and purposefully used that we can expect more than recreational outcomes. As you browse the internet and literature, you may come across terms and services that sound like music therapy. Some might even use the term Music Therapy or the name of an instrument, followed by the word Therapy. Here’s one way to tell if something is Music Therapy or not: A music therapist will have the letters MT-BC after his/her name. These stand for Music Therapist, Board-Certified.

Evidence-Based

Music Therapy is a profession based on evidence that is gathered through Scientific Studies. Both qualitative and quantitative research models are used and studies are peer-reviewed to ensure they are valid and relevant to the field. Music Therapy research is often quoted and used by those outside of the field to support the idea that there are “health-benefits” to “making music.” While it’s likely that there are some predictable benefits to be gained by engaging in any recreational activity, musical or otherwise, it’s difficult to say whether or not someone who is not a music therapist could provide the same types and quality of service to clients with various diagnosis and needs. As you know by now, the Music Therapist does a lot more than ‘play music’ with clients. They use evidence-based musical experiences within a therapeutic relationship to help the client make measurable and positive change.

There are hundreds of Music Therapy studies on a wide variety of topics available for review. To find out more about the Science of Music Therapy and learn more about how Music Therapists are helping clients live more productive and fulfilling lives while saving hospitals, families, and tax-payers money, visit the AMTA website and search the term ‘Music Therapy’ on PubMed or another resources. Note: Check to see if what is called ‘music therapy’ actually is, based on what you now know.

How it works

Music Therapy can take many forms as determined by the population, goals and objectives, and the treatment plan as designed by the Therapist. Therapists will often take different approaches to meeting the same objectives, depending on their unique perspective, expertise, and background. When designing a treatment program, the Music Therapist considers the primary goal area(s), determines one or more objectives to be met, then he/she selects and modifies music-based interventions to reach the objectives.

Example: A person with a developmental disability is working towards the self-care goal of dressing himself. Being able to dress himself will reduce his dependence on others, raise his self-esteem, and result in a savings to the facility is staff time and money. In order to reach his ultimate goal, he must first develop his fine motor skills (i.e., using his fingers to button a shirt or tie a shoe). The supporting goal of “increasing fine motor skills” then becomes the focus of the Therapist. The Therapist then chooses several the objectives that are designed to help reach the goal. One might be, “The client will use all four fingers and thumb of his his right hand to press the keys on the piano at least three times each within 30 seconds.” (This is both observable and measurable). With the objectives in place, the Therapist designs an intervention to meet them. To reach the above objective, the intervention might be to play the melody to “When the Saints Go Marching In” on the piano. When the client plays this song at a standard tempo, the objective will be met. For the client, this experience is likely going to be fun and musical – and it is. It is also a way to help the client develop the skills he needs to reach his ultimate goal of dressing himself. This process – of using musical experiences to reach non-musical goals – is at the core of Music Therapy. The practice is goal-driven, customized for the client, and based on observable and measurable outcomes. The musical experiences, coupled with the relationship with the therapist, are the vehicles that helps motivate and transform the client. When the client, the therapist, and the music are all working together, Music Therapy is taking place. Other examples of music therapy at work include:

  • inviting a group of adults in addiction recovery listen to and discuss the lyrics of specific songs. (The Therapist chooses songs because of their potential to open up discussions on various topics related to the therapeutic goals.)
  • helping a client in physical rehabilitation learn and participate in a traditional dance. (The therapist chooses the dance based on the inclusion of specific types of movements.)
  • showing a group of young mothers how to sing to and move with their infants. (The therapist writes songs that help the mothers bond with their babies and provides the infants with an important developmental foundation that will increase their chances to do well in school later on.)
Therapeutic Relationship

Music Therapy applies to almost any setting where a client is working towards a goal. General areas include physical (developmental, rehabilitation, habilitation, maintaining functioning, etc.), cognitive (educational, insight, psychiatric, remembrance, environmental, etc.), emotional (stress-reduction, coping skills, elevation of mood, adjusting to transitions, etc.). For more about Music Therapy approaches, applications, and populations, visit the AMTA website.

Common Misconceptions

It is not uncommon for a Music Therapist to hear the following statements upon entering a room at a facility.

  1. “Ok everyone, it’s time for music.”
  2. “Let’s get ready for your music lesson.”
  3. “Hey everyone, the music-lady (or man) is here.”

From the outside looking in, a Music Therapy session can appear to be a recreational music making experience (#1), a music education experience (#2), and even entertainment for clients (#3). This is understandable, since most people will categorize something under an already familiar heading. Some may see a music therapist helping a client learn how to play an instrument and come to the conclusion that a music therapist is a music teacher (or a recreational musician) who works with persons with special needs. Add to this the fact that there are indeed musicians who provide music lessons and recreational experiences to persons with special needs (who are not Music Therapists) and you can imagine how it could be confusing. Music Therapists are not the only people who use music, but they are the only ones who provide Music Therapy – the clinical and evidenced-based use of music interventions to accomplish individualized goals within a therapeutic relationship.

This is the primary difference between a Music Therapist and a recreational music facilitator, a music teacher, and a performing musician who might also “do music” with various populations. In those cases, the music is usually a recreational or supportive experience for a person or group. Recreational music making experiences can be provided by Music Therapists and non-Music Therapists alike. In fact, there are many organizations and programs that are specifically designed to help promote and provide recreational music making opportunities to people of all kinds. Some include:

Resounding Joy
Musicians on Call
Volunteer Music
Developmental Community Music
HealthRhythms

Applications

Music Therapists work in a variety of settings and with virtually all populations.

Settings can include:

  • Public and Specialty Schools
  • Hospitals and Hospice
  • Extended Care Facilities
  • Health Services Clinics
  • Adult Day Care
  • Residential Treatment Programs
  • Prisons

Populations can include:

  • Pre-Natal
  • Infants & Toddlers
  • Children
  • Teens
  • Adults
  • Elderly
  • Special Needs
  • Psychiatric Patients

Music Therapy includes providing services to many populations and within many settings, both enhancing the effectiveness of other allied health professions and extending the boundaries of treatment to maximize the potential for positive change. Music Therapy can include any experience that uses music, sounds, vibrations, and other aspects of music. It can also include related practices such as poetry, story telling, creative arts, movement, dance, listening, discussion, guided imagery, touch, massage, and more.

A Powerful Force

Music Therapy has been shown to be effective in areas where other treatments have not. Because music is a unique modality that can have deep and even profound meaning for may people, it has the ability to motivate people to do what they may have never done or say what they have never said. Music helps people speak without words, to communicate across the boundaries of language and culture, to reach people in ways that words and gestures cannot. Music is often felt as a deeply meaningful and even sacred aspect to the self and a culture.

Backed by 60 years of clinical service, scientific research, technical innovations, and intensive training and certification, the Board Certified Music Therapist (MT-BC) is in a unique position to harness the power of music and provide unique services to a wide range of populations.

For more information about music therapy, visit the American Music Therapy Association and  the Certification Board for Music Therapists.

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