Education – Page 4

Drumming and Hearing Loss

February 8, 2012 by kalani

With the recent rise in the popularity of drumming over the last 10 to 15 years, there are more and more opportunities to take part in this form of community music making. That’s the good news, but it’s not the only news. There are also some serious health considerations that come along with group drummingand any form of community music making for that matter.

Screen Shot 2012-02-07 at 8.40.59 PM — Mega-drum circle (http://www.globaldrumcircles.com/photos.cfm)

According to a study by the World Health Organization (WHO), Noise Induced Hearing Loss (NIHL) poses a real threat for the health and well-being of people the world over. Although the study focused on sustained levels of noise in the workplace, even temporary exposure to high levels of sound can cause permanent hearing loss. What?

The consequences of noise induced hearing loss include:

social isolation.
impaired communication with coworkers and family.
decreased ability to monitor the work environment.
increased injuries from impaired communication in isolation.
anxiety, irritability and decreased self-esteem.
lost productivity.
expenses for workers’ compensation and hearing aids.
tinnitus, or what is often referred to as a ‘ringing’ in the ears.

As the number of musicians in an ensemble increases, the potential for hearing loss also increases. Traditional ‘world music’ drumming ensembles consists of 4 or 5 drummers at the most, with a possible 2 or 3 additional small hand percussionists playing instruments like bells and blocks. The introduction of large format group drumming a.k.a. drum circles, introduces an entirely new challenge when it comes to keeping sound levels at a healthy volume. Drum circles are certainly not the only types of drumming ensembles that can produce high levels of sound. Marching bands and traditional drumming groups can as well.

At a recent conference, I personally experienced sound levels exceeding 95 dB. these were measured using a decibel meter on my iPhone at a distance of 10 feet outside of a drum circle with an estimated 100 participants. The world health organization studied two types of noise in the workplace, those between 85 and 90 dB and those above 90 dB.

Just how much short term exposure to sound levels over 90 dB might affect the one’s hearing is unclear: however, it is generally agreed that any sustained exposure to sound levels over 90 dB should be avoided. If you don’t carry around a sound meter with you, you can use this general rule of thumb. If it feels like it’s too loud, it probably is. Your physiology is likely adequate to warn you if sound levels become unhealthy. The important thing is that you listen to your body and take action, rather than waiting until it’s too late. What was that you said?

Some things you can do to avoid hearing loss include: using earplugs, moving away from loud instruments and avoiding placing yourself in extremely loud environments. If you are a drummer, musician, teacher or therapist who works in settings where group drumming takes place, you can help to educate your peers and participants as to the potential health risks posed by large group drumming ensembles and take steps to reduce risk.

Keep in mind that most drums and percussion instruments, at least the kind that are commonly used in drum circles, are traditionally played outdoors. Bringing these instruments indoors and increasing the numbers by ten-fold or more, poses unique challenges with regard to health. As my friend and drummer Chrystine Jullian is fond of saying, “Drumming can be a lot like hitting your head against the wall – it feels good when you stop.”

There’s some truth to this statement. Whether you realize it or not, when you expose yourself to sustained high levels of sound, your body experiences a low level of trauma, triggered by a mechanism in your upper spinal column and lower brain called the reticular formation. Because your body reacts to the sound levels as if it were under attack, possibly in an earthquake, thunderstorm, or stampede, certain hormones and endorphins will be released into your bloodstream. One of these may include dopamine, a feel good hormone that is often associated with runner’s high and other activities where the body feels the need to self medicate.

An interesting question that could be explored is: Are the good feelings that drummers often self-report due to the activity of drumming itself, or the result of the body’s natural defense mechanisms protecting it from potential pain?

What we do know, is that if we are all going to continue to enjoy community drumming in large numbers, and indoors, then we must all find a way to preserve and protect our hearing. After all – what good is music making if you can’t enjoy it? Huh? I didn’t catch that last thing you said.

I hope this article has been helpful to you. Please leave your comments and suggestions below.

Australia Trip 2012

February 7, 2012 by kalani

I recently returned from a two-week trip to Australia! My trip included a music education conference in Perth, which is Australia’s biggest city on the West Coast, as well as a three-day drum course that took place in Sydney.

My deepest gratitude and thanks go out to Carolyn Watson from Optimum Percussion in Sydney, for organizing the three-day drum course. I also have to thank my gracious hosts from the national or Orff-Schulwerk Association of Australia for their kindness and well-organized conference. I’m sure I can speak for all the presenters when I say that the conference was not only well organized but that we all felt very much at home and appreciated.

I knew that I would be experiencing some jet lag when I arrived, so rather then take a 4 hour flight from Sydney to Perth upon my arrival, I decided to go a few days early and join my friend, Gary France, and his family during a camping trip on the eastern coast. I was able to take a bus from the Sydney international Airport in meat and dairy in Canberra the capital city of Australia. From there, we drove down to the coast and stayed at a campground near Bateman’s Bay. Given that December and January are summer months in Australia, the vast majority of vacationers head to the beaches during this time. We stayed at a campground where most of the people brought caravans, or what we in the US would call a tent trailer. There were also people staying in small mobile homes and tents. The ground was walking distance to several beaches and home to many thousands of wild parrots. Every morning they would sing me awake at about 5:30 or 6 AM! –Although I’m not sure it’s entirely accurate to call the sounds they were making “singing.” Despite my jet lag and parrot–alarm clock, I had a wonderful time at the coast, thanks to Gary and his lovely family.

From the coast, I flew to Perth, Australia’s gem in the West – and the only large city in the region. In fact, Perth is so far away from other cities in Australia, that most of the people there fly to Singapore just as easily as they fly to Melbourne or Sydney. Perth is quite beautiful, largely due to the Swan River which winds its way through the heart of the city and out to the sea. I was especially impressed with the clarity of the air. Being from Los Angeles, I’m used to being able to see what I’m breathing! The skyline of the city stands in sharp contrast to the deep blue sky. At night, while most city lights would be flickering through the pollution, Perth was as clear as ever. Although the conference schedule kept me fairly busy during most of the days, I was fortunate to be taken out to Freemantle a couple of times during my stay there. Freemantle is a progressive area of Perth on the Oceanside, and features some of the areas best restaurants, colonial architecture, and interesting people watching. My friend John Croft took me to a restaurant called Little Creatures, which is actually a microbrewery right on the Marina. The atmosphere and the food were both amazing! If you’re ever in Perth, I highly recommend a trip out to Freemantle and a meal at Little Creatures.

The Victoria Orff Schulwerk Association hosted the conference, which featured four international presenters, including myself. The other 3 presenters were from Rome, Italy; Salzburg, Austria, and Melbourne; Australia. In addition to us four, there were many national and local presenters who all did a fantastic job offering music and movement sessions for the conference attendees. I was fortunate enough to be able to make it to several of the other presenter’s sessions. Everyone at the conference really made me feel welcome and appreciated–and I appreciate that very much. There is a certainly a sense of family that one often feels when in the company of fellow musicians and music educators.

Following the conference in Perth. I returned to Sydney for the drum course. There were about 20 participants for this 3-day program. We studied world rhythms and drumming techniques from many cultures, including Native American, Brazilian, Caribbean, West African, and Arab. Some of the participants had prior drumming experience, however some had very little. There were music teachers and music therapists taking the course, which meant they did have musical backgrounds. Whenever I teach drumming courses these days, I always like to emphasize that the drum is in fact a musical instrument after all! I know there’s been a lot of hype recently about how drums are accessible and supposedly easy for anyone to play immediately, but I also know that, despite what many may say or think about drums, the do actually take years of practice and experience to master. My hope is that the participants at the Sydney drum course left with a new appreciation for the art of drumming and are excited to learn, improve, and be on the path to more successful drumming in the future. It’s only through focused, quality attention and diligence that we can realize the true potential of the drum as both a musical instrument and the means for effective and positive change.

The drum course wasn’t just about drumming–it was about music. As always, I played my ukulele and did some teaching of the ukulele so others might enjoy this simple and beautiful instrument from Hawaii. In my opinion, the ukulele is as easy to learn and accessible as the drum–if not more so. I love that everyone took to it and by the end of the course, there was as much strumming as there was drumming going on!

I’m looking forward to the drum course coming up in the Chicago area in July. To find out how you can be involved, check the playsinglaugh.com website and musicmattersschool.com. There is also the five-day DCM cores coming up in Los Angeles in July, where will drum, dance, sing, strum and create new friendships as we celebrate together. Along with the DCM course, will be holding the first ever kid’s uke and drum camp! This is a day camp for children ages 9 to 12, featuring drumming, singing, dancing, and ukulele lessons. Perhaps I’ll see some of you in LA at the DCM course or at a music conference coming up soon.

Music Therapy Advocacy

January 24, 2012 by kalani

January is Music Therapy advocacy month and many MT’s are blogging about the many ways that you can help spread the word about this unique profession. One of the main goals of advocacy is to increase the availability of music therapy services for those in need. As the national organizations (The American Music Therapy Association, AMTA and The Certification Board for Music Therapists, CBMT) work on the national and state levels, tasks forces and individuals work on state and local levels.

Creating Advocacy Opportunities

As music therapists (and those who are supporters of music therapy) we often end up having to define it for those who are unfamiliar with it. We do this through our websites, books, publications and in-person conversations. I see each of these methods as equally important in reaching the overall goal of increasing the availability of music therapy services.

Speaking to Groups

I was recently presenting several sessions at a national music education conference in Australia. Knowing that music therapy is an emerging profession in Australia and having been asked several times about music therapy by conference attendees, I approached the conference director with the idea of giving a short talk about music therapy during one of the lunch breaks. She happily announced the talk during the morning meeting and I ended up with close to 40 people. I was able to provide an overview of Music Therapy services (including the educational and certification process) and answer questions. As a result of my small request and talk, there are at least 40 people who have a greater understanding of and support for music therapy.

Speaking to Individuals

I was admiring a booth of ukuleles at a national music industry conference when I met a fellow ukulele player. As we talked, I discovered that she creates musical experiences for underserved children and adults–both locally and internationally. When she found out that I am a music therapist, she started asking all kinds of questions. Given her current work, it’s no surprise. We both related to those ‘magical moments’ and transformative experiences that come about through music and quickly shared our stories with each other. She is a natural for music therapy; musical, friendly, excited about helping people, and passionate. As a result of our conversation, she now knows about some options for her as well as about the profession in general. I imagine that she will help others know more about music therapy, whether or not she pursues it as a career.

Speaking Up!

Something that I’m learning is that almost everyone wants to know more about music therapy. I’m also getting better at creating opportunities to do just that. We can wait for someone to give us the chance to talk about music therapy–or we can create opportunities by volunteering our time, asking people about their professions and relating them to MT, and simply telling people around us about what we do. Never underestimate the power of the individual to impact a movement. This means you! All you have to do is ask.

A Few Tips

As we talk about music therapy, to groups or individuals, we can all use some simple and effective ways to help people understand what it is (and what it isn’t). Here are some phrases that I often use to do just that. I hope you find them useful!

“Music Therapy is done with someone, not to someone.” (It’s more than just music or ‘sound.’ It’s a relationship. The client plays an active role in the experience and in reaching his/her goals.)
“Music Therapists share goals with physical therapists, speech therapists, occupational therapists, and psycho therapists, but we reach those goals through music-based experiences.” (This helps connect MT with professions that are likely to be familiar to most people and it explains why MT is unique.)
“Music Therapists design, improvise and deliver all kinds of music-based experiences to help their clients. What we do depends on our clients’ needs.” (Helps people understand that we are therapists who work dynamically with our clients, like other therapists. Music Therapy is not a type of experience, it’s a profession. People sometimes ask “What does a music therapist do during a session?” and I sometimes answer with the question “What does a doctor do during a session?” Answer: What is needed according to the needs of the client. A music therapist offers lots of options, like a medical doctor. )
“Music Therapy is to music entertainment (or recreational music making) what Physical Therapy is to having a massage. (Helps people understand the difference between various types of experience, i.e., therapy vs. recreation)

I always like to hear from you. Please leave your comments below and remember to speak up for music therapy!

A Quick Guide to Group Drumming

December 15, 2011 by kalani

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

October 20, 2011 by kalani

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?

Contact me!

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

August 26, 2011 by kalani

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

May 17, 2011 by kalani

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.

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.
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.
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.’
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.
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.
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).
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?

Music Therapy

January 18, 2011 by kalani

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.)

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.

“Ok everyone, it’s time for music.”
“Let’s get ready for your music lesson.”
“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.