"Taking Time": Exploring Music Therapy Student Self-Care Definitions and Practices.

The concept of self-care for music therapists is not a new topic in the literature, yet music therapy students' perspectives have largely been excluded from formal discussions and research studies. For this reason, this study aimed to examine music therapy students' conceptualizations of self-care and identify practices that students frequently engage in for self-care. As part of a national survey, music therapy students currently enrolled in an academic degree program for music therapy within the United States defined self-care and identified up to three of their most frequent self-care practices. We analyzed the student self-care definitions and self-care practices using inductive content analysis. Two primary categories emerged from the student definitions-the Act of Self-Care and the Desired Outcomes of Self-Care-with several more detailed subcategories. Additionally, we grouped participants' most common self-care practices into 10 categories and identified two emergent areas for exploration: self-care practices done with others/done alone and engaging in self-care practices that intentionally do not involve anything related to academics/coursework/clinical work. Together, these findings indicate that students' conceptualizations of self-care and their self-care practices have similarities and differences with music therapy professionals' perspectives and practices. We discuss these findings in depth and provide recommendations for future self-care discussions that emphasize the need to prioritize students' perspectives and to expand conceptualizations of self-care to include contextual and systemic impacts and factors that influence the individual self-care experience.

Musicoterapia em crianças com transtorno de déficit de atenção e hiperatividade / Music therapy in childen with attention deficit disorder and hyperactivity / Musicoterapia en niños con trastorno por déficit de atención e hiperactividad

O Transtorno de Déficit de atenção e Hiperatividade (TDAH) é um transtorno de origem hereditária que acomete entre 3 a 5% das crianças em todo o mundo, causando nelas problemas de aprendizagem e socialização, o transtorno também pode continuar se manifestando na idade adulta, causando além dos sintomas já citados problemas nos relacionamentos. A Musicoterapia é uma das terapias integrativas e complementares reconhecidas pelo Sistema Único de Saúde (SUS) brasileiro para ser aplicada na atenção básica, assim esse trabalho teve como objetivo estudar o tema do TDAH e como a Musicoterapia pode ser empregada nessa síndrome. Não foram muitos os trabalhos encontrados na literatura descrevendo práticas da Musicoterapia em pacientes com TDAH, porém os estudos publicados têm mostrado que ela possui resultados positivos na melhoria de vida e bem-estar desses pacientes, principalmente com o emprego de técnicas da Musicoterapia ativa.

Attention Deficit Hyperactivity Disorder (ADHD) is a disorder of hereditary origin that affects between 3 and 5% of children worldwide, causing them learning and socialization problems, the disorder can also continue to manifest in adulthood, causing in addition to the symptoms already mentioned problems in relationships. Music Therapy is one of the integrative and complementary therapies recognized by the Brazilian Unified Health System (SUS) to be applied in primary care, in order to understand this issue this work aimed to study the theme of ADHD and how Music Therapy can be used in this syndrome. Few studies could been found in the literature describing Music Therapy practices in ADHD patients however, published studies have shown that it has positive results in improving the lives and well-being of these patients, mainly with the use of active Music Therapy techniques.

El Trastorno por Déficit de Atención e Hiperactividad (TDAH) es un trastorno de origen hereditario que afecta a entre el 3 y el 5% de los niños de todo el mundo, provocando en ellos problemas de aprendizaje y socialización, el trastorno también puede seguir manifestándose en la edad adulta, provocando además de los síntomas ya mencionados problemas en las relaciones. La musicoterapia es una de las terapias integradoras y complementarias reconocidas por el Sistema Único de Salud (SUS) brasileño para ser aplicada en la atención básica, por lo que este trabajo tuvo como objetivo estudiar el tema del TDAH y cómo la musicoterapia puede ser utilizada en este síndrome. No se han encontrado muchos trabajos en la literatura que describan las prácticas de Musicoterapia en pacientes con TDAH, sin embargo, los estudios publicados han demostrado que tiene resultados positivos en la mejora de la vida y el bienestar de estos pacientes, principalmente con el uso de técnicas de Musicoterapia activa.

Analysis of the Effectiveness of Music Therapy on Mental Health of College Students.

Music therapy is a relatively mature marginal subject at present, and it is also a relatively common treatment method. This kind of treatment can better help college students get rid of bad psychology and guide their psychology to develop in a healthy direction. Mental health is one of the important indicators to measure the comprehensiveness of human quality and plays an important role in the sustainable development of human beings. Music therapy plays a very important role in college students' mental health education. As a marginal subject, music therapy combines music, medicine, and psychology, which is beneficial to alleviate students' bad emotions and psychological problems, and helps college students form a sound personality. Using music therapy can let college students vent their emotions in a suitable environment and atmosphere and then guide them correctly. This paper introduces the effectiveness of music therapy in college students' mental health education and then puts forward important measures to promote the implementation of music therapy in college students' mental health education.

Effective Ways for College Students' Mental Health Education Based on Music Therapy.

Music therapy plays a very important role in college students' mental health education. As a marginal subject, music therapy combines music, medicine, and psychology, which is beneficial to alleviate students' bad emotions and psychological problems and help college students form a sound personality. In the process of teaching in colleges and universities, it is necessary to choose teaching methods that are closer to students' real life so as to promote the healthy development of college students' psychology. From the relevant investigation and analysis, college students are interested in learning music, which provides an effective basis for college students to use music to treat psychological problems. Good policies, conditions, and a broad mass base are conducive to the application of music therapy in college mental health education. The application of music therapy in the field of college students' mental health also broadens the application field of music. This paper analyzes the application of music therapy in college students' mental health education and probes into the effective ways for college students' mental health education.

"I've Lost My Callouses:" A Phenomenological Investigation of Music Therapists Who Left the Profession.

Although changing industries is common for many professionals, there is a lack of research regarding why music therapists have left the profession. The purpose of this phenomenological investigation was to explore why music therapists in the United States left the profession and understand how music therapy academic and clinical training might be applied across a range of occupational opportunities. We interviewed eight music therapists who had worked in and left the profession for employment in other industries. We used interpretative phenomenological analysis to analyze transcripts and incorporated member checking and trustworthiness to verify our findings. The first theme described how there were multiple factors that contributed to the decision to leave the music therapy profession. The second theme described how participants grappled with the decision to leave the music therapy profession. Regarding why music therapists left the profession and how their education and training were related to their new industry, we used a modified social ecological model to depict four superordinate themes (supported by 11 themes) that described (1) individual and interpersonal factors contributing to the need for occupational change; (2) music therapy skills that facilitated occupational change; (3) unmet professional expectations that contributed to occupational change; and (4) desired changes to the music therapy curriculum for greater career flexibility. Constituting an idiosyncratic process for each participant, leaving the music therapy profession was a complex and multifaceted phenomenon. Implications for education and greater career flexibility, limitations of the study, and suggestions for future research are provided.

Music Therapy Private Practice in the United States: Updated Financial and Marketing Recommendations.

More and more music therapists in the United States are entering into private practice. For a private practice to survive, a therapist must make sound financial and marketing decisions that can have wide-ranging implications on the success of the business. Clear and current recommendations from music therapists in private practice can help those wanting to go into private practice as well as those already in private practice. The purpose of this study was to identify a current descriptive profile of music therapists in private practice in the United States as well as marketing and financial recommendations. In addition, comparing this survey with previous surveys can reveal possible trends in the field. Music therapists (N = 745) who self-identified as being self-employed or in private practice were sent a survey designed by the researchers. A total of 193 respondents returned the survey revealing that current therapists in private practice are better educated and value the internet and social media for marketing and session implementation more than respondents of previous surveys. Respondents recommend that music therapists in private practice continually learn by taking business classes and consulting with business experts; diversify funding sources, service options, and populations served; and connect with music therapists and nonmusic therapists in the community.

Music Therapy Knowledge and Interest: A Survey of Music Education Majors.

Music teachers play an important role in exposing students to career options in the field of music. As a result, there is a need to explore music education students' interest in and knowledge of music therapy. The purpose of this study was to investigate music education students' exposure to, knowledge of, and willingness to promote music therapy as a career option for prospective collegiate students. A survey was given to 254 music education majors from four research institutions, two with and two without music therapy degree programs. Participants answered demographic, yes/no, Likert-type scale, and open-ended questions about their exposure to, knowledge of, and willingness to promote careers in music therapy. Results indicate that exposure to music therapy occurred in both pre-collegiate and college settings, and that music teachers appear to be influential in exposing students to music therapy. Students often sought out information on music therapy independently, which played an important role in how individuals learned about music therapy, though it has the potential of providing misinformation. Significant differences were found in participants' knowledge and willingness to promote music therapy as a career option based on the presence of music therapy degree programs. Exposure seemed to be a key factor in music therapy knowledge and promotion; thus, music therapists need to ensure accurate dissemination of music therapy-related information in both pre-collegiate and college settings. Increasing the visibility of the field has the potential to expand interest and potentially attract young musicians well suited for a career in music therapy.

It's...Complicated: A Theoretical Model of Music-Induced Harm.

While literature exists supporting the use of music for health promotion, scholars have also noted the potential for music-induced harm and other maladaptive effects of music. Harm is a multifaceted construct that can include affective, behavioral, cognitive, identity, interpersonal, physical, and spiritual aspects. As music also represents a multifaceted experience, the relationship between music and harm is complex and can include numerous contextual-, deliverer-, music-, and recipient-based factors. Music-induced harm (MIH) also needs to be clearly defined to understand and protect against it. Therefore, the purpose of this article was to explore the numerous factors influencing how music can result in harm and develop a theoretical model that could be used to inform safe music practices. Drawing from existing models of emotional responses to music, music intervention reporting guidelines, therapeutic functions of music, and holistic wellness, we explored how the interplay between the deliverer, music, and recipient can result in various types of MIH in diverse contexts. We then developed the MIH model to integrate these factors and connect the model with the existing literature. The MIH model highlights the relevance of academic and clinical training, credentialing, occupational regulation, continuing education, and professional organizations that provide accredited curricular oversight to protect people from MIH. Implications for clinical application, limitations, and suggestions for future research are provided.

The Impact of Invisible Illness and Invisible Disability on Music Therapy Practica Students.

A variety of factors affect the success of music therapy students in practica. Many music therapy students may have invisible illnesses or invisible disabilities (II/ID) that affect their work. II/ID have physical or psychological effects but are not apparent to an observer. Such illnesses may include chronic illnesses, mental illnesses, and developmental disabilities. Although researchers have studied the success of post-secondary students with II/ID and the success of music therapy students without II/ID, there is a lack of research on music therapy students who identify with having II/ID. This researcher used an exploratory online survey to investigate the prevalence of II/ID among music therapy students and how it may affect their success in music therapy practica. Quantitative responses were compiled and analyzed into frequencies and percentages, and open-ended responses were coded and analyzed for patterns and themes. Results indicated that music therapy students with II/ID have various reasons for disclosure or nondisclosure. Some music therapy students with II/ID required accommodations, while many did not. Additionally, the effects of II/ID on music therapy practica students included physical, psychosocial, and cognitive symptoms, which led to various choices for disclosure/nondisclosure and the request/use of individualized accommodations. Music therapy students with II/ID self-reported that making decisions regarding appropriate disclosure and determining their need for accommodations or not allowed them to be more successful in practica.

Multiprofessional team perception of a music therapeutic workshop developed by nurses.

OBJECTIVE: To understand the perception of a multiprofessional team regarding the use of music in a therapeutic workshop developed by nurses. METHOD: Qualitative study, of the exploratory type. Data were collected through semi-structured interviews, with the participation of 13 professionals from a Psychosocial Care Center in a municipality of Minas Gerais' Zona da Mata, and analyzed according to Michel Maffesoli's comprehensive sociology approach. RESULTS: The testimonies revealed that the use of music in the nurse's activities in mental health represents a re-signification of nursing care and favors the user's subjectivity. FINAL CONSIDERATIONS: This study allowed us to show that nurses need to listen to the music that comes from the heart, from the soul, and to the truths that are not always stated in the scenarios of therapeutic practices with individuals going through psychic suffering. Therefore, the care offered should be centered on the human history, which wants to be unveiled and understood.

Multiprofessional team perception of a music therapeutic workshop developed by nurses / Percepción del equipo multiprofesional sobre el taller terapéutico de música desarrollado por enfermero / Percepção da equipe multiprofissional sobre oficina terapêutica de música desenvolvida pelo enfermeiro

ABSTRACT Objective: To understand the perception of a multiprofessional team regarding the use of music in a therapeutic workshop developed by nurses. Method: Qualitative study, of the exploratory type. Data were collected through semi-structured interviews, with the participation of 13 professionals from a Psychosocial Care Center in a municipality of Minas Gerais' Zona da Mata, and analyzed according to Michel Maffesoli's comprehensive sociology approach. Results: The testimonies revealed that the use of music in the nurse's activities in mental health represents a re-signification of nursing care and favors the user's subjectivity. Final considerations: This study allowed us to show that nurses need to listen to the music that comes from the heart, from the soul, and to the truths that are not always stated in the scenarios of therapeutic practices with individuals going through psychic suffering. Therefore, the care offered should be centered on the human history, which wants to be unveiled and understood.

RESUMEN Objetivo: Comprender la percepción de los profesionales del equipo multiprofesional sobre el uso de la música en un taller terapéutico desarrollado por enfermero. Método: Estudio cualitativo de tipo exploratorio. Los datos fueron recolectados por medio de entrevistas semiestructuradas, con la participación de 13 profesionales de un Centro de Atención Psicosocial en un municipio de la Zona de la Mata de Minas Gerais, y después analizados desde la sociología comprensiva de Michel Maffesoli. Resultados: Los testimonios demostraron que el uso de la música en las actividades del enfermero en salud mental representa una resignificación de las líneas de cuidados de enfermería y le favorece la subjetividad del usuario. Consideraciones finales: Este estudio señala que el enfermero necesita oír la música que viene del corazón, del alma y de las verdades que ni siempre se dicen en los escenarios de prácticas terapéuticas con individuos en sufrimiento psíquico. Por lo tanto, el cuidado ofrecido debe ser centrado en la historia humana que nos invita a desvelarla y comprenderla.

RESUMO Objetivo: Compreender a percepção dos profissionais da equipe multiprofissional sobre o uso da música em oficina terapêutica desenvolvida pelo enfermeiro. Método: Estudo qualitativo, do tipo exploratório. Os dados foram coletados por meio de entrevistas semiestruturadas, com a participação de 13 profissionais de um Centro de Atenção Psicossocial em um município da Zona da Mata Mineira, e analisados seguindo-se o referencial da sociologia compreensiva, de Michel Maffesoli. Resultados: Os depoimentos revelaram que o uso da música nas atividades do enfermeiro em saúde mental representa uma ressignificação das linhas de cuidados de enfermagem e favorece a subjetividade do usuário. Considerações finais: Este estudo possibilitou evidenciar que o enfermeiro precisa ouvir a música que vem do coração, da alma e das verdades nem sempre proferidas nos cenários de práticas terapêuticas com indivíduos em sofrimento psíquico. Portanto, o cuidado ofertado deve ser centrado na história humana que convida a ser desvelada e compreendida. Descritores: Enfermeiros; Música; Saúde Mental; Serviços de Saúde Mental; Cuidados de Enfermagem.

A Sequential Mixed-Methods Study of Pre-Professionals' Understanding of the Undergraduate Music Therapy Internship.

Despite the importance of the clinical music therapy internship, little research has been conducted to understand the perspectives, perceived musical, clinical, and personal skills, concerns, challenges, and anxieties of pre-professionals prior to and upon completion of the internship. This sequential mixed-methods study aimed to assess the perspectives and experiences of undergraduate students in the United States at two stages in the internship in music therapy practice. In total, 177 pre-professionals from the United States participated in this two-part study: (1) an online survey and (2) individual interviews with 25% (n = 44) of the participants. Survey results indicate statistically significant increases in clinical, musical, and personal skill development from pre- to post-internship. Six broad categories emerged from the interviews: confidence, anxiety, role clarity, professional suitability, loneliness, and boundaries/ethics. The results are encouraging, showing that the internship is a valued clinical experience that fosters improvement in the clinical, musical, and personal skills needed to work as a music therapist. This paper concludes with recommendations and suggestions for educators and supervisors on preparing and supporting pre-professionals in their skill development prior to and during internship.

A Survey of Music Therapy Students' Perceived Stress and Self-Care Practices.

High levels of stress and burnout are common among professional music therapists and researchers suggest that guidance related to self-care during clinical training may influence professional success and strain. Currently, little is known about music therapy students' perceived stress and levels of self-care engagement. The purpose of this study was to examine music therapy students' perceived stress levels and self-care practices to inform future research in this area. Music therapy students (n = 371) who were currently enrolled in an academic degree program for music therapy within the United States completed this study. Instrumentation included Perceived Stress Scale and a researcher-modified Student Self-Care Scale (SSCS). Academic program directors distributed the online survey to students. Results indicated that both scales had adequate-to-good internal consistency. An exploratory factor analysis of the SSCS revealed that music therapy students' self-care includes eight factors related to academic and personal self-care practices. The average level of perceived stress reported across music therapy students is higher than previously reported levels for adults in the United States. More specifically, undergraduate music therapy students report higher perceived stress than undergraduate students in general. Lower frequency of self-care engagement, particularly in regard to self-awareness and physical self-care practices, was associated with higher levels of perceived stress. This study provides previously unreported student data of interest to educators and supervisors in music therapy. Continued investigations should focus on the music therapy students' experience and educators' concerns, both of which may generate new curricular approaches to addressing stress and self-care.

Outcomes of a Course-based Undergraduate Research Experience (CURE) for Music Therapy and Music Education Students.

Course-based undergraduate research experiences (CUREs) involve entire classes of students researching a question or problem that is of interest to the scholarly community with an unknown outcome to both students and instructor. The purpose of this pre-experimental one-group posttest design study was to explore outcomes of a CURE for music therapy and music education students enrolled in a music psychology course. Specifically, we examined differences in scientific thinking, personal gains, research skills, and attitudes and behaviors of students resulting from their participation in a CURE experience, as well as students' perceived benefits of a CURE experience. Student participants (N = 30) completed the Undergraduate Research Student Self-Assessment. Likert-type items from the self-assessment were analyzed using descriptive statistics, and open-ended questions analyzed for common themes using content analysis. Students reported moderate gains across three areas (i.e., thinking and working like a scientist, personal gains, and research skills), with greatest gains reported for thinking and working like a scientist. Students reported limited change for changes in attitudes and behaviors as a researcher. The authors discuss implications and recommendations for future CUREs.

Music Therapy Practice Status and Trends Worldwide: An International Survey Study.

BACKGROUND: The field of music therapy is growing worldwide. While there is a wealth of country-specific information available, only a few have databased workforce censuses. Currently, little to no descriptive data exists about the global development of the profession. OBJECTIVES: The purpose of this study was to obtain descriptive data about current demographics, practice status, and clinical trends to inform worldwide advocacy efforts, training needs, and the sustainable development of the field. METHOD: Music therapists (N = 2,495) who were professional members of organizations affiliated with the World Federation of Music Therapy (WFMT) served as a sample for this international cross-sectional survey study. A 30-item online questionnaire was designed, pilot tested by key partners, and translated into seven languages. Researchers and key partners distributed the online survey through e-mail invitations and social media announcements. RESULTS: Professional music therapists worldwide are well-educated, mature professionals with adequate work experience, who are confident in providing high-quality services primarily in mental health, school, and geriatric settings. Due to ongoing challenges related to recognition and government regulation of the field as an evidence-based and well-funded healthcare profession, most individuals work part-time music therapy jobs and feel underpaid. Yet, many music therapists have a positive outlook on the field's future. CONCLUSIONS: Continued research and advocacy efforts, as well as collaborations with lobbyists, business consultants, and credentialing/licensure experts to develop progressive strategies, will be crucial for global development and sustainability of the field.

A Descriptive Analysis of the Educational Perceptions, Professional Identity, and Professional Practices of Dual-Trained Music Therapists as Counselors.

BACKGROUND: Given the rise in music therapy master's programs that offer dual degrees in music therapy and counseling or programs that satisfy state mental health counseling licensure laws, the professional counseling field is playing an increased role in the advanced education and professional practices of music therapists. OBJECTIVE: To identify factors that lead music therapists to pursue advanced education with an emphasis in professional counseling, perceptions about benefits and drawbacks for three advanced degree options (i.e., music therapy, counseling, and music therapy/counseling dual degree), and describe the professional practices and identity of dual-trained music therapists as counselors. METHODS: A convenience sample of music therapists (n = 123) who held board certification, and held a master's degree or higher that emphasized professional counseling, completed an online survey. We used descriptive statistics to analyze categorical and numeric survey data. RESULTS: Eligibility for licensure as a professional counselor was the most important decisional factor in selecting a specific master's degree program. Respondents also reported favorable perceptions of the dual degree in music therapy and counseling. With regard to professional practice and identity, respondents reported high use of verbal processing techniques alongside music therapy interventions, and dual-trained music therapists retained their professional identity as a music therapist. CONCLUSIONS: The reported view of licensure in a related field as beneficial and frequent use of verbal processing techniques warrants future study into the role of counseling in the advanced training of music therapists. Given contradictory findings across studies, we recommend investigators also explore how a degree in a related field affects career longevity of music therapists.

An Emerging Theoretical Model of Music Therapy Student Development.

BACKGROUND: Music therapy students negotiate a complex relationship with music and its use in clinical work throughout their education and training. This distinct, pervasive, and evolving relationship suggests a developmental process unique to music therapy. OBJECTIVE: The purpose of this grounded theory study was to create a theoretical model of music therapy students' developmental process, beginning with a study within one large Midwestern university. METHODS: Participants (N = 15) were music therapy students who completed one 60-minute intensive interview, followed by a 20-minute member check meeting. Recorded interviews were transcribed, analyzed, and coded using open and axial coding. RESULTS: The theoretical model that emerged was a six-step sequential developmental progression that included the following themes: (a) Personal Connection, (b) Turning Point, (c) Adjusting Relationship with Music, (d) Growth and Development, (e) Evolution, and (f) Empowerment. The first three steps are linear; development continues in a cyclical process among the last three steps. As the cycle continues, music therapy students continue to grow and develop their skills, leading to increased empowerment, and more specifically, increased self-efficacy and competence. CONCLUSIONS: Further exploration of the model is needed to inform educators' and other key stakeholders' understanding of student needs and concerns as they progress through music therapy degree programs.

Professional Supervision as Storied Experience: Narrative Analysis Findings for Australian-Based Registered Music Therapists.

BACKGROUND: Limited research exists to inform a music therapist's supervision story from their pre-professional training to their practice as a professional. Evidence is needed to understand the complex nature of supervision experiences and their impact on professional practice. OBJECTIVE: This qualitative study explored the supervisory experiences of Australian-based Registered Music Therapists, according to the: 1) themes that characterize their experiences, 2) influences of the supervisor's professional background, 3) outcomes of supervision, and 4) roles of the employer, the professional music therapy association, and the university in supervision standards and practice. METHODS: Seven professionals were interviewed for this study. Five stages of narrative analysis were used to create their supervision stories: a life course graph, narrative psychological analysis, component story framework and narrative analysis, analysis of narratives, and final integration of the seven narrative summaries. RESULTS: Findings revealed that supervision practice is influenced by a supervisee's personal and professional needs. A range of supervision models or approaches is recommended, including the access of supervisors from different professional backgrounds to support each stage of learning and development. A quality supervisory experience facilitates shifts in awareness and insight, which results in improved or increased skills, confidence, and accountability of practice. Participants' concern about stakeholders included a limited understanding of the role of the supervisor, a lack of clarity about accountability of supervisory practice, and minimal guidelines, which monitor professional competencies. CONCLUSIONS: The benefits of supervision in music therapy depend on the quality of the supervision provided, and clarity about the roles of those involved. Research and guidelines are recommended to target these areas.

Interprofessional education increases knowledge, promotes team building, and changes practice in the care of Parkinson's disease.

OBJECTIVE: Examine outcomes for the National Parkinson Foundation (NPF) Allied Team Training for Parkinson (ATTP), an interprofessional education (IPE) program in Parkinson's disease (PD) and team-based care for medicine, nursing, occupational, physical and music therapies, physician assistant, social work and speech-language pathology disciplines. BACKGROUND: Healthcare professionals need education in evidence-based PD practices and working effectively in teams. Few evidence-based models of IPE in PD exist. METHODS: Knowledge about PD, team-based care, the role of other disciplines and attitudes towards healthcare teams were measured before and after a protocol-driven training program. Knowledge, attitudes and practice changes were again measured at 6-month post-training. Trainee results were compared to results of controls. RESULTS: Twenty-six NPF-ATTP trainings were held across the U.S. (2003-2013). Compared to control participants (n = 100), trainees (n = 1468) showed statistically significant posttest improvement in all major outcomes, including self-perceived (p < 0.001) and objective knowledge (p < 0.001), Understanding Role of Other Disciplines (p < 0.001), Attitudes Toward Health Care Teams Scale (p < 0.001), and the Attitudes Toward Value of Teams (p < 0.001) subscale. Despite some decline, significant improvements were largely sustained at six-month post-training. Qualitative analyses confirmed post-training practice changes. CONCLUSIONS: The NPF-ATTP model IPE program showed sustained positive gains in knowledge of PD, team strategies and role of other disciplines, team attitudes, and important practice improvements. Further research should examine longer-term outcomes, objectively measure practice changes and mediators, and determine impact on patient outcomes.

A Survey Study of Pre-Professionals' Understanding of the Canadian Music Therapy Internship Experience.

BACKGROUND: There is limited research to date on the clinical music therapy internship experience from the perspective of the pre-professional. Further study is required to advance this significant stage in clinician development, as it is an intense period when pre-professionals apply and integrate theoretical knowledge about music therapy into their clinical practice. OBJECTIVE: This study aimed to: (1) assess the skills, competence, comfort, concerns, issues, challenges, and anxieties of Canadian undergraduate students at two stages in the internship process (pre- and post-internship); and (2) examine whether these perceptions are consistent with published research on internship. METHODS: Thirty-five pre-professionals, from a pool of 50 eligible respondents (70% response rate), completed a 57-question survey using a five-point Likert scale ranking pre- and post-internship experience and participated in an interview post-study. RESULTS: Survey results indicate a statistically significant increase in pre-professionals' perceived clinical, music, and personal skill development from pre- to post-internship. Areas of desired skill development included counseling, functional guitar, and clinical improvisation. CONCLUSIONS: Recommendations for educators and supervisors are provided with respect to areas of focus in undergraduate education and during clinical internship.