OVER THE EDGE
September 12-26, 2007

Students and faculty line up for free food during the first day of class.

MircHe.t GRANT, PHOTO EDITOR

Creative Healing Through
Music Therapy

AZAN PiFFER

Nexus (Camosun CoLtece)

VICTORIA (CUP) -- Many philo-
sophic and scientific discussions
have taken place about the healing
powers of music, but music ther-
apists get to see real results.

“T think it’s important to realize
that music has a great impact on our
lives,” says Johanne Brodeur, head
of the music therapy department at
the Victoria Conservatory of Music
(VCM). “Rhythm, harmony, and
sound -- it’s just part of our life,
period.”

Music therapy is a process where
musical instruments are used in a
manner that will strengthen people’s
cognitive, physical, or social abil-
ities.

The VCM’s music therapy pro-
gram offers help to a wide range of
clientele, from autistic children, to
street youth, people with physical
disabilities, and elderly patients.
Sessions are done either at the con-
servatory or at a client’s home, de-
pending on their mobility. Methods
of therapy can vary greatly.

“There are different models, de-
pending on the population you work
with,” explains Brodeur.

Working with children involves a
particular process. “First of all, you
have to engage the individual into
music-making, and once the child
is engaged, then you draft some
goals,” explains Brodeur.

These could include the develop-
ment of auditory skills, perception,
motor skills, attention span, social

skills, self-esteem, or impulse con-
trol. “The skills they work on in
music therapy must be transferable
outside the room; it’s crucial,” says
Brodeur.

Jeff Smith, another music therapist
at VCM, makes sure to use musical
instruments that are familiar to the
client in his therapy sessions. “I try
to keep it culturally appropriate. If
a child’s parents listen to folk, rock,
or country music, I’m going to work
on their range of motion with a gui-
tar or a banjo,” says Smith.

Music therapy also utilizes new
technology, such as the Soundbeam.
With this device, people without the
use of conventional physical motion
can move in relation to an invisible
beam to compose their own com-
puter-generated music.

In order to become a music ther-
apist, a students need to complete
a bachelor of music therapy degree
and a one-year internship before be-
ing able to apply for accreditation.
Students also require more than just
an interest in music.

“Your personality has to match --
musical and personal -- the popula-
tion you work with,” says Brodeur.

Having the right personality for
the job is a crucial aspect of being
a music therapist. “It’s important
that you’re here for the client, not
for yourself,” says Brodeur. “If you
have any worries, you have to leave
them outside the door, because you
cannot bring them in here.”

Smith offers his own perspectives
on becoming an effective music
therapist. “The people that are the

most successful are best able to
really be open to where somebody’s
coming from,” he says. “That isn’t
always something that can be learn-
ed in school.”

Michelle Lawrence, an intern at
the VCM, sees the benefits music
therapy offers to clients. “They
have a chance to communicate,” she
says. “They have a chance to reach
out and be physical, where maybe
they couldn’t before.”

Brodeur points out the positive
impact that music therapy has in the
case of street youths. “They realize
that music can be an outlet for them
that could compensate for other
needs. We’re trying, in all cases, not
only for the youth, but for everyone,
to find them a healthy outlet.”

Brodeur has also found great
results from playing music with
children who have communication
difficulties. “The inter-musical rela-
tionship gets stronger as the inter-
personal relationship gets stronger,”
says Brodeur, “I don’t have to fol-
low them anymore, and they’re not
really following me. We’re playing
music together.”

Breakthroughs in therapy sessions
often provide many rewarding and
emotional moments, not only for
therapists but for their clients’ fam-
ilies.

“Every single day I will laugh
hysterically, and every single day
I’m going to cry hysterically,” says
Brodeur. “There’s a lot of emotion
in the room.”

Edward Dunn.
Fastball Player

Prince George, 'BC