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