Book Reports:
1 - From My Heart to Yours by Bonnie Leigh
I know that I have to keep a log for my internship and I was stressing about what would be needed. This book alleviated those fears. Give no personal information. Just provide thoughts on your experiences, how I feel it affected the patient and how it made me feel.
It also had thought about just starting in a new facility and the interaction with the staff. It is wonderful to have seen it first through someone else. She had experiences with patents who didn’t want to have her visit at all. She gave her thoughts on various interactions. Especially that most people to do not understand therapeutic music and it’s effect. You can tell that she really wants to ‘get the word out’.
This is a great little book and should be required reading for not only interns of clinical music, but for the rest of us! Her final thoughts are definitely from her heart to mine!
2 -Questions and Answers on Death and Dying by Elisabeth Kubler-Ross
This was a very insightful book about the questions, and concerns of not only the dying but their families and the professional staff. What I found most interesting is the no-nonsense approach to handling what initially appear to be difficult questions or situations of the terminally or seriously ill. Ms. Ross indicates throughout the book that the best way to assist the dying is with caring, honesty and empathy. One should not be afraid to show their own emotions. Crying is not something that should be hidden. Questions should be answered honestly.
Negative statements should be acknowledged and the patient lead into a conversation on how this negativity can be resolved.
In regards to music therapy, the book many times emphasized non-verbal means of communication and support. But there was one chapter in particular that dealt primarily with non-verbal communications to ease the suffering of the patient. One paragraph gave credence to music as the main communication to reach out to a patient. I like the statement: "Real love and faith is often conveyed better by action than by words." I like to think that the action that I can lend would be my music.
Another section stressed the fact that it is not important that you know the history of the patient, but rather that you deal with the here and now; the exact moment in time that you are with the patient and assess the needs at that time.
This book will certainly help me in conversations that most certainly happen before or after playing, But more importantly, the book shows the importance of non-verbal support. Even when a person is in the denial or anger stages, and may even refuse music at first, the gentle sounds can provide a means of transition.
3 - Body, Mind and Music by Laurie Riley
Required Text Book report by chapter
Chapter 1 – Music is our Birthright
If this chapter is indicative of what is to come later in this book, I have chosen the right path for my journey. I have played folk and blues guitar for many years. Many of the musicians that played in the same pubs would meet and jam together. But there was always a form of un-acceptance, of competition. I could never understand this. We were all giving a gift that was given to us. Instead of supporting each other, it was more of a conflict in many ways.
The moon, the earth, the stars and the wind are made up on rhythms. We all are capable of some type of music. The problem starts within each of us. We are who we chose to be. We must accept that we are who we are. The music is for us, for others or for the earth. We need to be allowed to express it the way we can.
Chapter 2 – Music Kinetics
This is going to be a great book. The way I was initially taught to play music is not always the right way (I started on classical violin). My teaching methods are not the way that I was taught. I always thought that, because I would teach the student and not the lesson, and by doing so that I was wrong. This shows me that this is no one way to learn or to teach.
The last paragraph is great: If we can turn our attention..inward to who we are and who we have the potential to be, ….we can achieve brilliance.
Chapter 3 – Music as a Language
This chapter continues to rebut the ‘given’ idea of how to learn and how to process music. As in painting – just because a child paints the tulip green – that is not wrong. We need to be allowed to form our own opinions, to listen to different music, experience different cultures and to investigate and accept that which might, initially, be foreign to us.
Most of my music is memorized. I like the idea of using the term intimate. I seem to see music in patterns – it is hard to explain (and you might think that I am really marching to a different drummer here) but I can play an excerpt and it forms in my head as a mechanical pattern – almost like a schematic. Then what I do is learn each excerpt and put all the parts together to form the song.
Ah! Great idea on the repertoire list! How often have I had a mental block on what I know! My task this week is to make the list and categorize it.
I have several styles. I like many different styles. But I just cannot understand jazz. I have tried.. Really I have. The only thing that I can say is, they (the musicians) must have some type of deeper understanding of music than I! Although, I need to clarify – that I have been able to understand and enjoy some of the older jazz styles. (Dave Brubeck). So I am not altogether hopeless.
This chapter, though, again emphasizes support of other musicians/music as opposed to competition.
I love fake books. Since my initial training was on violin and guitar, the bass clef can be problematic to me. Fake books allow me to create the piece based on the bass clef, the chords and the melody. Instead of using the written notation, it develops as ‘Lynda’s rendition’. Granted I will at times, learn the notation – note by note – as it opens up different avenues of styles etc.
How to Practice. Again, this was an eye opener for me. None of my teachers ever gave me this information. I read and re-read this. I have implemented it into my practice. (And I even keep in close in my heart while performing…it seems to calm a butterfly or two that might flutter past)
The three kinds of learners:
Hmm, I am not too sure where I fit into this category.. can we add Mechanical? J I think that I am the kinetic learner.
But the fact that we have to learn in all three ways makes great sense. How often am I playing and I have a brain fade? It is because I am concentrating on my fingers and lose myself in the song. When I practice at home, I don’t concentrate on my fingers (visual). So I really need to practice using all three ways.
The problems and the cures section is a nice systematic break down of what happens to all of us and how to avoid it. I like the fact that this book has a scientific awareness of an art form being used for clinical work. What a combination!
(There are many references for recommended reading throughout this book. I have ordered some books already. I can see that I have even more to read. This is very exciting.)
Chapter 4 – The Musician’s Body
Yippee! I really don’t have to feel bad for not keeping my thumb straight up all the time. Gosh, it was giving me so much pain.
I love this section. I never expected to have some much information on taking care of the musician (both body and soul) in a book about playing for others.
We are our instruments. We should take care of ourselves as we do our instruments. I have found myself doing a lot of shoulder exercises, since my problems as been in my shoulders. I have rearranged how I sit (not the proper way as most lessons teach) but I can play much better.
Exercise, a positive outlook, diet, exercise and spiritualism: It all makes sense.
And I found the section about flax rather awesome. I have discovered flax about 3 years ago, and there is a lot of information about flax in this chapter.
Stress reduction is a big thing; in my life and in playing. Often times I am called at a moments notice for a hospice patient. Combining what I love to do (bedside playing) and what I have to do (my 9-5 job) will put a stress on me. But I do not find that the patients themselves add stress. I find it just a wonderful opportunity to be able to play for them; and that is a stress relief for me.
Part B - Music as Connection with Others
Chapter 5 – Inspiration
What a great chapter title!
It asks the definitive question: why am I on this journey? And it helps to recapture our inspiration: concentricity or spiritual focus. Concentricity produces "inspired activity and an inspired life". What powerful words!
In our inspiration we should remember for ourselves:
Chapter 6 – Emotion
We are who we are from our experiences. I find that sometimes I will play only for myself and no one else. It is a way that I can release my sadness or stress. And if I am playing a performance, I find that if I am not in the right frame of mind or if I am a bit under the weather, I do not do well. I have to forcibly bring myself into a different emotion. But I do not seem to have that problem when playing bedside. The focus is on the patient. I believe that this is addressed farther in the book when she talks about ego.
But she gives a rather insightful revelation to me personally. We cannot let our bad experiences have power over us. In dismissing them as something that happened to us rather than something that happened with us, we give them power.
The bottom line is that emotions and our music are tied together.
Chapter 7 – Attitude
This goes hand in hand with the previous chapter. What we bring to our music is what our music becomes.
This chapter outlines in better depth about supporting each other musically. We must stop reaching outside for validation and inspiration. This is hard to do in today’s society, especially for the younger generation. It is easier for me. Perhaps that middle-aged attitude is what our youth needs a bit more of.
Unpack our baggage
"As we are" is the key to our acceptance." (I love that line!) I think later on in the book she states that we, as human beings, are imperfect 100% of the time. Gosh, that says it succinctly!
Sharing vs. showing is similar to service vs. performance. This is the common theme throughout this book
Chapter 8 – Thoughts on Teaching
She supports what I have discovered ~ that teaching is my best teacher. I learn from my students. I try to teach them with methods that are best for them and therefore that increases my knowledge. We are all different and learn differently. You have to be compassionate, positive and give an air to open learning.
Part C – Music as the Universal Connection
Chapter 9 – The Quantum Connection
I have to say that I enjoy the debate between quantum mechanics and the theory of relatively as it pertains to the time/space continuum. This chapter caught my eye and I read it several times. The quantum and the relativity are equally accepted, I would surmise, in the analysis that she makes.
This chapter deals with music as sound and sound as vibration. (I had to opportunity to meet Sara Jane Williams and be a part of her vibro-acoustic chair. No question of its effect on the body, mind and soul from this student. It is an awesome experience.) Sound is what has glued our universe together. All you need to do is read any scientific journal of reaching out to find other life. It is all done with tone, sounds and vibrations.
Sound pollution and the distraction of this pollution can be done by the influences of more pleasing rhythms. Even nature has its sound and rhythms. And, once again, her final paragraph summed it up. "In the beginning was the Word, and the Word was with God, and the Word was God" .. if a word was sound, then this takes on a clear message.
Chapter 1- Bodymind Studies and the Wholistic Continuum
This is an interesting collection of scientific studies as it relates to healing. I need to look up a group mentioned here Spiritual Musicians of the World. It sounds like a very interesting group.
The effects on immunology have been documented. I wonder why music is not more readily accepted in the healing process.
Toning is something that I have not done in years. I was surprised that it was listed .. and yet not surprised. Because of this reading, I am starting again. (Once again, this book/this course is an unexpected gift personally.)
Paradigms: (looks like there is another good book to read by Larry Dossey: Healing Words)
Three Healing Modalities:
I have often seen wholistic and holistic and thought they were interchangeable. But just by looking at the spelling, you can decipher the true meaning. Whol – being all factors and Hol coming from Holy referring to the guidance from a higher power.
The breakdown of the various modalities is a great reference tool.
Music is a part of the wholistic approach and the musician is a part of the team. We are never thought of as the sole or single factor in the treatment of an illness
Chapter 11 – A New and Ancient Art – Healthcare Music
What a wonderfully moving personal experience by the author. This is rather the same situation that I was having. My mother fell and as in the hospital. She contracted pneumonia with complications. She was moved into a nursing home. She declined quickly. I was called to her bedside and I brought my small lap harp. I played and played and played. And when I played, her blood pressure normalized. If I wasn’t playing when she was awake, she whispered to have me play some more. It was a long night. In the morning, before the doctor arrived, I had called hospice. After the doctor examined her, he was surprised that she made it thru the night. He said that there was one more thing that might help her. Today she is happily living in a local nursing home. She definitely has a strong will and some angels watching over her!
This was another chapter that really touched my heart. The service vs. performance and the definition of intention is the real reason that brings me or anyone on this path.
Some thoughts on Intention:
Uses of therapeutic music:
Different style of music for different patients
Tempo - has a beat
Non-tempo – no beat
Melodic
Non-melodic
There are many kinds of patients in many situations. And they can fit into different categories:
Modes – viola! You have made it simple for me. Why do other teachers and books make it so hard?? And the CD makes it even more clear:
| 1 |
C |
Ionian |
|
2 |
D |
Dorian |
|
3 |
E |
Phrygian |
|
4 |
F |
Lydian |
|
5 |
G |
Mixolydian |
|
6 |
A |
Aeolian |
|
7 |
B |
Locrian |
I rather enjoyed the thoughts by Andre Flavelle. How right! And how it made me smile since I have been in that same situation. I just wanted to run out of the room!
The other experiences listed are quite helpful too. I have already read the book From My Heart to Yours, Thoughts and experiences of a Music Practitioner Intern by Bonnie Leigh. This is so much to be learned by reading what others have learned before you.
Ethics: I am always highlighting the sections on ethics as I read the books. This is so important and it needs to be understood by the allopathic team members. We are not just musicians off the street there for entertainment.
I didn’t know the facts about acoustic vs. electric regarding the sound waves and they are a single wave per note. She further discusses this when she talks about musak.
Acoustic instrument factors:
We need to allow ourselves to just enjoy what flows from our own instruments. Like I said previously, I use my harp practice sometimes purely for my own benefit. It is self-healing.
Chapter 12 – Research
Again, I must wonder why mainstream (allopathic) medicine does not give more credence to music as a therapeutic addition to the healing process.
There is a lot of good suggested reading listed. I am going to save some of these for a bit later on. There are other books that I want to read first.
Chapter 13 – Honoring he Connection – A Personal Mission
It is nice to hear and understand what brought the author to meet me in my own journey.
Principles of healthcare musicians:
The musical loop - our bodies and our instruments are a cycle of health and healing. And we need to bring the advancement of healthcare music to the mainstream by talking about it and getting more people involved.
Just some thoughts. I have read both the text books. I was deeply moved by what I have read for many personal reasons; some are outlines in the above outline. It is changing the way I practice. It is changing the way I see my self. It is changing the way I carry out my daily activities. I never thought when I started this course, that I would be more empowered musically and spiritually. I have received in the mail one of Dr. Bernie Siegal’s books and Stella Benson’s book. I cannot wait to start to read them. Not to mention a whole library of suggested reading.
4 - The Healing Musician by Stella Benson
I was thrilled that this was one of the required reading books. Stella Benson was the first person that I ever heard play clinical music. Little did I realize that I would be taking this course when I first heard her music.
I love this book. It is really ‘hands-on’ and ‘how-to’. It reinforces the information in the previous books by Laurie Riley and then takes it a bit deeper. Yet, Ms. Benson continues with the same statements that not only will we connect with the patient but we have changed as well by the experience we encounter each time we play. I love her statement, "Music is the ethereal connection between this world and the next".
But breaking it down into black and while she explains the Five Human Responses to Music:
Imaging
Emotions
Catharsis
Relaxation
There is a difference between static and dynamic music (recorded and live). The biggest advantage of live music is that you can change the music immediately to suit the needs of the patient.
Body posture: Listen, watch and match the world of the patient and their family, it shows that you understand their situation. And by doing this you can pace your work with theirs for more effective results.
This idea continues in the Three Main Factors that are part of the assessment process:’
The family and the environment
The patient
I have a lot of medical background. But I have forgotten the rules of ‘charting’ and this book brought it back to me, especially with the ATR: Assessment, Therapy and Result.
This is especially a good rule of thumb with AseraCare Hospice with whom I am currently working. We must chart all our patients and this keeps me focused with short concise reports.
The theme related in this as the other books is that therapeutic music is an adjunct therapy. It is added to and supports the works of others caring for the patient.
She speaks of taking care of yourself. I have already learned the value (learned the hard way, I might add) of stretching and exercise to avoid injuries. And unknowingly, I have already started the more spiritual care. I have started a journal of my feelings and thoughts as I learn and play. My husband loves my new found endevour is always pointing out an opportunity to play for someone. I must reign him in, as I need time for refresh, renew and relax. Time needs to be spent practicing and reading and exercising…. and sometimes just doing something completely different.
The sickroom protocol is pretty much a no-brainer, but her thoughts on where to sit by the patient was enlightening.
As she progressed into more of the music and the modes, I kept getting more ‘aha!’ moments. And the more I would read and re-read these parts, there were even more aha’s!! The modes are coming to life for me more than ever with this course.
And the idea that less is more is reiterated in the book. So I am trying to do a bit less of flourishes and keep it simple. "Clarity and purity seem to be more effective."
I found it interesting that she states that quality of the tone plays a big part in supporting the purpose of the musician. Although I have a couple lap harps, I find that my small floor therapy harp is my favorite. It reacts and interacts much more with the patients than do the other harps.
Her thoughts on chords as drones or just the use of drones is helping me with the challenging pulse tempo music. And her music is the back of the book is wonderful! The ‘Chanter’ has the wonderful drone Dm. I just love that and will be incorporating it into my repertoire.
Again, I read that the sense of hearing is the last sense to go before death. I enjoy hospice work the best and this is reassuring to me.
The Three Elements of Music that Affect the Listener the Most:
These are the foundation of healing music
I really enjoyed the breakdown of improvisation. The more that I have been studying this course, the easier it has become. And this book give a ‘how-to’ lesson. There is also a bit more on entrainment with an outline in steps. In essence:
She goes deeper by explaining the Resonant Point Technique. This intrigues me and I will be working on this more as I play.
She ends up with the different types of therapeutic music and classes with the icing on the cake being some music. The music is your chance to tie the book together!
I really enjoyed this book. It was easy to read and to understand. Ms. Benson obviously has taken time to analyze the relay important information for training purposes. I started to read Laurie Riley’s book, Composing Healthcare Music and I find that both the books compliment the other. I am also about half way through Christina Tourin’s Cradle of Sound. Of course she is a Therapist going places where my training will not go; and she goes into much more spiritual meanings and aspects of the music. All in all, the theme is the same. (And perhaps I shouldn’t read too many books at one time! But I do like to get a different perspective from each author)
5 - Love, Medicine and Miracles by Bernie Siegel, MD
I was fortunate enough as a child in school to be taught speed reading. It was a tough course where I learned how to zip thru a page and retain what I had learned. It helped me tremendously through my youthful schooling. On the other hand – I love poetry, to read and to write. You cannot ‘speed read’ poetry. You hang on every word; read and re-read it; ponder it. It is a far cry from speed reading.
With that being said manuals, too, should not be zipped thru like a novel, but I found in Dr. Siegel’s book that there were parts that I dashed though: many of his patients scenario’s and speaking engagements. Then there were those times (and many of them in this book) where my speed was tripped; or should I say halted like running into a concrete wall!
He presented numerous personal accounts with his patients. (At first I thought it was almost too much - but later I found that he was simply driving home a point.) And his transformation from a ‘normal’ doctor to a healing doctor was fascinating. His candor was refreshing. His stories were poignant. He message was unmistakable. As in Laurie Riley’s books - this book is about the mind-body aspect of healing. (I am so glad that I had already read one of Elizabeth Kubler Ross’s books before reading this one, too.)
I wanted to take note of some of the words and phrases that stopped me in my tracks:
The pages on the survivor personality are not just for survivors – but for the whole world. This mark is the begging of the end of the book. And it took me quite awhile to finish the book even though there were so few pages.
It related a lot to me and to my family and my relationships; of how I want to use my music for healing. In the end section, too, there were many stories of more miracles, but this time the anecdotes were more spiritual. I read them thinking of some of the miracles that I have encountered with my music, but still doubting that there would be more in the future. Still I was gripped by the final chapters. And then he gave his final quote.
It was from a book called "The Bridge of San Luis Rey; A book that I had read in my youth; a book that also changed my life – but was long forgotten. He had a quote that I, many years ago, had written down from this book and kept it with me for many years until it was tattered, torn and disappeared:
I was so shocked to read this again. I again started to believe that there will be more miracles in my future with my music and in my life. I wept. I felt that this phrase alone is more than coincidence. It is an answer that I have been seeking regarding my journey with my music as well as my life.
This CMP course is a turning point for me... personally. It is my life in full circle – taking me back to a lifestyle and a belief system that I have in my younger years. Although the book reports are required, I write the book reports for myself. I am not sure the format is what is needed for the studies, but I need to document exactly how I feel and I need to keep close to me some of the words and phrases that I want to review.
_______________________________________________________
When we can kill our own desire to kill, and learn to exclude no one, the world will change, and we will return from whence we came – from the energy that chose to love out of its own intelligence.
-Muktananda
(From Love, Medicine and Miracles)
6 - Basic Clinical Musicianship by Laurie Riley
Required Text Book report by chapter
Chapter 1 - Introduction to Music as a Therapeutic Modality
History:
This chapter put into words the reason which started me on this journey. The fact that there is more to healing that medicine for the body; There is medicine for the mind and the spirit. I liked the reference using the term body-minds.
Development of Modern Training Programs:
This brought together, at least for me, all of the different programs of clinical music and how music therapy has evolved. Also, the way the Laurie Riley wrote this part, really shows her knowledge of the history and how it all came to be. Of course, it also sounds like she was integral part of it all, too. Thanks for the list of subscription publications and web groups.
Terminology:
I already knew much of this, but it is nice to have it but down in black and white and clearly identified.
Modern Applications of Therapeutic Music:
This is where I really wanted to learn. Music therapy is being dissected into different formats, genre? It is starting to lay a clear path for me of what is expected of the CMP.
Basic Concepts and Principles:
Religion:
This is a no-brainer. To each his own. Don’t force your own beliefs onto someone else.
Mixing Modalities:
When I first saw this, I though that chapter would be on different music modalities! But it turned out to be about different professionals, volunteers etc. who are there to help in the healing process. And it specifically clarified that we are NOT to help in another aspect of the patient’s care. I am very glad to see that Ms. Riley put the caveat on this section regarding chaplains and hospice caregivers. I am a hospice caregiver working the Harmony of Hearts program. We are musicians and caregivers at the same time.
Chapter 2 – Basic Music Structures
Current Philosophies:
What is perceived by others and what TM (therapeutic music) really is. We need to assess the situations and play for the needs of the patient. The emphasis is not that our melodies need to be familiar – but the modes, the style and he harmony must be acceptable to the patient.
Modes:
Most Westerners prefer the Ionian or Aeolian (major or minor scales). The next is an interesting and very clear hands-on description of the various modes.
Melody or no melody:
For extreme relaxation and sleep and vigils: chord patterns and non-melodic sequences. NOT to be used in ICS, Emergency or Surgery (anything critical)
Critical situations: use a more defined melody, time signature and gentile tempo.. to encourage the body to stabilize vital signs.
Slow Music Only
No. Not all the time. It must be gauged and might even border on entertainment.
Appropriate Instruments:
Another no brainer
. You don’t want amplified or loud instruments. It only needs to be heard by the patient.
High and Low Pitch:
Most folks love the low tones.. but this is mainly true in adults. But of course, a lap harp has a limited range.. as long as he music is not shrill. But kids seem to like the higher pitch.
Types of Repertoire:
Take a song and change it! Different tempo … modify it in some way. Use it to fit the situation.
There are two general types of music:
1) rhythmic - it has an inherent beat
2) non-rhythmic- long pauses at the ends of its phrases (not necessarily measures) It cannot be counted in a regular fashion. It can have a melody or mostly consists of chord patterns.
From here we have 4 categories:
Non-rhythmic
Familiar
Variety
Use music according to patients needs. i.e agitated – non-rhythmic. Pulse tempo for acute situations. And make sure you watch the patient and/or equipment. Change the music to fit the situation as it changes.
Modify current repertoire for beside work.
Palliative Care Philosophies
Palliative care for illness that cannot be cured – to alleviate pain as completely as possible
Respect the atmosphere of hospice. Speaking and playing quietly. You might need to explain the philosophy of the music. As always, play depending on the situation of the patient.
You are playing sometimes for the family, too.
Introduction to Internship
Since I have worked in the healthcare field previously, this is a great refresher course.
You just don’t want to be in the way of the healthcare professionals!
Confidentially! And now with the HPPA laws, this is of utmost importance
Code of Ethics: I think that this needs to be stressed to the institution. Many are unaware of therapeutic music and might not give credence to our professionalism.
Some of the important factors are: (the others seemed to be common sense)
Look/dress professional
If monitoring equipment is available, that can help you determine what you will be playing. If none, watch the patient: breathe rhythm, agitation.
Breaking thru barriers might be part of the internship – with staff that do not understand the effect and/or the philosophy of clinical music.
Infection control! Big thing nowadays.. especially with MRSA so widespread in hospitals. Get some antibacterial towelettes
Bodily fluids – no brainer
No behavioral health patients – this is left for the music therapists
Security – wear your name badge, keep personal article safe
Codes – I am already aware from my healthcare background.
How to approach an institution
This has a ton of great information! It’s like a lesson in how to write a resume and how to prepare for your interview.
This was a great book! Thank you!
7 - Of Sound Mind and Body: Music and Vibrational Healing
This is a video report instead of a book report. While shopping on Amazon for the required reading, I came across this DVD. It intrigued me since it feature Deepak Chopra and Dr. Bernie Siegel from the most recent book I read, Love, Medicine and Miracles.
The video immediately started out with the aspect of looking inside yourself and becoming more aware of the sounds around you and the sounds within. It moved quickly into the rhythms of life and the cosmos. It was a series of interviews of those most in tune (sorry about the pun) with the aspects of sound as it related to healing.
It would flip back and forth from one expert to another and at times demonstrate the technique on which they spoke. This was very interesting.
But what was most revealing was something called cymatics. It showed grains of sand on a tray. When different sounds/tones were played the grains of sand produced are design that could be reproduced each time that tone was played. It showed the viewer, without a doubt, that sounds has an impact on the body at a cellular level. If there are any non-believers in the fact that music/sound has an effect on the body as a method of healing, this is all that is needed to prove it.
In additional to the impact of cymatics, I found the various other forms of sound healing most interesting: toning, drumming and the voice in massage to name a few. All this seems new to me, but this is something that the so called primitive people knew for generations. There was a demonstration from Africa and also our Native Americans.
The video was way too short. I believe that there are some sequels that I will want to view.