Music Therapy Today, Vol. 11, No. 2 (Special Issue)

Music Therapy Today

WFMT online journal MUSIC THERAPY TODAY. 30th Anniversary Edition Volume 11, No. 2

2015 WFMT. All rights reserved ISSN: 1610-191X

MusictherapyToday 30th anniversary Edition, Volume 11, No. 2

suggested citation of this publication

author a. a., author B. B., & author C. C. (2015).

Title of article. Music Therapy Today 11(2), pp-pp.

Retrieved from http://musictherapytoday.wfmt.info

MusictherapyToday 30th anniversary Edition, Volume 11, No. 2

Music therapy today 30th anniversary edition editor

Melissa Mercadal-Brotons, ph.D., Mt-Bc, sMtae

Guest-editor

annie heiderscheit, ph.D., Mt-Bc, LMFt

Business Manager

amy clements-cortés, ph.D., rp, Mt-Bc, Mta, FaMi

editorial Board

anita Gadberry, ph.D., Mt-Bc Joy allen, ph.D., Mt-Bc Kana Okazaki-sakaue, Da, Mt-Bc, NrMt, araM Katrina MacFerran, ph.D., rMt Michael silverman, ph.D., Mt-Bc Nancy Jackson, ph.D., Mt-Bc patricia L. sabbatella, ph.D., eMtr-supervisor, Mtae-spain sooji Kim, ph.D., Mt-Bc, KcMt sumathy sundar, ph.D Giorgios tsiris, ph.D. candidate, MMt-Nr, Ba (hons) renato sampaio, ph.D. candidate, Mt helen Oosthutzen, MMus (Music therapy)

translations

Melissa Mercadal-Brotons, phD, Mt-Bc, sMtae

Graphic Design

editorial Médica Jims, s. L.

published by

World Federation of Music therapy (WFMt) www.wfmt.info Music therapy today issN 1610-191X

MusictherapyToday 30th anniversary Edition, Volume 11, No. 2

cONteNts presiDeNtiaL GreetiNG

# WFMT30RoCKS: 30 yEaRS aNd GRoWING STRoNG ..... 6 Amy Clements-Cortés

WFMt chair puBLicatiONs cOMMissiON & Mtt eDitOr GreetiNG 30 yEaRS oF THE WFMT: a REaSoN To CELEBRaTE ..... 9 Melissa Mercadal-Brotons

Our histOry

THE WoRLd FEdERaTIoN oF MUSIC THERaPy: KNoWING aNd CELEBRaTING oUR HISToRy ....... 11 Annie Heiderscheit

WFMt OrGaNiZatiON at preseNt

MUSIC THERaPy dEVELoPMENT aRoUNd THE WoRLd ..... 15 Anita L. Gadberry, Aksana Kavaliova-Moussi, Carol Lotter, Jeanette Milford, Baishali Mukherjee

MusictherapyToday 30th anniversary Edition, Volume 11, No. 2

adVaNCING THE WoRLd FEdERaTIoN oF MUSIC THERaPy (WFMT) oRGaNIZaTIoN: STRaTEGIC PLaNNING PRoCESS ..... 25 Annie Heiderscheit, Petra Kern, Amy Clements-Cortés, Anita L. Gadberry, Jeanette Milford, Jen Spivey 30 aMaZING yEaRS oF THE WFMT ..... 42 Amy Clements-Cortés (President 2014-2017)

articLes By past presiDeNts OF the WFMt

HISToRy oF THE CREaTIoN oF THE WoRLd FEdERaTIoN oF MUSIC THERaPy (WFMT) …… 47 Rolando Benenzon (WFMT President: 1985-1990)

INTERVIEW FoR dR. RUTH BRIGHT ...... 54 Annie Heiderscheit; Ruth Bright (WFMT President: 1990-1993) WFMT: PaST, PRESENT aNd FUTURE ..... 60 Cheryl Dileo (WFMT President: 1993-1996)

REFLECTIoNS oN THE WoRLd FEdERaTIoN oF MUSIC THERaPy (WFMT): PaST, PRESENT aNd FUTURE ..... 64 Denise Grocke (WFMT President: 1999-2002)

THE WoRLd oF MUSIC THERaPy: a JoURNEy THRoUGH TIME aNd PLaCE ..... 73 Suzanne Hanser (WFMT President: 2002-2005)

WoRLd CoNGRESSES oF MUSIC THERaPy: BUILdING BLoCKS oF KNoWLEdGE ..... 77 Gabriela Wagner (WFMT President: 2005-2008)

oRGaNIZaTIoNaL LEadERSHIP dEVELoPMENT: INVESTING IN STUdENTS ..... 96 Petra Kern (WFMT President: 2008-2011)

BOOK reVieW

INTERNaTIoNaL PERSPECTIVES IN MUSIC THERaPy EdUCaTIoN aNd TRaINING: adaPTING To a CHaNGING WoRLd..... 106 Amy Clements-Cortés

MUSICTHERAPYToday 30th anniversary Edition, Volume 11, No. 2

#WFMT30Rocks:

30 Years and Growing Strong

By Amy Clements-Cortés, PhD, RP, MT-BC, MTA, FAMI; President, WFMT

It has truly been an honour for me to serve as the World Federation of Music Therapy (WFMT) President during our 30th anniversary. you might be wondering about the title of my greeting here depending on when you read this journal. If you are reading it when it was written in 2015, you will most likely understand the concept of a “hashtag” and this particular one: #WFMT30Rocks. Throughout this year I have been using this “catchy phrase” to help spread the word and encourage all music therapists and persons around the globe interested in music and medicine, to celebrate 30 years of this dynamic organization; the WFMT. I also chose to start with this title as it highlights the importance of history.

Individuals and organizations mark their histories in many ways; it might be through written materials, or photographs and even dare I say, hashtags. If you are reading this article in 2035, people might not be using the “Twitter” Social media network and therefore “hashtags” may have become obsolete, BUT they do mark our place and time. according to Merriam-Webster (2015) a hashtag is “a word or phrase preceded by the symbol # that classifies or categorizes the accompanying text (such as a tweet)”; so I hope in another 20 years that the hashtag #WFMT30Rocks will bring fond memories, and inspire future celebrations for the 50th anniversary!

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Ha sido un verdadero honor para mí ocupar el cargo de Presidente de la Federación Mundial de Musicoterapia (WFMT) durante nuestro 30 Aniversario. Tal vez se pregunte sobre el título de mi saludo dependiendo de cuando lea esta revista. Si la está leyendo cuando fue escrita, en 2015, lo más probable es que entienda el concepto de un "hashtag", y este en particular: #WFMT30Rocks. A lo largo de este año he utilizado esta "frase pegadiza" para ayudar a difundir la palabra y animar a todos los musicoterapeutas y personas de todo el mundo, interesados en la música y la medicina, a celebrar los 30 años de esta dinámica organización: la WFMT. También decidí comenzar con este título, ya que pone de relieve la importancia de la historia.

Los individuos y las organizaciones marcan sus historias de muchas maneras; puede ser que sea a través de materiales escritos o fotografías e incluso me atrevería a decir, hashtags. Si está leyendo este artículo en 2035, quizás las personas ya no estén utilizando la red social "Twitter" y por tanto los "hashtags" pueden haber quedado obsoletos, PERO marcan nuestro lugar y tiempo. De acuerdo con Merriam-Webster (2015) un hashtag es "una palabra o frase precedida por el símbolo # que clasifica o categoriza el texto que lo acompaña (como un tweet)"; así que espero que dentro de 20 años el hashtag #WFMT 30Rocks traerá buenos recuerdos, e inspi-

MUSICTHERAPYToday 30th anniversary Edition, Volume 11, No. 2

There were many celebrations that took place during this 30th anniversary year including the: Song Contest, Happy Birthday Social Media Challenge, Contributions and Tributes Projects. I am pleased to write a note here for the final celebration project this year: the production of a special edition of Music Therapy Today in recognition of our anniversary.

In this issue you will find articles that uphold and pay tribute to the history of the WFMT. There are recollections from Past Presidents, and current articles from WFMT Council members which enable readers to acknowledge historical contributions, as well as envision how the WFMT can continue to grow and develop to further elevate the status of music therapy around the world as an art and science.

The WFMT journal is a peer reviewed publication which is made possible through the outstanding editorial directorship of dr. Melissa Mercadal-Brotons and the dedicated Music Therapy Today editorial review board comprised of reviewers from around the globe. I want to thank dr. Mercadal-Brotons and dr. annie Heiderschiet, the guest editor of this edition for their dedication and hard work in preparing this important volume. I trust you will enjoy this volume and hope that it inspires you to consider submitting an article for publication in future editions. as President of the WFMT I am honoured to serve as the Business Manager for this important publication. don’t forget #WFMT30Rocks!

Reference Merrian-Webster (2015). Hashtag. Retrieved from http://www.merriam-webster.com/ dictionary/hashtag

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rará futuras celebraciones para el 50 Aniversario.

Ha habido muchas celebraciones durante este trigésimo aniversario incluyendo: Concurso de Canciones, el Reto del Cumpleaños Feliz de las Redes Sociales, Proyectos de Contribuciones y Homenajes. Tengo el placer de escribir esta nota aquí para el proyecto de la celebración final de este año: la producción de una edición especial de Music Therapy Today en reconocimiento a nuestro aniversario.

En este número encontrarán artículos que defienden y rinden homenaje a la historia de la WFMT. Hay recuerdos de presidentes anteriores y artículos actuales de los miembros del Consejo de la WFMT que permiten a los lectores reconocer las contribuciones históricas, así como imaginarnos cómo la WFMT puede seguir creciendo y desarrollándose para realzar aún más la situación de la musicoterapia como arte y ciencia en todo el mundo.

La revista de la WFMT es una publicación evaluada por pares, lo que es posible gracias a la destacada dirección editorial de la Dra. Melissa Mercadal-Brotons y del Comité Editorial de Music Therapy Today, compuesto por colaboradores de todo el mundo. Quiero agradecer a la Dra. Mercadal-Brotons y a la Dra. Annie Heiderschiet, editora invitada de este número, por su dedicación y arduo trabajo para la preparación de este importante volumen. Confío en que disfrutarán de esta edición y espero que les inspire a considerar la presentación de un artículo para su publicación en futuras ediciones. Como Presidente de la WFMT tengo el honor de ejercer como Gerente Comercial para esta importante publicación. No olviden: #WFMT30Rocks!

MUSICTHERAPYToday 30th anniversary Edition, Volume 11, No. 2

About the Author

Amy Clements-CortĂŠs, PhD, RP, MTA, MT-BC, FAMI amy Clements-CortĂŠs is assistant Professor, Music and Health Research Collaboratory, University of Toronto; Senior Music Therapist/Practice advisor, Baycrest; Instructor and Supervisor, Wilfrid Laurier University and Registered Psychotherapist. She is the President of the World Federation of Music Therapy (WFMT), Managing Editor of the Music and Medicine journal and serves on the editorial review board of the Journal of Music Therapy, Music Therapy Perspectives and Voices.

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MuSiCThErAPyToday 30th anniversary Edition, Volume 11, No. 2

30 years of the WFMT: A reason to celebrate

By Melissa Mercadal-Brotons, PhD, MT-BC, SMTAE Chair Publications Commission, WFMT

What an honor to present this 30th anniversary Edition of Music Therapy Today led by guest editor dr. annie Heiderscheit. It is a real privilege to have received contributions from most of the people who have witnessed the conception and development of the first 30 years of the WFMT. This special issue represents a footprint in the history of the organization narrated in first person by the same actors of this journey.

By reading all these articles one certainly becomes aware of the importance of personal characteristics such as enthusiasm, open-mindedness, and determination to move beyond personal cultural boundaries to create a more encompassing organization for a given discipline. Thus, despite personal and cultural differences, all these authors have showed the willingness to exchange ideas and information, which may be of interest to anyone. They shared a common goal during their tenure in the WFMT: the presence and recognition of music therapy throughout the globe to enhance the quality of life for people with problems and disadvantages.

I hope these testimonies also serve as inspiration and models for present and future generations of music therapists so that the World Federation of Music Therapy, and the

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¡Qué honor poder presentar esta edición del 30 Aniversario de Music Therapy Today liderada por la editora invitada Dra. Annie Heiderscheit! Es un verdadero privilegio haber contado con las contribuciones de la mayoría de las personas que han sido testigos de la concepción y el desarrollo de los primeros 30 años de la WFMT. Este número especial representa una huella en la historia de la organización narrada en primera persona por los mismos actores de este itinerario.

Al leer todos estos artículos, ciertamente uno se da cuenta de la importancia de las características personales tales como el entusiasmo, la amplitud de miras, y la determinación para traspasar las fronteras culturales personales para crear una organización más global de una disciplina determinada. Así, a pesar de estas diferencias, todos estos autores han demostrado la voluntad de intercambiar ideas e información que pueden ser de interés para cualquier persona, y han compartido un objetivo común durante su paso por la WFMT: lograr una mayor presencia y reconocimiento de la musicoterapia en todo el mundo para mejorar la calidad de vida de las personas con problemas y discapacidades.

Espero que estos testimonios también sirvan de modelo y fuente de inspiración para las generaciones presentes y futuras de musico-

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music therapy profession can continue to grow and expand for many more years.

I want to conclude by congratulating and expressing my deep gratitude to all the contributors of this 30th anniversary edition of Music Therapy Today for sharing their vision, time, expertise, and commitment towards the growth of the World Federation of Music Therapy.

terapeutas para que la WFMT y la profesión de la musicoterapia puedan seguir creciendo y expandiéndose durante muchos años más.

Quiero concluir felicitando y expresando mi profundo agradecimiento a todos los colaboradores de esta edición del trigésimo aniversario de Music Therapy Today por compartir su visión, tiempo y experiencia, y por su compromiso para el desarrollo de la Federación Mundial de Musicoterapia.

About the Author

Melissa Mercadal-Brotons, PhD, MT-BC, SMTAE Melissa Mercadal-Brotons is the director of the Music Therapy Master Program, Escola Superior de Música de Catalunya (ESMUC), and Coordinator of Research and Master Programs at ESMUC. She is the Chair of the Publications Commission of the World Federation of Music Therapy (WFMT) and the Spanish delegate of theEuropean Music Therapy Confederation (EMTC).

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MUSiCTHErAPyToday 30th anniversary Edition, Volume 11, No. 2

The World Federation of Music Therapy: Knowing and celebrating our history

By Annie Heiderscheit, Ph.D., MT-BC, LMFT, Minneapolis, MN (USA) Guest Editor; Past President, World Federation of Music Therapy (2014-2017)

We all have a history. The longer our feet are on the soil the more extensive our history becomes. We continue to gather new experiences, meet new people, make new discoveries, re-learn some lessons, and make new memories, while reflecting on memories and experiences. We may document our personal history with photographs, journals, diaries, sharing stories or we may simply hold onto the memories. our history is only passed along through the documentation, evidence or stories that we share with others. organizations are similar in many ways. organizations have a history. While an organization is comprised of a group of people collectively joined for a common vision or mission, in their shared experience they have a history.

Just like our personal history, the history of an organization is only preserved if it is documented and this evidence is maintained. Without these documents and evidence the history of an organization is simply forgotten, lost or disappears over time.

This anniversary issue of Music Therapy Today is dedicated to documenting and honoring the history of the World Federation of Music Therapy. This issue strives to preserve the history of the organization for our future generations to understand not only the development of this global organization but the changes the organization encountered, and

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Todos tenemos una historia. Cuanto más tiempo estén nuestros pies en el suelo, más extensa se vuelve nuestra historia. Continuamos reuniendo nuevas experiencias, conociendo gente nueva, realizando nuevos descubrimientos, reaprendiendo algunas lecciones e imprimiendo nuevos recuerdos, mientras reflexionamos sobre las experiencias y los recuerdos más antiguos. Podemos documentar nuestra historia personal con fotografías, revistas, diarios, compartiendo historias o podemos simplemente aferrarnos a los recuerdos. Nuestra historia sólo se transmite a través de la documentación, pruebas o historias que compartimos con los demás. Las organizaciones son similares en muchos aspectos. Las organizaciones tienen una historia. Mientras que una organización está compuesta por un grupo de personas que comparten un objetivo o misión común, en su experiencia compartida, tienen una historia.

Al igual que nuestra historia personal, la historia de una organización sólo se conserva si se documenta y esta evidencia se mantiene.

Sin estos documentos y pruebas la historia de una organización simplemente se olvida, se pierde o desaparece con el tiempo.

Esta edición de MusicTherapy Today, en la celebración del 30 aniversario, está dedicada a documentar y rendir homenaje a la historia de la Federación Mundial de Musicoterapia.

Esta edición pone énfasis en preservar la his-

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those that were instrumental in forming, building, growing and sustaining the organization. Preserving the history of the WFMT allows us to learn from our experiences, so we can continue to recognize what is effective for the organization, as well as what has not been effective for the organization and its members.

young, Bicknese and Hendry (2006) identify several benefits to documenting and preserving organizational history. They suggest that maintaining an organization’s history ensures great order and efficiency of organizational operations. It allows for ease of access to information and records. Maintaining historical records and archives can help to demonstrate the strength, credibility and longevity of an organization. This can also foster a sense of pride in the mission and efforts of an organization and its commitment to the community.

Recording the history of an organization also provides a record for use for educational purposes. additionally, historical information provides vital information in strategic planning for an organization. Reviewing successes and challenges from the past can support an organization in determining future plans and strategies.

This anniversary edition includes a plethora of history, taking us back to the beginning of the World Federation of Music Therapy. This issue is comprised of the experience and wisdom of the organization’s former presidents with articles from dr. Rolando Benezon (1985-1990), an interview with Ruth Bright (1990-1993), as well as articles by dr.

Cheryl dileo (1993-1996), dr. denise Grocke (1999-2002), dr. Suzanne Hanser (20022005), Gabriela Wagner (2005-2008), and dr. Petra Kern (2008-2011). There is also an article by the current WFMT President, dr. amy Clements-Cortes reflecting on impact and contributions the WFMT on the global

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toria de la organización para nuestras futuras generaciones, para entender no sólo el desarrollo de esta organización mundial, sino los cambios que han ido sucediendo, y los que jugaron un papel decisivo en la formación, el crecimiento y el mantenimiento de la organización. Preservar la historia de la WFMT nos permite aprender de nuestras experiencias, para que podamos seguir reconociendo lo que ha sido y no ha sido eficaz para la organización, así como para sus miembros.

Young, Bicknese y Hendry (2006) identifican varios beneficios en documentar y preservar la historia de una organización. Sugieren que el mantenimiento de la historia de una organización asegura un gran orden y eficiencia en las operaciones de la organización. Se facilita el acceso a la información y a los documentos. El mantenimiento de los registros históricos y de los archivos puede ayudar a demostrar la fuerza, la credibilidad y la longevidad de una organización. También puede fomentar un sentido de orgullo en la misión y los esfuerzos de una organización y su compromiso con la comunidad. Documentar la historia de una organización también proporciona un registro para su uso con fines educativos. Además, la información histórica proporciona información vital en la planificación estratégica de una organización. La revisión de los éxitos y los retos del pasado puede apoyar a una organización en la determinación de los planes y estrategias de futuro.

Esta edición de aniversario incluye una abundancia de historia, que nos lleva de nuevo al principio de la Federación Mundial de Musicoterapia. Incluye las experiencias y la sabiduría de los ex-presidentes de la organización con los artículos de Dr. Rolando Benezon (1985 -1990), una entrevista con Ruth Bright (19901993), así como artículos de Dra. Cheryl Dileo (1993-1996), Dra. Denise Grocke (1999-2002), Dra. Suzanne Hanser (2002-2005), Gabriela

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development of music therapy over these 30 years.

This issue also includes an article by the Strategic Planning Workgroup (SPW) (2012-2014) that worked under the guidance of Public Relations Chair, Maite Barbe (2011-2014) to complete the organization’s current strategic plan. This article discusses the importance of strategic planning for organizations and details the process and experience of the WFMT SPW. as organizations are striving to remain relevant in an ever-changing world, exploring and discovery how to operate strategically is not only critical to the existence of an organization, but also necessary to foster the development of the profession. This in-depth article provides an overview of the strategic planning process and how the strategic planning work group (SPW) gathered, collated and translated the data into a comprehensive plan for the WFMT.

Five of the WFMT regional liaisons have collaborated to provide an article detailing and discussing the development of music therapy in three different regions of the world. This article illustrates that the development of the profession continues to grow and is at various stages of development throughout the world.

The information included in this article will be valuable for those working to develop music therapy in their own respective area of the world.

This issue also includes a book review of International Perspectives in Music Therapy Education and Training: adapting to a Changing World, edited by Professor Karen Goodman and published by Charles C. Thomas. dr. amy Clements-Cortes provides a thorough review of this text, giving the reader an indepth orientation to material captured by the wide array of international contributors of this new publication.

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Wagner (2005-2008), y de Dra. Petra Kern (2008-2011). También se incluye un artículo escrito por la actual Presidente de la WFMT, Dra. Amy Clements-Cortes reflexionando sobre el impacto y las contribuciones de la WFMT al desarrollo mundial de la musicoterapia en estos 30 años.

Este número de la revista también incluye un artículo del Grupo de Trabajo de Planificación Estratégica (SPW) (2012-2014) que trabajó bajo la dirección de la Responsable de Relaciones Públicas, Maite Barbe (desde 2011 hasta 2014), para completar el actual plan estratégico de la organización. En este artículo se analiza la importancia de la planificación estratégica para las organizaciones y se detalla el proceso y la experiencia del SPW de la WFMT. Mientras las organizaciones se esfuerzan por seguir siendo relevantes en un mundo en constante cambio, la exploración y el descubrimiento de cómo operar estratégicamente no sólo es fundamental para la existencia de una organización, sino también necesario para fomentar el desarrollo de la profesión.

Este artículo proporciona una visión general, y a la vez profunda, sobre el proceso de planificación estratégica y la forma en que el grupo de trabajo SPW reunió, recopiló y tradujo los datos en un plan integral para la WFMT.

Cinco de los coordinadores regionales de la WFMT han colaborado para confeccionar un artículo que explica con detalle el desarrollo de la musicoterapia en tres regiones diferentes del planeta. Este artículo muestra que el desarrollo de la profesión continúa creciendo y se encuentra en diversas etapas de desarrollo en diversas partes del mundo. La información incluida en este artículo será de gran valor para los que trabajan para desarrollar la musicoterapia en su zona.

Esta edición también incluye una reseña del libro International Perspectives in Music Therapy Education and Training: Adapting to a

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The breadth and depth of information shared in the articles throughout this anniversary edition of Music Therapy Today is a wonderful tribute to celebrating 30 years of the World Federation of Music Therapy. Enjoy the gift that each contributing author has given in honor of this historic moment of our international music therapy organization. Imaging what we might be writing and reading about in our journal in another 30 years. references

young, S., Bicknese, d., & Hendry, J. (2006) Documenting and preserving organizational history. Chicago, IL: University of Illinois.

Changing World, editado por la Profesora Karen Goodmany publicado por Charles C. Thomas. La Dra. Amy Clements-Cortés ofrece una profunda revisión de este texto, dando al lector una amplia orientación del material recogido por la amplia gama de colaboradores internacionales de esta nueva publicación.

La amplitud y profundidad de la información compartida en los artículos de esta edición de aniversario de Music Therapy Today es un maravilloso tributo a la celebración de los 30 años de la Federación Mundial de Musicoterapia. Disfruten de la aportación de cada autor en honor de este momento histórico de nuestra organización internacional de la musicoterapia. Imaginen lo que podremos estar escribiendo y leyendo en nuestra revista en otros 30 años.

About the Author

Annie Heiderscheit, Ph.D., MT-BC, LMFT, Fellow, Association for Music and imagery annie Heiderscheit is the director of the Master of Music Therapy program and assistant Professor of Music at augsburg College in Minneapolis, MN. She is the Past President of the WFMT and director of development and Finance for the International association of Music and Medicine.

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MusictherapyToday 30th anniversary Edition, Volume 11, No. 2

Music therapy Development around the World anita L. Gadberry, scraton, usa aksana Kavaliova-Moussi, Kingdom of Bahrain carol Lotter, south africa Jeanette Milford, south australia Baishali Mukherjee, india abstract

The profession of music therapy is at various stages of development in different parts of the world. The development of music therapy in four areas of the world (australia/New Zealand, South africa, Eastern Mediterranean, India) is examined in this article. also included are some of the challenges music therapists may face in each respective location.

Resumen

La profesión de la musicoterapia está en distintas etapas de desarrollo en diferentes partes del mundo. En este articulo se examina el desarrollo de la musicoterapia en cuatro zonas del mundo: Australia/Nueva Zelanda, Sudáfrica, el Mediterráneo Oriental, India. También se comentan algunos de los retos que los musicoterapeutas se pueden encontrar en cada zona.

Keywords: Music therapy, development, history, education.

Palabras clave: Musicoterapia, desarrollo, historia, educación.

Music therapy Development around the World

australia and New Zealand

This article focuses on music therapy development in four areas of the world. Historical and cultural influences are included as well as the current state of the profession in each area. Though the geographical regions are diverse and the cultures differ considerably, there are similarities evident in the historical and current practice of music therapy in various regions. yet each location also has unique challenges and successes due to historical and cultural influences.

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The ancient cultural traditions of this region extend back about 1,000 years in New Zealand and more than 40,000 years in australia.

These rich indigenous cultures incorporated music with ritual and ceremony to perform integrated social, spiritual, moral, and educational functions. during the last 200 years, the devastating effects of British colonization and European missionaries dramatically changed the regional cultural landscape. australian culture was further impacted by European migration following World War II, and more

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recently asian immigration to both countries has created a complex multicultural society (Croxson, 2001).

This diverse mix has led to unique patterns of cultural inheritance as well as social disadvantage for music therapists to navigate. Without a unified sense of history, the music therapists in this region are not bound by any single tradition and have evolved a pioneering spirit that is inclusive and open to new ideas.

They tend to be eclectic and pragmatic, responding primarily to clinical context and the client's sense of personal meaning and cultural identity.

although music therapy developed informally earlier in australia than in New Zealand, the countries have enjoyed parallel developments and a close relationship. Early music therapy developments were in psychiatric settings, with music reportedly used in Queensland hospitals as a form of social and moral therapy from the late 19th century (MacKinnon, 2000). In the 1920s, an australian branch of the american International Society for Musical Therapeutics was formed in Sydney. The australian Red Cross Society established a music therapy service in 1950, growing from concerts and a music library to providing professional music therapy programs in 14 hospitals. Two australians who pioneered music therapy in both australia and New Zealand began their careers working in psychiatric hospitals: Ruth Bright in 1960 and denise Grocke (the first overseas trained music therapist in australia) in 1970 (Bright & Grocke, 2000).

In 1974, Paul Nordoff and Clive Robbins visited australia and New Zealand, inspiring many with their use of songs and improvisation to engage children with disabilities (Croxson, 2003). Their visit stimulated growth and understanding, with the New Zealand Society

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for Music Therapy (now Music Therapy New Zealand) and the australian Music Therapy association (aMTa) established the following year (Bright & Grocke, 2000).

In 1978, an undergraduate music therapy program was developed at Melbourne University and this became the leading degree program in australia, currently offering masters degrees by coursework or research, a graduate diploma in guided imagery and music, and a Phd program in music therapy. a number of other training courses were lost to economic rationalization, including a master’s degree in Brisbane and postgraduate diplomas in Melbourne and Sydney. The only other music therapy training currently available in australia is the master of creative music therapy degree program in Sydney (aMTa, 2012). a music therapy masters degree has been available in Wellington, New Zealand since 2000.

In this region a Registered Music Therapist, or RMT, is the professional status signifying that the individual has successfully completed an accredited tertiary course of study in music therapy and continues to maintain his/her skills through approved professional development. There are currently around 70 RMTs in New Zealand and 500 in australia (Milford, 2013; Milford, 2014).

Some professional development is available through the national associations. aMTa has held annual conferences from its inception and established the fully refereed australian Journal of Music Therapy in 1990 (aMTa, 2012). The New Zealand Society of Music Therapy also organizes conferences and publishes The New Zealand Journal of Music Therapy (Music Therapy New Zealand, 2011).

Music therapists in this region are currently embracing new technologies and finding ways to integrate technology with live music making

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for therapeutic benefit. ongoing funding cuts to public health and education present ongoing challenges, but new funding opportunities offer promise by placing funding decisions more in the hands of consumers.

International specialists have always been welcomed to this region to strengthen theoretical understanding, including specialized training in Guided Imagery in Music (GIM) initially and more recently in Neurologic Music Therapy (NMT). along with the emergence of training for specialist competencies, recent discoveries in neuroscience have provided more information about the significant benefits of music training and participation. This region is beginning to celebrate a growing public awareness of music as much more than a pleasant recreational pursuit (H. Shoemark, personal correspondence, 2015).

Music therapy has enjoyed increased media coverage and has embraced the general shift towards wellness and community models of health. The Music, Mind & Wellbeing initiative (MMW) at Melbourne University links neuroscience with music and social wellbeing through a unique set of collaborations spanning music, science, health, education, and industry (Music, Mind & Wellbeing, 2015). Increased affordability of travel and electronic communication has enabled closer connections and collaborations with music therapists in the northern hemisphere. although music therapists in this region are relatively small in number, they are proud to be making significant contributions to international research and publications. south africa

The department of Music at the University of Pretoria launched its masters in music therapy program in February 1999. The program is accredited by the Health Professionals

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Council of South africa (HPCSa) (South african Music Therapy association, 2015). It is the only music therapy degree program in South africa.

The University of Pretoria music therapy training program was co-founded by Professor Mercedes Pavlicevic and Mrs. Kobie Swart (nee Temmingh) (South african Music Therapy association, 2015). The training program was originally offered as a residential program with students attending weekly lectures and all clinical placements were located in Pretoria. The full time master’s degree has been offered in a modular format since 2010, enabling students from all over South africa to study music therapy (University of Pretoria, 2015). Students attend nine-day intensive blocks on campus, but complete the majority of course work from home. This arrangement has enabled the profession to be better established in other South african centers including Cape Town, Port Elizabeth, Johannesburg, Nelspruit, and Lydenburg. Since 2015, the training program accepts an annual intake of master’s students.

South african Music Therapy association (SaMTa), services the professional music therapy community in South africa. all HPCSa registered music therapists are encouraged to join the association. SaMTa offers continuing professional development events, peer supervision seminars, support for professional music therapists and has recently started a Facebook Page with the hope of raising awareness of the profession as well as strengthening links with the international music therapy community.

There are approximately 50 registered music therapists in South africa. Music therapy in South africa spans a broad range of clients within diverse contexts including: education (special needs and psycho-social interven-

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tions), physical and mental disability, mental health, geriatric care, autism, youth at risk, pediatric and adult oncology, substance abuse and community based interventions.

2010 heralded the first group of GIM Fellows in South africa and it is hoped that GIM training will be offered regularly under the leadership of Mrs. Kobie Temmingh Swart who completed her Primary Trainer requirements in 2014.

Music therapy in South africa has experienced rapid growth within its ďŹ rst 15 years. With a strong university training foundation, a professional association responsive to the needs of music therapists, and diverse populations being served, it will be interesting to see what developments occur in the next few decades of music therapy practice and research in South africa. eastern Mediterranean

The Eastern Mediterranean region spreads from West africa to Central asia and includes 22 countries: afghanistan, Bahrain, djibouti, Egypt, Iran, Iraq, Jordan, Kuwait, Lebanon, Libya, Morocco, oman, Pakistan, Palestine, Qatar, Saudi arabia, Somalia, Sudan, Syria, Tunisia, United arab Emirates, and yemen (World Health organization, 2014).

This is a multicultural region, with different dialects of arabic language being spoken in 19 countries, except in Iran (Farsi), Pakistan (Urdu) and afghanistan (Pashto and dari).

Islam is a major religion of the Eastern Mediterranean.

Music always played an important role in arab Islamic culture. al Kindi, a mathematician, musician and one of the greatest philosophers, in the 9th century recognized the therapeutic value of music (Saoud, 2004). al Farabi, a 10th century Islamic philosopher, scientist, musicologist and cosmolo-

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gist, talked about therapeutic eects of music on psychological disorders in Meaning of the Intellect (Saoud, 2004). according to Syed (2002), music was used by arab/Muslim physicians in asylums for mentally ill in the 8th -13th centuries. In the ottoman Empire, music was part of medical education. different microtonal scales (makamat) were used for treatment of various diseases. according to Somakci (n.d.), some were more effective with certain nationalities; there were also specific makamat to provoke certain feelings. However, individual responses of patients had to be considered too, by observing their tempera- ments and reactions (Sari, n.d.). To date, no scientific evidence exists supporting this view of specific effects of makamat, but the general idea of therapeutic effects of arab music remains consistent (Tucek, 2005).

Music therapy is a very new profession in this region, and has yet to be accepted and recognized by the local authorities. The only training program exists in amman, Jordan, at the National Music Conservatory, which was established in 2008. However, most music therapists working in the region received their training in the West (United Kingdom (UK), United States (US), Canada, France). In the arabian Gulf, a UK-educated music therapist began her work in dubai (UaE) in the beginning of 2000s. In 2004-2005, Shafallah Center in Qatar began employing americantrained music therapists on a regular basis. a Canadian/american-educated music therapist began practising in Bahrain in 2008. Recently in Tunisia, French-trained professionals formed a new National association of Music Therapy. They began spreading awareness about music therapy in their country. according to Internet searches, there is some activity in Lebanon, Iran and Pakistan with music being used therapeutically by doctors and educators.

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In addition to the beginnings of music therapy clinical practice, research is also starting in this area. Iranian scientists have conducted studies on the effects of music therapy on pain and anxiety in patients undergoing bone marrow biopsy (Shabanloeli, Golchin, Esfahani, dolatkhah, & Rasoulian, 2010); and on sensory motor functions of multiply disabled people (Hatampour, Zadehmohammadi, Masoumizadeh, & Sedighi, 2011). There is still much to be done in the Eastern Mediterranean region for music therapists to be recognized as allied health professionals, but public awareness and the understanding of the profession is developing and growing.

india

In India, music therapy is considered “more as an art of healing practices rather than as a scientific discipline” (Sundar, 2015, p. 203); it is an emerging field. In the last 10 years, remarkable changes have taken place in music therapy all over the country. yet music therapists have multiple perspectives about why music therapy is not yet a recognized profession in India. First, there is the lack of awareness and knowledge of individuals trained to use music in clinical contexts effectively to provide clinical benefits. Second, medical professionals have not recognized music as a medium of therapy for so long that the growth of the profession has been delayed. Third, the unique cultural diversity of the country led individuals to perceive and experience the effects of music in different ways in different contexts. In some places music is the language of worship, in some places it is the language to celebrate the joy of a social festival, etc. Last but not the least, music has been deeply engrained in the socio-cultural understanding of every person since ancient times. The pervasiveness of music has led people to ignore the clinical applications of music and music therapy. Thus to comprehend the

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process of development of contemporary Indian music therapy, it is important to understand the interactive effect of music, its ancient roots and tradition, socio-cultural context, spirituality, religion, and modern Western influence on lives of Indians. These components are interrelated and have influenced the growth of music therapy in India, which is unique, and rooted in the Vedic period, which is approximately 4000 years old.

at present, music therapy practice in India is a blend of ancient or traditional healing practices of India and modern Western clinical techniques of therapy. Indian music therapy now faces the challenge of balancing Indian healing traditions with modern practices (Sundar, 2015). originally music therapy was a way of listening to recorded classical music of both Hindustani and Karnatik styles called ‘raga’. The intention behind it was to induce the therapeutic elements of this music‘raga’ through listening to treat different diseases, illnesses, or any other health related issues. This receptive technique of music therapy was popular among musicians, medical professionals, psychologists, and other rehabilitation professionals, who used to be considered music therapists although they were no formally trained. Sundar (2014) defined this approach in India by medical professionals who use recorded music, to get the therapeutic effects of music on different ailments as amusic medicine approach. Several research studies conducted on music and medicine indicate that it is a most useful alternative treatment in clinical settings and an accepted approach by both clinicians and patients in the country.

This music medicine approach is based on the belief systems of Indians in the ancient cultural, societal, and philosophical structures in India; this leads to debate whether Indian music therapy is practice based or re-

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search and theory based. according to Sundar, “Until now in India, music therapy has been implemented more as practice driven and not research and theory driven” (2015, p. 204). So an exploration of the development of music therapy practice in India provides a greater understanding of culturally informed therapy practice where belief itself is an element for cure.

There are many other forms of traditional healing systems commonly being practiced under the same umbrella term of music therapy including Vedic chanting, Chakra activation, Raga Chikitsa, Nadopasana, yoga etc.

These methods are popular and widely used by music therapists where emphasis is mainly given on the experience of the client in the therapeutic process at the levels of bodymind- soul. In India, music therapy is not yet understood as a scientific discipline in which objectives of the therapy process are observable, measurable, reliable, and valid across cultures. on the contrary, healing in a broader extent depends on the perception and the beliefs of individuals regarding traditional healing practices. The explanation might be that in a country like India with rich traditional and cultural background:

Things are just known. Explanations are not always required for practices to be accepted. Understandings are transferred across the generations through action. Indeed, in some societies in which traditional healing practices are maintained, healing is contingent on not questioning the how's, why's, what's, when's, where's of the experience. In these societies, the value is on belief more than description or explanation (Kenny, 2001, para. 7).

at present a shift in thinking in the field of music therapy is noticeable; clinical music therapy is gaining importance. a change in

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perception has occurred toward recognition and acceptance of clinical music therapy by younger generations. The current method of music therapy in India is primarily receptive and based on traditional healing practices.

The clinical music therapy models as objective scientific approach of music therapy interventions are yet to be embraced by Indians.

The development in this area is needed for the music therapy profession to be recognized in the country and to establish music therapy services alongside other allied health services in hospitals. The synthesis of Western theory and research based clinical music therapy and India’s traditionally rooted music medicine approach may be difficult, yet can be an objective of working music therapists. as the role of culture is gaining importance in research, training and practice, In- dian music therapy should be considered as unique in its style and potential.

Music therapy has evolved and it continues to grow and develop in both Western and non-Western countries. Both parts of the world have a great deal to learn from each other. The development of Indian music therapy has an important implication on global music therapy, as it can provide new avenues for music therapy by incorporating cultural, social, philosophical, and spiritual values of music. Moreover, India would benefit from assimilating a Western practices into its culture to create professional standards of music therapy in the country.

Discussion

In looking at the four diverse locales of australia/New Zealand, South africa, Eastern Mediterranean region, and India, one can see various stages of music therapy development.

Many areas have strong cultural influences that impact the process and rate of development, and how the profession of music the-

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rapy will expand in that location. culture and history play a role in music therapy development, and yet each global area explored has some influence from other parts of the world.

Whether it be through foreign music therapists visiting the region to provide training or support, music therapists training in other countries and returning to practice in their home region, or a music therapists’ desire to emulate practices found in other cultures; looking outside of one’s geographic and cultural area has spurred growth and development of the music therapy profession in each respective region of the world.

conclusion

The profession and practice of music therapy is developing at different rates and in many fashions across the globe, yet globalization is impacting each country’s development. Though cultures differ, there are similarities within the development of the music therapy profession. Music therapists may have challenges unique to their location, yet support may be provided from international sources or by recognizing similar situations in other parts of the world and gaining ideas for action. a unified, informed global music therapy community can assist its members in furthering the development of music therapy practice and research in individual parts of the world and across the globe as a whole.

references

australian Music Therapy association. (2012). about us. Retrieved from http://www.aus tmta.org.au/content/about-us Bright, R., & Grocke, d. (2000). Twenty-five years on: Music therapy in australia. Sydney: Music Therapy Enterprises.

Croxson, M. (2001). New Zealand and music therapy: a synopsis of a new scene. Voices: A World Forum for Music Therapy, 1(1). Re-

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trieved from https://voices.no/index.php/ voices/article/view/41/25doi:10.15845/vo ices.v1i1.41.

Croxson, M. (2003). Music therapy in New Zealand. Voices Resources. Retrieved from http://testvoices.uib.no/community/?q=c ountry/monthnewzealand_february2003 Hatampour, R., Zadehmohammadi, a., Masoumizadeh, F., & Sedighi, M. (2011). The effects of music therapy on sensory motor functions of multiple handicapped people.

Case study. Procedia-Social and Behavioral Sciences, 30, 1124-1126. doi:10.1016/j. sbspro.2011.10.219 Kenny, C. (2001). Music therapy theory: yearning for beautiful ideas. Voices Resources.

Retrieved from http://testvoices.uib.no/ community/?q=fortnightly-columns/ 2001-music-therapy-theory-yearning-beautiful-ideas MacKinnon, d. (2000). 'a captive audience': Musical concerts in Queensland mental institutions c.1870-c.1930. Context, 19, 4356.

Milford, J. (2013). Music therapy in New Zealand: Fact page. Retrieved from http:// www.wfmt.info/newsite/wp-content/ uploads/2014/05/Fact-Page_New-Zealand-2013.pdf Milford, J. (2014). Music therapy in australia: Fact page. Retrieved from http://www.wfmt. info/wp-content/uploads/2014/05/FactPage_australia-2014.pdf Music, Mind & Wellbeing. (2015). our vision.

Retrieved from http://cmmw.unimelb.edu. au/vision/ Music Therapy New Zealand. (2011). The New Zealand journal of music therapy. Retrieved from http://www.musictherapy.org.nz/journal/ Saoud, R. (2004, March). The Arab contribution to music of the Western world. Retrieved from http://www.umich.edu/~hksa/ rsix.pdf Sari, N. (n.d.). ottoman music therapy. Mus-

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lim Heritage. Retrieved from http:// www. muslimheritage.com/article/ottoman-musictherapy Shabanloeli, R., Golchin, M., Esfahani, a., dolatkhah, R., Rasoulian, M. (2010). Effects of music therapy on pain and anxiety in patients undergoing bone marrow biopsy and aspiration. AORN Journal, 91(6), 746-751. doI: http://dx.doi.org/10.1016/ j.aorn.

2010.04.001 Somakci, P. (n.d.). Music therapy in Islamic culture. Turkish Music Portal. Retrieved from http://www.turkishmusicportal.org/ article.php?id=12&lang2=en South african Music Therapy association, from http://www.samta.co.za/?page_id= 252 Sundar, S. (2014). Understanding music Therapy: Clearing misconceptions. Annals of Sri Balaji Vidyapeeth, 3(1).

Sundar, S. (2015). Music therapy education in India: developmental Perspectives. In K. Goodman (Ed.), International perspectives

in music therapy education and training: Adapting to a changing world (pp. 202216). Springfield, IL: Charles C. Thomas.

Syed, I. B. (2002, october - december). Music therapy. The Fountain, 40. Retrieved from http://www.fountainmagazine.com/Issue/ detail/Music-Therapy Tucek, G. (2005). Traditional oriental music therapy in neurological rehabilitation. In d. aldridge (Ed.), Music therapy and neurological rehabilitation (pp. 211-230). London, UK: Jessica Kingsley.

University of Pretoria. (2015). Training in music therapy. Retrieved from http://www. up.ac. za/en/music/article/44462/training-inmusic-therapy World Health organization (2014). Regional office for the Eastern Mediterranean: Countries. Retrieved from http:// www. emro. who.int/countries.html

about the author

anita L. Gadberry, ph.D., Mt-Bc dr. anita L. Gadberry is the director of Music Therapy at Marywood University, Scranton, Pa, USa. She serves in leadership positions with the WFMT and the Mid-atlantic Region of the aMTa. anita frequently presents and publishes, including a book entitled Treatment Planning for Music Therapy Cases.

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about the author

aksana Kavaliova-Moussi, MMt, BMt, Ba, Mta, Neurologic Music therapist aksana Kavaliova-Moussi currently resides in the Kingdom of Bahrain, where she works with individuals with special needs. She is the Eastern Mediterranean Regional Liaison for the World Federation of Music Therapy (WFMT) since July 2011. She has been a Co-Chair of The oCMT- online Conference for Music Therapy since 2013.

about the author

carol Lotter, MMus (Music therapy), rMt, GiM fellow, Mari practitioner Carol Lotter currently co-directs the MMus (Music Therapy) training course at the University of Pretoria, and is working on her Ph.d. in Mental Health there as well. In addition, Carol works in private practice part-time and is involved in a variety of community projects. Prior to training as a Music Therapist, Carol worked for 15 years in the areas of youth work and pastoral care.

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about the author

Jeanette Milford, MMusthrpy(Melb), pGDipapppsych, Ba, rMt Jeanette Milford is a Registered Music Therapist working in mental health in South australia. She trained in adelaide, Philadelphia and in Melbourne, where she completed Masters research in music therapy and schizophrenia recovery.

She is currently the WFMT Regional Liaison for australia and New Zealand (2011-2017).

about the author

Baishali Mukherjee, ph.D. dr. Baishali Mukherjee,is a psychologist and music therapist working for children with special needs. She is a Faculty and Research associate, at Chennai School of Music Therapy, Chennai, India. She has given various national and international presentations on her research work on music therapy for autism in an Indian context.

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Advancing the World Federation of Music Therapy: Strategic Planning Process Annie Heiderscheit, Ph.D., MT-BC, LMFT Petra Kern, Ph.D., MT-BC, MTA, DMtG Amy Clements-Cortés, Ph.D., RP, MT-BC, MTA Anita L. Gadberry, Ph.D., MT-BC Jeanette Milford, MMusThrpy, GDipAppPsych Jen Spivey, MA, MS, MT-BC Abstract

The World Federation of Music Therapy (WFMT) is a nonprofit organization committed to its mission of developing and promoting music therapy throughout the world as an art and science. Since the organization’s inception in 1985, there have been significant changes in the world and many positive developments within the organization. These are reviewed providing a rationale for the initiation of this executive work. Methods utilized to complete the strategic planning process are outlined, along with the challenges and discoveries encountered throughout. outcomes of the strategic planning process are also highlighted.

Keywords: Music therapy, strategic planning, WFMT. Introduction

Mission and vision are the driving forces of an organization. The World Federation of Music Therapy (WFMT) was founded on a vision to create an international organization

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Resumen

La Federación Mundial de Musicoterapia (WFMT) es una organización sin fines lucrativos comprometida en su misión de desarrollar y promocionar la musicoterapia en todo el mundo como un arte y ciencia. Desde la creación de la organización en 1985, se han producido cambios significativos a nivel internacional y muchos acontecimientos positivos dentro de la organización, los cuales son revisados proporcionando una justificación para el inicio de este trabajo ejecutivo. Se describen los métodos utilizados para completar el proceso de planificación estratégica, junto con los retos y descubrimientos encontrados en este proceso.

También se destacan los resultados del proceso de planificación estratégica.

Palabras clave: Musicoterapia, plan estratégico, WFMT.

to support the growth and development of music therapy worldwide. While the original intention of the WFMT has not changed, the world and the profession of music therapy have experienced many new developments.

The organizational structure of WFMT evol-

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ved to meet the growing global demands of the profession, striving to ensure regional representation was provided effectively in every area of the world. Technological developments were a significant source of change and connection for the WFMT. The Internet enabled the organization to provide a wide array of resources to the global community, ensuring members had access to information, updates from the work of the Council and news about music therapy events from all around the world.

all of these developments supported and served as a means of creating greater visibility, stability and growth. They served as indicators of the organization’s evolution, as well as its commitment to respond to the many changes taking place in the world, and those impacting the profession. The Council determined these developments were leading the organization to the position of needing a strategic plan. The advances and growth the organization fostered and experienced required an informed and intentional process. Rather than the Council determining the needs of the profession worldwide, it was determined the needs of the global community needed to be identified and understood on an international level which required gathering information from members. This led the Council to approve the organization’s strategic planning process to be initiated in January 2013

a Strategic Plan Workgroup (SPW) was formed that included seven WFMT Council Members. Marie-Thérèse Barbé-Legrand, the Public Relations Commission Chair (2011-2014), guided the group through the 18-month strategic planning process. during the 2014 World Congress of Music Therapy in Vienna/ Krems, austria, the Council approved the WFMT strategic plan and presented the outcomes to the WFMT membership. Following

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the meeting, the full report was published on the WFMT website (Barbé-Legrand, 2014).

This article details the strategic planning process and addresses the following: a) Brief history of the organizational development of WFMT, b) organizational development and strategic planning, and c) WFMT’s strategic planning process. It is further hoped that providing a clear overview of the process as a whole may assist similar organizations in undertaking such a task.

Brief History of the Organizational Development of WFMT

In 1985, ten international music therapists from argentina, France, Italy, United States of america (USa), United Kingdom (UK), australia, Puerto Rico, Brazil, and Poland formally established the World Federation of Music Therapy (WFMT) during the 5th World Congress of Music Therapy in Genoa, Italy (WFMT, 2008; Wheeler, 2010). Until this day, the founders’ shared vision of promoting the profession globally guided eleven consecutive Presidents and their respective Councils in articulating goals and objectives and responding to immediate needs of WFMT members worldwide.

over the past 30 years, key points included: a) building awareness and recognition of music therapy worldwide, b) recommending guidelines for music therapy education, research, and practice, and c) disseminating information about music therapy through publications and congresses (Kern, 2013).

during the first decade, the founders developed a legal structure and formulated the WFMT Constitution and Bylaws. Parallel discussions around establishing various Commissions (i.e., Education Commission, Research and Ethics Commission, and Communication and Exchange Commission) arose to address

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the feasibility of worldwide research and practice standards and effective disseminating of information. additionally, promoting a universal understanding of music therapy and bringing together representatives from each country was debated (Kern, 2010).

Between 1993 and 2008, many of the founders’ initial intentions manifested. In 1996, WFMT officially became a non-profit organization in New Jersey (USa), and a member voting procedure was established. additionally, five Commissions were created (Education, Training, and Registration Commission, Clinician Practice Commission, Research and Ethics Commission, Government accreditation Commission, and Global Crises Intervention Commission), the Council also appointed an Executive assistant, a Business Manager, a Webmaster, and several co-opted members to expand representation of various countries. The Commissions released Model Guidelines for Ethical Conduct (1993), a definition of Music Therapy (1996), Guidelines for Education and Training (1999) held three Education and Training Symposia (2002, 2005, 2008) (which were held at the world congresses), and conducted a Survey on Clinical Practice in member countries (2005). The WFMT also published a newsletter and hosted a world congress every three years. as the Internet became more accessible in the mid 1990s, WFMT collaborated with www.musictherapy. world.net to host the first WFMT webpage and make the World Congress of Music Therapy Proceedings (2002) accessible on a Cd-RoM (Kern, 2013).

Building on the foundation of WFMT’s work, the 2008-2011 President and Council undertook major changes in three phases to respond to the changing demands, requests, and technology/social media opportunities. during the Stabilization Phase, the Council secured the non-profit status of WFMT by getting

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incorporated and represented by an attorney in the state of North Carolina, USa. a fiscal year was set for June 30th and a three-year budget developed. Following the model of the World Health organization (WHo), member regions were defined and eight Regional Liaisons appointed to represent the interest of music therapists in all parts of the world.

The Council also reviewed and revised the WFMT’s vision, mission, and value statements for the first time. Moreover, the WFMT gained momentum in visibility and communication through the launch of its own website www.musictherapy.info (growing to 15,000 visits/month by July 2011) and its presence through Facebook, youTube, LinkedIn Group, Twitter, Wikipedia, and printed materials, as well as hosting booths at conferences and roundtables at major international music therapy events.

In the Production Phase, the Council created: a) the online Publication Center (i.e., WFMT articles, Fact Pages, podcasts, videos, the Sound Board, International Library of Music, and the musictherapyworld.net archive), b) the Education Center (i.e., music therapy-related video episodes), c) the Job & Volunteering Center (i.e., worldwide monthly job and volunteering postings), d) the Regional Liaisons’ Blog, e) WFMT official documents (i.e., Introduction to Ethical Practice, Guidelines for Creating Music Therapy Codes of Ethics, Internet and Privacy Issues Related to Music Therapy, Research FaQs and answers, Introduction to Ethical Practice, and an Endorsement Policy). during this phase, the Council also revised the WFMT definition of Music Therapy, created various activities for students (i.e., Window to the World, Connect, Info Cards in 20 languages), and celebrated the 25th anniversary of WFMT with monthly events.

The Transition Phase was characterized by defining organizational procedures (i.e., genera-

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ting comprehensive meeting minutes, brief Council reports, distributing annual reports to WFMT members), as well as preparing for elections and Council appointments (i.e. producing Council job descriptions, online nomination forms, and a new Public Relations Chair).

The WFMT also launched a member recognition program, student congress scholar-ship program and created the first assembly of Student delegates (aSd) to prepare the next generation of leadership led by a student Executive assistant. The change in moving the Executive assistant from a role filled by a professional to that of a student served to foster student engagement and preparing students for leadership roles. New student membership categories along with new membership benefits were added as well. To reflect the contemporary organizational structure and procedures, major revisions of the Constitution and Bylaws were undertaken and approved by the WFMT Council and membership at the first World Congress of Music Therapy held in asia (Kern, 2011, 2013).

during the past four years (2011-2015), WFMT maintained and expanded upon these exciting activities and events. The aSd prospered and contributed to the student projects while starting an initiative to connect with students worldwide. The Clinical Practice Commission added the Folk Project to the digital WFMT Library of Music and developed an International Internship directory.

The Commission on Research and Ethics established an online WFMT Music Therapy Research Forum and released the Consent Requirement for Publication of Music Therapy Research. The Global Crises Intervention Commission responded to disasters in various countries and created a disaster Fund. The accreditation and Certification Commission created information about the

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accrediting Status and Procedures of Member Countries and held a roundtable to further discuss the feasibility of planning and implementing a global Music Therapy Equivalency Certificate.

a newly appointed Public Relations Chair reinforced shaping the public face of WFMT and supported the Council in engaging in a strategic planning process to set clear directions for the future. While the Council discussed the rapid growth and future directions of WFMT, the WFMT President resigned (November 2012). Consequently, an Interim President was appointed who started in January 2013 with a complete overhaul of the WFMT website (Kern, 2013). Since then, Council members diligently worked on creating the WFMT’s Strategic Plan, which was presented at the 14th World Congress of Music Therapy in Krems, austria. The 20142017 Council is currently in the second year of implementing six identified core strategies that will ensure continuity and development of the Federation for years to come.

Strategic Planning of Organizations

WFMT was facing challenges typical of growing nonprofit organizations that strive to “meet missions while facing severe resource and personnel constraints” (Reid, Brown, McNerney, & Perri, 2014, p. 31). organizations often struggle to demonstrate their impact as a result of poorly defined goals and outcomes, lack of a process for monitoring progress, and an absence of procedures for creating and communicating meaningful reports and information surrounding their work (Bryson, Crosby, & Bryson, 2009; Reid et al., 2014). These challenges can lead nonprofit organizations to explore ways to better define their mission, goals, and outcomes. While organizations strive to determine how to better engage in the community to

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achieve their mission, there is limited literature regarding strategic planning for nonprofit organizations (Reid et al., 2014).

Strategic planning is a starting point for an organization. It includes a process of clarifying goals and objectives, determining how to acquire and distribute organizational resources and how to translate decisions into action (Fernsler, 2014; Reid et al., 2014). Engaging in a strategic planning process serves as an opportunity to find value in underused resources, as well as new revenue streams (davis, 2015). While not all aspects of strategic planning are easy, experts report it can be disruptive to an organization and create disagreement (Cothran & Clouser, 2009), it can enable an organization to transform, develop new competencies, and accomplish major goals that are key to the mission.

Research does demonstrate that “more successful organizations tend to prepare for strategic planning more rigorously and conduct the process with more focus and discipline” (Reid et al., 2014, p. 35) and that successful organizations initiate the strategic planning process with commitment to address mission, vision, and organizational goals (Reid et al., 2014; Sahlman & Nanda, 2015). Experts suggest that, “missions shouldn’t be static. a mission statement should be reviewed regularly to determine whether the organization will be able to continue to serve the cause for which it was created. If the mission has become an obstacle to achieving the organization’s goals, it must be changed” (Sahlman & Nanda, 2015, p. 117).

Recent research suggests that successful nonprofit organizations utilizing strategic planning to “guide processes for plan development, create a culture of discipline for implementation and stress the value of planning, which clearly promotes organizational success and improved community impact” (Reid et al., 2014, p.

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38). The strategic plan becomes the road map for the organization, guiding their direction and providing clear outcomes and structured timelines. Establishing the strategic plan creates opportunities to report on progress, helping to maintain the momentum of action, as well as a process of accountability.

The WFMT Council recognized that as an organization, the WFMT had reached a point in their development that neccessitated exploration and and clarification in order to be an effective organization and meet the growing demands of professionals worldwide. The WFMT Council acknowledged the need to evaluate the mission and impact of the organization and better understand the needs of professionals around the world, as well as explore the ways to best address these needs and create a clear plan to accomplish these tasks.

WFMT’s Strategic Planning Process

In January 2013, the WFMT Council initiated work on the organization’s strategic plan under the guidance of Marie-Thérèse Barbé-Legrand, who had experience and expertise in this area and was the Public Relations Commission Chair (2011-2014). a Strategic Planning Workgroup (SPW) was formed and included seven WFMT Council members (e.g., Interim President, Past President, Secretary/Treasurer, Clinical Practice Commission Chair, Public Relations Commission Chair, and two Regional Liaisons). The SPW held hour-long monthly Skype meetings over an eighteen-month period and completed the process in five phases.

• Phase I - determining the initial work plan: included fostering the SPW’s understanding of strategic planning and the process required while determining the timeframe.

• Phase II - Reviewing the mission, vision and values: involved reviewing whether these core statements remained appropriate in

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the context of the growth and development of the organization.

• Phase III - development of surveys and data collection: involved the development of three surveys to collect data and feedback from internal and external stakeholders. Internal stakeholders are those individuals within an organization who have an interest in its success and failure (Boundless, 2015).

External stakeholders are individuals or groups on the outside of the organization that are affected by the consequences, actions or outcomes of the organization (Boundless, 2015). Internal and external stakeholder questionnaires were created and distributed through SurveyMonkeyTM. In addition, one survey was developed for FacebookTM to reach the maximum number of individuals. Surveys utilized in the strategic planning process are available at http:// www.wfmt.info/leadership/comission-public-relations/ • Phase IV - analyzing the survey data and determining emerging priorities: involved categorising survey response data to identify common themes, needs, and challenges.

• Phase V - defining the core strategies and goals for the strategic plan: included translating the emerging themes and priorities into six core strategies. The core strategies were further delineated with specific goals and objectives and prioritized and will be addressed below.

Internal Stakeholders Survey: SWOT Analysis

In order to gather the perspective from internal stakeholder, a Strengths, Weaknesses, opportunities and Threats (SWoT) analysis was initiated. a SWoT analysis is a management tool used to provide a broad overview of the internal strengths and weaknesses, and the primary external opportunities and threats for an organization (Mind Tools, n.d.). This tool allows an organization to explore the interplay of core competencies with the key factors and

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forces impacting the organization. a SWoT analysis can provide insight and suggestions about actions an organization should consider.

SWoT analysis

Strengths

Weaknesses

Opportunities

Threats

FIGURE 1. Strengths, Weakness, Opportunities and Threats Analysis.

The intention of the SWoT analysis in the WFMT strategic planning process was to engage WFMT Council members and volunteers in the overall process and to gain their perspective on the organization. It was also utilized to assist the WFMT in understanding opportunities with respect to pursuing and advancing the mission of the organization. The information gathered related to whether the WFMT was meeting its mandate outlined in the mission and vision statement, views of the overall administrative leadership and connection to members, and the growing needs of music therapy internationally. The goal of this analysis was to understand the strengths and weakness of the WFMT and identify external opportunities and areas for improvement.

Internal stakeholders were invited to complete the survey and provide specific feedback, rather than general or broad information. additionally, a follow up phone conversation was provided to all those who requested an opportunity to discuss their input and/ or if for clarification was needed by the SPW.

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Individuals were invited to provide feedback on the following areas:

1. WFMT’s primary (program/commission/regional liaison and administrative/officers’) strengths and weaknesses: internal forces working for and against the organization achieving its mission.

2. WFMT’s key opportunities and threats: political, economic, social, technological, demographic or legal trends that may impact WFMT’s ability to achieve its mission.

3. Possible connections between an opportunity or threat and a strength or weakness.

Analyzing the SWOT Data

overall, internal stakeholders felt that the WFMT could improve the manner in which it evaluates its impact and gains performance feedback from members. There was also an expressed desire for the establishment of clearer goals, along with review and evaluation of projects initiated by the various WFMT commissions. While projects were seen as important and valuable, it was noted that overlaps between some commissions and projects should be examined to reduce work-load.

There was consensus on the clarity of the mission, the core program areas and the primary audience of the WFMT. Recent and current projects were aligned with the WFMT mission. additionally, the WFMT continued to advance the organization’s goals, there was a greater desire for the organization to strive to expand its influence through participation in alliances and working collaborative relationships with external groups. The WFMT leadership was well respected and perceived as committed to the organization, while a respectable division of labor and sufficient opportunities for input with regular me-

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etings occurring throughout the year. one challenge is that the large workload can be taxing, challenging officers’ work-life balance while they navigate multiple additional commitments.

a primary strength was the transparency of the WFMT budget. However, one of the greatest weaknesses of the WFMT was a lack of funds to support projects and sustain the WFMT. It was suggested that the WFMT consider new sources of funding. one of the challenges the WFMT faces is that music therapists may belong to various of professional member organizations requiring fees, which can limit their membership options. additionally, financial issues of members in developing countries and regions may prohibit and impact membership. The WFMT website was seen as a strength of the organization, while at the same time a challenge to maintain, requiring continued attention and frequent redevelopment. a recommendation from this assessment was to continue to grow the resources available on the website and to create more online educational opportunities.

external Stakeholders Survey

In order to complement the internal stakeholders survey, a survey of external stakeholders was designed to gather feedback from members about their understanding of WFMT services and level of satisfaction. additionally, input and feedback was requested regarding potential strategies and partnerships to meet current social, economic, political, and technological challenges they felt were present in their particular region. a pdf of the survey is available at http://www.wfmt.info/resourcecenters/publication-center/wfmt-documents/.

Following the development of the survey, the WFMT Interim President sent an email

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to all WFMT members inviting them to contribute to the organization’s strategic planning process via a SurveyMonkeyTM link. The 95 email addresses included 26 full organizational members, 3 associate organizational members, 1 student organizational member, 41 individual professional members, and 24 individual student members. organizational member representatives were also encouraged to forward the link to their membership, so that all members could provide their feedback. There were 69 survey responses received from WFMT members representing 20 different countries, with the largest number of responses co-

Macedonia; 1

UK; 1

austria; 1

Switzerland; 1

Israel; 1

argentina; 1 Colombia; 1 Mexico; 1 Malaysia; 1 Hong Kong; 1

ming from australia, New Zealand, United States, and Canada. Figure 2 displays the overall breakdown of survey respondents by country.

Survey respondents articulated that the organization was meeting its mission in terms of promoting global connections, support and promotion for music therapy. one respondent shared, “WFMT is a respectful, multicultural, democratic organization that must strive for establishing the profession of music therapy in countries around the world, offering music therapists assistance in networking, education, certification, public policies,

dcdsf; 1

australia australia; 26

Canada

New Zealand

France

Singapore; 1

Germany

China; 2

Czech

Italy; 2

Italy

China

Czech; 2

Singapore

Germany; 2

Hong Kong

France; 2

Malaysia Mexico

New Zealand; 3

Colombia Canada; 6

argentina UK USa; 11

FIGURE 2. Members Survey Respondents (Country of Origin).

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USa

austria

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and crisis intervention.” The majority of respondents reported they joined WFMT in order to participate in and contribute to a global community. They valued WFMT services such as the World Congress and having access to information on international developments, clinical practices, conferences, training programs, work opportunities, publications, and research.

Survey feedback also affirmed that technology rather than print media is the way most people find information on the WFMT, with most using the WFMT website and Facebook page to keep informed about international events, publications, and contacts. They rated these WFMT services as very important, along with student and professional clinical networks, maintaining the website, FacebookTM and TwitterTM and supporting music therapists and others facing crises around the world.

although member satisfaction with these WFMT services was high, some respondents reported being unaware of existing services.

These included services related to networking, training programs, research, publications and crisis support. Several respondents suggested that WFMT could promote membership benefits more effectively to member organizations and training programs. More emails were requested to foster member involvement, collaborations and networks.

When asked about social issues impacting music therapy, respondents commented that general awareness of music therapy had improved due to increased media coverage and a general shift toward wellness and community models of health. However, they reported that challenges such as poor recognition and understanding of music therapy continue to prevail, including untrained practitioners and misperceptions of music therapy as new

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age, alternative and unscientific. They suggested that WFMT initiatives that might address these professional issues including improving communication strategies, setting standards for quality management, and providing leadership and support to less developed countries.

Survey respondents also indicated that economic issues were negatively impacting the profession of music therapy. They reported that the economic downturn and recession was causing healthcare budget crises, thus hindering employment opportunities and growth. a few respondents did express optimism about employment growth, new disability funding options, philanthropy, and reimbursement opportunities. It was suggested that WFMT could address economic challenges by providing grant/funding information, supporting new training programs, and conducting a survey of salaries and reimbursement options. additionally, respondents indicated they would like access to a global evidence base, including cost-benefit analysis studies, as well as the impact of music therapy on wellbeing and on the chain of care.

When asked about political events impacting the development of the music therapy profession, respondents noted the positive impact of democratic change, universal health care, increased media and advocacy and improvements in licensing, regulation and recognition. Some respondents commented on the negative impact of political dictatorship, communism, service cuts, privatizing of health care and a general lack of recognition and evidence for the profession. Respondents suggested that WFMT could drive a unified movement with coordinated approaches to information sharing and political campaigning for music therapy recognition and legislative regulation.

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Technological advances were seen by many as having a positive impact on the profession with faster media, connectivity and information sharing as well as more affordable Internet and technological devices, apps, software and instruments. Some respondents expressed concerns about how the fast pace of change was causing difficulty absorbing and applying new technologies. others articulated trepidation regarding the current obsession with digital technology and fear that this might undermine the traditional acoustic and personal relationship aspects of music therapy practice. Suggestions for addressing technological issues included a global network or forum to design, share, and review new applications and to provide online training.

In summary, survey respondents expressed support and appreciation for the WFMT. They expressed concerns regarding the struggles of developing the profession in their respective country and area of the world. They identified what more they need from a global organization to foster the growth of music therapy, and they made many constructive suggestions regarding ways to enhance membership engagement and regional representation. one respondent expressed a desire for broader global input beyond the North american influences suggesting, “It would be great if the whole music therapy world and different cultures would become more active, involved and heard in the WFMT.” Facebook Survey

While the external stakeholders survey was the direct pathway to surveying the membership, the SPW felt it was also worthwhile to reach out to members via the WFMT Facebook page. Since the membership on the WFMT Facebook page has stea-

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dily increased each year, the SPW recognized the value of social media in reaching members and other interested stakeholders. The SPW developed a survey specifically to be distributed among WFMT Facebook group members. a pdf of the FacebookTM survey is available in the WFMT documents subsection of the website’s Publication Center http:// www.wfmt.info/leadership/comission-publicrelations/

Rudimentary data obtained included respondent’s connection to music therapy, method of discovering the WFMT and its Facebook group, primary reason for joining the group, main expectations of the organization, and membership status in the organization. open-ended questions allowed respondents the opportunity to share their understanding of WFMT’s purpose, areas of strength, and areas of need. Respondents were also given the option to enter a drawing to win an item from WFMT’s online boutique for taking time to complete the survey.

a total of 107 individuals participated in the Facebook survey. over 80% of respondents were music therapy professionals or students at time of participation. Roughly the same percentage professed to either holding WFMT membership or an interest in joining the organization. The majority of respondents learned about WFMT through a professional association, colleague, or conference. Internet searches contributed to nearly a quarter of respondents’ initial discovery of the WFMT. Respondents reported the most common methods of learning about the Facebook group included a colleague, the WFMT website, and Facebook suggestion. The primary reasons most respondents joined the group were to keep informed of organizational news and to connect with others.

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Survey respondents communicated clear expectations of the WFMT, including: (a) sharing news of global music therapy developments; (b) connecting individuals with other music therapy organizations, professionals, and supporters; (c) developing resources to enhance individuals’ music therapy advocacy, practice, and research; and (d) providing information on music therapy related events. Perceptions of WFMT’s purpose primarily related to the overarching themes of connection, unity, advocacy, and development in the profession. Key strengths of the organization identified by respondents included sharing information, promoting awareness, and advocacy. online presence, connection, support, development of the field, and publications were also listed.

areas for improvement communicated by respondents highlighted a desire to see WFMT expand current areas of strength, specifically (a) increased information sharing related to global perspectives, clinical practice, and research; (b) additional connection opportunities through dialogue, presence in training programs, service opportunities within the organization, and social media; and (c) more support towards students, national associations, and training programs. Some respondents also expressed a need for additional membership benefits and assistance with the credentialing processes.

The Facebook survey provided an additional body of information to review and analyze in addition to the internal stakeholders SWoT analysis and the external stakeholders survey.

Reviewing all the data allowed the SPW to identify themes and areas to address for the strategic plan. The next task was for the SPW to translate and articulate these themes into a plan that could be put into action.

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Translating Data into a Strategic Plan

The SPW identified six core strategies from all the survey data. These six core strategies included:

1. Information 2. Revenue 3. Visibility and collaborations 4. Internal communications 5. accountability 6. Volunteering

once the core strategies were identified the next step in the process involved identifying goals, objectives, the WFMT Council member(s) responsible for accomplishing the objectives, and a timeline for these various actions. This step was critical in the process as it ensured that clear steps were identified to how this core strategy would be addressed, what needed to happen to address it, who would be in charge of completing that objective as well as the time frame for task completion. For example, the first core strategy was information. This was divided into four goal areas with each goal having a series of objectives.

due to the comprehensive nature of the WFMT strategic plan, it will not be presented and discussed in its entirety. The complete strategic plan (Barbé-Legrand, 2014) is available on the WFMT website. Table 1 includes goals 1-4 and the objectives specified for each goal. This illustrates of how core strategy of information was delineated into an action plan with proposed timelines.

This strategic planning process was complex and challenging for the SPW. It is not always possible to anticipate the challenges that may be encountered when engaging in a new process; but it is helpful to reflect and share

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TaBLE 1. WFMT cores strategies, goals and objectives for 2014-2017.

Goal 1. Produce data based information

Objectives – Review Fact Sheets and demonstrate in graphic form how many mts serve how many clients per year and publish it on the WFMT sites. (Clinical Practice Commissions) (year 1) – Indentify other relevant information and make it available publicity. (Research Commission) (year 2) – Ensure that timely, accurate, and useful information is available at all the times. (Public Relations) (year 3) Goal 2. Build community awareness

Objectives – Write and send press releases to community stake holders within regions. (Public Relation) (year 1) – Create a poster for community social media pages and local sites. (Public Relations in collaboration with Regional Liaisons) (year 1) – Make key documentation (e.g., WFMT brochure, poster, press releases) available in various languages.

(PR & RL) (year 1) – Review cost effectiveness of music therapy services worldwide. (Research Council) (year 2) – Launch a music therapy day/week. (PR & RL.) (year 2) – Investigate potential partnerships (i.e., celebrities, politicians, organizations) and develop partnerships for representing music therapy (PR and RL). (year 2-3) Goal 3. expand the use of technology for networking opportunities

Objectives – develop specific networks: Clinical and professional directories. (Education, Clinical Practice, Research & accreditation) (year 1-3) – Create a forum to review software and hardware through Skype meetings and blogs. (E & T, Co, R & E, a & C) (year 2-3) Goal 4. Demonstrate leadership as a leading knowledge based organization

Objectives – Investigate and apply for membership with WHo and UN. (Public Relations and officers) (year 1-3) – Link Global Crises Commission with UNHCR. (Global Crises Commission and officers) (year 1-3) – Focus website/emails content on outstanding examples of mt practice, training, education, and research and business development (cost effectiveness of music therapy). (Public Relations and officers) (year 1-3) – develop and provide figures in the mt industry with regular updates. (Public Relations & officers) (year 1-3) – Present remarkable examples of world leading mt training courses. (accreditation and Training Commission) (year 1-3) – Provide a “straight to the point” FaQ for general public on mt evidence, links to trusted sources and reputable research database and journals. (Research Commission) (year 1) – Produce information resources to assist countries where mt is less developed based on outstanding development examples of the profession in other countries, and in comparison with other allied health professions. (Commissions and Regional Liaisons) (year 1-3)

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them in order to further foster the learning process. It is also important to recognize that the strategic planning process may also be rich with discovery.

Challenges and Discoveries in the Process

The process of completing a strategic plan is extensive and placed considerable demand on the SPW. all members of the WFMT Council volunteer their time, as there are no paid positions within the Council. This required members of the SPW group to not only complete the strategic planning tasks, but also attend to their other WFMT duties, in addition to their employment responsibilities. due to the fact that the WFMT is an international organization and members of the SPW reside in different parts of the world, different times zones (australia, Canada and the United States) posed challenges in scheduling online meetings.

The SPW volunteers were Council members whose collective backgrounds and training reside in music therapy and not in organizational development. Thus, it was vital having Maïté Barbé, WFMT’s Public Relations Commission Chair, who had experience in strategic planning (outside the field of music therapy) to guide the workgroup through this process. It was apparent that without her guidance and leadership, the overall strategic planning process could have been much less effective and productive.

Engaging in the strategic planning process also requires taking a broad perspective. To complete an effective SWoT analysis, stakeholders must consider political, economic, social, technological, demographic, or legal threats or trends that may impact the WFMT’s ability to achieve its mission. The process also includes considering unexplored opportunities such as new partnerships or new revenue

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streams to support meeting the mission of the organization.

It is important in the strategic planning process to be willing to also identify procedures that are ineffective or issues within the organization that may need to be addressed to foster successful operation. This may create stress and tension and highlight various barriers to progress. Ultimately, addressing these issues leads to a more successful organization, enabling it to achieve its mission and have a positive impact on the profession and ultimately the community.

While the strategic planning process is an extensive and intensive process, it is rich with opportunity for organizational insight, growth and development. The process is more robust if all parties are committed and fully engage in each aspect of strategic planning. The process requires a team working together collaboratively for the benefit of the organization and maintaining a sense of openness for discovery.

Conclusion

organizations are guided and motivated by their mission, vision, and values. Throughout the life and development of an organization, the world continues to experience economic, political, social, governmental, and technological changes and each of these factors impact organizations. This can be a challenging and complex process for organizations that serve an international community and are navigating these issues on a global level.

Strategic planning can provide nonprofit organizations a process to assist in elucidating goals and objectives and ways to translate these into action plans. This exploratory and evaluative process can also support organizations in discovering under-utilized resources,

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allocating resources, and discovering new sources of revenue. These are important considerations, as organizations need to demonstrate fiscal responsibility and viability.

Research demonstrates that a strategic plan can become the informed plan that guides the organization. This blueprint not only provides direction, but creates opportunities to set clear outcomes and structured timelines.

These procedures establish rich reporting mechanisms for progress updates, which serve to maintain the momentum of action and accountability, fostering effective communication for all stakeholders, while ensuring transparency for organizations regarding their operation and productivity.

This strategic plan for the WFMT serves as a road map for the organization for the next three years (2014-2017). Six core strategies were identified, developed into specific goals, objectives, and action plans to guide the work of the organization. The strategic planning document may serve to guide the organization further into the future if the Council feels the goals and objectives continue to be relevant for the organization. The strategic planning process now serves as a model for the WFMT to continue to understand, explore and evaluate its mission and vision in the future.

References

anner, J. (2014). Planning meets strategy.

Standford Social Innovation Review, 12(3), 57-58.

Barbé, M. (2014). WFMT Strategic Plan. Retrieved from http://www.wfmt.info/wpcontent/uploads/2014/05/WFMT-STRaTE GIC-PLaN-2014-Final.pdf Boundless. “External Stakeholders.” Boundless Management. Boundless, 18 Nov. 2014. Retrieved from https://www.boun-

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dless.com/management/textbooks/boundless-management-textbook/ethics-in-business-13/business-stakeholders-96/extern al-stakeholders-452-1889/ Bryson, J., Crosby, d., & Bryson, J. (2009). Understanding strategic planning and the formulation and implementation of strategic plans as a way of knowing the contributions of actor-network theory. International Public Management Journal, 12(2), 172207.

Cothran, H. & Clouser, R. (2009). FE648 Strategic Planning for Communities, Non- profit Organizations and Public Agencies.

University of Florida. Retrieved from http: //www.csus.edu/indiv/s/shulockn/executive%20fellows%20pdf%20readings/u%20 fl%20strategic%20planning.pdf davis, K. (2015). Finding value and income where you least expect it: What seems like a loss can be an unimaginable gain. Nonprofit World, 33(1), 18.

Fernsler, T. (2014). Moving beyond strategic planning: Skyrocketing change requires new approaches to dialing planning and big picture thinking. Nonprofit World, 32(4), 18.

Mind Tools, (n.d.). SWOT Analysis: Discover New Opportunities, Manage and Eliminate Threats https://www.mindtools.com/pages/article/newTMC_05.htm.

Kern, P. (Producer) (2013). WFMT Historical Timeline 1985-2013 [Video]. available from http://www.wfmt.info/wfmt-new-home/ about-wfmt/ Kern, P. (2011, July). Stabilization, production, transition. opening speech presented at the 13th World Congress of Music Therapy, Seoul, Korea.

Kern, P. (2010). Historical aspects of WFMT. Three core questions for seven presidents.

Retrieved from http://www.wfmt.info/ WFMT/about_WFMT_files/Kern,%20P.%2 0%282010%29%20Historical%20aspects%20of%20WFMT.pdf

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Reid, M., Brown, L., McNerney, d., & Perri, d.

(2014). Time to raise the bar on nonprofit planning and implementation. Strategy & Leadership, 42,(3), 31-39.

Sahlman, a. & Nanda, R. (2015). Case study: Stretch the mission. Harvard Business Review, May, 113-117.

Steis, a. (2003). Strategic management for public and non-profit organizations. New york, Ny: Marcel dekker.

Wheeler, B (2010). Fifth World Congress of Music Therapy, Genoa 1985. Voices: A World Forum for Music Therapy, 10 (1). Retrieved from https://normt.uib.no/ index. php/voices/article/view/326/238.

World Federation of Music Therapy (2008).

History. Retrieved from http://www.wfmt. info/WFMT/about_WFMT_files/WFMT%2 0History_7-08.pdf

About the Author

Annie Heiderscheit, Ph.D., MT-BC, LMFT, Fellow, Association for Music and Imagery annie Heiderscheit is the director of the Master of Music Therapy program and assistant Professor of Music at augsburg College in Minneapolis, MN. She is the Past President of the WFMT and director of development and Finance for the International association of Music and Medicine.

About the Author

Petra Kern Ph.D., MT-BC, MTA, DMtG, Petra Kern, owner of Music Therapy Consulting, online professor at the University of Louisville, and Editor-in-Chief of Imagine is former WFMT President. She establised the assembly of Students delegates and continues to support students to become multicultural and global leaders in music therapy.

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About the Author

Amy Clements-CortĂŠs, PhD, RP, MTA, MT-BC, FAMI amy Clements-CortĂŠs is assistant Professor, Music and Health Research Collaboratory, University of Toronto; Senior Music Therapist/Practice advisor, Baycrest; Instructor and Supervisor, Wilfrid Laurier University and Registered Psychotherapist. She is the President of the World Federation of Music Therapy (WFMT), Managing Editor of the Music and Medicine journal and serves on the editorial review board of the Journal of Music Therapy, Music Therapy Perspectives and Voices.

About the Author

Anita L. Gadberry, Ph.D., MT-BC dr. anita L. Gadberry is the director of Music Therapy at Marywood University, Scranton, Pa, USa. She serves in leadership positions with the WFMT and the Mid-atlantic Region of the aMTa. anita frequently presents and publishes, including a book entitled Treatment Planning for Music Therapy Cases.

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About the Author

Jeanette Milford MMusThrpy(Melb), PGDipAppPsych, BA, RMT Jeanette Milford is a Registered Music Therapist working in mental health in South australia. She trained in adelaide, Philadelphia and in Melbourne, where she completed Masters research in music therapy and schizophrenia recovery.

She is currently the WFMT Regional Liaison for australia and New Zealand (2011-2017).

About the Author

Jen Spivey, MA, MS, LPC Intern, MT-BC Jen Spivey served as the 2011-2014 WFMT Executive assistant, overseeing the WFMT assembly of Student delegates and has served as the WFMT Secretary/Treasurer since 2013. Her clinical focus includes working with children and adolescents who experienced trauma.

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30 Amazing Years of the WFMT Amy Clements-Cortés, PhD, RP, MT-BC, MTA, FAMI President, WFMT

Abstract

In this issue of Music Therapy Today, I have chosen to write about the history and contributions the World Federation of Music Therapy (WFMT) has made to grow the global awareness of music therapy as an art and science. This paper will provide readers with a brief history of the WFMT by highlighting its purpose, organization and important events from the past 30 years. Further information on projects undertaken by WFMT officers from 2011 forward will also be highlighted.

Keywords: WFMT, development, history.

Introduction

The growth of music therapy across the world has been exponential over the last 30 years, resulting in an increasing number of music therapists in an ever growing number of countries. This progression and expansion of music therapy, however, has not occurred without challenges and needs. To help support these growing tasks and needs, the World Federation of Music Therapy (WFMT) was officially established in 1985 in Genoa, Italy as a result of international music therapists’ shared vision to promote the profession globally. To meet the requisites of an ever growing complex group of professionals, the

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Resumen

En este número de Music Therapy Today, he decidido escribir sobre la historia y las aportaciones de la World Federation of Music Therapy (WFMT), las cuales han dado lugar a una mayor conciencia global sobre la musicoterapia como arte y ciencia. En este trabajo los lectores podrán conocer una breve historia de la WFMT en la que se pone de relieve su finalidad, organización y eventos importantes de los últimos 30 años. También se resaltarán informaciones adicionales sobre los proyectos emprendidos por los representantes de la WFMT desde el año 2011.

Palabras clave: WFMT, desarrollo, historia.

WFMT has itself flourished and developed into a group of music therapists who represent all major regions of the world. The ten founding members were Rolando Benenzon (Argentina), Giovannia Mutti (Italy), Jacques Jost (France), Barbara Hesser (USA), Amelia Oldfield (UK), Ruth Bright (Australia), Heinrich Otto Moll (Germany), Rafael Colon (Puerto Rico), Clementina Nastari (Brazil), and Tadeusz Natanson (Poland).

The WFMT is an organization “dedicated to developing and promoting music therapy throughout the world as an art and science.

The Federation supports the global development of educational programs, clinical prac-

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tice, and research to demonstrate the contributions of music therapy to humanity” (WFMT, 2015). The WFMT acts as an umbrella organization that encourages the exchange of knowledge related to advancing music therapy clinical practice standards, accreditation and licensing, education and training, research and ethics; as well as international collaborations.

Further outreach is provided by the Global Crisis commission, part of whose mandate is to offer assistance to communities affected by disasters.

The WFMT Council is comprised of the WFMT Officers, Commissioners and Regional Liaisons. Officers include: the President, PastPresident, Secretary/Treasurer, Executive Assistant and Assembly of Student delegates.

There are eight Commissions including: Accreditation and Certification, Clinical Practice, Education and Training, Global Crisis, Publications, Public Relations, Research and Ethics, World Congress Organizer. Further, the WFMT has appointed eight Regional Liaisons to represent its members in the eight global regions of the world.

Important Events from the Past 30 Years

Some of the most important events from the past 30 years surround the world congresses which have taken place in: Argentina, Australia, Austria, Brazil, England, France, Germany, Italy, Puerto Rico, Spain, Korea, and the USA. The establishment of scholarships and awards for music therapists is another highlight of the WFMT. The WFMT student scholarship to attend the WFMT world congress is offered to both undergraduate and graduate music therapy students, as well as interns who are active members of their country’s student organizations and have shown interest in the WFMT and global music therapy. The WFMT Recognition Program was established in April 2011, to extend be-

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yond the WFMT Lifetime Membership Award.

This program was put into place to honor significant contributions in education, practice, and research of music therapists around the world. The awards include: research/special projects; service award; advocate of music therapy; and clinical impact award; and are presented every 3 years at the WFMT world congress. Honorary life members awarded to date have been given to: dr. Rolando Benenzon, 2008; dr. david Aldridge, 2011; and dr.

Ruth Bright, 2014.

Projects Undertaken by the WFMT 2011-present

The WFMT has been working on a number of projects in order to create resources for the global music therapy community. Below are some highlights of tasks that are contributing to the development of music therapy practice.

WFMT Strategic Planning and Looking Ahead

The WFMT engaged in an 18 month strategic planning process from January 2013 to July 2014. This task was undertaken to assess the strengths of our organization, the current and future needs, areas for improvement and sustainability of the WFMT, and the identification of priority projects and resources. In this volume of Music Therapy Today there is an article [Advancing the World Federation of Music Therapy (WFMT): Strategic planning process], which provides detail on this planning process. Please refer to that paper for further information. Of significance in preparing this “road map” was the identification of broad goal areas such as: Information; Revenue, Visibility and Collaborations; Internal Communications; Accountability; and Volunteering with which the planning group and council will work to accomplish further goals

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and objectives housed in each wide-ranging area.

WFMT Guidelines and Policies

The WFMT has a number of guidelines and policies that are resources for all WFMT members. These documents are available on the WFMT website http://www.wfmt.info/resource-centers/publication-center/ and are especially useful to new music therapy organizations, and professionals in countries that do not have an organization, or formalized professional body to seek information on professional practices. Here music therapists can find information on the WFMT Bylaws and Constitution, as well as resources such as Introduction to Ethical Practice, Ethics and Informed Consent Requirements for Music Therapy Research, and Internet and Privacy Issues.

WFMT Regional Liaisons Fact Sheets

Information on the prominence of music therapy in all eight global regions of the WFMT are prepared by the WFMT Regional Liaisons.

Fact pages and videos have been created and are updated annually by each liaison for the WFMT website. Fact sheets provide information on education and training, professional organizations, and statistics on music therapists working in the various regions.

Assembly of Student Delegates Window to the World

The WFMT is motivated to inspire the next generation of music therapists and encourages global student interactions. The Assembly of Student delegates (ASd) stimulates knowledge exchange among students by nurturing global involvement and awareness of WFMT. The ASd takes on a variety of projects in their respective three year terms. One noteworthy initiative is the Window to the

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World project, which includes stories on meaningful music therapy experiences from students studying, working or traveling. These exciting stories can be found at http:// www.wfmt.info/wfmt-for-students/windowto-the-world/ WFMT International Internship Registry

The purpose of the WFMT internship registry is to create and cultivate a list of probable internships for music therapists in all WFMT regions. Presently, there are internships listed in Australia, Canada, Singapore and the United States. The creation of this resource was inspired by students seeking the opportunity to develop their clinical skills in locations around the world. Navigating an international internship is complicated with respect to affiliation agreements, educational equivalencies and insurance, but it is possible. This registry provides the preliminary position for students to begin their process. The registry can be found at the following link: http: //www.wfmt.info/international-internshipregistry/

At the World Congress in Austria, 2014, in Vienna, a special one day pre conference workshop on “Studying, Interning, and Working Abroad: Preparing for Global Engagement� was organized by the ASd and offered to students. As one of my passions is education and internship I was pleased to participate as a speaker. The workshop which had well over 120 persons in attendance further confirmed the growing desire and trend of students wanting to study abroad and the importance of the WFMT in creating resources to assist.

WFMT Education Center

The WFMT Education Center provides resources to promote knowledge exchange

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with respect to music therapy approaches, clinical practice and research in an effort to inform and instruct the global community on music therapy. These resources are intended to promote and continue the development of the practice of music therapy in all regions of the world.

Music Therapy Today Journal

The WFMT Music Therapy Today publication is an online open access peer reviewed journal whose mission from 2014 forward is to prepare two journals each year. Submissions are accepted and encouraged from persons from a variety of disciplines throughout the year. In the past this publication has featured world congress proceedings and will be further developed as an International resource to include articles on clinical music therapy practice, research and education and training.

WFMT International Library of Music

The International library of music project was initiated by the WFMT Practice Commission, in an effort to develop a media library of popular songs, rhythms, and music that are commonly used in all regions of the WFMT. This resource is an important contribution to clinical practice, as therapists find themselves working with clients or patients from a wide variety of cultures, speaking unfamiliar languages. At present, the library contains lists of songs and rhythms from each region further linked to iTunes, audio and video files, in order to assist therapists in choosing and learning appropriate music for therapy sessions. The library contains lullabies, folk, popular music and rhythms.

The library is an ongoing project for the WFMT with the intention that new categories will be added while current resources are updated.

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WFMT Folk Music Project

In 2011, in my role as the WFMT Clinical Commissioner I undertook a new project with Commissioner, member Claudio Cominardi which involved securing authors from around the world to contribute a paper on folk music in their countries and regions. The purpose of this resource is to add to the library of music on the WFMT website by also offering writings about music genres. These papers and the music examples are hoped to stimulate advanced awareness of musical cultures, as well as the clinical approaches for music therapy. From the beginning work several papers were submitted, approved through peer review and edited. dr. daniel Teague who is in the current WFMT Clinical Commissioner is pleased to further develop these resources.

Specific submission guidelines are provided at the following link: http://www.wfmt.info/ folk-music/ WFMT Soundboard

The WFMT Soundboard invites music therapists in all regions to submit sound clips of therapeutic moments in order for listeners to learn and understand how music is used in various traditions and cultures around the world. These clips also provide insight into music therapy approaches and techniques with various populations and how they compare and or differ from country to country. I was moved to submit a sound clip of my work with a client in palliative care who wrote a song for her husband to facilitate relationship completion. I encourage our members to consider adding to this resource.

WFMT and Social Media

The WFMT has an active presence on several social media platforms including: Facebook, Linkedin and Twitter. The WFMT Facebook

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group is a large and active group, with new members added on a daily basis. These platforms allow the WFMT to communicate in the “moment” with members on new recourses and important music therapy resources and topics for discussion. Further the WFMT maintains a Global Event Calendar on the website which welcomes submissions from all our members.

and to watch, witness and contribute to the International growth of music therapy. The discipline of music therapy will continue to flourish when projects such as the ones presented above continue to be developed.

Please consider reviewing the many resources available on the WFMT website, learning more about the history of the WFMT, and suggesting what is needed for the next 30 years.

As the WFMT marks their 30th Anniversary in 2015, I am honoured to be serving as the current President. I feel blessed to be in this role

World Federation of Music Therapy. (2015). http://www.wfmt.info/

Concluding Thoughts

Reference

About the Author

Amy Clements-Cortés, PhD, RP, MTA, MT-BC, FAMI Amy Clements-Cortés is Assistant Professor, Music and Health Research Collaboratory, University of Toronto; Senior Music Therapist/Practice Advisor, Baycrest; Instructor and Supervisor, Wilfrid Laurier University and Registered Psychotherapist. She is the President of the World Federation of Music Therapy (WFMT), Managing Editor of the Music and Medicine journal and serves on the editorial review board of the Journal of Music Therapy, Music Therapy Perspectives and Voices.

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History of the Creation of the World Federation of Music Therapy (WFMT)

This article is a tribute to all those who have contributed to the creation of the World Federation of Music Prof. Rolando Benenzon, MD; Buenos Aires, ARGENTINA WFMT President 1985-1990

Like every birth, it does not happen all of a sudden, (e.g., a big-bang), but it requires a long and fruitful process. On November 1, 1974, I attended the 1st World Congress of Music Therapy (WCMT) in Paris. It was organized by Edith Lecourt, a psychologist, and Jacques Jost, a sound engineer, from the Association de Recherches et d´Applications des Techniques Psychomusicales. This congress marked the beginning of the multi-faceted aspects of music therapy at that time. All those attending shared the congress was approached from a wide array of scientific, artistic and social fields.

As a psychiatrist and a musician, I represented the Argentine Association of Music Therapy (AAMT), where there were music educators who had been influenced by the European post-war music education culture (Orff, Coral, Kodaly, Dalcroze, Willems) in dancing, body expression, and the field of oriented psychoanalytic psychotherapy. This fostered important internal debates between the fields of specialized music education, medicine, science and psychotherapy.

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Meeting as an International Community

The debates at this first congress included determining the meaning of music therapy, specifically in relationship to clinical application and the training of music therapists.

These discussions often lead to endless ‘roads’, many of which tended toward a romanticism of the music, which was characteristic of these times. For example, these included discussions of music as a unique and marvelous art form and the amazement of the cases in which music facilitated important behavioral changes (e.g. cases of autism, coma, etc.).

This congress brought about the first international reflection of Latin American influence on music therapy. At this congress, I presented a proposal for hosting the 2nd World Congress in Buenos Aires, Argentina in 1976; all the delegates unanimously approved the proposal. This included representatives from Denmark, Yugoslavia, Spain, France, Austria, Belgium, Brazil, Luxembourg, Poland and Portugal. Additionally, I was invited to lead a

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post-congress seminar at the Association de Recherches et d´Applications des Techniques Psychomusicales, where I was able to describe the initial methodology of what would later become the Benenzon Model of Music Therapy (BMMT). This method demonstrated the influence of my Freudian training, as well as the influence of Melanie Klein, Winnicott and most of all of child psychoanalysis and the application in cases of individual’s autism.

This opened to me the doors to a vast understanding of the non-verbal communication through mediatory elements: (e.g., toys, instruments, and especially water).

Edith Lecourt, as well as Jost Pierre Penec, G. Ducourneau, and Verdoux Pailles, attended this seminar as students. This encouraged and supported the creation of music therapy training programs in France and fostered my travels across Spain and Italy to provide training in this method. I had already started to offer these trainings in Argentina, Brazil, Peru, Colombia, and Puerto Rico. I believe the most important tasks at this period of time were to demonstrate that music therapy could be practiced from a psychoanalytic viewpoint and it could be raised to the same level as psychotherapy (a concept that has always been rejected by psychologists and music therapists due to the fear of competition).

The 2nd World Congress of Music Therapy was held in Buenos Aires, in July 1976. This 2nd Congress became an important milestone because it helped to elevate the profession of music therapy to international level throughout Latin American countries. 1,800 individuals attended this congress representing over 20 countries from around the world. This was an unusually high attendance for a music therapy congress at that time.

The congress was organized by the School of Medicine of Universidad del Salvador, the

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university where I created the music therapy training program just ten years earlier. This was the first representation and existence of a music therapy training program within a School of Medicine, and in which the training of music therapists in an academic setting was created and managed by a physician.

This further fostered leading figures from the fields of psychoanalytic, systemic, psychodramatic, and music (well developed at that time in Argentina) to attend the congress.

These individuals also exerted a strong influence on the conception of music therapy.

These lecturers were instrumental in plowing the field that would later foster the creation of the World Federation of Music Therapy (WFMT). They included:

Harm Willms (Germany) Toro Araneda (Chile) Tadeusz Natanson, & Kajzer, Janicki (Poland) Millicent Rink (South Africa ) Lia Mendes Barcellos & C Leignig (Brazil) Verena Keller & Rose Marie Frei (Switzerland) Andre Gay & Edith Lecourt (France) Rebeca Feldman (Israel) Alfredo Ortiz, Marian Sung, & R. Hess (United States) Angela Fenwick (England) Darko Breitenfeld; Radojicic Radonjic (Yugoslavia) Alfred Schmölz (Austria) Benjumea Muñoz (Colombia) P. Goldstein (Venezuela) L. Florez (Uruguay) H. Seebas (Ecuador) S. Poch Blasco (Spain)

Beginning to Build an Organization

The 3rd World Congress was held in Puerto Rico in 1982. The representatives present at this congress decided to create the commission organizing the World Federation of Music Therapy (Cofiam), and appointed me head

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of the commission. Our task was to complete the preparation work necessary for the creation of the WFMT at the upcoming congress.

It is worth noting the presence of the French delegates because at this congress they exerted a strong influence over hosting the next WCMT in Paris, France.

It was in Paris in 1983 where an unusual event in the history of congresses occurred.

There were two world congresses held in the same year due to the internal division arising between Edith Lecourt and J. Jost. Both congresses were called the 4th WCMT. One was held in March and the other in July. This forced those intending to participate in the WCMT to choose between these two events.

I decided to participate in Edith Lecourt’s congress, and it was at this congress and through the Cofiam that I called to an official meeting.

The following is an excerpt of text from the last letter I mailed before we gathered at the congress: “Dear colleagues, This is Cofiam’s (Commission organizing the World Federation of Music Therapy) second and last communication. Cofiam was created by the decision of the 3rd World Congress of Music Therapy’s meeting carried out in Puerto Rico in 1982. A survey is being mailed to all the music therapy associations and colleagues to prepare a round table for the next World Congress of Music Therapy.

Eighty surveys were mailed. The results included the following: there were 6 replies from those 80 surveys. Puerto Rico was the organization to submit 50 dollars to help support mail and administrative expenses.

As a result, I funded the remaining 90% of the expenses for the organization. It could be inferred that since only six replies were

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received, there may have been many who were frustrated with the intention of creating a world federation through the course of these different international meetings. It was evident that there had been significant difficulties to helping this project materialize. The challenges included the unification of academic and socio-politic issues, as well as cultural criteria for training.

The Cofiam invited one representative from each music therapy association from all the countries that had participated at previous world congresses, to take part in the upcoming WCMT to be held in Paris, France in July 1983. This measure was designed to integrate and foster round table discussions throughout the congress on the following issues: • According to current knowledge and development of world music therapy associations, is it necessary to create the WFMT? • Discussion of negative and positive aspects, and replies to this question.

In preparation for the round table discussions and dialogue, Cofiam remained focused on how to continue to move the profession of music therapy forward on an international level. Cofiam prepared two proposals in preparation for these discussions. These proposals included the following; in case of a negative response, Cofiam would propose the creation of an international study group on subjects that are not common for Music Therapy across the world. In case of a positive reply, it would propose to prepare a WFMT regulation draft and summons to a new international meeting in order to create the final draft documents for the WFMT.

Representatives of Israel, Japan, India, Australia, Martinique, and Brazil participated in this Congress. The following were some of

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the outstanding works: Music therapy applied to the treatment of alcoholism and drug addiction (Breintenfeld); Music therapy in psychosomatic issues (Schmolz); Music and deafness (C.Bang Danes, Vogel, Germany); Music Therapy and culture (Mutti and Gianluigi di Franco); Music and Psycho Dramatic Techniques (J. Moreno); Psychotherapy and music (E. Lecourt, S. Resnik) and Synthesis between Medicine, Music and Psychology, and Model of application in autism (Benenzon).

Twenty-five representatives attended the Cofiam roundtable meeting and unanimously decided to hold the next congress in Genoa, Italy. It was decided that this congress would be hosted by the Italian Association of Music Therapy and organized by their current president, G. Mutti. I was once again appointed to coordinate the final meeting for the creation of the WFMT at this next congress.

Formalizing the Organization of the WFMT

It was at this time that I organized the evaluation commission to develop the constitution for the WFMT. This commission included, representatives from England, Germany, Austria, France, Spain, Argentina, Brazil, Italy, Puerto Rico, Japan, and the United States. The formation of this commission fostered our inter-continental communication during those years as we prepared the foundation and statute to be reviewed and evaluated at the 5th World Congress in Italy. The following is a letter mailed to Amelia Oldfield (Ida Darwin Hospital in the United Kingdom) that summarizes the work that was carried out at this time: “Thank you for your letter dated February 27, 1984.

Below is the correspondence sent and received since July 1983:

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1. August 10, 1983 - I sent a letter suggesting some topics to work on and a way to begin.

2. September 9, 1983 - Reply from Prof.

Tadeuz Natanson.

3. September 21, 1983 - Reply from Music Therapist Tony Wigram.

4. October 1983 - Proposal made by Ruth Bright.

5. February 12, 1984 - New material from Mr. Natanson.

6. February 27, 1984 - Your letter informing us that you represent the A.P.M.T. We will certainly hold a meeting on December 1985 in Genoa, Italy, during the 5th World Congress on Music Therapy.

The eight members of the Committee should have a daily work session there.

By that time we should have prepared and resolved a series of issues, and from then on the Federation should be ready to start operating�.

In the letter, I also suggested we identify four topics to be discussed and addressed: e.g. training, research, therapy, professional matters. I offered to serve as coordinator of the training topic. In the light of the correspondence received, I determined it was necessary that the topic of professional matters should be divided into:

a) Statutes and rules of procedure. b) Other questions concerning professional activity.

In his letter, Professor Natanson suggested that these topics would need more than eight people to adequately address them and it would require a great deal of time. Therefore, he suggested working specifically on the principles of the Federation rules of procedure, which would be part of the professional subjects. I suggested that Professor Natanson

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coordinate this topic. Tony Wigram agreed with the topics and offered to work on the professional matters. He suggested that Dr. Moll and Henri (Germany) could collaborate on the subject of relations with UNESCO. He also suggested that Barbara Hesser (USA) could address the research topic, while Professor Natanson also expressed interest in this subject. Ruth Bright also wrote about points relating to professional issues, which helped us to better explore and understand this topic.

I coordinated the topic on training. I asked each member of the committee to send me specific information about: training programs for music therapists in their respective countries; admission evaluation criteria; list of subjects taught; syllabi for each course; profession of the teachers of each subject; the basic principles, philosophy, theory, ideology on which the subjects were based; final evaluation required to receive the music therapist certificate, and what is the recipient of this certificate entitled to do. I shared my intention of receiving this information and communicating valid conclusions that could be drawn from the information I obtained.

Tony Wigram wrote in his letter that many of these topics were beginning to connect programs and organizations throughout the world. This would precisely be one of the primary functions of the WFMT and the focus of our work during the congress. Ruth Bright drew attention to the possible similarities and differences between the creative arts in therapy and music therapy and suggested that some answers will be obtained by analyzing the training of these two professions.

During the next WCMT, which was held in Genoa, Italy in December 1985. Representa-

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tives met to discuss the formation of the WFMT. These representatives included the following:

Argentina: Rolando Benenzon Australia: Ruth Bright Austria: Alfred Schmรถlz Brazil: Clementina Nastari Canada: Valerie Ivy France: J. Jost West Germany: H. Otto Moll East Germany: Cristoph Schwabe Japan: Tadafumi Yamamatsu Great Britain: Auriel Warwich; Amelia Oldfield Poland: Tadeus Natanson Puerto Rico: Rafael Rivera Colon Spain: Serafina Poch Blasco United States: Carol Merle-Fishman Russia: Boris J. A. Reznik The Birth of an Organization: The World Federation of Music Therapy

At the meeting on December 9, 1985 the committee created the WFMT and I was unanimously appointed chairman. The appointment of secretary was temporarily established in Genoa, with Giovanna Mutti appointed and Mr. J. Jost, as treasurer. The representatives reviewed proposals for the next World Congresses. These included proposals from Brazil, Finland, Norway and Yugoslavia.

It was also determined that Sao Paulo, Brazil would be the location for the next World Congress. Clementina Nastari won the vote with 70 percent of the votes in favor of Brazil. She felt that she was not fully qualified to organize and coordinate the congress, so she delegated its organization to Cecilia Conde, Director of the Brazilian Conservatory of Music.

The 6th WCMT was held in Rio de Janeiro, Brazil and it also marked a milestone on the

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road of music therapy in the world. At the business meeting, an in depth analysis and review of the statutes took place and the election of the next WFMT Chairman was carried out. The voting ended with a tie between me and Ruth Bright, (Australia). This was an important moment of reflection for me. Thus far, the WMFT had been maintained primarily within a Latin American context, where Spanish was the language spoken.

This provided an imprint on the organization, which reflected a particular ethnicity, with a dynamic psychological thought of a strong psychoanalytical influence, and artistic-creative challenges. I considered that it was a moment to change the direction toward the English language and an AngloSaxon context. Therefore, I decided to relinquish the vote to Ruth Bright, for the chairmanship.

Today I continue to believe that the language with which the phenomena regarding the development of music therapy worldwide is understood and described in very important ways in the non-verbal work. The roots and the history of every language tint and influence the non-verbal cobweb. As such, reading Borges or Shakespeare in Spa-nish is not the same as reading their works in English.

Global Recognition of Music Therapy Models

After the 1985 WCMT in Genoa, Italy, I continued to actively participate in world congresses. The 10th WCMT was held Washington, D. C., in 1999. For this congress I was invited to present the Benenzon Model of Music Therapy (BMMT), as one of the five major music therapy models worldwide. Through music therapist Gianluigi Di Franco, I understood that the nomination process had not been easy, and that limiting it to five models posed many challenges. Di Franco shared he

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had emphasized in these discussions the absence of a Latin American model.

The congress in Washington, D.C. helped to elucidate the confusion that existed between the different models of training, as well as provide a more comprehensive view of music therapy. From that moment on, the roads became more clearly divided, and the differences and similarities between the methods deepened. For me it was a strong push, which allowed me to realize that music therapy was reaching its limits. Music therapy does not allow passing the border that leads to consider the non-verbal communication as a multiplicity of factors dealing with other manners of expressing and perceiving. We must consider that non-verbal therapies are not only the sound and the music, but the silence as well. Musical structures are also the shapes, colors, aromas, temperatures, texture and endless qualities of abysms, chaos and black holes.

Then, for the second time in the history of the WFMT and 30 years later, the WCMT was again held in Buenos Aires, Argentina in 2008.

Gabriela Wagner who was serving as president of the WFMT, also served as congress organizer. This congress, like the previous congress held in Buenos Aires, focused on music therapy through an intertwining of science, art, and psychology.

Closing Remarks

Today, more than ever, it is necessary to resort to philosophy (Espinoza, Deleuze, Kant, Plato, Aristoteles) and to quantum physics, which I call quantum psychology, in order to begin accepting that there exists a micromacro cosmos that is beyond the limits imposed by music therapy itself. That is why we must speak of music therapy and non-verbal psychotherapy. In these worlds of limitless

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frontiers and no-man zones, the non-verbal ethics deserve special attention, since it is a subject has been disregarded previously.

I wish for the WFMT to hold onto each and every tendency and nuance that exists, continuing to nourish itself as it has from the be-

ginning. I hope it maintains a practice of engaging on multi-disciplinary levels, as this provides a rich diversity of knowledge and fosters new developments. Overall, I also wish for the respect of chaos which given patience and time, self-organizes.

About the Author

Dr. Rolando Benenzon, psychiatrist, artist and music therapist.

First president of the World Federation of Music Therapy and founder of the Rolando Benenzon music therapy model. He also created the ďŹ rst music therapy training program in South America (Universidad del Salvador, Argentina) in 1966. He is also well known for his publications.

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Interview for Dr. Ruth Bright Annie Heiderscheit, Ph.D., MT-BC, LMFT, Minneapolis, MN (USA); Dr. Ruth Bright, RMT, Australia, WFMT President 1990-1993

Abstract

The World Federation of Music Therapy (WFMT) began due to the pioneering nature of music therapists around the world who held a vision of growing the profession on a global level. Dr. Ruth Bright served as President of the WFMT from 1990-1993 and was instrumental in shaping and building the organization in its early years. Her early experiences as a music therapist and her role in the development of an international organization are highlighted. This article provides information and insight into the early stages of development of the WFMT.

Resumen

La World Federation of Music Theray (WFMT) se inició gracias al carácter pionero de musicoterapeutas de todo el mundo que compartían una visión de la profesión a nivel global.

La Dra. Ruth Bright fue Presidente de la WFMT desde 1990 a 1993 y fue la persona que dio forma y construyó la organización en estos tempranos años. Su dilatada experiencia como musicoterapeuta y su papel en el desarrollo de una organización internacional son destacados. Este artículo aporta información y se adentra en las primeras etapas del desarrollo de la WFMT.

Keywords: WFMT, history, global awareness, development.

Palabras clave: WFMT, historia, conciencia global, desarrollo.

Introduction

This article is an interview with Dr. Ruth Bright that was conducted by the authors via email. The questions were developed specifically to elicit Dr. Bright’s experiences regarding her involvement in the establishment of the WFMT and serving as President from 1990-1993. The correspondence continued via email to clarify information and details.

This was a collaborative process to not only ascertain historical information regarding the development of the WFMT but to also explore Dr. Bright’s early experiences with the developing profession in Australia. Thus begins the interview with Dr. Ruth Bright.

The history of an organization is often held among those that were present and instrumental in its development. An organization’s history can be lost unless it is recorded and published. Gathering this information necessitates interviewing those individuals who were engaged in creating the organization and contributed to its establishment. Without documenting the history of an organization, the foundational knowledge in which the organization was created is absent for generations to come.

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Can you tell me about how you discovered music therapy?

I was born July 1929. I was always interested in music, but because I had thoughts of studying medicine I completed several science courses in final years of school in United Kingdom (UK). However, getting a place in a medical course was very difficult, so I did not continue my pursuit in medicine. In 1948, I moved to Australia with my parents. Two days after my arrival in Melbourne from the UK, I started a Bachelor of Music degree at the University of Melbourne. At this time, I had not heard of music therapy, nobody had heard of it at this point. So, therefore I completed a degree in music.

In January 1959, I offered my services as a volunteer at a psychiatric hospital in Adelaide. The head of that hospital, Dr. Brian Shea, interviewed me and said, “I want music in the hospital, but not as entertainment. I want it to be linked to the treatment of the patients with whom you will work.” Fortunately, the one social worker (who served about 1500 patients) had time to talk with me each week and told me about the patients and their needs. I also talked with the patients’ psychiatrists over afternoon tea two days each week when I went to that hospital.

I gradually began to see the way ahead and how to use music to support people with a mental illness.

Two years later, I moved to Sydney and just by chance at the same time that Dr. Shea came to take charge at a psychiatric hospital where there were many problems. He asked me to start sessions in the forensic and maximum security wards where the worst of the problems had been. I was still unpaid but was given a status of honorary therapist, so that I had access to patient files and could read patient’s diagnoses, history, and their responses

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to and progress in treatment. I was also able to write notes on my work then and document the outcome of that work. In 1972, New South Wales established music therapy as a profession and as a result, I was then paid for my work.

Gradually my work expanded to providing music for patients with other conditions, especially those receiving aged care and treatment. My first book, ‘Music in geriatric care, was published worldwide in 1972. It was at this time that I began to meet music therapists who had received their training outside Australia. I met Denise Erdonmez (now Grocke) who completed her training in the United States, Pauleen Walden who trained in the UK and was now employed by the Red Cross, and Marvin Barg, who also trained in the US. We were all working in the state of Victoria to advance the profession of music therapy.

over the years we met and had long discussions and, in 1975, we established the Australian Music Therapy Association (AMTA), with criteria for deciding who (of the various musicians working with people who had disabilities or illnesses of various kinds) was, or was not, a genuine therapist. I was the first President, and we established a formal Constitution so that there were no problems about organizing the association – it was amazing how successful we were in our planning!

What led to the development of the WFMT? What was the vision or hope of the organization at this time?

There was increasing communication between music therapists around the world and in Australia and we believed that a worldwide association was needed to enhance communication and our professional work. There was

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to be a congress in Genoa, Italy in 1985, and we planned to launch a world-wide organization at this meeting. Dr. Denise Grocke and I were both present, as well as some other Australian music therapists.

A meeting was held at this congress in which the World Federation of Music Therapy (WFMT) was established. Dr. Rolando Benenzon (psychiatrist) was elected chairman. After the launch of the organization in Genoa, Italy, various members of the elected committees prepared reports on various aspects of music therapy, such as educational standards throughout the world, and thoughts on how an international body would work. It was hoped that a world congress would be held every three years. However it was five years before we gathered in Rio de Janeiro, Brazil in 1990 for the next congress.

The World Congress of Music Therapy (WCMT) in Rio de Janeiro went well and covered a broad range of topics in music therapy. These included a focus on music therapy with people of all ages, who were living with different disabilities or conditions. It was at a formal meeting during this congress that I was elected President, and the decision was made that the President must always be a qualified music therapist. This was seen as essential because only a music therapist can fully understand the challenges, opportunities, restrictions and so on which may be encountered during our work.

The hopes and vision for the WFMT from the very beginning focused on enhancing education and understanding through the exchange of ideas. The WFMT strived to connect individuals and organizations around the world.

What fostered or lead to your involvement in the WFMT?

I was involved internationally before the WFMT ever began. My interest, enthusiasm, and

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willingness to give time and effort to the tasks involved were important in the establishment of WFMT. But there was also the fact that I had observed music therapy in different parts of the world and I had seen different aspects of the profession during my visits to many countries including the United Kingdom, United States, Canada, France, Germany, Spain, Norway and Denmark. I had also read a great deal about music therapy education and practice in other countries as well. So, I realized that there were diverse concepts in different parts of the world and even among individual therapists.

I wanted to foster and support the exchange of ideas in the profession. Although it was impossible for all therapists to work in exactly the same way, one’s underlying psychological and theoretical approaches and methods obviously affected one‘s work. Whether a clinician utilizes a behavioral or psychoanalytical approach, this clearly impacted one’s work in music therapy. I wanted there to be sufficient contact and dialogue between music therapists in order for us to understand and recognize the benefits of these various approaches and methods.

Describe the state of the profession of music therapy when served as president of the WFMT?

The use of music therapy methods and approaches varied so much around the world. obviously the aim for all of us was to use music to enhance the quality of life for people with problems and disadvantages, but the way this was accomplished varied enormously, as it probably still does across the world.

There were many therapists who adopted a behavioral approach, whereas others had a psychoanalytical approach in their method, while some others took a varied or eclectic approach (including me) depending upon the

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problem the patient was facing, his or her own thoughts and life approach. This eclectic approach also included considering what method and what approach seems to best ‘fit’ any given situation. For example, usually in my work, I utilized a combination of approaches with the same individual as progress was made and/or as changes took place.

While music therapy methods and approaches still vary enormously, the profession is better known today than in the past. In the past those that were not familiar with music therapy, viewed it as entertainment, utilized to fill in hours, keep patients from getting bored, or to distract their mind from worries (i.e. a recreational rather than truly therapeutic process). It was often not uncommon to hear the following, “Oh, you’re a music therapist - you play music to prevent boredom!”

This is now a comment that is only heard occasionally. Gradually the concept of music therapy has taken root, but this has been a professional task that we can only undertake after extensive training. It is not something someone does because they can play a few tunes on the piano. There are increasing numbers of people who recognize what the profession of music therapy has to offer and is able to achieve. The world better understands that music therapy is not something a musician can do without specialized training.

While this can still vary throughout the world, overall, I am glad to say there is an improvement.

When you served as president of the WFMT, what was the organization striving to accomplish?

We were striving to gain greater knowledge, recognition and understanding of our profession from a broader and global perspective.

We were interested in exploring the implica-

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tions of this information on both the study and practice of music therapy. We were invested in developing higher standards of professional skills so that these would be comparable throughout the world, even if they were not identical.

What were the major accomplishments during your term as president?

The very existence of the WFMT enhanced the exchange of ideas, concepts, and information. This dialogue perhaps worked toward increasing parity in the levels of professional competence. I felt it was a huge risk for the profession that we did not have internationally universal levels of competence and knowledge required in order to become a registered or professional therapist. Inevitably the exchange of information and ideas worked to support music therapy being practiced more competently and effectively. I do not see as a profession we will ever achieve developing universally accepted levels of professional competence. The field of medicine has not been able to accomplish this, so how could music therapy do this? However, we at least can work toward achieving comparable levels of competence through holding international congresses, with the papers that are presented giving careful account of the actual methods that are utilized in each participant’s professional practice. This was certainly my aim during my term as president. I was realistic enough to know that I could only sow the seeds, and hope that they would flourish in subsequent presidential terms of office.

How do you feel the WFMT supports the profession of music therapy and the professional music therapy?

I think the fact that music therapists meet internationally is important even though it occurs so rarely is a disadvantage, but the in-

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creasing use of email for communication probably helps. Because I have been retired for several years now, my answer is not detailed, but hopeful.

Did you serve in any other roles other than president of the WFMT? If so, what other roles did you serve in and when?

Following my term as president of WFMT, I served as the immediate past-president for three years (1993-1996). Additionally, I served as a committee member for a few terms in both the Australian Music Therapy Association and the New South Wales branch of the association. I also served as President of the Australian Music Therapy Association (AMTA), and of the New South Wales branch of that association. I also served a term as President of the Gerontological Society of New South Wales.

As you reect on music therapy throughout your career and your life,

what highlights and thoughts would you like to share with music therapists from all around the world?

I have written many books, throughout my career. These books are not all on music therapy specifically, but on aspects of life I have learned about as a music therapist. In these I have described how music therapy can be helpful. My areas of expertise and specialty include loss and grief, and old age (the latter being very appropriate as I am now on 86 years old and husband is 90). over the years, I have given papers on these topics at congresses in various parts of the world.

I encourage music therapists all around the world to keep trying and keep believing in the value of what you do. I also encourage you to be adaptable and open to new ideas.

It is my hope that continued and ongoing exchange is maintained and that music therapists from all around the world continue to gather to advance the profession of music therapy.

About the Author

Annie Heiderscheit, Ph.D., MT-BC, LMFT, Fellow, Association for Music and Imagery Annie Heiderscheit is the Director of the Master of Music Therapy program and Assistant Professor of Music at Augsburg College in Minneapolis, MN. She is the Past President of the WFMT and Director of Development and Finance for the International Association of Music and Medicine.

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About the Author

Dr. Ruth Bright Music Therapy for Dr. Ruth Bright began in December 1959 working in a psychiatric hospital using music linked to patients’ treatment. Later she studied and used music in gerontology, spinal and brain injuries, and children in hospitals, becoming a grief therapist in most of these ďŹ elds.

She has published a number of books, and in 1986, she was a prime mover in the establishment of the WFMT.

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WFMT:

Past, Present and Future

Cheryl Dileo, Ph.D., MT-BC, Philadelphia, PA (USA), WFMT President (1993-1997)

Engaging in the WFMT

I served as President of the WFMT from 1993 to 1997, but also served as a member of its Council for 18 years total from 1990 to 2008.

Needless to say, I’ve had a great deal of involvement in WFMT matters throughout this time, and from this vantage point, I would like to briefly comment on what was accomplished in the early years of the WFMT, what is happening today, and what I hope will happen in the future.

After having finished a term as President of the National Association for Music Therapy (USA) from 1998-1990, I traveled to Rio de Janeiro for the 6th World Congress of Music Therapy. During that congress, I met with colleagues from all over the world and attended the meetings of the WFMT led by Dr. Rolando Benenzon. At this time, the organization was only loosely structured having no official constitution or bylaws. I remember drawing up content for a constitution with colleagues there. At this congress, I was elected to chair the Commission on Ethics, and during my term, developed the Ethics Guidelines for WFMT. Also during this time, I edited the book: Music Therapy: International Perspectives with chapters from 40 countries, each provi- ding an overview of the history and then current status of music therapy. Working with the chapter authors was an enlightening experience and helped me to understand the diversity of practice and specific and unique needs of each coun-

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try with regard to the development of music therapy.

At the 7th World Congress in Vitoria, Spain in 1993, Drs. Denise Grocke, Tony Wigram and I worked non-stop for several days drafting and finalizing the WFMT Constitution and Bylaws.

Although this document has been subject to revision during the subsequent 22 years, it continues to form the basis for the WFMT. It was also at this congress that I was elected President of the WFMT. Leading the WFMT

During my term of office as President, the Council and I fine-tuned the Constitution and Bylaws and we implemented many well thought out policies and procedures. Always in the forefront of our minds were several priorities: 1) the need to support those countries with limited resources and where music therapy was developing and not yet recognized, 2) the need to achieve adequate communication with and representation of various parts of the world in the WFMT, 3) the need to foster ways in which music therapy associations within and between countries in a particular region might work together instead of compete and 4) the need to act with fairness in all aspects of WFMT procedures so that all voices could be heard and honored.

With these priorities in mind, we were able to implement voting procedures that would allow each country one vote, with each mem-

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ber association within the country sharing an equal proportion of the vote. We felt that this would encourage associations to come together and attempt to decide jointly on how to vote on a particular issue. This procedure also allowed small countries to have an equal vote with larger countries, thus ensuring that all voices would be heard equally.

We took great pains to design the membership of the WFMT Council so that it would be a small, manageable and dynamic group and also representative of its diverse constituents. officers of the WFMT were elected by the membership as were Commission chairs. There were only 3 appointed Commission Chair positions possible, and these were filled to assure adequate representation of the various areas of the world as divided into 4 quadrants: North America, South America, Europe and Australasia. We were also concerned about assuring representation of developing areas, especially Asia, Eastern Europe and Latin America (during my term, there were 3 representatives from Latin America).

We also instituted procedures to allow direct representation of regional organizations on the Council, for example, the Latin American Music Therapy Committee, the only such regional organization at that time. Because we knew that the development of music therapy in regions could be aided by strong alliances among countries, we provided a seat on the Council for the President of such organizations (later on, this also included the EMTC). This procedure also acknowledged this individual as a direct representative of the music therapists in that region, as they had been directly involved in electing their country representative who subsequently was involved in selecting the regional President. Thus, these individuals had real grass roots connections, and this

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was certainly consistent with the values and goals of the WFMT.

To further promote representation from all parts of the world, each of the commissions recruited members from each of the four regions. In addition, we actively implemented the notion of rotating among the four quadrants of the world in selecting the location of world conferences and in officers of the WFMT. For example, from 1990 to 1999, the Presidents of the WFMT were from Latin America, Australia, United States, and Europe respectively.

There were several other firsts during my Presidency: the first WFMT Newsletter (Joe Moreno, Editor), the first 5-year Strategic Plan, the first WFMT definition of music therapy (Commission on Clinical Practice, Lia Rejane Barcellos, Chair) and the first listing of music therapy training programs (Council on Education and Training, Denise Grocke, Chair).

Also, of significance, the WFMT became a non-profit, tax-exempt organization in the United States. Additionally, the levels of membership and dues structures for the WFMT were established to accommodate the ability of individuals to pay, as were the registration fees for the world congresses. For congresses also, percentages of the overall number of presentations for the host country were limited to make sure that there were sufficient presentation slots for other countries.

Up to and throughout my Presidency, there was no Internet or email. Luckily, there were fax machines. The bills for all of the faxes sent around the world were considerable though.

However, the communication between the President and members of Council as well as communication to the WFMT members never suffered as a result of using ‘snail mail’. My goal was to send out monthly summaries regarding what was happening in the organiza-

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tion, while often asking for input for solving a particular question. We were indeed setting precedents in all that we did, and we did not take this responsibility lightly. We also had 3-5 meetings in-between world congresses in different parts of the world (for example, Rio de Janeiro, Toronto, Capri, Italy), whenever it was possible for several of us to meet.

In summary, during this period of the WFMT, the role of the WFMT was established, the groundwork was implemented, there was great respect for the diversity of practice and various cultures among its members, and there was truly a ‘family’ established among the members of the Council with all working carefully and thoughtfully in harmony towards a common purpose. There was also enthusiasm among the WFMT members to develop the organization, and there was optimism for what the WFMT could do to help promote music therapy around the world.

These were very special times.

Following Presidential Role

After my Presidency, I served as the WFMT Business Manager for 12 years and through four Presidential terms. It was an honor to bridge the WFMT past with the then current work of the federation, and to see the organization grow and change in various ways. Although I often welcomed change, I haven’t always viewed all change as good or necessary.

This is certainly the case with some changes that have been implemented in the WFMT during the past 6 years.

I was quite disappointed and made my opinion known repeatedly to WFMT officers regarding the elimination of the President of regional organizations on the Council. At present regional liaisons are appointed by the

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President. I feel that this does and has done two things: 1) it does not encourage the formation of regional organizations as was originally intended and in fact separates these organizations from the structure of the international organization, and 2) it disregards the fact that these regional organizations have grass roots involvement and have been given the authority by the music therapists in those regions. I strongly recommend that the WFMT revert back to the previous policy of including the President of regional organization on the WFMT Council.

I also take issue with the great lack of diversity in the immediate past and current officers and Commission Chairs of the WFMT. Here are the current facts: all four officers are from North America and 50 % (4 of the 8 Commission Chairs) are also from North America. So out of 12 members of Council, 66 % (8) are from North America. It’s clear that the WFMT is an international organization, not a North American organization. It seems that the sense of a balance has been lost, and this is an issue that needs to be rectified immediately. In addition, it’s clear that the power to elect members of Council needs to rest with the members; there should be only a very limited number of appointed positions.

My own hopes for future of the WFMT, are that the organization may work more actively in helping music therapy grow in developing countries, for example, through the dissemination of important research findings, while at the same time honoring and supporting the unique cultural characteristics of music therapy in each country. I value the many years I have spent as a Council member of the WFMT, and also hope that some of the initial values of this organization will endure through its present and into its future.

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About the Author

Dr. Cheryl Dileo, Ph.D., MT-BC, WFMT President (1993-1997).

Dr. Cheryl Dileo is the Laura Carnell Distinguished Professor in Music Therapy, Director: PhD Program in Music Therapy and Arts and Quality of Life Research Center at Temple University, Philadelphia. PA, USA. She is the Past-President of the World Federation of Music Therapy and National Association for Music Therapy (USA).

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Reections on the World Federation of Music Therapy (WFMT): Past, Present and Future

Denise Grocke, Ph.D., RMT, RGIMT, FAMI, Melbourne, Victoria, AUSTRALIA WFMT President 1999-2002

The first WFMT world congress I attended was in Rio de Janeiro, Brazil, in 1990. I remember the vibrancy of that congress and the spontaneously improvised music that was created during the breaks. It was at this congress that Dr. Ruth Bright (Australia) was appointed President of WFMT, and a number of commissions were formed, including the Commission on Education and Training. I was elected to chair this commission.

The next WFMT congress occurred in 1993 in Vitoria Spain, and the WFMT Council worked on the first Constitution and Code of Ethics, which were passed at the WFMT General Meeting. I continued to Chair the Commission on Education and Training for the period 1993-1996. We set an objective to gather information on training courses throughout the world as, at that time, there was no database on where training existed. The courses in the United States (US) were easy to find – I recall about 72 training courses existed at that time.

The courses in the United Kingdom, and some parts of Europe were well-known, but there were many other courses for which we had little information. In 1992 Dr. Tony Wigram (UK), Hanne-Mette Kortegaard (Denmark) and I met to create a comprehensive survey that included questions about theoretical orientation, music skills, music therapy theory and practice, and clinical training hours within

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training courses. We sent the survey to a sample of US training programs, and to all other courses that were known to us. The findings from that survey were published in a book (Erdonmez Grocke, 1996), and presented at the next congress in Hamburg, 1996.

My final contribution in my third term as Chair of Education and Training (1996-1999) was to organize a 2-day symposium prior to the World Congress in Washington DC in 1999, with representatives of different countries, to determine standards in training. The participants represented the four major regions of the world, and different theoretical perspectives of music therapy at the time. They included: Kenneth Bruscia (USA) Cheryl Dileo (USA) Barbara Hesser (USA) Fumio Kuribayashi (Japan) Mayra Hugo (Uruguay) Connie Isenberg-Grzeda (Canada) Mechtild Jahn-Langenberg (Germany) Inge Nygaard Pedersen (Denmark) Helen OdelI-Miller (UK) Marilyn Sandness (USA) Chava Sekeles (Israel) Helen Tyler (UK) Tony Wigram (Denmark and UK) Barbara Wheeler (USA)

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The symposium was created to address three objectives:

1. To establish model guidelines for training courses world-wide, at entry level to the profession.

2. To address advanced level training (beyond basic training).

3. To create a forum for discussion and debate on education and training issues.

Over the two days, presentations were made on training in Europe, the UK, the USA, Australia, New Zealand, and Japan. The unique aspects of each training program were discussed, such as self-experience. When it came time to draw up the guidelines Professor Ken Bruscia suggested we keep the guidelines to a minimum, otherwise if we became caught up in calculating a precise number of hours on each topic, and the detail of content, that we would meet for a very long time. We took his advice and after two days came up with a single page of succinct recommendations.

(Wheeler & Erdonmez Grocke, 2001, see Appendix 1).

I was elected WFMT President in 1999, and during my time the World-Wide-Web was beginning to impact communication throughout the world, and along with it, the advent of email. Prior to 1999, communication throughout the world via WFMT publications was rather slow. We communicated by snail mail and by facsimile (fax). Our face-to-face meetings occurred infrequently, at WFMT Congresses, and at major conference such as NAMT, BSMT and later EMTC meetings. Gianluigi di Franco (Italy) had published a series of rather beautiful bulletins through Ismez, a publishing company in Italy. An example of these bulletins is included in Appendix 2. There were four editions of the newsletter published between July 1997 through May 1999. They included announcements about conferences in

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various countries, available courses, and other information. However, distribution was quite a convoluted process, and often, by the time the newsletters were distributed (by international mail), the information was out-of-date.

So the arrival of the World Wide Web and email, dramatically changed the way the WFMT communicated and corresponded throughout the world. These days WFMT “uses online sources such as the WFMT website, blog, podcasts, videos, Facebook, LinkedIn, twitter, emails and an annual report to inform its members and others associated with music therapy” (WFMT website, retrieved December 12, 2014).

A second major event during my presidency occurred one day when I was attending a Congress planning meeting with Dr. Gary Ansdell and Nigel Hartley at the Nordoff-Robbins Centre in London. It was September 11th, 2001. As we finished the meeting, the news was breaking of the tragedy unfolding in New york City. This event lead to one of WFMT’s most important developments – the addition of the Commission on Global Crisis Intervention.

This initiative is important for two reasons, first it responded to music therapy organizations throughout the world offering support and assistance following disaster, and second, the work of the Commission helped facilitate music therapists honing skills needed when responding to tragedy and trauma. This is highlighted in research publications, such as the account of music therapists engaged in communities following the earthquake in Sichuan province (Gao et al., 2013), and in Australia after the violent bush fires that swept through Victoria in 2009 (McFerran & Teggelove, 2011). Gao et al (2013) found that in the months following the earthquake in Sichuan province, small music activity groups and performances affirmed coping strategies, and

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enabled personal enrichment. What was important to survivors was not recalling the tragic event, but rather having the opportunity to sing and play music in a way that normalized the situation. As severe weather patterns increase traumatic events across the globe, the role of the Commission on Global Crisis Intervention is likely to increase in the future as music therapists are called upon to support traumatized persons and their families.

The unique role of WFMT however is to hold a World Congress in different continents by rotation every three years. These events are always exciting, stimulating and often exceed expectations in terms of the number of people attending and the diversity of presentations. The future role of the WFMT I believe will be to strengthen communication across countries and regions, to support countries that are struggling with war and violence, as well as countries that have a low socio-economic structure. We have the vehicle (music) to make a huge difference in the world. As our expertise is more and more finely tuned, we will be able to define, refine and articulate

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the role of music in meeting the challenges of everyday life.

References

Erdonmez Grocke, D. (Ed) (1996). Directory of music therapy training courses world-wide.

World Federation of Music Therapy. Published Faculty of Music, University of Melbourne.

Gao, T., O’Callaghan, C., Magill, L., Lin, S., Zhang, Junhan; Zhang, Jingwen; yu, J & Shi, X (2013). A music therapy educator and undergraduate students’ perceptions of their music project’s relevance for Sichuan earthquake survivors. Nordic Journal of Music Therapy, 22(2), 107-130.

McFerran, K and Teggelove, K. (2011). Music therapy with young people in schools: After the Black Saturday fires. Voices: A World Forum for Music Therapy, 11(1). Retrieved from https://normt.uib.no/index. php/voices/article/view/285/442 Wheeler, B. and Erdonmez Grocke, D. (2001).

Report from the Education, Training and Accreditation Education Symposium. Music Therapy Perspectives, vol 19(1), 63-67.

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Appendix 1

WFMT Guidelines for Music Therapy education and Training (1999)

The following guidelines should be applied within the context of the culture of the country.

The practice of music therapy requires an intensive program of study and supervised clinical training through an institution of higher education over an extended period of time.

Intensive studies shall consist of: • Musical skills and knowledge • Biological, psychological, and social studies • Music therapy knowledge and skills

Clinical training shall consist of supervised field experiences in various areas of music therapy.

A program of study may be general or specialized.

A general program of study shall cover: • Active and receptive methods of music therapy; • Applications of music therapy with a wide variety of populations and in various settings; • Different philosophical and theoretical orientations; • Ethical principles and research; and • Existing models of music therapy practice.

A specialized program may focus on one or more specific models or orientations.

The program should promote the student’s personal growth and professional development. It may be basic or advanced depending upon the depth and breadth of training, the system of education, the standards of practice, and the credential or qualification granted to the graduate.

The most appropriate level may be determined partially by the educational system of the country.

The program of study is one which: • Has a set curriculum; • Includes required reading; • Is offered on a regular basis, usually each year; • Requires that the students are assessed and evaluated through various forms of examination; • Is recognized in the country by the appropriate professional organization or government agency; and • Is periodically evaluated for quality of teaching.

The program should stipulate criteria for the selection of students. Selection should be based on an assessment of music skill, academic qualification, and suitability of personal qualities.

The music therapy program should be taught by a person appropriately educated and trained in music therapy who has substantial clinical experience in various aspects of the field. Similarly, clinical training should be supervised by an experienced music therapist.

The training institution should provide and maintain appropriate academic and technological resources.

(Reproduced from Wheeler, B. and Erdonmez Grocke, D. (2001). Report from the Education, Training and Accreditation Education Symposium. Music Therapy Perspectives, vol 19(1), p. 67).

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Appendix 2

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About the Author

Denise Grocke, emeritus Professor, PhD, RMT, RGIMT, FAMI Denise Grocke founded the music therapy course at the University of Melbourne in 1978, and retired in 2012. She is Primary Trainer for the Guided Imagery and Music (GIM) training courses at the University of Melbourne. She co-author of Receptive Methods in Music Therapy (2007), co-editor of Guided Imagery and Music: The Bonny Method and Beyond (2002), and co-editor of recently published Guided Imagery & Music and Music Imagery Methods for Individuals and Groups (2015).

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The World of Music Therapy: A Journey through Time and Place

Suzanne B. Hanser, Ed.D, MT-BC, Boston, MA (USA), WFMT President (2002-2005)

I am writing this from Beijing, China, almost literally on the other side of the world from my home in Boston, Massachusetts. I have been blessed with the opportunity to travel the world, hear and play music of many cultures, and learn the healing ways of many traditions. I feel like a character in a children’s fairytale or in an ancient parable, one of those seekers who longs to discover valuable treasures or mystical secrets by traveling far and wide, well beyond the boundaries of home. I am fortunate to have served as President of the World Federation of Music Therapy (WFMT), an office that granted me the chance to meet renowned music therapists around the globe, and I will share just a few examples of the treasures that were generously shared with me.

Music Therapy Worldwide

Our music therapy colleagues in Israel are promoting peace, and helping people cope with the trauma of war. Hundreds of music therapists consider themselves music therapists in Japan, and they are developing technological advances to enable people who are severely impaired to access music. In Latin America, children are activating their creative potential while healing their bodies in hospitals and rehabilitation centers. Community music therapy is alive and well in many parts of Africa and elsewhere. Research is further substantiating effective music therapy programs, e.g., improvisatory techniques in England and nonverbal psychotherapeutic

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approaches in Germany. Russian music therapists are establishing new clinics for mental health. Websites and journals from Norway are publishing and disseminating the work of music therapists from all around the world. Traditional Chinese Medicine is informing practices for colleagues from well beyond Beijing, and the “Science of Life,” known as Ayurveda, is guiding musicians and healers, not only in India, but now in integrative medicine centers worldwide. Music therapists in several continents are contributing to the Cochrane Collaborative, with systematic reviews of research literature regarding efficacy and expected outcomes for a variety of clinical issues, diagnoses, and symptoms, like pain and depression. I have had the personal pleasure of welcoming new music therapists in Australia, now celebrating their 40th year as a national professional organization, and I have been happy to make friends with people who have become close neighbors, thanks to our Internet communications and speedy jet flights.

These pioneers and long-time clinicians, researchers, and educators who represent the countries of the WFMT confederation have taught me a great deal about the universal power of music therapy. These dear colleagues have also led me on many adventures – both internal and external – as I have witnessed and experienced music therapy for my own personal development and health, as well as that of others. Through their demonstrations, presentations and publications, I

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have seen the limitations of looking at music and at therapy through a single lens. Music Therapy Today is another valuable resource that informs us all about the depth and breadth of the work that we know and love.

Advent of Technological Advancements

In the early years of this millennium (20022005), during my tenure as WFMT President, I witnessed the development of the Internet as a source of unprecedented communication and information. Access to data regarding music therapy practitioners, organizations, outcomes, and services became instantly avai-lable, as fast as the information could be published on websites or sent via e-mail.

Consumers of Western medicine began clamoring for alternative treatments and medicines that were popular in other nations, and an openness to nontraditional forms of treatment accelerated the growth of the profession. Music therapy came out from behind the closed doors of the confidential therapeutic relationship, and began to be shared worldwide through the miracle of electronic technology. Cross-cultural aspects of the work gained in importance, and the globe appeared to shrink, as bonds were formed between music therapy colleagues everywhere. The WFMT turned its attention to the World Wide Web, advanced its online resources to include research evidence of its outcomes, and encouraged music therapists to share their own findings and resources.

The Impact of Serving as WFMT President

I was honored to be inaugurated as WFMT President in the Town Hall of Oxford, England in 2002, to serve at the Brisbane, Australia World Congress in 2005, and to step into the role of Past President in Buenos Aires, Argentina in 2008. In these three continents, I was awed by the strength of our shared

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mission, and helped to identify regional leaders who would continue to advocate, and promote the field that we all value so deeply.

Today, due to its burgeoning literature, music therapy is steadily gaining credibility as a treatment modality, along with yoga, meditation, acupuncture, and other non-Western practices that are standing up to the rigors of the scientific investigation. The more positive and comprehensive term, integrative health, is the buzzword for what was once considered alternative, complementary or integrative medicine. In fact, it is the subject of my new book, titled Integrative Health through Music Therapy: Accompanying the Journey from Illness to Wellness. The text is inspired by the enhanced interest in combining Eastern and Western philosophy, medicine, and approaches to healing. My research is informing me of ancient and contemporary thinking, as well as holistic approaches and those targeted for particular symptoms, conditions or populations. Thanks to my involvement with WFMT, many new avenues for the journey are opening. First, I am traveling through time, uncovering the roots of music therapy around the world, and envisioning how the field will bloom in the future. Secondly, I am traveling through space, in the exploration of music therapy practice and development in various countries and across continents. Finally, I am traveling the journey to wellness or optimal health, to witness how music therapy accompanies those who are ill throughout their process of recovery or acceptance of their conditions. The world of music therapists is providing an excellent guidebook.

To more fully understand the journey to wellness, I feel the need to experience music therapy in all its diversity. Every country I visit and every philosophy of music therapy that I encounter arrives with its own vocabulary and sensibility. So, while excited at the prospect

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of continuing pilgrimages, I am becoming overwhelmed with the enormity of my mission. It is true that I am constantly reminded of the universal truths that music is the language that we can all understand. yet the frameworks and philosophical models within and between countries appear, at times, in vast chasms and buttresses that are difficult to traverse. We may literally be speaking different languages, and evaluating our work with different standards.

Fortunately, the consortium of professional music therapy organizations that defines the WFMT embraces its diverse educational standards, clinical practices, philosophies, political systems, regulatory agencies, sociological mores, cultures, music, and healthcare models. WFMT offers a platform for the evolving movement of integrative health, whereby practices in different parts of the world interact to create a more comprehensive view of healthcare. By respecting and providing a forum for mutual engagement, learning, and sharing, WFMT offers music therapists everywhere the opportunity to dialogue, debate, discuss, and demonstrate their original and time-tested methods. By honoring and representing the methods and approaches of its member organizations, WFMT models the true meaning of unity, as a celebration of both the uniqueness and universality of the profession.

The success of WFMT in bringing together professionals of divergent perspectives is quite impressive. The variety of music therapy approaches is not only welcomed, but scrutinized with openness and interest. Collaborations are forged to enhance mutual understanding. My WFMT colleagues are

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fellow pilgrims who are knowledgeable that our interventions and treatments hold more than we can see through our individual experiences and methodologies alone. We know that the foundation of music therapy is solid, its origins are primal, and its evolution has been and continues to be shaped by many cultures and theoretical models. By coming together in Congresses, translating and publishing each other’s work, and using online capacities to communicate, WFMT’s constituents are truly combining the best music therapy practices to support a worldwide initiative towards integrative healthcare.

Global Music Therapy Community

I deeply appreciate my ability to be part of a global music therapy network that shares a deep understanding about the potential of music. WFMT creates an intimate community to investigate and build a future for our field that weaves together a magnificent coat of many colors. Meanwhile, the seekers and adventurers in fables usually return home to find the treasure and the true secrets right there, where they started out. My journey, too, leads to my home in Boston, but I return more knowledgeable and confident, having been nourished by my international music therapy colleagues, students, and friends. I know that I am so much more effective when I integrate new and old ways and wisdom of multiple cultures into my own thinking and my work. I am grateful to WFMT for guiding me on these many journeys, including the one that traces its own development from a small consortium to a powerful web of professional organizations that interact to create the most effective ways of helping people throughout the world.

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About the Author

Suzanne B. Hanser, EdD, Mt-BC. Suzanne B. Hanser, is founding chair, Music Therapy department, Berklee College of Music. dr. Hanser is Past President of the World Federation of Music Therapy and National Association for Music Therapy. She is a researcher, educator, writer, clinician and international speaker, specializing in integrative health and medicine.

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World Congresses of Music Therapy: World Congresses of Music Therapy

Prof. Lic. Gabriela Wagner, Buenos Aires, Argentina, WFMT President (2005-2008)

Abstract

The focus of this article is on the evolution of the epistemology of music therapy over the last four decades in light of the changing role of music and technology in therapeutic settings. Considering these rapid transformations, the impact of the globalization of knowledge and the differing applications of science in each culture, this paper will propose an approach to the process of building an open map of knowledge and skills utilizing the analysis of the world congresses’ call for papers and book of abstracts. The contents of the initial contacts with various professionals prior to each congress reflect a dynamic articulation of the current state of research for each of the disciplines that contributed to the development of music therapy. This article will also answer questions regarding what music therapy offers to demonstrate new options for human interaction and what are the new paradigms for the future.

Keywords: WFMT, world congress, development, music therapy epistemology.

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Resumen

Este artículo se centra sobre la evolución de la epistemología de la musicoterapia en las últimas cuatro décadas a la luz de la evolución del papel de la música y la tecnología en contextos terapéuticos. Teniendo en cuenta estas rápidas transformaciones, el impacto de la globalización del conocimiento y las diferentes aplicaciones de la ciencia en cada cultura, en este trabajo se propone una aproximación al proceso de construcción de un mapa abierto de conocimientos y habilidades que utiliza el análisis de propuestas de presentación de trabajos y libros de actas de los congresos mundiales. El contenido de los contactos iniciales con varios profesionales antes de cada congreso refleja una articulación dinámica del estado actual de la investigación en cada una de las disciplinas que contribuyeron al desarrollo de la musicoterapia. Este artículo también responderá preguntas acerca de lo que la musicoterapia ofrece para demostrar nuevas opciones para la interacción humana y cuáles son los nuevos paradigmas para el futuro.

Palabras clave: WFMT, congreso mundial, desarrollo, epistemología de la musicoterapia.

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introduction

Each World Congress of Music Therapy (WCMT) is a testimony and demonstration of the state of the art and development of the profession. Reviewing documents from previous WFMT Congresses, such as calls for papers, invitation letters sent to keynote speakers and workshop coordinators, abstracts, papers submitted to the International Scientific Committee and proceedings, as well as, audiovisual needs, software requirements of the presenters, tells a story about the WFMT and the profession of music therapy. Exploring these documents and records is a different way in which history can be approached. This paper does not restrict WFMT history to an enumeration of past events, but to strive to enrich the understanding of those events by taking into account the context in which the World Federation of Music Therapy (WFMT) has moved and its evolution.

The WFMT is an international non-profit organization focused on supporting and advancing the profession of music therapy worldwide. Serving in the WFMT is an opportunity and a responsibility that entails many hours of volunteer service. I discovered that this opportunity to serve in a leadership role in this movement provided many opportunities for my own growth as a music therapist and educator. The development of this cross-cultural platform for music therapists from all over the world can be divided into the three distinctive periods:

1. Learning and knowing each other’s theory, practice and multi-lingual transmission of knowledge (1974-1990).

2. Growth, alliances and development. The construction of a global professional image and knowledge transmission. Spanish as second official language (1990-2008).

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3. Worldwide expansion: Creating autonomy through communication. Knowledge transmission in a global world (2008-present).

The world congresses and global music therapy knowledge transmission occurred in the context of a rapidly changing world for scientific communication. These technological and scientific developments are evident in the information and documents from each world congress. The sections that follow will provide historical examples as well as observations from the analysis of data related to:

• The analysis of the scientific approach of themes and suggested areas for presentations.

• The effects of technological innovations and advances on the transmission of knowledge before, during and after each conference.

• The encounters and misunderstandings that occurred during the process of building a cross-cultural platform for music therapists from all over the world.

The analysis of the themes, presentation topics, congress communications as well as methods of knowledge transmission will further help to illustrate the three periods of WFMT development identified previously. This article about the construction of music therapy knowledge begins with the historical context of the technical innovations.

For a better understanding of this article, the above-suggested periods in the creation and the development of the WFMT need to be articulated with the information about the historical context of technological innovations in communication transfer of scientific knowledge and research on music, brain and mind.

The effect of these changes has a constant influence on music therapeutic epistemology.

The history of the world conferences of music therapy is a testimony of this process. The en-

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counters and misunderstandings in conceptual definitions are the evidence of the diversity and richness of the cross-cultural platform of our profession.

Knowledge Transmission: Technological innovations and Advances

There have been wide arrays of technological advancements over the past several decades.

Since the 1st World Congress of Music Therapy (WCMT) held in Paris in 1974, there have been unprecedented technological changes and advances. These developments have impacted many aspects of society. Some of the most outstanding and extraordinary changes are related to communications. our current methods of communication certainly have changed a great deal since the days in which calls for papers were sent out in personal letters, using envelopes, stamps and post office service.

Now we can send a letter attached to an email, and engage in global communications within seconds via the Internet. The advent of the Internet profoundly impacted knowledge transmission, providing instantaneous access to information from all around the world. It also facilitated timely communication.

advancements in technology were also evident in the changes regarding the audiovisual requests of the presenters at the world congresses. analysis of this data fosters the question: what is the relationship between the audiovisual requests and the development of knowledge transmission? The analysis of presenter audiovisual (aV) requests and data

about the type of presentations, demonstrate that these tools were utilized to transmit the presenter’s knowledge and share their clinical observations. The variety and quality of this developing technology created new opportunities for clinical research. The equipment and technology allowed clinicians and researchers to document music therapy processes. as a result of the increased possibilities of recording and documenting session work, this provided a systematized documentation of patients’ conditions, treatment and progress. These technological tools exponentially improved the scientific value of music therapy research. This allowed the patient-music therapist interventions to become more precise and fostered the ability to better document the client progress. as a result, music therapists gained more credibility and respect increasing their integration with interdisciplinary health teams.

When the technology for recording and filming became available it soon served as primary means of collecting data for patient1 assessment and evaluation. The open-reel tape recorder was replaced by the audio compact cassette then later by digital voice recorder and compact disk. The availability of the Moving Picture Experts Group, known as MPEG-1 or MPEG-2 audio Layer (MP3) revolutionized once more the access to music and, from the music therapist’s perspective, gave professionals a unique tool in terms of sound fidelity, accessibility, and transfer of information to other professionals all over the world.

The digitalized options dramatically enriched

1. due to the important role of music therapy in Latin america and in Latin language speaking European countries from the early years of WFMT until 1999, the official languages were English and Spanish. The literal translation to Spanish of the English word “client” as a reference to the relationship between therapist and the person/s who receive treatment is “cliente”, but this word is mostly used with reference to a commercial relationship. There are many ways to name in Spanish the music therapist relationship with the person undergoing treatment depending on the context of the demand for music therapy, but patient is the most widely accepted term used in the medical and mental health field. The debate on translation of client to “paciente” or “cliente” turned out to be an epistemological reflection about the underlying theoretical and philosophical positions supporting music therapy interaction.

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music therapists’ every day possibilities in learning more about the intimate link between the musical and interpersonal domains in the therapeutic process.

Filming began with the super 8 camera or cinema cameras. First utilizing the videocassette and later the dVd which simplified the process and lowered the costs associated with documenting sessions and monitoring clientpatient progress. audio and audiovisual recording devices continue to be highly effective resources for data collection and analysis due to their clear imaging and audio accuracy.

Recording sessions not only allows clinicians and researchers to document and monitor sessions, they have also facilitated incorporating this documented work in presentations. Now, it is standard practice at a conference that each room is equipped with Liquid Crystal display (LCd) projectors, screens, and audio equipment to accommodate the technology needs to presenters.

These fast paced audiovisual advancements as well as the ability for clinicians and researchers to present session data, made it necessary for the WFMT to develop the Guidelines for Ethics and Research2. Countries around the world have differing standards and practices regarding patient privacy and use of patient information in research and presentations. This document provided clear guidelines regarding the protection and appropriate use of the client-patient information, in addition to addressing other privacy related issues. The WFMT Research and Ethics Commission reinforces the intersections between research and ethics, and the importance of protecting human subjects, protected health information, and to maintain these standards as they ap-

ply to research and the dissemination of research data.

Technological Advances in Medicine: Their Contribution to Music Therapy

The science of neuroimaging (american Society of Neuroimaging and Sociedad argentina de Radiología, 2015) is relatively new. We’ve been able to x-ray the structure of the brain through Pneuroencephalography (PEG), dandy in 1918, and ventriculography in 1919 (ashwalm, 1990, p. 339) evaluate the flow of blood vessels throughout the brain with Cerebral arteriogram (also known as an angiogram), Moniz in 1927 (doby, 1992, p. 364), since the early 20th century. We have also been able to record brainwaves since the late 1930s, however modern brain scanning technology was not developed until the 1970s. The Computerized axial Tomography (CaT), based on x-ray technology, was the most significant innovation in brain imaging during the 1970s and 80s. additional imaging technologies continued to emerge with the Positron Emission Tomography (PET), Functional Magnetic Resonance Imaging (FMRI), Magnetic Resonance Imaging (MRI) and Magnetoencephalography (MEG).

These advancements in medical technology, occurring between the 1st and the 14th World Congresses of Music Therapy (1974 and 2014, respectively) have allowed physicians to better diagnose and treat patients. additionally, new technologies have contributed to increasing the scientific knowledge about brain and its relationship with music. The uses of Virtual Witness Technologies have also contributed to the neuroscientific frame used to understand the effect of music on the human being. Research surrounding mu-

2. Cheryl dileo, Chair of the Commission on Ethics and Research (1990-1993) developed the above mentioned Guidelines.

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sic and the brain has gained tremendous interest across various disciplines, and this is evidenced by a growing body of research. In the 21st Century music therapists are discovering answers to crucial questions related to issues like the generation of melodies and sentences (Brown, Martinez & Parsons, 2006).

Promoting evidence based practices and integrating different perspectives regarding what constitutes evidence became a primary consideration and fostered great interest in conceptualizing evidence-based music therapy in coherent and multifaceted ways. an integral understanding of evidence and practice is the new epistemological challenge.

This generated new frameworks with which to build conceptual and operating schemes of music therapy. These tended toward interdisciplinary integration and cross-cultural conceptualizations.

Consequences of the instantaneous Movement of information Associated with Technological Advances

Technological innovations and advances have also had a dramatic impact on the exchange of scientific and academic information. In the early 1980s, access to journals and research literature located at virtual libraries and information centers with accessibility to online information and materials is considered a right of every member of society. The transition from printed to online publications has also fostered increased access.

The creation and expansion of the WFMT along with the promotion of global professional interactions is an important and fascinating example of the history of knowledge transmission. It is impossible to cover in this article the multiplicity of factors involved in this process. However, the printed book of

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congress abstracts itself is a way of disseminating information. Since the first world congress, the goal was to publish the complete congress proceedings immediately after the event. Thanks to Giovanna Mutti’s effort, the procedures of the 5th World Congress of Music Therapy (1985) were published in Italy at the end of that year. This was the first time that this goal was achieved. Previous world congress organizers were only able to print and provide the congress program and the book of abstracts.

For a variety of reasons, publishing the proceedings during or after each world congress became difficult. However, now many of the widely recognized papers and books have been published after the original work was presented at the world congresses, serving to broaden the scope of music therapy literature. The organizers of the 12th World Congress of Music Therapy in Buenos aires, argentina (2008) discussed the convenience of printing a book of proceedings and decided to take the financial risk. due to intelligent use of software and an exceptional congress planning teamwork, all the presentations were made available to participants in two formats: book and compact disk. Eventually for many attendees these materials became an open window to the world.

Today the question is about the value of printed material in scientific exchange. Printed information is still useful and necessary although the time of transmission of this knowledge is slower than the Internet. Since 2008, there have been enormous changes in communication, which modified our needs and habits to obtain and share scientific information. For example, E-books can easily downloaded, university libraries, scientific associations, web pages and prestigious databases serve as the bridge between the author and the reader.

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Marshal McLuhan (1964) predicted this enormous change which we are immersed in today. He was one of the leading media theorists of the twentieth century and his conceptual framework for understanding the social and cultural implications of Internet proposes to consider the media as an extension of man and his consciousness (1964). This Canadian philosopher of communication (1911-1980) coined the expressions ‘the medium is the message’ and ‘global village’. He also predicted the World Wide Web (www) almost 30 years before it was invented.

The globalization is a historical process happening now. The development of information technology has been a key factor in this process closer integration of countries and people. It has broken barriers of communications between cultures in a way that only could be dreamed of in earlier generations.

The history of the development of the WFMT´s web page is an example of these changing times. The publication committee (chaired

by Joseph Moreno, 1993-1996) began work with the publication of a bilingual English and Spanish printed newsletter comprised of only a few pages of relevant organizational information. This was followed by the development and publication of the first paper editions of the WFMT Bylaws and Ethic Guidelines (WFMT1996), in both English and Spanish. The next step included the publication of the WFMT Newsletters prepared by Gianluigi di Franco in collaboration with the Instituto Nazionale per lo Sviluppo Musicale nel Mezzogiono (ISMEZ), a publishing house in Italy. This newsletter was distributed by post office mail to colleagues all over the world from 1997 until 1999. I served as a member of the editing commission and my role involved translating articles from English into Spanish (WFMT Newsletter of WFMT No 1 July 1997).

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The first website of the WFMT was developed at Witten Herdecke University by Professor david aldridge (www.musictherapyworld.net) after the 8th WFMT held in Hamburg (1999). at this time information was provided in German, English and Spanish. Prof. dr. Jörg Fachner, Publication Commission chair (20082011) also collaborated on this project. Immediately following the 12th WCMT in Buenos aires, argentina (2008), the WFMT Council approved and supported the development of the WFMT’s own web page (http://www. wfmt.info/WFMT/Home.html). Since its creation this web page has been prepared mainly in English, with some aspects such as frequently asked questions (FaQs) and definitions translated into various languages.

There is a link between the first and the actual web site.

Today English is the designated official language utilized by the WFMT. History shows us that a language becomes a global language mainly due to the political and the economical power of the native speakers. It is often argued that the modern ‘global village’ needs a ‘global language’. There is also an argument that there are several intrinsic features of English language that set it apart, and make it an appropriate choice as a global language just like the ‘lingua franca’ in the Roman Empire

The implicit danger in this exclusivity for the transmission of knowledge is that it reaches only a selected group of colleagues. Each language has its particular channels to express the nuances or idiosyncrasies of the soul of those who speak it. Hence, even though the use of English presents many practical advantages, when thinking in terms of building new frames to be used to understand our crosscultural music therapy, promoting the knowledge of a second language by a wider group of professionals will enrich significantly the

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international interactions. For example, as Head of the Music Therapy Program at the Universidad del Salvador, I worked on the inclusion of English in the new curricula in order to facilitate the access to information accepting the importance of this language in scientific information transmission.

The language gap is still an important question in the building of music therapy epistemology, one that technology might help to overcome. For example, thanks to the technological improvements in internet, we are able to utilize available simultaneous translation applications that can be downloaded for free or at a very low cost providing a broader scope of research to music therapists all around the world. The continued development of these simultaneous applications may well provide an option for international organizations and the WFMT to have an official language and utilize these applications to further foster inclusivity for members all around the world. relationship between the instant Movement of information: The rise of english as the ‘Global Language’

The growing interest in music therapy training and the creation of professional music therapy organizations and associations all over the world helped music therapy gain strength as an independent profession. Reviews of the professional curriculum vitae (CV) attached to the submitted abstracts for each world congress as well as in the book of abstracts confirm an increase of their integra-

tion into health care system. These documents illustrate that by the end of the 1980’s, music therapists were working as a part of different and various interdisciplinary teams.

as a result, the call for papers for world congresses referenced areas of application rather that the professional background. Since 1992, the call for proposals for WFMT congresses is divided into several topic areas.

For the 7th WCMT in Vitoria Gasteiz, Spain (1993), the Scientific Committee suggested the following ones to be utilized for grouping presentations were: (i) Clinical Music Therapy, (ii) Music and Experimental Research, (iii) Music and Music Therapy, (iv) Training and Role of Music Therapist (Book of abstracts 7th WCMT, p.19).

The 8th WCMT held in Hamburg. Germany (1996) proposed the theme Sound and Psyche and the topics utilized for grouping presentations included: (i) Music Therapy and Cultural Background, (ii) Research and Effects of Music Therapy, (iii) Fields of Music Therapy Practice such as: Psychiatry, developmental disabilities, (iv) Medicine and Rehabilitation, Geriatrics, (v) Training, and (vi) Musicology (Book of abstracts 12th WCMT). The change in atmosphere from the German reunification (1990) and the fall of the Berlin Wall marked a turning point in the communications with Eastern European colleagues. The 8th WCMT (1996) was especially enriched not only with the German colleagues’ presentations3, but from those by colleagues from Hungary, Poland, Estonia and other Eastern European countries.

3. The Triad, a presentation made by three German music therapists was an outstanding example of music therapeutic work within Germany. Such presentation consisted of the following works: Dissonance within the German reunification process -The psychosocial background of the conflicts on the process of reunification by Hans- Joachim Maaz, “The musical life-panorama”, a music therapeutic method for diagnosis and therapy of emotional and social realities by Isabelle Frohne-Hagemann, and Integrative Music Therapy with women in East-Berlin after the “Fall of the Wall” (Wende) mainly in low social income area, by angelika Kollacks.

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‘Call for abstracts have been sent to all people who contributed to the 7th World Congress of Music Therapy in Vitoria, Spain (1993), to members of the European Music Therapy Confederation (EMTC), to everybody who made a contribution to the European Music Therapy Research Register, to journals, national associations and training programs all over the world.’ (Smeijsters, H. p. 8 Book of abstracts 8th WCMT, 1996).

an overview of the keynote speakers from the 8th WCMT (1996) which included Prof. dr.

Cheryl dileo (WFMT Chair, USa), Prof. dr.

Humberto Maturana (Chile) and Prof. dr. daniel Stern (Switzerland), demonstrates the wide and holistic international scientific frame for understanding the role of sound and music in medicine, psychology, philosophy and aesthetics considered at the time. These contributions to music therapy theory and practice pointed to an integrative understanding of the complex relationship between sound, music and the human being.

The 9th WCMT (1999) was held in Washington, dC, USa. The theme for the congress was, ‘Music Therapy: a Global Mosaic-Many Voices, one Song’. This WCMT was held in conjunction with the annual conference of the american Music Therapy association (aMTa). aMTa had recently been organized as a result of the unification of the two major national associations existing then in the United States, the National association of Music Therapy (NaMT) and the american association of Music Therapy (aaMT).

The suggested categories for this congress included the following: (i) Music and Medi-

cine, (ii) Music and Psychotherapy, (iii) Music in Rehabilitation and in Special Education, (iv) Clinical Theory and Research Methods, (v) Training and Professional Issues, (vi) Clinical applications of Music, and (vii) Multicultural. There was also a track focused on the five outstanding international approaches of music therapy. This was entitled, the Five International Models of Music Therapy of Music Therapy Practice: a Forum Clinical Practice and Research Posters. These five models were: (i) Creative Music Therapy or NordoffRobbins Music Therapy (NRMT), (ii) analytical Music Therapy (aMT), (iii) Benenzon Music Therapy Model (BMMT or BenMT), (iv) Behavioral Music Therapy (BehMT)4 and (v) Guided Imagery and Music (GIM). Prof. dr.

Ken aigen (International Scientific Committee Chair) asked Prof. dr. Kenneth Bruscia to design and coordinate these presentations (Book of abstracts, 9thWCMT, 1999). The presentations of the five international models functioned like a conference within a conference, consisting in pre-congress courses, a special plenary session, several concurrent presentations and panels that covered topics such as training, research, and clinical practice.

The congress hosted the creators and pioneers of each of these models: dr. Rolando Benenzon, dr. Helen Bonny, dr. Clifford Madsen and dr. Clive Robbins. Mary Priestley was not able to attend the congress, so Johannes Th. Eschen served as the speaker and representative for analytical Music Therapy. dr.

Rolando Benenzon proposed that I serve as coordinator of the Benenzon Model of Music Therapy’s (BMMT) presentation. Exchanging correspondence with all these pioneers in music therapy is still an unforgettable experi-

4. The presentation of the Behavioral Model of Music Therapy was organized by Clifford Madsen, even though he didn’t consider himself part of this group of pioneers as providing a ‘founding model’ of music therapy.

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ence, which renewed my professional, clinical and academic position.

The format for each of the five models presentations was similar to the one proposed

by Bruscia in his book, Improvisational Models of Music Therapy (1987). Each presenter discussed the main research methods, provided a bibliographic review, in-depth interview with the founder of the model, a semistructured (survey) interviews to music therapists trained in the method and, their own case study presentation and discussion. For the Benenzon Music Therapy Model, we conducted this work in Spanish, Portuguese, and Italian but all presentations were translated into English. This exchange of knowledge was very significant. For as a result, since this world congress, the contents of these five model presentations has been a component of the music therapy programs in all the Latin language university training programs throughout Latin america and Europe.

The book of abstracts of this congress was published in English and in Spanish.

although many Spanish-speaking colleagues attended the 9th World Congress of Music Therapy (1999), this was still not enough for the organizers to be able to provide official simultaneous translation to all presentations.

However, the congress organizers did invite multilingual attendees to volunteer to help to translate pre-congress seminars, institutes and workshops that were held prior to the official start of the congress.

More than 2400 music therapists from around the world attended the congress. It is the largest WCMT in the history of WFMT. This congress made it possible for music therapists from countries outside the USa to meet a variety of professional music therapists recognized for practice and academic research

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in the USa. For many of the american participants, this was the first time they met colleagues from Latin america, Europe, and many other countries around the world.

The 10th WCMT (2002) was held in oxford, England. The theme for this congress was entitled, ‘dialogue and debate Music Therapy in the 21st Century: a contemporary force for change’. The congress was organized in conjunction with the British Society of Music Therapy (BSMT) and the association of Professional Music Therapists (aPMT). The suggested categories for paper submission included: (i) Psychiatry and Psychology, (ii) Neurology and Rehabilitation of Chronic diseases, (iii) Palliative Care autism and Problems of Communication, (iv), Children and Teenagers, (v) Learning Problems Music and Music Therapy, (vi) New Technologies, Community, Culture and Music, (vii) Professional and Historical Perspectives (viii) Training, (ix) Geriatrics, and (x) Research.

The congress organizers proposed the abovementioned topics for grouping presentations in the call for submission of abstracts that served as reference for the speakers. The areas selected showed a strong interest in reviewing certain issues from different perspectives, varying the angles of analysis and expanding the contents of the research. For this 10th WCMT the organizing Committee, Chair Nigel Harley, included in the final program other three areas considered as central to our global music therapy profession. The first was Music, Culture, Social action concerned to music therapy tradition within the wider world community. The second was Music, Meaning, Relationship, which focused on the world of psychoanalysis as a possible forum within which music therapists might choose to work; and the third Music, Spirituality, Healing to examine music therapy within the contexts of spiritual tradition (10th WCMT

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Program, 2002). as said before, the constant changes in the context in which music therapy is practiced shaped the tools, means and views of music therapists. With the arrival of the new century, apart from the technological advances previously discussed, other key discoveries were a great force in shaping the practice of today’s music therapy. among these, the interest in developing the creative brain in the 21st century served as a positive impact on music therapists all over the world.

In 2005, the 11th WCMT was held in Brisbane, australia. This event was organized by the australian Music Therapy association, President Susan Coull, and the WFMT. denise Grocke served as Chair of the Scientific Committee. The theme for this congress was, ‘From Lullaby to Lament’. The congress organizers wanted to summarize in these words the notion of music and music therapy as a life experience throughout one’s development and lifetime. Presentations by australian colleagues regarding their work with the original people of australia and New Zealand were clear examples of how music has power beyond words. The deepest musical experiences and examples coexisted with the statistical data, further demonstrating the evidence base of music therapy. My paper was ‘Looking for my song’, a pilot study on community music therapy for homeless in a partnership program (2002-2005) between a general hospital mental health service and an ecumenical non-governmental society. The presentation was done on the same day as my nomination as President of the WFMT and Chair of the argentine proposal for hosting the 12th WCMT, which were voted with favorable results. This wonderful ‘crescendo’ of emotions concluded with the delight of singing Leonard Cohen’s Hallelujah in the music therapist choir conducted by James Cuskey.

The 12th WCMT took place in Buenos aires,

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argentina in 2008. The theme for this congress was ‘Music, Culture, Sound and Health’.

It was chosen to reflect several particularities of Latin american Music Therapy. The word ‘sound’ was included as a complement to the term ‘music’ in order to reflect the developments in the understanding of its effects on an individual’s musical history and, hence, open the congress to cross cultural approaches, to research and healing. In simple terms, the theme represented the acoustic continuum of the developmental stages of human innate musicality.

It is important to keep in mind that in Latin america, music therapy was strongly influenced by the theoretical concepts and practice of psychoanalysis, as well as by various psychosocial studies (Benenzon 1976, 1981, 1001, 2000; Benenzon, Gainza & Wagner, 1995, 2008; Benenzon & Wagner 1988; Fregtman, 1982; Gallardo, 1998; Gauna, 2001; Mendes Barcellos, 2004; Papalía, 1998; Pellizzari, 1993; Schapira, 2007), and others.

additionally, the first Latin america Music Therapy training program was organized in the School of Medicine of the Universidad del Salvador, Buenos aires in 1966, as one of the health professions. The terms ‘sound’ and ‘music’ also reflected the importance of a neurological approach to music, brain and mind as a complex symbolic system. In 2008 there was a deep interest in argentina in the dialogue between psychoanalysis, psychodynamic approaches in music therapy and neuroscience.

The development of psychoanalytical music therapy practice in Latin american paralleled the development of analytical Music Therapy model in Europe and later in the United States. Priestley and her colleagues Marjorie Wardle and Peter Wright in Europe, and Rolando Benenzon in Latin america focused

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their attention on the subjective and unique aspects of the music linked to the patient’s issues. Both models developed psychoanalytic constructions as a basis for interpreting the client/patient responses. Both models faced the challenge of establishing a logical connection between these different theoretical constructions and the practical experience taking place between the patient and the music therapist during the experience of ‘musicking’ (Small, 1998) or of ‘musiquear’ (popular Latin american term for making music). Furthermore, through the application of these psychoanalytic constructions, these models aimed at enlarging the understanding of the role of music in a person’s life by taking it from cultural option to organize sounds to a broader concept of acoustic interactions, which included the pre-musical expressions of intrauterine existence and its effects on our lifespan development.

Hence, Latin america’s music therapy was built on the basis of considering the non-verbal communication occurring during the music therapy session as a continuum of a subjective human experience involving body, sound and music. From this perspective, sonorous perceptions can be experienced as music or noise, improvisation is seen as a temporary and embodied experience since the earliest stages of life, and the use of musical language is the result of an acculturation process forming part of the conflictive relationship between society and individual desire.

It is interesting to mention that today; music therapy approaches in Latin-america are mainly science or evidence based. Music therapy is seen as an understanding of the ‘body-speech-sound and musical interaction’ that occurs in the music therapy session (Benenzon, Gainza & Wagner 1998), a concept open enough to allow a constructive international dialogue with colleagues

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from all over the world (avoiding a limited understanding of music therapy and what can be seen as particular aspects of its practice). The positive echoes of this unforgettable event are still remaining after seven years.

The 13th WCMT was held in Seoul, Korea in 2011. The congress was hosted by the Korean Music Therapy association (KMTa) and organized in conjunction with the WFMT. The theme of the congress was, ‘Music Therapy in Eastern and Western Philosophy’. This was the first congress held in asia and it represented the first real convergence of Eastern and Western philosophy in the history of music therapy.

The pre-congress seminars titles were: Transforming Lives trough Music (dr. alan Turry and colleagues), Music Therapy and oncology and Music Therapy with Neurological Population (dr. Wendy Magee and colleagues), and From Research to Practice and Viceversa (Ms. Rose Frieman and the WFMT assembly of Student delegates). There were four spotlight sessions: Music Therapy and Medicine (Moderated by dr. annie Heiderscheit), Music Therapy in Special Education (Moderated by dr.

Petra Kern), Music Therapy and older adults (Moderated by dr. Gene ann Behrens) and Music Therapy and Research (Moderated by dr. Petra Kern) (13th WCMT Programme, 2011).

In this event, translation from English was provided to Korean, Japanese and Chinese.

There was a significant step in widening our possibilities of exchanging experiences and information in a process of building blocks of knowledge in Music Therapy. our ‘global village’ is a multi-lingual world. Even though English became a ‘global language’ for a global music therapy network, translation needs vary in the different continental contexts.

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The interest of sharing personal experiences and a broad sensibility and awareness of the power of music and its role in communication, created a special feeling of being part of a better world. Now, four years after this congress, thanks to WFMT and Voices websites, we are still able to enjoy pictures and short videos of the event. Workshops, poster sessions, meetings and concerts may easily become almost alive on the screen of the computer.

Concerning to knowledge transmission, the technological improvements of these last decades, our possibilities for learning have expanded. dr. Byungchuel Choi and the Korean organizing Committee will have a special place in WFMT history as the first ones to organize a WCMT in asia.

The 14th WCMT was held in Vienna/Krems, austria in 2014. The theme for this congress was entitled, ‘Cultural diversity in Music Therapy Practice, Research, and Education’.

This congress recognized the influence and impact of culture on the development of music therapy and how this impacts profession.

‘Join us and celebrate the opening of the World Congress of Music Therapy with your colleagues from around de world’ (14th WCMT Programme, p.11). These invitation words sounded almost like a recommendation to enjoy being together on an important and high level scientific event organized by the Institute of Ethno Music Therapy in collaboration with the World Federation of Music Therapy (WFMT) and the IMC University of applied Sciences Krems.

Experts representing different geographical regions (africa, australia/New Zealand, North america, Latin america, South East asia, Europe, Western Pacific) of the members and the host country of this event, austria, were invited as members of the International Scien-

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tific Committee. The pre-congress seminars were held in Vienna and the congress itself in Krems. once more the above-mentioned topics were discussed in depth during spotlight sessions, paper presentations, workshops, and poster presentation. It was a new opportunity for a scientific knowledge exchange on a wide spectrum of topics on music therapy theory and practice. Congress proceedings are available on http://issuu.com/ presidentwfmt/docs/complete_congress_pro ceedings_mt_10

It was a special week of learning and discussing. It was also a time for meeting friends who we already know through their publications, videos or music making.

The evolution of knowledge is a complex process. Comparing the 2nd WCMT program with the 14th WCMT we find the possibility for a new epistemological study. The field of music therapy has been growing significantly as results of its positive impact on diverse health and other life challenges. Music can meet all aspects of life and a great variety of populations. The spotlight session Contemporary Education and Training in Music Therapy (Programme p. 23) is a clear example of the growing possibilities to include music therapists in the interdisciplinary health team and the creative way that training programmes in different countries face the challenge to prepare the future professionals. This interest is growing all over the world. I would like to mention dr. Gerhard Tucek and team’s training-research ongoing project. The inclusion of an anthropologist as members of an interdisciplinary research team in medicine is an original proposal, which certainly enriches music therapy epistemology. .

There are two latest relevant achievements of the WFMT which should be mentioned in relation to knowledge transmission in music

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therapy theory and practice. One of them is the WFMT Assembly of student Delegates (WFMT AsD), and the other is the student scholarship Award. The inclusion of student’s membership, under WFMT leadership of drs.

Petra Kern and annie Heiderscheit, opened a new door in building music therapy epistemology. The students’ access to WFMT activities and benefits were on the list of priorities when the ‘Students hosting students’ program was designed to facilitate their attendance to the 12th WCMT held in Buenos aires. as Past-President, one of my aims was to collaborate in the achievement goals related to student participation in WFMT. It was under the guidance of dr. Petra Kern as President, and Ms. Rose Fienman, Executive assistant (2010-2011) that the WFMT established the assembly of Student delegates (WFMT aSd) in 2011 to improve student involvement in the WFMT.

The WFMT Scholarship award, offered to undergraduate and graduate students active in music therapy student associations in their countries, was established for the first time before the 13th WCMT held in South Korea (Voices, Col. 14, No. 1, 2014). Student’s active role in global music therapy research is essential in the building and transmission of knowledge in music therapy theo-ry and practice. during the 40 years between the first congress in 1974 and the 14th congress in 2014, different disciplines have also been represented at these events and have converged with music therapists in order to contribute to a deep, complex, articulate and critical comprehension of the transformative role of music. a simple overview of the programs provides the information needed for this affirmation. It is important to note the breadth and depth of the topics, the rigorous research designs, and the level of high scientific review

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that has emerged through these events. The results of high-level research innovations during all these years of the WCMT, have empowered our profession and social image as healthcare workers.

This short analysis of the WCMT themes allows us to observe that despite one’s individual culture or ethnicity we, human beings, are very similar. We share a common humanity. We all have human bodies and human minds, we all have human thoughts and feelings, and we are all sensitive to music. The studies of musical narrative may help us understand why singing and music making are a bridge in human communication. Is music therapy a contemporary force for change? are we creating new paradigms for the future?

understanding and Knowing each Other’s Theory and Practice

a key component of coming together as an international community is finding a common mission, vision and purpose. In order to do so, we must know and understand one another. This next section presents some short memories, examples of experiences and documentation that illustrate the process of discovering and understanding the theory and practice of others. This section also includes examples, encounters and misunderstandings that have occurred during the process of building a cross-cultural platform for music therapists from all over the world.

The WFMT history can be also understood as a collective musical creation in which the first period (1974-1990), could be titled ‘knowing each other’. The advent of the cartridge style tape in the seventies simplified the procedures of recording and analyzing music therapy sessions and allowing clinicians to share illustrations of their clinical work. Many articles on philosophy and psychology of music

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and music education have appeared throughout journals in Europe and america. The efforts and interest in holding professional international meetings on music therapy in mental health, rehabilitation and special education, fostered the vision and realization of the 1st World Congress of Music Therapy in Paris in 1974, and served as the impetus for the 2nd World Congress held in Buenos aires, argentina, in 1976.

The first music therapy Latin american academic training program was established in 1966 at the Faculty of Medicine of the Salvador University. In the 1970’s, Buenos aires pioneered the training of music therapists in countries of Latin languages. By 1976, there were enough graduates to form an association of professional music therapists. In the seventies, building credibility for music therapy was a primary goal. The fact that the 2nd WCMT was held in a university environment contributed to improve the social status of the profession and the achievement of a high academic quality in the presentations. at this time call for papers, seminars, and workshops were all completed by mail in Spanish and English. dr. Rolando Benenzon, served as President of the 1976 WCMT and was also the director of the School of Music Therapy at Salvador University.

Through analysis of the keynote presentations and lectures for this particular congress, it is noted that psychiatry, psychosis, and autism were emerging areas of interest. There were also presentations of music therapy in special education, geriatrics, hearing impairment, physical rehabilitation with patients that had experienced a stroke and traumatic brain injury. The diversity of application of

music therapy in these fields provoked heated discussions about the theory underlying the practice. The predominant focus of the psychoanalytic and psychodynamic etiology of human suffering reinforced the psychosomatic hypothesis for many.

This world congress was the first event of an important sequence of Latin american Music Therapy Congresses. The excellent level of the English translation served as a platform for a fruitful and professional exchange, even though only the program was bilingual. The abstracts were published in the language they were submitted. There were only a few researches at this time that reflected on different theoretical concepts. The dichotomy between qualitative and quantitative designs and the value of the resulting knowledge was part of the opposition of ideas during this congress as well.

additionally, at this congress, the focus on ethnomusicology and musical anthropology, as well as exploring the mapuche5 ceremonies and the use of music with healing purposes created opportunities for dialogue with the surrounding culture. These scientific presentations served as a reminder to consider relationship between culture, musical identity and spirituality. This early interest in music and culture continues to be a relevant and ongoing issue in music therapy.

Since 1974 there have been 14 world congresses. Each world congress contributed to fostering important developments in the profession and fostering new agreements that supported the growth of a music therapy international network. The congresses held in San Juan, Puerto Rico in 1981 and then in

5. The Mapuche are the original inhabitants of a vast territory which now includes Chile and argentina. Mapuche means ‘people of the land’ in their original language.

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Paris in 1983 were the preludes for the official establishment of the World Federation of Music Therapy (WFMT) in Genoa, Italy, in 1985. The WCMT, which took place in Genoa in 1985 was memorable due to the variety of presentations, the enthusiasm of the participants, the historical context, and the deep conviction regarding the need to develop an institutional consolidation of an international association network. This fostered several working sessions focused on organizational issues. during these working sessions, I had the honor of participating as I served as the translator for dr. Benenzon.

Growth, Alliances, and institutional Development

The 6th World Congress of Music Therapy held in Rio de Janeiro in 1990 was a turning point for the integration of the WFMT. Until then, under the leadership of dr. Rolando Benenzon (argentina), the Spanish language had a leading role in music therapy development. dr. Benenzon wrote in his memories published in Voices (Voices 2009, Vol. 1 No1m https://voices.no/index.php/voices/issue/ view/52)

‘There were two nominations for President: Ruth Bright from australia and myself. They had an equal number of votes and my vote was the one to decide the coming policy. It was a moment of reflection for me. Until then the leading role in music therapy was kept in a Spanish speaking Latin america context. My impression was that it had to do with a particular ethnic group, with a psychodynamic oriented thinking on creative music therapy and art procedures. It was time for a wider integration, so I gave my vote to Ruth Bright.’

The WFMT Council at this time (1990-1993) included only the President, Ruth Bright and

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Vice-President, dr. Rolando Benenzon. This transition in leadership also brought a shift in language. This shift to the English language was a bridge between the Latin american, North american, australian and European music therapy worlds. I can still remember the hours of hard work, discussions, writing, typing and coffee drinking with Ruth Bright (australia), denise Grocke (australia), Cheryl dileo (USa), Leslie Bunt (UK), Tony Wigram (UK), Rolando Benenzon (argentina), Cecilia Conde (Brazil), Lia Rejane Mendes Barcellos (Brazil), Marco antonio (Brazil), diego Schapira (argentina) and other colleagues from Latin america. This period of time issued new growth and new alliances with intercontinental organizations such as the Comité Latinoamericano de Musicoterapia, Latin american Committee of Music Therapy (CLaM), and the European Music Therapy Confederation (EMTC).

The creation of these regional societies had also a significant role in the construction of a global professional image and framing of music therapy as practice and science.

In 1993, Cheryl dileo edited the book, Music Therapy: International Perspectives, the focus and desire for the text was to provide information about music therapy practice in 52 countries. Invitations were extended to leading music therapists from various countries and who were asked to provide data on the following categories. (i) definitions, (ii) Historical Perspectives (Significant, Persons in de the Field, associations, Journals, Conferences, Training Programs, Professional Standards, Employment), (iii) Theoretical Perspectives, (iv) Cultural Influences, (v) Schools of Practice (Music Therapy approaches, Methodology, assessment, Evaluation, Instruments, Roles of the Therapist, dynamics of Process), (vi) Research and (vii) Future Trends.

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In terms of epistemology and knowledge transmission, this book remains useful as an overview of music therapy in a wide array of countries around the world. dr. dileo wrote the following about this book: ‘a great effort has been made to maintain the unique character of each country and author and not to ‘over standardize’ the information. Perhaps the greatest challenge in editing this text has been language. For a good part of the information provided, ‘good English’ translations were neither appropriate nor feasible. Theoretical, cultural, political, clinical information, etc. is different from country to country and these differences were preserved in the text’ (dileo 1993, iv/2).

This book contains a significant amount of information, which provides an overview and an understanding of the varying stages of development of music therapy throughout the world in 1993. This publication was the key element in the sharing of knowledge, in understanding the differences, and recognizing the coincidences in music therapy in various parts of the world and served to support this being a turning point in that process. The period of knowing each other, opening our minds to the great variety of practice of music therapy ushered in a new period of growth, alliances, and development. The construction of a global professional image became the new challenge.

one of the tasks that resulted from the 6th World Congress of Music Therapy was the need to define music therapy. Even today music therapy is a scientific discipline that is under construction. The evolutionary process of the profession continues to provide opportunities for us to detect and to describe intra and interpersonal phenomena. The need for new words to name and describe these new

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understandings innate in music therapy, had become evident. However, the translation of these neologisms was a challenge. Rendering words from one language into another transformed the meaning of a concept causing confusion and discussion. The attempts to clarify and determine a global definition of music therapy gave meaning and color to the meetings. The definition included was created by prominent music therapists from all over the world and coordinated by Lia Rejane Mendes Barcellos, Chair of Clinical Practice.

The WFMT Council finally approved the definition in 1996 in Hamburg, Germany. The definition follows: Music therapy is the use of music and/or its musical elements (sound, rhythm, melody and harmony) by a qualified music therapist, with a client or group, in a process designed to facilitate and promote communication, relationships, learning mobilization, expression, organization and other relevant therapeutic objectives in order to meet physical, emotional, mental, social and cognitive needs. Music therapy aims to develop potentials and/or restore functions of the individual so that he or she can achieve better intrapersonal and/or interpersonal integration and, consequently, a better quality of life, through prevention, rehabilitation or treatment (WFMT 1996).

after 15 years of global development, there was a need to review and consider updating this definition. In 2011, the WFMT re-evaluated and revised the definition and approved the following definition in order to reflect contemporary music therapy globally in a comprehensive way. This definition reflects the growing fields of applications and the changing epistemology of music therapy by including the spiritual dimension of music, health and wellbeing.

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Music therapy is the professional use of music and its elements as an intervention in medical, educational, and everyday environment with individuals, groups, families or communities who seek to optimize their quality of life and improve their physical, social, communicative, emotional, intellectual, and spiritual health and wellbeing. Research practice, education, and clinical training in music therapy are based on professional standards according to cultural, social and political context. (WFMT, 2011)

I served as the 7th President of the World Federation of Music Therapy (2005-2008). I considered it important to serve as a link in the living chain that connects people in countries all over the world. Under the light of this experience, I would like to share some of the contributions of knowledge transmission linked to my work as President of the WFMT and congress organizer of the 12th WCMT (2008). I had the pleasure of sharing responsibilities for planning the 12th WCMT with members of the WFMT Council, colleagues of the argentinian association of Music Therapy (aaMT), authorities of the University of Buenos aires and the Universidad del Salvador in Buenos aires. I discovered that music helps to open avenues that promote creative discussion and understanding. These achievements made it possible to address and overcome socioeconomic differences and needs among members of the WFMT from Latin american and East European associations.

This was accomplished by:

1. offering different registration fees for countries with lower annual per capita income in order to assure access to the congress by music therapists from all parts of the world.

2. developing a ‘Music therapist hosting music therapist program’, which was modeled

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after the ‘Students hosting students program’. This allowed music therapists from other countries to stay with a colleague locally and to significantly reduce expenses to attend the congress. This also provided opportunities to network and build relationships with colleagues from around the world.

The low socio-economic status of health professionals in Latin america was a concrete limit for attending international conferences.

The approval of a differential registration fee to address this was a decision that favored the attendance of colleagues not only from Latin america, but also from other countries all around the world with developing economies.

Worldwide expansion and Autonomy

at the 2008 WCMT in Buenos aires, argentina, Petra Kern was elected President of the 2008-2011 WFMT Council. The new council reorganized the continental representation into eight regional liaison offices, similar to the model of the World Health organization (WHo). Currently, the WFMT has its own webpage with a wide variety of resources for members and an online journal, Music Therapy Today.

The WFMT has grown gradually from a small group of international professionals interested in the effects of music in a therapeutic or educational process, into a well-established international organization comprised of associations, professional and student members. The data analyzed in this article regarding the WFMT Congresses demonstrate that the WFMT practice when organizing international events has an important role in knowledge transmission and in the evolution of music therapy epistemology. When viewed over the course of the last five decades, the

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role of music in therapeutic settings has changed along with rapid technological transformations, the impact of globalization of knowledge, and the expanding application of developments in other fields to music therapy. These changes have allowed music therapy theory and practice to become increasingly specialized. as music therapists have expanded their skill sets in these new fields, they have been able to develop novel and creative responses to human problems. The analyses of the call for abstracts and the themes of the WFMT Congresses demonstrate the connection between important research developments in a variety of fields and their influence on the evolution of music therapy. The WFMT Congresses have become a vital platform for knowledge transmission and to support the global development of music therapy. These many developments in music therapy have further fostered the need for an international music therapy organization and a network for professionals from around the world to connect.

Acknowledgment to the staff of Voices: A World Forum for Music Therapy, especially for Barbara Wheeler and her original and creative edition of the section Memories of WCMT attendants, an invaluable resource of information for this contribution on ‘World Congresses of Music Therapy: Building blocks of knowledge’. references

ashwalm, S. (1990). The Founders of Child Neurology, San Francisco, Ca: Norman Publishing. Retrieved from https://books.google.com.ar Benenzon, R. o. (1976). Musicoterapia y Psicosis. Buenos aires: Ed. Paidós.

Benezon, R. o. (1981). Manual de musicoterapia. Barcelona: Ed. Paidós.

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Benenzon, R. o. (1988). Teoria da Musicoterapia. Contribuiçao ao conhecimiento do contexto nao verbal. Sao Paulo: Ed. Summus.

Benenzon, R. o., Gainza, V., & Wagner, G. (1996).

Sonido, comunicación, terapia. Salamanca: amarú Ed. Benenzon, R. o. (1991). Teoría de la Musicoterapia. Buenos Aires: Ed. Paidós.

Benenzon, R. o., Gainza, V., & Wagner, G. (2008).

La nueva musicoterapia. Buenos Aires: Ed. Paidós.

Benenzon, R. o. (2000). Aplicaciones técnicas de Musicoterapia. Buenos aires: Ed. Paidós.

Book of abstracts 2nd WCMT (1976) Book of abstracts 7th WCMT, (1993, p.19) Book of abstracts 8th. WCMT, (1996, p. 8).

Smeijsters, H. Scientific Committee Chair, Book of abstracts 9th WCMT (1999) Book of abstracts 10th WCMT (2002) Brown, S., Martinez, M.J., & Persons, L.M. (2006). Music and language side by side in the brain: a PET study of the generation of Melodies and Sentences. Pub. Med. http://www.ncbi.nlm.nih.gov/pubmed/ 16817882 Bruscia, K. E. (1987.) Improvisational Models of Music Therapy. Springfied, IL: Ed. Charles C. Thomas Publishers Congress proceedings of the 5th World Congress of Music Therapy (1985) Congress proceedings of the 14th World Congress of Music Therapy (2014) http:// issuu.com/presidentwfmt/docs/complete _congress_proceedings_mt_10 dilleo, C. (ed.). (1993). Music Therapy. International Perspectives. Cherry Hill, NJ: Jeffrey Books. doby T. (1992). Cerebral Angiography and Egas Moniz. In http://www.ajronline.org/ doi/pdfplus/10.2214/ajr.159.2.1632357 Fregtman, C. (1982). Cuerpo, música y terapia. Buenos aires: Ed. RBa. Gallardo, R. (1998). Musicoterapia y salud Mental. Prevención, asistencia y rehabilitación. Buenos aires: Ed. Unive.

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Gauna, G. (2001). Del arte ante la violencia.

Buenos aires: Ed.Nobuko.

McLuhan, M. (1964). Understanding Media: The Extensions of Man. Cambridge, Ma: MIT Press, Mendes Barcellos Lia Rejane (2004). Cuadernos de Musicoterapia [Notes on Music Therapy] N. 1. Rio de Janeiro: Ed. Enelivros.

Papalía, M. (1998) Musicoterapia: La función de la expresión musical. Buenos aires: Ed. Erre EME S.a.

Pellizzari, P., & Rodríguez, R. J. (2005). Salud, escucha y creatividad. Buenos aires: Ed. Universidad del Salvador.

Programmes; 1st, 2nd, 3rd, 4th, 5th, 6th 7th, 8th, 9th, 10th, 11th, 12th, 14th WCMT Schapira, d. (2007). Abordaje Plurimodal.

Buenos aires: Ed. abril.

Small, C. (1998). Musicking: The meanings of performing and listening. (Music/Culture) Retrieved from: http://www.amazon.com/ Musicking-Meanings-Performing-Listening-Culture/dp/0819522570 Kim, Seung-a. (2014). Memories form 13th World Congress of Music Therapy Voices: a World Forum for Music Therapy, [S.I.] v.

14, n.1, mar. 2014 ISSN 1504-1611. available at: https://voices.no/index.php/voices/ article/view/755/630 WFMT Newsletter Nº 4/5/99 (1999) Ismez, Italy Wigram,T., Pedersen, N., & Bonde. L. o.( 2002).

A Comprehensive Guide to Music Therapy.

Theory, Clinical Practice, Research and Training. Chapter 7 Professional and Technical Resources (p. 206/207). London: Jessica Kingsley Publishers.

About the Author

Gabriela Wagner Prof. Lic. Gabriela Wagner, music therapist has served as President of the World Federation (2005-2005) and of the 12th World Congress of Music Therapy, Buenos aires, July 2008. She was engaged with the WFMT since its creation and served on the WFMT Council in different positions (1993-2001) and as Past President (20082011).

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Organizational Leadership Development: Investing in Students

Petra Kern, Ph.D., MT-BC, MTA, DMtG, Santa Barbara, CA (USA), WFMT President (2008-2011)

Abstract

Leadership development is an essential task of every organization. This 30th anniversary paper reflects the development of international student involvement at the World Federation of Music Therapy (WFMT) as a means of building vigorous leadership. Between 2008 and 2014, the process ranged from initial inquiries to the culminating establishment of WFMT’s first Assembly of Student Delegates.

Project examples illustrate students’ enthusiasm and engagement in organizational tasks and events while demonstrating their growth as potential leaders. Future perspectives briefly address current global leadership development issues and give an outlook on how WFMT might be proactive in addressing these challenges. Testimonials of two student leaders who now serve in leadership roles on the WFMT Council demonstrate that leadership development matters to both WFMT and the students involved. Thus, investing in students means investing in the future of the profession and WFMT. Keywords: WFMT; music therapy; organizational leadership development; students; global leadership; multicultural; world congress.

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Resumen

El desarrollo del liderazgo es una tarea esencial en toda organización. Este artículo sobre el 30 Aniversario refleja el desarrollo de la participación de los estudiantes internacionales en la Federación Mundial de Musicoterapia (WFMT) como medio de construir un liderazgo vigoroso.

Entre 2008 y 2014, el proceso varió desde consultas iniciales hasta la culminación en la creación de la primera Asamblea de Delegados de Estudiantes de la WFMT. Ejemplos de proyectos ilustran el entusiasmo y el compromiso de los estudiantes en tareas de organización y eventos, al tiempo que demuestran su crecimiento como líderes potenciales. Perspectivas de futuro abordan brevemente los temas de desarrollo de liderazgo global actual y muestran un panorama sobre cómo la WFMT podría ser proactiva para abordar estos desafíos. Los testimonios de dos estudiantes, que ahora ocupan posiciones de liderazgo en el Consejo de la WFMT, demuestran que las cuestiones de desarrollo de liderazgo son importantes tanto para la WFMT como para los estudiantes involucrados. Por lo tanto, la inversión en los estudiantes significa invertir en el futuro de la profesión y en la WFMT.

Palabras clave: Federación Mundial de Musicoterapia; musicoterapia; liderazgo de organizaciones; desarrollo; estudiantes; liderazgo global; multicultural; congreso mundial.

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Organizational Leadership Development: Investing in Students

“There is almost no limit to the potential of an organization that recruits good people, raises them up as leaders and continually develops them.” ~John C. Maxwell (2001)

Leadership development is one of the most important tasks for growing the World Federation of Music Therapy (WFMT) and leading it into the future. Why? Leaders are the ones who have a vision, take initiative, convince members, create partnerships, identify needs, develop proposals, make decisions, organize implementations, solve problems, take responsibility – and foremost, are committed to making things happen (Workgroup for Community Health and development, 2014). an international organization such as WFMT needs many strong intergenerational, multicultural, and global leaders with various skill sets and perspectives who share WFMT’s vision, responsibilities, and commitment. Therefore, investing in students as the next generation of professional music therapist is essential for sustaining WFMT and bringing creativity and innovation today that will make an impact tomorrow.

First Impulse

in 2008, the american Music Therapy association Students (aMTaS) expressed a growing interest in learning about music therapy worldwide, how to get involved with WFMT, programs for studying abroad and scholarships. at the same time, the 2008-2011 WFMT Council was experiencing a generational shift, leaving the Council with the dilemma of how to develop organizational leadership for the next decade. From the collaborative efforts of both groups, the “aMTa Students go international” project was born, asking students

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and their advisors in all regions of the united States of america, the following three basic questions:

1. What would you be interested in learning about music therapy worldwide?

2. How do you see yourself getting involved on the international level?

3. What ideas and projects come to your mind?

during the 2009 aMTa annual Conference, the WFMT Council held a roundtable for students (WFMT, 2009) to respond to their ideas and suggestions with potential WFMT projects and student involvement. as an immediate outcome of this discussion, the WFMT Council filled the Executive Assistant position with a student leader, designed a WFMT for Students page on the website, created the first World Congress of Music Therapy Scholarship for Stu-

FigurE 1. WFMT Council members discussing international student involvement during a roundtable at the 2009 AMTA Annual Conference in San Diego, California, USA

roundtable Presenters (from left to right): Dr. Byungchuel Choi (World Congress Organizer), Dr. Petra Kern (President), Dr. Mary Boyle (research & ethics Chair), Tian Gao (regional Liaison, Western Pacific), Dr. Gene Behrens (regionals Liaison, North America), Gabrielle Tee (executive Assistant), Dr. Joerg Fachner (Publications Chair), Dr. Annie heiderscheit (Secretary/Treasurer).

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dents, and established two new membership categories – one for Student Organizational Members and one for Student Individual Members. aMTaS joined WFMT as the first student organizational member in 2010 followed by the European association for Music Therapy Students (EaMTS) shortly thereafter.

Development and Growth

The first student Executive Assistant (gabriel Tee) gained a deeper understanding of WFMT’s mission and work through participation in all aspects of operation and management of the organization. She also received mentoring, and support from the WFMT President and Council Members. These experiences also prepared her to assume specific leadership roles. at the beginning, the role of the student Executive Assistant was designed and intended:

• To facilitate the interactions among students worldwide, • To represent students’ opinions and ideas on the Council, and • To maintain the WFMT for Students web page.

The following three initial student projects, spoke to the immediate interests of students and continue today 1) Window to the World (i.e., multimedia stories reflecting students’ international music therapy experiences), 2) Info Cards (i.e., business-size cards answering frequently asked questions about music therapy in over 20 languages), and 3) Connect (i.e., a global peer network aiming to connect students across the world to foster cross-cultural learning).

To increase student involvement across WFMT’s eight regions, the 2008-2011 WFMT President (dr. Petra Kern) and second student Executive Assistant (rose Fienman) established the first WFMT Assembly of Students Delegates. Similar to WFMT’s Regional Liaisons, seven motivated student leaders were appointed to serve as representatives and connection points for students in their region (i.e., africa, australia/New Zealand, Europe, Latin america, North america, Southeast asia, and Western Pacific). as outlined in the Assembly of Student Delegates Handbook (Kern & Fienman, 2010), the ongoing purpose of the WFMT aSd is:

FigurE 2. Three ongoing initial student projects.

Available at http://www.wfmt.info/wfmt-for-students-2014-2017

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• To enhance students’ knowledge of the profession.

• To provide a forum for international student activities.

• To facilitate the sharing of ideas, thoughts, and opinions, and • To assist in preparing responsible, politically aware, and skillful leadership of WFMT.

Expanding the student involvement on the WFMT Council, the student Executive Assistant served as the administrator of the Assembly of Student Delegates and took on

additional tasks such as defining and executing new student projects, representing the Assembly of Student Delegates during Council meetings, and organizing Assembly of Student Delegates meetings. The inaugural face-to-face meeting of WFMT’s first Assembly of Student Delegates was held on July 4, 2011 at the 13th World Congress of Music Therapy in Seoul, Korea and was followed by a Tea House Meeting with the WFMT President and all Council members.

This was a historic and proud moment for WFMT.

FigurE 3. WFMT’s first Assembly of Student Delegates.

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Impact and Manifestation

The prestigious WFMT World Congress Scholarship for Students was first offered in 2011.

This scholarship attracts music therapy students and interns from around the world, who are active members of student organizations in their country, have an interest in global music therapy, and want to get involved with WFMT. one of the scholarship recipients became the third Executive Assistant (Jen Spivey), who also went on to lead the Assembly of Student Delegates during the term 20112014. during her term, the WFMT Council viewed the Assembly of Student Delegates as an innovative, vital, and an integrative component of WFMT. The Council also empowered and encouraged them to take on additional leadership opportunities. While maintaining the three initial projects and tasks outlined in the Assembly of Student Delegates Handbook (Kern & Spivey, 2013), student delegates reached out to student organizations and individual students in their regions to advocate for music therapy across the world, shared information about their work while eliciting feedback from various student groups, and increased student involvement in WFMT. one of their remarkable projects was the production of a two-part video providing resources and guidelines for establishing, structuring, and running successful music therapy student organizations. The content of the video demonstrates a solid understanding of organizational procedures, benefits, and potential challenges, as well as knowledge and skills student delegates need to become effective organizational leaders of WFMT. investing further in WFMT’s student leaders and bringing new ideas to the 14th World Congress of Music Therapy, the WFMT Past President (dr. Petra Kern) and Congress organizer (dr. gerhard Tucek) encouraged extensive student involvement in planning, organizing,

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Video Part 1: Purpose, Advocacy, and Benefits https://www.youtube.com/watch?v=w_WLP ozkhdexx

Video Part 2: Structure, Meetings, and Challenges https://www.youtube.com/watch?v=w_W LPozkhdexx

FigurE 4. Strategies of establishing & running Music Therapy Student Organizations.

and executing a world-class event held in Vienna/Krems, austria in 2014. The Assembly of Student Delegates had the chance to learn from individual WFMT Council members and the local world congress planning team through observation, mentoring, hands-on opportunities, and support in hosting their own events.

WFMT’s student leaders rose to the occasion and successfully offered the following world congress-related opportunities for engaging students from many countries and cultures:

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• Travel Tips Series. disseminating five fact pages (i.e., about the Host Towns, Funding your Trip, reasons to attend, How to Make the Most out of it, and What to Bring and Consider) preparing students for attending the World Congress of Music Therapy.

• WCMT Buzz. Get Excited! releasing two videos featuring students from North america, Europe, and australia who share their motivation behind attending the World Congress while creating a social media buzz on Twitter.

• Pre-congress seminar. addressing the highly relevant topic “Studying, interning, & Working abroad: Preparing for global Engagement” with invited expert speakers and commentaries of student speakers.

• WFMT Assembly of Student Delegates Meeting. Transitioning responsibilities from the outgoing to the incoming Student Delegates.

• Student Poster Session. Highlighting the activities and achievements of music therapy student organizations and individual students across the globe.

• WFMT Assembly of Student Delegates Roundtable. Featuring the current status and challenges student representatives face in their regions under the title “WFMT aSd Exploring the Future: Student Perspectives on globalization of Music Therapy.”

• WFMT Assembly of Student Delegates Booth.

Sharing information, asking questions and getting answers, meeting student leaders and informally learning about the benefits of engaging in global leadership roles within WFMT while networking among peers from various countries.

The events hosted by the Assembly of Student Delegates fostered enthusiasm, creative ideas, and engagement to the organization.

They attracted new students who articulated their interest in serving the organization in various capacities. Many students expressed

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their gratitude for the variety of events offered as well. in addition to these events, student scholarship recipients reflected their learning experience under the Window to the World following the 2014 World Congress of Music Therapy.

Honoring the development of new leadership in music therapy communities around the world, the theme of the 15th World Congress of Music Therapy will be Moving Forward with Music Therapy: Inspiring the Next Generation. The congress will be hosted by the Japanese Music Therapy association (JMTa) and held in Tsukuba, Japan from July 3-8, 2017. Moreover, acknowledging the importance of the student leaders, the WFMT Council and WFMT Membership included the role of the Executive Assistant and Assembly of Student Delegates in the WFMT Bylaws (rev. 2014) as a fundamental part of the organization.

FigurE 5. excerpt of the WFMT Bylaws (rev. 2014).

Future Perspectives

Currently, WFMT has a well-balanced intergenerational and multi-culturally informed leadership team and a strong Assembly of Student Delegates led by the fourth student

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Executive Assistant (Julie Lytle, 2014-2015; and then annabele Brault, 2015-2017). Leading WFMT successfully into the future requires the WFMT Council to stay informed, embrace change, and face the challenges over the next decade. in terms of organizational leadership development it means building continued leadership, offering hands-on learning opportunities, fostering cultural competences, and valuing personal and professional gains.

Building Continuous Leadership. due to the smaller number of the Millennial generation in some parts of the world, it is predicted that there will be a leadership deficit in the nonprofit sector over the next decade (Hannum et al., 2011). Hence, leadership development is an ongoing endeavor that should be taken seriously by any organization. WFMT needs to continue devoting time and resources in building its own stream of new, enthusiastic leaders who passionately share the vision,

mission, and values of the organization. investing in students has been a successful strategy for WFMT in developing new leadership and should be continued. For instance, several WFMT scholarship recipients contributed to various student projects, served on the Assembly of Student Delegates, and three of them moved into elected and appointed leadership positions on the 20142017 WFMT Council. The growth of students’ international interest and involvement in music therapy worldwide is evident and essential for the sustainability of WFMT.

Offering Hands-On Learning Opportunities.

Students are more likely committed and engaged in organizational tasks when there are hands-on learning opportunities that contribute to their personal and career progression (Hannum et al., 2011). in 2014, WFMT released its first Strategic Plan outlining six core strategies, goals and objectives for 20142017. The WFMT Council should offer high-

TaBLE 1. WFMT Student Involvement over the Past 30 years (as of March 16, 2015).

Student organizational Members

1985-2008 2008-2011 2011-2014 2014-2017 0

2

1

0

Student individual Members

0

4

39

14

assembly of Student delegates

0

7

7

6

Executive assistant (student leader) WFMT Student Web Pages Traffic (unique hits)

Student Projects Entries (ongoing) Window to the World

info Cards

Connect

World Congress Scholarships for Students

Students attending the World Congress

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0

2

1

1

0

16,987

65,763

5,604

0

21

20

16

71

112

16

557

335

--

0

117

0

6

0

unknown

56 7

0

--

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impact learning opportunities that align with the organization’s priorities and prepare student leaders to be capable in managing tasks and challenges that are transferrable to their potential work place. Moreover, Council members should find out about students’ experiences, talents, and interests while supporting them in realizing their potential as global leaders. Making students a crucial part of the organization’s empowerment strategies will most likely increase their commitment, responsibility and professional growth as multicultural leaders who can skillfully navigate both the opportunities and challenges the profession may face the next 30 years.

Fostering Cultural Competencies. global nonprofit organizations represent various cultures and work with members, experts, and communities with diverse cultural values, beliefs and practices influenced by ethnicity, gender, age, religion, socioeconomic status, political views, sexual orientation, geographical region, historical experiences, native language, or traditions (Web, darling, & alvey, 2014). Consequently, emerging WFMT leadership talent should have diverse opportunities to expand their cultural knowledge, awareness, sensitivity – and ultimately cultural competences to effectively serve in cross-cultural situations. While there are various projects and global events available to WFMT student leaders, the WFMT Council should continue fostering cultural competencies by expanding knowledge (e.g., training units), skills (e.g., communication), and resources (e.g., funds for international service projects). it is desirable that student leaders sustain their cultural curiosity and become global literate leaders who promote mutual respect and understanding of music therapy education, research, and practice worldwide.

Valuing Personal and Professional Gains.

Many students may find it unattractive to vol-

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unteer their time and talent for no pay, little recognition, and limited impact (Hannum et al., 2011). Present WFMT leadership should frequently convey both their passion and dedication to the cause and share what they have gained both personally and professionally by serving the organization. The following two statements shared by current WFMT Council members and former student leaders are examples par excellence – inspiring others to serve and lead.

Serving in a student leadership role within the WFMT enabled me to hone skills related to collaboration. I was challenged to refine my communication and organizational skills, contributing to my professional development. Furthermore, the experience provided practical opportunities to deepen knowledge of other cultures in a unique way. My personal life was enriched by travel and an expanded worldview. Not only did I enjoy the mentorship of established experts in the field, I gained lifelong friendships with people who share my professional values. I choose to continue seeking service opportunities with WFMT because I believe in the organization’s mission and values. Like so many of our colleagues worldwide, I am inspired by the global development of our field and want to contribute in whatever way I can.

~Jen Spivey, MA, MS, MT-BC [WFMT Executive Assistant 2011-2014; WFMT Secretary/ Treasurer 2014-2017].

Through serving WFMT as a student, I gained skills in networking, communication, and leadership, as well as an increased understanding of the way cultural differences impact the international world of music therapy. In terms of my personal experience, I have met many interesting people, several of whom have become men-

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tors to me in the field. I was fortunate to be able to travel to both South Korea in 2011 and Austria in 2014, both of which were eye-opening experiences. I believe that the visibility of the roles I have served with both AMTAS and WFMT have increased my opportunities as a young professional. I continue to serve WFMT because I want young professionals to have a voice in the organization, as we are the future of the field of music therapy, and I hope that my service inspires other young professionals to consider serving in organizations, be it at the regional, national, or global level.

~Rose Fienman, MSW, MT-BC, [WFMT Executive Assistant 2010-2011; WFMT Public Relations Chair 2014-2017] Conclusion

Nonprofit organizations may face unique challenges over the next decade. However, individuals may always seek a sense of purpose for their work and to create good for their professional communities and the people they serve. if global organizations such as WFMT invest in the future and create skillful leadership while honoring individual’s interests and talents, perhaps a powerful win-win situation will develop that can carry WFMT’s vision into the next three decades. Music therapy students are the next generation of professionals and potential leaders of tomorrow. Hence, students’ attentiveness in global music therapy and the work of WFMT should be encouraged and strongly supported by WFMT. as Mahatma gandhi, one of the world most influen-

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tial leaders said, “The future depends on what we do in the present.”

references

Hannum, K. M., deal, J., Livingston Howard, L., Lu, L., ruderman, M.N., Stawiski, S, Zane, N., & Price, r. (2011). Emerging Leadership in Nonprofit Organizations: Myths, Meaning, and Motivations. greensboro, NC: Center for Creative Leadership.

Kern, P., & Spivey, J. (2013). Assembly of Student Delegates: Student representatives on the World Federation of Music Therapy.

[Handbook, 2nd edition]. World Federation of Music Therapy.

Kern, P., & Fienman, r. (2010). Assembly of Student Delegates: Student representatives on the World Federation of Music Therapy.

[Handbook, 1st edition]. World Federation of Music Therapy.

Kern, P., Tee, g., Wagner, g., Heiderscheit, a., Fachner, J., Boyle, M., Choi, B., & Behrens, g. (2009, November). Let’s go international: Exploring opportunities for global collaborations in music therapy. roundtable conducted at the aMTa annual Conference, San diego, Ca. Slides retrieved from http://www.wfmt.info/newsite/wpcontent/uploads/2014/05/Lets-go-international_aMTa-Conference-2009-San-die go.pdf Work group for Community Health and development (2014). The Community Tool Box. Developing a Plan for Building Leadership. Lawrence: KS: university of Kansas.

Webb, L., darling, J., & alvey, N. (2014). Multicultural leadership development in the 21st Century [White Paper]. rockville, Md: EnCompass.

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About the Author

Petra Kern Ph.D., MT-BC, MTA, DMtG, Petra Kern, owner of Music Therapy Consulting, online professor at the university of Louisville, and Editor-in-Chief of imagine is former WFMT President. She establised the assembly of Students delegates and continues to support students to become multicultural and global leaders in music therapy.

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International Perspectives in Music Therapy Education and Training: Adapting to a Changing World.

Charles C. Thomas, Springfield, IL, ISBN 978-0-398-09117-1

Reviewer: Amy Clements-Cortés, PhD, RP, MTA, MT-BC, FAMI, Assistant Professor, University of Toronto, Music and Health Research Collaboratory; Senior Music Therapist/Practice Advisor, Baycrest, Instructor Music Therapy Wilfrid Laurier University.

“International perspectives in music therapy education and training: Adapting to a changing world”, is the follow-up text to the widely acclaimed Goodman, 2011 book titled: Music therapy education and training: From theory to practice. This new volume edited by Professor Karen Goodman; music therapy professor at Montclair State University, senior educator and clinician, as well as a widely published author and international lecturer, offers the academic community a current and comprehensive text that includes the perspectives on music therapy training and education from distinguished authors representing the global regions served by the World Federation of Music Therapy (WFMT).

International perspectives unfolds in three parts: program design, multi-cultural identity, and ongoing and emerging needs of a discipline. At the onset, the reader is called to think broadly about the challenge of life transitions and adaptations, and to reflect on these aspects with respect to music therapy education and training in topics such as: student

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expectations, departmental structures, institutional expectations, economic stresses and the changing demographics related to healthcare.

In Part 1: Program design, Dr. Lee brings the importance of music centered education to the forefront by describing his Aesthetic Music Therapy Model (AeMT) and providing extensive musical examples in several categories such as: the tone, the cell, and thematic form. Dr. Lee speaks to the place AeMT has in all music therapy approaches, and broadly about the study of clinical musicianship. As a therapist, and music therapy instructor these examples are useful in developing improvisation skills in students. While a program may be aligned with a particular model of music therapy, there is and needs to be a place for the development of high level music and improvisational skills. The information and resources offered are useful to educators to facilitate including, adapting or creating new courses in clinical musicianship. In chapter 2, Dr. Ala-Ruona presents the problem solving

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approach to the continued development of the clinical music therapy program at the University of Jyvaskyla, recognizing that traditional music therapy education: theoretical subjects, music skills, music therapy methods, self-experience; and supervised internship work, have deficits upon which to improve.

The model of intensive clinical training is presented, as well as the importance of technology to facilitate multi-level learning. The inclusion of student comments provides further insight for educators to consider when reviewing their own curricula. In the final chapter of part one, Dr. Mette Ridder shares perspectives from Aalborg University in Denmark on problem-based learning through theoretical discussion and the presentation of a case study. She highlights the standards for doctoral degrees in music therapy and makes an important case for learning communities that integrate practice with science. What readers will appreciate about this chapter was the straightforward recognition that “For the music therapy profession, research based on real-life clinical experience and real-life problems is necessary (Mette-Ridder, p. 97).

Part II: Multicultural identity acknowledges that while the literature in this area is growing, training has not kept up the changes needed in programs to adequately facilitate student competency acquisition. Dr. Robert Krout’s chapter discusses the importance of community-based learning where music therapy students’ understanding of multicultural needs is acquired through the provision of music therapy to persons in need. In his specific example, Krout shares a learning experience in Jamaica, where-in students were impacted in their continued development as therapists through a heightened awareness of cultural and community issues. In Chapter 5, Dr. Gilboa from Israel, presents a novel approach to assessing multicultural identity as he shares the results of interviews with educators in Is-

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rael. Participants reflected on their cultural backgrounds and how this has impacted the way they teach and interact with students, as well as carry out their administrative roles. In his analysis of these interviews, Gilboa suggests there are three cultural spheres: A personal sphere which relates to ‘cultural baggage’ that students bring to their studies; a program sphere which is comprised of the cultural mixture of the group of students assembled together in training; and a clinical sphere which includes the experiences the students have in their practical placements.

Chapter 6 entitled, ‘The integration of eastern and western cultures in the training of music therapists in Asia’, by Dr. Kim is informative and timely due to a growing global desire by students to study and complete clinical internships abroad. She presents ideological differences between the eastern and western worlds, and challenges the reader to consider how western training can be merged with eastern traditions in order to provide clinical music therapy for clients. This is especially important for students who study in the western world and return to work in Asia.

Readers are also encouraged to reflect upon how eastern traditions can be incorporated in western culture and clinical practice. This topic and dialogue extends in chapter 8. Dr. Sumathy Sundar from India, discusses the need for the inclusion of a country’s music and music therapy epistemology to be incorporated in music therapy concepts and competencies. Further she examines a desire for western countries to consider healing practices and wisdom from places such as India in their trainings. Chapter 7, co-authored by Dr. Barcellos and Dr. Alvares, discusses government recognition of music therapy and outreach services in Brazil. They reflect on a broader view of multiculturalism and laying the groundwork for potential expansion in education and training in the future of music therapy in Brazil.

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Part III offers the reader an underlying theme of heightened awareness, which connects multiple issues discussed in this section. Chapter 9 presents an intimate look at the role of managing the needs of music therapy students and the requirements and expectations in higher education, which a focus on challenges and psychodynamic aspects that factor into the role educators play in working with practitioners who are in training. These topics are unraveled and explored by Dr. Edwards and Dr. Gilbertson, who present perspectives from Ireland and Norway. The significance of introducing students to Lesbian, Gay, Bisexual, Trans, or Questioning (LGBTQ) issues is highlighted through the personal story of Dr. york in chapter 10. She speaks about the importance of understanding others’ perspectives especially as related to classmates, educators and clients.

In chapter 11, Dr. Bunt offers a historical overview of education and training in the United Kingdom (UK) alongside adaptations other educators made along the way. The themes of balance and integration are weaved into his discussion and he addresses the large overarching question: “How can music therapy training and education integrate the artistic and scientific processes necessary to equip future therapists to practice safely and effectively in constantly shifting and challenging setting and contexts (p. 268)?” The important topic of supervision is addressed by Dr. Streeter who presents a discussion on the differing roles of professional supervision and training supervision in chapter 12. Practical guidelines are discussed with respect to such topics as: boundaries, countertransference, and supervision techniques. Part III is concluded with a chapter by Dr. Goodman on music therapy publications which provides a historical summary while also identifying trends, gaps and needs in future publications in music therapy.

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Education and Training is a very large and important topic that requires constant attention in order to advance our profession. Future texts that offer new and emerging perspectives on this topic are needed and encouraged. At present the music therapy community is fortunate to have this new text which is highly recommended to music therapy educators, clinicians and allied health care professionals. All of the chapters offer unique and valuable information that is applicable to many global contexts, and which are informed by distinguished authors who weave both personal and professional experiences into their writing. The book is thought provoking, and a significant contribution to the music therapy literature.

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About the Author

Amy Clements-CortĂŠs, PhD, RP, MT-BC, MTA, FAMI Amy Clements-CortĂŠs is Assistant Professor, Music and Health Research Collaboratory, University of Toronto; Senior Music Therapist/Practice Advisor, Baycrest; Instructor and Supervisor, Wilfrid Laurier University and Registered Psychotherapist. She is the President of the World Federation of Music Therapy (WFMT), Managing Editor of the Music and Medicine journal and serves on the editorial review board of the Journal of Music Therapy, Music Therapy Perspectives and Voices.

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Conducting Hope. A Film Review.

Published in Music Therapy Today, Spring 2015, Volume 11, no. 1, p. 172.

About the Author

Vanya Green, MT-BC, LPC 411 Specializes in the intersection between music, cognition, culture and healing. She has received numerous awards for her musicianship and scholarship, including a Fulbright fellowship and Susan Eliakim Siman grant. She has extensive experience in program development and non-proďŹ t consultancy, including helping establish the inaugural music therapy program at UCLA Medical Center. She has an MA from New york University in Music Therapy and a BA from Brandeis University in Neuro-anthropology and Latin American Studies. She has presented workshops and authored publications (oxford University Press, 2011) on music therapy and the neurobiological processes involved in pain, music perception and emotions in the United States and internationally. He speaks English, Spanish, French and Hebrew.

Contact: vanya@melodyworks.org

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Graphic design by:

EDITORIAL MÉDICA JIMS, S. L. Sant Eudald, 4bis, b.1; 08023 Barcelona (Spain) jims@es.inter.net www.jimsmedica. com

We publish music therapy books in Spanish Publicamos libros de musicoterapia en español

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