(KING) DAVID: Simply a skilled musician, or an accomplished music therapist?

A Music Therapist’s Narrative Journey

Carolyn K. Williams

Wilfrid Laurier University Faculty of Music

Music Therapy Department

Supervisor Dr. Heidi Ahonen-Eerikainen

Methodological key words

Qualitative research, Narrative inquiry, Historical research, Philosophical inquiry, Creative writing

Content key words

Music Therapy, Spirituality, Music therapy in the Bible, Characteristics of a music therapist, Music therapy and mental health, Music and healing

Biography Carolyn Williams, MMT, is a recent graduate of the Master of Music Therapy program at Wilfrid Laurier University. With over six years experience in the field of music therapy working with individuals of varying ability, Carolyn is a firm believer in the healing power of music. A lover of choral singing, Carolyn is excited about revisiting the music of her African-Caribbean heritage, as she rejoins the Nathaniel Dett Chorale for this season. Currently employed by the Aphasia Institute and the Music Therapy Centre in Toronto, Carolyn supports and encourages clients who have aphasia, due to a brain injury or stroke; multi-disabled children and youth; and adolescents with Down Syndrome through various music therapy processes and experiences. She is also thankful for the opportunity to supervise undergraduate and graduate students in their clinical placements.

For my Father

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ACKNOWLEDGEMENTS:

I would like to thank my research supervisor, Dr. Heidi Ahonen-Eerikainen, for her ever present support and encouragement. Her passion for people, music therapy and music therapy research continue to influence and be inspirational to my life as a music therapist. Thank-you Dr. Ahonen-Eerikainen, for taking a chance on me, with this paper. I extend a word of gratitude to the Faculty and staff of the Music Therapy Department at Wilfrid Laurier University; namely: Dr. Colin A. Lee, Dr. Heidi Ahonen-Eerikainen and Dr. Carolyn Arnason. Their undying commitment to the furtherance of the profession of music therapy within Canada and internationally, is an example I am forever grateful for. Thank-you for the opportunity to have sat underneath your dynamic and thought-provoking tutelage. Without my family, I would not be here. Thank-you – from the depth of my heart: Dad, Mum and Tony, for your continued support and encouragement, especially when I was too busy to acknowledge your unwavering presence in my corner. To my extended family near and abroad, thank-you for always encouraging me to strive higher and search deeper. To the many dear friends that I have made along the way, thank-you, for not only witnessing every bump and bend in the road, but for also reminding me of the melody in my heart, when my mind was too clouded to remember its harmonious tune. To my classmates and colleagues of the past year; I consider it an honour to have learnt, grown, laughed and cried alongside some of the most talented, caring and gifted individuals I have ever met. Never cease the relentless pursuit of the truth of who you are – thank-you for sharing part of the journey with me. Last, but certainly not least, I would like to thank my Lord and Saviour Jesus Christ, for loving me, when I did not deserve it, for supplying my every need and giving me life more abundantly and for Your unyielding belief in me, that gave me the courage to write what You placed in my heart.

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“Music washes away from the soul, the dust of everyday life”

~ Berthold Auerbach

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CONTENTS: Abstract……………………………………………………………………………………………………………………i

Dedication………………………………………………………………………………………………………………..ii

Acknowledgements………………………………………………………………………………………………….. iii

Once Upon a Time,

Prelude.............................................................................................................................. 6

There was a girl, who had a question, Methodology, Rationale and Research Design……………………………………………………..11

That begot another question…

Assessing therapeutic need………………………………………………………………………………..16

And gave way to an answer: Exploring the therapeutic power of music ......………………………………………………………21

“Play well my humble servant, play well”

Investigating the characteristics of a music therapist……………………………………………27

That prompted a conversation; Personal reflections, dialogue of research material……………………………………………...37

Leaving the girl

Conclusion…………………………………………………………………………………………………………47

With the truth she knew all along. Postlude…………………………………………………………………………………………………………….49

References……………………………………………………………………………………………………………..53

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ONCE UPON A TIME,

~ Prelude ~

“But the Spirit of the Lord departed from Saul, and an evil spirit from the Lord troubled him. And Saul’s servants said unto him, Behold now, an evil spirit from God troubleth thee.

Let our lord now command thy servants, which are before thee, to seek out a man, who is a cunning player on an harp: and it shall come to pass, when the evil spirit from God is upon thee,

that he shall play with his hand and thou shalt be well.”

(1 Samuel 16: 14-16 - King James Version)

The thunderous knock at the door brings the boisterous laughter ringing through the air to

an abrupt halt. Wide-eyed stares begin to search their neighbour’s faces, as Jesse’s gaze

scans his sons. With a nod of his head, he motions to Abinadab who momentarily pauses

before getting up from the hearth. Again, the heart gripping thud shakes the entrance of

their humble abode. Eliab slowly rises from the table and barely removes the latch from

the door, before the wooden gateway is thrust open by their auspicious visitor. The words

that are spoken from then on seem to merely float above Jesse’s head in a lilting cloud of

awe and disbelief as he keeps his focus towards the floor and swallows the growing lump

in his throat. The time had come. Questioning, Jesse looks through the window, his eyes

following the darkened figure of Abinadab, as he reaches the peak of the pastured hill that

rose to the east of their home. What will he say; will he go? Does he even have a choice?

In a few moments, Jesse will have the answers.

“David! David! David!!! Where are you?!” Abinadab calls into the growing twilight as

he gets to the top of the hill. “Why am I always the one having to come out here to get this

brat?” Abinadab asks himself as a recognizable wave of sound catches his ear. “David,

come home! DAVID!!!” The crisp timbre of the sound of his name rings through the air,

breaking the melodic creation coming from the wooden instrument sitting in his lap.

“What is it now?” David wonders, while the familiar stature makes its way through the

bleating sheep. “You’re wanted at the house; someone from the palace has come to see

you…” The words of his older brother begin to fade and become intertwined with the last

few notes of the melody that waft around him. The time had come. What it all meant,

David couldn’t be sure, yet the circumstances that were unfolding before him silently

validate what he had always known to be true. David enters the small room towards the

front of his home to hear his father instructing the others to gather three loaves of fresh

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bread, a bottle of new wine and the choice kid from the flock that had been reserved for

such an occasion. Amongst the whirlwind of bodies, David is brought back to reality with

the occasional thump on his back or tousle of his hair, astonishingly given by some of his

older brothers. The eldest, Eliab, merely stares at him from across the room with a glance

that confirmed the understanding that they had always felt between them. Clutching the

worn wooden instrument to his chest, David holds onto the last few sounds that surround

him as the preparations are being made.

“Never look the King straight in the eye, and always remain lower than him for the

entire time that you’re in his presence. And don’t forget to wash behind your ears, and

don’t take more than one piece of bread, this is not going to be like being out in the field

David, remember that…” bounced between David’s ears as he recalled the words of his

father, just before the golden carriage pulled away from their dimly lit home.

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Contained within the Old Testament of the Holy Bible in the first book written by the

prophet Samuel, the 16th chapter beginning at verse 14 and ending at verse 23, is the

account of a young Israelite boy named David, who is summoned to the palace of the King

of Israel, Saul, to play skillfully with the intention of soothing the King’s “dis-ease”. Music

and therapy have been close companions, often inseparable, throughout most of man’s

history (Gaston, 1968). For centuries, the intrinsic and healing power of music has been

explored, studied and experienced by countless individuals and groups with each culture

determining the nature and use of its music in the treatment of illness (Gaston, 1968).

Within these explorations or experiences, the question has continually been raised as to:

What makes music such an influential and potent force of change and potential healing?

What is it about the “art of temporally organizing sounds and its various physical and

experiential components” (Bruscia, 1989) that we as human beings are so drawn to? As

a music therapist, I find myself confronted daily with the perimeters of these and other

questions within my work, as I personally grapple to find the words and fullness of

understanding behind that which I do.

Gaston (1968) writes that: “men have believed that music cured illness by warding

off evil spirits, absolving sins, introducing moral and ethical forces into human lives,

placating the gods and bringing into balance the four humors once supposed to determine

human temperament” (p. 1). For those who are the recipients of its transformative

qualities, music can play an extremely personal role in their lives and leave an indelible

impression on them. I would endeavor to surmise that many of those impressions are left

with us as music therapists as well, as we are often the “instrument” through which these

remarkable changes occur.

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Personally stumbling upon the profession of music therapy over 10 years ago in my

high school guidance counseling office, I would have to say that my career in music

therapy found me, rather than I finding it. I liken my path much to that of the notable

character of (King)1 David in our text and it is from this point of view, that I will explore this

particular portion of his journey. With the primary focus of this paper being to investigate

the qualities or criteria that qualify one as a music therapist, the following research

questions will also be explored: whether or not (King) David was a music therapist; and if

this account detailed within the scriptures, was an historical case of music therapy with a

patient suffering from mental health issues. As a form of secondary data, my personal

reflections and explorations of my own journey as a music therapist will also be discussed

and dialogued alongside the research material.

1 I feel obliged to explain why the use of the word “King” is in parentheses when referring to David. I felt it was necessary to include this distinction for two reasons: (a) based on the assumption that David may be more familiar to the reader as a King in Biblical history, and (b) to acknowledge the significant anointing of him as King, which is documented in the previous verses before the actual text being surveyed. This second reason will be touched upon later within the investigation.

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THERE WAS A GIRL, WHO HAD A QUESTION...

Methodology, Rationale and Research Design

Philosophy deals with fundamental questions about what exists, how we come to

know what is and what is not (Bruscia, 2005) and asks questions of meaning (Kenny,

1989). What determines and defines my existence as a music therapist, is essentially the

question that brought me to the paper you are reading. Although I had been practicing

music therapy for over 7 years, there remained an unresolved notion within my heart and

mind; an idea which consistently rested upon a precipice of uncertainty and doubt. Being

inspired by the scriptural text in 1 Samuel, I found myself asking the very question that

titles this union of literature, personal experience and reflection: “Carolyn: Simply a skilled

musician, or an accomplished music therapist?” Posing this rather “philosophical” query of

myself, I am intrigued by Aigen’s (2005) point of view that states, “philosophy provides the

foundation for all forms of knowledge” (p. 526). Is it safe to assume that the finale of this

exploration will give me greater knowledge or a conclusion that will satisfy my curiousity;

or, by its mere nature will it purely birth new inquiries that require further investigation?

Perhaps my quandary will systematically direct me to the same place where I started,

allowing me to recognize that it is the journey in and of itself that brings an answer and

there is no real destination to be reached at all.

Aigen (2005) comments that “because all human actions stem from the

implementation of an implicit philosophy or belief system, it is necessary to articulate and

understand the philosophy in order to understand the actions” (p. 528). My belief system

tells me that not merely of my own choosing, but based on a predestined path, I would

eventually concede to the truth deep inside me, that tells me I am a music therapist. As

absurd as it may seem, this was a reality that I began to realize I had not accepted, or

believed despite of my education and treatment experience. From this philosophical

stance I delve into the music therapy literature and the recesses of my mind and soul to

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bring this undeniable truth to light and walk in its projection with confidence and diligence.

It is my hope that this humble delivery will not only inspire, but motivate others, whether

music therapists or not, to begin or continue their own quests for confirmation of their true

selves.

Narrative inquiry invites the reader into a story. The goal of narrative research is not

to isolate and simplify. It is to elaborate complexities and relationships in the service of

understanding human life (Kenny, 2005). Kenny also notes that there are two general

categories of narrative method: (a) the use of narrative form and (b) the analysis and

interpretation of texts. This paper will adapt these methods by using narrative form and

incorporating it as creative writing to elaborate the scriptural text, while analyzing and

discussing, rather than interpreting, specific areas of the original scripture. By employing

the use of narrative form to integrate creative writing with the original text, an artistic and

innovative presentation of the overall material was able to occur. Telling a story is making

use of imaginative narrating while staying close to experience (Smeijsters, 1997). While

the Biblical references remain untouched according to the translations provided, I have

used them as a springboard to expand the text, in order to add to the retelling of the

experiences of the characters.

Ollerenshaw and Creswell (2002) state that a story in narrative research is a first-

person oral telling or retelling of events related to the personal or social experiences of an

individual. The authors further state that “within the story may also be the story of the

researcher interwoven as she or he gains insight into himself or herself” (p. 332). As the

primary data of this research paper is an actual narrative, or retelling of an experience, it

seemed only natural to present my ideas, thoughts, reflections and findings in a similar

fashion. This method is consistent with holistic-content analysis, which “involves a complex

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set of analysis steps based on the central feature of ‘restorying’ a story from the original

raw data. The process of restorying includes reading the transcript, analyzing this story to

understand the lived experiences (Clandinin & Connelly, 2000, in Ollerenshaw & Creswell

2002, p. 330) and then retelling the story” (p. 330). In qualitative music therapy studies,

researchers are often working with data in the form of words. The qualitative research

report serves a variety of purposes which go beyond the conveying of information (Aigen,

1998). One of the purposes Aigen states which relates most to this study is that of

creating vicarious experiences in the reader which parallel those of the research

participants. The idea is for the reader to engage with the text in a way which parallels the

researcher’s engagement with the field of study. Ollerenshaw and Creswell (2002) also

surmise that “the qualitative data analysis may be both descriptions of the story and the

themes that emerge from it” (p. 332). Thus, through this form of inquiry, it is my aim to

connect you to the text in question, the various themes that have emerged from it, my

thoughts and the literary material discovered and explored throughout this entire process.

Solomon (2005) explains that the word history is derived from the Latin histoire

which means “narrative”. A narrative is a story and in the case of history, a true story,

based on evidence, that brings us knowledge about the past. As a retelling of the

experiences of individuals during the time of 1025 B.C., the scriptural text being

investigated creates a historical platform upon which the research question of whether this

could be one of the first documented accounts of a music therapy process, is raised. In

utilizing the Holy Bible as the primary source of evidence, an adapted historical research

stance must be employed, due to the fact that it is the only source of writing to support the

events in question and thus does not entirely meet the criteria for internal criticism

required within historical research.

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This analysis includes the exploration and juxtaposition of various definitions and

theoretical practices of music therapy against the scriptural text, allowing for a present day

examination of this historical happening. Within this, therapeutic need in relation to

clinical treatment will be discussed, the significance of music as a treatment modality and

the characteristics that are unique to that of a music therapist will also be investigated.

Therefore, I invite you to take a little walk with me through the corridors of time, and step

into a portion of events within the life of one of the more notable figures in Biblical history,

(King) David and explore his music, relationship with King Saul, their joint musical

experiences and more importantly the poignant encounter that changed both of their lives.

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THAT BEGOT ANOTHER QUESTION...

Exploring Therapeutic Need

“At that very moment the Spirit of God left Saul and in its place a black mood sent by God settled on him. He was terrified.”

(1 Samuel 16: 14 – The Message translation)

The King tosses and turns, unable to get comfortable. Swirling thoughts, colours and

images race through his mind so vividly, he feels as if he could reach out and touch them.

What is happening? One minute he feels fine and the next, so confused. Why is he no

longer able to sleep peacefully, or even think straight? In an attempt to find relief, he

staggers through the passageways of his chambers to the adjoined courtyard to get some

fresh air, but the once balmy flow now pierces his skin like a thousand razor blades. “Sire!

Sire! What’s the matter? Why are you out here at this time of the night?” his chief servant

asks him, as he hurriedly tries to redirect the King to his chambers before others awake to

witness the tumultuous scene. The King, unsure of who is speaking to him, begins to flail

his hands, batting at the air and screaming for whatever, or whomever it is, to leave him

alone. In terror, he runs towards the small sliver of golden light that cuts through the

growing darkness. Falling into a crumpled mass onto the bed, he sobs uncontrollably,

crying out for relief. Recognizing that it is probably best he not intervene alone, the King’s

chief servant retrieves some help and gathers a few of the other advisors, hoping someone

can give some insight into this distressing situation. Gathering around the bed, in soothing

voices, King Saul’s advisors encourage him to lie down and get some rest. As the King’s

crying begins to settle and he appears more capable of hearing what they are saying,

Saul’s advisors say to him, “This awful tormenting depression from God is making your life

miserable. O Master, let us help. Let us look for someone who can play the harp. When

the black mood from God moves in, he’ll play his music and you’ll feel better.” Saul told his

servants, “Go ahead. Find me someone who can play well and bring him to me.” (1 Samuel

16:15-17 – The Message Translation)

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The King appears to be in a critical state. A state where, from the scriptures, the

Spirit of God, which once was with him, is no longer. In its place, an evil spirit from the

Lord settles on him, presenting feelings of terror and torment, “but the Spirit of the Lord

departed from Saul, and an evil spirit from the Lord tormented and troubled him” (1

Samuel 16:14 – Amplified Bible). While the focus of this paper is not to directly interpret

the scriptures it would be incomplete to not address the mental state that the King of

Israel was in, at the time the story was written. So let us take a closer look at what the text

is describing to us. The King James, New International, Message and Amplified

translations of the Bible, use similar phrasing in 1 Samuel 16:14, to describe the King’s

symptoms for its reader: “…and an evil spirit from the Lord troubled [italics added] him”

(KJV); “…and an evil spirit from the Lord tormented [italics added] him” (NIV); “…and in its

place a black mood sent by God settled on him. He was terrified [italics added]” (The

Message); “…and an evil spirit from the Lord tormented and troubled him [italics added]”

(Amplified).

If one were to read further within the text, one would find a series of passages as

outlined by Ben-Noun (2003), that would indicate “the King developed feelings of suspicion

and jealousy toward David, and experienced uncontrolled impulses, which led to a

psychotic state ‘the evil spirit of God came upon Saul…And Saul cast the javelin: for he

said, I will smite David even to the wall with it. And David avoided out of his presence

twice’ (1 Sam. 18:10, 11)” (p. 271). Ben-Noun further describes that “the assessment of

King Saul’s disturbed behaviour indicates that he was afflicted with some kind of mental

disorder” (p. 272). Within the article entitled, What Was the Mental Disease That Afflicted

King Saul? Ben-Noun (2003) discusses the “most likely etiological factors for King Saul’s

mental disorder” (p. 272) and gives an analysis of the most probable mental health

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disorders that may have been used to diagnose King Saul’s condition. After reviewing

fifteen plausible diagnoses: from substance-induced mood disorder, a general medical

condition, manic episode, major depressive disorder, cyclothymic disorder, to

schizophrenia, paranoid type, and bipolar disorder 1, Ben-Noun concludes that “King Saul’s

disturbed behaviour taken as a whole indicates that he was afflicted by some kind of

mental disorder…and that among these diagnoses, bipolar disorder 1 provides the best

explanation for King Saul’s disturbed behaviour as a whole” (pp. 278-279).

Whether this or any other mental health diagnosis would sufficiently describe what

King Saul was experiencing2, the fact that he was seeking wellness or some form of relief

from his afflictions, is evident in each translation of 1 Samuel 16:16b: “And when the evil

spirit from God is upon you, he will play it, and you will be well [italics added]” (Amp.); “…He

will play when the evil spirit from God comes upon you, and you will feel better [italics

added]” (NIV); “…he’ll play his music and you’ll feel better [italics added]” (Mess.); “…that

he shall play with his hand, and thou shalt be well [italics added]” (KJV). Contrasting the

first statements of being troubled, tormented and terrified, the prophet Samuel allows the

reader to know of Saul’s desire to no longer feel that way, but to rather be well or feel

better: “So Saul said to his attendants, ‘Find someone who plays well and bring him to

me’” (1 Sam. 16: 17 – NIV). It is here, that the investigation into Saul’s therapeutic need

opened up for me. Do individuals who feel troubled, tormented, or terrified, seek to be

well, or feel better? If so, by what means do they achieve this wellness or state of being

better? Does this even qualify as a justifiable therapeutic need – to simply want to “feel

2 It is not my intention to imply that someone with the diagnosis of Bipolar Disorder 1, or any other mental health illness, is “evil”; however I felt it important to provide some scientific information in order to place King Saul’s symptoms into context.

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better”? How would this “feeling better”, even be defined: as merely no longer feeling

tormented, troubled or terrified?

The Canadian Association for Music Therapy (CAMT) defines music therapy as: “the

skillful use of music and musical elements by an accredited music therapist to promote,

maintain and restore mental, physical, emotional and spiritual health” (CAMT, 1994). By

mere definition alone, is there an implication that a therapeutic need may be one where

any of the above states are in need of restoration or restitution? Bruscia (1989) states “in

music therapy, the main priority is to address the client’s needs and problems through

music” (p. 19) and later questions whether “the recipients of therapy have to be sick, or

can they be well?” (p. 32). In referring to the CAMT’s definition of music therapy, I began

to question, who determines the therapeutic need of the recipient of music therapy

interventions? Are these assessments generally made by someone outside of the client’s

experience, or can they come directly from the client themselves? As if peering into the

future, knowing I would have these questions, Bruscia (1989) also asked: “who goes to a

therapist for help? What role conditions are necessary for someone to be a ‘client’? And

what characterizes the person on the receiving end of therapy?” Bloch, 1982 (as cited in

Bruscia, 1989) states that a client is: “a person who needs or seeks help from another

person, because of an actual, imagined, or potential threat to health, whether physical,

emotional, mental, behavioural, social or spiritual in nature....sometimes the need is far

from clear and may amount only to a general sense of dissatisfaction…” (p. 59).

From this summation, we can determine that King Saul had a legitimate

therapeutic need that was justly termed within the text as a desire to feel better, or to be

well. And like many music therapy clients, he was referred by those who were close to him

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and knew him well; hence at the suggestion of his advocates, King Saul was not adverse to

the idea of having a minstrel come and play for him.

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AND GAVE WAY TO AN ANSWER... Exploring the Therapeutic Power of Music

“Let our Lord now command your servants here before you to find a man who plays skillfully on the lyre;”

(1 Samuel 16:16a – Amplified Bible)

When I first came across the scriptural text being explored within this paper, I was

moved by its simple and yet clear similarities to the profession of music therapy. I mean,

at its most common denominator, music therapy is the practice of using music to make

someone else well, is it not? Or is it? Could a definition of the complexities of music

therapy really be explained so simply? If so, why isn’t it, and if not, why not? Music can

heal, (Trevarthen, 1999), but what is it really about this “succession of sounds so

modulated as to please the ear”, (New Webster Encyclopedic Dictionary, 1980) that has

eluded our grasp by way of definition (Bruscia, 1989), yet has gripped our hearts by its

sheer power? Mystic, therapeutic powers have often been attributed to music (Gaston,

1968), yet as we consider, tones, rhythms, ascending and descending melodies,

harmonies, rests and syncopations, our minds are filled with the possibilities that their

configurations can muster, and nonetheless, we remain confounded to fully ascertain their

combined profundity. Lee (2003) expounds upon this comment when he states that “music

is an enigma; its power to influence human existence is concrete yet transient” and further

emphasizes that “until we examine the qualities of music itself, its biological structure, its

outcome will remain a mystery” (p. xv). Hanser (1987) comments that the claims for

music’s beauty have been so greatly magnified that music is purported to exert

supernatural forces.

As evasive as the phenomenon of music may appear, it remains the essential and

integral component within a therapeutic intervention that “communicates ideas and

feelings beyond words” (Kenny, 1996); “is a bridge between unconscious and conscious

process” (Ansdell, 1995); “when used functionally not only activates and energizes a

person; it also organizes the body and mind into a unit of action” (Boxill, 1985) and “begins

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where words end” (Ahonen-Eerikainen, 2007). Gaston (1968) also emphatically states

that, “this is quite precisely the function of music in the life of man: to enrich his life” (p.

13).

Subsequently within our text, there is an account of a situation that was clear to me

as being a reflection of “music therapy”, yet if asked what music therapy is, I often find

myself unable to provide a clear and concise answer. Wigram, Nygaard Pedersen and Ole

Bonde (2002) comment on music therapy this way:

Music can be arousing, hypnotic, anxiety provoking, mind healing or shattering, a

source of inspiration or spiritual vision – it is like a magic mirror enabling the

listener, be it a client or a therapist, to find answers to deep existential questions.

No clear distinction can be made between the aesthetic (non-therapeutic) and the

psychological (psychotherapeutic) potential of music experience and awareness (p.

105).

I recognize that having a definition of music therapy can be quite personal, yet there are

some commonalities within the music therapy profession, which are the hallmark to its

explanation. As an art, music therapy has two aspects: First, the medium of therapy, music

is an art form; second, the process of therapy becomes an art as the medium is shaped by

the music therapist (Boxill, 1985). Perhaps the most comprehensive and informative

writing to date which clearly outlines and examines the definition of music therapy, is

Bruscia’s (1989) Defining Music Therapy. Contained within the pages of his book, Bruscia

states the complexities of developing a systematic definition of music therapy, highlighting

how any one definition excludes, or may alienate another. Beginning with a discussion on

the importance and relevance of having a defined understanding of what music therapy is,

he defines music, therapy, and concludes with a “working definition” of music therapy:

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“Music therapy is a systematic process of intervention wherein the therapist helps the

client to achieve health, using musical experience and the relationships that develop

through them as dynamic forces of change” (p. 47).

Bruscia (1989) includes various definitions of music therapy from different music

therapy associations all over the world, as well as others from notable clinicians in the

field. According to the South African Institute, music therapy is “the planned use of music

to give therapeutic effects” (p. 181). Mary Priestley states that: “analytical music therapy

is the symbolic use of improvised music by the music therapist and client to explore the

client’s inner life and provide the proclivity for growth” (p. 180). The American Music

Therapy Association (2007) lists music therapy as:

An established healthcare profession that uses music to address physical,

emotional, cognitive and social needs of individuals of all ages. Music therapy

improves the quality of life for persons who are well and meets the needs of

children and adults with disabilities or illnesses.

In Music Therapy: an Art beyond Words, Leslie Bunt (1994) explores his personal definition

noting that: “Music therapy is the use of sounds and music within an evolving relationship

between client and therapist to support and encourage physical, mental, social and

emotional well-being” (p. 8). Kenny (1982, 1996) states that “music therapy is a process

and a form which combines the healing aspects of music with the issues of human need

for the benefit of the individual and hence society” (p. 8). Within the approach of Creative

Music Therapy, developed by Paul Nordoff and Clive Robbins, there is the idea that within

every human being there is an innate responsiveness to music, and within every

personality one can “reach” a “music child” or “music person” (Wigram, et al., 2002). From

the aforementioned definitions, we can deduce that the specific role of music is one of:

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symbolism, structure, support, encouragement, communication and ultimate change.

Music therapy employs a non-verbal medium with which people have prior positive

associations and in most cases have life-long experience of using music for self-expression

and pleasure (Edwards, 2006).

Notwithstanding our ability to fully comprehend as to why music possesses these

and other noteworthy qualities, I highly doubt that anyone within the field of music therapy,

or even affiliated with it, would dispute music’s innate capabilities to achieve all of the

above, and then some. To not believe it, would deny our credibility as a legitimate

therapeutic profession and throw our entire existence as music therapists, into disrepute.

Boxill (1985) is of the same mind when she states that “music therapy is one of the most

beautiful of professions. To nourish and enhance the healthy essences of the human being

through the creative, therapeutic use of music is a profoundly enriching life’s work” (p. 1).

Even so, there are some underlying elements within the parameters of music

therapy that would qualify it as: an integral relationship or process between a therapist,

client and the phenomenon of sound, better known as, music. As stated by Boxill (1985),

“the talented therapist, who is fully engaged with the client and who applies clinical skills

creatively in dealing with the whole person, is practicing the art of music therapy” (p. 6).

Whether the specific approach is shared, the clientele delineated, or the qualifications of

the therapist outlined, it appears crucial to include these three elements of client, therapist

and music, when classifying music therapy. Brandalise (2004) was of same opinion when

he deduced that “the music, produced by the therapeutic relationship, becomes an entity

in the Music Therapy room. The relationship between the therapist’s music and the client’s

will bring another entity. The three agents (therapist-music-client) look for contact and

form the ‘TRIANGLE OF CARPENTE & BRANDALISE’”. Michel and Pinson (2005) concur by

26

sharing that “music therapy is a relationship among all three – the individual, the therapist

and the music” (p. 4), also illustrating this relationship as a triangle, with music at its base

and the individual and therapist occupying opposite sides of the shape. The authors

further state that “just as the triangle is a stable device of construction, the combination of

elements in the therapeutic equation provides stability and structure” (p. 4). I would say it

safe to surmise then, that without the components of therapist, client and music,

functioning in tandem union with one another that one could be involved in a musical

experience with another, but not necessarily be involved in music therapy.

Which of these factors are most important, seems a lot like the, “which came first,

the chicken or the egg” philosophical question that presents an endless debate that often

concludes with the agreement that each is dependent upon the other and requires the

presence of each other, in order to even exist. Perhaps a weighty statement to make, yet

with statements by Boxill (1985) that claim “the province of the music therapist is

knowledge of a special kind: a profound understanding of the influence of music on a

person’s total being” (p. 7), or Nordoff and Robbins (1977) who express that “a therapist’s

technique is therefore empirically-creatively directed” (p. 91) one cannot negate nor refute

the significance of the music, along with a therapist and client as the key and essential

factors within the treatment modality of music therapy.

27

“PLAY WELL MY HUMBLE SERVANT, PLAY WELL”

Exploring the Characteristics of the Music Therapist

“…I have seen a son of Jesse the Bethlehemite, that is cunning in playing, and a mighty valiant man, and a man of war, and prudent in matters and a comely person, and the Lord is with him.”

(I Samuel 16:18 – King James Version)

King Saul looks his advisor square in the face, and says, “find me a man who plays well and

bring him to me”. One of the young men standing near the door, steps forward and says, “I

have seen a son of Jesse the Bethlehemite who plays skillfully, a valiant man, a man of

war, prudent in speech and eloquent, an attractive person; and the Lord is with him.” The

room fills with grunts and murmurs of agreement, as King Saul surveys the nodding heads

before him. Who could this son of Jesse be, possessing such accolades, talents and gifts

and why he had not heard of him before, the King wondered. Nonetheless, uncertain of

how long his present condition would befall him, he sends for his messengers. Slumping

to the floor, the King grips the side of his head, as the terrifying images begin to flood his

mind again. Quickly exiting the chambers, his messenger holds fast to the task at hand,

having been instructed to go to Jesse, the Bethlemite and summon his son David to the

King’s aid.

When I began the task of collecting data and information for this paper, I decided to

employ the technique of “free association”; a process of simply relaying and thoughts or

images that come into one’s mind. The method of free association demands us to

temporarily give up intellectual censorship and freely speak about any thought (Chiriac,

n.d.). Adopted by Freud in the mid 1890’s, it was used as his primary technique for getting

to the unconscious and allowed expression of anything and everything that comes to mind

(Revision-notes.co.uk, 2001-3). As an adaptation to this method, I chose to confine my

“free-flowing” thoughts, by simply asking myself what are the criteria that I believe make-

up a music therapist and to write whatever came to my mind, concerning that subject.

29

So I sat at my dining room table, and stared somewhat sheepishly at the laptop,

hoping to accomplish the task I was setting out to do. Although with initial hesitation, I

eventually allowed my fingers to do the walking and told my mind to ‘just let it go’. “When

I think of the criteria of a music therapist, what comes to mind?” This free flowing

association began the impetus and direction for this paper and allowed the pathway for

further exploration of the scriptural text to unfold. This prompted a search within the music

therapy literature for the criteria, or characteristics required to qualify one as a music

therapist. In looking at the various aspects that were outlined in the research material, I

decided to use the elements discussed by King Saul’s advisors, as a way of delineating, or

separating the information being explored.

Play Skillfully…3

play: v. perform on; skillfully: ski’llful, a. having or showing skill (at, in); practiced, expert, adroit, ingenious; hence ~ly adv. (The Concise Oxford Dictionary, New Edition, 1929)

Musical training/background; an affluence on a particular instrument or variety of

instruments and a knowledge of various styles/genres of music were listed in my personal

free association as areas I would consider relevant qualifications of a music therapist.

King Saul’s advisors had shared a similar ideal, by noting (King) David’s ability to play

skillfully; as a key element for his service unto the King. Notwithstanding this agreement

in our thinking, I still asked myself, what does that mean, to “play skillfully” and even for

my own criteria, of musical training/background, what does that translate to be?

3 The following sub-titles are the characteristics that were described of (King) David within the scripture passage of 1 Samuel 16:18 and are simply referenced as a way to separate and delineate some of the areas being explored when looking at the characteristics of a music therapist and are not meant to gender-specify those characteristics being examined.

30

Milgram-Luterman (1999) delineates the competencies required of a practicing

music therapist as outlined by the Canadian Association for Music Therapy (CAMT) and the

Certification Board for Music Therapists (CBMT), which represents the American Music

Therapy Association, in the article: Toward a Disposition of Music Therapy Expertise as

Expansion of the Self. Music Competencies and Knowledge occupies one of the four

overall competencies explained by both organizations and lists: music history, theory,

performance on one or more major instruments, basic proficiency in autoharp, accordion,

ukulele, guitar, recorder, and percussion instruments and functional skills in voice and

piano, improvisation and accompaniment as their music requirements. The author goes

on to say that, “in the realm of music, music therapists must possess the specific

knowledge and action-based skills of music within the musical community, as with other

music-based practitioners” (p. 27). Wigram, De Backer and Van Camp (1999) describe

their aims when developing a music therapy training program and outline various skills

they would hope to develop within their students. Although not specifically outlined as

attributes or characteristics of a music therapist, as it is the authors’ goal to develop these

skills within their trainees, it is assumed that these qualities are significant within the

professional music therapist. Along with possessing a musical identity that is not only

historically developed, whether through inborn musical aptitude, a history of musical

experiences, or knowledge of musical genres, it is one that is developed through music

therapy education as well. The authors list musical skill as one’s ability to be a ‘musical

being’ in a session with musical responses that are fine-tuned, natural, immediate,

sensitive and appropriate (p. 292). In addition to a love and passion for music, possessing

a high level of musical fluency and a music awareness that is wide ranging (pp. 287-296)

are also essential criterion. Bruscia (1991) states a general competency of musicianship

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(e.g. music theory, history, literature, composition, voice, guitar, piano, etc.) as one of the

requirements needed to be a practicing music therapist.

In The Handbook of Music Therapy, Bunt and Hoskyns (2002) outline material

encompassing clinical, practical and theoretical perspectives on music therapy, which

includes a list of criteria for the aspiring music therapist. Noting that music therapy as a

career is increasingly appealing to more and more individuals of varying musical

backgrounds and expertise; the authors provide one of the most tangible ways of

measuring musical skill or competency within music therapy training. Stating that in the

UK a sustained musical background, which is usually three years of undergraduate music

studies at a university or conservatoire, or a comparable level of musicianship needs to be

demonstrated if applicants have followed a different entry route, is a prerequisite before

applying to train as a music therapist.

A Valiant Man…4

va’liant (-ya-) a. (of person or conduct) brave; courageous; (The Concise Oxford Dictionary, 1929)

Included within my list of free associations, were several qualities that highlighted

one’s personality. This was echoed in the literature, as in spite of their musical abilities or

affluence, there was a continual emphasis made on the importance of various personal

characteristics that would be found in a professional music therapist. Qualities such as:

intending to address the issues of human need – especially growth, change, and the

alleviation of pain and suffering (Kenny, 1996); artistic integration and imaginative risk-

taking, gentleness and strength (Bunt & Hoskyns, 2002); personally stable and secure

4 1Samuel 16:18 (see note on previous p. 30)

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(Wigram et al., 1999), somewhat submissive and mild (Shatin, Kotter & Longmore, 1968,

in Wigram et al., 1999, p. 283); a person of good will and good intention (Kenny, 1982 &

1996); ability to empathize, relate sensitively, be rooted in feeling experience, flexible and

adaptable (Bunt & Hoskyns, 2002) were also mentioned. My associations included:

humility, being an advocate and being sensitive towards people and their situations, as key

elements of a music therapist’s personality.

A Man of War (Warrior); Prudent in Matters…5

wa’rrior (wo’-) n. fighting man pru’d|ent (-oo’-) a. (of person or conduct) careful to avoid undesired consequences; circumspect, discreet; (The Concise Oxford Dictionary, New Edition, 1929)

Professionally a music therapist is required to maintain several competencies which

are observed in the areas of: communication, team, administration and ethics (Milgram-

Luterman, 1999). Medical knowledge; clinical experience and confidence; competence to

undertake, evaluate, analyze and report; and being ethically informed are themes that are

listed by Wigram et al. (1999) which would equate to the professional aspects of a music

therapist. Presenting a professional attitude while being reliable; able to communicate;

knowing when and how to “speak”; being acutely aware of the impact on others and highly

disciplined, were areas delineated by Bunt and Hoskyns (2002). Kenny (1982, 1996)

states that the primary objective of any therapist is to encourage and inspire people to

accept change, to experiment with alternatives within an atmosphere of support (p. 10). I

felt it important for a music therapist to be able to work independently, as well as in a

team; to be dependable; organized; friendly and approachable.

5 1Samuel 16:18 (see note on previous p. 30)

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As definitive as much of the music therapy literature is on outlining the various

characteristics, or skills required by a professional music therapist, there remains a

distinction of qualities that are unique to the music therapy profession. Gold, Dahle, Olav

Heldal and Wigram (2006), highlight that “because of the therapeutic techniques used in

music therapy, including, among others, musical improvisation and the discussion of

personal issues related to the musical processes, it is necessary for music therapists to

have formal training and qualification” (p. 106). This concurs with the opinion of Milgram-

Luterman (1999) that states that:

Although it is the integration of the music and the therapy that is music therapy, it is

important to note that music therapy itself involves not only musical expertise and

clinical technique, but also music therapy expertise....expert music therapists

possess the appropriate music therapy competencies, demonstrate skillful artistry

as clinicians within the music therapy domain and operate as members of the wider

intellectual community of experts (p. 30).

Along with the unique combination of requirements, many countries include a professional

registration or accreditation process, in order to qualify individuals as professional music

therapists. In the U.S.A. there is a standardized national examination that has been

established for entry into the profession (Bruscia, 1991). Here in Canada, the designation

of Music Therapist Accredited (MTA) joins one in the professional ranks of music therapists

committed to the regulations of the CAMT and is determined upon successful completion

of the accreditation process as outlined by the CAMT (CAMT, 2005).

When I had finished my free association regarding the criteria of a music therapist, I

began to see four distinct areas or general headings appear: a) musical personality; b)

musical ability/skill; c) personal characteristics and d) professional characteristics. Similar

34

categories were echoed by Milgram-Luterman (1999), where the competencies expected

by the CAMT and the CBMT are divided as follows: a) music competencies and knowledge,

b) related therapy competencies and knowledge, c) professional competencies and

knowledge and d) music therapy competencies and knowledge (p. 26). The author later

states that mere competency in these four skills does not necessarily result in music

therapy expertise (p. 30). Lee’s (2003) thoughts would parallel this statement, as he

comments that:

In music therapy we should always think both as a musician and as a clinician. If

we balance one above the other, or ignore one over the other, then we are in danger

of providing either a nonmusical dryness or a musical experience with no

therapeutic content or direction (p. 2).

According to Kenny (1982, 1996), “the music therapist serves as a resource person and

guide, providing musical experiences which direct clients towards health and well-being (p.

8).

So what then, of this music therapist? The music therapy writings point to the

importance of understanding music, people and their needs and integrating these various

facets in an eclectic stew of creative therapeutic intervention, but who do YOU say that I

am? Who do “I” say that I am? Who would other music therapists say THEY are?

Reflecting upon my personal free association and the information gathered, I decided to

invite my fellow colleagues to the same table and ask the question: What characteristics,

or qualities do you say, make up a music therapist? Being afforded the opportunity to

discuss and validate my research findings through the forum of a workshop, I decided to

bring my question to my classmates.

35

While the data analysis workshop quickly drew near, I began to wonder and

question the simplicity of my quest; would it seem strange? Is it too “loose”, will they

understand the significance of this process, or simply dismiss it as a mere philosophical

musing that requires more scientific backing to substantiate its purpose? As I approached

the classroom to meet with my colleagues and classmates of the last six months, my

growing nerves were comforted by the simple thought that: “it’s okay to be different”.

Seated in a circle facing the white erase board, I thanked the group of seven for their time

and attention, commenting that I did not think our time together would be very long. With

smiles and nods they focused their gaze upon me, waiting without the appearance of

judgment, for their instructions. Courageously and confidently, I looked them each in the

eye and asked the question that had been swirling about in my head for the past 48 hours.

Having instructed them to make a personal list first, of their thoughts on the criteria and

characteristics that make a music therapist, and then noting that we would discuss their

ideas as a group; without hesitation the sounds in the room dropped to a hush and the

feverish scribbling of pencil to paper filled the air. After approximately ten minutes, I

asked the group to reconvene so they could share what they had written. Within a few

moments, words and phrases leaped from pages, into mouths and met the atmosphere.

In the kafuffle of determining who should scribe, my heart began racing as the dialogue

increased and debates of the significance of attributes such as: “genuine empathy”;

“hopeful”; “self-reflective” and “being yourself” were scrawled across the board. The query

of whether being “emotionally aware” or “intrinsically knowing” can be taught and

developed within the educational training of a therapist, or are they qualities that one

comes to music therapy training with, was raised.

36

Eventually two cohorts were formed, delineating the characteristics discussed along

the lines of two larger categories: 1) Personal Characteristics and 2) Education, which of

themselves, began to form sub-categories that included a) relational – a way of relating to

others (under the heading of Personal Characteristics) and a) concepts taught from the

beginning of training and b) qualities heightened (through the modeling of the

philosophical approach within educational training). The group echoed Kenny’s (1982,

1996) thoughts concerning music therapy as a process that benefits the individual and

society, as the criteria of social need was addressed and noted as integral to the

qualifications of a music therapist. The comment being made that without the societal

need of a music therapist, their abilities or attributes would be somewhat irrelevant.

Furthering our discussion, qualities such as: “tenacity”; “being spiritually strong”; “flexible”;

“unbiased”, “open”; “caring”; “compassionate”; “analytical”; “able to see the whole person”

and “listens” were put forth. Bunt and Hoskyns (2002) shared the same opinion, as they

state the ability to empathize; be tolerant, patient, and flexible and emotionally stable” (p.

26) are certain essential personal qualities required of a music therapist.

I did not anticipate how encouraged I would feel to have the reoccurring themes

that I personally put forth, being validated by material written by professional music

therapists. Along with this confirmation, it was also comforting to have my colleagues and

classmates parallel similar thoughts and ideas which I found within the literature I was

reading. Regardless of its significance to the “music therapy world” or even the masses, I

could not help, but have a good feeling about this crossing I had dared to examine and

confront.

37

THAT PROMPTED A CONVERSATION...

Personal reflections, dialogue of research material

As music therapists we are musicians who seek to engage clients in musical

interaction for clinically definable therapeutic purposes, our musical actions within this

interaction being informed by those purposes (Procter, 2002). I can accept this definition,

however, why do I feel like so much more than that? Not to negate the importance of what

Procter has stated, or to claim it as neither insignificant nor profound, yet, I still wonder, is

that merely all I do, or am? A “musician who seeks to engage clients in musical

interaction”, for whatever variety of clinical or therapeutic purposes have been

determined? Is that what I have been created to do? Is that simply the reason I live,

breathe and have my being? Surely, there must be more to it, but perhaps there is not and

I must be satisfied with its sheer simplicity. And yet…I cannot be, whether of my own

choosing or because of my sheer inquisitive nature…I must go deeper.

Where did it all begin? When did that “moment of truth” occur? At the start of time

or even before then; prior to the confines of this tenacious guard, named “time” insisting

on captivating one’s spirit in believing that it will “run out”? Perhaps it was when the first

star plummeted to its fatal end, coating the darkness with polka-dotted memories of its

existence and echoing sounds of its sterling path? Perhaps it was when cradled by

luscious warm waves of love and tenderness; I positioned myself to make a poignant entry

into another dimension that anxiously awaited my arrival. However out of my grasp or

even comprehension of when that ‘first moment was’, there are memories that reverberate

in the recesses of my mind that tell me it is true – I am a musician.

Sitting in the family room of our three-bedroom semi-detached home in

Mississauga, my father and I were watching television together. What filled the screen in a

matter of moments resonated with my heart in such a powerful way, that I could not

contain it and I turned to my father and simply said, in my quiet, yet determined 5 year old

39

voice, “I want to learn how to do that.” On the community television station, there sat a

young Asian boy at a gleaming ebony structure, with black and white keys which he

caressed with expertise and heartfelt precision. Without hesitation, my father did what he

knew to do best – get his little girl what she wanted. Before I knew it, I was being signed

up for piano lessons and picking out an electronic keyboard. I remember the day that it

was delivered and watched anxiously as Daddy screwed the stand together and made sure

the stool was just at the right height. I loved playing that thing! I would spend hours

making up songs and jumping ahead in my music lesson book, teaching myself the next

week’s lesson. As time passed and I got older, school and other interests began to occupy

my mind and time and the now acoustic piano sat in the living room of our home, often left

untouched for weeks.

Beginning voice training in high school continued to stoke the creative fire that had

been sparked so many years before, yet, it was not enough to out blaze the pull of “boys”,

or even the ever occurring comments of: “you’re ‘just’ a singer – it’s just something that

you do” and “do you have to keep so much noise?” Consequently, when being faced with

the decision to go to university, studying music did not seem like a viable option. However,

waiting for my appointment with the guidance counselor allowed for a few moments that

enabled me to peruse several course calendars and come upon the program of “music

therapy”.

From what I remember, the description spoke of combining music and psychology;

two areas I had an interest in and it was not studying music in the typical way, which I did

not want to do, or was even enthusiastic about. Hence my music therapy journey began,

taking me 3 hours away from home to study and through many musical experiences that

really had me questioning why I was doing what I was doing. “I’m not a musician”, I found

40

myself often saying, as I walked through the hallways of the school of music at the

University of Windsor. “What am I doing here? Is this even worth it? What was this whole

thing about music and therapy anyway?” Although it was the program I was studying,

music therapy still seemed to elude my understanding and prompted many meandering

conversations with my parents as I attempted to explain what I was learning. However, by

my fourth year I found myself settling into a “comfortable” place of combining this entity of

music that I enjoyed and connecting with people, which I also enjoyed. But somehow, the

hole remained.

And Samuel said unto Jesse, Are here all thy children? And he said, There remaineth yet the youngest, and, behold, he keepeth the sheep. And Samuel said unto Jesse, Send and fetch him:

for we will not sit down till he come hither. (1 Samuel 16: 11 – KJV)

Abinadab whistles from the top of the hill in an attempt to get the attention of his youngest

brother, David. Through the sound of bleating sheep, David responds to the signal of his

brother, by merely looking in his direction. Refusing to go any further, or call him another

time, Abinadab waves his hand over his head, beckoning David to come. Curious as to what

would bring his brother to the pasture so early in the morning, because it was obviously not

to help with the sheep, David begins to quickly herd the mass of textured wool towards the

direction of the house. Somewhat annoyed that he has to bring the sheep back into the

pen after having just brought them to the pasture, David doesn’t respond to the chiding of

his brother, while he made comments of him being lazy and slow. Recognizing the smell of

a burning offering, David averts his attention towards the direction of the tower of smoke

rising in the air; something is happening and his stomach does a flip at the thought of it.

Coming face to face with destiny, David looks the quiet, stately man before him straight in

41

the eye, unable to turn away from his penetrating gaze. Samuel noted that the young man

before him was the “very picture of health— bright-eyed, good-looking. God said, ‘Up on

your feet! Anoint him! This is the one.’ Samuel took his flask of oil and anointed him, with

his brothers standing around watching” (1 Sam. 16: 12-13a – The Message). As the

prophet departed to return to Ramah, David stood motionless in the midst of his brothers,

unable to speak, unsure of what to do and yet after a few moments, found himself opening

the gate of the sheep pen once again ushering the flock back towards the pasture.

Like (King) David, once I graduated from my undergraduate degree in music

therapy, I returned to my own ‘sheep pen’, by simply doing what it is I had been doing, with

now, a somewhat different understanding and focus. Although knowing that something

was different I had not fully realized its potential or purpose. Still being engaged in making

music and connecting with people, I began a full-time job in music therapy and even

obtained several contracts within the community in which I live. Grappling with the new

paradigm and practice of music therapy, I found myself often struggling to fully understand

that which I was engaged in. Comprehending the theory of what I was employed to do,

was never really the issue, but more so the daily routine of actual clinical intervention and

treatment began to take its toll on me, leaving me extremely tired and even apathetic

towards the end of my working day. Although I received clinical supervision and worked

within a dynamic multi-disciplinary team, the therapeutic processes that I was engaged in

always seemed trivial and shallow; never fully reaching the depth that they were capable

of; until the day I was confronted with a proposition I had never considered before.

“Apply to the masters program”, was the still, small, impression that pressed upon

my heart, as I drove home along the brightly lit street of Toronto, in the fall of 2005.

42

“What? Apply to graduate school? Seriously? Would I even be accepted? Who knows,

but I guess it’s worth a shot.” I remember telling myself in response to the proposal. The

year that ensued following my application, sent me racing head first through a spiraling

tunnel where I was forced to recognize and examine my present work as a clinician.

Whether accepted into the program or not, the mere process of exploring the manner in

which I approached my work as a music therapist, gave way to various challenges and

difficult realizations. How did I work? What was my philosophy? Even the notion of not

knowing how to answer these imperative questions raised enormous anxiety, yet pushed

me to throw off the indifferent blanket I had coddled for so long and rekindle a passion

within me that I surely thought had burnt out long ago.

Identifying my shortcomings as a pianist, I questioned whether my skills as a music

therapist were even up to par overall, creating another area of concern; however, with

much guidance and support from my clinical supervisor and the team of therapists I

worked closely with, I began to see and acknowledge the areas where I had experienced

much growth as a musician. I recall one of my colleagues commenting in the few weeks

leading up to the audition, that there was “so much music coming from my room!” My first

reaction was one of hesitation; unsure of what she meant by her statement, but on further

reflection realized that the present journey that I was on had birthed a surge of creativity

that was not only being felt, but also heard within the therapy sessions I was conducting.

Rather than continue on the path of self-criticism, I chose to embrace this “new music” and

allowed it to flow freely within my clinical work; a decision I believe benefited the young

adults I worked with.

This concept of my “new music” traveled with me as I headed to Waterloo, for the

audition at Wilfrid Laurier University and sat on my shoulder as I observed, learned, cried

43

and tried through many of my classes, clinical sessions and quiet personal times during the

nine month academic year of the Master of Music Therapy program. Being infused and

rejuvenated through the acquisition of the music-centered psychotherapeutic approach

implemented within the curriculum, the fervor began to glow more brightly and strongly

than it ever had, yet there were several occasions when I felt almost afraid of its power and

tangibility. Could this really be what I had been destined to do? What I had been created

to walk out on this earthly terrain? But I’m still not a musician; I’m not like “them”! This

very real comparison entered my mind with continuous and increased intensity as the

weeks progressed. Helpless and overcome, I fell sobbing one night at the side of the single

bed (I occupied from Monday to Thursday) and asked, “Why am I here?” In the midst of a

proclamation of not belonging and that I may have made a mistake, that familiar still,

small voice pierced the growing darkness with this thread of light: “you ARE a musician

and you DO belong here.” “But, but…” I stammered through tear choked vocal chords, to

only hear in response, “a MUSICIAN is a player of music; whether through instrument, or

voice, the result is the same; you ARE a musician.”

Ironically, the simplicity of the statement that was being imprinted on my heart

began to calm the raging waves of my mind, as I chose to accept and receive this precious

gift of revelation and enlightenment. I feel, like (King) David, that it was at this moment,

that I began to not only accept this path that was being laid before me, but also to walk it

more confidently and with greater boldness.

44

Whether (King) David’s “moment” occurred in the same fashion as mine, his

circumstances began to unfold before him, turning the course of a seemingly mundane

life, into that of not only a servant to the King, but a King. Without straying too far from the

scriptural text that is the focus of this paper, I would like to address, or rather comment on

the fact that the first mention of (King) David within the Bible, is of him being anointed as

King, by the prophet Samuel. It is only after this repositioning in his life, that he is then

summoned by the present King, Saul, to be his minstrel. You might be thinking, “Carolyn,

what does that have to do with you? Are you suggesting that somewhere you have been

anointed as a “queen”?” No, not at all, but what I am paralleling to (King) David’s story, is

my own journey to music therapy that perhaps seemed to begin prematurely, or before I

thought I was ready to embark on it and it was not until having gone through the graduate

degree program that I realized I was in the right place all along. Which in essence leads

me back to (King) David and the question at hand: simply a skilled musician or an

accomplished music therapist?

From the information gathered, there appears to be three distinct areas from which

to delineate the criteria, or qualifications of a music therapist: musicianship, or musical

ability; therapeutic knowledge and a comprehension of music therapy theory. As stated by

Boxill (1985), “the education of the music therapist requires multidisciplinary study

including courses in musicianship, behavioral sciences, and theories of psychiatry and

psychotherapy, as well as clinical experience as a music therapy intern” (p. 2). The music

therapy literature continually expressed the combined efforts of the therapist, client and

music, as essential factors within the treatment modality of music therapy. Although the

specific approach or theoretical background may differ, music therapy by way of

explanation could be summed up as the following:

45

Music therapy is an amalgam of music and therapy. When music, as an agent of

change, is used to establish a therapeutic relationship, to nurture a person’s growth

and development, to assist in self-actualization, the process is music therapy. In

this process, music is consciously used for the enhancement of living, being, and

becoming. Broadly defined, music therapy is the use of music as a therapeutic tool

for the restoration, maintenance and improvement of psychological, mental and

physiological health and for the habilitation, rehabilitation, and maintenance of

behavioral, developmental, physical, and social skills – all within the context of a

client-therapist relationship (Boxill, 1985, p. 5).

Using the above delineation as a guide, the surveying of the scriptural reference, noted the

request of King Saul, to be one of a legitimate therapeutic need, as the King sought relief

from his symptoms. Gold, et al. (2006) state that “the aim of therapy is to help people

with serious mental illness to develop relationships and to address issues they may not be

able to using words alone” (p. 101). Although the text does not clearly state whether (King)

David’s intentions were to establish a therapeutic relationship with King Saul, he is

nonetheless brought forth as the most worthy candidate to fulfill the appeal of the King;

not for the purposes of sheer pleasure, in spite of his ability to “play well”, or of him being a

good musician. King Saul’s advisors knew that using music could assist the King

therapeutically and made a conscious plea for him to allow this treatment modality to be

employed, for the “enhancement of his living, being and becoming”, or as they termed it:

“for him to be refreshed”.

Within our present societal context, many authors expressed the importance of

having strong personal qualities, as being imperative for the professional music therapist.

What was also stressed was the significance of having a strong musical and theoretical

46

foundation, by way of understanding therapy and the therapeutic process and how to use

music effectively within those processes. Based on these guidelines, there is no indication

within the scriptural passage of whether (King) David was knowledgeable of therapy and

the therapeutic process, thus making it difficult to assess his understanding of such

concepts. However, based on the nature of the request, one could assume that (King)

David was aware that his services were being sought for more than just entertainment;

implying that he may have some awareness of the ability of music to heal, bring comfort

and be an agent of therapeutic change. Nordoff and Robbins (1977) state that “the

therapist works freely within a general framework of hierarchies of musical experience-

activity and so works for musical goals – while he works responsively for the psychological-

developmental goals...” (p. 91). Again, we can not determine from the text whether (King)

David was directive, or fully cognizant of the “psychological-developmental goals” that he

was undertaking, although the scripture does suggest that there was an awareness that he

was not merely “amusing” the King, but that his music was to have an effect on the King’s

present emotional and mental state.

Notwithstanding his musical ability, or his ignorance of the intricacies of therapy

and its processes, there were other personality characteristics that were fundamental to

(King) David being chosen; characteristics that were necessary to the position he would be

assuming before the King. Could it be presumed, that these personal qualities, such as

being courageous, prudent in matters and good looking, were the determining factors for a

“therapist” during the time period in question and are the characteristics that a “client” of

that time would look for, in their therapist? (King) David’s entrance on the scene,

introduced him as the youngest of Jesse’s son, being perceived by his family as simply a

shepherd boy and even unworthy of coming into the presence of the Prophet Samuel. Yet,

47

the next mention of him by King Saul’s advisors, noted him as being a skillful musician,

who was brave, good-looking and well mannered. How could there be such a disparity in

the perception of who this young boy was? Perhaps this turn of events in (King) David’s

life, was just what was needed to allow who he really was, to be witnessed by others and

acknowledged as significant and meaningful.

Music is often used as a means and not the end in itself. Music therapy takes place

in the process and not necessarily the product (DiGiacomo & Kirby, 2006); therefore, is it

safe to assume that King Saul’s musical experience with (King) David was a therapeutic

one, simply because the end result was the King “being refreshed”? DiGiacomo and Kirby

(2006) also comment that music therapists often use music in a variety of ways

(improvisation, music listening and analysis, etc.) to elicit emotional responses for

exploration and discussion. From the given text, there is no mention of King Saul’s active

involvement in the music making, but that (King) David would take “an harp, and play with

his hand”, refreshing King Saul. Thus, the implication from the text being that King Saul’s

role, was that of simply listening to the music being played by (King) David; a technique

used by many music therapists today.

My bias throughout the writing of this paper has been that I have felt from the very

beginning that this scriptural reference was an historical example of the gift of healing

through music we later term: Music Therapy. Although (King) David, may not have had

the musical, theoretical or therapeutic education that would qualify him as a music

therapist by today’s standards, his story has nonetheless been noted as one of the first

examples of music therapy. Wigram et al. (2002), comment that “myths and narratives on

the healing power of music are numerous in most cultures. The tale of Saul and David (1

Samuel, Chapter 16) is one of the best known in the Western hemisphere” (p. 17). Boxill

48

(1985) also remarks that “among the biblical tales of the restorative effects of music, we

learn that David, by playing his harp, eased the afflictions of Saul” and goes on to say that

“viewed historically, music as therapy is both ancient and young; its roots deep and its

branches ever growing” (p. 1). Being a part of this ever growing profession, I would say that

my journey as a music therapist is also both ancient and young; for as old as music is, the

spirit of music therapy can be found and as young as I may be in my professional

development as a music therapist, music therapy and its healing spirit, is there too.

49

LEAVING THE GIRL

Conclusion

Now the only sounds to capture his ears are the echoing cries of what could be that of a

wounded sheep. Alongside these torturous cries, David hears the methodic rhythm of his

footsteps against the marble flooring beneath him; or is that his heart? He could not be too

sure. David is certain that the situation can not be as dreadful as it presently feels in every

fiber of his being and he rounds the corner to the throne room. Encountering many

pleading and doubtful stares, questions and suspicions loft wistfully through the air,

coating it with tension and unease. “Could this be the one?” “He looks so young! He’s only

a boy!” “They say he’s killed a lion…” “I’m sure he’s never met anything like this in his

young life; poor thing.” “But what if it works? I mean, if he plays and it really, you

know…works?”

The earth quaking command of the King reverberates through the corridor as he demands

to be left alone with his youthful guest. Assuming the seated position on the tiny stool

provided for him without taking his eyes off the floor, David lays the wooden base of his

harp against his chest and begins to play the tightly woven strings, with his hand. As the

melodic strumming of the finely tuned instrument begins to thread through the distressing

overlay of wails and moans, an unusual tapestry of sounds weave through the air.

“And so Saul was refreshed and was well and the evil spirit departed from him.”

(1 Samuel 16:23 – King James Version)

51

WITH THE TRUTH SHE KNEW ALL ALONG

~ Postlude ~

Equipped with my arsenal, I gaze over the horizon assessing what lay on its boundaries.

Some areas in the distance remain overshadowed by recurrent thoughts of, “what if..?” and

“is it really…?” but are quickly laid waste to the magnificent hues of reds, oranges, yellows

and indigos as the ball of fire slowly and triumphantly reveals its majesty. Exposing the

rugged terrain beneath my feet, I am beckoned forward by the warmth of its rays and

continue down the sloping cavern, to the greenery below. Thankful for the opportunity to

regroup, my voice adds a lilting melody to the crunch and scrape of my booted feet against

the earthy floor. Surprising myself at its ease and freedom, I begin to hum louder and

louder, until my ears are filled with the boisterous song that passes my trachea; having

been fueled by my rested lungs. With glee and reckless abandon, I exclaim for no one in

particular, yet all, to hear: “I WAS BORN TO DO THIS!”

Carolyn: Simply a skilled musician, or an accomplished music therapist? No.

Carolyn: Simply a skilled musician AND an accomplished music therapist. Period.

The End.

53

54

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