Monthly Archives: October 2013

A Music Educator’s View on Music Therapy

My senior year of high school I was diagnosed with mild depression and anxiety, so I went to a therapist weekly to talk about what was going on with me and how to get better. Once we began talking about the good things in my life, I realized that music had a huge impact on it. I found that even in my every day life since I was young, I would listen to music when I was happy or when I was trying to get through something. I formed an emotional attachment with the words, and once I learned more about music I could understand more the meaning behind it. Music has and always will be my own personal form of “therapy.”

Music therapy as defined by the American Music Therapy Association or the AMTA is the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program. It is an established health profession in which music is used to create a therapeutic relationship to connect with the emotional, cognitive, physical and social needs of the patient. Once a patient is assessed, the therapist indicates treatment through the use of creating, singing, listening and moving to music. For example, if a patient needs work physically with forearm movement, a musical therapist will need to know which type of mallet the patient could use when playing the xylophone to help with that specific movement. Children, adolescents, adults and elderly can benefit from music therapy; it can help those with mental health needs ranging from learning disabilities or brain injuries all the way to acute or chronic pain, or mothers in labor. Music therapists work in psychiatric wings of hospitals, rehab centers, drug and alcohol programs, penitentiaries, nursing homes, or in private practices, among many others.

The concept of music as a healing influence started all the way from writings by Plato and Aristotle. However, it was after World War I and World War II when both amateur and professional musicians would play music in Veteran’s hospitals around the country when this idea became more known. It was then that researchers realized both physically and emotionally traumatized patients were being healed with music. This began to increase in demand by hospitals, so the first Music Therapy degree program began at Michigan State University in 1944. Nordoff and Robbins, founders of a certain approach to music therapy, believe music is a universal means of communication, and is grounded in the belief that everyone can respond to music, no matter how ill or disabled. The unique qualities of music as therapy can enhance communication, support change, and enable people to live more resourcefully and creatively.

I firmly believe that music can heal. I also believe that as a music educator, I can teach that music heals and use concepts of Music Therapy in my classroom. While at the end of the day a music educator’s goal is to teach a musical concept, and a music therapist’s goal is patient by patient based for the bettering of the patients’ needs, both believe in the power of music. By creating an unforgettable moment for students in a classroom with music, we can teach them to be inspired by music and to use music to heal.

In upcoming news: Interview time! There will be an interview with Westminster’s very own alumn, Karina Rozo! In my interview with Karina, I plan to ask her more about her process from changing to a music based program to a Music Therapy based program. She had the unique experience of being in the Music Education program at Westminster Choir College for a while before changing over to getting a BA in performance. I plan to ask her if she agrees that music educators can use music therapy in the classroom, as well as find out more all around about her philosophies of music and music therapy!

Finding Musicians in Unlikely Places

 

Photograph by Randy Levine.  Used courtesy of the photographer.

Photograph by Randy Levine. Used courtesy of the photographer.

Musicians come in all shapes, sizes, and disguises, and if you search you’ll see that they can be found everywhere, including Princeton. Depending on the day, you may find a few on a trip to Rojo’s Roastery in Palmer Square. As soon as you walk in the door, it becomes apparent that music is a big part of the Rojo’s vibe. The Rojo’s soundtrack is an eclectic mix of funk, jazz, indie, rock, and even classical music which varies depending on who greets you from behind the counter.

The staff at Rojo’s Roastery is composed of many musicians, some former, some studying, and others making music as a passionate hobby. Before the coffee days, owner David Waldman used to spend his days as a Lap Steel Guitar player; in fact, the name Rojo comes from the nickname assigned to David for his formerly fiery red hair by Willie Nelson himself. David’s daughter, Hannah Waldman–another important Rojo’s player– had a former career performing opera in California. In addition, Randy Levine, manager of the Palmer Square café, is also a musician, having played drums in a metal band.

Photograph by Randy Levine.  Used courtesy of the photographer.

Photograph by Randy Levine. Used courtesy of the photographer.

Though the coffee shop, musician connection is an established idiom, and it was so surprising to find so many behind the counter at once! I am currently sitting in their café to type this post, with a latté beside my laptop crafted by barista Diane Jordan. Rojo’s regulars may know Diane for her high coffee I.Q. and pleasant nature– even at seven in the morning!– but would be surprised to find out that she is a trained flautist, having earned a Bachelor of Music Degree in Flute Performance from University of Wisconsin. Today, Diane has an indie electronic playlist on, featuring artists such as Cut Copy, Flight Facilities, Telepopmusik, and Tomas Barfod on their impressive, top-of-the-line, wireless, high fidelity speaker system.

Being exposed to people with such rich musical pasts and continued passion for music in the Palmer Square café made me wonder, “why the change?” It is very apparent that their passion for coffee has not weakened their passion for music, even if they have decided to take put this business ahead of their musical career. This curiosity guided me to an interesting topic for an oral history research.

In the near future I will be interviewing Hannah Waldman about the course her professional career and personal life has taken. The goal of this oral history is to show how training and professional experience as a performing musician may impart itself to success in other professional avenues. In addition, it is my hope that this oral history will begin to shed some light on why people may decide to end their days as a professional performing musician in favor of another career or lifestyle. It is my belief that this information is not only beneficial to me and my peers as studying musicians, but also to every Princetonian, as there truly are musicians in many shapes, sizes, and disguises all around Princeton!

Being Human

“Why did you choose singing?”

It’s not the easiest question to answer, but I’ve narrowed it down to two possibilities: “I didn’t choose singing, singing chose me” or, my personal favorite, “I couldn’t imagine doing anything else with my life…”

Well, of course I’m lying! I definitely could have chosen to go to a local community college, live at home to avoid debt, worked 4 jobs, ripped my hair out from living with my parents, get a degree in interior design, plan weddings, find a rich husband, and call it done.

So why singing? Is singing easy? Nope. Is it annoying to have to tell people what you majored in in college and then have to prove yourself by singing the opening phrase of “Quando m’en vo”? Absolutely.

So why do we put up with it? What about singing in front of people makes my hands tremble and my adrenaline rush? Why do I enjoy the feeling of nausea and anxiety before a performance? And most importantly, why should I blog about this?

In the process of trying to complete my graduate school applications, a certain anxiety comes over me. I start having a train of running thoughts every time I open up a new application. Will I get my teacher of choice? What if I hate it there? What if I mess up choosing the school? Are my pre-screenings good enough?

Singers and instrumentalists are required to made pre-screening tapes to send out to their desired schools to see if they can be accepted to perform live for the panel. Recording, for me, has been an absolute nightmare. I found myself struggling to sing the simplest phrases in a song that in a practice room or in a lesson I could nail. Why? Because I wanted perfection. I wanted to sing with perfect diction, technique, intonation, everything! As a result, I paralyzed myself and my mind. I couldn’t even get through a song without stopping. My accompanist eventually stops playing, in the middle of a take, turns to me and says, “Erica, give it up. Just be honest, with your sound and with yourself.” Boy, did I need that. I was missing the point of a pre-screening. All I have to do is display to these schools what I have been working on in the past 6 years of my life. They are looking for students, not professionals. And I had to be reminded that I will never achieve perfection in this art form.

That is strangely the reason why people still come to the opera. It is a chance to escape reality for a few hours. The story, the music, and the characters are real to us and still relatable to audiences today, no matter what the original time period of the piece was; our societal rules may have shifted over time, but people remain the same and certain situations evoke emotions that we can all relate to.

The best performers that I have gone to see are the ones who are comfortable enough with themselves and their talents to to give an honest and open performance. Honesty, passion, determination, the will to surrender to what comes naturally to you as a singer, and over time–and I mean about 20 years– learn how to develop your raw talent. Once we overcome this desire to be perfect, we can settle into becoming musicians and artists.

It’s certainly not for everyone. Some singers spend years studying music and then move on to a different profession. Others become addicted to that adrenaline rush they get before a performance and could not fathom doing anything else with their lives. So the next time someone asks me, “What lead you to choose singing?” With a smile I will say, “Singing has taught me how to be an honest, hardworking, passionate, and driven human being. And I couldn’t imagine being anything else but human.”

Dmitri Tymoczko – Crackpot Hymnal

Review of Princeton composer Dmitri Tymoczko’s new CD!

Christian B. Carey - Composer

crackpot hymnal

Dmitri Tymoczko

Crackpot Hymnal

Bridge Records CD

In recent decades, there’s been a move in some American academic circles to put more separation between the disciplines of music composition and music theory. It seems especially curious to those of us who have, to greater or lesser degrees, modeled our careers and aesthetics on our forebears, adopting the “composer-theorist” approach (some of us even adopt the “composer-performer-theorist” tag, but that’s another story for another day). Happily, academics like Dmitri Tymoczko thrive, pointing out that a hyphenated or, more properly, interdisciplinary existence is still amply possible without compromising one’s standing in either or both disciplines.

Tymoczko is one of the best known scholars discussing geometric modeling in music theory; his “The Geometry of Musical Chords” was the first music theory article published in Science Magazine; his first book, A Geometry of Music (Oxford University Press, 2011) is thought-provoking and, given its…

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This Fall on the “Music in Princeton” Blog

In Fall 2013, over 40 undergraduate students at Westminster Choir College of Rider University–working in partnership with the Alice Paul Institute–will conduct oral history interviews with New Jersey women who are deeply involved in music.  Each student will contribute two entries on this blog:  the first will address the topic of their oral history project, and the second will discuss what they learned from the interview and the oral history process.  Please enjoy!

At a later date, I will announce where you can view excerpts from these oral history interviews.