Keith is an accomplished musician/percussionist, and a music therapist with unique and diverse experiences to share.  The following transcript is derived from an interview that was conducted in January of 2012.

Bill: Could you tell us a little bit about your personal history with music, and subsequently, with music therapy?

Keith: I always knew I would go to college and major in music. However, after a couple of semesters majoring in music performance at the University of North Texas, I decided to switch my major to psychology and play in bands on the side. I heard about music therapy from a friend of mine and was offered a scholarship to study music therapy at Southwestern Oklahoma State University. After completing an internship at the Colmery O’Neil Veteran’s Hospital in Topeka, Kansas, I moved back to Dallas where I began working professionally as a music therapist while pursuing a master’s degree in music therapy at Southern Methodist University.

Are there any particular musical directions you appear to be heading in right now, percussion-related or otherwise?

I am so grateful to be living in New Orleans.  This is a city with a very rich musical heritage and culture.  It’s been said that the music in New Orleans is like a gumbo of varying musical styles, cultures and traditions. Lately, I have had the opportunity to play with different local musicians and appreciate their musical experience as I reflect on my own.  I find that it’s a matter of incorporating various experiences.  This is the case when you’re working with fellow musicians and tends to be the case when working fellow therapists and physicians.  While working in child and adolescent psychiatry, I am continuing to put together my own music therapy gumbo, if you will.

Speaking of incorporating various experiences, you’ve done quite a bit of work integrating both behavioral and humanistic approaches to therapy. Can you discuss some of this work, both as related to your research endeavors and your clinical practice?

For my graduate thesis I developed an assessment process for adults in marriage counseling. It was called: “The Music Therapy Assessment of Automatic Thoughts” (MTAAT). This assessment involves the use of improvised music to bring to light automatic thoughts and core beliefs couples have about their relationship and each other. It is a cognitive behavioral process that assists couples in improving their communication by helping them to become more aware of maladaptive thought patterns and beliefs after they take turns improvising music for one another.

Honestly, I don’t know if I have been integrating behavioral and humanistic approaches to therapy and I wonder if it’s possible in a purist sense. To be a therapist implies that you are a humanist to some degree.  If I have to apply labels, I’d say that I consider myself as a humanist who has worked in a variety of behavior-focused settings. I view a change in behavior as a person’s choice once they have achieved a degree of self-actualization and insight into their emotional and cognitive processes.

Humanism, to me, involves emphasizing a person’s strengths, following their lead and recognizing the importance of the therapeutic relationship. However, in my experience, there is some grey area when it comes to working in special education settings where the goals are behavioral and determined by that child’s Individual Education Plan.  So, when working in that setting, I tended to gravitate toward occupational and speech related goals where the focus could be more on initiation and reciprocation. This allowed for the child-centered therapy process to remain the same and for behavioral goals to be met in a way that reflected a child’s interests and genuine motivation.  In the pediatric medical setting, I often co-treated with occupational therapists so that I could continue assisting the child with psychosocial needs while helping them achieve occupational-related behaviors.  In child and adolescent psychiatry, it could seem as though integration is occurring, but I think this is a result of a setting where behavioral limits have to be intact.  To a degree, it depends on how you define terms.  That being said, I still consider my music therapy process as humanistic, person-centered and education focused.

I think that you offer an important point here about the personalizing of one’s approach to therapy. I would assume that one’s philosophical orientation, like music, is largely a personal meaning based upon one’s experiences and relationships with(in) the framework(s), rather than an ideal form. I would also assume that one who views/labels himself or herself as a “purist” in a particular camp would probably not be interested in pursuing an integration of various approaches. This, to me, is certainly a valid perspective amongst many valid perspectives.

Can you describe the instrumentation you used in your study, and why you chose that instrumentation?

I chose to use three drums tuned in intervals of fourths and three cymbals of distinct character and timbre. Each participant used a pair of medium yarn mallets as implements.  The reason I chose drums and cymbals is because I needed instruments that are relatively easy for a novice to draw a good quality of sound from and I felt that these instruments could best reflect a conversation. Being a percussionist myself, I acknowledge my own bias. As you well know, drums have a long history as being instruments that various cultures and rhythmic traditions ascribe to the human voice. My experience in African and Indian drumming heavily influenced my judgment when choosing drums and cymbals. It seemed to work anyway!

Would you mind describing the traditions regarding drum and voice from your perspective?

Well, the drum could be considered first telephone.  There are West African cultures that used the drum to send messages back and forth to one another from one village to the next.  There are also different drum ensemble rhythms that conveyed whether or not a tribe was coming for war or coming in peace. The dondo, or “talking drum” was refined to such a degree that it directly mimicked the rhythm and prosody of speech rhythms and vocal inflections within the Akan tribe, for instance. Similarly, in India, the solkattu counting system utilizes syllables rather than numbers to indicate rhythm, meter and subdivision.  One of things that make the Indian method so interesting is that the syllables are synonymous with the sounds created on the drum (like a mridangam and tabla).  So, you eliminate the steps of ascribing numbers to syllables, then to sounds on the drum.  Essentially, language and drumming are all one in the same.

In American jazz music, we use “scat” singing to convey musical information, but it is not as universal and the actual syllables are not as concrete.  I guess this a reflection of the freedom in jazz music where there is a rhythmic, melodic and harmonic structure, but how you approach your “scat” is a reflection of your degree of musical freedom within that structure.  A great example is the jazz ride cymbal beat.  Some drummers play it as “ding, da ding”.  Others play it as “splang-a-lang”.  Clark Terry once told me that he heard the jazz ride as “boom, tink-te-boom”.  It depends on the perspective of the musician and how they personalize the swing rhythm.

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Can you describe, in relation to your work and orientation, any particular weaknesses or limitations as related to behavioral considerations you’ve employed (if such exist)?  Likewise with humanistic considerations (if such exist)?

When I work with music therapy students, I always emphasize genuineness of approach.  I think what matters most is how well your views as a therapist are integrated within your music.  Being integrated musically also means, to me, that you as a person are integrated within your therapy approach.  Who you are as a person and who you are musically go hand in hand, and these aspects must be in alignment.  I think limitations appear when these things don’t line up.  It takes time to develop.

Certainly, one’s authenticity and personal integrity will play a role in their development.  What options and opportunities do you feel a university setting might offer to foster such?

I think university programs have their own way of addressing this issue.  In my experience, it is helpful when universities initiate and maintain regular communication with practicum and internship supervisors.  That way, the student can gain consistent guidance while integrating the intra and inter-musical processes involved in their burgeoning experience.

As a percussionist, and as a therapist who has studied and practiced within the Creative Music Therapy framework, can you describe how you view the present and or future role of percussion instruments within that framework?

I would like to begin answering this question by giving my regards to Clive Robbins.  He had such an amazing spirit.  I believe that his spirit is alive in those who continue to read his work and with those who knew him personally.  My last conversation with him was about music therapy in general.  One of the things I found remarkable was that he never used the terms “creative music therapy”, “improvisation”, or “approach” to distinguish his work, he just used the term “music therapy”.

Through research and experience, I came to realize that Nordoff and Robbins never discussed their work for the sake of creating a particular methodology.  They were more like what the Christian tradition refers to as “witnesses”; they had seen the light and were passionate about sharing their experience and insight into music as therapy.  So, I think using the term “framework” is accurate in that “Creative Music Therapy” is a way of concentrating on a vision of music and people.

Paul Nordoff approached using percussion instruments in a manner that was reflective of his experience and knowledge as a composer.  His approach toward drum muffling and the mallets that Clive would make were for carrying out their music therapy ideals.  The Creative Music Therapy framework continues to be interpreted by students and professionals of diverse ethnic and musical backgrounds.  It makes sense that the role of percussion will reflect those perspectives.

When working at the Center for Discovery and The Rebecca Center for Music Therapy, the use of percussion instruments in my sessions reflected my knowledge and background.  Decisions on the types of percussion instruments and implements (sticks and mallets) to use and whether or not to use percussion instruments exclusively were made because that is what made sense to me and my co-therapists at that time.  I was able to apply Nordoff and Robbins concepts on various hand drums and the drum kit after doing a lot of meditation on the sounds I could elicit from a single membrane/surface.  I also reflected a great deal on the use of polyrhythm and meter along with various traditional dance rhythms and gave attention to what those types of things could mean in an archetypal sense.  Of course, I still consider these things while working in the child and adolescent behavioral health setting.

I had a friend who used the marimba in her sessions at the Nordoff and Robbins Center at NYU.  So, I think the use of percussion in “Creative Music Therapy” will continue to expand as long as there is creative freedom to do so.  Of course, this is the case for “music therapy” as a whole.

Any artists/songs currently in your car or home stereo rotation right now?

WWOZ and WTUL are two great local radio stations here in New Orleans.  Along with that, I have been listening to a lot of early rhythm and blues.  Something about this city makes you feel like you’re stepping back in time.  The old buildings, story book architecture, corner markets, small seafood shops and funky bars; for me it’s about been about getting a connection to what soul music is really all about.

I was at Apple Barrel the night Coco Robicheaux passed away. He died there earlier that day while getting ready for a gig that was to take place later that evening. So, while to listening to classic American music, I have been getting a feel for his legacy by listening to his music and by being fortunate enough to play with musicians that knew him personally.  He seems to have been so genuine.  He is certainly missed down on Frenchman Street.

Has your growth as a music therapist affected the way you take in music?

I find that the “music therapy” brain never really turns off.  However, being able to explain the music making process in great detail has nothing to do with how well you actually play music.  In my experience, the more I analyze the music making process, the more difficult it becomes to actually make music that I find satisfying.  When it comes to listening to and taking in performances, all I can really say is that I “listen” more and have become less critical.  This may be attributed to my growth as a person but then again, who I am as a person, therapist and musician are all intertwined.

Any final thoughts as we finish up the interview?

I just feel so fortunate to have found this profession.  I aim for the next ten years to be even more rewarding.  New Orleans is a great city.  I hope to be calling it home for a while.

Music Therapy Drumming, the percussion-based training program primarily for music therapists, by music therapists, is proud to unveil and introduce the already-in-demand Level 2 Intensive. 

Where the Level I Intensive  focuses primarily on developing a musical core that relates to music therapy, the Level II Intensive shifts its focus toward leadership skills, clinical skills and clinical application for relevant goals/objectives, and the exploration of musical meaning found within percussion play.  

• Build upon Level I Intensive knowledge and music skills
• Develop intermediate percussion/music skills
• Apply yourself in leadership and clinical contexts, working with Level I Intensive participants
• Apply yourself through the use of clinical improvisation tools (techniques and assessment processes)
• Explore and apply theories of meaning as they relate to percussion play.
• Earn 26 CMTE credits through a thorough three and one-half days of music-making.
• Share, with and learn from, a community of experienced music therapists 

Level 2 Candidacy prepares candidates (pre-training) by promoting and expecting full Level I skill development, so that the Level II intensive can focus on leadership skills, clinical skills, and personal growth.

The prerequisite for the Level 2 Intensive is the MTD Level 1 Intensive.   Rare exceptions to this pre-requisite may only be made if a Level II candidate demonstrates adequate knowledge of Level I material.   Level II Candidates will complete a pre-test in order to place them in the most supportive and challenging environment during the training.

Our first combined Level 1 and Level 2 training will occur this summer in Radford, Virginia.   It promises to be an exciting, educational, and fun event!  Click here for more information on the Radford training.  More Level I/II Intensives will be scheduled soon.

Click here for more information on the training.

Click here to visit a page which includes the keynote presentation:  Includes information on Cumbia, Makuta, and Yambu.

For thousands of years, drumming has been used in ritual and healing……

The above statement is common amongst websites that promote “drumming and health.”    The statement is certainly factual.  Indeed, the work of Shamen from many cultural traditions have used drums and percussion as a part of their work.  In some languages, such as Bantu, the word for drum can be synonymous with healing and health.  Many drumming traditions are woven within a tapestry of religious ceremony, healing, and ethno-medical practice.

Within the statement lies more than a fact, though…..there exists a kernel of truth that deserves to be understood at a deeper level; it can be acknowledged at face value, but pursuit requires diligence, context, and mindfulness.

For thousands of years, drumming has been used in ritual and healing……

We invite you take an opportunity to think about what the above means to you.     Is the statement empowering in itself ?   or, would empowerment exist in the details….. the history of percussion music, ritual, and healing…..the study of ethnomusicology, even medical ethnomusicology?

In what specific contexts has drumming been used for ritual and healing?    What role did the percussion instrument, as an object, play in these contexts?   What role did the instrument, as a musical tool, play?   Who played the drum/instrument; was it the ‘healer,’ or the ‘receiver of healing,’ or both?  What level of musical training did the healer have?  What level of training in healing (according to the particular culture’s definition of healing) did this person have?

And perhaps, most importantly, how do we use this “drum wisdom” when we live in a different time, perhaps in a different country, within a different culture, under a differing set of medical technologies and health perspectives?   How much of a particular musical healing tradition would transfer/translate into a particular non-traditional/cultural context?  How, in our own context, can we truly connect with “drum wisdom?”

These are just a few of the questions that could help us move closer to the core of the issue.

Shamanism is an anthropological term that is often associated with (and perhaps generically appropriated to) the healers of other cultures.   Shamen are those who are seen, within a particular cultural context, to be able to communicate with the spiritual world.  In some cultures, illnesses of the body are seen to be manifestations of illnesses of the soul.  The Shaman is able to locate guidance from the ancestors in order to ameliorate such illnesses.   In those areas where Shamanism is still practiced, there is a distinct and noted difference between a layperson who explores Shamanic practice, and a Shaman.   In order to be considered a healer within a particular culture, one has to be highly trained, and considered by the community as selected by the ancestors.   Wisdom, in this sense, is measured by one’s connection to their culture, their heritage, and their surroundings.

On the note of Shamanism and “magic,”…..I had the opportunity during my transition between music performance studies and music therapy to read an intriguing book named Spell of the Sensuous by David Abram.    In an interesting crossroads between eco-philosophy, American magic, Shamanism, phenomenology, and language, Abram writes about the “magic” of Shamanism in a way that illuminates its power, while simultaneously addressing the common sense of such “magic” in a particular cultural context.   Abram perceives the Shaman as intimately familiar with his/her environment and his/her tools, and therefore able to make far-reaching decisions to benefit the community.

How might the idea of training, environmental awareness, and intimate connection translate to our context?  Perhaps we could take a look at one of the most commonly noted studies on drumming and health, and see how it may inform us.

In the commonly referred-to original HealthRhythms study, it is noted at the beginning that “Drum circles have been part of healing rituals in many cultures throughout the world since antiquity.”  Here again, we recognize this consideration, a brief homage to indigenous practices of music and health.  We also note that, in the study, the researchers attempted four different drumming formats in order to demonstrate a reduction in stress levels and modulation of immune parameters.  The four drumming formats included:

• basic drumming
• “impact” drumming
• Shamanic drumming
• “composite” drumming (based on music therapy health and wellness strategies)

The details of the drumming approaches are largely left out.  It is, however, specifically noted that the study, in some form, is music therapy specific (meaning, formulated by a music therapist).  It is also understood that each of these formats were implemented by different “specialists” who were experienced in their particular format.   One of the three formats in this study that did not demonstrate the desired effect was “Shamanic” drumming.  The one type of approach that was successful was called “composite drumming,” which essentially means a composite of multiple smaller strategy ideas.   In this particular research study context, music therapy health and wellness strategies, using percussion, were effective.    The music therapy strategies were put together by a music therapist who was also a percussionist, and the ideas were essentially created by the meta-collective of American music therapy practice.  This is exciting!   And of course, music therapists understand how a study for the general population differs from a study for a specialized population (e.g., in a special education setting, a medical setting, a psychiatric setting, etc.)  These strategy ideas can be conceptually informative, but can not be expected to directly transfer.  The use of drums in therapy, just like the use of any other music instrument in therapy,  follows the way of the Shamen in that it requires intensive training, an understanding of the culture involved, and a mindfulness of the moment.

It seems to me that we, individually and collectively, can become intimately familiar with our tools (drums) and our environments. through training that emphasizes the larger needs.  Are we willing to continue to find, even create, the true “magic” within our own contexts?   Are we willing to put the work in to make that happen?  Can we better connect with “drum wisdom?”

In a future post, I will discuss many reading resources that have discussed the ways different cultures musically manifest themselves, and how their uses of music and healing may inform our musical-clinical practice.  Until then….

Bill and Kalani

Here are two video clips of Hang music

While all of this sounds immensely useful, the Hang costs over a thousand dollars, and they are not mass-produced, so re-sale of these items is usually higher than they were originally bought for.

Enter the Tank Drum

The tank drum takes its cue largely from the hang drum, but its construction is more like the wooden slit drum (or tongue drum, or tapo drum).   The original tank drums were (and are often still) made out of propane tanks.  ”Tongues” are cut into the metal to create particular pitched tones.  The collection of tongues will form a scale, and again, they are often catering to pentatonic scales and exotic scales….diatonic scales are also available.

Here are a couple of videos of tank drums.

While the sound quality may not be as complex or as subtle as the Hang, the tank drums are much more affordable, often running between $200. and $300. in price. There are many companies who make these instruments, and they continue to evolve in quality.   Some companies include

Hapi Drum

Zen tambour

tankdrum.com

Milltone

If you happen to have a hang or a tank drum (or you happen to pick one up), we’d love to hear how it’s going.

Opening Session:

Daiko Drumming Experience

Headed by Irish Shiraishi, and guest-performed by Kalani Das, Carolyn Koebel, Bill Matney, and Jane Creagan, the world of Japanese Daiko drumming will be experienced by all who attended the opening ceremony.  This promises to be captivating!

Read more about Iris Shiraishi here.

Friday, November 18, 7:00 PM:

Conscious Drumming Experience

with Jim Borling

Jim Borling is professor of music therapy at Radford University.  He and colleague Bob Miller developed the Conscious Drumming experience as a response to traumatic events and community needs.  This year has witnessed disasters and difficulties that have affected many of our colleagues.  Come participate in an indigenous music therapy model based in drumming and community that is didactic, and can also be transformational.

Mickey Hart: Drumming Events-

Mickey Hart, drummer for the Grateful Dead, author of books on ethnic percussion such as Planet Drum, and musician/producer for many world music CD’s, will be joining us at the AMTA conference.  Mickey Hart is rumored to be involved with the Friday night drum circle, and will likely be involved with other events during the conference.   Look at the official program during the conference for more details!

Spirit Dance:

Move and dance to percussion music, and possibly even a full rhythm section, with Kalani, members of the Music Therapy Drumming team, and other musicians/music therapists.  This is an event certain to get your groove on!

CMTE Events:

Many continuing education opportunities will be offered at this year’s national conference.  Of these, there are quite a few related to drumming.  Each CMTE course takes a unique angle on the use of this instrumentation in clinical work.  Following is a summary of each of these CMTE courses.

Clinical Improvisation: Essential Skills for Creating Sound Connections: Kalani

November 7th, 7:30-12:30

Acclaimed musician, author, Orff Schulwerk facilitator, and music therapist Kalani Das will be offering a CMTE introduction to his new book The Way of Music: Creating Sound Connections in Music Therapy. This CMTE will offer participants an introduction to specific non-idiomatic music improvisation frameworks as experienced both inside and outside of the field of music therapy.  It will also offer an introduction to clinical improvisation techniques indigenous to music therapy practice.   The book will be available at the conference exhibit hall, in the Sarsen Publishing member booth, and will subsequently be available through Sarsen Publishing.   You can find Chapter 1 and audio examples of the book here.

New Ideas on Drumming With Older Adults in All Levels of Care-Kat Fulton:

November 20, 1:30-6:30

Kat Fulton will present on the use of group drumming with older adult populations.  Those who have seen Kat’s DVD are aware of her common-sense approach to integrating music, accompaniment, games, and improvisation into music experiences.   Certainly a beneficial CMTE for those who work in geriatric settings.

The Pulse of Wellbeing- Christine Stevens

November 7, 1:30-6:30

This CMTE will be geared towards employee wellness and team building, integrating facilitation techniques and concepts from theHealthRhythms training.

Foundations of an Orff Music Therapy Practice: Entree, Side Dish, or Dessert? –

Linda M. Wright-Bower

Sunday November 20, 1:30-6:30 PM

Orff-Schulwerk, percussion, and music therapy are a great fit!   This CMTE will explore the structuring and layering of Orff-based music experiences, and apply them to music therapy theoretical orientations.

Concurrent Sessions:

This year’s concurrent sessions appear diverse and thorough.  The problem will be choosing which one to go to!  Attached here are concurrent sessions focusing on percussion or some relevant clinical consideration.

Members of the Music Therapy Drumming consortium are honored to be performing two Daiko pieces, under the auspices of performer/composer Iris Shiraishi at the AMTA National Conference opening session in Atlanta, Georgia.  Iris has a history with MU performing arts and currently works as the director of Mu Daiko.  This is guaranteed to be an energizing and engaging event; audience participation will be highly encouraged!!!

We are pleased to announce the upcoming Music Therapy Drumming Level I Intensive in Los Angeles.

This course increases skills, knowledge, and capacity to effectively use percussion techniques and rhythm-based music in clinical music therapy.

MTD is a drumming-based curriculum that is specifically designed for music therapists, by music therapists. Our goal is to help every student move beyond a basic skill set and leverage the full potential of drumming within clinical music therapy. This is accomplished through expert instruction, a carefully designed curriculum, and aligning with music therapy traditions and values.

Listen to Jim Borling, Director of Music Therapy at Radford University, talk about his experience with the MTD course. http://musictherapydrumming.com/professor-jim-borling-on-the-mtd-level-one-intensive/

Curriculum Highlights:

• History of the use of percussion in clinical applications, publications, and research.
• Clinical improvisation techniques within the context of percussion play.
• Drumming and percussion techniques within and outside of cultural contexts.
• Traditional rhythms and drumming music (drum & percussion patterns, songs, and some movement/dance).
• Ensemble play, drum accompaniment, and breakout group.
• Individual assessment and coaching for all students.
• Printed course guide and learning resources.

Dates: Nov. 4th – 6th. (Friday evening to Sunday afternoon)

Location: Holy Spirit Retreat Center, Encino, CA (Los Angeles)

Cost: Professionals: $275,  Students: $175.

Click to Register