I hope everyone is having a productive and exciting end of the school year. I was hoping that everyone may have a little time to post a couple fun end of the year interventions. Post away!!

I'm using Bruno Mar's THE LAZY SONG with my kiddos ages 10-16 and improvise lyrics for the chorus only.

1. Distribute tambourines.
2. Introduce the rhythm (or for lower groups have them keep the beat): tap shhh tap shhh
3. Introduce the chorus, leaving out the last word for the kids to fill in: "Today I swear I'm not doing....."
4.. Sing chorus with group (including the ooooooo, oooooo section).
5. Give the group 30 seconds of think time to answer the following, "Today is your lazy day! I'm giving you 30 seconds of think time to think of 1 thing you don't want to do today and one thing you wish you were doing instead. Maybe you have to do the dishes after dinner and instead you wish you were at the beach?! Keep your ideas to yourself until I ask for what you don't want to do and what you wish you were doing instead--go!! (set timer 30 seconds)."
6. Ask for 2 volunteers to indicate their lazy choice and their wish.
7. Reintroduce the beat or rhythm.
8. Improvise, "Today Kim doesn't want to wash the dishes. She wants to go to the beach instead. And Joe he clean his room, he'll be busy playing his Xbox! Because today these friends aren't doing anything. Nothing at all. Oooo! Ooooo!"
9. "The beach and playing Xbox! I love it! What a great way to spend a lazy day! Let's give some shakes (on the tambourines) for Joe and Kim!"
10. Continue until all members have had a turn.
11. After final turn, sing the Bruno Mars chorus again.

Enjoy!!

http://tabs.ultimate-guitar.com/b/bruno_mars/the_lazy_song_crd_992284id_01102010date.htm?no_splash

When you make the SMARTBOARD visual, would you mind posting the link?

I keep getting emails asking me to approve her as a member, but I the membership open and it doesn't show on my end that she is pending..... Can you have her email me and I can invite her?

GRADUATE ENTRY LEVEL CONCERNS​1 Running head: GRADUATE ENTRY LEVEL CONCERNS
Graduate Entry Status for Music Therapists February 15, 2012
Preface
The author of this document commends ETAB for their dedicated work on this consequential and complicated issue. The amount of work that has gone into their decision-making and recommendations is astounding and the author acknowledges - and shares - their desire to provide greater access to quality music therapy services.
The purpose of this document is to highlight a number of potential concerns associated with the proposed Masters (MA) Entry Level Status in music therapy (MT).
This below document is not intended to be an attack on ETAB's recommendation; rather, the purpose of this document is to play "devil's advocate" and facilitate thought, dialogue, and problem solving concerning the profession we esteem. It is the author's intent to stimulate critical thought and constructive dialogue concerning the proposal. In Good to great, Collins (2001) noted the importance of thoughtful dialogue concerning what he termed "scary squiggly things" (p. 72) in making large-scale decisions. Thus, this document is intended to highlight scary squiggly things relating to ETAB's proposal. In the spirit of congeniality, the author of the current document is not taking sides or drawing a proverbial line in the sand; rather, the author is proposing issues to be addressed by the ETAB in their proposal and items that can be discussed during Town Hall meetings at regional AMTA conferences this spring. Finally, regardless of one's position in the debate concerning the proposed Masters Level Entry issue, the author of the current document reminds readers of our shared vision: To provide greater access to quality music therapy services.
Respectfully,
Michael J. Silverman, PhD, MT-BC Director, Music Therapy Program University of Minnesota silvermj@umn.edu
GRADUATE ENTRY LEVEL CONCERNS​2
I. Educational Issues Influencing AMTA & CBMT Membership
A. Recruiting. Schools with an undergraduate MT program are currently able to offer a degree after approximately 4.5 years (four years of coursework and six month clinical internship). Being able to earn an income after 4.5 years is extremely attractive to prospective students and their parents.
B. Secondary admissions. Secondary admissions are a controversial issue in higher education. Secondary admissions to a MA level MT program might discourage prospective students. If there is a chance that prospective students might not be accepted to a MA program after 4 years of undergraduate work, they might be discouraged by the profession and choose to pursue another degree or career choice.
C. Length to degree. It will likely be more difficult to recruit prospective students for a six year MA degree. Maintaining adequate numbers of students - and graduating students in a timely manner - in both undergraduate and graduate programs is important for academic programs.
D. Compression of the number of professional MTs. Moving to MA entry would make the profession more exclusive. Thus, the number of professional music therapists and student music therapists would likely decrease (the number of music therapy programs would likely also decrease if universities and colleges are not able to hire two full time faculty members). Making the program more exclusive by requiring a MA to practice will likely decrease enrollments. This could make the MT field more similar to other smaller creative arts therapies. One factor that makes MT stronger than the other creative arts therapies is our larger membership (and number of schools with MT programs) and membership would likely diminish if we move to MA entry level.
E. Ability to fill current jobs. We already cannot fill all the prospective MT jobs. The ideal time for moving to an MA degree would be when there is a surplus of MTs, not when there is a current shortage of MTs, with many needed in the future (Groene, 2003).
F. MTs with advanced degrees remain in the field longer. The Vega (2010) study is interesting and the author should be commended for her significant and consequential contribution to the literature base. However, it might be considered unwise to base a large part of the rationale for the MA level entry upon results of a single paper. More importantly, we need additional MTs as indicated by Groene (2003). Although Vega found MA level MTs tend to work in the field longer, it does not necessarily mean we will be able to serve more clients. What the profession also needs is greater numbers of MTs working for longer periods, not solely MTs working longer. All professionals are at risk of changing jobs or professions. This is the natural progression of promotions and opportunities.
G. AMTA promoting additional academic programs. AMTA has been advocating for additional schools to offer MT. Thus, there is concern that universities and colleges without a music therapy program will find it much harder to hire two full time academics (for the MA level entry) than one academic in order to start a program. There is a financial dis-incentive and this will likely make AMTA's task of initiating additional MT programs more challenging.
H. Consultation with other professionals and research. We might consider whether other professions that require MA degrees currently have shortages in the number of qualified graduates entering the profession, and how this may have been influenced by the move to
requiring a master's degree (i.e., OT, PT).
I.Surplus of physical therapists during their move to MA. The move to a master's level entry requirement for physical therapists came at a time during which there was a surplus of physical therapists (Plack, 2002). There is now a shortage of physical therapists (Weiss, 2009). Music therapists number fewer than physical therapists and are already in short supply.
J. Greater numbers of clinicians can influence legislation for licensure. For many states, the cost of establishing a state licensure board is supported by the dues of licensees, making it more feasible to have a licensure board if there are more practicing music therapists in the state (Oliver, 2003). A decrease in the number of practicing music therapists could make it more difficult and more cost-prohibitive to obtain state recognition and licensure for music therapists.
K. Less experienced therapists. Approximately 26% of respondents to AMTA's annual membership survey had been music therapists for 1 to 5 years from 1998-2009 (Silverman & Furman, 2010). This group had the largest variation and tended to decline from 1998-2009. Additionally, 20% of music therapists had been practicing from 6 to 10 years with little variation over time. Review of the standard deviations in age groups 26 to 30 (SD = 3.09) and more than 30 years (SD = 3.54) indicate variation (in these cases, increases) in the percentage of music therapists who have been in the profession for these lengths of time. In general, it seems that the number of less experienced music therapists is declining. This could potentially be a result of a number of factors, such as music therapists potentially changing fields or retiring from the profession. Although Decuir and Vega (2010) investigated more experienced music therapists who had at least 10 years of clinical experience, future research concerning less experienced music therapists is certainly warranted and results may lead to finding innovative methods for retaining these clinicians. If AMTA moves to MA entry level, it may deter people from the field and the number of inexperienced therapists will continue to decline (Figure 1). Moreover, when older MTs retire, who will fill their positions? A large - and increasing - percentage of MTs are older and may be approaching retirement (Figure 2; Silverman & Furman, 2010). AMTA needs to carefully consider who will fill these jobs, especially with a decrease in less experienced and younger MTs. Moving toward MA entry status will likely deter many high school students from entering the field as working after attaining a four year degree (plus internship and board certification) is attractive to prospective undergraduate students.
GRADUATE ENTRY LEVEL CONCERNS​4
40 30 20 10
0
1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009
1-5 years​6-10 years 16-20 years​21-25 years more than 30 years
11-15 years 26-30 years
Figure 1: Percentages of AMTA members - years in profession
35 30 25 20 15 10
5 0
1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009
Under 20​20-29​30-39​40-49
50-59​60-69​70 & over Figure 2: Percentages of AMTA members by age group
II. Committee Concerns
A. Educational pedigree make-up of ETAB. It seems as though all ETAB committee members have at least a MA degree (and often a PhD). While the author of this document recognizes ETAB did not choose its members, would BM level MTs have a concern about their lack of representation on this committee?
B. Educational background of ETAB. In observing the educational pedigree of committee members, it does not appear to be a well-rounded committee. Again, the author of this document recognizes ETAB did not choose its members.  However, many of them studied at the same institutions, often concurrently. For a consequential decision such as MA entry level, we need a well-rounded and diverse committee with differing opinions to stimulate critical thought, dialogue, and inquiry. Please understand that this concern is neither the fault nor the responsibility of ETAB.
C. Leading with answers and not questions. When presenting the decision to move to MA level entry to the Assembly of Delegates, ETAB seemed to have made their decision without consultation or Assembly input. Collins (2001) noted the importance of leading with questions rather than leading with a decision already made. According to Safire (2004), groupthink is the type of thinking that occurs when a group attempts to minimize conflict, improve cohesiveness, and reach a consensus without testing, analyzing, and evaluating ideas. Henningsen and colleagues (2006) noted that groups should take time to examine the positive and negative consequences of decisions. Moreover, when anticipating potential positive and negative consequences is not done, the quality of the decision may suffer. Thus, more time and debate should occur on this consequential issue in order to anticipate potential advantages and disadvantages associated with the proposed change. Perhaps AMTA could conduct a survey of the membership - and related professions - to further understand how and if BM level therapists are not being considered for clinical positions because they do not have a master's degree. Perhaps an outside consultant (who has experience with higher education music programs) would be able to provide an unbiased, professional, and data based approach to stimulate discussion and decision-making. Perhaps ETAB might consider surveying AMTA membership (including undergraduate students), university administrators, clinical training directors, and MT faculty. These data seem vital for such a consequential decision.
III. Faculty Load Concerns
A. Professional MA degrees. It seems as though the ETAB's rationale for MA entry level was due to clinical and not research reasons. Thus, if a professional MA (versus a research MA) degree is sought, who will teach these classes? Faculty members receive load credit for teaching actual classes, but load credit is sometimes not associated with thesis writing or advising. Thus, professional MA degrees might cost universities more funds than a research based MA degree because schools will have to hire extra faculty to teach professional MA classes.
B. ETAB's lack of discussion concerning faculty load. There was no mention of load at all and, unfortunately, load tends to drive many decisions in higher education. Moreover, load issues are not something to be dealt with after the change to MA entry-level status has been made. This consequential issue warrants attention before any decisions are made. We will certainly need the support of administrators and NASM to implement these changes and we should consult with them and utilize their input to make the transition as smooth as possible.
C. Research MA Degrees. Directing a MA level thesis is a considerable amount of work and takes an experienced faculty member (as well as other experienced faculty members who make up the thesis defense committee). Do we have enough of these people in our field? If the ETAB's rationale concerns MT clinical practice, should a clinician be forced to study research and take additional research courses rather than clinically based courses?
D. Hours in MA degree. If additional MA level courses are required (more than the 30 required hours), schools may have to hire additional faculty members to cover this additional load.
E. Practica instructors and MTs in the community. How might this potential change affect practica instructors? Will practica instructors have to supervise greater numbers of students as students are in school longer? Many practica instructors are not paid to supervise university students. Practica instructors typically volunteer their time and already have many clinical and facility responsibilities. Is it fair to place an additional burden and workload on practica instructors?
F.​MTs with a professional MA degree would be at a disadvantage concerning teaching in higher education. If persons obtain clinically focused MA MT degrees, then degree holders will not necessarily be ready for teaching positions in higher education (i.e., higher education issues, research, teaching, recruiting, administration). How might we separate these degrees and prepare MTs for clinical practice, research, and teaching?
IV. Fiscal Concerns
A. De-emphasis on graduate education in state universities. Many (but not all) state universities are decreasing the sizes of their graduate programs as graduate programs are often more expensive and have smaller numbers of students. Graduate programs are typically smaller than undergraduate programs and thus cost additional resources.
B. Emphasis on undergraduate education in state universities. There is a movement toward increasing undergraduate enrollment at land grant and state institutions. Some universities make more money on undergraduate students (i.e., the University of Minnesota), providing a financial incentive for higher undergraduate enrollments.
C.​Hiring an additional faculty member as mandated by AMTA. Due to the unfortunate economic times, many universities are looking to cut program in an attempt to save money during an unprecedented time of economic hardship. If AMTA mandates MA entry status, universities may not be able to hire the additional and necessary faculty. At the University of Minnesota (MT program started in 1972), it took 36 years (and an interim director who had nothing to lose) to hire a 2nd full time MT faculty member.
D. Undergraduate and graduate MT programs currently approved by AMTA. There are 71 schools in US and Canada with an undergraduate MT program; 36 have a MA program (AMTA, 2010). The 35 schools without a MA program (Appendix A) could be forced to hire another full-time faculty member that would result in additional costs to the university. Who is going to pay for this? In the current economic climate, universities are looking to cut programs and thus save money. Thus, the 35 schools without a MA program could be at risk of losing their programs and not being able to start a MA program.
E. Emphasis on completely funding all graduate students. Many universities want to completely fund graduate education. Thus, graduate students would not have to pay for education.​While this funding may seem initially attractive, these students need to be
GRADUATE ENTRY LEVEL CONCERNS​7
able to offer the university something in return for their assistantship (such as teaching Introduction to MT). This represents a potential problem for MTs at graduate level entry as these graduate students would be "un-fundable" - they have no skills for research, clinical practice, would not be able to supervise, and have no teaching or clinical experience. How might schools justify paying for graduate MT students' educations?
F. Graduate admission caps. Many schools have a cap on graduate admissions. At the University of Minnesota, Silverman is allowed two to three graduate students per year. (Three graduate students in 2010 and two in 2011.) Can we keep expanding the number of professionals with these kinds of graduate matriculation caps in place at some schools?
G. High school music programs. High school music programs are also diminishing and many are moving to an after-school model. Will these students be able to successfully audition for an MA degree? Will they have the necessary music skills to compete against other MA students (including MA and DMA performance students) for instructors' studios? Studio space in higher education music program remains at a premium and music therapy majors often compete against DMA and MA performance level applicants.
H. Employers might not be able to increase MTs salaries. Employers will not necessarily pay MTs more if AMTA moves to MA entry status. Employers have also been hurt by the economic downturn and are looking to save money wherever they can. Asking employers to pay MTs more for the same job MTs had been doing with an undergraduate degree seems counterintuitive. Moreover, we cannot expect employers to change what they ask MTs to do in clinical practice. MT might already be at a disadvantage as other practitioners who utilize music (i.e., music thantatologists and harp therapists) may not require as high a salary as MTs. Hospitals would thus be able to pay less for one of these practitioners than they would for a MT.
I.​The impact of the economic downturn on higher education. Due to the current economic situation, universities are rethinking how they fiscally operate. This is a dangerous and uncertain time to be advocating for the hiring of additional faculty members to run a MA program. Moreover, the shift in fiscal thinking at the university level will likely be permanent. Many scholars and economists have noted this recent recession is a different type of recession and the cuts universities have endured will likely be permanent (Figure 3; source: http://www.crgraphs.com/).
Figure 3: Job losses in recent recessions
J.​More students in fewer classes. There is an emphasis in universities on filling classes - separating BM and MA MT majors will not help this issue, resulting in additional classes and thus higher costs to universities. Class sizes will be smaller and universities may cancel those classes that do not "make" (i.e., have a certain number of students in the class or it is cancelled).
K. Increasing tuitions. Tuitions are rising due to previously allocated state funds being diverted from higher education. Higher education is becoming increasingly expensive and - for fiscal reasons only - the less time a student remains in school, the better. Will a MT be able to pay off their student loans based from her or his salary as a MT?
L.​Music therapists with the "expressive arts therapist" title have lower salaries than any other job tile. In a recent paper studying music therapists' salaries from 1998-2010, the authors found that music therapists who had the "expressive arts therapist" tended to have the lowest salary (Table 1, Silverman, Furman, Leonard, Stephanz, & McKee, 2011). Art and Dance/Movement therapists, who practice at the MA level, are considered expressive arts therapists. Therefore, having a MA degree may not necessarily increase income.
Table 1
Descriptive Data - Salary by Job Title
Job Title
Activity Coordinator/Director Activity Therapist Case Manager Clinical Therapist
Creative Art Therapist Director/Administrator/Supervisor
Faculty Music Educator Music Specialist Other Recreation Therapist Rehabilitation Therapist Self Employed Special Educator
V. Implementation Concerns
Mean​SD
38064.00 34788.08 41932.44 50633.33 46348.62 48526.08
52429.08 42100.31 47880.38 38913.00 38876.46 41278.69 45556.77 43070.80
6006.94 4460.20 9410.25 9968.58 7185.11 6103.68
5654.40 5953.69 6083.94 7450.09 7101.44 7370.17 5496.89 8415.79
1998
29629 28486 25167 39000 32885 38318
45378 33929 37875 31045 28300 32192 41286
2010
45063 38370 49250 55600 55136 56276
61570 50259 56714 43542 49167 54677 44892 34000
Expressive Arts Therapist
33887.89
5196.63
28857
43800
A. Little plan of how to implement change. ETAB seemed to be focused on passing the change, then dealing with how to change. This approach seems problematic - complications and issues will certainly arise that would benefit from a priori discussion. As a larger group, we need to anticipate potential problems and identify potential solutions before we make the decision. There needs to be significant dialogue and problem solving concerning these consequential pedagogical and fiscal ramifications.
B. Current BM level MT practitioners. Would the profession "Grandfather" BM level people in so they could continue to practice? How might employers view this transition if they already have a BM level MT? We cannot make these decisions after we approve the change - these decisions are far too consequential. Additionally, MTs with a BM degree may be at a disadvantage if they try to change jobs as employers may choose to hire MA level practitioners instead of experienced BM practitioners.
C.​Affiliate MT programs; Transferring/Graduating from a BM in MT at one university to a MA in MT at another university. University programs often do not align well (MT programs have considerable autonomy) and the ETAB's affiliated institutions idea could be problematic - students might miss certain material or receive duplicate material if they change programs. Affiliations between university programs are complicated and can be problematic (i.e., admission criteria, tuitions, loads, prerequisites).
D. Current NASM program requirements. There are no MA entry-level music degrees. The MT field does not want to be an exception - administrators typically do not like exceptions. Has NASM been consulted concerning ETAB's proposal?
E. Time to degree. How long would attaining a MA degree take? MA equivalency (EQ) programs at the University of Minnesota are typically 2 years, plus internship, plus thesis. This program seems to work well and Silverman is able to recruit more students than he can admit (14 prospective students in 2011 for two or three spots). But if attaining a MA degree takes longer, we will likely lose recruits.
F. Why is ETAB making this change? What is it that we want? Why are we making this change? Do we want more respect? Do we want reimbursement? Art and dance therapists (MA) do not seem to have additional respect or reimbursement even though they practice at the MA level - licensure and state recognition may be an answer, not changing our entry status. Physical therapists (who have a greater membership and earn more income than MTs) have changed their entry level from bachelors to masters and then from masters to doctoral in an effort to achieve recognition from the medical field. Can MT afford to follow in PTs footsteps, especially with a much smaller membership and fewer financial resources?
G. Consultation with other professions that have moved to MA entry level. ETAB might consider studying timelines that other professions have followed in moving ahead with implementation of master's degree entry level.
H. Concerns stemming from PT. The American Physical Therapy Association (APTA) debated the move to master's level entry for 20 years before implementation (Plack, 2002). An examination of factors that necessitate a lengthy transition in degree requirements should be conducted when developing a realistic timeline for implementation.
I.​Approval process. How will AMTA and NASM handle approving new MA programs? If this change is made, there may be a large number of schools applying for new MA programs. As this could result in a tremendous amount of work that needs to be completed in a very short time. How does ETAB propose dealing with this challenge?
J.​MAs teaching instead of PhDs. If the change to MA entry-level status is made, universities may be forced to hire MA level instructors due to time constraints and lack of qualified applicants. MA professors may be at a disadvantage in higher education as they may not be able to teach the necessary research courses or supervise MA level theses. Moreover, at some institutions, MA professors may not be able to work toward tenure as only PhD level professors are able to be considered tenured or tenure-track faculty.
VI. Pedagogy Concerns
A. Musical development specific to music therapy. If we move to a two-year MA EQ (academic coursework) type program, this will likely limit the amount to time for students to develop musically. Currently, MT students have four years to prepare and become more musically mature. A two-year program could hurry musical maturation and we cannot expect other BM or BA programs to give students the music skills they need (due to the emphasis on classical training in most universities). Other music departments, schools, or colleges without a MT program will not necessarily change their curricula to accommodate music therapy. If ETAB contends that a 4 year BM in MT degree has too much material to adequately cover, how will we teach this material - in addition to MA research courses, graduate electives, and other graduate level requirements - in a shorter time period?
B. Expansion of the field and profession. The ETAB noted that the MT field has expanded. However, all other fields have expanded as well - this is the nature of professions and research.
C. Comparison to teaching and nursing professions. Perhaps ETAB could consider comparing MT to nursing and teaching (as both fields practice at the Bachelor level). These practitioners are respected due to the size of their membership, state recognition (often a license), and their ability to do their jobs competently. We do not "look down upon" these professionals due their four-year degrees.
D. Pedagogical advantages of a traditional four-year degree program. A four-year degree program has pedagogical advantages, especially for undergraduate students who may not be as emotionally mature. Ideally, students have time to first learn about, then observe, then co-lead, then lead MT sessions. Unfortunately, MA EQ students are typically not afforded this luxury. They are "thrown to the wolves" in their first semester - they are often expected to learn to play the guitar and lead sessions within their first week of school. While not ideal, it is the reality of these degree programs.
E.​What is being taught in graduate MT programs? Will a graduate education strengthen the clinical skills of a MT? Yes - but graduate degrees tend to be more focused on research, scholarship, and teaching. Clinical practice will undoubtedly improve, but likely not by a noticeable difference, especially without bachelor level work experience.
F. Experience versus education. Experience is often the great equalizer, not education. We all know excellent BM level MT practitioners. Many undergraduate students even surpass the clinical skills of their academic mentors. We should celebrate this accomplishment and recognize the importance of clinical experience.
G. MT-BC Examination. ETAB noted that higher percentages of students failing MT-BC exams may be associated with BM level entry. Perhaps it is their instructors' faults for not providing them the knowledge they require to pass the exam. Undergraduate MTs from the University of Minnesota have been consistently passing their exams on their first attempts. Before assuming that the number of examinees who do not pass the CBMT exam on their first attempts is representative of the quality of undergraduate training programs, an analysis of the variation in the pass-rate between degree levels (BM vs. MA) needs to be conducted.
H. Do many MTs really need a MA degree? The greatest percentage of MTs work in geriatric settings (Silverman & Furman, 2010). These are often large group settings - not intensive individual psychotherapy. Do these clinicians really need advanced degrees for group-based work with older adults?
I.​Private practice and university business classes. As private practice has been (AMTA, 2010; Silverman & Furman, 2010; Silverman & Hairston, 2005; Wilhelm, 2004) and continues to be a large area of clinical practice, undergraduate business courses constitute an important learning objective for music therapy students. Often, MA students do not receive credit for undergraduate courses. Would MA MT students be allowed to take undergraduate business courses? Would they receive credit or be allowed to utilize financial aid for courses outside of their degree programs?
J.​Work experience. Many people work before they go back to school for a graduate degree. These students tend to "get more out of" their graduate work as they can relate their work experience to the course material. If we move to MA entry status, students will not be able to reap the benefits of relating and generalizing course material to work experience.
VII. Physical Therapy Comparison Concerns
A. Salaries of physical therapists. The median salary for physical therapists with less than three years' experience is $60,000. It rises to $70,000 with four to six years' experience and $86,000 at more than 16 years (Weiss, 2009). Thus, PTs have considerably higher salaries than MTs and ETAB's comparison of MT to PT may not be justified.
B. Comparing MTs to PTs. Music therapists do not earn as much money as PTs or OTs (Silverman, Furman, Leonard, Stephanz, & McKee, 2011). It is unrealistic to believe that employers will pay MTs more with MA entry level. As tuitions continue to escalate, how will students pay off their debts associated with attaining an MA degree? Without the promise of a high salary, will we be able to recruit students to MA MT programs?
C. Problems with entry level degree shifts. As a result of changes in PT, there are numerous entry level degrees, including: BA, BS, MA, MS, MPT, and DPT (Weiss, 2009). This results in confusion for employers and, if MT chooses the MA entry-level option, could possibly detract from the MT-BC we have worked so hard to establish and recognize.
D. Reduction in physical therapy programs due to higher entry level requirements. Elevating the requirements for PT will reduce proliferation of programs (Weiss, 2009). This could also affect minority recruitment - both of these consequential issues are concerns for AMTA.
E. Facilities hiring 1 PT and many exercise specialists. Currently, many hospitals hire 1 PT and then many exercise specialists or physical therapy assistants (as they are less expensive than a PT). PTs only assess and write treatment plans and are not actually treating patients. This could happen to MT - hospitals could potentially hire 1 MT to assess and write treatment plans, using volunteers or lower paid music people (i.e., the Society for Arts in Healthcare's new training program) to provide "treatment" to patients.
F. Decrease in Canadian PTs due to move to MA level. Since the move to the MA level in Canada, there are fewer PT graduates (Landry, Ricketts, & Verrier, 2007).
VIII. Reasons for Change to MA Entry Status Concerns
A. Access to Medicare and Medicaid funding. Having a MA may not necessarily increase MT access to Medicare and Medicaid funding. As individual states control how these funds are allocated, perhaps licensure (licensure is done by state) would increase MTs ability to serve populations who may receive these benefits.
a.​Medicare funding: Reimbursement seems directly linked to demonstrating and defining medically necessary. Licensure of Board-Certified Music Therapists would help with both defining and regulating our scope of practice. Through licensure, states would be able to acknowledge that MT-BCs provide services that are proper and needed for diagnosis or treatment of medical conditions, are provided for the diagnosis, direct care, and treatment of a medical condition and meet the standards of good medical practice in the local area (Simpson & Burns, 2004).
b. Medicaid funding: Simpson and Burns (2004) recommend that MT-BCs review any and all state regulations that could affect the ability of a music therapist to provide services, including determining requirements that all providers be recognized by the state. This statement seems to direct one towards licensure, not necessarily MA entry. State licensure defines and regulates an occupations scope of practice, while acknowledging their title (i.e. MT-BC). Individual state licensure, not entry-level MA, may allow for this.
B. Respect. There has been an argument that hospitals do not respect BM level MTs. This argument is unsubstantiated as there are no data supporting this argument. Anecdotally, Silverman worked in a variety of hospitals (with a variety of degrees) and has noted staff tend to judge people based from the job a person accomplishes (i.e. behaviors), not by one's education. We all know people with undergraduate MT degrees that are absolutely amazing clinicians. These clinicians should be celebrated and their mentors should be commended.
C. Growth versus arrival. Therapists never "arrive," even if they attain a higher degree. Therapists are in a continual state of growth. Moving toward MA entry status will not ensure that therapists "arrive" at a higher competency.
D. Comparisons to PT, OT, and ST. ETAB contended that MT would be similar to PT, OT, and ST. The author of this document disagrees; MTs will be compared to Art and Dance Therapists, who practice at the MA level and have considerably smaller organizations (likely due in part to MA entry level).
E. Nursing and teaching. What would happen if teaching and nursing (both four year degree programs) moved to MA entry status? Would these professions lose recruits and contract due to a more exclusive entry status? These are questions ETAB might consider.
F. Advanced competencies. MA entry may take attention and recognition away from advanced competencies we have worked so diligently to create.
G. MT-BC. MA entry may take attention away from the MT-BC credential. Potential employers may focus on the degree and not the certification. Employers might consider a person with a non-MT master's degree to be a competent MT.
H. How long before a PhD in MT is considered the entry-level degree? If MT moves to an entry level MA, what is next? An eventual move to PhD? (This is what has happened in PT - the profession moved to a MA entry in 1999 and is now moving toward a PhD entry level [Plack, 2002]).
I.​Licensure. Perhaps we need to investigate whether other professions required state licensure at the time of the move to master's entry level and consider whether requiring a MA to practice music therapy will influence the ability of states to move toward licensure. It might be helpful to consider whether a potential shortage of music therapists could increase the practice of hiring of non-music therapists. Arts in healthcare volunteers, music thantatologists, harp therapists, and others could potentially step in to fill the potential shortage in music therapists. Thus, a focus on increasing recognition and regulation of Board-Certified Music Therapists, before pursuing MA entry, may be the preferred path. The lack of recognition of the MT-BC credential and/or lack of licensure in many states makes this an important consideration.
J.​MA versus licensure in PT, OT, and Speech Language Pathologists. Other related health- care professions, including physical therapy, occupational therapy, and speech-language pathology, have waited until after establishing practice acts and licensure in the majority
GRADUATE ENTRY LEVEL CONCERNS​14
of states before moving to a master's entry level requirement. All of these professions have established assistant-level positions that do not require a master's degree to practice. This was done in recognition of the fact that requiring a master's degree to practice would decrease the number of certified therapists. These professions have a greater number of practicing professionals and approved graduate programs than the creative arts therapies, although a shortage of PTs, OTs, and SLPs remains a problem nationwide.
K. Licensure before MA entry level. Other professions (PT, OT, SLP) that have greater recognition, larger workforces, and higher salaries had state practice acts and licensure for at least twenty years before requiring a master's degree to practice. Rushing to require a master's degree before our profession is more widely recognized at the state level might be a mistake that could potentially cost the MT profession in terms of numbers/population. With a smaller workforce, creating state licensing boards will be much less feasible and more expensive for practicing music therapists, since the cost of setting up a licensing board is often spread out among the membership of licensed professionals within the state.
L. Music therapy clients. How might MA level entry effect MT recipients? There is concern regarding the lack of emphasis concerning music therapy recipients in ETAB's report/recommendation. It might be helpful to include "music therapy clients" in the analyses of potential costs and benefits to stakeholders. Careful consideration of whether the proposed move to MA entry status will really increase access to quality music therapy services is warranted. The impact of potential shortages of music therapists on clients should be considered.
M. The need for additional data. Has any researcher conducted a survey of prospective MT students or current MT undergraduate students asking whether they would choose/would still have chosen music therapy as a profession if they knew they would need a master's degree to practice? Has any researcher conducted a survey of whether facilities employing bachelor's level music therapists would pay more if their employees had attained master's degrees? The move to a master's level entry requirement might appear to be a knee-jerk reaction based on what other professions have done, without careful analyses of how the decision has affected other professions or analyzing how our profession is different from other professions that have made this move.
N. Music therapy in every state. There are currently 10 states that have a music therapy program within the state but do not have an MA program in the state (Alabama, Kentucky, Mississippi, North Dakota, Oklahoma, Oregon, South Carolina, Utah, Washington, and Wisconsin). We could potentially lose education and training in these states if these schools are not able to hire a second full time faculty member or initiate a MA program. Additionally, attaining licensure bills in these states would be difficult without academic training programs.
O. MTs taking administrative or non-music therapy positions. It is natural for people to be promoted when they demonstrate competency in their current jobs. As such, many music therapists are promoted to administrative positions wherein they earn more money and have greater responsibilities. While this decreases the numbers of MTs, it might be perceived as a testament to the current training MTs receive: Employers feel that MTs are competent and ready for additional responsibilities. This is an organic type of progression all competent professionals might encounter.
GRADUATE ENTRY LEVEL CONCERNS​15
P.​MT is not broken. There are so many things in our profession (and in the educational training of music therapists) that work exceptionally well. What exactly is "broken" about what we are doing that we think we can "fix" by moving to a master's level entry requirement? Have we thoroughly assessed other possible solutions before deciding to make such an enormous change? If, after a thorough analysis, it appears moving to a master's entry level will be the most beneficial option, the timing of such a decision should be carefully considered and not rushed.
IX. Student Debt Concerns
A. Student debts. We cannot pass the burden of this enlargement/increase in education to students when they will likely not make more money by attaining an MA. Students graduate with too much debt already and higher education is becoming increasingly more expensive.
B. MT Employers will likely not pay MTs more. We cannot assume that MT employers will pay MTs more with MA entry-level status. How will students pay off six or more years of higher education debt on a MT salary? This could potentially hurt AMTA membership.
C. Working as an MT-BC before finishing the MA. Currently, MA students can take their MT-BC exams and begin working without actually finishing their degree (typically a thesis). However, a move to MA entry level would prohibit students from working until after they complete the entire degree plan. Thus, it could take longer before students are able to work. MTs might lose jobs as a result as other therapists could fill these MT positions.
X. Timing Concerns
A. MA entry level someday. Perhaps there will be a day for MA entry-level status. But perhaps it would be preferable for MTs to follow the lead of nursing and teaching professions, not art and dance therapists. This is hardly the time for these arguments; arguments that will cost a lot of money and could dramatically reduce the number of MTs (and thus reduce the number of MT recipients). We need to ask the question: "Who will pay for this?" These changes are not free and come at great cost during an unprecedented time of economic hardship and uncertainty. MA entry level will undoubtedly cost universities and students additional financial resources.
B. Licensure. Would it be better to work on issues related to registry and licensure? These seem to be the keys to funding and AMTA/CBMT are currently "on a roll." If the end goal is respect, then perhaps licensure is the key (as it is in education).
C. Time to degree. "Time to degree" is a current "buzz word" in higher education. Universities are seeking ways to reduce the number of courses and credit hours required for graduation. MTs in higher education need to be careful about how they approach this issue of making the MT degree "bigger" - lengthening degrees could result in programs being cut.
D. Shortage of MTs and need for additional MTs. There is currently a shortage of MTs and this shortage will likely grow (Groene, 2003). When PT made the move to MA entry in
GRADUATE ENTRY LEVEL CONCERNS​16
1999, there was a surplus of PTs (Plack, 2002). The time for a move to MA entry is not when there is a shortage; it should be when there is a surplus.
XI. Undergraduate MT Programs Concerns
A. All MT programs would seem to be MA Equivalency (EQ) programs. With proposed changes, it seems as though all programs might appear as MA EQ programs. Would the Introduction to MT class be eliminated as it is not needed in graduate level education? This course often functions as a "money maker" for many schools (at UMN, we offer it both semesters and allow non-MT students to enroll [i.e., 30 students each semester = FTE!]). With proposed changes, Silverman would remove this course from the MT curriculum at UMN. Moreover, Introduction to MT is a great recruitment tool (at UMN, we tend to recruit 3-5 students per semester from the Introduction to MT class); Losing the Introduction class could potentially hurt advocacy and recruitment.
B.​Fiscal concerns from Introductory MT courses. If Introduction to MT courses are decreased or eliminated, this could potentially affect AMTA's earnings on Davis, Gfeller, and Thaut's (2008) Intro to MT text.
Thank you for your careful consideration of these issues.
GRADUATE ENTRY LEVEL CONCERNS​17
References American Music Therapy Association. (2010). Member sourcebook. Silver Spring, MD: Author.
APTA (2011). Physical therapist (PT) education overview. Retrieved from www.apta.org/PTEducation/Overview/.
Collins, J. (2001). Good to great: Why some companies make the leap...and others don't. New York: Harper Collins.
Davis, W. B., Gfeller, K. E., & Thaut, M. H. (2008). An introduction to music therapy: Theory and practice (3rd ed.). Silver Spring, MD: American Music Therapy Association.
Decuir, A. A., & Vega, V. P. (2010). Career longevity: A survey of experienced professional music therapists. Arts in Psychotherapy, 37, 135-142.
Groene, R. (2003). Wanted: Music therapists: A study of the need for music therapists in the coming decade. Music Therapy Perspectives, 21, 4-14.
Henningsen, D. D., Henningsen, M. L. M., Eden, J., & Cruz, M. G. (2006). Examining the symptoms of groupthink and retrospective sense making. Small Group Research, 37, 36- 64.
Landry, M. D., Ricketts, T. C., & Verrier, M. C. (2007). The precarious supply of physical therapists across Canada: Exploring national trends in health human resources (1991 to 2005). Human Resources for Health. Retrieved from http://www.biomedcentral.com/content/pdf/1478-4491-5-23.pdf.
Oliver, S. (2003). Certification vs. licensure: What are the differences? BC Status. Downington, PA: Certification Board for Music Therapists.
GRADUATE ENTRY LEVEL CONCERNS​18
Plack, M. (2002). The evolution of the Doctorate of Physical Therapy: Moving beyond the controversy. Journal of Physical Therapy. Retrieved from http://www.paeaonline.org/index.php?ht=a/GetDocumentAction/i/69169.
Safire, W. (2004). The way we live now: On language-groupthink. Retrieved from http://www.nytimes.com/2004/08/08/magazine/the-way-we-live-now-8-8-04-on- language-groupthink.html?ref=onlanguage
Silverman, M. J., & Furman, A. G. (2010, November). Employment trends in the American Music Therapy Association, 1998-2009. Poster session presented at the 12th annual meeting of the American Music Therapy Association, Cleveland, OH.
Silverman, M. J., Furman, A. G., Leonard, J., Stephanz, E., & McKee, R. (2011, November). Music therapy salaries from 1998 - 2010: A descriptive and comparative study. Poster session presented at the 13th annual meeting of the American Music Therapy Association, Atlanta, GA.
Silverman, M. J., & Hairston, M. J. (2005). A descriptive study of private practice in music therapy. Journal of Music Therapy, 42, 262-271.
Simpson, J. & Burns, D. S. (2004). Music therapy reimbursement: Best practices and procedures. Silver Spring, MD: American Music Therapy Association.
Vega, V. P. (2010). Personality, burnout, and longevity among professional music therapists. Journal of Music Therapy, 47, 155-179.
Weiss, T. (2009). Where the jobs are: Physical therapist. Retrieved from http://www.forbes.com/2009/06/04/jobs-physical-therapy-leadership-careers- employment.html.
GRADUATE ENTRY LEVEL CONCERNS​19
Wilhelm, K. (2004). Music therapy and private practice: Recommendations on financial viability and marketing. Music Therapy Perspectives, 22, 68-83.
GRADUATE ENTRY LEVEL CONCERNS​20
Appendix A AMTA Approved Colleges and Universities without a MA Program (AMTA, 2010)
1.​University of Alabama 2.​Cal State Northridge 3.​University of Georgia 4.​Western Illinois University 5.​Indiana-Purdue University Fort Wayne 6.​University of Evansville
7.​Wartburg College 8.​University of Louisville 9.​Anna Maria College 10. Berklee College of Music 11. Eastern Michigan University 12. Augsburg College 13. Mississippi University for Women 14. William Carey University 15. Molloy College 16. SUNY - Fredonia 17. East Carolina University 18. Queens University of Charlotte 19. University of North Dakota 20. Cleveland State University 21. SW Oklahoma State University 22. Marylhurst University 23. Duquesne University 24. Elizabethtown College 25. Seton Hill University 26. Slippery Rock University 27. Charleston Southern University 28. Converse College 29. Southern Methodist University 30. University of the Incarnate Word 31. West Texas A&M University 32. Utah State University 33. Seattle Pacific University 34. Alverno College 35. University of Windsor
 

1
MASTER'S LEVEL ENTRY: CORE CONSIDERATIONS
As the music therapy profession celebrates its 60th anniversary in 2010, the American MusicTherapy Association (AMTA) continues to study its development and evolution and to evaluate its statusin relation to the mission of AMTA: "to advance public awareness of the benefits of music therapy and increase access to quality music therapy services in a rapidly changing world." The music therapyprofession is at a crossroads. Its options are either to keep up with that "rapidly changing world" or be left behind related professions both in the market place and in providing music therapy clients with qualified music therapists. With (a) undergraduate academic degree programs "bursting at the seams" (Bruscia, 1989), (b) the significant increase in the number and complexity of content items in the Certification Board for Music Therapists (CBMT's) "Scope of Practice," (c) the requirement for a master's degree for various state licensures, (d) related professions' requiring a master's degree for entry into the field, and (e) a long history of research on music therapy education and clinical training that has recommended the master's degree in music therapy for the entry level credential, it is time for this issue to be addressed by the profession.
The AMTA Board of Directors funded a retreat for the Education and Training Advisory Board (ETAB) in July 2010 to serve as a true exploration to see IF moving to the master's level entry to the profession should be recommended. The following paper presents the ETAB's vision and careful considerations of moving to the master's level entry into the profession with rationale for a transition. This paper represents only the first stage of exploration into what is a very complex issue in the history and evolution of the music therapy profession; the ETAB acknowledges that many questions remain for further consideration.
History of Music Therapy Education and Clinical Training
The Commission on Education and Clinical Training, which consisted of representatives from each of the former associations, American Association for Music Therapy (AAMT) and National Association for Music Therapy (NAMT), developed and recommended new AMTA Standards for Education and Clinical Training (adopted in 2000). One of the Commission's recommendations was to create an "Overview Committee" for internal and external monitoring of standards, competency requirements, trends and needs, the Association's role and responsiveness in the area of education and training, and to act as liaison to CBMT and other outside agencies. In 2002, AMTA created the ETAB as part of its organizational restructuring. ETAB was created to serve as a visionary body to advise, inform, and make recommendations to AMTA on issues related to music therapy education and training.
All issues from the Commission report that were not adopted as part of the Standards were listed at the end of the document as "Issues for Future Consideration" and referred to ETAB. In the Final Report of the Commission (1999), the bachelor's degree program was envisioned as the means to impart entry level competencies. . . . The bachelor's degree (or its equivalent) and the entry level credential MT-BC would qualify the professional to work with different populations using music as an activity therapy (focused on bringing about changes in behavior) and as a supportive or adjunctive therapy (which supplements other types of treatment and enhances the client's overall treatment plan). . . .A master's degree would be designed to give greater breadth and depth to entry-level competence, while also imparting selected additional competencies in advanced and specialized areas of study (e.g., theory, research, supervision, college teaching, administration, a particular method, orientation, or population). . . . At this level, the music therapist works with other professionals, but takes a more central and independent role in the
client's treatment, and as a result, induces significant changes in the client's condition. This includes using music to achieve re-educative goals (focused on feelings, insights and improved functioning), as well as priority goals in medicine, physical rehabilitation, and other areas of music therapy practice. (pp. 4-5)
In its "Recommendations for Implementation," the Commission suggested "that the entry-level competencies adopted be reviewed and modified on a regular basis by the appropriate AMTA committee. It is essential that these competency requirements be consistent with current trends and needs within the profession" (p. 19). The Commission considered a variety of options and input, which resulted in a number of strong opinions on which level of education is most appropriate for entry into the field and on whether levels of clinical practice exist that warrant a multilevel approach to education and certification.
While no consensus was reached by the Commission on this matter, one section of the report supported the master's degree as the entry-level degree with the following rationale: "The bachelor's degree provides inadequate preparation for the practice of music therapy. The master's degree should be established as the entry-level degree. Individuals who complete the master's degree will be qualified to practice all levels and areas of music therapy . . . ." (p. 20). At that time, after much intense debate, the Commission reached consensus "that AMTA retain the bachelor's degree as the entry level for the profession" (p. 21).
When ETAB was formed, it was created to serve as a visionary body to advise, inform, and make recommendations to AMTA on issues related to music therapy education and training. It was charged to "analyze policy issues that focus on standards and professional competencies for advanced levels of education and training; and more specifically, the relationship of these standards and competencies to advanced degrees, education and training requirements, levels of practice, professional titles and designations, and various state licensures" (AMTA Task Force on Organizational Restructuring, 2002).
In 2003, ETAB reviewed this list, conducted an in-depth review of the literature, and prioritized its tasks.
ETAB determined that the first priority was to delineate levels of practice in music therapy. The Advisory
on Levels of Practice in Music Therapy, which was written by ETAB and adopted by the Assembly of
Delegates in 2005, distinguished two levels of practice within the music therapy profession: the Professional Level of Practice and the Advanced Level of Practice. The Advisory anticipated "that in the future music therapists at the Advanced Level of Practice will hold at least a Master's degree in Music Therapy." In the Advisory, ETAB envisioned that advanced competencies would emerge from the Advanced Level of Practice. Following adoption of the Advisory on Levels of Practice, a task force was appointed to develop advanced competencies. The AMTA Advanced Competencies were adopted in 2007 and revised in 2009. Simultaneously, AMTA "Standards for Master's Degrees" were revised in 2008 "to impart advanced competencies, as specified in the AMTA Advanced Competencies" and to "provide breadth and depth beyond the AMTA Professional Competencies required for entrance into the music therapy profession." In summary, the adoption of these recent AMTA documents laid the foundation for strengthening graduate education in music therapy.
Historical Summary of Music Therapy Education
The discussion about the master's degree as the entry level to practice has been addressed since the inception of the profession. As early as 1944, Michigan State University offered the first baccalaureate degree in music therapy (Cohen, 2001). In 1946, E. Thayer Gaston established the first graduate program in music therapy at the University of Kansas. Gaston seemed dissatisfied with the lack of differentiation between undergraduate and graduate levels of music therapy training. This problem may have been further exacerbated by the number of schools that developed "certification-equivalency" programs for gradate level students entering with a bachelor's degree in music who wished to obtain their undergraduate equivalency in music therapy. In many schools even today, it is primarily equivalency students who pursue master's degrees in music therapy, not students who already are credentialed.
Including equivalency students in classes with credentialed music therapists negatively impacts the quality of graduate music therapy education, in that graduate coursework cannot truly be taught at an advanced level. In the 1950s, the NAMT adopted the Minimum Education Requirements (1953), which were based on a baccalaureate degree plus a six-month internship. It was not until 1961 that NAMT and the National Association of Schools of Music (NASM) approved the first master's degree curriculum.
In the 1980's the development of the delineation of specific skills, rather than courses, needed by the entry-level music therapist began. Braswell, Decuir, and Maranto (1980) compiled a list of entry-level skills from course outlines, behavioral objectives and "ethical situations" from the Loyola University music therapy program. They surveyed music therapy clinicians, interns, and educators in the South Central Region of NAMT using this list. In 1981, Bruscia, Hesser, and Boxill published the Essential Competencies for the Practice of Music Therapy. These competencies were adopted by AAMT and became the basis for the AAMT academic curriculum. Bruscia proceeded to publish the Advanced Competencies in Music Therapy in 1986, which was a follow up to the Essential Competencies. This was the first document to imply directly that music therapists may function at more than one level of practice. He proposed a hierarchy of professional competency goals for bachelor's, master's, and doctoral study in music therapy with the master's degree as the entry into the profession. One of the reasons he cited was that the bachelor's degree in music therapy was "bursting at the seams" due to growth in music therapy practice, theory and research (1989, p. 83). He further differentiated between the functions of the undergraduate and graduate degrees and tried to distinguish between the two degrees by the type and levels of therapy. According to Bruscia, "It is practiced in educational, recreational, behavioral, psychotherapeutic, medical, and holistic settings, with vastly different goals, methods, and materials. And within each of these areas, it is practiced on different levels of depth (e.g., primary versus adjunctive). It is time for our system of education and training to recognize these diversities in clinical practice, and design academic and field training programs accordingly" (1989, p. 84).
CBMT was established in 1983 as the first independent credentialing body in music therapy. One of their first tasks was to complete a job analysis of the profession, including knowledge, skills, and ability statements (CBMT, 1983). The purpose of this list was to establish a basis for a national certification examination for music therapists. These competencies are re-determined every 5 years to reflect changing entry-level expectations with the most recent Practice Analysis Study conducted in 2008. This latest "CBMT Scope of Practice" became effective April 1, 2010.
The Temple University Studies on Music Therapy Education conducted an in-depth research study related to competencies for music therapy across a 3 year period (Maranto & Bruscia, 1988). Music therapy educators, clinical training directors, and clinicians agreed that music competencies are most efficiently learned in undergraduate courses. In the authors' reflections from the comprehensive study, they shared some of their subjective insights from collating and analyzing the data, although their conclusions were not based on the data but rather opinions and perspectives formed in the research process itself. With certification/registration at the undergraduate level and with music therapy practice at the level of complexity that it is, these problems cannot be avoided. The student is expected to have all of the required "entry-level" competencies upon completing the degree and internship programs no matter how difficult they are and regardless of whether the competencies are on an entry or advanced level of
education and training.
In May of 1989 at the California Symposium on Music Therapy and Training, recommendations were made to establish levels of certification/registration in music therapy and to identify which competencies were best learned at the bachelor's or master's level. Those at the Symposium also recommended that the content for education and training at these levels be consistent with the competencies (Maranto, 1989). Soon after the California Symposium on Music Therapy Education and Training, a task force was appointed by NAMT to look at several issues stemming from recommendations of the Symposium participants. One of the issues was levels of certification, and a task force was charged to "continue to study the issues on levels of certification and bring…a plan for competency-based levels of certification" (NAMT Credentialing Task Force, 1991, p. 51).
Jensen and McKinney (1990) conducted a study of undergraduate music therapy education and training. They examined the curricular requirements of undergraduate university and college music therapy programs approved by both NAMT and AAMT and compared them against standards set by NAMT. Since no standards had been set for the competencies related to practica or internship, the study focused primarily on the competencies taught and learned in academic coursework. It was noted that a significant discrepancy existed between academic training and clinical practice. Although the NAMT standards recommended the demonstration of functional skills in music therapy practica, the data suggested that the emphasis on academic music knowledge and the lack of consistency in teaching functional music skills may not be optimal in the education and training of a music therapist. The authors
concluded that their analysis revealed substantial divergence between university curricula and research findings related to competencies necessary for music therapy practice. They recommended the development of a comprehensive list of competencies to be acquired during academic and clinical training components of music therapy education and noted that it appeared difficult for undergraduate level students to learn and demonstrate all of the entry-level competencies by completion of internship.
Also in 1990 the NAMT Assembly of Delegates approved the concept of a "course/competencybased curriculum" and adopted the NAMT Competencies as a working draft. The following year, the Task Force on Levels of Advanced Credentialing presented their findings and made two recommendations to the Assembly. The first recommendation, which was defeated, urged the profession "to study the different levels of credentialing, moving toward making the advanced degree a requirement for credentialing." In the discussion that followed was a review of AAMT and NAMT designations. Concerns were raised including that an advanced degree would create a burden since internships probably would not offer salaries or stipends. The second recommendation, which passed, charged the NAMT Education and Clinical Training Committees "to reassess the undergraduate and graduate degree programs, looking specifically at the growing amounts of material required in the undergraduate programs, strengthening the graduate degree and moving towards specialization (either by depth of therapy or in specialized areas)" (NAMT Credentialing Task Force, 1991, p. 4). In response to this charge, the NAMT Education Committee reviewed the curricula for all of its academic programs and followed up with notification to programs that were not in compliance with the NAMT standards.
In 1992 a survey of 20% of educators and clinical trainers served as a pilot study to make some changes in the proposed competencies. In 1993 a survey was sent to all NAMT-approved academic programs to help determine the status of the implementation of the NAMT Competencies (Draft #3) in NAMT's current course-based curriculum. The results of this survey served as the basis for the initial course/competency-based NAMT undergraduate curriculum and the NAMT Competencies (Draft #3). While the movement seemed to be towards establishing levels of competencies or specialization, Scartelli (1994) reiterated Gaston (cited in Cohen, 2001) and Bruscia's (1989) stances on graduate music therapy education in his address to the Fifth International Music Medicine Symposium. Scartelli described the undergraduate music therapy curriculum as preparing technicians who would not diagnose, but who would follow prescribed treatment, since it would be impossible to train an undergraduate to address all the possibilities of practice. Scartelli recommended that the undergraduate degree remain a generalist degree with an emphasis on developing musical skills, while the graduate degree should emphasize the influence of music on physiology and behavior. In other words, the undergraduate training should focus on developing the musician, while the graduate training should focus on developing the therapist.
In 1994 an NAMT Subcommittee on Professional Competencies (1996) reported results of a survey that consisted of educators' rankings of the importance of each competency. The Assembly of Delegates urged academic program directors to introduce the competencies into their curricula during the 1994-1995 and 1995-1996 academic years. The revised Professional Competencies were adopted by the Assembly in 1996. At this time, the AMTA Transition Team was working on unification of the two former Associations (AAMT and NAMT). The Subcommittee on Professional Competencies also was charged to begin the process of identifying advanced competencies, specifically by conducting a review of the literature. The Subcommittee made the following decisions: (a) to communicate with clinical training directors in regards to continuing implementation of the competencies; (b) to continue to encourage educators to review and define curricular areas; and (c) to assist clinical training directors in identifying competencies that appeared to be most pertinent to the clinical training process.
Due to a need for review of the graduate standards, the NAMT Executive Board appointed an ad hoc Subcommittee on Graduate Music Therapy Education in 1995. In its report from the Texas Retreat (1997) the Subcommittee recommended that the Association further define the function of a master's degree and to determine when and if it is appropriate to move to the master's as an entry level, the Subcommittee recommends further study to compare
the relationship between type of degree with job success, job responsibilities, job longevity, attrition, level of promotion, and area of client specialization. The Subcommittee recommends the ongoing examination of data in order to make timely changes in response to our profession's evolution.
Several surveys were executed concerning graduate degrees and job satisfaction in music therapy. Braswell, Decuir, and Jacobs (1989) surveyed 1,344 music therapists and found that job satisfaction increased with advanced degrees and length of time in the field. Those music therapists with 6 years or more in the field had higher job satisfaction than less experienced therapists. Music therapists in academia cited higher job satisfaction than did music therapists working in activity therapy positions. Urban and suburban music therapists reported higher job satisfaction than did therapists working in rural areas. Lastly, music therapists working in the smaller regions of New England, Western, and South- Central had lower job satisfaction than did the remaining five, larger regions of NAMT. Cohen and Behrens (2002) surveyed 218 clinical music therapists to determine the influence of degree type on job satisfaction. Subjects rated job satisfaction an average of 4.10 on a scale of five. Results indicated that music therapists with master's or doctoral degrees were employed at more jobs, and had higher job satisfaction than did bachelor level music therapists.
The ETAB surveyed the current status of music therapists with Master's degrees in music therapy in 2007. The sample data indicated that most music therapists with master's degrees (77%) had actually completed their master's/equivalency degree. In other words, they had completed their master's degrees at the same time they completed their undergraduate equivalency requirements. Those respondents whose bachelor's degrees were not in music therapy were most likely to have received a bachelor's degree in music, followed by psychology. When asked why they had pursued master's degrees, the majority of the respondents answered (a) to understand music therapy better, (b) for a greater depth of understanding, (c) and for increased job opportunities. When asked what effect the master's degree had on their practice, the majority of the respondents answered that it had improved their (a) level of theoretical knowledge, (b) awareness within therapeutic relationship, (c) observational/listening skills, (d) professional relationships, (e) verbal processing skills, (f) documentation skills, and (g) professional ethics. Many (69%) of the respondents reported that their salaries had increased as a result of earning the master's degree. Most
(81%) of the participants identified a market need for master's level music therapists and indicated that the need was everywhere, rather than being located in a particular geographical region. Almost all (95%) of the respondents had sought out professional growth experiences since earning their master's degrees. Vega (in press) studied the demographic variables of gender, highest degree earned, and AMTA region to determine if any were predictive of longevity. Results showed that the demographic variable of highest degree earned was predictive of longevity (p  .000). Vega found no significant relationship between longevity and either gender (p = .287) or AMTA region (p = .726). Logistic regressions were used to determine if there were any significant relationships between gender, years in the profession, highest degree earned, or AMTA region and the MBI sub-scales of emotional exhaustion,
dexisted between years in the profession (p < .05) and the MBI sub-scale of emotional exhaustion. Thus,
the longer that music therapists work in the field, the less they experience emotional exhaustion. In summary, various studies, researchers, task forces, and other Association bodies have recommended repeatedly that the master's degree be a requirement for entry to the profession. With the recent adoption by AMTA of the Advisory on Levels of Practice, Advanced Competencies, and revised "Standards for Master's Degrees in Music Therapy," AMTA is now poised to move forward in the evolution of the music therapy profession.
Music Therapy's Knowledge Base: Bursting at the Seams
This section of the advisory will focus on the mushrooming amount of content necessary for beginning level music therapy practice. Data from the CBMT Scope of Practice from 1985-2008 will be used to elucidate the tremendous expansion in the music therapy knowledge base during a recent 23 year period.
Changes in Scope of Practice
After CBMT became an independent credentialing body in 1983, one of their first tasks was to conduct a job analysis to describe the current state of music therapy practice. This resulted in the publication of the first Scope of Practice in 1985, which provided the content for the certification exam questions. The Scope of Practice consisted of 31 content items organized into four basic topic areas: Music, Music Therapy, Professional Role, and Clinical Theories. In 1988, CBMT completed a job reanalysis, and the number of content items in the Scope of Practice increased to 43. When CBMT developed the third Scope of Practice (1993), the language regarding music therapy practice was changing. This was reflected in the modified topic categories: Music Theory/Skills, Treatment, Professional Development and Responsibilities, and Assessment. An examination of the revised wording suggests that as the profession developed, the specific knowledge and language necessary for successful music therapy practice began to branch out and become more detailed. The dramatic increase to 137 content items in the 1993 Scope of Practice reinforced this premise, especially when compared to the 43 items in 1988.
CBMT published the fourth Scope of Practice in 1998. This time, music therapy practice was defined by five major topic areas: Music Theory Perception and Skills, Initial Assessment and Treatment Planning, Ongoing Documentation and Evaluation of Therapy, Treatment Implementation and Termination, and Professional Development and Responsibilities. The ongoing growth in the professional knowledge base resulted in 168 content items in this document. In 2003, the Scope of Practice retained the same five topic areas, but the content items continued to increase from 168 to 190.
In the recently published 2008 Scope of Practice, the topic headings changed to (a) Assessment and Treatment Planning, (b) Treatment Planning and Termination, (c) Ongoing Documentation and Evaluation, and (d) Professional Roles and Responsibilities. The number of content items remained at 190; however, a noticeable change from the earlier Scope of Practice was the absence of a separate content area for "Music." Instead, all music skills were now integrated into the clinical skill descriptions necessary for practice. This revision suggests that more advanced and assimilated level of expertise was now required for professional level practice. Figure 1 represents the growth in the CBMT Scope of Practice content items over five year increments, from 1985 (31 items) through 2008 (190 items). Based on the number of items in the CBMT Scope of Practice, the knowledge base for beginning level music therapy practice exploded by 513% over a 23 year period.
Figure 1. Growth in number of content items from CBMT Scope of Practice.
Rationale for Transition
The time has arrived for transition to the master's level entry for reasons that are becoming clear. The bachelor's degree is a foundational training program that prepares the typically young, bachelor-level musician to use music in a clinical setting. The intent of this level of intervention is to serve in a supportive role in treating clients, collaborating within an interdisciplinary team to contribute to the client's overall treatment plan. With the bachelor's degree, including the internship, the clinician is eligible to sit for the board certification exam and obtain the credential MT-BC.
As the profession exists now with the bachelor's degree as the entry level, the burgeoning body of knowledge required to meet the professional competencies exceeds the ability of the MT degree program to effectively teach this expanded body of knowledge and skills. It is unrealistic to hold the expectation for the student to assimilate this knowledge and be prepared for competent professional practice. As aresult, fulfillment of AMTA's mission to provide quality music therapy services is compromised.
An emerging trend of university programs toward developing master's degrees is evident. More and more administrators are visioning the growth of the current professional degree at the bachelor's level to an advanced level of training that is both marketable and supportive of professional ethics in the health care fields.
Currently, the following points can be made in support of this transition process:
1. There is a growing trend toward insurance reimbursement; however, without a move to advanced training, this trend will surely fall short of professional needs and expectations. The Joint Commission and the Commission on Accreditation of Rehabilitation Facilities recognize music therapy as an allied health profession, thereby reinforcing this trend toward professional standards and advanced practice. Music therapy is listed as a related service in the  mericans with Disabilities Act. There is a steady and consistent effort for state recognition for the MT-BC credential.
2. Nearly two-thirds of AMTA approved degree programs offer master's degrees and the broad body of knowledge continues to grow across clinical populations and clinical settings. Both the revised master's standards and the advanced competencies are important pieces of this
evident trend.
3. To be seriously considered along with the above are the defined levels of practice
(professional and advanced). As we see the scope of practice for music therapists come to the
attention of many healthcare professionals, the general trend toward advanced entry training
will strongly support the movement of many states toward licensure, which is typically at the
master's level for healthcare professionals.
4. There has been a national trend in recent years for universities to add master's degree programs in order to  rovide the advanced training necessary for the therapist to take the central role in meeting client needs in diverse settings. A true and accurate recognition of this field as a core therapeutic model will not be realized until this transition to a more consistent and predictable level of practice and intervention is obtained.
5. With the master's degree as entry-level, the vision for the future practice of music therapy acknowledges that the music therapist increasingly will take a central and independent role in client treatment planning. Through this level of practice the music therapist moves beyond didactic knowledge to integrate rationale, theories, treatment methods, and use of self to enhance client growth and development.
6. The profession is at an ethical crossroads that demands a change. To continue as we are without attention to this growth in the knowledge base and growth in the demand for clinical services we are jeopardizing not only the effectiveness of service but its ethical core as well. Both practitioners and academic programs are recognizing the need for skill advancement thus creating a gentle momentum toward development of master's-level entry. It is essential and timely for the profession to enthusiastically embrace this growth.
The Evolution of Education in Various Health Professions
Looking at various health professions, it is evident that music therapy is one of the few remaining professions where entry is at the bachelor's level. While some other professions offer an assistant level of credential or certification, they are accomplished at the associate's degree level. The table below indicates the profession, the degree required to enter the profession, information about certification, and dates when the current level of education was established by the professional organizations.
The majority of these professions started with bachelor's level entry into the profession. With the exception of music therapy and recreation therapy, the professions listed have moved to a minimum of a master's level entry for professional practice. As early as the 1960's, professional organizations began to move towards master's level entry with additional organizations moving in the 1970's and 1980's.
Audiology and physical therapy have set a date for doctoral level entry into the profession. The process of changing educational requirements in many of the health professions examined above is noteworthy and the paths are varied. In the cases of art therapy and dance/movement therapy, master's level entry appears to have been the only educational course available for professionals (AATA, 2010; ATCB, 2010; ADTA, 2010). All students interested in becoming an art or dance/movement therapist have entered programs with related degrees or with demonstrated competence in the core therapeutic medium. Other professions took other paths towards master's level entry.
In 1998, the American Occupational Therapy Association's Accreditation Council for Occupational Therapy Education (ACOTE) presented a position statement that included, "Given the demands, complexity, and diversity of contemporary occupational therapy practice, ACOTE's position is that the forthcoming educational standards are programs." In 1999, the AOTA Representative Assembly passed a resolution calling for a significant change in the education level of occupational therapists. Resolution J, "Movement to Required Postbaccalaureate Level of Education," called for an eventual move to a postbaccalaureate-degree entry into the profession. ACOTE determined that educational programs would have an 8-year period to make the required changes to accommodate the newly approved educational standards. The transition from a bachelor's degree entry to the profession to a master's degree entry was concluded on January 1, 2007 (AOTA, 2010).
 
 
Profession  ​Entry-Level​Certification/Licensure​​​Date Entry-Level Established
     ​Degree  
 
Art Therapy ​Master's ​Art Therapy Certification Board ​​1970's
 
Audiology ​Master's -​American Speech Therapy Assn
moving to​certification required for licensure
Doctorate 2012
​​​​​1965
Counseling ​Master's ​National Board of Counseling
Certification - certification required
for licensure
 
Dance Therapy ​Master's​​ Dance/Movement Therapy
Certification Board​​​1970's
 
Music Therapy ​Bachelor's ​Certification Board for Music Therapists​1950's
 
Occupational​Master's ​National Board for Certification in
Therapy​​​​Occupational Therapy- certification
​​required for licensure​​​2007
 
Physical Therapy Master's -​Accrediting Board - Commission on​2002 for current
Moving to​Accreditation in Physical Therapy Educ​master's level entry requirement
Doctorate 2020​certification required for licensure
 
Recreation​Bachelor's​National Council for Therapeutic
Therapy​​​​Recreation Certification​​​1981
 
Social Work ​Bachelor's​Association for Social Work Boards
and Master's​National Association of Social Workers
 
Speech/Lang​Master's ​American Speech Therapy Assn. cert. req
Pathology​​​for licensure​​​​1965
 
Figure 2. Health care professions, degree required for entry, certification/licensure, and date entry level established.
 
Physical therapy education programs completed the transition to postbaccalaureate entry in 2002, when all therapists completed either a master's or Doctor of Physical Therapy (DPT) degree. In 2020, the American Physical Therapy Association (APTA) will recognize only the DPT as the entry-level degree (APTA, 2009). In the APTA Vision Statement for Physical Therapy 2020, language describing the change to the DPT includes reference to the burgeoning clinical responsibilities of therapists and expansion in thebody of knowledge in the field. In addition, the degree is defined as a "clinical doctoral degree" indicating that the DPT will be providing direct care to consumers (APTA, 2010).
The American Speech and Hearing Association (ASHA) started the transition to a post-baccalaureate entry level in 1965. Members of ASHA who held Basic Certification prior to 1965 were offered the opportunity to take a "Special 1969 exam" or demonstrate a minimum of 4 years as a competent professional rather than returning for further education (ASHA, 2010). All students after 1965 were required to complete a minimum of a master's degree or its equivalent in Speech Pathology and/or Audiology. Significant changes to the certification requirements occurred both in 1993 when the equivalency option was discontinued, and in 2005 when the certification requirements increased to include a clinical fellowship (Bernthal, 2007).
 
Anticipated Challenges
In considering this transition ETAB has identified areas that need to be understood and evaluated
in planning a process forward. These areas include
* Programmatic and financial concerns for universities
* Financial issues for AMTA and CBMT
* Concern that Bachelor's level music therapists will lose jobs to master's level music therapists
* Confusion about the grandparenting process
* Need to coordinate closely with NASM
* Implications for State Boards of Regents
* Music therapy programs in universities that do not offer graduate education
A review of the universities currently offering music therapy degrees reveals that half (34 out of 68) already offer a master's degree in music therapy and 13 of the remaining 34 offer graduate degrees in music. Of those who offer only the bachelor's degree in music, 19 of 21 offer graduate degrees in areas other than music. At least two of these are actively planning to establish master's degree in music therapy.
Of the 19, 7 have no faculty member who holds the doctoral degree. There is only one university that does not offer graduate degrees. Each of the areas above will need to be studied in detail if we are to move forward on a transition plan.
 
Implications for Change
In considering the move from baccalaureate to graduate level entry into the music therapy profession, ETAB has listed the following areas for further consideration. These implications are by no means a complete list of the challenges and considerations that may arise from a change to a master's level entry, but do begin to suggest the magnitude of the change and its effect on the future of music therapy education and clinical training. The following table presents some of the implications of the proposed changes as well as some of the considerations and decisions still to be outlined and made prior to moving toward the master's degree entry into the profession.
 
Consideration/Implication Questions/Concerned Parties
Models * What will the master's entry educational program look like?
o Will some schools offer a pre-music therapy degree at the bachelor's level?
o Will admission to a master's degree program require a bachelor's degree in a different area of study before
entering a master's program focused only on musictherapy
o Will there be multiple paths to becoming a professional Board Certified Music Therapist?
o Will the master's degree require additional credit hours to provide the pre-requisites for advanced level
education and training?
o Will this provide more flexibility in designing curricula to meet various state licensure requirements?
o Will this address the issue of "equivalency" programs where both undergraduate and graduate students are
sometimes combined in the same courses, thus impacting the quality of advanced level education
and training in MT?
 
Academic Programs with Bachelor's Degree Programs Only
* Will academic programs need to hire additional full-time faculty?
* Will fewer full-time faculty be required if there is only one music therapy degree program?
* How many programs will not be able to offer a master's level course of study after the transition?
o An examination of current educational programs in July 2010 revealed that many of the current bachelor's only music therapy programs have professors and university resources that are qualified to offer a master's degree.
o Of the existing music therapy programs, 19 are in universities that offer graduate degrees, although not in music. At least two of these are planning master's degree in music therapy. Of the 19 that do not offer graduate degrees in music, 7 have no faculty member who holds the doctoral degree.
o Only one academic program is situated in a college that offers no master's degree and has no music therapy faculty member who holds the doctoral degree.
* What will current programs that only offer a bachelor's degree in music therapy do after the transition?
o If the transition has a provision for a pre-music therapy course of study, current bachelor's programs could affiliate with one or more academic programs that offer a master's degree allowing for students to directly transfer from the bachelor's program into the master's program.
* What changes will occur in requirements for professors when the transition occurs?
o For current faculty in AMTA approved programs, it is expected that a "grandparenting" provision would be provided as has occurred with all previous revisions to Standards. Any new standards would apply to new faculty.
o What degree/level of clinical experience would professors need to obtain/hold in order to teach master's level degree courses?
Competency Based Curricula * Which competencies from our two Competencies documents would be required for professional practice based on a master's degree?
o This will be determined after defining the models of curricular structures, revising all related documents,
and after extensive discussion and/or research within AMTA and with other related constituencies, such as
NASM and CBMT.
* Incorporating some advanced competencies into the entry level program should provide better preparation for         graduates taking the Board Certification Exam as well as for clinical service provision.
Clinical Training Experiences * As models as well as the curricula change, standards for clinical training experiences may change. This could
result in changes in pre-internship experiences as well as
internship experiences.
* Providing clinical training experiences at the graduate
level may better meet guidelines for state licensures, such
as in New York State where graduate credit must be
granted for internship experiences leading to Licensure in
Creative Arts Therapy.
* There will be implications for the following parties:
o Students
o Academic faculty
o Pre-internship supervisors
o National roster internship directors and supervisors
o University-affiliated supervisors
Current Professionals Who Have
Bachelor's Degrees
* What will be the grandparenting provisions for current,
bachelor's level music therapists?
o In the history of the music therapy profession as well
as related professions, provisions are normally made
for those persons currently studying and/or
practicing in the profession and changes are not
retroactive.
Budgetary Implications * These include, but are not limited to the following:
o Academic program costs - increases in professional
requirements for some professors; costs associated
with promotional material changes; possible increase
in program costs due to lower enrollment and higher
teacher:student ratio at the graduate level.
o AMTA - costs associated with promotional materials
(flyers, brochures, website, etc.); AMTA documents
o Students - increases in tuition and fees for graduate
tuition rather than undergraduate tuition; textbook
costs, loan fees, housing costs; time constraints for
longer course of study
NASM * Any new degree programs must receive NASM Plan
Approval from the NASM Commission on Accreditation
before the matriculation of students.
AMTA Document Revisions * Most AMTA documents will need to be revised or
rewritten to accommodate the change from a bachelor's
entry level to a master's level entry. This will require
13
AMTA committees to spend time in revisions with the
additional time for approval by the Assembly of
Delegates
o With the recent adoption of the Advisory on Levels of
Practice and Advanced Competencies, as well as
revisions in the Professional Competencies and
Standards for Master's Degrees in Music Therapy,
much of the foundation for document revisions has
already been developed.
Legal Needs/Implications * Numerous approval processes would be required,
including academic institutions, AMTA, NASM, and
possibly state Board of Regents (if applicable). The
institutional catalog in effect at the time a student enters a
degree program is considered a legal contract with the
student through graduation. This extends the transition
period considerably, since the catalog changes could not
occur until all of the approval processes have been
completed.
National Music Therapy Registry * Moving to master's entry would not affect the NMTR,
since it lists non-board-certified music therapists whose
professional designation was granted by one of the
former Associations and lasts only until 2020.
Timetable * As with other major changes in the profession of music
therapy, such as unification, the AMTA membership
would have much opportunity for input in the transition
process.
14
References
American Art Therapy Association. (2010). History and background. Retrieved July 17, 2010 from
http://www.adta.org/Default.aspx?pageId=378247
American Association for Music Therapy (AAMT). (1978). Manual for the approval of educational
programs in music therapy. Philadelphia, PA: Author.
American Dance Therapy Association. (2010). Education and training. Retrieved July 17, 2010 from
http://www.adta.org/Default.aspx?pageId=378247
American Music Therapy Association, (1999). Final report and recommendations of the Commission on
Education and Clinical Training of the American Music Therapy Association. Silver Spring, MD:
Author.
American Music Therapy Association. (2008). Professional competencies. Silver Spring, MD: Author.
American Music Therapy Association. (2009). Advanced competencies. Silver Spring, MD: Author.
American Music Therapy Association Task Force on Levels of Practice (M. E. Wylie, Chair). (2003).
Levels of Practice Task Force report. In Assembly of Delegates book (pp. 87-91). Silver Spring,
MD: AMTA.
American Music Therapy Association Task Force on Organizational Restructuring (M. Sandness, Chair).
(2002). Proposed AMTA organizational structure for councils and standing committees. In
Assembly of Delegates book (pp. 108-115). Silver Spring, MD: AMTA.
American Occupational Therapy Association. (2010). About state licensure. Retrieved July 10, 2010 from
http://www.aota.org/Students/Current/Licensure.aspx
American Occupational Therapy Association. (2010). History of AOTA Accreditation. Retrieved July 10,
2010 from: http://www.aota.org/Educate/Accredit/Overview/38124.aspx
American Physical Therapy Association (2009). Accreditation handbook. Retrieved July 10, 2010 from
http://www.apta.org/AM/Template.cfm?Section=PT_Programs3&TEMPLATE=/CM/ContentDis
play.cfm&CONTENTID=62414
American Physical Therapy Association. (2010). APTA vision statement for physical therapy 2020.
Retrieved July 10, 2010 from: http://www.apta.org/AM/Template.cfm?Section=
Vision_20201&Template=/TaggedPage/TaggedPageDisplay.cfm&TPLID=285&ContentID=320
61Art Therapy Credentials Board. (2010). Welcome to the Art Therapy Credentials Board, Inc.
Retrieved July 17, 2010 from http://www.atcb.org/
Bernthal, J. (2007). Looking Back and to the Future of Professional Education in Speech-Language
Pathology. The ASHA Leader. Retrieved July 10, 2010 from:
http://www.asha.org/Publications/leader/2007/070529/070529c.htm
Braswell, C., Decuir, A., & Maranto, C. D. (1980). Ratings of entry level skills by music therapy
clinicians, educators, and interns. Journal of Music Therapy, 17, 133-147.
Braswell, C., Decuir, T., & Jacobs, K. (1989). Job satisfaction among music therapists. Journal of Music
Therapy, 26, 2-17.
15
Bruscia, K. (1986). Advanced competencies in music therapy. Music Therapy: Journal of the American
Association for Music Therapy, 6A, 57-67.
Bruscia, K. (1987). Professional identity issues. In C. D. Maranto & K. Bruscia (Eds.), Perspectives on
music therapy education and training (Vol. 1; pp. 17-29). Philadelphia, PA: Temple University
Esther Boyer College of Music.
Bruscia, K. (1989). The content of music therapy education at undergraduate and graduate levels. Music
Therapy 7, 83-87.
Bruscia, K., Hesser, B., & Boxill, E. (1981). Essential competencies for the practice of music therapy.
Music Therapy: Journal of American Association for Music Therapy, 1(1), 43-49.
Certification Board for Music Therapists. (CBMT). (1983). Job analysis: Knowledge, skill and ability
statements. Philadelphia, PA: Assessment Systems.
Cohen, N. (2001). Graduate music therapy education: Past, present, and future prospectus. In D. S. Burns
& K. Harding (Eds.), Contemporary practice and future trends in music therapy: A celebration of
fifty years of music therapy at the University of Kansas (pp. 43-51). Lawrence, KS: University of
Kansas.
Cohen, N., & Behrens. G. A. (2002). The relationship between type of degree and professional status in
clinical music therapists. Journal of Music Therapy, 39, 188-208.
Credentialing Task Force (1991). NAMT Annual Assembly of Delegates Meeting, September 14, 1991.
Jensen, K. L, & McKinney, C. H. (1990). Undergraduate music therapy education and training: Current
status and proposals for the future. Journal of Music Therapy, 27, 158-178.
Maranto, C., & Bruscia, K. (1988). Methods of teaching and training the music therapist. Philadelphia,
PA: Temple University, Esther Boyer College of Music.
Maranto, C. D. (1989). The California Symposium: Summary and recommendations. Music Therapy
Perspectives, 7, 108-109.
NAMT Credentialing Task Force (C. Willeford, Chair). (1991, November 23-26). Report to the Assembly
of Delegates. From Assembly of Delegates Minutes, p. 4.
NAMT Subcommittee on Graduate Music Therapy Education (N. Cohen, Chair). (1997, September 12-
14). Texas Retreat. Unpublished paper.
NAMT Subcommittee on Professional Competencies (M. G. McGuire, Chair). (1996). Determining the
professional competencies for the National Association for Music Therapy: Six surveys of
professional music therapists in the United States, 1990-1996. Unpublished paper.
Scartelli, J. (1994, March). Position paper for graduate degrees in music medicine. Paper presented at the
Fifth International MusicMedicine Symposium, San Antonio, TX.
Vega, V. P. (in press). Personality, burnout, and longevity among professional music therapists. Journal
of Music Therapy.