Spring 2014 Discount for IMCAP-ND Products!

Hi all, Developmental Music Health is kicking in Spring 2014 by offering a 15% DISCOUNT  for the next 7 days on all IMCAP-ND products. Beginning today, March 18th 2014, and through March 25th, we are offering a 15% discount on all  IMCAP-ND Clinical Manuals and IMCAP-ND Rating Scale purchases. This offer will ONLY last 7 days (ending March 25th). To receive your 15% discount, simply click on the link below, choose the product that you would like to order, and then simply enter the promotional discount code: IMCAPDIR To place your order and to find out more about the IMCAP-ND Manual, please click HERE.  For international orders, please click HERE. Also, if you are interested in learning more about how to applying and integrating the IMCAP-ND into your clinical practice, check out out our upcoming IMCAP-ND CMTE courses that will be offered in Maryland, New York, and Virginia! This exciting NEW 2-day course (with post-course assignments) provides music therapists with the opportunity to EARN 35 CMTE credits! Musically, John

Paul Nordoff’s Thoughts on the Diminished 7 Chord

Hi all, Paul Nordoff believed that the diminished 7th is one of the most important chords in music (Nordoff & Robbins, 1998). The diminished 7th brings with it so many harmonic possibilities. Therefore it is a tremendous asset for the music therapist to have at finger tips when engaging clients in musical experiences. . This post will discuss two functions of the  diminished 7th chord: 1) as a passing chord and 2) as a pivot or modulating chord (functioning as a Dominant 7th chord). Diminished 7th as a Chromatic Passing Chord Using the Dim 7th as a passing chord can help guide a melody, creating a bridge to the subsequent chord. This bridge can create tension, setting up the resolution for the following chord. This structure between tension and resolution is what helps the music move, breathe, fluctuate, anticipate, and provide meaning for what is about to happen. Depending how long you sustain the tension and delay resolution can alter “musical-time” and provides the clinician with a way to alter the future based on the client’s interaction. Here’s a simple example of the Dim 7th being used as a passing chord: Diminished 7th chord being used as a passing chord Exercise examples: IM–>   I#°7  IIm7- V7à  I IM–> I#°7à IIm7-  II#°7- I-  V7-  I IM–> I#°7  IIm7-  II#°7- IIIm6- IV°7-  V7-  I Functioning as a V7 Substitution The diminished seventh chord is often used in place of a dominant 7th chord. In the key of C Major the V chord, G dominant 7th (which is made up the notes G,B,D,F) can be replaced with a G# diminished seventh chord (G#, B, D, F). In order to create chromatic movement, you can play a B diminished […]

“Using” vs “Working-In” Music in Music Therapy? Huh? Is there a Difference?

Hi all, Just jotting down some quick notes/thoughts on a topic that continuously pops up for me as a clinician, supervisor, and educator: the concept of music being used versus music being worked in in therapy. One word treats music as a thing, and the other as a verb. For me, the differences are pretty significant, and are a critical factors in establishing my identify as a  music therapist. The purpose of this post is to flesh out some questions and encourage dialogue. These ideas, thoughts, and questions are by no means something new, and in fact are consistently brought up via social media. So, as music therapists, why do we play and make music, or create music experiences with clients? Does the musical experience really matter? Is the music more about being some-thing that is sound-based and seeks nothing more but to alter a behavior (i.e. I play this and you do that. If you don’t do that, I keep playing this to make you do that because I want you to do that)? Is the music about the experience occurring between you and the client as a relationship unfolds? And if so, how can the relationship foster health? Furthermore, is it (music therapy) about using music as a stimulus (i.e. stimulus-response based work)? Or, Is it about working in music and experiencing the things that are unique about it, i.e., aesthetic and relational elements? The “keys” here, I believe, are the words “using” and “working.” Can a music therapist do both, use and work in music at the same time? Is that really possible? Can both paradigms be blended together? Does one cancel out the other? […]

Book Store – International Orders!

DMH Music Therapy has launched an International Book Store Page. Consumers can now order items directly from the page. Please note that shipping and tax will apply. Please stay tuned for additional books coming soon! Thanks for reading! All the best, DMHS  

IMCAP-ND CMTE Course on May 3 & 4th at Howard Community College

Hi all, I am excited to annouce a NEW IMCAP-ND CMTE Course being offered at Howard Community College in Columbia, MD on May 3rd and 4th. This 2-day course offers music therapists an opportunity to earn 35 CMTE credits while gaining an in-depth view on the practical and theoretical perspective on the IMCAP-ND. This includes musical and extra musical application, scoring techniques, data analysis, goal and report writing, and communicating results to families and professionals. “The IMCAP-ND adds to multidisciplinary, developmentally-driven ways to discern and strengthen human capacities. The ‘right brain’ is given voice in the IMCAP-ND and offers all pediatric disciplines a window into the full range of human drama.”  -Gerard Costa, Ph.D. (Psychologist) “… Dr. Carpente provides an invaluable resource for music therapists who provide services to people with autism and other neurodevelopmental disorders.” Elizabeth K. Schwartz, M.A., LCAT, MT-BC, (Music Therapist) “This clinical manual will be an indispensable tool for all music therapists who believe in the power of affect to help clients relate and communicate through the experience of musical-play.” Cecilia Breinbauer, M.D. (Physician)  ***FOR COURSE DETAILS & REGISTRATION INFORMATION CLICK HERE***    

Is Music a Domain of its Own?

Hi all, Over the weekend I presented to students and therapists at Indiana Purdue University. Part of the discussion revolved around music being a domain of its own. This is a topic that my colleague, Dr Brian Abrams and I, chat about quite often. (As a matter of fact, Dr. Abrams will be discussing this at his upcoming talk at St. Mary of the Woods this coming weekend). Would you agree that when a client is engaged in a musical experience, with his/her therapist, that it is the experience of playing music that crosses into all conventional domain areas (e.g., social, emotional, physical, cognitive, etc.)? If we agree that this is true, then why is it that on most music therapy assessments is music either a) stated as a separate area?, b) not listed as a domain area?, or c) not listed at all (except to write the client’s musical preferences). If the experience of making music does in fact cross into all other conventional domain areas, should music simply BE the domain that the Music Therapist is assessing and working with? It would be great to hear from others regarding this subject. Best, John YOU CAN ALSO JOIN THE CONVERSATION ON THE FACEBOOK: IMCAP-ND (MUSIC THERAPY ASSESSMENT)

CMTE Course: IMCAP-ND Certificate Training (35 Credits)

Dear Colleagues, In collaboration with Connecticut Music Therapy Services, LLC (CBMT Approved Provider P-#0130), Developmental Music Health Services, LLC is offering the first IMCAP-ND Certification Training.  This training will take place Friday, February 21 and Saturday, February 22.  Combined with post-course assignments, this course offers 35 CMTE Credits. Please view the full course information here: http://ctmusictherapy.com/wordpress/for-music-therapists/cmte-imcap-nd-certification-training/ and note that the earlybird registration deadline is 1/22/13 and that we have a limited number of seats available for this course. Watertown, CT is situated in scenic Litchfield County, CT, less than a 2 hour drive from both New York City and Albany, NY. Additional travel information is also available on our site: http://ctmusictherapy.com/wordpress/for-music-therapists/travel-and-lodging-information/ For additional information call 203-394-3033 or email jen@ctmusictherapy.com with any questions. OTHER ANNOUNCEMENTS! 1) Website UPDATE- the Developmental Music Health website is working its way back to being functional again! (DMHmusictherapy.com will be hosting this blog)  2) See us on Facebook– to see our weekly updates and happenings, please “friend” us on Facebook. All the best, John

The Mother, the Baby, and the Song (MUSIC) / MÃE, BEBÊ E MÚSICA

Hi all, The following post is authored by my good friend and colleague, André Brandalise. Andre is a music therapist residing in Porte Alegre, Brazil. His post is a response regarding a YouTube video that featured a mom singing to her crying baby. This video drew a great deal of attention throughout several media outlets in Brazil including the popular television program, “Fantástico.” PLEASE NOTE THAT THIS POST IS WRITTEN IN BOTH, ENGLISH AND PORTUGUESE. In Brazil there is a very popular TV show called “Fantástico.” It made its premiere in August 5th, 1973 and became a show dedicated to the Brazilian family which goes on air every Sunday night. It brings different attractions and, among its purposes, does not have the objective to discuss topics in a very deep level. However, it is considered a serious show conducted by important journalists who cover the main facts of the Brazilian week. Well, on Sunday, November 3rd the show tried to understand the phenomenon illustrated through a youtube video. CLICK HERE TO VIEW VIDEO In this video the reader will see a mother singing to her baby who reacts to it in a very emotional way. The video became really popular in Brazil and Fantástico decided to discuss the phenomenon. In order to understand it, journalists decided to interview professionals of different areas. It was unbelievable that journalists decided not to interview music or music therapy professionals. The interviewd professionals, who may be excellent professionals in their areas, do not have the obligation to understand phenomena involving music therefore what they said, even though made sense about the video, explained only partially what had happened. The interviewd psychologist, for […]

From Emotion to Comprehension: Implications for Music Therapy?

Hi all, after a recent discussion with colleagues regarding the the lens in which we, as therapists, assess and work with client’s specifically in the areas of affect or emotion and cognition, several questions emerged that I like to ask the good folks who follow and read this blog. I would love to hear what others think. So, here goes:: 1) is it possible for the music therapists to assess emotion or affect through a cognitive lens? 2) Is it possible to assess affect or emotion without context of an emotional experience? 3) Is it possible to assess cognition without considering emotional or effective processes? (in other words, can cognition be assessed as an isolated domain area?) 4) If any of the above are answered with “yes,” does that imply that emotion can be “taught”‘ through cognitive processes ( such as teaching a child the emotion of anger through a song that includes the theme of anger, or via a photo of an angry face). 5) Can emotion be assessed and fostered or “learned” via relational experiences that embody emotion or affect (in other words, “learning affect or emotion, through and in actual experiences)? Thoughts? In thinking about I began to think about a terrific chapter written by Dr. Stanley Greenspan , The Affect Diathesis Hypothesis.  The chapter is taken from the ground breaking book: The First Idea: How Symbols, Language, & Intelligence Evolved from Our Primate Ancestors to Modern Humans. Although Greenspan contextualizes that particular chapter within autism spectrum disorders, he is basing his theory on typical child development. Thanks for reading, folks! Best, John

Scoring IMCAP-ND: Using Numbers to Understand Relational Musical-Play Between Client & Therapist

HI all, This blog post is inspired by a recent presentation in which I provided an overview of the Individual Music-Centered Assessment Profile for Neurodevelopmental Disorders (IMCAP-ND: A Clinical Manual there appeared to be an interest and somewhat a misunderstanding pertaining to the value of the rating scale numbers. It seemed as though some of the participants had difficulty understanding the true purpose of the rating scale numbers. To me it seemed that some folks were “mixing” working paradigms and thus may have been missing how the IMCAP-ND incorporates the value of the ratings. For example, how can you make sense or meaning, in regards to assessment, of relational and emotional  experiences in musical-play if you  if you are using a cognitive lens. The IMCAP-ND was created as a means of understanding  the client from the from the perspective of looking and listening to him/her from  “ground-on-up,” within the context of relational musical-play.  Hence, it is a developmental relationship-based framework that seeks to understand how the client perceives, understands, and make music with the therapist. That being said, the frequency scale numbers of the IMCAP-ND are basically anchors that provide the therapist with a “musical” guide pertaining to understanding a particular target response provided by the client within the context of relational musical-play. Thus, it places responsibility onto the therapist in the areas of understanding a) the constructs and operational definitions of each music domain area, b) how to provide musical experiences or opportunities (and, how many) for the client in order to assess specific target response, c) how to observe visually and via listening,  d) what is intentional in terms of the client […]