Archive | Kat’s Musings RSS feed for this section

Many Paths Lead Us Home: Here’s Mine.

I love hitting two birds with one stone! With permission, I’m copying an email exchange with Sarah Bishop, a piano performance major (like I was!) at Point Loma Nazarene University. These interview questions are geared towards professionals in potential careers.

1. What is your primary professional role?

I am a board-certified music therapist and drum circle facilitator, working in various settings that include wellness, medical, corporate, and enrichment. In other words, I combine music with wellness practice to help people get unstuck and promote healthy living.

Kat's Music Therapy Jobs

2. What is your work today?

Most of my day-to-day work is with older adult communities. I use music therapy to assist in reducing agitation in memory care. I use music therapy to assist with pain management and enhanced quality of life in skilled nursing. I use music and wellness strategies to promote happiness and health in independent living communities.

I have several private clients with various circumstances: kids with special needs, neurological conditions, Alzheimers, and more.

Also, I do drumming for large organizations, corporations, camps, retreats, and wellness workshops.

I also write here at Rhythm For Good as part of my work. I love how the internet has opened up so many new connections that I would have never known about before blogging. Sharing and exchanging information and ideas with others here in the Cloud (the internet) ignites me.

3. Does your income flow directly from your musical life?

Yes! I’m fortunate to receive my income straight from my musical life.

4. Or, do you generate income from pragmatic means to support your creative work?

My creative work just happens to be pragmatic, but I didn’t plan it that way in the beginning. Eventually things fell into place. My income streams include: direct service, management services, consulting services, DVD sales, and affiliate programs. I love being self-employed because both the creative work and income stream options are endless.

5. How did you arrive in your current professional role?

Check the answer to #6 first. I was always interested in medical and wellness settings while attending FSU (specifically NICU Music Therapy). My internship with MusicWorx sealed the deal for medical and wellness.

6. What educational preparation did you pursue?

I earned my bachelors degree in piano performance and music theory (not therapy) from Furman University. I then attended USC for grad school, studied with Daniel Pollack, as I worked towards my masters in piano performance. One day after practicing hours, I realized that I needed more human interaction in my life. So, in 2002 I googled “careers in music,” music therapy showed up #1, and I thought “This is something totally different from anything anyone does in my family.” That was perfect because I’ve always been a little different from my family. =) Then I went to Florida State, got my masters in music therapy, attended an internship in San Diego, and VOILA! Here I am.

7. What life experiences prepared you?

The life experiences that prepared me for running a business was being around when my mom and dad opened a business with $0 income and 4 children in 1984. They paid me $4 to clean the office, and my dad required an invoice… even when I was 8 years old. I always signed the invoice personally with “Thanks for using KB Services.” (My family calls me “KB.”)

Once I received the $4 check, my mom took me to the bank, and we deposited $2. I was fortunate enough to keep the remaining $2 for all the spending my little heart desired! ;) It was really cool. I love remembering those days.

My brother bought out their business, and you can check them out here.

8. Were there particular relationships that led you to this work?

Truthfully, no one in my undergrad knew anything about music therapy. I would have never known about it had I not googled “careers in music” in 2002. But I’ve always wanted to exchange kindness and love with others. I’ve always wanted to help people and give to those in need. And I’ve always felt power in music. Music has always moved me, so it only made sense for music to move people in need and provide the catalyst for change and healing.

Perhaps it has been every relationship in my life that has led me to this work. I have amazing friends, past and present, who have moved me in so many ways. Remmie was a member of the church where I played the organ in Greenville. His kindness and generosity had a huge impact on me in college. My aunt is an artist, and she has always inspired me to be myself and do what I love. My parents have always been supportive. And even those moments in relationships where it seems like I am unsupported have impacted me to just be myself, listen within, follow my heart, and allow myself to be drawn to my own personal path. There are many paths that lead us home.

9. Do you have a personal statement “Mission” or “Purpose?”  If so, when did you discern or create this for yourself?

Be well, feel good, and make MUSIC! I came up with that a few years ago when I needed a one-sentence zinger for my purpose. I’m here to empower people to feel good and make music. It’s that simple. You can learn more about me here.


Thanks for the questions, Sarah! Whew, now enough about me. If you are considering career options, I hope you can flow with your own unique path that leads you to your dreams. That’s really the essence of life: Realizing your dreams. Thoughts? Comments? Love to hear from ya~

Comments { 2 }

All aboard! #WRAMTA11 Low-Down

Queen Mary

#WRAMTA11 is the Twitter hashtag for the 2011 Western Region American Music Therapy conference. If you were able to follow the excitement this past weekend on Twitter, then #WRAMTA11 was the special code that let you in on all the conference goodies, tweet by tweet!

If you didn’t follow us this year, then consider next year #WRAMTA12. Or consider following the national conference hashtag in November: #AMTA11. People are already tweeting about it.

Now for the low-down. We all stayed aboard the massive ship in Long Beach known as the Queen Mary. We were literally rocked to sleep at night, and surrounded by incredible, historical woodwork during the day. The conference rooms were gorgeous. I’ve never stayed on a boat like this – definitely an experience to remember. Oh, and the ship is haunted, but I didn’t have any “encounters” during my visit.

After a couple of incredible institutes (Strength-based improvisation and Nordoff-Robbins Music Therapy), we opened the conference with The WRAMTA Tonight Show! Tim Ringgold took the stage as our host for the evening. He played back and forth with the *sizzling* house band, special musical guest (Summer Mencher), and featured guest (Barbara Reuer). The topic of the night was building a recession-proof career.

Tim made a point to inform attendees that we were all GUESTS and to be taken care of during our stay on board! After opening night, not only were we uplifted and inspired by the recession-proof talk and house band, but also we knew that we were taken care of. I have to say, this opening show sets the bar pretty high for conferences in the future that I attend! Nice job, Tim!

Special thanks also goes to Helen Dolas, local committee chair – amazing job putting it all together!

Highlights of #WRAMTA11:

  • Yoga on the boat deck. Instructors were Ami Kunimura and Victor Lissabet.
  • Silent auction with over 100 items!
  • Stellar presentations that covered these topics: drumming, pain management, adolescent populations, reimbursement, international activity, aroma drum, neurologic music therapy, private practice, and a silent film!
  • John Fitzgerald of REMO facilitated our drum circle. Afterwards, Kalani facilitated a Spirit Drum Dance.
  • Passages conference for students and young professionals ran all day on Sunday.
  • Tons of helpful, high-quality CMTEs were offered, including my Online ZEN workshop on Sunday.

Next year #WRAMTA12 will be in Salt Lake City, UT! Come out and join the fun!

Rangers

One more tidbit here: Carolyn Dobson, colleague in California somehow pulled me into Rangers opening day. All this happened before I had time to remember my beloved Padres! But I figure since the Rangers are in the American league, it’s ok. CLAWS AND ANTLERS!!

Did you go to #WRAMTA11 or any other regional music therapy conference? Tell me about it! And if you’ve written about it, then include a link to your post below….

Comments { 2 }

Laryngitis And Letters To My Throat

One of my most favorite blogs is run by Rachel Rambach at Listen and Learn Music. She is a blogging queen! And a great role model for anyone interested in (1) starting a blog or (2) improving a blog.

In one of her latest posts, she mentioned that she lost her voice. I commented and mentioned my month of silence a couple of years ago. Then she asked me over Twitter to explain more about my experience. And she wanted ALL the details. So, here’s what I remember! (Short story is that I lost my voice on a monthly basis starting in October 2008, until I finally took an entire month off work and didn’t speak a word in April 2009.)

The Trials and Tribulations of Fall 2008: In October of 2008, I caught a mild cold. I felt well enough to continue to work, and so I did. My schedule consisted of 3 adult sessions plus 1 or 2 early childhood classes per day. Sometimes I facilitated bedside music therapy, sometimes groups, sometimes individual home-based clients. But all the toddler groups were held in private homes with sometimes as many as 14 kids with their parents.

So, needless to say, I lost my voice in October. Gone. Poof. But, fortunately, I got it back quickly, and resumed work. I kept up my hectic schedule however. In November I caught another mild cold, and started to lose my voice. I canceled a couple of sessions, then resumed work soon thereafter again.

Same thing happened in December. I caught another cold, started to lose my voice. I continued to work, taking a few sessions off here and there.

The Frustrations of Winter 2008-2009: When I caught another cold in January, I felt pretty frustrated. My voice was raspy, tired, and weak. Again, I canceled when I had to, but being self-employed with no “sick days” pressured me into remembering the importance of paying rent. [Oh yeah - Gotta do that...]

I started using more recorded music in sessions, movement, miming, drumming with no chanting or singing, stretching, and anything else I could possibly think of to reduce the strain on my voice. When I look back, none of it helped me. The less I used my voice, the more I used and abused the rest of my body. I would come home *really* exhausted. My legs HURT. My back was in PAIN. Even being in great physical shape did not alleviate the stress that I held in my body while I facilitated sessions. The pain in the rest of my body gave me an anxiety lump in my throat, which then hurt my voice even when I wasn’t speaking. (More on anxiety lump in the throat below…)

Again in February, same thing. I lost my voice. Each time, my voice became worse and worse. Each time, I felt more and more pain in my throat. Each time, I became more down on myself, mildly depressed. But I persevered. After all, it’s the hard work that pays off in the end, right?

Wrong. It happened again in March! This time, I had an EXTREMELY important presentation the day after I caught laryngitis. I couldn’t miss this presentation, or so I thought. I felt like I was at the end of my rope. I did something that I hope I will never do again: I visited an ENT (ear nose throat doctor) to get a steroid to help me through just this one presentation. So, I awoke the morning of the presentation with absolutely NO voice. I inhaled the steroid. That gave me a man’s voice for an hour to give the presentation. Then my voice flew the coup again in the car on the way home from the presentation.

Major Reality Check of Spring 2009: I had gone a bit too far I think. I remember taking a nap after that presentation. As I lied down, I decided that I needed a major lifestyle change. So, I conspired with another friend who had similar vocal issues. We decided together to take a bunch of time off work in order to rest and heal completely. Besides, every time I went back to work, my voice was never 100%. I was hoping that if I took a bunch of time off, then my voice would return to 100%.

And we did. My friend and I took the entire month of April 2009 off work. It was wild! It was a stay-cation! I did a lot of writing. I carried around a whiteboard where ever I went. I constantly wore scarves and carried around hot teas. I did not speak, whisper, whistle, or make a peep. I wrote emails to local voice experts asking how I can adjust my vocal technique. I planned for voice lessons in May, specifically to address my technique.

I even went on a blind date during my month of silence. It was hilarious. He agreed to take the silence vow, too. So we only wrote notes and drew pictures back and forth while walking around La Jolla, CA.

I went to Whole Foods and tried all the weird and crazy vitamins, teas, elm bark, St. John’s Wort, ginger root, bioplasma, and things I can’t pronounce. (Actually, I LOVE roasting fresh ginger tea even now. Delicious.)

But towards the middle-end of April, it was hard. I cried a lot. It was really frustrating and difficult. I wanted to get back to work, but I never wanted to lose my voice again. I was afraid. But I did a lot of self-investigation in the silence, and I think I grew a lot as a person. It was worth it.

What was causing the laryngitis? I did some energy work to figure out what the DEAL was with the obnoxiously recurring laryngitis. I learned that the throat is one of the most common areas of “getting stuck” with women. The throat is the body’s center for communication, self-expression, creativity. Why was I getting STUCK there over and over?

I also became more aware that any time I felt anxiety, I would get a lump in my throat. I still do now. I remember getting this lump when I was a little girl, too. When I was a little girl, I was always really really afraid of getting in trouble, and I always wanted to be GOOD. Here’s what I think my throat was saying to me then:

“I want to say something, but I’m afraid I’ll be severely punished if I speak my mind.”

And here’s what my throat says to me now:

“I want to say something, but I’m afraid I won’t get approval for what I have to say.”

Pretty common theme in my life. I started writing letters to my throat. I won’t share them here because they are terribly long and sappy. But you get the point. I realized that in order to heal my voice, I have to heal my stress, and heal my whole body. I can’t get along with substituting movement and miming for the voice. If my voice hurts, then I have to spend more time listening to what’s going on in my whole body/mind/spirit.

Alright, so I started healing in April and thinking ahead. Once my voice reached 100%, I knew I would need a good strategy for keeping it that way. And so I birthed these ideas about taking care of myself before my clients (way before the blogging bug hit me!). I followed tips #2, #4, #5, and #6 for myself in every session when I came back to work. I lightened my physical exertion. This was back in the day when I used to jump around and move theatrically with crazy facial expressions just to get a tiny movement response from a client.

I realized that excessive physical exertion wasn’t necessary.

This was also in the days of putting lots of “expression” into my voice (also to get client response): Louis Armstrong-esque grumbles while singing the blues, super high notes, singing loud, pushing chest voice.

I realized that excessive vocal exertion wasn’t necessary either.

And the coolest part was that even though I came back a calmer, quieter, and more introspective therapist, my clients were all still super happy. I would still get great responses and reach my clinical objectives, and nobody fired me even after returning to work with a renewed “self-preservation” attitude. Oftentimes I get an even greater response from clients because I stay grounded, centered, and self-preserved in sessions.

When I returned to work, a couple of my toddler groups had dissolved. Then eventually over the next year, I graduated all of them out of my studio and into their next musical adventures. Everyone went separate ways. And I was no longer exhausted at the end of my days. I think my voice and I could handle one toddler group at a time now, but I haven’t facilitated any toddler classes in about a year. I’m getting some inquiries and interest, so we’ll see what happens.

All in all, here’s what I learned:

1. If my voice is tired, it’s my entire body that needs a rest. The miming, movement, drumming, and instrument-playing is not a good substitute for my voice. It works temporarily, but when the laryngitis recurs over and over, it wears on the whole body. When it comes to prevention, I lean towards the “body as a whole-system” idea rather than only treating the voice and throat. I get headaches when I’m hungry (two distinct areas of the body), I get butterflies in my stomach when I’m nervous (emotion –> body part), my voice reacts when I stub my toe (two distinct body parts), and when my voice hurts, I’ve personally experienced faster healing when my whole body rests and heals.

2. There needs to be an even exchange of energy throughout my day. If I’m putting out tons of energy, and not conserving any for myself, if I’m exhausted by the end of the day, if I have any pain in my body anywhere at any point during the day, if my voice starts to feel strange, then I have to take time to pay attention to myself, conserve energy, alleviate my stress, and clear my mind completely. Whether I stretch for 5 minutes, go for a 3 mile run, do Bikram, jump in the ocean, sit quietly doing absolutely nothing, or cancel sessions. Clearing my mind and moving my body are important for me to feel good. Now, when I go into a session, I have the mindset of conserving my energy.

3. I don’t have to make all my income in my session hours. When I scaled back my sessions, I made less income at first. NOTHING to me is worth the risk of losing my voice, not even money. Instead of freaking out because I was making less money, I really felt deeply grateful that I had a voice. Everything happens for a reason, and everything always works out in the end because… I was inspired to find other income streams. Now I have my Drumify DVD and the affiliate programs mentioned on the Disclaimer Page. Plus I subcontract out some work through my company Sound Health Music. I’m also learning to live with less and minimize my lifestyle. In addition, I’ve adopted this philosophy: I’m a producer, not a consumer.

4. I can cancel any session, any time, and nobody is going to fire me. I’m a total wimp about being sick and canceling now. If I have the slightest throat tickle with sniffles, I immediately and shamelessly cancel sessions. It is rare because my default setting is more like work hard + play hard, and I don’t get sick very much (knock on wood). But also I can make sure I’m not canceling the same clients over and over since I bounce around dozens of facilities. This is “Complete Opposite Kat” from when I was a kid and had to attend school regardless of how badly I felt. I quickly got over that however. =)

5. My absolute, number 1 clear and true priority is my health. NOTHING to me is worth the risk of losing my voice. Ever again. By the power vested in the kingdom, the power, and the glory. For ever and ever. Amen.

Comments { 28 }

Music Therapy State Recognition Operational Plan

Many of us music therapy bloggers are participating in an advocacy project for the month of January, and here’s my post to add to the mix!

Our plan this month is to increase awareness of what board-certification means. We’d like to make sure that the MT-BC is a minimum requirement as a service provision in every work setting. In other words, if someone is practicing “music therapy” in the US, they should be board-certified. **See more below.

So, get involved! If you are in the Western Region, please look up your state task force leader, and get in touch to let him/her know that you are ON BOARD for Government Relations at WRAMTA.org.

Check out the Certification Board for Music Therapists and the American Music Therapy Association for more information. And you can check out the official press release at WRAMTA to see the list of participants in this project.

What is advocacy? Here’s what I found at TheFreeDictionary.com:

ad·vo·ca·cy  (dv-k-s) n. The act of pleading or arguing in favor of something, such as a cause, idea, or policy; active support.

So, you are an advocate when you are:

1. Writing letters to your legislators educating them about music therapy,
2. Describing and explaining what music therapy is to a stranger or friend,
3. Making presentations about music therapy to anyone anywhere (e.g. conferences, local Rotary clubs, teachers in a school, associations),
4. Writing educational posts about music therapy online on any website,
5. Providing music therapy service or consulting during which observers are educated about music therapy,
6. Marketing for your music therapy business,…

AND you don’t even have to practice music therapy to be an advocate. You’re even an advocate if you share this post with someone on Facebook or Twitter! (Thanks in advance ;) ) Feel free to share on Facebook or share on Twitter!

**One last thing to remember: Some of our biggest allies are drum circle facilitators, sound healers, music practitioners, and other healthcare professionals such as physical therapists, speech therapists, etc. Let’s continue to network, collaborate, and befriend with generosity and kindness.

If you like this post, you might also like to read:
Drum Circle Facilitation and Music Therapy
MythBusters Countdown #3: Music Therapists are Entertainers
MythBusters Countdown #2: Kum Bah Yah Campfire Tours

Image: Altemark under CC BY-SA 2.0

Comments { 0 }

Creativity in Music Making

I had so much fun writing 9 Crazy Ideas for Playful Spontaneity During the Work Day. I remember that while I was writing, I put myself through all the suggestions (pretty intensely, too): sculpting in the air, hand-dancing on the desk, etc. Here’s another post that I had a blast writing~

It’s the new year, and it’s time for some new ideas, new session plans, and new music-making experiences! Last year, I shared my New Year’s Ritual with Older Adults, and here’s what’s on my mind behind the scenes that will freshen up my practice this year:

To preface the following thoughts, the #1 thing on my mind is the best interest, therapeutic goals, and overall wellness of the client. These ideas go hand-in-hand with the fundamental client goal and well-being:

1. Client initiates spontaneously. When I’m really tuned in to how my clients are making music in the session, I can match, morph, mingle, and move with their creation. It’s all about listening to my clients. I can’t count how many of my session plans have come from my clients’ spontaneity. Oftentimes, I can use one client’s idea to address a goal for a different client in another facility.

Here how I practice transferring daily routine listening exercises to improved listening in therapy practice: Distinguish between the instruments in orchestral or pop music. Pay attention to the birds while making out the rustle of the leaves. Notice all the elements: timbre, volume, pitch, texture, etc. See how quickly you can identify the location of an ambulance as soon as you hear the siren. Then, naturally move and groove with all the sounds going on with the body and the voice. Lots of fun!

2. The facilitator initiates spontaneously. When I find myself in the moment, listening to my clients, being present with my clients, and lost in the world of experience right then and there, spontaneous ideas abound. They seemingly come from nowhere. In addition, I find that the times when I’m the most spontaneous are the times when I’m taking the best care of myself.

3. Planned ideas. Preparing new songs, new techniques learned from others, and new ways to connect in my sessions is a huge undertaking for me this year. I’m looking forward to using familiar and non-familiar music, reading more books, and reading others’ blogs about their music-making experiences to spice up my sessions. It feels great to have a good balance of being prepared and spontaneous (adaptive).

4. Mash-ups. When I’ve had some time to massage one idea thoroughly, and when I allow plenty of space for multiple ideas to mingle and mesh, mash-ups just happen. I’ve been inundated with mash-ups for a few months now. The Drumify DVD is really just a massive mash-up between drumming and popular old dances.

The trick is to have a healthy balance of prepared ideas to meet goals AND an in-the-moment flexibility to adapt to whatever energy the client brings into the session. Perhaps on that day, at that time of the session, there’s a micro-goal based upon mood (e.g. reducing agitation). Sometimes, I just throw the original plan out the window, and the session goes swimmingly because I’m able to adapt and be present in the moment.

Both planned and spontaneous methods are opportunities for creative expression. How do you freshen up your creative style?

If you like this post, you might also like:
Personal Experiment: Music, Art, and Dance All Day
17 Musical Instruments You Can Find in Your Workplace
Say It So You Can Play It

Comments { 13 }