Dear Music Therapist: Thank you for your interest in establishing an

8455 Colesville Rd. Suite 1000 | Silver Spring, MD 20910, USA | 301-589-3300 | www.musictherapy.org

Dear Music Therapist:

Thank you for your interest in establishing an internship program at your facility. The documents in this

packet will provide the details and procedures for establishing an AMTA National Roster internship

program:

♦ National Roster Internship Application

♦ National Roster Internship Guidelines

♦ Standards for Education and Clinical Training

♦ AMTA Professional Competencies

♦ Association Internship Approval Committee List

♦ Philosophy of the Music Therapy Program

♦ Sample Form: Intern Evaluation Form

Please complete the entire Internship Application, save as a PDF file and EMAIL to

[email protected]. Incomplete applications will not be reviewed. On the last page of the

application, “Responsibilities of the Internship Director,” please check the box to signify you understand

and accept the responsibilities of the role of Internship Director. This will serve as your signature. The

sample forms can be used as is, or you can use them as a guide to developing your own forms.

Regarding Letters of Support/ Recommendation (page 2 of application, letter G), they can be scanned

and sent as attachments with your application, or faxed (301-589-5175, or mailed. If the letters are

being faxed or mailed let me know at the time you email the application.

The Standards for Education and Clinical Training includes a description of clinical training as it relates to

pre-internship and internship. They are included in this packet to so you can familiarize yourself with

them and see how they relate to you as a potential Internship Director.

The AMTA Professional Competencies are used by all AMTA approved schools in their curricula, and

internship programs use the document to identify which competencies are addressed during the

internship.

Feel free to contact me if you have any questions.

Sincerely,

Jane P. Creagan, MME, MT-BC

Director of Professional Programs

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National Roster Internship Guidelines

Revised 2017

Table of Contents

A. GENERAL REQUIREMENTS

1.0 Eligibility of Settings

2.0 Length of Internship

3.0 Ratio of Supervising Music Therapists to Interns

4.0 Application and Approval Process for National Roster Internship Programs

5.0 Instructions for Submitting Exceptions

6.0 Supervision and Intern Evaluation

7.0 Changes in an Established Program

8.0 Removal from the National Roster

B. INTERNSHIP DIRECTOR

1.0 Requirements

2.0 Responsibilities

3.0 Regulations for Internship Applications

4.0 Verification of Internship

C. SUPERVISING MUSIC THERAPIST

1.0 Requirements

2.0 Responsibilities

D. STUDENTS/INTERNS

1.0 Eligibility for Internship

2.0 Application and Acceptance Procedures

3.0 Intern Responsibilities

E. ACADEMIC FACULTY

1.0 Responsibilities

F. PROCEDURES FOR REPORTING NON-COMPLIANCE

1.0 Process

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A. GENERAL REQUIREMENTS

1.0 ELIGIBILITY OF SETTINGS

Any facility, group of facilities, or private practice that provides music therapy services, is

dedicated to using music in a therapeutic manner, and retains a music therapist who meets the

AMTA requirements for Internship Director (see section B1.1) is eligible to apply for a National

Roster internship program.

2.0 LENGTH OF INTERNSHIP

2.1 The student affiliation or internship shall last for a minimum of 900 hours or any greater length of

time needed to fulfill the clinical training requirement of 1200 hours.

2.2 When a student is unable to demonstrate required exit level competencies, additional hours of

internship may be required of the student by the internship program in consultation with the

academic institution.

2.3 Internship experience may be discontinued as a result of direct violation of facility personnel policy

and procedures.

2.4 Each internship program must have a policy and procedures document concerning the dismissal of

an intern that is reviewed with each entering intern during the orientation process.

2.5 When an intern’s performance in the internship is unsatisfactory in any way, the internship director,

intern and academic program director and/or academic faculty will review the internship agreement

and make any necessary changes to address the specific problem areas.

2.6 An intern may elect to resign from the internship with written notification to the Internship Director

and Academic Program Director in accordance with university and facility policies and procedures.

3.0 RATIO OF QUALIFIED MUSIC THERAPISTS TO INTERNS

3.1 For each supervising music therapist employed full time, no more than two (2) interns may be in

training at any given time. This same ratio applies for those sites with both National Roster

approval and University affiliation when interns from both programs are at the site simultaneously.

3.2 For each part-time supervising music therapist, only one (1) intern may be in training at any given

time.

4.0 APPLICATION & APPROVAL PROCESS FOR NATIONAL ROSTER INTERNSHIPS

To be listed on the AMTA National Roster, the internship program must be approved by the AMTA

Association Internship Approval Committee. Steps for approval are:

4.1 Complete National Roster Internship application. Applications are available from the national

office.

4. 2 Email the completed application materials to: Jane Creagan, MME, MT-BC at

Creagan@musictherapy.org

4.2.1 For international applications email completed materials in English to the above address.

4.3 When application materials are received by National Office, a tracking number will be assigned

and the applicant will be notified.

4.4 National Office will ONLY forward complete application materials to the Association Internship

Approval Committee for review. If information is missing, the application will not be forwarded to

the Association Internship Approval Committee and the applicant will be contacted by National

Office.

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4.5 Additional information, and/ or clarification of application materials may be requested by the

Association Internship Approval Committee.

4.6 When review of application materials is completed, and approved, the Association Internship

Approval Committee chairperson will notify the applicant and an official approval letter will be

issued by the AMTA Executive Director. Copies will be sent to the Association Internship

Approval Committee chairperson, Association Internship Approval Committee regional

representative, and the CEO of the site.

4.7 If review of application materials is completed and the application is NOT approved, the applicant

will be notified by the Association Internship Approval Committee chairperson and an official letter

will be issued outlining rationale for the committee’s decision.

4.8 Unless the internship site has an established affiliation with the intern’s university, it is not eligible

to accept interns or applications until official approval has been granted by AMTA.

4.9 Sites listed on the current AMTA National Roster, plus subsequent addenda on file in the AMTA

national office, are considered approved by AMTA.

4.10 National Roster Internship approval is contingent upon submission of updated information about

the internship program, including all staff changes as they occur and submission of an annual report

to the national office and regional representative.

4.11 In the event that all National Roster Internship Guidelines cannot be met, an exception request may

be initiated at the time of application. (See section 5.0 Instructions for Submitting Exceptions).

5.0 INSTRUCTIONS FOR SUBMITTING EXCEPTIONS

5.1 When the National Roster Internship Guidelines cannot be met, an exception request may be

initiated by a site which is applying for national roster approval, or as needed by an existing national

roster internship site.

5.1.2 Email the exception request to: Jane Creagan, MME, MT-BC at

Creagan@musictherapy.org

5.1.3 For exception requests from international sites, email the request, in English, to the above

address.

5.2 When the exception request is received by National Office, a tracking number will be assigned and

the internship director will be notified.

5.3 Additional information and/or clarification of application materials may be requested by the

Association Internship Approval Committee.

5.4 When review of request is completed, and approved, the Association Internship Approval

Committee chairperson will notify the Internship Director and an official approval letter will be

issued by the AMTA Executive Director. Copies will be sent to the Association Internship

Approval Committee chairperson, and the Association Internship Approval Committee regional

representative.

5.5 If review of request is completed and the exception is NOT approved, the applicant will be notified

by the Association Internship Approval Committee chairperson and an official letter will be issued

outlining the rationale for the committee’s decision.

6.0 SUPERVISION AND INTERN EVALUATION

Internships are always under continuous, qualified on-site supervision. Supervision plans will be

included in internship agreements with the internship director, student and the academic faculty.

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6.1 Supervision

Supervision includes, but is not limited to, formal and informal observation and interaction in the

areas of: direct patient contact, evaluation and documentation, treatment planning, supervision,

participation in interdisciplinary didactic sessions, team involvement, participation in training

sessions, and staff relationships.

6.1.1 Each intern will receive a minimum of one hour of individual consultation per week with the

supervising music therapist.

6.1.2 Each intern will receive an average of four hours per week of observation and constructive

feedback with the supervising music therapist.

6.1.3 While group consultation is highly encouraged as an adjunct to individual consultation, it will not

replace the requirements of section 6.1.

6.1.4 For internship programs structured at less than 40 hours per week, the hours for supervision,

consultation and observation should be adjusted accordingly (for example 30 minutes of weekly

consultation per 20 hours per week).

6.2 Evaluations

Intern evaluation and intern’s self-evaluation content is based on the AMTA Professional

Competencies. Evaluations of the intern must be completed by at least the mid point and at the

conclusion of the internship. Evaluations will include specific reference to expected level of

performance in the areas of Music Foundations, Clinical Foundations, and Music Therapy per the

internship agreement.

6.2.1 Copies of the midterm and final evaluations of the intern and the intern self-evaluation must be

submitted to the intern’s academic setting.

6.2.2 A separate intern site evaluation is initiated by the internship director at the conclusion of the

internship (for sample evaluation, see Attachment B). Note: the final evaluation of the intern

must be completed before the intern’s site evaluation is submitted to the internship director for

review.

6.2.3 Copies of the site evaluation are then sent to the academic faculty and the Association Internship

Approval Committee regional representative.

7.0 CHANGES IN AN ESTABLISHED PROGRAM

The AMTA National Office must be notified in the event of significant changes within a national

roster internship program.

7.1 For a change of an Internship Director, the following information shall be submitted to the national

office:

7.1.1 Date the former Director will be terminating

7.1.2 Applicant Director’s vita

7.1.2.1 Education (schools, degrees, equivalencies and dates)

7.1.2.2 Internship (place and dates) attended

7.1.2.3 List facilities and inclusive dates (month, year) of all professional music

therapy service beyond internship including present position. Specify whether

full-time or part-time, and the number of hours per week.

7.1.3 Statement of agreement signed by the applicant director with internship philosophy and

program structure as they currently stand, or written revisions.

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7.1.4 Submit agreement signed by the applicant director, of “Responsibilities of the Internship

Director Statement.”

7.1.5 Provide two letters of recommendation bearing signatures of the authors for the applicant

Director, which address, although are not limited to, the following:

7.1.5.1 Evidence of effective use of music in a therapeutic manner

7.1.5.2 Professional qualities and characteristics

7.1.5.3 Verbal and written communication skills

7.1.5.4 Leadership skills

7.1.6 List of interns in training when change will occur, including name, university, and date

internship commenced.

7.1.7 Copies of correspondence to academic setting(s) of interns in progress notifying them of

proposed change.

7.2 For a change in Supervising Music Therapist, the following information shall be submitted to the

national office by the Internship Director:

7.2.1 Letter of recommendation by Internship Director bearing signature of the author

7.2.2 Proposed supervising music therapist vita

7.2.2.1 Education (schools, degrees, equivalencies and dates

7.2.2.2 Internship (place and dates) attended

7.2.2.3 List facilities and inclusive dates (month, year) of all professional music

therapy service beyond internship including present position. Specify whether

full-time or part-time, and the number of hours per week.

7.3 When an internship program chooses not to accept applications for internship for up to one year

their status may be changed from “Active” to “Inactive” upon written notification to the national

office.

7.4 Any other substantive program changes shall be submitted to the National Office by the Internship

Director.

8.0 REMOVAL FROM THE NATIONAL ROSTER

8.1 When an internship director anticipates that the site will remove its name from the National Roster,

s/he will provide written notice to the AMTA Executive Director, the Academic Program Directors

for all interns involved, and the Association Internship Approval Committee Regional

Representative. The Internship Director will arrange for all students currently in the program to

complete their internships.

8.1.1 In the event that the program must close before current interns have completed their

internships, it is the responsibility of the Internship Director to assist the Academic Director

and intern in locating suitable placement.

8.1.2 Students who have been accepted for future internships and their academic settings must

be notified of the closing as soon as possible.

8.2 To reinstate an internship program, the facility must submit a new application for approval.

B. INTERNSHIP DIRECTOR

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1.0 REQUIREMENTS

1.1 In accordance with the Standards for Education and Clinical Training, the Internship Director must

meet the following criteria:

1.1.1 Holds an appropriate professional credential or designation in music therapy

1.1.2 Holds a bachelor’s degree in music therapy or its equivalent

1.1.3 Has at least two years of full time clinical experience in music therapy or its equivalent in

part time work

1.1.4 Has one year of experience working in the internship setting

1.1.5 Pursues continuing education relevant to his/her clinical and supervisory

responsibilities

1.1.6 Demonstrates the following: all entry-level competencies, effectiveness as a music therapy

clinician in at least one area of practice, general understanding of the supervisory needs of

internship students and entry level skills in supervision

1.2 Additional Association Requirements

1.2.1 Currently a professional member of AMTA with the exception of graduate student

members of AMTA meeting all other requirements.

1.2.2 Employed/self employed in one or more settings for a minimum of 20 hours per week

1.2.3 Completion of one 5 hour CMTE workshop on Music Therapy Intern supervision or other

documented supervision training.

1.3 Any exception to these requirements must be approved by the Association Internship Approval

Committee. All transactions related to the exception:

1.3.1 Must be initiated by the applicant Internship Director

1.3.2 Must be submitted to the Association Internship Approval Committee in compliance with

Section A, Subsection 5.0 for final disposition.

2.0 RESPONSIBILITIES

2.1 Internship Director shall be directly responsible for the following (these responsibilities shall not

be delegated):

2.1.1 Apprising applicants and academic faculty of all site-specific administrative requirements

including, but not limited to, legal affiliation agreements, criminal background checks,

health and drug screenings, and any related fees.

2.1.2 Reviewing applications, selecting music therapy interns and communicating with students.

2.1.3 Working jointly with academic faculty to develop internship agreement based upon the

needs and abilities of each intern, and assign supervisory responsibilities to qualified music

therapy staff. (NOTE: Other professional staff may provide support in the training process

which is not specifically related to music therapy skills).

2.1.4 Planning, implementing, and monitoring program requirements.

2.1.5 Providing a viable role model either personally or through other qualified music therapists

on staff (leading music therapy sessions which the interns can observe and/or co-lead).

2.1.6 Reviewing and signing (co-signing) all evaluations of the intern.

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2.1.7 Developing organizational charts (lines of supervision).

2.1.8 Maintaining communication with academic faculty as specified in the internship

agreement.

2.1.9 Apprising the National Office and Regional Representative of updated information about

the internship program, including all staff changes as they occur and submission of an

annual report.

2.1.10 Communicating information to interns regarding on-going seminars, conferences,

workshops, and community resources.

2.1.11 Assuring adequate time to integrate all aspects of the internship.

2.1.12 Initiating any and all exceptions (Section A, Subsection5.0).

2.1.13 Maintaining knowledge of current facility personnel and department standards, policies

and procedures, the CBMT Code of Professional Practice and the AMTA official

documents: Standards of Clinical Practice, organizational structure, Code of Ethics,

National Roster Internship Guidelines, and Professional Competencies.

2.1.14 Monitoring and acting upon any non-compliance issues that may arise.

2.1.15 Following established policy and procedure regarding dismissal of interns.

3.0 REGULATIONS FOR INTERNSHIP APPLICATIONS

3.1 The Internship Director shall not make acceptance decisions more than one year in advance.

3.2 The Internship Director shall notify in writing all applicants of acceptance or rejection in a timely

manner.

3.3 The Internship Director shall notify the applicant’s academic faculty in writing, that the applicant

has accepted the internship, when it will begin, target date for formulating the internship agreement,

status of the legal affiliation agreement, and all other site requirements as applicable. A copy of

this letter shall be sent to the regional representative of the Association Internship Approval

Committee (AIAC).

3.4 The Internship Director may offer an internship to another applicant if no response has been

received within one month, and attempts to locate the individual have not been successful.

3.5 In order to maintain client confidentiality, the Internship Director shall not request audio/video

tapes that include any session material involving clients.

4.0 VERIFICATION OF INTERNSHIP

Upon request by the intern, the Internship Director will provide a letter of verification stating

successful completion of internship.

4.1 Must bear original signature of the Internship Director approved by AMTA

4.2 Must contain inclusive dates of internship

4.3 Must contain data for one intern only

C. SUPERVISING MUSIC THERAPIST

1.0 REQUIREMENTS

1.1 In accordance with the Standards for Education and Clinical Training, the supervising music

therapist must meet the following criteria:

1.1.1 Holds an appropriate professional credential or designation in music therapy

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1.1.2 Holds a bachelor’s degree in music therapy or its equivalent

1.1.3 Has at least two years of full time clinical experience in music therapy or its equivalent in

part time-work.

1.1.4 Has one year of experience working in the internship setting

1.1.5 Pursues continuing education relevant to his/her clinical and supervisory responsibilities.

1.1.6 Demonstrates the following: all entry-level competencies, effectiveness as a music therapy

clinician in at least one area of practice, general understanding of the supervisory needs of

internship students and entry level skills in supervision.

1.2 Additional Association Requirements

1.2.1 Currently a professional member of AMTA with the exception of graduate student

members of AMTA meeting all other requirements.

1.2.2 Completion of one 5-hour CMTE workshop on Music Therapy Intern supervision or other

documented supervision training.

1.3 Any exception to these requirements must be approved by the Association Internship Approval

Committee. All transactions related to the exception:

1.3.1 Must be initiated by the applicant Internship Director

1.3.2 Must be submitted to the Association Internship Approval Committee in compliance with

Section A, Subsection 5.0 for final disposition.

2.0 RESPONSIBILITIES

2.1 Lead and co-lead music therapy activities that the intern can observe.

2.2 Provide an average of four hours per week of formal and informal observation and constructive

feedback of assigned intern.

2.3 Provide a minimum of one hour per week of individual consultation with each assigned intern.

2.4 For internship programs structured at less than 40 hours per week, the hours for supervision,

consultation and observation should be adjusted accordingly (for example 30 minutes of weekly

consultation per 20 hours per week).

2.5 Maintain regular communication with Internship Director and other professional staff involved in

the training of the intern.

2.6 Complete midterm and final evaluation of assigned intern(s).

D. STUDENTS/INTERNS

1.0 ELIGIBILITY FOR INTERNSHIP

Must have acquired all competency-based prerequisites for internship (including both coursework

completion and clinical experience) required by both the AMTA approved college/university and

the internship program, prior to beginning the internship.

2.0 APPLICATION AND ACCEPTANCE PROCEDURES

2.1 Upon recommendation from the faculty advisor, a student can initiate the application process for a

national roster internship.

2.1.1 Request information on AMTA approved National Roster Internship Programs prior to

requesting an application.

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2.1.2 Request, complete and submit necessary application materials.

2.1.2.1 No more than four active applications may be in progress at any one time

2.1.2.2 Once an active application has been withdrawn or declined, another application

may be submitted to an additional facility.

2.1.3 Applications may not be submitted more than 12 months prior to the date the applicant will

be eligible for internship. Internship Directors must not make acceptance decisions more

than one year in advance.

2.1.4 Each application for internship must be accompanied by a letter from the director of music

therapy from the applicant’s academic setting. This letter must verify that the Academic

Program Director anticipates that competency-based prerequisites for internship (including

both coursework completion and clinical experience) will have been demonstrated.

2.2 Consider acceptance responses with academic faculty and together make a decision about the

internship placement.

2.3 Accept or decline each offer for internship, in writing, bearing original signature, within one month

of receipt of that offer. The acceptance offer will be rescinded if no response is received.

2.4 Once a letter of acceptance has been sent to an internship program, the student must notify, in

writing, bearing original signature all other internship programs at which they have an active

application.

2.5 Must notify the academic faculty when an internship has been accepted.

2.6. Once accepted, the student, faculty advisor, and internship director formulate an internship

agreement for the internship itself. The content and format of each agreement may vary according

to the situation and parties involved. This internship agreement is made for each student prior to

beginning the internship program and shall include documentation of successful completion of

competency-based prerequisites for internship (including both coursework completion and clinical

experience).

2.7. Students who complete an internship at a facility that is not approved by AMTA or the academic

institution will not receive academic credit for the internship.

3.0 INTERN RESPONSIBILITIES

3.1 Adhere to AMTA National Roster Internship Guidelines, internship program personnel

requirements, policies and procedures.

3.2 Adhere to AMTA Standards of Clinical Practice and Code of Ethics.

3.3 Seek feedback and clarification through regular communication with supervising music therapist

and Internship Director.

3.4 Report non-compliance with AMTA National Roster Internship Guidelines. Follow procedures

detailed in Section F Non-Compliance Procedures.

3.5 An intern may elect to resign and/or withdraw from the internship with written notification to the

Internship Director and the academic setting in accordance with university and facility policies and

procedures.

3.6 Maintain regular communication with the academic faculty, as indicated by the internship

agreement.

3.7 Complete a midterm and final “intern self evaluation” and final “intern site evaluation”

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3.8 Request a “Welcome to the Professional World” packet from the National Office at the mid-point

of the internship.

3.9 Six months following the internship, complete the post internship site evaluation and send it to the

Association Internship Approval Committee regional representative.

E. ACADEMIC FACULTY

1.0 RESPONSIBILITIES

In accordance with the Standards for Education and Clinical Training, the Academic Faculty will:

1.1 Assist student with internship selection and application process

1.1.1 Provide a letter of verification that competency-based prerequisites for internship

(including both coursework completion and clinical experience) will have been

demonstrated prior to the commencement of internship

1.1.2 Assist student with initiating application process for a national roster internship

1.1.3 Consider acceptance responses with the student and together make a decision regarding

internship placement.

1.1.4 Once the student is accepted, initiate internship agreement with the student and internship

director prior to or upon commencement of the internship. This internship agreement

should describe the student’s level of performance at the initiation of the internship and

expected level of performance upon completion of the internship. It may also include other

pertinent information such as: the length of the internship, competency objective, the

student’s work schedule, supervision plan, role responsibilities of each party, liability and

insurance issues, and so forth. The content and format of each iternship agreement may

vary according to the situation and parties involved. The internship agreement is required

for AMTA national roster internship programs.

1.2 Maintain continuous communication throughout the internship with student and Internship

Director/Supervisor as indicated by the internship agreement.

1.3 Monitor internship agreement through review of mid term and final evaluations, intern’s self

evaluations and intern's site evaluation.

1.4 Verify, in consultation with the internship director, successful completion of internship per

internship agreement.

F. PROCEDURES FOR REPORTING NON-COMPLIANCE

1.01.1.

1.0 PROCESS

Upon observing or becoming aware of alleged violations of the AMTA National Roster Internship

Guidelines, an individual shall:

1.1 Consult with the supervising music therapist involved and discuss possible actions to correct the

alleged violation. If the supervising music therapist is not the Internship Director, the next step, if

not satisfied, would be to consult with the Internship Director.

1.1.1 If corrective action is not taken, it is the responsibility of the supervising music therapist,

intern, or other individual observing the alleged violation, to submit a written report to the

Association Internship Approval Committee Chairperson. The written report will consist of

the following: A thorough explanation of the alleged violation (s) of the National Roster

Internship Guidelines and a summary of the resolution attempts when such have been made.

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An additional copy shall be sent from the Association Internship Approval Committee

Chairperson, via registered mail, to the individual against whom the allegation has been

made. All correspondence will be noted as confidential.

1.2 The Association Internship Approval Committee shall, upon receipt of the description of the

violation as described in 1.1.1, investigate, review, consult with all appropriate committees if

applicable, and jointly make a decision regarding the resolution of the alleged violation. A copy of

this decision shall be sent to all principals by the AMTA Executive Director.

1.3 When an internship program is found to be out of compliance with the Internship Guidelines, the

AMTA Executive Director will notify the Internship Director of the specific problem(s) giving a

time period for correction. A copy will be sent to the facility administrator, the Association

Internship Approval Committee Chairperson, and the Association Internship Approval Committee

Regional Representative.

1.3.1 Internship Director will notify the academic faculty of any possible impact on pending

intern start dates and copy AMTA Executive Director and the Association Internship

Approval Committee Regional Representative on the correspondence.

1.4 Within the stated time period, Internship Director will provide written documentation to the

Association Internship Approval Committee indicating, 1) problem has been corrected or 2)

problem has not been corrected.

1.5 If the problem has been corrected within the stated time period, the Association Internship

Approval Committee will notify the AMTA Executive Director of its’ recommendations, who will

in turn notify the Internship Director and academic faculty that internship program will continue

uninterrupted.

1.6 If the problem has not been corrected within the stated time period, the Association Internship

Approval Committee will notify the AMTA Executive Director who will initiate the process of

closing the program as follows:

1.6.1 Notify facility administrator that AMTA approval of the program has been discontinued

giving effective date, with copies to the Internship Director, Association Internship

Approval Committee Regional Representative and academic faculty of intern (s) in

residence at the time of program closing.

1.6.2 Advise Internship Director of procedures to be followed as stated in Section A subsection

8.0 Removal from the National Roster.

AMTA Standards for Education and Clinical Training, revised 2020 page 1

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AMTA STANDARDS FOR EDUCATION AND CLINICAL TRAINING

Adopted 2000

Revised 2020

Preamble

The American Music Therapy Association, Inc., aims to establish and maintain competency-based

standards for all three levels of education (bachelor's, master's, and doctoral), with guidelines for the

various curricular structures appropriate to different degrees, as defined by the National Association of

Schools of Music (NASM). Using this competency-based system, the Association formulates competency

objectives or learning outcomes for the various degree programs, based on what knowledge, skills, and

abilities are needed by music therapists to work in various capacities in the field. Academic institutions

should take primary responsibility for designing, providing, and overseeing the full range of learning

experiences needed by students to acquire these competencies, including the necessary clinical training.

A bachelor's degree program should be designed to impart professional level competencies as specified in

the AMTA Professional Competencies, while also meeting the curricular design outlined by NASM. Since

education and clinical training form an integrated continuum for student learning at the professional level,

academic institutions should take responsibility not only for academic components of the degree, but also

for the full range of clinical training experiences needed by students to achieve competency objectives for

the degree. This would include developing and overseeing student placements for both pre-internship and

internship training.

A master's degree program should be designed to impart selected and specified advanced competencies,

drawn from the AMTA Advanced Competencies, which would provide breadth and depth beyond the AMTA

Professional Competencies that are required for entrance into the music therapy profession. At this level

the degree should address the practice of music therapy wherein the music therapist applies and integrates

a comprehensive synthesis of theories, research, treatment knowledge, musicianship, clinical skills, and

personal awareness to address client needs. The curricular design would be appropriate to the degree title,

per agreement between AMTA and NASM.

The doctoral degree should be designed to impart advanced competence in research, theory development,

clinical practice, supervision, college teaching, and/or clinical administration, depending upon the title and

purpose of the program. AMTA will work with NASM in the delineation of the doctoral degree in music

therapy.

Academic institutions and internship sites should take primary responsibility for assuring the quality of

their programs, jointly and/or separately. This is accomplished by regular, competency-based evaluations

of their programs and graduates by faculty, supervisors, and/or students. The Association will assure the

quality of education and clinical training through its approval standards and review procedures. The

Association encourages diversity among institutions and programs and respects the operational integrity

within academic and clinical training programs.

In implementing these standards, the Association shares the beliefs that education and clinical training are

not separate processes, but reflect a continuum of music therapy education; that education and clinical

training must be competency based at all levels; that education and clinical training must be student

centered; and that education and clinical training must exist in a perspective of continuous change to remain

current. The Association also believes in the importance of music as central to music therapy and that music

study must be at the core of education and clinical training.

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The Association's standards are based on a vision of the future for music therapy education and clinical

training. In establishing and maintaining these standards, it has a responsibility related to education and

clinical training in relationship to the outside world that includes clients, professionals of other disciplines,

and settings. The Association's relationships with the outside world include the identification of levels of

professional practice and training, interface with professionals of other disciplines and with their

professional associations, involvement with regulatory entities, and alliances in the private sector. The

Association works from a philosophy of inclusiveness that embraces a wide range of approaches and a

broad base of therapeutic models including uses of music for persons with disabilities and disease, as well

as those who desire music therapy for health, wellness, and prevention. The Association must therefore

give academic institutions and clinical training programs the flexibility they need to simultaneously meet

student needs, market needs, client needs, and quality standards.

The Association believes it can maintain high quality in education and clinical training while it provides

for maximum flexibility in the ways professional standards and competencies are implemented. It also

believes that standards can be implemented in ways that prevent overregulation and micromanagement.

Quality assurance for education and clinical training must be accomplished at the local level, managed by

the academic faculty at the academic institutions and the music therapy supervisors at clinical training sites

rather than solely by the Association. The Association shall use these competency-based standards as the

basis for evaluating academic and clinical training programs and awarding its approval.

These standards must be viewed along with the Association's Professional Competencies, Advanced

Competencies, Standards of Clinical Practice, Advisory on Levels of Practice in Music Therapy, Code of

Ethics, Policies and Procedures for Academic Program Approval, National Roster Internship Guidelines

and University Affiliated Internship Guidelines. In addition, academic programs in music therapy should

refer to the NASM Handbook for general standards and competencies common to all professional

baccalaureate and graduate degree programs in music, as well as specific baccalaureate and graduate degree

programs in music therapy. Academic institutions and clinical training programs have the responsibility for

determining how their programs will impart the required professional and/or advanced competencies to

students (i.e., through which courses, requirements, clinical training experiences, etc.). The standards have

been designed to allow institutions and programs to meet this responsibility in ways that are consistent with

their own philosophies, objectives, and resources. All AMTA-approved academic and clinical training

programs will strive to attain these standards.

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AMTA STANDARDS FOR EDUCATION AND CLINICAL TRAINING

1.0 GENERAL STANDARDS FOR ACADEMIC INSTITUTIONS

1.1 Only regionally accredited, degree-granting institutions awarding at least the bachelor’s degree

may offer an academic program in music therapy eligible for program approval by the

Association.

1.2 The Association will grant academic program approval only when every music therapy

curricular program of the applicant institution (including graduate work, if offered) meets the

standards of the Association. NOTE: This policy excludes doctoral degree programs in music

therapy until such time as AMTA and NASM have worked together to delineate the doctoral

degree in music therapy.

1.3 The administrative section of the academic institution housing the music therapy unit shall have

a clearly defined organizational structure, with administrative officers who involve music therapy

faculty at the appropriate level of decision making and who provide the necessary support

systems for effective implementation of the program.

1.4 The music therapy unit shall be administratively organized in a way that enables students to

complete the program and accomplish its educational objectives within the designated time

frame.

1.5 The academic institution shall have the space, equipment, library, technology, and instrument

resources necessary to support degree objectives.

1.6 The rationale and objectives of each music therapy degree program offered by the academic

institution shall be clearly defined, responsive to significant trends and needs in the profession,

and consistent with clinical and ethical standards of practice.

1.7 The degree title shall be consistent with educational objectives and curricular requirements of

the program.

1.8 The music therapy unit shall have criteria and procedures for admission that reflect the abilities

and qualities needed by the student to accomplish degree objectives. The unit shall also have

criteria and procedures for determining advanced standing and transfer credit.

1.9 The music therapy unit shall have criteria and procedures for determining student retention, and

specifying conditions for dismissal. These shall reflect the level of competence expected of

students at various stages during and upon completion of the program.

1.10 The music therapy unit shall take primary responsibility for academic advisement and career

counseling of all music therapy majors.

1.11 The music therapy unit shall conduct periodic evaluation of its programs and graduates according

to competency objectives of each degree program. The results of these evaluations shall be used

as the basis of program development, quality control, and change.

1.12 All music therapy programs in branch campuses or extension programs must meet all

NASM Standards for Branch Campuses and External Programs.

1.13 All programs approved by the Association that offer distance learning programs must meet

NASM Standards for Distance Learning and the AMTA Guidelines for Distance Learning.

2.0 STANDARDS FOR COMPETENCY-BASED EDUCATION

2.1 The Association shall establish and maintain competency-based standards for ensuring the

quality of education and clinical training in the field. Specifically:

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2.1.1 The Association shall establish educational objectives for academic and clinical training

programs that are outcome specific. That is, the standards shall specify learning outcomes,

or the various areas of knowledge, skills, and abilities that graduates will acquire as a result

of the program.

2.1.2 The Association shall formulate and update these competency objectives based on what

knowledge, skills, and abilities are needed by graduates to perform the various levels and

types of responsibilities of a professional music therapist. As such, the standards must

continually reflect current practices in both treatment and prevention, illness and wellness;

embrace diverse models, orientations and applications of music therapy; address consumer

needs; and stimulate growth of the discipline and profession.

2.1.3 The Association shall use these competency-based standards as the basis for evaluating

academic and clinical training programs and awarding its approval.

2.2 The Association shall establish curricular structures for academic programs based on

competency objectives and title of the degree. A curricular structure gives credit distributions for

broad areas of study that must be included in each degree type (e.g., for the M.M. degree, 40%

in music therapy, 30% in music, 30% in electives). These curricular structures shall be consistent

with those outlined by NASM.

2.3 Academic institutions shall design degree programs in music therapy according to the

competency objectives required or recommended by AMTA and the appropriate curricular

structure.

2.3.1 Course syllabi should indicate the AMTA Professional Competencies and/or Advanced

Competencies, whichever are applicable, that will be addressed in the course(s) and how

these competencies will be evaluated.

2.4 Internship programs shall be designed according to competency objectives delineated by the

Association, and in relation to the competency objectives addressed by affiliate academic

institutions.

2.5 The academic institution and internship program shall evaluate students of its programs

according to the competency requirements established by AMTA, and shall use the evaluation in

determining each student’s readiness for graduation.

3.0 STANDARDS FOR BACHELOR’S DEGREES

3.1 Academic Component

3.1.1 The bachelor’s degree in music therapy (and equivalency programs) shall be designed to

impart professional competencies in three main areas: musical foundations, clinical

foundations, and music therapy foundations and principles, as specified in the AMTA

Professional Competencies. A program of academic coursework and clinical training that

gives students who have degrees outside of music therapy the equivalent of a bachelor’s

degree in music therapy may be offered post-baccalaureate. For equivalency programs

combined with the master’s degree, all AMTA Standards for Master’s Degrees must be met.

3.1.2 In compliance with NASM Standards, the bachelor’s degree in music therapy shall be divided

into areas of study as follows (based on 120 semester hours or its equivalent). Please note

that the following outline of content areas listed below is not intended to designate course

titles.

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Musical Foundations (45%)

Music Theory

Composition and Arranging

Music History and Literature

Applied Music Major

Ensembles

Conducting

Functional Piano, Guitar, Percussion, and Voice

Improvisation

Clinical Foundations (15%)

Exceptionality and Psychopathology

Normal Human Development

Principles of Therapy

The Therapeutic Relationship

Music Therapy (15%)

Foundations and Principles

Assessment and Evaluation

Methods and Techniques

Pre-Internship and Internship Courses

Psychology of Music

Music Therapy Research

Influence of Music on Behavior

Music Therapy with Various Populations

General Education (20-25%)

English, Math, Social Sciences, Arts,

Humanities, Physical Sciences, etc.

Electives (5%)

3.1.3 The academic institution shall take primary responsibility for the education and clinical

training of its students at the professional level. This involves: offering the necessary

academic courses to achieve required competency objectives, organizing and overseeing the

student’s clinical training, integrating the student’s academic and clinical learning

experiences according to developmental sequences, and evaluating student competence at

various stages of the program.

3.1.4 The music therapy unit shall evaluate each student’s competence level in the required areas

prior to completion of degree or equivalency requirements.

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3.2 Clinical Training Component

NOTE: Please refer to the National Roster Internship Guidelines

(https://www.musictherapy.org/careers/national_roster_internship_guidelines/) or the

University-Affiliated Internship Guidelines for policies and procedures regarding internships.

3.2.1 The academic institution shall take primary responsibility for providing students with the

entire continuum of clinical training experiences with a representative range of client

populations across the lifespan in diverse settings. Toward that end, the academic institution

shall establish and maintain training and internship agreements with a sufficient number and

diversity of field agencies that have the client population, supervisory personnel, and

program resources needed to train interns and/or provide pre-internship clinical training

experiences. Qualified supervision of clinical training is required and coordinated or verified

by the academic institution.

3.2.2 The academic institution shall design its own clinical training program, including types of

pre-internship and internship requirements, the number of hours for each placement, the

variety of client types involved, and whether internship sites will be approved by the

Association, the academic institution, or both. These pre-internship and internship

experiences shall be designed, like academic components of the program, to enable students

to acquire specific professional level competencies. At least three different populations

should be included in pre-internship training. A qualified, credentialed music therapist must

provide direct supervision to the pre-internship student, observing the student for a minimum

of 40% of pre-internship clinical sessions. (See Qualification Standards for definition of pre-

internship supervisor.) Direct supervision includes observation of the student’s clinical work

with feedback provided to the student. The academic institution shall describe the design of

its clinical training program in the application for approval or re-approval by the Association.

NOTE: Academic course hours that include role-playing or instructing students in music

skills, session planning, documentation, and related skills for hypothetical clinical sessions

in music therapy may not be utilized as clinical training hours.

3.2.3 The academic program will have clear and transparent policies regarding the requirement for

immunizations, background checks, and drug screens for students. The requirements as well

as the processes and potential consequences of noncompliance should be published and

readily accessible to current and potential students.

3.2.4 Internship, here defined as the culminating, in-depth supervised clinical training at the

professional level, may be designed in different ways: part or full time, in one or more

settings, for varying periods or time frames, and near or distant from the academic institution.

Internships are always under continuous, qualified supervision by a credentialed music

therapist. (See Qualification Standards for definition of internship supervisor.) Each

internship shall be designed or selected to meet the individual needs of the student. This

requires joint planning by the academic faculty, the internship supervisor, and the student, as

well as continuous communication throughout the student's placement.

3.2.5 Internship programs may be approved by an academic institution, the Association, or both.

Academic institutions will maintain information about affiliated internship programs that

they have selected and approved for their own students, and the Association will maintain a

national roster of all AMTA-approved internship sites open to any student from any academic

institution. Please refer to the National Roster Internship Guidelines

(https://www.musictherapy.org/careers/national_roster_internship_guidelines/) or the

University-Affiliated Guidelines for policies and procedures on establishing an internship

program. The internship supervisor shall make final acceptance decisions regarding

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applicants for their internship, regardless of whether the internship has been approved as a

university-affiliated placement or national roster.

3.2.6 University-affiliated internship programs must meet all university-affiliated guidelines for

policies and procedures regarding internships.

3.2.7 The academic institution shall develop an individualized training plan with each student for

completion of all facets of clinical training based on the AMTA competencies, student's

needs, student’s competencies, and life circumstances. The various clinical training

supervisors will work in partnership with the academic faculty to develop the student's

competencies and to meet the individualized training plan. It is recommended that this

training plan for clinical training shall include specification of placements, minimum hours

in each aspect of clinical training including both pre-internship and internship experiences,

and the roles and responsibilities of the student, the qualified on-site supervisor, and the

academic faculty. A written internship agreement will also be made between the student,

internship supervisor, and the academic faculty to describe the student’s level of performance

at the initiation of the internship. The academic faculty will assume responsibility for the

initiation of the internship agreement with the intern and the internship director. The

internship agreement shall include

• The academic institution's evaluation of the student's level of achievement on each

of the AMTA Professional Competencies based on information gathered from music

therapy faculty, recent supervisors, written evaluations of clinical work, and the

student.

• The number of clinical training hours the student has completed (> 180) and the

minimum number of hours required for internship (> 900) to a total of > 1200).

• The starting and estimated ending dates of the internship. For national roster sites,

these are provided by the internship director. For university-affiliated sites, these

dates are determined in conjunction with both the site(s) and the academic institution.

• Any academic requirements the student must fulfill for the University during

internship. The signature of the internship director on the internship agreement

signifies that these requirements may be reasonably completed over and above the

site’s requirements of the intern.

All parties will participate in the formulation of the agreement which should be completed

by the end of the first month of the internship. The agreement will carry the signatures of

the academic faculty involved in assessing student competence, the internship director, and

the student.

The internship agreement may also include other pertinent information, such as the length of

the internship; the student’s work schedule; the supervision plan; role and responsibilities of

each party; and health, liability, and insurance issues. The content and format of each

internship agreement may vary according to the situation and parties involved. This

internship agreement is required for both the university affiliated and AMTA national roster

internship programs. These individualized training plans and internship agreements are

separate and distinct from any affiliation agreements or other legal documents that delineate

the terms of the relationship between the university and the clinical training site(s).

3.2.8 Please refer to the National Roster Internship Guidelines

(https://www.musictherapy.org/careers/national_roster_internship_guidelines/) or the

University-Affiliated Internship Guidelines for policies and procedures regarding

competency-based internship evaluation..

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3.2.9 Every student must complete a minimum of 1200 hours of clinical training, with at least 15%

(180 hours) in pre-internship experiences and at least 75% (900 hours) in internship

experiences. Clinical training is defined as the entire continuum of supervised field

experiences, including observing, assisting, co-leading, leading, and assuming full

responsibility for program planning and music therapy treatment implementation with

clients. It is recommended that hours of clinical training include both direct client contact

and other activities that relate directly to clinical sessions in music therapy. Such experiences

also may include time in group and individual supervision of client sessions, session

planning, and documentation for clients.

Academic institutions may opt to require more than the minimum total number of hours, and

internship programs may opt to require more hours than the referring or affiliate academic

institution. In addition, when a student is unable to demonstrate required professional level

competencies, additional hours of internship may be required of the student by the academic

institution in consultation with the internship supervisor.

3.2.10 The internship must be satisfactorily completed before the conferral of any music therapy

degree or completion of a non-degree equivalency program. The student must have received

a grade of C- or better in all foundational music therapy courses in order to be eligible for

internship. The academic institution has the ultimate responsibility to determine whether

these requirements have been successfully met.

NOTE: Foundational coursework related to the professional competencies must be

completed prior to beginning internship. If an academic program chooses to offer

coursework concurrent with internship, the course content should be integrated with the

internship and provide an in-depth examination of topics related to the internship experience.

3.2.11 Existing National Roster internship sites already approved by the Association shall

maintain their approval status pending adherence to the National Roster Internship

Guidelines.

4.0 STANDARDS FOR MASTER’S DEGREES

The purpose of the master’s degree programs in music therapy is to impart advanced competencies, as

specified in the AMTA Advanced Competencies. These degree programs provide breadth and depth beyond

the AMTA Professional Competencies required for entrance into the music therapy profession.

4.1 Curricular Standards

Each graduate student in a master’s degree program is expected to gain in-depth knowledge and

competence in both of the following areas. These areas may be addressed in either separate or combined

coursework as deemed appropriate.

4.1.1 Music Therapy Theory (e.g., principles, foundations, current theories of music therapy

practice, supervision, education, implications for research);

4.1.2 Advanced Clinical Skills: In-depth understanding of the clinical and supervisory roles and

responsibilities of a music therapist. Advanced clinical skills are acquired through one or

more clinical component (s) supervised under the auspices of the institution. These clinical

component(s) are defined as substantive music therapy fieldwork experiences that focus on

clinical practice and occur after the 1200 hours of required clinical training and acquisition

of the AMTA Professional Competencies. Students in advanced clinical training courses

should demonstrate a depth of understanding of relevant and advanced clinical approaches,

theoretical frameworks, and/or advanced clinical supervisory theories and techniques. Each

institution must specify the minimum required number of hours and the method of

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supervision. Students must be evaluated

based on the AMTA Advanced Competencies.”

In addition, each graduate student in a master’s degree program is expected to gain in-depth knowledge

and competence in one or more of the following areas:

4.1.3 Research (e.g., quantitative and qualitative research designs and their application to music

therapy practice, supervision, administration, higher education);

4.1.4 Musical Development and Personal Growth (e.g., leadership skills, self-awareness, music

skills, improvisation skills in various musical styles, music technology);

4.1.5 Clinical Administration (e.g., laws and regulations governing the provision of education and

health services, the roles of a clinical administrator in institutions and clinical settings).

4.2 Curricular Structures

4.2.1 Practice-Oriented Degrees. These degrees focus on the preparation of music therapists for

advanced clinical practice.

4.2.2 Research-Oriented Degrees. These degrees focus on the preparation of scholars and

researchers in music therapy, preparing graduates for doctoral study.

4.2.3 Degrees Combining Research and Practice Orientations. These degrees focus on the

simultaneous development of the ability to produce research findings and utilize, combine,

or integrate these findings within the practice of music therapy.

4.2.4 Graduate education requires the provision of certain kinds of experiences that go beyond

those typically provided in undergraduate programs. These include opportunities for active

participation in small seminars and tutorials and ongoing consultation with faculty prior to

and during preparation of a final project over an extended period of time.

4.2.5 A culminating project such as a thesis, clinical paper, or demonstration project is required.

4.2.6 Master’s degree programs include requirements and opportunities for studies that relate

directly to the educational objectives of the degree program, including supportive studies in

music and related fields.

4.2.7 Within master’s degree programs, academic institutions are encouraged to develop graduate

level specialization areas and courses on advanced topics based on faculty expertise and other

resources available at the institution. Therefore, the curriculum and the requirements of each

program must be tailored to the resources available, the mission of the institution, and the

contribution they aspire to make to the profession of music therapy.

4.2.8 At least one-half of the credits required for the master’s degree must be in courses intended

for graduate students only. A single course that carries both an undergraduate and a graduate

designation is not considered a course intended for graduate students only. To obtain graduate

credit, students enrolled in a single course that carries a separate undergraduate and graduate

designation or number must complete specific published requirements that are at a graduate

level. Distinctions between undergraduate and graduate expectations must be delineated for

such courses in the course syllabi. Only courses taken after undergraduate courses that are

prerequisite to a given graduate program may receive graduate credit in that program.

4.2.9 Students entering the master’s degree without the bachelor’s degree in music therapy and/or

the MT-BC credential must take a minimum of 30 semester hours or 45 quarter hours

graduate credits toward advanced competence in addition to and beyond any courses needed

to demonstrate AMTA Professional Competencies.

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4.2.10 A master’s degree in music therapy must include a minimum of 12 semester hours or 18

quarter hours of graduate credits in music therapy in addition to and beyond any courses

needed to demonstrate the AMTA Professional Competencies. These courses must be

intended for graduate students only and should not carry designations for both graduate

and undergraduate students.

4.3 Degree Formats and Titles

4.3.1 Master of Music degree places advanced music therapy studies within a musical context:

40% music therapy, 30% music, and 30% electives in related areas. The studies in music

may include coursework in diverse areas (e.g., performance, ethnomusicology, advanced

musicianship, and analysis). The electives consist of supportive studies in related areas that

bear directly on the specific educational objectives of the degree program.

4.3.2 Master of Music Therapy degree places advanced music therapy studies within a disciplinary

context of theory, research, and practice in music therapy: 50% music therapy and 50%

electives. The electives consist of supportive studies in related areas that bear directly on the

specific educational objectives of the degree program.

4.3.3 Master of Arts or Master of Music Education degree places advanced music therapy studies

within the context of creative arts therapies, expressive therapies, psychology, counseling,

social sciences, education, arts, and/or humanities: 40% music therapy, 30% specialization

field, and 30% electives. The electives consist of supportive studies that bear directly on the

specific educational objectives of the degree program.

4.3.4 Master of Science degree places advanced music therapy studies within the context of

medicine, allied health, and the physical sciences: 40% music therapy, 30% science

specialization, and 30% electives. The electives consist of supportive studies that bear

directly on the specific educational objectives of the degree program.

4.3.5 Master’s degrees in music therapy may be designed additionally to prepare certified

professionals for state licensure.

5.0 STANDARD FOR DOCTORAL DEGREES

The doctoral degree shall impart advanced competence in research, theory development, clinical practice,

supervision, college teaching, and/or clinical administration, depending on the title and purpose of the

program. Requirements for the doctoral degree must remain flexible to ensure growth and development of

the profession. The academic and clinical components of each doctoral degree must be formulated by the

institution according to student need and demand, emerging needs of the profession, faculty expertise,

educational mission of the institution, and the resources available. Admission of candidates for doctoral

degrees in music therapy should require at least three years of full-time clinical experience in music therapy

or its equivalent in part-time work. Doctoral students who have less than five years full-time clinical

experience in music therapy or the equivalent in part-time experience should be encouraged to acquire

additional experience during the course of the doctoral program. AMTA and NASM will work together in

the delineation of the doctoral degree in music therapy.

6.0 STANDARDS FOR QUALIFICATIONS AND STAFFING

The following are minimal qualification standards to be used by academic institutions when hiring faculty,

selecting clinical supervisors, making placements, and approving their own internship programs, and by the

Association in endorsing internship programs for the national roster. These standards shall be upheld by the

Association through its initial and periodic reviews of academic institutions and internship programs on the

national roster, rather than through authorization of individual faculty and supervisors.

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6.1 Academic Faculty

6.1.1 Undergraduate Faculty: An individual employed full-time at a college or university with

primary responsibilities for teaching music therapy and/or directing a music therapy program

at the undergraduate level.

• Holds an appropriate professional credential or designation in music therapy;

• Holds a master’s degree in music therapy or related area, with a minimum of transcripted

graduate credits equivalent to 12 semester hours in music therapy beyond the

undergraduate equivalency requirements;

• Has at least three years of full-time clinical experience in music therapy or its equivalent

in part-time work;

• Pursues continuing education relevant to his/her teaching responsibilities;

• Demonstrates the following: mastery of all professional level and applicable advanced

competencies in music therapy; effectiveness as a music therapy clinician in at least one

area of practice; the ability to teach and clinically supervise undergraduate students; and

the ability to organize and administer an undergraduate music therapy program.

6.1.2 Graduate Faculty: An individual employed full-time at a college or university with primary

responsibilities for teaching music therapy and/or directing music therapy programs at the

master’s and/or doctoral level.

• Holds an appropriate professional credential or designation in music therapy;

• Holds a master’s degree in music therapy or related area, with a minimum of transcripted

graduate credits equivalent to 12 semester hours in music therapy beyond the

undergraduate equivalency requirements. A doctorate is preferred.

• Has at least five years of full-time clinical experience in music therapy or its equivalent

in part-time work;

• Pursues continuing education relevant to his/her teaching responsibilities;

• Demonstrates the following: mastery of all professional level and applicable advanced

competencies in music therapy; effectiveness as a music therapy clinician in at least one

area of practice; the ability to teach and clinically supervise graduate students; ability to

guide graduate research; and the ability to organize and administer a graduate music

therapy program.

6.1.3 Adjunct Faculty: An individual employed by a college or university to teach specific courses

in music therapy on a part-time basis.

• Holds an appropriate professional credential or designation in music therapy;

• Holds a bachelor’s degree in music therapy or its equivalent;

• Has at least two years of full-time clinical experience in music therapy or its equivalent

in part-time work;

• Pursues continuing education relevant to his/her teaching responsibilities

• Demonstrates specific competencies appropriate to the teaching assignment.

6.1.4 Academic Program Director (or equivalent institutional title): An individual employed full-

time by the university with primary responsibilities for directing/coordinating the music

therapy program. These responsibilities maybe assumed by an existing undergraduate or

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graduate music therapy faculty member. For undergraduate programs, the program director

must meet the requirements for Standard 6.1.1.

For graduate programs, the program director must meet the requirements for Standard 6.1.2.

Their degrees, credentials, and experience reflect the degree program(s) that they are

managing. The Academic Program Director:

• Is accountable for upholding the educational and clinical training standards of the music

therapy program

• Is accountable for upholding the AMTA Standards for Education and Clinical Training

and the AMTA Code of Ethics.

• Receives, responds to, and distributes communication from AMTA regarding program

status to appropriate music therapy faculty and administration.

• Is responsible for monitoring and communicating eligibility of music therapy students for

internship via a letter of eligibility.

• Is responsible for monitoring and communicating eligibility of music therapy students to

6.2 Clinical Supervisors

6.2.1 Pre-internship Supervisor: An individual who has a clinical practice in music therapy (either

private or facility-based) and supervises students in introductory music therapy clinical

training (variously called fieldwork, practicum, pre-clinical, etc.).

• Holds an appropriate professional credential or designation in music therapy;

• Holds a bachelor’s degree in music therapy or its equivalent;

• Has at least one year of full-time clinical experience in music therapy or its equivalent in

part-time work;

• Pursues continuing education relevant to his/her clinical and supervisory responsibilities;

• Demonstrates the following: all professional level competencies; effectiveness as a

music therapy clinician in at least one area of practice; general understanding of the

supervisory needs of pre-internship students, and professional level skills in supervision.

NOTE: In an exceptional case, a student may have an on-site supervisor or facility

coordinator who may not be a music therapist but holds a professional, clinical credential

(e.g., OT, nurse, special educator, etc.). Under these circumstances, the student must have

a credentialed music therapist as a supervisor under the auspices of the university. A pre-

internship supervisor (a credentialed music therapist) must provide direct supervision to the

student, observing the student for a minimum of 40% of pre-internship clinical sessions.

Direct supervision includes observation of the student’s clinical work with feedback provided

to the student.

6.2.2 Internship Supervisor: An individual who has a clinical practice in music therapy (either

private or institutional) and supervises students in the final field experiences required for the

music therapy degree or equivalency program.

• Holds an appropriate professional credential or designation in music therapy;

• Holds a bachelor’s degree in music therapy or its equivalent;

• Has at least two years of full-time clinical experience in music therapy or its equivalent

in part-time work;

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• Has sufficient experience working in the internship setting as defined in the National

Roster Internship Guidelines or by the university program.

• Pursues continuing education relevant to his/her clinical and supervisory responsibilities;

• Demonstrates the following: all professional level competencies; effectiveness as a

music therapy clinician in at least one area of practice; general understanding of the

supervisory needs of internship students, and established skills in supervision.

6.3 Staffing

6.3.1 Academic institutions shall have a minimum of one full-time faculty position in music

therapy for each degree program offered. If an equivalency program is offered in an

institution without a degree program in music therapy, the institution shall have a minimum

of one full-time faculty position in music therapy who meets the standards for academic

undergraduate faculty stated in Standard 6.1.1. Additional full or part-time faculty may be

required depending upon student enrollment in each degree program and teaching loads.

AMTA suggests an undergraduate student/faculty ration of no more than 20:1 with a lower

ration for program directors.

7.0 STANDARDS FOR QUALITY ASSURANCE

7.1 Differential Roles

7.1.1 The academic institution and internship site shall take primary responsibility for assuring

the quality of their programs, jointly and/or separately. This shall be accomplished by

regular, competency-based evaluations of its programs and graduates, by faculty,

supervisors, and/or students. Each academic institution and internship program shall

develop its own system of evaluation, and shall use the results as the basis for program

development, quality assurance, and program change.

7.1.2 AMTA shall assure the quality of education and clinical training by: a) establishing and

maintaining standards of excellence for education and clinical training in the field; and b)

using these standards as evaluative criteria for granting its approval to academic institutions

and internship programs.

7.1.3 AMTA shall consider academic institutions program approval upon initial application. If

approved, programs will complete a status update at three years, then will be eligible for re-

approval one year after the next NASM accreditation/affirmation review. In order to provide

support or follow-up related to the Standards, the Academic Program Approval Committee

may request materials from a program between reviews.

7.2 National Association of Schools of Music (NASM)

7.2.1 Only academic institutions accredited or affirmed by NASM are eligible to apply for AMTA

approval. Schools that are eligible for NASM membership must be accredited by NASM.

Schools that are ineligible for NASM accreditation must obtain a Statement of Affirmation

from NASM through the Alternative Review Process for music therapy programs.

Correspondence will be noted as confidential.

7.3 Online Learning Components

7.3.1 Hours of Face-to-Face Instruction in Music Therapy Programs: Academic institutions must

provide as much clarity as possible about residency requirements for incoming students in

promotional materials for any music therapy program that offers any part of its curriculum

in online instruction.

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7.3.2 Hours of Face-to-Face Instruction in Music Therapy Courses: For any course with online

instruction, academic institutions must specify in the catalog the schedule of seated face-to-

face, online synchronous, and asynchronous course activities.

7.3.3 Academic Faculty Training: Academic institutions shall describe how all music therapy

faculty are prepared for and supported in teaching online or hybrid courses as defined by

NASM when applying for online program approval and during subsequent reviews. Faculty

and other instructors need to be knowledgeable about learning management systems specific

to their college/university, as well as related technology and best practices used in online

learning.

8.0 Guidelines for Distance Learning

8.1 Definition:

The National Association of Schools of Music (NASM) defines distance learning as learning that

“involves programs of study delivered entirely or partially away from regular face-to-face

interactions between teachers and students in classrooms, tutorials, laboratories, and rehearsals

associated with course work, degrees, and programs on the campus…. Programs in which more

than 40% of their requirements are fulfilled through distance learning will be designated as

distance learning programs…..

The distance aspect of these programs may be conducted through a variety of means, including

teaching and learning through electronic systems. …”

8.2 Standards Applications

The American Music Therapy Association requires that all AMTA approved music therapy

programs meet the NASM standards for distance learning: “Distance learning programs must

meet all NASM operational and curricular standards for programs of their type and content. This

means that the functions and competencies required by applicable standards are met even when

distance learning mechanisms predominate in the total delivery system.” (NASM) The American

Music Therapy Association also requires that baccalaureate, equivalency, and master’s degree

programs in music therapy meet AMTA Standards for Education and Clinical Training when

such programs meet the above criteria for distance learning. All new distance learning programs

that meet the above criteria must apply for AMTA academic program approval even if the

existing degree/equivalency program already has AMTA program approval.

8.3 General Standards

There are several NASM standards that must be fully addressed before a music therapy program

initiates a distance learning format. They include the following:

8.3.1 Financial and Technical Support. “The institution must provide financial and technical

support commensurate with the purpose, size, scope, and content of its distance learning

programs.” (NASM)

8.3.2 Student Evaluations “Specific student evaluation points shall be established throughout

the time period of each course or program.” (NASM)

8.3.3 Student Technical Competence and Equipment Requirements. “The institution must

determine and publish for each distance learning program or course (a) requirements for

technical competence and (b) any technical equipment requirements. The institution must

have means for assessing the extent to which prospective students meet these requirements

before they are accepted or enrolled. The institution shall publish information regarding

the availability of academic and technical support services.” (NASM)

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8.3.4 Distance Learning vs. Traditional Learning. “When an identical program, or a program

with an identical title, is offered through distance learning as well as on campus, the

institution must be able to demonstrate functional equivalency in all aspects of each

program. Mechanisms must be established to assure equal quality among delivery

systems.” (NASM)

8.3.5 Student Instructions, Expectations, and Evaluation. “Instructions to students,

expectations for achievement, and evaluation criteria must be clearly stated and readily

available to all involved in a particular distance learning program. Students must be fully

informed of means for asking questions and otherwise communicating with instructors and

students as required.” (NASM)

8.4 Guidelines for Music Therapy Programs

8.4.1 Office Hours

The course instructor may fulfill office hours either by posting virtual office hours or by

instituting a policy of responding to student needs within a 48-hour time frame.

8.4.2 Support Services

The methods and technological requirements for online learning should be published (e.g.,

Discussion Board on Blackboard, webinars, Skype, etc.). It is suggested that each course

of study devote time to teaching the use of technology in the program. The program shall

publish information regarding the availability of academic and technical support services.

Any online courses outside of music therapy that are available for support should also be

indicated. Provisions for using library resources should be published.

8.4.3 Admission

Admission will be in compliance with each university’s admission policies and procedures

for music therapy programs.

8.4.4 Residency Requirement and Transfer Credits

If the university has a “residency requirement,” such a requirement will be honored by the

music therapy programs. Furthermore, music therapy core courses and clinical training

from AMTA approved institutions will be eligible for transfer as determined by the

university’s policies and evaluation of student competencies. The number of credit hours

that can be taken at another educational institution and in what areas should be indicated

to the student at the time of admission.

8.4.5 Music Therapy Courses

Music therapy programs must meet the curricular structures as outlined in the AMTA

Standards for Education and Clinical Training. Academic faculty should determine what

learning should be done in residence as opposed to online and how this must be

implemented. Course syllabi should clearly provide the course outline and assignments to

indicate what each course entails, including the technological requirements and the online

course management systems. Means of evaluation of the student’s work at periodic times

throughout the course must be provided in the syllabi.

8.4.6 Academic Faculty

Academic faculty teaching music therapy courses must meet AMTA standards for

academic faculty. These guidelines for distance learning apply to all baccalaureate,

equivalency, and master’s degree programs in music therapy. Administering an online

program and teaching online courses will require a significant amount of time over and

beyond the credits awarded for the course. Load issues and overload issues should be taken

into account when designing the program and distributed in a fair and equitable way to the

music therapy faculty.

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8.4.7 Music Competencies

Each student’s music competencies in performance and functional music skills will be

evaluated prior to acceptance into a distance learning program and upon completion of the

program will meet AMTA standards stated in the Professional Competencies and/or

Advanced Competencies (whichever is applicable to the degree/equivalency programs).

This includes competencies in functional keyboard, guitar, voice, percussion, and

improvisation. Music competencies may be evaluated through face-to-face auditions, web-

based conferencing juries, or through videotaping. Credit for functional music skills may

be acquired either at the college/university offering the program or transferred in from other

academic institutions. Requirements for meeting any deficiencies in these areas must be

specified in a plan for the student’s remediation and continued evaluation. Methods of

evaluating musical proficiencies long distance must be specified.

8.4.8 Clinical Training

The pre-internship and internship learning experiences for students should meet all AMTA

standards for clinical training. Pre-internship field experiences may be established through

distance learning. There should be legal contracts and/or affiliation agreements for these

distance learning relationships which specify the roles and responsibilities of the academic

faculty, pre-internship supervisors, internship supervisors, and the student. The music

therapy faculty/staff at the academic program site (full-time or adjunct) should provide

training and supervision for the on-site pre-internship and (if applicable) university

affiliated internship clinical training supervisors and serve as a liaison between the

academic program and the pre-internship/internship clinical training program(s). All

clinical training supervisors must meet the AMTA “Standards for Qualifications and

Staffing” for Pre-internship Supervisor and Internship Supervisor (whichever is

applicable), including that of holding an appropriate professional credential or designation

in music therapy (e.g., MT-BC)

8.4.9 Online Supervision

Online supervision may be provided for the clinical supervisors along with site visits by

the academic faculty. Supervision for the student’s clinical training experiences includes

individual supervision of the student by the qualified music therapist at the host site, as

well as supervision by the academic faculty. Feedback of the student’s clinical work can

be provided to academic faculty through such means as audio-visual media and other forms

of technology and telecommunications to evaluate the student's clinical competencies.

Please note that the issues related to client confidentiality must be addressed.

8.4.10 Group Supervision

Group supervision may also be provided through online discussion boards such as those

found in Blackboard and/or live-time webinars with faculty and students. Please note that

the issues related to client confidentiality must be addressed.

8.4.11 Related Coursework

The music therapy program should state explicitly whether courses that are required

outside of the music therapy program (e.g., psychology, statistics or other research courses)

are also available in distance-learning format.

Keith, D. & Vega, V. P. (2006) A survey of online courses in music therapy. Unpublished manuscript.

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GLOSSARY OF SELECTED TERMS

AAMT: The American Association for Music Therapy was one of the two former organizations that merged

to form the American Music Therapy Association.

Academic Institution: A college or university offering music therapy degree program(s).

Academic Faculty: The full-time, part-time and adjunct teaching professionals in an academic institution

that have responsibility for instruction, research, and service as per academic institution policies. Academic

faculty members have responsibility for the music therapy academic program(s).

Accreditation (NASM): The process whereby a private, governmentally authorized agency grants public

recognition to an academic institution that meets standards of quality for higher education in a particular

field, as determined through initial and subsequent periodic reviews. In the field of music, the National

Association of Schools of Music (NASM) is the only authorized accrediting agency empowered to accredit

academic institutions offering music degrees in any area in the United States. Thus, NASM accreditation (or

“NASM membership”) signifies that all the music degrees offered by an academic institution have been

evaluated by NASM and found to be consistent with national standards. Please note the following differences

between NASM accreditation, NASM affirmation, and AMTA approval: NASM accredits an academic

institution based on the quality of all of its music degree programs; NASM affirms an institution ineligible

for NASM accreditation, based on the adequacy of its music resources for music therapy programs; AMTA

approves an academic institution based on the quality of its music therapy programs only. See respective

definitions.

Affirmation (NASM): NASM offers an alternative review process for music therapy programs that are

ineligible to apply for NASM accreditation (e.g., in an institution in a foreign country). The alternative

review process leads to a statement of affirmation from NASM assuring that the institution and its music

programs provide a context for and qualitative outcome by the music therapy program consistent with

NASM standards. Academic institutions that meet NASM standards and receive such affirmation are not

“accredited” members of NASM. Please see under “Accreditation (NASM)” for an explanation of the

differences between NASM accreditation, NASM affirmation, and AMTA approval.

AMTA: The American Music Therapy Association is the organization formed by the unification of AAMT

and NAMT.

Appropriate Music Therapy Credential or Designation: The MT-BC or Music Therapist-Board Certified,

is the professional credential in music therapy granted in the United States. An appropriate music therapy

credential or designation could also include a professional designation or credential from a country other

than the United States.

Approval of Academic Institutions: Approval is a process whereby the professional association in music

therapy grants public recognition to an academic institution for its degree (and/or equivalency) programs in

music therapy. Approval is granted when the degree program meets the Association’s standards of quality,

as determined through initial and periodic review by the Association. Please see under “Accreditation

(NASM)” for an explanation of the differences between NASM accreditation, NASM affirmation, and AMTA

approval.

Approval of Internship Sites: Internship approval by AMTA is the process by which AMTA determines

that an internship site meets its standards of quality and grants public recognition to that fact. The

Association maintains a national roster of approved internship sites for use by approved academic

institutions and their students. Academic institutions also may approve and individually affiliate with

internship sites. These university-affiliated internship programs will be reviewed in conjunction with

academic program approval or re-approval by the Association.

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Approval Review Process: The entire sequence of procedures established by AMTA for the evaluation of

an academic institution or internship site. The “review” typically involves application by the academic

institution or internship site using established forms, a process of evaluation by designated committees

within the Association according to the standards and criteria for approval established by the association,

and procedures for communication and appeal.

Board Certification: The credential of Music Therapist-Board Certified (MT-BC) is initially obtained by

successful passage of the national board certification examination designed and administered by the

Certification Board for Music Therapists (CBMT). Each certificant must re-certify every five years. Re-

certification may be accomplished either through re-examination or through accrual of appropriate

continuing education as specified by CBMT.

CBMT: The Certification Board for Music Therapists.

Clinical Training: Clinical training is the entire continuum of supervised field experiences, including

observing, assisting, co-leading, leading, and assuming full responsibility for program planning and music

therapy treatment implementation with clients. This continuum includes all experiences formerly called

observations, fieldwork, field experience, practicum, pre-clinical experience, and internship. For the sake of

clarity, clinical training has been conceived as having two main components: pre-internship and internship.

Pre-internship training consists of all the various practical field experiences taken by a student in conjunction

with music therapy coursework as pre-requisites for internship placement. This may include experiences

formerly called observations, practica, fieldwork, pre-clinical placements, etc. The internship is the

culminating, in-depth supervised clinical training experience in a degree program in music therapy (or its

equivalent) that leads to the achievement of the professional competency objectives.

Competency-Based Education in Music Therapy: An approach to higher education and clinical training

which has the following components: 1) the specification of student competencies or learning outcomes that

serve as educational objectives for the program; 2) the distribution of these competency objectives into a

developmentally sequenced curriculum of instruction, study, and/or practical training, 3) the design of

specific courses and practical or field experiences to meet designated competency objectives, and 4) methods

of quality assurance based on student competence upon completion of the program. The inventory entitled

the AMTA Professional Competencies lists the professional competencies and the AMTA Advanced

Competencies lists the advanced competencies.

Credential: Please see “Appropriate Music Therapy Credential or Designation.”

Equivalency Program: A program of academic coursework and clinical training that gives students who

have degrees outside of music therapy the equivalent of a bachelor’s degree in music therapy. Like the

bachelor’s degree, an equivalency program is designed to impart professional level competencies in music

therapy and to prepare the student to begin professional practice. Usually, the equivalency program consists

of all core music therapy courses at the undergraduate level, all clinical training requirements, plus any

pertinent courses in other fields (e.g., abnormal psychology). In those academic institutions offering a

bachelor’s degree, the student usually earns undergraduate credit for these equivalency courses, while in

some that only offer the master’s degree, students earn graduate credit for the same courses. It should be

noted that an equivalency program is always regarded as professional level, regardless of the level of credit

awarded for the coursework.

Internship: The culminating, in-depth supervised clinical training experience in a professional level degree

program (or its equivalent) in music therapy.

Music Therapy Unit: The academic department, section, division, or subdivision within a college or

university that takes administrative and programmatic responsibility for the music therapy degree(s) offered

(e.g., a department of music therapy, a music therapy section within the department of music education, a

music therapy program within the division of arts).

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MT-BC: Music Therapist-Board Certified. Also see Board Certification.

NAMT: The National Association for Music Therapy was one of the two former organizations that merged

to form the American Music Therapy Association.

NASM: The National Association of Schools of Music is the sole agency designated by the government to

accredit music schools in the USA. (Refer to “Accreditation.”)

Pre-internship: Pre-internship training is constituted by clinical training experiences conducted in

conjunction with academic work in music therapy that are prerequisites for internship placement. This may

include experiences formerly called observations, practica, fieldwork, pre-clinical placements, etc. Pre-

internship experiences include both direct client contact and other activities that relate directly to clinical

sessions in music therapy.

Professional Designation: Please see “Appropriate Music Therapy Credential or Designation.”

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AMTA PROFESSIONAL COMPETENCIES

Preamble to AMTA Professional Competencies

The American Music Therapy Association has established competency-based standards for ensuring the

quality of education and clinical training in the field of music therapy. As the clinical and research

activities of music therapy provide new information, the competency requirements need to be reevaluated

regularly to ensure consistency with current trends and needs of the profession and to reflect the growth

of the knowledge base of the profession. The Association updates these competencies based on what

knowledge, skills, and abilities are needed to perform the various levels and types of responsibilities to

practice at a professional level.

In November 2005 the AMTA Assembly of Delegates adopted the Advisory on Levels of Practice in

Music Therapy. This Advisory, which was developed by the Education and Training Advisory Board,

distinguishes two Levels of Practice within the music therapy profession: Professional Level of Practice

and Advanced Level of Practice. This Advisory describes the Professional Level of Practice as follows:

A music therapist at the Professional Level of Practice has a Bachelor’s degree or its equivalent in music

therapy and a current professional designation or credential in music therapy (i.e., ACMT, CMT, MT-BC,

or RMT). At this level, the therapist has the ability to assume a supportive role in treating clients,

collaborating within an interdisciplinary team to contribute to the client’s overall treatment plan.

The AMTA Professional Competencies are based on music therapy competencies authored for the former

American Association for Music Therapy (AAMT) by Bruscia, Hesser, and Boxhill (1981). The former

National Association for Music Therapy (NAMT) in turn adapted these competencies as the NAMT

Professional Competencies revised in 1996. In its final report the Commission on Education and Clinical

Training recommended the use of these competencies, and this recommendation was approved by the

AMTA Assembly of Delegates in November 1999. The AMTA Professional Competencies has had

several minor revisions since its adoption in 1999.

A. MUSIC FOUNDATIONS

1. Music Theory and History

1.1 Recognize standard works in the literature.

1.2 Identify the elemental, structural, and stylistic characteristics of music from various

periods and cultures.

1.3 Sight-sing melodies of both diatonic and chromatic makeup.

1.4 Take aural dictation of melodies, rhythms, and chord progressions.

1.5 Transpose simple compositions.

2. Composition and Arranging Skills

2.1 Compose songs with simple accompaniment.

2.2 Adapt, arrange, transpose, and simplify music compositions for small vocal and

nonsymphonic instrumental ensembles.

3. Major Performance Medium Skills

3.1 Perform appropriate undergraduate repertoire; demonstrate musicianship, technical

proficiency, and interpretive understanding on a principal instrument/voice.

3.2 Perform in small and large ensembles.

4. Functional Music Skills

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4.1 Demonstrate a basic foundation on voice, piano, guitar, and percussion.

4.1.1 Lead and accompany proficiently on instruments including, but not limited to,

voice, piano, guitar, and percussion.

4.1.2 Play basic chord progressions in several major and minor keys with varied

accompaniment patterns.

4.1.3 Play and sing a basic repertoire of traditional, folk, and popular songs with and

without printed music.

4.1.4 Sing in tune with a pleasing quality and adequate volume both with

accompaniment and a capella.

4.1.5 Sight-read simple compositions and song accompaniments.

4.1.6 Harmonize and transpose simple compositions in several keys.

4.1.7 Tune stringed instruments using standard and other tunings.

4.1.8 Utilize basic percussion techniques on several standard and ethnic instruments.

4.2 Develop original melodies, simple accompaniments, and short pieces extemporaneously

in a variety of moods and styles, vocally and instrumentally.

4.3 Improvise on pitched and unpitched instruments, and vocally in a variety of settings

including individual, dyad, small or large group.

4.4 Care for and maintain instruments.

5. Conducting Skills

5.1 Conduct basic patterns with technical accuracy.

5.2 Conduct small and large vocal and instrumental ensembles.

6. Movement Skills

6.1 Direct structured and improvisatory movement experiences.

6.2 Move in a structured and/or improvisatory manner for expressive purposes.

B. CLINICAL FOUNDATIONS

7. Therapeutic Applications

7.1 Demonstrate basic knowledge of the potential, limitations, and problems of populations

specified in the Standards of Clinical Practice.

7.2 Demonstrate basic knowledge of the causes, symptoms of, and basic terminology used in

medical, mental health, and educational classifications.

7.3 Demonstrate basic knowledge of typical and atypical human systems and development

(e.g., anatomical, physiological, psychological, social.)

7.4 Demonstrate basic understanding of the primary neurological processes of the brain.

8. Therapeutic Principles

8.1 Demonstrate basic knowledge of the dynamics and processes of a therapist-client

relationship.

8.2 Demonstrate basic knowledge of the dynamics and processes of therapy groups.

8.3 Demonstrate basic knowledge of accepted methods of major therapeutic approaches.

9. The Therapeutic Relationship

9.1 Recognize the impact of one's own feelings, attitudes, and actions on the client and the

therapy process.

9.2 Establish and maintain interpersonal relationships with clients and team members that are

appropriate and conducive to therapy.

9.3 Use oneself effectively in the therapist role in both individual and group therapy, e.g.,

appropriate self-disclosure, authenticity, empathy, etc. toward affecting desired therapeutic

outcomes.

9.4 Utilize the dynamics and processes of groups to achieve therapeutic goals

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9.5 Demonstrate awareness of the influence of race, ethnicity, language, religion, marital

status, gender, gender identity or expression, sexual orientation, age, ability, socioeconomic

status, or political affiliation on the therapeutic process.

C. MUSIC THERAPY

10. Foundations and Principles

Apply basic knowledge of:

10.1 Existing music therapy methods, techniques, materials, and equipment with their

appropriate applications.

10.2 Principles and methods of music therapy assessment, treatment, evaluation, and

termination for the populations specified in the Standards of Clinical Practice.

10.3 The psychological aspects of musical behavior and experience including, but not limited

to, perception, cognition, affective response, learning, development, preference, and creativity.

10.4 The physiological aspects of the musical experience including, but not limited to, central

nervous system, peripheral nervous system, and psychomotor responses.

10.5 Philosophical, psychological, physiological, and sociological basis of music as therapy.

10.6 Use of current technologies in music therapy assessment, treatment, evaluation, and

termination.

11. Client Assessment

11.1 Select and implement effective culturally-based methods for assessing the client’s

strengths, needs, musical preferences, level of musical functioning, and development.

11.2 Observe and record accurately the client's responses to assessment.

11.3 Identify the client's functional and dysfunctional behaviors.

11.4 Identify the client’s therapeutic needs through an analysis and interpretation of

assessment data.

11.5 Communicate assessment findings and recommendations in written and verbal forms.

12. Treatment Planning

12.1 Select or create music therapy experiences that meet the client's objectives.

12.2 Formulate goals and objectives for individual and group therapy based upon assessment

findings.

12.3 Identify the client's primary treatment needs in music therapy.

12.4 Provide preliminary estimates of frequency and duration of treatment.

12.5 Select and adapt music, musical instruments, and equipment consistent with the strengths

and needs of the client.

12.6 Formulate music therapy strategies for individuals and groups based upon the goals and

objectives adopted.

12.7 Create a physical environment (e.g., arrangement of space, furniture, equipment, and

instruments that is conducive to therapy).

12.8 Plan and sequence music therapy sessions.

12.9 Determine the client's appropriate music therapy group and/or individual placement.

12.10 Coordinate treatment plan with other professionals.

13. Therapy Implementation

13.1 Recognize, interpret, and respond appropriately to significant events in music therapy

sessions as they occur.

13.2 Provide music therapy experiences that address assessed goals and objectives for

populations specified in the Standards of Clinical Practice.

13.3 Provide verbal and nonverbal directions and cues necessary for successful client

participation.

13.4 Provide models for and communicate expectations of behavior to clients.

13.5 Utilize therapeutic verbal skills in music therapy sessions.

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13.6 Provide feedback on, reflect, rephrase, and translate the client's communications.

13.7 Assist the client in communicating more effectively.

13.8 Sequence and pace music experiences within a session according to the client's needs and

situational factors.

13.9 Conduct or facilitate group and individual music therapy.

13.10 Implement music therapy program according to treatment plan.

13.11 Promote a sense of group cohesiveness and/or a feeling of group membership.

13.12 Develop and maintain a repertoire of music for age, culture, and stylistic differences.

13.13 Recognize and respond appropriately to effects of the client's medications.

13.14 Maintain a working knowledge of new technologies and implement as needed to support

client progress towards treatment goals and objectives.

14. Therapy Evaluation

14.1 Design and implement methods for evaluating and measuring client progress and the

effectiveness of therapeutic strategies.

14.2 Establish and work within realistic time frames for evaluating the effects of therapy.

14.3 Recognize significant changes and patterns in the client's response to therapy.

14.4 Recognize and respond appropriately to situations in which there are clear and present

dangers to the client and/or others.

14.5 Modify treatment approaches based on the client’s response to therapy.

14.6 Review and revise treatment plan as needed.

15. Documentation

15.1 Produce documentation that accurately reflects client outcomes and meet the

requirements of internal and external legal, regulatory, and reimbursement bodies.

15.2 Document clinical data.

15.3 Write professional reports describing the client throughout all phases of the music

therapy process in an accurate, concise, and objective manner.

15.4 Effectively communicate orally and in writing with the client and client’s team members.

15.5 Document and revise the treatment plan and document changes to the treatment plan.

15.6 Develop and use data-gathering techniques during all phases of the clinical process

including assessment, treatment, evaluation, and termination.

16. Termination/Discharge Planning

16.1 Assess potential benefits/detriments of termination of music therapy.

16.2 Develop and implement a music therapy termination plan.

16.3 Integrate music therapy termination plan with plans for the client’s discharge from the

facility.

16.4 Inform and prepare the client for approaching termination from music therapy.

16.5 Establish closure of music therapy services by time of termination/discharge.

17. Professional Role/Ethics

17.1 Interpret and adhere to the AMTA Code of Ethics.

17.2 Adhere to the Standards of Clinical Practice.

17.3 Demonstrate dependability: follow through with all tasks regarding education and

professional training.

17.4 Accept criticism/feedback with willingness and follow through in a productive manner.

17.5 Resolve conflicts in a positive and constructive manner.

17.6 Meet deadlines without prompting.

17.7 Express thoughts and personal feelings in a consistently constructive manner.

17.8 Demonstrate critical self-awareness of strengths and weaknesses.

17.9 Demonstrate knowledge of and respect for diverse cultural backgrounds.

17.10 Treat all persons with dignity and respect, regardless of differences in race, ethnicity,

language, religion, marital status, gender, gender identity or expression, sexual orientation, age,

ability, socioeconomic status, or political affiliation.

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17.11 Demonstrate skill in working with culturally diverse populations.

17.12 Adhere to all laws and regulations regarding the human rights of clients, including

confidentiality.

17.13 Demonstrate the ability to locate information on regulatory issues and to respond to calls

for action affecting music therapy practice.

17.14 Demonstrate basic knowledge of professional music therapy organizations and how these

organizations influence clinical practice.

17.15 Demonstrate basic knowledge of music therapy service reimbursement and financing

sources (e.g., Medicare, Medicaid, Private Health Insurance, State and Local Health and/or

Education Agencies, Grants).

17.16 Adhere to clinical and ethical standards and laws when utilizing technology in any

professional capacity.

18. Interprofessional Collaboration

18.1 Demonstrate a basic understanding of professional roles and duties and develop working

relationships with other disciplines in client treatment programs.

18.2 Communicate to other departments and staff the rationale for music therapy services and

the role of the music therapist.

18.3 Define the role of music therapy in the client's total treatment program.

18.4 Collaborate with team members in designing and implementing interdisciplinary

treatment programs.

19. Supervision and Administration

19.1 Participate in and benefit from multiple forms of supervision (e.g., peer, clinical).

19.2 Manage and maintain music therapy equipment and supplies.

19.3 Perform administrative duties usually required of clinicians (e.g., scheduling therapy,

programmatic budgeting, maintaining record files).

19.4 Write proposals to create new and/or maintain existing music therapy programs.

20. Research Methods

20.1 Interpret information in the professional research literature.

20.2 Demonstrate basic knowledge of the purpose and methodology of historical, quantitative,

and qualitative research.

20.3 Perform a data-based literature search.

20.4 Integrate the best available research, music therapists’ expertise, and the needs, values,

and preferences of the individual(s) served.

REFERENCES

Alley, J.M. (1978). Competency based evaluation of a music therapy curriculum. Journal of Music

Therapy, .11, 9-14.

Braswell, C. Maranto, C.D., Decuir, A. (1979a). A survey of clinical practice in music therapy, Part I:

The institutions in which music therapist's work and personal data. Journal of Music Therapy, 16, 2-16.

Braswell, C. Maranto, C.D., Decuir, A. (1979b). A survey of clinical practice in music therapy, Part II:

Clinical Practice, education, and clinical training. Journal of Music Therapy, 16, 50-69.

Braswell, C. Maranto, C.D., Decuir, A. (1980). Ratings of entry skills by music therapy clinicians,

educators, and interns. Journal of Music Therapy, 17, 133-147.

Bruscia, K., Hesser B., and Boxill, E. (1981). Essential competencies for the practice of music therapy.

Music Therapy, 1, 43-49.

AMTA Professional Competencies, revised 11/23/13 Page 6

8455 Colesville Rd. Suite 1000 | Silver Spring, MD 20910, USA | 301-589-3300 | www.musictherapy.org

Certification Board for Music Therapists. (1988). Job re-analysis survey of music therapy knowledge and

skills.

Jensen, K.L., and McKinney, C.H. (1990). Undergraduate music therapy education and training: Current

status and proposals for the future. Journal of Music Therapy, 18, 158-178.

Lathom W.B. (1982). Survey of current functions of a music therapist. Journal of Music Therapy, 19, 2-

27.

McGuire, M.G. (1994). A survey of all National Association for Music Therapy clinical training

directors. Unpublished manuscript. Author.

McGuire, M.G. (1995). A survey of all recently registered music therapists. Unpublished manuscript.

Author.

McGuire, M.G. (1996a). Determining the professional competencies for the National Association for

Music Therapy: Six surveys of professional music therapists in the United States, 1990-1996. Paper

presented at the Eighth World Congress of Music Therapy and the Second International Congress of the

World Federation of Music Therapy, Hamburg, Germany.

McGuire, M.G. (1996b). A survey of all American Association for Music Therapy and National

Association for Music Therapy educators. Unpublished manuscript. Author.

McGuire, M.G., Brady, D., Cohen, N., Hoskins, C., Kay, L. (1996). A document in process: Music

Therapy Professional Competencies. A presentation at the Joint Conference of the American Association

for Music Therapy and the National Association for Music Therapy, Nashville, TN.

Maranto, C.D., and Bruscia, K.E. (1988). Methods of teaching and training the music therapists.

Philadelphia: Temple University.

Maranto, C.D., and Bruscia, K.E. (Eds.) (1988). Perspectives on music therapy education and training.

Philadelphia: Temple University.

National Association for Music Therapy. (Various dates). Surveys conducted from 1991 through 1996.

Petrie, G.E. (1989). The identification of a contemporary hierarchy of intended learning outcomes for

music therapy students entering internships. Journal of Music Therapy, 26, 125-139.

Petrie, G.E. (1993). An evaluation of the National Association for Music Therapy Undergraduate

Academic Curriculum: Part II. Journal of Music Therapy, 30, 158-173.

Reuer, B.L. (1987). An evaluation of the National Association for Music Therapy curriculum from the

perspectives of therapists, and educators of therapists in view of academic, clinical, and regulatory

criteria. Unpublished doctoral dissertation, The University of Iowa.

Sandness, M.I., McGuire, M.G., and Cohen, N. (1995) Roundtable Discussion: The process of

implementing the NAMT Professional Competencies into the academic curriculum. A presentation at the

National Association for Music Therapy Conference, Houston, TX.

Scartelli, J. (October-November, 1994). NAMT Notes, pp.1, 3.

AMTA Professional Competencies, revised 11/23/13 Page 7

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Taylor, D.B. (1984). Professional music therapists' opinion concerning competencies for entry-level

music therapy practitioners. Dissertation. Abstracts International, 43. 8424243.

Taylor, D.B. (1987). A survey of professional music therapists concerning entry level competencies.

Journal of Music Therapy, 24, 114-145.

Revised 11/30/08

Revised 7/10/13

Revised 11/23/13

www.musictherapy.org

www.cbmt.org

SCOPE OF MUSIC THERAPY PRACTICE

Preamble

The scope of music therapy practice defines the range of responsibilities of a fully qualified music therapy professional with requisite education,

clinical training, and board certification. Such practice also is governed by requirements for continuing education, professional responsibility and

accountability. This document is designed for music therapists, clients, families, health and education professionals and facilities, state and federal

legislators and agency officials, private and public payers, and the general public.

Statement of Purpose

The purpose of this document is to define the scope of music therapy

practice by:

1. Outlining the knowledge, skills, abilities, and experience for

qualified clinicians to practice safely, effectively and ethically,

applying established standards of clinical practice and performing

functions without risk of harm to the public;

2. Defining the potential for harm by individuals without formalized

music therapy training and credentials; and

3. Describing the education, clinical training, board certification, and

continuing education requirements for music therapists.

Definition of Music Therapy and Music Therapist

Music therapy is defined as the clinical and evidence-based use of

music interventions to accomplish individualized goals for people of all

ages and ability levels within a therapeutic relationship by a creden-

tialed professional who has completed an approved music therapy pro-

gram. A music therapist is an individual who has completed the educa-

tion and clinical training requirements established by the American

Music Therapy Association (AMTA) and who holds current board cer-

tification from The Certification Board for Music Therapists (CBMT).

Assumptions

The scope of music therapy practice is based on the values of non-

maleficence, beneficence, ethical practice; professional integrity, respect,

excellence; and diversity. The following assumptions are the foundation

for this document:

• Public Protection. The public is entitled to have access to

qualified music therapists who practice competently, safely,

and ethically.

• Requisite Training and Skill Sets. The scope of music therapy

practice includes professional and advanced competencies.

The music therapist only provides services within the scope of

practice that reflect his/her level of competence. The music

therapy profession is not defined by a single music intervention

or experience, but rather a continuum of skills sets (simple to

complex) that make the profession unique.

• Evidence-Based Practice. A music therapist’s clinical practice is

guided by the integration of the best available research evidence,

the client’s needs, values, and preferences, and the expertise

of the clinician.

• Overlap in Services. Music therapists recognize that in order for

clients to benefit from an integrated, holistic treatment approach,

there will be some overlap in services provided by multiple

professions. We acknowledge that other professionals may use

music, as appropriate, as long as they are working

within their scope.

• Professional Collaboration. A competent music therapist will

make referrals to other providers (music therapists and non-music

therapists) when faced with issues or situations beyond the original

clinician’s own practice competence, or where greater competence

or specialty care is determined as necessary or helpful to the

client’s condition.

• Client-Centered Care. A music therapist is respectful of, and

responsive to the needs, values, and preferences of the client and

the family. The music therapist involves the client in the treatment

planning process, when appropriate.

Music Therapy Practice

Music therapy means the clinical and evidence-based use of music inter-

ventions to accomplish individualized goals for people of all ages and

ability levels within a therapeutic relationship by a credentialed profes-

sional who has completed an approved music therapy program. Music

therapists develop music therapy treatment plans specific to the needs

and strengths of the client who may be seen individually or in groups.

Music therapy treatment plans are individualized for each client. The

The Certification Board

for Music Therapists

Certification

Board for

Music

Therapists

2 | Scope of music therapy practice

goals, objectives, and potential strategies of the music therapy services

are appropriate for the client and setting. The music therapy interven-

tions may include music improvisation, receptive music listening, song

writing, lyric discussion, music and imagery, singing, music perfor-

mance, learning through music, music combined with other arts,

music-assisted relaxation, music-based patient education, electronic

music technology, adapted music intervention, and movement to

music. Music therapy clinical practice may be in developmental, reha-

bilitative, habilitative, medical, mental health, preventive, wellness care,

or educational areas. Standards of practice in music therapy include:

• Accepting referrals for music therapy services from medical,

developmental, mental health, and education professionals; family

members; clients; caregivers; or others involved and authorized

with provision of client services. Before providing music therapy

services to a client for an identified clinical or developmental need,

the music therapist collaborates, as applicable, with the primary

care provider(s) to review the client’s diagnosis, treatment needs,

and treatment plan. During the provision of music therapy

services to a client, the music therapist collaborates, as applicable,

with the client’s treatment team;

• Conducting a music therapy assessment of a client to determine if

treatment is indicated. If treatment is indicated, the

music therapist collects systematic, comprehensive, and accurate

information to determine the appropriateness and type of music

therapy services to provide for the client;

• Developing an individualized music therapy treatment

plan for the client that is based upon the results of the music

therapy assessment. The music therapy treatment plan

includes individualized goals and objectives that focus on

the assessed needs and strengths of the client and specify

music therapy approaches and interventions to be used to

address these goals and objectives;

• Implementing an individualized music therapy treatment plan

that is consistent with any other developmental, rehabilitative,

habilitative, medical, mental health, preventive, wellness care,

or educational services being provided to the client;

• Evaluating the client’s response to music therapy and the music

therapy treatment plan, documenting change and progress, and

suggesting modifications, as appropriate;

• Developing a plan for determining when the provision of music

therapy services is no longer needed in collaboration with the

client, physician, or other provider of health care or education of

the client, family members of the client, and any other appropriate

person upon whom the client relies for support;

• Minimizing any barriers to ensure that the client receives

music therapy services in the least restrictive environment;

• Collaborating with and educating the client and the family,

caregiver of the client, or any other appropriate person regarding

the needs of the client that are being addressed in music therapy

and the manner in which the music therapy treatment addresses

those needs; and

• Utilizing appropriate knowledge and skills to inform practice

including use of research, reasoning, and problem solving skills to

determine appropriate actions in the context of each specific

clinical setting.

Music therapists are members of an interdisciplinary team of healthcare,

education, and other professionals who work collaboratively to address

the needs of clients while protecting client confidentiality and privacy.

Music therapists function as independent clinicians within the context

of the interdisciplinary team, supporting the treatment goals and co-

treating with physicians, nurses, rehabilitative specialists, neurologists,

psychologists, psychiatrists, social workers, counselors, behavioral

health specialists, physical therapists, occupational therapists, speech-

language pathologists, audiologists, educators, clinical case managers,

patients, caregivers, and more.

Music therapy-specific assessment, treatment planning, and implemen-

tation consider diagnosis and history, are performed in a manner con-

gruent with the client’s level of functioning, and address client needs

across multiple domains.

Potential for Harm

Music therapists are trained to independently analyze client non-verbal,

verbal, psychological, and physiological responses to music and non-

music stimuli in order to be clinically effective and refrain from contra-

indicated practices. The music therapist implements ongoing evalua-

tion of client responses and adapts the intervention accordingly to pro-

tect the client from negative outcomes.

Music therapists use their knowledge, skills, training and experience to

facilitate therapeutic, goal oriented music-based interactions that are

meaningful and supportive to the function and health of their clients.

These components of clinical practice continue to evolve with advances

in basic science, translational research, and therapeutic implementation.

Music therapists, therefore, participate in continued education to

remain competent, know their limitations in professional practice, and

recognize when it is appropriate to seek assistance, advice, or consulta-

tion, or refer the client to another therapist or professional. In addition,

music therapists practice safely and ethically as defined by the AMTA

Code of Ethics, AMTA Standards of Clinical Practice, CBMT Code of

Professional Practice, CBMT Board Certification Domains, and other

applicable state and federal laws. Both AMTA and CBMT have mecha-

nisms by which music therapists who are in violation of safe and ethi-

cal practice are investigated.

The use of live music interventions demands that the therapist not only

possess the knowledge and skills of a trained therapist, but also the

unique skill set of a trained musician in order to manipulate the music

therapy intervention to fit clients’ needs. Given the diversity of diagno-

ses with which music therapists work and the practice settings in which

they work independently, clinical training and experience are necessary.

Individuals attempting to provide music therapy treatment interven-

tions without formalized music therapy training and credentials may

pose risks to clients.

To protect the public from threats of harm in clinical practice, music

therapists comply with safety standards and competencies such as, but

not limited to:

• Recognize and respond to situations in which there are clear

and present dangers to a client and/or others.

• Recognize the potential harm of music experiences and use

them with care.

• Recognize the potential harm of verbal and physical interventions

during music experiences and use them with care.

• Observe infection control protocols (e.g., universal precautions,

disinfecting instruments).

3 | Scope of music therapy practice

• Recognize the client populations and health conditions for which

music experiences are contraindicated.

• Comply with safety protocols with regard to transport and

physical support of clients.

Definition of Governing Bodies

AMTA’s mission is to advance public awareness of the benefits of music

therapy and increase access to quality music therapy services in a

rapidly changing world. AMTA strives to improve and advance the use

of music, in both its breadth and quality, in clinical, educational, and

community settings for the betterment of the public health and welfare.

The Association serves as the primary organization for the advancement

of education, clinical practice, research, and ethical standards in the

music therapy profession.

AMTA is committed to:

• Promoting quality clinical treatment and ethical practices

regarding the use of music to restore, maintain, and improve

the health of all persons.

• Establishing and maintaining education and clinical training

standards for persons seeking to be credentialed music therapists.

• Educating the public about music therapy.

• Supporting music therapy research.

The mission of the CBMT is to ensure a standard of excellence in the

development, implementation, and promotion of an accredited

certification program for safe and competent music therapy practice.

CBMT is an independent, non-profit, certifying agency fully

accredited by the National Commission for Certifying Agencies

(NCCA). This accreditation serves as the means by which CBMT

strives to maintain the highest standards possible in the construction

and administration of its national examination and recertification

programs, ultimately designed to reflect current music therapy practice

for the benefit of the consumer.

CBMT is committed to:

• Maintaining the highest possible standards, as established by

the Institute for Credentialing Excellence (ICE) and NCCA,

for its national certification and recertification programs.

• Maintaining standards for eligibility to sit for the National

Examination: Candidates must have completed academic and

clinical training requirements established by AMTA.

• Defining and assessing the body of knowledge that represents

safe and competent practice in the profession of music therapy

and issuing the credential of Music Therapist-Board Certified

(MT-BC) to individuals that demonstrate the required

level of competence.

• Advocating for recognition of the MT-BC credential and for

access to safe and competent practice.

• Maintaining certification and recertification requirements that

reflect current practice in the profession of music therapy.

• Providing leadership in music therapy credentialing.

The unique roles of AMTA (education and clinical training) and

CBMT (credentialing and continuing education) ensure that the

distinct, but related, components of the profession are maintained.

This scope of music therapy practice document acknowledges the

separate but complementary contributions of AMTA and CBMT in

developing and maintaining professional music therapists and evi-

dence-based practices in the profession.

Education and Clinical Training Requirements

A qualified music therapist:

• Must have graduated with a bachelor’s degree (or its equivalent)

or higher from a music therapy degree program approved by the

American Music Therapy Association (AMTA); and

• Must have successfully completed a minimum of 1,200 hours

of supervised clinical work through pre-internship training at the

AMTA-approved degree program, and internship training through

AMTA–approved National Roster or University Affiliated

internship programs, or an equivalent.

Upon successful completion of the AMTA academic and clinical train-

ing requirements or its international equivalent, an individual is eligi-

ble to sit for the national board certification exam administered by the

Certification Board for Music Therapists (CBMT).

Board Certification Requirements

The Music Therapist – Board Certified (MT-BC) credential is granted

by the Certification Board for Music Therapists (CBMT) to music

therapists who have demonstrated the knowledge, skills, and abilities

for competence in the current practice of music therapy. The purpose

of board certification in music therapy is to provide an objective

national standard that can be used as a measure of professionalism and

competence by interested agencies, groups, and individuals. The

MT-BC credential may also be required to meet state laws and regula-

tions. Any person representing him or herself as a board certified music

therapist must hold the MT-BC credential awarded by CBMT, an

independent, nonprofit corporation fully accredited by the National

Commission for Certifying Agencies (NCCA).

The board certified music therapist credential, MT-BC, is awarded by

the CBMT to an individual upon successful completion of an academ-

ic and clinical training program approved by the American Music

Therapy Association (or an international equivalent) and successful

completion of an objective written examination demonstrating current

competency in the profession of music therapy. The CBMT adminis-

ters this examination, which is based on a nationwide music therapy

practice analysis that is reviewed and updated every five years to reflect

current clinical practice. Both the practice analysis and the examina-

tion are psychometrically sound and developed using guidelines issued

by the Equal Employment Opportunity Commission, and the

American Psychological Association’s standards for test validation.

Once board certified, a music therapist must adhere to the CBMT

Code of Professional Practice and recertify every five years through

either a program of continuing education or re-examination.

By establishing and maintaining the certification program, CBMT is in

compliance with NCCA guidelines and standards that require certify-

ing agencies to: 1) have a plan for periodic recertification, and 2) pro-

vide evidence that the recertification program is designed to measure or

enhance the continuing competence of the individual.

www.musictherapy.org

www.cbmt.org

The CBMT recertification program provides music therapists with

guidelines for remaining current with safe and competent practice and

enhancing their knowledge in the profession of music therapy.

The recertification program contributes to the professional develop-

ment of the board certified music therapist through a program of con-

tinuing education, professional development, and professional service

opportunities. All three recertification categories are reflective of the

Practice Analysis Study and relevant to the knowledge, skills and abili-

ties required of the board certified music therapist. Documentation

guidelines in the three categories require applying learning outcomes to

music therapy practice and relating them to the CBMT Board

Certification Domains. Integrating and applying new knowledge with

current practice, developing enhanced skills in delivery of services to

clients, and enhancing a board certified music therapist’s overall abili-

ties are direct outcomes of the recertification program. To support

CBMT’s commitment of ensuring the competence of the board certi-

fied music therapist and protecting the public, certification must be

renewed every five years with the accrual of 100 recertification credits.

NCCA accreditation demonstrates that CBMT and its credentialing

program undergo review to demonstrate compliance with certification

standards set by an impartial, objective commission whose primary

focus is competency assurance and protection of the consumer. The

program provides valuable information for music therapists, employers,

government agencies, payers, courts and professional organizations. By

participating in the CBMT Recertification Program, board certified

music therapists promote continuing competence and the safe and

effective clinical practice of music therapy.

References

American Music Therapy Association & Certification Board for Music Therapists. (2014). Legislative

language template. [Unpublished working document]. Copy in possession of authors.

American Music Therapy Association. (2014). Therapeutic music services at-a-glance: An overview of

music therapy and therapeutic music. Retrieved from http://www.musictherapy.org/assets/1/7/

TxMusicServicesAtAGlance_14.pdf

American Music Therapy Association. (2013). AMTA standards of clinical practice. Retrieved from

http://www.musictherapy.org/about/standards/

American Music Therapy Association. (2013). Bylaws. Retrieved from

http://www.musictherapy.org/members/bylaws/

American Music Therapy Association. (2013). Code of ethics. Retrieved from

http://www.musictherapy.org/about/ethics/

American Music Therapy Association. (2009). AMTA advanced competencies. Retrieved from

http://www.musictherapy.org/members/advancedcomp/

American Music Therapy Association. (n.d.). About music therapy & AMTA. Retrieved from

http://www.musictherapy.org/about/

American Music Therapy Association. (n.d.). AMTA standards for education and clinical training.

Retrieved from http://www.musictherapy.org/members/edctstan/

Certification Board for Music Therapists. (2015). CBMT board certification domains. Downingtown,

PA: Certification Board for Music Therapists.

Certification Board for Music Therapists. (2011). CBMT Brochure. Retrieved from

http://cbmt.org/about-certification/

Certification Board for Music Therapists. (2012). Bylaws of Certification Board for Music Therapists

[Unpublished document]. Downingtown, PA: Certification Board for Music Therapists

Certification Board for Music Therapists. (2012). Candidate handbook. Downingtown, Certification

Board for Music Therapists.

Certification Board for Music Therapists. (2011). CBMT code of professional practice.

Downingtown, PA: Certification Board for Music Therapists.

Certification Board for Music Therapists. (2011). Recertification manual (5th Ed.). Downingtown,

PA: Certification Board for Music Therapists.

Certification Board for Music Therapists. (2011). Eligibility requirements. Retrieved from

http://www.cbmt.org/examination/eligibility-requirements/

Certification Board for Music Therapists. (2010). CBMT scope of practice. Downingtown, PA:

Certification Board for Music Therapists.

Certification Board for Music Therapists. (2014). About CBMT. Retrieved from

http://www.cbmt.org/about-cbmt/

Health and Care Professions Council. (2013). Standards of proficiency: Arts therapists. Retrieved

from http://www.hcpcuk.org/publications/

LeBuhn, R. & Swankin, D. A. (2010). Reforming scopes of practice: A white paper. Washington,

DC: Citizen Advocacy Center.

National Council of State Boards of Nursing. (2012). Changes in healthcare professions’ scope of

practice: Legislative considerations. Retrieved from https://www.ncsbn.org/Scope_of_

Practice_2012.pdf

Sackett, D. L., Rosenberg, W. M. C., Muir, G. J. A., Haynes, R. B., & Richardson, W. S. (1996).

Evidence based medicine: What it is and what it isn’t. British Medical Journal 312(7023), 71-72.

American Music

Therapy Association

506 East Lancaster Avenue

Suite 102

Downingtown, PA 19335

Tel. 800-765-CBMT (2268)

Fax 610-269-9232

www.cbmt.org

Certification Board

For Music Therapists

8455 Colesville Road, Suite 1000

Silver Spring, MD 20910

Tel. 301-589-3300

Fax 301-589-5175

www.musictherapy.org

AMTA and CBMT created this document as a resource pertinent to the practice of

music therapy. However, CBMT and AMTA are not offering legal advice, and this mate-

rial is not a substitute for the services of an attorney in a particular jurisdiction. Both

AMTA and CBMT encourage users of this reference who need legal advice on legal mat-

ters involving statutes to consult with a competent attorney. Music therapists may also

check with their state governments for information on issues like licensure and for other

relevant occupational regulation information. Additionally, since laws are subject to

change, users of this guide should refer to state governments and case law for current or

additional applicable materials.

Published 1/10/2015, Reprinted 1/11/2018

4 | Scope of music therapy practice

Page 1

8455 Colesville Rd. Suite 1000 | Silver Spring, MD 20910, USA | 301-589-3300 | www.musictherapy.org

AMTA ASSOCIATION INTERNSHIP APPROVAL COMMITTEE

2021

(Contact Committee members for mailing addresses)

SOUTHWESTERN MID-ATLANTIC

Temporarily Vacant Susan Glaspell, MT-BC

Springfield Hospital Center

W- (410) 970-7188

Email: susan.gla[email protected]

MIDWESTERN SOUTHEASTERN

Kim Hawkins, MS, MT-BC Chrissy Watson, MT-BC

U of Iowa Hospitals & Clinics Star Center, Inc.

W- 319-353-8568 W: (731) 554-5148

Email: Kimberly-hawkins@uiowa.edu M: (919) 274-8070

Email: chrissy.watson@star-center.org

GREAT LAKES NEW ENGLAND

Kay Luedtke-Smith, MT-BC Brian Jantz, MA, MT-BC

Private Practice Berklee College of Music

H (952) 938-4367 W (617) 448-1186

Email: kaysmith3254@gmail.com Email: bjantz@berklee.edu

WESTERN CO-CHAIRPERSON

Leanne Wade, PhD, MT-BC Eve Montague, MSM, MT-BC

Innovative Music Solutions New England Village

H: (209) 471-6632 W (781) 781-856-3251

Email: leanneaiac@gmail.com Email evemontague@verizon.net

COUNCIL COORDINATOR CO-CHAIRPERSON

Alejandra Ferrer, PhD, MT-BC Lauren DiMaio, PhD, MT-BC

Belmont University Texas Women’s University

W (615) 460-5408 H & W (704)-977-7427

Email: Alejandra.ferrer@belmont.edu Email: ldimaio3@TWU.edu

Sample Forms

Evaluation of Student Competencies-SAMPLE FORM

Rating Scale:

1- No knowledge or skill in this area

2- Minimal knowledge or skill in this area

3- Adequate knowledge or skill in this area

4- Above average knowledge or skill in this area

5- Outstanding knowledge or skill in this area

MUSIC FOUNDATIONS

Music Theory and History

1) ______-Recognize standard works in the literature.

2) ______-Identify the elemental, structural, and stylistic characteristics of music from various

periods and cultures.

3) ______-Sight-sing melodies of both diatonic and chromatic makeup.

4) ______-Take aural dictation of melodies, rhythms, and chord progressions.

5) ______-Transpose simple compositions.

Composition and Arranging Skills

1) ______-Compose songs with simple accompaniment.

2) ______-Adapt, arrange, transpose, and simplify music compositions for small vocal and

nonsymphonic instrumental ensembles.

Major Performance Medium Skills

1) ______-Perform appropriate undergraduate repertoire; demonstrate musicianship, technical

proficiency, and interpretive understanding on a principal instrument/voice.

2) ______-Perform in small and large ensembles.

Functional Music Skills

1) ______-Demonstrate a basic foundation on voice, piano, guitar, and percussion.

2) ______-Lead and accompany proficiently on instruments including, but not limited to, voice, piano,

guitar, and percussion.

3) ______-Play basic chord progressions in several major and minor keys with varied accompaniment

patterns.

4) ______-Play and sing a basic repertoire of traditional, folk, and popular songs with and without

printed music.

5) ______-Sing in tune with a pleasing quality and adequate volume both with accompaniment and a

capella.

6) ______-Sight-read simple compositions and song accompaniments.

7) ______-Harmonize and transpose simple compositions in several keys.

8) ______-Tune stringed instruments using standard and other tunings.

9) ______-Utilize basic percussion techniques on several standard and ethnic instruments.

10)______-Develop original melodies, simple accompaniments, and short pieces extemporaneously

in a variety of moods and styles, vocally and instrumentally.

11)______-Improvise on pitched and unpitched instruments, and vocally in a variety of settings

including individual, dyad, small or large group.

12)______-Care for and maintain instruments.

Conducting Skills

1) ______-Conduct basic patterns with technical accuracy.

2) ______-Conduct small and large vocal and instrumental ensembles.

Movement Skills

1) ______-Direct structured and improvisatory movement experiences.

2) ______-Move in a structured and/or improvisatory manner for expressive purposes.

CLINICAL FOUNDATIONS

Therapeutic Applications

1) ______-Demonstrate basic knowledge of the potential, limitations, and problems of populations

specified in the Standards of Clinical Practice.

2) ______-Demonstrate basic knowledge of the causes, symptoms of, and basic terminology used in

medical, mental health, and educational classifications.

3) ______-Demonstrate basic knowledge of typical and atypical human systems and development

(e.g., anatomical, physiological, psychological, social.)

4) ______-Demonstrate basic understanding of the primary neurological processes of the brain.

Therapeutic Principles

1) ______-Demonstrate basic knowledge of the dynamics and processes of a therapist-client

relationship.

2) ______-Demonstrate basic knowledge of the dynamics and processes of therapy groups.

3) ______-Demonstrate basic knowledge of accepted methods of major therapeutic approaches.

The Therapeutic Relationship

1) ______-Recognize the impact of one's own feelings, attitudes, and actions on the client and the

therapy process.

2) ______-Establish and maintain interpersonal relationships with clients and team members that are

appropriate and conducive to therapy.

3) ______-Use oneself effectively in the therapist role in both individual and group therapy, e.g.,

appropriate self-disclosure, authenticity, empathy, etc. toward affecting desired therapeutic

outcomes.

4) ______-Utilize the dynamics and processes of groups to achieve therapeutic goals

5) ______-Demonstrate awareness of the influence of race, ethnicity, language, religion, marital

status, gender, gender identity or expression, sexual orientation, age, ability, socioeconomic status,

or political affiliation on the therapeutic process.

MUSIC THERAPY FOUNDATIONS

Foundations and Principles

Apply basic knowledge of:

1) ______-Existing music therapy methods, techniques, materials, and equipment with their

appropriate applications.

2) ______-Principles and methods of music therapy assessment, treatment, evaluation, and

termination for the populations specified in the Standards of Clinical Practice.

3) ______-The psychological aspects of musical behavior and experience including, but not limited to,

perception, cognition, affective response, learning, development, preference, and creativity.

4) ______-The physiological aspects of the musical experience including, but not limited to, central

nervous system, peripheral nervous system, and psychomotor responses.

5) ______-Philosophical, psychological, physiological, and sociological basis of music as therapy.

6) ______-Use of current technologies in music therapy assessment, treatment, evaluation, and

termination.

Client Assessment

1) ______-Select and implement effective culturally-based methods for assessing the client’s

strengths, needs, musical preferences, level of musical functioning, and development.

2) ______-Observe and record accurately the client's responses to assessment.

3) ______-Identify the client's functional and dysfunctional behaviors.

4) ______-Identify the client’s therapeutic needs through an analysis and interpretation of

assessment data.

5) ______-Communicate assessment findings and recommendations in written and verbal forms.

Treatment Planning

1) ______-Select or create music therapy experiences that meet the client's objectives.

2) ______-Formulate goals and objectives for individual and group therapy based upon assessment

findings.

3) ______-Identify the client's primary treatment needs in music therapy.

4) ______-Provide preliminary estimates of frequency and duration of treatment.

5) ______-Select and adapt music, musical instruments, and equipment consistent with the strengths

and needs of the client.

6) ______-Formulate music therapy strategies for individuals and groups based upon the goals and

objectives adopted.

7) ______-Create a physical environment (e.g., arrangement of space, furniture, equipment, and

instruments that is conducive to therapy).

8) ______-Plan and sequence music therapy sessions.

9) ______-Determine the client's appropriate music therapy group and/or individual placement.

10)______- Coordinate treatment plan with other professionals.

Therapy Implementation

1) ______-Recognize, interpret, and respond appropriately to significant events in music therapy

sessions as they occur.

2) ______-Provide music therapy experiences that address assessed goals and objectives for

populations specified in the Standards of Clinical Practice.

3) ______-Provide verbal and nonverbal directions and cues necessary for successful client

participation.

4) ______-Provide models for and communicate expectations of behavior to clients.

5) ______-Utilize therapeutic verbal skills in music therapy sessions.

6) ______-Provide feedback on, reflect, rephrase, and translate the client's communications.

7) ______-Assist the client in communicating more effectively.

8) ______-Sequence and pace music experiences within a session according to the client's needs and

situational factors.

9) ______-Conduct or facilitate group and individual music therapy.

10)______-Implement music therapy program according to treatment plan.

11)______-Promote a sense of group cohesiveness and/or a feeling of group membership.

12)______-Develop and maintain a repertoire of music for age, culture, and stylistic differences.

13)______-Recognize and respond appropriately to effects of the client's medications.

14)______-Maintain a working knowledge of new technologies and implement as needed to support

client progress towards treatment goals and objectives.

Therapy Evaluation

1) ______-Design and implement methods for evaluating and measuring client progress and the

effectiveness of therapeutic strategies.

2) ______-Establish and work within realistic time frames for evaluating the effects of therapy.

3) ______-Recognize significant changes and patterns in the client's response to therapy.

4) ______-Recognize and respond appropriately to situations in which there are clear and present

dangers to the client and/or others.

5) ______-Modify treatment approaches based on the client’s response to therapy.

6) ______-Review and revise treatment plan as needed.

Documentation

1) ______-Produce documentation that accurately reflects client outcomes and meet the

requirements of internal and external legal, regulatory, and reimbursement bodies.

2) ______-Document clinical data.

3) ______-Write professional reports describing the client throughout all phases of the music therapy

process in an accurate, concise, and objective manner.

4) ______-Effectively communicate orally and in writing with the client and client’s team members.

5) ______-Document and revise the treatment plan and document changes to the treatment plan.

6) ______-Develop and use data-gathering techniques during all phases of the clinical process

including assessment, treatment, evaluation, and termination.

Termination/Discharge Planning

1) ______-Assess potential benefits/detriments of termination of music therapy.

2) ______-Develop and implement a music therapy termination plan.

3) ______-Integrate music therapy termination plan with plans for the client’s discharge from the

facility.

4) ______-Inform and prepare the client for approaching termination from music therapy.

5) ______-Establish closure of music therapy services by time of termination/discharge.

Professional Role/Ethics

1) ______-Interpret and adhere to the AMTA Code of Ethics.

2) ______-Adhere to the Standards of Clinical Practice.

3) ______-Demonstrate dependability: follow through with all tasks regarding education and

professional training.

4) ______-Accept criticism/feedback with willingness and follow through in a productive manner.

5) ______-Resolve conflicts in a positive and constructive manner.

6) ______-Meet deadlines without prompting.

7) ______-Express thoughts and personal feelings in a consistently constructive manner.

8) ______-Demonstrate critical self-awareness of strengths and weaknesses.

9) ______-Demonstrate knowledge of and respect for diverse cultural backgrounds.

10)______-Treat all persons with dignity and respect, regardless of differences in race, ethnicity,

language, religion, marital status, gender, gender identity or expression, sexual orientation, age,

ability, socioeconomic status, or political affiliation.

11)______-Demonstrate skill in working with culturally diverse populations.

12)______-Adhere to all laws and regulations regarding the human rights of clients, including

confidentiality.

13)______-Demonstrate the ability to locate information on regulatory issues and to respond to calls

for action affecting music therapy practice.

14)______-Demonstrate basic knowledge of professional music therapy organizations and how these

organizations influence clinical practice.

15)______-Demonstrate basic knowledge of music therapy service reimbursement and financing

sources (e.g., Medicare, Medicaid, Private Health Insurance, State and Local Health and/or

Education Agencies, Grants).

16)______-Adhere to clinical and ethical standards and laws when utilizing technology in any

professional capacity.

Interprofessional Collaboration

1) ______-Demonstrate a basic understanding of professional roles and duties and develop working

relationships with other disciplines in client treatment programs.

2) ______-Communicate to other departments and staff the rationale for music therapy services and

the role of the music therapist.

3) ______-Define the role of music therapy in the client's total treatment program.

4) ______-Collaborate with team members in designing and implementing interdisciplinary

treatment programs.

Supervision and Administration

1) ______-Participate in and benefit from multiple forms of supervision (e.g., peer, clinical).

2) ______-Manage and maintain music therapy equipment and supplies.

3) ______-Perform administrative duties usually required of clinicians (e.g., scheduling therapy,

programmatic budgeting, maintaining record files).

4) ______-Write proposals to create new and/or maintain existing music therapy programs.

Research Methods

1) ______-Interpret information in the professional research literature.

2) ______-Demonstrate basic knowledge of the purpose and methodology of historical, quantitative,

and qualitative research.

3) ______-Perform a data-based literature search.

4) ______-Integrate the best available research, music therapists’ expertise, and the needs, values,

and preferences of the individual(s) served.

Once completed, please submit this form to the intern’s academic director. By signing below, you

verify that all above responses honestly reflect current skills and competencies displayed by the

intern.

Student Signature: ____________________________________ Printed Name: ___________________________________

Date: _________________

Faculty Signature: _____________________________ Printed Name: _______________________________

Date: ____________________

Individualized Intern Contract

Intern:

School:

MT Faculty Advisor:

Internship Director:

Length of Internship

: 1040 hours

The intern must complete a minimum of 1200 hours of clinical training with at

least 180 hrs in pre-internship experiences and with at least 1020 hrs in internship

experiences.

The intern has completed at least180 hours in pre-internship experiences.

The intern needs to complete a minimum of 1020 hours in internship experiences.

Starting date:

Projected completion date:

Intern’s Work Schedule:

Compensation & Benefits:

Internship Director Responsibilities:

The Internship Director will provide the following supervision and support of the

intern:

• Develop an individualized contract in partnership with the intern and academic

faculty no later than the end of the first month of the internship.

• Provide the intern with a thorough orientation, including facility tour, review of

AMTA documents, the CBMT Code of Professional Practice, applicable Policies

and Procedures of the Site, and Intern Dismissal Policies.

• Provide viable music therapy role model for intern.

• Assign other professional staff (rehabilitation therapists) to provide support in the

training process.

• Establish and coordinate a network of supportive professional contacts.

• Provide the intern with one hour of individual consultation per week.

• Provide the intern with an average of four hours per week of observation and

constructive feedback.

• Complete and review midterm and final evaluations with the music therapy

intern.

• Communicate information to the intern regarding ongoing seminars, conferences,

workshops, and community resources.

• Provide the intern with a site evaluation to be completed at the end of the

internship and review with intern.

• Maintain continuous communication with the intern and his/her academic

faculty.

• Initiate performance improvement plans with the intern and academic faculty,

when necessary.

Intern Responsibilities:

The intern will…

• Adhere to AMTA National Roster Internship Guidelines, internship program

personnel requirements, policies and procedures.

• Adhere to AMTA Standards of Clinical Practice and Code of Ethics.

• Seek feedback and clarification through regular communication with supervising

therapist and/or Internship Director.

• Maintain regular communication with the academic faculty via monthly reports,

and possibly e-mails and calls when needed.

• Complete all written requirements of the internship.

• Observe, co-lead, and lead music therapy sessions as specified in the Clinical

Training Plan.

• Complete a midterm and final “intern self evaluation” and final “intern site

evaluation”.

• Request a “Welcome to the Professional World” packet from the National Office

at the mid-point of the internship.

• Six months following the internship, complete the post internship site evaluation

and send it to the Clinical Training Committee regional representative and the

Academic Faculty.

Academic Faculty Responsibilities:

The Academic Faculty will:

• Complete initial evaluation of student’s professional competencies no later than

the first day of the internship.

• Assist student and Internship Director with completion of individualized contract.

Contract should be completed no later than the end of the first month of the

internship.

• Maintain continuous communication throughout the internship with student and

Internship Director via monthly student reports, feedback on written evaluations,

and possibly one/two site visits.

• Monitor contractual agreement through review of mid term and final evaluation,

intern self evaluation, and intern’s site evaluation.

• Verify, in consultation with the ID, successful completion of internship per

contractual agreement.

Student Competency Needs:

(Based upon academic faculty’s assessment of student’s competencies; to be completed collaboratively by faculty, student, and

ID)

Music Foundations needs:

Clinical Foundations needs:

Music Therapy needs:

Student’s Improvement Plan:

(To be completed collaboratively by faculty, student, and ID; write in objective form and include level of performance

expected at mid-term and final evaluation; identify method of evaluation, evaluator, and role of evaluator)

Music Foundations:

Clinical Foundations:

Music Therapy:

By signing below, I the intern, acknowledge that I have read the contract and

understand that I must fulfill it in order to successfully complete my internship.

Intern’s Signature__________________________________Date__________________

By signing below, I the Academic Faculty, acknowledge that I have read the

contract and will provide support to the intern during his/her internship as stated in

the contract and abide by AMTA standards and guidelines.

Faculty Signature __________________________________Date__________________

By signing below, I the Internship Director, acknowledge that I have read the

contract and will provide support to the intern during his/her internship as stated in

the contract and abide by AMTA standards and guidelines.

ID Signature______________________________________Date__________________

By signing below, I the Intern Supervisor, acknowledge that I have read the

contract and will provide support to the intern during his/her internship as stated in

the contract and abide by AMTA standards and guidelines.

Supervisor Signature______________________________Date__________________

Lalah Manly, MM, MT-BC--Adapted from Sheri Smith, MT-BC, MT Clinical Director,

Augusta VA Medical Center: 2004a

Music Therapy Internship Orientation Checklist

Prior to First Day

☐

Send Acceptance letter to student

☐

Send Acceptance letter to AIAC representative

☐

Send Acceptance letter to Academic Advisor

☐

Background Check & Fingerprinting (Completed prior to first day)

☐

Mantoux testing (Completed prior to first day)

☐

Send Welcome Packet to Intern (outlining administrative requirements, repertoire,

anticipated start date/midterm date/end date)

☐

Start Date:

☐

Mid Term Evaluation Date:

☐

Anticipated (could change for many reasons) Last Day:

General Facility Orientation

☐

Tour of building

☐

General Orientation of Volunteers

☐

Attend Annual Review Day

☐

Department descriptions & organizational chart

☐

Facility mission, vision and values

Intern Introductions

☐

Introductions to Therapeutic Recreation Team

☐

Therapeutic Recreation Director & Volunteer Coordinator

☐

Activity Assistants

☐

Introductions to facility administrator, department managers and other pertinent staff

☐

Administrator

☐

Director of Nursing

☐

Director of Social Services

☐

Dietary Director

☐

Director of Human Resources

☐

Environmental Services Director

☐

Health Information Management Director

☐

Admissions Director

☐

Marketing Director

☐

Chaplain

☐

Dietician

☐

Assistant Director of Nursing (LTC & TCU)

☐

Aegis Therapy Director

Office Orientation

☐

Desk space

☐

Available office supplies

☐

Phone system

Facility Policies & Regulations

☐

Schedule & Signing in book

☐

Attendance expectation, holidays, sick/call-in procedure

☐

Name Tag

☐

Dress Code

☐

Parking

☐

Printer & Copy machine

☐

Tablet use

☐

Infection control policies

☐

HIPPA & privacy policy

☐

Resident bill of rights & vulnerable adults

☐

Incident reporting & mandated reporting

☐

Appropriate use of technology

☐

Dismissal policy

☐

Supervision & line of authority

☐

Non-Smoking facility policy

Department Practices, Policy & Procedures

☐

Instrument storage and maintenance

☐

Scheduling & activity calendar

☐

Special events, dine-ins, outings

☐

Gathering process

Documentation

☐

Point of Care Documentation

☐

MT documentation for 1:1s & small groups

☐

MT Assessment forms

☐

Introduction to MDS assessment process

Internship Expectations & Orientation

☐

Assignments

☐

Timeline and expected progression of internship

☐

Supervisor availability & contact 4 hours of informal supervisor after orientation phase

☐

Weekly supervision meetings 1 hour a week, closed door minimum

☐

Skills Labs

☐

Song Check-in’s

☐

Evaluations

☐

Internship Agreement

☐

AIAC Representative Contact information

AMTA Documents

☐

Standards of Clinical Practice

☐

National Roster Internship Guidelines

☐

Clinical Training Guidelines

☐

Scope of Music Therapy Practice

☐

Code of Ethics

☐

Professional Competencies

Intern Signature Date

Internship Director Signature Date

AMTA Internship Approval Committee (AIAC) Regional Representative Contact Information:

Insert correct name and info

SAMPLE FORM

Music Therapy Academic Program Evaluation

(Name of School) will monitor the efficacy of the music therapy academic program, to ensure adequate

academic knowledge and competency-based entry level professional clinical skills have been achieved by all

graduating students with the degree, (Degree name). The Music Therapy Academic Program Evaluation is

designed to meet the needs of music therapy faculty, non-music therapy faculty, clinical supervisors, students

and/or graduates of the music therapy program. Specific areas of assessment include:

• Students, Music Foundations, Clinical Foundations and Music Therapy Academic knowledge, Skills

Achievement

• Student Frequency of Competency-Based Music Therapy Skills

• Student Internship and Pre-Internship Clinical Training Preparedness

• Student Internship and Pre-Internship Effectiveness of Clinical Training Sites

• Graduate Achievement of the CBMT Board Certification Domains

( )

Graduate Professional Placement within the Professional Setting

• Graduate Perception of Music Therapy Academic Program

The Music Therapy Academic Program Evaluation is to be completed each academic school year by music

therapy faculty, non-music therapy faculty, clinical supervisors, students and/or graduates of the music therapy

program. The evaluation is confidential and utilized by the Director of Music Therapy to identify areas of

program strength, opportunities to implement new curriculum, enhancement of specific areas of defects and

utilization of professional graduate statistics for program recruitment.

Music Therapy Academic Program Evaluation

Graduate/Student

Name of School:

Date:

Title of Respondent:

Graduate

Student

Student Classification:

Freshman

Sophomore

Junior

Senior

Profession of Respondent:

Graduation Year:

Are you a board certified music therapist?

Yes No

The Music Therapy Academic Program Evaluation questions are designed to assess the perception,

satisfaction and usefulness the academic program was to you as a student. Please choose the right option to

share your views about the program:

Curriculum

Do you feel that you were provided a well-rounded music therapy education curriculum?

• Yes

•

• I Do Not Know

Do you feel that you received adequate knowledge and practice in your music foundation skills?

• Yes

•

• I Do Not Know

Do you feel that you received adequate knowledge and practice in your clinical foundation skills?

• Yes

•

• I Do Not Know

Do you feel that you received adequate knowledge and practice in your music therapy foundation skills?

• Yes

•

• I Do Not Know

•

I Do Not Know

Do you feel that your functional music skills for guitar meet your needs as a music therapist?

• Yes

•

I Do Not Know

Do you feel that your functional music skills for piano meet your needs as a music therapist?

•

Yes

• No

•

Do Not Know

Do you feel that your functional music skills for percussion meet your needs as a music therapist?

•

Yes

•

I Do Not Know

Do you feel that your functional music skills for voice meet your needs as a music therapist?

•

Yes

•

()

• I Do Not Know

Do you feel that you were provided adequate opportunities within the academic setting to apply and gain

AMTA Professional Competencies?

•

Yes

•

I Do Not Know

Clinical Training

Do you feel that you were provided a well-rounded music therapy pre-internship clinical experience?

•

Yes

•

I Do Not Know

Do you feel that you received adequate knowledge and practice with at least three populations served by

music therapists?

•

Yes

• No

Do you feel that direct supervision and feedback enhanced your pre-internship and internship clinical

skills?

• Yes

•

()

• I Do Not Know

Do you feel that you were provided adequate opportunities within the clinical setting to apply and gain

AMTA Professional Competencies?

•

Yes

•

Do Not Know

Do you feel confident that you could work with any populations outlined in the

AMTA

Standards of Clinical

Practice?

• Yes

•

I Do Not Know

Clinical Supervisors

Do you feel that your pre-internship clinical supervisor(s) provided you adequate observation,

implementation and feedback in relationship to your clinical work?

• Yes

•

I Do Not Know

Do you feel that your pre-internship clinical supervisor(s) fostered opportunities to apply and gain

AMTA

Professional Competencies?

• Yes

•

I Do Not Know

Do you feel that your internship clinical supervisor(s) provided you adequate observation, implementation

and feedback in relationship to your clinical work?

• Yes

•

• I Do Not Know

Do you feel that your internship clinical supervisor(s) fostered opportunities to apply and gain

AMTA

Professional Competencies?

•

Yes

•

I Do Not Know

•

I Do Not Know

Academic Faculty

Do you feel that the music therapy academic faculty supported you throughout the academic program?

•

Yes

•

I Do Not Know

Do you feel that the music therapy academic faculty was assessable via phone, email and/or face-to-face?

•

Yes

•

Do Not Know

Do you feel that the music therapy academic faculty maintained record of completed course work, total

clinical hours earned and development and achievement of AMTA Professional Competencies?

•

Yes

•

Do Not Know

)

Academic Program

Overall, do you feel that the music therapy academic program prepared you well to function as an entry-

level professional in the field of music therapy?

• Yes

•

I Do Not Know

Overall, do you feel that you have gain entry-level AMTA Professional Competencies?

•

Yes

•

I Do Not Know

(_)

Overall, would you recommend this music therapy academic program to students interested in seeking the

degree, Bachelor of Music in Music Therapy?

• Yes

•

(

Please feel free to share comments in regards to the music therapy academic program at( Name of School)

()

Music Therapy Academic Program Evaluation

Faculty/Staff/Clinical Supervisors

Name of School: Date:

Title of Respondent:

Profession of Respondent:

Faculty (Music Therapy)

Faculty (Non Music Therapy)

Staff

Clinical Supervisors

The Music Therapy Academic Program Evaluation questions are designed to assess the perception,

satisfaction and usefulness the academic program was for music therapy students. Please choose the right

option to share your views about the program:

Curriculum

Do you feel that we provided a well-rounded music therapy education curriculum?

•

Yes

• No

•

I Do Not Know

Do you feel that students receive adequate knowledge and practice in music foundation skills?

•

Yes

• No

•

I Do Not Know

Do you feel that students receive adequate knowledge and practice in clinical foundation skills?

•

Yes

• No

•

I Do Not Know

Do you feel that feel that students receive adequate knowledge and practice in music therapy foundation

skills?

•

Yes

• No

•

I Do Not Know

Do you feel that functional music skills for guitar meet student's needs as a music therapist?

•

Yes

•

()

•

I Do Not Know

Do you feel that functional music skills for piano meet student's needs as a music therapist?

•

Yes

•

Do Not Know

Do you feel that functional music skills for percussion meet student's needs as a music therapist?

•

Yes

•

Do Not Know

Do you feel that functional music skills for voice meet student's needs as a music therapist?

•

Yes

•

I Do Not Know

Do you feel that students are provided adequate opportunities within the academic setting to apply and

()

gain AMTA Professional Competencies?

• Yes

•

I Do Not Know

Clinical Training

Do you feel that students are provided a well-rounded music therapy pre-internship clinical experience?

• Yes

•

Not Know

Do you feel that students received adequate knowledge and practice with at least three populations served

by music therapists?

• Yes

•

I Do Not Know

"--

Do you feel that direct supervision and feedback enhances student's pre-internship and internship clinical

skills?

•

Yes

•

• I Do Not Know

Do you feel that students are provided adequate opportunities within the clinical setting to apply and gain

AMTA Professional Competencies?

•

Yes

• No

•

Do Not Know

Do you feel confident that students could work with any population outlined in the

AMTA

Standards of

Clinical Practice?

•

Yes

• No

•

Do Not Know

Clinical Supervisors

Do you feel that pre-internship clinical supervisor(s) provided adequate observation, implementation and

feedback in relationship your clinical work?

(

)

• Yes

•

Do Not Know

Do you feel that pre-internship clinical supervisor(s) fostered opportunities to apply and gain AMTA

Professional Competencies?

• Yes

•

Do Not Know

Do you feel that internship clinical supervisor(s) provided adequate observation, implementation and

feedback in relationship to clinical work?

•

Yes

• No

•

Do Not Know

Do you feel that internship clinical supervisor(s) fostered opportunities to apply and gain AMTA

(

Professional Competencies?

•

Yes

•

I Do Not Know

Academic Faculty Q

Do you feel that the music therapy academic faculty supports students throughout the academic program?

• Yes

• No

•

Do Not Know

Do you feel that the music therapy academic faculty is assessable via phone, email and/or face-to-face to

students?

• Yes

• No

•

I Do Not Know

Do you feel that the music therapy academic faculty maintains record of student's completed course work,

total clinical hours earned and development and achievement of AMTA Professional Competencies?

•

Yes

•

I Do Not Know

Academic Program

Overall, do you feel that the music therapy academic program prepares students well to function as an

entry-level professional in the field of music therapy?

• Yes

•

• I Do Not Know

Overall, do you feel that students have gain entry-level AMTA Professional Competencies?

• Yes

•

• I Do Not Know

Overall, would you recommend this music therapy academic program to students interested in seeking the

degree, Bachelor of Music in Music Therapy?

• Yes

•

I Do Not Know

()

Please feel free to share comments in regards to the music therapy academic program at (Name of School)

( )

()

TIME

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

8:00 AM

Prep/Planning

Interdisciplinary Team

Meeting

8:30 AM

9:00 AM

Travel

Creative Arts Group

(1 hr)

9:30 AM

Elem School Session

(1 hr)

Elem School Session

(1 hr)

Pediatric Sessions

(2 hrs)

10:00 AM

Group Supervision

10:30 AM

Travel

Creative Arts Group

(1 hr)

11:00 AM

Individual Session

(45 min)

Elem School Session

(1 hr)

11:30 AM

Lunch

12:00 PM

Lunch

12:30 PM

Travel

1:00 PM

I/DD Group Session

(1 hr)

Individual Session

(1 hr)

Memory Care Group

(1 hr)

Individual Session (30 min)

Supervision Time (1

hr)

1:30 PM

Travel

2:00 PM

Travel

Stroke Group (1 hr)

Assignments/

Documentation/

Planning and Prep

2:30 PM

Individual Session (30 min)

Recovery Group (1 hr)

Individual Session (30 min)

3:00 PM

Individual Session (30 min)

Travel

3:30 PM

Travel

4:00 PM

Documentation

Autism Group (1 hr)

4:30 PM

Start Time

8:00 AM

Time Blocks

30m

Week 6

**MT-BC Observe**

Intern Lead

Intern Observe

Intern Co-lead w/MT-BC

To t a l M T H o u r s : 1 5 . 5

TIME

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

8:00 AM

Prep/Planning

Interdisciplinary Team

Meeting

8:30 AM

9:00 AM

Travel

Creative Arts Group

**(1 hr)**

9:30 AM

Elem School Session

(1 hr)

Elem School Session

**(1 hr)**

Pediatric Sessions

(2 hrs)

10:00 AM

Group Supervision

10:30 AM

Travel

Creative Arts Group

**(1 hr)**

11:00 AM

Individual Session

**(45 min)**

Elem School Session

(1 hr)

11:30 AM

Lunch

12:00 PM

Lunch

12:30 PM

Travel

1:00 PM

I/DD Group Session

**(1 hr)**

Individual Session

**(1 hr)**

Memory Care Group

(1 hr)

**Indiv Session (30 min)**

Supervision Time (1

hr)

1:30 PM

Travel

2:00 PM

Travel

Stroke Group (1 hr)

Assignments/

Documentation/

Planning and Prep

2:30 PM

Individual Session (30 min)

Recovery Group (1 hr)

**Indiv Session (30 min)**

3:00 PM

Individual Session (30 min)

**Indiv Session (30 min)**

Travel

3:30 PM

Travel

4:00 PM

Documentation

Autism Group

**(1 hr)**

4:30 PM

Start Time

8:00 AM

Time Blocks

30m

Week 13

**MT-BC Observe**

Intern Lead

Intern Observe

Intern Co-lead w/MT-BC

To t a l M T H o u r s : 1 5 . 5

TIME

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

8:00 AM

Prep/Planning

Interdisciplinary Team

Meeting

8:30 AM

9:00 AM

Travel

Creative Arts Group

(1 hr)

9:30 AM

Elem School Session

**(1 hr)**

Elem School Session

**(1 hr)**

Pediatric Sessions

**(2 hrs)**

10:00 AM

Group Supervision

10:30 AM

Travel

Creative Arts Group

(1 hr)

11:00 AM

Individual Session

(45 min)

Elem School Session

**(1 hr)**

11:30 AM

Lunch

12:00 PM

Lunch

12:30 PM

Travel

1:00 PM

I/DD Group Session

(1 hr)

Individual Session

(1 hr)

Memory Care Group

**(1 hr)**

**Indiv Session (30 min)**

Supervision Time (1

hr)

1:30 PM

Travel

2:00 PM

Travel

**Stroke Group (1 hr)**

Assignments/

Documentation/

Planning and Prep

2:30 PM

**Indiv Session (30 min)**

Recovery Group

**(1 hr)**

**Indiv Session (30 min)**

3:00 PM

**Indiv Session (30 min)**

Travel

3:30 PM

Travel

4:00 PM

Documentation

Autism Group

**(1 hr)**

4:30 PM

Start Time

8:00 AM

Time Blocks

30m

Week 22

**MT-BC Observe**

Intern Lead

Intern Observe

Intern Co-lead w/MT-BC

To t a l M T H o u r s : 1 5 . 2 5

Intern’s Evaluation of their Internship Experience

 Accept the completed Site Evaluation form AFTER giving the intern his/her/they final

evaluation.

 Send a copy to the student’s school and regional AIAC Representative

Name:____________________________________________________________

School/Academic Advisor:____________________________________________ Date of

Internship:__________________________________________________ Regional

Representative:_____________________________________________

Ranking Scale:

1=strongly agree

2=mildly agree

3=neither agree nor disagree 4=mildly disagree 5=strongly disagree N/A=not applicable

Directions: Read each statement and determine the degree with which you agree or disagree with

each statement. Note that evaluation of each item involves determining whether the experiences

were provided as stated in the Clinical Training Proposal and the quality of such experiences.

I. Provisions for Orientation

1. _____My orientation to the agency/facility was provided to me and was adequate for my

needs.

2. _____My orientation to facility personnel and department standards, policies, and

procedure was provided to me and was adequate for my needs.

3. _____My orientation to AMTA Standards of Practice, organizational structure, Code of

Ethics, National Roster Internship Guidelines, the AMTA Professional Competencies and

the CBMT Code of Professional Practice were provided to me and were adequate for my

needs.

4. _____My orientation included specifying acknowledgment of expectations and

competencies, where interns do not fall under facility policies and procedures, and was

adequate for my needs.

5. _____My internship plan set realistic expectations for my training needs.

Comments about the orientation phase of the internship:

II. Provisions for the music therapy experience

1. _____My internship provided me with adequate observational experiences.

2. _____My internship provided me with adequate co-leading experiences.

3. _____My internship provided me with adequate session leading

experiences.

Comments on the music therapy experience:

III. Provisions for records and progress notes

1. _____My internship provided me with experiences in record keeping and progress notes

that were adequate for my needs.

2. _____My schedule allowed adequate time to complete records, progress notes, and other

documentation.

Comments on records, progress notes, assessments, treatment plans, attendance records,

discharge summaries, annual/monthly reviews, and other documentation:

IV. Provisions for intern’s self-awareness and professional growth

1. _____My internship provided me with opportunities for self-awareness and professional

growth that were adequate for my needs.

2. _____My self-awareness and professional growth assignments were helpful.

3. _____My opportunities for self-awareness and professional growth included establishing

my own goals and plans.

4. _____My goals for self-awareness and professional growth were met.

5. _____My internship allowed me opportunities to develop my own

personal style.

Comments on intern self-awareness and professional growth:

V. Provisions for observation of intern sessions and providing feedback

1. _____My internship provided me with opportunities for formal and informal observation

that were adequate for my needs.

2. _____My opportunities for informal observation were adequate for my needs.

3. _____My opportunities for formal observation (in groups) was adequate for my needs.

4. _____My formal and informal observations averaged at least four hours per week (or was

adjusted accordingly for part time hours)

Comments on formal and informal observation:

VI. Provisions for supervision

1. _____My internship provided me with supervision that was adequate for

my needs.

2. _____My supervision time per week averaged at least one hour (or was

adjusted accordingly for part time hours)

3. _____Supervision was available outside the scheduled supervision time if

I needed extra assistance.

4. _____My supervision meetings included discussion of items/input which I

prepared in advance for feedback, clarification and assistance.

Comments on supervision:

VII. Provisions for administrative skills

1. _____My internship provided me with examples and/or experiences in administrative skills

which were adequate for my needs.

Comments on administrative skills:

VIII. Provisions for special requirements

1. _____My internship provided me with special requirements that were

adequate for my growth and development as a music therapist.

Comments on special requirements:

IX. Provisions for academic training

1. _____My academic training prepared me to meet the entrance requirements/entry level

skills for this internship placement.

2. _____My academic training prepared me to use music in a therapeutic

manner.

3. _____My academic

instruments.

4. _____My academic

5. _____My academic

6. _____My academic

responsibly.

7. _____My academic

clients.

8. _____My academic

opinions verbally.

9. _____My academic

10. _____My academic

opinions in writing.

11. _____My academic requirements in my

training prepared me to play accompaniment

training prepared me to adapt and create activities. training prepared me to plan activities and

sessions. training prepared me to act professionally and

training prepared me to act in an ethical manner with training prepared me to express my

professional

training prepared me to write using standard grammar. training prepared me to express my

professional

training prepared me to meet the documentation internship.

12. _____My academic training prepared me to deliver music therapy services according to

the AMTA Standards of Practice.

13. _____My academic training prepared me to effectively structure and lead sessions.

14. _____My academic training prepared me to deliver music therapy services to three or

more clinical populations.

15. _____My academic training prepared me to develop a personal music therapy philosophy

and theory of practice.

16. _____My academic training prepared me in time management skills and the ability to

prioritize tasks.

Comments on academic training:

Problem areas identified:

Procedures to address problem areas: (To be filled out by internship director)

Additional Comments:

Internship Director:_______________________________________________________

Date:______________

Music Therapy Intern___________________________________________________

Date:______________

Adapted from: AIAC site evaluation form; Linda M. Wright, MS, RMT-BC; revised: 1/89, 7/01,

11/03 (11/06)

Slippery Rock University

MUSIC THERAPY INTERNSHIP AGREEMENT

This agreement is made between (student name), student at (name of school), (Internship

Director name), internship director at (facility), and (academic faculty name, school) to

describe the student’s level of performance at the initiation of the internship and the expected

student’s level of performance in demonstrating the required exit-level competencies at the end

of the internship. Furthermore, it identifies the responsibilities of each party for the duration of

the clinical training experience.

I. Intern’s Level of Performance

The student’s level of performance at the initiation of the internship has been identified in

the Slippery Rock University document, “Evaluation of Student Competencies/Internship

Agreement”. The expected level of performance at the end of the internship is that of entry level

professional competence in all areas.

II. Intern Responsibilities

A. Adhere to AMTA National Roster Internship Guidelines; internship program

personnel requirements, policies, and procedures (including time frame and

assignments); and university internship requirements.

B. Adhere to AMTA Standards of Clinical Practice and Code of Ethics.

C. Seek feedback and clarification through regular communication with the

supervising music therapist, the Internship Director, and the academic faculty.

D. Complete a mid-term and final “intern self-evaluation” and final “intern site

evaluation”.

E. Comply with the health status requirements of the facility, including but not

limited to physical examinations, vaccinations, and health screening

requirements for tuberculosis and measles.

F. Be responsible for procuring professional liability insurance at student’s own

expense. The university is prohibited from purchasing insurance.

G. Request a “Welcome to the Professional World” packet from the AMTA

National Office at the mid-point of the internship.

H. Six months following the internship, complete the post internship site

evaluation and send it to the Association Internship Approval Committee

regional representative.

III. Internship Director and/or Supervising Music Therapist Responsibilities

A. Work jointly with academic faculty to develop internship agreement based

upon the needs and abilities of the intern.

B. Adhere to the AMTA National Roster Internship Guidelines and Code of

Ethics.

C. Provide a viable role model.

D. Maintain continuous communication with academic faculty through email,

phone, or mail correspondence, including the submission of mid-term and

final evaluations.

E. Protect the confidentiality of student records as dictated by the Family

Educational Rights and Privacy Act (FERPA) and release no information

absent written consent of the student unless required to do so by law.

IV. Academic Faculty Responsibilities

A. Adhere to the AMTA Standards for Education and Clinical Training and

Code of Ethics.

B. Maintain continuous communication throughout the internship with student

and Internship Director / Music Therapy Supervisor.

C. Monitor internship agreement through review of mid-term and final

evaluation, intern self evaluation, and intern site evaluation.

D. Verify, in consultation with the internship director, successful completion of

internship per internship agreement.

The following parties agree to the terms identified in this Music Therapy Internship Agreement:

______________________________________ _____________________

(student) (date)

______________________________________ _____________________

(internship director) (date)

______________________________________ _____________________

(academic faculty) (date)

(see next page for Evaluation of Student Competencies/Internship Agreement)

SLIPPERY ROCK UNIVERSITY

MUSIC THERAPY

EVALUATION OF STUDENT COMPETENCIES/

INTERNSHIP AGREEMENT

Student Name ___________________ Date _________________

Internship Placement_ __________________________________________________

Internship Supervisor __________________ __________Telephone _____________

AMTA Approved___ University-Affiliated___________

# of Pre-internship hrs. earned_____ Minimum # of internship hrs. needed_______

The student’s skills in the following areas are assessed prior to beginning the internship as

follows: Course grades will be assigned as follows:

4 = exceeds professional entry level competence 4 = A

3 = professional entry level competence 3 = B

2 = below professional entry level competence 2 = C

1 = not competent 1 = D/F

0 = not observed

Any areas designated with a 2 or lower rating will need to be accomplished by the end of the

internship period.

FOUNDATIONS

COMPETENCY PRE- POST- COMMENTS

INTERNSHIP INTERNSHIP

MUSIC FOUNDATIONS

Music Theory (grade) _______

Music History (gr.) _______

Major Performance Skills (gr.) _______

Conducting Skills (gr.) _______

Improvisation Skills __ _______

Movement Skills _______

CLINICAL FOUNDATIONS

Exceptionality _______

Principles of Therapy _______

PRE-RATING POST-RATING COMMENTS

Therapeutic Relationship _______

Human Anatomy (gr.) ______

MUSIC THERAPY FOUNDATIONS

Theoretical foundations/principles _______

Client Assessment _______

Treatment Planning

Evaluation of Therapy _______

Termination/Discharge Planning _ _______

Professional Ethics

Interdisciplinary Collaboration ________

Research Methods ________

MUSIC THERAPY IMPLEMENTATION / CLINICAL SKILLS

COMPETENCY

CLINICAL SKILLS

Gives clear directions _ _______

Leads activities effectively _______

Provides appropriate pacing _______

Ability to re-direct behavior _______

Provides appropriate behavioral

management ____ ______

Is responsive to client behavior __ _______

Able to create and administer an

assessment test _______

Demonstrates reflective listening _______

Uses appropriate reinforcement _

Creates and implements appropriate

session structure

Able to lead a music-based discussion ___ _______

Areas to be Addressed During Internship

MUSICAL SKILLS

Sings on pitch _ _____

Has strong vocal quality ______

Able to give correct starting pitch __ ______

Ability to compose client-specific songs __ _____

Memorizes materials __ ____

Uses effective song leading techniques __ _____

Shows facility on guitar __ ______

Provides appropriate guitar

accompaniment __ _____

Ability to transpose music ___ _____

Shows ability to use piano/keyboard

as accompaniment __ ______

Shows ability to use a variety of

percussion instruments

Use of other instruments/major _

Shows ability to create new materials __ _____

Uses a variety of musical genre/world

music ___ ______

Demonstrated ability in piano improvisation ______

Ability to implement movement

experiences

Areas to be Addressed During Internship

DOCUMENTATION

Ability to communicate in writing ______

Ability to communicate verbally ______

Ability to set realistic long-term goals ______

Ability to set appropriate behavioral

objectives and/or outcomes ______

Ability to summarize work _______

Ability to use professional writing style ________

Areas to be Addressed During Internship

PROFESSIONAL BEHAVIOR

Is punctual _______ ______

Relates well to clients ____

Relates well to staff/family ______

Accepts and uses supervision well __

Is responsible __ __ ______

Demonstrates professionalism __ ______

Areas to be Addressed During Internship

Additional Comments / Learning Objectives

Pre-internship Evaluation

_______________________________________________________

Evaluator

_______________________________________________________

Student

___________________________________

Date