Journal of music therapy 1964_01

JOURNAL OF

Volume I l Number 1

March 1964

MUSIC THERAPY

CONTENTS

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ARTICLEs The Aesthetic Experience and-

Biological Man .._........._....._....................._- _.._...______.._.E Thayer Gaston 1 Psychological Man _._............_....................................................Kate Hevner Mueller 8 Sociological Man _...............................................................................John H. Mueller 11

Special Education for the Emotionally Disturbed Child Annamary Wilson 16

NOTESANDCOMMENTS Chamber Music-Proposed as a Therapeutic

Medium Delight Lewis 19 DEPARTMENTS

The Authors 7 Announcements 10 Professional Opportunities 15 Association Activities 30

MEMBERSHIPDirectory 1963-1964 21

EDITOR

WILLIaM W. Sears, PH.D.

School of Music, Indiana University Bloomington, Indiana, 47405

EDITORIAL COMMITTEE

RUTH BOXBERGer PH.D. Charles BRASWELL School of Music, Ohio University Music Education,University of Kansas Athens,Ohio Lawrence,Kansas LEO C. MusKATEVC DOROTHY TWENTE SOMMER Milwaukee Co. Mental Health Center 1406 Spruce Street Milwaukee, Wisconsin Davis, California

The Journal of Music Therapy is published quarterly (March, June, September, and December), one volume per year, by THE NATIONAL ASSOCIATION FOR MUSIC THERAPY, INC., a nonprofit organization, and is printed by THE ALLEN PRESS, Lawrence, Kansas, U.S.A. The Journal of Music Therapy publishes original investigations and theoretical papers pertaining to Music Therapy or any of the other related fields (see inside back cover for information for contributors).

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Journal of Music Therapy

VOL. 1 MARCH, 1964 No. 1

THE AESTHETIC EXPERIENCE AND BIOLOGICAL MAN*

E. THAYER GASTON University of Kansas

0 NE of the most important developments of modern science has been the inter­

disciplinary approach to problems, both ex­ploratory and research. Such a procedure is commonplace in present-day literature, but, I believe, not sufficiently commonplace in our thinking. It is too easy to stay with the famil­iar, eschewing strange orientations, even though such orientations may be well-estab­lished sciences. In clinging to the familiar we deprive ourselves of adventure, new insights, new knowledges, the thrill of added perspec­tives, and we stunt our professional growth.

To participate in this panel, this three­pronged probing of the mystery of aesthetics, seemed to me, as I prepared my part, an ex­citing venture. The sociological, psychological, and biological are not a unique trio. Allport,1 in his survey of approaches to the study of personality, lists these same three headings, and under them, properly distributed, sixteen other sciences or disciplines. We do, therefore, have precedent, but if the material seems too eclectic, bear in mind that its chief purpose is the elicitation of an “arousal state,” and the piquing of your curiosity.

Whatever can be learned of the nature of man, and that product of his humanness which we name music, will help us to understand better the response of the organism called aesthetic experience. For this purpose I have chosen to speak of man as biological man, a part of the cosmos and subject to all of the laws of nature. The enrichment of his life will be shown to begin with sensory experi­

* This paper and the two which follow were pre­sented as portions of a program panel on The Aes­thetic Experience at the Fourteenth Annual Confer­encc of The National Association for Music Therapy, Bloomington, Indiana, October 16-19, 1963.

ence, just as with any other animal. The uniqueness and complexity of his brain, evolved through the ages, is an essential of his becoming rational and aesthetical. When and as he becomes rational and aesthetical, he must organize the experiences and happenings in his life. It will be made clear, I hope, that rationality and aestheticality are each an es­sential of human nature and the need for them is physiological and universal.

However much I may try to speak of bio­logical man, exclusively, I will be guilty of infringement on psychological and sociological domains, because man has both a nature and a “history.” His evolutionary components are both organic and cultural. The study of any animal, including man, must involve zoology, psychology, sociology, and the physical sci­ences2 Dobzhansky says, “Culture arose and developed in the human evolutionary sequence hand in hand with the genetic basis which made it possible.“3 Man’s genetic system, the human social situation, and man’s interbe­havior are inextricably hound always, even in patients of music therapists.

Before proceeding to the discussion of bio­logical man, it is necessary to speak briefly of aesthetics and aesthetic experience. The word “aesthetics” ordinarily has a philosophical con­notation, and I would emphasize that the cm­trality of philosophical aesthetics is theory. In order not to be thus bound, I propose a def­inition from Webster’s Third New Interna­tional Dictionary: “Aesthetics, the science whose subject matter is the ‘description and explanation of the arts, artistic phenomena, and aesthetic experience, and includes psy­chology, sociology, ethnology . and essen­tially related aspects.” Aesthetics can no longer be limited to philosophy hut must have all of the interdisciplinary scrutiny possible.

Research in aesthetics is difficult, and there appears to be not much interest in it. In the Handbook of Experimental Psychology,4 an elaborate work of 1,436 pages, only five lines are devoted to aesthetics. The indices of the majority of books on psychology are devoid of the word. Out of 2,000 graduate studies done in 75 major institutions of higher learn­ing on some phase of music, only five are listed under aesthetics Not in books entitled “Psychology of Music” is much reported. Even the great William James6 had little to say (five pages) concerning aesthetics and, of course, no research.

Psychologists, themselves, have commented on how little is known of aesthetic experience. Maslow says, “finally, least well known are the impulses to beauty.“7 Berlyne has written that, “the study of aesthetics has gone on for centuries, but its present state can hardly in­spire pride.“8 Sigmund Koch in an invited address before the American psychological as­sociation declared that, “the psychology of aesthetics has practically not existed in the twentieth century.“”

Because philosophers, chiefly, have dealt with explanations and study of aesthetics, let us sample very briefly a few of their beliefs, remembering that the centrality of the philo­sophical method in dealing with aesthetics is theory. We shall see that there is much dis­agreement. (Practically all of our formal de­scriptions and explanations of aesthetic experi­ence commonly used have their origin in phi­losophy.) Until several centuries ago, art was thought to be imitative. This opinion began with the classical Greek era. From the time of Rousseau to the present, art has been con­sidered an expression. French classicism often turned art into arithmetical problems. Ger­man romanticism went to the opposite ex­treme: no logical rules will explain art. “Art is a waking dream.” Later, Bergson was to claim that art was the most striking proof of the incompatibility of reason and intuition. For Nietzsche, art was a tension of great emo­tions. Art is the most sublime form of play-Schiller. Art for art’s sake? Maritain answers that all art begins for functional reasons and is a value of the practical intellect. Croce­art is intuition. Kahler-art searches for wider, deeper knowledge. Hanslick-music is pure sound in motion.10

In a recent and excellent book about art, Langer says that, “A philosophical theory is not called upon to furnish ‘irrefutable proofs,’ but concepts that give rise to insight and dis­covery.“” However perspicacious, philosophy is not enough.

Man is a part of the cosmos and subject to all of its laws. He is a biological unit and operates always in agreement with the prin­ciples of biology. Human nature is the result of the interaction of what is in man in all of its complex functioning,and what is outside of him. The thoughts you now have as I speak to you are possible because of electromagnetic activity. The electromagnetic waves are also the signals we are just beginning to record from outer space, from planets millions of miles away.

Our bodies. this earth. the seas. all crea­tures, and all plants probably come from the primordial hydrogen atom, the simplest of all atoms. We are truly universal in our physical makeup. From the electron microscope, by means of which particles 1/20,000,000th of an inch apart may be seen, to the telescope which brings optical evidence of galaxies billions of light years away, there has been found to be the same basic laws and principles. The light waves about to enter your eyes and those coming from distant planets travel at the same rate of speed, as far as is known.

Darwin, in The Descent of Man (1871), showed that man is part of nature and kin to all life.

Man is part of this arterial system [of life], just as much as every animal and every plant; the laws of nature apply to him too, and if he were not con­nected with all the stream of life on earth he would be sentenced to death like a tree whose roots have been cut off.12

The basic mechanisms of reproduction and transmission of heredity are universal. Genes and chromosomes occur in man, in all animals and plants, and in microorganisms down to bacteria.13 All that lives is our kin.

“Always in biology but not invariably in the physical sciences, a full explanation involves a historical-that is, an evolutionary-factor.“14 The history of living things is long, approxi­mately two billion years, and we know now that prehuman primates were using stone tools at least a half a million years ago.15 There seems to he little doubt of the evolution of

2 JOURNAL OF MUSIC THERAPY

man from some such tool-using animal, Aus­tralopithecus, whose fossil remains and tools have received so much attention recently. Be­cause it may be thought that I am moving to a discussion of culture rather than biological man, I remind you in the words of Dobzhan­sky and Montagu16 that,

The system of genes which has permitted the de­velopment of the specifically human mental capa­cities has thus becomethe foundation and the para­mount influence in all subsequent evolution of the human stock.

Several examples must suffice to show the importance of man’s genetic equipment. Sup­pression of rage is an essential for the forma­tion of society. This is primarily due to the development of a cortex sufficiently large to control the autonomic system, a much older neurological system than the cerebrum or COr­tex. Washburn and Etkin18 point out the role of the cortex in the control of autonomic function.

An equally important aspect of the develop­ment of biological man was the development of new patterns of sex, mating, care of the young, all accompanied by selection gradually altering the genetic, but, of course, in the absence of culture. There is little or no sexual periodism in man and the great apes. Thus, sexual ties form a bond which provides for a biological basis for long family ties. The fe­male can be receptive through the whole es­trous cycle and the male is continually potent. In man, there is only slight evidence, if any, of cyclic influence.

Thus we see the long step taken from other animals. By his genetic equipment, man is freed from the tyrant, instinct. The female rat, on the contrary, is driven to accept any male during the several hours of her estrous, but there the matter ends and from then on the responsibility is hers. Not so with the primates and man. By reduction of perio­dicity, the female remains attractive to the male. Thus the cortical rather than the en­docrine becomes the controlling factor.

From and with this freeing from instinct comes sexual dimorphism, i.e., difference and size in sexes. Now the male stays with the female, and division of labor occurs. This re­lationship between male and female modifies aggressive behavior and causes much more communication. All of this allows that primate

MARCH, 1964

uniqueness among all animals of the mother­child relationship. The babies of apes and monkeys are born with a better developed central nervous system than human babies. This is obvious, because they are able to cling to the mother. Because of increasing brain size and diminished birth canal size-due to bipedalism-the human baby is not nearly so well developed neurologically at birth, and thus genetic factors, along with other factors, freed Australopithecus scores of thousands of years ago from blind instinct, and gave the mother time, freedom, and protection to teach her child, and the child, time to learn.19

It is difficult to imagine the influence on heredity, by selection, of prolonged infant helplessness.

And yet it is this helplessness and prolonged de­pendence on the ministrations of the parents and other persons that favors in man the socialization and learning processon which the transmission of culture wholly depends.20

In all that has been said about the genetic development of man, remember first of all that,

Progressive evolution of behavior in the animal world has led to the interposing of more and more nervous or neural processesbetween the stimuli ar­riving from the environment and the organism’s re­sponsesto them21

This immense complex of neuronal pathways makes possible the biological basis for aes­thetic experience. And thus, mankind becomes a single, polytypical species closely related, and chiefly distinguished, by a greatly de­veloped cerebrum containing twelve to thir­teen billion neurons, making possible articu­late speech, abstract thinking, verbal and mathematical communication, and, as will be shown, significant nonverbal communication in the form of music.

Our senses make possible the enrichment of our life and the world around us. “The out­side world-the world perceived by the senses -is the source of all that a form of life [man] is and does, thinks and feels.“*’ By the end of the third week after conception the ecto­derm of the embryo has formed, and it is from this that the organs of the exterior senses de­velop. This will he important to remember when the reality of music or other arts is con­sidered. Our world is made incomparably rich by the greater development of our sense or­

3

gans along with that marvelous and mysterious agency, the central nervous system, which re­ceives and processes the stimuli from the sense organs.

It is not only the sense organs, but the brain, which deserve our wonder. If it were not for the difference in brains, the codfish would see as well as the cat. In spite of this, in the process of development, it is the brain which legs behind and is dependent upon the sense organs for its development. Thus it is that the richer the sensory environment, the greater the development of the brain. Therefore, we understand why the sensory environment of the child must be rich. It has been shown by controlled experiment time and again that even rats, cats, dogs, sheep, monkeys, and chimpanzees are forever stunted in their de­velopment by early sensory deprivation.“”

Not only does sensory deprivation stunt de­velopment in young animals, but the effect of sensory deprivation dramatically alters the electroencephalographic pattern of young adults.24 Permanent chemical changes are al­so a result of such deprivation. Deprivation of auditory stimuli or visual stimuli has been known to have deleterious results on intellec­tual and perceptual processes, but now it has been shown that tactile-kinesthetic reduction has similar effects, but not as serious as audi­tory or visual.

Because music therapists are so interested in the environment of sound and music, it is pertinent to note that the most important mode of expression of animals is sound.25 In all animals below man, sound is primarily an expression of emotion.26 Let us close these few remarks concerning the senses with the statement that sensations originate in the brain and not in the sensory organs. The stimuli of sound have a long neural journey before the sensation of sound or music occurs.

No one knows exactly how the brain (or central nervous system) processes and con­verts stimuli into sensations and then into memories. Mammals are greatly alike in their embryological, neonatal, and organic develop­ment. The gross anatomy of the brains of all mammals is alike. It is the central nervous system, the cerebrum in particular, which so greatly distinguishes man from other animals. It is this great organ with its billions of cells which awaits the receipt of stimuli to be

4

dealt with, we suppose, either singly or in plurality. This gray and white organ, shot through with pulsing red, bathed in protective fluid, is the foremost wonder of the world.

But there is evidence of the nature of some functions of the brain. Negative potassium ions on the inside of a nerve fiber and positive sodium ions on the outside neutralize each other because of a change in the permeability of the fiber, once there has been a neural discharge. The process is reversed nearly in­stantaneously. Such reversals may take place at the rate of approximately 1,000 per second. Sir Charles Sherrington described neural im­pulses as, “transient self-mending electrical leaks along nerve fibers.“27 There are billions of synapses, each with its own biochemical equipment. In intense activity there can be, in all probability, millions of synaptic trans­missions per second.

Then there is the autonomic nervous system which is always active, but only consciously so in times of crises, fright, or anger. Fusilades of orders up and down its neurons make pos­sible homeostasis most of the time. Many drugs are prescribed for their effect on this system. This is the old brain which, e.g., de­termines blood pressure without your volition, respiration rate, gastric mobility, and many other essential functions.

The reticular system, both ascending and descending, is the basic integrating mechanism for the entire organism. This is the oldest brain. This is the sifter and censor. It has been well delineated and its function de­scribed.28 It is the arouser and the selector system. It is the traffic director, so to speak.

The neural mechanisms are the same whether a patellar reflex is elicited, a beau­tiful sunset enjoyed, a symphony listened to, or the fragrance of a rose scented. In the final analysis of mentation, we have only biochemistry and physics. Neural function has for its basis, genetic equipment, biological man.

All Mankind must organize, must seek causes and endings. In a multitude of reli­gions and philosophies, man explains how things came to be and how they will be. There are no races, tribes, or peoples who cannot do this. And each individual of every race, tribe, and people began this process of abstraction by receiving sensory stimuli just

JOURNAL OF MUSlC THERAPY

like any other young mammal. Although con­

structs are generally considered cognitive, I suggest that there are neural constructs.

Babies and infants up to the age of eighteen months or so arc mentally not much superior to chimpan­zeesof the sameage; only when they start learning to speak do they rapidly out-distance and leave far behind their simian contemporaries.29

So man becomes human by progressing to the level of articulate speech, abstract think­ing, and mathematical communication. The most hardened cynic would not deny that these are human attributes. They are a part of our humanness. Scientific endeavor also belongs exclusively to man. But this is not all that is necessary for humanness. These are the whole realm of feelings, values, sentiments. There are nonverbal communications as ex­emplified in music and other arts. Encom­passing some, if not all of these feelings, val­ues, and sentiments, is that feature which is called aesthetics. It is an essential of health and normality.

Just as the senses were necessary in the first beginnings of other features of human­ness, so they form the stimuli which eventuate into aesthetics. In the young human, sights, sounds, colors, textures are entrancing. One is tempted to speak of “sense hungers.” The impulse to hear sounds, to perceive colors, to smell odors is just as much a part of human nature as is curiosity and the desire to un­derstand.

Human nature, as directly observed, is no matter of viscera alone. It is a matter of exploring the possibility of surfaces,lines, colors, and tones-and later on the symphonies,mountains, and stars.30

These hungers for sensory experience are universal, although each different culture sat­isfies them in a different manner. “Man must learn the music of his own culture, whatever it is. His music is one of his own folkways. It is not something transcendental.“31 What­ever his sense of hearing brought to him, it became the foundation from which he con­structed his music. He had a need for tone and rhythm. This was a sensory need of the organism. Linton, the anthropologist, has said it another way.

Needs for somesort of aesthetic expressionand for escapesfrom reality seemuniversal and each of the various cultural lines has developed its own solu­tions and has set its awn goals.32

No race, tribe, or culture of man has been content with the sounds of nature-man has made new sounds in new patterns. He has made new forms, new colors. He has dec­orated; he has made beauty. Murphy has ex­plained this phenomenon as well or better than anyone. He says:

There is, however, no group of human beings which has not cultivated devicesfor enriching contact with the sensory world. The ward ordinarily used to describe this class of satisfactions is esthetic

[T]he potentials for becoming a human being, as compared with a less complex kind of animal, lie largely in this enrichment and elaboration of the sensory and motor ranges of experience. ..33

Just as certainly as man builds constructs in other phases of his living, so he builds con­structs in his aesthetic world. He can no more escape the formulation of aesthetic constructs than other constructs of living. The great potential of his nervous system allows him some margin beyond that necessary for adap­tation to life. And, it may well be that aes­thetic endeavor or experience may be one of the best devices man has found to enable him to adjust to his environment.

From all of this, I hope it has been appar­ent that man has only his body with which to think and feel. The mysterious joy of music cannot be looked for outside of the organism. What is in man is all we can know.34 The sig­nificance of the aesthetic experience of music for the individual is, that without it, he would be less complete as a human being. Children, not only of our own culture, but of all cul­tures need music for their healthy and normal development. Their motivations for sensory contact from which derive aesthetic experience and aesthetic constructs are second only to so-called visceral activity drives.

To each musical experience is brought the sum of an individual’s attitudes, beliefs, prejudices, con­ditionings in terms of time and place in which he has lived. To each musical response,also, he brings his own physiological needs, unique neurological and and endocrinologicalsystemswith their distinctive attributes. He brings, in all of this, his total entity as a unique individual. ...35

“The outstanding characteristic of man is his individuality.“36 This continuing empha­sis of Allport leads him to comment on the place of art and science in the human con­tinuum.

In the human germ cell are 46, not 48,

MARCH, 1964 5

chromosomes, each of which contains approxi­mately 30,000 genes. “Reduction fission” pro­duces 23 chromosomes, but the introduction of several million sperms, each sperm having its own unique gene variants, plus the chances of union with a given ovum to produce a new life, make preposterous the supposition that any two individuals on earth would be the same in inheritance (with the possible ex­ception of identical twins). There are also remarkable variabilities of the endocrine glands in different individuals, and pro­nounced morphological differences in nervous systems. “Every human being is, then, the carrier of a unique genotype.“37

Thus, says Allport, we all differ in thou­sands of ways from the hypothetical average man. Each of us is unique. But scientists are interested not in uniqueness, generally, but in broad, and if possible, universal laws. “Thus, science is a nomothetic discipline. Individual­ity cannot be studied by science but only by history, art, or biography whose methods are not nomothetic but idiographic.“38 This might exclude the individual from the study of science if the nomothetic were adopted, but no one wants this; in fact, it is impossible.

The most obvious solution to this problem is that generality belongs to science and individ­uality to art.39 For example, thirty chemists are given the materials to produce grain alco­hol, and thirty samples of C2H5OH will be the result. Thirty artists are to paint a picture of a certain tree, but thirty different pictures will result. Thirty composers are to write a tango-thirty different tangos are the result.

But note well that both science and art are human products. They result from human po­tentials. Their explanation does not depend upon the metaphysical. They are both part of a human continuum of abilities. And so, we must use the idiographic as well as the nomo­thetic in the study of aesthetics.

One hears much now of the opposition of science and music. For biological man there is no opposition. Both science and music are a part of his potential for becoming, develop­ing, and achieving. Our nonverbal awareness is as much a part of us as the verbal or mathe­matical. Feelingful awareness is inextricably bound up with the so-called intellectual. They cannot be separated. Scientists speak as much of beauty as do art critics. “Beauty is part

and parcel of human experience.” It stands in no need of subtle and complicated theories of metaphysics for explanation.40 We must rid ourselves of 19th century mysticism and ap­proaches if we are to understand the influ­ence of music on man.

The human species is biologically an extraordinary success, precisely because its culture can change ever so much faster than its gene pool. In this sense, but in this sense only, it may he said that man has escaped from the clutches of the past and has become to some extent the master, rather than a slave, of his genes.” Einstein said that, “The most incomprehensible thing about the world is that it is comprehensible.” He also said that “the most beautiful thing we can experience is the mysterious. It is the source of all art and science.” “Man is the most mysterious of all experiences. This is why art and science strive to make him comprehensible.”42

REFERENCES

1. G. W. Allport, Pattern and growth in Personality. New York: Holt, Rinehart, and Winston, 1961, p 397.

2.

3.

4.

J. P. Scott, Animal Behavior. Chicago: Univer­sity of Chicago Press, 1958, p. v.

Theodosius Dobzhansky, Mankind Evolving. New Haven: Yale University Press, 1962, p. 75.

S. S. Stevens (Ed.), Handbook of Experimental Psychology. New York: John Wiley and Sons, 1951, p. 991.

5. William S. Larsen, “Bibliography of Research Studies in Music Education, 1949-1956,” Jour­nal of Research in Music Education, 5:2 (Fall), 1951, p. 150.

10.

11.

12.

13. 14.

15.

William James, Principles of Psychology, Vol. II. NeW York: Dover, 1890, p. 639, 672675.

Abraham H. Maslow, Motivation and Personality. New York: Harper and Brothers, 1954, p. 2.

D. E. Berlyne, Conflict, Arousal, and Curiosity. New York: McGraw-Hill, 1960, p, 229.

Sigmund Koch, “Psychological Science Versus the Science-Humanism Antinomy.” American Psychologist, 16:10 (October), 1961, p. 630.

Morris Weitz, Problems in Aesthetics. New York: Macmillan, 1959.

Susanne K. Langer (Ed.), Reflections on Art. (Paperback) New York: Oxford University Press, 1961, p. xii.

Herbert Wendt, The Road to Man. Garden City: Doubleday, 1959, p. 8.

Dobzhansky, op. cit., p. 167. G. G. Simpson, “Biology and the Nature of Sci­

ence,” Science, 139:3550 (January), 1963, p. 87.

S. L. Washburn, “Tools and Human Evolution,” Scientific American, 203:3 (September), 1960, pp, 63-75.

6 JOURNAL OF MUSIC THERAPY

16.

17. 18.

19. 20. 21. 22.

23.

24.

25. 26.

27.

M. F. A. Montagu and Theodosius Dobzhansky, “Natural Selection and the Mental Capacities of Mankind,” in M. F. A. Montagu (Ed.), Culture and the Evolution of Man. New York: Oxford University Press, 1962, p. 149.

Washburn, op. cit. W. Etkin, “Social Behavior and the Evolution of

Man’s Mental Faculties,” The American Nat­uralist, Vol. 88, 1954, pp. 129-142.

Montagu, op. cit. Dobzhansky, op. cit., p, 196. Ibid., p. 203. Wolfgang van Buddenbrock, The Senses. Ann

Arbor: University of Michigan Press, 1958, p. 12.

D. 0. Hebb, A Textbook of Psychology. Phila­delphia: W. B. Saunders, 1958, pp. 116-120.

G. P. Zubek and L. Wilgosh, “Prolonged Immo­bilization of the Body: Changes in Perform­ance and in the Electroencephalogram,” Sci­ence, 140:3564 (April), 1963.

Buddenbrock, op. cit., p, 52. Stanley Cobb, Borderlands of Psychiatry. Cam­

bridge: Harvard University Press, 1944, p. 34.

C. S. Sherrington, The Integrative Action of the Nervous System. New Haven: Yale Univer­sity Press, 1920.

28.

29.

30.

31.

32.

33. 34. 35. 36. 37.

38. 39. 40.

41. 42.

H. W. Magoun, “Non-Specific Brain Mecha­nisms,” in H. T. Harlow and C. N. Woolsey (Eds.), Biological and Biochemical Bases of Behavior. Madison: University of Wisconsin Press, 1958, pp. 25-36.

Michael Polanyi, The Study of Man. Chicago: University of Chicago Press, 1958, p. 14.

Gardner Murphy, Human Potentialities. New York: Basic Books, 1958, p. 33.

E. T. Gaston, “Factors Contributing to Responses to Music,” Music Therapy 1.957. Lawrence, Kansas: The Allen Press, 1958, p, 24.

Ralph Linton, The Tree of Culture. NeW York: Alfred A. Knopf, 1955, pp. vi-vii.

Murphy, op. cit., p. 34. Simpson, op. cit., pp. 81-88. Gaston. op. cit.. p. 25. Allport, op. cit., p. 4. Theodosius Dobzhansky, The Biological Basis of

Freedom. New York: Columbia University Press, 1956, p. 56.

Allport, op. cit., pp. 8-9. Ibid., p. 11. Ernst Cassirer, An Essay on Man. New Haven:

Yale University Press, 1944. Dobzhansky (1956), op. cit., p, 319. Dobzhansky (1956), op. cit., p. xi.

THE AUTHORS E. THAYER GASTON, PH.D., RMT (“The Aes­

thetic Experience and Biological Man”) is an honorary life member and a past-President of NAMT. One of the founding fathers, Dr. Gaston is well known to members, having held many and various offices. Presently he is Central Office Consultant, Chairman of the Education Commit­tee, and Liaison Representative to the American Medical Association. He is Professor of Music Education and Director of Music Therapy, The University of Kansas, Lawrence.

KATE HEWER MUELLER, PH.D. (“The Aes­thetic Experience and Psychological Man”) is familiar to many because of her work (and with her husband, John H. Mueller, below) in the psychology of music-mood influences, discrim­

ination testing, etc. She is Professor of Education, Indiana University, Bloomington,

JOHN H. MUELLER, PH.D. (“The Aesthetic Ex­perience and Sociological Man”) has made many contributions to the study of music and music education. He is Professor of Sociology, Indiana University, Bloomington.

ANNAMARY WILSON, RMT (“Special Education for the Emotionally Disturbed Child”) is Music Therapist at the Glenwood School, a part of the Columbus State Hospital, Columbus, Ohio.

DELIGHT LEWIS, RMT (“Chamber Music-Proposed as a Therapeutic Medium”) is Music Therapist at the Children’s Center, Hamden, Connecticut.

MARCH, 1964 7

THE AESTHETIC EXPERIENCE AND PSYCHOLOGICAL MAN

KATE HEVNER MUELLER Indiana University

THE better the instruments we devise for ceiving, coordinating, and sending out mes­studying man, the more complex we find sages; we now think of it as the most complex

man to be. An experiment which establishes of electric computers with a transistor type of a new hypothesis, i.e., about learning, is soon mechanism and control. A computer of com­followed by numerous other experiments parable capacity to one human brain, we are which analyze the many special cases, excep­ told, would occupy a space five times as large tions, and limitations which must be applied as the Washington Pentagon, and it is, of to it. In fact, the very worth of any hypothesis course, never turned off. It constantly re­is measured by the number of future hypoth­ ceives, even in sleep, stores up, reviews, ab­eses and experiments it will spawn. So, as stracts, and practices its various patterns of research teaches us more about man’s aesthetic actions. experience, we are dismayed by the complex- Incomplete and tentative as these new ex­ity and the richness which every experiment planations may be, psychological aesthetics discloses. cannot go on explaining the aesthetic experi-

The enjoyment of music is included in what ence in a now extinct vocabulary. We now the psychologist calls the higher thought proc­ know that neural tissue is natively and per­esses, along with thinking, judging, imagining, sistently active, with its own characteristic creating; and it takes place in what the layman rhythms or synchronies of firing sequences calls his brain, or gray matter, but what the which can be recorded on the electroencepha­psychologist specifies as a certain area in the lograph for the infant at the very moment of cerebral cortex. Formerly we conceived of birth. These are large, slow waves similar to these areas as the central switchboard for a those of the adult during sleep. These huge telephone system, receiving raw sensa­ rhythms, or patterns, which form a basic sub­tions, organizing them into larger and mean­ stratum of neural activity, are constantly ingful wholes called perceptions, and some­ broken into by sensory activity associated from how abstracting them into concepts which outside stimuli. Instead of supporting the could be called up to consciousness at will, rhythmic, long, slow waves already discharg­even when there were no sensations coming ing themselves, such sensory activity has the in from the outside to set the process going. opposite effect. It breaks up the established

To expedite these thinking, decision-making, firing sequences and gradually changes them enjoyment activities throughout a lifetime of throughout life in the long, never-ending practice, each man becomes especially adept learning process. It is this give and take of at condensing and manipulating his own per­ the action patterns which makes for normal, sonal symbols. One tiny symbol can be packed coordinated, adaptive activities. New learning so full of past experience that, in a flash, it is a function of preexistent learning, and all will present to the mind a full realization of the higher thought processes at maturity have some event, or of some quality that runs been permanently influenced by childhood through many events, i.e., through a whole experience. series of musical compositions. Thus we can Any one concept, therefore, a “thought” or think not only of a single Mozart minuet, but an “idea,” is not a static thing, but an action of Mozart’s style in general, his rhythms, or­ pattern, a firing sequence of nerve cells, al­chestration, or even of his total contribution ready set up and organized for action around to musical thought. We have also found a a central core the activity of which dominates way of apprehending less concrete experience. in arousing the system as a whole. In human We can think of such abstractions as “tender­ beings, this central core is commonly verbal, ness,” “history,” “growth,” “mental illness,” but not necessarily so, and therefore much “therapy.” mental activity at the conceptual level is un-

In the 1960’s we no longer explain the cere­ verbalized, unreportable (and so “unconsci­bral cortex as a central switchboard for re­ ous”), in human thought. This “fringe” con­

8 JOURNAL OF MUSIC THERAPY

tent around the “core” is sometimes aroused and sometimes not, for it varies with the method of arousal and with additions “from other concurrent sensory and central activi­ties,“1 from, as it were, action patterns at work in other rooms and wings and corridors of this cerebral, five-Pentagon-size computer.

From Hebb, we also have a new view of the nature of pleasure, and also of emotion, two elements of human activity of unique im­portance in the aesthetic experience. Pleasure is not conceived as a “response” to a “stimulus” even when both the stimulus and response are acknowledged to cover a very highly intricate interaction of the most extreme complexity. Pleasure is rather a certain kind of resolution of these two rhythms or patterns of nervous activity in the cerebral cortex. Hebb tells us,

that pleasure is not the activity of particular structures in the nervous system, and not even a particular kind or pattern of cerebral organization, hut fundamentally a directed growth or develop­ment in cerebral organization. It is thus necessarily a transient state of affairs in which a conflict is being reduced, an incipient disorganization being dissipated, or a new synthesis in assembly action being achieved.2

Emotion, not only the stronger emotions but also those milder and gentler states which we call feeling tone and affective states, has a different origin and explanation.

Emotion may be a disruption of cortical organiza­tion, which could occur in several ways: the oc­currance of incompatible phase sequences; the absence of a sensory facilitation that has always contributed to the phase sequence; “pain” stimula­tion that can be supposed to he innately disruptive of cortical activity ; and chemical change of the blood content, altering the rate of firing of in­dividual neurons and so disrupting a cortical or­ganization that is fundamentally a matter of timing

[U]p to a certain point, lack of correspondence between expectancy and perception may simply have a stimulating (or “pleasurable”) effect . ; beyond this point, a disruptive (or unpleasant) effect.3

In this view, the important factor is the in­teraction between (1) the hypersynchronies or firing sequences, as they are inherited and modified and stabilized in one’s personality by his learning, and (2) the flow of sensory stimulus-response activity with always new firing sequences, which impinge from the out­side. It is the conflict aroused by the inter­change which both constitutes and maintains mental life; it is the degree and quality of the

MARCH, 1964

facilitation and resistance which determines the degrees and qualities of behavior.

Do these new and difficult, and indeed still tentative, theories have implications for music therapy? Strange to say they do not directly affect us, as we continue with our work on the interaction of human beings with each other, and with musical stimuli. For we are an ap­plied science, proceeding on the simple em­pirical evidence of what results our methods produce. Behind our more superficial but use­ful operations stands the basic science which deals with physiological causes and psycholog­ical explanations. Just as we can take our aspirin and enjoy the relief from headache without the chemist’s knowledge of how the effect is produced, we can continue to use music to relieve symptoms and improve the welfare of ailing or disturbed personalities.

Indirectly, however, and in the long and slow evolution of therapeutic practice, we have much to gain by the constant study of basic processes. We can plan more significant research if we devise it to fit the modern prin­ciples and theories of how the nervous system functions. Even more important, we can, in fact we must, learn to interpret our successes and our failures in the light of all that psy­chology knows about physiological structures, human personalities, and the relation between the two.

Hebb’s thesis holds that any concept is a system of reactions centering around a core, but with a fringe area of action which is prob­ably unverbalized, and therefore unconscious, but which still contributes to the meaning of the concept. Fed into this action pattern is another continuous pattern of action, from, let us say, a piano sonata to which we are listening. The two patterns may synchronize smoothly, or they may clash disastrously. Pre­vious patterns which we call “habits” are of importance beyond all comprehension. The plot of your EEG receiving pattern for “sona­ta” would be different from mine in every de­tail, due to our previous disciplines. Likewise, our organizations of the sounds that strike our ears as we listen make two different patterns due to our current listening habits. Your pat­tern or mine may also be smoothed or ruffled by the blood chemistries which are the em­bodiments of our two individual tempera­ments. And our emotions, according to Hebb,

9

arise from the resolution or disruption occur­ring as these several wave patterns arrive at some accommodation or rejection.

The wonder is that we get such substantial results as we do from our study of the effects of music on the nervous metabolism. It is probable that we are sometimes dealing with reactions in our clients which are in no way “musical.” If there are only the crudest con­cepts of what music is, or no concepts at all, only a nebulous unverbalized, half-conscious or unconscious jumble of action patterns, we may be dealing with nothing more than a social interaction, or a rhythmic beat, or a childhood memory, or a momentary diversion.

The capacity for aesthetic pleasure is pres­ent in all, but the individual differences in its development run unlimited gamuts in a dozen

different dimensions. Therapeutic or experi­mental groups represent all the hundreds of stages of ability in receiving, comprehending, and growing in musical experience. In count­ing its successes and explaining its failures, music therapy, as any applied science, needs far more support than its basic science of psychology has been able to give it. Never­theless, it will always stand to profit by trying its own methods and theories as closely as possible to the fundamental science from which it derives.

REFERENCES

1. D. O. Hebb, The Organization of behavior. New York: John Wiley and Sons, 1949, p, 133.

2. Ibid., p. 232. 3. Ibid., pp. 148-149.

ANNOUNCEMENTS

MUSIC THERAPY SCHOLARSHIPS

The National Federation of Music Clubs, Mrs. Clifton J. Muir, President, has announced dend­lines for receiving applications for scholarships in music therapy offered by that organization to those who are members or become members of the NFMC.

May 15, 1964, is the date set for applications for the Gerard Quick Decker Memorial Scholar­ship in Music Therapy. It is open to a high school senior or college freshman or sophomore who wishes to study music therapy at an ac­credited school. Value of the scholarship is $500, and Mrs. Earl R. Findlay, 236 North Oliver, Wichita 8, Kansas, should receive applications.

The Dorothy Dann Bullock Scholarship, also for music therapy at an accredited school, is open to a high school senior or college freshman or sophomore. It is valued at $250 and is renewable for a second year. Deadline for receiving applica­tions is also May 15, 1964, and should be re­ceived by Mrs. Findlay.

ADDRESS CHANGES

NAMT members are requested to notify the NAMT Central Office immediately if they change their addresses and, also, to leave a forwarding card for second-class mail at their local Post Of­fice. Student members should send their home address to the Central Office for the June and September issues of the Journal. This practice will insure that the journal will be delivered to the correct address on time. It also will save the Association a large sum of money. Your coop­eration is requested.

10

STUDY CONFERENCE-ENGLAND

A Study Conference on “Music and Handi­capped Children” will be held at the Teachers Training College, Ripon, Yorks, England, on April 9-13, 1964. Mr. Frank E. Knight, RMT, will serve as Honorary Director. A similar conference was held in Eastbourne last April. All NAMT members in England are invited to participate in this activity, this invitation includes any visitors from America or other countries. Address cor­respondence to Mr. Frank Knight, RMT, Garden Flat 6, Spencer Road, Eastbourne, Sussex, England.

YEARBOOKS OFFERED AT REDUCED PRICE TO ALL NAMT MEMBERS

Copies of Music Therapy 1951-1952, the year­books of NAMT, are available at the reduced price of four dollars ($4.00), postpaid, per vol­ume. The reduced price is made possible through our publisher, Mr. Harold Allen, and because all clerical work, billing, etc., will be handled by the NAMT Central Office. Take advantage of the opportunity to complete your set of these valuable books at a saving of $1.20 per book. Order the missing volumes of your set now while the stocks are complete. Some volumes are already in short supply. Music Therapy 1962 was the last edition, since this Journal now combines the material pre­viously issued in both the yearbooks and the former Bulletin of NAMT.

Orders and remittances for the yearbooks (at the reduced price to members) must be sent to the NAM?’ Central Office, Box 15, Lawrence, Kansas. Books will be mailed upon receipt of order.

JOURNAL OF MUSIC THERAPY

THE AESTHETIC EXPERIENCE AND SOCIOLOGICAL MAN

JOHN H. MUELLER IndianaUniversity

THE history of music is a very long and complex one. We may extend its begin­

nings, traces of which are found in current music, to the nonliterate primitive peoples, or to the Greeks, many of whose technical as well as ideological conceptions of music re­main in our heritage. And, if we view in a more detailed manner its cumulating history -its forms, its social functions, the concep­tions of its essence and nature, the conditions under which it thrived, prospered, or degen­erated-the manifold character of music be­comes the more evident. Thus, in some cul­tures, music was venerated as a form of com­munication with God, even though it might not have been universally agreed whether in­strumental or vocal music be the fitting vehicle of divine expression but it was something sacred, and not to be altered lightly. On the other hand, there was Charles Burney, the music historian of the Age of Enlightenment, the friend of Handel and Haydn, who de­clared that “music was an innocent luxury, un­necessary indeed, to our existence, but a great improvement and gratification to our sense of hearing.“’ The 19th century of romanticism produced a sort of revival of the mystic, super­natural conception of music which was equiv­alent to truth, of which beauty was its mun­dane representation.

Today, we not only cultivate the historical remnants, the legacy of the past, but have in­vented new vehicles, new conceptions of or­ganized sound, new sonorities, new instru­ments, and novel ways of making noises. This was not true in the past to the extent that the varieties prevail today. Although polyphonic and monophonic music coexisted through sev­eral centuries, they were not musically hos­tile, but could be practiced by the self-same composer. This is not the case today.

There are at least three distinct types of “musics” which, today, coexist more or less peacefully, and compete for patronage of the public. The predominant school is, of course, the traditional tonal music which has prevailed since 1600, and still occupies at least 95% of musical space on our concert programs and other musical activities. Although there are

MARCH, 1964

important variations in style and taste, these still move within the framework of the tonal system to which the western world has be­come accustomed, and even considers “nor­mal” and “natural.”

During the current century, however, this tonal system has burst at the seams, or has be­come “exhausted,” according to certain re­formers, so as to make the next stage in mu­sical evolution emancipated of the traditional concept of tonality, without the psychological base to which musical patterns were once ex­pected to return. One version of the resulting atonality is the serial system, associated with Arnold Schoenberg whose innovations have been creating such consternation in the con­ventional musical world during the last sev­eral decades. It has been estimated that at least half of the composers writing today have been influenced by this movement and are composing more or less faithfully according to the serial manner. Even Stravinsky, who for decades had been considered the most hostile opponent of this new style, absorbed it in some of his more recent writing.

The third school of thought considers serial­ism already passe. I shall combine some of the technical and ideological elements of this avant-garde group into one class, for purposes of simplicity. Every movement or reform has justified its position in the name of emancipa­tion from the control and restrictions of pre­vious norms. First, there was the ambition to create new ways of making sounds or noises. After all, if the natural voice was superseded, to a considerable extent, by mechanically pro­duced sounds in the form of percussion, wind instruments, and the scraping of surfaces across a set of strings, why should not still other techniques be logical? Tapes and mu­sique concrete were the results of these experi­ments. Again, to obtain freedom from the se­quences of tonality and the strictures of serial techniques, why not depend on pure chance for the succession of tones? This is the “alea­tory” conception of musical pattern-or, rather, nonpattern-the best known exponent of which is, of course, John Cage. This is non­teleological music. “Teleology” in music rep-

resents the requirement that in a sequence of, say, three sounds, it is necessery that the first sound anticipate the second, and that the third, if not exactly anticipated, will still turn out to be an acceptably logical consequence, in retrospect, of the first two. This makes of musical enjoyment the realization of a system of probabilities. This conception is, of course, entirely rejected by the sponsors who embrace the aleatory conception which obviously must be categorized as “avant-garde.”

No prophet would undertake to predict the outcome of the current struggle­ if it could be called a “struggle” when the traditional party enjoys 95% of the patronage.

Confusion, however, is not all bad. Accord­ing to the crisis theory of thought, conflicting trends are the natural impetus to critical thinking, which is not the case in a homogene­ous, provincial environment. Both musico­logical and sociological changes will result. The encounter with a number of systems of thought tends to arouse a critical attitude toward them all, and may therefore destroy the dogmatic acceptance of any of them. We would like, today, to examine briefly a se­lected few of the dogmatisms which have been accepted in the past, and still prevail in many quarters, and which tend to inhibit the solu­tion of some of our musical problems. Such procedure should be especially useful-I dare to hope-to such fields where music is not so much an aesthetic object as it is an applied science, which seems to be the case in certain areas of music therapy. These dogmatic prop­ositions we shall call, for want of a better and briefer term, “myths.”

Myth No. 1. It has been held during the 19th century of romanticism that music was mysterious and ineffable, taking its source and inspiration from a higher realm, and therefore could not really be explained. A recent book on the literary romantics referred to this conception as “Divine Ventriloquism.” Although most characteristic of the 19th cen­tury, there is still considerable romanticism lingering around us today. There are two possible critical reactions to this position: (1) that music may be difficult, but not mysteri­ous, and (2) that insofar as it is truly mysteri­ous, it is no more, nor less, so than is science or any other aspect of life which we are at­tempting to employ for our human purposes.

The original romantic inference was, of course, that its mystery characterized music, in con­tradistinction to science and other rational as­pects of life, and that the musician, in his in­spiration, was essentially concerned with a different realm of life than was the scientist. But biologists, for example, are likewise mys­tified with life, its origins and nature, but the biologist does not genuflect before his subject and abdicate any pretension of understanding and controlling life. In fact, he is hardly con­scious of the mysticism which lurks in his test tube; rather, he proceeds with the materi­als at hand and experiments in a most irrever­ant manner.

In recent years we have also been proceed­ing annlogously in the examination of music. Music is no longer truth, but a resolution of tensions.’ Instead of the perception of the ineffable, aesthetic pleasure is the resolution of a series of probabilities of tonal patterns, as “information theory” would have it.3 It is perhaps an error to maintain the fiction of the “creative” arts, which tends to perpetuate the mystic aspects of the arts. Scientific re­flection is also creative. What happens in the test tube is no more mystical than what goes on in the human head, whether it be music or scientific thoughts.

But is there no difference at all between art and science? There is, to be sure, but it lies in another realm. Aesthetic pleasure, experi­enced in the contemplation of a work of art, is a consummatory experience, while the ex­periment in science is judged on a means-end efficacy level. The social significance of this difference is simply that, in science, the means can be tested against the agreed-upon end on which a certain consensus may be rationally established. The criterion of beauty, however, is not an external one, but is subjectively felt, and in that sense “There is no disputing of taste.“4

Myth No. 2. It is often declared that some music is more emotional than other. Classic music, it is said, is serene, nonemotional, while Richard Strauss and other romanticists have written “emotional music.” The composer, who has experienced the depth of an emo­tion, has incorporated it in his music.

There is no doubt that, in listening to music, the observer experiences an emotion. But so does he also in observing a storm, meeting a

12 JOURNAL OF MUSIC THERAPY

friend, receiving a gift of a $5 bill. Almost any other episode in life is emotion producing. But no one would explain the emotion by its incorporation in the clouds of a storm, or in the paper money. The pain that I feel is in me, not in the red-hot stove, nor is it in the rag doll which is so lovingly fondled by the little child. The emotion that is felt is a re­action on the part of the observer in terms of his past experiences. Consequently, a piece of music which may excite him today may not have excited him last year, nor may it arouse the same emotion a year hence. The emotional experience, its character, and in­tensity, is a reflection of his personal biog­raphy.

When imputing an emotion to the music, or beauty to an object, we are reading into the object what is actually in our own heads. There are many different circumstances which determine the emotion, including mere asso­ciation with a previous emotion-producing epi­sode. But, here we intend merely to empha­size the relativity of the experience.

Myth No. 3. The ethos of music. Ever since the Greeks of antiquity, it has been held in­termittently until the present day that there was an intimate relation between the beauti­ful and the good. Translating that into the present argument, the cultivation of music should be considered as more than mere en­tertainment; it should also exert an ethical in­fluence upon behavior. This was a particu­larly strong plank in the platform of the ro­manticists of Europe during the 19th century, as well as among the transcendentalists in the United States, of leading conductors such as Theodore Thomas, and critical theorists. Henry T. Fink, a New York critic at the turn of the century, who wrote one of the early biographies of Wagner, declared:

There is no other art that so vividly arouses the unselfish feeling, the desire for sympathetic com­munion ...oneof the most important moral func­tions of music, that of weaning people from low and demoralizing pleasures. the best way to eradicate savage impulses. If such perform­ances of both sacred and secular music were more frequent, WC should have less drunkenness, less­wife-beating, less spending of summer gains, less winter pauperism.5

Following the adage that “the boy who blows a horn will never blow a safe,” Mme. Samaroff, the great pianist, erstwhile wife of

MARCH, 1964

Stokowski, reports an investigation of hers on the prisons in the United States. She reports:

In 80% of the prisons in all states of the Union who responded to questionnaires, there were no men or women who had had any form of music education before they committed the crimes far which they were incarcerated.

Although we should encourage and applaud empirical research, these statistics are not con­vincing without a control group, for her group had probably studied not much else, either.”

We do not intend to deny the possibly salu­tary effect of music on human temperament, but it is something which we cannot casually take for granted. It is the Greeks who are usually quoted as authorities on this principle; however, their conception of music, its func­tions, and nature, does not correspond to our concert system of today which is a develop­ment of the last two centuries or less.

Music is not a monistic entity, but for our purposes we have found it necessary to clas­sify music into several subsystems. I have two distinct types (ideal types) selected for dis­cussion. These are not musical, but funda­mentally social categories.

(1) Formalistic music is roughly equivalent to the music that serves our Western concert system. Its function is entertainment, how­ever much some serious practitioners object to that designation. To extract the sting from the unintended insult, I would add that I do not mean necessarily cheap, thoughtless, pas­sionate entertainment. In fact, it may be, and is, quite cerebral. But this does not change the posture of the audience, nor the functional intention of the composers and performers to offer intellectual distraction. Such distraction, in the end, always produces a kind of psychic satiety, so that a certain infrement of novelty is constantly required. Many of us, indeed, experience today such satiety even in Beetho­ven’s V, Tschaikowsky’s VI, and Brahms’ I.

This formal category of music was relatively rare among the primitives, and relatively un­known to the Greeks as we know them. It thrived in the court system of the 18th and 19th centuries and thrives today. And con­trary to the declaration of many music educa­tors who decry the “entertainment” function of music, such music does not have a moral effect upon the audience. Listening to Schoenberg’s Five Pieces, Schumann’s IV, or quartets of Mozart or Haydn, or even Beethoven, does not

13

enhance the human propensity toward high, poser. Thus, Liszt arranged some of the Bee­ethical behavior. thoven symphonies for piano which he played

(2) This presumable moral function is taken at his own concerts. Busoni arranged the care of in my second category, which we have Chaconne for piano, and Brahms arranged the labeled institutional music. Such music is same item for the left hand alone for his good affiliated with, and shares its functions with, friend Clara Schumann. The Stokowski ar­a social institution: the church, the nation, rangements of Bach are well known to Amer­the military, and civic and social enterprises, ican audiences and have aroused ridicule and such as found among the preliterates, the resentment among American critics. (3) Greeks, and to a lesser extent among us mod­ “Mutilation” and other liberties. Liszt em­erns. In interpretation, harmonization, or re­ broidered the first movement of the Moon­composition of our national anthems, religious light Sonata with trills and rolls. Symphonies Hymns, or other ceremonially employed mu­ were dismembered and cuts were freely made sic, we do not seek novelty. in various compositions. Virtuoso embellish-

When the Greeks attached an “ethos” to ments were made for public effect, very much music, they were definitely referring to their as did the opera singers. (4) Interpretive civic theatre and their ethnic interests. Bach liberties. Freedom was taken with tempo and wrote his Passions for the “Glory of God.” nuances. Strauss reports that Bulow often be-They were intended not as a concert, but dis­ gan a scherzo slowly and only gradually tinctly and expressly as an act of worship. I worked it up to tempo; he took three repeti­also realize that certain Christian denomina­ tions of the “Scherzo” of the Seventh Sym­tions, in their church services, come close to phony a little faster each time. Some of the entertainment and concert music occasionally; greatest conductors-Bulow, Wagner, Nik­but that merely means that the church itself isch-would be laughed off the stage today for is weakening in its original moral function. their capricious interpretations. Under such circumstances, I would expect a A long essay could be written on this gen­dilution in the social fervor of its music. eral topic, for it is not subject to offhand in-

Myth No. 4. Fidelity to the Composer’s In­ terpretation that the previous century was tention. The contemporary ideal of musical entirely wrong. We cannot make our own performance is to seek the intention of the standards retroactive. It does suggest, how­composer and then to adhere to it. This is ever, that music is made for man, not man for today a well-established convention, of which music. The most blatant liberties have been every musician is aware, and has been exem­ taken by the very idolators of the composers plified principally in the performances of whom they mishandled. No one would take Arturo Toscanini. There are many, however, second place to Schumann and Mendelssohn who are not aware that this is only a conven­ in their adoration for Bach-and yet they per­tion, characteristic of our century, and is a formed in a manner not countenanced today. quite significant departure from the roman- With reference to the issues which applied tic traditions established during the 19th music is likely to encounter, i.e., music used century. not so much for stiff concert purposes, but for

Very briefly, we may classify these devia­ therapeutic objectives, we may suggest that tions from the “text” in about four categories, the present theory and practice of literal fidel­such as were practiced during the 19th cen­ ity to the score of the composer might seem tury: (1) “Improvement” in the musical com­ too squeamish and fastidious, and even in­position, of which Mendelssohn’s Accompani­ effective. The practice of reproducing older ment to the Bach Chaconne would be an ex­ music, for example, baroque compositions, in ample. Schumann reports that Mendelssohn the manner of its day, with ancient instru­

entwined the Chaconne in all kinds of ments and interpretations, has been seriously voices and passages which was a pleasure to questioned by competent conductors. Perhaps listen to It is quite probable that Bach applications of music, such as for therapeutic himself imagined the work in much the same purposes, might also be made more efficacious manner.“? (2) “Arrangements” for other in­ by prudent liberties in the performances of struments than the ones specified by the corn­ appropriate music.8

14 JOURNAL OF MUSIC THERAPY

REFERENCES 5. Henry T. 1Finck, “Music and Morals,” Chopin and Other Essays. New York: Charles Scribner and

1. Charles Burney. A General History of Music from the Earliest Ages to the Present Period, 2 vols.

Sons, 1910, pp. 143-182; John H. Mueller, “Mu­sic and Education-A Sociological Approach,”

New York: Harcourt, Brace, 1935, Vol. I, p. Basic Concepts in Music Education. (Nelson B. 21. Henry, Ed,) Chicago: University of Chicago

2. Leonard B. Meyers, Emotion and Meaning in Press, 1958, p. 112 ff. Music. Chicago: University of Chicago Press, 6. Olga Samaroff Stokowski, The Layman’s Music 1956. Book. New York: Norton, 1935, p. 62-64.

3. Leonard B. Meyers, “Meaning in Music and In­ 7. Robert Schumann, Gesammelte Schriften uber formation Theory,” Journal of Aesthetic and Art Musik und Musiker (Gustav Jensen, Ed.) Vol. Criticism, 15:4 (June) 1957, pp. 412-424. II, 4th ed. Leipzig: Carl Baedecker, 1891, pp.

4. John H. Mueller, The American Symphony Or­ 254 and 524; Richard Strauss, Betrachtungen chestra, A Social History of Musical Taste. und Erinnerungen (Willi Schuh, Ed.). Zurich: Bloomington: Indiana, University Press, 1951, Alantis Verlag, 1949, pp. 58-59. chap. 7, p. 388 ff. 8. Mueller (1951), op. cit., p. 323 ff.

PROFESSIONAL OPPORTUNITIES

Place-State Hospital No. 1, Fulton, Missouri Place-Mendota State Hospital, 301 Troy Avenue, Classification-Music Therapist I (RMT) Madison 4, Wisconsin Salary-$4,428 to $5,376, starting salary based Classification-Music Therapist (male)

on experience Salary-not specified Contact-James C. Moore, RMT, Director of Contact-Ed Karpowicz. Director. Recreational

Music Therapy Therapy Department

Place-Dr. Norman Beatty Memorial Hospital, Westville, Indiana

Place-Athens State Hospital, Athens, Ohio

Classification-Music Therapist X Classification-Music Therapist

Salary-$405 per month, starting Salary-based on training and experience

Contact-Vernon C. Brown, Director of Music Contact-Charlotte Cox, Coordinator of

Therapy tivities Therapies

Remarks-Male therapist, for maximum secur-Remarks-position begins immediately

Ac­

ity section of hospital

Place-Richmond State Hospital, Richmond, In­diana

Classification-Music Therapist Salary-$4,260, starting Contact-Pauline Marker, RMT, Director of

Music Therapy

Place-Boys Training School, 400 N. Pennsyl­vania Avenue, Lansing 11, Michigan

Classification-Vocal Music Teacher Salary-$6,013, Starting, with additional ex­

perience and training to$9,771 contact-Edward A. Taber, Special Education

supervisorRemarks-requires Bachelor's degree, Michigan

teaching certificate, and other Remarks-Must have Bachelor’s degree. Hous­

ing, meals, and laundry available for $25/mo.

Place-Veterans Administration Center, 4100 Place-Milledgeville State Hospital, Milledgeville, West 3rd Street, Dayton, Ohio Georgia

Classification-Music Classification-Music Therapist Salary-none specified Salary-$4,452 to $5,172 Contact-Dr. Leo Rosenberg, Chief, Physical Contact-Herbert P. Goldsmith, RMT, Director

Medicine and Rehabilitation of Music Therapy

MARCH, 1964 15

SPECIAL EDUCATION FOR THE EMOTIONALLY DISTURBED CHILD*

ANNAMARY WILSON Columbus State Hospital

LENWOOD School at Columbus StateG Hospital, Columbus, Ohio, is designed for the education of emotionally disturbed children who are unable to function in the public schools. This school is a division of a “day-care” program for patients, known as Hospital Community Services, which operates primarily for those individuals who may be in need of hospitalization. but can remain in the community and come to the hospital for an intensive therapy program. About three­fourths of the children in the school are day­care patients; the other fourth are hospitalized. At the present time the enrollment totals 45 students with six teachers, a principal, a secre­tary, and a full-time attendant.

The school serves a dual administration: Columbus Public Schools and Columbus State Hospital. A general breakdown of the admin­istrative responsibilities are as follows:

1. The Columbus Public Schools provide textbooks, teaching materials, teachers, and teaching salaries.

2. The Columbus State Hospital provides the school building, school equipment, jani­torial service, and psychiatric aid, i.e., med­ication, psychiatric consulation, etc.

3. Teachers are hired according to state certification requirements with the approval of the hospital staff.

4. Dismissal and acceptance of children for the program are determined through hospital and school staff recommendation. Any outside agency can recommend the

placement of a child in this school through the Department of Special Education of the Co­lumbus Public Schools. Upon recommenda­tion, he is “screened,” which is a process in­volving interview by both hospital and school personnel. During this time he is tested for school placement, and a psychiatric evalua­tion is made. The school does not accept chil­dren who are mentally retarded or who are severely brain damaged; in these cases other institutions are recommended which are de­

* Presented at the Fourteenth Annual Conference of The National Association for Music Therapy, Bloomington, Indiana, October 16-19, 1963.

16

signed more specifically for these handicaps. Before a child is entered, a prescription con­taining information received during this “screening process” is sent to the school so that the best choice of curriculum and room placement can he made. Medication is deter­mined, and the student may be placed in a weekly psychotherapy group, or he may be scheduled for individual therapy with a psy­chiatrist. All day-care patients are brought to the hospital by cab (instituted by the board of education), and all students eat lunch in a designated area of the hospital.

Hospitalized patients are referred by pre­scription from ward doctors. Because there are no adolescent wards, information concern­ing the school routine is sent to ward attend­ants, and the patient’s daily schedule of meals, therapy, clinics, etc. usually has to be rear­ranged. The school attendant takes care of picking up patients from wards, and he as­sumes the responsibility of school and ward communications as well as the administration of medication for all students. While this dis­turbance in hospital routine for a few scattered patients can be very upsetting to hospital per­sonnel, the existence of the school made it possible to put many of the hospitalized ado­lescents back out into the day-care program. This reduced some of the frustrations involved in having adolescents hospitalized in an adult setting, ill-equipped to handle the many prob­lems they produced as a group. It also meant that hospital staff had to be used for lunch supervision; however, responsibility for ado­lescents in the intensive treatment areas was lifted. Prior to the establishment of the school, adolescent “antics” and “cliques” were becom­ing quite a burden, since the adolescent popu­lation numbered about 50-60 patients. We found that the association with adults on the wards was multiplying control problems, and the educational therapy program at that time did not involve over one or two hours a day per student.

curriculum The school structure is based on an aca­

demic curriculum, serving grades 1-12. Each

JOURNAL OF MUSIC THERAPY

teacher carries about two or three subject areas, and he may have three or four grade levels in one class. Three classes are based on an elementary curriculum; one class carries grades 1-3, another carries grades 46, and another class carries older students who are still working on an elementary level. The latter group approaches the “slow learner” class, with students who are not necessarily in­tellectually retarded, hut who are “education­ally retarded.” The junior and senior high division of the school includes the following subject areas: English, mathematics, social studies, physical education, home economics, art, music, and drama. Modifications of this curriculum are used according to individual needs; if a student needs algebra to graduate, it is given during his designated mathematics period. Because the classes are small, it is possible to teach in various subject areas and grade levels on an individual basis. Standard­ized textbooks are used. If the student is tak­ing general academic work and passes it, he is given credit; if the work has to be modified to meet his level, he will graduate with a mod­ified diploma which is also granted through the public schools. In this way the student is assured that his work has the same importance here that it would in any other school.

activity methods The teachers at Glenwood attempt to use

the many “motivating” resources available through the public schools. Emphasis is placed on the use of educational television, movies and visual aids, attractive projects, and activ­ities producing creativity and physical activity, Motivation, of course, is more difficult with this type of child, and the degree of boredom and restlessness exhibited in classes makes this goal much more difficult than experienced in the average classroom. The staff is unani­mous in its belief that education is therapy for these children; finding success in school is usually a foreign experience to them. Cau­tion is heeded against the use of “therapeutic grading.” Once a structure, which is obviously attainable to him, is placed before the child, the clinical value of the experience is lost if the teacher is not honest concerning his prog­ress and accomplishments. This is a most deli­cate area to handle, and one which requires a good therapeutic relationship as well as flexibility in teaching methods.

MARCH, 1964

Physical education is an especially impor­tant area in that these children need an activ­ity designed to alleviate hyperactivity and ag­gression. Another obvious problem is their in­ability to achieve teamwork, indeed, to achieve any type of appropriate socialization. Team games and sports are especially beneficial in this area. In the past a baseball team has been organized which was able to challenge another institutional team, producing defin­itely notable and profitable benefits.

Field trips are used as often as possible in conjunction with all classes. They are suc­cessful as an educational tool, and they are used as a step in the long process of involving the child in community interest. These field trips include such activities as swimming, howling, trips to parks and forests, art gal­leries, Indian caves, and musical shows. A les­son in science may precede a trip to the woods to observe leaves and trees; a lesson in history may arouse interest in community landmarks. The schedule is such that subjects requiring heavy concentration (English, mathematics, etc.) are taught in the morning, so that after­noon structure can become more flexible.

Music, drama, and art are excellent media for the exercise of group teamwork and con­trol, at the same time allowing more freedom of choice and direction on the part of the stu­dents. The combination of these activities in musical productions for holidays and assem­blies has been very effective in stimulating motivation. A Christmas production last year in which the Nativity was dramatized was given for the hospital population and was well received. An immediate response could be seen when students were heard to say, “our play was good. They liked our school produc­tion.” While the production of the play caused much anxiety in both students and staff, it was the feeling of the psychiatric staff that the benefits of such a production far outweighed any “traumatic” side effects.

Because of some of its inherent control fac­tors, music in the school is also used with some students in a firm academic structure. At this time, individual instruction in various in­struments is given. Favorites are the drums, guitar, piano, and bongos. Some elected courses involve principles of music theory and music appreciation. Some freely structured music groups are also held in which the stu­

17

dent is able to assert his own taste and direc­tion; included in these sessions, periodically, are “Hootenannys,” featuring guests from vari­ous sources.

The high school curriculum includes a spe­cial drama class for ninth and tenth grade stu­dents. This class emphasizes elements of dra­ma, and it also provides an excellent oppor­tunity for role playing. It has become an in­teresting experimental area; often staff mem­bers will assist in assuming roles assigned by the students. In the production of spontaneous plays and scenes, the teacher assumes a role of consultant rather than director, placing re­sponsibility for plot, scenery, lines, and action in the hands of the students. In the production of plays for performance, the teacher then as­sumes the role of director.

It should be emphasized that all classes are firmly structured; however, this does not necessarily indicate an authoritarian method of teaching, since there does exist the need for these children to develop qualities of inde­pendence and leadership as well as of organ­ization.

summer school program

Glenwood School operates for its students a summer program which is highly structured, hut less academic in content. Physical fitness is stressed, and field trips are more numerous. Basic reading skills are continued, and sessions in music, art, and crafts are scheduled in the morning. It was felt that many accomplish­ments during the winter months were lost if the students were faced with two months of vacation; incidents involving delinquency were more likely to occur, and parents were requesting some sort of activity program. It was also possible to involve in the summer program some hospitalized patients who had to be rejected from the winter program.

CONTROLS

The problem of effective control with dis­

turbed children is always present and cannot he underrated as a deciding factor in the suc­cess of such a school. While this rests heavily upon the relationship of the individual teacher with his students (“one must develop his own way of dealing with the child”), there are cer­tain basic conditions that have been found to be essential as a framework for good control:

1. The students must be properly medi­cated, and a psychiatrist is needed for con­sultation at any time during the day.

2. The structure of a school building can produce a great deal of control. For exam­ple, furniture is needed which is sturdy and relatively free from danger. In some cases it is wise to use furniture which cannot be lifted, and to have dangerous or expensive equipment protected.

3. “Quiet” rooms or “freedom” rooms must be provided which are structurally sound and are soundproof, so that a child can be removed from a situation he cannot handle and be safe, from both himself and others.

4. An attendant is needed to handle chil­dren who do become uncontrollable, so that class structure is not disturbed.

5. While teachers must be free to use any sort of motivational technique they feel is needed to be effective, classroom limits for individual patients should he predeter­mined by the staff and uniformly applied, Losing sight of the long-term rehabilitation goal can he therapeutically damaging. It is felt that a clinical school without public

school support, or vice versa, produces a cer­tain degree of ineffectiveness with this type of child. The benefits of a standard education are within his reach, yet he cannot progress without the benefits of a therapeutically con­trolled environment. Through such a dual ad­ministration, proper staff and facilities can he more easily attained, and the student can avoid, in part, some of the social problems he would ordinarily encounter in such a situation.

18 JOURNAL OF MUSIC THERAPY

NOTES AND COMMENTS

CHAMBER MUSIC-PROPOSED AS A THERAPEUTIC MEDIUM

DELIGHT LEWIS Children’s Center, Hamden, Connecticut

The following has been written, partially, in response to the plea made by Dr. E. H. Schneider, RMT, in the June, 1962 issue of the Bulletin of NAMT. It is hoped that this brief article may “incite” some degree of “interest, excitement..."1 sion The ideas set forth are not, as yet, “based on veri­fiable data and/or practices,“2 but they are being considered with that end in mind.

Chamber music sessions were held once a week for a six-month period at the Boston State Hos­pital. Group membership varied each week, with attendance fluctuating between three and five. There was usually an even patient-volunteer ratio, and one member of the Music Therapy Depart­ment present. A collection of assorted music­provided from private libraries of volunteers and therapist-was produced each week, and music was selected to suit the instrumentalists in at­tendance at the time. The group was basically composed of string players, but occasional forays into the literature for strings and wind instrument or piano were made. No attempts at formal re­hearsal were suggested, that is, no more than those of any small group of serious musicians play­ing together for their own enjoyment. Generally, the activity was unstructured to the degree that any chamber music session “on the outside” might be.

The literature attempted did not vary accord­ing to the ability of the members present, as much as it did according to the instruments they were able to play. Sometimes the hour was devoted to the simple-movements of Haydn string quartets, occasionally to Purcell pieces for two violins and piano, or various works by Handel, Beethoven, and D’Indy. Probably the most rewarding ses­sion was a reading of Mozart’s Clarinet Quintet in A Major, k. 581.

Music Therapy as a profession has developed to the point that involved, inspirational accounts of the special moments are no longer necessary. To anyone familiar with, and fond of, the chamber music available to performers of any degree of competence, a reminder of the often unexpected flashes of genuinely satisfying musical experience should suffice. Sometimes a phrase is actually good; everyone is aware of, and “in accord with,” everyone else. (Sometimes the triumph comes merely from all players finishing a difficult move-

MARCH, 1964

ment at the same time.) It is not an exaggeration to say that, no matter how shaky the overall en­semble of the group under consideration might have been, this occurred at least once every ses­sion.

The two patients around whom the activity was centered differed greatly. One was a chronic schizophrenic, lobotomized seven years previously. This man had played the violin before his hos­pitalization, and, after extensive individual work by a former member of the Music Therapy De­partment, was willing to play the same solos any­where, anytime. Gradually, as “for the good of the music”-rather than ‘it has to be fair play”­was emphasized, and as he became aware of the fact that the second part is often as difficult as the first, he was willing to alternate “solos” with one of the volunteers. During the first months he kept going rigidly-as lobotomized ones are wont to do-even though he was a beat-and-a-half away from everyone else. By the last month, he con­sciously tried to adjust his part to the production of the general ensemble. And, he watched every­one else before stopping his tone on the final chord. This man, who no one thought could ever act spontaneously, was able to converse with the other members of the group while putting his instrument away. He even smiled once-at the last meeting. Afterward, a volunteer commented that she had always thought his face would crack into a thousand pieces if he ever dared try such a thing.

The second patient, diagnosed as schizophrenic reaction, paranoid type, acute, was discharged from the hospital during the third month. He, with his experience in one of the country’s out­standing symphony orchestras, not so much as with his own careful musicality (even on the ex­tremely bad hospital instrument he used), was obviously as much help to the group as the group was to him. The fact that he was able to treat his chronic, rigid fellow patient with the same friendliness and regard as the volunteers and the therapist, said much for the musical camaraderie of the ensemble.

Attendance was never required, not necessarily in accordance with the edict of Dorothy Sommer, RMT (“A patient need not feel forced to attend because a music period occurs on his schedule”),3

19

as this writer feels that with some patients, at some degrees of illness, this is advisable, but be­cause the activity itself demanded casual informal­ity, The second man came most of the time, be­cause be “liked to play chamber music”; the first came every time, punctually, because it was “the hour for music.” And, obviously, because their problems were different, the two men did not derive the same satisfactions from group mem­bership.

As mentioned previously, the “outside” atmos­phere was stressed whenever possible. The volun­teers, people whom the patients knew were not there merely because they were paid to be, helped greatly in this respect. Sensible utilization of vol­unteer services (as opposed to a complete lack of direction, or placement in activities in which the volunteers are or become uncomfortable) helped acquaint the volunteers in the chamber music group with the patients as people. Chamber mu­sic was, in this instance, used as a social ice­breaker, as well as a means of valuable nonverbal communication. It also provided an opportunity for the women to observe the way in which the therapist handled the difficult moments caused by the illness of the patients. Occasional brief dis­cussions after the patients had left provided fur­ther explanations.

If the factors of helping members of the public develop a more realistic attitude toward mental illness and of providing elementary training for these members are considered, the relationship of the “well" members to the “sick” no longer seems to be badly balanced. This balance might also be construed as a good investment if one goal of the activity were the provision of a “nor­mal” atmosphere in which a few patients could test their improvement-without the additional stress of leaving the hospital grounds.

One practical consideration in favor of an ac­tivity such as informal chamber music: it can easily provide material for hospital concerts, on shorter notice than larger groups. It can also serve as host or ambassador in exchange meetings with other institutions. Either of these occasions would necessitate temporary deviation from the main goal of the group, but it should not be too difficult to reestablish its original, informal basis as soon as the obligation has been fulfilled.

And, a final point to recommend this activity: it can help to keep the therapist on his or her musical toes. There is too much opportunity, par­ticularly in a state institution--with the large call for beginning lessons on the entire gamut of musical instruments, and with the many glee clubs and dance combos-to forget the always-to­be-renewed concept of how hard and how care­fully one must work to produce good music. This,

of course, does not negate the need for the above­mentioned activities, or say that good musician­ship is not required there; it merely stresses the professional, as well as the personal, duty of the therapist to care, constantly, about each tone he produces. He must maintain, for example, an awareness of subtle dynamic markings and the direction of any musical phrase; he must strive, always, for more perfect intonation.

The plans for further investigation of chamber music as a therapeutic medium will have to wait until another definite situation has been consid­ered and arranged. But it would seem that such a continuation should be most concerned with the following: (1) Exploring the coordination of chamber music organizations and volunteer groups with hospital activities; (2) devising better tech­niques for keeping the therapist’s role as much fellow member, rather than leader, as possible, that is, techniques to emphasize the “well,” rather than “sick” attributes of the patients in­volved; (3) developing a system of measurement, through control groups, or comparison with other hospital activities-or other hospitals-of the po­tential for overall patient improvement in this specific setting, that is, how many patients could actually be better reached by this sort of activity than any other type of therapy? And, is the ac­tivity worth the investment?

When these ideas have been crystallized into hypotheses, and some sort of conclusions have been draw, then perhaps a second article should follow. In this case, the cycle will be complete, having followed Dr. Schneider’s final word of en­couragement: “communicate these knowledges or hits of information which we have found to be of value in our work and verify our work by utilizing the same procedures again with other patients. Then write again. .“4

Since, to the author, chamber music as therapy is only an exciting concept, an idea that has just begun to develop, comments from others who have also worked with the medium would be gratefully received. It would be particularly in­teresting to learn how well the above remarks corroborate the aesthetic and therapeutic philoso­phies of other members of The National Associa­tion for Music Therapy.

references

1. Erwin H. Scheider, “Professional Literature, Creator of an Image,” Bulletin of NAMT, 11:2 (June), 1962, p 9.

7.. Ibid 3. Dorothy T. Summer, “Treating the Second Illness,”

Bulletin of NAMT, 11:1 (March), 1962, p. 6. 4. Schneider, op. cit., p. 11.

JOURNAL OF MUSIC THERAPY

MEMBERSHIP DIRECTORY

1963-1964

honorary life: *Gaston, Dr. E. Thayer, 311 Bailey Hall, University

of Kansas, Lawrence, Kan. *Harbert. Mrs. Wilhelmina K.. 125 W. Mendocino.

Stockton. Calif. *Thompson,’ Mrs. Myrtle Fish, 356 Melrose Place,

South Orange, N. J. Underwood, Dr. Roy, 17938 Schoenborn, Northridge,

LIFE:

Barone, Mrs. Anthony M., Martin Lane, Northfield, Ill.

Black, Durel, Bon 1440, Now Orleans, La. “Brady, Miss Mildred J., 8 Warren Place, Saugerties,

N. Y. Brahms, Mrs. Michael, 2707 W. Chase Ave., Chicago

45, Ill. *Dick, Mrs. Alexander, 30 East 81st Street, New York

28, N. Y. *Dierks, Mrs. Freda, 3438 Russell Blvd., St. Louis 4,

Mo. Harris, Mrs. Joyce G., 2428 West Berwyn, Chicago

25. Ill. Haverlin, Mr. Carl, Pres., B.M.I., 589 Fifth Ave.,

New York 17, N. Y. Howe, Mrs. Mary, 1821 H Street, N.W., Washington

6, D. c. Nunn, Mrs. Josephine E., 6450 Camino De La Costa,

La Jolla, Calif. Schmitt, Mr. Robert A., Paul A. Schmitt Music Co.,

Minneapolis 3, Minn.

SUsTAINING:

Mu Phi Epsilon, Dorothy Brin Crocker, National Music Therapy Chairman, 7506 Midbury, Dallas, Tex.

Sigma Alpha Iota, Lottie Hutzel, Treas., 2115 Wal­lingford Rd., Ann Arbor, Mich.

CoNTrIbuting:

Delta Omicron, Mrs. Charles S. Bishop, Pres., 51-3 Revere Hill, Drexell Hill, Pa.

Oscar Schmidt-Internat. Inc., Mr. H. G. Finney, 87 Ferry St., Jersey City 7, N. J.

ACTIVE:

*Abbott, Earle M. L., 725 Roosevelt Road, Redlands, Calif.

*Adams, Mrs. Evelyn Q., 40 Summit Road, Riverside, CO”“.

*Alder, Ruthlee F., 134 Morse Place, Englewood, N. J.

‘Allen, Mrs. Olive B., 9 Meehan St., St. Thomas, Ontario, Canada

*Allison, Patricia, Music Therapy Dept., Menninger Clinic, Topeka, Kan.

*Alvin, Juliette 48 Lanchester Road, London N. 6, England

* Registered Music Therapist.

*Andersen, Mrs. Muriel, 129 N. English, Springfield, Ill.

Anderson, Mrs. Eugenia W., 7 Lawndale, Hammond, Ind.

Andrews Mrs. Alma, 344 N. 14th St., San Jose 12,

Arnsdorf, Thomas E., 100 Overlook Terrace, Apt. 820, Now York, N. Y.

Aydelott, L. Clark, 241 S. Ave. 57, Park Plaza, Apt. 127, Los Angeles, Calif. 90042

*Barnhart, Mrs. Joy S., Box 17, Redwood Valley, Calif. Basch, Peter J., 160 E. 84th St., Apt. 3L, New York

28. N. Y. *Bassano, Mrs. Mary O., 911 Spring Valley Road,

Maywood, N. J. *Bassett, Richard L., 12163 Kenney Street, Norwalk,

Calif. Basting, Bernadean, 6766 W. Appleton Ave., Apt. 3,

Milwaukee, Wis. 53216 *Baugh, Joy Conrad, Box 278, Breaux Bridge, La. *Beekley, Mrs. Louise H., 54 Mealey Parkway, Hagers­

town, Md. “Benedict, Lois, 2441 Jackson St., San Francisco,

Calif. 94115 *Bennis, Joann, 520 Walnut, Apt. 8, Elgin, Ill, *Berryhill, Ethel B., 213 3rd St., Yreka, Calif. Betensky. Dr. Bess S.. 2601 Sherwood Drive. Des

Moines, Iowa *Bettman, Mrs. Dorothy J., 1295 Orchardview Rd.,

Seven Hills, Cleveland 31, Ohio *Bicskei, Martha L., Box 369, Wareham, Mass. *Billings, Martha Kay, 309 Ivanhoe St., Denver 20,

Colo. Bing Mariana, Mental Health Services, Inc., 4026

Jenkins Arcade, Pittsburgh 22, Pa. *Bitcon, Carol H., 1019 South Shawnee, Santa Ana,

Calif. *Bixler, John, State Univ. of Iowa, Hospital School.

Iowa City, Iowa *Blagdon, Mrs. Ann, Box 148, Apple Creek, Ohio Blanchard, Kenneth L., 400 Forest Avenue, Buff­

alo 13, N. Y. *Borchers, Dr. Orville J., 1424 Spring Valley, Dallas,

Bordon, Miss Sara, 46 West 83rd St., New York, N. Y. 10024

*Bowman, Mr. Arnold S., 432 Hummel St., Harris­burg, Pa. 17104

*Bower, Toian S., 3014 S. Norton Ave., Los Angeles, Calif.

*Boxberger, Dr. Ruth, P.O. Box 206, Athens, Ohio *Braswell, Mr. Charles, Dept. Music Therapy, Loyola

University, New Orleans, La. *Braun, Helen B., Combs College of Music, N.E.

Cor. 12th & Walnut Sts., Philadelphia I, Pa. *Bremberg, Mrs. Ruth, 4331 40th Ave., So., Minnea­

polis 6, Minn. *Brewster, Mr. Leland R., Napa State Hospital, Imola,

Calif.

MARCH, 1964 21

“Broadt, Mrs. Estelle B., 27 East Pettebone, Forty Fort, Pa.

*Brooking, Mrs. Mair L., 38 Montagu Square, London W 1, England

*Brooks, Miss Elizabeth, 84 Whipple Road, Kittery, Me.

*Brown, Vernon G., 2588 Jefferson Street, Gary, Ind. *Browne, Hermina E., Blackwell Road, Trenton, N. J.

08638 Brunner-Orne, Dr. Martha, Medical Director, West­

wood Lodge, W&wood, Mass. *Burnham, Katherine, Music Department, Connecticut

Valley Hospital, Middletow”, Conn. *Burress, Mr. Donovan, Music Therapist, Madison

State Hospital, Madison, Ind. *Bushart, Mrs. Anne K., 7406 Ridgewood Ave., Chevy

Chase 15, Md. Button, George H., Jr., 17 Oak, Florence, Mass.

*Cagnoli, Mr. William, 37.4 Cedar Avenue, Hershey, Pa.

*Calvino. Frances. 844 South Lake Drive. Lakewood. N.J.

*Campbell, Mrs. Florence M., 168 School Street, Taunton, Mass.

‘Carey, Mrs. Dorothy J., 2029 South 8th, Philadelphia 48, Pa.

Carman, Mrs. Doris M., 3 Fowler St., Bath, N. Y. Carter, Mary C., 2026 Cornell Road, Cleveland 6,

Ohio *Cecile, Sister M., St. Joseph’s Infirm & Aged Home,

Sterlington Road, Monroe, La. Chace, Miss Maria”, 127 Galveston Street, S.W.,

Washington, D. C. *Chachere, Ann Hart, 1337 Burdette, New Orleans,

La. *Chase, Mr. Joseph R., Old County Road, Box 306,

Eastham, Mass. *Chen, Mrs. Marjory L., 30621 Tarapaca Road, Mira­

leste, Calif. *Cheney, Miss Anita L., Box 213, Perry Point, Md. Cherncy, Gordon L., 871 Barnett, Anaheim, Calif.

*Christman, Christine A., Dept. of Rehab. Services, Mendocino State Hospital, Box X, Talmage, Calif.

*Cissne, Ralph B., 203 West 4th, Manteno, Ill. *Cistrunk, Martha L., 9500 South Lowe Avenue,

Chicago 28, Ill. *Clapp, Mrs. Doris D., 247 Belmont Ave., Brockton,

Mass. ‘Clark, Mrs. Elinor H., 230 Valleywood Drive, Toledo

5, Ohio *Cohen, Mr. Gerald, Patton State Hospital, Patton,

Calif. *Collins, Mrs. Carol M., 7818 Oakland Drive, Kala­

mazoo, Mich. *Conrad, Sister M. Advent”, 1545 S. Layton Blvd.,

Milwaukee, Wis. 53215 Conwell, Mrs. John W., Sr., 1421 S. Baltimore, Tulsa,

Okla. 74119 *Cope-land, Mrs. Aline, 4217 Erath, Waco, Tex. *Copeland, Laura Woodard, P.O. Box 404, Tripoli,

Libya, Africa *Correia, Lawrence, Paul H. Dever State School, Bon

631, Taunton, Mass.

* Registered Music Therapist

*Cotter, Vance, 2210 Foxcroft Circle, Dent”“, Tex. *Crane, Lois, 204 Darst, Gonzales, Tex. *Crawford, Mrs. Carol R., Box 192, Auburn, Calif. *Crockcr, Mrs. Dorothy Brin, 7506 Midbury St.,

Dallas, Ten. *Crockcr, Joy R., 2726 Derby Street, Berkeley 5,

Calif. Cummings, Mrs. Ruth S., 225 N. Main St., Hamp­

stead, Md.

*Dallmann, Alice, c/o Home 29, Rockland State Hospital, Omangeburg, N. Y.

*Davidson, Jerome l’., 286 West Pleasant Drive, Hamburg, N. Y.

*Davis, Fairo, 1595 Lugo, San Bernardino, Calif. *Dawson, Mrs. Mina K., 5401 Baja Drive, San Diego

15. Calif. *DcCarolis, Mr. Mario, 10 Colburn Rd., East Bruns­

wick, N. J. DeJesus, Mr. Joseph G., 45 South Compo Rd., West­

port, CO”“. *DeMark, Mr. John D., 1474 Missouri Avenue. Bridge­

ville, Pa. *DiBugno, Mrs. Athena P., 342 W. 56th St., New

York 19, N. Y. *Dickinson, June M., 126 Argyle Street, Rochester 7,

N. Y. *Dinklage, Helen, 10900 Bustleton Ave., Apt. A63,

Philadelphia 16, Pa. *Doll, Eugene E., Dept. of Special Education, Uni­

versity of Tennessee, Knoxville, Ten”. *Dolson. Walter J.. P.O. Box 363. V.A.C.. Togus. Me. *Douglas-Longmore, Miss Gladys Apt. 9-J, 353 W.

56th St., New York 19, N. Y. *Douglass, Donna Rux, 110 San Joaquin Circle,

Reedley, Calif. *Dreikurs, Dr. Rudolf, 6 N. Michigan Ave., Chicago

2, Ill.

*Eads, Bassie L., 2213 Corning Ave., Parsons, Kan. *Early, Mrs. Jeanne E., 1109 Berkley Road, Kokomo,

Ind. *Eberly, Mr. J. Wilgus, Dept. of Music, Box 3865,

T.W.U. Station, Denton, Tex. *Edelen, Mrs. Elizabeth, 6114 S. Loomis Blvd., Chi­

cago 36, Ill. Edens, Mrs. Margaret B., 1016 E. 11th St., Winfield,

Kan. *Egan, Albert E., 7236 Christopher Drive, St. Louis

29, MO. *Eisch, Mrs. Alta M., Jacksonville State Hospital,

Jacksonville, Ill. Elias, Gertrude, Ph.D., 203 West 107th Street, New

York 25. N. Y. Embler, & Evangeline, South Carolina state Hos­

pital, Columbia, S. C. *Emerson, Miss Mario” E., Box 456, Niantic, Co”“, *Emmitt, Mr. Thomas G., 982 Eston, Camarillo, Calif. *Engel, Marjorie J. R., 2088 Lincoln Avenue, Du­

buque, Iowa *English, Mrs. Clella, 6001 Milton Circle, Huntington

Beach, Calif. *Ensign, Mrs. Gretchen, 245 Calhoun Street, Battle

Creek, Mich. *Erichs, Mrs. Carolyn Fields, V. A. Hospital, Box 266,

Lyons, N. J,

22 JOURNAL OF MUSIC THERAPY

Espenak, Liljan, 201 W. 72nd Sheet, New York 23, N. Y.

*Euper, Jo Ann, 801 Louisiana Street, Lawrence, Kan.

Eves, Samuel Russell, 225 West End Avenue, New York 23, N. Y.

Fabe, Mrs. Wild” H., 175 W. 13th Street, New York. N. Y. 10011

“Golden, Sandra Colby, 36 West Bradford Ave., Cedar GCedar Grove, N. J. 07009

*Goldsmith, Herbert P., Milledgeville State Hospital, Milledgeville, Ga.

*Goward, Barbara E., Supervisor, Music, V. A. Hos­pital, Montrose, N. Y.

*Graham, Mr. Richard M., 2615 North 7th Street, Kansas City, Kan.

*Gray, Mr. Richard M., 2542 Prairie Road, Topeka,*Fairbank, Miss Lucy F., 6500 W. Irving Place, Chi­

cago 34, Ill. Kan.

*Farrar, Nancy, 153 Main Street, E. Hampton, Co”“. ‘Green, Mrs. Anne, 614 West Conger, Hartford City,

Fischelis, Alice W., 155 East 96th Street, New York, Ind. 47348

*Greven, Mrs. Georgia M., 1628 Sylvan St., Flossmoor,N. Y. 10028

Fischer, Mr. Franklin V., P.O. Box 230, Toms River, N. J.

Fischer, Mr. Joseph O., Apt. C, 5327 Pershing, St. Louis 12, MO.

*Fisher, Mrs. Elizabeth M., Bon 5492, N.T. Station, Denton, Tex.

*Flanders, Mrs. Florence R., 58 Livingston Circle, Needham, Mass. 02192

*Fleming, Thomas H., 385 Quail Street, Albany 8, N. Y.

*Flinn, Mrs. Selma S., 72 Phillips Brooks Road, Isling­ton, Mass.

*Folmer, Harry L., 219 N. Railroad Street, Palmyra, Pa. 17078

*Folsom, Geneva S., V. A. Hospital, Tuscaloosa, Ala. *Fowler, Miss Helen J., La Rue Carter Hospital, In­

dianapolis, Ind. *Fraser, Mrs. Louise W., 4101 S. Sheridan Ave.,

Minneapolis 10, Minn. *Frasier, Lockey H., 531 Glendora Ave., #40, Stock­

ton, Calif. *Friedlander, Mr. Man, 801 West End Ave., New

York 25, N. Y. Fuller, Dr. 0. Anderson, Head, Dept. of Music,

Lincoln University, Jefferson City, MO. Fultz, Mr. Arthur Flagler, 80 Auburn Street, A”­

burndale 66, Mass.

*Gaetke, Mr. Theodore R., 404 Baldwin Avenue, Spencer, N. C.

*Galloway, Herbert, Milledgeville State Hospital, Milledgeville, Ga.

*Garrity, Daniel A., Lake Shore Drive, Middlefield, CO”“.

*Garton, Mr. Lee D., 1709 Main St. Terrace, Osawa­tomie, Kan.

*Gates, Evelyn C., 2154 Vineville Avenue, Macon, Ga.

*Geis, Alma A. Snyder, 201 Superior, N.E., Brewster, Ohio

*Gibbons, Amy, Rm. 29, Rockland State Hospital, Orangeburg, N. Y.

*Gibbons, Mr. Marion E., Dance Dept. St. Elizabeth’s Hospital, Washington, D. C.

*Gitlin, Mrs. Christine M., 289 Pineview Dr., Berea, Ohio

*Glance, Edward F., 731 Kerr St., Pittsburgh 2.0. Pa. *Glasl, Barbara, 4306 N. Teutonia Ave.. Apt. 208.

Milwaukee 9, Wis. Golden, Diane Werts, Box 131, Talmage, Calif.

* Registered Music Therapist.

MARCH, 1964

Ill. *Grey, Mrs. Margaret F., 601 Chandler Court, Wil­

liamsburg, Va. *Grisham, Ernest H., Box 580 VA Hospital, Mur­

freesboro, Ten”. *vonGunten, Mrs. Martha T., 634 Main St., Reisters­

town, Md. Guy, Mr. Herbert, Central State Hospital, Indian­

apolis, Ind.

*Habel, Miss Katherine L., Kalamazoo State Hospital, Kalamazoo. Mich.

*Hall, Miss dorothy, Essex County Overbrook Hos­pital, Cedar Grove, N. J.

*Hall, Harvey E., 16805 Wayne Drive, Cleveland, Ohio 44128

*Hancock, Mr. E. A,, 2317 9th St., Altoona, Pa. *Hansen, Mrs. Paul M., 1530 Jewell, Topeka, Kan. *Hardin. Mrs. lane Lone. Apt. 134-D. Taliwa Courts.

Knoxville, Tenn. *Harris, Mrs. Jane, 54 W. 11th Street, New York 11,

N. Y. *Hartigan, Richard J., 89 Hawthorne Ave., Albany,

N. Y. *Hellbeck, Mrs. Janet D., 316 W. Routt Avenue,

Pueblo. Colo. *Herman, Mrs. Frances, 580 Christie St,, Apt. 1110,

Toronto 4, Ontario, Canada Herod, Mrs. Wm. Rogers, 53 E. 66th Street, New

York 21, N. Y. *Hersh, Aya A., 68 Rothschild Blvd., Tel-Aviv, Israel *Hill, Mrs. Toni M., 4215 El Paso, Jackson 6, Miss. Holman, Vivian, 129 Willets Road, Harrison, N. Y. Horn, Bonnie, Research Housing, Galesburg, Ill.

61401 *Howard, Catherine T., 1736 Fillmore, Gary, Ind. *Howe, Miss Ann W., Director, Music Therapy, State

Hospital, Columbia, S. C. “Hoyt, Esther L., 1909 Beechwood Avenue, Nashville

12, Ten”. *Huntington, Patricia, 23343 Mobile Street, Canoga

Park, Calif.

Ialentin, Hanne, Music Therapist, The State Hos­pital, Glostrup, Denmark

‘Isaac, Edwilda G., 737. West Imperial Highway, Los Angeles 44, Calif.

*Isem, Miss Betty L., Music Dept., University of the Pacific, Stockton, Calif.

‘Jacobson, Harold L., 1634 Main St. Terrace, Osawa­tomie, Kan.

“Jacobson, Harvey, Willmar State Hospital, Willmar, Minn.

23

Jaffee, Leroy, 602 South Pine Street, Mt. Pleasant, Levin, Herbert D., 830 Spring Hill Road, Secane, Iowa 52641 Pa.

*Jenkins, Mr. Boo, P.O. Box 23310, San Antonio, *Lewis, M. Delight, Children’s Center, 1400 Whitney Tex. Ave., Hamden 17, Conn.

*Jones, Mrs. Elsa Welch, 5828 Staely, Affton 23, Mo. *Little, Mr. Joseph, Sunland Training Center, Box *Josepha, Sister M,, O.S.F., Alverno College, 3401 S. 508, Gainesville, Fla.

39th St.. Milwaukee 15. Wis. *Lucy, Sister M., Gannondale, 4635 East Lake Road,

*Kanaly, Sister Marita J., 3900 North Lawndale, Chi­cago, Ill. 60618

*Karpowicz, Mr. E. B., Mendota State Hospital, 301 Troy Drive, Madison 4, Wis.

Katz. Adele T.. 277 West End Avenue, New York 23; N. Y.

Kauffman, Richard H., 11125 Magnolia Drive, Cleve­land, Ohio 44106

*Kemp, Charles Milton, 3,513 Woodbrook Avenue, Baltimore 17, Md.

*Kempton. Mrs. Edgar, No. 2 Knoll Road, Lansdowne, Pa. -

Keutzer, Dr. Clyde H., The Buckingham Hotel, 312A, 101 W. 57th, New York, N. Y. 10019

“Kingsford, Mr. Charles, 150 W. 57th Street, New York 19, N. Y.

Kjaergaard, Kirsten, Osterbrogade 111, 302 Copen­hagen, Denmark

*Klipstein. Mrs. Kenneth IL, Long Hill Road, New

*Knight, Frank E., Garden Flat 6, Spencer Rd., East­bourne, Sussex, England

*Kolinski, Dr. Mieczyslaw, 382 Wadsworth Ave., New York 40, N. Y.

*Kotter, Wallace L., Musicians Emergency Fund, Inc., 745 Fifth Avenue, New York, N. Y. 10022

*Kozak, Yolanda, 1014 Short St., N.E., Grand Rapids 3, Mich.

Vernon,N. J.

*Krantz, Mr. Robert, 13200 Addison St., Sherman Oaks, Calif.

*Krill, Miss Carolyn, Box A, Kalamazoo 43F, Mich. *Kurata, Edwin T., 763311 Norwood Place, South

San Gabriel, Calif. 91775 Kurz, Mr. Charles E., R. No. 5, New Castle, Ind.

Lacazette, Alfred A., P.O. Box 782, Eaton, Md. LaFrance, Mr. Armand E., 415 Marine St., Santa

Monica, Calif. *Lancaster. Walter W.. 209 S. Ruston Ave., Evans­

ville 14; Ind. *Lane, T. Ford, P.O. Box 533, Hillsboro, Tex. *LaPata Anthony W., 409 Preston Road, Cherry Hill,

N. J. *Lathon, Wanda, 204 So. 30th, Parsons, Kan. *Lay, Ward A,, Music Therapy Dept., Essex Co. Over­

brook Hospital, Cedar Grove, N. J. *Lazaron. Harold V.. 270 Mt. Vernon Street, New-

Eric, Pa. *Ludwig, MISSAlice J., 1071 E. 19th Street, Brooklyn

30, N. Y. McBride, Faith E., 1627 Simpson Street, Evanston,

Ill. McCrary, Mr. Lyman, 4851 Reservoir Rd., NW,

Washington, D. C. *McGuire, M. Edward F., 2512 3rd Ave., Altoona,

Pa. *McGuire, Mrs. Eleanor V., 1601 W. Broad Street,

Columbus 16. Ohio *McManus, Mary Alice, 1416 Malcolm Avenue, Los

Angeles 24, Calif. *McMurray, Mrs. Evelyn L., P.O. Box 1384, An­

chorage, Alas. 99501 *Mcphee, Jessie, 6721 Loleta Avenue, Chicago 46,

Il1 *McRae, Dr. Ralph I., 6222 Lafayette Way, Dallas

30, Tex. *Madden, Mrs. ESSie, Box 318, Rusk, Tex. *Mahan, Mrs. Judith, Medfield State Hospital, Box

A, Handing, Mass. Mann, Ilyana Bruce, 205 West 57th Street, New

York 19, N. Y. *Marcucci, Mr. Paul, Jr., Verano Drive, El Verano,

CalIf. Margolish, Norma C., 110 East 87th Street, New

York 28, N. Y. Margolin, Mr. Oliver, 5853 South Orlando Avenue,

Los Angeles 56, Calif. *Marie, Sister Claire, St. John’s Hospital, Springfield,

Ill. *Marker, Mrs. Pauline II., Richmond State Hospital,

Richmond, Ind. *Markle, Mrs. William D., 290 Manor Ave., Kingston,

N. Y.

*Mason. Rachel A., Higginson House. McLean Hos­

*Marsh, Miss Carol, Music Therapist, Cen. La. State Hospital, Pineville, La.

pital, Belmont 19, Mass.

ton 65, Mass. *Lehman, Wilmer E., Recreation Leader, Child Study

and Treatment Center, Ft. Steilacoam, Wash. *Leitman, Ethel, 920 E. 17th Street, Brooklyn 30,

N. Y.

*Millonig, Gladys R., 89 Clinton Avenue, Kingston, N. Y.

*Michel, Dr. Donald E., School of Music, Florida State University, Tallahassee, Fla.

*Miguel, Mr. George, 144 E. 30th Street, New York 16, N. Y.

*Miletiz, F. John, 1010 Madison Street, Ottawa, Ill. *Miller, Miss Blanche G., 216 W. 7th Street, Red

Wing. Minn.

*Lenci, Stella, 318 W. Franklin Ave., Minneapolis 4, Minn.

*Lesak, Miss Eleanor, 6705 N. Talman, Chicago 45, Ill.

* Registered Music Therapist.

*Mills, Mr. Robert L., 27 Smith Ave., White Plains, NY

*Mishara, Mrs. Gertrude, 2 Scotland Road, Lexing­ton

*Mizzell73, Mass.

Patricia J., Music Therapy Dept., State Hos­pital #1. Fulton, Mo.

*Monger, Mrs. Ann L., 259B Anzio Road, Fort Lee, Va. 23801

*Moore, Mr. Jack R., 813 Jackson, Knoxville, Iowa

24 JOURNAL OF MUSIC THERAPY

*Moore, Mr. James C., State Hospital No. 1, Fulton, MO.

‘Moore, Mrs. Katherine F., 3323 Mitchell Ave., St. Joseph, MO.

‘Morris, Jane, Central State Hospital, 3000 West Washington, Indinnapolis 22, Ind.

*Morrow, William D., Logansport State Hospital, Logansport, Ind.

Moseley, Jean, P.O. Box 7.44, Audubon Station, New York 32, N. Y.

*Mueller, Robert J., 8316 West Howard Avenue, Milwaukee, Wis. 53220

Munn, Adoline H., 102 Mulligan Road, Athens, Ohio *Musketevc, Mr. Leo C., 9307 W. Melvina, Milwau­

kee 22, Wis. Myers, Mrs. Cecelia M., 1285 Meadowbrook Court,

Stow, Ohio Myran, Mr. Palmer, Box 41, Indiana State Prison,

Michigan City, Ind.

*Nagel, Christina, 809 North Spring, Independence, MO.

*Nickerson, Mrs. Joan O’Hara, 4117 W. 26th Street, Topeka, Kan.

Nordoff, Paul, c/o Mrs. C. Doak, Sr., R. D., Chester Springs, Pa.

*Omachi, Hope, 30 Waverly Road, San Ansclmo, Calif.

Pageau, Miss Therese, Quinchien, R.R. #1, Van­dreuil, Quebec, Canada

Palmer, Dr. Martin F., 2400 Jardine, Wichita, Kan. 67219

“Palmer, Patricia J., 157 Day Street, Auburndale 66, mass.

*Pannier, Miss Annamarie, 2761 Windsor Avenue, Chicago 25, Ill.

*Pelsinger, Dr. Harold, 636 Brooklyn Ave., Brooklyn 3, N. Y.

*Perrow, Arthur B., 2799 S.W. Old Orchard Road, Portland 1, Ore.

Pesch, Dr. R. N., 610 Paseo De LaCuma, Santa Fe, N. M.

Peterson, Mrs. Alma H., 703 Corondelet Street, New Orleans, La. 70130

*Peterson, William J., 185 Newbury Street, Brockton, Mass.

*Petran, Mr. Laurence A., 405 Hilgard Ave., Los Angeles, Calif.

*Phillippi, Carylee Ann, Ellisville State School, Ellis­ville, Miss.

*Pollock, Dr. Miriam, 28 Alton Place, Brookline, Mass. 02146

*Pollock, Dr. Morris P., 28 Alton Place, Brookline, Mass. 02146

*Porter, John F., 1520 E. Lemon, Lompoc, Calif. *Powers, Marie Patricia, Institute of Living, 200 Re­

treat Ave., Hartford, Conn.

*Randall, Oneita, 1812 N.W. 14 East Apt,, Oklahoma City, Okla.

*Ratcliff, Sylvia J., 2722% Gen. Pershing, New Or­leans, La.

*Reccius, Cheryl, 3924 Leland Road, Louisville, Ky, 40207

* Registered Music Therapist.

MARCH, 1964

*Reinke, Mrs. William A,, 244 Brandon Road, Balti­more 12, Md.

*Reinke, Rev. John H., S.J., Loyola Academy, 1100 N. Laramie Ave., Wilmette, Ill.

*Reseigh, Mr. Howard J., R. D. No. 1, Stoneboro, Pa.

*Riley, Mrs. Elnora M., Taft State Hospital, Taft,

*Roan, Mrs. Margaret Z., 105-D Crescent Court Drive, Decatur, Ga.

*Roberts, Miss Gertrude, 400 West Stephenson St., Ukiah. Calif.

*Roberts, Norman E., 110 East Street, Canandaigua, N. Y.

*Robin, Mrs. Joann Cohan, 11 Bridgman Lane, South Hadley, Mass.

*Robison, Miss Doris E., 2705 N. Mildred Ave., Chi­cago, Ill. 60614

*Rogers, Mrs. Alice, 1009 Rosemont Avenue, Cin­cinnati 5, Ohio

*Rogers, Mrs. Lucretia, 1313 Earl St., St. Paul 17, Minn.

*Romerhaus, Barbara J., Oakhurst Trailer Court, Lot #70, Brownsburg, Ind.

*Romm, Jane Anne, 609 North Alta Vista Blvd., Los Angeles 36, Calif.

*Rosenthal, Mrs. Wilbert, 3181 N. Farmcrest, Cin­cinnati 13, Ohio

Rotondi, Joseph E., 2900 Rising Sun Road, Ardmore, Pa.

Rouse. Mrs. Elsie. 6337 South Honore Street. Chi­cago 36, Ill

*Rubin, Miss Beverly, 1111 W. Morgan Avenue, Mil­waukee, Wis.

*Ruppenthal, Mr. Wayne W., 1727 High Avenue, Topeka, Kan.

Sample, Alexander C., Jr., 4427 So. Wilton PI., Los Angeles 62, Calif.

Sarao, Florence G., 124 Benbrook, Houston 22, Tex. *Saunders, Mrs. Mildred, 819 Greenwood, Toledo 5,

Ohio *Schaberg, Mrs. Albert, 882 Meywick Drive, Lexing­

ton, Ky. Schell, Charles H., 1445 N. Linda Ave., Chicago 51,

Ill. *Schneider, Dr. Erwin H., 5252 Hazelwood Dr., Co­

lumbus, Ohio 43224 Schultz, Mrs. Rose, Box 1583, Weyburn, Saskatcho­

wan, Canada *Schwartz, Lois A., 67-26A 230th Street, Bayside 64,

N. Y *Sears, Dr. William W., School of Music, Indiana

University, Bloomington, Indiana *Seely, Mrs. Margaret, 2009 Cedar Lane, Nashville,

Tenn. *Seibert, Mr. Fred E., 52 42nd Street, Irvington 22,

N. J. *Seward, Mrs. Edward W. A., 413 Glenbrook Road,

Glenbrook, Conn. *Sharpe, Miss Norma, Music Therapy Department,

Ontario Hospital, St. Thomas, Ontario, Canada *Shutes, Mr. Philip E., 216 Hawthorne, Royal Oak,

Mich. *Simmons, Mrs. Margaret S., 1082 Willow Street,

Norristown, Pa.

25

*Singer, Sue, c/o Woodycrest, 936 Woodycrest, *Towery, Sue Summers, 2824 Pearl, Austin I, Tex. Bronx, N. Y. *Travis, Mr. Ralph F., 205 Plum Street, Anna, Ill.

*Siojo, Imelda G., Topeka State Hospital, Topeka, *Tumolillo, Mrs. Roth S., 118 S. Clearview Ave., Kan. Langhorne, Pa.

‘Sirk, Mrs. Linda, Director Music Therapy, Lincoln Tvrdik, Harriett, M.A., M.M., 4038 Los Angeles State Hospital, Lincoln, Neb. Street, Warren, Mich.

*Skelley, Mrs. Leon R., 1746 Woodland, Pontiac 19, “Tyson, Miss Florence, 20 E. 84th St., New York 28, Mich. N. Y.

*Smith, Mrs. Christine, 5457 Crane, Detroit 13, Mich. *Smith, Miss Dorothy G., 30 Stadacona St., West,

Umansky, Judy, 11 Cornelia Street, New York, N. Y.

Moosejaw, Saskatchewan, Canada *Vazquez, Alida, Hillside Hospital, Box 38, Glen *Smith, Marilyn I., 7.639 Springmont Avenue, Dayton Oaks, N. Y.

20, Ohio *Ventura, Mr. Bert, 63-89 Saunders St., Rego Park *Smith, Mr. Perry L., V.A. Hospital, Montrose, N. Y. 74, N. Y. *Smith, Roger G., 204 Oak Street, Battle Creek, Mich. “Vestuti, Mr. Alphonse G., 89 Troiana Road, Ham­

49017 den, Coon. *Smith, Patricia Brandt, 1441 Wessyngton Rd., N.E., Vivona, Thomas A., 56-19 196th Place, Flushing 65,

Atlanta, Ga. 30306 N. Y. *Snyder, Ann S., 148 Shore Road, Burlington, Vt. “Sokol, Mrs. Jean M., 1428 Murray Drive, Los

Wallace, Eleanor D., Box #47, Trappe, Md. *Walters, Mrs. Alta M., 1301 East Robinson, Knox-

Angeles 26, Calif. Sommer, C. D., 1562 Royalton Road, Apt. 2, Cleve­

ville, Iowa 50138 *Warrington, Orth C., 27103 Messina St., Highland,

land 4, Ohio *Sommer, Dorothy T., 1406 Spruce Lane, Davis,

Calif. 92346 *Weigl, Mrs. Vally, 55 W. 95th St., New York 25,

Calif. Spence, Susan D., 2230 Latham St., Apt. 92, Mt.

N. Y. “Weikel, Mr. Gail R., Music Dept., N. J. State Hos-

View, Calif. Spicknall, Harrold W., 1014 Norwood Road, Lansing

pital, Station A, Marlboro, N. J. *Weilhammer, Mrs. Elizabeth, 3802 Cossell Rd., #83,

17, Mich. ‘Statman, Jacquelyn, 3979 Port Royal, Dallas, Tex.

Indianapolis, Ind.

75234 Weiss, Richard, 401 Radnor Street, Harrisburg, Pa.

*Stein, Mrs. Johanna K., Music Therapist, Bldg. 10, *Weisstein, Miss Mary M., 473 West End Avenue,

N-214, National Institute of Health, Bethesda 14, NeW,York 24, N. Y.

*Werbner, Natalie R., 223 Embarcadero Road, PaloMd.

‘Stevens, Emily A., 1015 Magnolia Drive, Augusta, Alto, Calif.

*Werner, Man W., Jenkins Hall, Box 589, Larned,Ga.

*Stevens, Shirley A., 10452 Kolh, Allen Park, Mich. Kan.

‘West, Delno C., P.O. Bon 208, Los Lunas, N. M. *Stien, Mr. Warren, Ionia State Hospital, Ionia, Mich. *Westbrook, Mrs. Bess,*Stinson, Miss Ethelyn L., P.O. Box 6037, Philadel­

2703 Judson Avenue, Alton, Ill.

phia 14, Pa. *Stretch, Dr. Olive M., 217 S. Hidalgo, Alhambra,

White, Patricia P., 207 Douglas St., N.E., Wash-

Calif. ington, D. C. 20002

*Whiteside, Miss Jean, Music Therapy Dept., Agnew*Stuber, Mrs. Helen M., 330 N. Ott Street, Allen- State Hospital, San Jose 14, Calif.

town, Pa. *Sullivan, Miss Yvonne, Boa 138 East Station, Hooks,

*Whitmore, Mr. Leonard H., 7118 Keystone St., Phil-

Tex. adelphia 35, Pa.

Swanson, Shirley M., 2430 Appleton Avenue, Par­*Wilke, Mrs. Margi, Music Therapy, 3rd Floor,

Charity Hospital of Louisiana, New Orleans, La. sons, Kan. *William\, Mr. Brent, 200 W. 55th St., New York

Tally, Junotte Gray, Ridgewood Avenue, Middle­ 19, N. Y. town, N. Y. *Williams, Helen, 1533 E. Royall PI., Apt. 22, Mil-

Taylor, Dale, Mendota State Hospital, 301 Troy waukee, Wis. Drive, Madison 4, Wis. *Williams, Theodore Allen, 2434 W. Harding Way,

Teirich, Dr. Hildebrandt, Freiburg/Breisgau, Mo- Stockton, Calif. zartstrasse 48, West Germany *Wilson, Annamary E., 875 Wiltshire, Columbus 4,

*Thompson, Miss Margaret A., Muscatatuck State Ohio School, Butlerville, Ind. *Wilson, Carolee C., 4459 E. Curran Drive, Fresno 3,

“Thresher, Janice M., 12 Powis Court, Powis Square, Calif.

London W. 11, England *Windsor, Mrs. Elizabeth D., Dayton State Hospital,

Tipple, Mrs. Esther W., 211 Black’s Bluff Road, Dayton, Ohio

Rome, Ga. ‘Winkelmayer, Mrs. Patricia, Station A, Box 89,

*Toombs, Mrs. Mary Ryder, 6734 Weston, Houston Marlboro, N. J. *Winold, Allen, School of Music, Indiana University,21, Tex. Bloomington, Ind. *Winston, George, 17 W. 211 Woodland Avenue,

* Registered Music Therapist. Bensonville, Ill.

26 JOURNAL OF MUSIC THERAPY

Wood, Mr. Orin E., Central State Hospital, Waupun, Wis. 53963

Woolley, Mr. Gail F., Sr., 160 Stevick Road, Lima, Ohio

*Woolsey, Ronita P., 8804 Lagrima de Oro, N.E., Albuquerque, N. M.

*Woo-Sam, Erleta, Music Therapy Director, Mental Health Institute. Independence. Iowa

*Wurtz, Janice, #1 Harlem Road, Maryland Heights, MO.

“Wrobel, Ardo M., 160 Colleen Avenue, St. Paul 12, Minn.

*Wyborski, Francis J., 2611 Pulaski, Detroit 12, Mich.

Yoars, Miss Jessie N., 1421 Harmony Street, New Orleans 15, La.

*Young, Miss Lewis Adrienne, Music Therapy Dept., Conn. Valley Hospital, Middletow”, Conn.

Young, Jane, 1285 E. Blvd., #5, Cleveland 8, Ohio

*Zwink, Mr. John R., 33 Arthur Drive, Albany 8, N. Y.

AssociATE:

Anderson, Mrs. H. O., 1038 First St., North, Fargo, N. D.

Antoine. Mrs. Geraldine S.. 3330 Cliff marshall. Hous­ton 18, Tex.

Arndt, Miss Karen, 155 N. 92nd Street, Milwaukee, Wis. 53226

Battin, Mrs. Howard H., 16 Donellan Road, Scars­dale, N. Y.

Bolendz, John H., 30 Imbrook Lane, Matawan, N. J. Bromham, J. Katie, 8 Avenue Gribaumont, Brussels

15, Belgium Bruzell, Sandra, R.P.N., Rehab. Dept., Box 1147,

Selkirk, Manitoba, Canada Bullock, Mrs. C. Arthur, P.O. Box 256, Canton, Pa. Burnett, Marjorie, 583 Hale Street, London, Ontario,

Canada Butterfield, Mildred, 605 N. Cedar Street, Nevada,

MO. 64172

Clarke, Harry F., 1260 Elbur Ave., Cleveland 7, Ohio

Cletus, Sister M., O.P., 650 Washington Blvd., Mis­sion San Jose, Calif.

Conna, Mr. Leo” J., 472 Hawthorne Avenue, Yon­kers 5, N. Y.

DeLillo, Mrs. Virginia C., 101 W. Monument St., Baltimore 1, Md.

Delta Omicron, Zeta Pi Chapter, Mrs. Isabell H. Mauterer, 215 Woodrow Street, Columbia, S. C.

Dickinson, Mrs. Mildred, River Bend Farm, St. Charles, 111.

Dings, Mrs. Suzanne Farris, P.O. Box 202, Auburn, Calif.

Dorman, Dr. Stanley, 1715 W. Girard Ave., Phila­delphia 30. Pa.

Douglass College, Music, A. Kunrad Kvam, New Brunswick, N. J.

Doyle, Mr. Price, College Station, Murray, Ky.

Englund, Mr. Eugene O., 29 Kenstone, Reno, Nev. Evans, Mrs. Elizabeth, 1633 Edgewood Drive, Al­

hambra, Calif.

* Registered Music Therapist.

MARCH, 1964

Findlay, Mrs. Earl R., 236 No. Oliver, Wichita 8, Kan.

Foster. Mrs. Majorie B.. 163 Ivanhoe Terrace. River­dale 27, Ill.

Freeland, Mrs. Nellie C., R. No. 1, Dimondale, Mich.

Galli-Campi. Amri. 115-86 222nd St., Cambria Heights 11, N. Y:

Gallup, Mrs. Edward H., Jr., 639 Osage Road, Pitts­burgh, Pa.

Ganz, Dr. Rudolph, 430 S. Michigan Ave., Chicago 5, Ill.

Gardner, Mrs. Mary E., 455 S. Market, Springfield, MO.

Gillen, Ruth S., 21949 Calverton Road, Shaker Heights 22, Ohio

Giller, Mrs. Walter J., 800 West Main, El Dorado, Ark.

Glazer, Mr. Jacob, 103 W. Scudder Ave., Copiague, Long Island, N. Y.

Grisham, Mrs. Louise K., Box 580, V.A. Hospital, Murfreesboro, Tenn.

Gushee, Mrs. Charles H., 190 Prospect St., Belmont 78, Mass.

Halford, Mrs. Margery A., 1641 Marshall, Houston 6, Tex.

Halford, Mrs. Pauline J., 125 Saxony Drive, Bridge­ville, Pa.

Harris. Sheila. 31-20 54th Street. Woodside 77. N. Y. Hartman Mrs. Marion, 4114 North Newhall Street,

Milwaukee 11, Wis. Havranek, Mrs. Nancy A., 305 N. Park Ave., Bloom­

ington, Ind. Hawks, Mrs. Jean, Elizabeth Street, Easton, Md. Heilpern, Florence F.. 169 N.W. 97th Street. Miami

Shores; Fla. Henry, Dr. Helen I., 50 St. James Street, Mansfield,

Pa. 16933 Hills, Mrs. Louis J., 331 Bon Air St., La Jolla, Calif. Hilton, Frank, c/o PRF, Valmy, P.O. Box 3895,

Greenville, Del. Hughes, Roderick L., 2011 Savannah St., SE., Wash­

ington 20, D. C.

Janke, Mrs. Joseph J., 1887 Lawnway Road, Cleve­land 21, Ohio

Jones, Mrs. Mary L., 18 Market St,, Glen Lyon, Pa.

Kemper, Miss Ruth, 244 E. 52nd St., New York 22,N.Y.

King, Mrs. Marcet Hines, 2400 Givens Ave., Austin, Tex. 78722

Kleinschmidt, Mrs. G. W., 1427 Dakota Street, Lin­coln, Neb.

deKoppmann, Mrs. R. T., 3898 Las Heras 920 F., Buenos Aires, Argentina

Kowalczyk, Robert J., Box 805, Gilman, Wis.

LaFrance, Mrs. Olive E., 415 Marine Street, Santa Monica, Calif.

Lake Wales Music Club, Mrs. Lore” D. Stealy, Treas., R.R. #2, Bon 115, Lake Wales, Fla.

Lange, Mr. Robert J., Dir. Vol. Service, Beatty Memorial Hospital, Westville, Ind. 46391

Lester, Joanna, 52 Riverside Drive, New York 24, N.Y.

Lindhe, Miss Vi”, 5903 Anita St., Dallas 6, Tex,

Logan, Mary E., 18 W. Palisade Ave., Nanuet, N. Y. Lomax, Carolyn D., 79 Foxridge Drive, Scarboro,

Ontario, Canada

MacKinnon, Mrs. D. S., 1030 North Marshall Street, Milwaukee, Wis. 53202

McAllister, Helen, Soda Springs, Idaho McCardle, Mrs. Zoe, 80 Fairview Ave., St. Thomas,

Ontario, Canada McClintock. Miss Lorene. 853 7th Avenue. New York

19, N. Y: McLaughlin, James E., 9555 Golf Road, Des Plaines,

Ill McMahan, Mrs. Dewey, 218 S. Harrison St., Easton,

Md. McNiece, Mrs. Pauline, Staff Residence, Ontario

Hospital, St. Thomas, Ontario, Canada

Mali, Mrs. J. T. Johnston, IO E. 93rd Street, New York 28, N. Y.

Martin, L. H., National Autoharp Sales Co., Box 1120, U.P. Station, Des Moines II, Iowa

Matilda, Sister Mary, B.V.M., Clarke College, Do­buque, Iowa

Mearin, Miss Banylou, 24 Porter Place, Montclair, N. J.

Menninger, Karl, M.D., The Menninger Foundation, Bon 829, Topeka, Kan. 66601

Meredith, Jan, 56 Elizabeth Street, St. Thomas, On­tario, Canada

Mertz, Mr. Paul II., 5741 Briarcliff Road, Los An­&s 28, Calif.

Monbo, Helen W., 250 Davey Street, Bloomfield, N. J.

Montgomery, Miss Josephine, 115 East, Jonesville,

Moore, Arthur, 22 Elm Avenue, Pitman, N. J. 08071 Mullen, John W., 745 Biscayne Drive, Kingsport,

Tenn. Mu Phi Epsilon, Xi Chapter, Fine Arts Office,

Murphy Hall, University of Kansas, Lawrence, Kan.

Musical Research Club, Mrs. Fred A. Kennedy, Treas., Hutcheson Arms, #1004, 2107 Sooth Grand Blvd., St. Louis 4, Mo.

Nanninga, Wilhelmina, 2201 Minneapolis Ave., So. Minneapolis, Minn

Nelson, Virgina, 1518-B Early Lane, Houston 24, Tex.

Nicklett, Georgia, 709 Triphammer Road, Ithaca, N. Y.

Oberle, Marilyn” Anne, 19 Erwin Road, No. Read­ing. Mass.

Page, Mrs. Blanche, Essex Co. Overbrook Hospital, Cedar Grove, N. J.

Papas, Mr. Sophocles, Columbia School of Music, Inc., 1816 M Street, N.W., Washington 6, D. C.

Parks. Mrs. Dewey. 176 W. Roosevelt Ave., Battle Creek, Mich.

Pasternach, Miss Marjorie, 8 Boxwood Drive, Great Neck, L. I., N. Y.

Perry, Mr. Augustus, 2720 Grand Concourse, Bronx 58, N. Y.

Peterson, Marilyn J., 3453 45th Ave. So., Minneap­olis 6, Minn.

Pitlik, Mr. Edward J., 2058 W. 83rd St., Chicago 20, III.

Reichbach, Naomi, 317 Second Avenue, New York 3N. Y.

Reiter, Mrs. Froma M., 13201 S. Corley Drive, La Mirada Calif.

Rivet, Dorothy, Churchill Shores, Pilgrim Road, Lakeville, Mass.

Robbins, Clive, c/o Mrs. C. B. Doak, Sr., Chester Springs, Pa.

Robinson, Mrs. Lillian I., 2960 Mario” Ave., New York 58, N. Y.

Rogers, Mrs. Marlene J., 2118 Raymond, Stockton, Calif.

Rogers, Mrs. Sophie C., 601 West 160th Street, New York 32, N. Y.

Rooke, Mrs. Velma, 25 W. 64th Street, Apt. S-A, New York 23, N. Y.

Roettger, Dorye, 3809 De Longpre Avenue, Los A”­geles 27, Calif.

Scott, Mathilda, c/o Seidler, 230 57th Street, Brook­lyn, N. Y.

Shaw, Mrs. Roger, 3 Fiddlers Lane, Latham, N. Y. Sheaffer, Carol M., Rm. 302, Clements Hall, Otter­

bein College, Westerville, Ohio Slater, Mrs. Carolyn, 120 Park Avenue, Ambler, Pa. Slaviero, Mrs. Flophine F., 709 Maryland Ave., York,

Pa. 17404 Smith, Mrs. Elfrida K., P.O. Box 641, Lakeside,

Ohio Smith, Evelyn Paddock, 445 15th Street, Santa

Monica, Calif. Standard Oil Co. of California. Mr. A. F. Michaelis.

255 Bush St., San Francisco, Calif. Stark, Violet, 7969 Windcombe Blvd., Indianapolis

40, Ind Summy Birchard Company, 1834 Ridge Ave., Evans­

ton, Ill.

Tappendolf, Mrs. E. Jean, 2932 N. Myers Street, Burbank, Calif.

Taylor, Nelle O., 414 N. Yale, Wichita 8, Kan Teresita Sister Mary, Mary Manse College, 2443

Parkwood, Toledo 10, Ohio Theisz, Priscilla I.., 314 E. 2nd St., Apt. 3, New

York 9, N. Y.

VanderHeide, Mrs. Jan S., 550 Overbrook Lane, S.E., Grand Rapids I, Mich.

Vars, Mrs. Kincaid, Assn. Jr. Leagues of America, Waldorf-Astoria Hotel, New York, N. Y.

Walker, Janet, Boa 292, Almena, Kan. Walsh, Patricia E., 32 Rockaway Avenue, Rockville

Centre, L. I., N. Y. 11570 Warren, Mr. Stanley, Muzak Corporation, 229 Park

Avenue South, New York, N. Y. Watson, Rev. Eugene S., Francis & Leeds, Worcester

6, Mass. Weil, Mr. Leroy W., 309 Harbor Drive, India”

Rocks Beach, Fla. Welleford, Paul B., 924 South Waggoner, Electra,

Tex. Westby, Ella M, 5607 Penn Ave., South, Minneap­

olis 19, Minn.

Witzenburg, Leona, 4720 W. Indianola Ave., Phoe­nix 31, Ariz.

Wolmut, Felice, 5328 N. Willamette Blvd., Apt. 3, Portland 3, Ore.

Wyborney, Mrs. Eugene H., Bon 427, Medical Lake, Wash.

Yaeger, Mrs. A. F., Eastern Shore State Hospital, Easton, Md.

STudEnt:

Anderson, Rebecca, Read-Clark, Box 616, Indiana University, Bloomington, Ind. 47406

Bonny, Helen, 2032 N. Taylor, Topeka, Kan. Brocker, Loretta, Bon 2298, TWU Station, Denton,

Tex. Caban, Cathleen, 1686 Center Street, Whiting, Ind. Cadwalader, Bonnie, 7445 Van Buren, Hammond,

Ind. Carrington, Mrs. H. L., Box 322, Mart, Ten. Chan, Sally, 19397 Havana, Detroit 3, Mich. Cooper, John O., 1401% McCaskill, Tallahassee, Fla. Cowl, Mr. Carl, 84 Remsen St., Brooklyn, N. Y.

11201

Davia, David W., Jr., 312 N. Shafer, Richmond 20, Va.

Faseler, Claudia, Capps Hall, TWU, Denton, Tex. Fiegen, Letty Rence, So. Woodland Court, Mokena,

Ill. Fischer, Mrs. Marilyn D., Elmhurst Blvd., R.D. 2,

Moscow, Pa. Fowler, Kay C., 332C E. Polk, Richardson, Tex.

Gardner, Anne M., Route I, Box 355A, Chapel Hill, N. C.

Glazer, Betty, 2362 Milton Road, University Heights 18, Ohio

Goffney, Alfred B., 2704 Alsace, Los Angeles 16, Calif.

Griffith, Marsha, 824 North Lewis Street, Columbus, Wis.

Grossman, Mary Juanita, Box 1586, F.S.U., Talla­hassee, Fla.

Hansel, Gayle, 6288 E. University, Bloomington, Ind.

Hardy, Charlotte, Box 1119, F.S.U., Tallahassee, Fla. Hardy, Janet, 2407 Huffman Street, Alexandria, La. Haynes, Miss Portia, Box 2805, T.W.U. Station,

Denton, Tex. Hoffman, Susan, 4022 Bunting, Ft. Worth 7, Tex.

Jakopac, Barbara, 3201 W. Fardale, Milwaukee 21, Wis.

Jariak Mr. William, 815 West Jefferson, Tallahassee,

Johnson, Elizabeth, Bon 3577, T.W.U. Station, Den­ton, Ten.

Johnson, Janet, Cimarron, Kan.

Kelley, Kay, 212 A Jackson, Jefferson City, MO. Klatte sharon A., Read Center, Clark 326, Blooming-

Kluger, Miss Miriam, 1690 Magnolia Drive, Cleve­land 6, Ohio

Krob, Karen, Rowley, Iowa

MARCH, 1964

Largent, L. Helen, New Jersey Nemo-Psychiatric Institute, Princeton, N. J.

Leavitt, Ann, Box U130, Florida State University, Tallahassee, Fla.

Levin, Ilene, Florida State University, Box 1937, Tallahassee, Fla.

Lienhart, Pat, Box 2952, T.W.U. Station, Denton, Tex.

Litzinger, Roberta, Florida State University, Talla­hassee, Fla.

McDaniel, Barbara Sue, 722 Atwater, Bloomington, Ind.

Maddox, Mary, Box 2952, T.W.U. Station, Denton, Tex.

Martin, Carole Joan, Box 617, F.S.U., Tallahassee, Fla.

Martin, Martha Ann, 2429 Holly Point Rd., E. Orange Park, Fla.

Mathis, Judy, 2818 Boatner Street, Tallahassee, Fla. Mattos, Mary Alice, Rt. 1, Box 1707, Auburn, Calif. Mayer. Mrs. M.. 610 W. Pensacola. Tallahassee. Fla. Mayor; Miss Elaine, 138 S. Fee Lane, Bloomington,

Ind. Mickler, Martha Jan, c/o D. Michel, School of Mu­

sic, F.S.U., Tallahassee, Fla. Millonig, Ann L., Interlochen Arts Academy, Inter­

lochen, Mich. Myers, Susan E., F.S.U., Box 2407, Tallahassee, Fla.

Osborne, Mae, Box 3429, T.W.U. Station, Denton, Tex.

Peery, Virginia, 740 W. Lafayette, Tallahassee, Fla. Pratt, Timothy J., 791 Hanover, Aurora 8, Colo. Prueter, Bruce, Magee Hall, Box D.7, Blooming­

ton, Ind.

Reed, Kathleen Orem, Box 362, Orick, Calif. Ring, Rosemary, Box 3184, T.W.U. Station, Denton,

Tex. Robinson, Jeanette, 104 Bennett Hall, Jefferson City,

MO.

Sexmith, Susan Kay, 311 North Williams, East Lan­sing, Mich.

Shoenberger, Sally Ann, 545% W. Park, Tallahassee, Fla.

Smaltz, Joann, Music Therapy Dept., Milledgeville State Hospital, Milledgeville, Ga.

Stamos, Helene, Box 368, F.S.U., Tallahassee, Fla. Staples, Sylvia M., 113 Balnew Avenue, Baltimore

22, Md: Stark, Robert V., Howell State Hospital, Howell,

Mich.

Terrell, Patty, Box 2913, T.W.U. Station, Denton, Tex

Todd, Nancy, 1007 Jewell, Topeka, Kan. Traub, Carol, Sycamore Hall, Bon 109, Bloomington,

Ind.

Weldon, Mary, Bon 3427, T.W.U. Station, Denton, Tex.

Wolf, Roger Alyn, 422 No. Adams, Tallahassee, Fla.

Yarberry, Linda, Box 2386, T.W.U. Station, Denton, Tex.

29

ASSOCIATION ACTIVITIES NEW JOURNAL

This issue marks the beginning of our new pub­lication, the Journal of Music Therapy. Members in attendance at the Fourteenth Annual Confer­ence voted to combine the materials in the Bul­letin and the Yearbook into a new quarterly journal. Thus, another dream of the Association has become reality-another milestone passed in our development. We have grown from the Hos­pital News Letter, to the Bulletin Newsletter, then to the former Bulletin, and now to the Journal. All members in good standing will re­ceive the Journal as part of their dues payment. The Editor, and the Editorial Committee, will do everything possible to produce a top quality Journal each quarter of the year. Each issue will be enlarged until a size of approximately fifty pages is reached.

The June issue of the Journal will contain ab­stracts of all research studies in music therapy completed to date under a special research grant. This issue will be a great contribution to the literature on music therapy, and it is anticipated that it will receive a wide distribution. Future issues will be devoted to special areas and as­pects of music therapy with articles by outstanding persons in music therapy, psychiatry, and psy­chology. Please send suggestions and comments on the Journal to Dr. William W. Sears, Editor, School of Music, Indiana University, Blooming­ton, Indiana.

FIFTEENTH ANNUAL CONFERENCE

The next Annual Conference of the Association, the Fifteenth, will be held at the Hotel Phillips, in Kansas City, Missouri, on October 28-31, 1964. The Hotel Phillips provides some of the best fa­cilities in the Midwest for conferences and con­ventions. It is located just five minutes away from the Municipal Airport and the Union Sta­tion, in the heart of downtown Kansas City. Parking facilities and car pick-up and delivery are provided hotel guests. Room rates are very reasonable and dining facilities are excellent. plan now to come to Kansas City in October.

Mr. Richard Graham, of Lincoln University, Jefferson City, Missouri, will serve as local chair­man. Dr. E. Thayer Gaston will assist Mr. Graham. Students from Lincoln University and The University of Kansas will provide the help needed in organizing a conference of our size.

Miss Betty Isern, program chairman, is plan­ning a new and exciting conference. Outstanding guest speakers from the hospitals and medical schools in the Kansas City area will participate in the program. The emphasis will be on member­

30

ship participation in symposia and discussion groups. New concepts in music therapy, exciting research possibilities, and demonstrations will highlight the program. It will be a time for new ideas, new learning, and a time for fun.

RESEARCH COMMITTEE Members of the NAMT Research Committee

are initiating a study of music therapist classifica­tions and salary ranges in various type hospitals in the United States. The committee also is identifying specific areas of needed research in music therapy. These research needs, with de­sign refinements, will be presented at the Annual Conference. It is the hope of the committee that several companion projects will develop in these identified areas of needed research. Richard Graham is providing leadership in this endeavor. Reports of this work will be published in forth­coming issues of the Journal.

CLINICAL PRACTICES COMMITTEE Geneva Folsom, chairman of the Clinical Prac­

tices Committee, and her committee members, Barbara Romerhouse and Johanna K. Stein, are engaged in a study of new developments and approaches in therapy. The committee, after careful study and discussion with hospital staff members, will indicate the importance of these developments for music therapy. The results of this work will lead to several reports which will he published in the Journal, and to several sessions at the next conference.

PUBLIC RELATIONS COMMITTEE Members of the Public Relations Committee

are contacting hospitals in their areas who are not represented on NAMT membership rolls. This activity has as its purpose acquainting such hospitals and institutions with the work of NAMT. Dr. Donald E. Michel, committee chairman, has also prepared reports on NAMT activities for the use of committee members in their respective regions.

NEW ENGLAND REGIONAL CHAPTER The Fall Conference of the New England Re­

gional Chapter of NAMT was held at the Howard Johnson Motor Lodge in Hamden, Connecticut, on November 8-9, 1963. Dr. William B. Curtis, of the staff of the Children’s Center in Hamden, discussed various types of atypical children and pointed out how music could be beneficial in their treatment programs. He stressed that while music can be very helpful in treating the overall problem of retardation, care must be taken in using music with children who have specific organic defects.

JOURNAL OF MUSIC THERAPY

The main theme of the paper presented by Dr. Herbert Cewirtz, Coordinator of Children’s Services at Connecticut Valley Hospital in Mid­dletown, Connecticut, was that the goals and principles of music therapy should be correlated with the same variables in psychotherapy to be­come effectively supportive. He stressed the fact that in psychotherapy, the music therapist must keep constantly in mind both short-term and long-term goals, if his work is to prove truly supportive.

Dr. John M. Graham, of the staff of the In­stitute of Living, Hartford, Connecticut, raised some very pertinent and searching questions in his paper. He pointed out that research will lead to music therapy being established on a sound scientific basis so that treatment can be appropri­ately prescribed and effectively carried out. Ob­jective examinations is needed, however, of the complex interchange between patients and thera­pist, and the many variables are difficult to iden­tify and, therefore, to control. But, he emphasized the notion that before music therapy can reach an effective level of integration with modern psy­chiatric treatment, it may have to await a sum­marized research methodology.

Arthur Flagler Fultz, a past president of NAMT, presented a handbell demonstration with chil­dren during the conference which was televised by the C.B.S. Television Network, Channel 8, New Haven, Connecticut.

The Spring Conference of the New England Regional Chapter will be held on May 7 and 8, 1964, at the Mid-Town Motor Inn, 220 Hunting­ton Avenue, Boston, Massachusetts.

Officers of the New England Chapter are:

President-Mrs. Elliott Mishara, RMT, 2 Scot­land Road, Lexington 73, Massachusetts

Past President-Walter Dolson. RMT. Box 363, Togus, Maine

President-Elect-William Peterson. RMT, 185 Newbury Street, Brockton, Massachusetts

Vice-President-Harold Lazaron, RMT, 270 Mt. Vernon Street, Newton, Massachusetts

Secretary-Mrs. Doris Clapp, RMT, 247 Belmont Avenue, Brockton, Massachusetts

Treasurer-Judith Mahan, RMT, Medfield State Hospital, Box A, Harding, Massachusetts

Editor of Newsletter-Patricia Powers, RMT, 266 Maple Avenue, Hartford, Connecticut

-Patricia Powers, Mrs. Elliott Mishara

SOUTHEASTERN REGIONAL CHAPTER

The Ninth Annual Southeastern Regional Con­ference of the National Association for Music Therapy met at the Milledgeville State Hospital, Milledgeville, Georgia, April 27-28, 1962. The

MARCH, 1964

conference was well attended and most informa­tive.

At the time of this conference the SECMT of­ficers were: Charles Braswell, President; Lee C. Crook, First Vice President; Carol Marsh, Second Vice President; Margaret Seely, Secretary-Treas­urer. New officers were elected at this time.

The Ninth Annual Conference of SECMT de­termined that, because of the territory the South­eastern Regional covered, it would be well to hold localized workshops one year, with Regional conferences every two years. Such a workshop was held at Ellisville State School, Ellisville, Mis­sissippi, April 26-27, 1963. The workshop was well attended and presented many interesting concepts and ideas useful to the music therapist.

During the past year SECMT seems to have been inactive. Communication has been nonexist­ent. Therefore, soon after the National Confer­ence last October, Dr. Donald Michel, Director of Music Therapy Program, Florida State Univer­sity, requested action by the National President. Temporarily, Dr. Schneider has requested Dr. Michel to attempt to reorganize the Regional and has appointed Mr. Herbert P. Goldsmith, Director of Music Therapy at Milledgeville State Hospital, Milledgeville, Georgia, as Regional Rep­resentative until such reorganization has taken place.

Dr. Michel and Mr. Goldsmith are making plans for a Regional Conference in May, at Flor­ida State University, where it is hoped that re­organization will take place.

During the past year, a Clinical Training Pro­gram has been approved and is in full operation at the Milledgeville State Hospital, under the direction of Herbert F. Galloway, Jr., RMT, Su­pervising Instructor of Music Therapy Education at the Hospital. In the Music Therapy Depart­ment at Milledgeville State Hospital, there are, at present, six Registered Music Therapists with a total staff of 14 full-time people-a growth of 250% in two years! -Herbert P. Goldsmith

GREAT LAKES REGIONAL CHAPTER

All of us in the Great Lakes Regional Chapter are looking forward to the Annual Spring Work­shop. This year, the conference will take place in Grand Rapids, Michigan, at the Pantlind Hotel, on April 9th and 10th, 1964.

This workshop will be the First of its kind, be­cause those attending will actually work! Deviat­ing from the “lecture and panel” type of pro­gram, this workshop will have only one actual lecture-this will be the keynote speaker of the convention speaking on the subject of “Music and Alcoholics.” Take a look at the rest of the program.

31

Instrument Repair. Each person should bring an instrument which needs repair. The work­shop will furnish an instructor and the parts­you will furnish the elbow grease, and you will return home with not only a repaired instrument, but also the knowledge of how to repair other in­struments.

Production. What musical productions have you given lately? Everyone is asked to bring ditto copies of the productions that they have put on, at one time or another, for others to take home. During this time, everyone will read and sing through several musical plays which have been adapted for hospital work.

Demonstration. How about the problems of handicapped children and slow learners? You will see several demonstrations showing different musical tools you can use in each case to help with these problems.

New Music. There will be up-to-date music publications for your choral and instrumental groups-playing and singing through a variety of new material, you will gain the opportunity to become acquainted with different publications and to try them out before ordering.

Slides. You will have the opportunity to see slides of the Mary Free Bed Guide Children’s Hospital and Orthopedic Center and the work being done in music there.

Banquet. The Annual Banquet will not only be highlighted by a special guest speaker, but there will also he music for dancing and listening, furnished by the American Federation of Music, Local 56. You will also be entertained by the “Bell Ringers of the Mayflower Congregational Church” in a concert and question and answer period, and by the Junior College “Collegiate singers.”

All in all, we hope it is going to prove to be one of the most worthwhile workshops the Great Lakes Regional has ever had. -Pauline Marker

MID-WESTERN REGIONAL CHAPTER

The Mid-Western Regional Chapter of NAMT presents itself as a challenging region. Being the largest of the regions, it is difficult to communi­cate and gain the cohesiveness needed to present a united front.

Despite this fact, significant gains have been made in some areas. In June, 1963, the Kansas and Colorado Civil Service Commissions both granted new classifications for Music Therapists. A position for a Music Therapist was provided for Colorado State Hospital, where none pre­viously existed. In Kansas, the Director of Psy­chiatric Music Therapy position was reclassified as Music Therapist II, and new Music Therapist I positions were allocated.

32

Professional growth continues in Iowa, Nebras­ka, and Missouri. The Regional also has repre­sentatives in North Dakota, South Dakota, and Arkansas, but no contacts have been made, as yet, in Montana and Wyoming. Work is under­way to stimulate interest in music therapy, in the latter two states, through the Public Relations Committee. Committee.

The Regional Conferences have been stimulat- The Regional Conferences have been stimulat­ing and beneficial to those in attendance. This ing and beneficial to those in attendance. This year’s, 1964, conference will be held at the USVA year’s, 1964, conference will be held at the USVA Hospital, Knoxville, Iowa, on April 17 and 18. Hospital, Knoxville, Iowa, on April 17 and 18.

The officers of the Mid-Western Regional are: The officers of the Mid-Western Regional are: President-Rav Glover: President-Elect-Forrest Slaughter; 1st Vice-President-John Bixler; 2nd Vice-President-Katherine Moore; Secretary-Richard Gray; Treasurer-Janet Hallbeck; News­letter Editor-Wanda Lathom; Public Relations Chairman-Patrice Mizzell.

Mrs. Earl Findlay, National Chairman of Mu­sic in Hospitals, of the National Federation of Music Clubs, and State Chairman for Kansas, was a recent visitor at the Lamed State Hospital. Her job is twofold: to encourage volunteer work by music club members in hospitals, and to provide scholarships for young people interested in music therapy. Mrs. Findlay’s address is 236 N. Oliver, Wichita, Kansas. -Ray Glover

SOUTHWESTERN REGIONAL CHAPTER In the past year, personnel moves, marriages,

and reductions in positions because of financial adjustments have taken their toll of the member­ship in the Southwestern Regional to such an extent that holding a Regional Conference in 1963 was impossible. Some of the above changes affected many of the officers of the Regional. Current President Mary R. Toombs is (diligently) trying to reestablish the chapter on a going basis.

-Mary R. Toombs

WESTERN REGIONAL CHAPTER The officers of the Western Regional are:

President-Patricia M. Huntington, 23343 Mobile Street, Conoga Park, California

1st Vice-President-Mary Alice McManus, 1416 Malcolm Avenue, Los Angeles 24, California

2nd Vice-President-jean Whiteside, Music Therapy Department, Agnew State Hospital, San Jose 14, California

Secretary-Natalie R. Werbner, 223 Embarcadero Road, Palo Alto, California

Treasurer-Theodore A. Williams, 2434 W. Harding Way, Stockton, California

Tentative plans call for holding the annual meeting, 1964, at Patton State Hospital, Patton, California.

--Patricia Huntington

JOURNAL OF MUSIC THERAPY

INFORMATION FOR CONTRIBUTORS

NAMT CENTRAL OFFICE

Box 15

Lawrence, Kansas

The Journal of Music Therapy publishes original investigations and theoretical papers pertaining to Music Therapy or any of the other adjunctive or activity therapies, Psychiatry and Psychology and their various branches, Medicine and Nursing, Special Education, or any field in which information regarding the uses of music and musical activities are relevant to the therapeutic processes.

Manuscripts should be submitted in duplicate, double spaced, and preferably with a setting of forty-five (45) characters and spaces per line. Only one side of the paper should be used. All references used or cited should be collected in a list of “References” at the end of the paper. Use superscripts in the text to refer to the references.

Manuscripts to be considered for publication in a specific issue should be received by the Editor on or before the following dates: No. I-February 1; No. 2-May 1; No. 3-August 1; and No. 4-November 1. Receipt, however, does not guarantee publication in the specific issue desired. Manuscripts and all editorial correspondence should be addressed to the Editor.

OFFICERS

THE NATIONAL ASSOCIATION FOR MUSIC THERAPY, INC.

President: ERWIN H. Schneider, PH.D. President-Elect: LEO C. Muskatevc The Ohio State University Milwaukee Co. Mental Health Center

Columbus. Ohio Milwaukee, Wisconsin

1st Vice-President: BEttY ISERN 2nd Vice-President: SISTERM. JOSEPHA, O.S.F. The University of the Pacific Alverno College Stockton, California Milwaukee, Wisconsin

Immediate Past President: Robert Unkefer Recording Secretary: PAULINEMARKER Michigan State University Richmond State Hospital East Lansing, Michigan Richmond, Indiana

Treasurer: RUTH BOxberGER,PH.D. Ohio University

Athens, Ohio

STANDING COMMITTEES

Education: E. THAYEr GASTON,PH.D. Research: RICHARDM. GRAHAM The University of Kansas Lincoln University Lawrence, Kansas Jefferson City, Missouri

Public Relations: DONALDE. Michel, PH.D. Florida State University

Tallahassee, Florida

YEARBOOKS OF NAMT

(Articles and Proceedingsof National Conferences)

research and bibliographic references. Considered essential to all prac. ticing therapists, volunteers, and interested supporters of NAMT, and valuable to all those who are interested in the general field of medical and adjunctive therapies.

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prices are postpaid in U.S.A. Order directly from Allen Press, Law­rence, Kansas.

Them volumes contain the most comprehensiveand reliable informa­tion about music therapy-its practice and development in this country;