The Impact of Training on Music Therapists’ Songwriting Knowledge, Self-Efficacy, and Behavior Tracy Richardson, Ph.D., MT-BC and Debra Leggett, Ph.D., LMHC, NCC Introduction Music therapists utilize songwriting to address a wide range of populations and problem areas (Ficken, 1976; Kennelly, 2001; Baker, Kennelly, & Tamplin, 2005; Robb & Ebberts, 2003). Given that songwriting is one of four methods of music therapy one might assume that all music therapists utilize songwriting as a clinical intervention. However: Jones’ (2006) survey revealed that only 73% of music therapists reported using original songs (goal-oriented songs written outside of the therapy session); Only 3% of participants stated they used clinical songwriting, songs written during the session with input from clients (Jones, 2006); A review of literature from 1999 to 2008 revealed few publications that include the topic of songwriting or composing. One plausible explanation for music therapists’ apparent lack of songwriting with clients is that music therapists may not feel confident in their songwriting abilities. Objectives The purposes of this study were to: Investigate the impact of a songwriting training session on the songwriting knowledge, self- efficacy, and behavior of music therapists; Evaluate the songwriting training program; and Explore the impact of training on perceived barriers and clinical practice. Method Within-stage, mixed-model, repeated-measures, quasi-experimental design. Researcher-designed questionnaire containing both quantitative and qualitative items was given at three observation periods. Participants: 32 board-certified music therapists who chose to attend a songwriting training session. Ages ranged from years (M = 42.28). Number of years in the field ranged from 0.5 to 36 (M = 11.14). Participants completed a pre-test, attended a five hour songwriting training session, and completed a post-test. Follow-up test was ed to participants six weeks later. Only 17 of the 32 persisted through all phases of the study. Introduction Music therapists utilize songwriting to address a wide range of populations and problem areas (Ficken, 1976; Kennelly, 2001; Baker, Kennelly, & Tamplin, 2005; Robb & Ebberts, 2003). Given that songwriting is one of four methods of music therapy one might assume that all music therapists utilize songwriting as a clinical intervention. However: Jones’ (2006) survey revealed that only 73% of music therapists reported using original songs (goal-oriented songs written outside of the therapy session); Only 3% of participants stated they used clinical songwriting, songs written during the session with input from clients (Jones, 2006); A review of literature from 1999 to 2008 revealed few publications that include the topic of songwriting or composing. One plausible explanation for music therapists’ apparent lack of songwriting with clients is that music therapists may not feel confident in their songwriting abilities. Objectives The purposes of this study were to: Investigate the impact of a songwriting training session on the songwriting knowledge, self- efficacy, and behavior of music therapists; Evaluate the songwriting training program; and Explore the impact of training on perceived barriers and clinical practice. Method Within-stage, mixed-model, repeated-measures, quasi-experimental design. Researcher-designed questionnaire containing both quantitative and qualitative items was given at three observation periods. Participants: 32 board-certified music therapists who chose to attend a songwriting training session. Ages ranged from years (M = 42.28). Number of years in the field ranged from 0.5 to 36 (M = 11.14). Participants completed a pre-test, attended a five hour songwriting training session, and completed a post-test. Follow-up test was ed to participants six weeks later. Only 17 of the 32 persisted through all phases of the study. Variables Independent variable = observation period. Observation period had three levels: pre-training (OP1), post-training (OP2), and follow-up (OP3). Dependent variables = songwriting knowledge, songwriting behavior, and songwriting self-efficacy. Measurement Instruments The measurement instruments used in this study were researcher-designed. Schuh and Upcraft (2001) state that several reasons support the use of researcher- designed instruments, including purpose of the study and match between instrument and purpose. 1.Knowledge: Eight multiple choice questions. 2.Self-Efficacy: Five items on a 10-point Likert scale. 3. Behavior: One forced-choice question regarding songwriting frequency. 4. Satisfaction: Nineteen questions (post-test) on a five-point Likert scale. 5. Perceived Barriers: One open-ended question regarding perceived barriers to the use of songwriting as a clinical intervention. 6. Change in barriers and impact on practice: Open- ended questions regarding any change in perceived barriers to the use of songwriting as a clinical intervention and how the training impacted clinical practice. Variables Independent variable = observation period. Observation period had three levels: pre-training (OP1), post-training (OP2), and follow-up (OP3). Dependent variables = songwriting knowledge, songwriting behavior, and songwriting self-efficacy. Measurement Instruments The measurement instruments used in this study were researcher-designed. Schuh and Upcraft (2001) state that several reasons support the use of researcher- designed instruments, including purpose of the study and match between instrument and purpose. 1.Knowledge: Eight multiple choice questions. 2.Self-Efficacy: Five items on a 10-point Likert scale. 3. Behavior: One forced-choice question regarding songwriting frequency. 4. Satisfaction: Nineteen questions (post-test) on a five-point Likert scale. 5. Perceived Barriers: One open-ended question regarding perceived barriers to the use of songwriting as a clinical intervention. 6. Change in barriers and impact on practice: Open- ended questions regarding any change in perceived barriers to the use of songwriting as a clinical intervention and how the training impacted clinical practice. Results Statistically significant increase in: songwriting knowledge, F(2, 32) = , p <.001, (ω² = 0.59); self-efficacy, F(2, 32) = , p <.001, (ω² = 0.53); and behavior, t(15) = -2.67, p =.017, two tailed, r =.57. Change in knowledge was found to predict change in self-efficacy from pre-test to post-test, F(1,30) = , p <.001, but not from pre-test to follow-up, F(1,15) =.59, p =.456. On a scale of 1-5 participants indicated they were highly satisfied with the training (M = 4.54, SD = 0.26). In open-ended questions, participants reported they were more comfortable and confident with songwriting, had new perspectives on songwriting, and experienced an increase in frequency of songwriting and in songwriting knowledge. Songwriting self-efficacy continued to increase in the 6-week period after the training. Participant quotes: “I feel MUCH more comfortable with songwriting and have increased my use of spot, process, and strategic songwriting in therapy” and “I actually engage in songwriting to a limited degree, whereas before I avoided it.” Conclusions It appears that a songwriting training session can: improve songwriting self-efficacy, knowledge, and behavior; decrease barriers to songwriting and; increase comfort with songwriting. Music therapists who possess songwriting self- efficacy will be more likely to use songwriting as a clinical method. Those clients who need help with developing skills in problem solving, improving organization, promoting exploration of themes, and communicating inner experiences (Bruscia, 1998), among other needs, will have an additional creative method with which to address their problems. Results Statistically significant increase in: songwriting knowledge, F(2, 32) = , p <.001, (ω² = 0.59); self-efficacy, F(2, 32) = , p <.001, (ω² = 0.53); and behavior, t(15) = -2.67, p =.017, two tailed, r =.57. Change in knowledge was found to predict change in self-efficacy from pre-test to post-test, F(1,30) = , p <.001, but not from pre-test to follow-up, F(1,15) =.59, p =.456. On a scale of 1-5 participants indicated they were highly satisfied with the training (M = 4.54, SD = 0.26). In open-ended questions, participants reported they were more comfortable and confident with songwriting, had new perspectives on songwriting, and experienced an increase in frequency of songwriting and in songwriting knowledge. Songwriting self-efficacy continued to increase in the 6-week period after the training. Participant quotes: “I feel MUCH more comfortable with songwriting and have increased my use of spot, process, and strategic songwriting in therapy” and “I actually engage in songwriting to a limited degree, whereas before I avoided it.” Conclusions It appears that a songwriting training session can: improve songwriting self-efficacy, knowledge, and behavior; decrease barriers to songwriting and; increase comfort with songwriting. Music therapists who possess songwriting self- efficacy will be more likely to use songwriting as a clinical method. Those clients who need help with developing skills in problem solving, improving organization, promoting exploration of themes, and communicating inner experiences (Bruscia, 1998), among other needs, will have an additional creative method with which to address their problems. References Baker, F., Kennelly, J., & Tamplin, J. (2005). Themes in songs written by patients with traumatic brain injury: Differences across the lifespan. Australian Journal of Music Therapy, 16, doi: / Bandura, A. (1994). Self-efficacy. In H. S. Friedman (Ed.), Encyclopedia of mental health (Vol. 3, pp ). San Diego, CA: Academic Press. Brunk, B. K. (1990). Songwriting for music therapists. Grapevine, TX: Prelude Music Therapy. Bruscia, K. E. (1998). Defining music therapy (2nd ed.). Gilsum, NH: Barcelona. Ficken, T. (1976). The use of songwriting in a psychiatric setting. Journal of Music Therapy, 13, Jones, J. D. (2006). 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