THE COMMITTEE. Co-Chairs. Social. Accommodation. Committee Members

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1 F E B R U A R Y 8-1 1, J Y U J Y V Ä S K Y L Ä, F I N L A N D h t t p s : / / w w w. j y u. f i S e m i n a a r i n k a t u 1 5, J K L n m t s c j y u. f i

2 W E L C O M E! On behalf of the organizing committee, we would like to welcome you to the 3rd Nordic Music Therapy Student Conference! We are all excited to share this weekend of collaboration and inspiration with you, and hope that after seeing music therapy from a bird's eye view, you are able to take these new perspectives with you in your development as a music therapist. THE COMMITTEE Co-Chairs Mikaela Leandertz Molly Rastin Social Aiko Onitsuka Liz Avila Accommodation Emilija Puskunigyté Committee Members Anne Takamäki Veronika Kállai Nara Galimova

3 A BIRD'S EYE VIEW OF About the Venue JYVÄSKYLÄ, FINLAND #NMTSC2018 Jyväskylä is the largest city located in Central Finland, and is surrounded by many hills, forests, and lakes. The University of Jyväskylä has three campuses in the city. NMTSC2018 will be held in the Musica Building, on Seminaarinmäki Campus. A little behind on your Finnish language skills? Not to worry, most people speak English here. Just in case, some helpful greetings/phrases: Moi / Hei / Terve = Hello, Hi Kiitos / Kiitti = Thank you/thanks Moi moi, hei hei, heippa, moikka = Goodbye, Bye No niin = this phrase has many meanings, and can get you by in any conversation. A pillar in Finnish Culture.

4 THURSDAY, 8 FEBRUARY AFTERNOON 14:00-15:00 15:00-16:00 16:00-16:30 REGISTRATION OPENING REMARKS Esa Ala-Ruona, Jaakko Erkkilä, Organizing Committee INTRODUCTIONS M BUILDING LOBBY M007 16:30-18:00 IDEA CAFE EVENING [social programme] This evening's social programme is optional. You are warmly welcome to take part in this Finnish social experience! 18:30 DINNER AT SOHWI A favourite student restaurant & pub across from campus 20:00 SAUNA PARTY Depending on how many attend, cost will be ~10 euros/person for the reservation. Do you have pictures you want to share? Use #NMTSC2018

5 FRIDAY, 9 FEBRUARY MORNING 9:30-10:00 REGISTRATION & MORNING COFFEE 10:00-11:30 11:30 DR. AMY CLEMENTS-CORTES Keynote Address 1 LUNCH Did you pick up your voucher? T-BUILDING AFTERNOON 13:00-13:45 13:45-14:30 14:30-15:00 SAMI TYNYS Paper Presentation 1 SAFA SOLATI Paper Presentation 2 COFFEE BREAK 15:00-16:00 WORKSHOPS 1A & 1B M007 & M014 Music Therapy Toolbox / Motion Capture 16:00-17:00 WORKSHOPS 2A & 2B Music Glove / Heart Rate Variability M320 & M015 17:00-17:30 COOL DOWN

6 SATURDAY, 10 FEBRUARY MORNING 9:00-9:30 9:30-11:00 11:00-11:15 MORNING COFFEE DR. JOS DE BACKER & KATRIEN FOUBERT Keynote Address 2 COFFEE BREAK 11:15-12:00 EMILY CARLSON Paper Presentation 3 12:00 LUNCH LOZZI STUDENT Did you pick up your voucher? RESTAURANT AFTERNOON 13:00-13:45 ODA BJØRKE DYPVIK Paper Presentation 4 13:45-14:30 MARA BINDEWALD Paper Presentation 5 14:30-15:00 COFFEE BREAK 15:00-16:00 WORKSHOPS 3A & 3B M007 & M320 Vibroacoustic Therapy / GIM 16:00-17:00 WORKSHOPS 4A & 4B Stroke Rehabilitation / Music Tower M014 & M015 19:00 [SOCIAL PROGRAMME] CONFERENCE DINNER & JAM SESSION For those who registered for the dinner portion of the conference, you're welcome to join us for an evening of great food and music.

7 SUNDAY, 11 FEBRUARY MORNING 9:00-9:30 9:30-11:00 MORNING COFFEE DR. MARKO PUNKANEN Keynote Address 3 11:00-12:30 DEBRIEF & DISCUSSION CARE TO SHARE? Many of this weekend's presentations will be streamed live online! This way, students from all over the world will be able to watch presentations and participate in question/answer periods. Welcome, everyone! SAY CHEESE! Photos posted to Facebook and Instagram using the hashtag #NMTSC2018 will group all of the photos from the weekend together and give us an online photo album to cherish after the conference is over. When you use #NMTSC2018, you may even see your photos streamed live at our venue! Search the hashtag to see photos, and don't forget to follow us on social media to see even N M T S C

8 A BIRDS EYE VIEW OF #NMTSC2018 Introducing Keynote Speaker: AMY CLEMENTS-CORTES Amy Clements-Cortes, PhD, RP, MTA, MT-BC, FAMI Assistant Professor, Music and Health Research Collaboratory, University of Toronto; Instructor and Supervisor, Wilfrid Laurier University; Academic Coordinator & Instructor, Interdisciplinary Studies, Ryerson Chang School; Music Therapist and Registered Psychotherapist. Amy has extensive clinical experience working with clients at across the life span, with a specialty in older adults, dementia and palliative care. She has authored multiple peer reviewed publications, including her new 2016 book: Voices of the Dying and Bereaved, and she has given over 100 conference and/or invited academic presentations. Amy is Past-President of the World Federation of Music Therapy (WFMT), and Managing Editor of the Music and Medicine journal. She is a past President of the Canadian Association for Music Therapists, and serves on the editorial review boards for 9 International journals.

9 A BIRDS EYE VIEW OF #NMTSC2018 Introducing Keynote Speaker: JOS DE BACKER Professor and head of music therapy at LUCA, School of Arts, campus Lemmens, Leuven. Professor and Senior Researcher faculty of Medicine at the KU Leuven: research unit contextual psychiatry. Head of the Music Therapy Department at the University Psychiatric Centre KU Leuven, campus Kortenberg where he works as a music therapist treating young psychotic patients and patients with a personality disorder. Professor De Backer is specialized in clinical improvisation and gives lectures and workshops about this topic around the world. Past President of the European Music Therapy Confederation (EMTC).

10 A BIRDS EYE VIEW OF #NMTSC2018 Introducing Keynote Speaker: KATRIEN FOUBERT Katrien Foubert received her master in music (violin) from Conservatoire de Bruxelles. She specialized in music therapy in LUCA, School of Arts, association KU Leuven, Belgium where she obtained her master. After her studies, she was appointed as music therapist at the University Psychiatric Centre KU Leuven, campus Kortenberg on a setting for patients with a personality disorder. In 2012, she started as ass. prof. in the Bachelor and Master training course music therapy at LUCA, School of Arts, Belgium. In her doctoral studies, she focuses on the study of musical joint improvisation in music therapy with patients with a borderline personality disorder. Foubert is targeting the mechanisms of interpersonal synchronization and attunement, focusing on the association between interpersonal functioning and musical interaction. Katrien Foubert received grants for her research work from the foundation Vocatio and from OPaK (research in the arts). As violinist, she is a member of the professional chamber music ensemble Odysseia. In 2016, she linked her scientific work with her work as artistic performer with the project Between Improvisation and Composition, which was finalized as a scientific concert performance and a CD recording.

11 A BIRDS EYE VIEW OF #NMTSC2018 Introducing Keynote Speaker: MARKO PUNKANEN PhD. Marko Punkanen is a music therapist, dance/movement therapist, psychotherapist, psychotherapy trainer, certified sensorimotor psychotherapist and trainer. He currently works as a music/dance-movement/psychotherapist and supervisor in private practice and as a trauma psychotherapy trainer in University of Oulu, and as a trainer in Sensorimotor Psychotherapy Institute. He is actively involved with trauma psychotherapy, music therapy and dance/movement therapy training in Finland. He is the founder and director of the Nyanssi Therapy Centre, which offers music therapy, dance-movement therapy, psychotherapy, vibroaocustic therapy (VAT) and supervision services in Lahti, Finland. He is the co-founder of the first extensive VAT/PA-training in Finland, and he has studied for example the possibilities of VAT in drug rehabilitation. He is also one of the founders of the VIBRAC - Skille- Lehikoinen Centre for Vibroacoustic Therapy and Research Marko worked as a researcher in Finnish Centre of Excellence in Interdisciplinary Music Research in University of Jyväskylä. He was part of the research team, which investigated the perception and preferences of emotions in music by depressed patients and the efficacy of improvisational, individual music therapy for depression.

12 PAPER PRESENTATION 1 Change process in Adult Psychiatric Music Therapy Centralized mental hospitals are globally shifting to community-based care, using evidencebased practices for deinstitutionalization and service reorganization.the process of deinstitutionalization started in the 1950 s. The international shift away from asylums has progressed steadily, yet unevenly within Europe. During the last few decades in Finland, with psychiatric hospitals being downsized or closed, institution-based treatment has passed to the community and general hospitals. In Finland, deinstitutionalization began relatively late, but progressed rapidly. Deinstitutionalization has been successful, although out-patient care also has problems, especially in the treatment of severe mental illness. Music therapists face employment concerns and new challenges and empirical evidence for the effectiveness of music therapy is needed. Finnish hospitals have offered versatile music therapy for decades, but the tradition is fading due to psychiatric hospitals closing and psychiatric practices changing. Adult outpatient music therapy has almost no financial support. Past experience could be utilized for future development of treatment. This paper explores how music therapy has changed at Finnish psychiatric hospitals, as part of an ongoing Ph.D. study. The dissertation examines adult psychiatric music therapy from historical and contemporary perspectives; using interviews, various written records, and professional literature on music therapy. The research method was qualitative content analysis combined with hermeneutics. The Ph.D. study will discuss the development of adult music therapy. This presentation is aimed at therapists and those interested in global mental health care. GET TO KNOW... SAMI TYNYS Doctoral student in University of Jyväskylä, The Department of Music, Art and Culture Studies (Music Therapy). Registered Psychoanalytic Psychotherapist, Music Therapist (M.Sc.) and Registered psychiatric nurse. I have worked more than 15 years in public sector and now keeping private practice in City of Tampere in Southern Finland. In addition to my private practice, I remain active in academic settings and as an trainer & lecturer in psychiatric music therapy. Focusing especially in psychoanalytical viewpoint, borderline and psychotic patients, working alliance issues, adult patients and history of psychiatric music therapy. Homepage:

13 PAPER PRESENTATION 2 Intensive music therapy process with a male adult client diagnosed with autism Autism spectrum disorder (also called ASD) is the fastest growing disability. Research shows that music is a relational, emotional, and motivational medium that plays an essential role in field of music therapy, specifically for individuals with autism. This Master s thesis aims at describing the intensive music therapy process with a 24 year-old Turkish-Cypriot male client diagnosed with ASD in a group setting concentrating on his four main areas of impairments (verbal/non verbal, social interaction, organization/perception and aspects of behavior) and how Creative Music Therapy affected such impaired areas. In Northern Cyprus, the knowledge about music therapy is still limited and centers such as Irfan Nadir +18 rehabilitation center rarely utilize music for the individuals with ASD. Unlike Finland, Northern Cyprus still struggles to recognize music therapy as a discipline and there are no certified music therapists who currently work to introduce the therapeutic aspects of music to schools, hospitals and rehabilitation centers. In fact, this research was geographically important as there had not been a study in the field of music therapy connected with autism done in that region. Through the case of my Turkish-Cypriot client with autism, this study reflected the importance of using music therapy in rehabilitation centers in Northern Cyprus. Also, this study aimed at finding similarities with other reported studies so that it can complement previous findings to help the staff at Irfan Nadir +18 Rehabilitation center in the use of better and more effective musical techniques and interventions. My living experience in Northern Cyprus, knowledge of Turkish-Cypriot culture, language and cultural similarities between Turkish-Cypriot and Iranian culture helped me to conduct this study more effectively for my client. I utilized traditional folk songs to play /sing music and implemented traditional dance moves to certain interventions during my music therapy sessions. Results were in correspondence with previous studies about music therapy in treatment of individuals with ASD giving support to the notion that through the process of music therapy, the client was given the opportunity to actively participate in music-making within various and appropriate settings as music accommodated the client s levels and abilities. The applied music therapy seemed to serve as an effective alternative and demonstrated the fact that informal, fun and functional uses of music at institutions such as the Irfan Nadir +18 rehabilitation center can benefit individuals with autism. GET TO KNOW... SAFA SOLATI Safa Solati holds a Master s degree in Music Therapy from the University of Jyväskylä, Finland. Her Master s thesis focused on music therapy and autism. After graduation, she was enrolled in the MusicTogether teacher training, a Music and Movement programme aimed at children from new-borns to pre-schoolers in Bologna and is currently self-employed in Ravenna, Italy. safa.solati@gmail.com.

14 PAPER PRESENTATION 3 Being a school music therapist in the United States: Legal and practical considerations In the United States of America, music therapy is a legally recognized related service under the Individuals with Disabilities Education Act (IDEA). This means that, if it is shown that a student receiving special education services requires music therapy to meet his or her educational goals, music therapy must be provided by the student s school. For the practicing music therapist, this legal context has many practical and theoretical implications, including how and where music therapy services are delivered, what kinds of goals can be addressed in therapy, and particularly how work done in the therapy session is documented and assessed. This presentation, given by a US boardcertified music therapist (MT-BC) with experience working in this context, will focus on these practical implications, and the advantages and limits for the music therapist and the music therapy client of working in this special education context in the United States. The presentation will also provide a model of assessment and documentation (the Music Therapy Music Related Behaviors assessment, or MT-MRB) that has been used successfully in this special education context for clients with a wide variety of needs. Discussion about how this model, or certain aspects of it, may or may not be applicable outside of the United States, and particularly in the Nordic countries, will be encouraged. GET TO KNOW... EMILY CARLSON Emily Carlson is a doctoral candidate at the University of Jyväskylä. Her current work focuses on dance, personality, empathy, and dyadic interaction to music. Emily holds a Bachelor's degree in Music Therapy from Western Michigan University, and has worked professionally as a music therapist in both special education and private clinical settings serving a variety of populations, including clients with Autism Spectrum Disorders. She plans to pursue post-doctoral research in the area of music, movement and autism.

15 PAPER PRESENTATION 4 "Playing with someone else's feelings" - a case story about a music therapy process with a traumatized man with a paranoid schizophrenia diagnosis In this paper I will present a case story from my 4 month long internship in the autumn of 2017 at a psychiatric hospital in Norway. The presentation will focus on how the case developed through the 4 months, but also on my own process on finding my role as a music therapist during the same period of time. My client was a sensitive man at the age of 35 years. He had experienced severe traumatic episodes during his life, including growing up with a violent father and experience sexual abuse from a care giver in his teenage years. In my client s own words; music for him was deeply personal, music was his feelings and an ongoing story about himself. During this four months, the client went through a proscess of different psychological states. He went from being in a paranoid and chaotic state, through having a stable period and into a chaotic state once again which resulted in hospitalization. The music the client played reflected upon his state and at the same revealed some hidden resources in the client that would be difficult to detect in other ways. One of these were the way the client was able to interact with me through the music and at the same time be present in his own feelings. In the case story I will focus on the music therapy interventions used in the therapy process, which heavly was based on clinical improvisation and songwriting. The role of working with emotions and self- regulation in these interventions will be in focus, and supplied by music therapy theory and contemporary psychological theories about neuro affective processes in psychotherapy. Finally I will illuminate my experience being a Norwegian studying in a Denmark and having my internship in Norway. I will focus on the differences and similarities I experienced being a Danish trained psychodynamic music therapist having my internship in the community and resourcesoriented Norway. I will focus upon how this influenced my own style of working, my collaboration with music therapy colleagues and how it has developed my music therapy identity. I will supply the oral presentation with some audio recordings of the music therapy sessions. GET TO KNOW... ODA BJØRKE DYPVIK Oda Bjørke Dypvik is a Norwegian studying music therapy at Aalborg University, where she`s in her final year of her master`s degree. She is currently working as a music therapist in a psychiatric hospital in Oslo while finishing her master thesis. Her main research area of interest is music therapy in the treatment of severe mental illness, and especially the role of music therapy in working with neuroaffective processes. Collaboration between the nordic music therapy countries has been one of Oda s passions as a student, and back in 2015 Oda was one of the initiators of creating a organized student collaboration between the Nordic countries music therapy educations.

16 PAPER PRESENTATION 5 Opportunities and challenges in working with clients in the psychosomatic ward in a hospital setting Inpatient treatment at the local hospital the setting and the diverse types of clients arriving there cause the music therapy (MT) groups to appear quite disparate, hampering group processes and cohesion. Therefore it seems worthwhile to shine a light on the difficulties, on positive aspects, but also on the role music can play to enhance or soften differences. This presentation aims at discussing the challenges as well as the opportunities a music therapist might face in this specific setting. Observations and experiences from about half a year in the psychosomatic ward, observed processes, and conclusions will be illustrated by case vignettes. Generally the clients present with varying diagnosis and issues regarding their social life, work, health, and background and are then allocated to random groups. The group may range from a narcissitic teenager unable to work due to visual distortions, a young woman with social angiety and an eating disorder, but without any personal boundaries, an older woman unable to walk without functional disability, to a man old enough to retire but with severe financial difficulties, constantly elevated bloodpressure, and chronic pain. Group size 3-8. What unites them are the physiological dysfunctions, the more or less clear understanding that there may be more going on beyond the physical level, and often the very real need to be able to go (back) to work. Some clients are facing therapy for the first time, which means they need time to understand their conditions or diagnosis. Often it is vital to help them to become self aware, learn self care, self regulation and mentalization, without overwhelming them. Some of them arrive in a desolate state, without any kind of internal or external structure. In this case it may help to introduce MT with structured, activating group activities. On the other hand there are more experienced or very rigid clients, too, who specifically want and need to explore their inner world through more open interventions and reflection of those experiences. This clarifies how some types of interventions facilitate group processes, while others rather enhance the individual s development. Furthermore the age range encompasses clients from 18 to 81 with a variety of ideas of what music means to them, how music can help, and very different levels of openness towards this experience. A balancing act between all kinds of extremes. GET TO KNOW... MARA BINDEWALD Mara is a former JYU student. In summer 2016 she graduated from the MA Music Therapy course in Jyväskylä, Finland, and has been working in a psychosomatic ward in Germany, since. The hospital setting and diverse clients encountered there inspired her to reflect about psychosomatic rehabilitation in general and in specifics, as you will hear in her presentation.her special interest lies in the relationship between music and the body: In the psychosomatic ward, Mara encourages the patients to engage through bodily rhythms e.g., through breath work, voice or percussive (bodily) sounds. Working with group singing, rhythms and difficulties in approaching structures and rhythms seems to help the patients cultivate dependable relationships, which are necessary for group processes to occur, develop internal structures and security, and playfully grow confidence in their own abilities.overall, Mara focuses on active interventions in music therapy, whenever possible integrating the whole person - body, mind, and soul. In her spare time she practices Yoga and spends lots of time in nature.

17 A BIRD'S EYE VIEW OF WORKSHOP 1A Introducing workshop leaders: JAAKKO ERKKILÄ & MARTIN HARTMANN Dr. Jaakko Erkkilä is professor of music therapy at University of Jyväskylä, Finland. He runs music therapy master s training and two clinical music therapy trainings. At the moment his research focuses on improvisational music therapy for depression and anxiety and he runs an Academy of Finland project on the topic. Dr. Martin Hartmann is a postdoctoral researcher at the Finnish Centre for Interdisciplinary Music Research. His current research focuses on relationships between music-induced movement and metrical structure of music; analysis of musical improvisations, speech, and physiological measures for examination of improvement of music therapy clients with depression. TOOLBOX (MTTB) A TOOL FOR CLINICAL IMPROVISATION ANALYSIS The development of the MTTB goes back to 2003 when Academy of Finland granted our research project called Intelligent Music Systems in Music Therapy. In this project we collected improvisations created by individuals with developmental disorders. For analyzing the improvisations we started to improve the MIDI toolbox (developed by prof. Petri Toiviainen and prof. Tuomas Eerola, both from University of Jyväskylä) for music therapy improvisation analysis. Dr. Olivier Lartillot worked as the primary coder responsible for MTTB algorithms whereas other researchers focused on the clinical aspects of the project. By MTTB it is possible to extract several musical features from complex musical data based on MIDI information. The toolbox runs in MatLab (computer program for math and engineering sciences). By MTTB it is possible to look at musical interaction between therapist and client based on any musical features available as well as to extract the music of any of the improvisers for closer consideration again, based on any musical features available. Typical musical features for analyzing clinical improvisations are pitch, duration (of notes), pulse clarity, musical density, articulation to mention some. In this workshop we demonstrate the MTTB analysis from creating the improvisations (in a dyad simulating therapist-client interaction) to final analysis. We will ask volunteers from the audience to create improvisations in therapist and client roles.

18 A BIRD'S EYE VIEW OF WORKSHOP 1B Introducing workshop leader: BIRGITTA BURGER Dr. Birgitta Burger is postdoctoral researcher at the Centre for Interdisciplinary Music Research at the University of Jyväskylä. She is interested in the role of the body in production, perception, and understanding of music and focusses her current research on music-induced movement, synchronization, and entrainment. She is also involved in music therapy projects on post-stroke rehabilitation using active music therapy and measuring vibroacoustic treatment. MOTION CAPTURE TECHNOLOGY AND POSSIBLE THERAPEUTIC APPLICATIONS This workshop will provide an introduction into motion capture technology being used in music-related movement research. Besides getting hands-on experiences of the technology, the workshop will specifically target the use of movement in therapeutic contexts, including active music therapy in stroke rehabilitation and dance movement therapy.

19 A BIRD'S EYE VIEW OF WORKSHOP 2A Introducing workshop leaders: KALLI BANKSTON & ANDREW DANSO Kalli Bankston is a master s student in the Music, Mind, and Technology program at JYU. She holds a Bachelor s degree in Music Education from the University of Texas at Arlington. Before beginning her master s degree, Kalli was an elementary music teacher. Her research at JYU focuses on the T- Music Glove (new music technology) and its implications in the elementary music classroom. Andrew Danso is a master s student at JYU in the Music, Mind, and Technology program. He holds a Bachelor s degree in Journalism from the University of Ulster in Northern Ireland. Before beginning his master s degree, he was a sound technician and music journalist. His research at JYU focuses on the T-Music Glove and the elementary music classroom. THE MUSIC GLOVE: MUSIC TECHNOLOGY IN A SPECIAL EDUCATION SETTING What if the ability to produce different musical sounds was as easy as the touch of a finger? The T-Music Glove is a new functional prototype of a touch-based musical glove designed for music education. Sensors on the glove can be programed to different instruments, with each sensor representing a different note in the musical scale. While our study has a strong emphasis on music education, such as: (1) Is the technology easy to use? (2) Does the student feel confident in their abilities to show others how to perform with the technology? (3) Does the student require assistance from the teacher to perform? These questions address matters of autonomy for the student while performing music, general confidence of the student while performing music, and the overall wellbeing of the student in the classroom setting. We have also considered the possible therapeutic implications of the T-Music Glove such as in rehabilitation settings. During this session, we will have an open discussion about possible music therapy applications and allow participants to play the T-Music Glove.

20 A BIRD'S EYE VIEW OF WORKSHOP 2B Introducing workshop leader: OLIVIER BRABANT Olivier Brabant holds a Master s degree in Music Therapy. He is currently finishing his doctoral studies at the University of Jyväskylä, Finland. His research interests include non-ordinary states of consciousness and their therapeutic benefits, as well as the promotion of insight, creativity, and emotional regulation in music therapy through the use of methods derived from heart rate variability biofeedback. HEART RATE VARIABILITY AND RESONANCE FREQUENCY BREATHING IN Heart Rate Variability (HRV) measurements and Resonance Frequency Breathing (RFB) are two methods rarely used in either music therapy research or practice. However, they present a range of benefits that might be useful to clinicians and researchers alike. HRV is a biomarker of autonomic nervous system response that offers objective information about a client s emotional state. It therefore represents a valuable complement to traditional data collection methods such as observational or qualitative methods. As to RFB, it consists in slow breathing at around six breaths/min, which instantly reduces people s stress levels by dramatically increasing HRV. At the University of Jyväskylä, we have been testing the effects of RFB when used as a short preparatory intervention at the beginning of music therapy sessions. In this workshop, participants will learn about the potential benefits of both methods and also how to implement them.

21 A BIRD'S EYE VIEW OF WORKSHOP 3A Introducing workshop leader: ELSA CAMPBELL Elsa Campbell is a music therapy doctoral student, with a master s degree in music therapy from JYU, and an international joint degree in Music (Performance) and German from the National University of Ireland, Maynooth. Her research focuses on the area of music medicine (e.g. using music in medical contexts) for chronic pain management and mood and anxiety disorders, with particular interest in multidisciplinary approaches to health and wellbeing attainment and retention. She is also coordinator of the Vibrac Skille-Lehikoinen Centre for Vibroacoustic Therapy and Research ( which provides training for practitioners in Vibroacoustics, as well as being a focal point for international research in this field. She is also involved in other research activities relating to migration and communication. elsa.campbell@vibrac.fi VIBROACOUSTIC TREATMENT: HOW CAN WE REALLY FEEL THE MUSIC? Music is an important part of our lives. It narrates our joys and sorrows, unifies and divides us, speaks to us on a level like no other, but does how we interact with music affect the intended outcomes? Listening, playing, composing, sonification, and gaming are just some of the ways we engage in music. What if we consider music from a different viewpoint? Does going back to basics change how we interact with music? Does it give us something more? If timbre, rhythm, and melody are important in the music experience, is it less enjoyable or effective if these elements are simplified? Vibroacoustic (VA) treatment is an exploration of these questions. Music is essentially sound vibration. Low frequencies between Hz delivered through loudspeakers or transducers are shown to be effective for pain relief and relaxation, improving circulation, insomnia, range of movement, depression, and anxiety among others and is used with music listening and therapeutic interaction to achieve pre-determined goals, as in music therapy. Indeed, VA treatment is used within music therapy clinical work, as part of multidisciplinary rehabilitation, in conjunction with physiotherapy, and as a stand-alone treatment. This workshop gives a background to vibroacoustics, discusses target groups and contexts of application, and gives an opportunity to test out various VA devices and experience how one can really feel the music.

22 A BIRD'S EYE VIEW OF Introducing workshop leader: AMY CLEMENTS-CORTES WORKSHOP 3B PhD, RP, MTA, MT-BC, FAMI Assistant Professor, Music and Health Research Collaboratory, University of Toronto; Instructor and Supervisor, Wilfrid Laurier University; Academic Coordinator & Instructor, Interdisciplinary Studies, Ryerson Chang School; Music Therapist and Registered Psychotherapist. Amy has extensive clinical experience working with clients at across the life span, with a specialty in older adults, dementia and palliative care. She has authored multiple peer reviewed publications, including her new 2016 book: Voices of the Dying and Bereaved, and she has given over 100 conference and/or invited academic presentations. Amy is Past-President of the World Federation of Music Therapy (WFMT), and Managing Editor of the Music and Medicine journal. She is a past President of the Canadian Association for Music Therapists, and serves on the editorial review boards for 9 International journals. BONNY METHOD OF GUIDED IMAGERY AND MUSIC EXPERIENTIAL WORKSHOP The Bonny Method of Guided Imagery and Music (BMGIM) is the use of specially sequenced western classical music designed to stimulate and sustain a dynamic unfolding of imagery experiences. Practitioners of this method believe: imagery and music are therapeutic agents; transpersonal and psychodynamic aspects are part of therapeutic process; and expanded awareness results in major therapeutic benefits. BMGIM is based upon humanistic and transpersonal theories that emphasize the attentiveness of the individual and the influence of music on ego development. The classical music programs in the BMGIM provide structure and direction for the experience. In this process, music is the impetus that releases unconscious material such as feelings, images, and memories for use in therapy, and music is prescribed to enable the imagery process. This interactive workshop involves a brief overview of the BMGIM and experiential music listening and drawing experiences. Participants will have the opportunity to listen to, discuss and explore examples and properties of the music used in the various Bonny Method programs. Further participants will learn of music they can implement in their clinical practice on group music listening and imagery as well as the training required to become a practitioner in the method. References 1. Mardis L, Clark M. The Bonny Method Burns D, Woolrich, JW. The Bonny method of guided imagery and music. In Darrow (ed.). Introduction to approaches in music therapy. Silver Springs: American Music Therapy Association Inc.; Bonny H, Pahnke W. The use of music in psychedelic (LSD) psychotherapy. Journal of Music Therapy. 1972;9:62-87.

23 A BIRD'S EYE VIEW OF WORKSHOP 4A Introducing workshop leaders: JOUNI KETTUNEN & ESA ALA-RUONA Jouni Kettunen is a music therapist working in Finland. He is the executive director of the Eino Roiha Foundation. Esa Ala-Ruona, PhD, is a music therapist and psychotherapist working as a senior researcher at the Music Therapy Clinic for Research and Training, at University of Jyväskylä. He has more than 25 years of experience in working within psychiatry and neurology. His research interests are music therapy assessment and evaluation, and in studying musical interaction and clinical processes in improvisational psychodynamic music therapy, and furthermore the progress and outcomes of rehabilitation of stroke patients in active music therapy. Currently he is the president of the European Music Therapy Confederation. He regularly gives lectures and workshops on music therapy both nationally and internationally. A MODEL FOR STROKE REHABILITATION Active music therapy can be focused broadly to cover several different areas of functioning. The active music therapy model developed in University of Jyväskylä (MT-Stroke) aims to improve the recovery of a client in the areas of cognitive, motor and emotional functioning and performance. The model combines different structured and non-structured approaches with methods of music therapy, and is developed based on interdisciplinary and multiprofessional collaboration with neuropsychologists, neurologists, physiotherapists, and music therapy specialists. The workshop consists of presentation on the clinical model, demonstration, hands-on participation, and reflective discussion. The clinical model can be applied to different clinical and non-clinical target groups from neurological rehabilitation to preventive activity of different age groups.

24 A BIRD'S EYE VIEW OF WORKSHOP 4B Introducing workshop leaders: LIZ AVILA & AIKO ONITSUKA Clariane Liz Avila is a classically-trained singer, music teacher, and music therapist-in-training who hails from the sunny islands of the Philippines. She is currently in her final year of Music Therapy (Master's) at JYU. Aiko was inspired to be a music therapist long before her journey to Finland. Since childhood, she has lived a musical life. After receiving her Bachelors of science degree in Music Therapy from the Molloy College, she worked with children with developmental delays in early childhood settings. She is currently completing her graduate studies in Music therapy at JYU. MUSIC TOWER MUSIC TECHNOLOGICAL ENVIRONMENT FOR MUSIC EDUCATION AND BY: MIKKO MYLLYKOSKI Music Tower is a novel physical technology-assisted learning environment for music. It can be utilized in variety of musical domains, ranging from formal school music education to special music education and music therapy contexts. Music tower workshop will present different ways to utilize accessible music technology in individual and collaborative musical activities. Workshop s special focus is in creative and improvisational activities.

25 THANK YOU TO Our Sponsors! Sempre has been incredibly supportive of this year's conference. Congratulations to our three presenters who were awarded conference grants! Thank you, Sempre, for all of your support and generosity! The Finnish Society for Music Therapy (FSMT) was founded and registered in The aim of the society is to promote professional music therapy activities in Finland. An important task of FSMT is to share information about music therapy and its possibilities. The society keeps a register of trained professional music therapists in Finland, organizes national seminars and publishes a professional journal 'Musiikkiterapia' (Music Therapy). FSMT cooperates with other healthcare, social and educational organizations in Finland. The society is also a member of the World Federation of Music Therapy and the European Music Therapy Confederation, and is in contact with other music therapy organizations all over the world. We are pleased to support the Nordic Music Therapy Student Conference because we want to encourage music therapy students and young professionals to build up international networks, along with gaining up-to-date information about different subjects on music therapy. More information about FSMT online:

26 THANK YOU TO our supporters! Conference Committee Members Mikaela Leandertz, Molly Rastin, Liz Avila, Aiko Onitsuka, Emilija Puskunigyté, Nara Galimova, Veronika Kállai & Anne Takamäki Coordinator & Supervisors Markku Pöyhönen, Esa Ala-Ruona & Jaakko Erkkilä Keynote Speakers Amy Clements-Cortes, Jos de Backer, Katrien Foubert & Marko Punkanen Contributors Sami Tynys, Safa Solati, Birgitta Burger, Martin Hartmann, Kalli Bankston, Andrew Danso, Olivier Brabant, Emily Carlson, Oda Bjørke Dypvik, Mara Bindewald, Elsa Campbell, Jouni Kettunen, Mikko Myllykoski Logo Design Quincy Garry Without all of you, this conference would not have happened. Thank you for your creativity, time, collaboration, and dedication. see you next year!