JOURNAL

OF

MUSIC
THERAPY

Volume I

Number

March 1964

CONTENTS

ARTICLEs
The Aesthetic Experience andE Thayer Gaston
Biological Man
.._........._....._.......
.............._- _.._...______.._.
Psychological Man _._............_....................................................
Kate Hevner Mueller
Sociological Man _...............................................................................
John H. Mueller
Special Education for the Emotionally Disturbed
Annamary Wilson
Child
NOTESANDCOMMENTS
Chamber Music-Proposed as a Therapeutic
Delight Lewis
Medium
DEPARTMENTS
The Authors
Announcements
Professional Opportunities
Association Activities
MEMBERSHIPDirectory 1963-1964

1
8
11
16
19
7
10
15
30
21

EDITOR
WILLIaM W. Sears, PH.D.
School of Music, Indiana University
Bloomington, Indiana, 47405
EDITORIAL

COMMITTEE

RUTH BOXBERGer PH.D.

School of Music, Ohio University

Charles

Athens,Ohio

Music Education,University of Kansas

Lawrence,Kansas

LEO C. MusKATEVC
Milwaukee Co. Mental Health Center
Milwaukee, Wisconsin

DOROTHY TWENTE SOMMER

1406 Spruce Street
Davis, California

BRASWELL

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Journal

of

VOL. 1

Music

Therapy

MARCH, 1964

THE AESTHETIC

EXPERIENCE

AND

No. 1

BIOLOGICAL

MAN*

E. THAYER GASTON
University of Kansas
NE of the most important developments
of modern science has been the inter
disciplinary
approach to problems, both ex
ploratory 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 famil
iar, eschewing
strange orientations,
even
though such orientations may be well-estab
lished sciences. In clinging to the familiar we
deprive ourselves of adventure, new insights,
new knowledges, the thrill of added perspec
tives, and we stunt our professional growth.
To participate
in this panel, this three
pronged probing of the mystery of aesthetics,
seemed to me, as I prepared my part, an ex
citing 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 pre

sented as portions of a program panel on The Aes
thetic Experience at the Fourteenth Annual Confer
encc 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 es
sential of human nature and the need for them
is physiological

and universal.

However much I may try to speak of bio

logical 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 sci
ences2 Dobzhansky says, Culture arose and
developed in the human evolutionary sequence
hand in hand with the genetic basis which
made it possible.3 Mans genetic system, the
human social situation, and mans interbe
havior are inextricably
hound always, even
in patients of music therapists.
Before proceeding to the discussion of bio
logical man, it is necessary to speak briefly of
aesthetics and aesthetic experience. The word
aesthetics ordinarily has a philosophical con
notation, and I would emphasize that the cm
trality of philosophical
aesthetics is theory.
In
order not to be thus bound, I propose a def
Third New Interna
inition from Websters
Dictionary:
tional
Aesthetics, the science
whose subject matter is the description and
explanation of the arts, artistic phenomena,
and aesthetic experience, and includes psy
chology, sociology, ethnology
. and essen
tially 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 learn
ing 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 in
spire pride.8 Sigmund Koch in an invited
address before the American psychological as
sociation 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 philo
sophical method in dealing with aesthetics is
theory.
We shall see that there is much dis
agreement. (Practically all of our formal de
scriptions and explanations of aesthetic experi
ence commonly used have their origin in phi
losophy.) 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 con
sidered an expression. French classicism often
turned art into arithmetical problems. Ger
man romanticism went to the opposite ex
treme: 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 emo
tions. Art is the most sublime form of playSchiller. Art for arts sake? Maritain answers
that all art begins for functional reasons and
is a value of the practical intellect. Croce
art is intuition.
Kahler-art
searches for
wider, deeper knowledge. Hanslick-music
is
pure sound in motion.10
2

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 dis
covery.
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 prin
ciples 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 crea
tures, 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 con
nected 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, approxi
mately 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
JOURNAL

OF

MUSIC

THERAPY

uniqueness among all animals of the mother

child 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
The system of genes which has permitted the de so well developed neurologically
at birth, and
velopment of the specifically human mental capa thus genetic factors, along with other factors,
cities has thus becomethe foundation and the para
mount influence in all subsequent evolution of the freed Australopithecus scores of thousands of
years ago from blind instinct, and gave the
human stock.
mother time, freedom, and protection to teach
Several examples must suffice to show the her child, and the child, time to learn.19
importance of mans genetic equipment. Sup
It is difficult to imagine the influence on
pression of rage is an essential for the forma
heredity, by selection, of prolonged infant
tion of society. This is primarily due to the helplessness.
development of a cortex sufficiently large to
And yet it is this helplessness and prolonged de
control the autonomic system, a much older
pendence on the ministrations of the parents and
neurological system than the cerebrum or COr
other persons that favors in man the socialization
tex. Washburn
and Etkin18 point out the
and learning processon which the transmission of
culture wholly depends.20
role of the cortex in the control of autonomic
function.
In all that has been said about the genetic
An equally important aspect of the develop
development of man, remember first of all
ment of biological man was the development
that,
of new patterns of sex, mating, care of the
Progressive evolution of behavior in the animal
young, all accompanied by selection gradually
world has led to the interposing of more and more
altering the genetic, but, of course, in the
nervous or neural processesbetween the stimuli ar
absence of culture. There is little or no sexual
riving from the environment and the organisms re
periodism in man and the great apes. Thus,
sponsesto them21
sexual ties form a bond which provides for a
biological basis for long family ties. The fe This immense complex of neuronal pathways
male can be receptive through the whole es makes possible the biological basis for aes
thetic experience. And thus, mankind becomes
trous cycle and the male is continually potent.
species closely related,
In man, there is only slight evidence, if any, a single, polytypical
and chiefly distinguished,
by a greatly de
of cyclic influence.
Thus we see the long step taken from other
veloped cerebrum containing twelve to thir
animals. By his genetic equipment, man is teen billion neurons, making possible articu
freed from the tyrant, instinct. The female
late speech, abstract thinking,
verbal and
rat, on the contrary, is driven to accept any mathematical communication, and, as will be
male during the several hours of her estrous, shown, significant nonverbal communication
but there the matter ends and from then on in the form of music.
Our senses make possible the enrichment of
the responsibility
is hers. Not so with the
primates and man. By reduction of perio
our life and the world around us. The out
dicity, the female remains attractive to the side world-the
world perceived by the senses
male. Thus the cortical rather than the en -is the source of all that a form of life [man]
docrine becomes the controlling factor.
is and does, thinks and feels.* By the end
of the third week after conception the ecto
From and with this freeing from instinct
comes sexual dimorphism, i.e., difference and derm of the embryo has formed, and it is from
size in sexes. Now the male stays with the this that the organs of the exterior senses de
female, and division of labor occurs. This re velop. This will he important to remember
when the reality of music or other arts is con
lationship between male and female modifies
aggressive behavior and causes much more sidered. Our world is made incomparably rich
communication. All of this allows that primate
by the greater development of our sense or
man from some such tool-using animal, Aus
tralopithecus, whose fossil remains and tools
have received so much attention recently. Be
cause it may be thought that I am moving to
a discussion of culture rather than biological
man, I remind you in the words of Dobzhan
sky and Montagu16 that,

MARCH,

1964

gans along with that marvelous and mysterious

agency, the central nervous system, which re
ceives 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 de
velopment by early sensory deprivation.
Not only does sensory deprivation stunt de
velopment in young animals, but the effect of
sensory deprivation
dramatically
alters the
electroencephalographic
pattern
of young
adults.24 Permanent chemical changes are al
so a result of such deprivation.
Deprivation
of auditory stimuli or visual stimuli has been
known to have deleterious results on intellec
tual and perceptual processes, but now it has
been shown that tactile-kinesthetic
reduction
has similar effects, but not as serious as audi
tory 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 con
verts stimuli into sensations and then into
memories. Mammals are greatly alike in their
embryological, neonatal, and organic develop
ment. 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 in
stantaneously. Such reversals may take place
at the rate of approximately 1,000 per second.
Sir Charles Sherrington described neural im
pulses 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 trans
missions 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 pos
sible homeostasis most of the time. Many
drugs are prescribed for their effect on this
system. This is the old brain which, e.g., de
termines 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 de
scribed.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 beau
tiful 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 reli
gions 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
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THERAPY

like any other young mammal. Although con

structs are generally considered cognitive, I
suggest that there are neural constructs.
and infants up to the age of eighteen months
or so arc mentally not much superior to chimpan
zeesof the sameage; only when they start learning
to speak do they rapidly out-distance and leave
far behind their simian contemporaries.29
Babies

So man becomes human by progressing to

the level of articulate speech, abstract think
ing, 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 ex
emplified in music and other arts. Encom
passing some, if not all of these feelings, val
ues, 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 human
ness, 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 un
derstand.
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 sat
isfies 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 What
ever his sense of hearing brought to him, it
became the foundation from which he con
structed 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.
for somesort of aesthetic expressionand for
escapesfrom reality seemuniversal and each of the
various cultural lines has developed its own solu
tions and has set its awn goals.32
Needs

MARCH,

1964

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 dec
orated; he has made beauty. Murphy has ex
plained 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 con
structs 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 adap
tation to life. And, it may well be that aes
thetic 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 appar
ent 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 sig
nificance 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 cul
tures 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.

each musical experience is brought the sum of

an individuals attitudes, beliefs, prejudices, con
ditionings 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 endocrinological
systemswith their distinctive
attributes. He brings, in all of this, his total
entity as a unique individual. ...35
To

The outstanding
his individuality.36

characteristic

of man

is

This continuing empha

sis of Allport leads him to comment on the
place of art and science in the human con
tinuum.
In the human germ cell are 46, not 48,
5

chromosomes, each of which contains approxi

mately 30,000 genes. Reduction fission pro
duces 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 ex
ception of identical twins).
There are also
remarkable
variabilities
of the endocrine
glands in different
individuals,
and pro
nounced morphological differences in nervous
systems. Every human being is, then, the
carrier of a unique genotype.37
Thus, says Allport, we all differ in thou
sands 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. Individual
ity 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 individ
uality to art.39 For example, thirty chemists
are given the materials to produce grain alco
hol, 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 po
tentials. 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 nomo
thetic 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, develop
ing, and achieving. Our nonverbal awareness
is as much a part of us as the verbal or mathe
matical. 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
6

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 ap
proaches if we are to understand the influ
ence 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,
New York:

Pattern and growth in Personality.

Holt, Rinehart, and Winston, 1961,

p 397.
2. J. P. Scott, Animal Behavior. Chicago: Univer
sity of Chicago Press, 1958, p. v.
3. Theodosius Dobzhansky, Mankind Evolving. New
Haven: Yale University Press, 1962, p. 75.
4. S. S. Stevens (Ed.), Handbook of Experimental
Psychology. New York: John Wiley and
Sons, 1951, p. 991.
S. Larsen, Bibliography
of Research
5. William
Studies in Music Education, 1949-1956, Jour
nal of Research in Music Education, 5:2 (Fall),
1951, p. 150.
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.
10. Morris Weitz, Problems in Aesthetics. New York:
Macmillan, 1959.
11. Susanne K. Langer (Ed.), Reflections on Art.
(Paperback) New York: Oxford University
Press, 1961, p. xii.
12. Herbert Wendt, The Road to Man. Garden City:
Doubleday, 1959, p. 8.
13. Dobzhansky, op. cit., p. 167.
14. G. G. Simpson, Biology and the Nature of Sci
ence, Science, 139:3550 (January), 1963, p.
87.
15. S. L. Washburn, Tools

and Human Evolution,

Scientific American, 203:3 (September), 1960,
pp, 63-75.

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16. M. F. A. Montagu and Theodosius Dobzhansky,

17.

18.
19.
20.
21.
22.
23.
24.

25.
26.
27.

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
Mans Mental Faculties, The American Nat
uralist, 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. Phila
delphia: W. B. Saunders, 1958, pp. 116-120.
G. P. Zubek and L. Wilgosh, Prolonged Immo
bilization of the Body: Changes in Perform
ance and in the Electroencephalogram, Sci
ence, 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 Univer
sity Press, 1920.

28. H. W. Magoun, Non-Specific Brain Mecha

nisms, in H. T. Harlow and C. N. Woolsey
(Eds.), Biological and Biochemical Bases of
Behavior. Madison: University of Wisconsin
Press, 1958, pp. 25-36.
29. Michael Polanyi, The Study of Man. Chicago:
University of Chicago Press, 1958, p. 14.
New
30. Gardner Murphy, Human Potentialities.
York: Basic Books, 1958, p. 33.
31. E. T. Gaston, Factors Contributing to Responses
to Music, Music Therapy 1.957. Lawrence,
Kansas: The Allen Press, 1958, p, 24.
32. Ralph Linton, The Tree of Culture. NeW York:
Alfred A. Knopf, 1955, pp. vi-vii.
33. Murphy, op. cit., p. 34.
34. Simpson, op. cit., pp. 81-88.
35. Gaston. op. cit.. p. 25.
36. Allport, op. cit., p. 4.
37. Theodosius Dobzhansky, The Biological Basis of
Freedom. New York: Columbia University
Press, 1956, p. 56.
38. Allport, op. cit., pp. 8-9.
39. Ibid., p. 11.
40. Ernst Cassirer, An Essay on Man. New Haven:
Yale University Press, 1944.
41. Dobzhansky (1956), op. cit., p, 319.
42. 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 Commit
tee, 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 Aes
thetic 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

MARCH,

1964

ination testing, etc. She is Professor of Education,

Indiana University, Bloomington,
JOHN H. MUELLER, PH.D. (The Aesthetic Ex
perience 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
MusicProposed as a Therapeutic
Medium)
is Music
Therapist
at the Childrens
Center, Hamden,
Connecticut.

THE AESTHETIC

EXPERIENCE
KATE

PSYCHOLOGICAL

MAN

HEVNER MUELLER
Indiana University

HE better the instruments we devise for

studying man, the more complex we find
man to be. An experiment which establishes
a new hypothesis, i.e., about learning, is soon
followed
by numerous other experiments
which analyze the many special cases, excep
tions, and limitations which must be applied
to it. In fact, the very worth of any hypothesis
is measured by the number of future hypoth
eses and experiments it will spawn. So, as
research teaches us more about mans aesthetic
experience, we are dismayed by the complexity and the richness which every experiment
discloses.
The enjoyment of music is included in what
the psychologist calls the higher thought proc
esses, along with thinking, judging, imagining,
creating; and it takes place in what the layman
calls his brain, or gray matter, but what the
psychologist specifies as a certain area in the
cerebral cortex. Formerly we conceived of
these areas as the central switchboard for a
huge telephone system, receiving raw sensa
tions, organizing them into larger and mean
ingful wholes called perceptions, and some
how abstracting them into concepts which
could be called up to consciousness at will,
even when there were no sensations coming
in from the outside to set the process going.
To expedite these thinking, decision-making,
enjoyment activities throughout a lifetime of
practice, each man becomes especially adept
at condensing and manipulating his own per
sonal symbols. One tiny symbol can be packed
so full of past experience that, in a flash, it
will present to the mind a full realization of
some event, or of some quality that runs
through many events, i.e., through a whole
series of musical compositions. Thus we can
think not only of a single Mozart minuet, but
of Mozarts style in general, his rhythms, or
chestration, or even of his total contribution
to musical thought. We have also found a
way of apprehending less concrete experience.
We can think of such abstractions as tender
ness, history,
growth,
mental illness,
therapy.
In the 1960s we no longer explain the cere
bral cortex as a central switchboard for re
8

AND

ceiving, coordinating, and sending out mes

sages; we now think of it as the most complex
of electric computers with a transistor type of
mechanism and control. A computer of com
parable capacity to one human brain, we are
told, would occupy a space five times as large
as the Washington Pentagon, and it is, of
course, never turned off. It constantly re
ceives, even in sleep, stores up, reviews, ab
stracts, and practices its various patterns of
actions.
Incomplete and tentative as these new ex
planations may be, psychological
aesthetics
cannot go on explaining the aesthetic experience in a now extinct vocabulary.
We now
know that neural tissue is natively and per
sistently active, with its own characteristic
rhythms or synchronies of firing sequences
which can be recorded on the electroencepha
lograph for the infant at the very moment of
birth. These are large, slow waves similar to
those of the adult during sleep. These
rhythms, or patterns, which form a basic sub
stratum of neural activity,
are constantly
broken into by sensory activity associated from
outside stimuli.
Instead of supporting the
rhythmic, long, slow waves already discharg
ing themselves, such sensory activity has the
opposite effect. It breaks up the established
firing sequences and gradually changes them
throughout
life in the long, never-ending
learning process. It is this give and take of
the action patterns which makes for normal,
coordinated, adaptive activities. New learning
is a function of preexistent learning, and all
the higher thought processes at maturity have
been permanently
influenced
by childhood
experience.
Any one concept, therefore, a thought or
an idea, is not a static thing, but an action
pattern, a firing sequence of nerve cells, al
ready set up and organized for action around
a central core the activity of which dominates
in arousing the system as a whole. In human
beings, this central core is commonly verbal,
but not necessarily so, and therefore much
mental activity at the conceptual level is unverbalized, unreportable
(and so unconsci
ous), in human thought. This fringe con
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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 activi
ties,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 im
portance 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 develop
ment 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 organiza
tion, which could occur in several ways: the oc
currance of incompatible phase sequences; the
absence of a sensory facilitation that has always
contributed to the phase sequence; pain stimula
tion that can be supposed to he innately disruptive
of cortical activity
; and chemical change of
the blood content, altering the rate of firing of in
dividual neurons and so disrupting a cortical or
ganization 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 in

teraction between (1) the hypersynchronies
or firing sequences, as they are inherited and
modified and stabilized in ones personality
by his learning, and (2) the flow of sensory
stimulus-response
activity with always new
firing sequences, which impinge from the out
side. It is the conflict aroused by the inter
change 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 ap
plied science, proceeding on the simple em
pirical evidence of what results our methods
produce. Behind our more superficial but use
ful operations stands the basic science which
deals with physiological causes and psycholog
ical explanations.
Just as we can take our
aspirin and enjoy the relief from headache
without the chemists 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 prin
ciples 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 psy
chology knows about physiological structures,
human personalities, and the relation between
the two.
Hebbs thesis holds that any concept is a
system of reactions centering around a core,
but with a fringe area of action which is prob
ably 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. Pre
vious patterns which we call habits are of
importance beyond all comprehension.
The
plot of your EEG receiving pattern for sona
ta would be different from mine in every de
tail, 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 pat
tern or mine may also be smoothed or ruffled
by the blood chemistries which are the em
bodiments of our two individual
tempera
ments. And our emotions, according to Hebb,
9

arise from the resolution

or disruption
occur
ring 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 con
cepts 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 pres
ent in all, but the individual
differences
in its
development
run unlimited
gamuts in a dozen

different
dimensions.
Therapeutic
or experi
mental groups represent
all the hundreds
of
stages of ability in receiving,
comprehending,
and growing in musical experience.
In count
ing 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. Never
theless, 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 dend
lines 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 Scholar
ship in Music Therapy.
It is open to a high
school senior or college freshman or sophomore
who wishes to study music therapy at an ac
credited 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 applica
tions is also May 15, 1964, and should be re
ceived 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 Of
fice. 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 coop
eration is requested.
10

STUDY

CONFERENCE-ENGLAND

A Study Conference on Music and Handi

capped 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 cor
respondence 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 year
books of NAMT, are available at the reduced
price of four dollars ($4.00), postpaid, per vol
ume. 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 pre
viously 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

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THERAPY

THE AESTHETIC

EXPERIENCE

AND

SOCIOLOGICAL

MAN

JOHN H. MUELLER
IndianaUniversity

HE 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 re
main in our heritage. And, if we view in a
more detailed manner its cumulating history
-its forms, its social functions, the concep
tions of its essence and nature, the conditions
under which it thrived, prospered, or degen
erated-the
manifold character of music be
comes the more evident. Thus, in some cul
tures, music was venerated as a form of com
munication with God, even though it might
not have been universally agreed whether in
strumental 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 de
clared that music was an innocent luxury, un
necessary indeed, to our existence, but a great
improvement and gratification to our sense of
The 19th century of romanticism
hearing.
produced a sort of revival of the mystic, super
natural conception of music which was equiv
alent to truth, of which beauty was its mun
dane representation.
Today, we not only cultivate the historical
remnants, the legacy of the past, but have in
vented new vehicles, new conceptions of or
ganized sound, new sonorities, new instru
ments, 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 sev
eral centuries, they were not musically hos
tile, 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 be
come accustomed, and even considers nor
mal and natural.
During the current century, however, this
tonal system has burst at the seams, or has be
come exhausted, according to certain re
formers, so as to make the next stage in mu
sical evolution emancipated of the traditional
concept of tonality, without the psychological
base to which musical patterns were once ex
pected 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 con
ventional musical world during the last sev
eral 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 serial
ism 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 emancipa
tion from the control and restrictions of pre
vious 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 pro
duced 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 mu
sique concrete were the results of these experi
ments. Again, to obtain freedom from the se
quences of tonality and the strictures of serial
techniques, why not depend on pure chance
for the succession of tones? This is the alea
tory conception of musical pattern-or,
rather,
nonpattern-the
best known exponent of
which is, of course, John Cage. This is non
teleological 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. Accord
ing to the crisis theory of thought, conflicting
trends are the natural impetus to critical
thinking, which is not the case in a homogene
ous, provincial
environment.
Both musico
logical 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 se
lected few of the dogmatisms which have been
accepted in the past, and still prevail in many
quarters, and which tend to inhibit the solu
tion 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 prop
ositions 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 cen
tury, 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 mysteri
ous, and (2) that insofar as it is truly mysteri
ous, it is no more, nor less, so than is science
or any other aspect of life which we are at
tempting to employ for our human purposes.
12

The original romantic inference was, of course,

that its mystery characterized music, in con
tradistinction to science and other rational as
pects of life, and that the musician, in his in
spiration, was essentially concerned with a
different realm of life than was the scientist.
But biologists, for example, are likewise mys
tified 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 con
scious of the mysticism which lurks in his
test tube; rather, he proceeds with the materi
als at hand and experiments in a most irrever
ant manner.
In recent years we have also been proceed
ing 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 re
flection 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, experi
enced in the contemplation of a work of art,
is a consummatory experience, while the ex
periment 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 emo
tion, 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
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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 re
action 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 in
tensity, is a reflection of his personal biog
raphy.
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 asso
ciation with a previous emotion-producing
epi
sode. But, here we intend merely to empha
size the relativity of the experience.
Myth No. 3. The ethos of music. Ever since
the Greeks of antiquity, it has been held in
termittently
until the present day that there
was an intimate relation between the beauti
ful and the good. Translating that into the
present argument, the cultivation
of music
should be considered as more than mere en
tertainment; it should also exert an ethical in
fluence upon behavior. This was a particu
larly strong plank in the platform of the ro
manticists 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 com
munion
...oneof the most important moral func
tions of music, that of weaning people from low
and demoralizing pleasures.
the best way to
eradicate savage impulses.
If such perform
ances of both sacred and secular music were more
frequent, WC should have less drunkenness, less
wife-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 con
vincing without a control group, for her group
had probably studied not much else, either.
We do not intend to deny the possibly salu
tary 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 func
tions, and nature, does not correspond to our
concert system of today which is a develop
ment of the last two centuries or less.
Music is not a monistic entity, but for our
purposes we have found it necessary to clas
sify music into several subsystems. I have two
distinct types (ideal types) selected for dis
cussion. These are not musical, but funda
mentally social categories.
(1) Formalistic music is roughly equivalent
to the music that serves our Western concert
system. Its function is entertainment,
how
ever 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, pas
sionate 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 Beetho
vens V, Tschaikowskys VI, and Brahms I.
This formal category of music was relatively
rare among the primitives, and relatively un
known to the Greeks as we know them. It
thrived in the court system of the 18th and
19th centuries and thrives today. And con
trary to the declaration of many music educa
tors who decry the entertainment function of
music, such music does not have a moral effect
upon the audience. Listening to Schoenbergs
Five Pieces, Schumanns IV, or quartets of
Mozart or Haydn, or even Beethoven, does not
13

enhance the human propensity toward high,

ethical behavior.
(2) This presumable moral function is taken
care of in my second category, which we have
labeled institutional
music. Such music is
affiliated with, and shares its functions with,
a social institution:
the church, the nation,
the military, and civic and social enterprises,
such as found among the preliterates, the
Greeks, and to a lesser extent among us mod
erns. In interpretation,
harmonization, or re
composition of our national anthems, religious
Hymns, or other ceremonially employed mu
sic, we do not seek novelty.
When the Greeks attached an ethos to
music, they were definitely referring to their
civic theatre and their ethnic interests. Bach
wrote his Passions for the Glory of God.
They were intended not as a concert, but dis
tinctly and expressly as an act of worship. I
also realize that certain Christian denomina
tions, in their church services, come close to
entertainment and concert music occasionally;
but that merely means that the church itself
is weakening in its original moral function.
Under such circumstances, I would expect a
dilution in the social fervor of its music.
Myth No. 4. Fidelity to the Composers In
tention. The contemporary ideal of musical
performance is to seek the intention of the
composer and then to adhere to it. This is
today a well-established convention, of which
every musician is aware, and has been exem
plified principally
in the performances of
Arturo Toscanini. There are many, however,
who are not aware that this is only a conven
tion, characteristic of our century, and is a
quite significant departure from the romantic traditions
established during the 19th
century.
Very briefly, we may classify these devia
tions from the text in about four categories,
such as were practiced during the 19th cen
tury: (1) Improvement in the musical com
position, of which Mendelssohns Accompani
ment to the Bach Chaconne would be an ex
ample. Schumann reports that Mendelssohn
entwined the Chaconne in all kinds of
voices and passages which was a pleasure to
listen to
It is quite probable that Bach
himself imagined the work in much the same
manner.? (2) Arrangements
for other in
struments than the ones specified by the corn
14

poser. Thus, Liszt arranged some of the Bee

thoven symphonies for piano which he played
at his own concerts. Busoni arranged the
Chaconne for piano, and Brahms arranged the
same item for the left hand alone for his good
friend Clara Schumann. The Stokowski ar
rangements of Bach are well known to Amer
ican audiences and have aroused ridicule and
resentment among American
critics.
(3)
Mutilation
and other liberties.
Liszt em
broidered the first movement of the Moon
light Sonata with trills and rolls. Symphonies
were dismembered and cuts were freely made
in various compositions. Virtuoso embellishments were made for public effect, very much
as did the opera singers. (4) Interpretive
liberties. Freedom was taken with tempo and
nuances. Strauss reports that Bulow often began a scherzo slowly and only gradually
worked it up to tempo; he took three repeti
tions of the Scherzo of the Seventh Sym
phony a little faster each time. Some of the
greatest conductors-Bulow,
Wagner, Nik
isch-would
be laughed off the stage today for
their capricious interpretations.
A long essay could be written on this gen
eral topic, for it is not subject to offhand interpretation
that the previous century was
entirely wrong. We cannot make our own
standards retroactive.
It does suggest, how
ever, that music is made for man, not man for
music. The most blatant liberties have been
taken by the very idolators of the composers
whom they mishandled. No one would take
second place to Schumann and Mendelssohn
in their adoration for Bach-and yet they per
formed in a manner not countenanced today.
With reference to the issues which applied
music is likely to encounter, i.e., music used
not so much for stiff concert purposes, but for
therapeutic objectives, we may suggest that
the present theory and practice of literal fidel
ity to the score of the composer might seem
too squeamish and fastidious, and even in
effective. The practice of reproducing older
music, for example, baroque compositions, in
the manner of its day, with ancient instru
ments and interpretations, has been seriously
questioned by competent conductors. Perhaps
applications of music, such as for therapeutic
purposes, might also be made more efficacious
by prudent liberties in the performances of
appropriate music.8
JOURNAL

OF

MUSIC

THERAPY

REFERENCES

1. Charles Burney. A General History of Music from

the Earliest Ages to the Present Period, 2 vols.
New York: Harcourt, Brace, 1935, Vol. I, p.
21.
2. Leonard B. Meyers, Emotion and Meaning in
Music. Chicago: University of Chicago Press,
1956.
3. Leonard B. Meyers, Meaning in Music and In
formation Theory, Journal of Aesthetic and Art
Criticism, 15:4 (June) 1957, pp. 412-424.
4. John H. Mueller, The American Symphony Or
chestra, A Social History of Musical Taste.
Bloomington: Indiana, University Press, 1951,
chap. 7, p. 388 ff.

PROFESSIONAL
Place-State

OPPORTUNITIES

Hospital

Classification-Music

No. 1, Fulton, Missouri

Therapist I (RMT)
to $5,376, starting salary based

Salary-$4,428
on experience
Contact-James
C. Moore,
Music Therapy

RMT,

Director

of

Place-Dr.
Norman Beatty Memorial Hospital,
Westville, Indiana
Classification-Music
Therapist X
Salary-$405
per month, starting
Contact-Vernon
C. Brown, Director of Music
Therapy
Remarks-Male
therapist, for maximum security section of hospital
Place-Richmond
State Hospital, Richmond, In
diana
Classification-Music
Therapist
Salary-$4,260,
starting
Contact-Pauline
Marker, RMT, Director of
Music Therapy
Remarks-Must
have Bachelors degree. Hous
ing, meals, and laundry available for $25/mo.
4100
Place-Veterans
Administration
Center,
West 3rd Street, Dayton, Ohio
Classification-Music
Salary-none
specified
Contact-Dr.
Leo Rosenberg, Chief, Physical
Medicine and Rehabilitation

MARCH,

1964

5. Henry T. 1Finck, Music and Morals, Chopin and

Other Essays. New York: Charles Scribner and
Sons, 1910, pp. 143-182; John H. Mueller, Mu
sic and Education-A
Sociological Approach,
Basic Concepts in Music Education. (Nelson B.
Henry, Ed,) Chicago: University of Chicago
Press, 1958, p. 112 ff.
6. Olga Samaroff Stokowski, The Laymans Music
Book. New York: Norton, 1935, p. 62-64.
7. Robert Schumann, Gesammelte Schriften uber
Musik und Musiker (Gustav Jensen, Ed.) Vol.
II, 4th ed. Leipzig: Carl Baedecker, 1891, pp.
254 and 524; Richard Strauss, Betrachtungen
und Erinnerungen (Willi Schuh, Ed.). Zurich:
Alantis Verlag, 1949, pp. 58-59.
8. Mueller (1951), op. cit., p. 323 ff.

Place-Mendota
State Hospital, 301 Troy Avenue,
Madison 4, Wisconsin
Classification-Music
Therapist
(male)
Salary-not
specified
Contact-Ed
Karpowicz. Director. Recreational
Therapy Department
Place-Athens
State Hospital, Athens, Ohio
Classification-Music
Therapist
Salary-based
on training and experience
Contact-Charlotte
Cox, Coordinator
of Ac
tivities Therapies
Remarks-position
begins immediately

Place-Boys Training School, 400 N. Pennsyl

vania 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

supervisor

Remarks-requires

Bachelor's degree, Michigan

teaching certificate, and other

Place-Milledgeville
State Hospital, Milledgeville,
Georgia
Classification-Music
Therapist
Salary-$4,452
to $5,172
Contact-Herbert
P. Goldsmith, RMT, Director
of Music Therapy

15

SPECIAL

EDUCATION

FOR THE EMOTIONALLY

DISTURBED

CHILD*

ANNAMARY

WILSON
Columbus State Hospital

LENWOOD
School at Columbus State
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 three
fourths of the children in the school are day
care patients; the other fourth are hospitalized.
At the present time the enrollment
totals 45
students with six teachers, a principal, a secre
tary, and a full-time attendant.
The school serves a dual administration:
Columbus Public Schools and Columbus State
Hospital. A general breakdown of the admin
istrative 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, jani
torial service, and psychiatric aid, i.e., med
ication, 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 Co
lumbus Public Schools. Upon recommenda
tion, he is screened, which is a process in
volving interview by both hospital and school
personnel. During this time he is tested for
school placement, and a psychiatric evalua
tion is made. The school does not accept chil
dren who are mentally retarded or who are
severely brain damaged; in these cases other
institutions are recommended which are de

signed more specifically for these handicaps.

Before a child is entered, a prescription con
taining
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 deter
mined, and the student may be placed in a
weekly psychotherapy group, or he may be
scheduled for individual therapy with a psy
chiatrist. 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 pre
scription from ward doctors. Because there
are no adolescent wards, information concern
ing the school routine is sent to ward attend
ants, and the patients daily schedule of meals,
therapy, clinics, etc. usually has to be rear
ranged. The school attendant takes care of
picking up patients from wards, and he as
sumes the responsibility
of school and ward
communications as well as the administration
of medication for all students. While this dis
turbance in hospital routine for a few scattered
patients can be very upsetting to hospital per
sonnel, the existence of the school made it
possible to put many of the hospitalized ado
lescents 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 prob
lems they produced as a group. It also meant
that hospital staff had to be used for lunch
supervision; however, responsibility
for ado
lescents in the intensive treatment areas was
lifted. Prior to the establishment of the school,
adolescent antics and cliques were becom
ing quite a burden, since the adolescent popu
lation 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.

* Presented at the Fourteenth Annual Conference

of The National Association for Music Therapy,
Bloomington, Indiana, October 16-19, 1963.

The school structure is based on an aca

demic curriculum, serving grades 1-12. Each

16

curriculum

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 in
tellectually retarded, hut who are education
The junior and senior high
ally retarded.
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. Standard
ized textbooks are used. If the student is tak
ing 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 mod
ified 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 activ
ities 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 unani
mous in its belief that education is therapy for
these children; finding success in school is
usually a foreign experience to them. Cau
tion 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 prog
ress and accomplishments. This is a most deli
cate 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 impor

tant area in that these children need an activ
ity designed to alleviate hyperactivity
and ag
gression. Another obvious problem is their in
ability 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 defin
itely notable and profitable benefits.
Field trips are used as often as possible in
conjunction with all classes. They are suc
cessful 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 gal
leries, Indian caves, and musical shows. A les
son 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 after
noon structure can become more flexible.
Music, drama, and art are excellent media
for the exercise of group teamwork and con
trol, at the same time allowing more freedom
of choice and direction on the part of the stu
dents. The combination of these activities in
musical productions for holidays and assem
blies 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 produc
tion. 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 fac
tors, music in the school is also used with
some students in a firm academic structure. At
this time, individual instruction in various in
struments 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 direc

tion; included in these sessions, periodically,
are Hootenannys, featuring guests from vari
ous sources.
The high school curriculum includes a spe
cial drama class for ninth and tenth grade stu
dents. This class emphasizes elements of dra
ma, and it also provides an excellent oppor
tunity for role playing. It has become an in
teresting experimental area; often staff mem
bers 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 re
sponsibility for plot, scenery, lines, and action
in the hands of the students. In the production
of plays for performance, the teacher then as
sumes 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 inde
pendence and leadership as well as of organ
ization.
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 accomplish
ments 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

18

of effective

control with dis

turbed children is always present and cannot

he underrated as a deciding factor in the suc
cess 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 cer
tain basic conditions that have been found to
be essential as a framework for good control:
1. The students must be properly medi
cated, and a psychiatrist is needed for con
sultation at any time during the day.
2. The structure of a school building can
produce a great deal of control. For exam
ple, 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 chil
dren 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 predeter
mined 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 cer
tain 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
con
trolled environment. Through such a dual ad
ministration, 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.

JOURNAL

OF

MUSIC

THERAPY

NOTES AND
CHAMBER

MUSIC-PROPOSED

COMMENTS
AS A THERAPEUTIC

MEDIUM

DELIGHT LEWIS
Childrens 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 veri
fiable 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 Hos
pital. 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 Depart
ment present. A collection of assorted music
provided from private libraries of volunteers and
therapist-was
produced each week, and music
was selected to suit the instrumentalists
in at
tendance 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 re
hearsal were suggested, that is, no more than
those of any small group of serious musicians play
ing 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 accord
ing 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 DIndy.
Probably the most rewarding ses
sion was a reading of Mozarts 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 moveMARCH,

1964

ment at the same time.) It is not an exaggeration

to say that, no matter how shaky the overall en
semble of the group under consideration might
have been, this occurred at least once every ses
sion.
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 hos
pitalization,
and, after extensive individual
work
by a former member of the Music Therapy De
partment, was willing to play the same solos any
where, 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 con
sciously tried to adjust his part to the production
of the general ensemble. And, he watched every
one 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 countrys out
standing symphony orchestras, not so much as
with his own careful musicality (even on the ex
tremely 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 be
cause the activity itself demanded casual informal
ity, The second man came most of the time, be
cause 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 mem
bership.
As mentioned previously, the outside atmos
phere was stressed whenever possible. The volun
teers, people whom the patients knew were not
there merely because they were paid to be, helped
greatly in this respect. Sensible utilization of vol
unteer 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 mu
sic was, in this instance, used as a social ice
breaker, 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 dis
cussions after the patients had left provided fur
ther 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 nor
mal 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 ac
tivity 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, par
ticularly
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-to
be-renewed concept of how hard and how care
fully one must work to produce good music. This,

of course, does not negate the need for the above

mentioned activities, or say that good musician
ship 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 consid
ered 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 tech
niques for keeping the therapists role as much
fellow member, rather than leader, as possible,
that is, techniques
to emphasize
the well,
rather than sick attributes of the patients in
volved; (3) developing a system of measurement,
through control groups, or comparison with other
hospital activities-or
other hospitals-of
the po
tential 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 ac
tivity 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. Schneiders final word of en
couragement:
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
in
teresting to learn how well the above remarks
corroborate the aesthetic and therapeutic philoso
phies of other members of The National Associa
tion 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 Wal
lingford 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.
MARCH,

1964

*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., Harris
burg, 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.
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. Josephs 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
22

*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,
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
*Fairbank, Miss Lucy F., 6500 W. Irving Place, Chi
cago 34, Ill.
*Farrar, Nancy, 153 Main Street, E. Hampton, Co.
Fischelis, Alice W., 155 East 96th Street, New York,
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, Isling
ton, 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, Osawa

tomie, 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. Elizabeths
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

Golden, Sandra Colby, 36 West Bradford Ave.,

Cedar Grove,
G
N. J. 07009
*Goldsmith, Herbert P., Milledgeville State Hospital,
Milledgeville, Ga.
*Goward, Barbara E., Supervisor, Music, V. A. Hos
pital, Montrose, N. Y.
*Graham, Mr. Richard M., 2615 North 7th Street,
Kansas City, Kan.
*Gray, Mr. Richard M., 2542 Prairie Road, Topeka,
Kan.
Green, Mrs. Anne, 614 West Conger, Hartford City,
Ind. 47348
*Greven, Mrs. Georgia M., 1628 Sylvan St., Flossmoor,
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 Hos
pital, 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 Hos
pital, 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, Osawa
tomie, Kan.
Jacobson, Harvey, Willmar State Hospital, Willmar,
Minn.
23

Jaffee, Leroy, 602 South Pine Street, Mt. Pleasant,

Iowa 52641
*Jenkins, Mr. Boo, P.O. Box 23310, San Antonio,
Tex.
*Jones, Mrs. Elsa Welch, 5828 Staely, Affton 23, Mo.
*Josepha, Sister M,, O.S.F., Alverno College, 3401 S.
39th St.. Milwaukee 15. Wis.
*Kanaly, Sister Marita J., 3900 North Lawndale, Chi
cago, 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, Cleve
land, 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 Copen
hagen, Denmark
*Klipstein. Mrs. Kenneth IL, Long Hill Road, New

Vernon,N.

J.

*Knight, Frank E., Garden Flat 6, Spencer Rd., East

bourne, 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.
*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-

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.
*Lenci, Stella, 318 W. Franklin Ave., Minneapolis 4,
Minn.
*Lesak, Miss Eleanor, 6705 N. Talman, Chicago 45,
Ill.
* Registered Music Therapist.
24

Levin, Herbert D., 830 Spring Hill Road, Secane,

Pa.
*Lewis, M. Delight, Childrens Center, 1400 Whitney
Ave., Hamden 17, Conn.
*Little, Mr. Joseph, Sunland Training Center, Box
508, Gainesville, Fla.
*Lucy, Sister M., Gannondale, 4635 East Lake Road,
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. Johns Hospital, Springfield,
Ill.

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

Richmond, Ind.
*Markle, Mrs. William D., 290 Manor Ave., Kingston,
N. Y.
*Marsh, Miss Carol, Music Therapist, Cen. La. State
Hospital, Pineville, La.
*Mason. Rachel A., Higginson House. McLean Hos
pital, Belmont 19, Mass.
*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.
*Millonig, Gladys R., 89 Clinton Avenue, Kingston,
N. Y.
*Mills, Mr. Robert L., 27 Smith Ave., White Plains,
NY
*Mishara, Mrs. Gertrude, 2 Scotland Road, Lexing
ton 73, Mass.
*Mizzell Patricia J., Music Therapy Dept., State Hos
pital #1. Fulton, Mo.
*Monger, Mrs. Ann L., 259B Anzio Road, Fort Lee,
Va. 23801
*Moore, Mr. Jack R., 813 Jackson, Knoxville, Iowa
JOURNAL

OF

MUSIC

THERAPY

*Moore,

Mr. James C., State Hospital No. 1, Fulton,

MO.
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,
Moore,

MO.

*Nickerson, Mrs. Joan OHara, 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, Van
dreuil, 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, Ellis
ville, 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 Or
leans, La.
*Reccius, Cheryl, 3924 Leland Road, Louisville, Ky,
40207
* Registered Music Therapist.
MARCH,

1964

*Reinke, Mrs. William A,, 244 Brandon Road, Balti

more 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., Chi
cago, Ill. 60614
*Rogers, Mrs. Alice, 1009 Rosemont Avenue, Cin
cinnati 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, Cin
cinnati 13, Ohio
Rotondi, Joseph E., 2900 Rising Sun Road, Ardmore,
Pa.
Rouse. Mrs. Elsie. 6337 South Honore Street. Chi
cago 36, Ill
*Rubin, Miss Beverly, 1111 W. Morgan Avenue, Mil
waukee, 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,

Bronx, N. Y.
*Siojo, Imelda G., Topeka State Hospital, Topeka,
Kan.
Sirk, Mrs. Linda, Director Music Therapy, Lincoln
State Hospital, Lincoln, Neb.
*Skelley, Mrs. Leon R., 1746 Woodland, Pontiac 19,
Mich.
*Smith, Mrs. Christine, 5457 Crane, Detroit 13, Mich.
*Smith, Miss Dorothy G., 30 Stadacona St., West,
Moosejaw, Saskatchewan, Canada
*Smith, Marilyn I., 7.639 Springmont Avenue, Dayton
20, Ohio
*Smith, Mr. Perry L., V.A. Hospital, Montrose, N. Y.
*Smith, Roger G., 204 Oak Street, Battle Creek, Mich.
49017
*Smith, Patricia Brandt, 1441 Wessyngton Rd., N.E.,
Atlanta, Ga. 30306
*Snyder, Ann S., 148 Shore Road, Burlington, Vt.
Sokol, Mrs. Jean M., 1428 Murray Drive, Los
Angeles 26, Calif.
Sommer, C. D., 1562 Royalton Road, Apt. 2, Cleve
land 4, Ohio
*Sommer, Dorothy T., 1406 Spruce Lane, Davis,
Calif.
Spence, Susan D., 2230 Latham St., Apt. 92, Mt.
View, Calif.
Spicknall, Harrold W., 1014 Norwood Road, Lansing
17, Mich.
Statman, Jacquelyn, 3979 Port Royal, Dallas, Tex.
75234
*Stein, Mrs. Johanna K., Music Therapist, Bldg. 10,
N-214, National Institute of Health, Bethesda 14,
Md.
Stevens, Emily A., 1015 Magnolia Drive, Augusta,
Ga.
*Stevens, Shirley A., 10452 Kolh, Allen Park, Mich.
*Stien, Mr. Warren, Ionia State Hospital, Ionia, Mich.
*Stinson, Miss Ethelyn L., P.O. Box 6037, Philadel
phia 14, Pa.
*Stretch, Dr. Olive M., 217 S. Hidalgo, Alhambra,
Calif.
*Stuber, Mrs. Helen M., 330 N. Ott Street, Allentown,

Pa.

*Sullivan, Miss Yvonne, Boa 138 East Station, Hooks,

Tex.

Swanson, Shirley M., 2430 Appleton

sons, Kan.

Avenue, Par

Tally, Junotte Gray, Ridgewood Avenue, Middle

town, N. Y.
Taylor,
Dale, Mendota State Hospital, 301 Troy
Drive, Madison 4, Wis.
Teirich, Dr. Hildebrandt, Freiburg/Breisgau,
Mozartstrasse 48, West Germany
*Thompson, Miss Margaret A., Muscatatuck State
School, Butlerville, Ind.
Thresher, Janice M., 12 Powis Court, Powis Square,
London W. 11, England
Tipple, Mrs. Esther W., 211 Blacks Bluff Road,
Rome, Ga.

*Toombs, Mrs. Mary Ryder, 6734 Weston, Houston

21, Tex.
* Registered Music Therapist.
26

*Towery, Sue Summers, 2824 Pearl, Austin I, Tex.

*Travis, Mr. Ralph F., 205 Plum Street, Anna, Ill.
*Tumolillo, Mrs. Roth S., 118 S. Clearview Ave.,
Langhorne, Pa.
Tvrdik, Harriett, M.A., M.M., 4038 Los Angeles
Street, Warren, Mich.
Tyson, Miss Florence, 20 E. 84th St., New York 28,
N. Y.
Umansky, Judy, 11 Cornelia Street, New York, N. Y.
*Vazquez, Alida, Hillside
Oaks, N. Y.
*Ventura, Mr. Bert, 63-89
74, N. Y.
Vestuti, Mr. Alphonse G.,
den, Coon.
Vivona, Thomas A., 56-19
N. Y.

Hospital,

Box 38, Glen

Saunders St., Rego Park

89 Troiana Road, Ham
196th Place, Flushing 65,

Wallace, Eleanor D., Box #47, Trappe, Md.

*Walters, Mrs. Alta M., 1301 East Robinson, Knoxville, Iowa 50138
*Warrington, Orth C., 27103 Messina St., Highland,
Calif. 92346
*Weigl, Mrs. Vally, 55 W. 95th St., New York 25,
N. Y.
Weikel, Mr. Gail R., Music Dept., N. J. State Hospital, Station A, Marlboro, N. J.
*Weilhammer, Mrs. Elizabeth, 3802 Cossell Rd., #83,
Indianapolis, Ind.
Weiss, Richard, 401 Radnor Street, Harrisburg, Pa.
*Weisstein, Miss Mary M., 473 West End Avenue,
NeW,York 24, N. Y.
*Werbner, Natalie R., 223 Embarcadero Road, Palo
Alto, Calif.
*Werner, Man W., Jenkins Hall, Box 589, Larned,
Kan.
West, Delno C., P.O. Bon 208, Los Lunas, N. M.
*Westbrook, Mrs. Bess, 2703 Judson Avenue, Alton,
Ill.
White, Patricia P., 207 Douglas St., N.E., Washington, D. C. 20002
*Whiteside, Miss Jean, Music Therapy Dept., Agnew
State Hospital, San Jose 14, Calif.
*Whitmore, Mr. Leonard H., 7118 Keystone St., Philadelphia 35, Pa.
*Wilke, Mrs. Margi, Music Therapy, 3rd Floor,
Charity Hospital of Louisiana, New Orleans, La.
*William\, Mr. Brent, 200 W. 55th St., New York
19, N. Y.
*Williams, Helen, 1533 E. Royall PI., Apt. 22, Milwaukee, Wis.
*Williams, Theodore Allen, 2434 W. Harding Way,
Stockton, Calif.
*Wilson, Annamary E., 875 Wiltshire, Columbus 4,
Ohio
*Wilson, Carolee C., 4459 E. Curran Drive, Fresno 3,
Calif.

*Windsor, Mrs. Elizabeth D., Dayton State Hospital,

Dayton, Ohio
Winkelmayer,
Mrs. Patricia, Station A, Box 89,
Marlboro, N. J.
*Winold, Allen, School of Music, Indiana University,
Bloomington, Ind.
*Winston, George, 17 W. 211 Woodland Avenue,
Bensonville, Ill.
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. Hous
ton 18, Tex.
Arndt, Miss Karen, 155 N. 92nd Street, Milwaukee,
Wis. 53226
Battin, Mrs. Howard H., 16 Donellan Road, Scars
dale, 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., Mis
sion San Jose, Calif.
Conna, Mr. Leo J., 472 Hawthorne Avenue, Yon
kers 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., Phila
delphia 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. River
dale 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, Pitts
burgh, 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, Bridge
ville, 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, Cleve
land 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, Lin
coln, 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, Do
buque, 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, On
tario, 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. Read
ing. 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., Minneap
olis 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, Brook
lyn, 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., Phoe

nix 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., Talla
hassee, 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, Den
ton, Ten.
Johnson, Janet, Cimarron, Kan.
Kelley, Kay, 212 A Jackson, Jefferson City, MO.
Klatte sharon A., Read Center, Clark 326, BloomingKluger, Miss Miriam, 1690 Magnolia Drive, Cleve
land 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, Talla
hassee, 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 Lan
sing, 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
NEW

JOURNAL

This issue marks the beginning of our new pub

lication, the Journal of Music Therapy. Members
in attendance at the Fourteenth Annual Confer
ence voted to combine the materials in the Bul
letin 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 Hos
pital News Letter, to the Bulletin Newsletter,
then to the former Bulletin,
and now to the
Journal. All members in good standing will re
ceive 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 ab
stracts 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 as
pects of music therapy with articles by outstanding
persons in music therapy, psychiatry,
and psy
chology. Please send suggestions and comments
on the Journal to Dr. William W. Sears, Editor,
School of Music, Indiana University,
Blooming
ton, 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 fa
cilities in the Midwest for conferences and con
ventions.
It is located just five minutes away
from the Municipal Airport and the Union Sta
tion, 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 chair
man. 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 plan
ning 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

ACTIVITIES
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 classifica
tions 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 de
sign 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 forth
coming 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 Childrens 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 Childrens
Services at Connecticut Valley Hospital in Mid
dletown, Connecticut,
was that the goals and
principles of music therapy should be correlated
with the same variables in psychotherapy
to be
come 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 In
stitute 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 appropri
ately prescribed and effectively carried out. Ob
jective examinations is needed, however, of the
complex interchange between patients and thera
pist, and the many variables are difficult to iden
tify and, therefore, to control. But, he emphasized
the notion that before music therapy can reach an
effective level of integration
with modern psy
chiatric treatment, it may have to await a sum
marized research methodology.
Arthur Flagler Fultz, a past president of NAMT,
presented a handbell demonstration
with chil
dren 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 Hunting
ton Avenue, Boston, Massachusetts.
Officers of the New England Chapter are:
President-Mrs.
Elliott Mishara, RMT, 2 Scot
land 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
SOUTHEASTERN

Powers, Mrs. Elliott

REGIONAL

Mishara

CHAPTER

The Ninth Annual Southeastern Regional Con

ference 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 informa

tive.
At the time of this conference the SECMT of
ficers were: Charles Braswell, President; Lee C.
Crook, First Vice President; Carol Marsh, Second
Vice President; Margaret Seely, Secretary-Treas
urer. New officers were elected at this time.
The Ninth Annual Conference of SECMT de
termined that, because of the territory the South
eastern 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, Mis
sissippi, 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 nonexist
ent. Therefore, soon after the National Confer
ence last October, Dr. Donald Michel, Director
of Music Therapy Program, Florida State Univer
sity, 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 Rep
resentative until such reorganization
has taken
place.
Dr. Michel and Mr. Goldsmith
are making
plans for a Regional Conference in May, at Flor
ida State University,
where it is hoped that re
organization will take place.
During the past year, a Clinical Training Pro
gram has been approved and is in full operation
at the Milledgeville
State Hospital,
under the
direction of Herbert F. Galloway, Jr., RMT, Su
pervising Instructor of Music Therapy Education
at the Hospital.
In the Music Therapy Depart
ment 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 Work
shop. 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, be
cause those attending will actually work! Deviat
ing from the lecture and panel type of pro
gram, 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 work
shop will furnish an instructor and the parts
you 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 in
struments.
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 Childrens
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 communi
cate 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 pre
viously existed. In Kansas, the Director of Psy
chiatric Music Therapy position was reclassified
as Music Therapist II, and new Music Therapist
I positions were allocated.
32

Professional growth continues in Iowa, Nebras

ka, and Missouri. The Regional also has repre
sentatives in North Dakota, South Dakota, and
Arkansas, but no contacts have been made, as
yet, in Montana and Wyoming.
Work is under
way to stimulate interest in music therapy, in
the latter two states, through the Public Relations
Committee.
The Regional Conferences have been stimulat
stimulating and beneficial to those in attendance.
This
years, 1964, conference will be held at the USVA
Hospital, Knoxville, Iowa, on April 17 and 18.
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;
SecretaryRichard Gray; Treasurer-Janet
Hallbeck; News
letter Editor-Wanda
Lathom; Public Relations
Chairman-Patrice
Mizzell.
Mrs. Earl Findlay, National Chairman of Mu
sic 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. Findlays 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 member
ship 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

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,

President-Elect:

President: ERWIN H. Schneider, PH.D.

INC.

LEO C. Muskatevc

Milwaukee Co. Mental Health Center

Milwaukee, Wisconsin

The Ohio State University

Columbus. Ohio

2nd Vice-President: SISTERM. JOSEPHA, O.S.F.

1st Vice-President: BEttY ISERN

Alverno College
Milwaukee,
Wisconsin

The University of the Pacific

Stockton, California

Recording Secretary: PAULINEMARKER

Immediate Past President: Robert Unkefer

Richmond State Hospital

Richmond, Indiana

Michigan State University

East Lansing, Michigan

Treasurer: RUTH BOxberGER,PH.D.

Ohio University
Athens, Ohio

STANDING
Education:

COMMITTEES

E. THAYEr GASTON,PH.D.

Research: RICHARDM. GRAHAM

Lincoln University
Jefferson City, Missouri

The University of Kansas

Lawrence, Kansas

Public Relations: DONALDE. Michel,

Florida State University
Tallahassee, Florida

NAMT CENTRAL OFFICE

Box 15
Lawrence, Kansas

PH.D.

YEARBOOKS OF NAMT
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prices are postpaid in U.S.A. Order directly from Allen Press, Law
rence, Kansas.
Them volumes contain the most comprehensiveand reliable informa
tion about music therapy-its practice and development in this country;
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.