April 11-17, 2016

Come see us in
the Exhibit Hall!

Dear GLR Members and Special Guests,
Welcome to the 2016 GLR Conference! We are excited to finally meet all of you in the unique city of Indianapolis, Indiana. We hope you take advantage of the many opportunities our beautiful city has to offer. Your Indiana music therapists have been planning this conference for over two years, and we can hardly believe it has finally arrived.
We extend a special thank you to our committee chairs, committee members, the GLR Executive
Board, our AMTA president, and our many speakers, performers, and exhibitors. Without each of you, this conference would not be happening!
This conference was designed to give you a chance to Bridge the Gap between your clinical and personal experiences as a music therapist. We hope you each enjoy the conference, and please stop any member of the planning committees for assistance, feedback, or just to say hello.
Sincerely,
Ann Hannan
Jennifer Whitlow
GLR 2016 Local Co-Chairs
Conference Co-Chairs:
Ann Hannan
Jennifer Whitlow
Entertainment:
Lauren Servos
Tony Medeiros
Exhibits:
Mary Kay Bonner
Brittney Mortimer
Hospitality:
Kathy Williams
Sarah Ardoin
Marial Biard
Emily Hurst
Lindsay Nuckols
Amanda Steiner
Instruments:
Lindsey Wright
Jonni Fogerty
Beth Ann Swinson
Karel Decker
Kelly Porten
Internship Fair:
Carolyn France
Angie Sylas
PR Committee:
Marial Biard
Sarah Rush
Program Committee:
Jan Schreibman
Nancy Jackson
Sharon Boyle
Program Editor:
Leigh Ann Fuller
Heather Rhoda
Emily Whittaker
Beth Ann Swinson
Registration:
Elizabeth Krickhahn
Katie Maurer
Haley Baumgarten
Michelle Cohen
Jenell Hann
Kelsey Nowak
Research Poster:
Debra Burns
Andrea Crimmins
Kathy Murphy
Ed Roth
Michael Silverman
Website:
Morgan Sparks
Crystal Black
Caitlin Krater

Registration Times
Thursday
6:00am - 8:00am
11:00am - 2:00pm
5:00pm-7:00pm
Friday
7:00am-9:00am
11:00am-12:30pm
2:00pm-5:00pm
Saturday
8:00am-12:00pm
5:00pm-7:00pm
Sunday
8:00am-11:00am
Find the conference information online:
Download the app:
Scan the QR code and follow directions:
Special Thank You to the following
Donors:
Association for Indiana Music Therapy
American Music Therapy Association
Bear Paw Creek
Bridges of Indiana
Discount Tire
Elderly Instruments
Elizabeth Schwartz
Bonnie Carriere – Music Therapy Supporter
Hana Pung – Independent Norwex
Consultant
Insights Consulting
Integrative Music Therapy
Jessica Kingsley Publishers
JW Pepper
Listen & Learn Music
Meaningful Day Services
Music Counts Music Therapy Services
Music Therapy & Neuro Ed
Music Makers Kits
Music Therapy Ebooks
Music Therapy Ed
Music Together
Music Works Publications
Opportunities for Positive Growth
Resounding Joy, Inc
Riley Hospital for Children
Session Café
Saint Mary-of-the-Woods College Music
Therapy Club
The Spiegel Academy
University of Evansville Music Therapy
Association
Information
^
Find out everything you need to know about GLR 2016 conference at:
Twitter: @Glr2016
Facebook: G L R of A M T A 2016 Conference
Website: www.glr-amta.org/2016conference
App: https://guidebook.com/g/2016GLRconference/
Instagram: #glr2016

Exhibit Hall Hours:
Thursday:
Exhibit Hall Spectacular:
8:30 pm- 10:00 pm
Friday:
11:00 am-4:45 pm (12:00-1:00 Lunch)
Saturday:
8:15 am-12:00 pm
(12:00-1:30- Awards luncheon)
1:30 pm- 5:00 pm
Exhibitors:
Augsburg College
AIMT
Bongo Boy Music
Bridges of Indiana
CBMT
Global Gifts
GLR-AMTAS
Lyon and Healy Harps
Music Together
Optimal Rhythms, Inc
Riley Cheer Guild
Rhythm Discovery Center
SMWC
Stoney End Harps
Sounding Source
University of Evansville
West Music

Thursday, April 14th: Opening Session
Time: 7:00pm-8:00pm
JW Grand Ballroom 2-4
THIN AIR
Pam Blevins Hinkle
THIN AIR is a five-member ensemble of classically-trained instrumentalists (who also sing) that presents completely improvised performances. Our primary instruments are flute, clarinet, cello, violin, and percussion, but we play dozens more including ukulele, accordion, Bundt pan, kazoo, boomwhackers, and the occasional bell pepper. Our performances frequently include audience participation because we believe all things and all people are musical. We are serious, and seriously fun!
Thursday April 14th: Exhibit Hall Spectacular and Opening Reception Music
Time: 8:30pm-10:30pm
RYAN TAYLOR (jazz guitarist)
JW Grand Ballroom 1 and Foyer
Ryan plays a repertoire of jazz standards and ballads on his 7-string classical guitar, creating an elegant, tranquil sound.
Thursday, April 14th: Rhythm Discovery Center
Time: 1:00pm- 2:00pm (meet at 12:30 at Registration)
Friday, April 15th: Rhythm Discovery Center
Time: 7:00pm -8:00pm (meet at 6:30 at Registration)
GLR is excited to partner with Rhythm! Discovery Center in Downtown Indianapolis to provide our guests with a fun and creative experience while attending our 2016 conference. Rhythm! Discover Center is the world’s foremost percussion museum providing innovative programs, interactive, standards-based educational exhibits, and artist performances. Drawing upon cultures from around the world, the Center offers a unique, engaging experience to explore the universality of rhythm and percussion and its role in shaping communication, music, art, performance, and society. Our conference is hosting two tours of
Rhythm! Discovery Center, at no charge to guests. The first event will take place on Thursday, April 14 th from 1:00pm-2:00pm. Attendees will need to meet at the registration/hospitality table at the JW Marriot at
12:30pm and present their YELLOW ticket. The second event will take place on Friday, April 15 th from
7:00pm-8:00pm. Attendees will need to meet at the registration/hospitality table at 6:30pm and present their ORANGE ticket. Due to limitations on the Center’s capacity, we ask that guest pre-register for this event while submitting your conference registration. If you have pre-registered and have changed your mind about attending, please leave your ticket in the basket at the registration/hospitality table so that others can take advantage of this opportunity.

Joanne Loewy, PhD, MT-BC
Time: 9:15am-10:45am
JW Grand Ballroom 2-4
Musical Bridges that Integrate Mind, Body, Spirit
Joanne Loewy DA, LCAT, MT-BC is the Director of the Louis Armstrong Center for Music and Medicine, and an Associate Professor at Icahn School of Medicine at Mount Sinai. The Louis
Armstrong Center among many populations is serving musicians and their unique ailments including chronic fatigue, chemical dependency, performance anxiety and overuse. It also serves children with developmental delays, teens with emotional issues, adults with neurological disorders and all ages of patients with asthma and COPD. Loewy oversees the
Department of Music Therapy which she started at Beth Israel in 1994. Dr Loewy has conducted research in pulmonology, sedation, assessment, pain, asthma and NICU music therapy. Her areas of specialty are assessment, hermeneutic research, trauma and supervision. Dr. Loewy is the co-Editor in Chief of the international, peer reviewed journal
'Music and Medicine' and serves on several editorial boards including the Cochrane
Palliative Care review and the Journal for Complementary and Alternative Medicine. She received her doctorate from NYU. Dr Loewy has edited several books including Music
Therapy in Pediatric Pain, Music Therapy in the NICU, and she co-edited Music Therapy at End of Life and Caring for the Caregiver: Music Therapy in Grief and Trauma and the new Integrative Advances in Music and Medicine:
Music, the Breath and Health. Dr. Loewy is a Founding Member of the International Association for Music and
Medicine and she teaches at Hahnemann Creative Arts Therapy graduate music therapy program at Drexel
University in Philadelphia, Molloy College, and at the University of Barcelona. She also lectures globally and consults with hospitals in both research and in building music therapy start up programs.
Time: 8:30pm-9:30pm
JW Grand Ballroom 2-4
BONGO BOY MUSIC
Ed Gaus and Lisa Colleen
“For All You Do, This One’s For You!” Come and Join Ed and Lisa from Bongo Boy Music, Inc. at the Friday
Night Drum Circle. Cut loose, laugh, de-stress and move to the groove with your fellow Music Therapists. There will be plenty of opportunities to jump in the circle…after all, this is YOUR circle! Upon completion of the event, there will be time for Q&A about starting a community drum circle, new ideas for enhancing community drum circles, learning more about facilitation techniques and new product information. See you at the circle and remember… “It’s All About the Groove!!”
Time: 6:30am-7:30am
Room 314
HEIDI FLEDDERJOHN
Yoga Instructor
Welcome your whole self to the conference with a gentle morning yoga session led by dance/movement therapist and yoga instructor Heidi Fledderjohn. Some yoga mats will be provided. Everyone is welcome!

Time: 12:00pm-1:30pm
JW Grand Ballroom 2-4
ROB DIXON TRIO
Nationally recognized Saxophonist, Rob Dixon has worked with a wide variety of Artists, from Illinois Jacquet to
Ali from "a tribe called quest". In addition to working full time as a musician, Dixon works for the Owlstudios record label and is one of the principle organizers for Indy Jazz Fest (An annual jazz festival in Indianapolis IN).
A graduate Hampton University, Rob Dixon continued studies At Indiana University in the Masters of Music program under the Direction of David Baker. In the subsequent years following Rob Dixon established himself as a professional musician, working with the Count Basie band, Rufus Reid,, Composer Bill Lee (spike lee’s father),
Illinois Jacquet, Jonah Jones, Mike Clark’s “Indigo Blue” as well as many others. Dixon returned to Indianapolis in
2002 and started Triology (the first group to be signed by the Owlstudios record label). Recently one of Rob Dixon's original compositions ("Soul Talk") (performed by Derrick Gardner and the Jazz Prophets) has been featured in the major motion picture "Big Stan" (a Rob Schneider directorial debut). Currently Rob Dixon is working with Derrick
Gardner, Mike Clark, Steve Allee and Cynthia Layne on a regular basis. https://www.reverbnation.com/robdixon
Time: 7:30pm-8:30pm
JW Grand Ballroom 4
HOURGLASS
Robin Cox and Stephanie Nugent
HOURGLASS, a live music community participation event encouraging movement improvisation.
This large scale work of fully composed music for live violin, cello, four channel electronic playback, is designed to engender non-verbal and spontaneous community participation through movement improvisation. By active investment and involvement from attendees, HOURGLASS addressees ways to sustain extended participation, while representing an alternative performance concept for those lacking interest in experiencing arts through more formal and traditional formats. HOURGLASS uses a compositional process in production of a single large-scale structural arc and after years of work with movement improvisers and choreographers, the music is also based upon the creator’s observation of rates and levels of complexity in musical information likely to trigger kinesthetic responses, such as continuities and contrasts in thematic, motivic, and temporal content. In the egalitarian sprit of the work, distinctions are also blurred between performer and audience with venue configuration lacking suggestion of a stage and a quadraphonic speaker system immersing the space in sound from all angles.

1:00pm -2:30pm
JW Grand Ballroom Foyer
Bates, D. (2016) The effects of music therapy in liquid and solid tumor oncology patients.
Cleveland Clinic.
Bolton, R. K., Hogue, J. D. (2016). The effects and comparisons of receptive music listening and expressive music making on mood with well-elderly adults in a congregate residential setting. Illinois State University.
Chan, T. H. F. (2016). The impact of violin playing techniques specifically designed to simulate the human voice on anxiety reduction of college students. Integrative Music Therapy,
LLC.
Draper, E., Brown, L., & Jellison, J. (2016). Learning together and helping each other:
Observations of first-grade inclusive music classrooms following peer interaction instruction and activities. The University of Alabama, Ohio University, The University of
Texas at Austin.
Fiore, J. (2016). The effectiveness of a music-based relaxation intervention and a mindfulnessbased intervention delivered online to decrease hospice workers' stress and improve professional quality of life. Western Michigan University.
Fletcher, J. (2016), We're free: The impact of a rap writing music therapy intervention of selfesteem of at-risk adolescents in a public middle school setting. Ohio University.
Fogerty, J. & Fogerty, D. (2016). The use of music and sign to support early word learning: A feasibility case study. Fogerty Music Therapy (Bloomington, IN) & Department of
Communication Sciences and Disorders, University South Carolina (Columbia, SC).
Franco, J. & Kagin, R. (2016). The William W. Sears Collection: A case study of multidisciplinary thinking. Augsburg College.
Gardstrom, S. G., Klemm, A., & Murphy, K. M. (2016). Women's perceptions of the usefulness of group music therapy in addictions recovery. University of Dayton, University of
Evansville.
Masko, M., Dhasarathy, A., & Desell, T. (2016). Genetic and epigenetic changes following music therapy: A pilot study. University of North Dakota Department of Music, UND
School of Medicine and Health Sciences, UND John D. Odegard School of Aerospace
Sciences.
Miller, A. R., Toy, I.E., & Draper, E.A. (2016). Effects of musical accents in central positions on serial recall of monosyllabic digits. The University of Alabama.

Schwartzberg, E. T. & Silverman, M. J. (2016). Effects of instructor gender and visual and nonvisual melodic instruction on working memory recall in individuals with autism spectrum disorder. University of Minnesota.
Sevcik, E. (2016). A musical presentation group process to increase private and collective selfesteem of young adults. Northern Illinois University.
Silverman, M. J. (2016). Effects of educational music therapy on coping self-efficacy in acute psychiatric inpatients: A cluster-randomized effectiveness study. University of
Minnesota.
Silverman, M. J. (2016). Non-music methods for developing therapeutic alliance with psychiatric patients: A phenomenological investigation. University of Minnesota.
Stone, B. (2016). The use of individualized musically adapted social stories in family-based and individual-based settings to promote appropriate social skills for children with Autism
Spectrum Disorder. Florida State University.
Rodgers-Melnick, S., Pell, T., Lane, D., Jenerette, C., & Little, J. (2016). The effects of a single music therapy session on the pain of adult patients with sickle cell disease: A mixed methods study. In progress, University Hospitals Seidman Cancer Center; University
Hospitals Case Medical Center, Cleveland, OH; University of North Carolina at Chapel
Hill.
Yurkovich, J., Burns, D. S., & Harrison, T. (2016). The effect of entrained music therapy intervention on physiologic measures of infants in the cardiac intensive care unit.
Nationwide Children’s Hospital, IUPUI.

Name
Opportunities for Positive Growth
Meaningful Day Services
Bi-County Services, Inc.
Ann & Robert H. Lurie
Children’s Hospital of Chicago
Seasons Hospice
Institute for Therapy Through the Arts
Helping Hand Center
Franciscan Life Processing Center
Marwood Nursing and Rehab
Cincinnati Children’s Hospital
And Medical Center
Bridgeway Academy
(Formerly Helping Hands)
Nationwide Children’s Hospital
Ross County Board of DD
Pioneer Center
Twin Valley Behavioral Healthcare
Cedar Community
Good Samaritan Society
Saturday April 16, 2016
1:30pm – 2:45pm
JW Grand Ballroom Foyer
Location
Fishers, IN
Indianapolis, IN
Bluffton, IN
Chicago, IL
Various sites – see booth for details
Evanston, IL
Countryside, IL
Lowell, MI
Port Huron, MI
Cincinnati, OH
Columbus, OH
Columbus, OH
Chillicothe, OH
Columbus, OH
West Bend, WI
Robbinsdale, MN
Director
Lindsey Wright, MT-BC
Leigh Ann Fuller, MT-BC
Karel Decker, MME, MT-BC
Elizabeth Klinger, MA, MT-BC
Russell Hilliard, PhD, LCSW, LCAT,
MT-BC, CHRC and
Terry Glusko,MT-BC
Rebecca West, M.M, MT-BC,
NMT Fellow
Beth Blankenship, MT-BC
Miranda Eden, MT-BC
Holly Semrow, MT-BC
Kathryn Yeager Bruno, MT-BC
Tanya Corso, MT-BC
Jennifer Yurkovich, MT-BC
Kristyn Ramsey, MT-BC
Laura Hauser, MT-BC
Sherry McElhatton,
MT-BC, WMTR
Mike LimBybliw, MT-BC
Bill E. Webb, MA, MT-BC

Pre-Conference Institute A (36 CMTEs)
The Bonny Method of Guided Imagery & Music Level I Training
Fran Goldberg & Louise Dimiceli-Mitran, Primary Trainers
This Level I GIM seminar includes a brief history of GIM, definitions of GIM in contrast to Music Imagery (MI),
Bonny’s theory including the Cut Log Diagram, transpersonal therapy, Wheeler’s levels of music psychotherapy, elements of the GIM session and clinical applications. Altered states of consciousness, types of imagery, guiding, the role of music in GIM/MI and music programs in GIM will be discussed. Music analysis, levels of therapy in music and music imagery approaches, indications, contraindications, standards of practice and ethics, credentialing and GIM training will be included. Students will learn simple guiding techniques, practice in closely supervised dyads throughout the training, receive feedback & evaluation from trainers and observe processing techniques which include mandala drawings. Simple, supportive MI techniques will be taught for use in specifically defined situations.
Pre-Conference Institute B (6 CMTEs)
Methods of Music Therapy addressing Chronic, Procedural and Terminal Pain
Joanne V. Loewy, DA, LCAT, MT-BC
Pain is an important indicator of disease and is often used as a diagnostic component in illness.
Pain is also one of the only medical symptoms that include discomfort signals most often revealing actual or potential injury to the body. Music therapists have special access to assessing and treating pain and can rectify the physical awareness of pain; its perception, subjective interpretation, location, intensity, including the potential assessment of comorbidities. The culture of a patient, and how the medical team assesses pain will necessarily affect how treatments are provided. When a painful cue sends the brain a signal, the peripheral nerve becomes stimulated.
The brain has an essential role in responding to the unpleasant stimuli. The areas of the brain that modulate and regulate feeling and tension are also the areas that can regulate the pain response and this area may be directly affected by music. Attendees in this course will be provided with music therapeutic applications that show how sound and music may have a deliberate and predictable effect in the activation of stress or soothing response patterns. Particularly as a music experience is elicited, the pain signals may be turned off perceptually, or become less active. Music therapy can alter the experience of how pain is felt, particularly when the music is live and a persons’ cognitive processing and mood are involved within the dynamic expression and receptivity to theme and dynamic is processed. It is therefore helpful to understand not only the type of pain and how it is classified, but the patient’s description of how the pain experienced.
Institute C (8 CMTEs)
Supervision and Mentoring in Music Therapy: How, When & Why
Theresa R. Merrill, PhD, MT-BC and Carol L. Shultis, PhD, MT-BC
Supervision is essential to the continued growth of the practice of music therapy. Arising from arts-based experiences, this institute will introduce participants to foundational theories of supervision and mentoring, intersecting themes and ethical considerations across the continuum of pre-professional and professional supervision and mentoring. Special emphasis is placed on self-assessment and personal insight with a view to engaging supervision and mentoring as a means to ethical practice and self-care.
Institute E (8 CMTEs)
Implications and Applications of Hip Hop Culture in Music Therapy
Michael Viega, PhD, LCAT, MT-BC
This full day workshop focuses on the implications and application of Hip Hop Culture for clinical practice in music therapy. Given the global popularity of rap and Hip Hop, it is imperative for music therapists to gain cultural competencies about the historical background, rituals, and practices of Hip Hop. Participants will learn about the history of Hip Hop, its application within various music therapy methods, its research and scope of practice in therapy, and ethical, social, and political considerations of applying Hip Hop and rap in music therapy. In addition, participants will receive hands-on experience creating within the medium of Hip Hop and discussing its therapeutic benefits and challenges. The goal for this workshop is to help music therapists apply Hip Hop methods in their

music therapy practice successfully by increasing their understanding of its clinical relevance and engaging in meaningful participation within its various art forms.
CMTE 1 (5 CMTEs)
Embracing Life Through Music: Bridging birth and hospice care together through music therapy
Heather King, Kate Taylor, MA, MT-BC, Annie Walljasper, MT-BC
Participants will gain an understanding of music therapy treatment in birth and hospice care including theoretical information about medical models, music therapy assisted childbirth and music supported imagery. Existing models of birth and birth psychology and how music therapy is used to assist in the stages of childbirth will be presented during the first hour. Hour two will offer overview of music therapy in end of life care. Hour three will begin to draw connections between how music therapy can serve the processes of birth and the stages of dying by addressing physical, emotional, spiritual and social needs. Hour four will offer a unique testimony of a mother’s experience with infant loss, grief and healing through the use of songwriting and vocal performance. A board certified music therapist will facilitate a discussion of how music has impacted this mother’s life during the birth of her conjoined twins, in preparation for their passing and in her ongoing healing process. During the final portion, attendees will have the opportunity to engage in group discussion, assessment examples, music listening and songwriting.
Participants will use group songwriting to compose an original sedative lullaby and share how they would use this either in a birth or hospice scenario and engage in a treatment planning experiential by assessing video recorded births and hospice bedside vigils. Existing research will be presented and future implications will be addressed.
Participants will have the opportunity to explore how their music therapy practice fits into a continuum of care from birth through end of life care.
CMTE 2 (5 CMTEs)
Working in the Music: Advancing Clinical Practice Skills
Susan Gardstrom, PhD, MT-BC, Annie Heiderscheit, PhD, MT-BC, LMFT, James Hiller, PhD, MT-BC, and Nancy
Jackson, PhD, MT-BC
The experiential workshop is for experienced clinicians who want to advance their clinical skills and deepen their therapeutic practice. The presenters will engage in a variety of music experiences, including improvisational, compositional, re-creative, and receptive methods in both large and small groups. Experiential learning exercises will focus on how to leverage and maximize the power of music and all of its elements to best meet the needs of the clients. Presenters will demonstrate and assist participants in developing skills to effectively process the music therapy experiences through verbal and non-verbal methods. Methods and strategies that can be tailored and applied to various clinical and client population settings will be explored.
CMTE 3 (5 CMTEs)
Music Therapy and Foster Care Youth
Michael L. Zanders, PhD, MT-BC
The purpose of this CMTE is to provide participants advanced clinical training on the practice, theory, and research with music therapy and foster care youth. Participants will be involved in various experiential opportunities in order to understand the needs and concerns of youth who have experienced foster care. These experiential opportunities will then provide a foundation for assessment and treatment applications.
CMTE 4 (5 CMTEs)
Resources for Effective Clinical Improvisation
John Mahoney, PhD, MT-BC, LCAT
Hear, learn about, and experience practical and useful tools with which to comfortably improvise in a clinical setting. With a musical background of work as a professional musician with Streisand, Sondheim, Paul Simon, Billy
Joel, study with Kenny Werner, and advanced study and certification in Nordoff Robbins Music Therapy (NRMT) and Analytic Music Therapy (AMT), Dr. Mahoney’s perspective on improvisational music therapy is both experientially grounded and practically oriented. This five hour workshop consists of the presentation of musical concepts, theoretical tools, and the opportunity to apply them in actual practice by the end of the day.
The first segment of the course will be devoted to an introduction to the concept of improvisation as spontaneous composition and learning to identify the harmonic constructs common to Western European based compositions from Beethoven to Bruno Mars. The second segment will focus on specific resources to practice and internalize for later use in clinical settings. Written musical materials will be distributed, demonstrated live, and discussed. The

third segment will be devoted to offering the participants the opportunity to improvise together on piano, guitar, and various percussion and mallet instruments.
CMTE 5 (5 CMTEs)
Addictions Treatment and Recovery: Using Music and the Arts to Reclaim Lives
Maria T. Carlini, MSOL, MT-BC
This course will educate participants about the addictive process and issues related to treatment and recovery from addictions including gender-specific issues and treatment needs of women. It will review the 12-step approach and explain a blended addiction treatment model. The focus will be on gaining an understanding of how music therapy paired with expressive art interventions addresses physical, mental, emotional and spiritual recovery. Examples from clinical work along with experiential exercises and opportunity for discussion will be provided. Additionally, theories that inform clinical work with addictions, including constructs and principles from dialectical behavioral therapy (DBT), existential/humanistic, psychodynamic and transpersonal theorists, will be presented.
CMTE 7 (5 CMTEs)
Making the Transfer: Guitar & Percussion Techniques for Deepening the Clinical Groove
Carolyn Koebel, MM, MT-BC and Mike LimBybliw, MT-BC
This session will use active music-making (body percussion, singing, hand-drumming, drum set playing, and diverse guitar accompaniment) in cooperation with foundational/theoretical constructs, rhythm, meter, tempo, timbre, music listening, and technique to help participants become better equipped to execute guitar and percussion techniques towards creating more authentic groove structures during clinical practice. This session will be tailored to the participants’ skill levels, but will seek to provide the participants with new concepts for guitar & percussion techniques for strengthening skill sets that they can apply in clinical practice. Hand drum vocabulary and technique and hands-on experiences of how that translates to groove structures will be highlighted. Through music listening exercises, participants will come to identify the ways that drum-set patterns can be re-created with hand-drums to preserve the integrity of the musical form/style. Participants will transfer these concepts to groove-based guitar accompaniment patterns & techniques. Many genres will be discussed, dissected, and demonstrated, including: pop/rock, reggae, Latin styles, Middle Eastern, hip-hop, country, jazz/swing/blues, and more. Soloing and filling as it relates to musical conventions will be examined and practiced, as well. There will also be a short demonstration of playing techniques and translating conceptual materials to doumbek and frame drum for a broader range of musical/expressive options. Participants will have plenty of time for questions and skill building throughout this experiential workshop.
CMTE 9 (5 CMTEs)
What Happens in Cyberspace, Stays in Cyberspace: Ethical Issues in Technology
Debbie Bates, MMT, MT-BC
Social media, cloud computing, and computer-mediated communication have evolved in astonishing proportions.
Music therapists routinely use these tools to communicate, to advertise, and to facilitate aspects of clinical practice.
The AMTA Code of Ethics offers few guidelines to help music therapists ethically navigate the use of these types of technology. Cloud computing, such as Google Docs and Dropbox is frequently used for client documentation. Do these applications meet HIPAA standards for confidentiality? How should a music therapist respond to a Facebook friend request from a client? Is it acceptable to use text messaging for therapist-to-client communication? What does a music therapist do when a client requests a Skype music therapy session in lieu of cancellation? Are blogs a form of advertising?
The ethical implications of computer-mediated technology must be considered. Through didactic and experiential exercises, participants will review the core ethical principles, explore how technology, such as social media, cloud computing and computer-mediated communication, are being used in music therapy practice, consider risks and benefits of using such technologies in music therapy practice, identify potential ethical dilemmas associated with technology use, and discuss guidelines for the ethical implementation of technology in music therapy practice.

Monday, April 11, 2016
8:00 am – 12:00 pm
2:30 pm – 6:00 pm
Room 209
Institute A: The Bonny Method of Guided
Imagery & Music Level I Training
Primary Trainers: Fran Goldberg & Louise
Dimiceli-Mitran
*******************************************
Tuesday, April 12, 2016
8:00 am – 12:00 pm
2:30 pm – 6:00 pm
7:30 pm – 9:00 pm
Room 209
Institute A: The Bonny Method of Guided
Imagery & Music Level I Training
Primary Trainers: Fran Goldberg & Louise
Dimiceli-Mitran
*******************************************
Wednesday, April 13, 2016
8:00 am – 9:00 am
Ruth Lilly Auditorium; Riley Outpatient Center;
Riley Hospital for Children
IU School of Medicine Grand Rounds
First Sounds: Rhythm, Breath and Lullaby (RBL)
Research and Practice in NICU Music Therapy
Joanne Loewy DA, LCAT, MT-BC
*******************************************
8:00 am – 12:00 pm
2:30 pm – 6:00 pm
White River D
Institute A: The Bonny Method of Guided
Imagery & Music Level I Training
Primary Trainers: Fran Goldberg & Louise
Dimiceli-Mitran
12:00 pm – 6:00 pm
White River B
Institute B: Methods of Music Therapy
Addressing Chronic, Procedural and Terminal
Pain
Joanne Loewy DA, LCAT, MT-BC
*******************************************
Thursday, April 14, 2016
6:00 am – 8:00 am
11:00 am – 12:30 pm
5 pm – 7 pm
Registration Open
*******************************************
MEETINGS
Room 208
9:00 am – 12:00 pm
GLR Strategic Planning Meeting
1:00 pm – 5:00 pm
GLR Executive Board Meeting
*******************************************
8:00 am – 12:00 pm
2:00 pm – 4:00 pm
Room 209
Institute A: The Bonny Method of Guided
Imagery & Music Level I Training
Primary Trainers: Fran Goldberg & Louise
Dimiceli-Mitran
*******************************************
9:00 am – 6:00 pm
Room 103
Institute C: Supervision and Mentoring in Music
Therapy: How, When & Why
Theresa R. Merrill, PhD, MT-BC and Carol L.
Shultis, PhD, MT-BC
*******************************************
7:00 am – 12:00 pm
White River B
CMTE 2: Working in the Music:
Advancing Clinical Practice Skills
Susan Gardstrom, PhD, MT-BC, Annie Heiderscheit,
PhD, MT-BC, James Hiller, PhD, MT-BC, and
Nancy Jackson, PhD, MT-BC
White River D
CMTE 1: Embracing Life Through Music:
Bridging Birth and Hospice Care Together through Music Therapy
Heather King, Kate Taylor, MA, MT-BC, Annie
Walljasper, MT-BC
*******************************************
1:00 pm – 2:00pm
Rhythm Discovery Center
12:30 pm: Meet at Registration

Thursday, April 14, 2016 (continued)
1:00 pm – 5:00 pm
Room 304/306 & Room 309/310
Student Passages Conference
Presented by GLR-AMTAS
*******************************************
1:30 pm – 6:30 pm
White River B
CMTE 3: Music Therapy with Foster Care Youth
Michael L. Zanders, PhD, MT-BC
White River C
CMTE 4: Resources for Effective Clinical
Improvisation
John Mahoney, BA, MM, MA, PhD, MT-BC, LCAT
White River D
CMTE 5: Addictions Treatment and Recovery:
Using Music and the Arts to Reclaim Lives
Maria T. Carlini, MSOL, MT-BC
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7:00 pm – 8:00 pm
JW Grand Ballroom 2-4
Opening Session: Thin Air
Thin Air is a five-member ensemble of classicallytrained instrumentalists (who also sing) that presents completely improvised performances. Our primary instruments are flute, clarinet, cello, violin, and percussion, but we play dozens more including ukulele, accordion, Bundt pan, kazoo, boomwhackers, and the occasional bell pepper. Our performances frequently include audience participation because we believe all things and all people are musical. We are serious, and seriously fun!
8:30 pm – 10:00 pm
JW Grand Ballroom 1 and Foyer
Exhibit Hall Spectacular and Opening Reception
Ryan Taylor (jazz guitarist) plays a repertoire of jazz standards and ballads on his 7-string classical guitar, creating an elegant, tranquil sound.
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Friday, April 15, 2016
6:30 am – 7:30 am
Room 314
Gentle Morning Yoga
Heidi Fledderjohn
Welcome your whole self to the conference with a gentle morning yoga session led by dance/movement therapist and yoga instructor Heidi Fledderjohn.
Some yoga mats will be provided. Everyone is welcome!
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7:00 am – 9:00 am
JW Grand Ballroom Foyer
Cash Breakfast
7:00 am – 9:00 am
11:00 am – 12:30 pm
2:00 pm – 5:00 pm
Registration Open
11:00 am – 4:45
Exhibit Hall Open
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8:00 am – 9:00 am
Room 201
Music Therapy 101: What It Means to Be a
Music Therapist
Peggy Farlow, MAEd, MT-BC and Morgan Sparks,
MT-BC
This presentation will give a brief overview of the profession of Music Therapy and will describe how music is beneficial in healing. Requirements to becoming a board-certified music therapist will be discussed and where music therapists work will be examined. Participants will be invited to participate in music experiences. (UG 8)
(Prospective students and their parents)
Room 202
GLR MUSE Fund Presents…
The 2015 MUSE fund recipients will share information about their projects. Denise Travis will focus on the structure and flow of "The Sandbox" (an intensive, interdisciplinary, play-based, early childhood intervention for children with autism spectrum disorders) and music therapy's role in the program. Carolyn Koebel will talk about the

remarkable musical vignettes that speak to the value of the work of hospice music therapy and the new recording project, “Honoring the Process: More
Voices from Hospice Music Therapy”. (UG 4, 6)
Room 203
Music Therapy at End of Life: Terminal
Extubation
Stephanie Morris, MT-BC
This presentation informs participants about the clinical use of music therapy during terminal extubations in the medical setting. The content explains the process of a terminal extubation; outlines music interventions used before, during, and after an extubation; and shares case studies and personal stories. (UG 3,4) (All levels)
Room 204
Pediatric Medical Music Therapy: A Feasibility
Study
Annie Heiderscheit, PhD, MT-BC, LMFT
and Jami Kandolph
This presentation describes a feasibility study utilizing music therapy on a pediatric medical unit.
The presentation will review the research process and the data collected which includes the goals and objectives addressed, methods utilized, as well as patient, caregiver, and staff satisfaction feedback from music therapy sessions. (UG 3,9) (All levels)
Room 205
Resource-Oriented Music Therapy with Children and Adolescents in Psychiatric Care
Jenn Seley, MA, MT-BC, CCLS
In the United States, psychiatric treatment is often viewed through a narrow “fix-the-problem” lens.
This presentation explores a broader lens for psychiatric music therapists—resource-oriented music therapy. Through examples from her individual and group therapy with children and adolescents, the presenter will highlight core components of the resource-oriented perspective.
(UG 1,2) (All levels)
Room 302-303
Introducing the GLR-AMTA Mentoring
Program: A Summary of the Pilot Program and
Plans for the Future.
Angela M. Snell, MSEd, MT-BC; Jeffrey Wolfe, MT-
BC, Dr. Theresa Merrill, MT-BC, FAMI
The GLR-AMTA Mentoring Program is a free program for GLR-AMTA members by members to support growth and development across a range of professional domain areas. Join us as we provide an overview of the pilot program, explore the benefits, and discuss next steps for expansion. Find out why you should get involved and how to become a mentor or a mentee. We encourage you to bring your enthusiasm, questions and ideas about the program for discussion. (UG 7) (All levels)
Room 304-306
Paths to Recertification: Making Your Credits
Work for You, CBMT
Andrea Crimmins, PhD, MT-BC
Completing 100 credits for recertification does not have to break the bank! We will discuss economical ways to obtain credits while advancing your skills and knowledge as a music therapist, and share examples of ways to accrue credits in a thoughtful manner. (UG 7) (Professionals)
Room 309-310
Music-Centered Music Therapy for People with
Advanced Dementia
Rachelle Norman, MA, MT-BC
How can we be in the music with people who, because of dementia, may no longer speak, walk, or smile? What are appropriate music therapy goals for people with advanced dementia? In this interactive presentation, learn music-centered strategies for serving this population in both individual and group settings. (UG 6) (Professionals)
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9:15 am – 10:45 am
JW Grand Ballroom 2-4
Musical Bridges that Integrate Mind, Body, Spirit
Keynote Speaker, Joanne Loewy, PhD, MT-BC
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11:00 am – 12:00 pm
Room 201
Functions of Music in Ghana: Naturalistic Inquiry through the Music Therapist’s Lens
Amy L. Dunlap, MT-BC
In Ghana, West Africa, music and life are inseparable. The researcher traveled to Ghana to document how music functions in everyday life. This presentation will describe the research methods, field

Friday, April 15, 2016 (continued) experiences, and emergent trends of this grant-funded project. Participants will learn Ghanaian folk music and philosophies suitable for clinical use. (UG 9)
(All levels)
Room 202
Music Therapy from a Client’s Perspective: A
Student’s Experience in GIM
Anthony Beuchel
This presentation will explore the experience of a student’s involvement as the client in the Bonny
Method of Guided Imagery and Music and the understandings that came out of this process.
Connections will be drawn with the related literature, implications for students will be discussed, and a list of resources will be made available. (UG 6)
(Students, educators)
Room 203
Inclusion of Music Therapy to Increase
Compliance for Adolescents with Eating Disorders
Kathryn Bruno, MT-BC
Music therapy treatment rationale, goals, and interventions for adolescents with eating disorders hospitalized for medical stabilization will be discussed within the context of an evidence-based statement suggesting lenient care environments increase compliance rates. (UG 2, 6, 8) (All levels)
Room 204
Children’s Bereavement Group: Case Studies and
Practical Application
Ana Madden, MT-BC and Bryn McCabe-Weiland,
MT-BC
Creating a music therapy bereavement group for children that incorporates music and other creative modalities can be a powerful tool for music therapists. Learn tips to plan and use grief groups to provide emotional support for children and their loved ones. (UG 1,4) (All levels)
Room 205
Entrained Music Therapy and Heart Rate of
Infants in the Cardiac ICU
Jennifer A. Yurkovich, MT-BC and Debra S. Burns,
PhD, MT-BC
This session will highlight a pilot study conducted in a Cardiac Intensive Care Unit, observing the effect of entrainment-based live music intervention on heart rate of infants. In addition to reviewing the results of the pilot study, this presentation will also discuss challenges to conducting research alongside clinical work. (UG 6, 9) (All levels)
Room 302-303
GLR Special Projects Presents… Sketches of
Music Therapy with Adults with Intellectual
Disabilities: Preliminary Research Findings
Jennifer Jones, PhD, MT-BC
Music therapists have worked with adults who have intellectual and developmental disabilities for many years; yet, there is limited published research on current service delivery. This study sought to define music therapy practice through onsite observation of sessions and constituent perception collected via interviews. Preliminary findings will be reported.
(UG 5, 9) (All levels)
Room 309-310
Bridging the Age Gap:
Intervention Ideas for Adolescents
Kellee Coviak Hansen, MT-BC
This session will focus on intervention ideas for use with adolescent populations. Participants will experience a variety of interventions which can be immediately implemented within clinical practice in multiple settings. (UG 1,6) (All levels)
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12:00 pm – 2:00 pm
JW Grand Ballroom Foyer
Cash Lunch
12:00 pm – 1:00 pm
JW Grand Ballroom 2-4 and Foyer
Networking Lunches
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1:00 pm – 2:30 pm
JW Grand Ballroom 1
Exhibit Hall Expo
JW Grand Ballroom Foyer
Research Poster Session
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2:45 pm – 4:45 pm
Room 201
Our Powers Combine: Co-treatment in School
Settings
Bryan Lindskog, MT-BC, Megan Derven, MM,
MT-BC, and Amanda Clay, MT-BC
Music therapy doesn’t exist in a bubble. Often times, within the school setting, multiple disciplines work together to treat students. This session will focus on the importance of collaboration between music therapists and other clinicians/educators by highlighting case studies, showing video samples, and demonstrating interventions. (UG 1,7)
(All levels)
Room 202
Evidence-Based Practice: Bridging the Gap between Research and Clinical Practice
Katherine Myers-Coffman, MS, MT-BC and Caitlin Krater, MS, MT-BC
This Evidence-Based Practice (EBP) journey offers tools to empower therapists to integrate evidence into interventions and empirically evaluate their current work. Presenters will describe the background of
EBP, explore feasible methods for finding, appraising, and using research in practice, and discuss how to disseminate outcomes of the EBP decisions. (UG 6,9) (All levels)
Room 203
Student-driven Research of Music Therapy in
Adolescent Mental Health Inpatient Treatment
Annie Heiderscheit, PhD, MT-BC, LMFT, and Kaylie
Johnson
This presentation describes the process of designing and conducting student research under faculty supervision and collaborating with a community music therapist. Data from the survey study will be presented and discussed, and results regarding the current music therapy practices and methods utilized in adolescent mental health inpatient treatment will be presented. (UG 9) (Students)
Room 204
Freedom Comes with Music Therapists: A
Neurologic Approach to Autism
Eric Lund, MT-BC, Jennifer Pruden, MT-BC, and Logan Bartnick, Self-Advocate
In understanding the new brain science being done in autism, we as music therapists need to be mindful of strategies that will help clients gain independence and those that, instead, deepen the stereotypic ruts that maintain their dependence on others. (UG 5,6)
(All levels)
Room 205
Inclusion within Music Therapy Groups:
EVERYBODY Music Together!
Cindy Lu Edgerton, MM, MT-BC
Music therapists are always striving to celebrate everyone’s abilities in group active musicing sessions. This presentation will demonstrate techniques that successfully include individuals with wide ranges of abilities. Participants will improvise and play song arrangements using traditional instruments, iPad ‘instrument’ apps, electronic instruments, one-string basses and an Ablenet switch.
(UG 5,6) (All levels)
Room 302-303
From Womb to World: Music Therapy
Applications for Fertility, Birth and Postpartum
Healing
Kate Taylor, MA, MT-BC
A multi-sensory journey through the applications of pre and perinatal music therapy told as birth stories, with music and birth art. Presentation of actual written creative expressions and audio recordings will demonstrate how to assess, plan and execute applications of music therapy for fertility, prenatal wellness, birth, and postpartum healing. (UG 3,4)
(Professionals)
Room 309-310
Drumming 101: Manageable Drum Skills to Up your Groove Center
Carolyn Koebel, MM, MT-BC & Mike LimBybliw,
MT-BC
Attendees of this session will gain confidence in translating drum set patterns into hand drum grooves that set the correct "feel" for various musical styles/genres. Content will include techniques, vocabulary, and practice strategies for increased clinical competence. (UG 6) (All levels)
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5:00 pm – 6:00 pm
JW Grand Ballroom 2-4
GLR General Business Meeting
Room 304-306
GLR Student Business Meeting
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Friday, April 15, 2016 (continued)
7:00 pm – 8:00 pm
Rhythm Discovery Center
6:30 pm: Meet at Registration
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8:30 pm – 9:30 pm
Evening Drum Circle
Bongo Boy Music, Inc.
“For All You Do, This One’s For You!” Come and
Join Ed and Lisa from Bongo Boy Music, Inc . at the
Friday Night Drum Circle. Cut loose, laugh, destress and move to the groove with your fellow Music
Therapists. There will be plenty of opportunities to jump in the circle…after all, this is YOUR circle!
Upon completion of the event, there will be time for
Q&A about starting a community drum circle, new ideas for enhancing community drum circles, learning more about facilitation techniques and new product information. See you at the circle and remember… “It’s All About the Groove!!”
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Saturday, April 16, 2016
6:30 am – 9:00 am
JW Grand Ballroom Foyer
Cash Breakfast
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7:15 am – 8:15 am
State Meetings
Room 201
Illinois
Room 202
Wisconsin
Room 203
Minnesota
Room 204
Michigan
Room 205
Ohio
Room 309-310
Indiana
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8:00 am – 12 pm
5:00 pm – 7:00 pm
Registration Open
8:15 am – 12:00 pm
1:30 pm – 5 pm
Exhibit Hall Open
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8:30 am – 9:30 am
Room 201
Latino Youth Summit - Building Self-Mastery and
Resiliency through Music Therapy
Katherine Myers-Coffman, MS, MT-BC
Learn about an interdisciplinary “summer camp” aimed at improving levels of self-mastery, decreasing levels of acculturative stress, and decreasing incidences of depression in at-risk Latino youth. A detailed look at the music therapy program design and implementation will be offered, with discussions surrounding evidence-based practices, research recommendations, and protocol development.
(UG 1) (All levels)
Room 202
Building a Pediatric Hospital-based Music
Therapy Program through Philanthropy
Jana Skrien Koppula, MT-BC and Annie
Heiderscheit, PhD, MT-BC, MFT
Philanthropy is a viable funding source of music therapy programs. It is important to understand the complex aspects of donor relationships in order to build and maintain a philanthropic funded program.
This presentation will include examples of building successful donor relationships, gathering and presenting data to donors, and addressing donor expectations. (UG 1,3,7)
(Students, entry-level professionals, professionals, experienced professionals, educators/clinical trainers)
Room 203
Neurodiversity: Uniting Our Community through an Inclusive Music Therapy Approach
Edward T. Schwartzberg, MEd, MT-BC
This presentation will explore the history and definition of neurodiversity and how it impacts music therapists, all of our clients, and our communities.
The presenter will discuss, through personal experiences and published research, how music

therapists can promote it through their clinical work and community advocacy. (UG 5, 6, 7)
(Students, entry-level professionals, experienced professionals, educators/clinical trainers)
Room 204
Expanding Access: Private Practice in Rural
Communities
Brittany Scheer, MA, MT-BC
Thoughts and ideas about the importance of implementing music therapy programs in rural communities will be discussed. Audience will learn about the pros and cons of working in rural areas, the differences between rural and urban business needs, and the differences between rural and urban healthcare. (UG 7)
(Students, entry-level professionals, experienced professionals)
Room 205
Therapeutic Benefits of Singing
Lee Anna Rasar, MT-BC, WMTR
This presentation will examine the effect of singing on: the immune system, general health, quality of life, and life span; biochemical effects in the brain; pulmonary, motor, language, cognitive, social, emotional and spiritual functioning and related goal areas; societal and political structures; mother-infant bonding; caregiver-client and client-to-client bonding. (UG 5,6) (All levels)
Room 302-303
Clinical Techniques for Transitioning Between
Receptive & Creative Methods to Build Rapport
Lindsay Rossmiller, MT-BC
Concepts inherent in building safety and rapport will be explored through case vignettes, audio/video clips, and literature. Participants will gain resources to aid transition from receptive to creative methods and develop greater understanding of MT techniques to create structure and sanctuary in meeting phase with an adolescent population. (UG 6)
(All levels)
Room 304-306
Existential Theory: Philosophical Foundations and Applications in Music Therapy
Erin Fox, MA, MT-BC
Existential theory draws from teachings of philosophers such as Kierkegaard, Nietzsche, and
Buber. Similar to humanistic theory, selfactualization is a key component, but the theoretical ideas go even further to address meaning and purpose, and this theory can powerfully impact music therapy approaches. (UG 8)
(Students, entry-level professionals, experienced professionals)
Room 309-310
Feeling the Earth Move under Your Feet: Using
Yoga in Drumming Groups
Jennifer Hicks, MT-BC, RYT
Research shows that music therapy and yoga promote similar physical and psychological benefits, reducing depression, anxiety and pain and improving motor skills, brain function and quality of life. Join the presenter to learn and experience techniques you can use to intentionally incorporate yoga-based principles in your adult drumming groups. (UG 6) (All levels)
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9:45 am – 11:45 am
Room 201
The Power of a Genogram to Deepen the Family
Music Therapy Interview
Dr. Peter J. Birkeland, Ph.D., Sister Mary Margaret
Delaski, FSE, MA, MT-BC, Miranda Eden, MT-BC, and Sandy Koteskey, MT-BC
Our clients do not live in a vacuum. They come from a family system. Family issues and influences sometimes remain hidden in initial interviews, and can affect future music therapy work. This session will explore the nature and dynamic use of the genogram as an assessment tool for music therapists.
(UG 2,6,8) (All levels)
Room 202
Pediatric Creative Arts Therapies Assessment:
Generating Culture Change, Data and Intern
Learning
Laura Pawuk, MM, MT-BC, Elizabeth Klinger, MT-
BC, and Willow Messier, ATR-BC, CCLS
Discover an assessment that serves to (a) brand a new cultural identity for the creative arts therapies team within a pediatric hospital, (c) generate vital statistics, (c) ensure that creative art therapy interns learn comprehensive assessment and documentation skills and (d) assess patients and families birth to twenty-four. (UG 3) (All levels)

Saturday, April 16, 2016 (continued)
Room 203
Music Therapy Marketing for Introverts
Rachelle Norman, MA, MT-BC
If you’re introverted, the idea of marketing your music therapy practice may be terrifying. In this workshop, learn from a textbook introvert about how to market your services in a way that honors your personality and builds on the strengths of introversion. Then, rehearse your new skills with your fellow introverts. (UG 7)
(Entry level professionals, experienced professionals)
Room 204
What Would Carl Rogers Do? A Non-directive
Approach to Music Therapy
Jennifer Rook, MT-BC, LCPC
Explore non-directive client-centered therapy and how music can be applied within this approach as a means of communicating empathy and unconditional positive regard. Participants will review Rogerian theory and discuss its application with a variety of clients through case examples. (UG 6,8)
(Experienced professionals)
Room 205
Music Therapy Biomedical Foundations and
Neuroplasticity Model: Talking your Practice
J. Sheppard Crumrine MT-BC, MME, MSW
The Biomedical Foundations and Neuroplasticity
Model of Music Therapy guide daily practice whether consciously or not. They provide an effective way to articulate it to a variety of
“audiences”, whether a casual elevator ride, an
Inter-disciplinary Care Plan meeting, or introduction to a session to individual or groups of clients.
(UG 2,8) (Students, entry-level professionals)
Room 302-303
Rethinking Autism: How Forgetting What I
Knew Led to Improved Clinical Outcomes
Casey DePriest, MT-BC
This presentation will explore one therapist’s
“awakening” after uncovering important research about the neurologic connectivity differences, movement and sensory differences, and the hidden abilities of some individuals on the autism spectrum.
This work has led to improved clinical outcomes and the development of a successful therapeutic day school, ACCESS Academy, which uses neurologic music therapy to meet the needs of its students.
(UG 5,7) (All levels)
Room 304-306
The Final Chord: Music Therapy at the End of
Life for Pediatric Patients
Deborah Benkovitz, LSW, MSW, MT-BC
Although the idea of dying pediatric patients is discomforting, there are powerful ways music therapists can positively impact the coping skills and quality of life of the patient and family members.
Through case studies and discussion, we will examine how to best use music for these fragile young patients. (UG 1,2,4) (All levels)
Room 309-310
The Therapeutic Use of the Harp: Basic Playing
Technique and Improvisational Scales
Nancy O’Brien
This workshop provides an opportunity to learn basics (hands on) about the lever harp and its use as a therapeutic instrument to be actively utilized by the therapist and client. Basic technique will be presented as well as modes for immediate success in solo and/or group improvisation. (UG 6) (All levels)
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12:00 pm – 1:30 pm
JW Grand Ballroom 2-4
GLR Awards Luncheon
Luncheon Music
Rob Dixon Trio
After finishing studies at Hampton University and
Indiana University, Rob Dixon moved to New York, playing with well-known organizations such as the
Count Basie Orchestra, Tony Bennett, and the
Smithsonian Master Works Jazz Orchestra. Rob will be performing during the luncheon with two colleagues as a Jazz trio.
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1:30 pm – 2:45 pm
JW Grand Foyer
Internship Fair
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1:30 pm – 2:30 pm
Room 201
MLE 2016 Survey: A Preliminary Report
Ronna Kaplan, MA, MT-BC; Angie Snell, MSEd, MT-
BC; and Mary Ellen Wylie, PhD, MT-BC
The MLE Subcommittee recently disseminated a survey to educational program directors, educators, and National Roster internship supervisors (n.b. survey to university-affiliated supervisors is in process). The Subcommittee is seeking measurable information from these professionals about the academic and clinical training of our students, along with educators' and supervisors' perspectives on
MLE. Preliminary data will be shared during this presentation. (UG 7) (Professionals)
Room 202
Expanding Potentials for Cochlear Implant
Recipients Ages 3 – 18
Laura Pawuk, MM, MT-BC
Discover the world of music therapy for cochlear implant recipients. Topics will include: (1) cochlear implant technology and its impact on speech and music perception, (2) music therapy techniques that address the unique needs of this population by maximizing dopamine and neuroplasticity potentials, and (3) the development of our program. (UG 1,3)
(All levels)
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1:45 pm – 3:45 pm
Room 203
When Philosophy Informs Clinical Practice:
Exploring Our Beliefs about Music
Melanie Brison, MT-BC, Stephanie Morris, MT-BC and Annie Heiderscheit, Ph.D., MT-BC, LMFT
This presentation provides an opportunity to explore how our beliefs about music, music- making, and healing inform our philosophy of music therapy through experiential learning and music creation. The presentation will explore how understanding our philosophy forms the foundation of our theoretical orientation and defines how we approach clinical practice. (UG 1,3) (Students, entry level professionals)
Room 204
Morality & the Mind: Ethical Considerations for
Treatment with Vulnerable Populations (NICU,
Disorders of Consciousness, and Counseling)
Erin Bristol Wegener, MM, MT-BC, CBIS,
Bridget Sova, MT-BC, and Alika Seu, MT-BC
This presentation will cover the connection between research, treatment approaches, and ethical considerations for vulnerable populations.
Presenters will discuss ethical issues involving treatment with populations including NICU, adult neurorehabilitation, and oncology, and demonstrate interventions through live examples, video, and research. Heart-beat recording technology and a standardized tool (MATADOC) for awareness in
Disorders of Consciousness will be introduced.
(UG 6,7) (All levels)
Room 205
Teaching Objectivity: Concepts for Learning
Elaine A. Abbott, PhD, MT-BC
Describing music therapy sessions objectively can be challenging. Using results from qualitative analysis of 130 practicum journals, a framework for teaching students when, who, and what to observe, along with an inventory of language for describing those observations will be presented. Attendees will be encouraged to discuss and brainstorm teaching strategies. (UG 9)
(Educators/clinical trainers, experienced professionals)
Room 302-303
Music Therapy Self-Care: Music Resources to
Re-Animate Ourselves and Our Teams
Lindsay Rossmiller, MT-BC
Presentation will define burnout, vicarious traumatization and support exploration of expressive avenues for self-care for the music therapist.
Participants will engage in discussion and experiences exploring the role of these issues within the field as well as ways to implement ritual and accountability through building a self-care plan.
(UG 7) (All levels)
Room 304-306
An Introduction to the Bonny Method of Guided
Imagery & Music
Louise Dimiceli-Mitran, LCPC, MT-BC
The Bonny Method of GIM involves listening to selected classical music in a relaxed state to elicit mental imagery from the deeper conscious self. The therapeutic functions of music, imagery, and processing will be discussed. Participants will experience a group music & imagery session.
Definitions, clinical uses, contraindications and resources will be included. (UG 7) (All levels)

Saturday, April 16, 2016 (continued)
1:45 pm – 3:45 pm
Room 309-310
Banter, Beethoven, and the Bard: Building Social
Skills in Children with Special Needs through
Theater and Music
Kristin Kummer, M.A., MT-BC, Samantha Lyle, M.A.,
CCC-SLP, and Alexa Reck, M.A., CCC-SLP
As music therapists, many of our clients may have an interest in music from the stage or from movies. This presentation will introduce a means to combine this music, drama, and speech therapy strategies to support participants’ social competence, performance confidence, understanding of emotions, and conversation skills. (UG 1, 5) (All levels)
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2:45 pm – 3:45 pm
Room 201
Trends In Memory Care We Need to Know
Leslie Henry, MM, MT-BC
What is being studied about the role of music and the individual with memory care needs in a variety of music therapy and peer reviewed journals? The presenter has conducted a large scale literature search, compiled a bibliography and annotated 32 sources. Learn about trends of treatment, knowledge about music and brain as dementia progresses.
(UG 9) (All levels)
Room 202
Music Therapy & Feeding Disorders: A Child-
Centered Developmental Approach
Kathleen M. Murphy, PhD, MT-BC; Taylor Farlin, and Emily Magary
This session will describe the role of music therapy on the transdisciplinary pediatric feeding team.
Presenters will review common feeding issues, assessment procedures, and typical goals. Clinical vignettes and demonstration will be included to demonstrate commonly used receptive, re-creative, and improvisational methods. (UG 1,8)
(Entry-level professionals)
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4:00 pm – 5:00 pm
Room 309-310
Educators’ and Internship Directors’ Roundtable
Room 201
International Roundtable
Room 203
The Role of Music Therapy and Ritual Drama during Imminent Death
Noah Potvin, MMT, LPC, MT-BC
Ritual dramas are culturally informed performances that facilitate wellness through the use of symbols and imagery. This case study will provide an introduction to ritual drama and how this process facilitated transition, release, and closure during a music therapy session with an actively dying patient and her loved ones. (UG 4, 6) (All levels)
Room 204
HOURGLASS, a live music community participation event encouraging movement improvisation
Robin Cox, PhD
This panel style presentation will explore concepts and experiences of performers and participants in non-verbal and spontaneous communal activity.
HOURGLASS is a participatory event encouraging movement improvisation through live performance of an hour-length arc of composed music and video.
Participants are encouraged to experience
HOURGLASS tonight during the closing session!
(UG 6) (All Levels)
Room 302-303
Music and Memory SM Panel Discussion
Jennifer Geiger, MA, MT-BC; Leslie Henry, MM,
MT-BC; Dale Taylor, Ph.D., MT-BC;
Erin K. Spring, MM, MT-BC; Robin Lombardo,
Northeast Regional Director for M&M
Participants will learn about the Music &
MemorySM individualized listening program, as portrayed in the film "Alive Inside," and how music therapists are becoming involved. Attendees will receive background information as well as hear from both a music therapist involved in the program and a regional director of Music & MemorySM. Bring your questions! (UG 6) (All Levels)
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5:00 pm – 6:00 pm
JW Grand Ballroom 2-4
GLR Business Meeting

Room 304-306
GLR Student Business Meeting
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7:30 pm – 8:30 pm
JW Grand Ballroom 4
CLOSING SESSION
Introductory Remarks:
Debra Burns, PhD, MT-BC
Performance: HOURGLASS
Robin Cox and Stephanie Nugent
This large scale work of fully composed music for live violin, cello, four channel electronic playback, is designed to engender non-verbal and spontaneous community participation through movement improvisation. By active investment and involvement from attendees, HOURGLASS addressees ways to sustain extended participation, while representing an alternative performance concept for those lacking interest in experiencing arts through more formal and traditional formats. HOURGLASS uses a compositional process in production of a single largescale structural arc and after years of work with movement improvisers and choreographers, the music is also based upon the creator’s observation of rates and levels of complexity in musical information likely to trigger kinesthetic responses, such as continuities and contrasts in thematic, motivic, and temporal content. In the egalitarian sprit of the work, distinctions are also blurred between performer and audience with venue configuration lacking suggestion of a stage and a quadraphonic speaker system immersing the space in sound from all angles.
Closing Remarks: Indianapolis Local Co-Chairs
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Sunday, April 17, 2016
8:00 am – 11:00 am
Registration Open
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Institute and CMTE Sessions
9:00 am – 5:00 pm
Room 309-310
Institute E: Implications and Applications of Hip
Hop Culture in Music Therapy
Michael Viega, PhD, LCAT, MT-BC
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7:00 am – 12:00 pm
Room 202
CMTE 7: Making the Transfer: Guitar &
Percussion Techniques for Deepening the Clinical
Groove
Carolyn Koebel, MM, MT-BC &
Mike LimBybliw, MT-BC
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12:00 pm – 5:00 pm
Room 201
CMTE 9: What Happens in Cyberspace, Stays in
Cyberspace: Ethical Issues in Technology
Debbie Bates, MMT, MT-BC
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Please check the hotel reader boards and registration booth for last minute changes to the schedule, and thanks for joining us in Indianapolis for GLR 2016!

Continuing Education Information
CMTE Credits
Attendance at the 2016 GLR of AMTA conference is approved by the Certification
Short Event Activities
Any session at this conference which are fewer than five contact hours and do not fall
Board for Music Therapists (CBMT) for 5
CMTE credits. Credits awarded by CBMT are accepted by the National Board for
Certified counselors. The GLR of AMTA maintains responsibility for program quality and adherence to CBMT policies and criteria.
Ways to Earn CMTE Credits:
Full conference attendance
Conference certificates will be available at the registration desk after final concurrent session at 5:00pm on Saturday, April 16,
2016.
Institutes and CMTE courses
Registrants will receive a certificate upon completion of a Pre-conference Institute or
CMTE course. According to CBMT guidelines, participants choosing this option will need only their certificate for documentation.
Umbrella Groupings (UG)
An umbrella grouping is “a group of related workshops, courses, and programs, each fewer than five (5) contact hours, which can be incorporated under a theme or unifying topic relating to the CBMT Scope of
Practice and results in a total of at least five
(5) contact hours in durations” (CBMT
Recertification Manual).
UG tracking sheet can be found in the conference program or at the registration desk. within an umbrella grouping qualify as short event activities. Up to 15 CMTE credits per five year cycle will be allowed in this category.
Documentation
CMTE credit for umbrella groupings and short activities requires documentation. It is the responsibility of each individual to complete the required documentation for submission to CBMT. Documentation requirements are as follows:
1.
Activity Title
2.
Sponsor (GLR for this conference)
3.
Name of Instructor
4.
Summary of the learning experience, its application to the music therapy practice, and Examination Content
Outline. (Approx. 250 words)
5.
Copy of the conference brochure
6.
Proof of attendance
7.
Number of contact hours in each session
8.
Unifying topics for umbrella groupings
Presenter/Presider sign-off sheets for
Umbrella Groupings
A sheet is provided on the next page of the conference book as well as at the registration table. Be aware that additional documentation (notes/handouts) may be required should CBMT audit your file.

Umbrella groupings are a “group of related workshops, courses, and programs, each fewer than five contact hours, which can be incorporated under a theme or unifying topic relating to the CBMT Scope of Practice and results in a total of at least five contact hours in duration” (CBMT Recertification
Manual). Eligibility for this type of educational activity requires documentation. It is the responsibility of each individual to complete and retain the required documentation for submission to
CBMT. This form is intended to assist you in collecting this documentation.
Suggestions for umbrella groupings for this conference are listed below. In the program, sessions that match these suggestions have the corresponding number after the session title. You may find other groupings that are appropriate and specific to your area of practice.
1) Child/School
2) Mental Health
3) Medical
4) Hospice and Palliative Care
5) IDD
6)
7)
8)
9)
Clinical Skills
Professional Issues
Theory
Research
Retain your conference program and your attendee certificate with this form. Additional forms can be found at the registration table.
Name:
CBMT Scope of Practice Area:
CBMT Cert. #:
Session Title Date Length/Hrs Presenter’s Signature

Hotel Maps
1 st floor
2 nd floor

3 rd floor