Practice ?s

A music therapist is improvising in the key of G major. Which of the following secondary dominant-seventh chords should be chosen for the MOST direct transition to the new key of D major? A. A7 B.X B7 C. D7 D. E7

A. A7 A. A7 is the secondary dominant-seventh of V in G major and the dominant-seventh of D major, the most direct transition to the new key.

A music therapist is working in a choral ensemble with a group of adults who have developmental disabilities. The group's long-term goal is to perform in the community. Which of the following will MOST likely affect the group's success? A. Adapt parts to meet individual group members' abilities. B. Choose music that is highly preferred by the group. C. Choose music each group member is familiar with. D. Arrange the ensemble participants based on musical ability.

A. Adapt parts to meet individual group members' abilities. A. Adapting parts in this way would allow for maximum participation from all group members at the level each member functions. B. Music preferences are important, but the songs they prefer may be out of their skill level or ability. C. Each participant's familiarity with the music is least important to the success of this project since the therapist can structure the learning experiences in a way that addresses each participant's learning style. D. Arranging the ensemble participants based on ability could decrease the participants' feelings of self-worth.

A child with an intellectual disability frequently displays self-stimulating behaviors, including moving his fingers in front of his eyes. Which of the following would be the MOST effective use of music to decrease self-stimulating behavior? A. Give the child a maraca and play preferred music when he shakes the maraca. B. Withhold preferred music when he moves his fingers in front of his eyes. C. Play loud, unfamiliar music during instances of self-stimulating behavior. D. Play preferred calming music any time the child moves his fingers in front of his eyes.

A. Give the child a maraca and play preferred music when he shakes the maraca. A. A child with an intellectual disability may seek sensory input in a manner that isolates him from others. It is the music therapist's job to redirect this behavior and provide reinforcement when appropriate. Giving the child a maraca provides an alternative, more socially appropriate form of stimulation and is incompatible with moving his fingers in front of his eyes. Playing preferred music when he shakes the maraca would help reinforce the alternative behavior. B. This would only work if the child is able to understand the connection between his self-stimulating behavior and the withdrawal of music. It is generally more effective to teach an alternative behavior than to completely extinguish a behavior without offering an alternative. C. This method may seem punitive and could cause the child to seek to avoid the music therapist. D. This method may potentially reinforce the self-stimulating behavior.

A hospice patient shares that she is very spiritual and misses the community feeling she experienced while attending worship services on Sundays. Which of the following would BEST address the patient's needs? A. Provide live spiritual music associated with the patient's congregation. B. Invite the chaplain and patient's family to a future session. C. Validate the patient's thoughts and feelings. D. Stream live worship services online during the session.

A. Provide live spiritual music associated with the patient's congregation A. Providing live spiritual music addresses the immediate need, and using music from her congregation reflects the community that the patient misses. B. Inviting the patient's family and the chaplain to a future session may address the need of community feeling through worship with others, but there is no guarantee that there will be a future session with a hospice patient. C. While validating the patient's feelings is important and should be done, it does not address the need of missing the worship experience with others. D. Viewing a live scenario does not equate to participating in the fellowship, which is what the client wants.

"Since her admission, Mary has spent most of her time in her room and has not participated in unit activities." Under which assessment domain would this statement MOST likely be found? A. psychosocial B. emotional C. communicative D. sensorimotor

A. Psychosocial A. Psychosocial refers to quantity and quality of interpersonal interaction. B. Emotional refers to appropriateness of affect and emotional responses to various situations. C. Communicative refers to expressive and receptive language skills. D. Sensorimotor refers to responses to various stimuli.

Which of the following interventions BEST demonstrates how a music therapist could use music as a cue for a relaxation response when helping a patient prepare for a painful medical procedure? A. Teach the patient to practice breathing deeply while listening to a soothing piece of music. B. Encourage the patient to participate in a lyric analysis to initiate a discussion about coping skills. C. Engage the patient in improvisational drumming to distract them from the procedure. D. Help the patient write a song expressing how they feel about the procedure.

A. Teach the patient to practice breathing deeply while listening to a soothing piece of music. A. Teaching the patient to practice breathing deeply while listening to a soothing piece of music is an example of using music as a cue for a relaxation response. Repeatedly rehearsing a relaxation response by breathing deeply while listening to the same music would build an association between the music and the relaxation response. B. Encouraging the patient to participate in a lyric analysis to initiate a discussion about coping skills could promote coping skills, but would not necessarily cue an immediate relaxation response. C. Engaging the patient in improvisational drumming to distract them from the procedure could provide distraction, but would not necessarily cue a relaxation response. D. Helping the patient write a song expressing how they feel about the procedure could facilitate emotional expression, but would not necessarily cue an immediate relaxation response.

Which of the following is a language disorder which affects the ability of a patient with a cerebrovascular accident (CVA) to accurately relay information during an initial music therapy assessment? A. aphasia B. ataxia C. dysphagia D. dyslexia

A. aphasia EXPLANATIONS A. Aphasia is a language disorder associated with CVAs (and other neurological conditions) which could affect a patient's ability to relay information. Some of the most common types of aphasia are expressive, receptive, and global. Expressive aphasia: With expressive aphasia, the person knows what he or she wants to say yet has difficulty communicating it to others. It doesn't matter whether the person is trying to say or write what he or she is trying to communicate. Receptive aphasia: With receptive aphasia, the person can hear a voice or read the print, but may not understand the meaning of the message. Oftentimes, someone with receptive aphasia takes figurative language literally. Global aphasia: This is the most severe type of aphasia. It is often seen right after someone has a stroke. With global aphasia, the person has difficulty speaking and understanding words. In addition, the person is unable to read or write. B. Ataxia is a motor disorder. C. Dysphagia is a swallowing disorder. D. Dyslexia is a reading disorder.

A group of clients would like to perform a Latin American piece at a school talent show. They have been improvising a 3-2 rhythm with a variety of percussive instruments. Which of the following rhythmic patterns will provide the strongest accompaniment? A. clave rhythm B. waltz rhythm C. tango rhythm D. cha-cha rhythm

A. clave rhythm it is a 3-2 rhythmic pattern.

Self-awareness, self-determination, and the search for meaning employ principles from which of the following psychotherapeutic models? A. existential therapy B. psychoanalytic therapy C. cognitive behavioral therapy D. reality therapy

A. existential therapy A. Existential therapy focuses on the capacity for self-awareness, taking conscious control of one's own life, and searching for meaning and purpose in one's life. B. Psychoanalytic therapy adopts a deterministic view and unconscious factors that motivate behavior. C. Cognitive behavioral therapy focuses on how changes in thinking affect how a person feels and behaves. D. Reality therapy focuses on helping a client to have a satisfying or positive relationship with another person.

The theory that personalities are shaped and motivated by conscious and unconscious forces, with a strong influence from childhood experiences is A. psychodynamic. B. cognitive. C. holistic. D. existential.

A. psychodynamic A. Psychodynamic theory is the view that personalities are shaped and motivated by conscious and unconscious forces, with a strong influence from childhood experiences. B. Cognitive theory is an approach that attempts to explain human behavior by understanding thought processes. C. Holistic theory assumes that the whole person is continually being motivated by one need or another and that people have the potential to grow toward psychological health, that is, self-actualization. D. Existential theory focuses on a person as a unique being as well as the choices that they can currently make empowering them to take responsibility for their well-being.

When working to sustain the attention of a child during a medical procedure, the MOST important attribute of the music to consider is A. rate of change. B. dynamic range. C. key or mode. D. consistent tempo.

A. rate of change. A. Based on principles of habituation and dishabituation to an auditory stimulus, controlling the rate of change that occurs within a music stimulus would be utilized to sustain the listener's attention. The therapist would determine the rate of change based on individual response patterns of the client. B. Although dynamics of music may function to solicit attention, it would be the rate of change in dynamics that would most likely account for sustained attention over time. C. No evidence D. No evidence

Asking a client to play back five notes that were just played on a piano addresses A. episodic memory. B. working memory. C. semantic memory. D. long-term memory.

B. working memory. A. Episodic memory is the memory of autobiographical events. B. Working memory contains the information that can be held in mind and mentally manipulated in a short period of time. C. Semantic memory refers to general world knowledge that has been accumulated. D. In long-term memory, information is stored for longer periods of time than it would take to recall five notes played on a piano.

In a standard 12-bar blues form, the chord in the ninth measure is the A. tonic. B. subdominant. C. submediant. D. dominant.

D. Dominant C. The submediant chord does not appear in the 12-bar blues.

A music therapist has taken a job at a facility with a few older instruments and a limited budget for music therapy supplies. The music therapist would like to have a client improvise on a diatonic Orff xylophone while the music therapist plays the piano, but the xylophone is missing its F and B bars. Which scale, beginning on C, should the music therapist play in to MOST successfully facilitate this experience? A. Aeolian B. harmonic minor C. Dorian D. major pentatonic

D. major pentatonic A. Aeolian mode requires the use of flats when starting on C, which would not be found on a diatonic xylophone. B. The harmonic minor scale requires the use of flats when starting on C, which would not be found on a diatonic xylophone. C. Dorian mode requires the use of flats when starting on C, which would not be found on a diatonic xylophone. D. A major pentatonic scale starting on C would use the notes C, D, E, G, and A, which could all be played on the xylophone.

When assessing an adult psychiatric patient in the communication domain, the music therapist should A. provide the patient with a questionnaire to determine the patient's comfort level in groups and preferred communication style. B. engage the patient in a dialogue about communication skills and discuss ways to benefit from the group music therapy process. C. play music of several genres and ask the client to rate these musical examples while noting the patient's communication skills. D.use a music-based approach that offers observable opportunities for self disclosure and for nonverbal and symbolic communication.

D.use a music-based approach that offers observable opportunities for self disclosure and for nonverbal and symbolic communication. EXPLANATIONS: A. Although this approach may open dialogue with the patient, it does not involve music. Assessment in the communication domain involves more than the communication style. The questionnaire can be completed independently by the patient without interacting with the music therapist. B. Although this approach opens dialogue with the patient, it does not involve music. C. Although this approach involves music, it doesn't provide the opportunity to assess communication skills due to the narrow type of response. D. This is the only approach that involves the patient in a music-based interaction with the music therapist. A music therapist should employ a variety of methods to observe the patient's communication skills and provide space for the patient to exercise agency and choice in how they respond.

A music therapist is facilitating a song-writing experience with an adult client. The music therapist introduces a 12-bar blues song, intentionally leaving off the lyrics at the end of each phrase for the client to complete. This structure is MOST likely acting as a prompt for A. self-esteem. B. initiation. C. relaxation. D. motor response.

b. initiation A. Increased self-esteem is not assumed with lyric completion. B. The structure of a 12-bar blues lends itself to eliciting client musical response due to its predictable phrases. C. Completion of the lyrics does not necessarily target relaxation. D. Omission of verbal lyrics prompts a verbal response rather than focusing on a motor response.

A student with social (pragmatic) communication disorder occasionally verbally interrupts at inappropriate times, becoming disruptive in social settings. To BEST address social language use, the music therapist should first sing a phrase from a song, make eye contact with the student, and then sing A. "Now it's your turn." B. "Look at me." C. "I like to sing." D. "Let's sing together."

A. "Now it's your turn." This phrase would help structure a turn-taking experience in which the student waits for their turn to sing, which is a skill that could be transferred to group social settings. According to the DSM-5, inappropriate responses in conversation are a characteristic of social (pragmatic) communication disorder.

A music therapist is working with a process-oriented group of adults. The clients are playing keyboard, bass, guitar, and drums. The group stops playing because the drummer is intentionally playing faster than the other clients can play. Which of the following should be the therapist's FIRST action? A. Allow the group to express how they are affected by the drummer's actions. B. Play the drums along with the drummer to modify the tempo. C. Increase the proximity of the players to one another. D. Confront the drummer in front of the group to model direct communication.

A. Allow the group to express how they are affected by the drummer's actions. A. Allowing the group to express how they are affected involves the clients in process-oriented problem solving. B. Playing along with the drummer is not a process-oriented intervention. C. Increasing the players' proximity is not a process-oriented intervention. D. While this may be effective, confrontation should not be the initial course of action.

A client with an intellectual disability is referred for assistance with problem-solving skills needed to work as an activity assistant in a long-term care facility. The client competently assists with activities but struggles in appropriately responding to residents' behaviors when the activity director is not present. Which of the following should be the music therapist's FIRST action? A. Assess the client's current executive functioning abilities. B. Support the client's strengths by using music to teach how to manage problem behaviors exhibited by residents. C. Develop the client's problem-solving skills to enable independence on the job. D. Use music to teach the client the sequential steps for what to do when a problem arises.

A. Assess the client's current executive functioning abilities. A. The client may not have the executive functioning skills needed to safely be independently in charge of the residents when problems arise. Because the purpose of the referral is to do this, the first thing to do is assess the client's current executive functioning abilities to determine if the goal is achievable. B. Using music as a structure to teach what to do does not address learning how to determine what to do on the spot to deal with the problem behaviors. This requires a level of executive functioning that may be above the ability level of this client. C. Prior to doing this an assessment needs to be completed to determine if the client has the cognitive ability to meet this goal. D. Learning a series of steps does not always work when managing problem behaviors of clients, and problem-solving in real time is needed without the opportunity to consider and develop options. These skills may be above the ability level of this client.

Evidence-based practice (EBP) principles require music therapists to take which of the following into account when planning treatment? A. best available research; patient characteristics, culture, and preferences; clinical expertise B. evidence of past treatment success; therapist knowledge and skills; treatment length C. published music therapy program descriptions; therapist expertise; assessment outcomes D. reviews of past research literature; patient history; principle of beneficence

A. best available research; patient characteristics, culture, and preferences; clinical expertise "Evidence-based music therapy practice integrates the best available research, the music therapists' expertise, and the needs, values, and preferences of the individual(s) served."

A music therapist is working with an individual who is moderately affected by a traumatic brain injury (TBI). Which of the following experiences requires the highest level of executive functioning for this client? A. composing the melody of a song B. adding CDs to one's personal collection C. selecting an instrument for a rhythmic improvisation D. choosing a song for the group to sing

A. composing the melody of a song A. Complex executive functions involving several decisions about musical elements are required to compose a melody. B. The decisions involved in choosing CDs are less complex than those required to compose a melody. C. Selecting a single instrument involves only one decision. D. Choosing a song involves only one decision.

Which of the following interventions assesses client functioning and strengths in the social domain? A. instrumental improvisation B. music-assisted relaxation C. notational music activities D. somatic music listening

A. instrumental improvisation A. Instrumental improvisation involves the client creating music while playing or singing, extemporaneously creating a melody, rhythm, song, or instrumental piece. Instrumental improvisation may establish a nonverbal channel of communication, allow the client to explore aspects of self in relation to others, develop interpersonal or group skills, and/or resolve interpersonal or group problems (Bruscia, 2014). B. Music-assisted relaxation is the use of music listening to reduce stress, tension, anxiety, or facilitate entry into altered states of consciousness (Bruscia, 2014). C. Notational music activities involve the client creating a notational system and composing a piece using it or notating an already composed piece (Bruscia, 2014). D. Somatic music listening is the use of vibrations, sounds, and music to directly influence the client's body and its relationship to other facets of the client (Bruscia, 2014).

When using music to facilitate and enhance functional movements, it is MOST important to provide music that A. supports the temporal, spatial, and muscular dynamics of the movement. B. has been chosen by the client as their preferred music for movement. C. promotes movement exploration through varying rhythmic patterns. D. provides a novel experience to motivate, focus, and engage the client.

A. supports the temporal, spatial, and muscular dynamics of the movement. EXPLANATIONS: A. Research has shown that elements of music such as rhythm, pitch, dynamics, and harmony can drive the spatial, muscular and timing aspects of a movement and therefore shape movement trajectory patterns. B. While preferred music is motivating, it is often more of an accompaniment than a facilitator of movement. C. Functional movement implies that the goal is more than movement exploration and that there is a target for how the movement should look. D. Functional movement may be facilitated and enhanced even if the music experience is not novel.

When a music therapist arrives for a group music therapy session at a residential psychiatric treatment facility for adolescents, the therapist finds five group members sitting together laughing and talking loudly. A new patient is sitting alone and appears quiet and sullen. The therapist notices bandages wrapped around the new patient's wrists. One of the group members tells the therapist the patient is new to the unit and none of them even know her name. After introductions, the therapist should A. invite the new patient to join the group and encourage other group members to share their music therapy experiences. B. proceed with the group as planned and invite the new patient to observe the group. C. orient the new patient to the policies and procedures of the treatment facility. D. ask the new patient to explain why she is in the facility and share her musical background.

A. invite the new patient to join the group and encourage other group members to share their music therapy experiences. A. Inviting the new patient to join the group and encouraging the other members to share builds rapport in a nonthreatening way. B. Inviting the new patient to observe discourages rapport and is less engaging than inviting the patient to join. C. Ideally, orienting a patient to a new facility would take place outside and prior to the therapy session. D. Asking the new patient to explain why she is in the facility is threatening at this early stage and is contraindicated for creating trust.

Using rhythmic movement as a therapeutic technique to address gait dysfunctions aligns MOST directly with which of the following treatment approaches? A. neurological B. behavioral C. humanistic D. developmental

A. neurological EXPLANATIONS: A. The neurological approach addresses gait dysfunctions that stimulate music perception and pair it with motor responses. B. The behavioral approach identifies behaviors, replaces negative inaccurate thoughts, and changes the rewards for positive behaviors; this does not directly address gait dysfunctions. C. The humanistic approach believes that people have an ordered set of needs that must be fulfilled in order to achieve personal growth; this does not directly address gait dysfunctions. D. The developmental approach uses play, and specifically looks at how a child is developing during the most significant period of development. Although the subject may be of this age group, it would still require a neurological approach to directly address gait dysfunctions.

The team member who is BEST positioned to enable a successful transition to the community following discharge from an adult behavioral health setting is the A. patient. B. psychiatrist. C. social worker. D. music therapist.

A. patient. A. In order to successfully transition to the community from a behavioral health unit, the patient is encouraged to be involved in their treatment and independently use resources in the community. B. The psychiatrist's input is necessary, but secondary to the patient at the point of discharge. C. The social worker will assist in setting up support systems for the patient to use. D. The music therapist may assist the patient in developing goals that will be beneficial upon discharge, but the patient will be responsible for following up on the implementation.

Which of the following activities involves assessment of a client's functioning level in the area of sensory skills? A. playing a triangle to a steady beat B. sight-reading song lyrics C. selecting a piano melody D. music listening as a part of music-assisted relaxation

A. playing a triangle to a steady beat A. Sensory integration is required by the eye-hand coordination needed to hold the beater and strike the triangle. B. Specific sensory tasks are not addressed by sight-reading lyrics. Information processing based on visual discrimination and reading skills are addressed. C. Specific sensory tasks are not addressed by selecting a melody. Physically playing an instrument is not required to select a melody. D. Listening to music does not address specific sensory skills without a task being associated with it such as responding to the beat of the music.

An ego defense mechanism in which an individual attributes desires and impulses to others is A. projection. B. assimilation. C. dissociation. D. rationalization.

A. projection. EXPLANATIONS: A. This is a correct definition of projection. B. Assimilation is a developmental process describing a person's ability to comprehend and integrate new information. C. Dissociation is the splitting off of behaviors, affect, sensory stimuli, and/or memories from conscious awareness, usually so that the individual may cope with traumatic events. D. Rationalization involves an individual's attempts to justify or make consciously tolerable feelings, behaviors, or motives that otherwise would be unacceptable.

A music therapist is working with a respiratory therapist to regulate a patient's breathing during weaning from the mechanical ventilator. Which of the following would be the MOST effective? A. rhythmic music matched to the patient's target breathing rate B. patient-preferred music to calm the patient C. music to support imagery during weaning from ventilation D. music to distract the patient from the ventilator

A. rhythmic music matched to the patient's target breathing rate A. Using principles of rhythmic entrainment, the music therapist would match the patient's breathing rate before, during, and after the weaning procedure for the purpose of stabilizing respiration rate and sustaining oxygen saturation levels during the procedure. B. Patient-preferred music may calm the patient; however, it may also excite the patient and elevate the rate of breathing. The use of preferred music does not directly address the objective of regulating the patient's breathing. C. Imagery would not directly address the objective of regulating the patient's breathing. D. Distraction techniques would not directly address the objective of regulating the patient's breathing

A music therapist is assisting a terminally ill client who is preparing for his impending death. The BEST choice of music for the client's final hours is music that has been A. selected by the client to support his transition. B. designed to elicit relaxation. C. selected by the family or significant others to support his transition. D. designed for spiritual transformation.

A. selected by the client to support his transition. A. It is important for a client to experience a sense of control. Allowing the client to select music addresses this need. B. Music designed to elicit relaxation may not have the desired effect in every client. C. Only when the client is unable to select music should music be selected by the family or significant others. D. Music designed for spiritual transformation may or may not be appropriate for a given client.

A music therapist is advising an elementary music educator on how to help a student with mild hearing loss participate successfully in a general music classroom. Which of the following should the music therapist recommend FIRST? A. Vary the level of participation that is expected of the student. B. Adapt the way that instruction is delivered to the student. C. Adapt the outcome expectations or goals. D. Vary the amount of staff support provided to the student.

B. Adapt the way that instruction is delivered to the student. A. Varying the level of participation that is expected of the student may draw attention to the student's differences, and is not the FIRST step the educator should take in the interest of providing equal access for all students. Level of participation would be determined after observing the student's responses to adapted instruction. B. For a student with a hearing loss, adapting the way that instruction is delivered (for example, using more visual cues) would be the first action to take. If the student has a mild hearing loss, the student may or may not require other adaptations once changes are made to the way instruction is delivered. C. Adapting the outcome expectations or goals may become necessary for the student, but is not the FIRST step the educator should take in the interest of providing equal access for all students. D. Varying the amount of staff support is not the first consideration. Prior to offering support, independence should be encouraged to allow maximum level of functioning.

Which of the following examples illustrate professional development? A. Document treatment plans, collaborate with other colleagues, and expand music repertoire. B. Conduct or assist with research, participate in continuing education, and engage in collaboration with other colleagues. C. Participate in research, set professional goals, and maintain client confidentiality. D. Participate in continuing education, comply with safety protocols, and review current research literature.

B. Conduct or assist with research, participate in continuing education, and engage in collaboration with other colleagues. EXPLANATIONS: A. Documentation of treatment plans is part of treatment planning. B. Each of these items is part of professional development. C. Maintaining client confidentiality is a professional responsibility and not part of professional development. D. Complying with safety protocols is a part of treatment implementation and not part of professional development.

A boy with autism spectrum disorder (ASD) is receiving music therapy services. The mother reports that each time he watches television, he prefers the volume to be extremely high. This is difficult for the family to tolerate. Which of the following is the music therapist's BEST response? A. Establish experiences that provide emotional expression between the mother and child. B. Develop interventions to address discriminating and manipulating different auditory stimuli. C. Promote exercises that utilize only quiet, less boisterous instrumentation. D. Create experiences that allow the music to be loud at all times, as this is preferred by the client.

B. Develop interventions to address discriminating and manipulating different auditory stimuli. A. Facilitating emotional expression does not address the foundational reason for why the client is preferring loud auditory stimuli. B. Including opportunities for different stimuli best supports a more appropriate replication of real life experiences. C. This does not provide the client with a varied sensory experience, which is important to address functional transfer. D. See explanation C.

A 6-year-old client with autism spectrum disorder (ASD) is consistently meeting his communication goals during music therapy sessions, but the family reports that music therapy is the only place where the child willingly engages in his environment. To facilitate transfer of progress into the client's everyday life, which of the following is the music therapist's BEST action? A. Explain to the family that it is typical for children with ASD to not transfer behaviors from therapy. B. Discuss ways the family can independently integrate music at home to encourage interaction. C. Continue current music therapy interventions to enforce stronger brain connections. D. Explore ways to incorporate additional musical involvement through adaptive music lessons.

B. Discuss ways the family can independently integrate music at home to encourage interaction. A. While this may be typical, it is the therapist's responsibility to help make those connections. B. The therapist cannot be with the child all of the time, so it is important to educate the family on how to facilitate and reinforce communication at home. C. If the child does not see the connection, it will be very unlikely that they will independently make this transfer. D. Adaptive music lessons may be fun for the child, but do not facilitate transfer of communication skills.

A music therapist has completed the assessment process with a patient on a cardiac unit and it has been determined that the treatment plan should include stress management and relaxation. Which of the following should be the music therapist's NEXT action? A. Verbally discuss the case with the social worker at the next appropriate opportunity. B. Document the assessment and verbally discuss the case with appropriate team members. C. Place a referral to an adjunctive therapist to begin co-treatment. D. Begin planning for the session by gathering progressive muscle relaxation scripts and choosing appropriate music.

B. Document the assessment and verbally discuss the case with appropriate team members. A. Verbal discussion would be an appropriate means of communicating findings during an assessment; however, it would be best to first document the assessment and find the appropriate team members to discuss the case. B. After completing an assessment or any other patient interaction, all findings should be documented properly and recommendations and/or reports should be communicated to the appropriate team members. C. Placing a referral for co-treatment to an adjunctive therapy team member is an option; however, the best choice is to first document, record, and report the assessment findings. D. The process of session planning is a plausible option; however, the best choice is to first document, record, and report the assessment findings.

Which of the following is MOST important to include in a termination note? A. reasons why the client was initially referred to music therapy B. a data-based evaluation of the client's progress C. a list of all interventions used throughout the client's music therapy treatment D. task analysis of the target behavior

B. a data-based evaluation of the client's progress A. Reasons for referral should be included in the initial assessment. Although the reason for referral may be required in the termination note for certain funding sources, they are not the MOST important content. B. By including data, the termination note gives a clear picture of whether the client has achieved goals and objectives or has failed to benefit from services. C. A list of interventions should be documented in progress notes. Although a list of interventions may be required in the termination note for certain funding sources, it is not the MOST important content. D. Task analysis of target behavior would be part of the treatment plan.

A music therapist is conducting an assessment with an elderly resident at a care facility. The resident's roommate has her television on at a loud volume when the music therapist arrives, and declines to turn it off or decrease the volume. As the music therapist and resident begin to sing, the roommate complains that she does not like the song, and that the singing is too loud. The roommate comments that the resident has recently moved into the room and should respect her roommate's wishes. Which of the following is the music therapist's BEST action? A. Discontinue the assessment and return to complete it at a later time. B. Explain the situation to facility staff and request to use space elsewhere in the facility for the assessment. C. Inform the roommate that the assessment must be completed and she will need to turn off the television. D. Include the roommate in the assessment by asking her to suggest a song for the therapist and resident to sing.

B. Explain the situation to facility staff and request to use space elsewhere in the facility for the assessment. A. This is not the best option, because it does not benefit the resident who has been referred for services. B. This option allows the music therapist to complete the assessment with the resident in an environment that is conducive to the client's needs and will likely result in more accurate assessment outcomes. C. While the resident and roommate are both entitled to use of their room, this option will likely not result in an environment conducive to assessment, as it is likely to upset the roommate and possibly make her more disruptive. D. This is not the best option, as the roommate is not the person being assessed and should not be involved in the assessment process without specific therapeutic reason.

A client in a hospital is experiencing a high degree of acute postoperative pain that has been ineffectively addressed with medication. A music therapist receives a referral from the nursing staff to help the client cope with the acute pain until a better pharmaceutical intervention can be instituted. The music therapist finds that the client is highly anxious and having trouble concentrating. Which of the following is the music therapist's BEST action? A. Engage the client in song discussion using preferred songs from a list to aid distraction. B. Facilitate breathing exercises in the context of live music of the client's preferred style. C. Use music and imagery to help the client to imagine being in a more comfortable place. D. Provide the client with a choice of instruments on which to express the client's experience of pain.

B. Facilitate breathing exercises in the context of live music of the client's preferred style. A. Song discussion requires the ability to concentrate and discuss. Someone who is anxious and in acute pain may not be in a state to do this. B. Using live music that is in the style preferred by the client allows the therapist to adjust the musical elements to support relaxation, and encouraging the client to breathe deeply while listening will help with the physiological relaxation response. C. Like song discussion, music and imagery may make too many cognitive demands for a client in acute pain. D. Someone in acute pain will likely not have the desire to play instruments, and it is likely that any active music engagement will require more energy than the client has, and may increase the perception of pain.

A music therapist received a referral from a physician to see a hospitalized patient who is in a coma and demonstrates inconsistent, nonspecific, and delayed responses to external stimuli. During the initial visit, which of the following actions should the music therapist take when assessing appropriateness of music therapy? A. Ask the patient's family member about the patient's music preferences. B. Note initial behavioral state and monitor any changes that occur during music. C. Read the patient's medical chart and find appropriate evidence-based interventions. D. Refer to the research literature to find appropriate evidence-based interventions.

B. Note initial behavioral state and monitor any changes that occur during music. EXPLANATIONS: A. Knowing the patient's music preferences would not tell the music therapist whether music therapy is appropriate for the patient. B. Changes in behavioral states may be indicative of responses to pain or overstimulation for someone who is in a coma, and should be carefully monitored to determine whether to continue music therapy. C. Reading the patient's medical chart would not give the music therapist in the moment information about how the patient responds to music therapy. D. Reading research literature would not give the music therapist in-the-moment information about how the patient responds to music therapy.

A music therapist works with adults with anxiety disorders in a partial hospitalization program once a week in music-assisted relaxation sessions. Which of the following is the BEST strategy to promote the independent use of music for self-care? A.Practice progressive muscle relaxation using live guitar chord progressions. B. Provide clients with a playlist of the music and relaxation scripts for practice at home. C. Facilitate music imagery and have clients imagine themselves as independent adults. D. Work with the clients on mindfulness training and help them breathe through their anxiety.

B. Provide clients with a playlist of music and relaxation scripts for practice at home A. This strategy uses live music played by the music therapist; therefore, it requires the client to be dependent on the therapist. B. This strategy would provide clients with opportunities to practice and use music-assisted relaxation interventions independently at home.

When facilitating the termination process with a client, what is the BEST way to ensure a smooth transition? A. Allow the client's other treatment team members to handle all termination related issues. B. Provide community resource recommendations to the client during termination discussions. C. Wait to discuss termination until the last session in order to avoid making the client anxious. D. Refer the client to a community social worker to discuss options for addressing termination issues.

B. Provide community resource recommendations to the client during termination discussions. EXPLANATIONS: A. Discussing termination personally with the client is important to the therapeutic relationship between the client and music therapist. B. Discussing termination with the client will ensure that the client is more prepared for the process, and community resources can provide the client with options for additional support. C. Adequate preparation will be more effective in reducing the client's possible anxiety and fears about termination than waiting until the last session. D. External healthcare workers are not expected to assume responsibility for another provider's termination process.

A music therapist using the behavioral model or approach might use which of the following techniques? A. free association B. task analysis C. rhythmic auditory stimulation D. autogenic relaxation

B. Task analysis A. Free association is primarily used in a psychodynamic approach or model. B. Task analysis is primarily used in a behavioral approach or model. C. Rhythmic auditory stimulation is primarily used in a neurological approach or model. D. Autogenic relaxation is primarily used in a guided imagery approach or model.

A hospice patient communicates to the music therapist concerns about how the family will cope in bereavement. While the patient is talking, the music therapist leans toward the patient and occasionally nods. After the patient finishes speaking, the music therapist waits for a moment and then says, "It sounds like you're really concerned about your family." Which of the following does the music therapist's verbal and nonverbal behavior demonstrate? A. unconditional positive regard B. active listening C. countertransference D. sympathy

B. active listening The music therapist's verbal and non-verbal behaviors demonstrate active listening, a serious interest in the topic, and comprehension of what the patient said.

A fit-tested respirator should be used for which of the following levels of infection control precautions? A. contact B. airborne C. droplet D. radiation

B. airborne A. Contact precautions do not require respirators as the germs are spread by touching. B. Airborne precautions require respirators due to the germs being very small and spread through the air. C. Droplet precautions require the use of a surgical mask. D. Radiation precautions do not require respirators.

Members of a cognitive-behavioral music therapy group for adolescents in recovery from substance use agree that one of their group rules is not to have consumed any alcohol on the day the group meets. At the beginning of each group, the music therapist reviews the group rules and asks the clients if there are any infractions that need to be discussed. The music therapist is MOST likely trying to A. congratulate group members on adherence to group rules. B. allow members to be accountable and take responsibility for themselves. C. assess group compliance and preparation for the group meeting. D. identify group members who had not adhered to what they agreed to do.

B. allow members to be accountable and take responsibility for themselves. A. Congratulating group members on their adherence to group rules can be uplifting and rewarding, but it is likely not the therapist's primary intention. B. Becoming accountable and responsible for one's self is a fundamental tenant of cognitive-behavior therapy. In this setting, the group member would be free to share if they chose to do so; they would not be forced to take responsibility for self. C. Knowing which group members had adhered to the group rules probably is not the primary reason for reviewing the group rules at the start of the meeting. The purpose of asking for group members to share is to help them be accountable, not to bring attention to their non-adherence in a way that might be experienced as shaming.

A music therapist is assessing adult clients with chronic psychiatric needs for possible inclusion in an outpatient music therapy psychosocial rehabilitation group. What is the BEST non-music assessment tool or procedure to use with these clients to determine appropriateness for music therapy services? A. a background survey B. an individual interview C. an intelligence test D. a personality inventory

B. an individual interview EXPLANATIONS: A. A background survey provides information related to a client's past history and experiences but may not capture current presenting problems or changes associated with current treatments and medications. B. The interview is a common and well-established method of non-musical assessment in psychiatric care; music therapists often use this format for collecting information about social interaction, musical experiences, music preferences, and other relevant information that may influence group dynamics and interactions. C. The assessment may require specific training to administer and interpret and does not typically assist in determining eligibility for music therapy or psychiatric services. D. This type of assessment may require specific training or certification to administer the test and interpret the results; this assessment typically does not assist in determining eligibility for music therapy or psychiatric services.

When evaluating treatment within the context of one's clinical orientation, a music therapist should A. prioritize appraisal of client progress over the music therapist's clinical orientation. B. apply their clinical orientation but acknowledge that it may have limitations. C. apply their clinical orientation and evaluate client progress with confidence. D. suspend their clinical orientation and adopt another to gain a fresh perspective.

B. apply their clinical orientation but acknowledge that it may have limitations. A. Prioritizing appraisal of client progress over one's preferred clinical orientation affects reliability as clinical orientation is linked to one's way of being in the world and affects interpretation. B. Every clinical orientation has its limitations and acknowledging them is a responsible approach to evaluation. D. It is impossible to completely suspend one's preferred clinical orientation as it is linked to their way of being in the world.

A music therapist receives a referral for a new client from a nurse who states that the client "loves music." The music therapist's INITIAL follow-up communication is to A. contact the client to schedule an assessment. B. ask the nurse about specific clinical needs. C. consult with the caregiver about client's music preferences. D. request a treatment summary from the interdisciplinary team.

B. ask the nurse about specific clinical needs. A. While helpful in some regards to know that the client has a pre-existing relationship with music, a referral predicated on enjoying music does not necessitate music therapy services - it is important that clinical needs be the starting point for any referral. B. An appropriate follow-up with the nurse would be to request more information about clinical needs. C. There is not enough information here to determine whether speaking with the caregiver before the client is appropriate in this circumstance. D. In all likelihood, the music therapist would already be a member of the treatment team and so would not require a summary they could procure on their own from reviewing existing documentation.

A music therapist is creating a treatment plan for a client who exhibits delayed response to stimuli. The music therapist is planning to address the goal of improved response time through an intervention in which the client plays a drum when the music therapist begins to play the piano. Which of the following is the MOST appropriate data for the music therapist to plan to collect to determine progress towards this goal? A. number of times the client plays the drum during the session B. latency of each of the client's musical responses C. self-reported improvement of response from the beginning to end of the session D. overall time spent engaged in drum playing during the intervention

B. latency of each of the client's musical responses A. The frequency of response would not necessarily be correlated with an improvement in response time. B. Recording the latency, or interval of time between stimulus and reaction, would show whether the client is able to respond more quickly over the course of the intervention, and could be compared over multiple sessions. C. While the client's feelings of improvement may be important to consider, it is a subjective measurement and would not necessarily paint an accurate picture of progress. D. The total time spent playing the drum would not show a change in response time.

A music therapist in a public school is about to conduct an initial assessment for a 5-year-old boy with ADHD. The assessment is scheduled to take place in the boy's classroom. To facilitate the child's engagement MOST effectively, the music therapist should A. frequently remind the boy to stay in his seat and focus on the musical activity. B. delineate a small area of the room to be used and remove possible distractions. C. request that a classmate of the boy be present to act as a role model. D. observe the boy's spontaneous actions to see how he reacts in this environment

B. delineate a small area of the room to be used and remove possible distractions. EXPLANATIONS: A. Repeated verbal reminders are often ineffective with children with ADHD. B. When doing an assessment, it is the therapist's responsibility to create an environment or space conducive to the client's needs. The child described needs a space with minimal distractions due to his ADHD. C. This is possible, but it is not the best answer. Having another child present would likely yield different results and might further distract the child. D. While it can be important to observe the child in the classroom environment, the focus of this question is on facilitating the child's engagement. If the child is distracted in this setting, then the therapist will not obtain complete data on the child's abilities.

In the most recent session of an outpatient addiction recovery group, clients initiated a discussion about a higher power in the context of the 12 Steps. Several clients dominate the discussion while the remaining clients are attentive but appear apprehensive about participating. When prompted by the music therapist, the previously silent group members identify an understanding of higher power different from their more vocal peers. The music therapist's BEST course of action is to A. discourage clients from openly sharing their beliefs and practices beyond vague details. B. encourage clients to openly share beliefs and practices as related to their personal recovery journey. C. pivot the discussion away from spirituality and religion to more secular aspects of the 12 Steps. D. split the group into sub-groups comprised of clients with similar or the same beliefs and practices.

B. encourage clients to openly share beliefs and practices as related to their personal recovery journey. A. When clients are discouraged from taking into consideration their unique cultural perspectives, they are denied access to essential information about what "healthy" means for them. B. Contemporary culturally responsive clinical practices in music therapy assert that treatment is inextricably tied to the cultural perspectives of clients, thus music therapists are challenged to actively incorporate individual cultural differences, including spirituality and religion, into the therapeutic process. C. For clients actively engaged in the 12 Steps process, the higher power is an essential component of their recovery and any movement away from that component of their treatment is contraindicated. D. Breaking the group down into culturally alike sub-groups will only reinforce clients' pre-existing views and perspectives, thus limiting their potential for growth and transformation.

Goal and objective writing that emphasizes collaborative stakeholdership between the music therapist and client BEST represents which of the following theoretical orientations? A. cognitive-behavioral B. humanistic C. psychodynamic D. developmental

B. humanistic EXPLANATIONS: A. Cognitive-behavioral is typically a more top-down approach that assigns the music therapist more expertise than clients. One of the foundational tenets of humanism is that clients are the experts on themselves, thus necessitating them as partners in determining goals and objectives in their treatment plans. B. One of the foundational tenets of humanism is that clients are the experts on themselves, thus necessitating them as partners in determining goals and objectives in their treatment plans. C. Some psychodynamic approaches are collaborative but others, particularly more traditional psychoanalytic traditions, assign the music therapist more power than typically assumed in an egalitarian stakeholder partnership, so while psychodynamic may be an appropriate answer, it is not a better answer than "humanistic." D. Developmental approaches can encompass a number of different theoretical orientations, so while it may be an appropriate answer, it is not a better answer than "humanistic."

To produce a bass sound on a djembe, the instrument should be struck A. on the edge. B. in the middle. C. close to the edge. D. on the side. EXPLANATIONS: A. Striking the djembe on the edge may produce a higher pitch note called a tone or a slap rather than a bass sound. B. Striking the djembe in the middle produces a bass sound.

B. in the middle. A. Striking the djembe on the edge may produce a higher pitch note called a tone or a slap rather than a bass sound. B. Striking the djembe in the middle produces a bass sound.

A music therapist is working with a client who is depressed and withdrawn. In an improvisational dyad, the music therapist gradually changes the tempo, range, and articulation, while reflecting and supporting any change in playing by the client. Which of the following is the music therapist MOST likely attempting to encourage? A. improvement in sustained attention B. increased emotional expressiveness C. demonstration of sensory awareness D. response to musical behavioral cues

B. increased emotional expressiveness A. Poor attention might be a symptom of depression, but it is unlikely to be a focus of treatment interventions for depression. B. Encouraging the client to be more musically expressive can be helpful in mobilizing emotions, which often is an important step in helping the client to examine their experience of depression. C. A decrease in sensory awareness may be a symptom of depression but is typically not a focus of treatment. D. Ability to respond to behavioral cues is not typically a focus of treatment for depression.

A music therapist is reviewing a pilot study in a peer-reviewed journal to possibly apply the intervention with current patients. In the study, the researchers concluded that the participants benefited from the music therapy intervention. Which of the following is the PRIMARY concern when applying the music therapy intervention used in the article? A. sampling bias B. lack of replication C. type II error D. low validity

B. lack of replication A. Although the study could be at risk for sampling bias, it becomes less of a concern if the participants in the study are very similar to the patients with whom the music therapist is working. B. A pilot study lacks replication. The results from the study may be unique to the participants in the study. C. Type II error results from incorrectly accepting the null hypothesis, or finding no difference when a difference actually exists. Since the article concluded that the participants benefited from music therapy (i.e., there was a difference observed when music therapy was present), the risk of Type II error diminishes. D. Validity is the degree to which a test or survey actually measures what it is supposed to measure.

A music therapist is beginning a music therapy program at a local mental health facility. She is asked to provide an overview of her services to the case managers, including appropriate referral criteria for music therapy. What is the MOST appropriate reason for referral with this population? A. preference for listening to music B. maladaptive coping skills C. history of playing guitar in a band D. comorbidity of intellectual disability

B. maladaptive coping skills A. Preferring to listen to music does not represent a clinical need for services. B. Maladaptive coping skills - A client may be a candidate for music therapy when a cognitive, communication, psychological, educational, social, or physiological need might be ameliorated or prevented by such services. Out of the choices, this is the most appropriate reason for referral with this population. C. Playing in a band does not represent a clinical need for services. D. A comorbidity of intellectual disability does not represent a clinical need for services.

A client with no dysarthria imitates a music therapist in singing words but cannot engage in conversational speech with recall on demand. Which of the following interventions is indicated? A. cueing using rhythmic speech strategies B. melodic intonation therapy C. vocal and breathing techniques D. therapeutic singing

B. melodic intonation therapy A. Rhythmic speech strategies do not cue conversational speech on demand. B. Melodic intonation therapy utilizes a patient's unimpaired ability to sing to facilitate spontaneous and voluntary speech through sung and chanted melodies which resemble natural speech intonation patterns (Sparks et al. 1974). C. Vocal and breathing techniques do not cue conversational speech on demand. D. Therapeutic singing does not facilitate conversational speech with recall on demand.

A music therapy treatment approach that focuses on how music interventions stimulate the brain to influence a client's affective, cognitive, and sensorimotor behaviors is A. psychodynamic. B. neurologic. C. holistic. D. behavioral.

B. neurologic. A. Psychodynamic music therapy is based on the idea that a person's past influences their present behaviors and that the unconscious also strongly influences behavior. B. A neurologic approach to music therapy puts a strong emphasis on the findings of neuroscience research and how musical responses can affect nonmusical responses. C. A holistic approach emphasizes wellness in multiple aspects of a client's life with the assumption that there is a connection between the various domains of wellness. D. A behavioral approach to music therapy assumes that changes in a person's behavior will affect changes in other areas of their functioning. While similar, a neurologic approach emphasizes the connection to brain stimulation.

A music therapist audio records all songs written and performed by her clients. The music therapist is presenting a case study at a national conference about her work with a female client who experienced domestic abuse. However, the music therapist is no longer working with the client. In order for the music therapist to present this case study, including audio recordings, the music therapist must A. acquire permission from the client for the presentation of the audio recordings only. B. obtain consent from the client for the presentation of the case study and the audio recordings of the song. C. disguise the identity of the client in any materials presented at the conference so that client consent is not needed. D. inform the conference attendees that consent could not be obtained because the therapeutic relationship had been terminated.

B. obtain consent from the client for the presentation of the case study and the audio recordings of the song. Presenters should obtain consent from clients for presentation of case study material as well as audio recordings at conferences and educational events. Given that presentation opportunities may arise after a therapeutic relationship has been terminated, it is important that clients are asked for consent for potential presentation of case material at conferences or educational gatherings. This consent will include HIPAA language in terms of protection of the client's identifiable information. A separate consent must be sought at the beginning of the treatment for audio recording of any music making and the use of such audio recordings in future presentations.

The subjective measure of health, comfort, and happiness experienced by a person or group is called A. subjective social status. B. quality of life. C. standard of living. D. socioeconomic status.

B. quality of life. A. Subjective social status is a subjective measure based on one's perception of social class relative to others. B. Quality of life is the standard of health, comfort, and happiness experienced by an individual or group. C. Standard of living is the level of wealth, comfort, and material goods available to an individual or group. D. Socioeconomic status is the social standing of an individual or group, measured by education, income, and occupation.

Through an interpreter, a music therapist assesses a 4-year-old girl from Senegal who exhibits signs of trauma and does not speak English. The music therapist asks the girl and her mother about favorite music, beliefs, and rules about music within their culture. After the music therapist researches Senegalese music and prepares culturally-appropriate music-based experiences, the child responds with improved affect and increased interaction with the mother. When communicating assessment findings, the BEST statement for the music therapist to make is that the patient is A. recommended for music therapy services at this time based on conversations with the family and the child's response to interventions. B. recommended for music therapy services, with acknowledgement that potential biases and limitations of the music therapist may influence this interpretation of assessment information. C. not recommended for music therapy services at this time, due to cultural differences and language barriers that inhibit effectiveness of the interventions. D. not recommended for music therapy services at this time, due to child's response to interventions and conversations through the interpreter.

B. recommended for music therapy services, with acknowledgement that potential biases and limitations of the music therapist may influence this interpretation of assessment information. EXPLANATIONS: A. Although an appropriate response on an assessment, this statement does not acknowledge the music therapist's potential bias and limitations in interpreting assessment information. B. Acknowledging music therapist's bias and limitations in interpreting assessment information due to cultural and language differences is important. Potential bias and limited understanding of the culture may unintentionally influence the music therapist's interpretation and recommendation and these concerns should be communicated to the treatment team. C. Cultural differences and language barriers are inadequate and inappropriate reasons for not recommending music therapy services. D. The patient's response to music interventions, when viewed through a culturally informed lens, indicated improved affect and family interaction. Therefore, music therapy services would most likely be recommended.

A client who is incarcerated and has previously expressed suicidal and homicidal ideations has the opportunity for an early release. To contribute to the review board's decision-making process, PRIMARY exit criteria for the music therapist to document should include evidence of A. safety, human support systems, and vocational skills. B. safety, resilience, and social competence. C. vocational skills, social skills, and communication skills. D. resilience, social competence, and communication skills.

B. safety, resilience, and social competence. A. Music therapists do not usually target vocational skills. B. Music therapy targets primary goals of safety, resilience (including emotional stability), and social competence to prevent suicide and homicide. Depression and triggers by others are key issues included in these arenas of therapeutic work. C. This list does not include safety, which is a primary criteria for consideration. Communication skills may be included under social skills, and vocational skills are not necessarily targeted by music therapy. D. This list does not include safety, which is a primary criteria for consideration.

In community music therapy settings, what is a PRIMARY challenge music therapists are tasked with addressing in order to ensure that clinical services provided to both clients and community are ethical and competent? A. effective communication with funding sources for the treatment setting B. self-exploration in pursuit of cultural humility and reflexivity C. extensive data tracking to demonstrate the effectiveness of interventions D. willingness to integrate multimodal interventions into the therapeutic process

B. self-exploration in pursuit of cultural humility and reflexivity B. Working in community settings challenges the music therapist to be aware of their intersectional identity and any accompanying assumptions, biases, and prejudices that come with their cultural perspective. C. It is possible that data tracking is necessary to retain funding and thus an important part of the music therapist's job, but that is not always the case and thus not the best answer. D. This is not necessarily a condition for ethical and competent services in community-engaged settings.

A 6-month-old infant who is gazing at and reaching for a bell that the music therapist is playing is demonstrating A. object permanence. B. sensory response. C. proprioceptive reaction. D. motor control.

B. sensory response. A. Object permanence is a child's ability to recognize an object still exists even though it no longer can be seen. B. "The therapist might look for the turning of the head in the direction of the sound, gazing at the bell, reaching for it, grasping it, sounding the bell and imitating patterns of bell ringing. Even at this most basic level alertness and awareness are initiated and maintained, preparing the way for learning more complex skills." C. Proprioceptive reaction is has to do with internal stimuli, specifically the perception or awareness of the position and movement of the body. D. Motor control is the process of initiating, directing, and grading purposeful voluntary movement. This response does not account for the child noticing and gazing at the objective producing the sound.

A music therapist is facilitating group cooperation and decision making by using songwriting. A group member with low self-esteem often provides entire verses of lyrics while ignoring other members' suggestions. To facilitate the group goals, the therapist should A. implement individual sessions with the dominant group member. B. structure the task to promote an equal response from each group member. C. encourage the dominant group member to listen to other group members. D. respond to nondominant group members while ignoring the dominant group member.

B. structure the task to promote an equal response from each group member. A. Implementing individual sessions will not facilitate the group goal of teaching cooperation and decision making. B. Structuring the task to promote an equal response from each group member is a good way to facilitate group cooperation and decision making. C. Encouraging the dominant group member to listen to other group members does not teach the group new ways to cooperate and make decisions. D. Ignoring the dominant group member will not teach new ways to cooperate and make decisions.

After a music therapist introduces a client to a variety of rhythm instruments, the client is asked to identify each of the instruments as it is being played behind a screen. This exercise requires the patient to practice A. aesthetic sensitivity. B. divided attention. C. auditory perception. D. impulse control.

C. Auditory Perception A. The client is not being asked about the beauty of what they are hearing. B. The client is only being asked to listen to one source at a time in order to identify what the sound is; therefore, it does not meet the definition of divided attention. C. The client is being asked to listen, perceive, and understand sounds. This is a typical example of auditory perception. D. The structure of this exercise would be very different if it were to directly address impulse control.

A child with ADHD has been referred to a music therapist for an assessment. The child's mother requested that the child be placed in a group setting to work on social interaction. During assessment, the child demonstrates extreme difficulty with movement and emotional regulation. Based on the assessment observations, which of the following is the music therapist's BEST action? A. Provide the child with group therapy placement to offer opportunities for regulation needs. B. Place the child in a group therapy environment to provide social interaction. C. Recommend the child receive individual sessions to address regulation needs before group placement. D. Determine the child would not benefit from music therapy at this time.

C. Recommend the child receive individual sessions to address regulation needs before group placement. A. Group therapy placement is not appropriate at this time as the client demonstrates difficulty with emotional and movement regulation. This may increase dysregulation. B. While the client's mother is interested in addressing social interaction, the assessment observations indicate greater need for emotional and movement regulation. C. Using individual therapy first to address the emotional and movement regulation needs is the best approach. Once progress is made on an individual basis, group placement may be appropriate. D. The fact that the assessment findings do not align with the mother's request does not indicate that music therapy would not be beneficial.

A music therapist working with a premature infant is introducing auditory stimulation. While the therapist is humming, the infant begins to show signs of distress and overstimulation. Which of the following should be the music therapist's FIRST response? A. Call the nurse. B. Rock the infant. C. Stop the humming. D. Sing a lullaby.

C. Stop the humming. A. Calling the nurse does not respond to the physiological response of the client. B. Rocking the infant may add stimulation and, therefore, is an inappropriate response. C. This response immediately addresses the need of the infant and allows the music therapist to assess whether music was the stressor. D. Singing a lullaby may add stimulation and, therefore, is an inappropriate response.

During a group music therapy assessment session, a music therapist has chosen to use lyric analysis to encourage discussion and disclosure of how group members perceive themselves in relation to the rest of the world. The song lyrics focus on specific beliefs and values, and several group members share either their agreement or disagreement with the songwriter's statements. The music therapist is MOST likely attempting to assess A. if this specific group of individuals would work well together. B. potentially harmful attitudes group members may have towards marginalized individuals. C. aspects of group members' interpersonal relationships. D. group members' family dynamics and support systems.

C. aspects of group members' interpersonal relationships. A. Selection of individuals for the group has probably already taken place through some type of pre-screening process, and this assessment session most likely is not focused on this aspect of group development. B. While such attitudes may become apparent within the group discussion, this is not the objective the music therapist has identified for this intervention. C. Social psychology informs us that how individuals perceive themselves in relation to the rest of the world directly influences their beliefs and behaviors. By gaining insights into group members' personal beliefs, the music therapist is also gaining insight into their behaviors and certain aspects of their social and interpersonal relationships. D. The music therapist's identified objective is to assess how group members perceive themselves in relation to the rest of the world, and not specifically within their own family units or as a part of their support system network.

A music therapist is aware of what she is thinking and feeling during the session and can communicate this to clients when appropriate. This is an example of developing the therapeutic relationship by being A. reflective. B.clinical. C. authentic. D. accessible.

C. authentic. A. Being reflective implies that a music therapist is able to restate and clarify the content of the session in order to further therapeutic progress. B. Being clinical involves multiple aspects of the therapy process, not specifically the characteristics of the therapist. C. Being authentic means being open and experiencing the session in the moment with the client. This enhances the therapeutic relationship by allowing the client to feel that they can trust the therapist to be present, genuine, or congruent. D. Being accessible involves being available to the client directly and indirectly. This does not necessarily address feelings of authenticity.

During an assessment, a patient with Parkinson's disease struggles to respond to musical cues that encourage singing familiar, one-word responses. When drawing conclusions, the music therapist should recommend that music therapy may A. not be beneficial because the patient is in the final stages of the disease. B. be beneficial because the patient is in the early stages of the disease. C. be beneficial in treating both dysarthria and cognitive changes. D. not be beneficial because it could lead to frustration.

C. be beneficial in treating both dysarthria and cognitive changes. EXPLANATIONS: A. Trouble with producing speech can manifest at different stages in the disease progression, as well as be related to cognition and not muscular control. B. Music therapy can be beneficial at any stage of the disease. Client-specific responses may be noted at different stages of the disease. C. Dysarthria (weakness in the muscles used for speech) and cognitive changes are both symptoms that can be effectively addressed using music therapy. D. Working through feelings of frustration could be an effective tool in reaching therapeutic goals.

When playing a familiar song with a young client, which of the following therapeutic exercises will MOST effectively increase sustained attention? A. altering note order B. varying key signature C. changing note duration D. modifying time signature

C. changing note duration A. Altering the note order will obscure familiarity of the song. B. Variations in the key signature will most likely have no effect on attention. C. Changing note duration is a strategy to address attention control. This focuses on the basic auditory attention function of making the exercise increasingly longer by lengthening/augmenting the notes. D. Modifying the time signature will most likely have no effect on attention.

If a music therapist has a sound recording, but no sheet music, the BEST strategy to determine the chord progression is to focus on the A. lead guitar. B. lead singer. C. electric bass. D. back-up vocals.

C. electric bass. A. The lead guitar may be playing embellishments needed to accompany the song. B. The lead singer provides the melody, which often follows the harmonic foundation, but not always. C. The electric bass usually plays the root of the chords in the basic harmonic progression needed to provide the accompaniment. D. The back-up vocals probably follow the harmonic progression, but not always, and may be embellishing the basic harmony.

A music therapist in a pediatric hospital uses a faces scale to assess the intensity of a 5-year-old girl's pain. Low pain is represented by a smiling face at the lower end and high pain is represented by a crying face at the upper end of the scale. The girl verbally tells the therapist that her arm is hurting "so much!" but she is not crying. When the girl is asked to circle a face on the scale, she circles a face in the middle of the scale. The BEST interpretation of this pain assessment is that the girl may be A. exaggerating the verbal description of her pain perception. B. hesitant to document her true levels of pain intensity on paper. C. experiencing a lot of pain but may not associate a crying face with her current feelings. D. confused by the scale as it is too advanced for pain assessment in young children.

C. experiencing a lot of pain but may not associate a crying face with her current feelings. A. Important in pain management is the recognition that "pain is what a person says it is and exists whenever he or she says it does" (McCaffery, 1968, p. 95). In pediatric pain management, it is important to accept the validity of patients' self report of pain. Because pain is a subjective phenomenon, one cannot expect for an outsider (e.g., adult) to accurately assess pain intensity by mere observation of the child. Therefore, the therapist has no reason to assume that the child is exaggerating her pain report. B. It is unlikely that a 5-year-old patient would have reservations about documenting her pain. C. Research has indeed shown that some children may not circle a crying face if they are not crying themselves. Instead, they may select the frowning face or face with straight mouth. D. Most face scales have been validated for ages 3 years and up.

A music therapist is working with a young woman with depression who unexpectedly becomes pregnant. The client announces that she wants to have an abortion, a decision that conflicts with the music therapist's moral code. To treat the client ethically and respectfully, the music therapist should A. be honest with the client and discuss the differences between the music therapist's and client's beliefs to give the client alternative options. B. terminate treatment with the client and refer her to another music therapist whose personal views align more closely with the client's. C. help the client to musically express and explore her feelings and emotions related to the pregnancy. D. focus treatment on coping skills related to depression and avoid the topic of the client's pregnancy.

C. help the client to musically express and explore her feelings and emotions related to the pregnancy. A. It is unethical for a music therapist to impose personal beliefs on a client, regardless of how different the client's beliefs might be. B. To terminate services because of a difference in beliefs may be damaging to the client. C. By focusing on the client's feelings about the pregnancy in a musical context, the music therapist can assist the client in examining what she really wants without engaging in discussion about the rights and wrongs of abortion. D. Addressing a different issue to avoid dealing with the client's issue at hand is not in the client's best interest.

In a group home for young male offenders, a music therapist meets weekly with a group of clients. During a session, each client is asked to pick a song recording to communicate something about themselves to the others in the group. The therapist and the group members then verbally reflect thoughts and feelings that are shared in relationship to the chosen song. It is MOST likely that the music therapist is operating from which of the following theoretical orientations? A. existential B. holistic C. humanistic D. cognitive

C. humanistic A. The existential theoretical framework focuses on constructing meaning from difficult or challenging life experiences. B. The holistic theoretical framework engages the whole person (emotional, mental, and physical). This song choice activity does not encompass all of these criteria. C. This example is most closely aligned with a humanistic theoretical framework because the client is allowed to make choices and express feelings and thoughts, and the therapist is providing feedback and support in an open and accepting manner while encouraging others to do the same. D. In a cognitive theoretical framework, it is likely that the music therapist's response to the client would involve more identification and problem-solving.

A music therapist is assessing a recently admitted 14-year-old client with anorexia nervosa, restricting type. During an individual interview, the client shares that she loves to dance to pop music and recently started to play the guitar to her favorite songs. Which of the following is the BEST intervention to assist the client in accessing and working through her therapeutic issues? A. movement intervention involving high intensity dance with recorded pop music B. music-assisted relaxation using live guitar music played by the music therapist C. individual guitar lessons teaching preferred songs with a therapeutic focus D. song lyric discussion involving listening and talking about song themes

C. individual guitar lessons teaching preferred songs with a therapeutic focus A. Individuals with anorexia nervosa have a low body weight and those with restricting type may engage in behaviors such as excessive exercising to lose weight. Engaging in a high intensity dance intervention would burn needed calories and could be contraindicated to the client's health status. (Doak, B. (2013). Guidelines for music therapy practice in mental health care, p. 402). B. Although a typical intervention with this population, this intervention does not take into consideration the music background and preferences of the client when designing music therapy experiences. It would be introduced at a later time after rapport was established (p. 407). C. This intervention takes into account the client's music preferences of pop/rock music and her music background of playing the guitar. The music therapist could teach the client how to play the guitar in order to access and work through therapeutic issues (p. 408). D. Although a typical intervention with this population, this intervention does not take into consideration information the client shared regarding her preferences and current interests (p. 407). The client has expressed a preference for active music making.

A music therapist is assigned to conduct an initial assessment for a 12-year-old client who is blind and walks with a cane. Which of the following rooms would BEST enable the therapist to conduct a comprehensive assessment for this client? A. small room with carpet and storage cabinets for equipment B. medium-sized room with a suspended wooden floor and audio cabinets mounted on the wall C. large room with a hardwood floor and two couches set up against the wall D. narrow room set up with tables against each wall

C. large room with a hardwood floor and two couches set up against the wall A. Carpet is harder/less safe to navigate with a cane than a concrete or wooden floor. B. A suspended wooden floor carries vibrations and is used for people with a hearing impairment. Additionally, mounted audio cabinets are a safety hazard because cane moving and tapping will not discover mounted cabinets and the person is likely to run into them. C. The hardwood floor is easy to navigate and provides the best auditory signals. A large room is ideal for the movement exploration that is needed for people who are blind. The couches will be easily discovered by the cane moving and tapping. Navigation to locate and sit independently on the couches is easy. D. The narrow room might not provide enough space for assessment of independent mobility. The tables block the access of the cane for exploration. Chairs would be needed for assessment and pose a navigation concern with respect to safety.

As a music therapist sings a hello song to a hospitalized infant, the infant orients to the music therapist's voice, makes eye contact with the music therapist, reaches for the music therapist's hand, and smiles and kicks legs upon hearing the infant's name being sung. Which of the following types of behaviors did the infant successfully display? A. auditory perception B. executive functions C. non-verbal expression D. motor skills

C. non-verbal expression A. Auditory perception refers to how the brain interprets what a person hears. This may include speech sounds as well as environmental sounds. The patient did respond to all the auditory stimulation presented; however, the patient did not display auditory perception. Making eye contact and reaching for the music therapist's hand are non-verbal expressions. B. Executive functions consist of several mental skills that help the brain organize and act on information. These skills enable people to plan, organize, remember things, prioritize, pay attention and get started on tasks. The behaviors the infant displayed required using executive functioning to process the information; however, the infant did not display executive functioning. C. All the behaviors displayed by the infant are non-verbal expressions. D. The patient kicking and reaching for the music therapist could be considered motor functioning; however, all the behaviors displayed would be considered non-verbal expressions.

A music therapist receives a request to take over treatment of a colleague's private client, a 4-year-old girl with a developmental delay. The colleague reports that the child was initially uncomfortable leaving the classroom to go to the treatment room with an unfamiliar person and cried and resisted. To ensure a successful transition for the client, the music therapist should A. arrive at the classroom several minutes early to allow sufficient time for the transition to the treatment room. B. arrange to co-treat with her colleague for five sessions so that the child can get used to the music therapist. C. schedule the first session in the client's classroom to facilitate an easier adjustment to the new music therapist. D. conduct the initial session when the client's parents can also be present to provide a familiar stimulus while the client adjusts.

C. schedule the first session in the client's classroom to facilitate an easier adjustment to the new music therapist. A. Arriving at the classroom early to allow more time for the transition to the treatment room does not address the issue of adjusting to the new music therapist. More time may simply allow more time for crying and negative reactions. B. It is unrealistic that the terminating music therapist would be available for multiple co-treatment sessions, as well as difficult to ensure that both music therapists get paid for those sessions. C. Scheduling the first session in the client's classroom may facilitate an easier adjustment to the new music therapist since it will be in a familiar place, using successive approximations to help the client to adjust. D. Having the client's parents attend the session will further complicate the client's routine as the parents are not typically present at the school. This may only function to further confuse the child and slow the transition process.

During a time of social unrest related to racial issues, a client becomes very agitated due to concern for the safety of their daughter's biracial family. Which of the following interventions would BEST provide a safe and supportive therapeutic space that can accommodate intense emotional experiences? A. composing a progressive jazz piece to reflect a personal sense of calm and relaxation B. engaging in musical trivia game using songs with racial issues in the lyrics and engaging in discussion C. writing lyrics for a 3-part traditional blues structure in a 12-bar blues musical format D. musically reflecting on a podcast that explores racial issues in the nation

C. writing lyrics for a 3-part traditional blues structure in a 12-bar blues musical format A. This choice would not provide the opportunity for catharsis of the negative emotional energy needed initially. The client is not in a mindset to immediately reflect a personal sense of calm. B. This option does not target the need for an expressive outlet and follow up with vectoring to a more desired emotional state. C. The traditional 3-part blues structure involves stating what is wrong, describing how bad it is, and then expressing hope for the future by influencing change. Engagement in this activity would allow the client to express emotional energy and then redirect to be more hopeful. D. Reflection on a podcast does not necessarily target emotional catharsis or expression or connect with the client's personal experiences and current concerns.

In a group music therapy session on an adult psychiatric unit, a client becomes upset with another and starts to escalate, yelling and threatening to harm him. The music therapist has a good rapport with the angry client. Initially, the music therapist should A.call the unit for staff to come and remove him from the session, then discharge him from the group. B.tell him he needs to leave immediately and follow up with writing a termination note in his chart. C.attempt to redirect the client and ask him to communicate his feelings verbally or musically. D.offer him hand percussion from which to pick and ask him to improvise feelings with the other client.

C.attempt to redirect the client and ask him to communicate his feelings verbally or musically. EXPLANATIONS: A. This option will not allow the client to work through his feelings in a constructive way, and may increase the likelihood of his violence toward the other client at another time. B. This does not provide the client with a strategy to de-escalate the behavior. This option will not allow the client to work through his feelings C. Placing clear boundaries on the client's behavior but also offering a means through which he can express his strong feelings of anger helps to maintain safety within the group; it is also respectful of the client's feelings and his need to express them. It engages him in a process by which his strong feelings are channeled in a constructive manner. D. Without de-escalating the client, it is unlikely that he will be able to interact with the other client without continuing to yell and threaten. Immediately giving him smaller percussive instruments is potentially providing him with weapons that he could use against the other client.

A music therapist has been hired by a facility to establish a new music therapy program. Which of the following is the MOST effective way to seek referrals? A. Send a memo to each unit explaining music therapy and requesting referrals. B. Meet with each treatment team manager and request referrals. C. Send flyers to each unit advertising music therapy services. D. Conduct a music therapy in-service for the facility staff and encourage referrals.

D. Conduct a music therapy in-service for the facility staff and encourage referrals. A. Sending a memo is not the most effective way to explain music therapy, answer questions, or seek referrals. B. Meeting with each treatment team manager provides the face-to-face contact necessary for explaining what music therapy involves and answering questions, but is not time efficient. C. Sending flyers is impersonal and not the most effective way to explain music therapy and answer questions. D. Conducting an in-service is efficient and provides the face-to-face contact necessary for describing music therapy and answering questions.

A 32-year-old woman with terminal cancer is admitted to a hospital palliative care unit. She has expressed an interest in music therapy, her facial affect is difficult to read, and she fatigues quickly. Which of the following is the BEST way for the music therapist to assess the client's affective state? A. Engage the client in a lyric analysis chosen by the music therapist. B. Have the client improvise her feelings on a conga. C. Ask the client to respond to imagery-evoking music. D. Have the client select a song for the music therapist to sing.

D. Have the client select a song for the music therapist to sing. A. The lyrics chosen by the therapist may not be related to the client's affective state. B. Improvising on a large instrument may be too difficult for the client because of limited ability for physical exertion. C. Having the client respond to imagery-evoking music will most likely alter the client's emotional state, not allowing the therapist to gain insight to the client's current affective state. D. Selecting a song for the therapist to sing will offer insight into the client's affective state.

A music therapist is assessing a 75-year-old woman with late-stage dementia. Which of the following is the BEST way to assess the client's response to different types of music experiences? A. Refer to the research literature on music preferences of older adults with dementia. B. Ask the nurse about the client's musical preferences and previous musical training. C. Conduct an initial interview, asking the client about her musical background. D. Present the client with a variety of musical experiences and observe changes.

D. Present the client with a variety of musical experiences and observe changes. A. The research literature would not provide specific information for this client's responses to various musical experiences. Exploring research literature may be important for planning, but not for directly assessing. B. Asking the nurse about previous musical training and music preferences would not provide information about how the client currently responds to musical experiences that could occur in music therapy. C. A client with late-stage dementia most likely would not be able to respond to questions about music preferences and musical background. D. Presenting the client with a variety of musical experiences and observing changes in the client's responses would allow the music therapist to directly assess the client.

In a new music therapy group of recently incarcerated women, a music therapist notices that one of the women is friendly and social with others until the session begins. Once the session begins, she does not want to participate in the music experiences other than to pick a favorite recorded song, and she is unwilling to talk about her feelings and emotions with the other group members. When assessing this client, it would be BEST for the music therapist to explore issues related to A. fear. B. transference. C. depression. D. trust.

D. Trust A. A client who is fearful will probably not be socializing easily with others before the session. B. Transference is the redirection of feelings and emotions onto the therapist or another person, which is not described in the scenario. C. Someone who is depressed will also probably not be socializing easily with others beforehand. D. A client who has trust issues may not be willing to engage in certain types of experiences that seem to require self-disclosure but may be able to appear friendly and social with others.

Several clients who attend a music therapy group in an inpatient psychiatric facility have a history of non-suicidal self-injury (NSSI). The clients have responded poorly to discussion-based interventions such as lyric analysis and songwriting. The music therapist believes that an improvisation using various percussion instruments will best address the clients' goals and elicit a positive response, but is worried about the possibility of clients taking parts of the instruments to use later for NSSI. Which of the following should the music therapist do to ensure client safety? A. Do not use improvisation with these clients due to safety concerns. B. Only let clients without a history of NSSI use instruments during the session. C. After the session, inspect the clients' rooms for parts of instruments they might have taken. D. When collecting the instruments, inspect them for any broken or missing parts.

D. When collecting the instruments, inspect them for any broken or missing parts. A. If an improvisation will help clients to meet their treatment goals, changing the session plans is not the best option. B. Excluding these clients will not help them progress toward their goals. Allowing others to play instruments could make these clients feel discrimination and could affect their responses in a negative manner. C. If the clients are able to take broken instrument pieces out of the therapy room, they could hide the pieces in their clothing or elsewhere in the facility, so room searches would not necessarily be effective. D. Inspecting the instruments before the clients are allowed to leave the room allows the music therapist to address any broken or missing parts before self injury is likely to occur.

A child with visual impairment and developmental disabilities is learning a schedule by using tactile objects that represent daily activities, including music therapy. When the child is given the direction, "check your schedule," he will touch an instrument that serves as a tactile cue to indicate that it is time for music therapy. He will then keep this instrument until the activity is finished. Which of the following tangible instruments would be the BEST cue to symbolize music therapy and also use in this session? A. a finger cymbal, because it is small and easy for the child to carry B. a drum stick, because it relates to music and can be used in the music therapy session C. a small toy-like keyboard, because it sounds immediately when manipulated and can be used in the music therapy session D. a small maraca, because it sounds immediately when manipulated, is easy to carry, and can be used in the music therapy session

D. a small maraca, because it sounds immediately when manipulated, is easy to carry, and can be used in the music therapy session A. The cymbal would not give the most meaning to the child because one cymbal will not produce sound. B . While a drum stick may symbolize music and may be used once in the music therapy session, it does not make sound without striking an object and may be unsafe to carry while traveling. C. While a small toy-like keyboard may symbolize music, it is only a representation and typically has tiny keys that are not true to size. A small keyboard would also create difficulty for the child when traveling. D. A small maraca would give the most meaning because it symbolizes music, only has to be touched to make sound, is easy to travel with, and may be used in the music therapy session.

Two clients in an adult outpatient community mental health group always arrive and sit together. One client is never present without the other and they rarely interact with anyone else in the group. The music therapist also observes that after one client has a difficult session with a psychiatrist, they are comforted by the other client. The music therapist should assess if the A. clients would benefit more from individual sessions. B. clients are biased against the other group members. C. clients should be separated during the group. D. clients' support for each other is appropriate.

D. clients' support for each other is appropriate. EXPLANATIONS: A. There is nothing in the description to suggest that the clients would benefit more from individual sessions. B. The bond that these two clients share does not suggest that they are biased against other group members. C. Forcing the clients to separate during the group could be detrimental and discourage participation altogether. D. Clients in community mental health groups may find comfort in the connection to the group and bond with another individual client with a similar background. Though the music therapist may find ways to encourage interaction with others, the bond they have should not be discouraged.

A premature infant is in the neonatal intensive care unit with multiple developmental complications and failure to thrive. Music therapy is being considered as a possible treatment. To structure an appropriate assessment, which of the following is the MOST important piece of information for the music therapist to keep in mind? A. birth weight of the infant B. preferred music of the mother C. music the infant heard while in the womb D. current stage of the infant's neurological development

D. current stage of the infant's neurological development Knowing the stage of neurological development is needed to determine the response capability of the infant as well as a safe level of musical stimuli for the assessment.

A music therapist working with a group of clients who have depression has chosen a songwriting experience. To establish trust within the group, the therapist should A. instruct each client to write and sing a solo verse for the song. B. emphasize proper use of rhyme schemes and musical form to provide structure. C. compose a song using input from group members who participate. D. encourage each client to contribute a personal thought for use in the lyrics.

D. encourage each client to contribute a personal thought for use in the lyrics. A. Writing and singing a solo verse for a song can be threatening and anxiety producing. B. Emphasizing proper use of rhyme schemes and musical form implies a right and wrong way to do this, increasing the perceived risk of failure. C. Participation of group members would not elicit contributions from all members. D. Encouraging each client to contribute a personal thought for use in the song lyrics will lead to greater disclosure and feelings of self-worth by group members.

A readmitted patient with bipolar disorder demonstrates constricted affect and does not participate in group discussion during his first music therapy session. During the group improvisation, the patient chooses a conga and plays relentless forte subdivisions at an allegro tempo in contrast with what other group members are playing. The improvisation ends when all group members, including the patient, decrescendo and slow their playing to a stop. The MOST appropriate interpretation is that the patient's playing is a manifestation of A. an attempt to impress the group. B. a hypomanic episode. C. limited social skills. D. frustration over returning to the hospital.

D. frustration over returning to the hospital. A. In this scenario, the patient is not acknowledging the other group members; therefore, the patient is most likely not trying to impress them. B. This may be part of a hypomanic episode; however, the patient was able to bring the conga playing under control. C. Although the patient may have limited social skills, there is not enough evidence of this based on the description, and it may not be true because the client was able to join in with the others at the end. The patient is most likely expressing frustration. D. The fact that the patient has a constricted affect and remains verbally quiet but has the ability to bring the playing under control suggests frustration.

A private practice music therapist is completing an assessment and treatment plan for a 7-year-old boy with autism spectrum disorder (ASD) in a special education program. He has received speech therapy and occupational therapy for several years and is showing an interest in music. The mother is very concerned that her son is withdrawn and does not speak many words. The music therapist should initially A. call the school where the student attends and schedule an observation. B. ask the principal for permission to visit with the student during music class. C. email his therapists and ask for the student's current progress. D. get a signed release from his parent to speak to his teacher and therapists at school.

D. get a signed release from his parent to speak to his teacher and therapists at school. D. A music therapist should always have a signed consent to share or obtain information regarding a client.

A music therapist is gathering patients for a group on an inpatient psychiatric unit and discovers that one of the patients is in the corner of her room attempting to remove the arm of the chair she believes is broken. The patient is confused, agitated, and yelling, and suddenly throws the chair towards the wall, nearly striking the patient's roommate. The music therapist should A. ask the patient what is wrong and help the patient to calm down. B. redirect the patient and remind her that group is starting now. C. play quiet music and stay with the patient until she is calm. D. guide the roommate out of the room and call for staff assistance.

D. guide the roommate out of the room and call for staff assistance. A. Telling the patient to calm down can escalate the patient's behavior leading to further agitation. B. Redirecting and reminding the patient does not recognize clear and present danger to patient and/or others. C. Playing quiet music does not ensure safety of the patient, roommate or others in the room. Quiet music may not be heard while the patient is yelling. D. AMTA Scope of Music Therapy Practice (2015) Potential for Harm- "Recognize and respond to situations in which there are clear and present dangers to a client and/or others." Priority is to keep the patient safe; guiding the roommate out of the room keeps the roommate safe and away from danger.

The act of focusing on a particular object for a period of time while simultaneously ignoring irrelevant information that is also occurring is A. sustained attention. B. arousal. C. vigilance. D. selective attention.

D. selective attention. A. Sustained attention is attention that is directly focused on a stimulus for the duration of a task. B. Arousal is defined as the physiological and psychological state of being awake or reactive to stimuli. C. The ability to demonstrate attention or alertness in the presence of potential dangerous or stressful stimuli. D. Selective attention is the act of focusing on a particular object for a period of time while simultaneously ignoring irrelevant information that is also occurring.

A client with autism spectrum disorder (ASD) claps to musical accompaniments, clapping when the music plays, and stopping when the music stops. The music therapist uses these responses to assess which of the following areas of functioning? A. vibroacoustic B. vestibular C. proprioceptive D. sensorimotor

D. sensorimotor A. Vibroacoustic stimulation uses special equipment (example, drums) to provide auditory input and vibrotactile stimulation. B. Vestibular action relates to the sense of balance; clapping does not involve balance. C. Proprioceptive action relates to spatial orientation of limbs in space; listening to accompaniment is not involved. D. Sensorimotor action of clapping involves both motor and auditory/sensory pathways.

A client newly diagnosed with Parkinson's disease should anticipate which of the following symptoms early in the course of the disease? A. subtle problems with mood and cognition B. weakness and/or muscle atrophy C. problems with language and disorientation D. shaking, rigidity, and slowness of movement

D. shaking, rigidity, and slowness of movement A. Subtle problems with mood and cognition are symptoms in the early course of Huntington's disease (HD). B. Weakness and/or muscle atrophy are symptoms in the early course of amyotrophic lateral sclerosis (ALS). C. Problems with language and disorientation are symptoms found in the later stages of Alzheimer's disease (AD). D. Shaking, rigidity, and slowness of movement are the most obvious early symptoms of Parkinson's disease (PD).

In a behavioral health setting, which of the following is the MOST valid and reliable way to document functional outcomes related to specific goals and interventions? A. patient self-report B. an interval recording schedule C. online outcome measures D. standardized measurement tools

D. standardized measurement tools A. Patient self-report, though it provides the patient's actual viewpoint and is important to take into consideration, is not necessarily valid or reliable based on the cognitive and emotional status of the patient. B. Measuring outcomes over regular intervals may be important and useful, but does not guarantee that the outcomes will be valid and reliable. C. Online assessment measures are becoming more common, but unless standardized, they do not guarantee that the outcomes will be valid and reliable. D. Because validity and reliability testing is common practice in the development of standardized measurement tools, the results of a standardized measurement tool would be the most valid and reliable.

When practicing standard precautions, a music therapist should A. work with sick patients in isolation from healthy patients. B. apply differing levels of precautions based on patient diagnosis. C. group together patients who are HIV positive. D. wear gloves when in contact with any patient's bodily fluids.

D. wear gloves when in contact with any patient's bodily fluids. A. It is not standard practice to group patients according to the criteria of "sick" and "healthy." It is not always possible to distinguish "sick" patients from "healthy" patients (for example, those who are HIV positive). B. All patients are treated equally when using standard precautions. C. While in some circumstances individuals who are HIV positive may be grouped together, this is not always the case. Privacy issues may prevent such groupings. D. According to the CDC website: "Under standard precautions, blood and certain body fluids of all patients are considered potentially infectious for HIV, HBV and other bloodborne pathogens...Standard precautions involve the use of protective barriers such as gloves..."

Which of the following is a music therapist measuring when taking data by interval recording? A. the length of time a behavior lasts B. the number of times a behavior occurs C. what response occurs after a specific behavior D. whether a behavior occurs during a period of time

D. whether a behavior occurs during a period of time A. Length of time a behavior lasts is measured by duration recording. B. Number of times a behavior occurs is measured by frequency recording. C. What response occurs after a specific behavior is not measured by a method of behavioral recording but could be determined through observation. D. Interval recording determines whether a behavior has occurred during a specific interval of time.