Trauma can occur at any age, however, children who experience trauma may experience effects on many parts of their development. Developmental trauma or reactive stress disorder is when a child is in a constant state of stress (Drevitch, 2018). A situation that can cause constant stress is abuse. The constant stress disrupts a child’s development (Drevitch, 2018). According to Drevitch, “Development of upper parts depends upon prior development of lower parts. In other words, the brain is meant to develop like a ladder, from the bottom up” (p. 1, 2018). If a child is raised in a healthy environment, the upper and lower parts of the brain have a good foundation to continue to develop and grow. However, for children who have experienced trauma such as abuse, that crucial part of their foundation during development is missing. These delays in development can manifest as sensory processing disorder, attention-deficit/hyperactivity disorder (ADHD), and speech delays (2018). Children who experience trauma need therapy to process their experiences and address their needs.
An assessment created by Bruce Perry called Neurosequential Model of Therapeutics (NMT) is used to assess the brain development of those who have developmental trauma (Drevitch, 2018). The areas of the brain that are assessed include sensory integration, self-regulation function, relational function, and cognition (Douglas, 2022). After the assessment is complete, the scores show the neuro-developmental needs of the child being assessed. Information collected in this assessment includes the history of the child’s past and present and 32 areas of the brain (Douglas, 2022). The assessment maps out the brain to show the child’s current functions, age development, and relational health (Douglas, 2022).
How does music therapy address the needs of a child who experiences trauma? Music therapists use a variety of methods including re-creative, improvisation, compositional, and receptive music therapy techniques. For instance, a music therapist used improvisation with an 8-year-old girl named Kelly who experienced sexual abuse (Strehlow, 2009). The music therapist began by giving Kelly space to reenact of the trauma through music (Strehlow, 2009). Kelly would play the recorder by herself first, but once she was comfortable she allowed the music therapist to play along with her using the xylophone. After the music therapist had gained her trust, they reenacted the trauma through the instruments and role playing. The music therapist’s role was to support the child’s expression of the trauma and promote self-expression.
A music therapist using re-creative technique focusing on a child named Larna (3 years old) who experienced physical abuse (Pasiali, 2013). The music therapist used singing songs with instruments/props to address the child’s needs. The goal was to learn to play and explore (Pasiali, 2013). The songs used were age-appropriate songs, tunes with different modalities, and chants with instruments and props such as using a scarf to put over Larna’s head to pretend she was a princess while singing (Pasiali, 2013). Larna would sit on her mother’s lap and cuddle with her when singing songs. Other interventions included sitting on a parachute and playing games that involve singing short melodic phrases while touching another person at the end of each phrase pretending to “buzz” them (Pasiali, 2013).
Another music therapist who treated a child named Sally who experienced sexual abuse using a receptive technique. Sally went to music therapy from the age of 7 to 14. Music therapist worked on developing trust between Sally and the therapist (Robarts, 2006). The goal of each session included self-regulation and sensory integration (Robarts, 2006). The music therapist would play music and encourage her to play along. The music therapist would base the tempo and rhythm of the music on Sally’s mood and flashbacks during the session (Robarts, 2006). During the session, the music therapist was viewed as one of her abusers and the music therapist would address this by playing a steady rhythm and melody. The music would help to ground Sally and bring her back from her flashbacks (Robarts, 2006). It even inspired her to play with the music therapist (Robarts, 2006).
Another music therapist who treated a 5-year-old child named Leah who experienced sexual abuse, physical abuse, and neglect using a technique called compositional (Christenbury, 2015). The music therapist treating Leah used a compositional intervention called songwriting. The songs written during the session were based on Leah’s emotions such as being happy or sad (Christenbury, 2015). Emotions such as anger were more negative emotions and related to her trauma. Leah would draw pictures of what her emotions look like to her and the music therapist would work with her to create music to go along with her pictures. Leah would direct the music therapist to color with her using specific colors (Christenbury, 2015). All the pictures and lyrics were put into a book and the music therapist recorded all music for Leah to take with her. The pictures and music such as using minor keys for sad emotions reflect what Leah was feeling and process her feelings of sadness.
Music therapy supports children who have experienced trauma to process, self-regulate, cope, and build healthy relationships with others. For instance, in the case studies of Larna and Kelly the music helped them to build relationships with others by learning how to trust. In Sally’s case, she was able to entrain to the beat to bring her out of her flashbacks and prompted her to participate in making music (Robarts, 2006). Entraining to the beat helped Sally to learn how to self-regulate. Leah’s songwriting helped her to process current and past events (Christenbury, 2015). Music therapy supported these children in their journey to reach their goals and move past their trauma to trust and grow to be the best they can be.
-Teresa Dominguez, Music Therapy Intern
References:
Christenbury, R. K. (2015). I will follow you: The combined use of songwriting and art to promote healing in a child who has been traumatized. Music Therapy Perspectives, 35(1), 1 – 12. https://doi.org/10.1093/mtp/miv005
Douglas, A. C. Meeting children where they are: The neurosequential model of therapeutics. National Council For Adoption. (2022, March 15). ttps://adoptioncouncil.org/publications/meeting-children-where-they-are-the-neurosequential-model-of-therapeutics/
Drevitch, G. (2018). What is developmental trauma? Psychology Today. Sussex Publishers. https://www.psychologytoday.com/us/blog/expressive-trauma-integration/201808/what-is-developmental-trauma
Pasiali, V. (2013). A Clinical Case Study of Family-Based Music Therapy. Journal of Creativity in Mental Health. 8(3), 249 – 264. http://dx.doi.org/10.1080/15401383.2013.821925
Robarts, J. Z. (2006). Music Therapy with Sexually Abused Children. Clinical Child Psychology and Psychiatry.
Strehlow, G. (2009). The use of music therapy in treating sexually abused children. Nordic Journal of Music Therapy. 18(2), 167 – 183. https://doi.org/10.1080/08098130903062397