Music Learning Theory and Audiation: Implications for Music Therapy Clinical Practice

ABSTRACT: Early childhood music educators use music learning theory to facilitate musical development in their students. For music therapists, an understanding of music learning theory is an entry-level competency. However, there are several different music learning theories (Buttram, 1996), and the lack of current research makes it difficult to determine which theory is being taught and in how much detail. In addition, although each of these models may offer a vocabulary for describing musical events, experiences, or processes, it is difficult to conclude, in the absence of research, that any one vocabulary is being used, or that all music therapists are using a similar vocabulary. This paper provides an overview of music learning theory as developed by Gordon (1971, 1989, 1997a, 1997b) and more specifically, audiation, and the types and stages preparatory audiation. The paper considers the model's distinctively musical vocabulary and implications for music therapy clinical practice. Music learning theory has been a focal point of early childhood music education and multiple models have emerged (Buttram, 1996). An understanding of music learning theory is an entry level competency for music therapists (American Music Therapy Association, 1 999), and it is as essential to a music therapist's knowledge base as is an understanding of other developmental models such as those of Piaget, Erickson, or Maslow. Previous research has suggested that there are distinctive differences in the music therapy curriculum across academic institutions (Jensen & McKinney, 1990; Maranto, 1989; Petrie, 1993; Reuer, 1987). An update of that data is beyond the scope of this paper, and thus, it is difficult to determine the depth or breadth of attention (Bruscia, 1989) that is given to music learning theory in each academic institution's undergraduate music therapy curriculum. However, as noted by Wigram (2000), it is unclear from the literature that such a knowledge base or vocabulary is being applied consistently in clinical practice. In case material in the literature, one frequently encounters clear descriptions of behavioral change in clients with vague references to musical events that have led to the interpretations of change, development, improvement or insight. However, it is unclear to other music therapists, and even more unclear to other professionals, on what basis interpretations were made when there is a lack of description using musical parameters of the musical behavior which indicated the change described. (Wigram, 2000, p. 17) Moreover, the fact that there are multiple approaches to music therapy serving various populations and conditions further confounds communications among music therapists and outside of the discipline. Amidst the various models of music learning theory that were briefly described by Buttram (1996) was a stage specific model that has been developed by Gordon (1971, 1989, 1997a, 1997b).This model offers a distinctive musical vocabulary based on an understanding of musical processes that reflect behavioral, biological, communicative, developmental, psychological, and social experiences. An understanding of Gordon music learning theory could facilitate clinical practice in the following areas: 1. Recognizing developmental levels as they are related to musical ability, process, or progress. 2. Providing a musical vocabulary from which to describe musical experiences that occurred and translating those musical experiences into psychophysiological progress. 3. Providing a musical framework or model from which to structure and implement clinical sessions. The purposes of this paper are to provide an overview of music learning theory as developed by Gordon1 (1971, 1989, 1997a, 1997b) beyond that, which may be found in typical texts or may be taught by music therapy educators. More specifically this paper will discuss the types and stages of preparatory audiation and audiation-an essential concept in Gordon's model-and consider the implications for music therapists. …