On 6 February, I participated in the International Day at HAN University in the Netherlands. Music therapy students and professors from Artevelde University, Belgium, IMC University, Austria, and HAN were present, while two colleagues and I represented SRH University Heidelberg. In this article, I would like to share my inspiring experience of visiting HAN University with you. I will outline the programme of the International Day and give insights into what I have learnt. Finally, I will describe which ideas – sparked by the international exchange – I would like to realise moving forward.
Journey To Music Therapy is dedicated to sharing comprehensive information on music therapy training, while also taking the opportunity to reflect on my personal experiences of becoming a music therapist. I hope this blog inspires you to explore the possibilities of music therapy, guiding you in finding the right path for you.
Background
In January, we received an invitation to the International Day, forwarded to us by our head of study programme. Initially, I was hesitant to attend because of the long drive and the need to find accommodation, but my curiosity eventually outweighed my concerns. Two friends of mine registered, too, and we made the trip together.
On the day, we were welcomed warmly by Barbara Krantz, professor of music therapy at HAN University, with whom we had been in contact via e-mail. When everyone had arrived, we started with a game called “sound wave” (or “sound mountain”, a discussion broke out around that). Every person chose an instrument from the impressively equipped room to play freely. The only specification was to start quietly, get louder, and end quietly together, like the course of a wave (or mountain). Afterwards, the group of about 30 students was divided into two smaller groups, who attended the morning programme items in converse order.
Course Presentations and Panel Discussion
The first section of the programme introduced us to the bachelor’s programmes of the other three universities (the master’s at SRH was not included because no professor from our university attended). The professors gave a presentation of the characteristics of their course, including overall structure, modules, internship requirements, and self-experience standards. Artevelde and IMC offer a part-time programme, while the degree at HAN is a four-year full-time course (IMC, n.d.). At Artevelde, the degree is designed as a bachelor’s after a bachelor’s. Regarding internships, the course at HAN includes three placements which are completed in the first three years (HAN, n.d.). A tandem model encourages first-year students to learn from third-years, and third-year students to mentor students in their first year (ibid.). The placements at IMC take place throughout the third to sixth semester (IMC, n.d.). It was conveyed that all three courses provide extensive self-experience (approximately 200 hours).
A panel discussion between students from each university highlighted commonalities and differences. I also took part in the panel discussion, giving insights into my course in Heidelberg. Music education and theory-practice transfer were chosen by the group as topics the panel should focus on. IMC stood out concerning their choice of instruments: students can learn to play the guitar, the harp, and the Oud (an instrument originating from Persian culture, similar to the lute) (IMC, n.d.). Contrastingly, piano is a mandatory instrument in all the other courses. We discovered that the practice transfer is integrated in the music classes at HAN, whereas at my university this is not the case and instead we have dedicated classes for practical applications. The programmes also differed in their psychotherapeutic orientation. There was a strong tradition of psychodynamic approaches in Belgium and of humanistic therapy in Austria (Artevelde, n.d.).
Musical Improvisation
For the following part, our group was divided again. Both small groups spent the rest of the morning improvising, teaching each other typical forms of improvisations at our respective universities. We engaged in a thematic improvisation, while limiting the instruments to selected ones in the middle of the circle. I was also asked to demonstrate a typical technique from Heidelberg. I chose a table drum improvisation, which I had encountered in self-experience class, because it had been the most fun and free musical exercise for me. In fact, it had been such an impressive experience that I didn’t expect that the effect could be reproduced (I stand corrected). The framework is that everybody starts together at the table drum, then people can choose different instruments to play. However, at least one person needs to play the table drum at all times. Apart from that condition, people can change instruments, join or leave the table drum freely. At the end, everyone needs to be at the table drum again. For lack of a table drum, we used a different, smaller drum. I was surprised to see how immersed and joyful everyone was, and I enjoyed it very much myself. It was amazing to see the playful attitude, bouncing off each other, unfold in the musical interaction, especially when playing the drum at the same time. We were so involved that we continued playing for several minutes when the other small group came back into the room. There was an opportunity to learn about what the other small group had been doing.
Case Study Discussion and Role Play
After the lunch break, we worked on cases of our choice in groups of 3-5 people. The two tasks were to analyse our case, drawing on our combined knowledge, and to role play a client-therapist intervention. I chose the case of a young adult with schizophrenia and autism. The case description seemed so complex that we immediately started with the discussion. Because all three of us had not dealt with this client population within the context of music therapy, it was difficult to devise a role play. Eventually, we came up with an intervention based on his favourite song. We also discussed strategies to contain positive psychotic symptomatology, so as not to reinforce hallucinations or the loosening of associations.
After a break, we asked for insights from one of the professors experienced in this field. It was a very fruitful discussion. Impulses were prioritising the client’s feeling of safety, providing structure and gradually inviting changes towards more flexibility, and facilitating body and, more generally, self-awareness. It also showed me that it can be helpful both for the client and therapist to set boundaries and limit the musical material.
The closing exercise emphasised that it seems to have been a valuable experience for everyone. We were asked to form a circle and formulate in one word what we would like to give to the group or what we would like to take from this experience. I took energy from the circle because although it was a long day and I had barely slept on the night bus to Nijmegen, I left feeling fulfilled, grateful, and inspired.
Take-Aways
In my opinion, the programme of the International Day succeeded in our gaining new ideas and insights through international exchange. My highlight was the improvisation. I had the most positive experience, as my self-consciousness gave way to the spontaneous, joyful interaction with others. The courage to play loudly, boldly, and intuitively – all the while respecting the shared space and being connected – was contagious. The professors were friendly and supportive, but most of all, I was energised by meeting other students who are as passionate about becoming a music therapist as me. It reminded me that fellow students have such an important role in broadening your perspective.
However, this enriching experience has stirred some criticism of my current programme. I am frustrated about the little self-experience hours in our curriculum. Hearing about the others’ music classes also left me dissatisfied with those of my own course. I wish we had more classes covering more advanced content with a direct transfer to music therapy practice. Lastly, the internship requirements at the other universities allow for a more extensive practical application than at my own university. In part sparked by the International Day, my idea is to complement the perceived musical and practical shortcomings of my programme by extending my studies to do an exchange abroad and to do voluntary internships. Fingers crossed!
Continue The Journey
I hope you enjoyed this glimpse of the International Day. If you are considering joining the programme in the future, I highly recommend it. Please feel free to comment any topic suggestions for the future – I would be happy to take them into account. Specifically, please comment if you are interested in a complete review of my course at SRH Heidelberg after one year or a more detailed insight into the planning of a stay abroad. In the next article, I will discuss my experience of the interviews with SRH Heidelberg and the University of Limerick.
References:
Artevelde Hogeschool (Artevelde) (n.d.). Muziektherapie. Available online: https://www.arteveldehogeschool.be/nl/opleidingen/bachelor-na-bachelor/creatieve-therapie/muziektherapie. 2025-03-15.
HAN University of Applied Sciences (HAN) (n.d.). HBO-Opleiding Vaktherapie – Muziektherapie. Available online: https://www.han.nl/opleidingen/hbo/vaktherapie-muziektherapie/voltijd/. 2025-03-15.
IMC University of Applied Sciences (IMC) (n.d.). Bachelor-Studiengang Musiktherapie. Available online: https://www.imc.ac.at/studium/bachelor/gesundheit/musiktherapie. 2025-03-15.