Running head: INVESTIGATING THE ROLE OF A TED TALK ON MUSIC THERAPY

Investigating the Role of a TED Talk on Music Therapy Advocacy and Education
Erin Copeland Seibert
Berklee College of Music
June 2017

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Abstract
Responses to a TEDx talk were measured by a pre-, post-, and follow-up survey to assess
for changes in music therapy knowledge and opinions and overall saturation of learning. Adult
musicians, healthcare workers, and members of the general public increased in knowledge and
opinions about music therapy after viewing a TEDx talk about the basics of music therapy.
Participants’ backgrounds did not have any significance on their understanding of what a music
therapist does. Common learning points identified by the participants about music therapy
included concepts of efficacy, accessibility, versatility, integrative, comfort, and validity.
Participants agreed that the TEDx talk satisfied their knowledge on music therapy. These
findings suggest that the TED talk platform is an effective way to advocate for and convey what
music therapy is to the general public.
Keywords: music therapy, TED talk, advocacy, education

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Acknowledgements
My sincerest thanks to those who helped propel this study forward. I would first like to
thank Dr. Suzanne Hanser for starting the graduate program at Berklee College of Music and for
allowing me to be a part of the inaugural class. I am also grateful to Dr. Kathleen Howland, who
served as my advisor and worked alongside Suzanne in the initial year of the program to help me
turn my ideas and thoughts into an approved proposal and to see the study through its fruition.
Thank you also to Dr. Darla Hanley and Dr. Joy Allen for coming aboard my committee and
providing my thesis with the clarity and focus needed to reflect the intentions behind my study
and what had been accomplished.
I also could not have done this study without the support of my brilliant cohort and my
family. I am especially grateful to my grandmother, Marilyn Copeland and late grandfather, Ken
Copeland, who helped found me into the music therapist I am today. Lastly, I extend the most
gratitude to my husband, Nick Seibert, for being my research assistant both in this study and in
life.

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Table of Contents
Abstract…………………………………………………………………………………………… 2
Acknowledgements……………………………………………………………………………….. 3
Table of Contents…………………………………………………………………………………. 4
1. INTRODUCTION………………………………………………………………………….….. 6
2. LITERATURE REVIEW…………………………………………………………………........ 8
2.1 YouTube………………………………………………………………………………… 11
2.2 TED Talks……………………………………………………………………………….. 11
2.3 TEDx Description……………………………………………………………………….. 13
2.4 Purpose…………………………………………………………………………………...15
2.5 Research Questions……………………………………………………………………… 15
3. METHODS…………………………………………………………………………………… 17
3.1 Participants and Settings………………………………………………………………… 17
3.2 Procedures and Data Collection…………………………………………………………. 19
3.3 Ensuring Validity and Reliability……………………………………………………….. 22
3.4 Coding…………………………………………………………………………………… 22
3.5 Data Analysis……………………………………………………………………………. 23
4. RESULTS…………………………………………………………………………………….. 23
4.1 Knowledge and Opinions Within Groups……………………………………………….. 23
4.2 Knowledge and Opinions Between Groups……………………………………………... 24
4.3 Additional Knowledge and Opinions Assessed…………………………………………. 24
4.4 Saturation of Learning…………………………………………………………………... 26
5. DISCUSSION………………………………………………………………………………... 28

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5.1 Summary of Findings…………………………………………………………………….28
5.2 Interpretations…………………………………………………………………………… 31
5.3 Limitations………………………………………………………………………………. 33
5.4 Future Directions and Recommendations……………………………………………….. 36
5.5 Conclusions……………………………………………………………………………… 37
6. References…………………………………………………………………………………….. 38
7. Tables and Figures……………………………………………………………………………. 40
8. Appendixes.…………………………………………………………………………………... 44

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Investigating the Role of a TED Talk on Music Therapy Advocacy and Education
Introduction
Advocacy for the profession of music therapy can be difficult because of the intricacies
behind the common question asked of music therapists, “What is music therapy”? Music therapy
is a fascinating topic of conversation for the general public because many people feel they can
relate to the meaningfulness of the idea (Robb, 2012), though they might not understand what the
profession entails. Although music therapy has been around for more than 75 years, the general
public has little insight or information about the profession, which can result in a lack of
recognition of the field. This lack of information also means that music therapists are constantly
striving to be prepared with their “elevator speech”, as well as an educationally rounded
definition of what music therapy is, and conversely, how therapeutic uses of music in other
professions are not music therapy.
Music therapists are called to increase this public awareness for the sake of developing
and expanding the profession and as a responsibility to the public (American Music Therapy
Association, 2014). Music therapists attempt to increase this awareness in a myriad of ways,
from providing in-service presentations at a local level, to increasing legislative support within
statewide task forces, or educating the public through online media. Regardless of the tools
employed, efforts toward advancing the understanding of music therapy have yet to break critical
barriers. These barriers include national recognition of credentials and licenses, greater
employment opportunities with correct job descriptions, increased use of insurance
reimbursement, and the offerings of appropriate and accessible services to all who want or need
them. Because the general public is largely unaware of, or misinformed about the music therapy
profession, many do not know how or where to seek these services. Although the music therapy

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profession is continually seeing a gradual increase in awareness, there is still great opportunity
and need for advocacy.
Music therapy is currently challenged to promote itself as a profession and advocate for
its effectiveness within healthcare and educational settings in order to grow and expand as a
field. Overall research within the field is being conducted and published, business plans are
being developed and implemented, and music therapists are working tirelessly to showcase to the
world their clients’ responses to music. Despite these advocacy measures, music therapists are
still being met with the question, “What is music therapy”? The use of the Internet and online
media creates an easily accessible platform to share this definition quickly. The concerted use of
social media and online educational platforms provide opportunities to increase awareness in a
way that exponentially breaks down some of the barriers facing music therapy as a less known
profession, and ultimately catapults the field into much needed expansion through advocacy.
TED (Technology, Entertainment, and Design) talks are a relevant and easily accessible online
platform that disseminates information quickly to thousands of viewers (TED (n.d.). About: our).
Because of this, some music therapists have used the TED talk platform as a new way to
advocate for their work and to advance the term ‘music therapy’ into a familiar, household
reference. A “household name” is defined as being “a person or thing that is very well-known
(Merriam-Webster, 2016), such as the healthcare professions of doctor, physical therapist, and
social worker. After turning to a TED talk platform in order to advocate and educate about music
therapy, some music therapists have found success in popularity and world viewership, as
evidenced by their YouTube views (See Appendix A). The question music therapists should
consider now is: How might the TED talk platform be an effective way to advocate and convey

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what music therapy is to the general public, and to promote it into becoming a familiar and
household name?
Literature Review
The term “advocacy” is used in varying ways within music therapy, depending on the
efforts. Within music therapy, advocacy has been defined as “the detailed dissemination of
information” with the intention of increasing awareness of music therapy services occurring in
the world (Silverman, 2008) and its inclusion as an allied health profession. Recently, the term
advocacy is discussed in regards to state licensure and legislative efforts, such as “Music
Therapy Hill Day” and statewide task forces (Moore, 2015). For the purposes of this study,
advocacy refers to the “dissemination of information,” focusing on the general increased
knowledge of the profession of music therapy, with the intentions of having “music therapy”
become a widely known and basically understood term within the general public.
Because music therapy is such a complex, diverse, and wide-ranging profession,
advocacy is of the utmost importance in order to “increase the respect and awareness of the field
overall” within the professional world and general public (Moore, 2015). Currently, music
therapists are serving an “estimated 1.5 million people” within the United States in
approximately 33,300 facilities (American Music Therapy Association, 2015). Because the
profession is comparably small in size, comprising of an estimated 7,000 music therapists in the
United States, it relies heavily on advocacy on national and local levels to develop programs
within healthcare and educational systems (Roberts & McFerran, 2008; AMTA, 2015). Music
therapists are found working with a range of populations, distributed among mental health
(19%), elderly and Alzheimer’s patients (10%), developmentally disabled (14%),
medical/surgical patients (13%) and neurological disorders (7%) (AMTA, 2015). The remaining

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37% are less defined due to the varying nature of patients and clients within healthcare who do
not fall into a larger category, but include many more populations (AMTA, 2015). This diversity
is also represented by the locations and facilities where music therapists work, as well as the age
range of the patients they serve, which encompasses the entire life span.
Because of this range of clientele, music therapists have struggled with creating a catchall
definition of music therapy due to the difficulty in gaging the level of information the public is
seeking when they ask for a definition (Roberts & McFerran, 2008). Difficulties also lie in
defining the profession succinctly due to its complexities, wide-ranging populations, and the
many varying needs of clients. This is an essential component of advocating for new music
therapy positions within the healthcare setting. In addition, this is a profession that is oftentimes
more easily described in visual terms using films or video to illustrate the interactions between
the therapist and patient/client that words alone cannot fully convey. Due to privacy regulations,
this creates a challenge in providing quality, HIPAA compliant, standard information to the
public that can be easily replicated and spread by non-music therapists, increasing the
conversation and curiosity of the general public.
Music therapists and AMTA have used many strategies to increase awareness of the
profession, including fact sheets, websites, brochures, quarterly bulletins, press releases, media
spots, and social media. However, these advocacy efforts were often created as a reaction to an
occurrence of misinformation in the general public (Moore, 2015). Recently, advocacy has
moved toward being proactive, attempting to differentiate the music therapy profession and
“stand as [its] own viable modality” (Register, 2013) in comparison to other healthcare
professionals, especially those who use music in a therapeutic sense but are not a board-certified

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music therapist. The above stated strategies have not been used consistently and may not be
easily accessible to those who are interested in learning about the profession.
Within the last 20 years, the public has relied heavily on being able to find critical
information about music therapy services on the Internet (Silverman, 2008; Johnson, Geringer, &
Stewart, 2003). Music therapists are now turning toward the use of social media and user
generated content, such as YouTube, to provide this advocacy information due to its
accessibility. Additionally, they have been serving as their own advocates by sharing clinical
stories, article links, general information, and pictures on their websites and other social media
platforms as a simple way to increase awareness (Moore, 2015). The Internet has created
opportunities for music therapists to provide information about the profession and to answer the
basic question of “What is music therapy?” as well as promote services provided (Silverman,
2008; Gooding & Gregory, 2011; Gregory & Gooding, 2012; Moore, 2015). Most of what was
created historically as advocacy publications are also now accessible online. In this investigator’s
opinion, despite the amount of advocacy material available, much of this information is
fragmented and the public may struggle to find well-rounded descriptions of music therapy.
Gregory and Gooding (2012) found that music therapists posting on the Internet
considered “describing and demonstrating music therapy concepts” to be an effective way to
engage viewers and advocate for the profession. However, most of the information provided
focused only on one element of music therapy and did not fully define or describe music therapy.
Also lacking in this information is written or visual evidence about the posting professionals’
training or credentials. This challenges the consumer in assessing for validity, credibility, and
legitimacy of the information provided (Gooding & Gregory, 2011), especially since many music
therapists have utilized the user-generated content site, YouTube.

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YouTube
YouTube has been incorporated into classrooms for educational purposes and to
disseminate information simply, quickly, and cost-effectively, but the information provided is
entirely user-generated and at the discretion of the poster (Gooding and Gregory, 2011). Music
therapists have used YouTube as a way to share clinical stories, case examples, and live sessions,
but it is unmonitored. Although a professional may be well intentioned, the information provided
within their user-generated content may not be of the utmost quality, or reflect the standards of
AMTA, especially since “there are no guidelines for video production or dissemination in the
field of music therapy” (Gregory & Gooding, 2012). When the general public searches the
Internet, or YouTube, for information regarding music therapy, they cannot rely on the rigorous
protocols that are similar to a peer-reviewed journal for legitimacy (Gregory & Gooding, 2013).
TED Talks
Without the rigorous protocols of a peer-review journal for YouTube, some music
therapists have been turning toward the scientific Internet platform, TED to increase awareness
and advocate for the field. TED, a nonprofit foundation, is vetted by experts and provides more
legitimacy than unmonitored Internet releases due to its reputation as “something of an
intellectual fount” (Tsou, Thelwall, Mongeon, & Sugimoto, 2014). The movement of TED talks
has increased over the past 20 years as a way to share “ideas worth spreading” centering around
talks related to Technology, Entertainment, and Design (TED, (n.d.), About: our). Although TED
has traditionally been an annual conference featuring short, informational speeches no longer
than 18 minutes in length (TED, (n.d.), About: our) it has evolved to incorporate a range of
topics in a broad focus aimed at reaching a wide audience (Tsou et al., 2014). TED’s mission has
been to increase awareness, provoke challenging thoughts, and change attitudes to create a

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deeper understanding of the world (TED, (n.d.) About: our). Many scientists, artists, business
people, and more have utilized the TED stage in order to provide information regarding their
research, theories, and ideas, and to encourage curiosity within the viewers (Romanelli, Cain, &
McNamara, 2014). TED has been considered one of the most successful online outreach
initiatives toward spreading awareness and educational information, presented by a multitude of
professionals and figures (Tsou et al., 2014).
The TED phenomenon has been so successful in recent years that it has rapidly begun to
spread to local communities through the implementation of TEDx programs. TEDx are
independently organized programs at a local level, supported by TED under a free license. The
goal is to create a “TED-like” event while featuring community members (TED, (n.d.), About:
programs). Although the general audience of TED talks is suggested to be those ranging in age
from 18-24, generally with a graduate education (Sugimoto, Thelwall, Larivière, Tsou,
Mongeon, & Macaluso, 2013) the increase in production of TEDx talks has been expanding the
general viewership.
Due to this growth of viewers, the TED platform could help music therapists advance
advocacy efforts. TED is considered to be a credible, informative source due to its selectivity in
choosing presenters who are experts on their topic and have the ability to efficiently
communicate information to the viewers (Romanelli et al, 2014). Approximately 10 music
therapists have utilized this TEDx stage in order to convey descriptions and theories of music
therapy to the general public (See Appendix A). Gregory and Gooding (2013) found that people
who were inexperienced in music therapy had positive reactions to viewing a clinical video
posted on YouTube. Although TED talks do not provide live case examples of a clinical
situation, many of the music therapists who have previously presented have included clinical

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stories, sometimes featuring images or video clips. Because a TED talk is designed to provide
succinct, informative education on a given topic, it may be an opportunity to provide information
about music therapy in one, simple place. Silverman (2008) highlights the importance of music
therapists being able to convey clear definitions and articulations of music therapy in order to
compel the general public to be interested in, and gain an understanding of, the complex
profession. The TED stage compels audiences differently than other lecture formats because of
its history of viral videos, the credibility of being a part of the TED brand, and the power of
knowing the talk was presented to a live audience. Additionally, the accessibility of all talks
related to the TED platform on both its website and YouTube channel has reached over a billion
views in total (Tsou, et al., 2014). Because of this accessibility, and with regard to the quality
control, TED and TEDx talks could be a possible solution to some of the problems identified in
music therapy advocacy.
TEDx Description
The investigator of this study was invited to offer a 16-minute TEDx talk at a university
on the coast of southwest Florida in November of 2015. This invitation was won after
completing an application process providing background information, describing the desire and
intentions behind giving a TEDx talk, and submitting a short video clip discussing the TEDx talk
proposal. Having been inspired by other music therapists pursuing advocacy efforts, the
investigator wanted to provide a TEDx talk that was devoted to explaining the basics of music
therapy.
The goal of this TEDx presentation was to create an informative talk that could serve as
an educational resource for the general public to fully understand the term “music therapy” (see
Appendix B for TEDx talk transcript). The TEDx talk included a discussion on what constituted

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a “household name,” and an argument for why music therapy should be included in that
phenomenon within educational and healthcare settings. The discussion also included examples
of the role music plays within our everyday lives and asked the audience to consider how they
personally use music therapeutically. The investigator also discussed the transition in healthcare
towards a more integrative approach and how music therapy’s transition from the social sciences
towards neuroscience plays a role in that. A history of music therapy was also provided to
educate on its longevity and evidenced-based practice within the clinical field.
Much of the TEDx talk focused on describing the neuroscience behind music and how
this transfers into music therapy goals, outcomes, and specific pathologies. Examples were
provided to highlight the inclusivity of the brain and its ability to be utilized for therapeutic
goals. The investigator also noted examples of a variety of populations, music therapy goals and
outcomes that would be measured within music therapy sessions. Some specific music therapy
approaches were mentioned, but not all, such as Neurologic Music Therapy and music therapy
within the neonatal-intensive care unit. These were mentioned to highlight the differences within
music therapy situations and to educated on various music therapy approaches.
The TEDx talk closes with the investigator calling the audience to consider how they
could help advocate for music therapy in more educational and healthcare settings. A discussion
on how music could be harmful was also incorporated to raise awareness towards the importance
of working with a board-certified music therapist and to compel the audience to consider the
depth of music therapy. The TEDx talk ends by returning to this discussion on “household
names” and to ask the audience to consider music therapy as a profession within this
phenomenon by taking ownership in helping spread awareness.

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The challenges facing this TEDx talk were to strive for the utmost quality of content to
present information that met the standards of AMTA and to avoid misinformation (Gooding &
Gregory, 2011). It was also critical to be clear, concise, and articulate about the training music
therapists receive and the implementation of clinical, evidenced-based practice that inform all
objectives and services within the profession (Register, 2013; Gregory & Gooding, 2012). The
ultimate goal of this TEDx talk was to elevate the profession of music therapy into that of a
household name.
Since the TEDx talk was video recorded, transcribed, edited, and posted on both the
TEDx website and its YouTube channel, it is now accessible to anyone using the Internet. This
TEDx talk can be shared on social media, linked to by educational websites, shared via personal
communications, and generated through related searches. This platform allows music therapy
advocacy to be widely dispersed and utilized in varying ways.
Purpose
For the purpose of this study, “TEDx talk” will refer to the TEDx talk given by the
investigator at the TEDx event in Southwest Florida, whereas “TED talk” will refer to the
general phenomenon of the TED platform. The intention of this study was to measure general
learning and saturation of learning about music therapy from the TEDx talk. Learning was
measured through a pre-, post-, and follow-up survey design by adult members of the general
public, musicians, and healthcare workers. The survey responses were also investigated and
coded to provide guidelines for music therapists to follow in using TED talks effectively for
advocacy.
Research Questions
Research questions and sub-questions that will be considered are:

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1. Do participants’ knowledge and opinions about music therapy change post-TEDx talk?
a. Are participants able to identify the educational requirements of a music
therapist?
b. Do participants agree that a professional certification is required of a music
therapist?
c. Are participants able to describe what a music therapist does?
d. Are participants able to identify appropriate settings in which a music therapist
might work?
e. Do participants agree that music therapy should be more accessible in healthcare
and educational settings?
f. Do participants agree that more people need to know about the music therapy
profession?
g. To what degree do the participants see the potential application of music therapy
to situations at work or home?
2. Does an individual’s background influence their understanding of what a music therapist
does?
a. Do individuals with a background in music understand what a music therapist
does better than non-musicians?
b. Do individuals with a background in healthcare understand what a music therapist
does better than non-healthcare workers?
3. What are the common learning points about music therapy identified by the participants?
4. Are participants satisfied by knowledge gained from the TEDx talk about music therapy?

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a. Do participants conduct any further research on music therapy after the initial
presentation?
b. Do participants share any information learned from the presentation with others?
It is hypothesized that people unfamiliar with music therapy will have increased awareness and
understanding of the profession of music therapy after watching the informational TEDx talk
presented by the investigator.
Methods
Participants and Settings
Six groups of participants were recruited from various organizations and agencies around
the Tampa Bay, Florida metropolitan area. Organizations and agencies included in the
recruitment process were those interested in learning about music therapy but were unfamiliar
with the profession. The organizations approached included those considered to be future
healthcare workers, musicians, and members of the general public. These groups were chosen for
the purpose of comparing their responses to the investigator’s TEDx talk. Such comparisons
might include whether healthcare workers understand and accept music therapy as a profession
more than musicians, or the general public, or vice versa. Organizations were asked to host a free
presentation on music therapy using the TEDx talk video, and to engage voluntary participants in
a pre- and post-survey. Organizations and agencies were recruited through calling their
administrative staff, including healthcare workers and/or students, musicians, and mixed
business professionals (general public). The participating groups included the Tampa Bay Master
Chorale (musicians; n=11), Jersey College School of Nursing: Tampa campus (nursing students;
n=9), East Lake Library (general public; n=4), Sunshine Senior Center (senior citizens of the
general public; n=13), St. Petersburg College Department of Music (music students; n=5), and

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West Community Library (general public; n=6). The use of these varied cohorts was aimed at
attempting a broad representation of demographics, disciplines, and backgrounds in order to
compare responses between-groups and within-groups as well as to compare their pre- and postTEDx survey results.
Participants were recruited by invitation through their agency. Inclusion criteria were
adults of any age who were unfamiliar with music therapy with the ability to speak and write
English fluently. Exclusion criteria were those who are, or have been music therapists, or were
very familiar with the profession (as defined as being able to explain it to someone else), as well
as those who were unable to speak or write English fluently. The number of participants at each
presentation ranged depending on the number of those interested in engaging in the study. The
target number of participants was 50 in total. Therefore, the organization aimed to recruit at least
10 participants for their hosted presentation.
Of the recruited participants, 48 were eligible for the study (n=48), including 30 females
and 18 males, with a mean age of 55.25 (SD=21.84). One participant was excluded due to
reporting previously being a music therapist while another participant dropped out. These
exclusion decisions were made by the research assistant. Participants ranged in levels of
education with the lowest level being a high school education (n=5), to some college credit
without a degree (n=11), associates degree (n=8), bachelor’s degree (n=9), master’s degree
(n=11), professional degree (n=2), and the highest level of education being a doctoral degree
(n=2). A majority of the participants reported their ethnicity as white or Caucasian (n=35), but
also included those who considered themselves Hispanic or Latino (n=1), black or African
American (n=7), Native American or American Indian (n=2), Asian or Pacific Islander (n=1),
and other (n=2).

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More specific demographic information included an assessment of musicianship and
familiarity with TED talks. Of the total participants (n=48), 23 considered themselves to be a
musician, and reported believing that others agree they are a musician, with 17 of these
musicians reporting 20 years of experience or more. Reasons for musicianship ranged in purpose
including playing music professionally (n=7), being music educators (n=4), producing and/or
composing music (n=1), and playing music as a hobby (n=13). Participants who reported having
a degree in music (n=7) marked playing music professionally (n=5) and being music educators
(n=2).
Participants’ familiarity with TED talks ranged from being familiar (n=17), to being a
little familiar (n=10), and not being familiar at all (n=21). Of the people who were familiar with
TED talks, 19 reported watching fewer than five talks a year, while 3 reported less than 10
viewings, and 5 reported watching more than 10. How participants normally find TED talks
ranged from a web search (n=13), to social media (n=12), to featured talks on the TED website
(n=7), and through educational purposes such as presentations or lectures (n=9), with some
participants selecting more than one option. Participants also reported definitely sharing TED
talks of interest with others (n=8), sometimes sharing (n=8), not often sharing (n=1), or denied
sharing them at all (n=9).
Procedures and Data Collection
Each of the six presentations followed the same data collection format to ensure
reliability. Due to the feasibility of this study, the investigator acted as the recruiter, presenter,
and data collector throughout the study. Upon arrival, participants were given an introduction
that provided the least biased information about the investigator, such as stating the
investigator’s name but not credentials or background, the purposes behind the study, and the

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expectations of the study itself. Participants were asked to agree to a consent form (see Appendix
C) that detailed the purpose of the study, how the data were to be used, the format of the
presentation (five parts) and the expected time frame (approximately 45 minutes for the first
session and approximately 10 minutes to complete an online post-survey). The expectations of
the study included engaging in the pre-survey, watching the TEDx talk, and completing a postsurvey. Participants were informed that they could ask questions at the end of the presentation.
Participants were also asked to complete a follow-up survey approximately 4-6 weeks after the
initial presentation by volunteering their email information at the end of the post-survey. The
purpose of the follow-up survey was to investigate saturation of learning over time. Participants
were not compensated for their participation.
Data was first collected through the use of a pre-survey in order to assess current
understanding of music therapy and to reveal any misconceptions of the profession. Participants
were instructed to complete a pre- and post-survey before and after the TEDx talk viewing. The
follow-up survey was completed online using Qualtrics, a confidential survey data platform.
Data were recorded confidentially by participants during each presentation and remained
anonymous throughout the study. The investigator collected the consent forms and written
surveys from each participant at the presentation, but kept the anonymity of each participant
through the use of ID numbers. Each participant was given an ID card that matched the ID
number of their pre- and post-surveys to be referenced during the presentation. The pre-survey
questionnaire included approximately 20 questions regarding demographic information,
relationship to music, and an assessment of participants’ familiarity with music therapy and TED
talks. Survey questions incorporated yes/no statements, multiple choice, scale rankings, and
essay format. The pre-survey required approximately 15 minutes to complete. Participants were

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then asked to watch a 16-minute TEDx talk video on music therapy education and advocacy
before continuing on with the study.
The post-survey following the TEDx talk comprised of similar assessment questions to
determine information learned from the video. Approximately 10 post-survey questions were
presented in yes/no statements, multiple choice, scale rankings, and essay format. These
questions were similar to questions on the pre-survey in order to measure saturation of learning
from the TEDx talk (see Appendix D). Participants were asked to contribute two learning points
gained from the TEDx talk, which directly related to one of the four main research questions.
The post-survey required approximately 15 minutes to complete.
After the first session of each presentation, a research assistant matched the written preand post-surveys by ID number and stored the surveys together. The data, managed by the
research assistant, were kept separate from the consent forms by the research assistant in labeled
folders and stored separately. Only the research assistant viewed participant names and ID
numbers at time of data entry. Data collected through the written pre- and post-surveys were
entered into the online version of the survey through Qualtrics. This was done for the purposes of
streamlining information for later data analysis rather than coding information by hand. Data
were entered by the research assistant only.
Approximately 4-6 weeks after each presentation, participants who volunteered their
email information were contacted to complete a follow-up survey. This follow-up survey
included 18 questions to identify whether participants engaged in any further research, had
increased conversations about the music therapy profession (either initiating the topic or
responding to a conversational partner with information about the profession), or used the term
music therapy as a “household name” as defined above. The final question included a fill-in-the-

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blank option for participants to contribute any additional thoughts not addressed by the survey
questions. This follow-up survey required approximately 20 minutes to complete. Online data
were collected through Qualtrics.
All written and online data were recorded into Qualtrics and exported into the data
analysis program SPSS. Variables considered were the independent variables of the TEDx talk
and group type and the dependent variables of survey responses. Data were grouped by pre- and
post-TEDx scores as well as between- and within-group comparisons.
Ensuring Validity and Reliability
To ensure internal validity, the same procedures were used among all groups for the
survey questions. The same investigator organized and facilitated scheduling and leading each
presentation. A research assistant aided in organizing completed data and data entry. The
investigator used triangulation among all groups to examine themes and perspectives among all
participants. The investigator also relied on stating bias and any discrepancies that arose during
the study to ensure transparency in the results by recording notes and thoughts throughout data
collection for further review. Reliability was addressed through the use of inter-rater reliability to
verify that there were no errors in the resulting information.
Coding
Qualitative data were coded into one-word themes identified by the research assistant and
the investigator to be recorded quantitatively for pre- and post-TEDx scores. For the definition of
music therapy, survey answers were coded into five main domains of music therapy: 1.)
physiology, 2.) cognition, 3.) spirituality, 4.) psychological, and 5.) emotional. Definitions were
also assessed as being “rounded definitions” (not specifying a domain of music therapy) and
rated on a Likert-scale of poor, okay, good, or excellent (pre- and post-TEDx). Learning points

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were coded by assigning one-word themes addressed by the responses: longevity, depth, exists,
efficacy, fact-learned, validity, versatility, knowledge, access, integrative, and comforting.
Similarly, the informative essay questions of “why”, or “why not” were coded into one-word
themes addressed in the responses: access, integrative, knowledge, versatility, comforting,
efficacy, and non-pharmacological. Applications of music therapy at work or home were coded
into common music therapy goals identified by the investigator and research assistant. Common
music therapy goals identified included: decrease anxiety, increase relaxation, increase focus,
pain management, and emotional expression.
Data Analysis
Analysis was completed through the use of SPSS (v24) to perform descriptive
frequencies, including mean, frequency, variability, standard deviation and paired-samples t-tests
to compare within- and between-group means and standard deviations for pre- and post-TEDx
survey scores. Expected outcomes ranged in value 1-2 degrees within each group due to the
small ranking measurement. Inferential statistics included univariate analysis of variance
(ANOVA) to assess between-subject correlations and significance. Post-hoc tests were run due
to significance found on any measure.
Results
Knowledge and Opinions Within-Groups
To measure change in participants’ knowledge and opinions post-TEDx talk, participants
were first divided among three groups: healthcare workers (n=9), musicians (n=16), and general
population (n=23). ‘Knowledge’ was assessed by scoring yes/no data on perceived music therapy
education and perceived professional certification requirement to create a combined ‘knowledge’
score pre- and post-TEDx to be run through a paired samples t-test. There was significant

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difference pre- and post-TEDx scores within all three groups (p=0.01, SD=0.77). ‘Opinions’ was
assessed by comparing scores provided by a Likert-scale on “what does a music therapist do”
(see Table 1). Pre- and post-TEDx scores were compared through a paired samples t-test. There
was significance pre- and post-TEDx scores within all three groups (p=0.39, SD=0.93).
Knowledge and Opinions was combined to assess overall change pre- and post-TEDx scores and
compared through a paired samples t-test. There was significance between pre- and post-TEDx
scores within all three groups (p=0.00; SD=1.46).
Knowledge and Opinions Between-Groups
Knowledge and Opinions post-TEDx scores were compared between-groups through a
univariate analysis of variance (ANOVA). Post-TEDx scores on Knowledge showed a
significant interaction between group and pre-TEDx scores (𝑓=0.37). Musicians and general
public revealed the most change in Knowledge post-TEDx scores compared to healthcare
workers. Post-TEDx scores revealed a change in mean of M=0.2 (SD=0.11) for musicians and
M=0.2 (SD=0.13) for general public. Opinions did not have a significant interaction between
group and pre-TEDx scores (𝑓=0.11; see Figure 1).
Additional Knowledge and Opinions Assessed
‘Knowledge’ was also assessed pre- versus post-TEDx survey scores by comparing
means on perceived music therapy education (M=3.37; SD=1.08) and professional certification
requirement (M=1.80; SD=0.98). Post-TEDx, perceived educational requirement of music
therapy education increased toward the answer of “music therapy degree” by 0.89% (M=3.40;
SD=0.73) and perceived requirement of a professional certification moved from “probably yes”
to “definitely yes” by 30.4% (M=1.38; SD=0.64). Length of profession in the working world was

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not included due to the investigator forgetting to include this question when creating and
implementing the post-survey (unable to compare means).
The perceived settings where a music therapist might work were measured by running
frequencies. Perceived settings that were rated 90% or above included: hospitals: 97.9%
(SD=0.14); nursing homes: 95.8% (SD=0.20); daycare centers: 95.8% (SD=0.20); hospice:
95.8% (SD=0.47); and mental health facilities: 91.7% (SD=0.28). Perceived settings that were
rated 70% or better included: group homes: 89.6% (SD= 0.31); veteran’s affairs: 85.4%
(SD=0.36); counseling centers: 81.3% (SD=0.39); school classrooms: 77.1% (SD=0.42);
correctional facilities: 75.0% (SD=0.44); outpatient services: 75.0% (SD=0.44); and colleges:
70.8% (SD=0.46). Perceived settings rated below 70% included: churches: 68.8% (SD=0.47);
veterinary’s offices: 58.3% (SD=0.50); museums: 33.3% (SD=0.48); hotel lobbies: 33.3%
(SD=0.48); coffee shops: 31.3% (SD= 0.47); and other: 18.8%.
When asked if participants agree that music therapy should be included in more
educational and healthcare facilities, 95.8% of participants agreed (n=46). Participants shared
additional reasoning behind their agreement, which was coded by the investigator and research
assistant. Participants stated music therapy should be included in more educational and
healthcare facilities because it is: efficacious: 47.9% (SD=0.50); integrative: 16.7% (SD=0.38);
comforting: 22.9% (SD=0.42); versatile: 10.4% (SD=0.31); and non-pharmacological: 12.5%
(SD=0.33; see table 2). No participants included reasons for why they believed music therapy
should not be included in more educational and healthcare settings (maybe: n=1; unsure: n=1).
Participants similarly agreed at 97.9% (n=47) that more people need to know about the
profession of music therapy. Participants stated more people should know about the profession
because it is: integrative: 20.8% (SD=0.41); versatile: 6.3% (SD=0.24); comforting: 10.4%

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(SD=0.31); efficacious 18.8 % (SD=0.39); and non-pharmacological: 2.1% (SD=0.14) and it
could increase: accessibility: 16.7% (SD=0.44); and general knowledge: 25.0% (SD=0.44). No
participants stated reasons why people should not know more about the profession (n=1).
Of the 48 total participants, 18 completed the follow-up survey approximately 4-6 weeks
after the initial presentation. Of the participants who saw a potential application of music therapy
to situations at work or home, 44.4% of participants reported they may or may not (n=8), while
16.7% reported definitely yes (n=3), 27.8% reported probably yes (n=5), and11.1% reported
probably not (n=2). Participants who agreed to seeing an application of music therapy at work or
home stated a range of reasons why, which was coded by the investigator and research assistant
into common music therapy goals. These goals identified by the participants included decreasing
anxiety: 11.1% (n=2; SD=0.39), increasing relaxation: 22.2% (n=4; SD=0.49), pain management:
16.7% (n=3; SD=0.45), emotional expression: 5.6% (n=1; SD=0.29), and increasing focus: 5.6%
(n=1; SD=0.29).
Additionally, participants identified two learning points post-TEDx talk, which included
a range of 11 coded themes (see Table 3). Top-rated learning points about the profession were:
its efficacy: 41.7% (SD=0.50); its versatility: 39.6% (SD=0.49); learning a specific fact: 39.6%
(SD=0.49); its longevity: 22.9% (SD=0.42); and its validity: 20.8% (SD=0.41). Additional
learning points included: the lack of knowledge about the profession within the general public:
16.7% (SD=0.38); the profession’s accessibility: 16.7% (SD=0.38); it is integrative: 4.2%
(SD=0.20); that the profession exists: 4.2% (SD=0.20); the profession’s depth: 2.1% (SD=0.14);
and it is comforting: 2.1% (SD=0.14).
Saturation of Learning Assessed

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Follow-up survey responses ranged from 4-6 weeks after the initial TEDx talk
presentation. When asked about satisfaction of knowledge gained from the TEDx talk during the
follow-up survey, 83.3% (n=15; SD=0.38) of participants responded that there was not any
additional information they would have liked to have learned during the TEDx talk.
Additionally, 66.7% (n=12, SD=0.49) of participants denied completing further research on
music therapy after the TEDx talk presentation, with 44.4% (n=8, SD=0.49) reporting reasons
being for satisfaction with knowledge gained from the TEDx talk presentation. Reasons stated
for why participants completed further research included: to learn more about the profession
(n=4), to compare music therapy to another therapeutic modality (n=2), to discover music
therapy session examples (n=1), and to investigate unanswered questions arisen during the TEDx
talk presentation (n=1).
Along with knowledge gained from the TEDx talk, 89.9% (n=16, SD=0.32) of
participants reported discussing what they learned about music therapy with someone else.
Participants reported discussing what they learned with someone else a little: 55.6% (n=10), a
moderate amount: 22.2% (n=4), and a great deal: 11.1% (n=2). Participants reported discussing:
the effectiveness of music therapy: 66.7% (n=12, SD=0.45), what music therapists do: 55.6%
(n=10, SD=0.50), who music therapists work with: 38.9% (n=7, SD=0.51), where music
therapists work: 38.9% (n=7, SD=0.50), the education required of a music therapist: 38.9% (n=7,
SD=0.51), and examples of what music therapy might look like: 16.7% (n=3, SD=0.40). For the
participants who reported not discussing what they learned about music therapy (11.1%, n=2),
one stated the reason being not having anyone interested in discussing music therapy (n=1) and
the other reported satisfaction with the discussion experienced during the TEDx talk presentation
(n=1).

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Discussion
Summary of Findings
Based on the findings of this study, the TED talk platform is an effective way to advocate
for and convey what music therapy is to the general public. The hypothesis that people
unfamiliar with music therapy would gain awareness and understandings of the profession of
music therapy after watching the TEDx talk was met. Participants’ knowledge and opinions
about music therapy changed amongst all three groups of participants (healthcare workers,
musicians, and general public) between pre- and post-TEDx talk. Participants’ opinions of
whether music therapists require a professional certification increased more than their
understandings of the educational requirements, but both increased overall. Additionally,
participants’ opinions of what a music therapist does increased amongst all three groups of
participants post-TEDx talk.
The results reveal that there was significant difference between two groups within the
knowledge scores, but there was no significant difference between the groups of participants in
the opinions scores; therefore, an individual’s background appeared to influence their knowledge
of music therapy more than their opinions. Among groups of participants, musicians and the
general public had greater change in their knowledge of music therapy post-TEDx talk compared
to healthcare workers who had less statistical significance in knowledge. Participants’ opinions
on music therapy did not have any significant difference between groups, therefore findings
suggest that participants’ backgrounds did not influence their understanding of what a music
therapist does.
Most participants correctly identified appropriate music therapy settings. Settings that
were identified the most included hospitals, nursing homes, daycare centers, hospice, and mental

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health facilities, closely followed by group homes, veteran’s affairs, counseling centers, school
classrooms, correctional facilities, outpatient settings, and colleges. All settings provided within
the post-survey were selected at least once, despite there being five inappropriate settings
included in the survey list.
Although participants may have been less sure of the appropriate settings where music
therapists might work, participants mostly agreed that music therapy should be included in more
healthcare and educational settings. Collectively, participants agreed to increased inclusion of
music therapy by providing their reasoning that music therapy is efficacious, integrative,
comforting, versatile, and non-pharmacological. Additionally, participants agreed that the
profession of music therapy should be better known as a viable profession. Participants provided
similar reasoning to this response, reporting their beliefs that music therapy is integrative,
versatile, comforting, efficacious, and non-pharmacological, and that it could increase
accessibility to services and general knowledge of the profession, meaning heightened awareness
overall.
Only a small portion of participants engaged in the follow-up survey in order to assess
applications of music therapy to situations at work or home. Twenty participants volunteered
their email information at the time of the post-survey to be sent the online follow-up survey, but
only 18 participants responded. At the time of the initial presentations, many participants stayed
after the formal presentation ended to ask further questions of the investigator. This may have
affected the turnout for the follow-up survey. For those who did participate in the follow-up
survey, 88.9% of the participants agreed to being able to see music therapy applied to personal
situations, but only 55.6% stated that they may or may not actually follow through with an
application of music therapy personally. However, most participants were able to provide

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appropriate reasoning behind applying music therapy to personal situations, including to
decrease anxiety, increase relaxation or focus, aid in pain management, and to express emotions.
Additional knowledge gained by the participants included a number of learning points
from the TEDx talk itself. These learning points were identified by the participants individually,
but were similar across groups. The common learning points identified by the participants
included their beliefs that the profession is efficacious, accessible amongst clientele, versatile,
integrative, comforting, and valid. Participants also reported learning a fact about music therapy
and were able to report it back to the investigator. Furthermore, participants learned that the
profession exists and has depth, it has been around longer than they thought (longevity), and that
there is a lack of knowledge about the profession within the general public.
In regards to saturation of learning after the TEDx talk presentation, participants mostly
stated that the TEDx talk satisfied their knowledge on music therapy. Only a small portion of
participants reported researching more about music therapy after the TEDx talk presentation, and
identified those reasons as wanting to learn more about the profession, to answer a specific
question, to compare music therapy to other therapeutic modalities, and to watch music therapy
video session examples. Additionally, participants agreed that the TEDx talk presentation
increased their conversation with others about the profession. Most participants agreed to
discussing what they had learned with someone else, including the effectiveness of music
therapy, what a music therapist does, where they work, appropriate clientele, the education
required of a music therapist, and how music therapy might be implemented.
Additional information that was revealed through the follow-up survey but was not
addressed by any of the research questions included some information participants’ perceived to
be missing from the TEDx talk. This included the type of education music therapists receive and

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how board certification works. Participants also asked follow-up questions about the specifics of
music therapy interventions and implementation of said interventions and protocols. Resources
some participants were interested in for future explanations of music therapy included video
examples of music therapy sessions, informative websites, and video lectures.
Interpretations
One of the main goals of the investigator’s TEDx talk in its original form was to elevate
the term ‘music therapy’ to that of a “household name” and to create an educational resource for
the general public. This, as well as the hypothesis, was fundamentally met in regards to
educating the general public about music therapy. This study revealed that all participants
increased their knowledge and understanding of music therapy regardless of their backgrounds.
Although knowledge appeared to have significant changes between pre- and post-TEDx score
through data analysis, opinions did change when looking at the raw, qualitative data.
Because data were coded into themes and then ranked on a Likert-scale, the results of this
analysis did not reveal what was written in qualitative responses. When looking at the responses
provided to “what does a music therapist do” between pre- and post-TEDx, the definitions
provided by the participants shifted from focusing on specific elements of music therapy toward
general definitions that did not include the coded themes. For example, one participant originally
defined music therapy as being: “Rehabilitation, calming for mental illness, relaxation” but then
generalized their definition in the post-survey toward: “Help improve and heal a variety of health
problems.” Although the mean scores of the ranked definitions did not increase fully from
“okay” to “good”, all participants provided a definition post-TEDx survey. This was an
important change compared to the pre-TEDx survey, where a number of participants left the

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question blank. This change reveals that all participants felt comfortable with providing some
kind of definition of music therapy post-TEDx.
The TEDx talk also appeared to be an effective platform to provide a concise arena in
which basic information about music therapy could be expressed at one time. Participants
appeared to be less consistent with their abilities to identify the correct settings in which music
therapists might work, but this was not addressed explicitly within the TEDx talk. Some settings
were mentioned within the TEDx talk, but the survey question was intended to assess the
participants’ ability to infer appropriate settings based from their learning of appropriate clientele
and implementation of evidenced-based practice (see limitations).
Ultimately, all participants showed encouraging promise toward learning the most basic
elements of music therapy by absorbing the information disseminated by the TEDx talk. These
findings converge with the literature that there is a need to increase the awareness of music
therapy for advocacy purposes and that there is an opportunity to create proactive, rather than
reactive, advocacy measures. These findings also agree with the literature regarding the influence
of video and Internet platforms in providing helpful depictions and explanations of music
therapy. Contributions this study makes to the literature includes the role a TED talk plays on
music therapy education and advocacy and how TED talks could be used in the future for
proactive advocacy measures.
Furthermore, these findings imply that having one concise place where the basics of
music therapy can be answered is helpful for accurate education and advocacy. The role of a
TED talk suggests the positive influence of a spokesperson-like format where information can be
provided articulately, concisely, and within a well-rounded framework. The formality of the
TED talk platform also appears to increase perceptions of expertise on the topic from viewers.

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Having expert and vetted information about music therapy that comes in a widely accessible,
video-learning format is lacking from the field as a whole and from AMTA endorsements. These
findings imply the opportunity to create more proactive advocacy measures within the field and
governing associations to promote the profession into that of a household name.
Limitations
Some ethical concerns and limitations arose throughout this study, which the investigator
documented as they occurred. One of the main threats to the internal validity of the study was the
lack of additional research assistants, including the inability to have a research assistant facilitate
the data collection presentations without the investigator present. Due to this flaw, participants
may have felt pressure toward signing the informed consent, although the investigator reiterated
that the study was voluntary. Participants may have also felt influenced to provide answers that
they believed the investigator wanted to hear. In order to control for this bias, the investigator
attempted to keep participants blind to the investigator’s role through limited introductory
information at the start of each presentation and ensured participants that they could answer the
survey questions without penalty.
Using a survey design to collect data allowed for some reduction in investigator bias, but
there may have been potential threats to the validity of the data by misguiding participants
through a survey that was not completely objective. Although the survey was piloted by other
music therapy master’s students at Berklee College of Music, the nature of some questions may
have been overlooked, such as priming the participant by including multiple choice answers
instead of requiring a fill-in-the-blank response. Inter-rater reliability between the investigator
and research assistant may have decreased due to the subjectivity of some questions. This
subjectivity was found when determining whether a participant had been primed to answer a

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question in a certain way and whether that question should be included in data analysis. The
validity of the survey design itself was also decreased by the fact that some crucial pre-survey
questions were left out of the post-survey unintentionally, which decreased the ability to compare
scores pre- and post-TEDx. Additional subjectivity could be found in the coding of the
qualitative answers required by the survey design. Data were coded by the investigator and
research assistant separately and then again together, but was unable to be checked by an
additional third-party member due to feasibility and the time allotment for this study, resulting in
limited inter-rater reliability. This could have caused confounding variables within the data
analysis.
Additional limitations to the study’s internal validity include the nature of the
presentations themselves. Since the investigator presented at various organizations and locations,
some elements of the individual organizations could have affected data collection. This includes
the quality of the organization’s audio/visual capabilities, facility scheduling (such as
overlapping a lunchtime and feeling rushed), the advertising of the event, environmental controls
(such as a noisy room), and the investigator’s inability to use the same space for each
presentation.
Some considerations were also related to the participant’s expectations of the
presentation. These expectations depended on the advertising of the event, which was left up to
the organization despite the investigator’s offer of a flyer for the event. Furthermore, some
participants appeared to expect a live presentation, which may have affected their reception of
the TEDx talk and their overall engagement in the study. Others had occasional difficulty
interpreting the wording of some survey questions, which had to be addressed by the investigator

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in the least misleading way, while others encountered some hearing and/or visual deficits, which
may have diminished their full ability to participate.
External validity of the study may have been affected by networking with organizations
to set up the study’s presentations. The organizations that agreed to the study did not reflect a
truly random sample because they expressed interest in receiving a free presentation on music
therapy in the first place, decreasing the generalizability of the study. Additionally, many
participants who were interested in attending the presentation did not appear to be truly blind to
the subject, as evidenced by their informal commentary before and after the presentation. Some
organizations also programmed the presentation onto existing events, such as following a
previous presentation, or scheduling immediately before lunch, which could have led to either
more or less participants than if the presentation was stand alone or randomized within the
community. Also, many sample sizes within each organization were smaller than attempted,
which may have decreased statistical power or the data analyses.
Lastly, much of the follow-up survey internal validity may have been affected by the
organic question and answer sessions that arose after each TEDx talk presentation finished
formally. Participants asked clarifying questions and expressed their interest in the topic after the
close of the study’s presentation, which the investigator was unable to include in data collection.
This may have decreased interest in completing the follow-up survey, or may have influenced
the responses to satisfaction gained from the TEDx talk. Using a research assistant to lead the
presentations may prevent participants from asking additional questions because the research
assistant is not the expert on the topic. Additionally, less than half of the participants volunteered
their email information during the post-survey, which may reveal the unwillingness people feel

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towards taking time to complete an online survey or to be asked to follow-up on the same
information a few weeks after the initial presentation/research study.
Future Directions and Recommendations
The organic question and answer sessions that arose informally after each presentation do
speak to directions for future studies. These question and answer sessions may suggest the
appropriateness of a focus group study regarding information provided in a TED talk. A focus
group on one or more TED talks given by music therapists could allow for discussions regarding
the information presented, the style of the speakers, and further information that could be helpful
in learning about music therapy. Additionally, implementing this survey study on a larger scale
including a greater sample size and incorporating multiple research assistants could also be
helpful in determining its validity and reliability. It is also recommended that music therapists
incorporate clinical examples of music therapy as well as a thorough explanation of the training
and education music therapists receive, in order to further the advocacy and education of the
music therapy profession.
Music therapists who are interested in writing and presenting a TED talk should be aware
of the time, efforts, and professionalism needed to produce such a speech. It is recommended that
music therapists listen and research previously given music therapy TED talks in order to assess
and discern what has been previously discussed and what makes these talks compelling to an
audience. When giving this study’s TEDx talk, the investigator wrote, and re-wrote the TEDx
talk speech more than 10 times, continually changing the formatting until the flow of the talk
was natural and easy to memorize. Additionally, the TEDx talk was practiced every day for a
couple of weeks leading up to the TEDx event. The investigator also presented the TEDx talk to

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37

close family and friends who could provide their insights and feedback prior to the event to
ensure fluidity of the speech and clarity behind the ideas.
It should also be noted that the empowerment behind giving a TED talk is two-fold.
Music therapists are strongly recommended to solidify their advocacy abilities and to seek out
opportunities to increase proactive advocacy measures. However, music therapists should be
vigilant of the TED platform and its worldwide stage. Awareness of how music therapy
advocacy can be perceived by the rest of the field as well as the world is essential to the efforts
behind the TED talk itself. Music therapists should consider the TED stage with the same
professional regard they use when working with clients, in offering the best product available.
Ultimately, what is created on the TED stage is a representation of music therapy and should be
considered deeply by anyone who uses the stage in the name of music therapy advocacy.
Conclusions
Music therapy is a challenging profession to define. Based on the literature, the ability to
define music therapy succinctly and thoroughly is important in order to propel the profession
forward and to increase advocacy – ultimately increasing access of services. Accessible
availability of vetted video-lectures and clinical examples increase understanding and awareness
of the profession exponentially. This is an area of opportunity within the profession and its
governing associations. Music therapists should be working together as a profession to develop
advocacy expectations and to elevate the term ‘music therapy’ into a widely understood
household name.

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Silverman, M.J. (2008). Implications for music therapists educating the public via media: a
commentary on Roberts’ and McFerran’s article. The Australian Jounral of Music
Therapy, 19, 43-44.
Sugimoto, C. R., Thelwall, M., Larivière, V., Tsou, A., Mongeon, P., & Macaluso, B. (2013).
Scientists popularizing science: characteristics and impact of TED talk presenters. Plos
One, 8(4), e62403. doi:10.1371/journal.pone.0062403
TED (n.d.). About: our organization. Retrieved from https://www.ted.com/about/ourorganization.
TED (n.d.). About: programs & initiatives: TEDx. Retrieved from
https://www.ted.com/about/programs-initiatives/tedx-program.
TEDx Talks. (n.d.). Home [YouTube Channel]. Retrieved from
https://www.youtube.com/user/TEDxtalks.
Tsou, A., Thelwall, M., Mongeon, P., & Sugimoto, C. R. (2014). A community of curious souls:
an analysis of commenting behavior on TED talks videos. Plos One, 9(4), e93609.
doi:10.1371/journal.pone.0093609.

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Music Therapy Knowledge & Opinions Pre- and Post-TEDx Talk
5.0
4.5
4.0

Mean Scores

3.5
3.0
2.5

Pre

2.0

Post

1.5
1.0
0.5
0.0
Healthcare Musicians General Healthcare Musicians General Healthcare Musicians General
Public
Public
Public
Knowledge

Opinion

Total

Figure 1
Mean scores representing participant’s knowledge, opinions, and total scores of knowledge and
opinions together. Significant differences were found between pre- and post-TEDx scores
knowledge, opinions, and total scores within all 3 groups. Significant difference was found
between groups on knowledge for musicians and general public participants.

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41

Table 1
Definitions of Music Therapy

Participant Essay-Format Responses

Themes Coded

Pre-Survey

"Music therapist use music as a language to
communicate; also allows a safe
environment to express true feelings. They
say deaf clients although they can't hear
they are able to feel the music &
themselves".

Physiological,
Cognitive,
Emotional

"Relax patient, therapeutic, calms, sense of
relief brings closer or closeness to others.
Music brings me close to my mom that has
passed and to the Lord".

Physiological,
Spiritual,
Emotional

"Music therapists incorporate music making
or movement to music to assist individuals
in overcoming physical and/or emotional
problems. Can also be used to assist
cognitive maintenance in aging".

Physiological,
Cognitive,
Emotional

"Use music to provide an atmosphere
conducive to healing of body, mind and
spirit for those in need of it".

Physiological,
Spiritual,
Psychological

"Use music to create a camaraderie with
patients that can assist in breaking through
areas of brain fog and give them a sense of
structure".

Cognitive,
Psychological

"Provides appropriate musical experiences
to aid in benefitting individual well-being".

(none)

"A music therapist uses a specific aspect of
music (e.g. rhythms) to effect change achieve a non-musical goal - to and in
treatment of a person's physical, emotional,
or psychological condition".

Physiological,
Psychological,
Emotional

"Develops method to introduce appropriate
music for specific situations in health care
for our well-being".

(none)

"Helps to use many parts of the brain to
help heal or improve the problem".

(none)

"Custom design therapy to promote and
maintain healing for every kind of
patient/client using music".

(none)

Post-Survey

Note. Selection of essay format answers provided by participants pre- and post-survey on survey
question. “What does a music therapist do”? Responses were coded into one or more of the five
elements of music therapy: physiological, cognitive, spiritual, psychological, or emotional.

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Table 2
Why?

Participant Essay-Format Responses

Coded Themes

Do you think music
therapy needs to be
available in more
healthcare and
educational settings?

"Provides one more avenue toward positive
change. Not everyone is helped by the same
experience".

Versatility,
Integrative

"Because I think we need access to all sorts of
"non-traditional" medicine these days. Because
"non-traditional" therapies have been proven to
work. Doctors need to let patients know these
programs exists".

Integrative; Nonpharmacological

"It's an additional tool that could reduce need
for medication, speed healing, and improve
quality of life".

Versatility, Nonpharmacological,
Comforting

"Because it is effective and needs to be part of
treatment options".

Efficacy

"It is a profession that can do a lot of good by
opening up more opportunities to understand a
person & what they could be going through".

Versatility,
Integrative

"To promote health and quality of life".

Comforting

"The more people know, the more they can
spread the word".

Access, Knowledge

"Potential benefits and use as an adjunctive
therapy".

Efficacy, Integrative

Do you think more
people need to know
about the music therapy
profession?

Note. Selection of essay format responses provided by participants on post-survey questions
asking an additional, “why” to the survey questions above. Responses to the question, “Do you
think music therapy needs to be available in more healthcare and educational settings” were coded into

themes that included: efficacy, integrative, comfort, versatility, and non-pharmacological.
Responses to the question, “Do you think more people need to know about the music therapy
profession” were coded into themes that included: integrative: versatile, comforting, efficacious,

non-pharmacological, accessibility, and general knowledge.

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Table 3
Narrative Learning Points

Coded Themes

"That it's been around for a lot longer and its uses are much
more extensive".

Longevity, Depth

"Music therapy isn't new and hospitals do have it".

Longevity, Exists

"It helps people and it needs to be a household recognizable
profession".

Efficacy, Knowledge

"Music therapy is used for non-music goals. Music therapists
are board - certified (not sure which Board)".

Fact-learned, Validity

"That it can help patients from Alzheimer's to PTSD to
neonatal. That I will ask for a hospital's music therapy people
when I or a loved one is hospitalized".

Versatility, Efficacy, Factlearned, Access

"Meeting people where there are - flexible. Can be used for all
sorts of diseases".

Versatility, Efficacy

"Music therapy can be used to increase communication in
people with autism. Music therapy can be used to encourage
singing communication in those with brain disorders (or
injury)".

Fact-learned, Efficacy,
Versatility

"Can be a vital part of healing all forms of issues - from
cancer, autism, PTSD, stroke, etc. and coping skills. Use
several areas of the brain, not just one lobe, it is an integrated
tool".

Efficacy, Fact-learned,
Versatility, Integrative

Note. Selection of essay format responses provided by participants on post-survey question.
“Please offer 2 things you learned about music therapy from the TEDx presentation”. Responses
were coded into themes including: efficacy, versatility, learning a fact, longevity, validity, the
lack of knowledge about the profession within the general public, the profession’s accessibility,
integrative, that the profession exists, the profession’s depth, and it is comforting.

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Appendix A
TEDx Talks Given by Board-Certified Music Therapists
Publication Date

Music Therapist

TEDx Talk Title

2/8/2013

Tim Ringgold, MT-BC

"When Meds Fail: A Case for Music Therapy"

1/14/2014

Carly Flaagan, MT-BC

"Symphony of Science: Music Therapy in
Healthcare"

5/13/2014

Julianne Parolisi, MT-BC

"Music Therapy - Connecting to the Heartbeat of
Possibility"

11/17/2014

Jodi Winnwalker, MT-BC

"Healing Connects Through Music Therapy"

5/27/2015

Dr. Kathleen Howland, MT-BC

"How Music Can Heal Our Brain and Heart"

9/30/2015

Jenni Rook, MT-BC

"Moved by Music"

1/11/2016

Erin Seibert, MT-BC

"Why I Want to Change the World with Music
Therapy"

3/30/2016

Dr. Deforia Lane, MT-BC

"Music Therapy and Medicine: A Dynamic
Partnership"

1/4/2017

Karla Hawley, MT-BC

"Trauma and Music Therapy: Let the Healing
Begin"

3/30/2017

Elizabeth Stegemoller, MT-BC

"Music Therapy and its Impact on the Brain"

Note. This comprehensive list includes music therapists who have given a TEDx talk specifically
related to music therapy and/or music therapy concepts. Music therapists’ TEDx talks were only
included on this list if they have current standings with the Certification Board for Music
Therapists.

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Appendix B
TEDx Talk Transcription:
“Why I Want to Change the World with Music Therapy”
What professions are household names? Doctor. Dentist. Physical Therapist. Accountant.
Music therapist? I don’t think so.
If I were to tell you I was a musician, you would understand what I basically do. If I were
to tell you that I was a therapist, you also would understand what I basically do. Why is it that
when I combine two words into one professional title, no one seems to know who I am, or what
my job entails?
Most of the time, when I tell someone that I am a music therapist, I am either looked at
with a blank stare, or given a comment like, “wow, that sounds so fun! Are you a volunteer?” or,
my favorite, “So…what do you do exactly”? Whenever I’m asked that last question, I’m caught
in a challenge of whether I should answer that question simply, or with a lot of detail. This is a
difficult choice for me because there are so many aspects to music therapy that I don’t feel like
I’m doing the profession justice by answering with my shortened “elevator speech”, which is
often, “I use music to help people feel better”. Sure, that answers the original question, but what
does it really describe? Does the other person walk away with a clear understanding of who I am
and what I do?
This is a problem area. There needs to be an expectation in our world of knowing and
understanding what music therapy is because of its efficacy in treating people in a variety of
situations. My goal, in this lifetime, is to create a world where music therapy is not only
recognized as a profession and for its ability to help people heal, but that it becomes a household
name. But how can we begin this change?
Luckily, some of the fundamental aspects of healthcare are changing in ways that prime
the environment to better include music therapy. There is a shift occurring that is changing the
focus from treating the symptoms to treating the whole self. People are starting to ask how they
can use less medication, more inclusivity, and treatments that affect them entirely. This might
look like alternative pain management, such as massage therapy or acupuncture. It could also be
similar to the example of Boston Medical Center’s inclusion of a Preventative Food Pantry
within their hospital to better support health and nutrition for their patients. The healthcare
system is moving away from a focus of only the symptoms of diseases, but towards a movement
in integrative medicine. Researchers are discovering more each day how your emotion,
psychological wellbeing, and soul play a part on your physical health.
So how does music therapy fit into this?
Music has been considered one of the longest standing self-prescribed therapies in
history. Music is everywhere we go. Have you ever been to a party without music? What about
when your team scores the winning touchdown, and the pep band had already packed up and
left? Both situations sound fairly awkward. Music is incorporated into our everyday lives, and
for many people it’s impossible to go without. For such a universal understanding for the passion
and connection people have with music, the lack of awareness surrounding the profession of
music therapy is confusing.

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People have used music to change or express something about themselves for years. How
many times have you played a sad song after going through a break up to express your emotions?
How about playing upbeat songs to motivate you to run just a little father? What about listening
to a specific song to remember and honor a loved one at their funeral? Music has been selfprescribed throughout time to meet you where you are at – whether that is feeling excited, sad,
worried, or stressed. Considering the amount of people who utilize music as one of their personal
coping skills, how is it that most of our healthcare world doesn’t recognize music therapy as
exactly that – music as a therapy.
The profession of music therapy isn’t new. It became a part of the working world around
the time of the World Wars, when soldiers were returning home with what we now know as Post
Traumatic Stress Disorder. Musicians were brought into the hospitals to play for the soldiers, but
when the doctors and nurses noticed how music was affecting the soldiers and their PTSD, the
musicians realized that they needed more training to effectively help these patients. These
musicians became equipped with knowledge of how to use music to affect change within a
patient and their diagnosis. Music became the tool they used to work on non-musical goals.
This remains the case today. Music therapists can be found working with a variety of
populations, but their primary goals are never musical. The non-musical goals identified in music
therapy are the same goals you could be working on in another therapy. For example, a music
therapist might work on increasing communication with a child with Autism. A music therapist
could also work on identifying positive coping skills with psychiatric patients. All of these goals
depend on the individual and what their needs are. They are created with the intentions to assist
the patient in feeling better, relieve their symptoms, or help them progress.
The distinction, of course, from other therapies, is the music. Music is such an effective
tool for therapy because it is an incredibly complex phenomenon. When you boil everything
down, music is the only thing in life that uses both sides of the brain at once to process the
information.
Take a moment to think about all of the elements of music: You have the words, melody,
rhythm, timbre, harmony, tempo, dynamics, and the form. Now think about the deeper levels of
how you experience the music: memories, emotions, participation type, and familiarity.
Now consider how many areas of your brain might be processing all of those elements at
one time. If it’s overwhelming, it should be. There isn’t simply one part of your brain called “the
musical lobe”. Researchers who have watched the brain process music through fMRI machines
have found that multiple areas of the brain are active, including the lobes responsible for auditory
processing, emotion, motor control, and memory. Within these lobes are even smaller areas that
are activated to intake this information and respond to it. These areas are often located on either
side of the brain, meaning that in order to process multiple elements of music at the same time,
both sides of the brain are equally activated.
This informs us that music can be an incredibly effective tool due to the ability to
highlight one specific element of music to work on a non-musical goal. Take rhythm for
example. Simply the beat pulls you into this concept called “entrainment”, which essentially
means your brain connects to the pulse of the beat and begins to join in.
Imagine a patient who has recently had a stroke. Consider how their walking would be
affected, including their steady pace, normal stride length, and overall control. What has been

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47

lost in this brain connection after a stroke is their natural manner of walking, otherwise known as
gait. If you give this patient a simple beat to follow, their brain entrains to the rhythm in a
concept known as Rhythmic Auditory Stimulation, and their feet will follow suit. How many
times have you caught yourself tapping your foot along to the music, without realizing you were
doing it? This is the same idea.
Now let’s consider another element to music: memory. Music can play a part on recalling
memories, which is very important when memory appears to be lost. Because multiple areas of
the brain process music, when a section is damaged, as is with Alzheimer’s disease, another
section of the brain can make up for it. Although a patient with Alzheimer’s disease might not be
able to state their needs due to their decreased speech production, they might be able to sing.
Finish the line of this song for me: “You Are My…(Sunshine)”.
Through the music, your brain is accessing long-term memory in a unique way. The more
researchers begin to discover the brain and how it works, the more music therapy is becoming
based in neuroscience. This is giving music therapists more support and understanding of why
music works the way it does and how we can harness it better as a tool for therapy.
All of music therapy is evidenced-based. It is heavily researched within our profession
and by other clinicians. All choices made by a music therapist are based in this research, as well
as our understanding of what will be the most effective and beneficial for a patient. Music
therapists are required to not only be flexible musicians, but also how to engage and interact with
patients of a multitude of diseases and disorders. Our standards of practice are just as clinical as
any other therapist but we also work very hard to protect our profession and our practice.
This is because music itself is deeply vulnerable, and not all music is appropriate for
every patient. In many areas of healthcare, patients are incredibly fragile. It is important that
music therapists are utilized to help protect our patients; in addition to helping them heal or
progress. Imagine the neonatal intensive care unit, which contains the most fragile of humans.
Music therapists who work with these babies are trained to recognize the signs of a baby who is
over-stimulated. Babies born before their due date are already overwhelmed by their
environment, and many things in life could be more harmful to their developing brain. The skills
and tools used within music therapy for this particular population illustrates how music must be
chosen purposefully and with understanding supported by research.
Right now is an incredibly exciting time to be a music therapist. At the moment,
healthcare views music therapy as being “meaningful” but not necessary. Yes, music therapy is
meaningful, because music is meaningful. Because of music’s versatility and effectiveness for all
patients throughout healthcare settings, I would argue that music therapy is essential to our
health. I believe that music is more than just a “magical” and “miraculous”. Music is a part of
our human nature. Our bodies are musical with our rhythmic breath, heartbeat, and movement.
I am deeply passionate about music therapy advocacy and education. So when I answer
the question of who I am and what I do in the shortest way, I have a missed opportunity. There
will be one more person who walks away and won’t ask for the hospital’s music therapist when
their mom has cancer and is in a lot of pain. Or they won’t recommend music therapy services to
their neighbor whose child has a developmental disability.

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48

I want to change the world into one that is not only accepting of music therapy but is
actively seeking it. Music therapy is already changing the world one patient at a time. Our next
step now is to change the focus from viewing the profession as “new and exciting”, towards
asking how we can incorporate programs everywhere there is a need.
What are household name professions? Doctor. Dentist. Physical Therapist. Accountant.
Music Therapist.
Thank you.

INVESTIGATING THE ROLE OF A TED TALK ON MUSIC THERAPY

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Appendix C
Informed Consent Form
Music Therapy Graduate Program
Berklee College of Music
You are invited to participate in a presentation and survey regarding the effects of a TEDx talk
on music therapy education and advocacy. This is a research project being conducted by Erin
Seibert, MT-BC, a master’s student at Berklee College of Music. This presentation and survey
should take approximately 45 minutes to complete.
Reasons for Research: This survey will be used to provide recommendations to music therapists
and non-music therapists on the most effective way to disseminate information about music
therapy. Benefits to the participant include learning about the music therapy profession.
Procedures: Your participation in this survey is voluntary. You may refuse to take part in the
survey and you may exit the survey at any time. You are free to decline any particular question
you do not wish to answer for any reason.
Risks: There are no foreseeable risks involved in participating in this study other than loss of
time.
Cost Compensation: Participation in this survey will provide no costs or payments to you.
Confidentiality: All information obtained during the survey will remain confidential throughout
the study. No publication of personal information will be revealed and will be protected through
secure storage for the duration of the study. Data will be destroyed and discarded approximately
3 months after the study is completed.
At the end of the survey, you will be asked it you are interested in participating in a follow-up,
online survey in approximately 6 weeks, requiring approximately 15 minutes of time. If you
choose to provide your email contact information, your survey responses may no longer be
anonymous to the researcher. However, no names or identifying information will be included in
any future publications or presentations based on these data, and your survey responses will
remain confidential.
Contact: If you have questions at any time about the study or procedures, you may contact my
research supervisor, Dr. Kathleen Howland via email at khowland@berklee.edu.
If you feel you have not been treated according to the descriptions in this form, or that your
rights as a participant in research have not been honored during the course of this project, you
may contact the Berklee College of Music Institutional Review Board at Rm 302, 155
Massachusetts Avenue, Boston, MA, 02115.

INVESTIGATING THE ROLE OF A TED TALK ON MUSIC THERAPY

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Consent: Please select your choice below. You may request a copy of this consent form for your
records. Checking the “Agree” box indicates that:
• You have read the above information
• You voluntarily agree to participate, knowing you can withdraw at any time
• You are 18 years of age or older
¨ Agree
¨ Disagree

Signature

Printed Name

Date

INVESTIGATING THE ROLE OF A TED TALK ON MUSIC THERAPY
Appendix D
Participant ID: TED16001

Group: _______________

Date: _______________

Pre-Survey
1. Are you a music therapist?
m Yes
m No
2. Are you able to describe the responsibilities of a music therapist to someone else?
m Definitely yes
m Probably yes
m Probably not
m Definitely not
m Unsure
3. What is your gender?
m Male
m Female
m Gender non-conforming
4. What is your age?
m 18-24 years old
m 25-34 years old
m 35-44 years old
m 45-54 years old
m 55-64 years old
m 65-74 years old
m 75+ years old

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INVESTIGATING THE ROLE OF A TED TALK ON MUSIC THERAPY
5. What is the highest level of education you have completed?
m Some high school schooling, no diploma
m High school diploma or the equivalent (GED)
m Some college credit, no degree
m Associates degree
m Bachelor's degree
m Master's degree
m Professional degree
m Doctorate degree
m Post-doctorate degree
6. What is your ethnicity?
m Hispanic or Latino
m Black or African American
m Native American or American Indian
m Asian or Pacific Islander
m White or Caucasian
m Other
7. What is your professional role/job title? (Write "unemployed" or "retired" if applicable)

8. Which of the following describe the area you live in during the majority of the year?
m Urban
m Suburban
m Rural
9. Do you describe yourself as a musician? (You either play instruments, sing, read music,
participate in an ensemble, make music at home, etc.)
m Yes
m No
If No Is Selected, Then Skip to Question 16
10. Do others describe you as a musician? (They agree that you either play instruments, sing,
read music, participate in an ensemble, make music at home, etc.)
m Yes
m No

52

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11. How long have you been a musician?
m 0-5 years
m 6-10 years
m 11-15 years
m 16-20 years
m 20+ years
12. Describe your musical level on your primary instrument (the instrument/voice you play the
most):
m Beginner
m Intermediate
m Advanced
m Professional (you are paid to perform on your instrument)
13. Describe your musical training:
0 years
m

1-4 years
m

6-10 years
m

10+ years
m

Group music experience
(choir, band, church, etc.)

m

m

m

m

Public music education
Private lessons

m
m

m
m

m
m

m
m

Self-taught

14. Do you have a degree in music?
m Yes
m No
15. For what purposes do you use your musicianship? (Please check your main purpose)
m As a hobby/amateur
m As a professional (you are paid to perform)
m As a music educator (classrooms or private lessons)
m As a music producer
m As a composer/songwriter
16. Are you familiar with TED Talks?
m Yes
m A little
m No
If No Is Selected, Then Skip to Question 20

INVESTIGATING THE ROLE OF A TED TALK ON MUSIC THERAPY
17. On average, how many TED Talks do you watch a year?
m Less than 5
m Less than 10
m 10 or more
18. How do you normally find and watch TED Talks? (Check all that apply)
q Web search
q Social media
q Featured talks on the TED and TEDx websites
q Educational purposes, such as presentations or lectures
19. Do you send TED Talks of interest to others? (Such as sharing on social media or email)
m Yes
m Sometimes
m Not often
m No
20. In your own words, describe what a music therapist might do: (If unsure, leave blank)

21. How long has music therapy been a profession?
m Less than 10 years
m 10-25 years
m 26-50 years
m 51-100 years
m 100+ years
22. What type of education do you think is required of a music therapist?
m No specific education - it is a volunteer program
m Some music lessons
m Music degree
m Other degree: ____________________

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INVESTIGATING THE ROLE OF A TED TALK ON MUSIC THERAPY
23. Does a music therapist need a professional certification to provide music therapy services?
m Definitely yes
m Probably yes
m Might or might not
m Probably not
m Definitely not

End of Pre-Survey
STOP
Please pause this survey and watch the TEDx Talk before continuing on to the post-survey
https://www.youtube.com/watch?v=47-90fPyQa8

55

INVESTIGATING THE ROLE OF A TED TALK ON MUSIC THERAPY
Participant ID: TED16001

Group: _______________

Date: _______________

Post-Survey
1. Please offer 2 things you learned about music therapy from the TEDx presentation:

2. In your own words, what does a music therapist do?

3. What type of education do you think a music therapist is required?
m No specific education - it is a volunteer program
m Some music lessons
m Music degree
m Other degree: ____________________
4. Does a music therapist need a professional certification to provide music therapy services?
m Definitely yes
m Probably yes
m Might or might not
m Probably not
m Definitely not
5. In what settings might music therapists work? (Check all that apply)
q School classroom
q Group home
q College
q Hospital
q Daycare center
q Hotel lobby
q Church or religious center
q Coffee shop
q Hospice
q Mental health facilities
q Veterinary's office
q Performing arts organization
q Correctional facilities
q Nursing homes
q Museum
q Counseling center
q Veteran's Affairs
q Other: _____________________
q Outpatient services

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23

6. Do you think music therapy needs to be available in more healthcare and educational settings?
m Yes
m Maybe
m No
m Unsure
If you answered “yes”, why?

If you answered “no”, why not?

7. Do you think more people need to know about the music therapy profession?
m Yes
m Maybe
m No
m Unsure
If you answered “yes”, why?

If you answered “no”, why not?

8. What resources would be helpful in learning more about music therapy? (Check all that apply)
q Video lectures (like TED or TEDx)
q Video examples of music therapy sessions
q Blogs
q Informative websites
q Magazines
q News articles about music therapy
q Books
q Movies
q Scholarly journal articles describing music therapy research
q Podcasts

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If you are willing to participate in a follow-up survey approximately 6 weeks from today, taking
approximately 15 minutes of your time, please submit your email contact information.
If you choose to provide your email contact information, your survey responses may no longer
be anonymous to the researcher. However, no names or identifying information will be included
in any future publications or presentations based on these data, and your survey responses will
remain confidential.
Email:

INVESTIGATING THE ROLE OF A TED TALK ON MUSIC THERAPY

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Online Follow-Up Survey
1. As a result of the TEDx Talk presentation, have you completed any further research on music
therapy?
m Yes
m No
If No Is Selected, Then Skip Question #5
2. To what degree did you research music therapy further?
m A great deal
m A lot
m A moderate amount
m A little
m None at all
3. For what reason(s) did you research music therapy further? (Check all that apply)
q To learn more about the profession
q To find local music therapists and/or music therapy services
q To learn about college music therapy programs
q To compare music therapy to another therapeutic method (e.g. art therapy, recreation therapy,
music practioners, etc.)
q To discover music therapy session examples (e.g. on YouTube)
q To investigate unanswered questions arisen during the TEDx Talk presentation
q Other: ____________________
4. Through what sources did you research music therapy? (Check all that apply)
q General Internet search
q Library
q Online TED Talks
q YouTube
q Blogs
q Informative websites (e.g. American Music Therapy Association website)
q News articles about music therapy
q Scholarly journal articles describing music therapy research
q Podcasts
q Other ____________________

INVESTIGATING THE ROLE OF A TED TALK ON MUSIC THERAPY

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Display This Question:
If “As a result of the TEDx Talk presentation, have you completed any further research on
music therapy?” If No Is Selected
5. For what reason(s) did you not research music therapy further? (Check all that apply)
q No further interest in the topic
q Forgot about the topic
q Lack of time to research
q Lack of resources available to research
q Satisfaction with knowledge gained from the TEDx Talk presentation
q Other ____________________
6. As a result of the TEDx Talk presentation, have you discussed what you learned about music
therapy with someone else?
m Yes
m No
If No Is Selected, Then Skip To Question #9
7. To what degree have you discussed what you learned about music therapy with someone else?
m A great deal
m A lot
m A moderate amount
m A little
m None at all
If None at all Is Selected, Then Skip To Question #9
8. What information pertaining to music therapy did you discuss with someone else? (Check all
that apply)
q What music therapists do
q Who music therapists work with
q Where music therapists work
q The education required of a music therapist
q How music is effective for therapy
q Examples of what music therapy might look like
q Other ____________________

INVESTIGATING THE ROLE OF A TED TALK ON MUSIC THERAPY
Display This Question:
If “As a result of the TEDx Talk presentation, have you discussed what you learned about
music therapy...” No Is Selected
9. For what reason(s) did you not discuss music therapy with someone else? (Check all that
apply)
q No further interest in the topic
q Forgot about the topic
q Lack of time to discuss with someone else
q Lack of interested parties
q Satisfaction with discussion gained from TEDx Talk presentation
q Other ____________________
10. As a result of the TEDx Talk presentation, have you recommended someone seek music
therapy services?
m Yes
m No
If No Is Selected, Then Skip To Question #12
11. For what reasons have you recommended someone seek music therapy services?
12. As a result of the TEDx Talk presentation, have you sought out music therapy services for
yourself?
m Yes
m No
If No Is Selected, Then Skip To Question #14
13. For what reasons did you seek music therapy services for yourself?
14. As a result of the TEDx Talk presentation, have you recommended a student consider a
music therapy degree program or career path?
m Yes
m No
15. Do you see an application of music therapy to your own life; either at home or work?
m Definitely yes
m Probably yes
m Might or might not
m Probably not
m Definitely not
If Probably not Is Selected, Then Skip To Question #17
If Definitely not Is Selected, Then Skip To Question #17

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INVESTIGATING THE ROLE OF A TED TALK ON MUSIC THERAPY

16. How might you see music therapy applied to situations at home or work?
17. Was there any additional information you would have liked to learn about music therapy
during the original TEDx Talk presentation?
m Yes
m No
If No Is Selected, Then Skip To End of Survey
18. What information would you have liked to learn about music therapy during the original
TEDx Talk presentation?

End of Follow-Up Survey

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