Canadian Music Therapists' Perspectives on the Current State of Music Therapy as a Profession in Canada/Les Perspectives Des Musicothérapeutes Sur le Statut Actuel De la Musicothérapie En Tant Que Profession Au Canada
Notice bibliographique
Résumé
Music therapy in Canada is a relatively young and emerging profession. Since first documented practices began in Toronto in 1950s, field has made significant gains. Our national association, Canadian Association for Music Therapy (CAMT) was formed in 1974 (Alexander, 1993), and this is one of most notable of these gains. Currently, CAMT has approximately 816 members, 541 of whom are accredited music therapists, and seven provincial chapters (CAMT, 2013). It publishes a peer-reviewed journal and hosts an annual national conference. There are six CAMT-approved university training programs that have varying types of involvement in research initiatives, two of which provide education at master's level (CAMT, n.d.-a). A national non-profit organization called Canadian Music Therapy Trust Fund (CMTTF) was formed in 1994 and to date has raised approximately 4.8 million dollars, which has helped to fund over 450 clinical music therapy projects across country (W. Gascho-White, Chair, CMTTF Board of Directors, personal communication, September 5, 2013). Finally, there have been several recent features in Canadian media on music therapy, which not only help to increase public awareness but may also increase public acceptance of field as a legitimate form of practice (e.g., Canadian Broadcasting Corporation, 2011; Gordon, 2011; Jolly, Pettit, & Mahoney, 2011; Nadeau, 2011; Rooy, 2013; Ubelacker, 2013). However, in spite of these advances, Canadian music therapists still to find work in their chosen profession. Insufficient funding has often been cited as primary reason for this situation (Alexander, 1993; CAMT, 2004a, 2004b); Pearson, 2006), but literature also indicates that there may be other important factors to consider.The Professionalization ProcessIn general, a profession may be defined as highest level of occupational functioning in a particular area (Emener & Cottone, 1989). More specifically, Imse (1960) defined a profession asan occupational group identified by (1) its fund of specialized knowledge and (2) its highly trained membership, who (3) acting with individual judgment, (4) intimately affect affairs of others. It is usually characterized by (1) its code of ethics, (2) its spirit of altruism, and (3) its self-organization, (p. 41)Similarly, Millerson (1964) identified common traits of a profession, which include skills based upon knowledge, provision of training and education, testing competence of members, organization, adherence to a code of conduct, and altruistic service. Aigen (1991) stated that field of music therapy consists of professional standards and responsibilities, educational competencies, certification criteria, acceptable forms of practice, and function of accrediting bodies (p. 80). Therefore, according to criteria outlined above, music therapy in Canada can indeed be legitimately defined as a profession. However, literature search also revealed that new professions often experience a process referred to as professionalization.Professionalization is the process by which a gainful activity moves from status of 'occupation' to status of a 'profession' (Emener & Cottone, 1989, p. 6). Professionalization is necessary in order to safeguard quality, effectiveness, and ethical integrity of practice (Rostron, 2009). Yet, occupation becomes a profession without a struggle (Goode, 1960, p. 902). It seems that music therapy in Canada is no exception.According to literature, new professions often have difficulties differentiating themselves from occupations with similar client bases (Goode, 1960), or face impingement by other professions (Emener & Cottone, 1989). According to CAMT's definition of music therapy, in order for an intervention to fall under scope of music therapy practice, it must be carried out by a qualified music therapist, (CAMT, 1994); however, in Canada potential employers (e. …
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Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,005 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,002 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,001 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,002 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,004 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,003 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».