Digital music therapy

Equipment, technology and their use: DMT can be delivered in various ways, including video-based therapy, asynchronous services, and virtual reality. The available equipment and technology, as well as the values and preferences of clients, music therapists and organisations, will influence the choice of approach. Important considerations include the videoconferencing platform, latency, audio and video quality, microphones, speakers or headphones, internet speed and screen size. It is also important to have a contingency plan in place in the event of internet connection problems and/or the need for staff assistance.

Adapting therapeutic approaches: Songwriting, receptive music therapy and music-based relaxation are music therapy methods that can be adapted relatively easily to DMT. Activities such as singing together, joint music-making and improvisation may be more challenging because of delays in audio and video transmission. However, creative solutions can often be found. For example, turn-taking in a musical dialogue may help reduce the impact of latency. As always, the choice of methods and solutions should take the client's needs and resources into account.

Ethics and safety: The security of video communication and the protection of clients' digital privacy are very important considerations. The physical environment in which DMT takes place is another important factor and should be assessed from both the client's and the music therapist's perspective. For some clients, particularly those with severe mental health challenges, DMT may involve risks. Music therapists and organisations should therefore have a crisis plan in place and carefully assess whether DMT is appropriate for each client's needs.

Advantages of DMT: Accessibility is one of the main advantages of DMT. It may also give clients greater autonomy and control over the therapeutic process. In addition, DMT may help reduce the social stigma sometimes associated with attending therapy.

Disadvantages and limitations: In addition to technical limitations, costs and levels of competence may restrict access for clients, therapists and organisations. DMT also presents communication challenges, as body language and other subtle aspects of social interaction may be less visible. Furthermore, prolonged screen use can be tiring. It is therefore important to be aware of the risk of screen fatigue, dry eyes, blurred vision and headaches.

Considerations for different target groups: Clients who are familiar with technology are often more open to technology-based forms of therapy. However, DMT can also be beneficial for people with limited experience of digital technology. Adapting the therapeutic approach to the individual and the target group is essential.

Research on effectiveness: More research is needed, but some non-experimental descriptive studies suggest that DMT is a promising approach.

Research on stakeholder experiences (service user and therapist experiences): More research is also needed in this area, although some studies report positive experiences of DMT among both service users and therapists.

Digital technology is developing rapidly, creating a need for continuous updates on the opportunities it may offer for music therapy practice. At the same time, the pace of technological development can be confusing, making it difficult to determine which technologies and applications are most appropriate. Clients, music therapists and organisations should therefore work together to assess available technological solutions, as well as the knowledge and skills required to use them, in order to identify approaches that all participants feel comfortable with.

DMT can be delivered in various ways, including video-based therapy, asynchronous services and virtual reality (VR). Virtual reality is a highly promising technology for music therapy, but it remains relatively expensive. At present, it can also be difficult to implement in practice without specific training or a particular interest in the technology. This knowledge summary focuses primarily on synchronous video-based music therapy and, to a lesser extent, on asynchronous approaches.

The most commonly used technologies for synchronous video-based DMT are videoconferencing platforms such as Zoom, Doxy.me, Skype, Microsoft Teams, FaceTime and Messenger (Cole et al., 2021). Zoom, particularly when using the original sound function, is currently among the most user-friendly options. This feature prevents audio filtering and makes it possible to hear multiple voices and instruments more clearly. Audio quality and synchronised sound are especially important in music therapy. While digital formats present challenges in this regard, some adaptations are possible. To improve sound quality, USB microphones are often recommended, as they typically offer a good balance between quality and affordability (Dowson et al., 2021).

Consideration should also be given to whether clients use headphones or speakers. When headphones are used, the music therapist's voice is delivered directly into the client's ears, which differs from natural face-to-face communication. Music therapists therefore need to be aware of their distance from the microphone when speaking or singing (Glover, 2020).

Clients are likely to have a better experience of DMT when higher-quality equipment is available. For example, an external high-quality camera can provide a clearer image and enhance the sense of personal interaction (Glover, 2020). The use of two cameras may also be beneficial, allowing both facial expressions and body movements to be visible. In addition, therapists should look at the camera rather than the screen during sessions in order to create a stronger sense of eye contact. Eye contact is easier to establish when the camera is positioned at eye level (Glover, 2020; Molyneux & Hardy, 2020).

Screen size is another important consideration. The experience of DMT may differ substantially depending on whether it takes place on a small smartphone screen or a large television screen. Natural lighting is generally recommended. When overhead lighting is used, the camera should be positioned between the person and the light source. If lamps are used, they should be placed outside the camera frame (Vaudreuil et al., 2020).

A typical delay in video communication is approximately 100 milliseconds. While this is generally unnoticeable during conversation, it can be highly disruptive when singing or making music together, as participants hear each other asynchronously (Dowson et al., 2021). Internet speed and the choice of technology therefore play an important role (Dowson et al., 2021). In institutional settings, potential solutions include upgrading routers, using wired internet connections, providing downloadable pre-recorded videos, using mobile internet connections, or relying on telephone communication when Wi-Fi is unavailable (Dowson et al., 2021).

Before beginning DMT, it may be useful for the therapist and client to conduct an online speed test together, check internet connectivity and equipment placement, review how to use the technology and platform, and agree on a contingency plan in case technical difficulties arise (Fuller & McLeod, 2019). Both clients and music therapists need to learn how to use the chosen technologies, manage technical challenges and address any communication difficulties that may occur (Kantorová et al., 2021).

Problems related to sound and image quality may require patience and can make communication and musical interaction more difficult (Fuller & McLeod, 2019). Some clients may require additional assistance, particularly if they have limited experience with digital technology. Music therapists should remain sensitive to these needs and provide clear and straightforward guidance and instructions (Dowson et al., 2021). It is important not to give up too quickly, as learning to use technology takes time and can ultimately be both empowering and rewarding for clients.

Some music therapy methods can be transferred to digital formats with relatively few modifications, while others require more careful consideration and adaptation. Songwriting, receptive music therapy methods, and music-based relaxation are examples of approaches that can be adapted relatively easily to DMT, although certain adjustments may still be necessary (Baker & Krout, 2009; Giordano et al., 2020; Glover, 2020; Vaudreuil et al., 2020).

Latency is one of the most frequently discussed challenges in the literature, making synchronous singing, ensemble playing and improvisation difficult. It is therefore important to consider adaptations that can help overcome this limitation. When improvising online, for example, it is often recommended to avoid strict rhythms and steady pulses. Freer and more arrhythmic forms of musical expression, such as ambient music or soundscapes, are generally easier to adapt to digital formats (Dowson et al., 2021; Kantorová et al., 2021; Lightstone et al., 2015).

If rhythmic activities such as ensemble playing or singing are used, participants need to become familiar with signal delay and work with predictable and stable rhythms and tempos (Glover, 2020). Pre-recorded instrumental music can also help compensate for the lack of synchronisation and support rhythmic activities (Cole et al., 2021; Dowson et al., 2021; Kantorová et al., 2021). Another possible approach is to record individual improvisations and then share and listen to them together afterwards (Glover, 2020). Turn-taking and musical dialogue can also engage individuals and groups while avoiding latency-related challenges (Kantorová et al., 2021; Krout et al., 2010).

Where instruments are used, these need to be available to participants at the location where therapy takes place (Lightstone et al., 2015), although online and digital instruments may also be used. In some cases, limited access to instruments may encourage creativity and self-expression, and can therefore be experienced as a strength rather than a limitation of DMT (Glover, 2020).

Although sound is central to music therapy, digital formats also create new visual opportunities. Song lyrics, relaxation imagery, attention-grabbing visual material and interactive games can all be shared on screen. In work with children, finger-play songs, sign language and dance are often particularly useful, as they combine auditory and visual elements (Kantorová et al., 2021; Vaudreuil et al., 2020).

Adapting methods to the individual client is equally important in DMT. Lightstone and colleagues (2015), for example, describe a client who brought their own Tibetan singing bowls to sessions and used them for relaxation and concentration. In work with children, songs created during therapy can be saved and further developed, allowing parents and other family members to become involved. Some music therapists provide password-protected online family portals where families can access song lyrics, recordings, advice and practical resources. Such initiatives can support families and encourage the use of music in everyday life (Fuller & McLeod, 2019). For clients with strong digital skills, remote recording and music production may also be incorporated into therapy (Vaudreuil et al., 2020).

Because current technology generally does not allow groups to sing or play together in synchrony, it is important to reflect carefully on the purpose of different musical activities. Is the primary goal the aesthetic quality of the musical experience? Is social interaction and communication more important? Or are both equally important? The answers to these questions will influence both musical and therapeutic choices.

For example, participants may be asked to mute their microphones in order to experience singing together with the therapist, or group members may take turns singing individually without accompaniment. Such approaches can also highlight the collaborative dimension of creating and sharing music together (Molyneux & Hardy, 2020).

It is important to be aware that some clients may face an increased risk of cybercrime and other forms of digital vulnerability (Dowson et al., 2021). As a result, some individuals may be sceptical of digital formats. Attitudes towards DMT will depend on the person's situation, previous experiences with technology, and understanding of the digital environment, and these factors should be considered in advance (Dowson et al., 2021).

As in all healthcare settings, informed consent must be obtained before treatment begins. In many cases, this will also include collecting contact information for family members and/or relevant healthcare professionals who can be reached if necessary (Vaudreuil et al., 2020). It is also important to ensure that recordings from DMT sessions cannot be misused on social media or shared in other ways without permission (Glover, 2020).

The physical environment in which DMT takes place is another important aspect of safety. This applies to both clients and music therapists, although it may not always be possible for clients to ensure a completely interruption-free space in their homes (Clements-Cortés, 2020). Music therapists should ensure that their own environment is tidy, quiet and well lit, with minimal visual distractions and without inappropriate personal items visible in the background. It is also essential that family members, friends or other private contacts do not enter the room during a music therapy session (Knott & Block, 2020).

These considerations relate not only to confidentiality but also to maintaining professional boundaries. Some authors have noted that DMT may increase the risk of blurred boundaries between therapist and client (Glover, 2020). At the same time, others highlight the potential benefits of therapists gaining insight into clients' everyday environments rather than meeting them only in a therapy room (Kantorová et al., 2021). A particular form of trust may develop when clients invite therapists into their homes through digital platforms, which can be beneficial to the therapeutic process (Vaudreuil et al., 2020).

For some people with severe mental health conditions, participation in DMT may be challenging or inappropriate. Clients who struggle with their sense of self, reality testing or dissociative experiences may find digital communication difficult. In some cases, clients may even interpret the therapist's presence on a screen as part of a psychotic experience (Glover, 2020). Collaboration with other professionals who can be physically present with the client may therefore be necessary in order to ensure both psychological and physical safety and to contribute additional perspectives to the therapeutic process (Cole et al., 2021; Lightstone et al., 2015).

Another important safety consideration concerns how the music therapist should respond in the event of a crisis, particularly if there are concerns that the client may pose a risk to themselves or others. Ideally, arrangements should be made in advance with someone who can provide immediate in-person support if needed (Bates, 2014). Family members or healthcare professionals can sometimes play an important role in this regard, although their involvement may also raise concerns related to client privacy and may influence the therapeutic process (Cole et al., 2021).

DMT can make services accessible to clients across a wider geographical area, including situations where private or public transport is difficult or unavailable. Clients with certain physical or mental health conditions, parents of young children, individuals who are housebound, and people approaching the end of life may particularly benefit from DMT (Dowson et al., 2021; Fuller & McLeod, 2017; Molyneux & Hardy, 2020). DMT also enables participation for clients who are unwell but still feel well enough to take part from home (Molyneux & Hardy, 2020).

DMT may provide clients with greater autonomy and create new opportunities for participation in the therapeutic process (Vaudreuil et al., 2020). For example, clients may have more control over the scheduling of therapy sessions, may feel a greater sense of responsibility because they are participating from home, and may find it easier to transfer therapeutic activities into everyday life. An online receptive music therapy programme, for instance, may allow participants to decide for themselves when access to the experience is needed and enable them to listen to the music more than once (Fiore, 2018). In relation to transferring therapeutic approaches to everyday life, one client described how participating in DMT together with her children made it easier to take responsibility for involving them in musical activities in other situations (Fuller & McLeod, 2019).

Last but not least, some clients may feel uncomfortable attending therapy at a clinic or institution because of the social stigma associated with receiving treatment. The possibility of accessing therapy without being seen by others may reduce barriers to engagement and may even encourage clients to attend face-to-face therapy at a later stage if and when this becomes appropriate (Glover, 2020).

The best-known technical limitation of DMT at present is latency. Low audio quality, lack of synchronisation between sound and image, and other technical disruptions may also occur. In addition, not everyone has access to the technology required to participate. Costs and levels of digital competence may also affect access to DMT. In some cases, practical solutions can be found through support from institutions and/or family members. For ethical reasons, it is important to ensure that participants are aware of any potential hidden costs. For example, if a participant forgets to switch from mobile data to Wi-Fi, a Zoom meeting may consume between 840 MB and 2.5 GB of data, which can result in unexpectedly high charges (Dowson et al., 2021).

Another limitation may be the client's ability to concentrate on a screen over time, which can affect the therapeutic process (Dowson et al., 2021). Some clients may also find that DMT is not well suited to their needs. For example, studies have reported that some children with cochlear implants did not benefit from DMT because the lower sound quality interfered with both concentration and participation (Cole et al., 2021; Fuller & McLeod, 2019). In addition, care should be taken to avoid Zoom fatigue and computer vision syndrome, which may cause symptoms such as dry eyes, blurred vision and headaches (Kantorová et al., 2021; Talmage et al., 2020).

DMT may also make it more difficult to contain and respond to emotions because of the communicative limitations of current technology. It can be harder to detect subtle aspects of communication, such as body language and facial expressions. As a result, responding to the emotional content of interactions may become more challenging (McIntyre, 2020). This is particularly relevant in group therapy, where it may be difficult to obtain clear visual contact with all participants simultaneously on screen (Fuller & McLeod, 2019).

There are many different reasons for choosing DMT for particular target groups. For clients who are generally familiar with technology, DMT may be experienced as a positive and natural way of working that promotes engagement. For example, Lightstone et al. (2015) note that military personnel are often more open to technology-based mental health interventions. Baker and Krout (2009) describe a songwriting process conducted via Skype with an autistic boy who appeared more comfortable and communicative online than in face-to-face therapy.

Even for clients with limited experience of technology, DMT may be beneficial. The COVID-19 pandemic illustrated this clearly. As infection-control measures led to lockdowns in nursing homes, several music therapists adapted their services by developing DMT programmes for people living with dementia (Dowson et al., 2021; Dowson & Schneider, 2021). Such adaptations naturally require careful planning and preparation, not only on the part of the music therapist but also from care staff.

In institutional settings, support from care staff is often essential. Music therapists need to consider how staff can be included in the process and how new services can be organised so that staff are able to assist with technical issues while also helping to engage and support clients (Dowson & Schneider, 2021). Some clients may show a high level of engagement when interacting through a screen, while others may find it much more difficult to engage in this way. In some cases, participants may choose to remain outside the camera view. It is therefore important to remember all participants, use their names, and actively include them in order to promote engagement and a sense of belonging (Molyneux & Hardy, 2020).

If individuals experience exclusion because of technological barriers, alternative ways of providing access should be explored. These may include telephone contact, video streaming, or the use of DVDs and CDs (Dowson et al., 2021). At the same time, learning to use technology can itself become a shared experience. In group settings, participants may support one another by sharing both challenges and positive experiences related to going online and using digital tools (Dowson & Schneider, 2021).

Work with infants and young children highlights the importance of considering limits on screen use. For young children, screen time may need to be limited to approximately 25-30 minutes, and if an infant shows signs of overstimulation, the screen should be switched off (Negrete, 2020). Such considerations regarding session length and screen exposure may also be relevant for clients across the lifespan.

Experimental studies: We have not identified any experimental studies comparing the effects of music therapy delivered in face-to-face and digital formats, nor studies whose findings on DMT can be generalised to larger populations. Given that DMT is a relatively new area of practice, this is not surprising. Nevertheless, there is a clear need for this type of research.

Non-experimental and descriptive studies: A number of reports describe clients who experienced a reduction in symptoms of mental health conditions through DMT. In the case study by Lightstone et al. (2015), involving a military veteran with post-traumatic stress disorder (PTSD), reductions in symptoms of panic attacks, anxiety and suicidal ideation were reported during the course of DMT. A case study of a veteran with traumatic brain injury, using self-reported measures of pain, anxiety and depression, also found reductions in symptoms before and after DMT (Vaudreuil et al., 2020).

There is also some research on the effects of asynchronous DMT interventions. Giordano and colleagues (2020) reported findings indicating significant reductions in fatigue, sadness, fear and worry following a receptive music therapy intervention for healthcare professionals working with patients affected by COVID-19. In Fiore's (2018) pilot study, university students were given access to a pre-composed online music experience, and the results suggested significant reductions in stress and anxiety levels.

Taken together, these studies suggest that DMT may have positive effects on psychological well-being, help reduce symptoms, and potentially contribute to the prevention of mental health difficulties. However, further research is needed before firm conclusions can be drawn.

In the future, DMT should not be viewed solely in relation to mental health challenges. There is also a need for research exploring the potential of DMT to enhance quality of life for people with physical health conditions and/or learning disabilities.

Service user experiences: There is a considerable need for research on service users' experiences of DMT. At present, the limited literature in this area focuses primarily on music therapists' experiences or on music therapists' observations of their clients rather than on service users' own perspectives.

Therapist experiences: Although DMT presents certain challenges, music therapists' experiences suggest that it is possible to achieve therapeutic goals, develop therapeutic relationships and provide meaningful musical experiences for clients through digital formats.

In the study by Krout et al. (2010), music therapy students participated in collaborative songwriting with peers via Skype. The participants noted that interruptions in internet connectivity required them to communicate in a more structured way. Over time, this became beneficial, and they were successfully able to write a song together via Skype.

In work with families, DMT has also been associated with positive experiences. Observations indicate that both children and parents engaged actively in sessions, playing instruments, carrying out activities, singing together, asking questions, smiling and laughing (Fuller & McLeod, 2019; Negrete, 2020).

A phenomenological study by Glover (2020) explored the therapeutic relationship in DMT and identified several distinctive aspects of building relationships through digital media. For example, technical problems may create situations in which the music therapist and client need to work together to find solutions. Such shared experiences can, in some cases, contribute to the development of mutual trust.

Music therapists also need to consider what it may be like to experience DMT from the other side of the screen, where there are fewer opportunities to perceive subtle aspects of bodily communication (Molyneux & Hardy, 2020). It is important to reflect on the personal and relational implications of moving from face-to-face to digital practice, as discussed by Talmage et al. (2020). How might DMT influence interpersonal processes in music therapy, and how might it shape professional development as a music therapist?

Various online resources

AMTA Music Therapy and Telehealth webinar

Støtte- og veiledningsdokumentasjon for COVID-19 (oppdateres regelmessig)

5 tips for DMT på Zoom

DMT med personer med spesielle behov

DMT for barn

Oppsett for DMT på Zoom

High-fidelity-musikkmodus på Zoom for musikere

Introduksjon Zooms nye «High Fidelity Music Mode» for undervisning i musikklasser på nettet

Tips for valg av mikrofoner i DMT

Bruke Zoom under DMT

Artikkel om hvordan opera-synging kan hjelpe for Covid19 pasienter for å komme seg

Bekreft internetthastigheten din her (viktig for å identifisere egnethet for livestreaming)

Collaborative songwriting: Lyrics can be written and chords added collaboratively at a distance using a range of online tools and platforms, including those available at:
https://songcraft.io/

Demovideo

Facebook groups

Music Therapy Teletherapy Intervention Swap

Telehealth for Therapists – resources and support

Tele-PLAY Therapy Toolbox – Telehealth Support for Play Therapists

Teletherapy Activities for Kids 

Blogs and podcasts

Irene LoCoco and Elizabeth Nightingale from Chiltern Music Therapy discussed DMT, including technical and digital resources, as well as challenges that may arise when working in this way: https://www.bamt.org/DB/podcasts-2/irene-lo-coco-and-elizabeth-nightingale.html

Permission to share some of the online resources was kindly granted by Elizabeth Nightingale, Kasia Sikora-Black and Verena Clements-Cortés.

References

Baker, F., & Krout, R. (2009). Songwriting via Skype: An Online Music Therapy Intervention to Enhance Social Skills in an Adolescent Diagnosed with Asperger’s Syndrome. British Journal of Music Therapy, 23(2), 3–14.

Bates, D. (2014). Music Therapy Ethics ‘2.0’: Preventing User Error in Technology. Music Therapy Perspectives,32(2), 136–141.

Clements-Cortés, A. (2020). The Online Conference for Music Therapy (OCMT): Demonstrating Best Practices for Virtual Conferences, Education and Training. 7.

Cole, L. P., Henechowicz, T. L., Kang, K., Pranjić, M., Richard, N. M., Tian, G. L. J., & Hurt-Thaut, C. (2021). Neurologic Music Therapy via Telehealth: A Survey of Clinician Experiences, Trends, and Recommendations During the COVID-19 Pandemic. Frontiers in Neuroscience, 15, 648489.

Dowson, B., Atkinson, R., Barnes, J., Barone, C., Cutts, N., Donnebaum, E., Hung Hsu, M., Lo Coco, I., John, G., Meadows, G., O’Neill, A., Noble, D., Norman, G., Pfende, F., Quinn, P., Warren, A., Watkins, C., & Schneider, J. (2021). Digital Approaches to Music-Making for People with Dementia in Response to the COVID-19 Pandemic: Current Practice and Recommendations. Frontiers in Psychology, 12, 625258.

Dowson, B., & Schneider, J. (2021). Online Singing Groups for People with Dementia: Scoping Review. Public Health, 194, 196–201.

Fiore, J. (2018). A Pilot Study Exploring the Use of an Online Pre-Composed Receptive Music Experience for Students Coping with Stress and Anxiety. Journal of Music Therapy, 55(4), 383–407.

Fuller, A. M., & McLeod, R. G. (2019). The Connected Music Therapy Teleintervention Approach (CoMTTA) and Its Application to Family-centred Programs for Young Children with Hearing Loss. 30, 19.

Fuller, A., & McLeod, R. (2017). What‘s That Sound? Tele-intervention Music Therapy for Young Children with Hearing Loss.6.

Giordano, F., Scarlata, E., Baroni, M., Gentile, E., Puntillo, F., Brienza, N., & Gesualdo, L. (2020). Receptive Music Therapy to Reduce Stress and Improve Wellbeing in Italian Clinical Staff Involved in COVID-19 Pandemic: A Preliminary Study. The Arts in Psychotherapy, 70, 101688.

Glover, K. K. (2020). A Phenomenological Study of the Therapeutic Relationship in Tele-Music Therapy in the US [Master]. Molloy College.

Kantorová, L., Kantor, J., Hořejší, B., Gilboa, A., Svobodová, Z., Lipský, M., Marečková, J., & Klugar, M. (2021). Adaptation of Music Therapists’ Practice to the Outset of the COVID-19 Pandemic—Going Virtual: A Scoping Review. International Journal of Environmental Research and Public Health, 18(10), 5138.

Knott, D., & Block, S. (2020). Virtual Music Therapy: Developing New Approaches to Service Delivery. Music Therapy Perspectives, 38(2), 151–156.

Krout R. E., Baker F. A., & Muhlberger R. (2010). Designing, Piloting, and Evaluating an On-Line Collaborative Songwriting Environment and Protocol Using Skype Telecommunication Technology: Perceptions of Music Therapy Student Participants. Music Therapy Perspectives, 28, 79–85.

Lightstone, A. J., Bailey, S. K., & Voros, P. (2015). Collaborative Music Therapy via Remote Video Technology to Reduce a Veteran’s Symptoms of Severe, Chronic PTSD. Arts & Health, 7(2), 123–136.

McIntyre, L. (2020). Adapting Practice During the Covid-19 Pandemic: Experiences, Learnings, and Observations of a Music Therapist Running Virtual Music Therapy for Trafficked Women. 6.

Molyneux, C., & Hardy, T. (2020). Together in Sound: Music Therapy Groups for People with Dementia and Their Companions – Moving Online in Response to a Pandemic. 17.

Negrete, B. (2020). Meeting the Challenges of the COVID-19 Pandemic: Virtual Developmental Music Therapy Class for Infants in the Neonatal Intensive Care Unit. Pediatric Nursing, 46(4), 6.

Talmage, A., Solly, R., Jeong, A. A. Y., Hunt, E. L., Hunt, B., Gordon, J., Johns, L., Hoskyns, S., Landreani, C. R., Sabri, S., Kong, J. C., Matthews, E., & Rickson, D. (2020). Music Therapy in a Time of Pandemic: Experiences of Musicking, Telehealth, and Resource-Oriented Practice during COVID-19 in Aotearoa New Zealand. 61.

Vaudreuil, R., Langston, D. G., Magee, W. L., Betts, D., Kass, S., & Levy, C. (2020). Implementing Music Therapy through Telehealth: Considerations for Military Populations. Disability and Rehabilitation: Assistive Technology, 1–10.