Effects of professional music therapy supervision on clinical outcomes and therapist competency: a systematic review involving narrative synthesis

Abstract

Supervision for music therapists is often regarded as useful for professional development, and for processing clinical and non-clinical issues, which arise from practice. However, little is known about the research evidence, which informs this practice and its links to improved professional competency and clinical outcomes. A narrative synthesis was conducted to map the types of supervision literature, identify corresponding research evidence and examine effective models of music therapy supervision. Relevant databases were searched and the authors identified a considerable body of literature relating to professional supervision (n = 48), with only five, mostly qualitative, research studies identified. Review results show that supervision is useful for assisting a therapist’s professional and personal insight into clinical practice although the effects of the intervention remain unknown. Two core interactive ingredients constitute professional supervision: (1) flexible and creative approaches towards practice and learning, including the use of music as a supervision tool; (2) a supervisory relationship, which is fundamental to the process. These ingredients are shaped by three underlying concepts: (1) shared experience between supervisor and supervisee; (2) improved insights; and (3) qualities of an effective supervisory relationship. Results revealed an overall lack of evaluation studies and an over-reliance on qualitative design. The discipline would now benefit from research that measures the effects of professional supervision on patient outcomes and professional competencies.

Keywords:

• music therapy
• systematic review
• organisation and administration
• professional supervision
• narrative synthesis

Acknowledgements

This review was conducted as part of a mixed methods doctoral study by the first author. The second and third authors were the primary author’s thesis advisors.

Disclosure statement

No financial interest or benefit has arisen from the direct applications of the authors’ research.

Additional information

Funding

Funding support was provided to the author during the candidature (2009–2012) by the University of Queensland Research Scholarship Scheme.

Notes on contributors

Jeanette D. Kennelly

Dr Jeanette Kennelly is a lecturer in music therapy at the University of Queensland and also runs a private practice, Inspiravision, which offers services in relation to supervision practice and training. She was recently appointed Member of the Education and Training Commission, World Federation of Music Therapy.

Barbara A. Daveson

Dr Barbara Daveson works at King’s College London as an international lecturer in health services research. She supervises PhD students with various clinical backgrounds (music therapy, occupational therapy, medicine), is involved in an international multidisciplinary program of research and conducts qualitative, quantitative and mixed methods research.

Felicity A. Baker

Dr Felicity Baker is an Australia Research Council Future Fellow based at The University of Melbourne. She is the immediate past president of the Australian Music Therapy Association and was recently appointed Associate Editor, Journal of Music Therapy.