MT-BC Practice Test 1

Question 1

A hospice patient communicates to the music therapist concerns about how the family will cope in bereavement. While the patient is talking, the music therapist leans toward the patient and occasionally nods. After the patient finishes speaking, the music therapist waits for a moment and then says, “It sounds like you’re really concerned about your family.” Which of the following does the music therapist’s verbal and nonverbal behavior demonstrate?:

A. unconditional positive regard
B. active listening
C. countertransference
D. sympathy

Answer 1

B: Active Listening

The music therapist’s verbal and non-verbal behaviors demonstrate active listening, a serious interest in the topic, and comprehension of what the patient said.

Question 2

A music therapist works with adults with anxiety disorders in a partial hospitalization program once a week in music-assisted relaxation sessions. Which of the following is the BEST strategy to promote the independent use of music for self-care?

A. Practice progressive muscle relaxation using live guitar chord progressions.
B. Provide clients with a playlist of the music and relaxation scripts for practice at home.
C. Facilitate music imagery and have clients imagine themselves as independent adults.
D. Work with the clients on mindfulness training and help them breathe through their anxiety.

Answer 2

B: Provide clients with a playlist of the music and relaxation scripts for practice at home.

This strategy would provide clients with opportunities to practice and use music-assisted relaxation interventions independently at home.

Question 3

A client who is originally from a different country has undergone a traumatic experience. The music therapist encounters resistance to questions about the trauma, despite the client’s willingness to engage in musical interaction. The music therapist can infer from the client’s responses that:

A. the client does not feel the need to address the trauma in music therapy sessions.
B. the therapist should be more persistent in using follow-up questions after engaging in musical interaction.
C. the client’s cultural group may have a different perspective regarding questions of a personal nature.
D. the client may have doubts about the music therapist’s ability to address the trauma.

Answer 3

C. the client’s cultural group may have a different perspective regarding questions of a personal nature.

Cultural value systems are different, especially when comparing Western vs. Eastern cultures, and the music therapist’s own values may not be the same as the client’s. The therapist should acknowledge this bias and consider that cultural differences may limit their interpretation of the client’s response. Especially if the client is from an Eastern culture, directness or assertiveness may not be understood or appreciated.

Question 4

A music therapist has been asked to write a song to help an adult with intellectual disabilities remember the steps involved with teeth brushing. The MOST effective song lyrics to promote functional independence includes:

A. “I squeeze paste on the brush” to an unfamiliar tune.
B. “I like to brush my teeth” to a familiar tune.
C. “My toothbrush is blue” to an unfamiliar tune.
D. “I remove the cap from the tube” to a familiar tune.

Answer 4

D. “I remove the cap from the tube” to a familiar tune.

D. Song lyrics may provide the necessary cues and structure to help clients learn and remember the sequence of steps, especially when sung to a familiar tune.

Question 5

A music therapist visits an older adult female with chronic obstructive pulmonary disease (COPD) at a nursing home. The client is tearful and verbalizes feelings of sadness about the recent death of her daughter, repeating the statement “If only God could have done better.” What should the music therapist do FIRST to meet the spiritual needs of the client?

A. Begin singing a variety of hymns to support the client’s verbalizations.
B. Direct the client in prayer to affirm the client’s verbal responses.
C. Ask the client questions about her specific spiritual affiliation.
D. Facilitate fill-in-the-blank songwriting using the phrase, “If only God.”

Answer 5

D. Facilitate fill-in-the-blank songwriting using the phrase, “If only God.”

This provides the client with control of the lyrics, spiritual content, and easily indicates to the music therapist the client’s spiritual affiliation. An improvised song is not limited to a specific genre of “spiritual” music like hymns or gospel spiritual, which would immediately stereotype the client’s spiritual needs and affiliation.

Question 6

During a weekly hospice visit, a client and her daughter give a piece of piano sheet music to a music therapist, stating that it was a favorite of the client’s deceased husband. The music therapist is unfamiliar with the song. Noticing that the client appears eager to hear the song, which of the following is the music therapist’s BEST action?

A. Decline to play the song, stating that it is unfamiliar.
B. Assure the client that the song will be played the following session.
C. Sight read the piece, playing a reduced piano part.
D. Suggest another song that the client likes.

Answer 6

C. Sight read the piece, playing a reduced piano part.

The music therapist can use music training to play a reduced part that will still convey the essence of the piece, which can open the door to reminiscence and life review.

Question 7

Which of the following examples illustrates professional development?

A. Document treatment plans, collaborate with other colleagues, and expand music repertoire.
B. Conduct or assist with research, participate in continuing education, and engage in collaboration with other colleagues.
C. Participate in research, set professional goals, and maintain client confidentiality.
D. Participate in continuing education, comply with safety protocols, and review current research literature.

Answer 7

B. Conduct or assist with research, participate in continuing education, and engage in collaboration with other colleagues.

Each of these items is part of professional development.

Question 8

A child with cerebral palsy who communicates non-verbally brings an augmentative and alternative communication (AAC) device to group music therapy. The BEST way to plan to accommodate this client’s inclusion in a group singing experience is to:

A. encourage the child to touch ‘stop/go’.
B. teach the child hand gestures for several song lyrics.
C. ask the staff to sing for the child.
D. pre-record song lyrics onto the system.

Answer 8

D. pre-record song lyrics onto the system.

Pre-recorded lyrics allow the child to supply words/phrases to songs and contribute most effectively.

Question 9

A music therapist in a public school is about to conduct an initial assessment for a 5-year-old boy with ADHD. The assessment is scheduled to take place in the boy’s classroom. To facilitate the child’s engagement MOST effectively, the music therapist should:

A. frequently remind the boy to stay in his seat and focus on the musical activity.
B. delineate a small area of the room to be used and remove possible distractions.
C. request that a classmate of the boy be present to act as a role model.
D. observe the boy’s spontaneous actions to see how he reacts in this environment.

Answer 9

B. delineate a small area of the room to be used and remove possible distractions.

When doing an assessment, it is the therapist’s responsibility to create an environment or space conducive to the client’s needs. The child described needs a space with minimal distractions due to his ADHD.

Question 10

Using rhythmic movement as a therapeutic technique to address gait dysfunctions aligns MOST directly with which of the following treatment approaches?

A. neurological
B. behavioral
C. humanistic
D. developmental

Answer 10

A. Neurological

The neurological approach addresses gait dysfunctions that stimulate music perception and pair it with motor responses.

Question 11

A music therapist is reviewing a pilot study in a peer-reviewed journal to possibly apply the intervention with current patients. In the study, the researchers concluded that the participants benefited from the music therapy intervention. Which of the following is the PRIMARY concern when applying the music therapy intervention used in the article?

A. sampling bias
B. lack of replication
C. type II error
D. low validity

Answer 11

B. Lack of replication

A pilot study lacks replication. The results from the study may be unique to the participants in the study.

Question 12

A music therapist is working with a client who is depressed and withdrawn. In an improvisational dyad, the music therapist gradually changes the tempo, range, and articulation, while reflecting and supporting any change in playing by the client. Which of the following is the music therapist MOST likely attempting to encourage?

A. improvement in sustained attention
B. increased emotional expressiveness
C. demonstration of sensory awareness
D. response to musical behavioral cues

Answer 12

B. increased emotional expressiveness

Encouraging the client to be more musically expressive can be helpful in mobilizing emotions, which often is an important step in helping the client to examine their experience of depression.

Question 13

In community music therapy settings, what is a PRIMARY challenge music therapists are tasked with addressing in order to ensure that clinical services provided to both clients and community are ethical and competent?

A. effective communication with funding sources for the treatment setting
B. self-exploration in pursuit of cultural humility and reflexivity
C. extensive data tracking to demonstrate the effectiveness of interventions
D. willingness to integrate multimodal interventions into the therapeutic process

Answer 13

B. self-exploration in pursuit of cultural humility and reflexivity

Working in community settings challenges the music therapist to be aware of their intersectional identity and any accompanying assumptions, biases, and prejudices that come with their cultural perspective.

Question 14

To fully assess a client for music therapy services, a music therapist should use

A. a variety of musical assessment procedures.
B. non-musical standardized assessment procedures.
C. musical and non-musical assessment procedures.
D. existing assessment tools and procedures.

Answer 14

C. Musical and non-musical assessment procedures.

Using both assessment procedures will give the music therapist the most comprehensive information about the client.

Question 15

A music therapist receives a referral for a new client from a nurse who states that the client “loves music.” The music therapist’s INITIAL follow-up communication is to:

A. contact the client to schedule an assessment.
B. ask the nurse about specific clinical needs.
C. consult with the caregiver about client’s music preferences.
D. request a treatment summary from the interdisciplinary team.

Answer 15

B. Ask the nurse about specific clinical needs.

An appropriate follow-up with the nurse would be to request more information about clinical needs.

Question 16

Which of the following is a method of stress reduction that involves tensing and releasing of the body?

A. guided imagery
B. progressive muscle relaxation
C. autogenic training
D. systematic desensitization

Answer 16

B. Progressive muscle relaxation

This is a correct description of the progressive muscle relaxation model.

Question 17

A music therapist has taken a job at a facility with a few older instruments and a limited budget for music therapy supplies. The music therapist would like to have a client improvise on a diatonic Orff xylophone while the music therapist plays the piano, but the xylophone is missing its F and B bars. Which scale, beginning on C, should the music therapist play in to MOST successfully facilitate this experience?

A. Aeolian
B. harmonic minor
C. Dorian
D. major pentatonic

Answer 17

D. Major Pentatonic

A major pentatonic scale starting on C would use the notes C, D, E, G, and A, which could all be played on the xylophone.

Question 18

Several clients who attend a music therapy group in an inpatient psychiatric facility have a history of non-suicidal self-injury (NSSI). The clients have responded poorly to discussion-based interventions such as lyric analysis and songwriting. The music therapist believes that an improvisation using various percussion instruments will best address the clients’ goals and elicit a positive response, but is worried about the possibility of clients taking parts of the instruments to use later for NSSI. Which of the following should the music therapist do to ensure client safety?

A. Do not use improvisation with these clients due to safety concerns.
B. Only let clients without a history of NSSI use instruments during the session.
C. After the session, inspect the clients’ rooms for parts of instruments they might have taken.
D. When collecting the instruments, inspect them for any broken or missing parts.

Answer 18

D. When collecting the instruments, inspect them for any broken or missing parts.

Inspecting the instruments before the clients are allowed to leave the room allows the music therapist to address any broken or missing parts before self-injury is likely to occur.

Question 19

“Since her admission, Mary has spent most of her time in her room and has not participated in unit activities.” Under which assessment domain would this statement MOST likely be found?

A. psychosocial
B. emotional
C. communicative
D. sensorimotor

Answer 19

A. Psychosocial

Psychosocial refers to the quantity and quality of interpersonal interaction.

Question 20

A music therapist in a private school setting conducts a weekly social skills group for students with high-functioning autism spectrum disorder (ASD). Goals include controlling impulses, turn-taking, and reciprocity. Data indicates three of the four students are making progress towards their goals, but one student expresses “music is stupid” and records indicate he participates less than 5% of the time. Which of the following is the music therapist’s BEST action?

A. Refer the student to a non-musical social skills group.
B. Ignore the student and focus on the remaining group members.
C. Position the student in a leadership position.
D. Dismiss the student from the group until he can demonstrate cooperation.

Answer 20

A. Refer the student to a non-musical social skills group.

When compliance is a problem, it may indicate that a musical intervention is not appropriate for that individual.

Question 21

In a standard 12-bar blues form, the chord in the ninth measure is the

A. tonic.
B. subdominant.
C. submediant.
D. dominant.

Answer 21

D. Dominant

The dominant chord is sounded in the ninth measure of the 12-bar blues.

Question 22

A music therapist is working with an older adult client diagnosed with depression. Which of the following is the music therapist’s BEST approach to help elevate the client’s mood?

A. Incorporate progressively more stimulating client-preferred music.
B. Introduce the client to a new song to stimulate interest.
C. Play slower, somber music to match the client’s activity level.
D. Sing an upbeat song with positive lyrics.

Answer 22

A. Incorporate progressively more stimulating client-preferred music.

Progressively more stimulating client-preferred music can increase motor activity and physical responses by increasing heart rate and oxygen saturation. Coupled with pleasant associations with preferred music, these responses can be effective in elevating mood.

Question 23

In a behavioral health setting, which of the following is the MOST valid and reliable way to document functional outcomes related to specific goals and interventions?

A. Patient self-report
B. An interval recording schedule
C. Online outcome measures
D. Standardized measurement tools

Answer 23

D. Standardized measurement tools

Because validity and reliability testing is common practice in the development of standardized measurement tools, the results of a standardized measurement tool would be the most valid and reliable.

Question 24

A music therapist is facilitating a song-writing experience with an adult client. The music therapist introduces a 12-bar blues song, intentionally leaving off the lyrics at the end of each phrase for the client to complete. This structure is MOST likely acting as a prompt for:

A. self-esteem
B. initiation
C. relaxation
D. motor response

Answer 24

B. Initiation

The structure of a 12-bar blues lends itself to eliciting client musical response due to its predictable phrases.

Question 25

Which of the following is a language disorder which affects the ability of a patient with a cerebrovascular accident (CVA) to accurately relay information during an initial music therapy assessment?

A. aphasia
B. ataxia
C. dysphagia
D. dyslexia

Answer 25

A. Aphasia

Aphasia is a language disorder associated with CVAs (and other neurological conditions) which could affect a patient’s ability to relay information. Some of the most common types of aphasia are expressive, receptive, and global.

Expressive aphasia: With expressive aphasia, the person knows what he or she wants to say yet has difficulty communicating it to others. It doesn’t matter whether the person is trying to say or write what he or she is trying to communicate.

Receptive aphasia: With receptive aphasia, the person can hear a voice or read the print but may not understand the meaning of the message. Oftentimes, someone with receptive aphasia takes figurative language literally.

Global aphasia: This is the most severe type of aphasia. It is often seen right after someone has a stroke. With global aphasia, the person has difficulty speaking and understanding words. In addition, the person is unable to read or write.

Question 26

A music therapist is working with a client with athetoid cerebral palsy who expresses an interest in playing the cymbals, but is unable to grasp a standard mallet. Which of the following professionals would the music therapist MOST likely consult for assistance with adapting the mallet?

A. physiatrist
B. physical therapist
C. percussion instructor
D. occupational therapist

Answer 26

D. Occupational therapist

Adaptation of devices for functional purposes is within the scope of practice of an occupational therapist. Therefore, this is the professional most likely to be able to assist the music therapist in adapting the mallet so that the client can play the cymbals.