My name is Gabrielle Banzon and I am a Filipino-American student in the PhD in Music Therapy program at Indiana University-Purdue University Indianapolis. Music therapy is a profession in which a board-certified music therapist engages individuals and groups in music experiences, such as listening or composing, to develop a therapeutic relationship and support their healing, growth, or change. My career over the past 8 years has taken me to a variety of settings, such as non-profit community centers, acute psychiatric hospitals, and specialized school programs. While the focused population of each setting was different, coping with the spectrum of mental health was an important aspect of treatment in every single one. Though my past and current clients' stories and challenges are unique, one similarity I find is that they all have a relationship to and through music. From songwriting with veterans struggling with PTSD to playing music bingo with a child who faked a suicide attempt to get out of foster care, everyone finds some sort of connection in it. As a music therapist, this makes the act of connecting rather easy. However, I believe that it is the actions and characteristics beyond the initial connection that make an impact. In my approach, this includes being present in complex and difficult moments, encouraging play and creativity, and supporting self-advocacy within their respective facilities and communities. One example of the impact of playing occurred after a drumming group with some adolescents. As I was packing, one client came up to me and stated, “You know, I love the drums. It was the only thing that kept me going before I dropped out. I was in the marching band!” I asked if she knew the “Amen Break” beat. She looked at me quizzically and I showed her the rhythm, accents, and hand placements. She exclaimed, “Oh, Yeah,” grabbed some sticks, and began to drum along with me. After 10 minutes, we played in sync and she smiled. I then looked at the nurse next to me, and, with wide eyes, the nurse stated, “Did you know that’s the most engaged and focused this client has been in her entire time here? She’s been here for two months because nobody in foster care wants her. You really did something special by taking time to play with her.” Moments like these inspire me to continue my career in mental health, as well as to teach future clinicians. As a first-year doctoral student at IUPUI, I hope to learn and think more critically about mental health, accessibility, and inclusivity, while researching and developing new ways to address it in the field. With my experiences of incorporating mental health treatment in a variety of clinical settings, I feel these services should be accessible regardless of what the client’s primary medical diagnosis or social situation may be. Further, once I finish my PhD, I hope to develop into a better educator and become full, tenured professor at a university and help shape the next generation of mental health professionals. I am no longer a novice in mental health services, as that is the demographic the scholarship seems to be intended for. However, I believe that my mental health work in various clinical settings, my aim to teach others, and my overall actions of presence, play, and advocacy, qualify me for the So You Want to Be a Mental Health Professional Scholarship. Thank you for your consideration.

My name is Gabrielle Banzon and I am a 31 year old, Filipino-American student in the PhD in Music Therapy program at Indiana University-Purdue University Indianapolis. Music therapy is a profession in which a board-certified music therapist engages individuals and groups in music experiences, such as listening or composing, to develop a therapeutic relationship and support their healing, growth, or change. Though music has been my career for almost a decade, it was an obsessive hobby as a teenager. Similar to most millennials, I was entrenched heavily emo and alternative rock, including artists like Dashboard Confessional, Simple Plan, and My Chemical Romance, and felt a deep connection to their lyrics. I could identify and empathize with what they were going through, even if I didn’t know them personally. It was almost as if these writers and artists also understood me, and wanted to help me navigate the mental health challenges of both adolescence and being a first-generation Filpino-American. Little did I know that years later, my music obsession would inspire me to pursue a career as a music therapist and support adolescents and others coping with their own challenges. One of my most moving experiences working in mental health occurred after a group music therapy session at an acute psychiatric hospital. The group had just played hand drums together to decrease social conflict and relieve stress. As I was packing up, one client came up to me and stated, “You know, I love the drums. It was the only thing that kept me going before I dropped out. I was in the marching band!” I asked if she knew the “Amen Break” beat. She looked at me quizzically and I showed her the rhythm, accents, and hand placements. She exclaimed, “Oh, Yeah,” grabbed some sticks, and began to drum along with me. After 10 minutes, she mastered the technique and the beat pattern on her own. I looked up at her and we both smiled. I then looked at the nurse next to me, and, with wide eyes, the nurse stated, “Did you know that’s the most engaged and focused this client has been in her entire time here? She’s been here for two months because nobody in foster care wants her. You really did something special by taking time to play with her.” Though every client I encounter has their own story and challenges, one similarity I find is that they all have a relationship to and through music. From songwriting with veterans struggling with Post Traumatic Stress Disorder to playing music bingo with a child who faked a suicide attempt to get out of foster care, everyone finds some sort of connection in it. While my work in acute psychiatric settings has been on and off over my career, coping with the spectrum of mental health has been an aspect of treatment in every clinical setting I’ve been in. For example, in working with children with disabilities in a school setting, I facilitate music-assisted relaxation to promote emotional regulation skills through music when they become overstimulated. In working with adults with dementia in a nursing home, I facilitate group singing and discussion to promote socialization when they feel isolated. Being present in the most complex and difficult moments of my clients has deepened my compassion and understanding of humanity. This has not only strengthened my belief in the necessity of kindness and patience when working with clients, but also in the importance of community and empathy. Another significant experience occurred during my time on a long-term care residential campus for adults with intellectual and developmental disabilities and Acquired Brain Injuries. I was referred by my supervisor to a blind and autistic client who had just moved from out of state to live on our campus. He was displaying behaviors of loneliness and isolation and seemed to be struggling with the adjustment from being home with family to being on a campus surrounded by new people. He wanted to find friends and fit in, but was having difficulty relating and socializing. Through our assessment, I found that he was very creative and greatly enjoyed listening to music and singing. After a few sessions of engaging in singing together to build rapport and decrease some of his isolation, I suggested the idea of writing and recording an original song together. He gasped and exclaimed, “I would love to!” Throughout the next few sessions, we explored his feelings about leaving home and moving to campus. He decided to write a song about his family to listen to whenever he missed them. He created lyrics about going on a hike with them and having a picnic, while I offered a few piano chord progression options to support his sound. We collaborated to create a tempo and melody and decided it was time to record. I gave him the microphone and headphones to feel and adjust, and we began the process. As we recorded, I prompted him to try different vocal techniques, which encouraged him to share and be confident in his voice and story, as well as instigated a lot of laughter. I also prompted him to choose different effects to add to his voice while I played him the options on my software, which afforded him more opportunities to pinpoint what would express his emotions the best, as well as hear himself in different ways. At the end of our therapeutic recording sessions, not only did he have a beautiful song to be proud of and hold on to, but a hopeful outlook for beginning this chapter of life on our campus. These experiences in my clinical work inspire me to continue my career in mental health, as well as to teach future clinicians. As a first-year doctoral student at Indiana University Purdue University - Indianapolis, I hope to learn and think more critically about mental health, accessibility, and inclusivity, while researching and developing new ways to address it in the field. With my experiences of incorporating mental health services in a variety of clinical settings, I feel these services should be accessible regardless of what the client’s primary medical diagnosis or social situation may be. Further, once I finish my PhD, I hope to develop into a better educator and become full, tenured professor at a university. I currently work as a lecturer and clinical supervisor, and am growing in my pedagogical skills. However, I feel that my focus on teaching all the content sometimes takes away from developing characteristics and demeanors in my students. Yet, as I grow into a more seasoned professor, I aim to not only teach my students how to facilitate effective music therapy sessions, but also foster mental health awareness and empathy within them. Earlier in my career, I was told by a social worker on my unit that a person who pursues a career in mental health either has overcome their own mental health challenges or needs mental health services themselves. Though a little crass, I believe there is some truth to that statement, I think my personal pursuit of this career was also inspired by music itself. Music helped me recognize the pain and hurt in others, prompted me to look at my own struggles as a first-generation Filipino-American female, and influenced me to reach out and connect with people. Further, the more that I work, the more I realize that it is not just the music that’s influential to my career or to my clients. It is also the people who create the music, the people who listen to the music, and the people who are with you through it. Without each other, the music is just sound. With each other, music, and any other medium, can bring much meaning and value to life. I am no longer a novice in mental health services, as that is the demographic the scholarship seems to be intended for. However, I believe that my journey, as marked by self-reflection through music, mental health work in various clinical settings, and the desire to continue my work in this area, qualifies me for the Darclei V. McGregor Memorial Scholarship. I also believe that my aspirations to develop the next generation of music therapy clinicians, as demonstrated by my current work as a lecturer and supervisor, while also pursuing a doctoral degree to become a professor, greatly expands the impact of my mental health work and would prove to be a unique scholarship outcome. As I reflect on my career so far and the opportunities I have that lie ahead, I hope to inspire others to also pursue a career in mental health. I am grateful for your consideration of my application and look forward to hearing from you.

My name is Gabrielle Banzon and I am a student in the PhD in Music Therapy program at Indiana University-Purdue University Indianapolis. Music therapy is a profession in which a board-certified music therapist engages individuals and groups in music experiences, such as listening or composing, to develop a therapeutic relationship and support their healing, growth, or change. As a Filipino-American female, I desire to be considered for this Barbara J. DeVaney Memorial Scholarship Fund. This financial support would allow me to focus on my goals for this program, which are to develop my music therapy pedagogical skills, research and create inclusive resources for academic and clinical spaces, and promote diversity within higher education. As I aim to better myself as a professor and clinician, I also aim to better the lives of clients and students I encounter. I received a Bachelor’s in Music Therapy from Georgia College & State University in 2014. I continued onto my masters, and earned a Master's of Arts in Music Therapy at Texas Woman’s University (TWU) in 2017. During my graduate degree, I attended a roundtable at a national called “Courageous Conversations: Race and Music Therapy.” Until this panel, I had never sought out discussions on race, ethnicity, or any sort of identity in relation to music therapy. I assumed that my identity was separate from my job. As listened to the panel recount their experiences, a realization stirred within me that I was not just a music therapist who happened to be Filipino- American. Rather I was a Filipino-American in music therapy, and my identities are relevant to my work. Ever since that realization, I’ve been journeying to understand what that means, how it has impacted my past experiences, and how it continues to influence my work and interactions in the field. Encouraging diversity within my profession, I joined the Steering Committee of the Asian Music Therapy Network – U.S. This group was formed in 2020 and aims to facilitate connection and communication between Asian music therapists and students working, living, and/or studying in the United States. As part of the Steering Committee, I’ve worked with the rest of the members to organize online support groups, disseminate information, and support group members engaged in their local community advocacy efforts. Until early 2022, I primarily engaged by creating and coordinating content for social media, as a means of communication with our members. However, since the latter part of last year, I’ve participated in various roundtables with music therapist clinicians and students of varying identities to speak on diversity and cultural sensitivity. According to the Condition of Education from the National Center for Education Statistics (2022), AAPI females make up only 5% of full-time faculty at degree-granting post-secondary institutions. Though there is no specific data on Filipino-American females, the percentage is assumed to be even less. In completing the PhD coursework and becoming a full professor, I hope to promote diversity and inclusion in academia and encourage underrepresented students to find strength in their identities. I also hope to develop resources, such as forums, text, and technology that will promote inclusive learning and healing within academic and clinical spaces. Some ideas I have are to facilitate cultural music exchange groups for people of color and create accessible music recording software for people who are blind. Financial aid would support my endeavors to earn the doctoral degree needed to attain these goals. I believe that my desire to lead in music therapy practice, research, and education as a Filipino-American female qualifies me for this scholarship. Thank you for your consideration.

I am a 31 year old Filipino-American, female music therapist, lecturer, and graduate student in the PhD in Music Therapy program at Indiana University-Purdue University Indianapolis. Within this program, my goals are to develop my music therapy pedagogical skills, engage in research, and develop further resources for clinical practice and education. As a board-certified music therapist, I am passionate about the intersection of science, technology, engineering, arts, and math (STEAM) and how these fields can come together to support the healing process. Music therapy is a clinical field that utilizes music to address a wide range of physical, emotional, cognitive, and social needs. It is an evidence-based practice that draws heavily from both the arts and the sciences, as well as the fields of psychology, neuroscience, and medicine. My interest in STEAM began during my undergraduate studies in music therapy, where I was exposed to the innovative work being done by music therapists. I was fascinated by the ways in which music could be used to affect changes in cognition and motor coordination, as well as how this could be applied to improve the emotional and mental well-being of groups and individuals across the lifespan. As I delved deeper into my studies as a graduate student and entered the field as a full-time music therapist, I became increasingly interested in the role that music technology and engineering could play in enhancing well-being. One area of particular interest to me is software development, particularly in music software. In recent work at a long-term healthcare campus, I had an adult client who was blind and autistic. We had just completed a music therapy session, in which we recorded a song he wrote about his life with his parents off campus. As I was walking with him to drop him off at his residence, I asked what his plans were for the evening. He stated, “Oh, I’ll probably play some video games.” To which I stopped in my tracks and asked, “Wait, what?” He could hear that I stopped moving and paused as well. He shared that he plays story or narrative type video games through his phone. He explained that he hears the narrator tell part of that leads to different choices, which he can feel through haptic buzzes and make moves through finger taps. I was amazed. I had no idea that video games could be accessible to people with vision loss. Though I do not play many video games myself, I have many family and friends that find much joy in them. For my client, the accessible and inclusive technology of video games brought him not only a similar sense of joy, but a sense of belonging and normalcy with his disabilities. Since that conversation, I’ve become very interested in developing accessible and inclusive technology in the form of music recording software and gear. As a music therapist, I believe that recording and production afford incredible opportunities for expression, health, and community. Wanting to share this, I developed a free collaborative online technology resource for music therapy called “The Tech Nook,” a website serving to teach how to use technology and how it can afford meaningful experiences in clinical practice. Overall, I am deeply passionate about the potential of STEAM to enhance music therapy practice and afford increased opportunities for well-being. By continuing my doctoral studies, collaborating with clinicians, and developing technologies, I hope to continue to provide the highest level of care to my clients, encourage innovative thinking within my music therapy students, and contribute to the ongoing advancement of healthcare.

The dream version of my future self is dedicated and patient toward my students, my family, and myself.

It was the end of my work day as a part-time music therapist at an acute psychiatric hospital. I had just completed a group music therapy session on the female adolescent unit, in which we played hand drums together to decrease isolation and to relieve stress. As I was packing up, one client came up to me and stated, “You know, I love the drums. It was the only thing that kept me going before I dropped out. I was in the marching band!” I asked if she knew the “Amen Break” beat. She looked at me quizzically and I showed her the rhythm, accents, and hand placements. She exclaimed, “Oh, Yeah!” and began to follow me. After 10 minutes, she mastered it on her own. I looked up at her and we both smiled. I then looked at the nurse next to me, and, with wide eyes, she stated, “Did you know that’s the most engaged and focused she’s been in her entire time here? She’s been here for two months because nobody in foster care wants her. You really did something special… playing with her.” This is just one of my many stories working in acute psychiatric settings as a board-certified music therapist. Music therapy is a profession in which a board-certified music therapist engages individuals and groups in music experiences, such as listening or composing, to develop a therapeutic relationship and support their healing, growth, or change. Though every client I encounter has their own story and challenges, one similarity I find is that they all have a relationship to and through music. From songwriting with veterans struggling with PTSD to playing music bingo with a child that faked a suicide attempt to get out of foster care, everyone finds some sort of connection in it. These experiences in my clinical work have greatly influenced my beliefs, relationships, and further career aspirations. Though my work in acute psychiatric settings has been on and off over my eight year career, coping with the spectrum of mental health has always been an aspect of treatment in every clinical setting I’ve been in. Being present in the most complex and difficult moments of my clients has deepened my compassion and understanding of humanity. This has not only strengthened my belief in the necessity of kindness and patience, but also in the importance of community and empathy. This belief has expanded into my relationships. I’ve become more aware of nuances in myself and my loved ones. I find myself giving more grace amidst guilt and mistakes, as well as creating more space for forgiveness and growth. Within my career, these experiences have increased my desire to continue learning and serving, while also sharing my knowledge with future music therapists. As a first year PhD student with the music therapy program at IUPUI, I hope to learn and think more critically about health and humanity, while researching and developing new ways to address it in my work. Further, once I finish my PhD, I hope to develop into a better educator and become full professor at a university. As a professor, I aim to not only teach my students how to facilitate music therapy sessions, but also foster compassion and empathy within them. Overall, working in mental health has profoundly reshaped my perspectives and priorities. I used to think that music was a healing entity in itself. However, the more that I work, I realize that its not just the music. It’s the people that created it, the people that listen to it, and the people that are with you through it. Without each other, the music is just sound. With each other, the music, and any other medium, can offer so much more meaning in life. Thank you for your consideration.

Kiln by Gabrielle Banzon Sorry if I seem a little idle. Things haven’t been quite right for some time now. I have watched the flames for awhile Turning the world into a kiln, and I should be ready to begin With mounted clay and wheel spinning round. Yet, I’m careful to create, To form, and to take shape. I’m wrestling while it’s firing and I render with pressure rising. I want you to present this to you And speak up without your reprove. Please don’t take my hesitation As a sign of resignation. I have my foot upon the pedal, A bowl of water on the table. I know that soon it is still will be time To solidify designs in my mind. Yet, I’m careful to create, To form, and to take shape. I’m wrestling while it’s firing and I render with pressure rising. I want you to present this to you And speak up without your reprove.

My name is Gabrielle Banzon and I am a student in the new remote PhD in Music Therapy program at Indiana University-Purdue University Indianapolis. As a first generation, female, Filipino-American, I desire to be considered for this HRCap Scholarship. My relationship with my identity, and AAPI culture in general, has greatly shifted throughout my music therapy education. Currently, being Filipino-American means that I have both a unique strength in building community and a challenge in navigating my field. I believe that I have displayed this strength and supported others with similar challenges through my service excellence and cultural diversity. I received a Bachelor’s in Music Therapy from Georgia College & State University in 2014. I continued onto my masters, and earned a Master's of Arts in Music Therapy at Texas Woman’s University (TWU) in 2017. At TWU, I learned advanced techniques from faculty, worked as a clinical supervisor for students, and researched therapeutic songwriting education. From these roles, I realized that I wanted to be a music therapy professor. However, I knew that I needed more field experience before I would be ready to teach it. During this time, I also attended a roundtable at a national called “Courageous Conversations: Race and Music Therapy.” Until this panel, I had never sought out discussions on race, ethnicity, or any sort of identity in relation to music therapy. I assumed that my identity was separate from my job. As listened to the panel recount their experiences, a realization stirred within me that I was not just a music therapist who happened to be Filipino- American. Rather I was a Filipino-American in music therapy, and my identities are relevant to my work. Ever since that realization, I’ve been journeying to understand what that means, how it has impacted my past experiences, and how it continues to influence my work and interactions in the field. Encouraging diversity within my profession, I joined the Steering Committee of the Asian Music Therapy Network – U.S. This group was formed in 2020 and aims to facilitate connection and communication between Asian music therapists and students working, living, and/or studying in the United States. As part of the Steering Committee, I’ve collaboratively worked with the rest of the members to organize online support groups, disseminate information, and support group members who are engaged in their local community advocacy efforts. Until early 2022, I primarily engaged by creating and coordinating content for social media, as a means of communication with our members. However, since the latter part of last year, I’ve participated in various roundtables with music therapist clinicians and students of varying identities to speak on diversity and cultural sensitivity. Currently serving at a predominantly white institution as a new lecturer, I am learning to navigate academia. During my undergraduate degree, I did not have many opportunities to share my lived experiences of tokenism and micro-aggressions with my professors. Due to this, I work to create a supportive and inclusive space for my current underrepresented students to openly share theirs. Further, I was recently selected to be a mentee in my institution's inaugural Underrepresented Minority Mentorship Network Group. Though still in its beginning stages, I am looking forward to being part of this initiative and examining the ways in which I hold privilege and how that may impact students and colleagues that hold differing marginalized identities from myself According to the Condition of Education from the National Center for Education Statistics (2022), AAPI females make up only 5% of full-time faculty at degree-granting post-secondary institutions. Though there is no specific data on Filipino-American females, it is assumed that the percentage is even less. In becoming a full professor, I hope to promote diversity and inclusion in academia and encourage underrepresented students to find strength in their identities. Financial aid would support my endeavors to earn the doctoral degree needed to attain these goals. With my current position, I support just myself on a single income and can afford basic cost of living in south Georgia, but cannot afford much beyond that, especially graduate tuition. I believe that my commitment to service and diversity in music therapy and academia qualifies me for this scholarship. Thank you for your consideration.

I am a 31 year old minority, female graduate student beginning the PhD in Music Therapy program at Indiana University-Purdue University Indianapolis. With seven years of clinical experience, my motivation is to share knowledge and support the development of future music therapists as full professor. Music therapy is a profession in which a board-certified music therapist engages individuals and groups in music experiences, such as listening or composing, to develop a therapeutic relationship and support their healing, growth, or change. My journey to academia started in 2014, after a final presentation that fulfilled my additional academic requirements for Georgia College & State University’s (GCSU) Honors Program. I realized the attendees hadn’t comprehended a concept I covered, and, on a whim, compared a piece of music to a piece of pizza. After the presentation, the Honors Program Director came up to me stated, “You presented this music material in such a way that even a non-musician could understand it. I don’t know where you’re going, but I really think you could have a future in academia.” I graduated from GCSU with a 3.72 GPA with honors and soon began graduate studies in Music Therapy at Texas Woman’s University (TWU). While at TWU, I took classes on advanced clinical techniques, worked as a graduate assistant, and researched therapeutic songwriting education. I thrived in this environment and realized that I actually did want to teach music therapy. However, I knew that I needed more experience before I would be ready to do so. After graduating in 2017 with my masters’ degree from TWU with a 4.0 GPA, I began my full-time career as a music therapist, working in settings such as non-profit community centers, acute psychiatric hospitals, and specialized school programs. My involvement in non-profit included work with the NTPA-Starcatchers, a therapeutic arts program at a community children’s theatre for youth and adults with intellectual and developmental disabilities (IDD), Annandale Village, a residential campus for adults with IDD and acquired brain injuries, and, Los Niños Primero, an extracurricular English language program for Latino children. With the NTPA-Starcatchers, I collaborated with individuals, their families, and the local community to rehearse and perform therapeutic drama and music productions to support social interaction and emotional expression. At Annandale Village, I facilitated music therapy sessions, creative classes, and performance ensembles to promote well-being. Through Los Niños Primero, I conducted music therapy sessions for early childhood to foster language and social skills. While each of these non-profits focused on different populations and outcomes, it was beautiful to engage in music with each marginalized group and to see the community and growth that came from it. This past fall, I returned to GCSU to join their faculty as Clinical Coordinator and Lecturer for the Music Therapy Program. My responsibilities are to manage and serve the Music Therapy Clinic at GCSU, supervise undergraduate and masters-equivalency students in their field placements, and lecture various courses. In this first step of academia, I’ve realized that having clinical skills is not the same as teaching clinical skills, and I still have much to learn. In joining the PhD program, I hope to develop into a better educator and become full professor at a university. With my current rank of lecturer, I support myself on a single income and can afford basic cost of living in south Georgia, but struggle to afford tuition. The Patrick Stanley Scholarship would greatly support my endeavors to earn the doctoral degree needed to complete the journey I started in 2014. I believe my academic merit, clinical work, and financial status qualify me for scholarship.

It was the end of my work day as a full-time music therapist at a long-term care residential campus. I had just completed a music recording session with an adult blind and autistic client, in which we recorded a song he wrote about his life with his parents off campus. As I was walking with him to drop him off at his cottage, I asked what his plans were for the evening. He stated, “Oh, I’ll probably play some video games.” To which I stopped in my tracks and asked, “Wait, what?” He could hear that I stopped moving and paused as well. He shared that he plays story or narrative type video games through his phone. He explained that he hears the narrator tell part of that leads to different choices, which he can feel through haptic buzzes and make moves through finger taps. I was amazed. He continued to tell me more about the technology of it as we both continued walking. As I dropped him off and started my own journey home, my mind was reeling. I had no idea that video games could be accessible to people with vision loss. Though I do not play many video games myself, I have many family and friends that find much joy in them. For my client, the accessible and inclusive technology of video games brought him not only a similar sense of joy, but a sense of belonging and normalcy with his disabilities. Since that conversation, I’ve become very interested in developing accessible and inclusive technology in the form of music recording software and gear. As a music therapist, I believe that recording and production afford incredible opportunities for expression, health, and community. Wanting to share this, I developed a free collaborative online technology resource for music therapy called “The Tech Nook,” a website serving to teach how to use technology and how it can afford meaningful experiences in clinical practice. In hopes of developing more resources and collaborating with engineers, I joined the new PhD in Music Therapy program at Indiana University-Purdue University Indianapolis. Housed in the School of Engineering and Technology, this program recognizes technology as an important component to clinical practice and encourages students to innovate its uses within the field. I believe my resource development, technology ideas, and clinical experience qualify me for the Elevate Women in Technology scholarship. Thank you for your consideration.