The individual sessions are also structured in three phases:

Phase 1 – Establishing Safety
In this first phase, the focus is on creating a safe and trusting working relationship and formulating a clear therapeutic goal. This goal includes both personal and musical elements, and the connection between them is explored. For example, if a child finds it difficult to speak up or take initiative in class, her personal goal might be: “Help me show more of myself in class.” Musically, this could be translated into learning to play louder and more confidently, or composing and sharing a song or musical piece with others. Goals may originate from the child themselves or be formulated together with teachers, parents, or other caregivers.

Making music is central to the process. The therapist explores what the child or young person enjoys, wants to try, or is already capable of. Sessions are tailored to the child’s interests, learning pace, and preferred way of playing. Children and young people play an active role in shaping what happens during therapy. A key question in this phase is: “What would you like to do?” rather than “How are you feeling today?” By starting with music, space is created for dialogue, making it easier to connect and communicate.

Phase 2 – Compose
This phase builds on the goals set during the first phase. Again, the music the child or young person wants to make, learn, or listen to is taken as a starting point. Close attention is paid to both musical and personal progress. A child might, for example, begin to play with more power, take more risks in musical expression, and enjoy the creative process more—building musical and verbal self-confidence in the process, which may carry over into the classroom.

Collaboration with teachers, parents, and caregivers is crucial in this phase, as they observe the child’s development closely. The music therapist supports these adults in understanding the child’s needs and how they can best contribute to their growth. Together, they reflect on what the child requires and how to respond effectively.

If other professionals are involved in the child’s care, coordination with them also takes place.

Phase 3 – Integrate
In this phase, clear positive changes are observed in both the child or young person and their environment. Attention now shifts to evaluating how these improvements can be sustained. Together with the child and the people around them, the therapist explores whether additional support or adjustments in the environment may be needed to maintain and further encourage their development.

Marwa’s Song

Marwa, an eleven-year-old girl from Syria, had been living in the Netherlands with her parents and two younger brothers for five years. Despite a stable home, she struggled at school and showed some trauma related problems. She was very quiet, withdrawn, and unable to express her thoughts or emotions. She found it difficult to make friends and suffered from frequent nightmares.

1. Establishing Safety
In the first phase of individual music therapy sessions, the focus was on building trust and creating a safe, welcoming space. Marwa was invited to explore music freely. She began by playing softly on the piano and drums, slowly repeating rhythms and melodies. As the sessions progressed, she grew more engaged—smiling more, making eye contact, and feeling calmer. Music became a way to regulate her stress and open the door to communication.

2. Composing
As Marwa felt more secure, she began to share fragments of her personal story. Together with her music therapist, she started composing a song that captured her experience. Each verse reflected a different part of her journey: the start of the war, separation from her father, fleeing Syria, and her hope for peace.

When the emotions were too overwhelming to put into words, Marwa and the music therapist used music to regulate her stress by improvising on the drums or piano. In this way she could release stress and reconnect. She helped create the chords, suggested melodies, and selected instruments. Her mother even contributed to the lyrics, adding a final verse about jasmine flowers blooming in Damascus as a symbol of resilience despite hardship.

3. Integration
When the song was complete, Marwa and her therapist recorded it. Her parents and teachers were invited to listen. Though Marwa didn’t speak much about the meaning behind the music, her story was deeply felt through the song itself.

After the therapy, Marwa’s transformation became clear: her nightmares stopped, she was happier in class, made new friends, and communicated more openly with both teachers and peers. Her song remains a lasting expression of her strength, growth, and voice.

Jasmine

I am from Damascus
A very big city
When I still lived there
The war came to our country
I heard planes flying above our house
I saw dead people lying on the ground
It wasn't very nice, you see,
But we stayed strong, my family and me.

My mom taught little kids,
In a primary school so cool.
Then, a bomb went off one day,
I comforted her, in my own way.

Children screamed, under tables they hid,
Mom was scared, shaking a bit.
But you know what's really cool?
I wasn't scared, I stayed strong for my school.

I hope the war will come to an end
So I can return to my homeland
With my entire family by my side,
Together again, to visit Grandma.

Sailing for twelve days,
In a boat with many folks.
Dates, cookies, and bread,
Was the food that we had
I woke up at night
Lost the feeling of time
Five dolphins jumped in the see
That made me feel happy

The world is strange sometimes
Let’s help each other always
We are all equal in this world
I wish everyone could live in freedom.

I hope the war will come to an end
So I can return to my homeland
With my entire family by my side,
Together again, to visit Grandma.

In the enchanting city of Damascus,
Jasmine blooms everywhere,
That smell, those beautiful flowers
Will be stronger than the war