Field Of Music Therapy Research Articles

How does the same piano piece have a different impact on the mood of different age groups and different genders?

developing in the field of music therapy. This study aims to investigate the different emotional changes experienced by participants of different ages and genders when listening to the same piece of piano music. Participants will complete an emotional scale questionnaire (options include calmness, excitemend, anger, happiness, sadness) after listening to the same stimulus (the piano piece). The results will be analyzed through a paired t-test and presented graphically. The study finds that women tend to experience more positive emotions than men. Furthermore, there are significant differences in emotional responses between different age groups, particularly with regard to how older adults react emotionally to music. These findings suggest that the same piece of music can resonate differently with various demographic groups, playing a positive role in music therapy.

A Personalized Multimodal Approach to Music Recommendation for Music Therapy

Mental health disorders and suicidality are rising among adolescents and young adults (A-YA) while rates of treatment engagement continue to remain low. Though the effectiveness of music therapy to enhance mental health is yet unknown for A-YA, the power of music to evoke emotions, facilitate communication, and promote relaxation suggests its promise. In this research study we discuss a multimodal music recommendation system which is capable of taking inputs in the form of a BFI-10 questionnaire, a series of self-view questions in the form of a survey, and an image of the user’s face in order to determine music preferences based on existing correlations between personality traits and taste in music, as an effort to make advancements in the field of music therapy.

Analysis of the Musical Factors and Personal Factors Affecting the Music-evoked Autobiographical Memory among Teenagers

Music-evoked autobiographical Memory (MEAM) is a distinct form of autobiographical memory that is intricately intertwined with the experience of music. The present study centers its attention on the many musical and human aspects that exerted an influence on the Music-Evoked Autobiographical Memory process among adolescents. Through the administration of a questionnaire to a sample of 312 high school and college students, the researcher discovered that various factors, including the genre of music, the level of mood-matching between the music and the individual, the emotional response elicited during listening, and the level of arousal experienced by the listener, exert substantial influences on the MEAM. The results of this study provide evidence in favor of the concept that individual emotional experiences and the substance of music might influence the process of memory. This result demonstrates the potential implications of MEAM for the fields of music therapy, education, and the music industry.

Developing Issues in World Music Therapy Education and Training: A Plurality of Views, by Karen D. Goodman (Ed).

The chapters in this current book reflect current and/or necessary changes in music therapy training that come about because of history, society, economy, generational shifts and the workplace. Although the subject matter in these chapters may appear disparate, it is not. The subject matter invites comparison in the following ways: 1) questions the nature of music therapy itself; 2) examines challenges to education and training; 3) suggests critical thinking (vs repetition or repackaging of information) for students, educators, clinicians, researchers and supervisors in the field of music therapy; 4) respects the past but looks to the future; 5) offers perspective from others in the field through such vehicles as surveys, interviews and/or reviews of literature. Part I is titled ‘New Frameworks and Content for Music Therapy Education and Training’ Part II of the book, ‘Online Formats for Music Therapy Education and Training’ offers two chapters which have become increasingly urgent information due to the emergence of the COVID-19 epidemic throughout the world (March 2020), now in its third year, coupled with the explosion of technological resources and demand for online and hybrid learning. Part III of the book, ‘Inclusivity in Music Therapy Education and Training,’ presents two vital chapters to remind educators of pressing issues. Part IV of the book, ‘Professional Opportunities in Music Therapy Education, Training and Development,’ present four uniquely different chapters, yet each focuses on opportunities that any student or educator should consider. Part V, ‘Ongoing issues and Possibilities in Music Therapy Education and Training,’ considers two more developing topics in the field. Readers will enjoy and profit from this book, reflecting on how to continue to move on in music therapy education and training.

Perceived Quality of Online Music Therapy Sessions by Older Adults Aging at Home.

Online delivery is new to the field of music therapy (MT). This research investigated older adults' perceived quality of MT online by certified music therapists. In this feasibility study, applying both process and outcome assessments, nine older adults volunteered to participate. Zoom was used, and a virtual music therapy (VMT) kit was developed as a resource. Surveys and observed technical difficulties revealed that perceived quality varied slightly by level of technical difficulty experienced; however, overall mean perceived quality was 7.2 out of 9. Post-study interviews revealed three main themes: (a) individual experiences with VMT, (b) individuals' suggestions for further development of VMT sessions, and (c) individuals' personal outcomes from VMT sessions. Participants reported overall positive experiences with VMT. Despite a slight decline in perceived quality when more technical difficulties were present, each participant reported a desire for more sessions, and they would recommend it to others.

Music Therapy and Korsakoff's Syndrome: The State of the Art.

In this perspective article, the authors give insight into the beneficial effects and the current developments in music therapy for patients with Korsakoff's syndrome (KS) in the Netherlands. Music may be the key to distracting patients from negative moods, to help them express emotions and to teach them new skills on physical, psychosocial and cognitive levels. This may lead to improving the quality of life of patients with KS. Emphasis is placed on the personal experience of the authors and on the future directions in the field. Their experience, as well as the experience of music therapy colleagues working in the field with the same target population (joined together in the Music Therapy Korsakoff Expertise Group), is situated in the context of existing literature and showcases current developments in the specific field of music therapy and KS. Since literature on this specific topic is limited, the authors allowed themselves to delve into somewhat older but still leading and representative literature. There is still little knowledge on how music therapy may contribute to reducing the impairments patients with KS suffer and to improving their quality of life in general. Using the Empathic Directive Approach (EDA) as the starting point, the authors elaborate on different potential approaches and interventions. With this article, the authors aim to gain more insight into the potential role of the music therapist by highlighting music-therapeutic micro-interventions and to provide recommendations for future directions on how to integrate music therapy in the treatment of patients with Korsakoff's syndrome.

Perspectives on Building Momentum to Reach New Heights in Music Therapy Research.

When I was invited to write about my perspective on music therapy research as an early-career researcher, I thought it would be a good opportunity to reflect on my own research experiences and share how those have shaped my view of music therapy research. I did not know how difficult and messy it would feel to put those perspectives on paper. Although I have been in the field for a number of years, I am new when it comes to the role of a full-time researcher, and there is a lot that I have yet to discover. It feels scary to share thoughts on the things I am just learning. I have also never written a publication like this. Figuring out how to write my exact thoughts about music therapy research has been a challenging process where I found myself reverting to the writing style of a literature review. Finally, the field of music therapy is amid a complex transformation that is necessary to build a future that is diverse and inclusive, including all aspects of research. I am mindful of the many privileges that have led me to the opportunity of writing this piece. I acknowledge I am only one perspective and that your experiences may be similar or vastly different from my own. It is my hope that what I share inspires new conversations and ideas, sparking momentum that can bring music therapy research to new heights in the next 60 years. After all the pondering and discarded drafts, I have settled on sharing how three experiences from my own research journey have contributed to my perspective on where music therapy research is today. Although these are my experiences, I do not believe they are entirely unique, so I hope that something from my story will resonate with you.

Resonant Recoveries: French Music and Trauma Between the World Wars by Jillian C. Rogers

Reviewed by: Resonant Recoveries: French Music and Trauma Between the World Wars by Jillian C. Rogers Sharon L. Fairchild Rogers, Jillian C. Resonant Recoveries: French Music and Trauma Between the World Wars. Oxford UP, 2021. ISBN 978-0190658298. Pp. 364. Resonant Recoveries makes valuable contributions to the fields of musicology and music therapy by examining how French musicians during and after World War I used music to cope with the traumas they experienced. Rogers intentionally focuses on the emotional lives of composers and performers. She analyzes how music functioned in musicians' lives not only in coping with trauma, but also by supporting recovery and healing, by memorializing lost loved ones, and providing release via humor. In addition to music research, the book includes investigations in the fields of the history of psychology, medicine, and literature. It is a cultural history of French musical modernism that contrasts with previous representations of the period as les années folles dominated by jazz, dance music, musical theater, and surrealism. Through imagining what musicians must have been experiencing emotionally, Rogers provides an intimate understanding of famous musicians and artists of the period such as Ravel, Satie, Debussy, Stravinsky, Cocteau, and Boulanger. Rogers' overarching premise is that the trauma musicians experienced during the war led them to feel music as an embodied, therapeutic means of coping, and she analyzes how this manifested itself in four ways. Rogers first examines the subject of trauma and how it was viewed in the past. In an era that did not recognize post-traumatic stress disorder, society privileged a heroic self-sacrificing version of masculinity, while the expression of trauma and emotion was suppressed. Yet, while early musical pieces reflected these values, musician-soldiers found that performing or listening to music during the war provided a means to express their repressed trauma. Secondly, the author examines the late 19th century development of the field of music therapy during which psychologists discovered that trauma could be treated by vibratory sounds and music. Musical rhythm became recognized as being beneficial for physical and mental health. Through a study of musician-soldiers' letters, diaries, and other documents, Rogers shows that French musicians were aware of these theories; they frequently described their musical experiences during the war as a consolatory, vibrational therapeutic medium that impacted them physically. Another way that modernist composers found solace was through a particular style that Rogers examines in several music scores. This is the style dépouillé, found in works by Ravel, Satie, Poulenc, Stravinsky, and others. Rogers characterizes their compositions as having a repetitive, ostinato, rhythmic style, which helped mourning musicians process grief and satisfied their need for stability, regularity, and comfort. Artists also found that performing and composing music enabled them to memorialize and sense the presence of lost loved ones. Lastly, modernist composers and playwrights created spaces for healing laughter in musical-theatrical performances. Starting with Dada and Surrealism, Rogers examines collaborative projects of [End Page 219] artists such as Stravinsky and Cocteau whose humorous and absurd musical productions provided places in which to process wartime trauma. The innovative approach of this book is especially notable for its compassionate portrayal of the formerly overlooked emotional struggles of this generation of musicians. [End Page 220] Sharon L. Fairchild Texas Christian University, emerita Copyright © 2023 American Association of Teachers of French

Music therapists’ perceptions on their role and status in medical settings in France: A survey study

ABSTRACT Introduction Music therapy has a long history in France. However, little is known about music therapists working in medical settings and how they perceive their role and status. This study aimed to address this need. Method A survey was emailed to the 315 music therapists in France registered with either of the two main professional music therapy organizations. Respondents who reported working in medical settings within the last five years were asked to complete the survey. Descriptive statistics were used to analyze their demographic data, employment status, clinical practice information, and perceptions regarding their role and status. Results Eighty-four respondents were included in the data analysis. Findings showed that nearly 30% of the respondents had to persuade their medical facility to offer music therapy services. Over half of the respondents (57%) received medical training as part of their degree requirements. On average, the respondents worked 14 hours per week, and this was mainly in residential care facilities with patients with neurodegenerative disorders. Respondents strongly agreed that a music therapist’s role includes assessing patients, setting treatment goals, reporting progress, and communicating with the medical team. However, respondents stated that their status and role remained unclear to their medical colleagues. Discussion Despite promising advancements in the field of music therapy, in France the profession lacks the full support and recognition of the medical community. Additional efforts in the areas of medical training and systematic evidence-based practice are needed to improve the status of music therapists in France and elsewhere.

Ethical thinking in music therapy

The second edition of Ethical Thinking in Music Therapy is a highly anticipated addition since the release of its first edition (Dileo, 2000). The transformation of and new challenges in the field of music therapy over the last two decades necessitated the re-evaluation of the contents and functions of ethical guidelines. For instance, the most recent revision of the American Music Therapy Association Code of Ethics (AMTA, 2019) illustrates a shift of paradigm in their functions from prescribing ruled-based articles echoing standard-based norms to aspiring toward ideal behaviors that uphold the highest possible standard. To prepare music therapy students, interns, educators, clinicians, supervisors, and researchers for these challenges, Dileo included literature and learning contents reflecting the complexity of ethical thinking in the 13 chapters and 554 pages of writing referring to 1,221 sources, which is a significant increase from its first edition consisting of 12 chapters, 324 pages, and 375 references (Young, 2022). Instead of effortlessly gliding through a series of predetermined actions, readers at various levels of advancement in their professional practice are guided to develop the crucial ability to think critically and ethically. The question “What should I do” (p. xvii), echoing through ethical dilemmas as well as additional learning experiences in each chapter, exercises readers’ newly acquired decision-making strategies.

Music therapy through the screen with children with autism: Reflections on the differences between in-person and online improvisation

Ferdinando Suvini, Agostino Longo and Marco Giusti have been working together many years and are collaborating in the Florence Music Therapy Training Course and in the First Specialization Training Course on Music Therapy and Autism (2022). This interview, in which Marco interviews Ferdinando and Agostino, addresses different subject areas in the field of music therapy during the COVID-19 pandemic in order to discuss the need to modify intervention techniques when transitioning from in-person to online work. Starting from some reflections on the literature about online Improvisational Music Therapy (IMT), both pre-COVID and during the pandemic, we discuss whether IMT could be a feasible method for online work with children and young people with autism. Special attention is given to the treatment guidelines for working with children with autism. In order to better clarify some specific themes, some clinical examples of children and young people with autism are included. The aim of this interview is to illustrate and explore different intervention methods involved in the transition from in-person to online music therapy, with a specific group of patients. The clinical examples show that it is possible to maintain the principles presented in the treatment guidelines for IMT with children with autism, even if online work demands adaptations and modifications to the proposed techniques. The main purpose of the reflections set forth is to explore and understand how IMT changes when moving from face-to-face work to online.

Peace Camp

Community Music Therapy (COMT) is a development increasingly referenced and often nebulous in the field of music therapy. Depending on its description in the literature, COMT seems to be situated between an aspiration to stretch beyond boundaries of the ‘consensus model’ and serve atypical populations, and a working practical approach with clear guidelines. Curiosity around this phenomenon inspired an initial inquiry by the author into potential theoretical underpinnings to provide context and definition for its aims, namely critical theory. Through identifying the links between CoMT, critical theory/psychology, and conflict transformation–the approach utilized in modern peacekeeping–the author hoped to inspire more intentional efforts by music therapists working at the convergence of those ideas. This research culminated in the author’s master’s thesis, a critical review and attempted integration of these topics, in 2018. This article aspires to build upon that research by remapping the knowledge gained onto the experiences that catalyzed the inquiry. Through vignettes and commentary, the author uses a reflexive, critical lens to examine his tenure as a music counselor at Seeds of Peace Camp, a conflict transformation camp. By re-examining trial-by-fire moments and their aftermath, the author identifies relevant research in the aforementioned fields that may have enhanced or explained participant responses. This serves to broaden the collective understanding of the overlapping goals and practices of CoMT, critical theory/psychology and conflict transformation.

국내외 상지재활을 위한 음악중재 연구 내 악기연주 유형 및 악기 활용 분석

The purpose of this review was to analyze the use of musical instruments in music intervention studies for upper extremity rehabilitation. Twenty-one studies published in domestic and foreign academic journals were identified and analyzed. Differences were found based on the academic background of the researchers and the playing technique used. However, the activities for improving upper extremity function and the types of musical instruments employed shared a number of general characteristics. Music intervention studies in Korea were conducted mainly in the field of music therapy, while music intervention studies in other countries were conducted mainly in the medical field. Outcomes differed depending on whether the functional goals of the instrument playing involved gross motor or fine motor movement. Further research is necessary to expand the scope of instrument playing and the use of musical instruments in music interventions for upper extremity rehabilitation.

Breaking the Silence: Therapeutic Uses of Music and the Wellbeing of Adolescents

The author of this review paper critically discusses the Handbook of Music, Adoles­cents, and Wellbeing, edited by Katrina McFerran, Philippa Derrington, and Suvi Saarikallio (2019). The purpose of this paper is to evaluate the strengths and limi­tations of the volume, which, drawing upon empirical, practical, theoretical, and personal perspectives from the fields of music therapy, music psychology, music cognition, and music sociology, explores the therapeutic role of music in the lives of adolescents. Moreover, an attempt is made to highlight the most valuable obser­vations and learnings which a non-clinician might glean from the book in light of the COVID-19 pandemic. The author hopes that future collections on music, ado­lescence, and wellbeing will rebalance their research towards more cultural, socio-economic, and musical diversity to ensure that marginalised voices are heard.

Music, Meaning and Emotion

Name: Hannah Jefferies Main Subject: Classical Flute Research Supervisors: Ines de Avena Braga, Research Question: How can elements and features from psychology and philosophy illustrate what is fundamental to our emotions, in what way can these concepts be represented within and expressed by the flute repertoire, and how can we incorporate and convey these understandings as performers to create music meaningfully and be of beneficence to others? Summary of Results: This research sets out to contrast and evaluate diverse standpoints from psychology and philosophy to discuss firstly how emotions can be defined, whether music creates real emotions in us, and what capacities we possess to be both receptive and conveying of emotion within music. During my discussion, I incorporate examples of excerpts from the flute repertoire, consider the harmonic language used and function of musical structures, and balance this against the resulting emotional response from us. This initial discussion is in support of a questionnaire which I conducted in order to gather results from respondents of their perceived emotional response and valence when presented with differing musical excerpts, both upon an initial and second listening. I aimed to gauge and qualify their reaction to musical traits which have been connected more strongly than others to specific emotional states, and additionally I was interested to find if there was a connection between memory of a piece of music, and emotional valence due to this familiarity. Finally, having demonstrated the emotive strength it is possible for music to hold, I investigate how as artists we can harness and emphasise certain functions of music to create performances which are highly engaging and positively affecting for listeners. Additionally, this research then leads us to an understanding of the impact of integrating the effects of emotion and music, and suggests how this combination can be beneficial and utilised in and for the wider society, namely in the field of music therapy. Biography: I am currently a second year masters student from the UK studying classical flute at the Koninklijk Conservatorium with Jeroen Bron and Dorine Schade, having recently completed my Bachelors degree at the Royal Northern College of Music in Manchester. During my studies I have been very lucky to have had the opportunity to perform as part of ensembles including Asko|Schönberg, New European Ensemble, European Youth Wind Orchestra, and Amadeus Orchestra Academy. Outside of performance, I greatly enjoy being part of outreach and community music; a highlight was working with the Manchester Camerata Orchestra, delivering music therapy to people with Dementia.

Business Education for Music Therapists: A Qualitative Exploration

Abstract The number of music therapy private practices in the United States is growing. While it is thought that improving business skills can improve business success, it is not clear what business education was received by music therapy business owners (MTBOs). The purpose of this qualitative inquiry was to explore MTBOs business education in the United States and their views on business education for music therapists and music therapy students. Following an interpretivist theoretical framework, we conducted semi-structured interviews with 21 MTBOs representing all seven regions of the American Music Therapy Association. Using thematic analysis, we created five themes with supporting subthemes. Our findings indicate that the amount of business education participants received as students did not match the amount of business education they perceived necessary to be business owners, and that they sought out additional training from a variety of sources. Participants’ views on music therapy business education and skills important for business ownership in the field of music therapy are explored.

Moments of fun: Narratives of children’s experiences of music therapy in mental health care

ABSTRACT Introduction Mental health issues in children involve complexities and life challenges for the child and their families. Music therapy as part of treatment in mental health care focuses on interaction and communication through music, with emphasis on the children’s resources. There is a small, but growing amount of research in the field of music therapy with children in mental health care. Method This qualitative study explored children’s own experiences of music therapy in mental health care at the hospital. This was done through a multiple case study design, including semi-structured interviews with seven children and participant observations. A narrative approach informed by “portraiture” was used in the analysis process in order to highlight non-dominant experiences and allow for multiple modalities in the analysis and in the presentation of findings. Findings The children’s experiences were expressed through various modalities. These were displayed through narratives representing the core of the interview with each particular child. The word fun became a prominent emerging theme across the cases. Discussion In the children’s expressions, the word fun seemed to be a container of experiences, with rich variations and multiple meanings. Through a thorough attention to this word and the children’s actions before, after and while they spoke, multidimensional meanings of the word emerged. Through listening to the children’s own experiences, fun proved to be an essential part of music therapy in mental health care with children, not as mere entertainment, but as something of existential importance and with great therapeutic potentials.

Being Together in Music

In this paper shares and discusses questions that arose from music therapy sessions with an adolescent with severe multiple disabilities, with people not directly involved in the case. In the early sessions with this client, I wondered, “How can I make music with this client?” I intuitively felt that this question was not confined to the dyadic relationship between the client and myself as therapist, but was connected to the larger social structure and the various values and relationships within it. To share this question with those not directly involved in the case, I organized a small dialogue event using the Philosophy Cafe method. Through this, participants got a taste of each other's differing views and discovered new viewpoints together, thus enabling them to create a shared image of the word. This could serve as an example of how clinical music therapy practice can connect with the community surrounding it, and open up the case to society. Such dialogue also enables careful examination of the words and concepts used in the field of music therapy. This could lead to a review of the use of these words and concepts which had been developed from a modern, Western-centric perspective.

Addressing the need for personalizing music therapy in integrative oncology

Music therapy is an integrative oncology practice that has been rapidly emerging, over the past two decades, as a field of its own, clinically and academically. The randomized controlled trials that evaluate the clinical impact of music therapy are growing in number, and at the same time, there has been progress in understanding the neurobiological mechanisms that underly the beneficial effects of music therapy. Cultural background and autobiographical memories may uniquely influence music perception and cognition. It is vital to personalize music therapy because music preferences are unique; one size does not fit all. Cognitive music science studies and clinical music therapy trials that study individualized music choices will serve as a vital step forward in providing patient-directed personalized integrative cancer care. The field of music therapy is advancing, and its ability to improve a patient’s quality of life can be understood only through robust, personalized, evidence-based initiatives that focus on research, advocacy, education, and delivery of care.

Conventional and Algorithmic Music Listening before Radiotherapy Treatment: A Randomized Controlled Pilot Study.

Music listening is a widespread approach in the field of music therapy. In this study, the effects of music listening on anxiety and stress in patients undergoing radiotherapy are investigated. Sixty patients with breast cancer who were candidates for postoperative curative radiotherapy were recruited and randomly assigned to three groups: Melomics-Health (MH) group (music listening algorithmically created, n = 20); individualized music listening (IML) group (playlist of preferred music, n = 20); no music group (n = 20). Music listening was administered for 15 min immediately before simulation and during the first five radiotherapy sessions. The State-Trait Anxiety Inventory (STAI) and the Psychological Distress Inventory (PDI) were administered before/after treatment. Cochran’s Q test and McNemar test for paired proportions were performed to evaluate if the proportion of subjects having an outcome score below the critical value by treatment and over time was different, and if there was a change in that proportion. The MH group improved in STAI and PDI. The IML group worsened in STAI at T1 and improved STAI-Trait at T2. The IML group worsened in PDI at T2. The No music group generally improved in STAI and PDI. Clinical and music listening-related implications are discussed defining possible research perspectives in this field.