Music Process Research Articles

Trauma-Informed Care in Music Therapy: Principles, Guidelines, and a Clinical Case Illustration

Abstract The 2019 National Survey on Drug Use and Health reports that 9.5 million Americans aged 18 and older have been diagnosed with more than one mental disorder. Music therapists working in mental health treatment settings are likely to work with individuals who have a complex diagnosis defined here as 2 or more of the following: depression, eating disorder, generalized anxiety disorder, substance use disorder, and severe mental illness. Additionally, adverse childhood events or posttraumatic stress disorder often complicate the clinical profile. Given this, a trauma-informed approach to music therapy treatment is necessary to improve outcomes and minimize harm. The risks, contraindications, and ethical considerations necessary to effectively treat and care for these clients in music therapy will be reviewed. Methods of identifying, assessing, and treating these complex clinical issues in music therapy are discussed with the goal of helping clinicians understand: (1) where treatment needs to begin to ensure therapeutic goals addressing primary issues prior to addressing secondary issues and (2) the appropriate use of music therapy methods. The necessity for music therapists to understand the power of the music in the music therapy process is explored, to ensure that clinicians are meeting client needs, not triggering symptomatology, traumatic memories, or experiences. The importance of a clinician knowing their scope of practice, when they are adequately trained and prepared to work with clients with complex disorders, and how to utilize support such as consultation and supervision to support their effective treatment with client(s) is presented.

Family members’ and other experts’ perceptions of music therapy with children on the autism spectrum in New Zealand: Findings from multiple case studies

Music therapists have argued that people who witness music therapy can develop good understandings of processes and potential outcomes. Family members and other experts were invited to critically examine clinical materials, generated from ten new cases of music therapy with children on the autism spectrum and presented in Narrative Assessment form, and to share their perceptions of the work. Narrative assessments include descriptive text and audio and/or video examples which capture and document children’s learning in authentic contexts; and are designed to make learning ‘visible’.Each case was interpreted by two-four people who knew the child, and six other autism experts who did not know the children. These commentators provided rich feedback regarding the personal resources that children and their therapists brought to the music therapy encounter; music therapy processes; and their perceptions of outcomes. Their observations, and their articulation of feelings and beliefs about music therapy, suggest that they developed good understanding and strong appreciation for music therapy as it is practiced in New Zealand. Narrative Assessment and qualitative case studies are highlighted as valuable ways to share professional knowledge and enable families and other stakeholders to understand what happens in music therapy programmes.

DAGESTAN PROFESSIONAL MUSICAL ART IN HISTORICAL DEVELOPMENT: THE SECOND HALF OF THE XX - BEGINNING OF THE XXI CENTURY

The article describes the patterns and features of the development of the musical art of Dagestan at different stages of its evolution over more than half a century of history. We have analyzed the components of the musical and professional tradition, giving a holistic view of it, versatile reflecting both the originality and originality, and historical variability. These include: genre-species differentiation and systemic connections, stylistics and means of musical expression.The multifaceted study and the possibility of interpreting the data obtained allows one to create an idea of ​​the ways of the formation and development of the musical art of Dagestan during the period under consideration. The initial premises of the study can be summarized as follows.The structure of musical art is formed on the basis of the interrelationships of composer's creativity, performing practice and various cultural interchanges that undergo stylistic and genre-specific changes.The second premise was the look at the musical art of Dagestan as an actual part of modern culture. Therefore, the main source has become various forms of broadcasting musical culture (listening practice and analytical observations at concerts of classical music).Reliance on contemporary musical material and direct observation of the musical process in the field of classical, pop and other spheres of culture presupposes the study of the phenomenon in a synchronic aspect. The presence of publications by different authors and our own research experience make it possible to a certain extent to make diachronic comparisons.The important regularities in the development of the Dagestan academic musical art identified by us can form the basis for further research of genre phenomena in different historical periods.

The integrative model for the semantic space of music and a contemporary musical educational process: the scientific and creative heritage of Mikhail Borisovich Ignatyev

The advent of computer technology has led to the creation and development of new forms of teaching musical art. The emergence of music computer technologies (MCT) was the basis for creating both new forms in the educational process and new subjects, the appearance of new disciplines and new educational trends in the system of a contemporary musical education. These new subjects, such as “Musical Informatics,” “Computer Music Creative Work,” “Computer Arrangement and Composition, Sound and Timbre Programming,” “Electronic Musical Instruments” and many others, fully reflect the essence of the changes that have occurred in approaches to the study of music art. This article analyzes the possibility of including an integrative model for the semantic space of music, developed with the participation of the prominent cybernetics, scientist Mikhail Borisovich Ignatyev, in a contemporary musical educational process.

Penggunaan Metode Peer Teaching Dalam Pembelajaran Gitar dan Keyboard di Gereja Toraja Jemaat Gandangbatu Timur Klasis Gandangbatu

Peer Teaching is a learning process by involving peers. The learning process can apply to any type of activity, including learning music. Peer Teaching in most churches did not develop this and chose to seek outside coaches rather than empowering church youth with great potential. The purpose of this study was to describe the Peer Teaching method in learning music (guitar and keyboard) which was carried out in the Gandangbatu Timur Congregation, Klasis Gandangbatu. Subjects in this study were 10 youths who were divided into 2 groups, namely the Music Guitar Group and the Music Keyboard Group. The method used in this research is a qualitative research method with a descriptive approach. The results showed that the music learning process using the Peer Teaching method was carried out by starting the basic concepts in music. The output of this Peer Teaching is the training of church youths who can serve in the congregation (Music Section)

창작 뮤지컬 음악의 루티닝(Routining) 과정과 공연화에 대한 연구 - 창작 뮤지컬 의 제작과정을 중심으로 -

This study is based on the musical work involved by the music director in the process of producing a creative musical performance. The purpose of this study is to understand the work of the music director through direct examples of the musical production site for the performance of the musical number. While previous studies on music directors focused on indirect reviews of case interviews with music directors, this study directly describes the routining process, which is the performance of musical numbers, from the music director's point of view. Through previous research, this researcher analyzed the theoretical basis for the music change process, routining, and considered the work area performed by the music director by applying it to the case of the production process of the creative musical <Liberation>. As a result of the study, the music director understands the composition and arrangement of the musical number, adjusts the music in consideration of the flow of the drama, the connection for stage change, and the delivery of lyrics and pronunciation, and provides vocal guidance for actors to acquire the number. He is in charge of arranging vocals, such as adjusting the keys and adding chords for the number. It is hoped that this study will help to understand the process by which intangible sheet music is transformed into a tangible performance in creative musical production, and to study the role of the music director at the center of the process.

PEDAGOGICAL GIFTEDNESS AS A FACTOR OF SUCCESSFUL PREPARATION OF STUDENTS OF ADDITIONAL EDUCATION FOR CONCERT PERFORMANCE

This paper examines the features of the activities of a teacher of additional education related to the preparation of students for a concert performance and necessity of creating favorable conditions to the successful performance of students. The most common shortcomings in preparing students for performing in front of audience are identified, also the main stages of the musical teaching process are considered. In the course of analyzing the activities of a music teacher, it was revealed that in the structure of the organization of the musical teaching process when working with gifted students, it is important that the teacher has pedagogical giftedness, which includes a number of pedagogical abilities. On the basis of the studied materials and the experience of foreign countries, the author proposes, on the basis of a bachelor's degree, to enter a course of major disciplines such as psychology of musical and pedagogical activity, psychological and pedagogical workshop and the art of teaching stage performance, and for acting teachers on the basis of children's music schools, to introduce an advanced training course of psychological and pedagogical support of students in the conditions of concert activities for teachers of additional education.

What Did You Expect?

This article explores the ways in which the expectations of clients and referrers can impact the music therapy process. The setting is one of a self-employed music therapist working for a music therapy provider. The referrals for this therapist come from the community via the provider’s website. A room in a community centre is used for sessions. Three case studies are presented, through which the relationship between the client’s or referrer’s expectations of music therapy and the actual outcomes of the work is explored. The first case study illustrates a scenario in which a client’s expectations were different from what the therapist could offer, but an informed decision to continue music therapy on the part of the client was reached. The second case study considers how the communication between the therapist and referrer about the referrer’s expectations enabled a client’s needs to be met through a challenging therapy process. The third case study looks at how a previous experience of therapy for the referrer may have led to high expectations of the therapy for a client she referred. The paper examines how these expectations influenced the therapy process. The author argues that the expectations of the person referring a client can have a significant influence on the therapy process and must be accounted for.

Analysis of Shared Leadership Practices During an Original Music Production Process

The process of making an original music album is highlighted to illustrate aspects of the music production process in addition to how leadership and related factors play out during this process. Background information is detailed regarding musicians as entrepreneurs, the music production process, group dynamics, learning approaches, aspects of group dynamics, and an emphasis on more shared, distributive forms of leadership. The conceptual framework and results of the ethnographic field study describe a music production process consisting of the following phases: Pre-Production; Production; and Post-Production, with decision-making, direction-setting, and overall leadership approaches playing out at each phase. Reflections, key learnings, and recommendations for future research are presented, all centering on the usefulness in identifying the process of original music production.

Taqsīm as a Creative Musical Process in Arabic Music.

Creativity plays a major role in various musical contexts including composition, performance and education. Although numerous studies have revealed how creativity is involved in processes of listening, improvising and composing, relatively little is known about the particularities of transcultural creative processes in music. In this article, we aim to shed light on the creative musical processes underlying taqsīm performance in Arabic music. To that end, qualitative interviews have been conducted with three Berlin-based oud players from Syria. Results of a thematic content analysis show that taqsīm encompasses multiple components (e.g., a flexible form and dependency on maqam as well as tonal music) and serves various functions such as developing artistic individuality. Moreover, taqsīm is affected by interactions between tradition and novelty. We discuss the interview data within the cross-cultural experiential model of musical creativity developed by Hill (2018), offering a fresh approach to studying taqsīm which goes beyond established concepts such as the improvisation-composition continuum.

Implementation of Kupingan Method in Javanese Karawitan Music Training for Foreigners

The present work explores the implementation of kupingan method in the karawitan music training process to foreign participants with written tradition background. Moreover, it aims to identify, analyze, and elaborate the strength and weaknesses of kupingan method in transfer knowledge of gamelan skills. The present study employed a descriptive-qualitative method and class-action research design. The research objects involved the training of Javanese karawitan music to Tlaga Madu group from the University of Michigan in 2019. The data were obtained through observation of participation, interview, and document study. The data were further validated by triangulation technique and analyzed by steps as follows: identification, classification, verification, reduction, and explanation. The results indicate that kupingan method is applicable in the karawitan music training for foreigners, yet, to a very limited extent. By implementing the method, the training participants can master simple gending (colotomic structure) instrumental of learning materials, such as basic technique and patterns of instruments in the small-format gending lancaran form. On the other hand, the materials of complex gending with larger formats than lancaran are more effective to be disseminated by karawitan notation that is written in detail and elaborated with a demonstration of the song play.

Repetition and Aesthetic Judgment in Post-tonal Music for Large Ensemble and Orchestra.

Post-tonal music often poses perceptual and cognitive challenges for listeners, potentially related to the use of relatively uncommon and unfamiliar musical material and compositional processes. As a basic compositional device, repetition affects memory for music and is structured by composers in very different ways across tonal and post-tonal musical repertoires. Of particular concern is whether post-tonal music exhibits mnemonic affordances that allow listeners to experience a sense of global coherence, and whether repetition correlates strongly with aesthetic judgment. Although previous research suggests that repetition impacts aesthetic preference, empirical research has not mapped out the relationship between repetition and aesthetic judgments across a broad set of post-tonal music. Presenting 14 excerpts, grouped into three categories: tonal, modernist, and post-1970, we observed that indications of repetitions in the music for a group of 60 listeners, with and without musical training, showed significant periods of interindividual synchronization. Aesthetic judgments were assessed by means of ratings for the following parameters: familiarity with the piece, confidence of repetition responses, judgments of affordances for easy listening, coherence, similarity of moments, and recognition, as well as listeners’ liking and interest. A principal component analysis (PCA) on the joint question data and the repetition responses suggested that two factors account for 92% of variance in the data. These factors were interpreted as dominated by aesthetic judgment and repetition strength. Linear mixed-effects regression indicated that repetition strength generally differed across excerpt category, with modernist excerpts featuring lower repetition strength compared to both post-1970 and tonal excerpts. Aesthetic preference, on the other hand, was lower for excerpts in both the modernist and post-1970 categories when compared to tonal excerpts. The analysis did not reveal difference in response behavior for repetition responses as a function of musical training, though it indicated higher preference of modernist excerpts with increasing levels of musical training. Overall, the results suggest that the two factors, aesthetic judgment and repetition strength, act as independent determinants in the experience of post-tonal music.

The trends in modality of cultural paradigm and the history of kazakh music

The study is devoted to the periodization of the history of Kazakh music in the 20th century which is necessary for an objective reflection of all the complex musical and cultural processes of this time. Based on the existing approaches to periodization (U. Jumakova, M. Drozhzhina, V. Nedlina), as well as the methodology of V.R. Dulat-Aleyev, a universal basis for periodization was searched. Different approaches to the periodization of the musical culture of Kazakhstan in the 20th century one way or another take into account the aspect of the change of cultural paradigms, as a result of which the main time boundaries coincide. The reasons for periodization are the change of generations of composers (U. Jumakova), the interaction vectors of the center and periphery of culture (M. Drozhzhina), intercultural interaction (V. Nedlina). In this study, another, broader basis for periodization is proposed – a change in the paradigms of culture. It involves a semiotic interpretation of musical culture. The division of the recent history of Kazakh musical culture is consistent with the predominance of monomodality (until the 1920s), bimodality (1920-1970s) and polymodality (1980 – present). The paradigm of culture acts as a universal foundation and allows us to combine musical and cultural processes in different musical and creative forms (traditional music, composer creativity, mass art), and also take into account the wide Eurasian context of Kazakhstani music

Reconceptualizing the audition for the 21st century music student

The purpose of this quality improvement project was to examine a newly-implemented music admissions assessment process at a small liberal arts university and students’ perceptions of that process, which was intended to provide a holistic view of prospective students’ pre-admission achievement and to offer feedback regarding their readiness and potential success for meeting degree requirements. Faculty designed a three-part assessment process, integrating an inclusive perspective to provide them with a more complete view of a student’s skills, strengths, and areas in need of development prior to initiating their music studies. This process was designed to place students at the center of the assessment process and ensure that they have the opportunity to demonstrate their broad scope of skills. Music, human development and learning (i.e., music education) and music therapy students were invited to be interviewed regarding their experiences of the revised assessment process. Nine students participated in a focus group and were interviewed individually. Data analysis revealed four themes: Connecting with Others; Professional Identity; Developing as a Musician; Seen as an Individual. This redesigned process provided students with opportunities to create connections with their peers and faculty, serving as a means of support and belonging in the social and academic environment. Supplemental data for this article is available online at http://doi.org/10.1080/10632913.2021.1937761.

Flourishing in Resonance: Joint Resilience Building Through Music and Motion.

Worldwide, children face adverse childhood experiences, being exposed to risks ranging from, exposure to political violence and forced migration over the deleterious effects of climate change, to unsafe cultural practices. As a consequence, children that seek refuge or migrate to European countries are extremely vulnerable, often struggling with integration in school, peer community, and their broader social circle. This multifaceted struggle can derive from external factors, such as the adaptation process and contact with other children, or internal factors such as the fears and trauma that every child carries within them since they departed from their homeland. To bounce, grow, connect, and create in both adversity and opportunity, children need to build resilience, i.e., the capacity of an individual to maintain stable psychological functioning throughout the course of adversity. On the one hand, building resilience requires developing a set of individual skills (internal protective factors), such as self-control, emotion regulation, self-esteem, and agency. On the other hand, building resilience involves developing social skills (external protective factors), connection, and close relationships. In this theoretical contribution, we review and map existing research to argue that activities based on the combination of music and movement has a strong potential to intensively build resilience. First, we connect the concepts of resilience and eudaimonia, based on the protective factors and key components of resilience. Then we discuss how music and movement, separately, may contribute to building resilience. Next, drawing on the basic mechanisms of musical sense-making, we argue that through combining music and movement, children engage in empowering musical sense-making processes that support building resilience, and in this way, support them to grow together and deeply experience eudaimonic values such as self-awareness, confidence and self-esteem, personal autonomy, connection, belonging, and bonding. Finally, we connect theory to practice. Based on the presented theoretical elaborations and on the authors’ experience as practitioners, we propose a set of guiding principles for the design of movement-based musical activities that foster the internal and external factors necessary to build resilience.

Hybrid of the fuzzy logic controller with the harmony search algorithm to PWR in-core fuel management optimization

One of the important parts of the in-core fuel management is loading pattern optimization (LPO). The loading pattern optimization as a reasonable design of the in-core fuel management can improve both economic and safe aspects of the nuclear reactor. This work proposes the hybrid of fuzzy logic controller with harmony search algorithm (HS) for loading pattern optimization in a pressurized water reactor. The music improvisation process to find a pleasing harmony is inspiring the harmony search algorithm. In this work, the adjustment of the harmony search algorithm parameters such as the bandwidth and the pitch adjustment rate are increasing performance of the proposed algorithm which is done through a fuzzy logic controller. Hence, membership functions and fuzzy rules are designed to improve the performance of the HS algorithm and achieve optimal results. The objective of the method is finding an optimum core arrangement according to safety and economic aspects such as reduction of power peaking factor (PPF) and increase of effective multiplication factor (Keff). The proposed approach effectiveness has been tried in two cases, Michalewicz's bivariate function problem and NEACRP LWR core. The results show that by using fuzzy harmony search algorithm the value of the fitness function is improved by 15.35%. Finally, with regard to the new solutions proposed in this research it could be used as a trustworthy method for other optimization issues of engineering field.

The music of the drives, and the music of perversion: reflections on a dream of jealous theft

ABSTRACT I investigate the possibility that in order to reach truly disturbed parts of the patient's mind, the analyst also may need to mobilise similar areas in his own psyche. I examine the part musicality might contribute to this well-known idea, that is, I consider what is set off in the analyst's mind by the changing qualities of the actual music of the analytic couple's voices, and also by the musical events that occur in response in the analyst's mind. The term perversion is particularly used to explore the perverse qualities of the musical countertransference. I propose that these primal musical processes are ubiquitous, taking place at a fundamental psychic level before images or words are formed. I re-examine Isaacs' (1948) theory that the images of unconscious phantasy are the most archaic expression of the drives, and suggest that the music of unconscious phantasy may assert its prior claim in this regard, the infant's ability to form images deriving from this prior musical capacity. I propose that the words – a much later development – that are then uttered by the analytic couple can be thought of as the text in which the mind attempts to describe what is already occurring musically at the level of the drives and unconscious phantasy. I suggest that many operas offer a paradigm of this process, and offer a helpful way for analysts to think about verbal communication, both interpersonal and intrapsychic.

Music Classification and Detection of Location Factors of Feature Words in Complex Noise Environment

In order to solve the problem of the influence of feature word position in lyrics on music emotion classification, this paper designs a music classification and detection model in complex noise environment. Firstly, an intelligent detection algorithm for electronic music signals under complex noise scenes is proposed, which can solve the limitations existing in the current electronic music signal detection process. At the same time, denoising technology is introduced to eliminate the noise and extract the features from the signal. Secondly, from the perspective of audio and lyrics of song sentiment analysis and the unique characteristics of lyrics text, a lyric sentiment analysis method based on text title and position weight is proposed. Finally, considering the influence of the weight of feature words in different positions on the classification of lyrics, the analytic hierarchy process is used to calculate the weight of feature words in different positions of text title and lyrics before, in, and after the text. The results show that in the complex noise environment, the accuracy of music classification and detection of the proposed model is more than 90%, which is far beyond the control range of the actual application of music processing. The effect of music classification and detection is better than that of the contrast model, which has a certain practical application value.

Efficient Algorithmic Music Composition Using Neural Networks

Creating aesthetically pleasing music via algorithmic composition has continually been an ambitious goal of music research. Memory-based neural networks have shown to be particularly suited for this type of sequential learning. Music scores data is commonly used to represent different music features–such as durations and pitches–which when combined, make up the entirety of a music piece. As more music features are integrated into the music composition process, the space of labels required to represent possible feature combinations in a neural network grows significantly and rather quickly making the process computationally challenging, to say the least. This consideration bears special importance in situations with polyphonic pieces, where additional features such as harmonies and multiple voices are present.&#x0D; This research highlights the potential benefits of feature separation in music composition from music scores data. More specifically, we demonstrate the effectiveness of neural networks for automated music composition by learning music features separately; we start by creating separate simple models, one for each desired music feature, and then combine results from the simple models to compose new music. This is in contrast to the common practice of employing a single complex model trained over multiple features simultaneously. Case study evaluation results show significant time savings for our proposed approach with similar music “quality” compared to the complex model.

Three roads diverged: Transformative self-experience in AMT and GIM

ABSTRACT Introduction: The analytical music therapy (AMT) blended learning program through Molloy College and the Bonny method of guided imagery and music/focused music imagery (GIM/FMI) training through the Therapeutic Arts Institute provide advanced training in music psychotherapy approaches. Both programs require self-experience and supervision prior to working with clients in each respective model. Method: Utilizing the active improvisational method of AMT, as well as the receptive method of GIM in separate, alternating sessions, this article highlights the processes and experiences of pivotal moments as they emerged in both models. Results: At the time of publication, the primary author was moving through self-experience in AMT and also receiving personal GIM sessions and experienced profound, pivotal moments. The insights gained and subsequent life changes that occurred are attributed to alternating and integrating processes in both clinical models. Discussion: The experiences are examined from the perspective of the trainee, the AMT therapist, and the GIM therapist, and symbolic analyses of the improvised music and imagery processes embedded in the respective psychoanalytic and humanistic/transpersonal orientations.