Experience Of Music Therapy Research Articles

Bereaved Parents' Experiences of Music Therapy with their Terminally III Child

The purpose of this study was to investigate bereaved parents' experiences of music therapy with their terminally ill child. In-depth interviews were conducted with 7 bereaved parents who were recruited through a community-based palliative care program. The parent participants' experiences varied as their children who received music therapy ranged in ages from 5 months to 12 years old. The interview transcripts were analyzed using phenomenological strategies. Five global themes emerged from the analysis. These included (a) music therapy was valued as a means of altering the child's and family's perception of their situation in the midst of adversity, (b) music therapy was a significant component of remembrance, (c) music therapy was a multifaceted experience for the child and family, (d) music therapy enhanced communication and expression, and (e) parents shared perceptions of and recommendations for improving music therapy services. These emergent themes yield knowledge into the relevance of music therapy within pediatric palliative care.

The phenomenological study on music therapy experience of alcoholic inpatients

The phenomenological study on music therapy experience of alcoholic inpatients

Interpretive Subgroup Analysis Extends Modified Grounded Theory Research Findings in Oncologic Music Therapy

Following an investigation into oncologic patients' experiences of the helpfulness of music therapy (O'Callaghan & McDermott, 2004), it was considered that examining relationships between specific patient characteristics and their responses could yield further interesting understandings. "Interpretative subgroup analysis" is introduced, which adapts principles of subgroup analysis in quantitative research to textual data analysis. Anonymous written responses from 128 oncologic patients were analyzed to compare responses from (a) those that had one music therapy session with those who had more than one session, (b) males and females, and (c) middle and older aged respondents. The number of music therapy sessions had scant effect on reported music therapy experiences, and males were much more likely to return questionnaires but much less likely to participate. Unlike some females, males always described positive affective responses when experiencing both sad and positive memories. Variations in the middle and older aged subgroups were evident in type of affective response, and emphases in descriptions of memories and music therapy's effect. Implications of these findings for music therapy practice are considered. Interpretive subgroup analysis is recommended for extending understanding of subjective within group experiences in music therapy research incorporating a grounded theory approach and large enough samples.

Grocke, D., & Wigram, T. (2007). Receptive Methods in Music Therapy: Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students. London and Philadelphia: Jessica Kingsley. 271 pages. ISBN 1-84310-413-X. $34.95

Grocke, D., & Wigram, T. (2007). Receptive Methods in Music Therapy: Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students. London and Philadelphia: Jessica Kingsley. 271 pages. ISBN 1-84310-413-X. $34.95. I began reading Receptive Methods in Music Therapy: Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students, by Denise Grocke and Tony Wigram with a sense that I already knew what the book would contain. I expected a description of a number of techniques in which clients listen to music. I assumed that there would be some suggestions about selections of music and for what occasions. I supposed that each chapter would be a description of a different overall method. Given my rather dry vision of what such a book would include, it is good that I did not write this book but that Denise Grocke and Tony Wigram did because their product is far from dry. It does include a description of techniques. It also includes many more aspects of what a music therapist does-whether working with receptive or techniques-than nearly any book of which I am aware. It includes clinical applications and vignettes. It includes analyses of numerous techniques and tables outlining various adaptations of methods. And it does all of this while conveying the idea that music therapy is a complex matter, which will be aided by what is in the book. I found it stimulating and even inspiring! The book contains an introduction and 10 chapters. The introduction presents an overview of the book's contents, and the first two chapters provide material that is of use and interest to music therapists using receptive as well as techniques. Chapter 1, Engaging with Clients Verbally and Musically, includes sections on beliefs and values that impact on interaction with patients, verbal processing of client's experiences in music therapy, and empathic improvisation for nonverbal clients. These sections give a sense of the breadth of the material included in the book. In the section on beliefs and values, the authors ask readers to examine their own be liefs and values and the impact these have on their therapeutic interactions, and they include several exercises to assist in this process. The section on verbal processing could be the basis for an entire semester's work. The authors include references to what others have written on the subject, a comparison of verbal processing in counseling and in music therapy, a model for showing empathy, a description of verbal processing skills, and a comparison of effective and poor listening skills. They present focused questions that might be asked and the responses that they might elicit, several clinical vignettes utilizing verbal processing skills, and some example exercises from clinical practice followed by suggested responses in these situations. This section on verbal processing is indeed full and rich! The third section of this chapter, on empathic improvisation for nonverbal clients, includes three ways-preverbal, nonverbal, and supraverbal-in which music can be used in place of verbal language for clients who have limited or no verbal communication. Chapter 2, Selecting Music for Receptive Methods in Music Therapy, includes sections on differences between music for relaxation and music for stimulating imagery, characteristics of music for receptive music therapy, when selecting music for receptive methods, assessing a music selection for suitability, choice of music for particular client groups and ages, and guidelines for recorded music in the hospital environment. As in the first chapter, sections include examples, exercises, and clinical vignettes. For example, the section on other considerations includes possible associations that clients may have with a particular musical selection, music preferences, the length of the music selection, and whether vocal or instrumental music should be used. …

Attitudes towards Cross-Cultural Empathy in Music Therapy

ABSTRACT: According to the current literature, special skills in empathy are needed to implement sensitive and appropriate music therapy services. The purpose of this study was to assess levels of cross-cultural empathy among music therapists in two countries. Professional members of the Australian and the American Music Therapy Associations (N = 78) completed on-line tests of cross-cultural empathy and social desirability. Test scores were analyzed according to (a) country of residence, (b) academic degree, (c) previous crosscultural training received, and (d) years of clinical experience in music therapy. Results showed a significant relationship between cross-cultural training and cross-cultural empathy scores. Common misconceptions concerning aspects of cross-cultural music therapy are discussed as is the need for systematic and comprehensive cross-cultural training programs. The Role of Cross-Cultural Empathy in Music Therapy Empathy is an integral aspect of the client-therapist relationship. It is a complex process in which the therapist uses the client's evident and subtle cognitive, affective, perceptual, somatic, and communicative dimensions in order to gain a more complete understanding of the client's world-view (Ridley & Lingle, 1996). The definition most frequently cited by current writers explains empathy as a therapist's experience of entering the private perceptual world of the other . . . being sensitive, moment to moment, to the changing meanings which flow in this other person . . . temporarily living in his/ her life, moving about in it delicately without making judgments, sensing meanings of which he/she is scarely aware (Rogers, 1975, p. 4). Rogers identified empathy as one of the necessary conditions for therapeutic change, and empathy has since become an integral aspect of the therapeutic process across counseling disciplines (Ridley & Udipi, 2002). During the therapeutic process, empathy enables the therapist to assist in the client's meaning-making from ideas that may seem vague or clouded while simultaneously confirming the client's separate and valuable being and empowering his/ her sense of self. Empathy is discussed as a key concept in the client-therapist relationship in client-centered or personcentered approaches (McLeod, 1999). It is found to have a substantially positive impact in cognitive-behavioural therapy (Burns & Nolen-Hoeksma, 1992) and is evidenced as a crucial element of psychotherapy (Orlinksy, Grawe, & Parks, 1994). This indicates that empathy plays a vital role in the successful outcome of the therapeutic process. In order to successfully use empathy within a therapeutic relationship, the therapist relies on a multitude of cues from the client to gain an understanding of his or her internal experience and reality (Ridley & Udipi, 2002). In order to attempt to perceive the client's reality, the therapist is encouraged to understand that reality is developed over time and is influenced by the ideals, values, and beliefs of others within the person's familial and social groups. Ridley and Lingle (1996) describe self-experience as a culturally contextualized (p. 21) phenomenon. Therefore, therapists should be aware that reality can be cultivated and influenced by the culture in which the client is embedded. Cultural context defines reality (Draguns, 2002) and determines patterns of relating, of meaning-making, and of selfexperience (Ridley & Udipi, 2002). It is the current author's belief that an individual's cultural context influences the manner in which he or she learns to relate to the environment, to others, and to the self. In addition, the cues from which the therapist facilitates the growth and development of the client are embedded in the client's cultural history and cultural context. Therefore, the client's cultural background must be recognized as a central and fundamental element of the therapeutic process. …

Parents' Voices Supporting Music Therapy within Pediatric Palliative Care

It has been my experience that parents are willing and open to express their voices to promote and advocate for music therapy services for their terminally ill children. By listening to parents' voices when providing care for terminally ill children, much can be done to ease the suffering of children and families at the end of life (Widger & Wilkins, 2004). My music therapy masters research at the University of Melbourne with Dr. Katrina McFerran will investigate bereaved parents' experiences of music therapy with their terminally ill child. This inquiry unfolded through my music therapy work with several children and families within hospice and palliative care. Parents have reflected that music therapy was a vital component in their child's care at the end of life. As one mom commented, "I don't care what anyone says, it has made a world of a difference." In order to further explore parents' experiences of music therapy, in-depth interviews will be conducted and transcripts will be analyzed using phenomenological strategies. It has been reported that parents find the interview process helpful in working through grief. They have also reported feeling an overall eagerness to share their child's story in order to provide input that might assist other families in the future (Widger & Wilkins, 2004). This article will describe pediatric palliative and hospice care, discuss parents as advocates for their terminally ill children, portray the use of music therapy within pediatrics, and share an example of music therapy with Jack.

Verbal Processing within the Music Therapy Relationship

ABSTRACT: This article is intended to establish an introductory foundation for the continued development of theory and methods in the use of verbal processing in music therapy. Verbal processing may contribute toward client awareness of internal sensations, feelings and thoughts related to external events and relationships, as well as contribute toward therapist understanding of the affective, cognitive and relational material which surfaces during the musical experiences in music therapy. In addition to these functions, verbal processing provides a means for the music therapist to gather information, to test an observation, provide assessment information, stimulate activity within a therapy group, or provide feedback that can enable a return to the music. Issues that may present as resistances to the music therapist's use of verbal processing will also be explored. Case examples are provided to present demonstrations and application of the purposes of verbal processing. Finally, the article concludes with suggestions that may help the music therapist's focus on the direction of intervention in the use of verbal processing. It is suggested that music therapists continue to develop methods of verbal processing since it seems to be an integral part of a great deal of music therapy practice. Verbal processing, for the purposes of this paper, relates to the talking that facilitates the therapeutic process during, and in response to, music making or music listening. Two purposes are suggested for the use of verbal processing in music therapy. First, verbal processing provides the opportunity to increase awareness or understanding about internal (thoughts, observations, and feelings) and external events (within the music and interpersonal areas of experience). Thus, verbal processing allows for the client to integrate non-verbal with verbal realms of experience, such as when a client develops awareness, or a connection, between personal and interpersonal events experienced through the music therapy process and patterns that occur in his or her everyday world (Nolan, 1989, p. 177). A second suggested purpose of verbal processing is that it can provide the therapist with a way to gather additional information. This verbal information may verify and/or broaden the therapist's understanding of the client. Or, information gleaned from the verbal processing may contradict, or contrast, with information derived from musical experiences. In this later purpose, verbal processing may also help the music therapist become aware of countertransference material. As a result of verbal processing, the client and the therapist are able to re-enter into the musical experience (expressive or receptive) with new insights, and a more developed therapeutic alliance. This article explores verbal processing from both of these suggested perspectives. The ideas and suggestions in this article are based primarily upon the author's twenty five years of music therapy clinical experience with adults and children in inpatient and outpatient psychiatric and medical settings and through clinical and academic supervisory experience as a music therapy clinical training director and university educator. References from the literature serve to reinforce the author's perspective and to demonstrate diversity in the practice of verbal processing in music therapy. Verbal processing may occur in a wide range of expressive and receptive, also known as active and passive, music therapy approaches. At times, verbal processing may include only the therapist's words or may occur in the form of the client or therapist's spontaneous singing (Austin, 2001 ). It is not restricted to spoken discourse. It is not used as a literal translation of the musical events into words. Therapist and client discussion ought not to shadow the aesthetic, spiritual, and other ineffable manifestations of the music playing or listening experience. In some music therapy orientations, or approaches, it is believed that verbal processing is contraindicated or unnecessary due to the tenant that the musical experience intrinsically contains all that is needed for client change or growth. …

Guest Editorial: The Role of the Music Therapist in Music Therapy

Role of the Music Therapist in Music How do music therapists determine their interventions? What are the essential aspects of music therapy foundations and therapeutic beliefs that guide how we treat patients? How clear are we as clinicians in understanding our rationale, model of practice, choice of music or words, with consideration age, culture and basic personality structure of the individual/s we are treating? Certainly we are influenced by our training, musical background, cultural orientation, and use of transference and countertransference. Yet, much of our focus has been study particular interventions in terms of efficacy with regard the patient and type of music implemented, and less attention on the role of music therapist and how this role might affect the intervention and treatment. This is a complicated topic that warrants both personal and professional analyses. Historically, our competencies have served as a guideline for practice. Within the initial Essential Competencies for Music Therapy (Bruscia, Hesser, Boxill, 1981) under the heading of Therapy Implementation, were specific qualifiers that related how music therapists most effectively could aim implement music therapy treatment. These competencies have been expanded through the years, and along with our Standards of Education and Clinical Training (AMTA, 2004) serve as an important foundation our work as music therapists. It may useful review the original fundamentals of therapy implementation as we come into the current journal in which the theme is concerned with The Role of the Music Therapist in Music Therapy. The therapy implementation areas include: * The ability create a physical environment, select, design or adapt music, provide musical experiences that motivate client participation, providing verbal cues and non-verbal directions for successful client participation, * The ability improvise music spontaneously reflecting client attitudes, feelings and behaviors, the ability engage through improvisation and composed materials, sequencing and pacing according needs and situational factors, and * The ability recognize, interpret and respond significant events moment by moment. Therapeutic implementation assumes an integral relationship between the music, the client, and the role the therapist takes within the implementation. Through the years, have been several music therapists who have sought explore their role in the music therapy process. This began with a stepping back, of sorts. Our first instinct is concerned with the client, and then, the music therapy process. What kind of techniques and experiences will satisfying for the client? A further emphasis has been the analysis of the music itself. How do the elements of music infiltrate into the clients' life-world? A developing quest within the past twenty years has been the music therapists' desire understand their relationship with music and how that relationship might move us into a stance of open and more complete accessibility in forming relationships with our clients. Wheeler (1985) was among the first study the relationship between musical and activity elements of music therapy sessions and client responses. She noted the need to integrate research on the effects of music with music therapy clinical (p. 53) Wheeler later (1999) examined her own music therapy experience from a therapist's perspective in examining the experience of pleasure in working with disabled children. Bruscia (1995) studied his own consciousness and intentions within his GIM work. He sought understand how aspects of experiential space and levels of experience provided insight about what it meant for him be there with a client. Aigen (1 993) addressed the therapist's stance in providing music therapy including, among other aspects: . . . be(ing) comfortable with the level of self-revelation that occurs when one plays music with a client and the challenges of which affect both clients and therapists. …

What an I Doing Here?

This paper draws upon a dissertation for a Master of Music Therapy undertaken at the Nordoff-Robbins Music Therapy Centre, London. Music therapy is not currently an established part of bone marrow transplantation (BMT) care for paediatric patients in Britain and consequently little research has emerged in this area of clinical work in the UK. This study explores the psychosocial needs of children and their families during BMT, and demonstrates how music-centred co-improvisatory music therapy can address these needs. It is written from the point of view of the therapist. Drawing from interviews with patients, families and staff who have experience of music therapy within the area of BMT, and clinical vignettes from the first author's music therapy practice1, this paper highlights four areas of psychosocial needs that music therapy can address: a sense of agency, pleasure, cultural identity and normality. Each of these is discussed in relation to both the child and the family. The study suggests that the use of a music-centred, co-improvisatory approach to music therapy appears to be especially flexible in meeting and supporting the variety of psychosocial needs experienced by both children undergoing a bone marrow transplantation and their families.

Erratum

The following article was published in the last edition, erroneously attributed to Katrina Skewes as sole author. It was co-authored by Katrina Skewes and Tony Wigram. A Review of Current Practice in Group Music Therapy Improvisations Katrina Skewes and Tony Wigram Abstract The information contained in this article has been derived from a series of interviews conducted by the authors with selected specialists in music therapy group improvisation. Although the music therapy literature barely addresses the musical material created in group improvisations, it is not true to say that there is no expertise in this area. Rather, it is likely that the difficulties in communicating these musical processes via the written word or transcribed score has discouraged researchers and clinicians from publishing current theories and understandings. For this reason, selected specialists were approached to take part in in-depth interviews aimed to solicit their current understandings of music therapy group improvisations. The results in this article are made up solely of the information shared in these interviews in response to a series of open-ended questions posed by the authors. Introduction and Brief Literature Review Music therapy group improvisations are a powerful tool for working with groups of clients who do not communicate successfully using verbal means. Additionally, this technique has grown in popularity for those interested in using creative experiential modalities for gaining insight into self and their relationships with others, as well as for the teaching of music therapy students. Interestingly, there is little documentation regarding the faci Iitation of this music therapy technique, although it is addressed within Bruscia's text Improvisational Models of Music Therapy (1987) and the Nordoff-Robbins literature (Aigen 1997; Ansdell 1995; Pavlicevic 1995a; Nordoff & Robbins 1977). As far as the authors are aware, empirical research into the musical material generated in music therapy group improvisations is yet to be conducted. More recently, the literature has included discussion of the relationship between music therapy group improvisation and group analytic theory, proposing that the music therapist's role is similar to a conductor and that the musical material often develops in a fugal fashion (Towse 1997). Amason (1997) has explored the experience of group improvisation for a number of music therapy clinicians who met for the purposes of ongoing professional development. Drawing on the principles of phenomenological music analysis (Ferrara 1984, 1991) and Langenberg's (1995) resonator function, Amason has created a useful model for reflecting on the musical material generated, suggesting that musical analysis of improvisations changes clinical work from a purely ‘doing’ level of practice to a reflexive level of practice. A number of models have also been proposed for exploring music therapy improvisation work with individual clients (Ansdell 1991; Langenberg, Frommer & Tress 1993; Lee 1992, 2000; Pavlicevic 1994, 1995b), however the literature on group improvisation is sparse and based primarily on theorising and borrowing results from related research. Katrina Skewes is an Australian music therapist who recently completed her PhD examining the experience of group music therapy for bereaved adolescents. She works at the University of Melbourne, at the Melbourne Royal Children's Hospital and at Very Special Kids, a children's hospice. Tony Wigram is Professor and Head of PhD Studies at the University of Aalborg, Denmark, and Head III Music Therapist at Harper House Children's Service, Radlett, England. Skewes, K. & Wigram, T (2002) ‘A Review of Current Practice in Group Music Therapy Improvisations' British Journal of Music Therapy 16(1): 46–55

Bringing Music to Life: A Study of Music Therapy and Palliative Care Experiences in a Cancer Hospital

A music therapy research study aimed at understanding patients’, visitors’ and staff members’ experiences of a music therapy program in a cancer hospital over a three-month period is described. Respondents’ answers to brief open-ended questions, as well as the music therapist researcher's interpretations of the program's relevance, were examined using thematic analysis based on grounded theory. ATLAS.ti software supported data management and analysis. Themes encapsulating 128 patients’ reflections about music therapy were delineated and substantiate how music therapy can support palliative care aims throughout the cancer illness trajectory.

Music at the Edge. The Music Therapy Experiences of a Musician with AIDS by Colin Lee. London: Routledge, 1996. Hardback £49.26, paperback £19.25, 171 pp + CD.

Music at the Edge. The Music Therapy Experiences of a Musician with AIDS by Colin Lee. London: Routledge, 1996. Hardback £49.26, paperback £19.25, 171 pp + CD.

Book Review: Music at the Edge: The Music Therapy Experiences of a Musician with AIDS

Book Review: Music at the Edge: The Music Therapy Experiences of a Musician with AIDS

Talking about Music Therapy

This paper is designed as an introduction to a projected series on aspects of the meta-theory of music therapy. In common with pyschoanalysis (Mitchell 1993) and art therapy (Henzell 1995), music therapy inquiry is seeing an evolving reflexive trend which examines in several ways the nature of theory in the discipline — in order to clarify, contextualise and critically evaluate past and current trends (Aldridge 1990, 1993b; Aigen 1991, 1995; Ruud 1988). In the case of music therapy, meta-theory typically seeks to uncover the relationships between three domains: what music therapists do (praxis); what they say (discourse); and what they know (epistemology). This paper takes discourse as the starting-point and makes an introductory study of the nature of talking about music therapy. It centres its investigation on a simple qualitative-style experiment in which a group of listeners (of varying musical and music therapy experience) identify and describe a taped excerpt of music therapy. The results of this experiment are used to form the basis of a discussion about several commonly expressed ‘language problems’ in music therapy: the need for a ‘common language’; the verification of clinical data; describing musical behaviour and the boundary between description and interpretation.

Moments of Insight in the Music Therapy Experience

This article examines the concept of insight in music ther­ apy literature and explores moments of insight as experi­ enced and described by clients and therapists in music therapy. Through the utilization of a qualitative research method, various types of insight that occur in the music therapy process, as well as the conditions that facilitate these moments and the results of these moments in both clients’ and therapists’ lives, are explored.

An exploration into qualitative research in music therapy

Research in music therapy presents a challenge as the researcher is faced with the task of both discerning artistic qualities such as creativity and improvisation, which are the essence of clinical work, and communicating those often ineffable features to other professionals in a coherent and well-defined manner. The question of whether this goal will best be met by using quantitative or qualitative research methods has been actively debated in the field of the creative arts therapies for the past ten years. Although the impact of this debate has had an influence on therapists, educators and researchers, the issues are far from resolved and demand continued dialogue. Certainly the perspective of this author and researcher, having recently moved from the academic environment to the medical model mainstream where most creative arts therapists work, is that there is a great need for continued dialogue about the reasons for and possible applications of qualitative research options. The purpose of this article is threefold: (a) to discuss the concept of qualitative research and the arguments for utilizing such research, (b) to present specific research topics and possible research methods that can be applied, and (c) to demonstrate how utilizing qualitative research may enable us to examine and further understand the often complex and enigmatic aspects of our clinical practice that cannot adequately be addressed by quantitative research. It is important to stress that this discussion and presentation of arguments for using qualitative research does not imply a rejection of the more traditional quantitative research. It is rather an expression of a need for additional and alternative ways to study aspects of the music therapy experience that, it is hoped, will bring new insight and understanding to our clinical experiences. The concept of qu~itative research has been explored in other fields-education, nursing and psychology. Bogdan and Biklen (1982) have discussed five main characteristics of qualitative research: (a) that the natural setting as opposed to the laboratory is used for research; (b) that research is essentially descriptive in nature, discussed in words rather than numbers; (c) that researchers are focused on process rather than product; (d) that data are treated inductively; and (e) that meaning rather than truth is of utmost impo~ance (pp. 27-29). With this definition in hand what reasons are there for pursuing this style of research?

A Comparison of Clinical Evaluations and Student Self-Evaluations of Undergraduate Practicum Experiences in Music Therapy

A Comparison of Clinical Evaluations and Student Self-Evaluations of Undergraduate Practicum Experiences in Music Therapy

Aesthetic Experience in Music Therapy

This article explores the nature of aesthetic experience and its role in music therapy. With reference to the music therapy literature, the western philosophical tradition, and the work of Gregory Bateson, the author proposes a concept of the meaning of beauty in which aesthetic experience is an affirmation of ontological meaning. The importance of such experience to clients who may perceive their lives as lacking in meaning is discussed. Illustrative clinical material is drawn from the author's work with emotionally disturbed children.

The Past, Present, and Future: Like the Circle, It Is All One

The author describes her experiences in music therapy in terms of past, present and future. The past consisted of involvement in the National Association for Music Therapy and the seemingly endless examination and reexamination of issues. While her present situation is that of a teacher in a private school, she still asks critical questions concerning music therapy. Questions such as, “which model of therapeutic process do we use—behavioral or humanistic?” “Do we combine verbal therapy with the music or should it be only the music that is attended to?” The author describes her work and how she employs music. Also discussed is the task specific to music therapy in her setting, and the uniqueness of music therapy in the setting.