Music Therapy Practice Research Articles

An Explorative Study Examining Augmentative and Alternative Communication Training in the Field of Music Therapy.

Music therapists work with many people who require Augmentative and Alternative Communication (AAC). As communication goals are central to music therapy practice, many music therapists would benefit from training in AAC. The purpose of this survey study was to determine the state of AAC education for music therapists at the university level, how AAC is being used in music therapy sessions, and how practicing music therapists are trained in AAC. Music therapy faculty and credentialed music therapists in North America and Europe were invited to complete an online survey. Descriptive statistics were used to analyze survey data from each group of respondents. With regard to training in AAC at the university level, results indicate that almost half of music therapy faculty (44.66%) provided some training. The primary reason given for not providing training was a lack of educator knowledge in this area. Results indicate that a majority (81.77%) of music therapy clinicians are familiar with AAC and slightly over half (55.08%) reported that they work with clients who use AAC. Sixty-two percent of music therapists reported using AAC to promote expressive language, and 49% to increase receptive language. Over 80% of clinicians stated they would benefit from additional AAC training. Although a majority of music therapists are familiar with ACC, results indicate that ACC competency could be enhanced through university-level instruction and continuing professional development courses.

Qualitative content analysis of “Hello Songs” composed for children by music therapists in the Czech Republic and USA

“Hello Songs” is a ritual musical expression of the non-musical communication occurring at the beginning and the end of a music therapy session with a client. 49 “Hello Songs” composed for children by 11 Czech and 8 American music therapists were examined during a qualitative research described in this paper. Through inductive content analysis seven categories were identified that characterise the content of the “Hello Songs”, and four findings described that relate to good practice in composition and application of the songs. Recommendations for music therapy practice were formulated based on the results.

A Survey Exploring the Current State of Censorship in Adult Psychiatric Music Therapy Practice

A Survey Exploring the Current State of Censorship in Adult Psychiatric Music Therapy Practice

Rap and singing are used by music therapists to enhance emotional self-regulation of youth: Results of a survey of music therapists in the Netherlands

The purpose of this study was to examine approaches of music therapists towards the application, frequency, and function of rap and sing engagements. Identification of these characteristics might support the refinement of these therapeutic interventions and encourage detailed application.A 25-question survey was sent to 336 qualified music therapists in the Netherlands. The questions sought information on such aspects as the role of rhythm in rapping and of melody in singing, the frequency of these applications in music therapy practice, and the treatment goals with reference to the needs of the clients.Results indicated that both rapping and singing applications in music therapy can enhance self-regulative skills during the process of emotional expression. In particular rapping occurred in this study considerably less frequent than singing but considered to decrease aggressive behavior. Singing was applied daily and associated with the support of deeper emotional involvement. The results suggest the need for more consistent descriptions of therapeutic interventions for the use of rap styles in music therapy practice, and the development of specialized protocols for research studying its effects for quality improvement.

Speech production, music therapy and celebral palsy

This paper deals with the analysis of music therapy interventions focused on the development of speech production in individuals with cerebral palsy (CP). The paper summarizes the results of theoretical analysis of the development of communication for persons with CP from the perspective of special education, speech therapy and music therapy intervention. The research methodology was based on qualitative design with a combination of content analysis and interpretive approach to case studies. The aim of the research was to determine the relationship between the level of speech production of people with CP and goals of music therapy intervention, its methods and procedures and musical materials used in music therapy practice. The research sample consisted of 10 individuals with CP and different levels of speech production. Data collection was based on an in-depth case analysis of available data from documents, video and audio recordings, music therapy products and interviews with music therapists. The research results have identified four stages of music therapy intervention (pre-verbal, semantic, phonological and stadium of complex linguistic phenomena). In each stage typical goals, methods and tools were described.

Music therapy and spirituality: an international survey of music therapists’ perceptions

ABSTRACTDespite various theoretical explorations regarding spirituality and music therapy, only a small number of empirical studies have been conducted in this area to date. This study aims to explore and provide a systematic overview of music therapists’ reported perceptions of spirituality and its relevance (or irrelevance) to their music therapy practice. A pragmatic methodological stance informs this study. Data were collected through an online survey questionnaire which was open to qualified and trainee music therapists across the world. Descriptive statistics and thematic analysis were used to analyse the data. A total of 358 music therapists from 29 countries took part in this study. The survey findings provide an insight into music therapists’ perceptions of spirituality including its place in their training, practice and professional life. Also, dilemmas that music therapists face, as well as their suggestions for future action regarding spirituality and music therapy, are explored. To date, this study is one of the largest international music therapy studies on spirituality. Its findings contribute to the growing evidence regarding a subject area that is considered as controversial by many professionals not only in music therapy, but also in other health-related professions.

Music Belongs to Everyone: Moments of Progress in Community Music Therapy with Musicians with Severe Disabilities

The article describes novel and successful projects involving musicians with severe disabilities and adolescent music students. The Nádizumzuzum Orchestra consists of adult members of a nursing home. They are able to play music with a newly developed method called Consonate. The young musicians are students of the Zoltán Kodály Hungarian Choir School. This article presents the historical and socio-political background of the project to illustrate how music therapy grows from particular cultural and political circumstances of Hungary, and therefore takes a particular Hungarian form and flavour. The article also reflects on the wider context of the international research and practice of Community Music Therapy.

Neo-colonialism In Music Therapy: A Critical Interpretive Synthesis of the Literature Concerning Music Therapy Practice With Refugees

This paper presents the findings from a critical interpretive synthesis that explored the assumptions influencing music therapists writing about their work with refugees. Music therapy literature suggests that the profession appears to be uniquely suited to address the healthcare needs of the refugee population by transcending cultural and language barriers which often mitigate access to other services. However, when working with individuals characterised by trauma and whose identities have been dictated by political power, it is essential that music therapy practices oppose these forces and provide opportunities for empowerment. Therefore, eleven papers describing music therapy practice with refugees from the international literature were examined and interrogated to determine the assumptions embedded within the language used by music therapists. The synthetic construct of a neo-colonial music therapist emerged from the data and informed subsequent analysis. The concepts of refugees as a homogenous group defined by a dominant narrative of trauma, and musical improvisation as a universal language appeared to be influential in the ways music therapists were reporting on their work. These findings are discussed along with considerations for a music therapy practice that promotes empowerment and advocates for the voices of the refugee population.

Representing People in Music Therapy Research and Practice: A Balancing Act

The process of representing people in academic writing and discussion is paradoxical. Drawing on our experiences of research in areas of child welfare and adult mental health, we consider whether the predominantly problem-focused language often used to describe and represent people in music therapy research and practice is congruent with the strengths-based way in which music therapists work. This article describes a "call to action" for music therapists to reflect on the language we use to represent the people we work and research with. We argue the need for a better balance in representing people in music therapy case studies, presentations and articles, by focusing on their strengths and resilience along with their challenges.

Context and relationships: Using the systemic approach with music therapy in work with children, adolescents and their families

This article considers the theoretical and practical use of the systemic approach in music therapy. An overview of the basic elements of the systemic approach is given. The potential benefits the approach can bring to music therapy practice are outlined with reference to the author’s work with young people with social, emotional and behavioural difficulties and their families. The potential for the systemic approach to contribute to the ongoing development of music therapy theory and practice is also explored, with particular reference to community music therapy. Two case studies are used to illustrate the use of the approach in practice.

What evidence? Designing a mixed methods study to investigate music therapy with children who have autism spectrum disorder (ASD), in New Zealand contexts

Music therapists are frequently called upon to produce ‘evidence’ that the services they offer are ‘effective’. However, a vicious cycle can exist in which efforts to develop a knowledge base that will satisfy demands for Evidence Based Practice (EBP) are hampered by limited music therapy practice, which is partially due to the lack of current evidence. In this article we discuss the dilemmas that music therapists face in designing research to meet the demands of EBP with children who have Autism Spectrum Disorder (ASD), when populations and practices are heterogeneous, and professional values are incongruent with quantitative paradigms. Our discussion is grounded in the context of exploratory research which aimed to gather information regarding the practice of music therapy with children who have ASD in New Zealand, in order to scope and design research appropriate for the New Zealand context. We use this discussion to demonstrate the value of mixed methods designs for music therapy, and introduce a specific proposal based on the findings of our exploratory research to investigate the perceived impact of music therapy to support the interpersonal communication of individuals who have ASD using a convergent parallel mixed methods design.

Between practice, policy and politics: Music therapy and the Dementia Strategy, 2009.

Does current music therapy practice address the goals encapsulated in the UK Department of Health document, Living well with dementia: a national dementia strategy (the Dementia Strategy) published in 2009? A survey elicited the views of clients, family members, music therapists, care home staff and care home managers, about this question by focusing on the relationship between music therapy and the 17 objectives outlined in the Dementia Strategy. The results showed that the objectives that are related to direct activity of the music therapists (such as care and understanding of the condition) were seen as most fulfilled by music therapy, while those regarding practicalities (such as living within the community) were seen as least fulfilled. Although the responses from the four groups of participants were similar, differences for some questions suggest that people's direct experience of music therapy influences their views. This study suggests that many aspects of the Dementia Strategy are already seen as being achieved. The findings suggest that developments of both music therapy practices and government strategies on dementia care may benefit from being mutually informed.

Study-Abroad in Music Therapy: Cultural Immersion as a Form of Self-Experience

Music therapists are expected to attain and maintain a broad range of multicultural competencies. In order to do so, a group of students participated in a study-abroad program in music therapy, involving classroom learning, community building, a clinical placement, and attendance at an international conference. A sample of these students participated in a qualitative interview study to explore what they learned. Results suggest that the program led to changes in students’ views of music therapy practice, the music therapy profession, and their definition of music therapy. The profession of music therapy is thus viewed as culturally situated, underscoring the importance of cultural self-awareness. The discussion contextualizes the results of these learning experiences using a Piagetian framework. Recommendations for music therapy faculty and organizations are drawn from the study findings.

Repetition in music therapy

Introduction: Repetition is a central phenomenon in music therapy practice – we repeat songs, rhythms, bodily actions, and verbal phrases. This is true for music therapy across different areas of practice. Still, in the discipline of music therapy, repetitions are seldom described in depth. In this paper, however, this important phenomenon is the center of attention. The presentation is part of a PhD project, now in its concluding stage, and will describe the project’s methodology and selected findings.Methodology: The research project is a qualitative instrumental multiple case study, including music therapy with a child with autism, music therapy with an elderly person with dementia, and music therapy with an adult person with a schizophrenia-like disorder. The empirical material comprises video recordings of music therapy sessions and interviews with the music therapists involved. Each case was analyzed separately, and the study concluded with a cross-case analysis.Findings: The presentation concentrat...

Music therapy practice in acute mental health care: what matters to clients, therapists and the wider health-care team?

Music therapy practice in acute mental health care: what matters to clients, therapists and the wider health-care team?

Flute, accordion or clarinet? Supporting music therapists to use their first instrument in their clinical practice

Background: In April 2015, three authors published a book in which 57 different music therapists from all over the world contributed a wide range of case studies where they used their first instrument. Instruments used included the clarinet, the accordion, the flute, the cello, the trumpet, the bassoon, the violin, the viola, the harp, the guitar, the trombone, the euphonium, the oboe, the saxophone and the double bass.Contents: This workshop will explore various practical ways in which different instruments may be used, drawing on information from our book. After each activity, we will reflect on the uses and characteristics of different instruments in music therapy practice. We will take practical considerations into account (such as size of instrument and hygiene when using wind instruments) and consider emotional issues that some therapists face when using the first study instrument they may also be continuing to perform on as a musician.Participation: This workshop will be limited to 20 people. Parti...

Clinical improvisation in music therapy: theory, practice, research and training

Clinical improvisation is widely used in music therapeutic settings. This roundtable will reflect the use and innovated research of clinical improvisation in music therapy practice from an international, multi-theoretical perspective.Six music therapists from three different countries will provide a comprehensive presentation about innovated theoretical perspectives, clinical uses of improvisation with various classifications of psychiatric and medical populations, as well as provide relevant information on improvisational analysis (manual and computational), on how to assess the emotional impact of improvisations through heart rate variability measurements, on conducting various types of research in improvisation and also on advanced training in improvisation.

Talking to “the public” about music therapy practice, theory and research

Talking to “the public” about music therapy practice, theory and research

Symphonies and empathy: the influence of orchestral experience on music therapy practice

Background: This paper proposed that many of the skills which constitute professional music therapy practice are the same as those utilised during a career in orchestral playing. The relationships and dynamics between players, players and conductor, and orchestra and audience can all be seen to be relevant within a therapeutic framework.Methods: To demonstrate this proposition, the presenter will draw on personal experience, citing relevant illustrated examples from clinical case work and from interviews with orchestral conductors, highlighting parallels between therapy and the musical relationships developed during a long career within a symphony orchestra.Discussion: The role of the therapist may be viewed in a number of ways. Some are framed in musical terms such as being a “conductor” of group sessions or an attentive accompanist in individual work. In each case, the therapist is responding to the subtleties of musical, verbal and nonverbal communication.Conclusions: The characteristic skills of a mus...

Building space for diversity: creative music-making project in urban Japanese context

Introduction: This presentation is based on a part of ongoing research project on the notion and practice of Community Music Therapy in Japan. The presentation will illustrate how creative music-making workshop in local community place contributes to develop an inclusive community network by taking action research on my own case example.Methodology: Make a qualitative analysis of the workshop from three viewpoints of participation: framework, interaction, and subjective experience.Case presentation: The creative music-making workshop is conducted in a local community place in Tokyo where anyone can use regardless of the purpose or position. The basic attitude is that every participant stands on equal footing as “members of musical experimentation together”. Through eight workshops, the environment seems to occur where the exchange and transformation of each other’s roles and resources is encouraged. Furthermore, when workshop participants performed as Chin-Don-Ya (a band of musical sandwich men in traditi...