Dissertationen: „Music therapy“

1

Pavlicevic, Mercedes. „Music in communication : improvisation in music therapy“. Thesis, University of Edinburgh, 1991. http://hdl.handle.net/1842/20099.

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In this thesis I examine the philosophical and psychological literature on the human experimence of the ingredients of music, and pay particular attention to that body of literature which describes the interpersonal temporal and prosodic features of basic human communication, that is, the literature on non-verbal mother-infant interaction. I propose that improvisation in music therapy provides a pivotal synthesis for demonstrating the duality of music and basic emotional processes, and support this with experimental work.

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2

Bidgood, Lee, Richard Ciferský und Banjo Romantika Band. „Banjo Therapy“. Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1076.

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3

Krout, Robert. „Microcomputer applications in music therapy /“. Access Digital Full Text version, 1988. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10797646.

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4

Higotani, Bies Azusa. „Effectiveness of Music Therapy Education in Addressing Multicultural Competencies: Survey of Music Therapy Program Directors“. Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1300896880.

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5

Streeter, Elaine. „Computer-aided music therapy evaluation : investigating and testing the music therapy logbook prototype 1 system“. Thesis, University of York, 2010. http://etheses.whiterose.ac.uk/1201/.

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This thesis describes the investigation and testing of a prototype music therapy practice evaluation system: Music Therapy Logbook, Prototype 1. Such a system is intended to be used by music therapists as an aid to their existing evaluation techniques. The investigation of user needs, the multi-disciplinary team work, the pre-field and field recording tests, and the computational music analysis tests are each presented in turn, preceded by an in depth literature review on historical and existing music therapy evaluation methods. A final chapter presents investigative design work for proposed user interface software pages for the Music Therapy Logbook system. Four surveys are presented (n = 6, n = 10, n = 44, n =125). These gathered information on current music therapy evaluation methods, therapists‘ suggested functions for the system, and therapists‘ attitudes towards using the proposed automatic and semi-automatic music therapy evaluation functions, some of which were tested during the research period. The results indicate enthusiasm for using the system to; record individual music therapy sessions, create written notes linked to recordings and undertake automatic and/or semi-automatic computer aided music therapy analysis; the main purpose of which is to quantify changes in a therapist‘s and patient‘s use of music over time, (Streeter, 2010). Simulated music therapy improvisations were recorded and analysed. The system was then used by a music therapist working in a neuro-disability unit, to record individual therapy sessions with patients with acquired brain injuries. These recordings constitute the first music therapy audio recordings employing multi-track audio recording techniques, using existing radio microphone technology. The computational music analysis tests applied to the recordings are the first such tests to be applied to recordings of music therapy sessions in which an individual patient played acoustic, rather than MIDI, instruments. The findings prove it is possible to gather objective evidence of changes in a patient‘s and therapist‘s use of music over time, using the Music Therapy Logbook Prototype 1 system.

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6

Chiang, May May. „Research on music and healing in ethnomusicology and music therapy“. College Park, Md. : University of Maryland, 2008. http://hdl.handle.net/1903/8236.

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Thesis (M.A.) -- University of Maryland, College Park, 2008.
Thesis research directed by: School of Music. Musicology Division. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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7

Le, Dieu. „L.A. Children's Music Therapy Center, LLC“. Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1595778.

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The expansion of the parity law for mental health benefits under the Patient Protection Affordable Care Act (PPACA) along with the increased mental and/or behavioral health issue among American youth has established a need for various health services to mitigate the mental and/or behavioral health problem. The L.A. Children’s Music Therapy Center, LLC, will be established to provide music therapy as an alternative or complementary form of medicine for individuals that are under 17 years of age with mental and/or behavioral health disorders. Additional regulations under the PPACA may potentially increase the use of mental health services and clinical evidence has shown that music therapy has resulted in improved health outcomes for various disorders. L.A. Children’s Music Therapy Center, LLC, will focus on providing music therapy services within Los Angeles County for private clients in the community as well as contracting services for private and group organizations.

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8

Barrington, Katherine Alison. „Music therapy : a study in professionalisation“. Thesis, Durham University, 2005. http://etheses.dur.ac.uk/2791/.

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This thesis focusses on the way in which the music therapy profession in the UK has developed during the period 1958-2003.1 have investigated historical information, including archival material, regarding the development of music therapy and drawn upon a number of sociological models in order to explore some of the key concepts of profession. I have interwoven the concepts from these two main sources to provide new and original research. Although I argue that the various aspects of the field are all interlinked, I focus on the manner in which music therapy has interacted with the social and political climate within which it has evolved. I argue that the field of music therapy m the UK has engaged fully in a process of professionalisation which involves complex interactions with other professional bodies, the government, accrediting authorities, employers, clients, and the public. These interactions have, on the one hand, created conflicts within the music therapy profession due, in particular, to outside political pressures. On the other hand this has also compelled the profession to seek a balance between the needs of the discipline and its clients, and the demands of the political climate within which music therapy has to work. I consider the arguments that the professionalisation of music therapy is detrimental to the creativity and integrity of the field. These criticisms have been directed at the Association of Professional Music Therapists because its work has been based on securing appropriate terms and conditions for practitioners. Although these criticisms offer an opportunity for music therapy in the UK to reflect on its development, I argue that the process of professionalisation has succeeded in spite of all in creating a strong and ethically sound foundation from which music therapy can be practised, and that this process has not been primarily an exercise m professional self-preservation or promotion.

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9

Beyers, Johanna Frederika. „Participatory consciousness in group music therapy“. Diss., University of Pretoria, 2006. http://hdl.handle.net/2263/29612.

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No abstract available Copyright 2005, University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. Please cite as follows: Beyers, JF 2005, Participatory consciousness in group music therapy, MMus dissertation, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-11202007-113847 / > E742/gm
Dissertation (MMus (Music Therapy))--University of Pretoria, 2008.
Music
unrestricted

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10

Beyers, Johanna Frederika. „Participatory consciousness in group music therapy“. Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-11202007-113847/.

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11

Garwood, Eileen. „Profiles of English language music therapy journals“. Thesis, Temple University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564809.

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The purpose of this study was to present a content analysis of seven music therapy journals in the English language in order to provide an objective documentation of the longitudinal growth of the field. The current study examined seven English language music therapy journals including the Journal of Music Therapy, Music Therapy: Journal of the American Association for Music Therapy, Music Therapy Perspectives, The Australian Journal of Music Therapy, The Nordic Journal of Music Therapy, The British Journal of Music Therapy, and The New Zealand Society for Music Therapy Journal. A total of 1,922 articles were coded according to author information (name, credentials, institution, geographic location), mode of inquiry, population studied, and subsequent article citation. Results indicated a broad range of research topics with a rapid rise in music and medicine research beginning in the 1980s. Research authors in music therapy comprise a diverse group of authors both from the United States and abroad. This study highlighted transitions in institutional productivity moving from clinical settings to academic settings. Over the course of 50 years, there have been continuous changes in various aspects of the music therapy literature that document the continuing growth of the profession.

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12

Humphries, Kathleen R. „Perceptions of music therapy among oncology nurses“. Scholarly Commons, 2013. https://scholarlycommons.pacific.edu/uop_etds/259.

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The purpose of this study was to investigate the perceptions of music therapy among oncology nurses to pinpoint areas in which music therapists can further advocate for the profession and educate the nursing staff. The study's research objectives included: (a) Examining the perceptions of music therapy regarding role, purpose of the treatment and perceived benefits, and nurses' application of music as a nursing intervention; and (b) Comparing differences in perceptions of music therapy among different settings (i.e. pediatric versus an adult), and facilities with or without music therapy services. Two-hundred and sixty-four members of the Oncology Nursing Society completed the survey. The majority of the participants (81.4%) were aware of music therapy, despite the fact that only 37.5% of the respondents worked in facilities currently offering music therapy. According to participants, volunteer musicians are primary deliverers of music therapy (43.8%), followed by nurses identifying themselves as music therapy facilitators (29.5%). Significant differences were found between the oncology nurses in adult versus pediatric settings with regard to the following referral circumstances: pre/post-operative (x² = 4.33, p < .05), playroom/music group activities/socialization (x² = 12.88, p < .001), and motor skills (x² = 6, p < .05). Results indicated a skewed vision of music therapy as well as a lack of education on all of the applications and benefits of music therapy.

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13

Dunlap, Amy L. „Women with Addictions' Experience in Music Therapy“. Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1483647124948226.

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14

Bérubé, Michelle. „Healing Sounds: An Anthropology of Music Therapy“. Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38559.

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Music therapy has been recognized as a legitimate health practice in Canada since after the Second World War. While research shows the emotional, social and health benefits of music therapy, researchers have failed to agree on the reason music can be beneficial to health. I argue that affect could be the key to understanding the myriad ways in which music, and music therapy, can have a positive effect on health. Through the lens of affect theory, I explore embodiment, relationship-building and aesthetic creation as three areas in which music can allow the harnessing of affect towards health goals. I note music’s powerful affect on the human body and movement, and the ways in which these affects are mobilized towards specific clinical goals. I explore the various human-to-human and human-to-sound relationships that are mobilized, created or strengthened through music therapy interventions, and how they relate to health and to the affect of “becoming”. Finally, I note the strong evidence for musical and aesthetic creation as a part of self-care, both by music therapists and by their clients, and argue for a broader understanding of how creativity impacts health, by allowing people to affect their environments and “become themselves”.

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15

Cahoon, Laura Kay. „MUSIC THERAPY AND MULTICULTURAL COMPETENCE: A SURVEY OF MUSIC THERAPISTS' TRAINING AND PERCEPTIONS“. UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/131.

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The changing demographics of the United States directly impacts the populations that music therapists serve. The American Music Therapy Association (AMTA) provides a list of competencies regarding race, culture, and diversity, but how these are addressed in the classroom is not standardized. The purpose of this study was to examine music therapists’ perceptions of their training in multicultural competence. The researcher emailed 7,539 board-certified music therapists, 631 of whom completed the survey. Results indicated that 55.6% of music therapists think that multicultural competence is important, and the majority said that they felt prepared to demonstrate multicultural competence after completion of an undergraduate/equivalency music therapy program. Chi square analyses showed no significant associations between ratings of importance and gender or race/ethnicity. Results also indicated that classroom instruction was the most common way the competencies were addressed in undergraduate/equivalency programs. Qualitative analysis of how participants thought they could be better prepared revealed four themes: music skills, curricular integration, experience, and classroom activities.

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MuÌˆller, Pierrette A. „Autistic children and music therapy : the influence of maternal involvement in therapy“. Thesis, University of Reading, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385078.

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17

Mattos, Andre Brandalise. „The Psychodynamics of Music-centered Group Music Therapy with People on the Autistic Spectrum“. Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/358894.

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Music Therapy
Ph.D.
The aim of this qualitative study was to conduct a naturalistic examination of the process of a music therapy group with preverbal individuals on the autistic spectrum. The study involved a music therapy treatment process, based on music-centered music therapy and music psychotherapy, that occurred in 16 sessions over a period of approximately four months. The study investigated the nature of the clinical process, the elements that characterized the intrapersonal and interpersonal dynamics of the group, and the way participants engaged with and utilized the music in their intrapersonal and interpersonal dimensions. The research design was one originally developed by Smeijsters and Storm (1996) in which the researcher functions in an ongoing consultative role to the therapists as the therapy process proceeds. The study investigated and discussed the advantages and disadvantages of Smeijsters and Storm’s (1996) model. The analyses of the 16 sessions revealed that all the studied clients were able to operate, in terms of intra-relationship, according to Greenspan and Wieder’s (2006) first developmental stage: they demonstrated interest, curiosity, and initiative. In terms of inter-relationship, they were able to operate according to Greenspan and Wieder’s (2006) developmental second stage: they engaged and established relationship with others. It was concluded that music had a relevant role in the process of assessing, treating, and evaluating the individuals in the group.
Temple University--Theses

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18

Lin, Yu-Chin. „Trends In Music Therapy Since Unification: A Review of the American Music Therapy Association’s National Conference Proceedings 1998-2011“. Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1366139062.

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19

Ansdell, Gary. „Music therapy as discourse and discipline : a study of 'music therapist's dilemma'“. Thesis, City University London, 1999. http://openaccess.city.ac.uk/7745/.

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This study takes a qualitative research perspective on the question of how music therapists talk about music therapy and how much a metalanguage relates to music therapy as an evolving discipline and profession. I ask whether there is a discourse of music therapy, and what the implications of this might be. Common to music centered approaches to music therapy is a problem I characterize as music therapists dilemma. This concerns having to use words and verbal logic to represent complex musical processes in music therapy (and the therapeutic processes which are seen to occur within these). I investigate how aspects of the New Musciology are discourse theory might shed light on the nature of music therapists dilemma. The data consists of an analysis of the verbal representations of one approach - Nordoff-Robbins Music Therapy. Three analyses examine different occasions where Nordoff-Robbins Music therapists are required to verbalise about music therapy: (i) when making a different commentary on a taped excerpt from a music therapy session, (ii) in a discussion group on general aspects of the work, and (ii) writing texts on practice, theory and research. The overall analytic perspective of critical theory (supplemented by discourse analysis and music semiology) is used to examine the complex interaction between representation, theory and ideology within these various meta linguistic forms. I conclude that any metalanguage of music therapy functions are discourse in the sense that it actively constructs (and does not merely describe) the practices and phenomena it concerns itself with. Music therapists dilemma is seen as an inevitable part of a music-centered music therapy (and as an extension of the problems of talking about music itself). Further, the dilemma is seen as having two aspects: the related challenges of verbally representing and theorizing the complex non-verbal phenomena and processes of music therapy. I suggest that my finding are transferable to music centered approaches to music therapy. A consequence of regarding the discipline and profession of music therapy as constructed by discourse is that the discursive practices of music therapists become of equal importance to their clinical practices - and should therefore be given equal attention on matters of training, theory building and research.

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20

Veblen, Nora Bryant. „MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE“. UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/129.

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Music therapists are expected to provide live music for clients with diverse preferences, yet these therapists face many barriers preventing them from recreating client-preferred music in a way that adheres to the expectations of the genre, or with “musical authenticity.” The purpose of this study was to investigate music therapists’ perceptions and practices regarding musical authenticity. Survey responses (n = 904) indicated that music therapists highly value musical authenticity, but a major theme in the qualitative data revealed they often balance its importance with other factors. Descriptive survey data and qualitative themes revealed lack of training in functional musicianship and electronic technology as major barriers to musical authenticity. A major qualitative theme regarding therapists’ practices was the use of collaboration with clients and creative solutions. Most participants indicated use of non-electronic strategies and reported they had not used electronic technology to increase musical authenticity. Descriptive survey data and qualitative themes revealed frequent and effective use of recorded music. Finally, chi-square analyses revealed significant relationships between age and use of technology and iPad and between gender and use of technology. Music therapists would benefit from additional training, more research on authenticity, and music therapy specific guidelines for using music authentically.

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Kvant, Oskar. „Att få göra sin röst hörd : En studie kring Community Music Therapy i Sverige“. Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3922.

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Syftet med denna uppsats är att utifrån ett hermeneutiskt perspektiv utforska några inom musikterapiområdet insatta personers uppfattningar om Community Music Therapy inom svensk musikterapi, utifrån frågeställningarna: Hur uppfattas det svenska musikterapilandskapet? Vilken betydelse anses inriktningen Community Music Therapy ha inom svensk musikterapi? På vilka sätt och inom vilka samhällsområden i Sverige anses CoMT kunna fylla en funktion? Uppsatsen grundar sig i hermeneutisk vetenskapsfilosofi och metoden utgörs av kvalitativa, halvstrukturerade intervjuer som analyserats utifrån tematisk analys. Resultatet består av en tre metaforiska teman: Vilse i behandlingslandskapet, med undertemana Svårt att synas och höras, Som en smygande kameleont samt En glänta dit solljuset når ner. Det andra temat är Ett öppnat landskap, med undertemana Spår i landskapet samt Alfahannarna i granndjungeln. Det tredje temat är In i ny och okänd terräng. Uppsatsen avslutas med en diskussionsdel, inklusive en metoddiskussion, tankar kring arbetets betydelse samt fortsatt forskning.

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Nathan, Micaela. „Being in music: music performance dysfunction through guided imagery and music“. Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11642.

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Music performance dysfunction in professionally trained elite musicians is a broad, pervasive, yet oft times narrow and temporary phenomenon, situated in a culture rarely understood by those outside the field of professional music. This project explored the meaning of music performance dysfunction in professional musicians by addressing how musicians understand themselves in the field of music and through their relationship to music. The nature of inquiry for this project used an overarching ethnographic and sociological paradigm upon which was set a conceptual framework encouraged by the work of French sociologist Pierre Bourdieu. The project was organised around three domains of the musician's lived experience: the subjective world of the professional musician; negative affect, anxiety, and dysfunction in the musician arising through the context of music performance; and the emotions, memories, and insights that emerge through Guided Imagery and Music. Music is the dimensional phenomenon that binds all domains. The three domains were investigated through two distinct studies that elicited a rich tapestry of findings and illuminated a colourful world, unique to the field. The first study addressed a few salient features of being a modern professional musician. Fifteen musicians were interviewed about what it is to be a musician, what it is to perform, what is music to the musician, what is the musician’s relationship to music, and the issue of music performance anxiety. Phenomenological analysis revealed themed issues surrounding a tacit understanding and acceptance by the musicians of the enormous highs and devastating lows in their chosen career. Acute music performance anxiety was understood as a continuum within a larger of the occupational field and personal life, a musician’s position along which is dependent upon an individual’s propensity to embody the many influences within the social domains of a complex occupational field. The second study was built upon the first study. The issue of music performance dysfunction in three professional musicians was individually explored using the music therapy method of Modified Guided Imagery and Music (MGIM) in a multiple case study design. This study explored each musician’s unique experiences of performance dysfunction in a ten week program of themed MGIM sessions. Each session comprised specifically programmed music that supported the topic at hand. Through hermeneutic and phenomenological analysis, the music based exploration brought to light the unique foundational issues of each musician’s performance dysfunction and gave each an opportunity to renew their relationship with music The findings from each study revealed a distinct composite essence. Furthermore, a reflective overview combining findings from both studies showed emotion as a substance of exchange in performance. The quality and meaning of musicians’ experience were found to prevail within a social milieu, and were determined and dependent on the emotional foundation of an individual's dispositional tendencies that develop through embodied experience. Through the qualitative and sociological frame employed in this project, the musicians’ experience of music performance dysfunction was shown to be a complex and enduring concern that has deleterious effects on career and personal life.

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Hastings, Jennifer M. „Bilateral arm training with rhythmic auditory cueing : rehabilitation metts music therapy“. Scholarly Commons, 2011. https://scholarlycommons.pacific.edu/uop_etds/781.

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The purpose of this study was to examine the effect of rhythmic auditory cueing on Bilateral Arm Training on movement accuracy and speed for survivors of stroke. Three participants underwent a six-week home training of drum playing in repetitive reaching movements, practicing for three hours a week. They were randomly assigned to the treatment group (Bilateral Arm Training with Rhythmic Auditory Cueing; n = 2) and control group (Bilateral Arm Training only; n= 1). Assessments of the Wolf Motor Function Test (WMFT), tempo velocity, and spatial accuracy were performed at pre-, mid-, and post-training. All participants showed decreases in task performance times on the WMFT and improvements on the Functional Ability Scale, along with increased spatial accuracy. The treatment group maintained tempo velocity throughout the training but the non-cued participant moved slower at post- than at pre- and mid-assessment. Qualitative observations showed that the auditory-cued participants improved in movement quality through increased spatial alignment of the trunk and extension of the paretic arm, whereas the non-cued participant did not. Recommendations for future study as well as for designing home-training programs are given.

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Procter, Simon. „Music therapy : what is it and for whom? : an ethnography of music therapy in a community mental health resource centre“. Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/11101.

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Music therapy is widely portrayed either as a paramedical practice within which music is a technology applied as a form of treatment or as a form of psychotherapy within which the music plays a primarily symbolic role or acts as a lead in to verbal consideration of the patient’s presenting issues. Music therapy research currently focuses predominantly on demonstrating “evidence of effectiveness” in terms of symptomatic outcome, thus preserving a focus on the individual congruent with the medical model. In contrast, this thesis seeks to examine ethnographically the ways in which music therapy gets accomplished as a situated social practice within a community mental health resource centre in a UK urban area. Drawing both on the observations and experiences of the researcher (a music therapist already working within this setting) and on formal and informal interviews with the centre’s members and staff, it seeks to identify ways in which music therapy gets done and value ascribed to it. Observations are compared with the “norms” portrayed by dominant professional discourse, and reasons for discrepancies considered. Particular attention is paid to self-awareness, intimacy and conviviality as facets of what music therapy has to offer in such a setting, and to social capital theory and Goffman’s dramaturgical approach as broader conceptual frameworks for such affordances. Consideration is also given to the “fit” between the affordances of music itself, and the “craft” required of diverse actors in order that music therapy can be considered to offer an ecology which promotes health and well-being. Finally, the findings are re-addressed towards music therapy itself via the lens of what it means to be “clinical” in order that a sociological “craft” perspective maybe brought to bear within the discipline.

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Chambers, Carol. „Song and metaphoric imagery in forensic music therapy“. Thesis, University of Nottingham, 2008. http://eprints.nottingham.ac.uk/10833/.

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The present research study grew out of my professional practice as a music therapist, and seeks to put forward a new approach to the relationship between theory, research and clinical practice - while still relating in meaningful ways to a broad range of existing work. Music therapy in the UK is a broad and expanding profession, encompassing a notably diverse range of theoretical approaches and practical applications. Such approaches and applications may use, for example, free improvisation, songwriting, or listening- and response-based techniques. And there is a range of specialised literature dealing with each of these areas, as well as a number of broader, overarching studies dealing with the overall field. Within the tradition of a model based largely on musical improvisation, which has been my own practice, the use of pre-composed songs might be regarded as unusual, perhaps even as anomalous. But I hope to show that it is in fact a useful and profoundly revealing process which is firmly rooted in an ethos of active musical participation. This thesis examines the use of songs in forensic pyschiatric music therapy for women, and offers this use of song as an alternative model of musical creativity within such a context. My research project as a whole is approached from the philosophical framework of behaviourism; and the thesis is written from a 'social constructionist' perspective of the creation and enactment of self-identity, grounded in a belief that life and music become inextricably associated during the constructive process. As its major source of evidence, the study presents a longitudinal case study of one woman over the entire three-year course of her therapy. Her song choices are examined according to an adaptation of therapeutic narrative analysis, framed within a chronological view of events. Music remains a central focus and presence within the study, both as a vehicle for song texts and as a therapeutic medium in its own right; and the archetype of sonata form is invoked as a structural framework for analysis and the production of meaning. Images and bi-polar constructs are abstracted from the songs and their metaphoric content interpreted in the context of known life experiences and the progress of the therapy sessions themselves. Results reveal a strong use of generative metaphoric imagery which is humanized yet also, crucially, emotionally decentred or depersonalized. This then leads to assertions of a process of 'Music Therapy by Proxy'. There are also clear indications of the relevance of the passing of time as a dimension of the therapeutic process, resulting in a pattern which I term 'Reverse Chronology'. The songs which were used during the course of therapy provide words, imagery and, in addition, a musical substrate or continuum which 'carries' the textual-and-visual components but also has its own expressive and therapeutic importance. All these elements have their place and function within the therapy as described. Song as a concept is further defined as a transformative or metamorphic process enabling the expression of deeply personal, often unheard or 'suppressed' voices. Emerging from this process, seven core themes are indentified. These then provide the focus for a wider discussion concerning the significance of song and imagery for women in forensic therapy, and the issues which arise from them. Finally, suggestions are made for music therapy practice and for possible new directions in future research.

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26

Levinge, Alison. „Music therapy and the theories of Donald Winnicott“. Thesis, University of Birmingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366728.

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27

Verity, Adrian. „A computer aided music therapy analysis system : CAMTAS“. Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425732.

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28

Mausner, Oliver. „Depression and Music Therapy: A New Therapeutic Method“. Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1458.

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Depression affects over three million people in the United States every year, with that number increasing drastically as we look at the entire global scale. Depression is described as “a brain disorder characterized by persistently depressed mood or loss of interest in activities, causing significant impairment in daily life” (Mayo Clinic). Possible causes include a combination of biological, psychological, and stress factors. One explanation that psychologists have found includes some abnormal activity by neural circuits in the brain. Depression is characterized by a continuing feeling of sadness and loss of all interest in daily life. Depression can lead to a range of behavioral and physical symptoms. Some of these symptoms include trouble sleeping, loss of appetite, decreased energy level, inability to concentrate, changes in daily behavior, and low self-esteem (Mayo Clinic). In more serious cases, depression can also be associated with thoughts of suicide. Usually, doctors and psychologists will prescribe medications to hopefully combat the feelings of depression and help the patient get out of their altered state. Other forms of treatment include consistent therapy sessions with a psychiatrist or psychologist, during which the patient talks and vents their feelings. Some medications and talk therapy have been proven to be very successful, while others have not. A possible treatment that not many have considered may be the use of music therapy with depressed and lonely individuals. A main issue facing many people with depression and loneliness seems to be a need and desire for connection. What if music could be that connection they are missing? Many studies show that sad music can be used as a therapeutic tool to help cope with sad feelings, but the song and the patterns of sound within may also be giving the patients something else; a connection that they may not have had in the past. Because of this, music can give these individuals a reference point and a new outlook on their situation. If they struggle to find a strong connection with another human, music could be something for them to identify with and an outlet that could help change the way that they see their situation. Sad music can be a positive influence and a coping mechanism for depressed individuals, due to the fact that it provides them with feelings of happiness and gives them a connection and vantage point that they may not necessarily have seen before they listened to the music.

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Geist, Kamile. „Sources of Knowledge in Music Therapy Clinical Practice“. Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1478173980933032.

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Williams, Carol Joy. „Autonomy, sheltered street children and group music therapy“. Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/36765.

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The context of this study is a street shelter, situated in the inner city of Pretoria. This was the first time that music therapy sessions were conducted at the shelter. This study is conducted within a qualitative research paradigm. The primary data source is five video and one audio excerpt. The secondary data source is session notes. The data is coded, categorised and organised into emergent themes. The emergent themes highlight five aspects of group music therapy that enabled autonomy in a group of children living in the street shelter. These five emergent themes are the basis of the discussion addressing the two research questions of this study. This study shows that group music therapy is an effective and appropriate way in which these sheltered street children are able to experience autonomy, including improved self-esteem and feelings of achievement and mastery. To my knowledge, there has been no music therapy literature published with regards to group music therapy with sheltered street children within the South African context as well as internationally.
Dissertation (MMus)--University of Pretoria, 2009.
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Kahle, Karen Lee. „A Music Therapy Model for Counseling Corrections Clients“. PDXScholar, 1994. https://pdxscholar.library.pdx.edu/open_access_etds/4767.

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In the ESL classroom, there are often cultural differences between learners and teachers. Sometimes these differences can lead to misunderstandings or even conflict. One area where differences between cultures can be seen is language learning strategies and styles. This study explores the possibility that awareness of differences, explicit teaching, and negotiation may help to resolve differences. This study looks at differences between Russian-speaking adult ESL learners and American ESL teachers, with respect to strategy use and preferences. Three aspects are investigated. The first is to see whether there are statistically significant differences ~tween these groups of learners and teachers. The second is to try to form a loose profile of the learners as a cultural group. The third is to see whether or not there is evidence to suggest the validity of explicit teaching of strategies in the ESL classroom. The Strategy Inventory for Language Learners (SIIL), developed by Rebecca Oxford, is one way to assess differences ~tween learners and teachers. A survey including the SIIL and a questionnaire was given to ninety-four subjects. Forty-seven are Russian-speaking adult ESL learners and forty-seven are American-English-speaking ESL teachers or potential ESL teachers taken from a TESOL program. The results of the survey show that, in this case, there are statistically significant differences in preferences for and use of several sets of strategies. A preliminary cultural profile is derived from the SILL results and from anecdotal evidence gathered from the questionnaire. There is some evidence that the explicit teaching of language learning strategies and their use may help resolve some of the classroom conflicts between the two groups studied.

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Fourie, Lise. „Music Therapy in Tshwane, South Africa : music therapists’ experiences and other professionals’ perceptions“. Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/36759.

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In South Africa music therapy as a profession is still in its infancy and not yet firmly established, hence music therapists have struggled in the past to secure full-time employment. It is important to ascertain the current state of music therapy in Tshwane as this will offer suggestions about what needs to be addressed in the future. In this project two research questions were explored: 1. What are the experiences of music therapists, as well as the perceptions of other professionals working in the health and education sectors in Tshwane, regarding music therapy as a profession? 2. What do these experiences and perceptions suggest about the current state of the music therapy profession in Tshwane? This research project used questionnaires to generate data pertaining to the experiences of music therapists and perceptions of allied professionals about the music therapy profession in Tshwane. The experiences of music therapists currently practising in Tshwane shed light on the present situation of music therapy in Tshwane. The allied professionals’ perceptions of music therapy had implications regarding the recognition of the profession which impacts directly on the availability of jobs, funding and resources available to music therapists. Questionnaires generated both quantitative and qualitative data through the use of closed questions that were analysed using descriptive statistics that were generalised and openended questions analysed through the process of coding and categorising for emerging themes that were discussed. Results obtained from the questionnaires indicated that not enough is being done to promote the field as music therapist respondents (n=4) do not create or set up new music therapy employment. This accounts for the fact that at present other professionals working in the health and education sectors (n=27) have a varied understanding of what music therapy comprises. Because of this varied understanding music therapy is not always valued by these professionals. Collaboration with allied professionals was an important theme which recurred throughout the data and seems to have been the most successful way of furthering the profession so far in Tshwane. By promoting music therapy, especially through collaboration with others, awareness of music therapy should be enhanced, others’ knowledge and understanding of music therapy may be expanded and music therapy may ultimately find its valued place among other therapeutic interventions.
Mini Dissertation (MMus)--University of Pretoria, 2009.
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Nicholson, Kathryn. „Music therapy in cancer care, a study of the music therapy program at the British Columbia Cancer Agency (Vancouver Cancer Centre)“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/MQ57916.pdf.

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Noguchi, Laura Kayoko. „The effect of music versus non-music on focus of attention in pediatric injection patients“. Scholarly Commons, 2004. https://scholarlycommons.pacific.edu/uop_etds/593.

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Receiving vaccinations is a part of growing up in the United States; however, as necessary as vaccinations are, many children find the process to be frightening and painful. A review of literature indicates that non-pharmacological interventions, such as distraction, are generally effective in reducing pain and anxiety in children receiving injections. Music has been examined as a potential distraction during pediatric medical procedures, but research findings have been mixed, due, in part, to the way in which music was used: the children were primarily instructed to merely "listen to the music." It has been noted that individuals tend to maintain their attention on music more successfully when they are asked to listen for specific elements. The present study sought to determine if a focus of attention activity (pointing at pictures) involving music would affect levels of distress and perceptions of pain in pediatric injection patients. Sixty-four 4- to 6 1/2-year old children receiving routine immunizations were randomly assigned to one of three conditions: musical story, spoken story, or standard care control. Children in the two treatment conditions listened to a recorded story on headphones and pointed at corresponding pictures before, during, and after their injections. Observational data on distress and pain were collected, in addition to the child's self-rating of pain. Participants in the musical story condition tended to be less distressed and report less pain than participants in the spoken story and control conditions, although these differences were not statistically significant. Subsequent analysis indicated that children who received more injections tended to benefit more from the music intervention, in terms of their perceived pain. Implications of the findings are discussed, along with recommendations for future research in the area.

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Chesky, Kris S. „The Effects of Music and Music Vibration Using the MVT™ on the Relief of Rheumatoid Arthritis Pain“. Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332765/.

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The pain relieving efficacy of music listening combined with vibrotactile cutaneous stimulation was determined. Music with mechanical vibration (30min. session; average amplitude of 26μm; frequency range of 60-600Hz.) was applied to subjects with rheumatoid arthritis using the Music Vibration Table (MVT). Scores from pain relief visual analogue scales (VAS) and McGill Pain Questionnaires (MPQ) were compared to groups with music alone and placebo. ANOVA and post hoc analysis indicated that VAS scores from music with vibration were significantly greater than music alone or placebo. MPQ scores also indicated larger percentages of change in pain perception for the music with vibration condition. However, subjects receiving music alone showed a large percentage of change on the affective dimension of the MPQ. This investigation supports the application of music with a controlled, measurable music vibration for the relief of pain. The results of this study warrant further evaluation and development of treatment protocols using music and music vibration.

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Petrich, Macie. „Vocal Health Survey of Instrumental Music Educators“. Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1588015468956836.

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Du, Preez Almarie. „A 'foreign' journey to negotiating music therapy on home ground“. Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-09302008-142516/.

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Ferrer, Alejandra Judith. „Music Therapy Profession: Current Status, Priorities, and Possible Future Directions“. The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1353945905.

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Heffner, Melissa E. „The Development and Implementation of a Music Therapy and Speech-Language Therapy Collaborative Model“. Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1482461323045229.

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Waldon, Eric G. „The effects of group music therapy on mood states and cohesiveness in adult oncology patients“. Scholarly Commons, 2000. https://scholarlycommons.pacific.edu/uop_etds/534.

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The purpose of the current investigation was to examine the efficacy of a music therapy protocol on mood states and levels of group cohesiveness in adult oncology patients. Eleven oncology patients in two groups (ages 30 to 84 years) took part in the study over a ten-week period of time (ten participants completed the study). During that period, participants took part in eight music therapy sessions consisting of two types of interventions: 1) four "music making" sessions (where the mechanism for change included the process of making music) and 2) four "music responding" sessions (where the mechanism included the process of responding to music). The two types of music therapy sessions and their effectiveness on improving mood states and group cohesiveness were examined. The Profile of Mood States- Short Form (POMS-SF) was used to assess changes in participants' mood states. A content analysis, attendance records, and a questionnaire were used to assess levels of group cohesiveness. Results showed significant improvement in mood state scores (from pre session levels to post sessions levels) after involvement in all music therapy sessions. Similar significant findings were found within each of the "music making" and "music responding" conditions but no differences were found when comparisons were made between those conditions. No statistically significant effects were found with respect to group cohesiveness measures. Study implications and future research directions are discussed.

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Theron, Talita. „Music therapy in South Africa music therapists' perceptions of training needs for current practice /“. Diss., Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09182008-114636/.

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Loth, Helen. „An investigation into the relevance of gamelan music to the practice of music therapy“. Thesis, Anglia Ruskin University, 2014. https://arro.anglia.ac.uk/id/eprint/578535/1/PhD%20thesis%20Helen%20Loth%20for%20ARRO.pdf.

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This study investigates the use of Indonesian gamelan with participants who have special needs or with special populations, and considers what the playing of gamelan music has to offer music therapy practice. The gamelan is an ensemble of instruments on which the traditional music of Indonesia is played, consisting of mainly tuned and un-tuned percussion instruments tuned to four, five or seven tone scales. Gamelan are being increasingly used for music activities with participants who have special needs, such as learning disabilities, mental health problems or sensory impairments, and with special populations, such as prisoners. Whilst aims are broadly educational, therapeutic benefits are also being noted. There is little research into the effectiveness of this use of gamelan; the therapeutic benefits have not been researched within the context of music therapy. As an experienced music therapist and gamelan musician, I considered that investigating the potential for using gamelan within music therapy would produce new knowledge that could extend the practice of music therapy. Various qualitative methods within a naturalistic paradigm were used to investigate current and past practice of gamelan playing with special needs groups and to identify the therapeutic benefits. Semi-structured interviews were undertaken with gamelan tutors working in this area and a music therapy project using gamelan with a group of children who had learning difficulties was undertaken by the author. Using a thematic approach to the analysis of data, the key features of gamelan playing which have relevance for music therapy practice were identified. Gamelan playing was found to have a range of therapeutic benefits which can be used intentionally by a music therapist to address therapeutic aims. It was found firstly that the playing of traditional gamelan music can be used for specific therapeutic purposes and secondly, that the music and instruments can be adapted and used within various music therapy approaches and for participants with a range of disabilities. A set of guiding principles are also proposed for the use of this new music therapy practice.

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Loth, Helen. „An investigation into the relevance of gamelan music to the practice of music therapy“. Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/578535/.

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This study investigates the use of Indonesian gamelan with participants who have special needs or with special populations, and considers what the playing of gamelan music has to offer music therapy practice. The gamelan is an ensemble of instruments on which the traditional music of Indonesia is played, consisting of mainly tuned and un-tuned percussion instruments tuned to four, five or seven tone scales. Gamelan are being increasingly used for music activities with participants who have special needs, such as learning disabilities, mental health problems or sensory impairments, and with special populations, such as prisoners. Whilst aims are broadly educational, therapeutic benefits are also being noted. There is little research into the effectiveness of this use of gamelan; the therapeutic benefits have not been researched within the context of music therapy. As an experienced music therapist and gamelan musician, I considered that investigating the potential for using gamelan within music therapy would produce new knowledge that could extend the practice of music therapy. Various qualitative methods within a naturalistic paradigm were used to investigate current and past practice of gamelan playing with special needs groups and to identify the therapeutic benefits. Semi-structured interviews were undertaken with gamelan tutors working in this area and a music therapy project using gamelan with a group of children who had learning difficulties was undertaken by the author. Using a thematic approach to the analysis of data, the key features of gamelan playing which have relevance for music therapy practice were identified. Gamelan playing was found to have a range of therapeutic benefits which can be used intentionally by a music therapist to address therapeutic aims. It was found firstly that the playing of traditional gamelan music can be used for specific therapeutic purposes and secondly, that the music and instruments can be adapted and used within various music therapy approaches and for participants with a range of disabilities. A set of guiding principles are also proposed for the use of this new music therapy practice.

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Langeveldt, Mareli. „Music, music therapy and identity : investigating how South African children from socio-economically deprived communities identify with music“. Diss., University of Pretoria, 2006. http://hdl.handle.net/2263/31443.

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This dissertation profiles the way in which primary school children from socio-economically deprived communities in South Africa, specifically Heideveld and Eersterust, identify with music. The purpose of the study is to investigate how these children do, think, feel and talk about music and to explore the implications thereof for music therapist working in these specific or similar South African communities. The sentence completion responses of the children conveyed two ways in which they view identifying with music. The first is identifying with music and the second is using music as a tool through which one can identify with others. The way in which the children identify with music or through music in music therapy sessions, influences the therapeutic relationship as well as clinical interventions of the music therapist. Therefore, music therapists need to be sensitive to the way in which clients identify with music.
Dissertation (MMus (Music Therapy))--University of Pretoria, 2005.
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Moran, Karen Ann. „The experiences of hospice patients and the music therapy clinician in hospice care“. Scholarly Commons, 2011. https://scholarlycommons.pacific.edu/uop_etds/765.

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This thesis reports on a phenomenological inquiry into the experiences of hospice patients and music therapy clinician in end of life care. Three total participants were included in this study, two hospice patients and the music therapy clinician. Interventions included singing familiar songs, music for relaxation and Music and Imagery, an adaptation of the Bonny Method of Guided Imagery and Music. Each hospice patient participated in two music therapy sessions, plus an interview. Data included audio recorded sessions and interview, a process journal kept by music therapist, clinical observations, and one of the participant's mandala. Data was analyzed according to Moustakas' modification of the Stevick - Colaizzi - Keen method of Transcendental Phenomenology. Experiences for the hospice patients include themes of Positive Experience with Music, Positive Experience with Music and Pain, Negative Experience with Music, Music and Imagery, The Artist, Coping, The Mandala, Processing Music and Imagery and Transcendence. Experiences for the therapist include Feelings, Clinical Awareness, Meeting my Own Needs, Desire to Help, Ebb and Flow, and the Guide Following. Implications for further research are given.

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Munroe, Laurie C. „Embraced by the sound, a music therapy chime group“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/MQ57915.pdf.

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Blicha, Emily Ann. „Music therapy program for older adults| A grant proposal“. Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1587260.

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Older adults may face challenges during the aging process such as anxiety, depression, and decreased quality of life. The purpose of this project was to develop music therapy groups for older adults who experience symptoms of depression and/or anxiety, identify potential funding sources, and write a grant to fund this program for Jewish Family and Children's Service in Long Beach, California. The Eisner Foundation was deemed the most suitable foundation for this grant proposal. The proposed music therapy groups were designed to decrease anxiety and depression symptoms and improve the quality of life among older adults in the Long Beach area. Participants will engage in listening, singing, and playing music along with reminiscing with other group members. The group will culminate in a performance for family and friends. Implications for social work practice are discussed. The actual submission and/or funding of this grant was not required for the successful completion of this project.

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Dvorak, Abbey Lynn. „Music therapy support groups for cancer patients and caregivers“. Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1218.

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The purpose of this study was to examine the effect of participation in music therapy support groups (MTSG) on physical, psychological, and social functioning of cancer patients and caregivers. Participants were 24 cancer patients and 17 caregivers randomly assigned to experimental (n=21) or wait-list control (n=20) groups. The primary dependent variables were mood, coping, social support, and quality of life as measured by the Profile of Mood States (POMS), State Trait Anxiety Inventory-State (STAI-S) and Trait (STAI-T) scales, Personal Resource Questionnaire 85-Part 2 (PRQ85-Part 2), and Functional Assessment of Cancer Therapy-General Form (FACT-G). These measures, completed by all participants at baseline, midpoint, and end of three weeks, assessed the long-term effect (three weeks) of MTSG participation. The Music Therapy Support Group Numerical Rating Scales (MTSG-NRS) evaluated the short-term effect of each 60-minute music therapy session on mood, pain, stress, anxiety, and quality of life. All participants also completed the Music Therapy Support Group Assessment Form (MTSG-AF) beforehand to provide demographic information and music preferences, and the Music Therapy Support Group Evaluation Questionnaire (MTSG-EQ) after participation in music therapy sessions. Experimental participants completed six MTSG sessions over a three-week period; interventions included singing, songwriting, playing instruments, movement with music, creative arts with music, and music-assisted relaxation. The data from the POMS, STAI-S, STAI-T, PRQ85-Part 2, and FACT-G questionnaires were analyzed using five individual repeated measures ANOVA. The MTSG experimental group showed a significant improvement in mood and a significant decrease in anxiety as a result of participation in the music therapy support groups; the control group showed no significant change over time. The MTSG also showed improvement, though non-significant, on social support and quality of life; the control group remained stable on these measures over time. Data from the MTSG-NRS were analyzed using a Wilcoxon Rank Sum test. Analyses revealed that the MTSG achieved significant improvement in mood and significant decrease in stress and anxiety throughout each 60-minute MTSG session. Participation also significantly decreased the perception of pain and significantly improved quality of life in four of six sessions.

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Kelley, Christopher A. „A STUDY OF UNEMPLOYMENT AND UNDEREMPLOYMENT IN CLINICAL MUSIC THERAPY“. UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/133.

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Music therapy has been an established health profession for over 60 years serving a diverse population in different settings. Researchers studied the effects of burnout, career longevity, job satisfaction, and workforce analysis of clinical music therapy; however, no studies exist on the prevalence of unemployment and underemployment in clinical music therapy. The purpose of this study was to determine the prevalence of unemployment and underemployment in clinical music therapy. Participants who completed an anonymous online survey (n = 1,240) were board-certified music therapists who provided information on their current employment status. Results showed that the prevalence of unemployment among the participants was 5.78%, and prevalence of underemployment was 15.6%. Music therapists with more than 15 years of experience were more likely to work full-time than music therapists with 15 or fewer years of experience. Music therapists over 40 were no more likely to work full-time than music therapists who were 39 or younger. Implications for music therapy practice are discussed.

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Meyer, Laura M. „Cultural aspects of music and relaxation“. Scholarly Commons, 1997. https://scholarlycommons.pacific.edu/uop_etds/2313.

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Based on previous studies, it seems few music therapists have assessed the needs of multicultural clients regarding relaxation. There are many research studies available that discuss specific qualities of (i.e. dynamics, tempo, and melodic content), and preferences for relaxing music. Additionally, there are studies that examine the use of music for relaxation with specific populations. However, none exist regarding the cultural aspects of music and relaxation. This study attempted to remedy this oversight by polling international students who attended a small private university in central California. It was thought there would be a significant difference between students of different cultural backgrounds and the types of music they used for relaxation. It was also assumed there would be a statistically significant difference between the average scores of questions designed to elicit opposite responses regarding specific qualities of relaxing music. Questionnaires were mailed through the International Students Office to all international students attending the university. Of those 21 0 mailed questionnaires, 7 4 were returned, resulting in 74 usable responses. Using the Kruskal-Wallis one way analysis of variance, there was statistical significance (Q < .05) regarding the specific instruments which people like to hear when relaxing, in addition to the amount of rhythm and percussion heard when listening to relaxing music. Statistical significance was also found (using !-tests) between the overall responses on questions designed to elicit opposite responses regarding specific qualities of music (Q < .05). The characteristics of preferred relaxing music by international students were found to be slow over fast, quiet over loud, low-pitched over high-pitched, and familiar over unfamiliar music.

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Dissertationen zum Thema „Music therapy“

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