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Journal articles on the topic 'Master of Music Therapy'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

O'Neill, Nicky, and Mercédès Pavlicevic. "What an I Doing Here?" British Journal of Music Therapy 17, no. 1 (June 2003): 8–16. http://dx.doi.org/10.1177/135945750301700103.

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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.

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2

Dobrovolska, Rufina. "Foreign experience of implementing music therapy: training, education and professional aspects." Social work and education 9, no. 4 (January 11, 2023): 508–15. http://dx.doi.org/10.25128/2520-6230.22.4.6.

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Answer the question "what is music therapy?" being concise and comprehensive can be difficult, especially for new students entering their studies. Most experienced practitioners can only provide a few short sentences and answers to summarize and describe their work. But when portraying their own experience and impressions of professional activity in music therapy, experienced practitioners face the problem that it is quite difficult to explain to others the relevance of the profession of music therapist. Reflecting this, many practitioners learn how to explain music therapy to others by describing their own experiences and individual cases in their own practice where the use of music has made a difference, and learn how to support and help the person. Music therapy is constantly growing in recognition internationally. Its evidence base is expanding and consolidating, so theoretical maturity is beginning to emerge. This is a good opportunity to learn and master the profession of music therapist. Choosing a career as a music therapist can be challenging and exciting. Working with music every day, facilitating positive change in people's lives and having regular opportunities to share and collaborate with other practitioners, through teamwork and participation in national and international conferences are some of the aspects that make music therapy a fantastic job. The article discusses the definition of music therapy, as well as several components that define music therapy internationally: content and relationship to music therapy throughout the life span, models and approaches to music therapy, methods of music therapy, music therapy research, music education and professional issues.

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3

Sukmayad, Yu, F. Sella, and H. I. Midyanti. "Heutagogical approach to music learning in vocational schools." Education and science journal 24, no. 6 (June 14, 2022): 41–59. http://dx.doi.org/10.17853/1994-5639-2022-6-41-59.

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Introduction. Music is one of the areas of expertise and skills existing in vocational schools in Indonesia, where students must master music in theory and practice. Due to the COVID-19 pandemic, music teachers are encouraged to design alternative learning methods in order to facilitate the students to learn music. This challenges the music teachers to provide interesting and well-delivered material during online learning since the teachers of vocational education have to adapt quickly and prepare the students to be ready in facing the today’s challenges. In addition, the use of information and communication technology in teaching and performing music is growing rapidly, thus, the music teachers must master computer technology to address the complexities of today’s music industry, and support the music learning process in theory and practice. The heutagogical approach is believed to be an innovative and trending approach to be applied in the music learning process, since it can adapt to the current changing times. It can also assist teachers to guide music theory and practice, develop and deliver direction and discussion through technology assistance with learning materials agreed in the classroom.The aim of this article is to analyse the application of a heutagogical approach that focuses on improving learning, overall learning opportunities, and developing independent skills with technology assistance on music subjects in vocational schools in Bandung (West Java, Indonesia).Methodology and research methods. This research employs grounded theory method by providing explicit analytical strategies with the ultimate goal of obtaining theories about certain processes, actions, or interactions that come from the teacher’s point of view in teaching music in vocational schools.Results and scientific novelty. It was found that teaching processes with heutagogical approach tend to be student-centred, enabling students to learn independently through self-determination, since it is the real implementation of student-centred educational theory that can help students hone skills and metacognition and reflect their own learning experience faster.Practical significance. The current research aims at helping students studying music in vocational schools to apply self-determined learning, hence they can determine what to learn, how to learn it, when to learn, and where to get information to achieve the learning objectives.Thus, students can decide when the best time to study music, explore their musical knowledge, and practice their music skills. In addition, students can be trained to design music lessons, build space patterns and learning opportunities, and develop themselves individually; hence that they can be responsible for the learning objectives they designed for themselves. As for the teachers, they can play their role as a guide and facilitator who can direct students in achieving their learning objectives.

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4

Csákány, Csilla. "Encouraging Guidelines in Neuromusicological Research Regarding Classical Music’s Usage in Sonic Therapy - When Science Becomes Magic." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 21–35. http://dx.doi.org/10.24193/subbmusica.2022.1.02.

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"In systematic musicology as a branch of music psychology we found an intriguing orientation called cognitive neuroscience of music, or neuromusicology. It studies the function of the brain in music processing, the way music perception and production manifests in brain. Compared to other analytical models of music cognition, the mapping of the brain’s functioning serves to examine the outcome of music rather than its process, and as the music therapy methods discussed reflect, most approaches follow this ontological direction. As recent scientific researches shows, the brain mapping technique differentiates moment of listening, playing classical music or improvising. In the light of the research findings, our main focus was to get to know and understand how our musical brains functions during classical music audition so we could argue from a scientific approach not only the existing therapeutic methods used in music therapy, but the perception of classical music in the present. In the master class “Dialogue of the Arts”, we explore with our students in all grades the possible links between music and other artistic and scientific disciplines. One of the most exciting aspects of this is music and brain research, an incredibly fast-developing field whose results could reinforce the place and role of classical music in contemporary society, reinforcing existing broad-based promotion of classical music education (Kodály, El sistema etc.) Keywords: music cognition, neuromusicology, sonic therapy, classical music, models of therapy. "

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5

Vogel, Seong-Hi, and Ho-Hyung Cho-Schmidt. "Washington Global University (WGUNIV) German institute of music therapy-Master of Arts-online-curriculum." Nordic Journal of Music Therapy 25, sup1 (May 30, 2016): 153–54. http://dx.doi.org/10.1080/08098131.2016.1180205.

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6

Kutsyn, Erika. "Pedagogical potential of art-therapeutic influence of musical art." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 139–43. http://dx.doi.org/10.33310/2518-7813-2019-66-3-139-143.

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The article considers the problem of the introduction into the educational process of art-therapeutic technologies as a means of psychological and pedagogical adaptation of the individual in the conditions of society globalization. The role of musical art in influencing the emotional and sensual sphere of revealing and development of natural abilities, creative expression of personality is revealed, the expediency of using varieties of music therapy in music-creative activity of younger students is clarified. Music education, vocal therapy, receptive perception of music, rhythm therapy, which contribute to overcoming psychological discomfort in students' educational activities, encourage the creative expression of personality, the child's knowledge of the art world.The education system in Ukraine requires updating and enriching the content of the pedagogical process on the basis of humanization, which will contribute to the full development of the individual, the formation of vital competences for the maximum disclosure of his or her natural inclinations and creative potential. It is in the primary school that the foundations for the formation of the experience of educators (younger students), their needs, which motivate learning, knowledge and skills, which are formed in different educational environment, different social situations and condition the formation of attitude to them, are laid. The state normative document (The Law of Ukraine "On Education") emphasizes the need for students to acquire key competences that enable the development of successful learning, self-expression, self-knowledge, social adaptation and preservation of their physical and mental state. Such development of education in Ukraine makes it necessary to actively introduce into the educational process the innovative technologies and modern pedagogical approaches, among which artpedagogy is a new trend that integrates theoretical knowledge and methodological developments in psychology, art and pedagogy. With the help of music, drawing, fairy tales, theatre teachers can unite the class, identify problems of the child in time, form their life values, motivate them to study. The professional activity of a music art teacher in the context of educational reform and the introduction of inclusive education as a form of providing equal access to quality education for children with special educational needs, presupposes the need to master innovative technologies for the use of musical art as a method of comprehensive and multidimensional stimulation of personality development, child's condition, behavioural abnormalities, and also as a form of art treatment. One of the effective ways of solving the set tasks before the educational industry is the introduction of innovative, art-therapeutic – humanistic-oriented technology in the educational process, which involves the creation of a psychologically-comfortable educational environment by updating the pedagogical potential by means of art education (vocal therapy, art therapy, music therapy, (etc.)

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Mishchanchuk, Viktoriia. "MODERN METHODS OF POP EXCITEMENT OVERCOMING BY FUTURE MUSIC ART TEACHERS DURING PUBLIC PERFORMANCE." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 101–6. http://dx.doi.org/10.36550/2415-7988-2021-1-195-101-106.

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In the article the phenomenon of pop excitement, its essential and qualitative features of detection in the music art are considered. The author notes that public performance is always accompanied by excitement. In this state the process of music creating happens, during which all musician’s creative abilities are activated, the reserve capabilities of the individual are accumulated to create vivid concepts of musical works and convey them to the audience. Also, in the article the features of professional and psychological preparation of performers for public performances are revealed. The author considers innovative approaches, methods, techniques, exercises, directions that should be used by future music art teachers to overcome the negative effects of pop excitement during performance on stage. To achieve comfortable mental state during the performance, it is proposed to use the following psychotherapeutic directions in the process of preparing students for performance: NLP – neuro-linguistic programming; body-oriented training; vocal therapy. Thus, the use of NLP allows the teacher to penetrate into the inner world of the individual to reveal his/her reserve capabilities, expand worldview, intensify creative and mental processes. In the process of preparing future music art teachers for public performance, the author pays attention to the fact that the method of «anchoring» will help to overcome negative emotional states, and methods of associations, analogies, comparisons, metaphors, symbols will help to activate various mental states, form new creative ideas. In the article body-oriented training that helps to overcome future music art teachers’ muscle cramps, their emancipation through physical, instrumental and vocal exercises is considered. The author proposes to use the method of vocal therapy, role preparation, the method of playing a concert program in front of an imaginary audience and playing music to overcome the pop excitement on stage, which will ensure performance stability and reliability during the presentation of the program to the audience. The author indicates that the technique of «sensory reconstruction» will help to implement of self-regulation of emotional states in the process of preparation for public performance and during it, and to relieve nervous and mental stress and master the optimal concert state, it is recommended to use methods of autogenic and meditative immersion.

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8

Mischanchuk, V. M. "THEORETICAL AND METHODOLOGICAL BASIS INTRODUCTION OF SUGGESTIVE AND PEDAGOGICAL TECHNOLOGIES IN PROFESSIONAL TRAINING OF FUTURE MUSIC TEACHERS IN HIGHER EDUCATIONAL INSTITUTIONS." Educational Dimension 25 (June 23, 2009): 335–43. http://dx.doi.org/10.31812/educdim.6941.

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Theoretic-methodic principles of introduction of suggestive-pedagogical technologies in professional preparation of future music masters in higher educational establishments. The problems of forming of new forms of consciousness are examined in the article, multidimensional thought of suggestive - pedagogical technologies facilities; uses of elements of musical therapy in professional preparation of future music masters for opening of individual possibilities of students, adjustment of the emotional states; implementation of tasks and use of methods of editing is offered, dialog, analysis, comparisons in an teaching educational process for the feasance of influence on students with the purpose of forming of musical presentations, development of fantasy.

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9

Konovalov, A. A., and N. I. Butorina. "Computer-based music production: Specifics of professional training." Education and science journal 23, no. 8 (October 14, 2021): 64–110. http://dx.doi.org/10.17853/1994-5639-2021-8-84-110.

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Introduction. The process of professional training in most economic sectors is now thoroughly developed and regulated by global science. Today, the exception is the creative directions of professional activity, which play an important role in society. Therefore, there is a reasonable request for the professional training in creative industries. However, in science and practice, it is still not clear how professional training in creative industries should be carried out. An educational model, based on modern approaches and principles of learning, can be an effective solution to this problem.Aim. The present research aimed to disclose the content and results of approbation of the model of professional training in computer-based music production.Methodology and research methods. The research methodological framework is based on the concepts of competency-based, activity-based, technological and personality-oriented approaches to education; research papers on the problems of using computer music technologies in education; theory and practice of teaching models application in higher education.The leading method was the modelling of the educational process in specialised training in the field of computer-based music production. An experimental research study was carried out with the participation of students and teachers of higher education (n = 83 people). The authors employed the following methods: a questionnaire survey, testing, practical assignments, measurement of motivation for educational computer-based music production, the Fisher’s method.Results and scientific novelty. The current research paper presents the authors’ model of specialised computer-based musical instruction, which includes four main units: motivational-targeted, content-logical, activity-technological and diagnostic (evaluative-productive). The novelty of the model is determined by the implementation of the leading innovative educational activity of students, which is characterised by the production, processing and reproduction of musical material using musical computer technologies. An important component of the model is a complex of pedagogical technologies, which is a part of the activity-technological unit and includes the following technologies: interactive, design, research, modelling technologies, individualisation of training, computer and information technologies. The effectiveness of the content of the proposed educational model is confirmed by the results of the experimental research study on the implementation of this model in the conditions of student mastery of computer-based music production disciplines in the real educational process of a pedagogical university. The data obtained revealed a high (sufficient and advanced) level of formation of computer-based musical competencies among students.Practical significance. The model for specialist training can become a separate element of the educational programme, which provides training for specialists in computer-based music production. The research materials may have implications for the further development of educational science and the practice of specialist training in other creative industries.

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10

Morris, Meg E., Susan C. Slade, Joanne E. Wittwer, Irene Blackberry, Simon Haines, Madeleine E. Hackney, and Victor B. McConvey. "Online Dance Therapy for People With Parkinson’s Disease: Feasibility and Impact on Consumer Engagement." Neurorehabilitation and Neural Repair 35, no. 12 (September 29, 2021): 1076–87. http://dx.doi.org/10.1177/15459683211046254.

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Background Therapeutic dancing can be beneficial for people living with Parkinson’s disease (PD), yet community-based classes can be difficult to access. Objective To evaluate the feasibility and impact of online therapeutic dancing classes for people in the early to mid-stages of PD. Methods Co-produced with people living with PD, physiotherapists, dance teachers and the local PD association, the ‘ParkinDANCE’ program was adapted to enable online delivery during the COVID-19 pandemic. Participants completed 8 one-hour sessions of online therapeutic dancing. Each person was assigned their own dance teacher and together they selected music for the classes. A mixed-methods design enabled analysis of feasibility and impact. Feasibility was quantified by attendance and adverse events. Impact was determined from individual narratives pertaining to consumer experiences and engagement, analysed with qualitative methods through a phenomenological lens. Results Attendance was high, with people attending 100% sessions. There were no adverse events. Impact was illustrated by the key themes from the in-depth interviews: (i) a sense of achievement, enjoyment and mastery occurred with online dance; (ii) project co-design facilitated participant engagement; (iii) dance instructor capabilities, knowledge and skills facilitated positive outcomes; (iv) music choices were key; and (v) participants were able to quickly adapt to online delivery with support and resources. Conclusions Online dance therapy was safe, feasible and perceived to be of benefit in this sample of early adopters. During the pandemic, it was a viable form of structured physical activity. For the future, online dance may afford benefits to health, well-being and social engagement.

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Et.al, Y. H. Ch’ng. "Psychology Software Tool (PST) For Specific Language Impairment Person." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 11, 2021): 1969–74. http://dx.doi.org/10.17762/turcomat.v12i3.1032.

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Specific Language Impairment (SLI) is a disorder categorized by the inability of an individual to master spoken and written language, despite the absence of any apparent handicapping conditions. Many tools have been developed to diagnose or treat SLI, but these tools are largely made up of standalone components which must be utilized separately to obtain sufficient data for the diagnosis and treatment of SLI. Furthermore, some of these components are either very expensive or not widely available. As a result, therapists have faced many inconveniences when trying to treat individuals suffering from SLI. Hence, the development of an integrated, cost-effective Psychology Software Tool (PST) to diagnose and treat SLI is being developed as a solution to counter the inconveniences currently faced by SLI therapists. As a tool by SLI therapists to diagnose and treat SLI within children, the Psychology Software Tool offers standardized questionnaires with a special method to diagnose SLI will be presented in both text and audio, while a webcam will be used to deduce the amount of focus which is given by the patient to comprehend a particular element displayed on the screen. The diagnosis shall take into account the accuracy of answers provided within the questionnaires, the time taken to provide those answers and the aforementioned degree of focus. In terms of SLI treatment, the tool will also provide music therapy for SLI patients to work towards better speech production and comprehension. In short, PST will simplify and enhance the process of diagnosing and treating SLI patients.

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12

Roth, Alicia J., and Michelle Drerup. "1222 Does Creativity & “Dose” Enhance Outcomes in Imagery Rehearsal Therapy? A Case of Successful IRT." Sleep 43, Supplement_1 (April 2020): A467. http://dx.doi.org/10.1093/sleep/zsaa056.1216.

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Abstract Introduction Imagery Rehearsal Therapy (IRT) is an efficacious treatment for Nightmare Disorder. In IRT, patients practice pleasant guided imagery techniques, then use these skills to re-script recurring nightmares, which lowers the frequency and intensity of overall nightmare activity. However, the most efficacious methods and dosage of guided imagery and nightmare re-scripting is undetermined. Report of Case The patient was a 70-year-old male with Nightmare Disorder. Patient denied any precipitating event or trauma associated with nightmare onset. He has a longstanding history of depression and OSA (uses CPAP). He was taking Seroquel, which reduced severity of nightmares but not frequency. Trials of other medications for nightmares had failed (including prazosin, Depakote, and trazodone). Patient presented as highly distressed, exhibited distrust towards medical providers, and was skeptical about the effectiveness of IRT. Despite his skepticism, patient self-initiated very detailed and media-enhanced methods for pleasant guided imagery and nightmare re-scripting, including written narratives, voice recordings, and created a movie of his re-scripted nightmare with pictures set to music. He listened to the recordings 2-3x/day. Themes of nightmares included lack of mastery over problems; patient’s re-scripted dreams put him back in control of frightening scenarios. Nightmare logs at baseline showed sleep quality=1.9/5; average=2.0 nightmares/night; average intensity= 6.2/10. At week 15 of treatment, sleep quality=3/5; nightmares/night average=0.25; average intensity=6/10. Sleep disturbance also improved (ISI=18-moderately severe clinical insomnia to 11-subthreshold insomnia); mood was stable (PHQ=5-mild depression). Conclusion Previous studies have suggested that IRT increases patients’ sense of mastery or perceived self-efficacy over nightmares (Rousseau et al., 2018). Additionally, higher verbal memory in persons with trauma-related nightmares has been shown to improve nightmare frequency and severity in IRT (Scott et al., 2017). In this case study, self-efficacy may have been activated by the highly detailed and media-enhanced imagery the patient created. Further empirical research on the mechanisms for enhancing IRT is warranted.

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13

Brand, Manny. "Master music Teachers." Music Educators Journal 77, no. 2 (October 1990): 22–25. http://dx.doi.org/10.2307/3397811.

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Williams, Nancy. "Mastering Music and Music Master Professional." Music Educators Journal 93, no. 2 (November 2006): 26. http://dx.doi.org/10.2307/3878467.

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Williams, Nancy. "Mastering Music and Music Master Professional." Music Educators Journal 93, no. 2 (November 2006): 26. http://dx.doi.org/10.1177/0027432106093002161.

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16

Kinderman, William, Sieghard Brandenburg, and Martella Gutierrez-Denhoff. "Master..." Musical Times 130, no. 1761 (November 1989): 680. http://dx.doi.org/10.2307/1193784.

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Clark, Jane, and Malcolm Boyd. "Master Scarlatti." Musical Times 128, no. 1730 (April 1987): 209. http://dx.doi.org/10.2307/965426.

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Hammond, Frederick, and Malcolm Boyd. "Domenico Scarlatti, Master of Music." Notes 44, no. 3 (March 1988): 476. http://dx.doi.org/10.2307/941527.

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Thomson, Andrew, Philip Reed, Mervyn Cooke, Donald Mitchell, Benjamin Britten, and Christopher Grogan. "Master & Servant." Musical Times 149, no. 1905 (December 1, 2008): 89. http://dx.doi.org/10.2307/25434574.

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Anderson, Robert, Don C. Gillespie, and Stephen Lloyd. "Master & Pupil." Musical Times 138, no. 1848 (February 1997): 38. http://dx.doi.org/10.2307/1003595.

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Holloway, Robin. "Master OF Hearts." Musical Times 136, no. 1830 (August 1995): 394. http://dx.doi.org/10.2307/1004069.

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Whittall, Arnold, and Paul Griffiths. "The Master Musicians: Stravinsky." Musical Times 134, no. 1801 (March 1993): 146. http://dx.doi.org/10.2307/1193864.

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Roseberry, Eric, and Robert Layton. "The Master Musicians: Sibelius." Musical Times 134, no. 1801 (March 1993): 148. http://dx.doi.org/10.2307/1193866.

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Griffiths, Steve, and Geoffrey Norris. "The Master Musicians Rachmaninoff." Musical Times 135, no. 1811 (January 1994): 37. http://dx.doi.org/10.2307/1002832.

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Allsop, Peter C., and JA Westrup. "The Master Musicians Purcell." Musical Times 136, no. 1834 (December 1995): 662. http://dx.doi.org/10.2307/1003560.

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Holman, Peter, and Donald Burrows. "The Master Musicians Handel." Musical Times 136, no. 1827 (May 1995): 242. http://dx.doi.org/10.2307/1003913.

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O’Grady, Pat. "The Master of Mystery." Journal of Popular Music Studies 31, no. 2 (June 2019): 147–64. http://dx.doi.org/10.1525/jpms.2019.312012.

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Over the past twenty years, the field of popular music studies has significantly enhanced our understanding of pop music production. Studies have drawn from a range of industry discussions to explore, for example, the ways in which emergent technologies have led to distinctive production techniques and the important role that recording technologies play in shaping the sound of pop music. Whereas many industry discussions have provided productive sites of analysis, they can also obstruct research in some respects. This article focuses on an area of music production where such industrial discussions tend to hinder, rather than enhance, an understanding of its practices. It examines the ways in which industry discussions position the process of mastering as “mysterious.” This article argues representations of mastering as “mysterious” work to reinforce the importance of this practice and also safeguard it from new technologies that might challenge its dominance. These representations can function to reproduce and secure social hierarchies within the field.

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Anderson, Martin. "Leif Solberg, Master Craftsman." Tempo, no. 208 (April 1999): 24–28. http://dx.doi.org/10.1017/s0040298200006999.

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Don't blame yourself if you don't recognize the name of the Norwegian composer Leif Solberg – when he turned up at the Christmas party of the Norwegian Composers' Union a couple of years ago, they didn't know who he was either. Solberg has been at best a marginal figure in Norwegian musical life, cut off from the Oslo committees which decide who gets heard. His isolation has been both stylistic – his traditionalist craft sitting ill with the modernism that ruled Nordic roosts until recently – and literal, since he has been content with the low-profile rewards of galvanising musical activity in Lillehammer, two hours' train ride north of Oslo.

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Lautzenheiser, Tim. "Motivation and the Master Music Teacher." Music Educators Journal 77, no. 2 (October 1990): 34–36. http://dx.doi.org/10.2307/3397814.

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Syrjala, Minna, Heli Saarela, and Kimmo Lehtonen. "The Relationship Between Master Music Teachers and Master Students: Counseling Concerns." Gifted Education International 19, no. 3 (April 2005): 275–78. http://dx.doi.org/10.1177/026142940501900311.

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The relationship between the music instructor and the pupil has only been superficially examined. As advanced students in music become even more talented and sophisticated, they need increasingly greater amounts of individual attention from accomplished musicians and instructors. As students hone and sharpen their skills, they need increasing amounts of attention, supervision and nurturing from their master teachers. This paper explores the quality of such a relationship and other specific concerns such as the need for counseling, mentoring and consultation.

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31

Daniels, Douglas Henry. "Lester Young: Master of Jive." American Music 3, no. 3 (1985): 313. http://dx.doi.org/10.2307/3051473.

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Holman, Peter, Nicholas Lanier, and Michael I. Wilson. "Master of the King's Musick." Musical Times 136, no. 1824 (February 1995): 96. http://dx.doi.org/10.2307/1193634.

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Copland, Aaron. "Gabriel Fauré, a Neglected Master." Musical Quarterly 75, no. 4 (1991): 48–50. http://dx.doi.org/10.1093/mq/75.4.48.

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Zanders, Michael L. "Music as Therapy Versus Music in Therapy." Journal of Neuroscience Nursing 50, no. 4 (August 2018): 218–19. http://dx.doi.org/10.1097/jnn.0000000000000379.

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Thorp, J. "'So Great a Master as Mr Isaac': an exemplary dancing-master of late Stuart London." Early Music 35, no. 3 (June 4, 2007): 435–46. http://dx.doi.org/10.1093/em/cam056.

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Lindahl, Charles. "Music in Print: Master Composer Index 1988." Notes 47, no. 2 (December 1990): 406. http://dx.doi.org/10.2307/941996.

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Peter Dayan. "ZURICH DADA'S FORGOTTEN MUSIC MASTER: HANS HEUSSER." Modern Language Review 110, no. 2 (2015): 491. http://dx.doi.org/10.5699/modelangrevi.110.2.0491.

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Vellucci, Sherry L., Mark Daugherty, Susan Simon, and Kenneth W. Berger. "Choral Music in Print Master Index, 1991." Notes 49, no. 3 (March 1993): 1093. http://dx.doi.org/10.2307/898999.

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Brand, Manny. "The Making of a Master Music Teacher." Music Educators Journal 77, no. 2 (October 1990): 21. http://dx.doi.org/10.2307/3397810.

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Cowden, Robert L. "The Master Music Educator for Century XXI." Arts Education Policy Review 94, no. 2 (December 1992): 26–28. http://dx.doi.org/10.1080/10632913.1992.9936905.

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41

Friedrich, Paul. "The master trope the poetic polarity: Music." Dialectical Anthropology 11, no. 2-4 (June 1986): 325–27. http://dx.doi.org/10.1007/bf00245756.

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Albert, Daniel J. "Online Versus Traditional Master of Music in Music Education Degree Programs." Journal of Music Teacher Education 25, no. 1 (October 3, 2014): 52–64. http://dx.doi.org/10.1177/1057083714548588.

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43

Fujie, Linda, and Dieter Hauer. "Behnam Manahedji. Master of Persian Santoor." Yearbook for Traditional Music 26 (1994): 194. http://dx.doi.org/10.2307/768280.

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Emoff, Ron, and Ben Mandelson. "Rakoto Frah: Flute Master of Madagascar." Yearbook for Traditional Music 33 (2001): 192. http://dx.doi.org/10.2307/1519659.

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Ritter, Marie. "Telemann: master of the ‘German style’." Early Music XXII, no. 4 (November 1994): 696–98. http://dx.doi.org/10.1093/earlyj/xxii.4.696.

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Sharma, Archana. "MUSIC THERAPY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3396.

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Abstract:

Music Therapy is an established health profession in which music is used within a therapeutic relationship to address to physical, emotional, cognitive and social needs of individuals. After assessing the strength and needs of each client, the qualified music therapist provides the indicated treatment including creating, singing, moving to and/or listening to music. Through musical involvement in therapeutic context, clients, abilities are strengthened and transfer to other areas of their lives.

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SNYDER, MARIAH, and LINDA CHLAN. "Music Therapy." Annual Review of Nursing Research 17, no. 1 (January 1999): 3–25. http://dx.doi.org/10.1891/0739-6686.17.1.3.

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Nurses have used music as an intervention for many years. A sizeable number of investigations to determine the efficacy of music in managing pain, in decreasing anxiety and aggressive behaviors, and in improving performance and well-being have been conducted by nurses and other health professionals. Nursing and non-nursing research reports published between the years 1980–1997 were reviewed. Great variation existed in the type of musical selection used, the dose of the intervention (number of sessions and length exposure), the populations studied, and the methodologies used. Overall, music was found to be effective in producing positive outcomes.

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Gillam, Tony. "Music Therapy." Mental Health Practice 6, no. 9 (June 1, 2003): 26. http://dx.doi.org/10.7748/mhp.6.9.26.s16.

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Ross, Stephen, Indra Cidambi, Helen Dermatis, Jason Weinstein, Douglas Ziedonis, Serena Roth, and Marc Galanter. "Music Therapy." Journal of Addictive Diseases 27, no. 1 (February 27, 2008): 41–53. http://dx.doi.org/10.1300/j069v27n01_05.

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Davis, Theresa, and Pamela Jones. "Music Therapy." Dimensions of Critical Care Nursing 31, no. 3 (2012): 159–66. http://dx.doi.org/10.1097/dcc.0b013e31824dffc6.

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