Journal of Music Therapy最新文献

This study investigated the experiences of music therapy private practice business leaders providing services in school, healthcare, and community settings, including clients' homes, during the first 12 months of the COVID-19 pandemic. Qualitative content analysis was utilized to analyze semi-structured interview data collected from 10 business leaders (5 CEOs and 5 clinical directors) recruited from 5 businesses. 8 themes were revealed: (1) significant impact shaped by uncertainty and values, (2) temporal dimensions of change, (3) changing dynamics of relationships, (4) issues leading to burnout, (5) unexpected opportunities for all stakeholders, (6) the weight of being responsive, (7) the ambiguity of role changes, and (8) the collective functioning of the clinical team. In the context of leadership and teamwork, these themes illuminated the challenges these business leaders encountered while also providing insights into the importance of collaborative structures, transparent communication, and flexibility integral to leading organizational change. Further, resilience, robustness, and antifragility provide theoretical constructs through which to consider change processes, providing music therapy professionals with the opportunity to consider core leadership, teamwork, and organizational characteristics essential to music therapy teams.

Incest occurs worldwide in all socioeconomic classes. To the best of our knowledge, literature on music processes with incest survivors is scarce, and studies focusing on voicework as a main technique for incest survivors in group settings have not been found. The current study aimed to explore incest survivors' expectations regarding the use of their voice before participating in a vocal group therapy, and their lived experience of using their voice following the therapeutic process. Seventeen women living in an inpatient alternative center, coping with complex posttraumatic stress disorder due to incest, participated in a voicework group led by two music therapists. The women were divided into two groups of eight and nine women each and participated in eight sessions. Data were collected through focus groups before and after the therapeutic experience. Interpretative phenomenological analysis yielded themes indicating that before the therapeutic process, participants' expectations regarding the use of their voice reflected low self-esteem, self-criticism, loneliness, shame, fear of exposure, and avoidance of singing. Following the therapeutic process, participants experienced their voice in a way that enabled them to feel self-acceptance and courage to sing, togetherness, bonding, belonging, a strengthening of existing relationships and ability to establish new ones, and awareness of body and emotions in the "here and now." An overall examination of the findings indicates that participants progressed from experiencing lack of self-compassion before the therapeutic experience to enhanced self-compassion at its completion. The findings are interpreted via the self-compassion concept and implications are presented.

Transition to long-term care can be a challenging period for older adults, with high risk for negative outcomes, including depression, anxiety, and fear. However, music therapy has the potential to enhance related protective factors because it emphasizes individual strengths by leveraging culture-specific resources, facilitates relationships and a sense of belonging through joint music-making, and provides opportunities to process and make sense of one's experiences in the "new normal" through sharing of music-related emotions. The purpose of this study was to explore the perspectives of older adult long-term care residents, their care team staff, and their music therapists to develop a conceptual framework for the role of music therapy in older adults' transition and adjustment to long-term care. A grounded theory approach was used to conceptualize this process. Interviews with 17 participants were transcribed and analyzed using open, axial, and selective coding. The resulting theoretical model describes a progression of qualities and benefits of music therapy that leads to residents "feeling their best self." Related categories include: Music therapy is accessible and engaging; Music therapy is personal and meaningful; Music therapy acts as a bridge to other resources; Music therapy facilitates transformation; and Music therapy facilitates community integration. This initial theoretical model provides a foundation for clinical assessment and interventions. Future research is needed for continued testing and refining this theory.

Music therapists may have strategic advantages for collaborative and interdisciplinary research. As such, there is a need to analyze authorship teams as well as funding in the premiere United States-based music therapy research journal. The purpose of this descriptive study was to analyze independent, collaborative, interdisciplinary, and funded research in the Journal of Music Therapy (JMT) from 1998 to 2021. We built a database of JMT articles from 1998 to 2021 and (1) counted the number of authors contributing to articles, (2) categorized articles as independent, collaborative, or interdisciplinary, and (3) counted the number of articles that received funding. From 1998 to 2021, there were 423 total articles that met our inclusion criteria published in JMT. Although two or more authors contributed to most papers, a high percentage of articles were published by single authors (n = 185, 43.74%). More articles were interdisciplinary (n = 162, 38.30%) than collaborative (n = 90, 21.28%). There was a trend for fewer independent articles in more recent years. Although most articles were not funded (n = 312, 73.76%), interdisciplinary articles were most likely to be funded (n = 72, 64.86% of funded articles) while independent articles were least likely to be funded (n = 17, 15.32% of funded articles). General trends indicate higher frequencies of funded papers in more recent years. Research articles published in JMT have become increasingly team-based, interdisciplinary, and funded. Implications regarding the future of music therapy research, Music Therapy Research 2025, limitations of the study, and suggestions for future research are provided.

The primary aim of this randomized controlled trial pilot was to investigate the potential effectiveness of the music psychotherapy method, Guided Imagery and Music (GIM), to assist female patients who are undergoing chemotherapy treatment for breast or gynecologic cancer. A secondary aim was to suggest performance improvements regarding the protocol and the resources required to undertake a future larger scale study. The researchers randomized participants (n = 20) into two groups: Intervention group (n = 10) and Control group (n = 10). The Intervention group received a series of six individual, short GIM sessions whereas the Control group received two verbal counseling sessions that took place at Week 1 and at Week 6 of treatment. All participants in the study completed the Profile of Mood States (POMS-Brief); Cancer Fatigue Scale (CFS); and Herth Hope Index (HHI) before the beginning of Week 1 and again after Week 6 or, in the case of the Intervention group, after the last GIM session. All participants also completed two Visual Analogue Scales (VAS-Hope; VAS-Fatigue) weekly or after each session throughout the duration of the trial. The results of the Intervention group receiving GIM showed medium pre-post effect sizes for the CFS, HHI, and POMS questionnaires, and significant positive changes for the VAS-H and VAS-F questionnaires. As seen from this initial data outcome, a brief series of GIM sessions shows promise to be beneficial for increasing hope, decreasing fatigue, and mitigating distressed mood for female patients undergoing treatment for breast or gynecologic cancer.