Journal of Music Therapy最新文献

Dialectical behavior therapy (DBT) improves emotion regulation by building skills in mindfulness, distress tolerance, emotion regulation, and interpersonal effectiveness. The purpose of this pilot study was to compare a DBT skills group with a combined DBT skills and music therapy (MT) group on participant outcomes of attendance, participation, skill practice, and skill knowledge, as well as determine feasibility of study procedures. We used a quasi-experimental nonequivalent control-group design with all groups co-led by a psychologist and a music therapist. Clinicians facilitated twice weekly 45-min groups in 12-week cycles for a total of eight groups over 2 years. The groups alternated DBT-only and DBT+MT; participant data were analyzed for their first cycle attended. The DBT-only group followed a standard DBT skills training format, whereas the DBT+MT group included music therapy interventions as group exercises. Participants (N = 26) were adults with serious mental illness referred to the inpatient psychosocial rehabilitation group (PSR) at a state psychiatric hospital. Participants completed a demographic form, diary cards, and exit interview; clinicians recorded attendance and session participation. Participants in the DBT+MT condition had significantly higher participation levels, slightly higher average attendance, submitted more diary cards, and included more feeling statements than the DBT-only condition. Although interpretations should be approached with caution, the pilot study intervention shows promise. Overall, this study could be implemented as intended under close monitoring, with minor modifications to assist with recruitment and data collection. Modifications, clinical implications, and recommendations for future research are discussed.

The Coronavirus disease 2019 (COVID-19) global pandemic affected music therapy education, with many university programs instantly shifting from in-person to remote online teaching. As literature related to various aspects of COVID-19 is emerging, none has yet examined music therapy students' responses to the sudden modification of teaching modalities. The aim of this study was to understand how the music therapy learning environment changed during the COVID-19 pandemic; students' experiences with unexpected remote learning, clinical training, and examination; and their perception of barriers and benefits of online learning. American Music Therapy Association students attending courses from Spring 2020 through Spring 2021 were invited to participate in this national survey. In total, 230 music therapy students across seven regions responded to the 26-item questionnaire through Qualtrics®. Seven questions were further explored with a student focus group. Results indicated that courses were mainly altered to synchronous lectures, clinical training changed to varied telepractice experiences, and examination was modified across universities. Students spent about the same time in remote learning and found synchronous lectures mostly engaging. Commonly perceived barriers included screen fatigue, physical isolation from peers, and poor internet connection. Safety during COVID-19, no traveling time, and being more comfortable at home were noted as key benefits. In conclusion, online learning allowed the continuation of music therapy education during the COVID-19 pandemic. Moving forward, the development of effective online courses and research-based guidelines for tele-interventions is desirable to improve the music therapy educational landscape during future crises and to prepare students for competent services in a digital world.

A significant percentage of music therapists actively provides services to children with autism spectrum disorder (ASD). There is an absence, however, of a widely accepted clinical instrument, specific to music therapy work with this population, that demonstrates psychometric validation. Establishing commonality in assessing and documenting this particular work within the field would be pivotal to furthering the efforts which have established music therapy as evidenced-based practice. A study was conducted to explore the convergent validity between the Musical Emotion Assessment Rating Scale (MEARS), which is Scale I of the Individual Music-Centered Assessment Profile of the Neurodevelopmental Disorders (IMCAP-ND) assessment tool, with the Social Affect Scale domains and item variables of the Autism Diagnostic Observation Schedule (ADOS). The data revealed statistical significance, thus supporting convergent validity with several specific MEARS scores when compared with the ADOS Social Affect domain score. The current investigation supports the IMCAP-ND's soundness as an assessment tool possessing valid and reliable psychometric properties. The convergent validity between MEARS and ADOS showed positive results in the area of social affect. Implications of this study are related to clinical practice and may impact how music therapists assess children with autism. Furthermore, this study contributes to the growing body of music therapy assessments that have yielded valid and reliable scores used to evaluate core features of ASD (e.g., social affect).

Experiencing a stroke can lead to difficulties with emotion regulation and mood disorders like depression. It is well documented that poststroke depression (PSD) affects a third of all stroke survivors. Higher levels of depression and depressive symptoms are associated with less efficient use of rehabilitation services, poor functional outcomes, negative impacts on social participation, and increased mortality. Mood in the acute phases of stroke recovery may be a key factor influencing the depression trajectory with early depression predicting poor longitudinal outcomes. The purpose of the study was to examine the effect of one active music therapy (AMT) treatment on mood following a first-time ischemic stroke during acute hospitalization. Forty-four adults received AMT defined as music-making interventions that elicit and encourage active participation. The Faces Scale was used to assess mood immediately prior to and following the treatment. A significant change in mood was found following one treatment. Comment analysis indicated that participants viewed music therapy as a positive experience. Findings here support the use of brief AMT to provide early psychological support to stroke survivors. Continued investigation into the role of music therapy in early stroke recovery is recommended.

Despite abundant research and clinical evidence of the effectiveness of music interventions for people in the autism spectrum, understanding of music processing in this community is limited. We explored whether research evidence of differences in music processing within the autistic community is available. We developed a scoping review to search for literature with the terms "music", "processing," and "autism" (and variants). We searched PubMed, CINAHL, Scopus, Web of Science, PsycInfo, Academic Search Complete, ERIC, and Music Index databases for a total of 10,857 articles, with 5,236 duplicates. The remaining 5,621 titles and abstracts were screened for eligibility by a team of four undergraduate and graduate students and the PI. Seventy-five studies were included for data extraction. Data were analyzed with descriptive statistics regarding author, study, stimulus, and participant information, and a thematic analysis of outcome and findings. Our findings are preliminary given the emerging nature of the literature, the use of mostly non-musical auditory stimuli, passive listening experiences, and underreported demographics. However, the literature shows some evidence of differences in music processing for autistic individuals, including reduced habituation to non-musical and musical stimuli; truncated, delayed, or divergent developmental trajectories; and possible compensatory higher-order mechanisms that yield similar behavioral responses even in the presence of divergent neural correlates. Music therapists are encouraged to adopt a developmental perspective, not only of general skills, but specifically of music skill development in this community, and to extrapolate these findings with caution, given the current limitations in the evidence.

Assessment is a critical aspect of treatment planning, and while there exist standards for facilitating music therapy assessments in a variety of clinical settings, no such standards exist for music therapists in hospice and palliative care. This gap in knowledge, which limits music therapists' ability to provide patients and caregivers best practices promoting supported movement through the dying process, becomes particularly problematic when assessing patients who are imminently dying with a 24-72 hour prognosis. To further develop and define assessment and clinical decision-making processes used by music therapists in hospice and palliative care, the authors used a constructivist grounded theory and situational analysis methodology to analyze interviews of 15 hospice music therapists. The resulting theoretical model describes an ongoing process of assessment and clinical decision-making shaped by participants' individual epistemologies. Epistemologies were comprised of 5 ways of knowing, which were termed experiential, personal, musical, ethical, and integral, and provided participants critical foundations for their practice. The results support a development of a model for reflective practice as well as continued research on epistemological foundations of clinical practice.

The purpose of the study is to understand how audiences evaluated an arts-based research performance called Rising from the Ashes. Audience evaluation promises egalitarian and pluralistic perspectives that may assist artist-as-researchers with gaining new insight into out of performative arts-based research results. Rising from the Ashes was performed several times between 2015 and 2019. Evaluations were provided to six different audiences and consisted of rating-scale and open-ended questions based on general criteria for judging arts-based research: incisiveness, concision, generativity, social significance, evocation and illumination, and coherence. Descriptive rating scores and thematic analysis of open-ended questions aided in the artist-as-researcher's understanding of how audiences responded to the performances. Descriptive scores showed that audiences strongly agreed that the performance was concise, incisive, and evocative and illuminating. The performance was less likely to support audiences' understanding of the social issues addressed in the study, which implied decreased generativity and social significance. Open-ended questions enhanced and supported rating-scale responses as well as revealed specific elements of the performance that addressed its coherence. The results deepened the artists-as-researcher's understanding of potential strengths and limitations of Rising from the Ashes based on the audience evaluations. Implications for arts-based research evaluation in music therapy, particularly related to music performance, are discussed.