Pub Date : 2022-10-03DOI: 10.1080/08098131.2022.2121125
Published in Nordic Journal of Music Therapy (Vol. 31, No. 5, 2022)
发表于Nordic Journal of Music Therapy (Vol. 31, No. 5, 2022)
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Pub Date : 2022-10-03DOI: 10.1080/08098131.2022.2115208
G. Thompson
As authors, we find ourselves in a position of power and great responsibility. The terms, labels, and language we select to communicate our research and practice tell a story about peoples’ experiences of music therapy. The ways in which authors perceive music therapy practice, the people with whom they work, and the findings of their research, are often revealed in the words and phrases they select. Concerns around the use of terminology and language in music therapy publications are not new (Ansdell, 2002; Fairchild & Bibb, 2016; Procter, 2001; Rolvsjord, 2006). Indeed, Fairchild and Bibb (2016) concluded their critical reflection paper with a “call to action” for authors to select language that “more fully represent[s] [participants’] strengths and capacities in spite of their adverse experiences” (para. 21). Perhaps what has grown in volume and strength more recently are the voices of people with lived experience (experts by experience) who are critiquing the language and terminology adopted by authors, researchers, and practitioners. For example, in Tuastad and colleagues’ article (Tuastad et al., 2022), music therapy participants from a community mental health setting described how the title given to a concert event made them feel further stigmatised. During focus group interviews, participants requested that future music therapists in this context needed to “tone down the focus on mental illness, [and] turn up the volume regarding the importance of doing music” (p. 1). In response to critiques from experts by experience, some journals are now providing guidance about the use of labels and terminology (The National Autistic Society, 2022). One of the key issues regularly discussed is authors’ selection of identity-first versus person-first language. Debate around the use of these different formats is ongoing, and there are diverse points of view within and between different communities. For example, while it currently seems to be preferred to write “person with cerebral palsy” (person-first language), within the autistic community many advocates are calling for “autistic person” (identity-first language) to be used over “person with autism” (Bottema-Beutel et al., 2021). While there is no clear consensus that identityfirst language is preferred in all circumstances, some autistic people have highlighted that person-first language is not inherently respectful and in fact may have the opposite effect. The term “person with [condition]” implies that the condition should be considered separate to the person, and that having this condition is fundamentally a negative experience (Sinclair, 2013). When health conditions and differences are universally positioned as a negative, discrimination towards disabled people (ableism) is likely to thrive (Kumari Campbell, 2009). I have seen many examples of ableist language in published research articles. I am going to give a few examples next, so if you are an expert by experience, you might like to skip t
作为作家，我们发现自己处于权力和重大责任的位置。我们选择的术语、标签和语言来传达我们的研究和实践，讲述了人们对音乐治疗的经历。作者对音乐治疗实践的看法、他们的工作对象以及他们的研究结果，往往体现在他们选择的词汇和短语中。关注音乐治疗出版物中术语和语言的使用并不是什么新鲜事(Ansdell, 2002;Fairchild & Bibb, 2016;宝洁公司,2001;Rolvsjord, 2006)。事实上，Fairchild和Bibb(2016)在总结他们的批判性反思论文时“呼吁行动”，要求作者选择“更充分地代表[s][参与者]的优势和能力，尽管他们有不利的经历”的语言。21)。也许，最近在数量和力量上增长的是那些有生活经验的人(经验丰富的专家)的声音，他们正在批评作者、研究人员和实践者所采用的语言和术语。例如，在Tuastad及其同事的文章(Tuastad et al.， 2022)中，来自社区心理健康机构的音乐治疗参与者描述了音乐会活动的标题如何使他们感到进一步的耻辱。在焦点小组访谈中，参与者要求在这种情况下，未来的音乐治疗师需要“淡化对精神疾病的关注，[并]提高对音乐重要性的重视”(第1页)。作为对经验专家批评的回应，一些期刊现在提供了关于标签和术语使用的指导(the National autism Society, 2022)。经常讨论的一个关键问题是作者对身份优先和个人优先语言的选择。关于使用这些不同格式的争论正在进行中，不同社区内部和社区之间存在不同的观点。例如，虽然目前似乎更倾向于写“脑瘫患者”(个人第一语言)，但在自闭症社区内，许多倡导者呼吁使用“自闭症患者”(身份第一语言)而不是“自闭症患者”(Bottema-Beutel et al.， 2021)。虽然并没有明确的共识认为身份第一语言在所有情况下都是首选，但一些自闭症患者强调，以人为本的语言并不是天生的尊重，事实上可能会产生相反的效果。“有[条件]的人”一词意味着该条件应被视为与个人分开，并且具有这种条件从根本上说是一种消极的体验(Sinclair, 2013)。当健康状况和差异被普遍定位为负面因素时，对残疾人的歧视(残疾歧视)可能会猖獗(Kumari Campbell, 2009)。我在发表的研究文章中看到过许多ableist语言的例子。接下来我将给出几个例子，所以如果你是经验丰富的专家，你可能会跳过下一段，以尽量减少额外的伤害。北欧音乐治疗杂志2022年第31卷第1期仍有趋势。5, 383-386 https://doi.org/10.1080/08098131.2022.2115208
{"title":"Respect-focused writing: An invitation to reflexivity in the use of terminology","authors":"G. Thompson","doi":"10.1080/08098131.2022.2115208","DOIUrl":"https://doi.org/10.1080/08098131.2022.2115208","url":null,"abstract":"As authors, we find ourselves in a position of power and great responsibility. The terms, labels, and language we select to communicate our research and practice tell a story about peoples’ experiences of music therapy. The ways in which authors perceive music therapy practice, the people with whom they work, and the findings of their research, are often revealed in the words and phrases they select. Concerns around the use of terminology and language in music therapy publications are not new (Ansdell, 2002; Fairchild & Bibb, 2016; Procter, 2001; Rolvsjord, 2006). Indeed, Fairchild and Bibb (2016) concluded their critical reflection paper with a “call to action” for authors to select language that “more fully represent[s] [participants’] strengths and capacities in spite of their adverse experiences” (para. 21). Perhaps what has grown in volume and strength more recently are the voices of people with lived experience (experts by experience) who are critiquing the language and terminology adopted by authors, researchers, and practitioners. For example, in Tuastad and colleagues’ article (Tuastad et al., 2022), music therapy participants from a community mental health setting described how the title given to a concert event made them feel further stigmatised. During focus group interviews, participants requested that future music therapists in this context needed to “tone down the focus on mental illness, [and] turn up the volume regarding the importance of doing music” (p. 1). In response to critiques from experts by experience, some journals are now providing guidance about the use of labels and terminology (The National Autistic Society, 2022). One of the key issues regularly discussed is authors’ selection of identity-first versus person-first language. Debate around the use of these different formats is ongoing, and there are diverse points of view within and between different communities. For example, while it currently seems to be preferred to write “person with cerebral palsy” (person-first language), within the autistic community many advocates are calling for “autistic person” (identity-first language) to be used over “person with autism” (Bottema-Beutel et al., 2021). While there is no clear consensus that identityfirst language is preferred in all circumstances, some autistic people have highlighted that person-first language is not inherently respectful and in fact may have the opposite effect. The term “person with [condition]” implies that the condition should be considered separate to the person, and that having this condition is fundamentally a negative experience (Sinclair, 2013). When health conditions and differences are universally positioned as a negative, discrimination towards disabled people (ableism) is likely to thrive (Kumari Campbell, 2009). I have seen many examples of ableist language in published research articles. I am going to give a few examples next, so if you are an expert by experience, you might like to skip t","PeriodicalId":51826,"journal":{"name":"Nordic Journal of Music Therapy","volume":"31 1","pages":"383 - 386"},"PeriodicalIF":1.6,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42883408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-03DOI: 10.1080/08098131.2022.2113913
I. Clark, Vannie Ip-Winfield, M. Murphy, Emily Shanahan, D. Grocke
ABSTRACT Introduction The Bonny Method of Guided Imagery and Music (BMGIM) is a psycho-therapeutic intervention that has not been examined with family caregivers of people with dementia. Method This within subject pre-post feasibility study aimed to examine a protocol involving six sessions of BMGIM with family caregivers. Estimates of effect examined sensitivity of the Patient Health Questionnaire-9 (PHQ-9) and Quality of Life-6 Dimensions (AQoL-6D). Qualitative interviews explored participant experiences. Results Of 11 participants who enrolled (nine women/two men, M age = 71.2 years), seven completed the study and four withdrew. Music programs used in BMGIM sessions were diverse and often modified to accommodate individual participant needs. Favourable small to moderate effect sizes were observed for the PHQ-9 (r = 0.11), and for the AQoL-6D global score (r = 0.18) and domains examining independent living (r = 0.20), mental health (r = 0.30), pain (r = 0.29), and senses (r = 0.44). Thematic analysis of interviews recognised BMGIM as: something different that might help; an empathic therapeutic space with aptly selected music; insightful and transformative; and psycho-educative. Discussion The majority of participants completed the project and described important benefits from BMGIM, suggesting that the protocol was acceptable. However, a large sample would be required to detect change in a fully powered trial based on effects observed for the PHQ-9 and AQoL-6D following six BMGIM sessions. Conclusion While early evidence from this study recognised the therapeutic potential of BMGIM for family caregivers, further feasibility research with this population is warranted.
{"title":"The Bonny Method of Guided Imagery and Music for family caregivers of people with dementia: A within subject feasibility study","authors":"I. Clark, Vannie Ip-Winfield, M. Murphy, Emily Shanahan, D. Grocke","doi":"10.1080/08098131.2022.2113913","DOIUrl":"https://doi.org/10.1080/08098131.2022.2113913","url":null,"abstract":"ABSTRACT Introduction The Bonny Method of Guided Imagery and Music (BMGIM) is a psycho-therapeutic intervention that has not been examined with family caregivers of people with dementia. Method This within subject pre-post feasibility study aimed to examine a protocol involving six sessions of BMGIM with family caregivers. Estimates of effect examined sensitivity of the Patient Health Questionnaire-9 (PHQ-9) and Quality of Life-6 Dimensions (AQoL-6D). Qualitative interviews explored participant experiences. Results Of 11 participants who enrolled (nine women/two men, M age = 71.2 years), seven completed the study and four withdrew. Music programs used in BMGIM sessions were diverse and often modified to accommodate individual participant needs. Favourable small to moderate effect sizes were observed for the PHQ-9 (r = 0.11), and for the AQoL-6D global score (r = 0.18) and domains examining independent living (r = 0.20), mental health (r = 0.30), pain (r = 0.29), and senses (r = 0.44). Thematic analysis of interviews recognised BMGIM as: something different that might help; an empathic therapeutic space with aptly selected music; insightful and transformative; and psycho-educative. Discussion The majority of participants completed the project and described important benefits from BMGIM, suggesting that the protocol was acceptable. However, a large sample would be required to detect change in a fully powered trial based on effects observed for the PHQ-9 and AQoL-6D following six BMGIM sessions. Conclusion While early evidence from this study recognised the therapeutic potential of BMGIM for family caregivers, further feasibility research with this population is warranted.","PeriodicalId":51826,"journal":{"name":"Nordic Journal of Music Therapy","volume":"32 1","pages":"220 - 240"},"PeriodicalIF":1.6,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43813732","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-03DOI: 10.1080/08098131.2022.2116472
Ming Yuan Low, K. Devlin, Stephenie Sofield
This letter is an offering for discussion about the relationships between music therapy research and neurodiversity-affirming practice. We are a collective of neuro-divergent, allistic, disabled and/or chronically ill music therapists writing in reference to the article, Research into increasing resilience in children with autism through music therapy: Statistical analysis of video data (Blauth & Oldfield, 2022). Based on our understanding of neurodiversity-affirming practices (Roberts, 2021), we perceive incongruence in the ways the article situates resilience as a neurodiversity-affirming outcome measure without clear realization of this worldview throughout the clinical research process (for an example of neurodiversity-affirming research, please refer to: We noted that several of the “behaviors of resilience” that the researchers coded seemed to value masking behaviors (e.g. look, smile) and pathologize autistic-coping behaviors (e.g. fidget; Price, 2022). Recently, Scrine (2021) introduced concerns regarding the concept of resilience as a form of oppression within music therapy, wherein resilience often requires client assimilation to and within dominant systems. Our primary aim in this letter is to amplify the labor put forth by autistic folx, many of whom highlight the critical need for neurodiversity-affirming practices in therapy, research, and beyond.
{"title":"A response to Blauth and Oldfield’s “Research into increasing resilience in children with autism through music therapy: Statistical analysis of video data”","authors":"Ming Yuan Low, K. Devlin, Stephenie Sofield","doi":"10.1080/08098131.2022.2116472","DOIUrl":"https://doi.org/10.1080/08098131.2022.2116472","url":null,"abstract":"This letter is an offering for discussion about the relationships between music therapy research and neurodiversity-affirming practice. We are a collective of neuro-divergent, allistic, disabled and/or chronically ill music therapists writing in reference to the article, Research into increasing resilience in children with autism through music therapy: Statistical analysis of video data (Blauth & Oldfield, 2022). Based on our understanding of neurodiversity-affirming practices (Roberts, 2021), we perceive incongruence in the ways the article situates resilience as a neurodiversity-affirming outcome measure without clear realization of this worldview throughout the clinical research process (for an example of neurodiversity-affirming research, please refer to: We noted that several of the “behaviors of resilience” that the researchers coded seemed to value masking behaviors (e.g. look, smile) and pathologize autistic-coping behaviors (e.g. fidget; Price, 2022). Recently, Scrine (2021) introduced concerns regarding the concept of resilience as a form of oppression within music therapy, wherein resilience often requires client assimilation to and within dominant systems. Our primary aim in this letter is to amplify the labor put forth by autistic folx, many of whom highlight the critical need for neurodiversity-affirming practices in therapy, research, and beyond.","PeriodicalId":51826,"journal":{"name":"Nordic Journal of Music Therapy","volume":"31 1","pages":"481 - 483"},"PeriodicalIF":1.6,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45486051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-26DOI: 10.1080/08098131.2022.2115530
C. Oedegaard, Ingunn Marie Stadskleiv Engrebresten, Marius Veseth, A. Blindheim, Brynjulf Stige
ABSTRACT Introduction In 2015, the Norwegian Regional Health Authorities introduced the possibility for people with psychotic disorders to choose medication-free services, with music therapy as a treatment option. This study aimed to explore the health care workers’ perspectives on challenges and possibilities of music therapy within these services. Method This is a qualitative study by an interdisciplinary research team, including experts by experience. Ethnographic notes provide data from participant observation with one patient using music therapy, describing what music therapy can be “a case of”. Focus group discussions (FGDs) with health care workers, including music therapists, explore their experiences with music therapy and medication-free treatment. These were transcribed and analyzed using systematic text condensation in a stepwise, iterative process involving co-authors to ensure reflexivity. Results The summary from the participant observation provides the reader with background information on how music therapy can unfold in mental health care. The informants from the FGDs described music therapy as having a high degree of treatment flexibility providing a continuous process of choices. The collaborative choices both among staff members as well as between patient and staff were experienced as important for treatment outcome. Patients worsening or stagnating increased the significance of contingent choices. Discussion The strengths of music therapy, such as its acceptability and flexibility, also represent challenges, including dilemmas of prioritization, challenges when ending therapy, and the need for close collaboration when assessing a patient’s worsening. There is a potential for improving the implementation of music therapy into the existing health care teams.
{"title":"Health care workers’ perspectives on the challenges and possibilities of music therapy within medication-free treatment services","authors":"C. Oedegaard, Ingunn Marie Stadskleiv Engrebresten, Marius Veseth, A. Blindheim, Brynjulf Stige","doi":"10.1080/08098131.2022.2115530","DOIUrl":"https://doi.org/10.1080/08098131.2022.2115530","url":null,"abstract":"ABSTRACT Introduction In 2015, the Norwegian Regional Health Authorities introduced the possibility for people with psychotic disorders to choose medication-free services, with music therapy as a treatment option. This study aimed to explore the health care workers’ perspectives on challenges and possibilities of music therapy within these services. Method This is a qualitative study by an interdisciplinary research team, including experts by experience. Ethnographic notes provide data from participant observation with one patient using music therapy, describing what music therapy can be “a case of”. Focus group discussions (FGDs) with health care workers, including music therapists, explore their experiences with music therapy and medication-free treatment. These were transcribed and analyzed using systematic text condensation in a stepwise, iterative process involving co-authors to ensure reflexivity. Results The summary from the participant observation provides the reader with background information on how music therapy can unfold in mental health care. The informants from the FGDs described music therapy as having a high degree of treatment flexibility providing a continuous process of choices. The collaborative choices both among staff members as well as between patient and staff were experienced as important for treatment outcome. Patients worsening or stagnating increased the significance of contingent choices. Discussion The strengths of music therapy, such as its acceptability and flexibility, also represent challenges, including dilemmas of prioritization, challenges when ending therapy, and the need for close collaboration when assessing a patient’s worsening. There is a potential for improving the implementation of music therapy into the existing health care teams.","PeriodicalId":51826,"journal":{"name":"Nordic Journal of Music Therapy","volume":"32 1","pages":"241 - 259"},"PeriodicalIF":1.6,"publicationDate":"2022-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44187225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-26DOI: 10.1080/08098131.2022.2116593
Marie Strand Skånland
ABSTRACT Introduction While recovery has been highlighted as a prime aspect in the flexible assertive community treatment (FACT) model, research on the application of this model in Norway suggests that there is still a potential for providing service users with better participation in the local society. Music therapy has been highlighted as a form of intersubjective activity that is relational and can promote empowerment and personal recovery. The social aspect of recovery has been highlighted in recent years, and this article explores how music therapy, offered through FACT, may support social recovery for service users. Method The research design was that of a qualitative interview study. Six semi-structured, joint interviews were conducted with FACT service users and their music therapist. Results Using reflexive thematic analysis, the main theme music therapy as social recovery was generated, with four relating sub-themes: musicking as activity, musicking as social handcraft, musicking as togetherness, and musicking as network. Discussion Using the framework of social recovery, this article discusses the potential of music therapy within FACT as a collaborative activity that can provide recovery capital – including social and musical capital – and potentially contribute to social recovery.
{"title":"Music therapy and social recovery in flexible assertive community treatment","authors":"Marie Strand Skånland","doi":"10.1080/08098131.2022.2116593","DOIUrl":"https://doi.org/10.1080/08098131.2022.2116593","url":null,"abstract":"ABSTRACT Introduction While recovery has been highlighted as a prime aspect in the flexible assertive community treatment (FACT) model, research on the application of this model in Norway suggests that there is still a potential for providing service users with better participation in the local society. Music therapy has been highlighted as a form of intersubjective activity that is relational and can promote empowerment and personal recovery. The social aspect of recovery has been highlighted in recent years, and this article explores how music therapy, offered through FACT, may support social recovery for service users. Method The research design was that of a qualitative interview study. Six semi-structured, joint interviews were conducted with FACT service users and their music therapist. Results Using reflexive thematic analysis, the main theme music therapy as social recovery was generated, with four relating sub-themes: musicking as activity, musicking as social handcraft, musicking as togetherness, and musicking as network. Discussion Using the framework of social recovery, this article discusses the potential of music therapy within FACT as a collaborative activity that can provide recovery capital – including social and musical capital – and potentially contribute to social recovery.","PeriodicalId":51826,"journal":{"name":"Nordic Journal of Music Therapy","volume":"32 1","pages":"290 - 306"},"PeriodicalIF":1.6,"publicationDate":"2022-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45736037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-16DOI: 10.1080/08098131.2022.2115531
Amy Howden, K. Mcferran, G. Thompson
ABSTRACT Introduction Having a premature baby is a complex experience for parents, especially where an admission to a Neonatal Intensive Care Unit (NICU) after birth is required. Regardless of length of admission, parents likely confront mixed emotions related to their concerns for their baby’s physical health and development, which are often still present in the months and years after their baby’s discharge. Supporting parents to emotionally process their experience presents unique challenges, and a deeper understanding of how to facilitate this process is needed. Method The purpose of this research project was to explore parents’ experiences of engaging in individualised parent--infant music therapy in their home setting after their baby’s discharge from a NICU setting. Interviews were conducted with two mothers and descriptive phenomenology guided the immersive process of data analysis and explicating the prominent themes. Results Four shared themes were identified. Songwriting was experienced as being distinctly therapeutic, and mothers described the value of intentionally creating lyrics which captured what they wanted to remember about their NICU and parenting journey. Both mothers valued reconnecting with aspects of their previous selves from before their NICU experience. Discussion The composition of a personal song using therapeutic techniques offered mothers the opportunity to reflect on, and to begin to process their parenting experiences. Reflective Lullaby Writing is articulated as a novel approach to support post-NICU families. The findings of this pilot study will inform future studies in this area of practice which has not yet been well-established in the current discourse.
{"title":"Reflective Lullaby Writing with two mother-infant dyads who recently experienced an admission to a neonatal intensive care unit","authors":"Amy Howden, K. Mcferran, G. Thompson","doi":"10.1080/08098131.2022.2115531","DOIUrl":"https://doi.org/10.1080/08098131.2022.2115531","url":null,"abstract":"ABSTRACT Introduction Having a premature baby is a complex experience for parents, especially where an admission to a Neonatal Intensive Care Unit (NICU) after birth is required. Regardless of length of admission, parents likely confront mixed emotions related to their concerns for their baby’s physical health and development, which are often still present in the months and years after their baby’s discharge. Supporting parents to emotionally process their experience presents unique challenges, and a deeper understanding of how to facilitate this process is needed. Method The purpose of this research project was to explore parents’ experiences of engaging in individualised parent--infant music therapy in their home setting after their baby’s discharge from a NICU setting. Interviews were conducted with two mothers and descriptive phenomenology guided the immersive process of data analysis and explicating the prominent themes. Results Four shared themes were identified. Songwriting was experienced as being distinctly therapeutic, and mothers described the value of intentionally creating lyrics which captured what they wanted to remember about their NICU and parenting journey. Both mothers valued reconnecting with aspects of their previous selves from before their NICU experience. Discussion The composition of a personal song using therapeutic techniques offered mothers the opportunity to reflect on, and to begin to process their parenting experiences. Reflective Lullaby Writing is articulated as a novel approach to support post-NICU families. The findings of this pilot study will inform future studies in this area of practice which has not yet been well-established in the current discourse.","PeriodicalId":51826,"journal":{"name":"Nordic Journal of Music Therapy","volume":"32 1","pages":"260 - 282"},"PeriodicalIF":1.6,"publicationDate":"2022-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46057028","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-19DOI: 10.1080/08098131.2022.2107054
Demian Kogutek, Emily A. Ready, J. Holmes, Jessica A. Grahn
ABSTRACT Introduction The purpose of this manuscript is to report on the finding of asynchrony measures during Improvised Active Music Therapy (IAMT) sessions with individuals with Parkinson’s disease (PD). Method In this single subject multiple baseline design across subjects, the study measured asynchrony of three right-handed participants with PD while playing uninterrupted improvised music on a simplified electronic drum-set. During baseline, the music therapist played rhythms with low to moderate density of syncopation. During treatment, the music therapist introduced rhythms with moderate to high density of syncopation. The music content of the sessions was transformed into digital music using Musical Instrument Digital Interface (MIDI). MIDI data were analyzed to determine participants’ and the music therapist’s asynchrony (on acoustic guitar) during baseline and treatment conditions. Results The results of this manuscript suggest that all participants exhibited total negative mean asynchrony and in that the music therapist exhibited total positive mean asynchrony scores within and across conditions. All participants also demonstrated score fluctuation in left foot and right foot as compared to upper extremity within and across conditions. Discussion Overall, participants showed their ability to synchronize to the music produced by the music therapist throughout conditions by demonstrating anticipation. Also, participants demonstrated some difficulty while synchronizing with lower extremity. Music therapy clinicians might benefit from knowledge of their own tempo inconsistencies to be able to synchronize with clients more effectively. More research is required to identify commonalities and differences in music synchronization measures between individuals with PD and healthy individuals during IAMT sessions.
{"title":"Synchronization during Improvised Active Music Therapy in clients with Parkinson’s disease","authors":"Demian Kogutek, Emily A. Ready, J. Holmes, Jessica A. Grahn","doi":"10.1080/08098131.2022.2107054","DOIUrl":"https://doi.org/10.1080/08098131.2022.2107054","url":null,"abstract":"ABSTRACT Introduction The purpose of this manuscript is to report on the finding of asynchrony measures during Improvised Active Music Therapy (IAMT) sessions with individuals with Parkinson’s disease (PD). Method In this single subject multiple baseline design across subjects, the study measured asynchrony of three right-handed participants with PD while playing uninterrupted improvised music on a simplified electronic drum-set. During baseline, the music therapist played rhythms with low to moderate density of syncopation. During treatment, the music therapist introduced rhythms with moderate to high density of syncopation. The music content of the sessions was transformed into digital music using Musical Instrument Digital Interface (MIDI). MIDI data were analyzed to determine participants’ and the music therapist’s asynchrony (on acoustic guitar) during baseline and treatment conditions. Results The results of this manuscript suggest that all participants exhibited total negative mean asynchrony and in that the music therapist exhibited total positive mean asynchrony scores within and across conditions. All participants also demonstrated score fluctuation in left foot and right foot as compared to upper extremity within and across conditions. Discussion Overall, participants showed their ability to synchronize to the music produced by the music therapist throughout conditions by demonstrating anticipation. Also, participants demonstrated some difficulty while synchronizing with lower extremity. Music therapy clinicians might benefit from knowledge of their own tempo inconsistencies to be able to synchronize with clients more effectively. More research is required to identify commonalities and differences in music synchronization measures between individuals with PD and healthy individuals during IAMT sessions.","PeriodicalId":51826,"journal":{"name":"Nordic Journal of Music Therapy","volume":"32 1","pages":"202 - 219"},"PeriodicalIF":1.6,"publicationDate":"2022-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47052373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-27DOI: 10.1080/08098131.2022.2089905
Mareike C. Hillebrand, Elisa-Felicia Lehmann, Lisette Weise, E. Jakob, G. Wilz
ABSTRACT Introduction The Dementia Coding System (DeCS), an observational assessment tool to measure positive, challenging, and music-related behaviors in people with dementia, was developed and psychometrically evaluated to assess effects of non-pharmacological interventions (for example, individualized music interventions). Method Data from N = 114 people with dementia were analyzed for factorial validity, internal consistencies, and test-retest reliability. Factorial validity was analyzed using explorative factor analysis (EFA). Results The results indicate a single factor including nine items that represent “Positive Behaviors”. Internal consistency and test-retest reliability were also acceptable for this single factor. Two exploratory factors (“Challenging Behaviors”, “Musical Engagement”) were proposed for behaviors that could not be included in the EFA due to insufficient variability. Here again, internal consistency and test-retest reliability were calculated with acceptable results. Discussion In conclusion, DeCS is a useful coding system to assess effects of non-pharmacological interventions, especially music-based interventions for people with dementia, across a variety of behavioral indicators of negative and positive aspects of quality of life.
{"title":"The Dementia Coding System (DeCS): Development and initial evaluation of a coding system to assess positive, challenging, and music-related behaviors of people with dementia","authors":"Mareike C. Hillebrand, Elisa-Felicia Lehmann, Lisette Weise, E. Jakob, G. Wilz","doi":"10.1080/08098131.2022.2089905","DOIUrl":"https://doi.org/10.1080/08098131.2022.2089905","url":null,"abstract":"ABSTRACT Introduction The Dementia Coding System (DeCS), an observational assessment tool to measure positive, challenging, and music-related behaviors in people with dementia, was developed and psychometrically evaluated to assess effects of non-pharmacological interventions (for example, individualized music interventions). Method Data from N = 114 people with dementia were analyzed for factorial validity, internal consistencies, and test-retest reliability. Factorial validity was analyzed using explorative factor analysis (EFA). Results The results indicate a single factor including nine items that represent “Positive Behaviors”. Internal consistency and test-retest reliability were also acceptable for this single factor. Two exploratory factors (“Challenging Behaviors”, “Musical Engagement”) were proposed for behaviors that could not be included in the EFA due to insufficient variability. Here again, internal consistency and test-retest reliability were calculated with acceptable results. Discussion In conclusion, DeCS is a useful coding system to assess effects of non-pharmacological interventions, especially music-based interventions for people with dementia, across a variety of behavioral indicators of negative and positive aspects of quality of life.","PeriodicalId":51826,"journal":{"name":"Nordic Journal of Music Therapy","volume":"32 1","pages":"185 - 201"},"PeriodicalIF":1.6,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47222656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-26DOI: 10.1080/08098131.2022.2084638
Monika Smetana, Irene Stepniczka, Laura Bishop
ABSTRACT Introduction A growing body of research reflects the interest in meaningful moments in music therapeutic treatment and the client--therapist relationship; however, little insight has been given into the client’s subjective experience and the interweaving processes between a therapist and a client. Central to this initial research is the question of how dialogue as a substantial relational quality emerges and intersubjectively manifests in free, dyadic improvisations, as is typical in humanistic and/or psychodynamic approaches to music therapy practice. This paper presents the qualitative part of a mixed-methods, multi-phase feasibility study intended to develop a framework for non-clinical and clinical research. Method In a non-clinical setting with adult participants (n=9) and trained music therapists (n=8), a total of 17 free dyadic piano improvisations were recorded and verbally reflected on in semi-structured debriefing interviews. These focused on moments or time periods where one or both improvising people had the feeling that something pivotal happened between them. A qualitative summarizing content analysis of the transcribed interviews, including a selective coding process, was conducted to investigate both perspectives. Results As a two-part category system, the framework for content, meanings and intersubjectivity (COME_IN) covers (a) meanings, i.e. different intra- and interpersonal experiences indicating developments and states of relationship in dyadic improvisations, and (b) intersubjectivity, operationalized in temporal and/or content-related overlaps of subjective experiences. Discussion Showing manifold patterns of how meaning and intersubjectivity nonverbally arise between people, the framework provides a solid base for further mixed-methods analyses. Clinical studies are needed to test and refine the categories.
{"title":"COME_IN: A qualitative framework for content, meanings and intersubjectivity in free dyadic improvisations","authors":"Monika Smetana, Irene Stepniczka, Laura Bishop","doi":"10.1080/08098131.2022.2084638","DOIUrl":"https://doi.org/10.1080/08098131.2022.2084638","url":null,"abstract":"ABSTRACT Introduction A growing body of research reflects the interest in meaningful moments in music therapeutic treatment and the client--therapist relationship; however, little insight has been given into the client’s subjective experience and the interweaving processes between a therapist and a client. Central to this initial research is the question of how dialogue as a substantial relational quality emerges and intersubjectively manifests in free, dyadic improvisations, as is typical in humanistic and/or psychodynamic approaches to music therapy practice. This paper presents the qualitative part of a mixed-methods, multi-phase feasibility study intended to develop a framework for non-clinical and clinical research. Method In a non-clinical setting with adult participants (n=9) and trained music therapists (n=8), a total of 17 free dyadic piano improvisations were recorded and verbally reflected on in semi-structured debriefing interviews. These focused on moments or time periods where one or both improvising people had the feeling that something pivotal happened between them. A qualitative summarizing content analysis of the transcribed interviews, including a selective coding process, was conducted to investigate both perspectives. Results As a two-part category system, the framework for content, meanings and intersubjectivity (COME_IN) covers (a) meanings, i.e. different intra- and interpersonal experiences indicating developments and states of relationship in dyadic improvisations, and (b) intersubjectivity, operationalized in temporal and/or content-related overlaps of subjective experiences. Discussion Showing manifold patterns of how meaning and intersubjectivity nonverbally arise between people, the framework provides a solid base for further mixed-methods analyses. Clinical studies are needed to test and refine the categories.","PeriodicalId":51826,"journal":{"name":"Nordic Journal of Music Therapy","volume":"32 1","pages":"157 - 178"},"PeriodicalIF":1.6,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42023083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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