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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
Pub Date : 2022-07-25DOI: 10.1080/08098131.2022.2082613
J. Bradt, G. Thompson
In issue 2 of this year, we announced that Grace Thompson agreed to become co-Editor-in-Chief and that Claire Ghetti was stepping down from her role as Associate Editor (Bradt, 2021). Because of these changes, we launched a search for two new Associate Editors and we are excited to announce that Andeline dos Santos and Stine Camilla Blichfeldt-Ærø joined our editorial team. Andeline is Senior Lecturer and Research Coordinator for the School of the Arts at the University of Pretoria (South Africa). Her clinical and research expertise is in music therapy with high school students. She recently published an article about her research in our journal (dos Santos, 2020). Stine is a music therapy clinician at Oslo University Hospital, Division of Paediatric and Adolescent Medicine and is part-time instructor in the Master’s program in music therapy at the Norwegian Academy of Music. Stine brings medical music therapy expertise to our team and has a special interest in discursive differences and challenges, on a philosophical, practical and academic level. We would like to thank Jason Butler, Editor of The Arts in Psychotherapy, for his time and valuable feedback as external member of our search committee. In addition, we would like to inform you about recent changes in our Advisory Editorial Board (AEB). Several AEB members rotated off the board after many years of service. We would like to sincerely thank them for their guidance and input during the past years: Drs. Jos De Backer, Cheryl Dileo, Denise Grocke, Helen Odell-Miller, Clare O’ Callaghan, Paul Nolan and Barbara Wheeler. We are happy to welcome several new AEB members: Dr. Kana Okazaki-Sakaue from Kobe University (Kobe, Japan), Dr. Sumathy Sundar from Chennai School of Music Therapy (Chennai, India) and Ga Eul Yoo from Ewha Womans University (Seoul, Republic of Korea). In this issue, we are delighted to include six research papers and one book review. The first two research papers collected important data about community understandings of music therapy and the growth of the profession in two countries for the first time. Karulkar, Gunjawate and Sundar (p. xx) conducted a survey of parents in India whose children access special education and therapy services to better understand parents’ awareness and knowledge of music therapy. They note that India has a long history of health and healing practices that include various music experiences, and yet there are still only small numbers of certified music therapists practicing in the country. This is the first survey of its kind in India, and therefore provides important insights into the professional standing of music therapy and the potential demand for future services. Seventy-
在今年的第2期，我们宣布格蕾丝·汤普森同意成为联合主编，克莱尔·盖蒂将辞去副主编的职务(布拉德，2021年)。由于这些变化，我们开始寻找两位新的副编辑，我们很高兴地宣布，Andeline dos Santos和Stine Camilla Blichfeldt-Ærø加入我们的编辑团队。安德琳是南非比勒陀利亚大学艺术学院的高级讲师和研究协调员。她的临床和研究专长是对高中生进行音乐治疗。她最近在我们的杂志上发表了一篇关于她的研究的文章(dos Santos, 2020)。Stine是奥斯陆大学医院儿科和青少年医学部的音乐治疗临床医生，同时也是挪威音乐学院音乐治疗硕士课程的兼职讲师。Stine为我们的团队带来了医学音乐治疗专业知识，并对哲学，实践和学术层面的话语差异和挑战特别感兴趣。我们要感谢《心理治疗艺术》的编辑杰森·巴特勒，他作为我们遴选委员会的外部成员，花时间提供了宝贵的反馈。此外，我们想通知您关于我们的咨询编辑委员会(AEB)最近的变化。几名AEB成员在服务多年后轮休。我们衷心感谢他们在过去几年的指导和投入。Jos De Backer, Cheryl Dileo, Denise Grocke, Helen Odell-Miller, Clare O ' Callaghan, Paul Nolan和Barbara Wheeler。我们很高兴地欢迎AEB的几位新成员:来自神户大学(日本神户)的Kana Okazaki-Sakaue博士，来自钦奈音乐治疗学院(印度钦奈)的Sumathy Sundar博士和来自梨花女子大学(韩国首尔)的Ga Eul Yoo博士。在本期中，我们很高兴收录了六篇研究论文和一篇书评。前两篇研究论文首次收集了有关两个国家社区对音乐治疗的理解和该行业发展的重要数据。Karulkar, Gunjawate和Sundar (p. xx)对印度接受特殊教育和治疗服务的孩子的父母进行了调查，以更好地了解父母对音乐治疗的认识和知识。他们指出，印度在健康和治疗实践方面有着悠久的历史，其中包括各种音乐体验，但在该国执业的认证音乐治疗师仍然很少。这是印度首个此类调查，因此对音乐治疗的专业地位和未来服务的潜在需求提供了重要的见解。七十-
{"title":"Hope and change","authors":"J. Bradt, G. Thompson","doi":"10.1080/08098131.2022.2082613","DOIUrl":"https://doi.org/10.1080/08098131.2022.2082613","url":null,"abstract":"In issue 2 of this year, we announced that Grace Thompson agreed to become co-Editor-in-Chief and that Claire Ghetti was stepping down from her role as Associate Editor (Bradt, 2021). Because of these changes, we launched a search for two new Associate Editors and we are excited to announce that Andeline dos Santos and Stine Camilla Blichfeldt-Ærø joined our editorial team. Andeline is Senior Lecturer and Research Coordinator for the School of the Arts at the University of Pretoria (South Africa). Her clinical and research expertise is in music therapy with high school students. She recently published an article about her research in our journal (dos Santos, 2020). Stine is a music therapy clinician at Oslo University Hospital, Division of Paediatric and Adolescent Medicine and is part-time instructor in the Master’s program in music therapy at the Norwegian Academy of Music. Stine brings medical music therapy expertise to our team and has a special interest in discursive differences and challenges, on a philosophical, practical and academic level. We would like to thank Jason Butler, Editor of The Arts in Psychotherapy, for his time and valuable feedback as external member of our search committee. In addition, we would like to inform you about recent changes in our Advisory Editorial Board (AEB). Several AEB members rotated off the board after many years of service. We would like to sincerely thank them for their guidance and input during the past years: Drs. Jos De Backer, Cheryl Dileo, Denise Grocke, Helen Odell-Miller, Clare O’ Callaghan, Paul Nolan and Barbara Wheeler. We are happy to welcome several new AEB members: Dr. Kana Okazaki-Sakaue from Kobe University (Kobe, Japan), Dr. Sumathy Sundar from Chennai School of Music Therapy (Chennai, India) and Ga Eul Yoo from Ewha Womans University (Seoul, Republic of Korea). In this issue, we are delighted to include six research papers and one book review. The first two research papers collected important data about community understandings of music therapy and the growth of the profession in two countries for the first time. Karulkar, Gunjawate and Sundar (p. xx) conducted a survey of parents in India whose children access special education and therapy services to better understand parents’ awareness and knowledge of music therapy. They note that India has a long history of health and healing practices that include various music experiences, and yet there are still only small numbers of certified music therapists practicing in the country. This is the first survey of its kind in India, and therefore provides important insights into the professional standing of music therapy and the potential demand for future services. Seventy-","PeriodicalId":51826,"journal":{"name":"Nordic Journal of Music Therapy","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43150008","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 : 2022-07-25DOI: 10.1080/08098131.2022.2082039
Published in Nordic Journal of Music Therapy (Vol. 31, No. 4, 2022)
发表于Nordic Journal of Music Therapy (Vol. 31, No. 4, 2022)
{"title":"Upcoming events","authors":"","doi":"10.1080/08098131.2022.2082039","DOIUrl":"https://doi.org/10.1080/08098131.2022.2082039","url":null,"abstract":"Published in Nordic Journal of Music Therapy (Vol. 31, No. 4, 2022)","PeriodicalId":51826,"journal":{"name":"Nordic Journal of Music Therapy","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138494736","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 : 2022-06-12DOI: 10.1080/08098131.2022.2084637
N. Rasing, Sarah Janus, A. Vink, S. Zuidema
ABSTRACT Introduction Since the COVID-19 pandemic started in Europe early 2020, day-to-day practice in care homes has changed considerably. Common elements of music therapy – singing, physical contact, proximity – have become questionable. This study explores the impact of the COVID-19 pandemic on music therapy provision and continuation in Dutch care homes. Method In December 2020 and January 2021 Dutch music therapists (n = 49) working in elderly care filled out an online survey on their experiences with the COVID-19 pandemic during the first and second wave. Results Twenty different measures were deployed to adapt and continue music therapy throughout the pandemic. Music therapists were required to deploy social distancing, disinfect hands and instruments, and wear a face mask. Residents from different units were frequently unable to participate in music therapy together. Prevalent adaptations were to provide sessions in a common room (79.6%), in smaller groups (67.4%), for more (individual) residents than usual (65.3%) and to use pre-recorded playlists (65.3%). Music therapists experienced low stress and moderate to high hope, despite the substantial impact of the pandemic on professional and personal musical activities. Discussion Music therapy provision in care homes has repeatedly been subject to restrictions throughout the pandemic. By the end of the second wave, music therapy had been resumed in care homes, albeit with a range of preventive measures implemented in daily work routines. The pandemic shed light on adaptability of music therapy as a treatment and demonstrates that employer support is essential to enable music therapy provision.
{"title":"The impact of COVID-19 on music therapy provision in Dutch care homes","authors":"N. Rasing, Sarah Janus, A. Vink, S. Zuidema","doi":"10.1080/08098131.2022.2084637","DOIUrl":"https://doi.org/10.1080/08098131.2022.2084637","url":null,"abstract":"ABSTRACT Introduction Since the COVID-19 pandemic started in Europe early 2020, day-to-day practice in care homes has changed considerably. Common elements of music therapy – singing, physical contact, proximity – have become questionable. This study explores the impact of the COVID-19 pandemic on music therapy provision and continuation in Dutch care homes. Method In December 2020 and January 2021 Dutch music therapists (n = 49) working in elderly care filled out an online survey on their experiences with the COVID-19 pandemic during the first and second wave. Results Twenty different measures were deployed to adapt and continue music therapy throughout the pandemic. Music therapists were required to deploy social distancing, disinfect hands and instruments, and wear a face mask. Residents from different units were frequently unable to participate in music therapy together. Prevalent adaptations were to provide sessions in a common room (79.6%), in smaller groups (67.4%), for more (individual) residents than usual (65.3%) and to use pre-recorded playlists (65.3%). Music therapists experienced low stress and moderate to high hope, despite the substantial impact of the pandemic on professional and personal musical activities. Discussion Music therapy provision in care homes has repeatedly been subject to restrictions throughout the pandemic. By the end of the second wave, music therapy had been resumed in care homes, albeit with a range of preventive measures implemented in daily work routines. The pandemic shed light on adaptability of music therapy as a treatment and demonstrates that employer support is essential to enable music therapy provision.","PeriodicalId":51826,"journal":{"name":"Nordic Journal of Music Therapy","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49551444","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 : 2022-06-07DOI: 10.1080/08098131.2022.2070925
L. Hakvoort, Djemida Tönjes
ABSTRACT Introduction The quality and quantity of music therapy research are increasing, as are the number of systematic reviews and meta-analyses. However, the latter often define the effect of music therapy treatment as inconclusive. This is frequently due to a lack of clear description of the intervention or the core function of music. Clearly described music therapy interventions might lead to improved treatment fidelity. This article offers a possible solution in three parts. First, limitations in music therapy research are discussed. Second, the design for a format of a practice-based intervention description is explained. In the third part of the article, an example illustrates the use of the format. Method The suggested micro-intervention format could lead to a greater reliability in empirical research through the recognition of the working-mechanisms of music therapy intervention at a micro-level. The micro-intervention format was created in collaboration with practicing music therapists, Master students, and a board member for scientific innovation of a professional association. Results The micro-intervention format allows music therapists to describe music therapy interventions in detail, including the intervention and its musical working-mechanisms. The format is intended to guide music therapists to execute their intervention in comparable manners, which in the case of a scientific study could improve research fidelity. “Music therapeutic guidance to reduce agitation in dementia care using improvisation and familiar songs” is used to illustrate the micro-intervention format. Discussion Development and dissemination of music therapy micro-interventions could lead to improved research outcomes and strengthen the evidence-based foundation of the profession.
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Pub Date : 2022-05-27DOI: 10.1080/08098131.2022.2054534
W. Magee, T. Meadows
When COVID-19 brought a sudden and dramatic hiatus to ordinary work life in March 2020, we did not think for a moment we’d still be experiencing the lingering effects of this pandemic more than two years later. In fact, when this special online volume was imagined, it was primarily about capturing a moment in time, one that we were living through in real time together. As we know from our experiences of making music with people in music therapy, capturing something in real time is both beautiful and challenging. How we see COVID in our work is quite different now than even one year ago and will continue to change as we move into the next phase of this pandemic and beyond. At the time of writing this editorial, more than 900,000 COVID-related deaths have been reported in the United States, 138,000 in the United Kingdom, and 1.7 million in Europe. The omicron variant is widespread, with very high infection rates throughout the world. Rates of infection and government responses, including lockdowns and travel restrictions, continue to impact everyday life, including the lives of clinicians and educators, students and, most of all, those trying to receive healthcare. The articles presented in this special volume help us to consider what we were living through during this time, and to reflect upon clinical and educational practices now and into the future. The sudden move to teletherapy, and the stress and isolation experienced by clients, their families and therapists, has left an indelible mark on our profession. While it appears that our work as clinicians, educators and researchers is irreversibly changed, we are still living through these impacts, and it may be a number of years before we are fully able to understand them. The beauty of the articles included in this special volume is the different ways these authors ask us to consider this time period, and in so doing, reconsider or reimagine our work. “Relationship” is a central theme in this issue: the authors ask us to reimagine the relationships we have with our clients, reconsider the ways clients access and engage in therapy, reflect on the ways music therapy managers encountered the challenges of providing services for patients, and reframe the ways educators adapted their work with students. Sharing the same learning experiences together – whether as client/therapist, as student/educator, or peer-to-peer – is also a recurring theme. The articles speak to the humanity of our work, the moral dilemmas of care during early COVID, and the creative ways these authors responded to the stress, uncertainty and fear of the time periods in which they are writing (predominantly May to August 2020). In “Shaping the digital space” (p. 203) Kerry Devlin invites us to reconsider what our relationships with therapy participants mean when not experienced in a physical space together. The vividness of Devlin’s writing brings the therapy room alive and guides us through the challenges of moving online. In he
{"title":"Transitioning to teletherapy during COVID-19","authors":"W. Magee, T. Meadows","doi":"10.1080/08098131.2022.2054534","DOIUrl":"https://doi.org/10.1080/08098131.2022.2054534","url":null,"abstract":"When COVID-19 brought a sudden and dramatic hiatus to ordinary work life in March 2020, we did not think for a moment we’d still be experiencing the lingering effects of this pandemic more than two years later. In fact, when this special online volume was imagined, it was primarily about capturing a moment in time, one that we were living through in real time together. As we know from our experiences of making music with people in music therapy, capturing something in real time is both beautiful and challenging. How we see COVID in our work is quite different now than even one year ago and will continue to change as we move into the next phase of this pandemic and beyond. At the time of writing this editorial, more than 900,000 COVID-related deaths have been reported in the United States, 138,000 in the United Kingdom, and 1.7 million in Europe. The omicron variant is widespread, with very high infection rates throughout the world. Rates of infection and government responses, including lockdowns and travel restrictions, continue to impact everyday life, including the lives of clinicians and educators, students and, most of all, those trying to receive healthcare. The articles presented in this special volume help us to consider what we were living through during this time, and to reflect upon clinical and educational practices now and into the future. The sudden move to teletherapy, and the stress and isolation experienced by clients, their families and therapists, has left an indelible mark on our profession. While it appears that our work as clinicians, educators and researchers is irreversibly changed, we are still living through these impacts, and it may be a number of years before we are fully able to understand them. The beauty of the articles included in this special volume is the different ways these authors ask us to consider this time period, and in so doing, reconsider or reimagine our work. “Relationship” is a central theme in this issue: the authors ask us to reimagine the relationships we have with our clients, reconsider the ways clients access and engage in therapy, reflect on the ways music therapy managers encountered the challenges of providing services for patients, and reframe the ways educators adapted their work with students. Sharing the same learning experiences together – whether as client/therapist, as student/educator, or peer-to-peer – is also a recurring theme. The articles speak to the humanity of our work, the moral dilemmas of care during early COVID, and the creative ways these authors responded to the stress, uncertainty and fear of the time periods in which they are writing (predominantly May to August 2020). In “Shaping the digital space” (p. 203) Kerry Devlin invites us to reconsider what our relationships with therapy participants mean when not experienced in a physical space together. The vividness of Devlin’s writing brings the therapy room alive and guides us through the challenges of moving online. In he","PeriodicalId":51826,"journal":{"name":"Nordic Journal of Music Therapy","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46113435","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 : 2022-05-22DOI: 10.1080/08098131.2022.2075437
Lars Tuastad, Bjarte Johansen, Astrid Linea Østerholt, Irmelin Nielsen, Denise Straume Hansen McIvor
ABSTRACT Introduction The study explores the theme “stigma” and how it was experienced by participants in MOT82, a music therapy project in the field of mental health aftercare in Norway. The theme is explored through the research questions: How is stigmatisation experienced by participants in a music therapy project in the field of mental health in aftercare? And: Which strategies can be used to prevent stigma in the context of music therapy in mental health aftercare? Method The method for the study is based on User Interviewing User, a method for evaluation of health services, where the service users are actively involved in the entire research process. The analyses were qualitative processes within a hermeneutic abductive approach highlighting reflexivity as an important part of the research process. Results The participants in the study expressed MOT82 to be a positive arena that fostered experiences of mastery, personal development, inclusion, and a strong collaborative community. However, the participants also highlighted the theme of stigma, expressed through stories about mechanisms of exclusion; negative processes of labelling; and how stigma could be related to issues concerning illness, health, and treatment. Discussion Findings related to the theme of stigma are discussed and illuminated by theory from sociology, music therapy, stigma research and recovery; emphasising the concepts of social capital, performance and the importance of a user perspective. With regards to the matter of destabilising stigma, the message from the participants in MOT82 is clear: Tone down the focus on mental illness, turn up the volume regarding the importance of doing music.
{"title":"Being a person who plays in a band rather than being a person with a mental illness playing in a band: A qualitative study of stigma in the context of music therapy in mental health aftercare","authors":"Lars Tuastad, Bjarte Johansen, Astrid Linea Østerholt, Irmelin Nielsen, Denise Straume Hansen McIvor","doi":"10.1080/08098131.2022.2075437","DOIUrl":"https://doi.org/10.1080/08098131.2022.2075437","url":null,"abstract":"ABSTRACT Introduction The study explores the theme “stigma” and how it was experienced by participants in MOT82, a music therapy project in the field of mental health aftercare in Norway. The theme is explored through the research questions: How is stigmatisation experienced by participants in a music therapy project in the field of mental health in aftercare? And: Which strategies can be used to prevent stigma in the context of music therapy in mental health aftercare? Method The method for the study is based on User Interviewing User, a method for evaluation of health services, where the service users are actively involved in the entire research process. The analyses were qualitative processes within a hermeneutic abductive approach highlighting reflexivity as an important part of the research process. Results The participants in the study expressed MOT82 to be a positive arena that fostered experiences of mastery, personal development, inclusion, and a strong collaborative community. However, the participants also highlighted the theme of stigma, expressed through stories about mechanisms of exclusion; negative processes of labelling; and how stigma could be related to issues concerning illness, health, and treatment. Discussion Findings related to the theme of stigma are discussed and illuminated by theory from sociology, music therapy, stigma research and recovery; emphasising the concepts of social capital, performance and the importance of a user perspective. With regards to the matter of destabilising stigma, the message from the participants in MOT82 is clear: Tone down the focus on mental illness, turn up the volume regarding the importance of doing music.","PeriodicalId":51826,"journal":{"name":"Nordic Journal of Music Therapy","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42519311","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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