scholarly journals The LongSTEP approach: Theoretical framework and intervention protocol for using parent-driven infant-directed singing as resource-oriented music therapy

2021 ◽  
pp. 1-26
Author(s):  
Tora Söderström Gaden ◽  
Claire Ghetti ◽  
Ingrid Kvestad ◽  
Christian Gold
Keyword(s):  
Music Therapy ◽  
Theoretical Framework ◽  
Intervention Protocol

scholarly journals Sorry for the Silence: A Contribution From Feminist Theory to the Discourse(s) Within Music Therapy

2004 ◽  
Vol 4 (2) ◽  
Author(s):  
Susan Hadley ◽  
Jane Edwards
Keyword(s):  
Music Therapy ◽  
Feminist Theory ◽  
Professional Practice ◽  
Theoretical Framework ◽  
Forthcoming Book ◽  
The Impact ◽  
Broad Approach

Feminism and music therapy have been little considered in the development of a theoretical framework or approach to our professional practice. This is curious given the impact of feminist approaches on a wide variety of disciplines. This paper presents some of the issues that arise when considering feminist theory/feminist approaches to music therapy and outlines some of the considerations that will appear in a forthcoming book edited by Dr. Susan Hadley and published by Barcelona Publishers. The authors take a broad approach to this topic recognising that feminism, as indeed music therapy, is not a monolithic enterprise with one key idea stamping out its territory. Rather, consideration of feminism(s) requires critical and reflective capacities in theorists and practitioners in making helpful aspects of this approach 'real' and 'meaningful' for students, practitioners and ultimately clients and patients.

scholarly journals Intervención musicoterapéutica para mejorar la memoria, atención y lenguaje in niños con dislalia.

2021 ◽  
Vol 30 (2) ◽  
pp. 48-56
Author(s):  
Edenia López-Hernández ◽  
Pamela Acosta-Rodas ◽  
Jorge Cruz-Cárdenas ◽  
Carlos Ramos-Galarza
Keyword(s):  
Music Therapy ◽  
Cognitive Processes ◽  
Mixed Method ◽  
Language Disorder ◽  
Intervention Protocol ◽  
Mixed Method Design ◽  
The Relationship ◽  
Qualitative Phase ◽  
Positive Results ◽  
Therapy Intervention

Dyslalia is a language disorder that is present in a wide percentage of children. This work proposes an intervention protocol in music therapy to improve attention, memory, and language for children with the dyslalia disorder. A confirmatory mixed-method design composed of two studies was conducted: the first included a quantitative and pre-experimental design with a sample of 20 children aged between 5 and 8 years (Mage=6.45, SD=1.23) diagnosed with dyslalia. The second study used a qualitative confirmatory methodology, where participants’ parents and therapists participated. Wepman’s and the initial Luria pre- and post-tests measurements were applied. The results of the pre-experiment found statistically significant improvements in verbal regulation t(19)=-5.03, p=<.001, d=.76, attention t(19)=-5.05, p=<.001, d=.76, and memory t(19)=-2.88, p=.009, d=.55. In the qualitative phase, narratives were found that affirmed the positive results of the pre-experiment. Moreover, data surrounding the benefits of the music therapy intervention protocol in the improvement of cognitive processes and the relationship with previous literature that found positive results with this type of intervention are discussed.

scholarly journals Dynamic Interplay in Clinical Improvisation

2002 ◽  
Vol 2 (2) ◽  
Author(s):  
Mercédès Pavlicevic
Keyword(s):  
Music Therapy ◽  
Driving Force ◽  
Theoretical Framework ◽  
Emotional Interaction ◽  
Clinical Improvisation ◽  
Musical Interaction ◽  
Dynamic Interplay

I would like to begin by examining the title, since this will clarify the theoretical framework within which this paper will develop. Chambers Dictionary (1988) defines dynamic as relating to force; activity or things in motion; forms or patterns of growth or change; any driving force instrumental in growth or change. The word interplay refers to the reciprocal, mutual musical interaction between therapist and patient. Both players' contributions help to clarify the quality of the emotional interaction in the musical relationship. The concept of clinical improvisation in music therapy is best illustrated by a detour via the literature of mother-infant interaction.

Music Therapy for People Who Have Alzheimer’s Disease

2015 ◽  
Author(s):  
Alicia Clair
Keyword(s):  
Clinical Practice ◽  
Clinical Research ◽  
Music Therapy ◽  
Theoretical Framework ◽  
Dementia Care ◽  
Music Therapist ◽  
Care Givers ◽  
Current State ◽  
Deep Appreciation ◽  
Practice Knowledge

A description of the current state of music therapy research with those who have dementia and the future of music therapy in dementia care is provided in this chapter. The contents stem from many years of experience as a board-certified music therapist with those who have dementia and their care givers, and it culminates learning from clinical practice and research in the development of a theoretical framework and practice knowledge. Deep appreciation is expressed for all care receivers, and their care givers, who allowed music therapy to become part of their lives and who consented to participate in the development of knowledge to share with others. This chapter provides: (a) A review of selected clinical research studies in music therapy and dementia care, (b) updated dementia information that has implications for current music therapy practice, (c) a theoretical framework for music therapy, and (d) the theoretical principles that guide clinical music therapy practice with care receivers and caregivers.

When Having Means Losing: Music Therapy with a Young Adolescent with a Learning Disability and Emotional and Behavioural Difficulties

1997 ◽  
Vol 11 (1) ◽  
pp. 13-19 ◽  
Author(s):  
Ruth Walsh
Keyword(s):  
Music Therapy ◽  
Learning Disability ◽  
Therapeutic Relationship ◽  
Theoretical Framework ◽  
Young Adolescent ◽  
Melanie Klein ◽  
Republic Of Ireland ◽  
Behavioural Difficulties ◽  
Good Object ◽  
Emotional And Behavioural Difficulties

This paper describes ten hours of music therapy work with a twelve-and-a-half-year-old girl, giving specific details of the process of events during sessions and the development of the therapeutic relationship. Central to the therapist's thinking about the work was the notion of the client's struggle between wanting, but being unable to bear, good feelings, and not wanting, but needing to hold on to, bad feelings. Turning good feelings into bad, in order to feel in control, was a predominant theme. The therapy was carried out within a broadly psychodynamic theoretical framework, with particular reference to the work of Melanie Klein in relation to the processes of splitting within the ‘paranoid-schizoid’ position (Klein 1946). The paper also refers to Anne Alvarez's notions (1992) of the importance of the aspirational aspects of play and the anticipation of identification with a ‘good object’, and thus, the possibility of reparation. This article is based on a paper presented at the first National Conference on Music and Disability, Maynooth, Republic of Ireland, in 1994.

scholarly journals Gender Affirming Voicework

2019 ◽  
Vol 19 (3) ◽  
Author(s):  
Maevon Gumble
Keyword(s):  
Music Therapy ◽  
Vocal Pedagogy ◽  
Theoretical Framework ◽  
The Body ◽  
Speech Language Pathology ◽  
Vocal Function ◽  
Personal Experiences ◽  
Language Pathology ◽  
Holistic Method ◽  
Therapeutic Space

Informed by personal experiences, my queer autoethnographic research, and literature from the fields of speech-language pathology, vocal pedagogy, and music therapy, I offer an introduction to Gender Affirming Voicework in music therapy, the training that it might involve, and several questions/issues that need further exploration. As a new holistic method grounded in a queer theoretical framework, I envision this work to be a therapeutic space focused on accessing and embodying affirming gender expressions by working with the intersections of the physical voice, the psychological voice, and the body as these each become relevant to an individual. This work involves the use of singing, vocal improvisation, chanting, toning, movement, imagery, and relaxation experiences to address areas of vocal function and emotion/identity. Stigma and trauma can come with living in this incredibly gendered and binary world. As such, Gender Affirming Voicework emphasizes radically and queerly listening to our own vocal, psychological, and bodily expressions and the ways these fluidly shift from moment to moment. This is in efforts to speak, sing, move, and live in the most affirming and authentic way we can.

scholarly journals Musicking Together: Affective, Cognitive and Physical Aspects of a Music Therapy Group Work

2017 ◽  
Vol 17 (2) ◽  
Author(s):  
Rosemyriam Cunha
Keyword(s):  
Qualitative Study ◽  
Music Therapy ◽  
Group Work ◽  
Therapy Group ◽  
Theoretical Framework ◽  
Community Music ◽  
Sociology Of Music ◽  
Music Making ◽  
Collective Experience ◽  
Structured Observation

The purpose of this qualitative study was to describe and discuss the affective, cognitive, and physical events that occur when people gather to make music. Using a theoretical framework derived from community music therapy and sociology of music, this work focuses on the experiences and perceptions of five women who participated in music therapy group work. Structured observation was used to register the participants’ affective, cognitive, and physical manifestations during the group work. Results suggested that music therapy collective music making stimulated participants to interact and develop different forms of feeling, thinking, and acting. Making music together encouraged participants to think about their feelings, roles, and judgments, reflecting that the collective experience promoted positive changes in their lives.

scholarly journals Dis/Abling Musicking: Reflections on a Disability Studies Perspective in Music Therapy.

2014 ◽  
Vol 14 (3) ◽  
Author(s):  
Maren Metell
Keyword(s):  
Social Justice ◽  
Music Therapy ◽  
Disability Studies ◽  
Theoretical Framework ◽  
Theoretical Paper

This theoretical paper aims to explore the role of a disability studies perspective in music therapy. Disability studies in context of music therapy is a field that is under development. I argue that a disability studies perspective both supports and challenges music therapy models, practice, and research. A disability studies perspective provides a theoretical framework for social justice and the appraisal of diversity, as well as it challenges attitudes and values. This paper suggests dialogues and collaboration between music therapy and disability studies.

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