Expectancy Theory of Motivation and Substance Use Treatment: Implications for Music Therapy

Author(s):  
Marshall Yoes ◽  
Michael J Silverman

Abstract The existing literature indicates that motivation is an important predictor of treatment outcome for people with substance use disorders (SUD). Although researchers have found that music therapy can positively impact motivation for people with SUD, the music therapy and SUD literature base lack a theoretical understanding of motivation. Vroom’s expectancy theory of motivation (ETM) is an established theoretical framework positing that motivation depends on three relationships: expectancy, instrumentality, and valence. These relationships consist of four variables: effort, performance, reward, and preference. Based on these four variables, motivation depends on the expectation that an increase in effort will lead to improved performance, thus leading to a reward aligned with an individual’s preferences. The purpose of this paper is to apply Vroom’s ETM to music therapy and SUD clinical practice and research. We reviewed the existing literature addressing Vroom’s ETM within SUD treatment and created a model to depict how to apply Vroom’s ETM to music therapy clinical practice for people with SUD. Application of Vroom’s ETM may help music therapists understand and augment motivation for people with SUD, potentially leading to relapse prevention and recovery. Implications for clinical practice, limitations, and suggestions for future research are provided.

2021 ◽  
Author(s):  
◽  
Hsiau Wung Chin

<p>This research aimed to uncover the strategies and techniques that I used in my work with patients who have dementia and who were anxious and/or agitated. The objective of this study was to examine and learn from my work in order to improve my own, and potentially others’ practice. Secondary analysis of data collected from my music therapy clinical practice in a hospital was used as methodology of study. The analysis found 21 techniques and strategies in my work with patients with dementia who were anxious and/or agitated. They include the use of:  (1) Choice; (2) Culture of race (used Maori songs); (3) Direct Engagement; (4) Exploration; (5) Familiar Song; (6) Favourite Songs; (7) Following the Patient; (8) Identity; (9) Imitation and Matching Patients’ Sound Making; (10) Improvisation; (11) Lyrics; (12) Matching Tempo; (13) Object-Musical Instrument (drum); (14) Observation; (15) Physical Interaction; (16) Safety; (17) Space; (18) Tempo; (19) Verbal Interaction; (20) Voice Only; and (21) Volume.  These techniques and strategies were developed as I learnt from different articles, books, own experiences as well as supported by my supervisors. Apart from helping patients to reduce their anxiety and/or agitation, maintaining or increasing socialisation, interaction, and general wellbeing of patients seemed important too. Patients are likely to experience less anxiety and/or agitation if their needs are being supported. Findings will be of interest to music therapists and music therapy students working in hospitals or in dementia units in New Zealand. Future research about music therapy work with patients with dementia who are anxious and/or agitated together with their family members is suggested.</p>


2021 ◽  
Author(s):  
◽  
Hsiau Wung Chin

<p>This research aimed to uncover the strategies and techniques that I used in my work with patients who have dementia and who were anxious and/or agitated. The objective of this study was to examine and learn from my work in order to improve my own, and potentially others’ practice. Secondary analysis of data collected from my music therapy clinical practice in a hospital was used as methodology of study. The analysis found 21 techniques and strategies in my work with patients with dementia who were anxious and/or agitated. They include the use of:  (1) Choice; (2) Culture of race (used Maori songs); (3) Direct Engagement; (4) Exploration; (5) Familiar Song; (6) Favourite Songs; (7) Following the Patient; (8) Identity; (9) Imitation and Matching Patients’ Sound Making; (10) Improvisation; (11) Lyrics; (12) Matching Tempo; (13) Object-Musical Instrument (drum); (14) Observation; (15) Physical Interaction; (16) Safety; (17) Space; (18) Tempo; (19) Verbal Interaction; (20) Voice Only; and (21) Volume.  These techniques and strategies were developed as I learnt from different articles, books, own experiences as well as supported by my supervisors. Apart from helping patients to reduce their anxiety and/or agitation, maintaining or increasing socialisation, interaction, and general wellbeing of patients seemed important too. Patients are likely to experience less anxiety and/or agitation if their needs are being supported. Findings will be of interest to music therapists and music therapy students working in hospitals or in dementia units in New Zealand. Future research about music therapy work with patients with dementia who are anxious and/or agitated together with their family members is suggested.</p>


Author(s):  
Jonathon Oden

Abstract The purpose of this study was to descriptively analyze music therapy employment data from 2013 to 2019, including years in the field, gender, age, ethnicity, hours worked, jobs created, number of new board-certified music therapists (MT-BCs), funding sources, and wages. A database was created to analyze descriptive data from the 2013–2019 American Music Therapy Association Workforce Analysis Surveys as well as data from the Certification Board for Music Therapists. Results indicate a large portion of music therapists (MTs) have been in the field for five years or less. Though the majority of MTs work full time, there is a high rate of part-time employment. An estimate of the total number of new full-time jobs represented a ratio of 57% of new MT-BCs during the period. Private pay was the most reported funding source for music therapy services. Music therapy wages tended to be higher for those with higher levels of education. Limitations of the study and suggestions for future research are provided.


2021 ◽  
Vol 39 (2) ◽  
pp. 181-201
Author(s):  
Emily Carlson ◽  
Ian Cross

Although the fields of music psychology and music therapy share many common interests, research collaboration between the two fields is still somewhat rare. Previous work has identified that disciplinary identities and attitudes towards those in other disciplines are challenges to effective interdisciplinary research. The current study explores such attitudes in music therapy and music psychology. A sample of 123 music therapists and music psychologists answered an online survey regarding their attitudes towards potential interdisciplinary work between the two fields. Analysis of results suggested that participants’ judgements of the attitudes of members of the other discipline were not always accurate. Music therapists indicated a high degree of interest in interdisciplinary research, although in free text answers, both music psychologists and music therapists frequently characterized music therapists as disinterested in science. Music therapists reported seeing significantly greater relevance of music psychology to their own work than did music psychologists of music therapists. Participants’ attitudes were modestly related to their reported personality traits and held values. Results overall indicated interest in, and positive expectations of, interdisciplinary attitudes in both groups, and should be explored in future research.


Author(s):  
Alaine E Reschke-Hernández

Abstract Currently, no drug can cure or effectively mitigate symptoms for the growing number of individuals who live with Alzheimer’s disease and related dementias. As they experience declines in memory, communication, and thinking—symptoms that undermine social initiative, autonomy, and well-being—these individuals become increasingly dependent on others. Evidence regarding the benefits of music therapy for persons with dementia is growing. Nonetheless, limitations in existing research have hindered knowledge regarding the use and appropriate application of music as a form of treatment with this population. This article describes the development of The Clinical Practice Model for Persons with Dementia, which provides a theoretical framework to inform evidence-based practice, illustrated here in application to music therapy. Specifically, the model is intended to prompt purposeful application of strategies documented within a broad literature base within 6 thematic areas (Cognition, Attention, Familiarity, Audibility, Structure, and Autonomy); facilitate clinical decision-making and intervention development, including music interventions; and encourage discourse regarding relationships between characteristics of the intervention, the therapist, the person with dementia, and their response to intervention. The model comprises a set of testable assumptions to provide direction for future research and to facilitate the description and investigation of mechanisms underlying behavioral interventions with this population. Although the model is likely to evolve as knowledge is gained, it offers a foundation for holistically considering an individual’s needs and strengths, guidance for applying music and nonmusic strategies in evidence-based practice, and direction for future research.


2019 ◽  
Vol 47 (3) ◽  
pp. 331-347 ◽  
Author(s):  
Komal Chopra

PurposeThe purpose of this paper is to understand motivation of young consumers to use artificial intelligence (AI) tools such as chatbots, voice assistants and augmented reality in shopping by generating Vroom’s expectancy theory of motivation using grounded theory approach.Design/methodology/approachGrounded theory approach has been used to develop the Vroom’s expectancy theory. Initially data were collected through participant interviews using theoretical sampling. These data were analyzed and coded using the three step process, i.e. open coding, axial coding and selective coding. The categories created during coding were integrated to generate Vroom’s expectancy theory of motivation.FindingsThe findings indicate that Vroom’s expectancy theory of motivation can be used to explain motivation of young consumers to use AI tools as an aid in taking shopping decisions. The motivation may be intrinsic motivation, extrinsic motivation or force choice motivation. Expectancy represents the ease of using the tools, instrumentality represents competence of tools in performing desired tasks while valence represents satisfaction, rewarding experience and trust in using of tools.Research limitations/implicationsThe findings of the study are based on grounded theory approach which is an inductive approach. Alternate research methodologies, both inductive and deductive, need to be employed to strengthen the external validity and generalize the results. The study is limited to shopping motives of young consumers in India. A comparison with other consumer motivational studies has not been done. Hence no claim is made regarding the advantage of Vroom’s theory over other motivational theories.Practical implicationsThe study has strong implications for retailers in developing countries which are seen as an emerging market for retail and have introduced AI tools in recent years. The Vroom’s expectancy theory will help retailers to understand consumer motivation in using AI tools or shopping.Originality/valueVroom’s expectancy theory to understand consumer motivation to use AI tools in shopping was generated using the grounded theory approach.


2018 ◽  
Vol 18 (2) ◽  
Author(s):  
Melody R Peterson ◽  
Michael J Silverman

As Google Scholar searches yield unpublished papers, it may inadvertently impact the perception of the music therapy literature for clinicians, researchers, and service users. Therefore, the purpose of this systematic review was to identify and analyze the current literature comprised of unpublished and non-refereed papers regarding music therapy and mental health from January 2000 to September 2017 located via Google Scholar. After establishing inclusion and exclusion criteria, papers were identified using a variety of combinations of music therapy and mental health keywords. Twenty-one papers met inclusion criteria. Sixteen papers were master’s theses and five were doctoral dissertations. Almost half of the papers (n = 8) involved adolescents with mental health diagnoses. Although not all papers contained data, more papers contained qualitative data (n = 10) than quantitative data (n = 3). The unpublished music therapy and mental health literature may represent a valuable resource for guiding clinical practice and research. As the majority of authors were affiliated with universities outside the United States, perhaps there is greater interest in mental health outside the United States. It is concerning that many identified papers required additional login credentials. Implications for clinical practice, limitations, and suggestions for future research are provided.


2020 ◽  
Vol 20 (1) ◽  
Author(s):  
Siobhán Nelligan ◽  
Tríona McCaffrey

This study presents a preliminary exploration of music therapists’ first-hand experiences of engaging in verbal dialogue with clients in their clinical practice. To the authors’ knowledge no previous studies have examined the role of verbal dialogue from the first-hand perspectives of experienced professionals working in the field.  Three individual interviews were conducted with three accredited Irish music therapists. Four central themes emerged as a result of thematic content analysis: content and function of verbal dialogue, the use of verbal dialogue may contribute to professional ambiguity, returning to the music, and the dyadic relationship between musical and verbal exchange. The findings revealed verbal dialogue to be a topic of interest for the participants in this study, one which stimulated meaningful reflections about clinical practice. The implications for professional identity and clinical practice which arose distinguished verbal dialogue as a potential area for further research and professional discourse within the wider music therapy community. Suggestions were made for additional areas of learning that may assist in preparing trainee and newly-qualified music therapists for potentially challenging verbal encounters with clients.


Author(s):  
Joanne Loewy

Although there has been a fair amount of research and clinical practice related to neurological music therapy, speech production within a musical context and music psychotherapeutic voice work, we rarely find these practices intertwined. The following article provides history, rationale, definition of practice and theory that provides strong backing for the integration of the models and approaches currently available to music therapists.


Author(s):  
James Hiller ◽  
Courtney Belt ◽  
Susan Gardstrom ◽  
Joy Willenbrink-Conte

Abstract The purpose of this paper is to put forth a model to support the psychological safety of undergraduate students as they engage in a form of experiential learning called self-experiences (SEs). SEs pair active engagement in learning episodes with learner self-inquiry. The need to safeguard curricular SEs is grounded in the American Music Therapy Association’s Professional Competencies and Code of Ethics and the Certification Board for Music Therapists’ Board Certification Domains. We first explicate several types and benefits of SEs and identify potential risks and contraindications that may compromise learners’ psychological safety and even cause harm. Next, we describe the steps we took in developing the model and gaining administrative approval. We outline major tenets and describe specific safeguarding practices at various levels of implementation. We offer a hypothetical vignette to contextualize the information, address certain challenges in implementing this model, and offer recommendations for future research related to undergraduate experiential learning. Educators, clinical trainers, and supervisors who employ SEs are encouraged to implement safeguards toward upholding professional ethics and supporting learners’ personal and professional development.


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