Defining the Therapeutic Singing Voice: Further Examination of the Everyday Singing Practices of Music Therapists

2021 ◽  
Author(s):  
Martina C Bingham ◽  
Elizabeth K Schwartz ◽  
Anthony Meadows
Keyword(s):  
Music Therapy ◽  
Qualitative Content Analysis ◽  
Clinical Work ◽  
American Music ◽  
Singing Voice ◽  
Music Therapists ◽  
Vocal Health ◽  
Comprehensive Picture ◽  
Therapy Sessions ◽  
And Training

Abstract Twelve music therapists were observed working clinically in 3 to 5 of their music therapy sessions and subsequently interviewed about their clinical work in order to further examine and define the essential characteristics of therapeutic singing in music therapy clinical practice. Observational and interview data were analyzed separately using procedures consistent with qualitative content analysis and then integrated to provide a comprehensive picture of these singing practices. Analysis of these data revealed 3 interrelated dimensions of therapeutic singing that were integrated into the larger realization of therapeutic singing: (1) foundational vocal skills, (2) vocal engagement, and (3) authenticity. Implications for the education and training of music therapy students, vocal health, and a reevaluation of the American Music Therapy Association’s competencies contextualize these findings for the profession as a whole.

Defining the Therapeutic Singing Voice: An Analysis of Four Music Therapists’ Clinical Work

2019 ◽  
Vol 37 (2) ◽  
pp. 176-186
Author(s):  
Martina C Bingham
Keyword(s):  
Music Therapy ◽  
Clinical Work ◽  
Singing Voice ◽  
Music Therapists ◽  
Music Therapist ◽  
Working Definition ◽  
Definition Of ◽  
Two Stages ◽  
Therapy Sessions ◽  
And Training

AbstractThe purpose of this study was to examine the ways music therapists use their singing voices in music therapy sessions and, in doing so, to provide a working definition of the therapeutic singing voice. Four music therapists were observed leading at least 10 music therapy sessions each in order to examine the ways they used their singing voices in clinical practice. Interviews with each of these therapists, at the completion of session observations, enriched these observational data. Data were analyzed in two stages. First, individual singing voice profiles were developed for each music therapist, and second, these profiles were integrated to define essential singing voice characteristics. These characteristics included flexible postures and physicality, diverse breathing methods and strategies of phonation, flexible resonance strategies, improvisational skills, and knowledge of diverse music genres. Implications for vocal education and training in music therapy programs are discussed.

Therapeutic Uses of the Flute Within Music Therapy Practice

2019 ◽  
Vol 37 (2) ◽  
pp. 169-175
Author(s):  
Cecilia E Burns
Keyword(s):  
Music Therapy ◽  
American Music ◽  
Flute Music ◽  
Music Therapists ◽  
Chi Square ◽  
Electronic Survey ◽  
Therapeutic Uses ◽  
Broad Term ◽  
Therapy Sessions ◽  
Primary Instrument

AbstractThe purpose of this study was to describe flute usage among current, professional music therapists. The broad term “flute” included any instrument with sound created by blowing air across or into an aperture hole. Members of the American Music Therapy Association (AMTA) were sent an electronic survey consisting of 25 questions pertaining to the flute and music therapy. Descriptive statistics describe how flutes were being used in music therapy sessions, and chi-square tests were used to determine whether music therapists who studied flute as a primary instrument used the flute as an instrument within a music therapy setting more frequently. Results showed that 42.4% of the 387 respondents were actively using flute music in some way within music therapy sessions while 67.8% of respondents reported using flute music at some point in the past. Flute-playing music therapists reported using flutes more frequently in a music therapy context than music therapists who did not study flute as a primary instrument. It appears that the flute is a viable instrument for music therapy practice.

scholarly journals Qualitative Content Analysis of “Hello Songs” Composed for Children by Music Therapists in the Czech Republic and USA

2016 ◽  
Vol 2 (6) ◽  
pp. 124
Author(s):  
Jiří Kantor Kantor ◽  
Lenka Kružíková
Keyword(s):  
Qualitative Research ◽  
Content Analysis ◽  
Czech Republic ◽  
Music Therapy ◽  
Qualitative Content Analysis ◽  
Good Practice ◽  
American Music ◽  
Music Therapists ◽  
The Czech Republic ◽  
Musical Communication

<p>“Hello Songs” is a ritual musical expression of the non-musical communication occurring at the beginning and the end of a music therapy session with a client. 49 “Hello Songs” composed for children by 11 Czech and 8 American music therapists were examined during a qualitative research described in this paper. Through inductive content analysis seven categories were identified that characterise the content of the “Hello Songs”, and four findings described that relate to good practice in composition and application of the songs. Recommendations for music therapy practice were formulated based on the results.</p>

A Descriptive Analysis of Music Therapy Employment from 2013 to 2019

2020 ◽  
Author(s):  
Jonathon Oden
Keyword(s):  
Music Therapy ◽  
Descriptive Analysis ◽  
American Music ◽  
High Rate ◽  
Future Research ◽  
Full Time ◽  
Music Therapists ◽  
Funding Sources ◽  
Part Time ◽  
Therapy Services

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.

Telehealth music therapy for persons with dementia and/or caregivers

2021 ◽  
Vol 13 (3) ◽  
pp. 206-210
Author(s):  
Amy Clements-Cortés ◽  
Melissa Mercadal-Brotons ◽  
Tereza Raquel Alcântara Silva ◽  
Shirlene Vianna Moreira
Keyword(s):  
Older Adults ◽  
Social Interaction ◽  
Best Practices ◽  
Music Therapy ◽  
Music Therapists ◽  
Starting Point ◽  
And Training ◽  
Practical Recommendations

The COVID-19 pandemic has placed many restrictions on social interaction. Although these restrictions are challenging for everyone, they are particularly difficult for older adults who are often isolated. While telehealth has been around for a number of years, it had not been practiced to any great extent by music therapists until COVID-19. Telehealth will continue to prove valuable even when the pandemic ends, and as a result, it is timely to assess the benefits and recommendations for best practices. This paper provides a starting point of reflection for telehealth for persons with dementia, offering practical recommendations and implications for planning and training.

Telehealth Music Therapy Services in the United States With Older Adults: A Descriptive Study

2022 ◽  
Author(s):  
Lindsey Wilhelm ◽  
Kyle Wilhelm
Keyword(s):  
United States ◽  
Older Adults ◽  
Music Therapy ◽  
Response Rate ◽  
Descriptive Study ◽  
The United States ◽  
Age Group ◽  
Music Therapists ◽  
Therapy Services ◽  
Therapy Sessions

Abstract In response to the COVID-19 pandemic, many music therapists in the United States turned to telehealth music therapy sessions as a strategy to continue services with older adults. However, the nature and perception of telehealth music therapy services for this age group are unknown. The purpose of this study was to describe music therapy telehealth practices with older adults in the United States including information related to session implementation, strengths and challenges, and adaptations to clinical practice. Of the 110 participants in the United States who responded to the survey (25.2% response rate), 69 reported implementing telehealth music therapy services with older adults and responded to a 32-item survey. Quantitative and qualitative analyses were conducted. Results indicated that while all participants had provided telehealth music therapy for no more than 6 months, their experiences with telehealth varied. Based on participant responses, telehealth session structure, strengths, challenges, and implemented changes are presented. Overall, 48% of music therapists reported that they planned to continue telehealth music therapy with older adults once pandemic restrictions are lifted. Further study on the quality, suitability, and acceptability of telehealth services with older adults is recommended.

Music Therapy Pre-internship Education and Training: Support for a Methods-Based Approach

2021 ◽  
Author(s):  
Susan C Gardstrom ◽  
James Hiller ◽  
Annie Heiderscheit ◽  
Nancy L Jackson
Keyword(s):  
Music Therapy ◽  
Best Practice ◽  
Clinical Decision Making ◽  
Well Being ◽  
Clinical Decision ◽  
Education And Training ◽  
Population Based ◽  
Music Therapists ◽  
Training Support ◽  
And Training

Abstract As music therapists, music is our primary realm of understanding and action and our distinctive way of joining with a client to help them attain optimal health and well-being. As such, we have adopted and advocate for a music-focused, methods-based (M-B) approach to music therapy pre-internship education and training. In an M-B approach, students’ learning is centered on the 4 music therapy methods of composing, improvising, re-creating, and listening to music and how these music experiences can be designed and implemented to address the health needs of the diverse clientele whom they will eventually encounter as practicing clinicians. Learning is highly experiential, with students authentically participating in each of the methods and reflecting on these self-experiences as a basis for their own clinical decision-making. This is differentiated from a population based (P-B) approach, wherein students’ attention is directed at acquiring knowledge about the non-musical problems of specific “clinical populations” and the “best practice” music interventions that are presumed to address these problems. Herein, we discuss both approaches, identifying the limitations of a P-B perspective and outlining the benefits of an M-B curriculum and its relevance to 21st-century music therapy practice.

scholarly journals Music Therapists’ Conceptualization of Clients’ Experience of Healing: Grounded Theory Analysis

2016 ◽  
Vol 16 (1) ◽  
Author(s):  
Eun-Young Hwang ◽  
Hwa-Jin Lee
Keyword(s):  
Grounded Theory ◽  
Music Therapy ◽  
Analysis Method ◽  
Theory Analysis ◽  
Music Therapists ◽  
Distinctive Features ◽  
Korean Music ◽  
Inner Self ◽  
Expression Of Emotions ◽  
Therapy Sessions

This study analyzed the meaning, distinctive features, and process of therapists’ perception of their clients’ experience related to healing in music therapy. Twenty Korean music therapists who work with a variety of clients were recruited to participate through purposive sampling. Corbin and Strauss’s (2008) grounded theory qualitative analysis method was used. Ten categories and nineteen subcategories were obtained. The central phenomenon was active participation in music therapy, which was influenced by client’s readiness. Clients’ experiences lead to healing through awareness of inner self, expression of emotions, and solving problems. These changes were related to the therapists’ interventions, professionalism and qualifications, and their use of music. It was concluded that the clients experienced four types of healing in their music therapy sessions: physical, emotional, social, and transformative.

scholarly journals How does a music therapy student work to facilitate reminiscence and memory in dementia patients

2021 ◽  
Author(s):  
◽  
I-Chen Sun
Keyword(s):  
Music Therapy ◽  
Secondary Analysis ◽  
Clinical Work ◽  
Music Therapists ◽  
Student Work ◽  
Dementia Patients ◽  
Group Music Therapy ◽  
Social Abilities ◽  
Therapy Strategies

<p>This study was prompted in response to increased interest in, and demand for, music therapy provision in improving quality of care for dementia patients. It is an exploration of the strategies to facilitate memory and reminiscence in persons with dementia, and considers the need for those preparing for end of life to recall identities, connect with family and others, and express feelings. This research is a qualitative study involving secondary analysis of clinical data from my clinical practice and identifies the strategies, techniques and procedures that I applied in my clinical work to stimulate preserved memory ‘islands’. The findings show that familiarity is central in enabling a remembering process, and music can have unique ways of accessing memory in people with limited cognitive and social abilities. Eight core categories of music therapy strategies were found to be helpful in enabling memory and reminiscence. This study includes examples of both individual and group music therapy. The objective of this study was to examine my music therapy practice, and potentially provide some beneficial ideas and insights to other music therapists working on memory and reminiscence with dementia patients.</p>

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