Music Therapy for Children and Adults who are Deaf or Hard of Hearing

Author(s):  
Kate E. Gfeller

This chapter focuses on music therapy for children and adults who are deaf or hard of hearing. Foundational information on acoustical properties of music and speech and the hearing mechanism is provided. Because this population is diverse on a number of factors, which influence therapeutic needs, this chapter describes differences among clients as a function of auditory profiles (e.g. onset or severity of loss), hearing devices, modes of communication, and cultural affiliation. These factors influence abilities in various functional domains. Music therapy goals and interventions are described in relation to speech and language, auditory training, social integration, and music engagement. Accommodations in the therapeutic environment that optimize hearing and communication guidelines essential to successful therapeutic interventions are discussed.

Author(s):  
Dani Levine ◽  
Daniela Avelar ◽  
Roberta Michnick Golinkoff ◽  
Kathy Hirsh-Pasek ◽  
Derek M. Houston

Copious evidence indicates that, even in the first year of life, children’s language development is beginning and is impacted by a wide array of cognitive and social processes. The extent to which these processes are dependent on early language input is a critical concern for most deaf and hard-of-hearing (DHH) children, who, unlike hearing children, are usually not immersed in a language-rich environment until effective interventions, such as hearing aids or cochlear implants, are implemented. Importantly, some cognitive and social processes are not dependent on the early availability of language input and begin to develop before children are fitted for hearing aids or cochlear implants. Interventions involving parent training may be helpful for enhancing social underpinnings of language and for maximizing DHH children’s language learning once effective hearing devices are in place. Similarly, cognitive training for DHH children may also provide benefit to bolster language development.


2015 ◽  
Vol 3 (3) ◽  
Author(s):  
Eran Ben-Arye ◽  
Yotam Ben-Arye ◽  
Yael Barak

Music therapy is a significant modality in the treatment of patients with cancer, who suffer emotional and spiritual distress as well as chemotherapy side effects that impair their quality of life. In this article, we present a case study of a patient challenged with recurrent ovarian cancer who received, concomitant with chemotherapy, a special form of music therapy based on anthroposophic medicine (AM) aimed at alleviating anxiety and improving her general well-being. AM-centered music therapy goals are discussed in regard to two modes of treatment: receptive listening and clinical composition. Next, these two treatment modes are discussed in a broader context by reviewing conventional music therapy interventions during chemotherapy on two axes: a. standardized vs. individualized treatment; b. patient’s involvement on a passive to active continuum. In conclusion, psycho-oncology care can be enriched by adding anthroposophic medicine-oriented music therapy integrated within patients’ supportive care.


2021 ◽  
Vol 21 (3) ◽  
Author(s):  
Salih Gulbay

There are numerous young asylum seekers and unaccompanied migrant minors around the globe. A comprehensive literature review revealed that post traumatic stress disorder (PTSD) is the most common disorder that affects the asylum seeker youth and migrant minor populations. Many of these individuals struggle with PTSD and show resilience in their daily lives while also learning, discovering, and surviving. Accordingly, therapeutic interventions directed to them must be trauma-informed, phased, engaging, empowering, and impactful to support the needs of these young people. A seven-month-long music therapy intervention experience that was applied to young asylum seekers in Spain, and found that the most effective intervention tools were Hip Hop Therapy-related interventions. This study resulted in a new intervention model, The Integral Hip Hop Methodology. This paper highlights the importance that intervention models be engaging and considerate to the necessities and preferences of the addressed population and presents The Integral Hip Hop Methodology as an example.


Author(s):  
Aleah S. Brock ◽  
Sandie M. Bass-Ringdahl

Purpose This research note reports preliminary data from an investigation of facilitative language techniques (FLTs) used in the natural environment by caregivers of children who are deaf or hard of hearing (DHH). The investigation seeks to establish a new method to collect and analyze data on caregiver FLT use in the home. Method This pilot investigation included two children under the age of 36 months with moderate-to-profound sensorineural hearing loss. Both children were consistent users of hearing devices and were pursing oral communication. Data were collected via the Language ENvironment Analysis (LENA) system in the participants' homes. Thirty-six 5-min segments containing the highest adult word count were extracted from each participant's sample. Researchers coded segments for the presence or absence of 10 FLTs within 30-s intervals. Results The collection, coding, and analysis of caregiver FLTs using LENA was a feasible method to investigate caregiver linguistic input in the natural environment. Despite differences in age, sex, and hearing level, the distribution of caregiver FLTs was similar for both participants. Caregivers used high levels of narration, closed-ended questions, and directives throughout the day. Conclusions Results of this investigation provide information about the types of FLTs that are used in the home by caregivers of young children who are DHH. Furthermore, results indicate the feasibility of this method to investigate in-home use of caregiver FLTs.


2021 ◽  
Vol 21 (2) ◽  
Author(s):  
Tina Mallon ◽  
Monika Hoog Antink

Due to the difficult situation of refugees, working with this group is challenging. Yet, music therapy is a suitable method for early therapeutic intervention. The authors introduce the context-sensitive classification model for music therapeutic interventions with refugees—COVER model— which is based on practical music therapeutic experiences using a trauma-informed approach with refugees in Germany. The COVER model can serve as a guideline for music therapists who work with refugees in insecure circumstances. The COVER model applies music therapeutic interventions to the natural living environment of refugees and allows for early interventions which may be a crucial benefit to the psychological health of refugees and music therapists working in this area.


2020 ◽  
Vol 11 ◽  
Author(s):  
Martina de Witte ◽  
Esther Lindelauf ◽  
Xavier Moonen ◽  
Geert-Jan Stams ◽  
Susan van Hooren

Stress is increasingly being recognized as one of the main factors that is negatively affecting our health, and therefore there is a need to regulate daily stress and prevent long-term stress. This need seems particularly important for adults with mild intellectual disabilities (MID) who have been shown to have more difficulties coping with stress than adults without intellectual disabilities. Hence, the development of music therapy interventions for stress reduction, particularly within populations where needs may be greater, is becoming increasingly important. In order to gain more insight into the practice-based knowledge on how music therapists lower stress levels of their patients with MID during music therapy sessions, we conducted focus group interviews with music therapists working with adults with MID (N = 13) from different countries and clinical institutions in Europe. Results provide an overview of the most-used interventions for stress reduction within and outside of music. Data-analysis resulted in the further specification of therapeutic goals, intervention techniques, the use of musical instruments, and related therapeutic change factors. The main findings indicate that music therapists used little to no receptive (e.g., music listening) interventions for stress reduction, but preferred to use active interventions, which were mainly based on musical improvisation. Results show that three therapy goals for stress relief could be distinguished. The goal of “synchronizing” can be seen as a sub goal because it often precedes working on the other two goals of “tension release” or “direct relaxation,” which can also be seen as two ways of reaching stress reduction in adults with MID through music therapy interventions. Furthermore, the tempo and the dynamics of the music are considered as the most important musical components to reduce stress in adults with MID. Practical implications for stress-reducing music therapy interventions for adults with MID are discussed as well as recommendations for future research.


2015 ◽  
Vol 26 (3) ◽  
pp. 155-157
Author(s):  
Melissa Maguire

Abstract. Researchers are increasingly looking toward nondrug therapeutic interventions in controlling seizures in epilepsy. Music therapy has shown potential therapeutic benefit in cognitive science. Here we focus on the evidence base for its utility as a therapy in epilepsy.


2019 ◽  
Vol 116 (17) ◽  
pp. 8570-8575 ◽  
Author(s):  
Thomas F. Giustino ◽  
Paul J. Fitzgerald ◽  
Reed L. Ressler ◽  
Stephen Maren

The medial prefrontal cortex (mPFC) plays an essential role in regulating emotion, including inhibiting fear when danger has passed. The extinction of fear, however, is labile and a number of factors, including stress, cause extinguished fear to relapse. Here we show that fear relapse in rats limits single-unit activity among infralimbic (IL) neurons, which are critical for inhibiting fear responses, and facilitates activity in prelimbic (PL) neurons involved in fear expression. Pharmacogenetic activation of noradrenergic neurons in the locus coeruleus mimics this shift in reciprocal IL–PL spike firing, increases the expression of conditioned freezing behavior, and causes relapse of extinguished fear. Noradrenergic modulation of mPFC firing represents a mechanism for relapse and a potential target for therapeutic interventions to reduce pathological fear.


2014 ◽  
Vol 25 (04) ◽  
pp. 335-342 ◽  
Author(s):  
Elisabeth Hutter ◽  
Miriam Grapp ◽  
Heike Argstatter ◽  
Hans Volker Bolay

Background: In general, tinnitus pitch has been observed to be variable across time for most patients experiencing tinnitus. Some tinnitus therapies relate to the dominant tinnitus pitch in order to adjust therapeutic interventions. As studies focusing on tinnitus pitch rarely conduct consecutive pitch matching in therapeutic settings, little is known about the course and variability of tinnitus pitch during therapeutic interventions. Purpose: The purpose of this study was to investigate the variability and development of tinnitus pitch in the course of therapeutic interventions. Tinnitus pitch was suspected to be highly variable. Research design: The researchers conducted a descriptive, retrospective analysis of data. Study Sample: A total of 175 adult patients experiencing chronic tinnitus served as participants. All patients had received a neuro-music therapy according to the “Heidelberg Model of Music Therapy for Chronic Tinnitus.” Data Collection and Analysis: During therapeutic interventions lasting for 5 consecutive days, the individual tinnitus frequency was assessed daily by means of a tinnitus pitch–matching procedure. The extent of variability in tinnitus pitch was calculated by mean ratios of frequencies between subsequent tinnitus measurements. Analysis of variance of repeated measures and post hoc paired samples t-tests were used for comparison of means in tinnitus frequencies, and the test-retest reliability of measurements was obtained by the Pearson product-moment correlation coefficient. Results: Tinnitus pitch displayed a variability of approximately 3/5 to 4/5 octaves per day. Overall, the mean frequency declined in the course of the therapy. Detailed analysis revealed three groups of patients with diverging tinnitus progression. The test-retest reliability between assessments turned out to be robust (r = 0.74 or higher). Conclusions: Considerable variation in tinnitus pitch was found. Consequently, a frequent rechecking of tinnitus frequency is suggested during frequency-specific acoustic stimulation in order to train appropriate frequency bands.


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