Music Therapy for Children and Adolescents Diagnosed with Cancer

2015 ◽  
Author(s):  
Philippa Reid
Keyword(s):  
Music Therapy ◽  
Children And Adolescents ◽  
Cancer Care ◽  
Research Evidence ◽  
Interdisciplinary Team ◽  
Subsequent Treatment ◽  
Music Therapists ◽  
Medical Treatments ◽  
Music Therapist

Receiving a cancer diagnosis and undergoing the subsequent treatment challenges coping and equilibrium for children and adolescents and their families. This chapter describes how music therapists work with children, adolescents, and family members in cancer care contexts. A range of musical experiences can provide adjunct support to medical treatments to support coping, reduce distress, and provide comfort. The music therapist works as a member of the interdisciplinary team to provide opportunities fornormaland fun musical experiences to support the experience of hospitalization, as well as offering comfort and support for children in pain or distress. Research evidence supports the role of the music therapist in providing effective services with children and adolescents in cancer care.

scholarly journals The Therapeutic Value of Recording in Music Therapy for Adult Clients in a Concurrent Disorders Inpatient Treatment Facility

2019 ◽  
Vol 19 (2) ◽  
pp. 21
Author(s):  
Kevin Kirkland ◽  
Shannon Nesbitt
Keyword(s):  
Music Therapy ◽  
Musical Composition ◽  
Music Therapists ◽  
Concurrent Disorders ◽  
Music Therapist ◽  
Case Examples ◽  
Therapeutic Goals ◽  
Therapeutic Value ◽  
Fertile Ground

While recording has traditionally been viewed as a practical, adjunctive role of the music therapist, here the authors examine the skillful use of recording devices and software as fertile ground for the development of therapeutic programs with tangible benefits for adult cli­ents in a concurrent disorders recovery setting. The integration and layering of musical composition with musical performance, digital technologies, and production, invite rich and engaging conversations about therapeutic goals, processes, and outcomes. Using methods of action research inquiry, the authors discuss how their interactions with clients through recording have yielded new insights into therapist roles and identities as well as expressions of music therapy. The case for therapy-oriented recording is outlined and a description of the authors’ research setting and data collection methods identified before a literature review on the use of recording in music therapy is provided. The authors then distinguish four types of therapeutic recording illustrated by case examples from work with clients. Their writing culminates with a discussion of challenges and benefits associated with therapeutic recording. The authors conclude that recording offers critical and rewarding yet often unrecognized opportunities for music therapists to be innovators in their field.

Growth and identity of music therapy in the NICU: Pioneering perspectives

2021 ◽  
Vol 13 (2) ◽  
pp. 84-90
Author(s):  
Helen Shoemark ◽  
Monika Nöcker-Ribaupierre
Keyword(s):  
Special Education ◽  
Early Intervention ◽  
Music Therapy ◽  
Premature Birth ◽  
Music Therapists ◽  
Music Therapist ◽  
Family Centered ◽  
Core Issues ◽  
Surgical Unit

This duoethnographic exploration expounds on the journeys of two women who pioneered music therapy in the NICUs in their respective countries. The dialogue uses their practice wisdom and research to illuminate core issues that have served the development of music as process and intervention for infants, families and those in the context of the NICU. They conclude with recommendations for the future.Monika Nöcker-Ribaupierre (MNR): I was a musician and I worked in the theatre. The premature birth of my daughter in the 1970s, experiencing my own helplessness and that of my family and friends, all of this led my life in an unexpected new direction: to music therapy in the NICU. My overall goal was to promote both the infant’s development in connection with support of the mother’s resilience – because there is no development without bonding. Next step was to open NICUs in my country to music therapy, also to strengthen our NICU music therapists and helping to develop an international network. Throughout all these years Helen Shoemark has been my most important and valuable colleague.Helen Shoemark (HS): I was a music therapist working in special education and early intervention for 15 years before. I started the program in the NICU at the Royal Children’s Hospital in 1994, and grew the role of music therapy in the pediatric NICU/ Newborn Surgical Unit through my research. Because of my experience in family-centered early intervention, my focus in the NICU is on supporting the expressive capacities of both infant and parents. My other focus is in supporting clinicians develop programs that are ecologically situated, theoretically- informed, and pragmatically realistic. Monika Nöcker-Ribaupierre was one of my earliest mentors, and I have always been inspired by the strength of her commitment, understanding, and support for the experience of the mothers in the NICU.

Music Therapy: Variations on a Theme

1993 ◽  
Vol 9 (4) ◽  
pp. 37-39 ◽  
Author(s):  
Susan E. Mandel
Keyword(s):  
Quality Of Life ◽  
Music Therapy ◽  
Terminally Ill ◽  
Music Therapists ◽  
Music Therapist ◽  
Service Training ◽  
Variations On A Theme ◽  
Therapy Service

Music therapists make significant contributions to the multidisciplinary hospice team in its efforts to provide holistic palliative care to terminally ill patients and family members and to promote quality of life. The role of a hospice music therapist is described, including providing direct patient music therapy service, training the hospice team in music therapy, developing and maintaining a music therapy resource centre, and offering bereavement services. A review of patient charts Provides information about patient age, sex, diagnosis, and source and reasons for referral.

scholarly journals What Is the Role of A Student Music Therapist in a Community Music Setting?

2021 ◽  
Author(s):  
◽  
Sidharth Pagad
Keyword(s):  
Music Therapy ◽  
Secondary Analysis ◽  
Community Music ◽  
Social Equality ◽  
Music Therapists ◽  
Music Therapist ◽  
Reflective Journal ◽  
Group Behaviour ◽  
Audio Recordings

<p>This qualitative research project set out to explore my role as a student music therapist within a community music setting. I am a student music therapist, working with a community music company involved in a variety of community music groups and projects. I wanted to understand what I might offer the community music company by bringing a community music therapy perspective to the work.  The research involved an exploration into the literature relating to Community Music Therapy as well as Community Music and required me to regularly question the reasoning and philosophy behind Community Music Work. To answer my question I engaged in secondary analysis of data generated during the first 24 weeks at this community music placement. The data included session notes, audio recordings of supervision sessions, and my reflective journal.  The literature includes examples of collaboration between community music therapists and community musicians, and I sought to experience this at my placement. The hoped for collaboration did take place during the period of data collection, enabling detailed reflections of it. This exploration therefore helped me to develop as a community musician and music therapy student.  The practice was broad and involved regular transitions in role, often within the same session. These included participant, accompanist, song-leader, community music therapist, and drum circle facilitator. Findings suggest that Community Music and Community Music Therapy are disciplines with many similarities in appearance and structure, but tend to diverge when looking at goals and overall objectives and foci.  Social equality seems to be commonly shared value between Community Music and Community Music Therapy. The ways in which this value is acted upon is also explored.  Performance and Performativity as aspects of group behaviour was found to be mentioned in the literature, and again this was mentioned in the data collected as part of the researcher’s placement.</p>

scholarly journals A Qualitative Heuristic Inquiry into the Development of Therapeutic Presence as a Student Music Therapist

2020 ◽  
Vol 20 (1) ◽  
Author(s):  
Niall Mc Guigan
Keyword(s):  
Music Therapy ◽  
Research Question ◽  
Research Topic ◽  
Heuristic Inquiry ◽  
Music Therapists ◽  
Music Therapist ◽  
Main Research ◽  
Therapeutic Presence ◽  
Personal Process

This first-person study investigates the role of cognitive and embodied forms of knowledge in relation to the development of therapeutic presence as a student music therapist. In this paper, I will provide an introduction to the topic reviewing its relevance to the practice of music therapy, and I will argue that the development of therapeutic presence is a fundamental part of becoming a music therapist.  Although there are seminal articles in the music therapy literature that discuss the topic of therapeutic presence, I have not found any articles relating it to the development of being a student music therapist. Using heuristic methodology, I will describe the personal process of developing therapeutic presence as a student music therapist. To gain a broader perspective on the research topic, and to provide validation and transparency in relation to my personal heuristic process, three successive theoretical and experiential workshops were carried out with six student music therapists. Data, in the form of questionnaires, reflections and group musical improvisations were analysed systematically to validate my experience of the research topic, and also to discover and evaluate themes and practical methods. The research has culminated in the synthesis of data gathered during the study in relation to the main research question while also reviewing its relevance to music therapy practice and implications for further study.

scholarly journals Exit Music: The Experience of Music Therapy within Medical Assistance in Dying

Healthcare ◽  
2020 ◽  
Vol 8 (3) ◽  
pp. 331
Author(s):  
SarahRose Black ◽  
Lee Bartel ◽  
Gary Rodin
Keyword(s):  
Music Therapy ◽  
Lived Experience ◽  
Medical Assistance ◽  
Music Therapists ◽  
Music Therapist ◽  
Hermeneutic Phenomenological ◽  
Medical Assistance In Dying ◽  
Canadian Music

Since the 2015 Canadian legalization of medical assistance in dying (MAiD), many Canadian music therapists have become involved in the care of those requesting this procedure. This qualitative study, the first of its kind, examines the experience of music therapy within MAiD, exploring lived experience from three perspectives: the patient, their primary caregiver, and the music therapist/researcher. Overall thematic findings of a hermeneutic phenomenological analysis of ten MAiD cases demonstrate therapeutically beneficial outcomes in terms of quality of life, symptom management, and life review. Further research is merited to continue an exploration of the role of music therapy in the context of assisted dying.

scholarly journals What Is the Role of A Student Music Therapist in a Community Music Setting?

2021 ◽  
Author(s):  
◽  
Sidharth Pagad
Keyword(s):  
Music Therapy ◽  
Secondary Analysis ◽  
Community Music ◽  
Social Equality ◽  
Music Therapists ◽  
Music Therapist ◽  
Reflective Journal ◽  
Group Behaviour ◽  
Audio Recordings

<p>This qualitative research project set out to explore my role as a student music therapist within a community music setting. I am a student music therapist, working with a community music company involved in a variety of community music groups and projects. I wanted to understand what I might offer the community music company by bringing a community music therapy perspective to the work.  The research involved an exploration into the literature relating to Community Music Therapy as well as Community Music and required me to regularly question the reasoning and philosophy behind Community Music Work. To answer my question I engaged in secondary analysis of data generated during the first 24 weeks at this community music placement. The data included session notes, audio recordings of supervision sessions, and my reflective journal.  The literature includes examples of collaboration between community music therapists and community musicians, and I sought to experience this at my placement. The hoped for collaboration did take place during the period of data collection, enabling detailed reflections of it. This exploration therefore helped me to develop as a community musician and music therapy student.  The practice was broad and involved regular transitions in role, often within the same session. These included participant, accompanist, song-leader, community music therapist, and drum circle facilitator. Findings suggest that Community Music and Community Music Therapy are disciplines with many similarities in appearance and structure, but tend to diverge when looking at goals and overall objectives and foci.  Social equality seems to be commonly shared value between Community Music and Community Music Therapy. The ways in which this value is acted upon is also explored.  Performance and Performativity as aspects of group behaviour was found to be mentioned in the literature, and again this was mentioned in the data collected as part of the researcher’s placement.</p>

Music Therapy in Schools: An Expansion of Traditional Practice

2012 ◽  
pp. 666-670 ◽  
Author(s):  
Katrina McFerran
Keyword(s):  
Music Therapy ◽  
Music Teachers ◽  
Music Teacher ◽  
Music Therapists ◽  
Traditional Practice ◽  
Music Therapist ◽  
The Relationship

This article examines the role of music therapy in schools. One important aspect is the relationship between music teachers and music therapists. In some schools the availability of both professionals results in a great deal of overlap (i.e., the intuitive and empathic music teacher and the skills oriented music therapist), while in others the combination results in two distinct possibilities for engaging with music.

Music Therapy with Adolescents in Medical Settings

2015 ◽  
Author(s):  
John Mondanaro ◽  
Joanne Loewy
Keyword(s):  
Music Therapy ◽  
Traumatic Injury ◽  
Disease Process ◽  
Detailed Knowledge ◽  
Music Therapist ◽  
Self Reflection ◽  
Music Psychotherapy ◽  
Social Belonging ◽  
New Diagnosis

Adolescence is a time of change marking the transition from childhood to adulthood. When a teenager is ill and requiring hospitalization many of the constructs upon which individual identity rests such as contact with peers, and social belonging, can become compromised. Music therapy offers a way to address the personal and psychological stress that can result from hospitalization. In this chapter the authors highlight conditions in medicine that are common to teens. Music psychotherapy approaches are described that promote expression in individual and group modalities, and can also provide avenues for self-reflection related to the disease process, such as the receiving of a new diagnosis, or in cases where traumatic injury has occurred. The role of the music therapist in working with the medical team, the patient, and the patient’s family is presented with reference to the detailed knowledge and experience of the authors in providing music psychotherapy to adolescents.

Role Limits in Music Therapy

1989 ◽  
Vol 3 (1) ◽  
pp. 5-9 ◽  
Author(s):  
Janet Cowan
Keyword(s):  
Music Therapy ◽  
Spontaneous Activity ◽  
Music Therapist ◽  
Music Making ◽  
Musical Interactions

Often through the course of work with a patient, issues arise which challenge one's role as a music therapist, and which lead one to question the limits of the experiences being offered to the patient. In this paper I describe my work with a woman who initially avoided and resisted shared music-making, and who gradually became more able to be involved in spontaneous activity. I tried to find ways of understanding the issues at the root of our relationship, in order to build on the musical interactions. From this case, I intend to illustrate the deeper questions which, I believe, are pertinent to be asked more generally about the limitations attending the role of the music therapist.

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