Carers’ experiences of group therapeutic songwriting: An interpretive phenomenological analysis

2017 ◽  
Vol 32 (1) ◽  
pp. 8-17 ◽  
Author(s):  
Felicity A Baker ◽  
Sarah Yeates

Supporting carers of people living with dementia to live happy and healthy lives is of international importance. This study aimed to explore carers’ experiences of participating in a creative group songwriting process. Four carers (2 male and 2 female) of people living with dementia participated in four therapeutic group songwriting sessions. Facilitated by two music therapists and support staff, the participants co-created a song that reflected their carer experiences allowing positive and negative perspectives to be represented in the song. Interpretative phenomenological analysis was used to analyse interviews with the four carers at the end of the programme. A cross-case analysis was performed to identify recurring themes and subthemes. Findings highlight that carers’ experience of the programme went beyond their expectations. They found the collaborative component of co-creating songs was meaningful, and subsequently, the song held meaning for the group. Carers experienced the songwriting process as empowering, having a voice that was heard by genuinely attentive listeners and that they learned about themselves, each other, and the carer journey through the process. This study provides preliminary indications that group songwriting in carer programmes is a worthwhile experience, but further research is needed to understand its impact on wellbeing.

2018 ◽  
Vol 48 (2) ◽  
pp. 163-181 ◽  
Author(s):  
Liesl van der Merwe ◽  
John Habron

This article presents an interpretative phenomenological analysis (IPA) of the lived spiritual experiences of five Dalcroze teachers while teaching Dalcroze Eurhythmics. It responds to a recent expansion of research into spirituality within music education and also in relation to Dalcroze Eurhythmics. However, there is no study on the lived spiritual experiences of Dalcroze practitioners. Therefore, the purpose of this article is to understand how five Dalcroze teachers make sense of their spiritual experiences while teaching Dalcroze Eurhythmics. After semi-structured interviews, we interpreted the experiences of each individual participant separately before doing a cross-case analysis. A six-step, iterative, and inductive data analysis cycle was followed. The superordinate themes that emerged are: Breathing is essential; Giving and receiving energy (physical and emotional); Creating connections through sound and movement; Awareness of self, other, environment, and music; Growth and learning; Meaning and holism; Wellbeing; and Precious moments of transcending time and space. Participants’ spiritual experiences are discussed against the background of “A conceptual model of spirituality in music education” as well as “A conceptual study of spirituality in selected writings of Émile Jaques-Dalcroze.” Music educators’ awareness of spirituality while teaching Dalcroze Eurhythmics could be heightened to increase their “pedagogical thoughtfulness and tact.”


2018 ◽  
Vol 32 (2) ◽  
pp. 105-110 ◽  
Author(s):  
Lucy Dindoyal

This essay, based on a qualitative research project undertaken by the author while training at Roehampton University, explores the profound impact motherhood can have on the work of a music therapist. Motivated by the close parallels between the roles of mother and therapist as described in psychodynamic theory, the study involved three interviews with music therapist-mothers, and used Interpretative Phenomenological Analysis to analyse the data. Three superordinate themes emerged: Conflict and Growth; Drawing from Motherhood ‘Toolkit’; and Therapist Boundaries. Findings highlighted the multifaceted nature of the participants’ experiences, revealing both the positive and negative impact being a mother has on the work of a music therapist and the complex ways in which these roles intertwined with each other. During the research process, a broader picture emerged, placing the participants’ experiences within the context of Western culture’s idealised expectations of motherhood, which appeared to exert a powerful influence. It also drew attention to the limitations inherent in the ‘maternal metaphor’ which parallels the roles of mother and therapist, questioning its gender-specificity and the impact this has on music therapist-mothers. This small study provides a starting point for discussion regarding the challenges music therapist-mothers – as well as music therapists who are not mothers – face in a profession in which women make up the majority of the workforce.


2018 ◽  
Vol 24 (1) ◽  
pp. 3-18 ◽  
Author(s):  
Jill Mant ◽  
Angela Kirby ◽  
Kathy J Cox ◽  
Amos Burke

Being given a diagnosis of cancer is a significant and highly distressing event for both children and their families, but little research has been done to explore and understand children’s feelings. This study aims to understand from the child’s perspective what it feels like to be told you have cancer, with the hope that increased understanding can lead to improved communication and support for children and families. The study uses qualitative methodology. Six children aged 8–12 years with a new diagnosis of cancer took part in two semi-structured interviews at least one week apart. The interviews were conducted using the draw and write technique. The results were analysed using interpretative phenomenological analysis. The report describes the five super-ordinate themes that were identified; initially I felt shocked and scared, chemo is an awful thing, please talk to me; the more I know the better I feel, I will accept treatment and quickly get used to it because I know I will get better and, finally, my family are vital. Implications for clinical practice are discussed. The report highlights the research limitations and areas for future studies.


Autism ◽  
2021 ◽  
pp. 136236132110391
Author(s):  
Kate Cooper ◽  
William Mandy ◽  
Catherine Butler ◽  
Ailsa Russell

Autistic people are more likely to be transgender, which means having a gender identity different to one’s sex assigned at birth. Some transgender people experience distress about this incongruence or gender dysphoria. Few studies have aimed to understand the inner experiences of this group. In this study, we used Interpretive Phenomenological Analysis to understand the lived experience of gender dysphoria. Twenty-one autistic adults were interviewed about their experience of incongruence between their gender identity and sex assigned at birth, and any associated distress. The interviews were transcribed and analysed using Interpretive Phenomenological Analysis. Participants described significant distress because their bodies did not match their gender identities, their need to understand their identities more broadly and to manage complex intersecting needs. Participants experienced distress due to living in a world which is not always accepting of gender- and neuro-diversity. Participants described barriers in accessing healthcare for their gender needs. Some participants felt being autistic had facilitated their understanding of their gender identity. Other participants described challenges such as a tension between their need to undergo a physical gender transition versus a need for sameness and routine. In conclusion, there can be both positive experiences and additional challenges for autistic transgender people. Lay Abstract Autistic people are more likely to be transgender, which means having a gender identity different to one’s sex assigned at birth. Some transgender people experience distress about their gender and sex assigned at birth not matching which is called gender dysphoria. Research has focused on finding out why autistic people are more likely to have gender dysphoria, and less on what the experience of gender dysphoria is like for autistic people. We interviewed 21 autistic adults about their experience of incongruence between their gender identity and sex assigned at birth, and any associated distress. We carefully read the transcripts of the interviews, focusing on how participants understood their experiences. We found a range of themes from the interviews. Participants were distressed because their bodies did not match their gender identities. Participants told us they had to work hard to understand themselves and who they were, and to manage having multiple different needs such as mental health needs. It was upsetting for participants to experience discrimination because of being autistic and/or transgender. Some participants said it was more difficult to get transgender healthcare as an autistic person. Some participants thought being autistic had helped them understand their gender identity more than non-autistic people. Other participants found it was challenging to be both autistic and transgender. For example, most participants wanted to change their bodies to match their gender identity, but some participants were nervous about making changes to themselves and their routine due to being autistic. We conclude that autism can in some ways be helpful and other ways contribute to challenges for transgender autistic people.


Author(s):  
Cassidy Besse

Abstract The purpose of this phenomenological study was to explore the influence of gender on music therapy practice through the experiences and perceptions of gender aware music therapists (GAMTs). Participants (N = 5) included five board-certified music therapists or equivalent who have published scholarly literature on topics related to gender and music therapy. Participants shared their experiences in semistructured individual interviews; interviews were recorded, transcribed, and analyzed using interpretative phenomenological analysis (IPA). Six major themes emerged: (a) GAMTs recognize how socialization produces binary music participation, which is often perpetuated in music therapy practice; (b) GAMTs share the belief that gender roles and expectations create exclusive music practices that may restrict and limit musical expression and participation; (c) GAMTs create therapeutic spaces that encourage authentic music engagement by thoughtfully accepting and/or rejecting established gender stereotypes prevalent in music culture; (d) GAMTs suggest that gender is a marker of identity, which may or may not affect how the therapeutic relationship develops between music therapy clients and clinicians; (e) GAMTs utilize theories and therapeutic approaches that influence their music therapy research and practice; and (f) GAMTs recommend that practicing music therapists recognize their personal biases, develop a heightened awareness for how gender influences society, and actively pursue an inclusive practice that does not assume gender. Clinical implications and future research recommendations are discussed.


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