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 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 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 ‘Journey to musicking’: Resourcing people to music outside the therapy room

2021 ◽  
Author(s):  
◽  
Katie Boom
Keyword(s):  
New Zealand ◽  
Music Therapy ◽  
Qualitative Data ◽  
Ecological Model ◽  
Community Music ◽  
Music Therapist ◽  
Aotearoa New Zealand ◽  
Therapy Room ◽  
Neurological Conditions

<p>This action research study investigates resourcing people to engage in musicking outside the therapy room. Both the practice and research took place within a residential hospital for people with neurological conditions, situated in Aotearoa New Zealand. Music-centred music therapy, community music therapy, resource-oriented music therapy and the ecological model of music influenced this research. Following three action cycles, the qualitative data collected throughout was thematically analysed. This analysis revealed a framework referred to as the ‘journey to musicking’, which identifies six resources people needed to engage in music: opportunity; motivation; confidence; skills; practical needs; and a problem-solving toolkit. The role of the music therapist in resourcing people in these areas is framed as the role of a tuakana, drawing on an indigenous Māori model predominantly used in education and mentoring programmes: ‘tuakana-teina’. ‘Tuakana-teina’ in this study is defined as a music therapist-participant relationship that is empowering, collaborative and inclusive of the possibility of reciprocity. The personal resources (kete) needed by the tuakana music therapist are also explored, while empowerment and sustainability are highlighted as foundational principles to resourcing people. These principles, especially empowerment, are linked to the Māori concept of restoring rangatiratanga. This research provides a rich qualitative account of practicing music therapy in an empowering, ecological way in Aotearoa New Zealand.</p>

scholarly journals From this world to beyond: A student’s reflections on the role of her violin in music therapy

2021 ◽  
Author(s):  
◽  
Cheri Ang
Keyword(s):  
Music Therapy ◽  
Secondary Analysis ◽  
The Elderly ◽  
Music Therapist ◽  
Advantages And Disadvantages ◽  
Musical Background ◽  
Practice Based Research ◽  
Research Findings ◽  
New Perspective

<p>This practice-based research explores a student music therapist’s experiences and self-reflections on the use of her violin in supporting the elderly at a residential hospital. The objective was to find out how the violin fits in music therapy practice, where practitioners typically use the piano and guitar. Self-reflexivity was employed to increase the student’s understanding of music therapy. The two research questions were ‘why was the violin used and why not’, as well as ‘how was the violin used’. To explore these two questions in depth, a qualitative research study was undertaken, with secondary analysis of data as its methodology. The data consisted of clinical notes and reflective journals from regular practice. Thematic analysis (Braun & Clarke, 2006) was employed to analyse the data, involving a rigorous process of coding, involving both inductive and deductive methods of analysis along with graphic representations. The student music therapist, acting as both the clinician and researcher, acknowledged the influences of her musical background and spiritual inclinations on the data collected and its interpretation. Findings consisted of clients’ responses, advantages and disadvantages of the violin and the author’s relationship with the violin. A simple ‘How’ framework involving what was played on the violin and how it was played was also included. The author’s reflexivity guided a discussion that integrated the literature review, research findings and the author’s clinical and personal experiences. Drawing upon music therapy definitions and concepts, as well as philosophical ideas and spiritual teachings, answers were found to explain the role of the violin and to provide the author with a new perspective on issues of loss and dying, an understanding of the value of aesthetics and insights into her relationship with the violin.</p>

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.

scholarly journals The Violin in Music Therapy: How do I use the violin in music therapy with people who have intellectual disabilities or neurological conditions?

2021 ◽  
Author(s):  
◽  
Lucy Kelly
Keyword(s):  
Music Therapy ◽  
Therapeutic Potential ◽  
Secondary Analysis ◽  
Music Therapists ◽  
Music Therapist ◽  
Clinical Notes ◽  
Research Journal ◽  
Performance Techniques ◽  
Neurological Conditions ◽  
Primary Instrument

<p>In this research I explored my use of the violin in music therapy with people who have intellectual disability and neurological conditions. I am interested in this topic because the violin is my primary instrument and I wanted to learn more about its therapeutic potential. My research methodology was Secondary Analysis of Qualitative Data, and the data were my clinical notes and research journal. Findings were generated through thematic analysis of the data. Five themes emerged. Specifically, I found that the violin’s voice-like timbre was helpful in fostering connections and encouraging emotional and communicative expression. Similarly, the ability to physically share the instrument, and to play it while mobile, also fostered connections between me and my participants. Because of my expertise on the violin I was able to utilize a vast variety of performance techniques both with familiar music and within improvisations that elicited meaningful musical moments. My relationship with the violin has developed and changed throughout this process and the violin has become a part of my identity as a music therapist. I anticipate that findings will interest other music therapists, and perhaps encourage them to use alternative instruments within their practice.</p>

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 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 Therapeutic Choir - A Music Therapist Looks at the New Millenium Elderly

2006 ◽  
Vol 6 (2) ◽  
Author(s):  
Claudia Regina de Oliveira Zanini ◽  
Eliane Leao
Keyword(s):  
Data Collection ◽  
Music Therapy ◽  
The Elderly ◽  
Therapeutic Activity ◽  
Music Therapists ◽  
Music Therapist ◽  
Life And Death ◽  
Self Confidence ◽  
Analysis Process ◽  
Audio Recordings

This paper is the result of qualitative Music Therapy research in Gerontology. It introduces a new concept, - the therapeutic choir - a therapeutic activity conducted by music therapists for the elderly. Data collection was carried out through such instruments as music therapeutic forms, session reports, audio recordings of sessions (later transcribed), footage, final statements (by the majority of participants) and the transcribed and videotaped interviews of ten participants. A written consent was obtained from the group of participants for the entire process of data collection. Another object of analysis consisted of a video of the last session, which was later shown to three professionals pertaining to different areas. Data analysis was based on the phenomenological paradigm and the participants' profile was quantitatively treated. After the analysis process, three essences emerged from the studied element: singing is a means for both self-expression and self- fulfilment; songs reveal the subjectivity/inner existentiality of the being; and finally, the being's self-confidence instills in the participants of the therapeutic choir expectations about the future. Final considerations indicate that the concept of therapeutic choir may be enlarged and extended to other skilled areas. Finally, it was concluded that when dealing with the elderly, the music therapist should reflect deeply on themes related to life and death, in addition to rethinking his/her relationship with time's multiple faces.

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