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

10.26686/wgtn.17059961 ◽

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

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.

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

10.26686/wgtn.17013476 ◽

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

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.

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

10.26686/wgtn.17013476.v1 ◽

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

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.

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Music Therapy with Adolescents in Medical Settings

10.1093/oxfordhb/9780199639755.013.43 ◽

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.

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Role Limits in Music Therapy

Journal of British Music Therapy ◽

10.1177/135945758900300102 ◽

1989 ◽

Vol 3 (1) ◽

pp. 5-9 ◽

Cited By ~ 1

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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Attachment theory and music therapy: What was the relevance of attachment theory to a student’s music therapy programme for ‘at-risk’ mothers and their babies?

10.26686/wgtn.17007922.v1 ◽

2021 ◽

Author(s):

◽

Helen Ridley

Keyword(s):

At Risk ◽

Music Therapy ◽

Attachment Theory ◽

Secondary Analysis ◽

Education Programme ◽

Music Therapist ◽

Student Placement ◽

Positive Mother ◽

Qualitative Secondary Analysis ◽

Therapy Programme

This qualitative secondary analysis research project sought to explore the relevance of attachment theory as it might apply to a music therapy programme set up and run within a residential service for ‘at risk’ mothers and their babies. The explicit purpose of the music therapy programme was to assist the mothers in bonding with their babies. The researcher was a student music therapist on placement at the facility, involved in weekly one-to-one sessions with a total of nineteen young women and their babies, over the time that each was resident at the facility. The music therapist also ran some weekly group sessions (mothers with babies) as part of the facility’s mandatory education programme. The music therapy programme took place over twenty-two weeks, with a two week break after the first ten weeks. The research analysis commenced on completion of the programme. Thematic analysis was used to look at two types of data; data from the placement (including clinical notes and personal reflective journal), and literature on attachment theory. There was an initial review of selected literature on attachment theory and music therapy. The researcher/student music therapist then carried out an inductive qualitative secondary analysis of the data that had been generated as a standard part of her practice over the period of the student placement. This was followed by a further examination of attachment theory literature to confirm key aspects of the theory. The findings from the inductive analysis were then looked at in the light of those identified key features of attachment theory. The research findings showed many strong links between key concepts of attachment theory, and the patterns that emerged from the placement data, manifesting on a number of different levels. However some patterns might be more usefully explained and/or elucidated by other theories. Findings suggested that attachment theory provided a useful framework and language for observing and understanding the interactive behaviours and external and personal structures that appeared to work for or against mother-infant bonding. In addition, the music therapy programme seemed a particularly suitable vehicle for promoting positive mother-infant bonding. However it was found that although the music therapy programme may have been helpful in a positive mother-infant bonding process, there was no evidence to suggest that this would necessarily extend to promoting a secure attachment relationship, given the personal, structural and legal factors associated with the high ‘at-risk’ context. An attachment-based music therapy programme may well have a more useful role to play in a lower risk context where mothers and babies remained for longer in the facility, and where the programme could continue throughout the women’s transition into the community and beyond.

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Music Therapy for Children and Adolescents Diagnosed with Cancer

10.1093/oxfordhb/9780199639755.013.45 ◽

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.

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MUSIC LISTENING IN INTERDISCIPLINARY VIEW

SOCIETY INTEGRATION EDUCATION Proceedings of the International Scientific Conference ◽

10.17770/sie2019vol4.3926 ◽

2019 ◽

Vol 4 ◽

pp. 528

Author(s):

Mirdza Paipare

Keyword(s):

Music Therapy ◽

Music Perception ◽

Music Listening ◽

Music Pedagogy ◽

Music Therapist ◽

Music Psychology ◽

Communication Development ◽

Everyday Lives

Very few researches focus on music as an activity and most often it is linked to music perception, therefore – music psychology. Similarly the theories on this question are developed. Interrelations between music therapy and music psychology, as well as the role of listening and music listening in music pedagogy, psychology and music therapy are little researched. The goal of this article is to intentionally draw attention to the significance of this very common thing in our everyday lives – listening – in communication, development of cognitive and phenomenological skills and abilities (perception, recognition, describing, explaining). These skills and abilities are necessary in the work of pedagogue and psychologist, and especially music therapist.

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Auriel Warwick — Interviewed by Mary Simmons

British Journal of Music Therapy ◽

10.1177/135945750101500202 ◽

2001 ◽

Vol 15 (2) ◽

pp. 44-50

Keyword(s):

Music Therapy ◽

The Elderly ◽

Advisory Council ◽

Geographical Proximity ◽

Full Time ◽

Special Schools ◽

Music Therapist ◽

School Of Music ◽

Vice Chair ◽

State Registration

Auriel Warwick is a full-time music therapist working within education for Oxfordshire. She has worked within numerous special schools and has a particular interest in the autistic spectrum. Auriel has taken on many roles during her career, including Chair of the BSMT following Juliette Alvin's death. She is currently an examiner for the Guildhall School of Music & Drama music therapy course, a registered supervisor and member of the APMT's Advisory Council. Mary Simmons works freelance within music therapy with both the young and the elderly, with special interest in acute mental health. She is a past APMT Chair, at the time overseeing state registration and the advent of CPD. She is currently Vice-Chair of the BSMT and a member of APMT's Advisory Council. Mary was delighted to be asked to do this interview because of her close links with Auriel, not only because of geographical proximity, but also through receiving support, including supervision. The interview took place in Oxfordshire, at Auriel's home.

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

10.26686/wgtn.17060363 ◽

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

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.

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