scholarly journals Music therapy methods, strategies and techniques for engaging children in meaningful music therapy encounters in hospital play therapy settings

2021 ◽  
Author(s):  
◽  
Farhana Muhammad Rizaini

<p>This qualitative study examines a music therapy student’s practice on a paediatric ward in a general hospital in New Zealand. The study arose after I experienced challenges engaging and interacting with patients in a hospital play therapy setting, where patients stay was short-term. The research identified the music therapy methods, techniques and strategies I used to initiate and sustain musical interaction with them. Findings were generated from secondary analysis of two months’ worth of clinical documentation and reflection. Both inductive and deductive thematic analysis was used to analyse the clinical data and reflection. The literature on paediatric music therapy, musical play and play therapy were reviewed. Findings are presented in two parts. The first section highlights the predominant music therapy methods I used: range of instruments, singing, use of props, listening, use of discussion and musical games; and the overlaps of strategies and techniques within. The second section identifies four main categories of music therapy goals to illustrate the unique and subtle differences of music therapy methods, strategies and techniques in relation to the goals. Subsequently, in the discussion section, findings are considered in the light of the literature, and limitations of the research are addressed.</p>

2021 ◽  
Author(s):  
◽  
Farhana Muhammad Rizaini

<p>This qualitative study examines a music therapy student’s practice on a paediatric ward in a general hospital in New Zealand. The study arose after I experienced challenges engaging and interacting with patients in a hospital play therapy setting, where patients stay was short-term. The research identified the music therapy methods, techniques and strategies I used to initiate and sustain musical interaction with them. Findings were generated from secondary analysis of two months’ worth of clinical documentation and reflection. Both inductive and deductive thematic analysis was used to analyse the clinical data and reflection. The literature on paediatric music therapy, musical play and play therapy were reviewed. Findings are presented in two parts. The first section highlights the predominant music therapy methods I used: range of instruments, singing, use of props, listening, use of discussion and musical games; and the overlaps of strategies and techniques within. The second section identifies four main categories of music therapy goals to illustrate the unique and subtle differences of music therapy methods, strategies and techniques in relation to the goals. Subsequently, in the discussion section, findings are considered in the light of the literature, and limitations of the research are addressed.</p>


2021 ◽  
Author(s):  
◽  
Callum Bingham Martin

<p>This exploratory study investigates how methods and techniques employed in ‘client centered’ music therapy contributed to student confidence, during individual and group sessions, with young adolescents and young adults who have delays in various areas of development. Secondary analysis of twenty weeks of clinical documentation of music therapy session notes, including a student reflective journal were used to identify methods and techniques at play. A thematic analysis was applied to analyse and interpret the details of musical interactions. The analysis of the musical interactions has helped the researcher to understand and articulate the methods and techniques that contributed to confidence. Four themes that emerged from the student music therapist’s application of music therapy that appeared to contribute to student confidence were: 1. making meaningful relationships; 2. participating in practical work; 3. creativity; and 4. providing affirming input. Within these themes there was an array of interactions where methods and techniques were visible and these are described in a findings and discussion section. Although findings from this qualitative study cannot be generalized they do suggest that the student music therapist could contribute to the confidence of the young people through a reflexive, humanistic approach to practice, and by keeping an appreciation to student abilities.</p>


2021 ◽  
Author(s):  
◽  
Emma Johnson

<p>The purpose of this research was to understand how a student music therapist was able to facilitate self-expression using specific songwriting techniques, during long term and short term, group and individual music therapy sessions. Long term is considered a four-month period of weekly sessions, and short term is considered a single session. This research took place at an educational facility where I was working with adolescents with various mental health issues. In this exegesis, I discuss the various definitions of self-expressions as defined in literature, and consider the ways this relates to songwriting methods chosen and applied during therapy. A qualitative method of research was used, using secondary analysis of data collected from five months of Music Therapy practice. Thematic analysis was applied to clinical notes from sessions, student review statements and personal reflective practitioner journal. I was guided by music therapy literature discussing songwriting that I had been drawing on for the benefit of my practice. My analysis revealed that I developed specifically tailored methods and techniques for individuals and groups, which would begin with how they would like to approach their songwriting. I also found, that alongside more well documented techniques such as lyric writing and composition, improvisation and song planning were of high value to my practice and therefore were included as therapeutic songwriting techniques in my findings.</p>


2021 ◽  
Author(s):  
◽  
Callum Bingham Martin

<p>This exploratory study investigates how methods and techniques employed in ‘client centered’ music therapy contributed to student confidence, during individual and group sessions, with young adolescents and young adults who have delays in various areas of development. Secondary analysis of twenty weeks of clinical documentation of music therapy session notes, including a student reflective journal were used to identify methods and techniques at play. A thematic analysis was applied to analyse and interpret the details of musical interactions. The analysis of the musical interactions has helped the researcher to understand and articulate the methods and techniques that contributed to confidence. Four themes that emerged from the student music therapist’s application of music therapy that appeared to contribute to student confidence were: 1. making meaningful relationships; 2. participating in practical work; 3. creativity; and 4. providing affirming input. Within these themes there was an array of interactions where methods and techniques were visible and these are described in a findings and discussion section. Although findings from this qualitative study cannot be generalized they do suggest that the student music therapist could contribute to the confidence of the young people through a reflexive, humanistic approach to practice, and by keeping an appreciation to student abilities.</p>


2021 ◽  
Author(s):  
◽  
Emily J. Hunt

<p>The fostering of inclusion in modern mainstream schools can be challenging. Student needs are becoming increasingly diverse, funding is scarce, and an attitudinal shift is necessary to value the contributions and identities of all learners. This study explores how music therapy can assist the process of inclusion by articulating the strategies I, a music therapy student, used when working to enhance musical play within a play-based learning environment. Findings have been generated using the methodology Secondary Analysis of Qualitative Data which involved thematic analysis of session notes and my reflexive diary. They describe the strategies I used to facilitate children’s developing social play skills, which varied from onlooker and solitary play, to parallel (alongside) and associative play (with some unorganised verbal and musical interactions), culminating in cooperative play (with children interacting directly to organise play and assign particular roles). I identified five themes reflecting levels of social participation in musical play; meeting individual needs, facilitating involvement, encouraging participation, encouraging interactions and supporting play stages. ‘Encouraging interactions’ was identified as the key theme relating to cooperative play, and the most significant in fostering pro-inclusive social skills. Musical and non-musical strategies are described and the significance of musical co-playing in facilitating pro-inclusive interactions is explored. The strategies identified are relevant for fostering inclusion in other play-based learning programmes and free play environments in both primary schools and pre-schools in New Zealand and globally.</p>


2021 ◽  
Author(s):  
◽  
Emily J. Hunt

<p>The fostering of inclusion in modern mainstream schools can be challenging. Student needs are becoming increasingly diverse, funding is scarce, and an attitudinal shift is necessary to value the contributions and identities of all learners. This study explores how music therapy can assist the process of inclusion by articulating the strategies I, a music therapy student, used when working to enhance musical play within a play-based learning environment. Findings have been generated using the methodology Secondary Analysis of Qualitative Data which involved thematic analysis of session notes and my reflexive diary. They describe the strategies I used to facilitate children’s developing social play skills, which varied from onlooker and solitary play, to parallel (alongside) and associative play (with some unorganised verbal and musical interactions), culminating in cooperative play (with children interacting directly to organise play and assign particular roles). I identified five themes reflecting levels of social participation in musical play; meeting individual needs, facilitating involvement, encouraging participation, encouraging interactions and supporting play stages. ‘Encouraging interactions’ was identified as the key theme relating to cooperative play, and the most significant in fostering pro-inclusive social skills. Musical and non-musical strategies are described and the significance of musical co-playing in facilitating pro-inclusive interactions is explored. The strategies identified are relevant for fostering inclusion in other play-based learning programmes and free play environments in both primary schools and pre-schools in New Zealand and globally.</p>


2021 ◽  
Author(s):  
◽  
Emma Johnson

<p>The purpose of this research was to understand how a student music therapist was able to facilitate self-expression using specific songwriting techniques, during long term and short term, group and individual music therapy sessions. Long term is considered a four-month period of weekly sessions, and short term is considered a single session. This research took place at an educational facility where I was working with adolescents with various mental health issues. In this exegesis, I discuss the various definitions of self-expressions as defined in literature, and consider the ways this relates to songwriting methods chosen and applied during therapy. A qualitative method of research was used, using secondary analysis of data collected from five months of Music Therapy practice. Thematic analysis was applied to clinical notes from sessions, student review statements and personal reflective practitioner journal. I was guided by music therapy literature discussing songwriting that I had been drawing on for the benefit of my practice. My analysis revealed that I developed specifically tailored methods and techniques for individuals and groups, which would begin with how they would like to approach their songwriting. I also found, that alongside more well documented techniques such as lyric writing and composition, improvisation and song planning were of high value to my practice and therefore were included as therapeutic songwriting techniques in my findings.</p>


Thorax ◽  
2021 ◽  
pp. thoraxjnl-2020-216613
Author(s):  
Mohamed D Hashem ◽  
Ramona O Hopkins ◽  
Elizabeth Colantuoni ◽  
Victor D Dinglas ◽  
Pratik Sinha ◽  
...  

BackgroundPrior acute respiratory distress syndrome (ARDS) trials have identified hypoinflammatory and hyperinflammatory subphenotypes, with distinct differences in short-term outcomes. It is unknown if such differences extend beyond 90 days or are associated with physical, mental health or cognitive outcomes.Methods568 patients in the multicentre Statins for Acutely Injured Lungs from Sepsis trial of rosuvastatin versus placebo were included and assigned a subphenotype. Among 6-month and 12-month survivors (N=232 and 219, respectively, representing 243 unique survivors), subphenotype status was evaluated for association with a range of patient-reported outcomes (eg, mental health symptoms, quality of life). Patient subsets also were evaluated with performance-based tests of physical function (eg, 6 min walk test) and cognition.FindingsThe hyperinflammatory versus hypoinflammatory subphenotype had lower overall 12-month cumulative survival (58% vs 72%, p<0.01); however, there was no significant difference in survival beyond 90 days (86% vs 89%, p=0.70). Most survivors had impairment across the range of outcomes, with little difference between subphenotypes at 6-month and 12-month assessments. For instance, at 6 months, in comparing the hypoinflammatory versus hyperinflammatory subphenotypes, respectively, the median (IQR) patient-reported SF-36 mental health domain score was 47 (33–56) vs 44 (35–56) (p=0.99), and the per cent predicted 6 min walk distance was 66% (48%, 80%) vs 66% (49%, 79%) (p=0.76).InterpretationComparing the hyperinflammatory versus hypoinflammatory ARDS subphenotype, there was no significant difference in survival beyond 90 days and no consistent findings of important differences in 6-month or 12-month physical, cognitive and mental health outcomes. These findings, when considered with prior results, suggest that inflammatory subphenotypes largely reflect the acute phase of illness and its short-term impact.


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.


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