MUSIC THERAPY

2015 ◽  
Vol 3 (1SE) ◽  
pp. 1-3
Author(s):  
Archana Sharma
Keyword(s):  
Music Therapy ◽  
Therapeutic Relationship ◽  
Social Needs ◽  
Health Profession ◽  
Music Therapist ◽  
Therapeutic Context

Music Therapy is an established health profession in which music is used within a therapeutic relationship to address to physical, emotional, cognitive and social needs of individuals. After assessing the strength and needs of each client, the qualified music therapist provides the indicated treatment including creating, singing, moving to and/or listening to music. Through musical involvement in therapeutic context, clients, abilities are strengthened and transfer to other areas of their lives.

A Natural End: One Story about Catherine

1996 ◽  
Vol 10 (1) ◽  
pp. 24-31 ◽  
Author(s):  
Cathy Ibberson
Keyword(s):  
Music Therapy ◽  
Therapeutic Relationship ◽  
Music Therapist ◽  
Therapy Sessions

This article describes my work as a music therapist in a children's hospice. It gives an account of 13 music therapy sessions with a girl, Catherine, who reached just 13 years of age before her death. During this short but intense span of time, Catherine showed great courage not only in coming to terms with the recent death of her younger sister, but, as it transpired, in preparing for her own death. As the therapeutic relationship developed, music became an invaluable source of communication, exploring the anxieties and confusion that Catherine faced as grief and fear came to the fore, while nurturing her innate zest for life.

scholarly journals Psychodynamic Music Therapy

2016 ◽  
Vol 16 (2) ◽  
Author(s):  
Jinah Kim
Keyword(s):  
Music Therapy ◽  
Therapeutic Relationship ◽  
Music Listening ◽  
Basic Principles ◽  
Music Therapist ◽  
Verbal Processing ◽  
Therapeutic Goals ◽  
The Core ◽  
Clinical Vignettes ◽  
Therapeutic Processes

This paper introduces and explores the basic principles of psychodynamic approaches in music therapy. Music is used as a means to explore both conscious and unconscious issues as well as the internal world of the individuals involved in music therapy. However, the focus of therapy is on therapeutic relationship, especially the dynamics of transference and counter-transference between the client and the music therapist. Musical experiences, such as music listening, songs, and improvisation, can be used to facilitate the therapeutic processes, and to achieve individualized therapeutic goals. When clinically appropriate, verbal processing might play as crucial a role as the musical processing. Practitioners of psychodynamic approaches often strive to gain meaning and in-depth understandings from therapeutic experiences, and the approach is therefore suitable for individuals who are ready to work through their personal issues within a therapeutic relationship. Various approaches and techniques have been developed in psychotherapy as well as in music therapy. Perhaps the only commonality in these approaches is that psychodynamic thinking informs the direction of the therapy and therapeutic processes. Clinical vignettes will be introduced within the article to highlight a triadic dynamic—the client, the music therapist, and the music—in order to illustrate the core aspects of psychodynamic music therapy.

Psychodynamic Music Therapy

2015 ◽  
Author(s):  
Susanne Metzner
Keyword(s):  
Music Therapy ◽  
Therapeutic Relationship ◽  
Human Beings ◽  
Interpersonal Processes ◽  
Underlying Assumption ◽  
Music Therapist ◽  
Musical Activity ◽  
Treatment Context ◽  
The Individual ◽  
The Mind

The basic underlying assumption in psychodynamic music therapy is the existence of, and dynamic processes within, an unconscious part of the mind, which has an influence on intrapsychic and interpersonal processes within and outside of the musical activity between the therapist and patient. The therapeutic relationship is distinguished by the attentiveness of the music therapist to his or her own reactions, feelings, fantasies, and ideas, which are triggered by the patient’s transference. Psychodynamic music therapy proposes that, with the assistance of music, human beings can become aware of their inner states, and can communicate these through performed musical expression. From a psychoanalytic viewpoint, music is considered to portray meaning and to give the individual the feeling of being mirrored, accompanied, and even personally understood. This chapter explains how psychodynamic music therapy was developed and how it is practiced within the treatment context of mental health services.

Considerations of Development Issues in Choosing Interventions for Resistance in Music Therapy

1994 ◽  
Vol 8 (1) ◽  
pp. 5-6 ◽  
Author(s):  
Janice M. Dvorkin
Keyword(s):  
Music Therapy ◽  
Music Therapist ◽  
Primary Object ◽  
Object Experience

It is the focus of this paper to look at the idea of resistance as providing information on the primary object experience. Using this information, the music therapist needs to assess his or her role in playing music during the session, in the same way that he or she assesses verbal interventions.

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.

scholarly journals The Use of Music Therapy Strategies to Enhance the General Milieu in a Rehabilitation Centre

2021 ◽  
Author(s):  
◽  
Xinxin Liu
Keyword(s):  
Action Research ◽  
Music Therapy ◽  
Leadership Style ◽  
Group Dynamics ◽  
Social Needs ◽  
Community Music ◽  
Rehabilitation Centre ◽  
Interactive Music ◽  
Supportive Role ◽  
Therapy Strategies

<p>This research focused on how music therapy strategies could be used to improve the milieu in a rehabilitation centre in a New Zealand city. Residents in the rehabilitation centre had difficulty interacting with each other. I planned to use a Community Music Therapy approach to address residents' social needs. The research methodology was Action Research which involves the study of one's own practice. Cycles of learning led to the introduction of more 'open' groups and the use of the 'sharing concert' as a vehicle for promoting interaction between residents, staff, and family members, and staff and children at an early childhood centre. I examined the group dynamics, encouraged residents to move from small groups to bigger group or even open groups, and began to challenge them to take responsibility for individual tasks for their own and others' benefit. Through interactive music making, the residents improved understanding about conversation courtesy; their motivation for active participation increased as they developed a sense of togetherness, and appreciation for their community. They enjoyed interacting with the wider community also, and had the wish to 'branch out'. Further, the action research changed my understanding and leadership style: I learnt to gradually move from an aesthetic focus and into a supportive role as residents prepared for "their own concert".</p>

scholarly journals Working With and Within Chaos

2018 ◽  
Vol 18 (4) ◽  
Author(s):  
Helen Brenda Oosthuizen
Keyword(s):  
Sex Offenders ◽  
Music Therapy ◽  
Community Music ◽  
Music Therapist ◽  
Support Programme ◽  
Group Music Therapy ◽  
Group Members ◽  
Valuable Complement ◽  
Context Specific ◽  
First Time

The Support Programme for Abuse Reactive Children, was initiated by the Teddy Bear Clinic (an NPO established to protect abused children) in South Africa in response to the increase of child-on-child offenders in this country.  This short-term programme aims to offer holistic rehabilitation to first time young sex offenders and incorporates conventional diversion approaches alongside creative programmes, including group music therapy. Based on a review of my session notes, this paper considers challenges and positive developments I experienced over time as the programme’s music therapist from 2006 to 2016. Although I often experienced this work as chaotic, findings suggest that through co-creating a context-specific music therapy programme alongside group members, clinic staff and the broader community, music therapy has offered an increasingly relevant and valuable complement to the diversion programme. Continuing challenges within this work are also highlighted.

scholarly journals Working as a Music Therapist in Mexico

2002 ◽  
Vol 2 (2) ◽  
Author(s):  
Esther Murow
Keyword(s):  
Music Therapy ◽  
Personal Growth ◽  
Health Professionals ◽  
Professional Training ◽  
The Other ◽  
Training And Education ◽  
Music Therapist ◽  
Education Professionals ◽  
The World ◽  
Percussion Instruments

Music therapy in Mexico is only beginning. Though there is a lot of interest in what it is and on its effect on health and personal growth, there are also a lot of misconceptions about what it really is. I have encountered that one of the obstacles for the growth of music therapy in Mexico is what I call the myths about what it is. I am sure some of them are well known to my colleagues around the world: if you play a music tape the client gets well, or just get some percussion instruments and have the children play and you are doing music therapy. I think one of the worst misconceptions here is that some people believe there is no need for professional training and education to practice music therapy. Being a music therapist has been a real struggle not to mention trying to educate health and education professionals about music therapy, and that it is a real profession in other Countries! On the other hand, there are many musicians and health professionals who are very interested in music therapy and its use.

scholarly journals 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?

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

<p>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.</p>

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