Psychological and Neural Differences of Music Processing in Autistic Individuals: A Scoping Review

Despite abundant research and clinical evidence of the effectiveness of music interventions for people in the autism spectrum, understanding of music processing in this community is limited. We explored whether research evidence of differences in music processing within the autistic community is available. We developed a scoping review to search for literature with the terms “music”, “processing,” and “autism” (and variants). We searched PubMed, CINAHL, Scopus, Web of Science, PsycInfo, Academic Search Complete, ERIC, and Music Index databases for a total of 10,857 articles, with 5,236 duplicates. The remaining 5,621 titles and abstracts were screened for eligibility by a team of four undergraduate and graduate students and the PI. Seventy-five studies were included for data extraction. Data were analyzed with descriptive statistics regarding author, study, stimulus, and participant information, and a thematic analysis of outcome and findings. Our findings are preliminary given the emerging nature of the literature, the use of mostly non-musical auditory stimuli, passive listening experiences, and underreported demographics. However, the literature shows some evidence of differences in music processing for autistic individuals, including reduced habituation to non-musical and musical stimuli; truncated, delayed, or divergent developmental trajectories; and possible compensatory higher-order mechanisms that yield similar behavioral responses even in the presence of divergent neural correlates. Music therapists are encouraged to adopt a developmental perspective, not only of general skills, but specifically of music skill development in this community, and to extrapolate these findings with caution, given the current limitations in the evidence.

Evaluation for Arts-Based Research Performance: Audience Perceptions of Rising from the Ashes

The purpose of the study is to understand how audiences evaluated an arts-based research performance called Rising from the Ashes. Audience evaluation promises egalitarian and pluralistic perspectives that may assist artist-as-researchers with gaining new insight into out of performative arts-based research results. Rising from the Ashes was performed several times between 2015 and 2019. Evaluations were provided to six different audiences and consisted of rating-scale and open-ended questions based on general criteria for judging arts-based research: incisiveness, concision, generativity, social significance, evocation and illumination, and coherence. Descriptive rating scores and thematic analysis of open-ended questions aided in the artist-as-researcher’s understanding of how audiences responded to the performances. Descriptive scores showed that audiences strongly agreed that the performance was concise, incisive, and evocative and illuminating. The performance was less likely to support audiences’ understanding of the social issues addressed in the study, which implied decreased generativity and social significance. Open-ended questions enhanced and supported rating-scale responses as well as revealed specific elements of the performance that addressed its coherence. The results deepened the artists-as-researcher’s understanding of potential strengths and limitations of Rising from the Ashes based on the audience evaluations. Implications for arts-based research evaluation in music therapy, particularly related to music performance, are discussed.

Assessment and Clinical Decision-Making During Imminent Death in Hospice Music Therapy

Assessment is a critical aspect of treatment planning, and while there exist standards for facilitating music therapy assessments in a variety of clinical settings, no such standards exist for music therapists in hospice and palliative care. This gap in knowledge, which limits music therapists’ ability to provide patients and caregivers best practices promoting supported movement through the dying process, becomes particularly problematic when assessing patients who are imminently dying with a 24–72 hour prognosis. To further develop and define assessment and clinical decision-making processes used by music therapists in hospice and palliative care, the authors used a constructivist grounded theory and situational analysis methodology to analyze interviews of 15 hospice music therapists. The resulting theoretical model describes an ongoing process of assessment and clinical decision-making shaped by participants’ individual epistemologies. Epistemologies were comprised of 5 ways of knowing, which were termed experiential, personal, musical, ethical, and integral, and provided participants critical foundations for their practice. The results support a development of a model for reflective practice as well as continued research on epistemological foundations of clinical practice.

Reasons for Listening to Music Vary by Listeners’ Anxiety Sensitivity Levels

Listening to music aids regulation of emotional arousal and valence (positive vs. negative). Anxiety sensitivity (AS; fear of arousal-related sensations) increases the risk for emotion dysregulation and associated coping behaviors such as substance use and exercise avoidance. The relationship between AS and music listening, however, has received very little attention. This study (1) used exploratory factor analysis of 53 items drawn from three previously validated measures of reasons for music listening to identify the core reasons for listening to music among university students and (2) explored associations between AS and reasons for music listening. Undergraduates (N = 788; 77.7% women; Mage = 19.20, SDage = 2.46) completed the Anxiety Sensitivity Index-3, Motives for Listening to Music Questionnaire, Barcelona Musical Reward Questionnaire, and Brief Music in Mood Regulation Scale. Six core reasons for music listening were identified: Coping, Conformity, Revitalization, Social Enhancement, Connection, and Sensory-Motor. Over and above age and gender, AS was associated with Coping and Conformity—reasons that involve relief from aversive emotions. AS also was associated with listening for Connection reasons. AS was not associated with Revitalization, Social Enhancement, or Sensory-Motor—reasons that involve rewards such as heightened positive emotions. Results suggest that individual differences may influence why people incorporate music listening into their day-to-day lives. Further longitudinal and experimental research is needed to establish directionality and causality in the observed relationship of AS to relief-oriented reasons for music listening. Findings may guide music therapists’ efforts to tailor treatment for individuals at risk for anxiety and related mental health problems.

Individualized Education Program Team Members’ Perceptions of Music Therapy: An Interpretivist Investigation

Although music therapists are often members of the Individualized Education Program (IEP) team in educational settings, there is a lack of research exploring IEP members’ perceptions of music therapy. The purpose of this interpretivist study was to understand the perceptions IEP team members have of music therapy in educational settings; 8 professionals from a single school district who had experience working with music therapists as part of the IEP team participated in an individual semi-structured interview. We used in-vivo coding, an inductive approach to thematic analysis, and member and peer checking. We identified 3 themes: (1) Music Therapy Is Beneficial and Unique, (2) Communication With the Music Therapist is Essential, and (3) Additional Access, Education, and Advocacy Are Needed. These themes were supported by 8 subthemes. Participants identified the relevance and integral role of music therapy in addition to the unique contributions music therapists had as part of the IEP team. Moreover, participants highlighted the importance of communication, continued education for IEP team members, and the need for additional access to music therapy services. Implications for clinical practice, limitations of the study, and suggestions for future research are provided.

Improving a Parent Coaching Model of Music Interventions for Young Autistic Children

Parenting a child on the autism spectrum can be rewarding and enriching, but it may also increase risk of parental fatigue, stress, anxiety, and depression. Parent-mediated interventions contribute to increase family satisfaction and child social communication while helping to decrease parental stress and fatigue. Parent coaching, the education of parents in evidence-based strategies, has become common in the autism field. However, parent coaching in music therapy has only recently emerged and has limited research with families with an autistic member. In this study, we attempted to improve a previously published model of parent coaching, adapting only one aspect of the Early Start Denver Model (ESDM), the sensory social routine (SSR) to create a music intervention. Four parents participated in this 6-session parent coaching study. We compared the SSR-based intervention with and without music, in an alternating treatment design. Measures included parental responsiveness, child receptive and initiation joint attention, parent–child similar affect and synchronized gaze, and the Parent Coaching-ESDM (PC-ESDM) parent fidelity rating system. Results from these observational measures were mixed, with better parental responses in the no-music condition, but improved child responses and parent–child synchrony in the music condition for 3 out of the 4 participants. Parent learning increased for all participants, and 3 out of the 4 reached fidelity (a score of at least 80%), according to the PC-ESDM. Although mixed results were observed across participants, implications for practice are possible. Better outcome measures of this complex intervention are needed.