Music Therapy Today, Vol. 9, No. 1 (Special Issue) by World Federation of Music Therapy

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

Special Issue

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

Proceedings 13. World Congress of Music Therapy Seoul, Korea July 5-9, 2011 Edited by Dr. Petra Kern, MT-DMtG, MT-BC, MTA Dr. Jรถrg Fachner Byungchuel Choi, Ph.D. Youngshin Kim. Ph.D., MT-BC Proofreaders Annie Heiderscheit, Ph.D., MT-BC, FAMI, LMFT Dr. Simon Gilbertson Patricia Sabbatella, Ph.D. Cover & Graphic Design Dr. Petra Kern, MT-DMtG, MT-BC, MTA Published by World Federation of Music Therapy www.wfmt.info Music Therapy Today ISSN 1610-191X

13. World Congress of Music Therapy Attendees

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

Disclaimer The opinions and information contained in this publication are those of the authors of the respective articles and not necessarily those of the editors, proofreaders, or the World Federation of Music Therapy (WFMT). Consequently, we assume no liability or risk that may be incurred as a consequence, directly or indirectly, of the use and application of any of the contents of this publication. For this special issue authors have prepared their own manuscripts attending to content, grammar, language fluency, and formatting. Any errors may be discussed with the authors.

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

PRESIDENTALNOTE

Dr. Petra Kern is the 2008-2011 President of the World Federation of Music Therapy.

Facing A New Era Introduction By Petra Kern

I am delighted to present the new edition of

transfer the musictherapyworld archive

Music Therapy Today, now published by the

including previous issues of Music Therapy

World Federation of Music Therapy (WFMT).

Today to the WFMT website and make it

This issue features the proceedings of the 13.

accessible to the WFMT membership and the

World Congress of Music Therapy in Seoul,

general public, and b) to discuss the

Korea with over 90 contributions from music

opportunity of reintroducing Music Therapy

therapy colleagues worldwide.

Today as an online journal sponsored by WFMT.

In June 2010, the WFMT Council established a workgroup under the leadership of

In previous years, WFMT published the

Publications Chair Dr. Jรถrg Fachner to a)

International Music Therapy Journal and the

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

WFMT quarterly newsletter (both print copies). With the online journal at hand, we wish to continue and expand the line of WFMT publications and contribute to the dissemination of current knowledge and information about music therapy education, clinical practice, and research worldwide. The online format of this journal allows us to use latest technology and include multimedia content. For instance, you can now submit your manuscript online and enjoy the journal in an interactive digital viewing mode. Over the next few years, the WFMT Council and the Music Therapy Today Editorial Board will continue to develop, explore, and evaluate new possibilities of the digital world for the benefits of our WFMT members and global readers. I would like to thank the WFMT Council, the editorial team and proofreaders as well as the authors of the congress proceedings for their commitment and generous contributions. Without all of you, this new WFMT publication would not have been possible. Finally, I hope that you as the reader find the congress proceedings both informative and inspiring. I encourage you to think about how you might contribute to a future issue of Music Therapy Today. Yours,

Dr. Petra Kern, MT-DMtG, MT-BC, MTA President, World Federation of Music Therapy

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

PUBLICATIONSCHAIR I hope that Music Therapy Today will continue to encourage healing cultures around the world to reflect on their current and traditional musical interactions and avoid any “McDonaldization” (Ritzer, 2008) of music therapy.

Jörg Fachner

Music Therapy Today Reflection By Jörg Fachner

As the WFMT Chair of the Publications

January 2008, we managed transferring this

Commission and former co-editor of Music

online journal into the realms of the World

Therapy Today, it is my great pleasure to

Federation of Music Therapy (WFMT).

announce that Music Therapy Today will continue! After we had to discontinue the

The inaugural issue of Music Therapy Today

publication of this online journal at the

has been launched in Fall 2000 as a

University of Witten/Herdecke in Germany in

research, practice, and news bulletin

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

embedded at the music therapy services and

Now, in the latest issue we are publishing the

info site www.musictherapyworld.net and

proceedings of the 13th World Congress of

developed into an annually published online

Music Therapy, which for the first time is held

journal.

in Asia. This is more then coherent for the scope and tradition of this journal, which from

From the early beginnings, it was the

this 9th issue onward, will be edited from the

publishing team’s intention to offer a

WFMT Publications Chair of the WFMT.

comprehensive and audible picture of different practices and traditions in music therapy to

I am very happy that Music Therapy Today

show the wide variety and liveliness of our

has become alive again and I hope that Music

profession.

Therapy Today will continue to encourage healing cultures around the world to reflect on

Dr. David Aldridge’s (Editor-in-Chief) credo

their current and traditional musical

was the “reflective practitioner” integrating a

interactions

practice aesthetic of music therapy

‘McDonaldization’ (Ritzer, 2008) of music

performance into the rigor of treatment,

therapy.

and

avoid

any

research strategies in medical, special education, or community settings (Aldridge, 1996). An important focus for us was to look at intervention settings in different healing cultures. Thus, we published articles such as describing the transfer of traditional healing settings into current practice from an anthropological stance (Tucek, 2006). Contemporary music therapy is part of the discussion in Western health care systems since the 1940s, however,

music has been

used in healing rituals since the early ages of mankind (Fachner, 2007). The final issue of Music Therapy Today in January 2008 published the papers of a two-day symposium on music and altered states held at the 7th European Music Therapy Conference in the Netherlands.

Dr. Jörg Fachner Chair, 2008-2011 Publications Commission References Aldridge, D. (1996). Music therapy and research in medicine: From out of the silence. London: Jessica Kingsley Publishers. Fachner, J. (2007). Wanderer between worlds: Anthropological perspectives on healing rituals and music. Music Therapy Today, 8(2), 166-195. Ritzer, G. (2008). The McDonaldization of Society. Los Angeles: Pine Forge Press. Tucek, G. (2006). Traditional oriental music therapy: A regulatory and relational approach. Music Therapy Today, 7(3), 623-647.

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

CONGRESSCHAIR 13. World Congress Music Therapy in Eastern and Western Philosophy By Byungchuel Choi

As the organizer of the 13. World Congress of Music Therapy in Seoul, Korea, I enjoyed communicating with the WFMT Council, the local organization team, and many music therapists around the world. I would like to offer my highest recognition to WFMT President Dr. Petra Kern for her distinguished work and passion for music therapy. I also extend this congratulation to everyone who contributed to the 13. World Congress of Music Therapy by sharing their admirable work at the pre-congress seminars, spotlight sessions, concurrent sessions, workshops, roundtables, clinical forum, and poster sessions. Some of them also make their work available in the congress proceedings at hand. With the new edition of Music Therapy Today, now published by WFMT, we are also

From my 25 experiences in music therapy, I have come to discover that the power of music cannot only heal, but also build relationships, inspire momentous movements, and establish a common network that helps bring us all together.

contributing to the development music therapy worldwide. Sharing our knowledge and

Byungchuel Choi

experiences in presentation and publication will allow others to learn about the effects of

Sincerely Yours,

music and the benefits for our clients. I am honored to be part of this professional community.

Byungchuel Choi Congress Organizer, 13. World Congress of Music Therapy, Seoul, Korea

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

SCIENTIFICCHAIR submitted paper was reviewed by at least two members of the International Scientific Committee. Among 217 accepted proposals, 96 authors contributed to the congress proceedings.

The congress covers the following topics: (1) multicultural issues in music therapy; (2) supervision and training of music therapists; (3) music therapy clinical practices; (4) music

Summary Scientific Committee By Youngshin Kim

therapy assessment; (5) music therapy research; and (6) music technology.

The congress program also offers spotlight Thank you for attending the 13. World Congress of Music Therapy of the World Federation of Music Therapy. The congress topic Music Therapy in Eastern and Western Philosophy pays special attention to

sessions featuring 16 renowned international experts presenting on (1) Music Therapy and Medicine; (2) Music Therapy and Special Education; (3) Music Therapy and Older Adults; and (4) Music Therapy and Research.

similarities and differences in music therapy between East and West.

I would particularly like to thank all colleagues who submitted a proposal to the congress,

The call for papers the 13. World Congress of Music Therapy attracted 339 submissions on a wide range of topics. 124 research papers,

members of the International Scientific Committee, and editors and proofreaders of these congress proceedings.

32 workshops, 8 roundtables, 5 clinical forums, and 48 posters from colleagues living

Yours,

in 32 countries in the world were accepted by the 2011 WFMT World Congress of Music Therapy International Scientific Committee and to be presented at the congress. Every

Younghin Kim, Ph.D., MT-BC, NRMT Chair, International Scientific Committee

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

TABLEOFCONTENTS Special Issue Congress Proceedings 13. World Congress of Music Therapy in Seoul, Korea

Presidential Note Facing a new era: Introduction Petra Kern

Publications Chair Music Therapy Today: Reflection Jรถrg Fachner

Congress Chair 13. World Congress: Music therapy in Eastern and Western philosophy Byungchuel Choi

Scientific Committee Chair Summary: Scientific Committee Youngshin Kim

Spotlight Sessions Music Therapy and Special Education Music therapists as school community members: A journey to a musical place Catherine Threlfall Nordoff-Robbins Music Therapy in special education Alan Turry Trends of music therapy and special education in Korea Youngshin Kim Reflection and practice across time and space: Using music therapy for special needs in the U.S. & Thailand Dena Register Music Therapy and Older Adults Therapeutic group singing for older adults with dementia Fumio Kuribayashi Suggested long-term music therapy for older adults with severe dementia Hiroko Fujimoto

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

TABLEOFCONTENTS Music therapy in gerontology: An U.S. perspective Anne Lipe Music therapy in gerontology in Spain Melissa Broton Effects of music therapy on dementia: Turning practicebased research into an RCT Hanne-Mette Ridder Music Therapy and Research Practice-based research in oncology and palliative care Clare Oâ&#x20AC;&#x2122;Callaghan Dual identification of music therapy research Soo Ji Kim Music therapy and research: An ongoing story Gro Trondalen Research in contemporary psychiatric music therapy Michael Silverman 47

Concurrent Sessions Relationships between FMO and the autonomic nervous system in singing and speaking Naomi Takehara, Hiroki Hasegawa, and Tamaki Yano Music intervention for dyslexia: Theoretical construct and clinical application Paul Pang Ka Wa Music assurance: The music living will Donna M. Chadwick and Karen S. Wacks Significance of music for patients with borderline personality disorder Gitta Strehlow Music therapy and addiction: Facilitating engagement, motivation, and change Michael J. Silverman Episodes of relationship completion through song in palliative care Amy Clements-CortĂŠs Music therapy in the psychotherapeutic process of a patient with Borderline Personality Disorder

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

TABLEOFCONTENTS Toshiyuki Saitoh ArtStories: Intergenerational involvement and learning with the arts in Northern Australian communities Anja Tait Studying music and society: A multicultural perspective for music therapy students. Karin Sandra Biegun and Viviana Andrea Liatis Recent neurological research on trauma and support for music therapy Gene Ann Behrens Music therapy to stable land: Post-earthquake crisis intervention in China Jennifer Hsiao-Ying Tiao The effectiveness of music therapy interventions in Greece Dora Psaltopoulou, Maria Micheli, and Nikos Kavardinas Musical and analogical languages for integration in multicultural groups of children Claudio Cominardi Implementation of piano instruction for children with autistic disorders Kasumi Sasaki Teacher/teacher assistantsâ&#x20AC;&#x2122; experiences in the MTadvised music activities for students with deaf-blindness Lai Ching Lam and Felicity Baker Shadow Grief: How might music therapy assist bereavement following miscarriage or stillbirth? Margaret Broad Understanding music as a way of being-together in music therapy Brian Abrams Focal music therapy treatment with pregnant women creative visualizations with music to help prenatal bonding Federico Gabriel

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

TABLEOFCONTENTS Nordoff-Robbins Music Therapy: Clinical examples of work with adult clients Alan Turry The new paradigm view of music therapy inquiry in Korea through current research trends in music therapy Eun Young Hwang and So Yeon Park Discovering together: Music therapy collaboration Annie Heiderscheit and Nancy Jackson A joint research protocol for music therapy in dementia care Hanne-Mette Ridder and Brynjulf Stige History, current issues, and future directions of NordoffRobbins Music Therapy in Korea Dong Min Kim and Hye Seon Baek Music Therapy: An Indian perspective Pragya Sharma The clinical use of musical component and their impact in improvisational music therapy: Interview analysis Kana Okazaki-Sakaue Emotional expressions and therapist-participant interplay in the functional music therapy for the autistic child Zaira Jagudina and Solveig Johansson The effectiveness of group music psychotherapy in improvising the self-concept of breast cancer surviver Joy Allen Recreation of speech function after brain trauma by singing Aldona Vilkeliene Promoting elderly well-being through group music activities: Psychological and physiological evaluation Tomoko Ichinose, Hiroki Hasegawa, Kakuko Matsumoto, Nodoka Fukami, Ayaka Shinonaga, Kyoko Watanabe, Mayumi Okabe, Keiko Kitada, Anna Nakano, Maiko Yamada, and Tsutomu Masuko Analytical music therapy: Oriented supervision (AMTOS) examined within the context of Asian cultures

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

TABLEOFCONTENTS Seung-A Kim Current issues in music therapy supervision in Korea: Superviseesâ&#x20AC;&#x2122; experience and perspectives Dong Min Kim International concerns in music therapy education and training Karen D. Goodman The benefits of music therapy intervention as part of burn injury rehabilitation Mireya P. GonzĂĄlez Starting an RCT: Improvisational music therapy and social communication skills in autism Monika Geretsegger A dynamic sonification device in creative music therapy Alan Lem and Garth Paine Music therapy and cerebral palsy: Songwriting with technology adaptations Ralf Niedenthal and Federico Gabriel Impact of listening: Music therapeutic methods on labor time and subjective pain Qijie Wei and Tian Gao The creative therapy: The merging realms for cancer patients Kotchakorn Voaakhom and Prim Pisolayabutra A study of the symbolic meaning of the imagery reflecting Korean sentiment in GIM: Focusing on the imagery of the buddhist dance (Seung-Mu) Nanbok Lee A brief of the application of sensory integration therapy into music therapy practice Tsugiko Kakizaki To move or not to move? Ming-Hung Hsu My music, sweeter than sugar: Music therapy for diabetics

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

TABLEOFCONTENTS Sun-Young Park Effects of a music therapy intervention for a blind child with multiple disabilities Yuka Kasuya Taming the bull: Harnessing the forces of anti-group in music therapy group work Wook se Cho 137

Roundtables WFMT Council 2008-2011: Stabilization–Production– Transition Petra Kern with Council Members Designing a new music therapy training program in Greece Dora Psaltopoulou with Makaria Psiliteli, Eirini Panagiotidou, Margarita Hatzinasiou, Potheini Vaiouli, Pelina Evangelou, and Anthi Malouta The color of us: Music therapy for young children in Asia Petra Kern with Hye Won Chung, Kumi Sato, Mingming Liu, Fu-Nien Hsieh, and Wang Feng Music therapy and spirituality in health care: Multicultural theories, approaches, and research Jörg Fachner with Lucanne Magill, Sumathy Sundar, and Gerhard Tucek

147

Workshops Finding inner resources through music and imagery Lisa Summer and Anna Maria College Lullaby 101: A program for at-risk expectant and parenting teens and adults Ronna S. Kaplan and Amelia G. Furman West meets East: Transition of musical selection and style in a Thai music therapy program Jaae Kaewpaska and Puchong Chimpiboon Synchronization: A relevant moment not only in music therapy Karin Schumacher East meets West: Applications of Indian music and the blues in music therapy Joseph Moreno

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

TABLEOFCONTENTS Creating a successful student organization Rose Fienman Hospice music therapy internship training for students and supervising clinicians Terry Blaine and Elisa Clark Ragas and their relationship with energy centers in the human body Rajam Shanker The brain-jamming for focus finale: Helping ADHD children with bio-guided music therapy Eric B. Miller Perspectives on music technology in therapeutic settings Yari Bundy and Richard Bogen Orff and autism: Developing reciprocal language through chant, song, and literature Amelia G. Furman and Ronna S. Kaplan Think a song – brain, mind, consciousness: The musician's way Alexander J. Graur Music therapy application using Korean traditional music Eunjoo Jung and Soojin Kim The exploration of Chinese music in the GIM music program “Harvest” Wai Man Ng The pattern of the family: A music therapeutic approach to family constellations Soren Oscarsson Group-analytic music therapy supervision Soren Oscarsson 181

Clinical Forum Oriental new age relaxation music and autonomic nervous system Hsiu-Ting Liang and Huei-chuan Sung

185

Poster Sessions Music therapy in a patient with Parkinson’s Disease and

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

TABLEOFCONTENTS chronic delirant psychosis Conxita Bentz Using music therapy for a shy patient with terminal cancer case of music therapy relieving a wife from her grief Akiko Chino Investigating mothers’ live singing and speaking interaction with preterm infants in NICU Manuela Filipa and Maya Gratier Perception of emotion in depressed and healthy individuals subject to musical stimuli Erika Flores, Jenym Sivoli, Nelissa De Pool, Marinaisabel Vargas, and Lucimey Lima Active music therapy acquired brain injury, and interpersonal communication competences Søren Hald Hospice music therapy in Eastern culture: An adaptive practice in Taiwan Fu-Nien Hsieh Qualitative exploration of a music therapist’s writing on medical music therapy Jennifer D. Jones Correlation of objective analysis of pitch/rhythm with subjective evaluations for dysarthria patients Maki Kato, Kazumasa Yamamoto, and Seiichi Nakagawa Improving the abilities of K-12 in grasping timbre through max/mps software Chang-Hyun Kim, Sang-Hoon Oh, and Soo-Young Lee Can’t kids play together? Duet music therapy for autism and ADHS Alice Hui-ju Lee Consideration of the effectiveness of music care through a case study on a patient with multiple handicaps Keiko Miyamoto, Mie Itou, and Chie Okegawa Effect of Lanna music listening and massage on emotional and physiological change: Preliminary data from Thai Volunteer group Peerasak Lerttrakarnnon, Boosong Kasempitakpong Winthana Kusirisin, Anuchart Matanasarawoot, Polkae Vacharachaisurapol, Anchaya Dutjanuthat

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

TABLEOFCONTENTS A study of the ecological trait in Korean traditional music Ji Young Moon Using regulative music therapy at a college counseling center in Japan Naoko Moridaira Initial results of a pilot music group for adults with mental illnesses Panos Ntourntoufis The AQR-Instrument: Assessment of the quality of relationship Silke Reimer The effect of songwriting on motivation and readiness on clients in detoxification Michael J. Silverman Effects of medium-term music therapy program in a group session for autism spectrum Ryoko Suzuki, Izumi Futamata, Azusa Shimamoto, Moe Kurita, Naho Sugimoto, Tomoko Akiyama, Azusa Maruyama, and Ryoichi Sakuta The effect of music therapy on newborn babies in neonatal intensive care unit (NICU) Reiko Wada 225

WFMT Announcements WFMT Congress Events 2011 WFMTâ&#x20AC;&#x2122;s Assembly of Student Delegates WFMT Lifetime Membership Award WFMT World Congress Scholarship for Students Honoring WFMT Council Members WFMT Recognition Program

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

Suggested Citation of this Publication Author A. A., Author B. B., & Author C. C. (2011). Title of article. Music Therapy Today 9(1), ppâ&#x20AC;&#x201C;pp. Retrieved from http:// musictherapytoday.wfmt.info.

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

SPOTLIGHTSESSIONS 21

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC THERAPISTS AS SCHOOL COMMUNITY MEMBERS: A JOURNEY TO A MUSICAL PLACE Catherine Threlfall Henbury School, Australia Abstract This

be applied to support the process of change

Spotlight

presentation

the

by a) connect people, ideas and purpose, b)

potential of music therapists to enable

share stories of people, place and practice,

lasting change in special education by

c) explore the past, present and future

working at a whole school level. Bringing

possibilities, and d) be inventive and open to

arts-based

learning

teaching

and

exams

learning

from

the

unexpected.

Music

classrooms through collaboration and peer-

therapists

coaching practices can enhance student

integrate arts-based teaching and learning

learning.

into classroom programs. As a member of a

may

support

educators

peer coaching team the music therapist Background: Philosophy and Practice

becomes

Empowering a school community to make

collaborator in daily classroom life. When

and share music is a powerful element of

education

professional practice. Music therapists may

teach and reflect together, they are more

take a lead role in the whole school

motivated, more effective and more likely to

community’s pursuit of student learning by

maintain new teaching practices (Showers &

harnessing the reaching impact of music

Joyce, 1995).

active

participant

professionals

plan,

and

program,

making. Music “naturally radiates, (it) is not designed for privacy and containment (...)

Henbury School: A Journey to a Musical

and in doing so it calls to others, attracts,

Place

gathers,

Henbury School is a government secondary

connects

people

together”

(Pavliecevic & Andsell, 2004, p. 16). Music

school

therapists increase the reach and power of

disabilities. The author joined the Henbury

their work by acknowledging and supporting

School community in 2008. At this time, in

the arts-based learning that goes on with

the words of Henbury teacher Christine

and without them. Change is enabled when

“Music was widely regarded as being

the music therapist builds positive reciprocal

something

that

happened

relationships in the school community. The

occasions

(...)

otherwise

music

ArtStories core principles (Tait, 2010) may

delivered by visiting professionals (which)

for

students

with

range

one

off was

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea didn’t create ongoing opportunities to build

successfully combine their classes. Making

further student learning.” The approach to

music has provided that context. Making

integrating arts-based teaching and learning

music together has given us a way to

involved a wide range of music therapy

engage both staff and students in learning

interventions and actions including

while embracing our individual differences.

• •

•

Collaboration: Planning, teaching and

Students have blossomed over time; THEY

reflecting together

know THEY make the music” (download

Enabling:

supporting,

Photo Story as mp4). Music therapists can

guiding, linking and laughing with other

make arts-based teaching and learning

members of the community

happen in all schools. We have the

Sourcing

Recognizing,

and

creating

professional

learning and classroom music resources •

Building

References

energetic

and

enthusiastic

project teams •

Introducing and linking others to internal and external opportunities, and

•

all education contexts.

Being visible: Making music everywhere with everyone

•

opportunity to open doors for all learners in

Recruiting staff with music skills.

There have been significant changes to the role of music in student learning. Students are regularly involved in arts-based learning and teaching provided by school staff. Teachers and support staff apply their new drumming, guitar, singing and dance skills on a daily basis. The school is involved in large external arts events and has two performing ensembles. Music making is a part of every school event including school camps,

assemblies

and

meal

breaks.

Teacher Christine states, “Changes in the use of music for learning (…) have been phenomenal! Teachers are now much more likely to work together, whereas before they would

not

have

foreseen

way

Pavliecevic, M. & Andsell, G. (2004). The Ripple Effect. In M. Pavlicevic and G.Andsell (Eds.), Community Music Therapy (Introduction). London, UK: Jessica Kingsley Publishers. Showers, B. & Joyce, B. (1996). The Evolution of Peer Coaching. Educational Leadership, 53 (6), 12-16. Tait, A. (2010). ArtStories: Arts-driven initiatives in education, health and community settings. In B. Hesser & H. N. Heinemann (Eds.), Music as a natural resource: Solutions for social and economic issues compendium. (pp. 108-109). New York: The International Council for Caring Communities (ICCC), United Nations Headquarters. About the Author Catherine Threlfall, RMT is an Australian music therapist and special educator who has worked in special education, early intervention, community music, student wellbeing and behavior, participatory research and educational leadership. Contact: paulandcath@iinet.net.au

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

NORDOFF-ROBBINS MUSIC THERAPY IN SPECIAL EDUCATION Alan Turry Nordoff-Robbins Center for Music Therapy Steinhardt School of Culture, Education and Human Development New York University, USA About the Founders

Nordoff-Robbins

Paul Nordoff, an American composer, and

Worldwide

Clive Robbins, a British special educator,

Nordoff-Robbins

began

Sunfield

established the work in Germany, Australia,

Children’s Home in the United Kingdom in

South Africa, Scotland, Norway, Denmark,

1959. After establishing a music therapy

Japan, Korea and Greece. A wide variety of

program with variously disabled children,

clinical populations are being treated by

Nordoff and Robbins traveled around Britain

Nordoff-Robbins music therapists including

and Europe demonstrating their innovative

self-referred

techniques, and came to the United States

impaired, those with psychiatric issues,

in 1961. In 1962 they received the first

patients with medical conditions, geriatrics,

National Institute of Health grant to study

palliative

music therapy with children with autism.

adolescents. Currently there are hundreds of

They developed a music therapy program in

Nordoff-Robbins

special education, and published several

world,

plays and instrumental activities for children

training facility is currently being developed

and the book Music Therapy in Special

in Korea.

their

Education.

collaboration

music

adult

care,

and

Music

therapists

clients,

early

the

Asian

have

hearing

intervention,

therapists

Therapy

around

and the

Nordoff-Robbins

London became the base of

their work in 1974 where the first Nordoff-

The Nordoff-Robbins Approach

Robbins training course was established,

The

and the first Nordoff-Robbins Music Therapy

interactive, improvisational music-making.

Centre was built. Their seminal book,

The therapeutic relationship is built through

Creative Music Therapy, was published in

creative musical collaboration. Music serves

1977, the year of Nordoff’s death, and was

to access the healthy core potential for

revised

growth and development within each child.

and

expanded

2007.

Clive

Nordoff-Robbins

approach

involves

Robbins continues to teach at the Nordoff-

Contemporary

Robbins Center for Music Therapy at New

use both pre-composed songs, along with

York University.

instrumental activities and process-oriented

Nordoff-Robbins

clinicians

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

instrumental improvisations and improvised

parallel play, joint attention, turn-taking, and

songs. Individual goals are developed based

other indicators of a child's response to or

on the unique needs and strengths of each

initiation of communication and interaction.

child. Because each session is recorded and

The MTCSI has attained high inter-rater

analyzed before the next, therapists can

agreement among trained observers and

carefully

strong support for its content validity.

plan

and

build

upon

the

developmental gains being made by the

Preliminary

children in the special education setting. At

correlations between scores on the MTCSI

the Center at New York University, several

and on key domains of the Vineland-II.

groups of children from special education

These correlations are particularly robust for

programs within the New York City Board of

the subgroup of children in the sample

Education are seen weekly. Group sessions

diagnosed with autism.

are

held

for

children

with

findings

indicate

strong

physical

disabilities, those with hearing impairments,

References

and those on the autism spectrum.

Guerrero, N. & Turry, A. (2010) Developments in Research at the Nordoff-Robbins Center for Music Therapy. imagine 1(1), 32-35. Retrieved from http://imagine.musictherapy.biz/Imagine/ imagine__online_magazine.html. Nordoff, P. & Robbins, C. (1983). Music therapy in Special Education. St. Louis, MO: MMB Music. Nordoff, P. & Robbins, C (2007). Creative Music Therapy: A guide to fostering clinical musicianship. Gilsum, N.H.: Barcelona Publishers Simpson, F. (2007.) Every Note Counts: The story of Nordoff-Robbins Music Therapy. London: James and James.

Current Research Endeavors In addition, Nordoff-Robbins music therapy is being delivered at These our Treasures, a pre-school

with

special

instruction

and

related services for children ages 2-5, many of whom are on the autism spectrum. Thirtyfive children are now participating in a research study with a lagged/experimental control design. We are examining the effects of Nordoff-Robbins music therapy on the children’s

communication

and

social

interaction skills. In addition to utilizing the Vineland

II,

established

research

instrument, we have developed the Music Therapy

Communication

and

Social

Interaction scale (MTCSI-Hummel-Rossi et al.,

2008).

Coded

behaviors

include

instrument use, vocalization, movement,

About the Author Alan Turry, D.A., MT-BC, LCAT, NRMT, Managing Director of the Nordoff-Robbins Center for Music Therapy at New York University, oversees the Center’s research, training and clinical programs, and assisted in establishing clinical programs in Asia. Contact: alan.turry@nyu.edu

gesture, eye contact, facial expression,

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

TRENDS OF MUSIC THERAPY AND SPECIAL EDUCATION IN KOREA Youngshin Kim Sookmyung Women’s University, Korea

Introduction

Voucher and ASP Programs

Music therapy training in Korea started over

With an increasing perception of music

14 years ago. As most music therapy

therapy as a reliable treatment option, a

curricula are based on Western training

variety of social supports such as the

standards, one might expect to find more

Rehabilitation Treatment Voucher Program

similarities than differences. However, there

have

is a trend to value and include the cultural

government. 37,000 low-income families

and social context in music therapy practice.

with children with disabilities under 18

This spotlight paper reflects the current

received rehabilitation vouchers which allow

trend and challenges of music therapy in

to access rehabilitation treatment including

special education in Korea.

music therapy (Ministry of Health & Welfare,

recently

initiated

the

Korean

2010). Background Since the first music therapy graduates

Additionally, After-School Programs (ASP)

started to practice in the late 1990s, children

have been expanded to include an arts

with special needs became the largest group

therapy

receiving music therapy. Social welfare

psychological

centers, schools, and private centers are

emotional

settings where music therapists provide

issues.

education

program,

needs

disturbances

addressing

children and

with

behavioral

services to children with special needs and their

families

(Kim,

2007).

Usually,

Another trend in this field of music therapy is

individually or group sessions are provided

once or twice a week. Music therapy utilizes

services. This perspective of music therapy

various approaches with a range from

suggests that music could be a way to heal

cognitive

humanistic

and strengthen communities as well as

orientations, depending on the therapists’

individuals by making music together (Ruud,

personal and training background.

2007).

behavioral

movement

towards

community-based

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea Innovative Projects

learning and well-being of children with

Over the past five years, the Korean Music

disabilities and typical children alike.

Therapy Association has initiated several

•

To increase the evidence base of music

projects, which varied in session length, type

therapy to gain more funding for music

of disability of children, and number of

therapy services and to improve the

children participated. However, all projects

work condition of music therapists, and

ended with a “Healing Concert,” including children,

families,

and

staff

members,

wherein the children performed their musical experiences gained in the music therapy sessions. Evaluation of the concert revealed in an increase of self-esteem and positive emotions

clients

and

the

audience

(Korean Music Therapy Association, 2009). Challenges and Future Directions Despite such efforts, several studies have indicated that there are some obstacles preventing further developments of music therapy in special education in Korea. Those may include a) a negative attitude towards individuals with disabilities (Lee & Lee, 2004), which prevents parents to acquire services for their children with special needs, b)

music

therapists

struggle

with

unsatisfactory employment conditions such as short-term contract and low income, and poor work conditions (Kim 2007; Kim, 2010), and c) an increased burn-out and flight risk of music therapists.

To provide professional supervision to music therapist in order to prevent burnouts.

References Kim, Y. (2007). Current employment trends of music therapy graduates. Session st presented at the 1 Convention of Society or Korean Music Therapy Professors. Kim, Y. K. (2010). The current circumstances of the music therapy services as voucher programs of rehabilitative treatment and services for children with disabilities. Master thesis, Myong-Ji Universitiy. Korean Music Therapy Association (2009). 2009 project reports of Arts Council Korea funded study. Lee, H. W., & Lee, W. R. (2004). The study of attitude towards disability of persons without disability. The Journal of Special Education, 5(1), 471-492. Ministry of Health & Welfare (2010). Rehabilitation & treatment service for handicapped children. Retrieved from http://www.socialservice.or.kr/ptl.MainPa ge.doj. Ruud, E. (2007). Reclaiming music therapy. In M. Pavlicevic, & G. Ansdell (Eds.), Community music therapy (pp.11-14). London and Philadelphia: Jessica Kingsley Publishers. About the Author

Therefore, it will be viable for the future of music therapy in special education •

•

Youngshin Kim, Ph.D., MT-BC is associate professor in Graduate School of Music

To educate parents and the Korean

Therapy at Sookmyung Women’s University,

society that music therapy can promote

Korea. Contact: ysk@sm.ac.kr

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

REFLECTION AND PRACTICE ACROSS TIME AND PLACE: USING MUSIC THERAPY FOR SPECIAL NEEDS IN THE U.S. & THAILAND Dena Register University of Kansas, USA Mahidol University, College of Music, Thailand An Unlikely Opportunity

sustainability of services in the culture,

The universal nature of music and its ability

creating

to reach and shape people, regardless of

therapists and those that they serve and,

their age or ability level, is central to the

finally, documenting outcomes in a way that

foundation of music therapy as a profession.

is meaningful and relevant to their societies

When a music therapist is trained and

and others.

opportunity

for

both

music

working in the US, their experience with access to music therapy services, the

Asking Difficult Questions

qualifications of those that provide music

Now imagine that this unlikely scenario

therapy services and how the profession

comes true. In April 2008, Dr. Sugree

advocates for the expansion of the field is

Charoensook, Dean of the College of Music,

very prescribed and systematic. With a 60-

Mahidol University in Bangkok, Thailand

year professional history of music therapy in

proposed

consultative

the US, thousands of music therapists

between

the

University

paved the way for the recognition of a

(Lawrence, Kansas) and Mahidol University

national

standardized

for the purpose of creating Southeast Asia’s

curriculum. Imagine for a moment that you

first Master’s degree program in Music

could travel back in time 20 years and,

Therapy. This very unique opportunity and

knowing what you know now, build the

partnership has resulted in an opportunity to

profession of music therapy from a meager

assess

existence or understanding on the part of

beliefs about music therapy and how it is

the larger population. Add to this imaginary

constructed, taught, delivered and received

scenario the idea that those with whom you

in society. Though exciting, this opportunity

are working share the fundamental belief

was also an incredibly daunting task which

that music is essential to our existence and

forced all parties to question where they

a powerful tool in building and rebuilding

might begin their collaboration as well as

skills, behaviors and understanding. The

how to explain ideas and concepts in a way

questions posed to you are those of

that are true to the philosophy and beliefs of

credential

and

fundamental

and

relationship of

Kansas,

philosophical

the profession in a developed nation while

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea also maintaining a cultural sensitivity and

professional experiences in the coming

open-mindedness to the strengths of those

years. In addition to these short-term

you are hoping to serve.

trainings, clinical programs were established using music therapy students studying

Assessing Strengths

abroad from the US. The clinical programs

Thailand has a widespread appreciation for

were then taken over by Thai students and

and understanding of the cultural necessity

continue to serve approximately 225 people

of music. One of the strengths that became

(ranging in age from <1 year to 87 years)

apparent very early on in the KU/MU

per week in the Bangkok area.

collaboration was very little need to talk about the primal nature of music in human

Building a Future Together

existence, our positive responses to it and

The College of Music will launch the Music

the multitude of benefits we enjoy from using

Therapy Master’s degree program in June

music in such systematic ways. As a result,

2012. Our collaboration has, to date, helped

initial interaction could address the various

the College of Music at Mahidol secure

therapeutic functions of music and the

approximately $750,000 in research funding

outcomes that are facilitated across all

from the Thai government in order to

developmental

document

domains,

regardless

outcomes

music

therapy

someone’s age or ability level. Interactions

across a variety of population needs,

regarding music therapy utilize the extensive

including research for best practices with

experience and knowledge-base of other

those who have special needs. The KU/MU

educational and medical professionals as a

collaborative

point of reference for how they might

together on study abroad opportunities for

incorporate music into their own practice.

both Thai and US students. Both entities

and

also continue to teach each other about the

Thai

value of music in culture and development

professionals might utilize a trained music

by connecting ideas, old and new, and

therapist in their own medical or educational

creating

facility to supplement the outcomes that they

challenges, victories and what each person

are

offers when they engage in music therapy.

importantly,

collaboration

seeing

focus

with

consultation on

how

current,

standard

team

continues

opportunities

dialog

work

about

treatments. The “Therapeutic Uses of Music” training has built a supportive network of

About the Author

professionals

Dena

that

understand

basic

Ph.D.,

MT-BC

concepts of music therapy and will support

Associate Professor of Music Therapy at the

the coming influx of music therapy students

University of Kansas.

as they seek practicum, internship and

Contact: register@ku.edu

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THERAPEUTIC GROUP SINGING FOR OLDER ADULTS WITH DEMENTIA Fumio Kuribayashi Nagoya College of Music, Japan Three Basic Elements of Music Therapy

esteem, and self-actualization. The strength

Although many different types of music

of TGS is that it overcomes individual

therapy experiences exist in the world, each

differences in musical ability and allows

experience

basic

everyone to enjoy a sense of well-being by

elements. The first and most obvious

creating meaningful connections, between

element is music--a unique and essential

clients and therapists and among clients.

tool for the healing process in music

To conduct a successful TGS session, a

therapy.

The second element is the

therapist must consider the music carefully.

therapist’s healing skills. The final element is

Song selection is the most critical part of

music therapy experiences and is done with

should

theoretical

have

three

foundation,

whether

psychodynamic, behavioral, cognitive, or a

target audiences in mind.

method such as Orff or Kodaly. These three

clinical

elements are essential to accomplishing

available

clinical goals and satisfying clients’ needs.

choices. The music selections should allow

judgment, evidence

In addition to

therapists to

make

must

use

the

best

clients to bring forth personal memories that Therapeutic Group Singing (TGS)

help them heal.

In TGS, ten or more clients gather and sing for therapeutic purposes. In Japan, TGS is

The final outcome rests on a therapist’s

one of the most popular music therapy

ability to develop supportive relationships

experiences, especially when working with

with clients so they feel secure breaking

older adults and clients with mental health

through their defense mechanisms. The use

disorders.

It is an efficient, effective

of eye contact, touch, body movement, and

modality through which to deliver high

vocal technique to connect and interact with

quality therapy because it has each of the

each client largely influences outcomes.

three aforementioned elements. About the Author The effectiveness of TGS is rooted in

Dr. Kuribayashi, MT-BC, is professor at

humanism, specifically Maslow’s Hierarchy

Nagoya College of Music, Japan and an

of Needs. Older adult clients often struggle

executive board member of the Japanese

with the top three tiers: love or belonging,

Music Therapy Association.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

SUGGESTED LONG-TERM MUSIC THERAPY FOR OLDER ADULTS WITH SEVERE DEMENTIA Hiroko Fujimoto Souzou Gakuen University, Japan Introduction

At the start of her 14 years of GMTS, even

As the average life span of people in Japan

though she showed no reaction to any

is getting longer, 79.6 to 83.1 years, the life

outside stimulus, she played a hand drum

expectancy of those diagnosed with severe

with a steady beat during sessions. Across

dementia also is extended. Given their

the next 14 years, her beat became

extended life expectancy, it is necessary to

unsteady. Various techniques were used to

implement

music

engage her, e.g., putting a stick in her hand,

therapy that provides effective forms of

changing to a cymbal, adjusting the tempo.

communication. The purpose of this study

Even in the thirteenth year when she could

was to examine the effect of Group Music

no longer actually play a drum or cymbal,

Therapy Sessions (GMTS) for older adults

she tapped a cymbal with a stick in her hand

with severe dementia using group drumming.

by a slight movement of her thumb and she

Design

responded with smiles and song-like sounds.

GMTS using “Fun for Four Drums” (Paul

She eventually was admitted to a hospital

Nordoff/Clive Robbins) was employed during

and could not return to the facility.

50-minute sessions three times a month with

Conclusion

three older adults with severe dementia.

As dementia involves cognitive impairment,

Music instruments included a hand drum

by repeating the same activity with the same

and a cymbal. Other experiences included

music and therapists, and in the same

singing, and listening to music. Sessions

location, Mrs. A, recognized the activity. The

were videotaped, and written records were

simple, rhythmic music was a way for her to

maintained.

recall the activity and therapists which

14-year Course of GMTS with Mrs. A

triggered her to respond.

Mrs. A. was diagnosed with dementia of the

References

Alzheimer’s type at the age of 61. Her illness

Nordoff, P., & Robbins, C. (1968). Fun for

long-range

plans

for

was diagnosed as ‘severe’ at 65, and she

four drums, London: Theodore Presser.

was admitted to a facility for older adults.

About the Author

She was not able to carry out a conversation

Hiroko Fujimoto, MA, is professor of music

and needed a high level of assistance

at Souzou Gakuen University, Japan.

except for walking.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC THERAPY IN GERONTOLOGY: A U.S. PERSPECTIVE Anne W. Lipe Converse College, Spartanburg, SC, USA Abstract

Clinical Practice and Research

In 1989, an article by Marian Palmer offered

In 1977, two articles appeared in the Journal

a vision of the future practice of music

of Music Therapy, authored by pioneers

therapy with older adults in the U.S.

Marian Palmer and Alicia Gibbons. Palmer

Palmer’s vision will provide a starting point

(1977) described a variety of music therapy

for this presentation which will feature an

techniques designed to improve physical

overview of the demographics of music

and mental functioning in older adults, and

therapy in gerontology, and brief highlights

provided limited case information to highlight

from both clinical practice and the research

the

literature. A major focus of the presentation

Gibbons’ (1977) article represents one of the

will

earliest attempts to systematically examine

assessment in music therapy with older

music preferences of older adults. During

adults, and a review of two assessment

the next two decades, the literature in this

tools which have been developed and

area

psychometrically tested for use with this

sophistication.

population.

provided a profile of music therapists

discussion

the

role

effectiveness

grew

the

depth,

Smith

techniques.

breadth

and

Lipe

and (1991)

working with older adults, and found that the Demographics

most frequently used treatment goals related

Among current AMTA members, 9.4% report

to developing social and cognitive skills and

working with older adults and people with

providing sensory stimulation.

Alzheimer’s Disease, and 15.3 percent

1991 Hearing on the therapeutic value of

report working in geriatric facilities (AMTA,

music for older adults held before the

2010).

This represents the third largest

Special Committee on Aging of the U.S.

population and the second largest work

Senate provided the impetus for an updated

setting served by music therapists in the US.

research agenda and the development of

When age groups are considered, seniors

new programs such as Rhythm for Life. In

and “mature adults” combined represent

1999, Koger, Chapin, and Brotons published

29%

music

a meta-analysis demonstrating that music

therapists work. Clearly, this represents a

therapy is significantly effective in reducing

large, diverse aspect of our practice.

symptoms associated with dementia.

those

with

whom

An August,

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

predicted by Palmer (1989), music therapy has moved into community-based settings. A

notable

example

effective

community-based music therapy program serving

older

adults

was

model

demonstration project offered at the Adult Care Center in Winchester, Virginia, This project found support for six integrated functions of music therapy (Rohrbacher, 2007). Assessment Reliable,

valid

assessment

tools

are

important in music therapy practice for designing effective, measurable therapeutic approaches

and

for

professional

accountability.

Two tests for people with

dementia have been designed, tested and found to have reasonable construct validity. The Music-Based Evaluation of Cognitive Functioning (Lipe, 1995) is designed to assess cognitive functioning using music tasks, while the Residual Music Skills Test (York, 1994) is designed to assess basic music skills which have been acquired over one’s lifetime. Because of their psychometric stability, both tools should prove useful in clinical practice.

Gibbons, A. C. (1977). Popular music preferences of elderly people. Journal of Music Therapy 14(4), 180-189. Koger, S. M., Chapin, K., & Brotons, M. (1999). Is music therapy an effective intervention for dementia? A metaanalytic review of literature. Journal of Music Therapy, 36(1), 2-15. Lipe, A. (1995). The use of music performance tasks in the assessment of cognitive functioning among older adults with dementia. Journal of Music Therapy, 32(3), 137-151. Lipe, A., York, E., & Jensen, E. (2007). Construct validation of two music-based assessments for people with dementia. Journal of Music Therapy, 44(4), 369387. Palmer, M. D. (1989). Music therapy in gerontology: A review and a projection. Music Therapy Perspectives, 6, 52-56. Palmer, M. D. (1977). Music therapy in a comprehensive program of treatment and rehabilitation for the geriatric resident. Journal of Music Therapy, 14(4), 190-197. Rohrbacher, M. (2007). Functions of Music Therapy for Persons with Alzheimer’s Disease & Related Disorders: Model Demonstration Program in Adult Day Healthcare. (Final Project report) Smith, D., & Lipe, A. (1991). Music Therapy practices in gerontology. Journal of Music Therapy, 28(4), 193-210. York, E. (1994). The development of a quantitative music skills test for patients with Alzheimer’s Disease. Journal of Music Therapy, 31(4), 280-296. About the Author Anne Lipe, PhD, MT-BC, is Assistant Professor,

References

Music

Therapy,

Converse

College.

AMTA. The 2010 AMTA member sourcebook. The American Music Therapy Association: Silver Spring, MD.

Contact: anne.lipe@converse.edu

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC THERAPY IN GERONTOLOGY IN SPAIN Melissa Mercadal- Brotons Univesitat Pompeu Fabra-Universitat Ramon Llull, Barcelona, Spain Abstract

promotes relaxation, decreases anxiety, and

This presentation will be an overview of the

distracts

music therapy practice and research activity

experiences

in the field of Gerontology in Spain. It will

Phillips, Sundt, & Bauer, 2007). Music

include a summary of research in this area,

therapy programs, that include activities

populations

music

such as singing, instrument playing, dance-

therapists, characteristics of the institutions

movement, music listening, composition-

that employ music therapists, training of the

improvisation, and musical games, are

professionals, conditions of employment,

aimed to stimulate different functional areas

and the types of implemented programs.

of older people: physical-motor, cognitive,

most

served

people

from

(Cutshall,

unpleasant

Fenske,

Kelly,

and social-emotional areas. Also, music and Introduction

music therapy have positive effects in

Today in Spain, 16,6% of the population are

decreasing behavior problems (such as

older than 65, and the population projections

wandering, continuous crying and shouting,

from United Nations for 2050 indicate this

and agitation) which are more typical of

country will be third in the world with older

advanced phases of the disease (Chang et

people reaching 34,1% of the population,

al., 2010).

after Japan (35,9%) and Italy (35,5%)

Music therapy in Spain, although still a

(Informe Personas Mayores Imserso, 2004).

developing

This noticeable increase in people older

gaining presence in health and educational

than 65 implies the need to establish actions

arenas. The field of geriatrics is particularly

and programs to contribute to their quality of

known to include music therapy programs.

life. In this sense, many countries, including

It is the objective of this project to present an

Spain, are working towards promoting an

overview of the Music Therapy scene in this

active and satisfactory aging process.

country in the area of gerontology in regards

There is ample literature reporting the

to:

importance and benefits of music for older

therapists,

(b)

adults (Cohen et al., 2002; McCaffrey,

institutions

music

2008). Listening to music is rated as a very

gerontology, (c) training of the professionals

pleasant experience by older adults as it

that implement music therapy programs for

profession,

increasingly

(a) populations most served by music characteristics therapists

of work

the in

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

older people, (d) working conditions of music

results can be reported at this time.

therapists working in geriatric settings, and

Conclusions

(e) types of programs implemented. Also,

The

this presentation will include a summary of

commented and suggestions for the future

the research activity that is conducted in

will be proposed. It is the intention that this

Spain in the field of geriatrics.

presentation will give a general picture of the

results

will

discussed

and

state of Music Therapy (clinical practice and Method

research) in the field of geriatrics in Spain.

To obtain data for this presentation, the author has proceeded as follows:

References

1. Referential centers in gerontology and

Chang, F., Huang, H., Lin, K., & Lin, L. (2010). The effect of a music programme during lunchtime on the problem behaviour of the older residents with dementia at an institution in Taiwan. Journal of Clinical Nursing, 19, 939-948. Cohen, A., Bailey, B., & Nilsson, T. (2002). The importance of music to seniors. Psychomusicology, 18, 89-102. Cutshall, S. M., Fenske, L. L., Kelly, R. F., Phillips, B. R., Sundt, T. M., & Bauer, B. R. (2007). Creation of a healing program at an academic medical center. Complementary Therapies in Clinical Practice, 13, 217-223. Imserso (2004). Las personas mayors en España. Informe 2004. Imserso. McCaffrey, R. (2008). Music listening: Its effects in creating a healing environment. Journal of Psychosocial Nursing, 46(10), 39-45.

Alzheimer care in Spain have been contacted with a short questionnaire which includes the questions related to the objectives specified above. 2. The Spanish music therapy associations, which belong to the EMTC (European Music Therapy Confederation) have been contacted to ask for specific number of music therapists, who may be in their registers, working in the gerontology field. 3. The list of music therapists provided by the associations was sent the same questionnaire that was sent to the Referential centers. 4. Universities that offer training in Music Therapy have been contacted to obtain information

about

research

projects

conducted or in progress in the field of

About the Author Dr. Melissa Mercadal-Brotons, MT-BC, is director

the

Interuniversity

Program

Univesitat

Pompeu

Master Fabra-

Universitat Ramon Llull, Barcelona, Spain.

geriatrics.

Contact: melissa.mercadal@idec.upf.edu

Results The project is in the process of receiving questionnaires back, and therefore, no

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

EFFECTS OF MUSIC THERAPY IN DEMENTIA: TURNING PRACTICE-BASED RESEARCH INTO AN RCT Hanne-Mette Ridder Aalborg University, Denmark Music Therapy and Dementia

From the position of evidence-based or

A substantial challenge for those caring for

research-based practice there is a demand

older adults is the growing number of people

for proving effectiveness with the use of

diagnosed with dementia. As dementia is

RCTs, meta-analyses, and standardized

not yet treatable through medication, several

instruments; however, the practice-based

researchers probe whether music therapy is

researcher

an effective intervention for people with

knowledge about the ‘process’ and how to

dementia and “how the relationship between

improve practice (Epstein, 2010; Robson,

quality of life and ‘health effects of music

2002). With the objective to combine these

should be treated.” (Spiro, 2010)

very different goals, a group of researchers

interested

gaining

have formulated a research protocol that the Cochrane Reviews on Music Therapy

clinical

In the Cochrane review, Music Therapy for

collection on single cases. By adding a

Dementia Symptoms (2000), Koger and

randomization

Brotons concluded that in this area there are

higher number of practitioners take part in

“no randomized controlled trials, or trials

the data collection, the intentions are to

with quantitative data suitable for analysis.”

merge the multiple cases into a two-group,

In a repeated review in 2003 (updated in

randomized waiting-list control study.

practitioner

can

procedure

use and

for

data

letting

2006 and 2009), Vink and colleagues concluded that “The methodological quality

Pilot Study

and the reporting of the included studies

Researchers from Aalborg University and

were

useful

University of Bergen have collaborated on

conclusions.” They summarize that “There is

collecting data for a pilot study during fall

no substantial evidence to support nor

2010 and spring 2011. Title of the study is:

discourage the use of music therapy in the

“The Effect of Music Therapy on Quality of

care of older people with dementia.”

Life, Agitation and Medication for People

too

poor

draw

any

with Dementia” (Ridder & Stige, 2011). The Research-Based Practice/Practice-Based

clinical music therapy work has been carried

Research

out by clinicians who have a MA in music

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

therapy, follow the ethical codes for music therapists in their country, and have been introduced to the clinical method described by Ridder (2003, see also 2011). In the method, music is applied in the therapy with the purpose to catch attention, regulate arousal

level,

and

engage

social

communication to fulfill psychosocial needs. Data are collected in a systematic way, and participants are randomly allocated to either music therapy or a waiting list. The overall purpose is not to change the clinical reality by a protocol that hinders what dementia researcher Kitwood (1997) describes as person-centered dementia care. In this research study, consideration is made so

that

clinicians

unpredictable laboratories

work

‘systems’ where

open

and

not

variables

can

controlled. An introduction to practice-based research methodology and epistemology as well as preliminary results will be presented.

Available at: http://www.mtphd.aau.dk/phd-theses/ridder/ Ridder, H. M. (in press). How can singing in music therapy influence social engagement for people with dementia? Insights from the polyvagal theory. In F. Baker & S. Uhlig (Eds.) Voice work in music therapy. London: JKP. Ridder, H. M. & Stige, B. (2011). A joint research protocol for music therapy in dementia care. Paper presentation at the 13th WFMT World Congress of Music Therapy, July 5-9, 2011 in Seoul, Korea. Robson, C. (2002). Real world research. A Resource for social scientists and nd practitioner-researchers (2 ed.). Oxford: Blackwell. Spiro, N. (2010). Music and dementia: Observing effects and searching for underlying theories. Aging & Mental Health, 14(8), 891-899. Vink A. C., Birks J, Bruinsma, M. S., & Scholten, R. J. P. M. (2003). Music therapy for people with dementia. Cochrane Database of Systematic Reviews, 4, Art. No.: CD003477. About the Author Dr. Hanne Mette Ridder, MA, is associate professor in music therapy and gerontology and heads the doctoral programme of music therapy with Tony Wigram at Aalborg University, Denmark. She is president of the

References

European Music Therapy Confederation.

Epstein, I. (2010). Clinical data-mining. Integrating practice and research. Oxford: Oxford University Press. Kitwood, T. (1997). Dementia reconsidered. The person comes first. Buckingham: Open University Press. Koger, S. M., & Brotons, M. (2000). Music therapy for dementia symptoms (Cochrane review). Cochrane Database Syst Rev 2000, 3: CD001121. Ridder, H. M. (2003). Singing dialogue. Music therapy with persons in advanced stages of dementia. A case study research design. PhD dissertation, AAU.

Contact: hanne@hum.aau.dk

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

PRACTICE-BASED RESEARCH IN ONCOLOGY AND PALLIATIVE CARE Clare O’Callaghan Music Therapist at Peter MacCallum Cancer Centre & Caritas Christi Hospice, St Vincent’s Hospital. Honorary in Department of Medicine & Conservatorium of Music, The University of Melbourne, Australia

Retrospective Practice-Based Research

In an Australian study on the effects of a

Practice-based research can be naturalistic

patient-visitor

and reflective inquiries directed at answering

program, which involved patients, visitors,

questions emergent from one’s clinical work.

and staff completing anonymous semi-

Knowledge can be meaningfully extended

structured questionnaires, many staff added

through

that witnessing music therapy on the wards

examining

“retrospective”

data,

centered

music

therapy

including music therapists’ practice wisdom

was

and clients’ therapeutic products. Clinical

McDermott, 2004). A music therapist also

data-mining is the process of transforming

interviewed New York oncology staff about

the

information

the personal effects of witnessing music

contained within a therapists’ previous work

therapy. These two sets of findings were

into data for research purposes (Epstein,

amalgamated and a substantive grounded

2010). An example is the lyric analysis of

theory emerged depicting music therapy’s

songs created in therapeutic song writing by

valuable

parents hospitalized with cancer for their

(O’Callaghan & Magill, 2009).

metaphorical

mine

personally

helpful

effects

(O’Callaghan

staff

bystanders

children. These analyses can illuminate

This kind of research is informed by

potential therapeutic outcomes, such as

constructivism, which reflects researchers’

song legacies potentially ameliorating the

belief that people’s varying perspectives are

effects

informed

bereavement

(O’Callaghan,

O’Brien, Magill & Ballinger, 2009).

their

backgrounds.

This

contrasts with objectivism (aligned with the use of randomized controlled trials) which

Prospective Practice-Based Research Practice-based

research

can

reflects also

researchers’

belief

that

truth,

replication, and predictability can be found in

encompasses prospective research on the

human

effects of one’s practice, such as the

Levinson, 2008). Both approaches have

examination of what staff bystanders think

merit because they help us to communicate

about music therapy in two cancer hospitals.

the

behaviours

value

(Kuper,

music

Reeves,

therapy

with

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

interdisciplinary professionals aligned with different world views (O’Callaghan, 2009). Research Perspectives Readers

are

invited

perspectives

when

consider

conducting

four music

therapy research with people with life threatening conditions: (a) objectivist & constructivist research findings are both only conceptually

(and

not

predictably)

generalizable; (b) high evidence levels for music

therapy

research

subjective

outcomes cannot be reached because nonblinding affects bias according to Cochrane review criteria (Higgins & Green, 2008); (c) standardized provide

measurement

information

scales

important

may the

researcher but not necessarily the patient (McGrath, 2000); and (d) validated research scales

principles

not of

support

palliative

care

reading and appraising qualitative research. BMJ, 337, 404-07. Kvale., & Bondevik, M. (2007). What is important for patient centred care? A qualitative study about perceptions of patients with cancer. Scand J Caring Sci, 22, 582-589. McGrath, P. Confronting Icarus: A psychosocial perspective on haematological malignancies. Aldershot, UK: Ashgate, 2000. O’Callaghan, C. (2009). Objectivist and constructivist music therapy research in oncology and palliative care: An overview and reflection. Music and Medicine, 1(1), 41-60. O’Callaghan, C., & Magill, L. (2009). Effect of music therapy on oncologic staff bystanders: A substantive grounded theory. Palliat Support Care, 7, 219-228. O’Callaghan, C., & McDermott, F. (2004). Music therapy’s relevance in a cancer hospital researched through a constructivist lens. J Music Ther. 41(2), 151-185. O'Callaghan, C., O’Brien, E., Magill, L., & Ballinger, B. (2009). Resounding attachment: Cancer inpatients’ song lyrics for their children in music therapy. Support Care Cancer, 17, 1149-57.

patient-and-family-centered

care (Kvale & Bondevik, 2008) which

About the Author

emerges from listening to their reflections.

Clare

Hopefully, evolving music therapy research

clinician, researcher, and educator in music

designs will allow findings, which reflect both

therapy.

music therapy’s artistry and science.

work in cancer, neurology, and palliative

O’Callaghan,

Ph.D.,

RMT

Her 25 years of music therapy

care has informed practice-based research References

methodologies and findings widely published

Epstein, I. (2010). Clinical data-mining: Integrating practice and research. New York: OUP Press Inc. Higgins, J. P. T., & Green S, (Eds.). (2008). Cochrane handbook for systematic reviews of interventions. Version 5.0.1. John Wiley & Sons Ltd.: Chichester. Kuper A, Reeves S, Levinson W. (2008). Qualitative research: An introduction to

in music therapy, medical, social work, and art therapy refereed journals. Contact: clare.ocallaghan@petermac.org

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

DUAL IDENTIFICATION OF MUSIC THERAPY RESEARCH Soo Ji Kim Department of Music Therapy, Graduate School of Social Science, and Interdisciplinary Therapy Center at Myongji University, Seoul, Korea Introduction

human responses to music, not the music

This spotlight presentation describes the

itself.

dual identification of music therapy based on

Music therapy always works within the

the author’s personal research experiences.

context of this dual identity (Brusicia, 1988);

The field of music therapy has been

at the same time, it can often elicit dual

developed based on interesting findings of

responses, both physical and psychological.

research regarding using music in clinical

For the music therapy research process to

settings. The stories and experiences in

be valid and scientific, therefore, music

early music therapy history give us reason to

therapy

believe in the use of music on physical and

targeted responses among the many that

psychological symptoms (Davis, Gfeller, &

may be evoked by music.

researchers

must

single

out

Thaut, 2008). This positive belief requires verification in order for music to be used

Physical and Psychological Responses

reliably in clinical settings. Music therapy

to Music

research has begun to meet these needs.

The author’s research areas are two-fold:

Sometimes, belief turns out to be nothing

scientific data from musical stimulation, and

more than a hunch, but sometimes, belief

qualitative data from musical interaction. By

can be developed into a music therapy

employing Neurologic Music Therapy (NMT)

rationale with measurable research findings.

techniques

This

focuses on producing scientific data from

the

work

music

therapy

(Thaut,

2005),

the

author

researchers.

music therapy applications.

Getting Into Research

This process is critical when applying music

In the author’s previous training as a

therapy in medical settings. Such research

musician, music was often seen as an

cannot be done without cooperation from

emotional, a psychological, and a spiritual

medical staff, including doctors and other

object—a highly valuable cross-cultural art

therapists. This interdisciplinary teamwork is

form. During the training period as a music

the most exciting, and often the most

therapist, however, attention was turned to

frustrating, aspect of medical music therapy

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

research. For example, investigating the use

of a music protocol in swallowing exercises

conclusions when dealing with two different

(Kim, 2010a) required me to figure out new

aspects of human responses, it is often the

terms, rules, and other principles that would

most interesting and challenging part of

compliment

music therapy research.

and

augment

standard

complicated

reach

scientific

swallowing therapy. Although the results of this particular study were limited, this kind of

References

research helps forge a relationship with

Bruscia, K. (1998). Defining music therapy (2nd ed). Barcelona publishers: Gilsum, NH Davis, W., Gefeller, K., & Thaut, M. (2008). Introduction to Music Therapy: Practices rd ed.). American and Theories (3 Association of Music Therapy. Kim, S. J. (2010a). Music therapy protocol development to enhance swallowing training for stroke patients with dysphagia. Journal of Music Therapy, 47(2), 102-119. Kim, S. J.(2010b). Case study of music intervention for supporting maternal transition. Korean Journal of Music Therapy Education, 7(1), 71-89. Kim, S. J., Kwak, E. E., Park, E. S., Lee, D. S., Kim, K. J., Song, J. E., & Cho, S. R.(in press). Changes in gait patterns with rhythmic auditory stimulation in adults with cerebral palsy.

other medical professionals, and it clarifies existing parameters for even more effective scientific data in future studies. Another part of the research interests is to find better ways of applying music to clients’ psychological needs. For example, while many researchers have focused on the benefits and advantages to infants in mother-infant

interaction,

attention

mothers’ needs and how music might help mothers

with

infants

have

been

paid

attention (Kim, 2010b). This research area is focused on the psychological benefits of music

for

psychological

mothers.

Interviews

measurements

can

and

About the Author

Soo Ji Kim, Ph.D., MT-BC is an assistant

employed in this type of study; however,

professor and program director in the

qualitative aspects of data need to be

Department

quantified before any conclusions can be

Interdisciplinary Therapy Center at Myongji

reached.

University (in Seoul, Korea), and also serves

Music

Therapy

as vice president of the National Association Conclusion

of Korean Music Therapists, and editor of

Dual responses (physical and psychological)

two journals; the Journal of Korean Music

are nearly always observed in clinical

Therapy Education and the Korean Journal

research experiences, and it is hard to

of Interdisciplinary Therapy.

ignore one in favor of the other. While it can

Contact: specare@hotmail.com

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC THERAPY AND RESEARCH: AN ONGOING STORY Gro Trondalen Norwegian Academy of Music, Norway Music (therapy) has deep historical roots as

therapy (Trolldalen, 1997; Trondalen, 2001,

a healing power in human life. In order to

2009-2010, 2011), in addtion to an ongoing

communicate such musical affordances and

innovative research involving interactive,

appropriations to society today, and to

tangible

develop the field of music therapy, there is a

capabilities offered to children with multiple

need for research to contribute to or modify

handicaps (www.nmh.no).

instruments

with

multimedia

existing knowledge or practice. Music therapy is one of many professions Music therapy is both an art form and a

promoting health and well-being through

science. As an art form, music therapy

music within the vast and composite field of

research should aim for an elaboration on a

health technologies and practices based on

multiple perspective of music experience as

music. Due to shifting trends in society as a

a present aesthetic participation within a

whole, music therapy as a field needs to be

multilayered

interpretation

able to respond to the demands of a variety

(Trondalen & Bonde, in press). Considering

of outcome. There seems to be a focus on

music therapy as a science, such a focus

cost-effectiveness in society in general and

however includes therapeutic or broader

therefore

social relationships as well as specific

evidence-based practice. Accordingly, there

participants within their environment. Music

is a need for trails on long-term/short-term

therapy research is thus able to vocalize

music therapy presented in meta-studies

resource orientation and empowerment, all

‘proving

the while supporting vulnerable individuals,

standards of evidence-based practice. One

groups and even societies by offering

underlying question presents itself however,

musical participation as a universal social

i.e. whether it is possible to grasp the

right. Accordingly, research in music therapy

processes of a context sensitive and flexible

is linked to music therapy as a discipline, a

music therapy (as an art form) within a

profession and a clinical practice.

paradigm

frame

naturalistic

increased

effects’

basically thinking

demand

accordance

rooted

based

for

with

medical/ on

This spotlight presentation offers snapshots

(mechanistic) cause-effect model – or not. In

from

order to make elaboration on the core

expressive

and

receptive

music

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

element in music therapy - relationship

References

through music - there is a need for a wide

Stern, D. N. (2000). The Interpersonal World of the Infant. A View from Psychoanalysis & Developmental Psychology. New York: Basic Books. Trolldalen, G. (1997). Music Therapy and Interplay. A Music Therapy Project with Mothers and Children Elucidated through the Concept of "Appreciative Recognition". Nordic Journal of Music Therapy, 6 (1), 14-27. Trondalen, G. (2001). Visible Through an Audible Voice. A Music Therapy Study with a Female who had ceased Talking. British Journal of Music Therapy, 15(2), 61-68. Trondalen, G. (2009-2010). Exploring The Rucksack Of Sadness: Focused, TimeLimited Bonny Method of Guided Imagery and Music with a Female Executive. Journal of Association for Music and Imagery, 12, 1-20. Trondalen, G. (2011). Music is about feelings: Music therapy with a young man suffering from Anorexia Nervosa. In T. Meadows (Ed.), Developments in Music Therapy Practice: Case Examples (pp. chapter 25). Gilsum, NH: Barcelona Publishers. Trondalen, G., & Bonde, L. O. (in press). Music Therapy: Models and Interventions. In R. MacDonald, G. Kreutz & L. Mitchell (Eds.), Music, Health and Wellbeing. Oxford: Oxford University Pres

range of research to be performed side by side. In other words, it is essential to make use of a variety of designs when exploring philosophical,

theoretical

and

empirical

facets of the “sounding relationship.” Conducting research involves a constant social and ethical responsibility, irrespective of research approaches. A music therapist conducting research on personal empirical work presents several challenging aspects, and presents the researcher with the test of coping with a “double role.” Such level of personal

involvement

contribute

may

strengthening

however of

ones

personal identity both as a researcher and as a clinician. Training

institutes

should

encourage

students to conduct research within a variety of areas in order to bridge the knowledge gaps that exist within the field of music therapy research. This entails teaching the students philosophy of science, research methods, procedures and techniques while offering supervision. Knowledge of new and developing

technology

may

also

essential to elucidate as many levels of the musical relationship as possible. Elaborating

About the Author Gro Trondalen, Ph.D., MA-BC, AMI Fellow is associate professor of music therapy and head of research at the Centre for Music and Health at the Norwegian Academy of Music in Oslo.

research on such a complex phenomenon is therefore best described as an ongoing

Contact: gro.trondalen@nmh.no

story.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

RESEARCH IN CONTEMPORARY PSYCHIATRIC MUSIC THERAPY Michael J. Silverman University of Minnesota, USA Why conduct research?

only the music therapy literature, but related

Researchers should genuinely enjoy all

psychosocial treatments and literature as

aspects of the research process. The

well. Furthermore, utilizing strong research

challenge of designing a novel, practical,

designs (such as the randomized controlled

realistic, and innovative project should be

clinical trial) with elements of design control

motivating

Conducting

(such as scripts and treatment manuals) will

research is important as in today’s evidence-

enable the results to generalize. Finally,

based climate, it is becoming increasingly

treatments should be practical and thus

important to design interventions supported

reflect contemporary clinical practice.

and

exciting.

by data (Rice, 2008, Stevens, 2005). Utilizing interventions that have empirical

Research Outcomes

support is not only important for continued

To correctly interpret research outcomes,

funding, but for providing music therapy

one must understand the study’s context

clients

and design. For example, if a treatment is

with

services

that

are

ethical,

scientifically grounded, and cost effective.

compared to a pure control, differences should be expected. However, if a treatment

Mentors

is compared to an active control condition

Persons interested in research should seek

(such as psychoeducation), differences will

mentors who are positive, supportive, and

not

knowledgeable.

should

Additionally, each study has numerous

challenge their mentees while nurturing and

limitations that need to be identified and

promoting their unique interests.

articulated so that future research can be

Ideally,

mentors

robust

(Silverman,

2008).

stronger. Research Line Due to the many diverse lines of interesting

Future Research

research in the music therapy profession, it

Researchers should familiarize themselves

is essential to focus on a singular research

with, and promote, all types of research –

line. This enables the researcher to build

not only the type of research they conduct.

upon her/his previous work. To generate

Research can be more fruitful when it

ideas, researchers should investigate not

utilizes a variety of methods. The research

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

questions should drive the research method:

References

Qualitative research can provide the breadth

Gold, C., Heldal, T.O., Dahle, T., & Wigram, T. (2005). Music therapy for schizophrenia or schizophrenia-like illnesses. Cochrane Database of Systematic Reviews, 2. Art No.: CD004025. DOI: 10.1002/14651858.CD004025.pub2. Rice, M.J. (2008). Evidence-based practice in psychiatric care: Defining levels of practice. Journal of the American Psychiatric Nurses Association, 14, 191187. Silverman, M.J. (2008). Quantitative comparison of cognitive behavioral therapy and music therapy research: A methodological best-practice analysis to guide future investigation for adult psychiatric patients. Journal of Music Therapy, 45, 457-506. Silverman, M.J. (2009). Durational effects of music therapy: The use of follow-up methodology in the Journal of Music Therapy, Music Therapy Perspectives, and Music Therapy. Music Therapy Perspectives, 27, 130-134. Silverman, M.J. (2010). Applying levels of evidence to the psychiatric music therapy literature base. Arts in Psychotherapy, 37, 1-7. Stevens, K.R. (2005). Critically appraising knowledge for clinical decision making. In B.M. Melnyk & E. Fineout-Overholt (Eds.), Evidence-based practice in nursing and healthcare: A guide to best practice (pp. 73-78). New York: Lippincott, Williams, & Wilkins.

and depth to inform researchers and lead to more

sophisticated

quantitative

research.

and

informed

Specific

the

quantitative music therapy literature base, there remains a scarcity of randomized and controlled clinical trials (Gold, Heldal, Dahle, & Wigram, 2005; Silverman, 2008, 2010) and

studies

that

include

follow-up

measurement (Silverman, 2009). Evidence-based

Philosophy

and

Teaching With an increased emphasis on evidencebased decision-making, practice, treatment, and treatment (Rice, 2008; Stevens, 2005), it is vital to increase the size of the literature base. Furthermore, to help ensure that music therapy researchers and clinicians continue to publish high quality research, it is essential to teach students about the research process. In order to increase the number of researchers, instructors should teach students not to fear research. If research is taught in a manner that is accessible and enjoyable, students might be

About the Author

more likely to pursue graduate training and

Michael Silverman is director of Music

contribute to the literature base.

Therapy at the University of Minnesota and researcher at the University medical center. Contact: silvermj@umn.edu

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

CONCURRENTSESSIONS 47

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

RELATIONSHIPS BETWEEN FMΘ AND THE AUTONOMIC NERVOUS SYSTEM IN SINGING AND SPEAKING Naomi Takehara Graduate School of Culture and Information Science, Doshisha University, Japan Hiroki Hasegawa Faculty and Graduate School of Human Environmental Sciences, Mukogawa Women’s University, Japan Tamaki Yano Faculty and Graduate School of Culture and Information Science, Doshisha University, Japan Abstract

We conducted a basic research study on the

among

psychophysiological effects of various vocal

personality, and Fmθ [3, 4]. Studies also

therapeutic methods in music therapy using

noted that Fmθ power and heart rate (HR)

the

and

increased with pleasant music (Sammler et

electroencephalogram (EEG). The results

al., 2007) [2]. Based on these studies, we

suggest that singing with accompaniment,

created an experimental design that dealt

humming, and unison singing are related to

with various styles of singing and speaking

used in music therapy.

electrocardiogram

activation

nervous

system

the (PNS).

(ECG)

parasympathetic Singing

studies

revealed

attention,

relationships

motivation,

anxiety,

alone

resulted in an increase in Fmθ power. The

Methods

singing

with

Participants comprised 10 nonmusicians

speaking and imaging was shown to further

aged 22–62 years. The musical stimulus

enhance relaxation and pleasant feelings.

was “Furusato” (a children’s song). The

“Furusato”

compared

experimental Introduction There

are

tasks

included

speaking

(reading aloud), singing, humming, singing few

studies

the

with a guitar, imaging, unison singing, and

psychophysiological changes resulting from

resting. The physiological indices from the

singing and speaking. To contribute to this

EEG and the ECG were measured during

area, we focused on the frontal midline θ

the experiment while the participants’ eyes

rhythm (Fmθ) and the autonomic nervous

were closed. We calculated the Fmθ power

system. Fmθ correlates to various behaviors,

and Fmθ% <Fmθ / background activity of

perceptions, and emotional variations [1].

EEG>, HR, the parasympathetic nervous

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

system (HF), and the sympathetic nervous

other

system (LF/(HF + LF)) by MEM (Maximum

relaxing for humans. These observations

Entropy Method) from the R-R intervals

offer theoretical support for the musical

(RRI).

intervention methods used in clinical music

singers

are

physiologically

therapy regarding various modalities such Results The

as singing. Based on these results, we will

results

revealed

correlation

pursue

future

research

clinical

coefficients cor (Fmθ, HR) = 0.823, cor

applications for emotionally disturbed people

(Fmθ, HF) = 0.578, and cor (fmθ%, LF/(HF +

and those with attention problems.

LF)) ＝ 0.849. A principal component analysis showed that

References

singing alone was related to increased Fmθ

[1] Asada, H. (2010). Recent research on Fmθ [in Japanese]. Clinical Electroencephalography, 52(1), 50-57: Nagaishoten. [2] Sammler, D., et al. (2007). Music and emotion: Electrophysiological correlates of the processing of pleasant and unpleasant music. Psychophysiology, 44(2), 293-304. [Remark 1] [3] Miyata, Y. (2004). New Physiological psychology vol. 2 [in Japanese], 40-53: Kitaoojishobo. [4] Tani, K. (1978). Motivation for working and Fmθ [in Japanese]. Clinical Electroencephalography, 20(2), 115120.

power and HR. Humming and unison singing, and singing with a guitar led to the activation of PNS, while speaking and imaging resulted in heightened sympathetic nervous system and Fmθ%. Considerations We

researched

the

psychophysiological

effects of various vocal therapeutic methods. The results reveal that the singing of “Furusato” heightened physical and mental relaxation (compared with speaking and

About the Authors

imaging). On the other hand, speaking and

Naomi Takehara

imaging

increased

physiological

activity

attention

and

Contact: sumile3@gmail.com

(compared

with

Hiroki Hasegawa

singing). Furthermore, we found that singing

Contact: hasegawa@mukogawa-u.ac.jp

alone generated pleasant feelings. We

Tamaki Yano

suggest that singing with accompaniment,

Contact: kundaikan@gmail.com

humming a tune, and unison singing with

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC INTERVENTION FOR DYSLEXIA: THEORETICAL CONSTRUCT AND CLINICAL APPLICATION Paul Pang Ka Wa Centre Director of Pang’s Music Therapy Centre, Hong Kong

Abstract

Swedberg, 2007.) These findings might

Some researches have indicated that

suggest that neural circuitries that are

music learning is able to improve reading

strengthened through music training could

and writing skills. This paper aims at

also be used in cortical processes in reading

constructing a rationale for using music as

and writing, thus, improving such skills in

an intervention for dyslexia conditions. It

dyslexic population.

would also report a case study of such program for two Cantonese children and the

In order to preliminary test the validity of

music activities used.

such hypothesis, the Pang’s Music Therapy Centre, in which the author serves as Centre

Content Reading

Director, has devised a music intervention and

writing

are

cortical

program for children of dyslexia in the

processes that turn visual images to auditory

primary forms. Music activities are designed

signals (as in reading); and auditory signals

to address four basic deficits of dyslexic

to visual images (as in writing). These

students in Hong Kong. They are 1) sound

processes bear similarity cortical process

retrieval

related to music training. Such as in sight

phonological awareness, 3) phonological

singing, a note (visual image) turns into a

memory and 4) visual perception.

(especially

rapid

naming),

melody (auditory signal) and in dictating music, a melody (auditory signal) turns into

The program consisted of pre- and post-

a visual image (notes in a staff).

assessments and twelve 60-minute sessions with 2 boys with dyslexia.

Some researches have shown that music training is able to improve reading and

This paper would present the rationale of

writing skills as well as addressing cognitive

music intervention for dyslexia, forms of

deficits that are associated with such skills.

music intervention that are designed to

(Douglas & Willatts, 1994; Durgunoglu &

address the four neural processing deficits

Oney-Kusefoglu, 2002; Overy, 2000; Overy,

and the clinical outcomes of the program.

2003;

Besides, specific music intervention such as

Darrow,

Standley,

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

using solfege as tonal cues, which is unique

Hong Kong. He graduated from Florida

for the Cantonese language, would be

State University in 1984 and established the

addressed.

Pang’s Music Therapy Centre in 1990, which serves children with special needs.

References

Contact: musictherapy@netvigator.com

Douglas, S. & Willatts, P. (1994). The relationship between musical ability and literacy skills. Journal of Research in Reading, 17, 2, 99-107. Durgunoglu, A.Y. & Oney-Kusefoglu, B. (2002).

Phonological

awareness

and

musical aptitude. Journal of Research in Reading, 25, 1, 68-80. Overy,

(2000).

Dyslexia,

temporal

processing and music: the potential of music as an early learning aid for dyslexic children. Psychology of Music, 28, 218-228. Overy K. (2003). Dyslexia and music – from timing deficits to musical intervention. Annals New York Academy of Sciences, 999, 497-505. Register, D., Darrow, A., Standley, J. & Swedberg, O. (2007). The use of music to enhance reading skills of second grade students

and

students

with

reading

disabilities. About the author Paul Pang Ka Wa, M.Coun., B.Mu.(Music Therapy), Dip.Ed.(Music), C.Sp.Ed. Registered Music Therapist (AMTA), NMT Fellow was the first music therapist in

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC ASSURANCE: THE MUSIC LIVING WILL Donna M. Chadwick Berklee College of Music, Boston, USA Karen S. Wacks Berklee College of Music, Boston, USA As individuals look toward planning their

Perhaps one would endure the rest of life

later years, they seek to design optimal

without any music at all, or be at the mercy

quality of life and autonomy. To this end, it is

of well-meaning family members, care givers

customary to complete various documents

and even music therapists who apply the

such as a health care proxy and living will.

wrong music selections. Deprivation of

These legal writings make known a person’s

dearest music and emotional harm from

wishes regarding the extent of extraordinary

detested music can result.

medical measures that should be applied or withheld if a health crisis occurs. The

Completing a Music Living Will when one is

documents are intended to speak for the

well can alleviate concern about such

client in the event of an injury, condition, or

distress. The Music Living Will (MLW)

diagnosis that results in cognitive decline or

becomes the client’s voice in all matters

inability

related to music and sound.

instruments

communicate. are

Such

recognized

legal many

countries.

Making a Music Living Will, also known as a Music Life Plan (MLP) is a process that

In the context of future planning, musicians

begins with life-review counseling interviews

and

between the music therapist and the client.

lovers

contemplate

of the

music value

should and

seriously impact

Musicality,

individual

experiences

and

recorded music in their lives. If they could no

meaning

longer operate an iPod or direct someone to

preferences and future music life quality

play their favorite CDs, a rich presence and

decisions are considered. This can also be

critical ingredient would be missing from

seen

daily life. Absent the energizing influence of

functioning across all domains is observed

music to physically invigorate, or music’s

and closely analyzed.

music,

clinical

values,

assessment;

culture,

client

ability to counteract stress and provide comfort, the likelihood of depression and

The MLW is the first music-specific advance

other mental health issues increases.

health care directive. Reflecting a pro-active

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

wellness

empowerment

philosophy,

Technology is advancing quickly. Novel

provides “music assurance” by identifying

prototype applications that provide clients

the client’s chosen music in target playlists

with maximum operational control of their

(for energy, calming, spiritual elevation,

playlists

cultural connection, and of high emotional

collaboration with the authors. Persons on

significance). The client takes further charge

Hospice service and those with dementia

by specifying the desired use of the playlists

particularly benefit from these inventions in

in his or her own highly detailed projected

relation to the MLW/MLP, as well as those

treatment plan. In the treatment plan, every

who have suffered traumatic brain injury or

factor of the client’s music taste, sound

degenerative neurologic disease.

are

being

developed

preferences, playlist choices and possible circumstance

for

use

music

meticulously enumerated. Copies of the Music Living Will/Music Life Plan are then transferred to the client’s physician and attorney and entered into official records. In addition, an appointed executor

who

will

responsible

for

activating the MLW/MLP when needed also retains a copy.

References Chadwick, D. M. and Wacks, K. S. (2010). musicassurance.com Hanser, S. B. and Mandel, S. E. (2010). Manage Your Stress and Pain Through Music. Boston: Berklee Press. Sabatino, C. (2005). National advance directives: one attempt to scale the barriers. National Academy of Elder Law Attorneys Journal, 1, 131-164. Towey, J. (2005). Five Wishes. Tallahassee, FL: Aging With Dignity. About the Authors Donna Chadwick is a Board Certified Music

Assurance that one’s important music will be in place and accessible is now secured.

Therapist, professor, author and licensed psychotherapist with decades of clinical and

Beyond the advance planning assurance aspect of the MLW/MLP, it also offers

international

presentation

experience.

Contact: chadwickMT@al.com.

memorial service planning and yields music legacy materials for the client’s loved ones. Adaptations for differently abled individuals, children and those in end of life care exist in this clinical model.

Professor Karen Wacks, MT-BC, LMHC is a visionary

activist

documentaries and

who

produces

video

emphasizes cultural

community building through the arts in international health care.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

SIGNIFICANCE OF MUSIC FOR PATIENTS WITH BORDERLINE PERSONALITY DISORDER Dr. Gitta Strehlow Bethesda – General Hospital, Department Psychiatry Psychotherapy, Germany, Hamburg Abstract

The

This paper presents some results from a

challenged among other things by self-harm

systematic qualitative research project with

and suicidal behavior. In music therapy,

from

patients play with extremes e.g. the music is

Borderline Personality Disorder (BPD). The

very loud or they do not play at all and avoid

aim was to find key interaction patterns of

playing or listening to music. In general the

how BPD patients in a psychiatric hospital

therapist gets quickly involved in enactments

deal with music. The meaning of musical

and has to deal appropriately with extreme

activities and the use of music by BPD

feelings. The necessary reflection on the

patients will be looked at.

relationship between patient and therapist

female

patients

who

suffer

patient

therapist

relationship

has a decisive influence on the success of The research selection is characterized by

the (music-) therapy. Key clinical music

authentic individual music therapy sessions

interaction patterns help the music therapist

(psychoanalytically

to gain access to the BPD patients and to

psychiatric hospital. At 14-20% of the total of

maintain the therapist’s capacity to reflect.

all

patients

The research uses the therapist’s counter

proportion

transference to get an understanding of the

psychiatric

represent

oriented)

patients,

held

BPD

significant

(Bateman&Fonagy 2004).

patient

relationship

patterns

and

the

significance of music that is played or In this research, the material of eighty

listened to between the patient and the

sequences is analyzed through a systematic

therapist.

taxonomy process with four defined steps using the psychotherapy research method of

The result is ten typical interaction patterns

‘Forming Ideal Types by Understanding’

between patient and therapist and an

(Lindner 2006). This method is based on a

analysis of the corresponding use of music

systematic

and the unconscious significance for the

analysis

differential reference points.

similarity

and

BPD

patient.

These

patterns

can

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

distinguished

how

the

music

was

- triangulation model (Flick 2005). The

experienced (supportive or threatening) and

examination

the relatedness of patient to therapist.

percent agreement.

Music e.g. gives security through musical structure but music can be also a place of withdrawal. Music can serve to set borders and offers the possibility to assert; it also facilitates the expression of dissent and

resulted

seventy-five

References Bateman, A.& Fonagy P. (2004): Psychotherapy for Borderline Personality Disorder.: Oxford University Press Lindner, R. (2006): Suicidality in Men in

allows disharmony. At the beginning of the

Psychodynamic Psychotherapy.

therapy, threatening feelings often have to

Psychoanalytic Psychotherapy, Vol.20,

be excluded with the help of music. During

No. 3, 197-217

the therapy, interaction patterns with a

Strehlow, G.; Piegler T. (2007): The

greater capability for mentalization manifest

Importance of Primary Non-Verbal

themselves and music can be used to

Therapy Procedures in Psychodynamik

integrate the excluded.

Psychiatry. In: International Journal of Psychotherapy, H. Volume 11,Nr. 1, S.

Musical activities are significant, irrespective of whether the therapist experiences and classifies them as supportive or threatening. Thanks to musical activities, being together does not become too close or too distant. Music as a third aspect supports and regulates the relationship between patient and therapist. The typology of ten interaction patterns can be helpful as a diagnostic tool in clinical practice, which can be used as a basis for meeting individual’s problems. In the paper, four interaction patterns out of ten will be shown with a prototype example. This research was checked by five external

25–35. About the Author Dr. Gitta Strehlow (Part time lecturer at the Institute of Music Therapy Hamburg, Forum for Further Education in Music Therapy Switzerland

and

Magdeburg-Stendal

University of Applied Sciences) has worked over 10 years with adults at Bethesda General

Hospital

Department

Hamburg-Bergedorf, Psychiatry

and

Psychotherapy and in parallel with sexually abused children (Dunkelziffer e.V.). Contact: Gitta.Strehlow@t-online.de

music therapist experts using an investigator

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC THERAPY AND ADDICTION: FACILITATING ENGAGEMENT, MOTIVATION, AND CHANGE Michael J. Silverman University of Minnesota, United States I. Detoxification

V. Music therapy research

A. Short-term units

A. Theoretical bases (Cevasco,

B. Withdrawal symptoms

Kennedy, & Generally, 2005; Jones, 2005,

C. Medical stabilization

Silverman, 2003)

D. Psychosocial treatment

B. Descriptive study of MTs in

E. Crisis

substance abuse work (Silverman, 2009) C. Effectiveness study (Silverman,

II. Stages of change

2008, July)

A. Precontemplation

D. Independent measure

B. Contemplation

E. Dependent measures

C. Preparation/determination

F. Results

D. Action E. Maintenance

VI. Working with consumers in detoxification

III. Motivational interviewing

A. Staff in-services

A. Current behaviors

B. Professionals

B. Current goals

C. Paraprofessionals

C. Incongruent behaviors

D. Recruiting participants E. Establishing rapport

IV. Change readiness and treatment

F. MT interventions

eagerness scale (SOCRATES), Working

G. Action-oriented counseling

alliance

H. Single session therapy

A. Applicable for detoxification (Miller & Tonigan, 1996)

(Soshensky, 2007) I.

Closure

B. Ambivalence

Food and drink

C. Recognition

K. “I” statements

D. Taking steps

L. Returning patients

E. Working alliance

M. Attitude

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

N. Community resources, follow-up treatment

dependent: A review of literature and pilot study. Arts in

O. Other psychosocial treatment P. Reporting to nurses, social

Psychotherapy, 30, 273-281. Silverman, M.J. (2008, July). The effect of

workers

psychoeducational music therapy on working alliance, readiness to

References

change, and coping skills of

Cevasco, A.M., Kennedy, R., & Generally,

psychiatric patients. Poster session th

presented at the 12 meeting of the

N.R. (2005). Comparison of movement-to-music, rhythm

World Congress of Music Therapy,

activities, and competitive games on

Buenos Aires, Argentina. Silverman, M.J. (2009). A descriptive

depression, stress, anxiety, and anger of females in substance

analysis of music therapists working

abuse rehabilitation. Journal of

with consumers in substance abuse

Music Therapy, 42, 64-80.

rehabilitation. Arts in Psychotherapy, 36, 123-130.

Jones, J.D. (2005). A comparison of

Soshensky, R. (2007). Music therapy for

songwriting and lyric analysis techniques to evoke emotional

clients with substance abuse

change in a single session with

disorders. In B.J. Crowe & C.

people who are chemically

Colwell (Eds.), Music therapy for

dependent. Journal of Music

children, adolescents, and adults

Therapy, 42, 94-110.

with mental disorders. Silver Spring, MD: American Music Therapy

Miller, W.R., & Tonigan, J.S. (1996). Assessing drinker’s motivation for

Association.

change: The stages of change readiness and treatment eagerness scale (SOCRATES). Psychology of

Michael Silverman, Ph.D., MT-BC is director of Music Therapy at the University of

Addictive Behaviors, 10, 81-89. Silverman, M.J. (2003). Music therapy and clients who are chemically

About the Author

Minnesota and researcher at the University medical center. Contact: silvermj@umn.edu

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

EPISODES OF RELATIONSHIP COMPLETION THROUGH SONG IN PALLIATIVE CARE Amy Clements-Cortés University of Windsor, Windsor, Canada While the scope of music therapy in the care

vehicle for the patient to reflect upon and

developed

convey feelings. At the transformative level,

considerably since it was first described

music therapy is implemented to facilitate

there is a deficit in the literature as to the

growth and insight at the end-of-life. Music

role

supporting

therapy sessions were implemented at each

relationship completion. Other than Dileo

of these stages with participants depending

and

upon their needs.

the

terminally

that Parker

music (2005)

ill

has

plays who

present

case

vignettes in the following areas: completing

A combination of intrinsic and instrumental

the relationship with self; completing the

case studies were used to describe the

relationship with God; and relationship

experience of four dying persons and their

completion with others there is no other

significant relations, as they engaged in

work that has focused on this area.

music therapy sessions designed with the

This study was driven by the following

goal of facilitating relationship completion.

question: What is the experience of a dying

Four case studies were developed to

person engaged in a specific music therapy

represent each of the rich and detailed

treatment program intended to facilitate

stories.

relationship completion? This music therapy

research methods I was able to describe,

program was specific in that it utilized Dileo

interpret, and understand the complexity

and Dneaster’s (2005) Model of Music

held within the multiple data sources that

Therapy in Palliative Care which defines

informed each case study. Data sources

three levels of practice including: supportive;

included: music created, utilized, recorded,

communicative/expressive;

and

and/or discussed in music therapy sessions;

transformative. As informed by Dileo and

discussions during music therapy sessions;

Dneaster (2005) at the supportive level,

the researcher’s field notes; formal notes

music therapy is used to palliate symptoms

placed in the participant’s medical charts;

common to end-of-life, and to offer support

the formal written assessment; transcriptions

for the patient. At the communicative and

of audio-taped music therapy sessions;

expressive level, music therapy is used as a

interviews; interview transcriptions; artistic

Through

the

use

narrative

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

pieces crafted by myself that emerged from

knowledge revealed and a discussion of

the experiences of the participants as

implications for music therapists and health

reflected in their interviews, and weekly

care professionals, as well as a presentation

participation in sessions which were verified

of final thoughts and reflections on my role

as researcher in this study.

the

participants;

and

other

artistic

material.

As a further means of communicating and

The rich knowledge that emerged from the

expressing the results of this research study,

individual case studies informed a cross-

case analysis where global themes were

Relationship Completion. This collection of

identified

songs is an artistic portrayal of the research

from

participants’

thematic

experiences;

analysis and

process

recorded

called

Episodes

study’s results and thematic analyses.

motifs arising from the progression of participant engagement in music therapy are

References and Resources

described. Global themes included: love;

Dileo, C., & Dneaster, D. (2005). Introduction: State of the art. In C. Dileo & J. V. Loewy (Eds.), Music therapy at the end of life (pp. xix-xxvii). Cherry Hill, NJ: Jeffrey Books. Dileo, C., & Parker, C. (2005). Final moments: The use of song in relationship completion. In C. Dileo & J. V. Loewy (Eds.), Music therapy at the end of life (pp. 43-56). Cherry Hill, NJ: Jeffrey Books.

loss;

gratitude;

growth/transformation;

courage/strength; and goodbye. The five process motifs that emerged were: 1. music therapy helps and was valued as a means of sharing the participants’ perceptions of their situation. 2. music therapy provides a safe place to become aware of, explore, and express feelings. 3. music enhances communication. 4. music

therapy

techniques

The CD is available for purchase on www.notesbyamy.com About the Author

provide

creative avenues for self-expression. 5. music therapy provided a vehicle for revisiting and reminiscing.

Amy Clements-Cortes, Ph.D., MusM, MTA is assistant professor in music therapy at the University

Windsor,

Canada.

She

maintains a clinical practice specializing in

This study has been published in book format and concludes with a summary of the

geriatrics, mental health, long-term and palliative

care.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC THERAPY IN THE PSYCHOTHERAPEUTIC PROCESS OF A PATIENT WITH BORDERLINE PERSONALITY DISORDER

Toshiyuki Saitoh Tanaka Hospital, Japan

Abstract

extremely

This paper describes the role of musicking’

hospitalized many times.

complicated

and

she

was

in the psychotherapeutic process of a patient with borderline personality disorder

Five years after her first consultation, she

(BPD) from the psychodynamic point of

was hospitalized again as she indicated and

view.

suffered from psychotic state. She claimed that “there are men in the black cars who

The treatment of this patient had been

keep watching me.

complicated for years due to her premature

the dialogue psychotherapy, her attitude to

object relationships. But she introjected the

the therapist was unstable. Sometimes she

therapist who was leading the music activity

tried to kiss him saying “I’ll give you a

in the ward, and became a staff of a welfare

reward”, and then she cursed him using dirty

institution.

words.

Description

Every two weeks, the therapist conducted a

Up to 14 years old, the patient had liked and

session named “Music Time.” In this session,

enjoyed playing the electronic organ. But

the inpatients sang Japanese popular songs

she got angry because her mother did not

and folk-songs together for about an hour.

buy her a new expensive one, and had not

played it since then. After this episode, her

accompanying the songs on the electronic

relationship with her friends had not been

piano at the same time.

was

Through the course of

leading

the

session

and

successful at school. When she first visited the psychiatric hospital at the age of 18

He kept identifying himself to her, not as a

years, she

psychiatrist, but as “a person who plays

was

suffering

from

the

depressive state with bulimia. Because of

music,” throughout the sessions.

her self-injury, violence, abusive language to other people, the course of treatment was

At first, she wanted to play her repertoire at the keyboard as if she was competing with

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

him. She had demonstrated excessive self-

he could maintain relationship with her

satisfaction in her music. But several months

through music. In the music activity, the

later, she offered to accompany the songs

relationship of this pair was kept fairly stable.

for other patients. She introjected the

She gradually introjected the therapist as

therapist’s

role

musicking person, namely a person who

undertake

accompanist’s

and

became role

able

the

serves others through music activity. It can

therapist. After hospitalization of

six

be assumed that she had recalled the self-

months, she was discharged from the

image of her teen-age as “a good keyboard

hospital and continues to receive dialogue

player.” It could be considered that the

psychotherapy as an outpatient.

process of ‘Musicking’ had bypassed the pathological nature of BPD.

She is thirty-one years old now and is working as a staff in a welfare institute for mentally handicapped people.

References Kandabashi, J. (2004). The trail of the ideas 2. Tokyo: Iwasaki Gakujutsu

Discussion

Shuppansha.

Generally speaking, the patient with BPD

Small, C. (1998). Musicking: The Meanings

shows a pattern of unstable and intense

of Performing and Listening. Middletown,

interpersonal relationships characterized by

Connecticut: Wesleyan University

alternating

Press.

between

extremes

idealization and devaluation (DSM IV-TR). However, premature defense mechanisms

About the Author

can function not only as a source of

Toshiyuki Saitoh, M.D. is the

interpersonal confusion, but also as a

Vice-President of Tanaka Hospital,

potential key to therapeutic understanding.

Psychiatrist and a Registered Music

This case obviously showed the instability of interpersonal relationships. The therapist often became the target of her stormy

Therapist (Japan). Contact: westower@mtb.biglobe.ne.jp

emotions. Nevertheless, he survived as a therapist. It was the great help for him that

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

ARTSTORIES: INTERGENERATIONAL INVOLVEMENT AND LEARNING WITH THE ARTS IN NORTHERN AUSTRALIAN COMMUNITIES Anja Tait Northern Territory Library, Australia Abstract

disciplines and paradigms [to] interrogate

ArtStories

the assumptions and values that underlie

intergenerational involvement and learning

their [everyday personal and professional]

with

arts-driven

practices” (Cochran-Smith & Donnell, 2006,

transdisciplinary practice in community, and

p. 508). Four core principles describe ways

reflects some of the key tenets of community

of including and involving people with each

music therapy practice (Stige 2004).

other and with the arts, in education, health

the

a arts.

participatory It

model

and community settings: The beginnings … participatory research

•

Connect people, ideas and purpose

The ArtStories model emerged from a three-

•

Share stories of people, place and

year participatory research initiative, which investigated the impact of involvement with

practice •

the arts on learning and wellbeing, in urban, rural and remote school communities (A Tait, 2010). The research involved music

Explore the past, the present and future possibilities

•

Be inventive and open to learning from the unexpected

therapists, community artists, educators,

For the ArtStories model to be in evidence

linguists, and families (A. Tait & Murrungun,

two elements of practice are observed: (i)

2010). A mixed methods design valued

intergenerational involvement and learning

quantitative data as well as visual, spoken

with the arts, and (ii) participatory methods

and written narratives, which contributed to

that reflect the core principles and contribute

a rich description of phenomena across

to effective learning partnerships.

cases (Wallace & Tait, 2006). “Effective learning partnership[s] change ArtStories as a model of practice

people, and change systems. People and

ArtStories brings together practitioners and

organisations are fluid, flexible, altered,

community

gender,

different from before, when they participate

generation and culture, in urban, rural and

in a collaborative process” (Anja Tait, et al.,

remote

members

environments.

across This

creates

2010, p. 134).

opportunities for people “from different

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

In ArtStories collaborations, people include and involve others in arts-driven inquiry and practice. “Being involved in and around [the arts] provokes chance-taking, and triggers action.

Involved

people

nurture

and

encourage others to maintain and grow their involvement”

(Bartleet,

Brunt,

Tait,

Threlfall, 2011 in press). This presentation presents

illustrative

examples

intergenerational involvement with the arts. Sustaining transdisciplinary practice A community of practitioners sustains the ArtStories model, taking knowledge and experiences with the arts into new places and unexpected collaborations.

Libraries,

schools, and other family and community services are spaces that can involve people of all ages with the arts. Introducing the arts into community and public spaces promotes social inclusion and community wellbeing by providing “an alternative means of engaging with ideas, actions and interactions in our world” (Anja Tait, et al., 2010, p. 135). ArtStories is a pragmatic philosophy and a dynamic model of practice reframed by daily interactions and reflective practice.

Cochran-Smith, M., & Donnell, K. (2006). Practitioner inquiry: blurring the boundaries of research and practice. In Green & et al. (Eds.), Handbook of Complementary Methods in Research (pp. 503-518). Tait, A. (2010). ArtStories: arts-driven initiaitves in education, health and community settings. In B. Hesser & H. N. Heinemann (Eds.), Music as a natural resource: Solutions for social and economic issues compendium. (pp. 108-109). New York: The International Council for Caring Communities (ICCC), United Nations Headquarters. Tait, A., & Murrungun, L. (2010). ArtStories: early childhood learning in remote Indigenous Australian communities. Imagine, 1(1). Tait, A., Musco, E., Atfield, M., Murrungun, L., Orton, C., & Gray, A. (2010). Weaving new patterns of music in Indigenous education. In J. Ballantyne & B. L. Bartleet (Eds.), Navigating music and sound education. Meaningful Music making for Life, 2. Newcastle upon Tyne: Cambridge Scholars Publishing. Wallace, R., & Tait, A. (2006). Community control & knowledge management: practitioners & community working together. Paper presented at the Connecting Intergenerational Communities Through Creative Exchange Conference 2006, Melbourne. About the Author Anja Tait (RMT) is a music therapist, music educator, and researcher, who blends these

References

disciplines in community-based practice as

Bartleet, B. L., Brunt, S., Tait, A., & Threlfall, C. (2011 in press). Community Music in Australia and New Zealand. In K. Veblen & D. Elliott (Eds.), Community Music Today. USA: Rowman and Littlefield Publishers.

Library Program Advisor, in urban, rural, and remote Indigenous communities throughout the Northern Territory of Australia Contact: anja.tait@nt.gov.au

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

STUDYING MUSIC AND SOCIETY: A MULTICULTURAL PERSPECTIVE FOR MUSIC THERAPY STUDENTS Karin Sandra Biegun Viviana Andrea Liatis University of Buenos Aires In this paper, based on our teaching

Nowadays, the scope of Anthropology is

experience in Anthropology of Music, we

larger and it may study any phenomenon in

want to explore the implications of an

any society. The most important idea is that

anthropological perspective in the approach

there is not a pre-established object or

to different music and musical items like: the

matter of study, but there is a distinctive

many

approach,

uses

instruments,

songs

and

performances,

rhymes,

systems

The anthropological methods that have been

organizing the sound and ways of teaching

used

and learning music.

observation,

Our purpose is to

our

pupils

life

are:

participant

histories,

and

thick

promote and encourage an interest in

description. It’s very important the principle

different musical expressions in MT students

–so they will be able to enrich the repertoire

researcher leaves apart his own culture

to work with- being the ultimate goal the

assumptions about things usually perceived

development of a cultural sensitivity in their

as ‘normal’, ‘common’, or ‘ordinary.’

future practice in this multicultural world.

The

“strangening”

culture ,

that

Anthropology,

implies

central

that

category

the

should be understood as

Anthropological perspective

those symbolic, linguistic and meaningful

Most of the students usually think that the

aspects of human collectivities.

object

Another important topic is the identity.

something invested with “exoticism”, may be

Different music genres have helped different

“primitive” and, definitely, very far and very

kinds of people to construct valued social

different from their way of living and

identities The key concept that connects

societies. This was the way in which this

music and identity is “narrativity.” It is

object of the science was thought a couple

through this linguistic construction that any

of centuries ago. In that historical context –

member of

which some authors define as a stage of

constitute his social identity

study

for

Anthropology

any

human

group

(Vila, 1996).

capitalism, imperialism- anthropology will focus

the

colonial

territories

while

sociology will study the “civilized” centers.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

Musical culture and music therapy

university "mapuche" students, who have

In their research the students had to choose

migrated from rural Southern Chile to the

an aspect or performance belonging to a

capital city. They could rediscovery their

particular musical culture. They investigated

identity using music (Quijada, 2008).

the Basque txalaparta and his political

In the second field, “Music Therapy as a

function,

power of

culture”, we have to analyze the Music

rituals

Therapist role and the rituals and mythology

singing

involved in this practice. There is not a

samulnori,

"general" Music Therapy, valid for all the

among others. To organize the analysis, we

cultures, but a specific Music Therapy,

use the scheme of Merriam considering

adapted to a time, space and given society

three

(Ruud, 1998).

the

symbolizing

the Neapolitan concerned with

canzonetta,

"caja",

the

Argentine

the tango and

levels:

the

concept

music,

Thus, we believe that the

behaviors related to music -physical, verbal,

music therapist must learn to understand the

social- and the music itself (Merrian, 1964).

contextual,

Following Stige, we found two fields of

meanings of music that the patient brings

important interaction between music and

from

culture: one

in the

strengthen

culture”, the other “Music Therapy as a

belonging.

is “Music

Therapy

his

symbolic enculturation, his

identity

and

functional

order

and

sense

culture”. In the first one, it is important to consider the

References

symbolism, rituals and mythologies of the

Forrest, L (2002). A question of theory and practice: applying ethnomusicological theory to Music Therapy practice. In Conference Proceedings. Merriam, A. (1964). The Anthropology of st Music, 1 paperback edition, U.S.A.: NWU. Quijada Garrido, L. (2008). Musicoterapia e identidad mapuche . In XII Congreso Mundial de Musicoterapia, Bs. As: Librerìa Akadia . Ruud, E. (1998) Music Therapy: Improvisation, Communication and Culture, U.S.A: Barcelona Publishers. Stige, B. (2002). Culture Centered Music Therapy, U.S.A: Barcelona Publishers. Vila, P. (1996 ). Identidades narrativas y Música. In Transcultural Music Review nº 2.

patient's culture or group work as well as customs, calendar of festivities and religious taboos. The same consideration applies to the concepts of "theraphist", "relaxation", “pain". The number of immigrants is increasing, They need to grieve losses and recreate their

fractured

identity using

music,

integrating past and present experiences (Forrest, 2002). It’s essential, because the experience of a strong identity, flexible and consistent, give significance to life, and is a prerequisite to health (Ruud, 1998). A clear

Contact: karinbiegun@yahoo.com.ar

example, is the experience with a group of

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

RECENT NEUROGIOLOGICAL RESEARCH ON TRAUMA AND SUPPORT FOR MUSIC THERAPY Gene Ann Behrens Elizabethtown College, Elizabethtown, Pennsylvania, USA Researchers

have

identified

several

changes in adults’ and children’s brain when

results in reliving the memories as if they were occurring in the present.

traumatic events occur (Perry, 2001; van der Kolk, McFarlane, & Weisaeth, 1996). Raw,

hyperaroused sensory information sent to

investigated the influence of trauma on the

the amygdala results in very high or low

neurodevelopment of children. Their brains

levels of norepinephrine that in turn are sent

develop along a stress-response, “use-

the

hypothalamus.

recently

researchers

also

have

Within

the

dependent” pathway (Perry, 2001) in which

organization

and

the more a neural area is stimulated, the

integration of a person’s declarative and

more that area will change. Because the

nondeclarative

with

lower, reactive, excitatory brain areas are

traumatic experiences becomes disrupted.

used most often by children dealing with

Only free-floating, isolated fragments of the

trauma, they continue to develop at the

emotional

information

expense of the upper brain that aids with

associated with the traumatic experiences

interpretation and control of responses.

are available as highly charged, indelible

Children

memories

unresolved trauma, therefore, often find it

hypothalamus,

the

memory

and

without

associated

sensory

any

connection

previous or present experiences.

dealing

with

repeated

difficult to interpret and modulate their responses to stress. Research in the area of

In addition, imaging studies demonstrate a

neurodevelopment

shift in hemispheric processing as the left

understand the devastating influence of

hemisphere tends to shut down while the

trauma in areas such as attachment, affect

right hemisphere becomes hyperaroused

and behavioral regulation, cognition, and

(Clark, et al., 2003). Because language is

self-concept.

helps

therapists

processed in the left hemisphere, clients dealing with repeated or unresolved trauma

Based

experience impaired ability both to further

suggest

interpret traumatic events and to talk about

interoceptive approaches to treatment rather

the experiences. Talking about them often

than top-down approaches involved in most

recent

research,

bottom-up,

therapists

body-oriented

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

talking therapies (van der Kolk, McFarlane,

References

Weisaeth, 1996). Top-down approaches are

Behrens, G. A. (2008). Using music therapy to understand emotional needs of Palestinian children traumatized by war. Presented at a meeting of the American Music Therapy Association, St. Louis. Behrens, G. A. (2010). Understanding the neurobiological and developmental impact of complex trauma in children. Presented at meeting of the American Music Therapy Association, Cleveland, OH. Behrens, G. A. (2011). How recent research and theory on traumatic stress relates to music therapy. In Proceedings from NATO Security Workshop on Music therapy Against the Negative Effects of Terrorism. Ankara, Turkey. Clark, C., McFarlane, A., Morris, P., Weber, D., Sonkkilla, C., Shaw, M., Marcina, J., Tochon-Danguy, H., & Egan, G. (2003). Cerebral function in posttraumatic stress disorder during verbal working memory upgrading: a positron emission tomography study. Biological Psychiatry 53, 474-481. Perry, B. (2001). The neruodevelopmental impact of violence in childhood. In D. Schetky & E. Benedek (Eds.), Textbook of child and adolescent forensic psychiatry (pp. 221-238). Washington, D.C.: American Psychiatric Press. van der Kolk, B., McFarlane, A., & Weisaeth, L. (Eds.). (1996). Traumatic stress. New York: Guilford Press.

difficult for adults and children struggling to discuss their experiences and often result in re-experiencing the trauma. Although limited research exists on the use of music therapy for trauma stress, these methods provide similar

body-oriented,

interoceptive

experiences that facilitate progress in areas of need such as the reintegration of nonverbal perceptions, sensations, memories, and emotional responses; the development of emotional coping skills; and the control of trigger responses—all which aid in resolving trauma. Few

music

therapists,

however,

have

referred to recent neurobiological research in their work with individuals dealing with trauma. Behrens (2008, 2010, 2011) has focused on how the research supported her work with children traumatized by the ongoing conflicts in Bethlehem in the West Bank

the

Occupied

Palestinian

Territory. She used a seven-component music therapy protocol during five weeks of sessions with 20 children aged 7 to 12 years and obtained significant changes in six of seven

scores

from

pretest-posttest

evaluation of the children’s emotional skills.

About the Author Gene Ann Behrens, Ph.D., MT-BC, is Associate Professor and Director of the Music Therapy Program at Elizabethtown College, Pennsylvania, USA.

Although more documentation is needed, Behrens’ results provide initial support for

Contact: behrenga@etown.edu

the use of music therapy in trauma work based on recent neurobiological research.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC THERAPY TO STABLE LAND： POST-EARTHQUAKE CRISIS INTERVENTION IN CHINA Jennifer Hsiao-Ying Tiao Music Therapist, China Abstract

31, 2008. Volunteers are organized into 3

As a music therapist for Sichuan 512 earthquake crisis intervention program in China, I worked in June 2008 at a Transitional Resettlement in earthquake zone in Sichuan, China. I lived within the site with survivors and working for almost 1 month. The model that I applied is of stabilization-oriented music therapy. To help the client restore these connections is an ultimate goal for the music therapist - music therapy to stable land!

tiers, with a 1-month-long duration of treatment per tier. Method The therapist applies Stabilization-Oriented music therapy, based on supportive and activity-oriented music therapy. (Gao, Tian. 2006) The goal of the therapy model is the “stabilization and mobilization of the inner

Inspiration There is a proverb in the Bible that a goodhearted Samaritan did his best to take care of the wounded with what he had on hand:

positive resource” of the survivors. The therapy

model

structured

with

components (Figure 1).

oil and wine. (Bible) As we seek to define support and caregivers, in the broadest sense, we might define neighbors as those people who are in need, rather than the individuals selected to one’s preference. When we ask “Who Is My Neighbor?” maybe, it would be useful to ponder deeply over the matter. This is a potentially useful point to consider when addressing trauma.

Figure 1: Therapy model: stabilization-oriented music therapy.

Program Overview The music therapy program for the Sichuan 512 Earthquake Crisis Intervention in China was a 3-month-long project organized by Central Conservatory of Music in China, lasting from June 1, 2008, through August

Results The method and results in this paper include: 1) Community Orientation: Mobilize Social Resource for Music-Oriented Locals, 2) Hybrid Sub-Community Orientation: The

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

Recovery of Confidence for Withdrawal

Under the encouragement by the music

Behavior, and 3) Purely Small Groups:

itself and the support of the group (including

Children, Teens, Adults, Seniority, and

the therapist), she leads the group to follow

Working Staff.

her rhythm. The volume from her instrument surprises the therapist for her courage and

Community Orientation

presence of the power in music.

After moving into the resettlement, the therapist conducted a “music-immediate

Purely Small Group: Enhance Stability

assessment” and discovered that there were

for Working Staff

a proportion of Qiang and Tibetan survivors

The working staff at the resettlement, to

who had inherited and grew up in a culture

offer support/service to the survivors include:

filled with music and dance. The style of

police,

music known as ‘song of a kin’ (Loewy, J.

administrative staff members, chefs, etc.

2009) was applied and used throughout the

The

crisis-intervention period. Overall, based on

stabilization-oriented

the written and anecdotal feedback from the

model to the working staff: music relaxation,

administrative

the

positive imagery therapy, and solo at the

psychological state of survivors in the

weekly concert of the re-creative music

community became much more stable after

therapy sessions.

management

leader,

community

music

therapist

news also music

editors,

applies

the

therapeutic

receiving music therapy. Additionally the number

instances

conflicts

among

the

inter-personal

survivors

the

resettlement has reduced. Hybrid Sub-Community: The Recovery of Confidence The majority of the “Sub-Community 1” group includes women who are 30 years old.

References Bible: Luke 10:33-44. Gao, Tian (2006). An Introduction To Music Therapy. China: Army, Medicine, and Science Publisher. Loewy, J. (2009). Musical sedation: Mechanisms of breathing entrainment. In R Azoulay, Loewy J V (Eds.). New York, USA: Music, the Breath & Health: Advances in integrative music therapy, 223-232.

Among them, there is a woman showing symptoms of withdrawal behavior. The therapist

uses

the

“Drum

Circle”

improvisational music therapy as the activity

About the Author Jennifer Hsiao-Ying Tiao Shih is a music therapist.

for the group. Within the Drum Circle, the therapist invites a woman showing behavior

Contact: hy_tiao@yahoo.com

withdrawal symptom to play and then to lead.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THE EFFECTIVENESS OF MUSIC THERAPY INTERVENTIONS IN GREECE Dora Psaltopoulou Dora Aristotle University of Thessaloniki, Greece Micheli Maria, General Hospital Thessaloniki, “Agios Paulos,” Greece Kavardinas Nikos, Phycics, Public Education Schools, Greece

Method

Research Background

Quantitative research was conducted upon Music Therapy is a new and developing profession in Greece with very limited research

conducted

relation

its

effectiveness and use. The drive for this research began from the need to document areas where Music Therapy is known to flourish in other countries yet no research

149

subjects

with

disabilities.

Questionnaires were used as research instruments, which were answered by the subjects’ parents. The data was processed with the statistical instrument SPSS v.12 with hypothesis validity set at a=0,05 and twofold crosschecking.

would prove so for Greece. The main assumptions were related with the types of populations and the characteristics of their pathologies, as well as, the role that is played by the combination of different therapy modalities to them, so as to show the effectiveness of Music Therapy in

Conclusions Amongst conclusions drawn following the analysis of the findings, the following three appear to be of greatest importance: •

Music Therapy is effective regardless the pathology of the subjects. The

Greece.

subjects participating in Music Therapy sessions in Greece are mainly children

Objective

and young adults with mental disabilities

The key objective was to assess the

such

effectiveness of music-therapy through the personal evaluations made by the parents of the subjects. The subjects’ characteristics and

parental

environments

were

Autism,

Down

syndrome,

Cerebral palsy, etc. •

Impressively, the research shows that the

severe

the

preliminary

pathology conditions of the subjects, the

documented as populations who participate in the practice of music therapy in Greece.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

greatest

the

improvement

the

subject’s condition. •

References Oldfield, A., & Adams, M. (1990). The

Music Therapy is proven to be effective regardless the co-practice of other therapies such as Occupation Therapy, Speech Therapy and Psychotherapy. The research shows that Music Therapy can be a main therapy for the studied populations in Greece.

effects of music therapy on a group of profoundly mentally handicapped adults. Journal

Intellectual

Disability

Research, 34(2), 107-125. Ulrich, G., Houtmans, T., & Gold, C. (2007). The additional therapeutic effect of group music therapy for schizophrenic patients: a randomized study. Acta

Table 2.

Psychiatrica Scandinavica, 116(5), 362Therapies other than music therapy

Non e Perso nal growt h (Mea n)

Spee ch Ther apy

Occupati onal Therapy

Psychothe rapy

10,78

10,67

10,38

370. Speech Therapy & Occupati onal Therapy

About the Authors Dr. Psaltopoulou Dora, CMT is a lecturer at the Aristotle University of Thessaloniki,

13,0 0

11,84

Greece. Contact: dora.ps@gmail.com Micheli Maria, RN, MSc works at the General

Hospital

Thessaloniki,

“Agios

Paulos”, Greece. Kavardinas Nikos, Phycics is a teacher in Secondary Public Education schools in Greece.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSICAL AND ANALOGICAL LANGUAGES FOR INTEGRATION IN MULTICULTURAL GROUPS OF CHILDREN Claudio Cominardi Music therapist – Brescia, Italy Music: A Building Site of Cultures In

world

increasingly

Beside

cultural

and

intercultural

potential, a very interesting aspect of

multiculturalism and multimedia, music has

musical language is its ability to create

penetrated in every topic and level of our

communication between different expressive

society creating a huge and indispensable

mediators such as images and colors,

presence of our contemporaneity. In facts,

movement

nowadays

the

technological supports, the environment,

different

therefore making it possible to create direct

cultures and types of identification, acquiring

meetings between worlds of perceptions,

important values of belonging, distinction,

sensory and relations apparently very far

comparison and exchange. This can give us

from each other. In these meetings we

the opportunity to transform the musical

always work out answers that spread the

languages into integration mediators able to

musical languages to other experiences

build, enhance and, most of all, redesign

different from the sound, but at the same

knowledge models. So the challenge of

time related to it. For example, the listening

music today, maybe its new real revolution,

differences between a high sound and a low

lies in the acting as a communication

one, can lead to the perceptive distinction

mediator

only

between bright and dark, small and big, cold

between diversities, but inside their own

and warm, fast and slow, and so on. The

expressing ways.

sound

its

simultaneous

driven

the

languages cohabitation

which

can

arise of

interact

not

dimensions

and

therefore of

body-language,

linked

sensory

other

perception,

This could be an advantage, which would

especially two of them, movement and color,

contribute to change and transform several

which establish the foundations of non-

cultural poverties into riches, if we view

verbal language.

knowledge as a kind of richness, would be the dialogue and the balance of diversities.

At this point, redesigning an integration between

diversities

through

creative

Sound, Movement, Color: The “Musical”

processes build on musical and analogical

in Expressive Languages

languages, means to make actions which

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

can balance our communicative nature with

transform a creative improvisation in an

the actuality of our living, as a research in a

integrated meaning. In this mixing of musical

real contemporary model of interculture.

and

extramusical

languages,

music

becomes an encounter in which each From Creative Process to Intercultural

expressive element can be musical, wherein

Process: The INTEGRATED REDESIGN

the musical elements of each expressive

In my clinical and educational work, I have

mediator are shared. As a mediator of

been experimenting with new models for

expression,

integrating groups of children from 3 to 6

becomes more and more a mediator of

years old of different cultures into common

diversity, a real experience of integrated

musical and multi-sensory improvisation,

redesign of knowledge models for the

aimed at improve personal relationships,

development of new forms of relationship

lower language and cultural barriers, and

and social integration.

harmonize

their

differences.

this

integrated

language

These

improvisations includes special synaesthetic

The groups of children who have elaborated

paths aimed at mix musical and analogical

these paths, have spontaneously developed

languages in integrated experiences, which

new

shift

from

personalities, and this has allowed different

movement to color, and from color to sound

cultures to interact with more awareness

in order to grow an inner sharing within each

and

group. In fact, when the children are

increasing

improvising

autonomy,

from

sound

movement,

music

simultaneously

their

freely, music

extend

with

other

languages such as body movements and gestures,

painting

and

drawing,

shared

languages

opening,

reducing

self-esteem and

between

their

the

prejudices,

and

expressive

balancing

the

contemporaneity of the social contexts which they belong to.

and

environmental meanings to create new

About the Author

interactions and relationship dimensions,

Claudio Cominardi is a music therapist in

evolving new languages through sensory

Brescia, Italy. His work mainly revolves

processing. For example, drawing on a big

around children, researching new forms of

sheet

musical and analogical languages aimed at

observing movements,

spontaneous its

chromatic and

scribble, impact

interpreting

while and

intercultural

with

hyperactive disorders.

integration,

attention

and

instrument and body-action in a space/time rapport between analogical mediators, can

Contact: c.cominardi@tiscalinet.it

Proceedings of the 13th WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

IMPLEMENTATION OF PIANO INSTRUCTIONS FOR CHILDREN WITH AUTISTIC DISORDERS Kasumi Sasaki Chiba Prefecture Support Center for Developmental Disorders, Japan

Child B with autism and mental retardation (CA:13years old,WISC:VIQ50, PIQ 75,FIQ64)

ABSTRACT A program of piano instructions that focused on (1) developing playing skills, (2) home practice, and (3) giving a recital was conducted to children with autistic disorders, and its effects were examined. Regarding (1), children were given training in the sequence-of-notes, as well as rhythm training. The results indicated that the sequence-of-notes was learned relatively well by most participants, whereas rhythm learning differed depending on the child. Regarding (2), playing itself was made a reinforcer through self-recording, and as a result, the children continued to practice. Regarding (3), it offered social reinforcement to the participants and raised the social appralasal of the child by the public. The above results indicate that comprehensive piano instructions that included acquiring playing skills, developing skills through home practice, and social reinforcement through recitals were effective in encouraging children with autistic disorders to continuously play the piano as a leisure activity.

2. 2.1

Target behavior of playing piano is to play anime songs (24 bars) by only a right hand.

2.4

PURPOSE

This study is examined for the piano guidance program for children with autism, and to propose practicing instructional method. Additionally, verified whether acquired skill functions as a leisure activity.

Target behavior

2.3

Dependent variables

・

I consider pitch& rhythm and each the correct rate as a dependent variable to analyze the piano performance into 2 tasks.

・

I consider performance time and assumed it fluency.

・

Third party evaluation used to measure performance (skilful, smoothly, rhythmical, concentration, happy, appropriate manner). Twenty college student evaluation on an ascending risk scale of 1 to 5 after watching video (pre and post).

3. 3.1 .

RESULT

Pitch and Rhythm

B.L V.P A.P①

METHOD

B.L

A.P②

A.P

V.P+A.P ②

Step of piano instructions

Fig.2 Percentage of correct response V.P:Visual prompting system A.P:Auditory prompting system piano

2.2

Number of children

Child A with autism and mental retardation (CA:10years old, VIQ43, PIQ 62,FIQ47)

Singer song

Accompany her on the

Inter observer agreement were pitch 100% and rhythm more than 94.6%. Sasaki,K.,Takeuchi.K.,&Noro,F.(2008) V.P:Visual prompting scystem A.P:Auditory prompting system

①Singer song

② Accompany her on the piano

Proceedings of the 13th WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

It is confirmed that the process of acquiring rhythm is

Fluency

3.2

diverse from each children and an opportunity of concert gave them motivation. The above results indicate that comprehensive piano instructions that included acquiring playing skills, developing skills

Child A

through home practice, and social reinforcement through recitals were effective in encouraging children

second

with autistic disorders to continuously play the piano as a leisure activity.It is considered that piano instruction

Child B

for autistic children needs cyclical program which consists of skill instruction , practice and presentation. And such program can motivate autistic children .

Fig.2 Percentage of time

Third-party evaluation

3.3

Concert in community

Practice in home

Child A

Child B

Session

REFERENCE

Fig.3 Third-party evalution Twenty college students evaluation on an ascending risk scale of 1 to 5 after watching video (pre and post). Sasaki,K.,Takeuchi.K.,&Noro,F.(2008)

4. 4.1

Sasaki,K.,Takeuchi.K.,&Noro,F.(2008) The Japanese Journal of special education 46(1), 49-59, 2008-05-31

Contact information

DISCUSSION

Acquisition process of the piano skills

Kasumi Sasaki, music therapist , psychologist . master of special education Chiba Prefecture support center for Developmental disorders E-mail kasumixchoco2003@yahoo.co.jp

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

TEACHER / TEACHER ASSISTANTS’ EXPERIENCES IN MT-ADVISED MUSIC ACTIVITIES FOR STUDENTS WITH DEAF-BLINDNESS Lai Ching Lam Music Therapist, Hong Kong Felicity Baker The University of Queensland, Australia

Abstract This study was conducted in a special school in Hong Kong, aimed at examining the experiences of musical communication between teacher / teacher assistants and students with deaf-blindness; and exploring the role of music in teaching the students. The participated teacher / teacher assistants expressed that music was a good communication media and it might be helpful in teaching students with deaf-blindness. Introduction Deaf-blindness is a unique situation and varies from person to person (Aitken, et al., 2000). The teaching techniques for students with only visual impairment, hearing impairment, or intellectual disabilities are not adequate to teach students with deafblindness (McInnes, 1999). Teachers may need to search for other ways to facilitate communicating with and teaching them. Music, as a medium for self-expression and communication with others and proved to be effective in teaching students with multiple disabilities (Jellison, as cited in Chamberlain & Gallegos, 2006; Ockelford, 2000), can it be a communication medium between teachers and students with deaf-blindness? Recent research in this area is minimal. In order to fill in this gap, a pilot study was conducted to explore the effect of using music to communicate with students with deaf-blindness. The aims of the study were examining the experiences of the teacher / teacher assistants in conducting individualized music activities for students with deaf-blindness; identifying the differences between musical and non-

musical communication; and exploring the role of music in the communication. Method A special school for the blind in Hong Kong was selected to conduct this research project. All five students with deaf-blindness and the five teacher / teacher assistants who were closely connected with the students were recruited. Written consent was sought from participants and students’ guardians. A workshop and guidelines were provided to the teacher / teacher assistants facilitating them to design individual music activities for the students in a three-week period. The qualitative data were collected from focus group meetings, supplemented by the diary, music activities record sheet and questionnaires. Results Four teacher / teacher assistants expressed that they valued the individual sessions with students and found that their relationship with the students had been established / improved. Moreover, they regarded music as a good communication media with students and intended to employ music to regulate the challenging behaviors of students, to reward students with appropriate behaviors, establishing relationships with students and/or lengthening students’ attention spans. In addition, teacher / teacher assistants found that students behaved differently in the music sessions. For example, they had more enjoyment, interactions with others, initiative in making music, and tendency to explore new things. They believed that

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

music might facilitate educating students with deaf-blindness. Discussion Teacher / teacher assistants expienced differently in the study. This might due to the different levels of disabilities and visual and hearing impairments of the students. The positive experiences of teacher assistants might be due to the unique opportunities provided for them to meet the students individually and the positive responses from the students. The teacher who did not make the same comments as other teacher assistants might be due to the unresponsiveness of her student who had severe and profound disabilities. Most of the findings and comments from the teacher / teacher assistants were consistent with other literatures related to applying music in special education (Janssen et al., 2002; Kirkebaek, 2007; Magee & Bowen, 2008; Ockelford, 2000; Sze, 2006). Although there were limitations such as small sample size, subjective data from the teacher / teacher assistants and limited number of interventions, the findings of this study offered the teacher / teacher assistants a new way to connect with the students where verbal and visual media had failed. Conclusions and Recommendations The results of the study showed that the teacher / teacher assistants perceived music as a good communication media with students with deaf-blindness and had a positive view on employing music in the educating the students in the future. However, the effects of employing music in communicating with students with deafblindness and its role in education should be further investigated. References Aitken, S., Buultjens, M., Clark, C., Eyre, J. T., & Pease, L. (Eds.) (2000). Teaching children who are deafblind: Contact, communication and learning. London:

David Fulton Publishers. Chamberlain, S. P., & Gallegos, J. (2006). Judith A. Jellison: Music and children with special needs. Intervention in School and Clinic, 42(1), 46-50. Janssen, M. J., Riksen-Walraven, J. M., & van Dijk, J. P. M (2002). Enhancing the quality of interaction between deafblind children and their educators. Journal of Developmental and Physical Disabilities, 14(1), 73-94. Kirkebaek, B. (2007). Reaching moments of shared experiences through musical improvisation: An aesthetic view on interplay between a musician and severely disabled or congenital deafblind children. In S. Braten (Ed.), On being moved: from mirror neurons to empathy (pp. 269-279). Amsterdam: John Benjamins Publishing Company. Magee, W. L. & Bowen, C. (2008). Using music in leisure to enhance social relationships with patients with complex disabilities. NeuroRehabilitation, 23, 305-311. McInnes, J. M. (Ed.) (1999). A guide to planning and support for individuals who are deafblind. Toronto: University of Toronto Press. Ockelford, A. (2000). Music in the education of children with severe or profound learning difficulties: Issues in current U.K. Provision, a new conceptual framework, and proposals for research. Psychology of Music, 28, 197-217. Sze, S. (2006). Empowering students with disabilities through music integration in the classroom: Music therapy on student. Academy of Educational Leadership Journal, 10(2), 113-118. About the Authors Lai Ching Lam is a registered music therapist practicing in Hong Kong. Contact: jennymusictherapy@gmail.com. Felicity Baker is an associate professor of The University of Queensland in Australia.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

SHADOW GRIEF: HOW MIGHT MUSIC THERAPY ASSIST BEREAVEMENT FOLLOWING MISCARRIAGE OR STILLBIRTH? Margaret Broad Nordoff-Robbins Music Therapy in Scotland, Scotland

This paper is an abridged version of the Dissertation

in the last three decades, bereavement

submitted

following miscarriage or stillbirth can still be

towards completion of my MSc Music

a very traumatic experience. Each day in

Therapy

the United Kingdom seventeen babies die

studies at Queen Margaret University in

as a result of stillbirth or neonatal death

Edinburgh, which were supported by the

(Why17, 2010) while approximately one in

Music Therapy Charity.

four pregnancies ends in miscarriage (NHS,

Clinical

Project

(Nordoff-Robbins)

during

2009).

This particular type of loss differs

Abstract

from other forms of bereavement in that grief

As a precursor to the implementation of

is for a life unlived (Miscarriage Association,

future clinical work, a qualitative study, using

2009). There are no shared experiences or

semi-structured interviews with bereavement

memories.

support workers, investigated the stage of

many years (Peppers and Knapp, 1980), yet

bereavement at which music therapy might

despite recent improvements in health policy

be beneficial for bereaved parents who have

bereaved parents are not always adequately

experienced loss through miscarriage or

supported in their grief (Schott, Henley and

stillbirth and what type of approach might

Kohner,

sensitively meet their needs.

investigate

Shadow grief may linger for

2007).

Feeling

further,

compelled

literature

review

revealed a dearth of music therapy literature Conception

in the area of bereavement with this

In 1986 I miscarried my first child at sixteen

population.

weeks gestation.

motivation for this study was born.

Losing a much wanted

Thus the focal point of and

baby was a devastating experience for both me and my husband. Birth and death were

Gestation

superimposed.

We felt numb, confused,

The research aims were to investigate: how

isolated

unsupported

music

and

professionals.

Although

health

support

for

bereaved parents has increased significantly

therapy

might

assist

bereaved

parents who have experienced loss through miscarriage

stillbirth;

which

musical

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

therapeutic strategies might be appropriate

regard to her own bereavement, one said “If

to assist their grief process; at which stage

there was another channel in which they

of the grief process music therapy might be

could have said - ‘Look, there’s some music

an appropriate intervention.

therapy open to you here’, - I absolutely

Adopting

phenomenological-orientated

would have taken it but there wasn’t”. As the

approach, semi-structured interviews were

music therapy profession seeks to embrace

conducted with four befrienders (themselves

new areas of clinical work, the challenge to

bereaved mothers) from an organisation

the profession is there to take up this highly

supporting

sensitive area of bereavement.

bereaved

parents.

Content

analysis was applied to the data. References Birth Findings suggest listening to music and music in remembrance services (currently held annually or bi-annually) are highly valued by bereaved parents. There is scope for music therapy to offer support on a more frequent and personal basis within group or individual sessions with newly bereaved parents, those undergoing a subsequent pregnancy or for shadow grief with the longago bereaved. Drumming and song-writing were regarded as potential outlets for the expression of feeling states associated with bereavement. Further potential exists for

Miscarriage Association. (2009). Acknowledging pregnancy loss: how you might feel. Retrieved from http://www.miscarriageassociation.org.u k/ma2006/information/leaflets.htm. NHS. (2009). Choices: your health your choices. Retrieved from http://www.nhs.uk/conditions/miscarriag e/ Pages/Introduction. Peppers, L.G. & Knapp, R.J. (1980). Motherhood and mourning: perinatal death. New York: Praeger Publishers. Schott, J., Henley, A. and Kohner, N. (2007). Pregnancy, loss and the death of a rd baby: guidelines for professionals. (3 ed). Shepperton on Thames: Bosun Press. Why17. (2010). What is Why17? Retrieved from http://www.why17.org/About-theCampaign.html.

music therapy to interact with current support services and to facilitate the support

About the Author

and supervision needs of befrienders.

Alongside her clinical work with ‘NordoffRobbins Music Therapy in Scotland’ at its Tayside therapy centre, Margaret Broad is

Future development All

participants

stated

interest

implementing music therapy with bereaved parents.

also a church musician with a special interest in music for bereavement.

Due to their lack of awareness

about music therapy and its availability, they

Contact: margaretbroad@nrscot.org.uk

were unsure how this might be done. With

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

UNDERSTANDING MUSIC AS A WAY OF BEING-TOGETHER IN MUSIC THERAPY Brian Abrams Montclair State University, USA Abstract

spectrum of health domains, that may be

In music therapy, the music is often

understood musically (Abrams, n.d., 2010b,

understood as a concrete sound object that

2010c).

music therapists “use” in a variety of

Heidegger’s (1993) relational construct of

technical ways. This paper proposes an

Mit-Sein, the foregoing understanding of

alternative, relational perspective of music

music can be considered a temporal-

as a temporal-aesthetic way of being-

aesthetic

together, with implications for music therapy

conceptualization

meta-theory and evidence-based practice.

theoretical

way

corollary,

based

being-together. holds

implications

certain with

upon

This meta-

respect

understanding the role and nature of the Understanding music as a way of being-

therapeutic relationship specifically within

together in music therapy

music therapy work (across multiple theories

In music therapy, the music is often

and models). Moreover, it holds implications

understood

sound

for how evidence of music therapy work may

phenomenon—a technical object that music

be understood, by transcending a strictly

therapists “use” in a variety of ways, to

technical, health sciences view (based upon

assess and promote various forms of non-

linear

musical human health. However, Boethius’s

prediction), and legitimizing a relational,

(1989)

health

construct

concrete

Musica

Humana

and

systemic

humanities

causality

view

(based

upon

shared

agency

and

suggests that music may be understood

individual

functionally as a human phenomenon, and

opportunity) (Abrams, 2010a).

and

as a temporal-aesthetic way of being, transcending concrete sound. This principle

References

can, in turn, be applied to music therapy, in

Abrams, B. (In Press). Understanding music as a temporal-aesthetic way of being: Implications for a general theory of music therapy. Arts in Psychotherapy. Abrams, B. (2010a). Evidence-based music therapy practice: An integral understanding. Journal of Music Therapy, 47(4), 351–379.

such a way that characterizes music therapy as a discipline is itself musical, with interventions

that

may

considered

musical (whether or not involving musical sound), and with clinical goals across the full

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

Abrams, B. (2010b). Exploring a perspective on the nature of music and health as they relate to the Bonny Method: A response to Summer’s (1992) “Music: The Aesthetic Elixir.” Voices: A World Forum for Music Therapy. Retrieved July 10, 2010, from https://normt.uib.no/index.php/voice s/article/view/499/425 Abrams, B. (2010c). Musical therapy? Voices: A World Forum for Music Therapy. Retrieved July 10, 2010, from http://www.voices.no/columnist/cola brams050410.php Boethius, A. M. S. (1989). Fundamentals of music (Calvin M. Bower, translator; Claude V. Palisca, Ed.). New Haven, CT: Yale University Press. nd Heidegger, M. (1993). Basic writings (2 Ed.,revised and expanded). New York: HarperCollins.

About the Author Brian Abrams, Ph.D., MT-BC, LPC, LCAT, Fellow of the Association for Music and Imagery, is a music therapist with a wide range of clinical populations, serving as Associate Professor in the Cali School of Music at Montclair State University. Contact: abramsb@mail.montclair.edu

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

FOCAL MUSIC THERAPY TREATMENT WITH PREGNANT WOMEN CREATIVE VISUALIZATIONS WITH MUSIC TO HELP PRENATAL BONDING Federico Gabriel, Lic. Musicoterapia, Argentina Introduction

consciousness from where to stimulate the

The Focal Music Therapy in Obstetrics

presence of images more easily.

approach is performed by means of various

Like dreams, Creative Visualization with

procedures which are carried out on a

Music creates images in the mind of the

clinical practice basis and by taking some

participant, who has her eyes closed. These

aspects

Therapeutic

images are made from the instructions given

currents, but it is specifically meant for work

by the therapist, who operates as the

during the gestation period, for the baby as

"writer" of a story in which the patient must

well as for the mother and father.

act. The visualized images are composed of

from

other

Music

unconscious fantasies or covert needs as When a baby is in the womb, many

yet undiscovered by she who makes them.

sensations are projected onto him, mostly

The result should not be understood as

related to the history of the mother- or

something, which is right or wrong, but must

father-to-be. For this reason it is very

be interpreted by the professional so that the

important to have a place where every

patient can make a referenced insight. If

difference

the

what emerges in the visualization shows no

fantasized child and the real child growing in

warning indicator, the experience is positive

the womb can help with bonding between

and supports the bond with the unborn baby.

mother and baby.

But if negative or warning signs emerge, we

which

exists

between

must work intensively to help modify the experience in a positive way.

Creative Visualization with Music Creative Visualization with Music is a procedure, which allows access to the patient's unconscious material. It works like a directed dream, accompanied by an appropriate musical selection, to allow the therapist access to an altered state of

The

visualizations

contain

hidden

symbolism, which should be uncovered to end the activity, so that, when analyzing the sequence of images, which the patient has, she can understand the issues that should be worked on during therapy.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

Creative Visualization with Music favors

think about the images that have appeared

identification with "mothering" (Winnicott,

and write or draw on paper.

Donald):

projecting

different

situations,

which are enacted by the ideal mother.

That's

What emerges as conscious verbalization is

Creative Visualization with Music has its

what we take away to work on during

impact. When the patient externalizes those

therapy, but these issues can be modified

images, by putting them down on paper as

and varied as they develop and as the

words or pictures, you realize that the fears

gestational age of the baby increases. The

they had inside were not too large to handle.

fantasies can change with the changes to

This does not mean the fears will disappear,

the size of the abdomen during pregnancy.

but they will not disturb or affect the

There are fears, which come and then give

experience of pregnancy and childbirth in

way to others.

the way they had been doing. Making these

Creative Visualization exercises have been

fears into manageable conflicts, which no

prepared

longer

accompany according

and

carefully

the to

process the

tailored of

pregnancy,

different

stages

where

the

therapeutic

emotionally

and/or

work

physically

paralyze the patient.

gestation.

References

Exercises should carefully follow a proposed

Grocke D., Wigram T. (2007) Receptive

order, as some of them do not get the best

Methods in Music Therapy, London,

results if performed at a different stage than

JKP

recommended. For example, if an expectant mother is in her fourth month of pregnancy and

doing

exercise

where

the

visualization is working on childbirth or

Federico G. (2010) Viaje musical por el embarazo, Bs.As. Kier Federico G. (2004) Melodías para el bebé antes de nacer, Bs.As. Kier

breastfeeding, you will be skipping stages, About the Author

which relate to the prenatal bond.

Gabriel Federico is the president of ASAM Usually these exercises will evoke very

(Asociación Argentina de Musicoterapia)

important unconscious images because we

Director of Mami Sounds, Music Therapy

discover the patient's fantasies and fears,

programs in Argentina, and is the author of 5

which are presented both positively and

books of music therapy.

negatively. As always there should be a time to talk at the end of the visualization, or to

Contact: contacto@gabrielfederico.com URL: www.gabrielfederico.com

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

NORDOFF-ROBBINS MUSIC THERAPY: CLINICAL EXAMPLES OF WORK WITH ADULT CLIENTS Alan Turry Nordoff-Robbins Center for Music Therapy Steinhardt School of Culture, Education and Human Development New York University, USA New

developments

Nordoff-Robbins

the client, the therapist has the opportunity to

music therapy treatment have taken place

establish an emotional rapport, develop

because the approach has been utilized with

empathy and convey that empathy musically,

a variety of new populations including adult

and build an emotional connection with the

clients looking for an alternative to traditional

client. Through this musical attunement, a

verbal psychotherapy. These participants in

therapeutic alliance is established in which

the music therapy process bring the capacity

the

to share their thoughts and describe their

appreciated and admired.

feelings and images with words. Working

This trusting relationship creates a sense of

with verbal adults who articulate their needs,

openness and receptivity, which allows for

have an awareness of how unconscious

the therapist to utilize music to not just

dynamics may be affecting them, and who

contain and support, but to stimulate,

bring with them the potential for relationship

motivate and challenge the client. The

dynamics to emerge between therapist and

therapist can offer opportunities for the client

client, has necessitated an integration of

to relate in new ways, and develop untapped

psychodynamic understanding with musical

potentials

awareness on the part of the therapist to a

experience can lead to lasting changes in a

greater degree than was required by the

client's attitude, feeling or behavior.

original work with children.

Case Example # 1: Jeff

The act of improvising music, whether

Jeff was 54 years old when he sought music

vocally or with instruments, creates a special

therapy treatment. Sensitive and intelligent,

opportunity for adult clients to discover and

express thoughts and feelings, organize and

psychotherapy treatment previously, and

focus attention, relate and respond to others

was seeking a new way to address chronic

in a reciprocal fashion, and tap into

depression. He described himself as being

previously undiscovered musical sensitivities.

unable to have meaningful experiences

and

because he analyzed situations rather than

sensitively matching the mood and energy of

fully experienced them. He explained that he

joining

the

improvisation

client

had

begins

and

been

skills.

feel

understood,

This

several

musical

courses

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

had difficulty identifying and expressing

music therapy helped her to face the painful

emotion, and that he rarely cried. His

feelings triggered by her cancer diagnosis

difficulty with other peoples anger often led

and led her to singing about life long issues.

Experienced

him

becoming

agitated

and

angry.

with

verbal

therapy,

she

Because of this he was unable to maintain

described exploring her inner conflicts in a

employment. He believed his problem was

new way. Music helped to strengthen her

due to his extreme sensitivity. He explained

psyche and sense of identity during her

this sensitivity with regards to music – that

arduous and ultimately successful battle

he felt that modern stereo equipment was

against her illness.

too powerful and created a sensation of

Case Example 3: Bruce

being too close to him. He also

explained

Bruce had a devastating stroke at age 50,

that he liked music without a beat- he did not

leaving him with global aphasia and apraxia.

like rhythmic music.

After many years of music therapy treatment

Through improvising together Jeff began to

he was able to use words to communicate.

trust his own creative process and the

Improvising speech phrases not only helped

therapist.

him to develop language but to express

expressively starting with the horn. He

himself emotionally and feel the support of

became able to channel his agitation into his

the therapeutic relationship.

drum playing, as the therapist spurred him

References

by playing dissonant intervals at the piano.

Turry, A. 2010. Integrating Music and Psychotherapeutic Thinking. Qualitative Inquiries in Music Therapy. Volume 5, pp.116-172. Barcelona Publishers Turry, A. (1998) Transference and Countertransference in Nordoff-Robbins Music Therapy. In Bruscia (Ed.), The Dynamics of Music Psychotherapy (pp. 161-212). Gilsum, NH: Barcelona Publishers. Hartley, M., Turry, A, & Raghavan, P. The Role of Music and Music Therapy in Aphasia Rehabilitation. Music and Medicine Vol 2 (4) pp. 235-242. Sage Publication.

Jeff

began

eventually

vocally,

creating

cried

play

while

words

improvising he

sang

expressively. He later explained that the sadness was triggered by experiencing acceptance and love, feelings that he felt was missing in his life. He felt he was accomplishing a great deal in music therapy because he was able to cry, and he also felt a sense of satisfaction in creating music. Music became the key factor in helping him connect to people outside of the session. Case Example # 2: Gloria After

being

diagnosed

with

stage

non-Hodgkin lymphoma, Gloria began music therapy. Improvising words and melodies in

About the Author Alan Turry, D.A., MT-BC, LCAT, NRMT, Managing Director of the Nordoff-Robbins Center for Music Therapy at New York University. Contact: alan.turry@nyu.edu

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THE NEW PARADIGM VIEW OF MUSIC THERAPY INQUIRY IN KOREA THROUGH CURRENT RESEARCH TRENDS IN MUSIC THERAPY Eun Young Hwang Yonsei University, Korea So Yeon Park Sookmyung Women's University Doctoral Course, Korea

Abstract

university library and some science services.

The purpose of this study was to investigate

Finally, 961 theses of music therapy were

the trends of research in music therapy

identified for our study.

through the analysis of studies from 2001 to 2010 in Korea. In this study, a total of 961

Procedure

theses

doctoral

All of the theses used in this study were

degrees, were analyzed by researchers'

analyzed by the above criteria. Two researchers

degree,

client

investigated and computed kappa scores in

population, research methods, and research

order to confirm objectivity, with inter-rater

contents

reliability of 0.80. The frequency and percentage

including

master

publication

and

resources,

were computed and chi-square analysis was conducted in use of SPSS Window ver. 15.0.

Introduction Music therapy has played an important role in

Korea

since

late

1990s,

not

only

Results

scientifically but also clinically. Although the

Degree of theses and Publication

studies about music therapy in Korea started

Resources

quite a few years ago, music therapy

In this study, 961 theses were analyzed.

research has developed a great deal.

33(3.4%) of them were doctoral degrees and the remaining were master's degrees.

Methods

Concerning the publication sources, 545(56.7%)

Target study

these were published in music therapy with

The studies analyzed were doctoral and

the average of 54.5 per year. Meanwhile,

master's theses which were published from

416(43.3%) were published in non-music

2001 to 2010. On-line database searches

therapy, such as music education, special

included The National Assembly Library,

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

education, and others with the average of

Second, among the theoretical studies,

41.6 every year.

those dealing with treatment factors 46(3.7%) was the highest, and preference 38(3.1%),

Client Population

then evaluation program 28(2.3%), analyses

Regarding the client population in the theses,

of content 25(2.0%) and training 13(1.0%)

465(48.4%) were with persons without

were followed respectively.

disabilities, 374(38.9%) were about with

Third, among the behavioral studies, those

disabilities, 60(6.2%) were with terminal

dealing

illnesses

contact/attention 67(5.4%) was the highest

those

receiving

in-patient

with

adaptation/self-control/eye-

and stereotype/self-injury 37(3.0%).

treatment.

Fourth, the social problem, dealing with Research Methods

communication/relationship 59(4.7%), and

Of the research methods applied in the

group cohesion were 51(4.1%).

study, 786(81.8%) were quantitative studies, 102(10.6%) were literature studies, 59(6.1%)

Conclusion and Discussion

were quantitative-qualitative mixed studies,

This study was to investigate the trends of

and 14(1.5%) were qualitative studies.

research in music therapy in Korea. Through

Among quantitative studies, 477(49.6%)

it, there were some important issues. Most

were experimental and 309(32.2%) were

of all, music therapy are being developing

descriptive studies.

both academically and clinically, in spite of short history. In addition, target population is

Research Contents

expanding more and more. In respect of

A total of 1243 research factors were

research methods, a variety method is being

founded through analysis by contents of all

used to inform of effects of music therapy.

theses, and there were theses dealing with

To conclude, although music therapy had

more than one factor.

been developed from 2000 in Korea, in

In the category of emotion, the highest

order to facilitate the academic identity of

percentage was in anxiety/depression/mitigation

music therapy, more research should be

143(39%), followed by self-esteem and self-

carried out for grounding theory and building

concept 113(9.1 %), self-expression 70(5.6%)

philosophical orientations to support the

and reduce stress 61(4.9%).

academic and clinical basis of music therapy.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

DISCOVERING TOGETHER: MUSIC THERAPY COLLABORATION Annie Heiderscheit University of Minnesota Minneapolis, U.S.A Nancy Jackson Indiana University, Purdue University Fort Wayne, U.S.A. Collaboration is currently a popular topic that

communication and teamwork can’t achieve

(p. 32).”

sweeping

across

many

professions.

This evolution of collaboration

Educational institutions, for example, want

demonstrates a transcendence of hierarchy,

faculty to collaborate with other institutions

education, field, function and location.

and community groups, and public and private funding sources increasingly favor

Review of the music therapy literature,

individuals and groups who collaborate in

demonstrates

scholarly, research and humanitarian efforts.

understand and define collaboration in many

There have been numerous books and

ways.

articles

(Register,

committed

the

topic

that

survey 2002)

music of

therapists

music

indicated

therapists that

many

collaboration in areas such as business,

consider it collaboration anytime they work

education,

professional

with anyone else in the provision of services.

development. Music therapy also has its

While this may meet the basic definition of

share of recent literature that spotlights

collaboration, it does not illuminate the value

collaboration within and outside of the field

of collaboration for the profession. A more

(e.g., Hobson, 2006).

recent survey by these authors attempted to

healthcare,

and

better understand how music therapists The term collaborate dates back to the

collaborate. Respondents were asked to

1870’s, stemming from the French word

describe

collaborateur meaning to work or labor with.

identify both the challenges faced and the

The definition has evolved and expanded

unexpected outcomes of collaboration. The

through the years as our ways of working

results led to the development of three

together have evolved and expanded. The

defined

term collaboration has gone from being a

collaboration:

buzzword for the decade to describing a

innovative.

successful

levels

collaborations,

music

functional,

and

therapy

creative,

and

global culture. Schrage (1995) writes that “collaboration describes a process of value

Functional

creation that our traditional structures of

music therapist and others working together

collaboration

involves

the

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

to achieve a specific goal. Not only is the

in which no party was involved for self-gain.

outcome identified, but each collaborator is

Focus on reaching the goal or discovering

expected to provide a specific, needed

together for the good of all is of paramount

contribution

outcome.

importance in any level of collaboration.

Working with other members of a treatment

Understanding successful collaboration and

team to provide quality care for a client is a

building healthy collaborative relationships is

common

integral to ensuring that music therapy

achieve

example

that

this

type

collaboration.

continues to grow and develop as a profession.

Creative collaboration involves the music therapist and others working to together to

References

achieve a specific goal for which there is no

Hobson, M. R. (2006). The collaboration of

previously

known

course

plan

for

music therapy and speech-language

reaching that outcome. This requires that

pathology

the collaborators co-create the process of

neurogenic communication disorders,

achieving the goal through new and unique

Parts

ways of utilizing their unique knowledge and

Perspectives (24), 2, 58-72.

talents.

the

and

II.

(2002).

consultation:

treatment Music

Therapy

Collaboration survey

and board

Innovative Collaboration occurs when the

certified music therapists. Journal of

music therapist and others work together to

Music Therapy, (39)4, 305-321.

answer “what if” questions. In these cases, neither the outcome nor the process is clear

About the Authors

from the beginning, only a shared desire to

Annie Heiderscheit, Ph.D., MT-BC, LMFT has

discover and learn more. The collaborators

20 years of clinical experience in psychiatry

bring their knowledge and skills together to

and medicine, and is the Director of the Arts

step beyond what is known, and into what

in Health and Healing Initiative at the

can only be discovered together.

University of Minnesota in Minneapolis, MN, USA.

A common thread through examples of the

Nancy Jackson, Ph.D., MT-BC has more

willingness to be open-minded and to share

than 15 years of clinical experience in

openly with fellow collaborators. While this

psychiatry and medicine, and is Director of

may seem obvious, the survey data largely

Music Therapy at IPFW in Fort Wayne, IN,

described successful collaborations as those

USA.

these

types

collaborations

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

A JOINT RESEARCH PROTOCOL FOR MUSIC THERAPY IN DEMENTIA CARE Hanne-Mette Ridder Aalborg University, Denmark Brynjulf Stige University of Bergen, Norway

Abstract Agitation

developed, is

major

challenge

including

discussion

within

processes and preliminary results of a pilot

institutions of care for the elderly. The effect

project. Instead of adjusting music therapy

of music therapy on agitation and quality of

practice to fit a given RCT research

live is investigated in a practice-relevant

methodology, we have adjusted the RCT

research combined with a Randomized

design so that clinical music therapists can

Controlled Trial and multicentre research.

collect data as part of their daily practice.

The research protocol is developed in

The design is developed in dialogue and

dialogue with practicing music therapists.

collaboration with a group of practicing music therapists.

Agitation Agitation in persons with dementia is a

Research protocol

major challenge within institutions of care for

The research protocol is based on 12

the elderly (Cohen-Mansfield et al., 1989). It

individual music therapy sessions. The study

is consequently a central topic of research

is a two group experimental design with

within a newly established Nordic network

paired residents with moderate to severe

for research on music therapy and the

dementia randomly allocated to either music

elderly (www.gamut.no).

therapy or a waiting list control. The researchers collect data on agitation and

Practice-Based Research

quality of life by telephone interviews of

In this presentation we will outline ideas of

proxy

practice-relevant research combined with a

addition, the clinical music therapists collect

Randomized Controlled Trial (RCT) and

qualitative

multicentre

presentation

approach is based on the concept of

focuses upon how the research design was

personhood (Kitwood 1997) and the building

research.

The

respondents data.

(contact The

music

staff).

therapy

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

of trust in a close relationship, integrating regulative

and

interactive/relational

dimensions. Clinical method: Decision tree As

each

music

therapist

might

work

differently with each person with dementia, the clinical method is documented in a decision tree. We will present the protocol in details, giving interested researchers and clinicians the possibility to consider joining the research network for the ongoing data collection. References Cohen-Mansfield, Werner & Marx (1989) An observational agitated

study

nursing

of home

agitation

residents.

International Psychogeriatrics, 1(2),153165. Kitwood (1997) Dementia reconsidered. The person comes first. Buckingham: Open University Press. About the Authors Dr. Hanne Mette Ridder, Assoc. Prof., Doctoral Program in Music Therapy, Aalborg University. Contact: hanne@hum.aau.dk Dr. Brynjulf Stige, Professor in Music Therapy at the University of Bergen, Head of Research at GAMUT, Uni Health, Norway.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

HISTORY, CURRENT ISSUES, AND FUTURE DIRECTION OF NORDOFF-ROBBINS MUSIC THERAPY IN KOREA Dong Min Kim Jeonju University, Korea Hye Seon Baek Korean Nordoff-Robbins Music Therapy Association, Korea

Nordoff-Robbins Music Therapy was first

Nordoff-Robbins Therapists teaching and

introduced in Korea in 1990’s, since then the

practicing in Korea and the United States.

approach has consistently and increasingly

As the next step, the first official Asian

influenced the field of music therapy in

Nordoff-Robbins Music Therapy Program

Korea. For the past 11 years from their first

was run by Dr. Dong Min Kim and Hye Seon

joint workshop at Hansei University in 2000,

Baek at Ewha Womans’ University from

Dr. Clive Robbins and Dr. Alan Turry

2004 to 2011, and its internship training from

consistently

2005 to 2011.

gave

approach.

Other

workshops

the

Nordoff-Robbins

Cultural issues are to be concerned in

practitioners such as Dr. Kenneth Aigen and

training

Dr. Colin Lee also contributed their clinical

Music Therapy in Korea. Korean parents

and theoretical knowledge on the approach

often regard music therapy as a form of

to the field.

music

and

special

practicing

Nordoff-Robbins

education.

They

usually

The first three Korean certified Nordoff-

expect immediate learning and external

Robbins music therapists trained at the

changes rather than graduate inner growths

Nordoff-Robbins Center for Music Therapy

in their child out of therapy. As the approach

at New York University also played a vital

values self-actualization, intrinsic motivation,

role in the first phase of development of the

and inner growths through musicing rather

approach in Korea. Shortly after Dr. Dong

than

Min Kim began to teach and practice in the

rewards,

approach at Ewha Womans University in

interventional techniques, it is often needed

2001, Hye Seon Baek joined the clinical and

for the therapist to make an extra effort to

training team at Ewha. At the same time, Dr.

facilitate the parents’ better understanding of

Young Shin Kim began her teaching and

the approach’s values and goals.

practicing

Women’s

As Dong Min Kim completed the level III

University. Now there are about 20 Korean

training at the Nordoff-Robbins Center at

Sookmyung

behavioral or

modification,

external

changes

extrinsic through

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

NYU and certified as an instructor/trainer in

the approach in 2010, Nordoff-Robbins

Music Therapy in Korea entered in the next developmental phase. As of August 2011, the Nordoff-Robbins certification training

program is starting at the Musicing center run

Korean

Nordoff-Robbins

Music

Therapy Association (KNRMT) in Seoul. The next generation of Korean Nordoff-Robbins music therapists is to be trained in their own language and culture in near future. About the Authors Dong Min Kim, Ph.D., LCAT, MT-BC, NRMT is

Assistant

Professor

the

Jeonju

University in Korea. Hye Seon Baek, Ph.D., M.A., MT-BC, NRMT, Ph.D. is the Clinical/Administrative Director, of

the

Korean

Nordoff-Robbins

Music

Therapy Association, Korea.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC THERAPY: AN INDIAN PERSPECTIVE Pragya Sharma Institute of Human Behavior and Allied Sciences, India

Abstract This theoretical paper reviews the Indian

Music therapy establishes a relationship

perspective of Music therapy. It talks about

between the 7 chakras [Energy Centers], 7

swara (note) and raga (scale) and how

Swaras

variations among them help in various

[Scales]

physical

Channels]. Each chakra has a rhythmic

elaborates on the Indian concept of notes

pulsation or vibration. It is the under-activity

influencing energy centers, which in turn

or over-activity of the Chakras that is

influence the human body and mind.

believed to cause disease or discomfort in

and

psychiatric

ailments.

[Notes], and

Melakarta

Ragas

72000

Nadis

[Energy

the body. In employing music therapy as a India and Music

treatment tool, the objective is to treat the

Music is of a special significance in Indian

disability at its root cause. Music pulsation or

culture due to its service to the growth of

vibration is therefore directed at the body’s

spirituality in our society. My paper is a

many Energy centers. The pitch has the

theoretical one, focusing on the Indian view

potency to bring the Chakras back to their

of music therapy. Indian Swara (note) is

normal vibration pattern. Raga Chikitsa was

known for its flexibility. The therapeutic role

an ancient manuscript, which dealt with the

of the raga appears to lie in its oscillating

therapeutic effects of raga. Some ragas like

notes. Raga is the sequence of selected

Darbari Kanhada, Kamaj and Pooriya are

notes that lend appropriate `mood' or

said to help in defusing mental tension,

emotion

combination.

particularly in the case of hysterics. For

Depending on their nature, a raga could

those who suffer from hypertension, ragas

induce or intensify joy or sorrow, violence or

such as Ahirbhairav, Pooriya and Todi are

peace and it is this quality, which forms the

prescribed. Music Therapy is an emerging

basis for musical application. Each musical

discipline in India that warrants more

note in our scale is pregnant with latent

research in this area to make it evidence

power of producing particular feeling and

based. My paper talks about how music

emotions.

therapy operates in Indian culture and it

Each

selective

note

has

different

sentiment and feeling attached to it.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

concludes with my reflections on the topic

Bunt, L., & Hoskyns, S. (2006). The

and relevance of music in my life.

handbook of music therapy. New York: Routledge.

My Personal Journey

Gupta, U. & Gupta, B. S. (2005). Psycho

Becoming aware of music therapy as a field,

physiological

I went on to find how music affected me, my

instrumental music. Psychology of Music,

emotions and my life. I became conscious of

33 (4), 363-372.

what I heard, when I heard, and what I felt.

responsivity

Indian

Longhi, E. & Pickett, N. (2008). Music and

And it was such a surprise! I was amazed at

well-being

the music that I heard each day, sometimes

children. Psychology of Music, 36(2),

consciously

247–256.

but

many

times,

long-term

hospitalized

unconsciously. And I was left spellbound as

Sairam, T. V. (2007). Self- Music Therapy.

to how my unconscious mind made me

Chennai: Nada Centre for Music

remember a song that was so close to my

Therapy.

situation or feeling. I found out that I respond

Sairam,

T.V.

(2004).

Raga

Therapy.

differently to different kinds of music at

Chennai: Nada Centre for Music Therapy.

different situations at different times. I learnt

Smith, R. D., & Patey, H. M. (2006). Music

how important a role, music or rather sound

Therapy.

plays in our lives and how we can utilize it

Publications.

New

Delhi,

India:

Sage

not only to treat and heal the various physical and psychological ailments but also

About the Author

for growth and upliftment of our own selves.

A student of psychology and music, wishing to integrate them to help heal people and

References

explore it in different cultures.

Bagchi, K. (Ed.). (2003). Music, Mind and Mental Health. New Delhi: New Age

Contact: pragyasharma_100@yahoo.co.in

Books. Bruscia, K. E. (Ed.) (2006).Case Studies in Music

Therapy.

Gilsum,

NH:

Barcelona Publishers.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THE CLINICAL USE OF MUSICAL COMPONENTS AND THEIR IMPACT IN IMPROVISATIONAL MUSIC THERAPY: INTERVIEW ANALYSIS Kana Okazaki-Sakaue Senzoku Gakuen College of Music, Japan

Abstract

This research study focuses on the clinical

This study focuses on the expressive

characteristics of musical components and

powers

their

and

clinical

characteristics

use

musical

dialogue

musical components and their use in the

improvisational music therapy. In order to

musical dialogue in improvisational music

obtain this information, extensive interviews

therapy. This paper is a continued research

were

of the previous presentation at the WCMT in

experienced in using clinical improvisation.

Argentina in 2008, where a microanalysis of

Each therapist selected, discussed and

an actual case study was presented. The

answered questions about one of their

methodology of this research is a qualitative

music therapy sessions that presented

analysis of interviews by music therapists,

moments of significant clinical change. The

who utilize clinical improvisation in their

interviews were focused on the relationship

practice.

amongst the musical components used in

conducted

with

music

therapists

the improvised music, the client’s major Description

responses

In clinical improvisation, music therapists

therapist’s clinical intentions and the clinical

provide music according to the constantly

outcome.

changing

therapeutic

needs

the

components,

the

clients.

These creative decisions are made based

Analysis of the resulting data enabled the

upon the therapist’s instant intuition and

author to define and describe all of the

sensitivity, musical knowledge and clinical

musical

understanding. In making such judgments, it

participating therapists, and indicate the

is vital that the therapist be aware of and

clinical roles that each played in the

sensitive to the components of the music

sessions analyzed. Deeper analysis of the

they are improvising, and their possible

descriptive statements of the therapists

clinical impacts.

revealed a second category of components that

components

played

vital

used

clinical

roles

the

improvisation process. These components

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

were

not

were

Robbins, C. & Robbins, C.M. (Ed).(1998).

inseparable from the musical components in

Healing heritage: Paul Nordoff exploring

utilization and effect.

the tonal language of music. Gilsum,

designated

strictly

this

musical,

but

The author has

second

group

NH: Barcelona Publishers.

components of the clinical improvisation process as “co-musical” components. They

About the Author

are divided into two major categories: (1)

Kana Okazaki-Sakaue, DA, MT-BC, NRMT,

Kinesthetic

Factors

ARAM a music therapist trained in London

Embedded in Music as Clinical Messages.

and in New York, is an Associate Professor

Each category of co-musical components

of the Senzoku Gakuen College of Music

contains further subdivisions that will be

and also serves as a member of Education

described in detail in this presentation.

and Training committee of WFMT.

Finally, an in-depth analysis of the multiple

Contact: kanaokaz@hkg.odn.ne.jp

Factors;

and

(2)

dimensions, relationships and functions of musical and co-musical components is undertaken, with a careful examination of the collaborative use of these components in clinical improvisation. The circumstances and

conditions

implement

the

under

which

components

therapists in

clinical

improvisation, and the clinical outcomes that have been realized as a result, are also investigated and analyzed. References Okazaki, K. (2004). Power of music as a transformative source: A consideration on roles and significance of sound and music in music therapy. Japanese Journal of Music Therapy, Vol.4, No.2, Japanese

Music

Therapy

Association.pp.160-165.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

EMOTIONAL EXPRESSIONS AND THERAPIST-PARTICIPANT INTERPLAY IN THE FUNCTIONAL MUSIC THERAPY FOR THE AUTISTIC CHILD Zaira Jagudina University of Skovde, Sweden Solveig Johansson Functional Music Therapy, Sweden

Abstract

(Hjelm, 2005). To date, this method is

This paper presents the results of a

relatively new and unexplored.

qualitative case study of the therapistparticipant interplay during the sessions of

Theoretical Frame

the Functional Music Therapy (FMT) offered

The theoretical approach combines the

to an autistic blind child in Sweden. The

following concepts: perception of music,

transformation

auditory

the

child’s

emotional

stimuli,

social

communication

expressions and musical experiences during

through music, and ‘emergent’ model of

the therapy sessions is identified and

emotion (Thaut & Wheeler, 2010; Malloch &

interpreted.

Trevarthen, 2009; Tan, et al., 2010; Clore & Ortony, 2008).

Introduction Children with autistic disorder tend to

Method and the Case History

withdraw from a social interaction, repeat

The data was collected through semi-

stereotypic rituals of certain behavior, or

structured interviews with the therapist and a

express rage/fear in the face of a social

study of the written documentation on the

encounter

1992).

case. The data includes a systematic

Functional Music Therapy (FMT), developed

observation of about 160 minutes of the

in Sweden in 1975, is focused on the

videotaped therapy sessions, conducted

coordination

from 2008 to 2011.

(Alvin

Warwick,

participant’s

auditory

perceptions and bodily awareness and control. It is a form of individual, non-verbal

Maria is a blind autistic girl with no verbal

therapy. The therapist plays pre-composed

language.

musical ‘codes’ on the piano and the

participated in 160 sessions of the FMT. Her

participant can play on a pre-arranged set of

previous experience of music included

drums, cymbals, and wind instruments

listening repeatedly to her favorite musical at

From

2005

2011,

she

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

home. At her first meeting with the therapist

trusting relationship with the therapist and

Maria had a temper tantrum and she refused

the increasing ability to enjoy a wider

to listen to music she did not recognize. By

variation of musical sounds.

making

special

hand

gesture

she

communicated she wanted to play her own music. Results The results show Maria’s rejection of the new types of auditory stimuli, a decrease in her obsession with her ‘own music’, and gradual engagement in the musical interplay with the FMT therapist. She still tends to preserve a certain rhythmic pattern, tapping by hand on a drum ‘fast – slower – faster and very fast/screaming in falsetto’. However, she has learned to alternate the rhythmic pattern of music. Following

the

therapist,

she

often

attracted to play a slower rhythm. She holds her upper body in a more upright position and plays with steady and strong beats using a drumstick. Maria is more often willing to let the therapist initiate turn in the music, she listens more, and ‘replies’ in her own creative way.

About the Authors Zaira Jagudina is Ph.D. in sociology, university lecturer in social psychology at Contact: Zaira.Jagudina@his.se

This study shows how the autistic child’s negative emotions in the face of a new encounter

Alvin, J. & Warwick, A. (1992). Music Therapy for the Autistic Child. (2d ed.), Oxford, New York: Oxford University Press. Clore, G. & Ortony, A. (2008). Appraisal Theories. How Cognition Shapes Affect into Emotion, in Lewis, M. et al. (Eds.), Handbook of Emotions. (3d ed.). New York, NY: The Guilford Press. Hjelm, L. (2005). Med musik som medel: FMT-metoden, som den blev till…Uppsala: Musikterapiinstitutet. Tan, S.-L., Pfordresher, P., Harré, R. (2010). Psychology of Music: From Sound to Significance. Hove & NY: Psychology Press. Thaut, M. & Wheeler, B. (2010). Music therapy, in Juslin, P. & Sloboda, J. (Eds.). Handbook of Music and Emotion: Theory, Research, Applications. Oxford: Oxford University Press. Malloch, S. & Trevarthen, C. (Eds.). 2009). Communicative Musicality: Exploring the basis of human companionship. Oxford: Oxford University Press.

University of Skovde, Sweden.

Concluding Remarks

social

References

and

the

obsessive

attachment to a certain behavior, turn into a

Solveig Johansson has worked with functionally-oriented music therapy since 1996 and is a member of the Association for Certified Music Therapists in Sweden.

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THE EFFECTIVENESS OF GROUP MUSIC PSYCHOTHERAPY IN IMPROVING THE SELF-CONCEPT OF BREAST CANCER SURVIVORS Joy Allen Loyola University, New Orleans, USA Introduction

after ten weeks of treatment, post data was

Breast cancer is the most commonly

collected using the Tennessee Self-Concept

diagnosed cancer among women in the

Scale and the Body Image After Breast

United States, accounting for more than one

Cancer Questionnaire. Components of self-

in four cancers (American Cancer Society,

concept studied included identity, role

2008). While many may think the last day of

performance, self-esteem and body image.

treatment will signal the end of a “challenge,” most women report ongoing

Group Music Psychotherapy (Experimental

physical and emotional issues associated

Condition). In the present study, Group

with breast cancer survivorship (Rowland &

Music Psychotherapy (GrMI) refers to a

Massie, 1998; Leigh 2005).

group format of guided imagery and music where the therapist guides the imagery of

While several quantitative and qualitative

members continuously while listening to

studies have outlined the experience of

music in a relaxed state. Participants

breast cancer survivors, little attention has

assigned to the GrMI attended ten

been focused on meeting the needs of the

consecutive weekly sessions, led by the

growing number of breast cancer survivors.

researcher, each lasting approximately sixty

The purpose of the present study was to

(60) minutes. The format for each session

examine the effectiveness of group music

was: 1) Preliminary Conversation; 2)

psychotherapy (i.e., group music and

Relaxation Induction; 3) Music imaging

imagery) in improving the self-concept of

experience; 4) Return to alert state; and 5)

breast cancer survivors.

Postlude Discussion.

Method

Cognitive-behavioral based support group

Eleven breast cancer survivors where

(Control condition). Participants assigned to

randomly assigned to one of two groups –

the control condition attended ten

music psychotherapy (experimental group)

consecutive weekly sessions, led by the

or cognitive-behavior based support group

researcher, each lasting approximately sixty

(control group). Pre data was collected, and

(60) minutes. The researcher had facilitated

100

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

this type group in the past. The format for

needs of survivors are needed. Results of

each session was: 1) An introduction; 2) A

this study indicated music psychotherapy is

group discussion; 3) Education; and 4) A

an effective treatment modality for

discussion of personal commitment

addressing self-concept and for addressing

statements.

the needs of breast cancer survivors. Furthermore, music psychotherapy is as

At the end of ten consecutive weeks, both

effective, or in some cases, more effective

the experimental and control group

than traditional forms of treatment in treating

completed all dependent measures.

self-concept and the needs of breast cancer

Pre/post data was then analyzed to

survivors.

determine any significance. Additionally, all sessions were audio taped and reviewed

References

by an independent party to determine if the

Leigh, S. (2005). Coping: Survivorship

researcher followed stated session

Issues and Financial Concerns. In J.

protocols.

Itano & K Taoka (Eds.) Core Curriculum th for Oncology Nursing, (4 Edition.

Philadelphia: Elsevier, p. 80-88.

Results

Rowland, J., & Massie, M. (1998). Breast

Results of between group comparisons using the Mann Whitney U Test indicated

Cancer. In J. Holland (Ed.), Psycho

that breast cancer survivors in the GrMI

oncology. New York: Oxford University

experimental group improved significantly

Press, pp. 308-401.

more than the cognitive-behavioral control group on identity supplemental scores (p =

About the Author

.030), family sub-scores (p = .052), and

Joy Allen, Ph.D., MT-BC is an Assistant

body image (p = .028). In relation to self-

Professor of Music Therapy and has

concept, subjects in the experimental group

extensive experience working with medical

improved significantly more on measures of

patients, focusing on psychological health,

identity, role performance, and body image,

pain management, and the family system.

as compared to the control group Contact: joyallen@loyno.edu Implications Secondary to advances in screening and treatment, the population of breast cancer survivors is growing. As such, treatments that effectively address the psychological

101

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

RECREATION OF SPEECH FUNCTION AFTER BRAIN TRAUMA BY SINGING Aldona Vilkeliene Vilnius Pedagogical University, Lithuania Abstract While working with patients after a stroke, singing can be used as training of their breath and voice and maintaining their intellect. Case study based on microanalysis reveals significant changes of patient’s speech function during singing.

singing person produces more meaningful words, longer phrases, which make positive correlation with functional changes of the right hemisphere and speech centre. While the performer’s voice makes the above

Introduction

medical effect and emotional impact, the

A song has been accompanying man from

content

ancient times and transferring energy of

particular

information.

emotions,

important

when

authentic way – from lip to lip. It is always

suffering

from

memory

accompanied by a text which attracts the

disorders.

mood

information

the

song

transfers It

work

certain

especially

with

people

and

speech

listener’s attention by the meaning of the lyrics or even sound of syllables, vowels and

Case analysis: Pijus

consonants. The mode of performance also

Pijus got seriously hurt by an explosive he

has peculiar influence on a person, which is

made themselves. His brain was damaged,

especially revealed in religious rites – a

he was injured on his eye, hands and legs.

raising melody at the beginning of the prayer

Pijus spent 4 weeks in coma. His cognitive

and a free rhythm.

processes are disturbed – he does not remember numbers, and he uses just

Therapeutic aspects of the ethnic song

separate words: “yes, no”. During therapy

A lullaby sung for a baby becomes not only

sessions

his

a means of reassuring him and putting to

registered

when

sleep but also a sound signal which reminds

activities and conversation. For this purpose,

voice

methods of microanalysis were used (Wosh

throughout his life. It shows that all kinds of

& Wigram, 2007). Six sessions were chosen

music that is performed by voice (religious,

for analysis, and observation was made.

everyday

therapy)

During each musical activity, the patient’s

personality.

emotional state was registered every 10

person

makes

life,

his/her

mother’s

performance

influence

emotional using

states

were

different

music

(G.Schlaug, 2008) highlight that in case of

seconds

speech disorders after a trauma or stroke, a

dissatisfied, puzzled, neutral, interested,

according

features:

102

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

cheerful. Besides, we registered the words

results of singing significantly differ from his

uttered during that activity. They were

ability

divided according to such order: A –

activities.

speak

during

other

kind

separate interjections, e.g. yes, no. B – a number of words when everyday words are

Conclusions

uttered, e.g. hello, good morning. C – a

Singing

number of words when full sentences or

phenomenon or therapy stimulus has been

song

researched in different countries of the world

analysing the results of the research, it was

for several decades. Nevertheless, ethnic

noticed that cheerful mood was most

song has been given insufficient attention;

frequently repeated during singing. The boy

therefore, research of this field should be

smiled and repeated separate phrases of a

continued according to different aspects.

couplet from an ethnic song the content of

Pijus’ case shows that a person who

which corresponded to the raised goals.

suffered a brain trauma and is able to

During singing negative emotions were quite

pronounce only short words, and reacts to

rare (a negative emotion was registered

the environment by inadequate emotions,

every 123 sec on average).

can change during singing.

couplets

are

pronounced.

musical

activity,

social

It once again

proves that a folk song, which reveals the

300 200

short words

main moments of a person’s life from birth

100

short phrases

till death and different personal experiences,

long phrases

appeared at a certain time that is reflected in

0 S

VI ML VI

the song’s content; therefore, the emotions

Figure 1 Repetition of Pijus’ speech phrases

put into the melody are real and authentic. It

S-singing; VI –vocal improvisation; ML – music

is confirmed by scientists’ discussions (Clair,

listening; VI –verbal interaction.

2002; Tucek and Vilkeliene, 2007) that they

Development of Pijus’ language (pict.1):

are easily memorized and recognized.

during singing, long phrases are repeated most frequently, every 5,51 sec. Those

References

phrases consist of five and more words.

Tucek, G. & Vilkeliene, A. (2007). Selected aspects of

Pijus sang these phrases independently,

intercultural approach towards music therapy. Alytus:

without a music therapist. Having in mind that during verbal communication Pijus was

Albagrafija. Wosh, T. (2007). Microanalysis in music therapy: introduction and theoretical basis. In: T. Wosh and T.

able to produce only 1-2 word sentences

Wigram (Eds.), Microanalysis in Music therapy, 13-26.

(during verbal conversation short words

London and Philadelphia: Jessica Kingsley Publishers.

were repeated every 10 seconds), the

Contact: vilkelienea@yahoo.com

103

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

PROMOTING ELDERLY WELL-BEING THROUGH GROUP MUSIC ACTIVITIES: PHYCHOLOGICAL AND PHYSIOLOGICAL EVALUATION Tomoko Ichinose1, Hiroki Hasegawa1, Kakuko Matsumoto1, Nodoka Fukami2, Ayaka Shinonaga3, Kyoko Watanabe4, Mayumi Okabe5, Keiko Kitada6, Anna Nakano7, Maiko Yamada3, Tsutomu Masuko1 Japan 1

Mukogawa Women’s University, 2 Nisso Net Co., ltd 3 Social Welfare Corporation Kiboh-no-Ie,4Shin-Osaka Care Community Soyokaze Day Service, 5Social Welfare Corporation Miyoshino-En, 6 Yuh-yuh-an Day Service Center, 7YAMAHA Cooperation Purpose

test for variation of cortisol, S-IgA, POMS,

Research a project which promotes elderly

and t-test for variation of vital capacity.

health

through

musical

activities

was

evaluated over a three year period.

Results The percentage of vital capacity showed a

Method

tendency to increase (p=0.11) (Figure 1)

The bi-weekly group participants were noninstitutionalized elderly, ranging from 74 to 88

years

old,

primarily

female.

Approximately twenty participants joined each

year,

with

twelve

volunteers

participating all three years. The group activities

included

singing,

instrument

performance,

and

musical rhythmic

Figure 1. Change in vital capacity

games and dance. Saliva concentrations of

Cortisol concentration data assessed in

cortisol and S-IgA were measured during the

2010 decreased as compared with data in

last music activity of each year. Holter ECG

2009 and 2008. (p<0.01,p<0.01,Figure 2)

was used to obtain time series data of HF and LF/HF during activities. Vital capacity was also measured. Psychological data was obtained through POMS (Profile of Mood States),

collected

every

three

months.

Statistical significance was confirmed using a one-way ANOVA test followed by Sheffé

Figure 2. Change in cortisol concentration

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

S-IgA concentration data increased every year,

activity tends to decrease, as does muscular

although there was no significant difference.

strength. Results suggest that consecutive and regular participation in group music activities contributed to the maintenance of participant’s

respiratory

function.

Vital

activity correlated to physical strength and total amount of daily living activity. Results showed

that

the

percent

vital

activity

increased from 80 (minimum limit of normal Figure 3. Changes in S-IgA concentration

range) to a value well within the standard

Time series data collected from participant A.

range. Cortisol concentration is an index

Par 1 (Figure 4) indicates the autonomic

reflects the degree of stress. Significant

nerve system activity during the introductory

decrease in cortisol concentrations over

song at the beginning of the music activity.

three years indicates that the participants’

This shows that sympathetic nerve system

stress levels had decreased by participating

(LF/HF) is active. The part 2 (Figure 4)

indicates ANS while participants listened to

concentration

live flute performance. This graph shows

function and secretion of S-IgA typically

that the parasympathetic nerve system (HF)

decreases as people age. Results show that

is active.

the participants’ S-IgA concentration tended

the

music

activity.

measures

The the

S-IgA immune

to increase, indicating that the consecutive and regular participation in the group music activities helped to maintain levels of S-IgA concentration, maintenance Stimulating

contributing of

immune

autonomic

nervous

the

function. system

activity, which promoted regulatory function, plays an important role in elderly people’s Figure 4. Change in ANS: Participant A

health. Further investigation is needed to

There were no significant changes in all the index of POMS, however, the scores for

further evaluate from physiological and psychological viewpoint.

‘Vitality’ showed a tendency to increase. Author Contact T. Ichinose at ichino@mukogawa-u.ac.jp

Discussion For elderly, total amount of daily living

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

ANALYTICAL MUSIC THERAPY-ORIENTED SUPERVISION (AMTOS) EXAMINED WITHIN THE CONTEXT OF ASIAN CULTURES Seung-A Kim Molloy College, NY Introduction Clinical

music therapy, as it helps to further the the

effectiveness of the session. In addition,

professional life of music therapists is

music therapy involves a wide range of

essential.

expressions,

benefits

supervision This of

throughout

paper

emphasizes

Analytical

Music

the

Therapy-

which

requires

music

therapists to be expressive musically and

Oriented Supervision (AMTOS) within the

non-musically.

context of Asian cultures. The AMTOS is

however, are conditioned differently in the

designed to meet the need for continual

aforementioned qualities from their western

growth on the part of the supervisee. This

counterparts

includes

Traditionally Asian societies, emphasis on

increasing

self-awareness,

Asian

music

(Scheiby

therapists,

Kim,

2005).

nurturing the inner music and freeing

assertiveness

and

creative energy of the supervisee, while also

differ

western

helping

interdependence and harmony are highly

manage

countertransference,

culture-related

maintain

his/her

valued.

from

Although

expressiveness ideology,

there

are

may while

individual

‘psychohygiene’ (Jahn-Langenberg, 2001),

differences among Asian music therapists,

and demonstrate the use of music as a self-

the discrepancy between the culture of

healing mode. In developing my supervision

music therapy and the culture they are

model, I have been influenced and my

accustomed

personal experience with AMT training

commonality and potential impediment. For

(Priestly,1975; 1994), and my experience

instance, there may be certain emotions that

both as a clinical supervisor and an

are not typically mentioned in their daily

academic supervisor.

lives, and words expressing those emotions

may

significant

may feel unfamiliar. Specifically, there are AMTOS and Asian Music Therapists

distinctive gender roles that exist in many

Music

western

Asian societies, in which women are often

philosophy, therefore it encourages the

taught to be passive rather than assertive,

enhancement

assertiveness,

and men are taught to control their emotions

expressiveness,

and

independence.

in order to maintain their sense of pride.

Assertiveness is an important component in

Both genders are taught that endurance is a

therapy

stems

from

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

virtue praised higher than being expressive.

foster flexibility to develop a music therapy

Additionally, it may be difficult to express

approach that is specific to their culture. The

negative feelings (e.g., anger, hatred, and

purpose of AMTOS lies in providing better

jealousy) since it is common in Asian

service to clients. AMTOS aspires to provide

societies to be governed by a powerful

opportunity

superego (Scheiby & Kim, 2005). This can

professional

identity,

manifest in somatic symptoms. Furthermore,

considerations, and motivate the supervisee

therapy is not part of the traditional healing

to seek further advanced training in the area

methods found in many Asian countries.

of that specialty.

Why AMTOS?

References

While AMTOS is widely applicable to any

Jahn-Langenberg,

explore

one’s

address

own cultural

(2001).

music therapy student or music therapist,

Psychodynamic

there are several benefits of employing the

professional supervision. In M. Forinash

AMTOS

(Ed.), Music therapy supervision (pp.

approach

training

Asian

supervisees. The experiential component of

271-280).

AMTOS

Publishers.

helps

enhance

creativity,

enabling them to better use their skills during the sessions. This helps to connect them to their clients, and encourages them

perspectives

Gilsum,

NH:

London: Constable Priestley, M. (1994). Essays on analytical music

each session. In addition, western-based

Barcelona Publishers.

therapy

also

therapy.

Phoenixville,

PA:

better

Scheiby, B. B., & Kim, S. (2005). Analytical

understood as they engage in experiential

Music Therapy – method, training and

exercises. Improvisation is an effective

application to an Asian context. In H. J.

outlet for to explore the variety of emotions

Chong (Ed.), Techniques, Methods and

and

Models in Music Therapy (409-441).

fosters

may

Barcelona

Priestley, M. (1975). Music therapy in action.

to be more present and available during music

expressiveness,

while

acknowledging their own inner music. The

Seoul, Korea: Hakjisa.

unknown (free) nature of the improvisation provides opportunity to develop cultural and

About the Author

professional

Seung-A Kim is an Assistant Professor at

identity.

Psychodynamic

movement exercises help alleviate somatic

Molloy College, NY.

symptoms. Further, the emphasis given to transference and countertransference can

Contact: skim@molloy.edu

increase awareness, expand worldview, and

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

CURRENT ISSUES IN MUSIC THERAPY SUPERVISION IN KOREA: SUPERVISEES’ EXPERIENCE AND PERSPECTIVES Dong Min Kim Jeonju University, Korea

Supervision is an interpersonal relationship

Unique to music therapy is the creative

in which the supervisor helps the supervisee

component of the clinical intervention. As a

acquire appropriate clinical behavior and

result, there are additional impediments to

facilitates the supervisee’s development of

the establishment of a good supervisory

therapeutic Loganbill, Bernard

competence Hardy,

and

(Hart,

1982;

relationship. Due to the interactive nature of

Delworth,

1982).

this relationship, the supervisor and the

further

supervisee must both remain attentive to

Goodyear

(2004)

characterized supervision as an intervention

relationship

in its own right, similar to teaching and

hierarchy, resistance, shame, evaluation

psychotherapy, where the intervention is

anxiety, parallel processes, interpersonal

provided by a more senior member of a

attachment

profession to more junior members of the

counter-transference

same profession.

2000; Haynes, Corey, Moulton, 2003). The

factors

styles,

such

power,

transference, (Gilbert

and Evans,

literature is replete with research on how The quality of the supervisory relationship is

these relationship factors can affect the

regarded as the most important factor

supervisory relationship and therefore, as a

affecting the quality of therapy (Holloway,

consequence, the quality of therapy (e. g.,

1997; Nelson, Gray, Friedlander, Ladany, &

Nelson

Walker, 2001). However, only recently has

Sanchez, et al., 2002).

the

importance

this

Friedlander,

2001;

Ramos-

supervisory

relationship begun to be recognized and

In the context of clinical training, multi-

researched in clinical professions (Bernard

culturalism began to be considered in

& Goodyear, 2004). Furthermore, there are

supervision. Kim (2009 a, b) reported that

not yet enough available research and

Korean supervisees expect negative rather

literature

than positive feedback from supervisors and

the

topic

supervisory

relationships in the field of music therapy.

tend to be more submissive and obedient than American supervisees. Kim therefore suggested

that

supervision

Korean

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

supervisees

should

done

understanding of Korean culture’s high regard for hierarchical order which may influence Korean supervisees. In order to advance insights on supervision and expand awareness of multi-cultural perspectives in music therapy training, this presentation is to examine current issues in music therapy supervision in Korea by looking into Korean supervisees’ experiences in supervision and the unique cultural factors which effect on their relationship to supervisors. References Bernard, J. M., & Goodyear, R. K. (2004). Fundamentals of clinical supervision. Boston, MA: Pearson Education, Inc. Gilbert, M. C., & Evans, K. (2000). Psychotherapy supervision. Buckingham: Open University Press. Hart, G.. M. (1982). The process of clinical supervision. Baltimore, MD: University Park Press. Haynes, R., Corey, G., & Moulton, P. (2003). Clinical supervision in the helping professions: A practical guide. Pacific Grove, CA: Brookes/Cole-Thomson Learning. Holloway, E. L. (1997). Structures for the analysis and teaching of supervision. In Watkins (Ed.). Handbook of psychotherapy supervision, 249-276, New York: Wiley & Sons. Kim, D. M. (2009a). A qualitative study on supervisee’s shame and evaluation

anxiety experienced in music therapy group supervision. Korean Journal of Music Therapy, 11(1). Kim, D. M. (2009b). The relationship among shame, attachment style, self-efficacy, emotional attachment, and evaluation anxiety in music therapy group supervision. Unpublished doctoral dissertation. Seoul: Ewha Womans University. Loganbill, C., Hardy, E., & Delworth, U. (1982). Supervision: A conceptual model. The Counseling Psychologist, 10(1), 3-42. Nelson, M. E., & Friedlander, M. L. (2001). A close look at conflitual supervisory relationships: The trainee’s perspective. Journal of Counseling Psychology, 48(4), 384-395. Nelson, M. E., Gray, L. A., Friedlander, M. L., Ladany, N., & Walker, J. A., (2001). Toward relationship-centered supervision: Reply to Veatch (2001) and Ellis (2001). Journal of Counseling Psychology, 48, (4), 407-409. Ramos-Sanchez, L., Esnil, E., Goodwin, A., Riggs, S., Touster, L. O., Wright, L. K., Ratanasiripong, P., & Rodolfa, E. (2002). Negative supervisory events: Effects on supervision satisfaction and supervisory alliance. Professional Psychology: Research and Practice, 33(2), 197-202. About the Author Dong Min Kim, Ph.D., LCAT, MT-BC, NRMT is Assistant Professor at Jeonju University, Korea.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

INTERNATIONAL CONCERNS IN MUSIC THERAPY EDUCATION AND TRAINING Karen D. Goodman Montclair State University, Montclair, New Jersey, U.S.A. Today we discuss interrelated concerns that

masters degrees within the guidelines of

impact and shape international education

EHEA, toward curriculum convergence and

and training (Goodman 2011) as we work

professional

toward official recognition and support, both

facilitate European and national government

public

recognition. In research on ten masters

multiple articles in VOICES organizational

programs in Europe that had achieved state

unity within each country, standardizing

recognition and professional acceptance,

university

Europe,

Seidel (2002) found commonalities: teaching

establishing uniform entry level professional

in small groups; acceptance of the need for

practice

individual

and

private.

training

Concerns

throughout

degrees,

fostering

cited

national

competencies

therapy,

that

experiential

might

music

licensing, including music therapy in national

therapy, individual and group supervision;

healthcare systems and private insurance

plans, establishing guidelines for levels of

collaborative learning and joint clinical work

practice, establishing uniform levels of basic

experience

musicianship

and

However, these types of programs can be

considering standards of practice related to

costly and institutions cite concern about

multicultural awareness.

financial support of their programs. Signs of

The signing of The Bologna Declaration

financial exigency may include the merging

(1999) provided the impetus in Europe and

of colleges, even across countries, to take in

beyond to construct a European Higher

more students and grant degrees from two

Education Area (EHEA) by 2010 in order to

universities at a time as well as the

create a common educational currency with

movement of music therapy programs into

an assurance of quality. Accordingly, the

other academic departments or, in the

European Music Therapy Confederation

United States, shrinking program credits in

(EMTC) set up a European Music Therapy

order to remain institutionally competitive. In

Argentina financial concerns are said to

standards of bachelor and master level

prevent the growth of graduate study. We

qualification. As a result, many music

may be challenged to uphold standards

therapy programs (not always with the

through creative educational design and

greatest of ease) have recontexualized

management.

entry

criteria,

teacher-student with

relationships;

classroom

learning.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

Assuming we can maintain the standards of

License for Creative Arts Therapies is one

small intensive training programs, how can

example.

training lead to official recognition, both

Government imprimatur and the inclusion of

public and private, on the state or national

evidence based documentation to assure

levels(s), and how might this recognition

insurance reimbursement has led to the

impact employment opportunities?

acceptance of music therapy for 10 clinical

Programs in the United Kingdom and Austria

disorders

have succeeded in winning government

organization in Germany. Conversely, In

recognition and, as a result, in Austria there

Finland and The Netherlands, where music

are now levels of documented practice

therapy

regulated by the government based on

recognized healthcare professions, there is

education. In Brazil, the province of Buenos

pressure to conform to evidence based

Aires granted government licensing for

practice in order to achieve recognition.

music therapy in 2005.In Canada, the

With the responsibility to provide intensive

province

programming

British

Columbia

seeks

through

the

is not on

the

while

national

health

official list of

responding

regulation under a Health Professions Act.

institutional

In the Republic of Ireland, music therapy is

agencies

pursuing regulation through a council of

national certifications and efforts to create

Complementary and Alternative Medicine.

and follow mandates resulting from local or

In Italy, individual ministries or government

federal licensing, educators must see both

department recognize music therapy but the

the forest and the trees.

lack of a national legislation prohibits certain

References

employment

Goodman, K.D. (2011) Music therapy education and training: From theory to practice. Springfield, Illinois: Charles C. Thomas. Seidel, A. (2002) heading towards internalization. European comparison of state-approved studies of music therapy at master level. Nordic Journal of Music Therapy, 11:1, 54-60

opportunities.

The

Netherlands, there are ongoing negotiations within the Council for Postgraduate Training to accept arts therapies into the Professions in Individual Health Care and Cure Law and establish arts therapies as a protected

financial overseeing

pressures,

various

accreditations

and

profession. In Norway music therapy has become sanctioned under the Norwegian

About the Author

Musicians Union. In the United States, the

Karen D. Goodman, Professor, Music Therapy, Montclair State University, is a senior educator; administrator, clinician and author who frequently presents and consults on issues germane to higher education and clinical work in context of psychiatry and developmental disabilities. Contact: goodmank@mail.montclair.edu

quest for government imprimatur in the United States has had sporadic successes: the establishment of a New York State

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THE BENEFITS OF MUSIC THERAPY INTERVENTION AS PART OF BURN INJURY REHABILITATION Mireya P. González COANIQUEM Corporation for Assistance of Burned Children Santiago, Chile Abstract Music

implemented for children with burn damage.

Therapy’s

(Corporation

for

Unit

COANIQUEM

Assistance

Therapy

offers

complementary

Burned

service to pain management in a framework

Children) in Santiago de Chile treats over

for emotional expression and stimulates the

600 children and their families every year,

motivation, of children and their families, to

covering

carry on with the challenges of rehabilitation.

rehabilitation

Music

and

emotional

support after a burn injury.

Children who receive many treatments

As part of the rehabilitation team, the Music

interventions during rehabilitation process

Therapy’s Unit works in collaboration with

experience acute stress, discomfort and

other rehabilitation units in the areas of pain

pain. This situation lead the child to

management,

experience

emotional

distress

and

fear

and

anxiety,

reject

physical recovery, covering the different

treatment, have a negative reaction prior to

stages of rehabilitation of children and their

or during procedures, and do not follow

families.

medical indications. The professional team is confronted with the challenge of coping

Abstract

with an unhappy child, making clinical

Burn injuries are often associated with pain,

interventions more difficult.

emotional stress, long-term hospitalization and rehabilitation, and family stress.

The role of the music therapist is to

The professional team of COANIQUEM,

accompany children receiving painful or

considers

distressing

innovative

that and

music

therapy

effective

treatment

intervention for the rehabilitation of children

procedures

supporting

the

clinical intervention of the medical staff, trying to facilitate their intervention.

who suffer burn injuries. Method This presentation shows the music therapy

The Music Therapy Unit provides ongoing

intervention approach used to support and

services in the units of Acute Care (dressing

complement

changing and debridement), Kinesiology

the

rehabilitation

process

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

(bath and exercise), Occupational therapy

music therapy over a two-year period, with

(use of hands), Psychology (communication

over 600 patients (from 6 months to 22

and

are

years), who have received music therapy in

accompanying the child during painful or

the areas of dressing changes, pre-surgery,

stressful procedures as well as providing

emotional and social insertion, as well as in

ongoing individual sessions. Referrals from

the physical rehabilitation process.

emotional

expression),

the units or requests from the parents are scheduled according to the patients’ needs.

Music therapy interventions have benefits

The music therapist also accompanies

for

children prior to or following surgery, using

professional team highlight the benefits of

free improvisation techniques and guided

music therapy intervention making medical

imagery with music to induce relaxation.

procedures more manageable and allowing

Interactive music therapy approach includes

children to feel more relax.

free improvisation, exploring sounds, singing

Challenges for the music therapist, the use

and song making, drawing to music, and

of creative techniques, and general results

musical stories.

will be discussed.

Sessions last from 10 minutes to an hour

References

and aim to offer a safe and supportive

Edwards, J, (1994) .The use of music

the

children

and

parents.

The

environment where creative expression is

therapy to assist children who have

encouraged as a way of finding inner

severe burns.

strength and the resources to confront the challenges faced in rehabilitation. The team is

encouraged

participate

while

performing the medical procedure, when it is

Santander, D., Castillo, C (1996) Propuesta de un Modelo de Atención Psicológica al Niño Quemado. Revista Terapia Psicológica; Año XIV, Vol VI, N°26.

possible. Team members, patients or parents are interviewed following the initial sessions, and after 3, 6, and 12 months of music therapy intervention.

Mireya P. González BFA, MT, Coordinator of the Music Therapy Unit at COANIQUEM, in Santiago, Chile. She has worked with children and adults at different institutions and community organizations.

Results Results

About the Author

are

based

the

ongoing

intervention and observation of interactive

Contact: en.musika@gmail.com

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

STARTING AN RCT: IMPROVISATIONAL MUSIC THERAPY AND SOCIAL COMMUNICATION SKILLS IN AUTISM Monika Geretsegger Doctoral Program of Music Therapy, Aalborg University, Denmark Faculty of Psychology, University of Vienna, Austria To address the need for methodologically

(Rossignol, 2009; Wheeler, Williams, Seida,

sound and clinically relevant evidence for

& Ospina, 2008) – also found some positive

the use of music therapy in autism spectrum

effects,

disorders (ASD), a randomized controlled

methodological constraints in the studies

trial (RCT) has been launched in Vienna,

reviewed

Austria, within a doctoral fellowship project

generalisability.

but that

not

without

limit

the

noting results’

at Aalborg University, Denmark. In order to share some information about the

Research Questions

hypotheses, rationale, and methodology of

Within this RCT, it is investigated whether

this ongoing study, a brief version of the

there is any observable improvement in

study protocol is presented here.

autistic

children’s

social

communicative

skills as assessed by independent clinicians Background

at the end of the treatment period if

The field of music therapy and ASD is an

assigned to music therapy, whether change

area

among

in these skills may also be detected in

clinicians, researchers, and families affected

reports from parents/caregivers, whether the

by ASD. Music therapy can be viewed as a

response varies with dose variation of

promising, but not yet sufficiently evidenced

treatment, and how the development of skills

treatment within ASD: clinical reports, case

proceeds until follow-up twelve months after

studies, and single group studies suggest

the treatment had started.

increasing

attention

that music therapy may enhance social communication skills typically impaired in

Methods/Design

children with ASD (e.g., Schumacher, 1999;

In the present study that is using a

Edgerton, 1994); more rigorous studies

randomized,

(Kim, 2006) and systematic reviews –

group parallel design, preschool children

investigating

specifically

with a diagnosis of ASD are assigned to

(Gold, Wigram, & Elefant, 2006) as well as

either once-weekly or three-times weekly

comparing

individual

music various

therapy types

treatment

repeated

measures,

improvisational

music

three-

therapy

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

sessions, or to a control condition of three

References

sessions of parent counseling, both over a

Edgerton, C. (2004). The effect of improvisational music therapy on the communicative behaviors of autistic children. Journal of Music Therapy, 31, 31-62. Gold, C., Wigram, T., & Elefant, C. (2006). Music therapy for autistic spectrum disorder. The Cochrane Database of Systematic Reviews, Issue 2. Kim, J. (2006). The effects of improvisational music therapy on joint attention behaviours in children with autistic spectrum disorder. Aalborg: Unpublished PhD thesis, Aalborg University. Kim, J., Wigram, T., & Gold, C. (2008). The effects of improvisational music therapy on joint attention behaviors in autistic children: A randomized controlled study. Journal of Autism and Developmental Disorders, 38, 1758-1766. Rossignol, D.A. (2009). Novel and emerging treatments for autism spectrum disorders: A systematic review. Annals of Clinical Psychiatry, 21, 213-236. Schumacher, K. (1999). Musiktherapie und Säuglingsforschung. Frankfurt am Main: Peter Lang. Wheeler, D., Williams, K., Seida, J., & Ospina, M. (2008). The Cochrane Library and Autism Spectrum Disorder: An Overview of Reviews. Evidence-Based Child Health, 3, 3-15.

period of five months. A power calculation assuming a usual error rate of P < 0.05 and a targeted effect size of 0.8 yielded a required number of 45 participants to detect a significant difference. However, due to funding limitations, the trial has been started with a target sample of 15 children with the option of adding more participants if additional third-party funding becomes available in time. Outcome is measured at two, five, and twelve

months

randomization

after

date

the

using

respective

the

German

versions of Autism Diagnostic Observation Schedule

(ADOS)

assessors

and

for

Social

blinded

expert

Responsiveness

Scale (SRS) for parent/caregiver reports. To help ensuring validity and replicability of the study, the music therapy approach applied

this

study,

its

therapeutic

principles and improvisational techniques are specified in a treatment guide serving as an adaptive instruction tool for the music therapists administering the sessions.

About the Author Having studied music therapy, psychology, and

linguistics,

Monika

Geretsegger

currently working as Ph.D. research fellow at Discussion

Aalborg University and University of Vienna,

This study aims at avoiding methodological flaws of previous studies by employing a rigorous design involving randomization, a control condition, one primary outcome, and therapy conditions that are close to clinical practice in terms of treatment duration and

as clinical music therapist at a department for social psychiatry and in private practice in Austria, and acting as President of Austria’s Professional Music Therapists’ Association. Contact: mg@hum.aau.dk

therapy techniques.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

A DYNAMIC SONIFICATION DEVICE IN CREATIVE MUSIC THERAPY Alan Lem University of Western Sydney and Nordoff-Robbins Music Therapy Australia Garth Paine University of Western Sydney, Australia

Introduction

The present study aimed to develop a

Creative Music Therapy (CMT) is a well

system

known form of improvisational music therapy

responsive, which was hoped would help

(Nordoff and Robbins, 2007). It is available

physically disabled people to engage with

to most client groups but its success largely

virtual musical instruments according to their

depends on the client’s ability to use

individual

acoustic music instruments. It follows then

system was designed to gauge gesture

that Creative Music Therapy has a limited

using video-tracking and translate it to

application with people whose movements

sound via real-time synthesis. Informing the

are severely restricted. The present project

design

aimed

orchestration (Paine, 2007), which allows for

participate in CMT at the level of musical

dynamic changes in the gesture to be

expression available to non-disabled people.

interpreted as dynamic changes in the

The use of sonification technology (i.e.

underlying sound synthesis.

devices

assist

capable

this

client

group

translating

that

would

movement

was

the

dynamically

vocabulary.

concept

The

dynamic

human

gesture to sound) became an obvious

Method

choice. Interestingly, all sonification systems

Participants were five young adults with

reviewed were found not to be sensitive to

physical disabilities resulting from different

the dynamic qualities of the human gesture

forms

(i.e. velocity and acceleration) which are

wheelchairs and one was fully mobile but

critical in the production of expressive

suffered from hemiplegia. Each participant

musical sound. These technologies rely on

took

predetermined sonic morphology provided

conducted at a music therapy clinic.

by MIDI and elicit sound using a triggering approach, for example when a beam of light is broken, and not on a continuous basis.

part

brain

injury.

eight,

Four

were

half-hour

sessions

During the sessions a small video camera was pointed at the participant from two meters away (Figure 1). Once the participant

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

started using the system independently, the

responses decreased in favour of more

music therapist would join him or her in a

refined

movements,

free improvisation on the piano. This was

learning.

Data

done

participants yielded no consistent results.

offer

musical

support

and

from

which

indicates

wheelchair

bound

engagement similar to that promoted in a traditional CMT session. During the study

Summary

several sonic patterns were trialed and

The study developed and evaluated a

adjusted according to each participantâ&#x20AC;&#x2122;s

dynamic, sonification system with physically

movements and sonic preferences.

disabled music therapy clients. Results indicated that the device may be used as a free improvisation tool with people who have mild

physical

disabilities,

but

that

modifications may be required for those whose movements are severely restricted. The system in use can be viewed at: Figure 1: The sonification system overview. Session data were transcribed and collated to gauge (1) the magnitude, duration and intensity

the

gestures

(similar

Labanotation; Newlove, 1993), and (2) the intensity, spaciousness and timbral quality of the corresponding sound. This was later analysed

understand

how

different

sounds might have influenced participants to move in particular ways and how this might have evolved in the course of the study.

http://www.youtube.com/watch?v=VFnsqt_NZFo References Newlove, J. (1993). Laban for Actors and dancers: Putting Laban's Movement Theory into Practice. Nick Hern Books. Nordoff, P. and Robbins, C. (2007). Creative Music Therapy (2nd ed.). Barcelona Pub. Paine, G. (2007). Sonic Immersion: Interactive Engagement in Real-Time Immersive Environments, Scan: Journal of Media Arts Culture, 4 (1). About the Authors

Results

Dr. Alan Lem is a music therapist and

Data obtained from the mobile participant

composer who heads the Master of Creative

revealed clear correlations between the

Music Therapy in the University of Western

sonic output of the computer and four

Sydney (UWS).

categories of movement: large and small

Contact: a.lem@uws.edu.au

arm

movements,

leg

movements

and

punching. It also indicated that during the study the frequency of his gross motor

Dr. Garth Paine lectures in music technology at UWS and is internationally regarded as expert in interactive music systems.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC THERAPY AND CEREBRAL PALSY SONGWRITING WITH TECHNOLOGY ADAPTATIONS Ralf Niedenthal, Lic. Musicoterapia, Argentina Federico Gabriel, Lic. Musicoterapia, Argentina

Introduction

our duty, as music therapists, to assist and

We know, as professionals who work in the

to find a way of making this possible for the

area of health, that people who have

patient; to make those activities as easy and

disabilities

physical

comfortable as possible; to try to reduce the

impediment which manifests itself in the

effort needed; to make the activity not

malfunction of a particular area and/or

frustrating but joyful; and also to offer the

function of the body, but also that this

most comfortable environment we can for

disability brings with it the impossibility of

the patient to be able to perform gratifying

practicing joyful and recreational activities,

activities such as composing songs.

which

not

are

very

only

suffer

important

for

the

development of the personality, in addition

There are 4 types of adaptations, which

to purely useful or practical actions.

allow the patient with these characteristics to create songs easily, within the areas of

During their daily activities, the person with

harmony, lyric, rhythm or melody. These are

special needs faces many obstacles, such

physical,

as going to the bathroom, eating, getting

technological adaptations.

dressed,

communicating,

musical,

instrumental

and

cleaning

themselves without help.

Songwriting Process From the beginning, we must always

And this is the case with patients who have

consider the potential of our patient. The

cerebral palsy when they come to a music

limitations can be easily seen to a greater or

therapy

lesser degree, but the potential should never

session.

They

want

play

instruments, sing, create melodies, play

be underestimated.

music, but the difficulties which their clinical

We must evaluate what physical movements

diagnosis brings, most of the time, does not

the patient can make, in which way he

allow them to do what they would like to. It is

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

communicates,

what

are

his

cognitive

3. Harmony: The professional shows a

abilities and which music styles he prefers.

series of chords (major, minor, diminished,

M’s

seventh, etc.), which the patient selects for

cerebral

palsy

with

athetoid

quadriparesia affects all four limbs, which

his

means that M. can’t make the necessary

movements correctly. At the same time, M.

4. Lyric: Perhaps the hardest part of the

makes involuntary movements, which are

process, but not impossible. The patient

characteristic of his athetoid condition.

enters into the computer a series of words

Because of this, the patient feels more

associated with the theme he has chosen.

comfortable and secure when operating the

Then the music therapist helps the patient to

computer with his feet. With the help of an

link them up together, forming sentences.

adapted keyboard with bigger keys and

Together, they go on correcting and editing.

song.

hence more accessible to operate, he moves the cursor on the computer, while

These steps form a "template" to create the

sitting on a bed or chair with his back

song. Once this stage is finished, the patient

against a mattress. This position gives him

begins to use the music software on the

stability and far greater precision than if he

computer.

used his hands to move the mouse. About the Authors We

developed

the

following

steps

Niedenthal Ralf: Music Therapist, Piano and

facilitate the process of musical composition:

guitar teacher. Coordinator of Adapted Musical Pedagogy department in Mami

1. Song theme: With the help of pictograms

Sounds (Centre for the development of

(symbols,

music therapy programs)

pictures,

letters),

the

patient

indicates the picture, which summarizes the main

theme

the

URL: www.mamisounds.com

song. Federico Gabriel: Music Therapist, Director

2. Style: The music therapist shows M.

of. Mami Sounds Author of several books on

various musical styles: rock, pop, reggae,

music therapy. President of the Argentine

reggaeton, classical, tango, folk, punk,

Association of Music Therapy (ASAM).

alternative, march, waltz, etc. The patient

URL: www.gabrielfederico.com

selects

the

most

desired.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

IMPACT OF LISTENING: MUSIC THERAPEUTIC METHODS ON LABOR TIME AND SUBJECTIVE PAIN Qijie Wei Tian Gao Central Conservatory of Music, Beijing, China Background

discomfort during childbirth, shorten labor

Delivery process is necessary for every

time, and promote healthy reproduction is

maternal life course experiences. The pain

one of the projects in obstetrics research.

of childbirth has been one of the most intense in the vast majority of women’s lives.

Purposes

(Martinl Pernoll, 2001). Long and intense

pain not only brings about a very large

therapeutic methods in pain relief during

maternal physical and mental suffering, but

childbirth, shorten the delivery process, and

also may endanger the life of both mother

evaluate intervention process to explore an

and fetus. The pain during childbirth is

appropriate music intervention model for

affected mainly by maternal physiological

mothers during childbirth.

investigate

the

impact

music

changes, and it is also under the influence of other spiritual, psychological and social

Methods

factors (Wuitchi, Bakal, Lipshitz, 1989).

Thirty-seven cases of primipara at Beijing

Pregnancy and giving birth are not only very

Mary Women and Children Hospital have

important period in a woman’s life, but also

been randomly divided into experimental (22

an important component of her reproductive

cases) and control (15 cases) groups in the

health. It has become a new trend in the

Lamaze

development of modern obstetric medicine

experimental group, all subjects received a

that applying music therapeutic methods into

pre-training

the process of childbirth. It is imperative to

investigator every week during the 34th

maximize the maternal initiative and reduce

through the 38th weeks prior to delivery. The

the intervene during the birth process, so to

investigator plays the pre-selected music

ensure a healthy, natural and pleasant

during the first stage of labor and the second

completion of this physiological delivery

stage of labor,、the third stage of labor. The

process, as well as a high quality of obstetric

subjects in the control group do not receive

medical practice (Clark, Mecorkle, Williams,

any intervention. The investigator measures

1981). Therefore, how to reduce pain and

and evaluates the extent of maternal pain for

training course

courses. provided

the

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

both experimental and control groups during

significantly less for the experimental group

the first stage of labor incubation period, the

than that for the control group (X2=16.379,

first active phase of labor, and the second

P<0.01). Detailed results of the data are

stage of labor. The investigator records

showed in Table 3, Table 4, and Table 5.

labor time of childbirth first stage, second

From the above data, we can draw to the

stage, third stage and the total labor hours

results that comparing to those in the control

for evaluation. The assessment tools include

group, the subjects in the experimental

VRS - 5 verbal rating scores.

group receiving music therapy experienced significantly less subjective pain in different

Results

labor stages and labor time of the first stage

Completed data collection had been done

and

from all of the 37 subjects, including 22 from

significantly shortened.

the

overall

deliver

period

are

the experimental group and 15 from the control group.

Conclusions Listening

music

therapy

easy,

The labor time of first stage for the

economic, safe and effective analgesia

experimental

method, and is worth promoting into the

group

(5.6

hours)

significantly different from that for the control

hospital obstetric vigorously.

group (9.5 hours, P<0.01); The labor time for second and third stages have no

References

significant

Clark, M.E, Mecorkle, R, R, and Williams, S, Music therapy assisted labor and delivery, Journal of Music Therapy, 1981(18): 88-100. Martinl Pernoll, Benson & Pernoll, Handbook of Obstetrics & Gynecology, McGraw-Hill Professional, 2001 Wuitchi M, Bakal D, Lipshitz J., The clinical significance of pain and cognitive activity in latent labor, Obste and gynecol, 1989, vol 73: 35.

difference

between

the

experimental group and the control group (P>0.05).

Shapiroâ&#x20AC;&#x201C;Wilk

test

and

Independent sample t-test are sued in the data analysis. The subjective pain during the first stage of labor latency is significantly less for the experimental group than that for control group (X2=14.24, P<0.01); The subjective pain during the first stage of labor active period is also significantly less for the experimental group than that for the control group (X2=23.226, P<0.01); The subjective

About the Authors Ms. Qijie Wei is receives her master degree in Central Conservatory of Music. She is a member of CN Association for Mental Health and a Certified Hypnotherapist of WMECC. Contact: weiqijie119@sina.com

pain during the second stage of labor is

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THE CREATIVE THERAPY: THE MERGING REALM FOR CANCER PATIENTS Kotchakorn Voaakhom Prim Pisolayabutra Artfield Art Therapy, Thailand

Our

mission

participating

the

•

The use of Buddhist meditation

conference is to present the elements of

technique in creative therapeutic

Artfield process in assembling this project in

process.

promoting the use of music therapy and art therapy for humanistic medicine in Thailand. “Creative Therapy against Cancer”, the

The Product •

The evidence based outcomes of

project officially funded by Thai Health

Artfield process in our therapeutic

Organization and supported by National

sessions.

Cancer Institute of Thailand. It aims in establishing

the

most

•

appropriate

therapeutic process, in use of music therapy

The research results from four projects within the broader project.

•

The

form

and

meaning

of art

and art therapy. The integrative protocol of

products from cancer patients, in

healing

various age and gender.

and

curing

serves

for

cancer

patients in four renowned hospitals in Thailand. Our presentation is composed of

The Form

five key components in making our process

•

which following described.

The different forms that practice in project, individual, pair, group and bedside

The Process •

different

settings.

The creative use of music, art and movement process

•

sessions

for

the

different

therapeutic

The Space

groups

The design and the use of space is one of

cancer patients.

our main concerns in our therapeutic

The integration of Thai and others

process. Because we believe that the space

traditional music instruments with

is the consequence of process, the non-

the Western music instrument in our

verbal communication and the container.

therapeutic sessions.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea The Protocol •

The art in designing and making the protocol to suite various cancer patients groups.

•

The continuity development and implementation of the protocol.

To establish, form and understanding the practice in each unique setting is very significant, yet challenging. Our presentation is depicted from the initial attempt and contribution in making music therapy and creative therapy as a known profession and practicable in Thailand. We, Artfield, are very much hope to be part of this growing, learning and sharing experience along this therapeutic path and be part of this at the world music therapy conference. About the Author Kotchakorn Voaakhom Creative Therapist, Artfield Art Therapy, Thailand. Contact: kotch@artfieldtherapy.com Prim Pisolayabutra Creative Therapist, Artfield Art Therapy, Thailand. Contact: prim@artfieldtherapy.com URL: http://www.artfieldtherapy.com

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

A STUDY OF THE SYMBOLIC MEANING OF THE IMAGERY REFLECTING KOREAN SENTIMENT IN GIM: FOCUSING ON THE IMAGERY OF THE BUDDHIST DANCE (SEUNG-MU) Nanbok Lee LEE NANBOK Music Therapy Institute, Seoul, Korea

Abstract

process,

This study examines the common influence

aspects

of music on human cultural backgrounds

understanding of themselves through insight,

between East and West by analyzing the

develop the ability to coordinate themselves,

symbolic meaning of the Buddhist dance, an

develop coping strategies and problem-

imagery reflecting collective unconscious

solving abilities in their lives, recognize the

emotions. This study also will consider how

purpose

the imagery of the Buddhist dance affects

integrate their bodies, minds, and spirits to

clients' inner growth.

reach self-actualization.

Description

The core of the theoretical foundation of the

GIM(Guided Imagery & Music) is a music

GIM healing is Carl G. Jung's analytical

therapy technique developed by Helen

psychology. GIM is based on Jung's theory

Bonny(Bonny, 1978a, 2002). Using the

that focuses on clients' images, symbols,

characteristic of music that provides quick

and the archetypes they produce through

access to the unconscious, GIM leads

their musical experiences (Lee, 2008, 2010).

clients to experience a variety of images

The reason that the programmed music

transcending the conscious while listening to

used

music. As images, like a mirror, project inner

unconscious of which Jung speaks, which

emotions, they express the feelings latent in

are

therapeutic methods. The archetype of the

person’s

unconscious.

Thus,

helps of

clients

themselves,

existence,

GIM

difficult

explore

elicits reach

and

the

various

gain

ultimately

collective

with

ordinary

discovering the symbolic meanings of the

collective

images, we can identify the hidden sources

prototype or archetypal image in music

of the emotions (Lee, 2011). GIM is a

experience (Bush, Stokes, & Borling, 2002).

psycho-dynamic

The essence of GIM is the union of music

psychotherapy

technique which,

through

music such

unconscious

appears

and image through a musical experience

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

(Goldberg, 1992; Grocke, 1999). Imagery is therefore a very important feature of GIM. Western music, not Asian music, is used in GIM, but the imagery that each client experiences is based on their cultural background. This means that music is a global

language.

The

imagery

the

Buddhist dance that appeared to three participants in Group GIM can be said to reflect

Korean

collective

unconscious

sentiment. From the primitive era to the present, music and dance have always been part of ritual events around the world. The Buddhist dance, an important intangible cultural asset of Korea, has been used in Buddhist rituals as a Buddhist symbol. It is a beautiful, high-level dance that overcomes and even sublimates all kinds of basic human feelings (Jung, 2009). The fact that the

Korean

collective

unconscious

manifested despite the use of Western music shows the universal influence of music on human kind across East and West. References Bonny, H, L. (1978a/2002). Facilitating Guided Imagery and Music sessions. In L. Summer(Ed.), Music and consciousness: The evolution of guided imagery and music (pp.269298).Gilsum,NH: Barcelona Publishers. Bush, C., Stokes, S., & Borling, J. (2002). Myth and archetypes. Unpublished Guided Imagery and Music(GIM) level III training materials(July).Mid-Atlantic Training Institute of USA. Seoul, Korea.

Goldberg, F. (1992). Images of emotion: The role of emotion in Guided Imagery and Music. Journal of the Association for Music Imagery, 1, 517. Grocke,D.E. (1999).A phenomenological study of pivotal moments in Guided Imagery and Music(GIM) therapy. Doctoral dissertation. University of Melbourne; Melbourne, Australia. Lee,N.B.(2008).Psychological framework. Unpublished Guided Imagery and Music workshop materials (February 23). University of Kosin; Busan, Korea. Lee, N. B. (2010). From the stage hiding oneself to the mentally maturing stage; A phenomenological study on the experience of group Guided Imagery and Music(GIM) for female victims of domestic violence. Korean Journal of Music Therapy, 12(1). 41-65. Lee, N. B. (2011).Client’s subjective typology and its characteristics during the Guided Imagery and Music(GIM) process. Doctoral dissertation. Sookmyung Women’s University; Seoul, Korea. Jung, Y. J. (2009). Movement training program model development by the tendency of thoughts and configuration principles in Seung-Mu; Focusing on Gyeonggi style of SeungMu. University of Sejong; Seoul, Korea. About the Author Lee, Nanbok, Ph. D.,MT-BC(Korea), FAMI, is a GIM primary trainer and head of the LEE NANBOK Music Therapy institute in South Korea. Daemyong Zest Bldg. #408, 156-3 Jungja-dong, Bundang-gu, Sungnam City, Gyounggi-do, 463-838, South Korea. Contact: nanboklee@hotmail.com

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

A BRIEF OF THE APPLICATION OF SENSORY INTEGRATION THERAPY INTO MUSIC THERAPY PRACTICE Tsugiko Kakizaki Sakuyo Junior College of Music

ABSTRACT This paper provides theoretical framework and strategies based on SI theory for the necessity to understand specific sensory behaviors observed by children with developmental disabilities (DD) and to give guidelines for purposeful outcomes. SI FUNCTIONS SI Development As Ayres, the founder of SI therapy, explains “sensations as food for the brain” (1979, p. 5), the sensory development is the primary foundation for the subsequent functions such as motor, social, and cognitive domains. Thus, if sufficient sensory input has been made for the first 6 years of the life, the sensory functions will most likely develop appropriately. Then the child is eligible for learning academic tasks at school. The reason a girl can listen to a lecture quietly is because SI functions to process auditory information by filtering out other unnecessary sensory stimuli. SI is defined as “the organization of sensation for use.” (Ayres, 1979, p. 5) SI Dysfunctions Children with DD often exhibit behaviors of hyperactivity or aloofness, which may be identified as social problems. However, these behaviors may have been caused by sensory problems. For example, if a child is sensitive to tactile input, the child may withdraw from social interaction to reduce u n p r e d i c t a b l e p h y s i c a l contact. Therefore, children’s behavioral problems need to be interpreted from multilayered standpoints.

SI THERAPY Senses for SI Therapy The main senses that are dealt with SI therapy are tactile, proprioceptive, and vestibular. The functions of tactile sense are to prevent danger, and to distinguish objects. Proprioceptive sense is often called the sense of physical force. The function of proprioceptive sense is to control the motor skills such as the ability to play the piano without watching one’s fingers. Vestibular sense is often called the sense of movement, and is responsible for the equilibrium. The reason for being able to prevent oneself from falling attributes this function. These senses are processed by the cerebellum in the brain, which functions autonomously. Therefore, we are usually not aware of these functions, but vestibular and proprioceptive senses remain in the body for a couple of hours if they are fully inputted. Sensory Modulation The degrees of sensitivity to various stimuli differ from each other. If a boy constantly watches fast moving objects such as fans and fast forwarded videos, he may be under-sensitive to visual input. If a boy tends to confine himself in a narrow space, he may be under-sensitive to proproiceptive input. This could be interpreted that the boy needs excessive amount of proprioceptive input to feel his sensory comfort. These Peculiar behaviors tend to be reproved by parents and teachers for the social discipline. However, children try to compensate for environmental situations with their own coping strategies. This is critically important for music therapists, because music therapists mainly deal with auditory and tactile senses through playing musical

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

instruments. Therefore, we must be familiar with sensory issues. In other words, if a client’s sensory exceptionality is identified correctly, that identification can be a strong strategy for successful outcomes. Brief Case Studies Case 1: The Combination with SI to Music Playing Client: A boy age 9, diagnosed with autism was non-verbal and exhibited communicative and social aloofness (e.g. avoiding eye-contact). Style & Purpose: Interdisciplinary practice was conducted by a SI therapist and a music therapist (the author) aiming for the communicative improvement through music playing. Ten individual sessions were provided with 1 hour sessions at a SI therapy room where swings and trampolines were installed. Behaviors and Strategies: Although he jumped on the trampoline and swung on the swing, he hesitated to play autoharp with a pick. However, when ten sets of colorful ribbons were flapped in front of him, he smiled and stared at the ribbons. This observation indicates that he is undersensitive to vestibular, proprioceptive, and visual input due to his preference for the trampoline, swing, and ribbons, and is oversensitive to tactile input due to his hesitation in the autoharp playing. For his specific SI characteristics, the pick was replaced with a plastic pointing hand-shaped device to decrease tactile input. His sensory craving and the therapeutic purpose were intentionally combined to yield his spontaneous communication. That is to say, if he wants to receive his favorite vestibular stimulus on the swing, he needed to play the autoharp first. The process for the swinging begins with his spontaneous arm flapping, which means “swing me” for him. Then if he plays the autoharp, the swinging and visual stimulus by ribbon flapping were provided at the same time. In addition, to play a role of a timekeeper for endless swinging the song ”Buranko (Swing)” was sung by the

music therapist whenever the swinging was introduced. Outcomes: Through the combinational strategy, the duration of the autoharp playing gradually increased. Eventually he was able to play to the end of the song without physical prompts. In addition, he had acquired how to swing by himself. Discussion: By purposefully combining the client’s sensory characteristics with music, a successful outcome was obtained. The accustomed song provided with the swing gave a unit of temporal measurement so that a measure of frequency and duration for the playing was allowed. CONCLUSION To understand the client’s sensory characteristics is the prerequisite for subsequent steps. The role of SI is to give a theoretical framework to MT practice. The role of MT is to provide a temporal structure, motivational medium, and multi-sensory stimuli. MT should not exist for itself but for the benefit of the clients. The interdisciplinary collaboration between MT and SI is the essential component for the client-centered therapy. REFERENCES Ayres, J. (1979). Sensory integration and the child. Los Angles: Western Psychological Services.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

TO MOVE OR NOT TO MOVE? Ming-Hung Hsu MHA Care Group, United Kingdom

Abstract

Based upon this notion, this paper is a

Should a music therapist move? Has Daniel

clinical

Stern’s concept of Vitality Affects offered a

correlation between the therapist’s bodily

reference to this question? This paper

expressions and the client’s participation.

utilises Dementia Care Mapping and Video

The project employs two evaluation tools,

Microanalysis

Dementia Care Mapping (Brooker and Surr,

evaluate

the

kinetic

evaluation,

which

explores

the

elements of the music therapist’s body

2005)

movements whilst encouraging the client

microanalysis (Ridder, 2007). Both of the

with dementia to participate in the joint

two tools involve quantitative documentation

musical interplay.

for the process of data analysis. The

and

Ridder’s

method

video

formulated results indicate promoted levels Description

of the client’s well being and a strong

Participation in the joint musical interplay

correlation

appears as the core element to enable the

spontaneous movements and the client’s

client with impaired cognition to attain an

communicative responses compounded into

array of therapeutic benefits. However, how

participation. Consequently, the importance

does the therapist promote the client’s

of incorporating movements as part of the

participation to the optimal level? Is it simply

therapist’s musical expression is identified.

by the therapist’s music playing or by the

The movements are also characterised into

music playing which incorporates certain

three presentation techniques: ‘modelling

body movements? When reflecting this upon

and gestural suggestion as motivation’,

mother-infant

Stern’s

‘body rocking and swaying as affective

concept of vitality affects (Stern, 1985)

exchange’ and ‘accentuated movement as

which indicates that a mother’s use of her

activation’.

voice and bodily expressions could generate

would therefore serve as a strategy resource

the dynamic and kinetic qualities of feeling in

in order to enhance the client’s participation

her infant. This seems to offer a pertinent

in the day to day practice.

interaction,

Daniel

between

The

the

presentation

therapist’s

techniques

reference.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

References

Methods,

Brooker, D. and Surr, C. (2005) Dementia

Applications

for

Researchers,

Educators

Care

Mapping:

Practice.

Principles

Bradford:

and

University

Bradford.

and Clinicians, and

Students. London: Jessica Kingsley Publishers. Ch. 4.

Davies, M. And Hadiks, D. (1994) Non Verbal

Techniques

Aspects

Attunement.

Journal

Therapist of

Clinical

Psychology, 50(3), pp. 392-405. The person comes first. Buckingham: Open University Press.

Bradford Dementia Group (2005) DCM 8 Bradford. Vines. B., Wanderley, M., Krumhansl, C., Nuzzo, R. and Levitin, D. (2004)

Nystroem, K. and Lauritzen, S.O. (2005) Bodies:

The Infant. New York: Basic Books. User’s Manual. Bradford: University of

Kitwood, T. (1997) Dementia reconsidered:

Expressive

Stern, D. (1985) The Interpersonal World of

Demented

Performance gestures of musicians: what

structural

and

emotional

Persons’ Communication in A Dance

information do they convey? In A.

Therapy

Camurri and G. Volpe, eds. GW

Interdisciplinary Journal for The Socail

2003,LNAI 2915, pp. 468–478. Berlin:

Study of Health, Illness and Medicine,

Springer-Verlag.

Context.

Health:

9(3), pp. 297-317. London: Sage Publication.

About the Author

Odell-Miller, H. (1997) Music therapy and

Ming Hung Hsu is a Dementia Care

the function of music with older

Mapping user and the lead music therapist

mentally ill people in a continuous

for MHA Care Group.

care setting. In M. J. Denham, ed.

URL: www.ming.hunghsu@mha.org.uk

Continuing care for older people. London: Stanley Thornes Ltd. Ridder, H. M. (2007) Microanalysis on Selected Video Clips with Focus on Communicative Responses in Music Therapy. In T. Wosh and T. Wigram, eds. Microanalysis in Music Therapy:

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MY MUSIC, SWEETER Than SUGAR: MUSIC THERAPY FOR DIABETICS Sun-Young Park Seodaemun-Gu Center for Dementia, Korea Kyung-Suk Kim Sookmyung Women’s University

Introduction

Diabetes Self-Management Training:

Diabetes mellitus (simply diabetes) is the

DSMT

most common disease and occurs when the

Due to the nature of the disease, diabetes

body cannot regulate blood sugars for

self-management training is critical to the

energy. According to International Diabetes

treatment and management of the illness.

Federation (2011), the disease now affects

The management of diabetes is a team

over 300 million people worldwide and will

effort. The patient is the primary team

cost the global economy at least US$376

member,

billion in 2010. There are two different types

diabetes educator, registered dietitian, and

of diabetes, Type I which is diagnosed in

other health care professionals who play

children and young adults and Type II which

vital roles in the treatment of the illness

is the most common type of diabetes.

(Agency for Health Care Administration,

with

the

physician,

certified

2003). Guthrie (2000) also suggested six To prevent and delay the onset of Type II

essential factors, for the improvement of

diabetes, as well as taking oral medication

diabetic patient’s health condition, such as

or insulin, the educational program is an

positive thinking, assertiveness, relaxation,

important part of the treatment because the

exercise, nutrition, and touch or treatment.

patients

From this point of view, music therapy can

diabetes

have

manage

continuously

control life.

be recognized as an effective method for

American Association of Diabetes Educators

patients, as various musical activities can be

(2007)

applied for cognitive reconstruction, stress

maintains

that

for

and

the

active

fundamental

purpose of diabetes education is to gain the

management,

knowledge and skills needed to modify

exercise, and/or recovering self-confidence.

behavior and successfully self manage the

At a diabetes care center in Korea, a music

disease and its related conditions.

therapist works as a member of educational

active

participation

team for diabetic patients with doctors, nurses, a dietitian, a social worker, and an

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

exercise instructor. The team provides

References

educational program for the diabetics and

American Association of Diabetes Educators

pre-diabetes

patients

for

the

correct

(2007). About Diabetes Education.

understanding and the way of management

Retrieved Oct. 7. 2010 from

of the disease, and music therapy offers

http://www.aadenet.org/DiabetesEduc

unique

ation/about_diabetes_education.shtml

methods

psychological,

controlling

cognitive,

and

their

physical

symptoms for patients.

Agency for Health Care Administration (2003). Diabetes Practice Guideline - Diabetes Self-Management

Music Therapy for Diabetes

Training. Retrieved Oct. 7. 2010 from

Generally, music therapy can be conducted

http://www.fdhc.state.fl.us/diabetes/self

to attain several treatment goals such as

_man1.shtml

relief from stress and anxiety, increase of the

exercise,

cognitive

restructuring,

Guthrie, D. (2000). Alternative and Complementary

Diabetes

Care:

How

decrease of depressive mood, promotion of

Combine Natural

relaxation, and, also, prevention of diabetes

Therapies, Indianapolis, IN: John Wiley

for the pre-diabetes patients. Based on the

and Sons Ltd.

treatment goal, various musical activities are employed. On the first stage of the session,

and

Traditional

International Diabetes Federation (2011). IDF Diabetes Atlas: The Global Burden,

singing and playing activities are introduced

Retrieved Feb. 18. 2011

to build a rapport with/between clients and to

http://www.fdhc.state.fl.u

alleviate their anxiety. Listening to music, song discussion, song writing, or singing is

About the Authors

applied, for the next stage that is cognitive

Sunyoung Park, MMT is a music therapist at

restructuring, to make the patients aware

Seodaemun-Gu Center for Dementia.

their unhealthy habits and attitudes and make them find desirable ways of healthy

Kyungsuk Kim, Ph.D. is a visiting professor

life. Movement with the song that they have

of Music Therapy Graduate School,

created

Sookmyung Women’s University, Seoul,

facilitates

the

exercise,

and

repeated listening or singing a song which is

Korea

filled with important information for the diabetics aids the patients to memorize the

Contact: kksookmt@hanmail.net

contents of self-management training.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

EFFECTS OF A MUSIC THERAPY INTERVENTION FOR A BLIND CHILD WITH MULTIPLE DISABILITIES Yuka Kasuya Kurashiki Sakuyo University, Japan Abstract

and objectives in a phased manner. The

A blind child with severe multiple disabilities

behaviors targeted in each objective and

received individual improvisational music

their evaluation criteria were set. The

therapy intervention once a week for three

therapist observed video-taped sessions

years.

and collected data.

showed

improvement

meaningful behaviors in social interaction, sound localization abilities, and exploratory

Treatment Process

behaviors

The First Year (30 sessions)

that

are

critical

for

visually

year was to increase

impaired children. It is considered that these

The goal in the 1

abilities can be effectively encouraged in

meaningful behaviors in social interaction.

music therapy intervention.

The music therapist responded to his many behaviors and vocalizations with music on

Client Description

the piano or the guitar with singing to help

An 8-year-old blind child with physical and

him become aware of external world by

severe intellectual developmental disabilities

imitating,

had vocalization and self-active behaviors,

appeared to enjoy these musical reactions

however, they seemed not to occur in

and he began to respond by playing,, he

relation to his surroundings at the time of

social interactions with the therapist were

first contact. He also showed self-injurious

more consistent, his speech increased and

behaviors such as poking his ears with his

self-injurious behaviors decreased in the

thumbs

sessions and in his daily life.

until

outer

ears

bled.

the

matching

and

leading.

assessment sessions, he showed good responses to music such as swaying to the

The Second Year (28 sessions)

music, and vocalizing while smiling. His

The goal in the 2

developmental age was determined about

ability to localize sound sources. The

10 months of age by the developmental test.

therapist moved instruments around him

year was to improve his

while making sounds during activities and Data Collection

encouraged to him locate and play them.

The music therapist set the annual goals

Initially he would fan his arms in the air and

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

stop trying to reach the instruments at first,

so on.

however, he showed gradual improvement. References The Third Year (32 sessions) The goal in the 3

Bruscia,

year was to increase

exploratory behaviors. The therapist played instruments, placed them around him, and

(1987).

Improvisational

Models of Music Therapy. Charles C Thomas, Illinois. Igarashi,

(1993).

Development

and

encouraged to explore and play them in the

Education of Visually Impaired Young

musical environment. Physical prompts were

Children. Colere, Ltd., Tokyo.

needed or it took a while for him to respond,

Kasuya, Y. (2009). Investigation of the

as he may have gotten used to be hand over

effectiveness of music therapy for a blind

hand

child with multiple disabilities: A study

exploratory

based on a case developed active

assistance.

intervention,

his

the

course

voluntary

behaviors increased.

attitude relating to the outside world. Journal of Japanese Music Therapy

Discussions and Implications Improvisational

(Bruscia,

Thaut, M. H. (2005). Rhythm, Music, and the

1987) was effective for the blind child with

Brain: Scientific Foundations and Clinical

severe multiple disabilities due to:

Applications. Taylors & Francis Group,

•

music

therapy

Association, 9 (1), 45-58.

effects of immediate or simultaneous

New York.

auditory and/or tactile feedback that helped

•

him

understand

causal

About the Author

relationship between his behaviors and

Yuka Kasuya, MMT, MT-BC has master’s

the external world, and motivated him

degree in music therapy from Shenandoah

to interact

University in the U.S., and currently works

the influence of attending to the event,

as a full-time instructor of music therapy at

sharing each other’s interests, and

Kurashiki Sakuyo University in Japan and

bonding between a child and adult to

works clinically with children, adolescents,

develop social interaction,

and elderly people.

improvised music in subjective tempos engaged

him

and

increased

his

Contact: yuka.kasuya@ksu.ac.jp

expressive behaviors and vocalizations in social interaction, •

improvisational musical structure to reinforce communicative behaviors, and

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

TAMING THE BULL: HARNESSING THE FORCES OF ANTI-GROUP IN MUSIC THERAPY GROUP WORK Wook se Cho North Essex Learning Disability Services Hertfordshire Partnership NHS Foundation Trust United Kingdom

Introduction

optimistic vision of group work, which meant

Music therapy group work with adults with

that he overlooked the negative aspects of

learning disabilities is a challenging area of

group functioning. In order to redress the

work, which requires the therapist to use

balance Nitsun came up with the concept of

many different sets of skills. My experience

anti-group. He believes that anti-group is

in facilitating music therapy groups for adults

unavoidable in any group work and that it

with learning disabilities have been that,

has a complementary relationship with the

although therapeutic groups are designed to

creative and generative processes in the

help people with problems of relating,

group. Furthermore, he feels that if a group

communicating and expression of feelings

can survive the destructive threat of anti-

and emotions, it is also true that they create

group, this in itself can be transformational

problems and difficulties for the people

in that it attests to the strength of the group.

involved. ‘Anti-group’ (Nitsun, 1996) is a concept developed by a group analyst Morris

Clinical Example

Nitsun to describe this often overlooked

The group whose work I am going to present

aspect of therapeutic group work. Nitsun

started in January 2007 and ran until March

says that he has developed the idea to ‘help

2010. It was run as a slow open group and

to make it possible to understand the

facilitated initially by two music therapists,

destructive processes at work and the

but when Wendy, my co-therapist went on

tendency for some groups to turn in on

leave in November 2008 I facilitated the

themselves in self-destructive ways’ (Nitsun,

group by myself.

1996). The first musical example comes from The Anti-Group

October 2008, just before Wendy left the

S.H. Foulkes is commonly regarded by

group. In this example you can hear the two

many as the founding father of group

therapists working together to create a

analysis. However, it could be argued that

containing musical structure that could hold

Foulkes had a somewhat idealistic and

the disparate elements in the group’s music.

134

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea The second musical example comes from

Concluding Thoughts

the time when I had been running the group

The concept of anti-group is often criticized

on my own for a while. In this example you

for being too broad, in terms of trying to

can hear the therapist trying to hold the

cover too wide a variety of perspectives of

disparate elements in the group’s music but

the psychotherapy group. Whilst I agree with

struggling to do so. You can also hear the

this and whilst I feel that one needs to be

group members struggling to relate to each

disciplined in trying to apply it to one’s

other’s playing, especially in terms of

clinical work, I feel that it is still a very useful

responding to each other’s different feeling

concept to help us to look at and to address

of pulse. The last example comes from

the

about 6 months before the group ended.

happen in groups. These processes, if

Here you can hear the group members

unnoticed, could spiral into total group

taking on more responsibility for creating the

integration,

group’s music and responding much more

harnessed, could lead to taking the group to

directly to each other’s sounds without the

a new level of creativity and growth.

destructive

but

processes

which

could

acknowledged

and

therapist intervening. References Discussion

Foulkes,

S.H.

(1971)

‘Access

Looking back now I wondered if the group

unconscious processes in the group-

went through a strong anti-group phase

analytic

following

Selected

Wendy’s

departure.

Having

struggled through this difficult period, I think the group members who had survived it

group’. Papers.

S.H.

Foulkes,

(1990)

London:

Karnac Books Nitsun,

(1996)

‘The

Anti-Group:

came out with a stronger feeling of purpose

Destructive forces in the group and their

in the group. This was shown in the way

creative potential’ London: Routledge

they

showed

ownership

and

responsibility over the music played in the

About the Author

group, as well as in the way they interacted

Wook se Cho is a music therapist working

more directly with each other’s playing. I feel

for North Essex Learning Disability Services

that this is in line with what Nitsun described

for

as a group surviving the destructive threats

Foundation Trust in the U.K.

Hertfordshire

Partnership

NHS

of anti-group, and coming out of it stronger and transformed in terms of creativity (the

Contact: wooksecho@yahoo.co.uk.

use of music in this case).

135

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MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

ROUNDTABLES 137

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

WFMT COUNCIL 2008-2011: STABILIZATION-PRODUCTION-TRANSITION Petra Kern and Council Members World Federation of Music Therapy Introduction The

Several other tasks were completed over the

WFMT

roundtable

highlights

next three years. The Council established 12

achievements of the 2008-2011 Council,

work

presented

anniversary

stabilization,

three

production,

work

phases:

and

transition.

groups,

celebrated

with

WFMT’s

25th

events,

and

monthly

worked on specific tasks supporting WFMT’s main goals. Highlights include the opening

Stabilization Phase First,

the

newly

of the WFMT Publication Center, which established

Council

hosts

the

Sound

Board

and

WFMT

appointed eight Regional Liaisons to the

Publications (i.e., articles, Fact Pages,

new WFMT Council to assure representation

Podcasts, Interviews, and videos produced

from all regions of the world. Second, the

by WFMT), archives, and the forthcoming

Council secured non-profit status for WFMT

new WFMT online journal, Music Therapy

in collaboration with the new attorney who

Today. New innovations include the WFMT

represents the organization on all legal

online Education Center featuring video

matters. Third, the Council created a new

episodes, the WFMT Job & Volunteering

WFMT logo and the slogan, Supporting

Center, and the International Library of

Music

Songs

Therapy

Worldwide,

which

was

presently

consisting

lullabies

incorporated into brochures and posters to

commonly used in WFMT’s eight regions.

increase

music

The Council also posted Research FAQs, an

therapy as a profession. Fourth, the Council

Introduction to Ethical Practice, Guidelines

set up a new website, www.wfmt.info, to

to Create a Code of Ethics, Internet and

keep members and individuals informed

Privacy Issues related to music therapy, and

about the work of WFMT. Meanwhile, the

the newly created Column on Global Crises

WFMT

Intervention.

worldwide

website

has

visibility

become

major

New

additions

platform for information exchange with more

students included the WFMT for Students

than 16,000 monthly visitors. Fifth, as a

section (including the Window to the World,

representative of the WFMT, the Council

Info Cards, and Connection Project), the

presented at several prominent, worldwide

Assembly

music therapy events.

representing students from WFMT’s eight

Production Phase

regions,

of the

new

Students student

Delegates membership

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

categories, and the first World Congress of

About the Authors

Music Therapy Scholarship for Students. Finally,

the

Council

collaborated

preparations for the 13 World Congress of Music Therapy in Seoul, Korea, planning innovative sessions such as the Spotlight Sessions. Transition Phase

Figure 1. 2008-2011 WFMT Council

In preparation for transition to the 2011-2014 WFMT

Council

and

the

Dr. Petra Kern, MT-DMtG, MT-BC, MTA,

present Council wrote job descriptions for all

NICU-MT is the President of WFMT and

Council

owner of Music Therapy Consulting.

positions,

membership, called

for

online

nominations of candidates, set up online

Contact: petrakern@musictherapy.biz

membership renewal, and established a Council Only section on the website to

2008-2011

archive documents (i.e., Council directories,

Officers Gabriela Wagner (Past President),

reports, meeting minutes, and membership

Annie Heiderscheit (Secretary/Treasures),

lists).

and Rose Fienman (Executive Assistant);

Council

Commissioners

Members

Patricia

include

Sabbatella

Conclusion

(Education & Training Chair), Deborah

The Council’s work ethic has been to be

Benkovitz (Clinical Practice Chair), Lucanne

inclusive, transparent, and informative. We

Magill (Global Crises Intervention Chair),

have been active in moving one step closer

Byngchuel

to our vision of developing and promoting

Certification Chair), Mary Boyle (Research &

music therapy throughout the world as an art

Ethics

and science.

(Publications Sunelle

Choi

Chair),

(Accreditation and

Chair);

Fouche

Joerg

Fachner

Regional

(Africa),

Liaisons

Anja

Tait

References

(Australia/New Zealand), Gene Ann Behrens

All WFMT publications, project outcomes,

(North America), Cybelle Loureiro, (Latin

and events are available on the WFMT

America),

website

Asia), Simon Gilbertson (Europe), Marion

www.wfmt.info.

Spotlights are posted on Facebook.

Monthly

Sumathy

Sundar

(Southeast

Tennant (Eastern Mediterranean), and Tian Gao (Western Pacific); and World Congress Organizer Byungchuel Choi (Korea).

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

DESIGNING A NEW MUSIC THERAPY TRAINING PROGRAM IN GREECE Dora Psaltopoulou with Makaria Psiliteli, Eirini Panagiotidou, Margarita Hatzinasiou Potheini Vaiouli, Pelina Evangelou, Anthi Malouta Aristotle University of Thessaloniki, Greece

Abstract

The courses offered are: Introduction to

Training in Music Therapy officially begins in

Music Therapy, Music Therapy: Music Skills

February 2011 at the school of Arts,

Musicology

Aristoteles

Therapy: Music Skills II. There is an eminent

Seven

need to develop a program that will meet the

with

contemporary standards of Music Therapy

department,

University-Thessaloniki-Greece. Greek

qualified

music

therapists,

Music

Therapy

Approaches,

internationally

Music

experience in studies, clinical work and

practiced

research both in Greece and New York-

Universities abroad, as well as to offer a

USA, open an international discussion about

Music Therapy degree. It is important to set

the needs and requirements of the training

the appropriate foundation for a highly

program (international collaborations, etc.).

effective training. The open discussion of the round table concerns the following issues:

Structuring a music therapy program

1.Issues of creating a program containing

Music Therapy is now recognized by the

different MT approaches (ie. Psychoanalytic,

state

humanistic-music-centered, behavioristic) or

Greece

and

the

profession’s

recognition is officially beginning.

keep the main focus on one approach.

However the final degree that the students

2.Types of supervision. Creating a program

will receive at the end of their studies will still

with

be a Musicology degree and not a Music

beneficial for the students because they can

Therapy one. The whole program offers 160

find easier what is closer to their philosophy

hours of teaching per year, divided in 4

and belief system, when at the same time

courses, taught by one Music Therapist,

they can have a basic knowledge of what

Professor Dora Psaltopoulou, as well as the

the other approaches are and their basic

possibility for a master’s thesis in Music

strategies, concepts and methods. The

Therapy. Only 20 hours of fieldwork per

possible difficulties will be to: i. have trained

student are allowed.

staff

different

who

are

approaches can

practicing

the

be very

specific

approach and can train the students. ii. The

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

financial difficulties of hiring and employing

of different

all these music therapists. iii. The possible

specialized trainers, as the New York

problems and disagreements between the

University

staff and how this is going to affect

programs could probably be in need and

the students and their sense of togetherness

maybe the university could host some of

and cohesiveness, especially during the first

these, as PhD training. Issues regarding the

years of

studies.

small number of qualified MT Trainers,

Creating a program with one approach has

Supervisors in Greece. 3. Connecting with

also pros and cons. Some of the pros are: 1.

other University MT Programs from other

It will be easier to create a cohesive group of

countries,

visitor

professors and the students could probably

supervisors

and

feel more safe to open up and share. 2. The

students and more. 4. Recognition of the

training can be in depth and students be

studies in Greece from other universities

prepared to practice the specific approach

abroad and possibilities for the students to

the

the university.

continue their training and attain a Master’s

The cons can be: 1. since there will be just

degree in music therapy. 5. Adjusting the

one program in the public university, there

Curriculum to the Greek needs, ie. Greek

will be no other approach studied and this

music, institutions for fieldwork placements,

will create future issues to the profession. 2.

awareness

Students that their tendency and their

approaches and other therapy modalities,

philosophy is different, could not find a

teamwork, etc.6. Deciding the appropriate

formal training program in Greece and they

age and competencies of the students

would have to leave Greece for their

entering the program. 7. Developing a

training. 3. We create the need for other

suitable MT terminology in Greek.8.Creating

programs,

approaches,

bibliography in Greek. 9. Developing an

probably private, to be created outside

evaluating system of the students’ progress,

the university.

grading. 10. Preparation for graduates of the

their

moment

they

from

leave

different

approaches

the

does. Post-graduate

lecturers, trainers,

different

basic training

clinical

exchange

psychotherapy

program to work in Special Education A

possibility

may

create

settings.

specialization during the later years of the studies

it by using supervisors

Contact: dora.ps@gmail.com

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THE COLOR OF US: MUSIC THERAPY FOR YOUNG CHILDREN IN ASIA

Petra Kern World Federation of Music Therapy, USA Hye Won Chung Sookmyung Women’s University, Seoul, Korea Kumi Sato University of Tsukuba, Japan Mingming Liu Music Therapy Research Centre of the Central Conservatory of Music, Beijing, China Fu-Nien Hsieh Tainan National University of the Arts Tainan, Taiwan Ng Wang Feng Former President of the Association for Music Therapy, Singapore

Introduction This

Japan

roundtable

therapists

from

brings

together

music

Since only 4.2% of the total population is 4

Korea,

Japan,

China,

years

younger,

there

are

fewer

Taiwan, and Singapore to discuss Eastern

opportunities for music therapists to work in

philosophies, trends, and perspectives of

early intervention settings. Most music

providing music therapy services for young

therapist work part-time and provide direct

children and their families in Asia.

services to children with developmental disabilities. In Japanese culture, recognition

Korea

of innovative health practices such as music

In Korea, about 45% of all music therapists

therapy and early intervention programs

work

takes time.

with

approaches

young and

children.

Behavioral

Nordoff-Robbins

Music

Therapy are the most common practices.

China

Music therapists serve children with special

In China, music therapists are serving young

needs, physical injuries or abuse, adopted

children

children, divorced and multicultural families.

behavioral, learning, and communication

Providing services in general preschool

disorders, sensory impairment, and with

settings for optimal development and well-

medical conditions. Services are offered in

being of all children is the trend.

schools for special education, rehabilitation

with

developmental

disabilities,

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea centers, and pediatric hospitals. Prominent

Resources

practices include behavioral approaches and

Color of Us series are published by imagine,

Orff Schulwerk for general music education.

the early childhood online magazine of

Children are the center of families and are

American

seen as the “sun” of the Chinese society.

available at www.imagine.musictherapy.biz.

Taiwan

About the Authors

There are approximately 50 music therapists

Petra Kern, Ph.D., MT-DMtG, MT-BC, MTA,

in Taiwan. Music therapy services for young

NICU-MT is the President of WFMT and

children mainly focus on children with

editor of the online magazine imagine.

special needs in hospitals, child treatment

Contact: petrakern@musictherapy.biz

centers,

rehabilitation

clinics,

Music

Therapy

Association

early

intervention programs, special education

Hye Won Chung, MA, MT is a Ph.D.

settings, and private practice. Most music

candidate

therapists provide direct services followed

University and has been working with

by consultation. Funding for music therapy

children with special needs and their families

services is mainly private. “Instruct all and

since 1999.

Sookmyung

Women’s

reject none” from the Analects of Confucius, is the core belief of educating young children

Kumi Sato, MS, BA is a Ph.D. Candidate at

with special needs in Taiwan.

the University of Tsukuba and worked with children who have emotional disturbances.

Singapore Of the 12 music therapists working in

Mingming Liu, MA, MT has taught music

Singapore, 6 serve young children in

therapy at the Central Conservatory of

hospitals and early intervention programs.

Music in Beijing since 2003 and is a

Music

specialist in maternal and child health.

therapy

approaches

include

improvisational, behavioral, client-centered and psychodynamic models. Music therapy

Fu-Nien Hsieh, MA, MM, MT-BC is the

services are funded by the government,

President of the Music Therapy Association

donors, and private pay, but have not yet

of Taiwan and has worked with children with

been recognized as core therapy service.

special needs since 2000.

Important multicultural

societal harmony,

values

include:

emphasis

the family, and consensus over conflict.

Ng Wang Feng, MMT, MT-BC teaches music therapy electives and has worked with individuals with special needs since 2005.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC THERAPY AND SPIRITUALITY IN HEALTH CARE: MULTICULTURAL THEORIES, APPROACHES AND RESEARCH Jörg Fachner University of Jyväskylä, Finland Lucanne Magill University of Windsor, Canada Sumathy Sundar Raga Vaidyam Centre for Music Therapy Research, Education and Clinical Practice, India Gerhard Tucek IMC Krems, Austria

Abstract

Spirituality is a multifaceted phenomenon

Health care in modern society includes

involving a variety of theories, beliefs and

spiritual well-being as an integral component

practices (Aldridge, 2000). It has been

of total health and quality of life. Spirituality

defined as “that aspect of human beings that

is a part of all cultures and societies and is

seeks to heal or be whole” (Puchalski,

considered a vital aspect in the process of

2002). It has also been found to cover a

healing. This international panel of music

spectrum of human values that are inclusive

therapists will describe and demonstrate

rather than exclusive. Muldoon and King

culturally sensitive approaches for music

(1995) describe spirituality as referring to the

therapy treatment practices.

universal quest for the meaning of life. For these

authors,

“spirituality

is…

the

Description

experiential integration of one’s life in terms

Health Care in Modern Society includes

of one’s ultimate values and meanings”

spiritual well-being as an integral component

(Muldoon & King, 1995, p.330). Spirituality is

of total health and quality of life. Music

therefore recognized as an inherent human

therapists are in need of caring for their

attribute that contributes to health; and the

patients and families in ways that support

concept of it is found in all cultures and

their inherent values. Likewise, they are

societies.

called upon to understand ways to assess and

treat

illnesses

identifying

and

Around the globe, music therapy enhances

incorporating culturally appropriate methods

spirituality in those facing the challenges of

that enhance the spiritual aspects of health.

illnesses. It facilitates spirituality through transcendence, feelings of faith and hope,

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

promoting sense of meaning and purpose, and inspiring connection with self and others (Magill

2006).

Various

music

therapy

methods facilitate spiritual well-being in a wide variety of illnesses.

About the Authors Dr. Jörg Fachner has done research on music and consciousness states, was senior research

fellow

Witten/Herdecke

University;

current

research

music

therapy and brain states in depression and This panel brings together an international

stroke in Finland.

group of music therapists working in a variety of treatment settings. They will each address

the

research

and

theoretical

framework of their approaches within their specific settings, and will discuss, describe and demonstrate methods that are aimed towards enhancing the spiritual well-being of their patients and families in their practices.

Lucanne Magill, D.A., MT-BC, Assistant Professor, University of Windsor, has 35 years clinical experience working in cancer and palliative care, has published and lectured

internationally,

research

and

has

provides

conducted

training

and

education.

Cultural perspectives will be explored by the panel members:

Sumathy Sundar, PhD.; M.A., is a classical vocalist,

References

psychologist

and

music

therapist clinician. She has researched on

Aldridge, D. (2000). Spirituality, healing and medicine: Return to the silence. London: Jessica Kingsley Publishers, Ltd. Magill, L. (2006). Spirituality and the challenges of End-stage illness. In: Aldridge, D., & Fachner, J. (Eds.). Music and altered states - Consciousness, transcendence, therapy and addictions. London: Jessica Kingsley. Muldoon, M. & King, N. (1995). Spirituality, health care and bioethics. Journal of Religion and Health, 34, 329-349. Puchalski, C. (2002). Spirituality. In: A. Berger, R. Portenoy & D. Weissman (Eds.), Principles and practice of palliative care and supportive oncology. (pp. 799-812). Philadelphia, PA: Lippincott, Williams and Wilkins Publishers.

music therapy in oncology and is Hon. President, Nada Centre for Music Therapy, Chennai, India. Gerhard Tucek, Ph.D. Lecturer, University for Music and Performing Art, Vienna; Institute for Culture & Social Anthropology, Vienna University; Founding member and Director of IMARAA (International Music and Art Research Association, Austria). Contact: jorg.c.fachner@jyu.fi

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

FINDING INNER RESOURCES THROUGH MUSIC AND IMAGERY Lisa Summer Anna Maria College, USA Sumi Paik-Maier Anna Maria College/Ewha Womans University, USA/South Korea Description This

2-hour

connect us directly to our internal world. The experiential

workshop

procedure follows the format of a GIM

introduced the theory and practice of

session:

Supportive Music and Imagery through

music imagery experience, and postlude.

experiential exercises with a focus on

But the procedures for Supportive Music and

understanding the method. An additional

Imagery simplify each component and are

objective was for participants to examine

much more structured than a GIM session.

prelude,

(transition)

induction,

their personal relationship with music for self-nurturance.

Supportive Music and Imagery is practiced as follows: a) The prelude: The therapist

Summary

guides

Helen Bonny’s method of Guided Imagery

experiences the client has had; b) The

and Music (GIM) uses deep receptive music

transition: the client chooses and elaborates

experiences that give clients direct access to

upon the positive experience that is most

the internal world. In GIM the client listens

meaningful.

deeply to programs of evocative classical

selections the client chooses one piece of

music and, with guidance from a therapist,

music that matches the qualities of the

expresses internal issues through images.

positive imagery. The music selection uses

Bonny’s intent was to make the internal

simple

world more accessible in psychotherapy with

structure to contain the imagery.

well adult clients through GIM.

classical music is often used; c) The

the

client

explore

positive

Next, among a few music

musical

elements

and

clear Non-

induction: the client closes his eyes and the The Supportive Music and Imagery method

therapist helps the client to focus on the

utilized in this workshop was developed in

experience/feeling of the imagery before the

the 1980’s as a modification of the Bonny

music starts; d) Music imagery experience:

Method of GIM by Summer. It is based upon

shortly after the music starts, the client

the foundational idea of Helen Bonny - that

opens his eyes and usually makes a

deeply receptive music listening experiences

creative drawing of his image during the

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

music. The selected piece of music is often repeated

for

additional

“holding”

deepening of the image; e) Postlude: the therapist helps the client to feel deeply and experience the positive imagery. There is a focus upon describing the inner qualities of the imagery rather than analyzing it. Finally, the client is encouraged to explore and enjoy the positive experience using his own music selections at home. In summary, Supportive Music and Imagery utilizes a simple piece of music selected by the client to focus the client directly on his internal positive resources. The method supports the client to recognize and value his positive inner resources, to utilize music as tool for self-nurturance, and eventually to appreciate his healthy self.

Summer, L. (1990). Guided imagery and music in the institutional setting (2nd ed.). St. Louis, MO: MMB Summer, L. (2011) Music therapy and depression: Finding resources through music and imagery. In A. Meadows (Ed.),Developments in music therapy practice: Case study perspectives. Gilsum, NH: Barcelona Publishers. Music Inc. Summer, L., & Chong, H. J. (2006). Music and imagery techniques with an emphasis on the Bonny method of guided imagery and music. In H.J. Chong (Ed.), Music therapy: Techniques, methods, and models. (Korean language). Seoul, Korea: Hakjisa Publishing Company. Summer, L., & Kenny, C.B. (Eds.) (2010). Special commemorative issue on the life and work of Helen Bonny. Voices: A World Forum for Music Therapy, 10(3). Retrieved from http://www.voices.no/ Wheeler, B. (1983). A psychotherapeutic classification of music therapy practices: A continuum of procedures. Music Therapy Perspectives, 1(2), 8-12. Wolberg, L. R. (1977). The technique of psychotherapy (3rd ed., Pt. 1). New York, NY: Grune & Stratton.

References Abbott, E. (2010). The Bonny Method: Training Innovations at Anna Maria College. Voices: A World Forum For Music Therapy, 10(3). Retrieved February 23, 2011, from https://normt.uib.no/index.php/voices/arti cle/view/501 Goldberg, F. S. (1994). The Bonny method of guided imagery and music as individual and group treatment in shortterm acute psychiatric hospice. Journal of the Association for Music and Imagery, 3, 19-33. Paik-Maier, S. (2010). Supportive Music and Imagery Method. Voices: A World Forum For Music Therapy, 10(3).Retrieved February 23, 2011, from https://normt.uib.no/index.php/voices/arti cle/view/453

About the Authors Lisa Summer, PhD, LMHC, MT-BC, FAMI, Professor/Director of Music Therapy at Anna Maria College, USA, directs GIM trainings at Anna

Maria

University,

College,

Seoul,

Ewha

Korea

Womans

and

Central

Conservatory of Music,Beijing, China. Contact: lsummer@annamaria.edu Sumi Paik-Maier, MA, MT-BC, FAMI, codirects the GIM Training at Ewha Womans University, Seoul, Korea, and is a PhD Candidate at The Tavistock/Portman University of East London, England.

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LULLABY 101: A PROGRAM FOR AT-RISK EXPECTANT AND PARENTING TEENS AND ADULTS Ronna S. Kaplan Director of Music Therapy, The Music Settlement, Cleveland, Ohio, USA Amelia G. Furman Music Therapist/Music Educator, Minneapolis Public Schools, Minneapolis, MN, USA Abstract

responses, and musical examples from

This presentation describes an ongoing

parents who have completed the sessions.

music

therapy

program

involving

partnerships between a community music school and local social service and medical agencies

educate

parenting

teens

and

expectant

and

expectant

and

parenting adults with depression and other mental

illnesses.

interventions,

Program

outcomes,

rationale,

results,

and

responses will be shared.

therapists and one also a program manager, will discuss the rationale for singing lullabies and

with

specific

at-risk

populations, such as teen-age parents and parents with depression or other mental illnesses.

They

will

brainstorm

and

define

lullabies and their characteristics and learn guidelines for selecting calming music for babies and toddlers, as well as possible soothing activities to do while singing lullabies. Active audience participation will be invited and encouraged, providing the opportunity for

The presenters, both experienced music

general

will

learn

lullaby

repertoire,

provide simple instrumental accompaniment

Description

Participants

explain

basic

assumptions including citations of prior relevant research, and focus on resources, activities, and desired outcomes for the Lullaby 101 program. They will also share some demographics, as well as results,

lullabies,

and

experience

ways

personalize songs for parents and babies. Finally, the presenters will outline attributes of successful, effective partnerships for such a program and the benefits of having a music

therapist

Handouts

and

lead

reference

lullaby lists

group. will

provided. Selected References Arnon, S., Shapsa, A., Forman, L., et al. (2006). Live music is beneficial to preterm infants in the neonatal intensive care unit environment. Birth, 33,131-136. Baker, F. & Mackinlay, E. (2006). Sing, soothe, and sleep: a lullaby education

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

programme for first-time mothers. British Journal of Music Education, 23, 147-160. De l’Etoile, S. K. (2006) Infant-directed singing: A theory for clinical intervention. Music Therapy Perspectives, 24, 22-29.

Trehub, S. & Trainor, L. J. (1998). Singing to infants: lullabies and play songs. In (RoveeCollier, C., Lipsitt, L.P., Hayne, H., eds.) Advances in Infancy Research. Norwood, NJ: Ablex, 43-77.

Friedman, S. H., Kaplan, R. S., Rosenthal, M. B., Console, P. (2010). Music therapy in perinatal psychiatry: Use of lullabies for pregnant and postpartum women with mental illness. Music and Medicine, 2(4), 219-225.

About the Authors

Gilad, E. & Arnon, S. (2010). The role of live music and singing as a stress reducing modality in the NICU environment. Music Medicine, 2, 18-22.

Therapy Association.

Hanson-Abromeit, D., Shoemark, H., & Loewy. J. (2008). Neonatal intensive care units. In (Hanson-Abromeit D, Colwell C, eds.) Medical Music Therapy for Pediatrics in Hospital Settings. Silver Spring, MD: The American Music Therapy Association, 1569.

Amelia G. Furman, MM, RMT, MT-BC is a

Ronna S. Kaplan, MA, MT-BC is Director of the Department of Music Therapy at The Music Settlement in Cleveland, Ohio, USA, and

President of the American Music

Contact: rkaplan@themusicsettlement.org

music therapist/music educator with the Minneapolis,

Minnesota

Public

Schools,

USA, and AMTA Vice President.

Lyons-Ruth, K., Connell, D. B., Grunebaum, H.U., & Botein, S. (1990). Infants at social risk: maternal depression and family support services as mediators of infant development and security of attachment. Child Development, 61, 85-98. Rogers, A. (1981). Third world congress on pain of the international association for the study of pain, Edinburgh, Scotland, September 4-11, 1981, Abstracts. Pain. S1S319. Schwartz, F. & Ritchie R. (1999). Music listening in neonatal intensive care units. In (Dileo C., ed.) Music Therapy and Medicine: Theoretical and Clinical Applications. Silver Spring, MD: American Music Therapy Association, Inc., 13-22. Standley, J. M. (2003). Music Therapy with Premature Infants: Research and Developmental Interventions. Silver Spring, MD: The American Music Therapy Association.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

WEST MEETS EAST: TRANSITION OF MUSICAL SELECTION AND STYLE IN A THAI MUSIC THERAPY PROGRAM Jaae Kaewpaska Mahidol University, College of Music, Thailand Puchong Chimpiboon Mahidol University, College of Music, Thailand New Beginnings

patients and staff alike. This also provided

In August 2009, five music therapy students

an opportunity for US students to learn Thai

from the University of Kansas School of

music in the context of use with native

Music, worked in collaboration with eight

speakers, as opposed to learning the songs

students from Mahidol University College of

in a ‘classroom’ or studio context and then

Music to begin providing music therapy

trying to replicate the music in a clinical

services at Sirindhorn Rehabilitation Center

setting.

in Bangkok. Due to the limited knowledge of Thai language and music, as well as the

Building the Program

pervasive use of Western popular music in

Under the guidance of Dr. Dena Register,

the culture, American students used a

MT-BC from the University of Kansas, Thai

variety of live and recorded “pop” songs

students continued to provide weekly music

from the 1960’s to 1980’s to facilitate a

therapy services for adults in the outpatient

variety of interventions with adults in this

rehabilitation program and added services

outpatient center.

for children with special needs who treated in the outpatient clinic by physical and

In the initial sessions, Thai students with no

occupational therapists.

prior exposure to music therapy services or

months, the number of patients served

clinical training participated as models in the

increased along with requests for services at

sessions. Over the course of the next three

additional facilities. As a result, weekly

weeks, the Thai students began to take on

groups for both children and adults were

additional responsibility for the planning and

added at the Golden Jubilee Medical Center.

Over the next 3

implementation. The gradual transition from sessions that comprised of entirely Western

By December 2009, the music therapy

music to those that included both Western

program at Mahidol University College of

and Thai music and finally to a completely

Music employed three regular clinicians, a

Thai session yielded a great response from

rotating intern position and many music

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

students who contribute to providing weekly services. Looking to the Future In June 2012, Mahidol University College of Music will launch the Master’s degree in Music Therapy. In preparation for that program,

the

university

offers

the

“Therapeutic Uses of Music” training three to four times per year for other music, education or health-related professionals who are interested in learning more about the inclusion of music therapy in their work. Additionally, program staff now work with the School of Physical Therapy at Mahidol University

provide

co-treatment

for

patients in the campus clinic. In March 2011, music therapy staff began seeing patients at the music therapy clinic site on the College of

Music

campus

Salaya

outside

Bangkok. About the Authors Jaae Kaewpaska may be reached at destiny_meandyou@hotmail.com and Puchong Chimpiboon at puchong_msmu@hotmail.com. Both are on staff at the Mahidol University, College of Music, Music Therapy Program in Bangkok, Thailand.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

SYNCHRONIZATION: A RELEVANT MOMENT NOT ONLY IN MUSIC THERAPY Karin Schumacher University of Arts, Berlin, Germany

Abstract

basis

Insights gained in the area of developmental

relationships (Schumacher & Calvet 2007).

for

the

ability

for

interpersonal

psychology through infant- and attachment research are invaluable in providing an

Synchronization in the early Mother-

orientation for the work with children on the

Child-Relationship

autistic spectrum. They supply a theoretical

The

basis for understanding all disorders, which

Developmental (Psychological) Perspective”

are

shows, that newborn, and even infants with

accompanied

relationship

film

“Synchronization

from

the

disturbance and give clear indications as to

acting methodically in music therapy. Here

experience

moments

moments in order to be able to feel and

important role, as well as in the early

experience interpersonal relationships. The

mother-child-relationship and in the work of

developmental

musicians as the film “In search of shared

emphasises how important eye-contact and

time” (Schumacher & Calvet 2008) shows.

the experience of shared pleasure are.

Synchronous Moments in Music Therapy

Synchronous Moments in Music

Children with handicaps remain emotionally

Musicians know and continually train the

separated if they have not experienced

feeling of intra-synchronization.. In order to

synchronous moments. In music therapy

create inter-synchronization they give the

specific

appropriate “sign” whereby

music

synchronization

therapeutic

have

interventions

handicap,

search intra-

and

for

and

need

inter-synchronous

psychologist

Calvet

breathing and

enable emotional experiences that allow an

the inner image of their counterpart. Make

ability for relationship to grow. The detailed

the indispensable prozess of converging

analysis of longterm music therapy with

possible. Through rehearsals on the basis of

children

notation, an even more exact attunement of

the

autistic

demonstrated,

that

intra-

spectrum and

inter-

the temporal and affective musical activity is

synchronous moments go hand in hand with

reached. In the film “Synchronous Moments

a relevant emotional change and create the

in Music” K. Schumacher demonstrates the

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

importance

the

“synchronization” example

from

for the

phenomenon

musicians

rehearsals

the

(Hg): Kindermusiktherapie, Göttingen: Vandenhoeck & Ruprecht. Schumacher,

conductor Herbert von Karajan and excerpts

Synchronisation/

from his performance practice.

Musiktherapie Autismus/

Calvet,

(2008):

Synchronization bei

Music

Kindern

mit

Therapy

with

Synchronization in Research

Children on the Autistic Spectrum.

In recent years not only music therapists like

Göttingen: Vandenhoeck & Ruprecht.

Jos de Backer (2004) concern themselves

DVD mit Booklet.

with the phenomenon “synchronization”, but also

infant

researchers

Colwyn

Trevarthen, C. (1999/ 2000): Musicality and the Intrinsic Motive Pulse: Evidence

Trevarthen (1999/ 2000), psychiatrists and

From

psychotherapists like Joachim Bauer (2002),

infant

and brain researchers like Gerald Hüther

Scientiae, Special Issue: Rhythm,

(2004).

Musical Narrative, and Origins of

Human

Psychobiology

Communication.

and

Musicae

Human Communications, S. 155 – Film Presentation The

film

199.

presentation

designed

for

Korean- and English-speaking participants.

Trevarthen C. (2002): Origins of Musical identity: Evidence from Infancy

for

Musical Social Awareness. In R. A. R. References

MacDonald, D. J. Hargreaves, D.

Backer, J. de (2004): Music and Psychosis.

Miell (Hrsg.), Musical Identities (S. 21-

Dissertation. Institute of Music and

38). Oxford: University Press.

Music Therapy. Aalborg University. Bauer, J. (2002): Das Gedächtnis des Körpers. Frankfurt a.M.: Eichborn

About the Author Karin Schumacher, music therapist (DMtG)

Hüther, G. (2004): Ebenen salutogene-

and child and adolescent psychotherapist

tischer Wirkungen von Musik auf das

founded the training course for music

Gehirn.

therapy at the University of Arts in Berlin and

Musiktherapeutische

Umschau, 25 (1), 16-26.

has her area of research in music therapy

Schumacher, K. / Calvet-Kruppa, C. (2007): Kindermusiktherapie lungspsychologischer Beispiel

der

aus Sicht

and infant research.

entwick-

Synchronisation

als

relevantes Moment. In: Stiff / Tüpker

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

EAST MEETS WEST: APPLICATIONS OF INDIAN MUSIC AND THE BLUES IN MUSIC THERAPY Joseph Moreno Moreno Institute for the Creative Arts Therapies, USA

Introduction

The group learns to vocally improvise in

In our world of ever increasing globalization,

raga in ways that can be adapted to music

it is essential that all music therapists be

therapy work, as well as learn to perform a

multiculturally informed and equipped to

vocal composition in mayamalavaguala raga

work comfortably with clients from diverse

in adi tala, meeting the challenge of

cultural backgrounds. The author’s congress

integrating raga and tala. This leads to

workshop introduces the music of India and

learning how to create personalized lyrics for

the American blues. These two musical

therapeutic song expression in the Indian

genres reflect the Eastern and Western

music context.

cultures that are a theme of the congress. Working with tone bars set to ragas provides Indian Music

a different and very accessible approach to

Beginning with Indian music, the group

instrumental improvisation experiences, both

learns to sing some ragas, the melodic basis

between therapist and client, as well as

of Indian music, as well as perform some

enabling a kind of group music making that

talas, the music’s rhythmic foundation.

can lend itself to support of explorations in

Ragas are analogous to scales and the

music and imagery.

modes

western

music,

series

ascending and descending pitches and talas

The Blues

are constructions of repeated rhythmic

The blues, an established musical form, is

cycles. Indian music is primarily melodic and

an inherently therapeutic musical genre that

rhythmic, lacking the harmonic element of

evolved out of the pain of the Afro-American

western

highly

experience. This began with the institution of

slavery followed by a continuing history of

improvisation that is intrinsic to the music

racial oppression. The words in blues songs,

naturally lends itself to creative music

a basically vocal genre, most typically deal

therapy applications.

with issues related to problems in personal

music,

and

improvisational.

The

also element

relationships. The blues is always expressed

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

in the first person and can be a very

the blues, or most world music genres, the

powerful, honest and cathartic form of

message of this workshop is to demonstrate

expression. It is possible to consider blues

that the basic elements of any musical idiom

lyrics as a kind of psychological case

can be quickly assimilated.

histories in which the singers typically present problem situations, as well as a personal response or suggested means of problem resolution. When a blues singer performs for an audience there is a mutual give and take, a real process of interactive group psychotherapy. As the singer refers to experiences that some group members may have shared in their own lives there is often a kind of ritual identification and affirmation. At those moments, group members may cry out to the singer, perhaps several at the same time. In this way, those individuals may feel less alone in their problems, which reflect the basic value of group therapy.

References Garon, P. (1985) The Bluesmen. New York. Oak Publications. Haralambos, M. (1990) Soul Music and the Blues: Their Meaning and Relevance in Northern United States. Black Ghettoes. E. Whittner, & Jessed (Eds.). AfroAmerican Anthropology Contemporary Perspectives. New York. The Free Press. Moreno, J. (1988). Multicultural Music Therapy: The World Music Connection. Journal of Music Therapy, 25(1), 17-27. Moreno, J. (1987). The Therapeutic Role of the Blues Singer and Considerations of the Clinical Applications of the Blues Form. The Arts of Psychotherapy, 4(4), 330-40. Viswanathan, T. & Allen, M. (2004). Music in South India: The Karnataka Concert Tradition and Beyond. Oxford, New York Oxford University Press.

Workshop participants learn to sing the blues

and

the

process

creating

personalized blues lyrics for music therapy applications, as well as group improvisation experiences with tone bars set to the blues scale that will enable a variety of structures and interventions. The session concludes with a group vocal arrangement of blues with several parts, using improvisation and

About the Author Joseph

Moreno

internationally

recognized music therapist noted for his work with music and psychodrama, as well as his ethnomusicological research related to the sources of music therapy in the indigenous music and healings traditions of the world.

scat singing without words, demonstrating another dynamic and expressive form of

Contact: joem@maryville.edu

group expression within the blues format. While it may certainly take a lifetime to achieve a level of mastery in Indian music,

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

CREATING A SUCCESSFUL STUDENT ORGANIZATION Rose Fienman WFMT Executive Assistant, USA

Introduction

Student organizations can be sponsored by

Well-run student organizations are a vital

and/or affiliated with local, regional, national

aspect of the field of music therapy, both as

or international professional music therapy

an educational experience and in fostering

associations.

There are many components

a community-building environment.

when

consider

organization.

The

student

components

include

Music Therapy Students and Interns

creating

Students and interns are an important part

structuring the leadership team, facilitating

of the music therapy profession. They are

communication among the leaders and with

continually increasing their repertoire and

the general membership, and the most

being exposed to new ideas as part of their

effective ways for students to seek support

training.

from their affiliated professionals.

Student and interns are also well-

bylaws,

starting creating

budget,

versed in the current technology available to Maintaining a Student Organization

assist in the practice of music therapy.

Maintaining a student organization is an Benefits of Student Organizations

equally important and complex task.

Student organizations are a great asset to

students and interns cycle through their

the field of music therapy.

The benefits are

schooling and training in just a few years,

extensive; students and interns gain an

there is a turnover rate in organizational

understanding

leadership that tends to be more rapid than

how

professional

association is organized and run, and

in professional associations.

student organizations also provide students

communication is essential to ensure that

and interns with a forum to share their ideas

information and materials are transitioned

with

music

from one leadership team to the next.

therapy

Leadership teams of student organizations

each

therapists,

other, and

professional the

music

community at large.

Continued

must also work to update bylaws, reevaluate budgets, and make the best use of their

Starting a Student Organization

available resources.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

Examples The

AMTAS Makes Difference: Sharing Success,

following

leadership

are

two

structures

examples in

Challenges, and Four Career Paths.

student

Panel presented with P. Kern, E. Hamm,

organizations.

R. Fienman, G. Benner, & M. Cummins at

The American Music Therapy Association (AMTAS)

has

Executive

the

AMTA

Annual

Conference,

Cleveland, Ohio, November, 2010.

Board

comprised of President, President-Elect,

American

Music

Vice-President, Secretary, Treasurer, and

Students

Parliamentarian.

Retrieved

Additionally, there is a

Therapy (2011).

Association International. from

Board of Directors, which includes the

http://www.amtas.org/AMTAS/Internatio

Executive Board as well as the Presidents

nal.html

from

each

the

seven

AMTAS

World Federation of Music Therapy (2011). WFMT for Students. Retrieved from

geographical regions.

http://www.wfmt.info/WFMT/WFMT_for_ The WFMT Assembly of Student Delegates

Students.html

consists of one delegate from each of the eight geographical WFMT regions.

The

About the Authors

WFMT Executive Assistant presides over

Rose Fienman, MT-BC, is the WFMT

this assembly.

Executive Assistant and an independent contractor in California, USA.

Conclusion Creating

and

maintaining

successful

Contact: rose.fienman@gmail.com

student organization is a major undertaking, but when the details are considered and managed well, the benefits are immense for students, interns, professionals, and the field of music therapy as a whole. References Music Therapy 360Ë&#x161;: Exploring International Involvement. Presentation with P. Kern, R. Fienman at the WRAMTA Regional Conference, Long Beach, California, April, 2011.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

HOSPICE MUSIC THERAPY INTERNSHIP TRAINING FOR STUDENTS AND SUPERVISING CLINICIANS Terry Blaine Hospice, Inc., United States Elisa Clark SUNY New Paltz, United States Abstract

internship students developed clinical

Hospice is a concept of care that

and self-awareness skills simultaneously.

recognizes each person as unique and

To support this finding, this internship

strives to meet the changing needs of

education

patients and families facing terminal

combining existing general guidelines for

illness. Music therapists working in this

training (Forinash, 2001), with a blended

setting must develop a broad range of

approach

musical and therapeutic skills (Dileo &

methods (Ostaseski, 2007; MJHS, 2009;

Loewy, 2005). The literature suggests

Hospice, Inc., 2010). Practical skills

that this can be accomplished through

outlined by the AMTA Competencies,

“special training or mentorship” (p. xiii) in

CBMT Scope of Practice, and current

palliative care. Hospices offering music

evidence-based

therapy

this

incorporated to provide a professional

specialized training to prepare students

foundation. Reflective skills emerge as

for the challenges and rewards of clinical

students develop greater sensitivity, self-

work in this setting. Programs that

awareness, empathy, and comfort with

emphasize a high-positive, strengths-

uncertainty (Dileo & Loewy, 2005). Taken

based approach (Hilliard, 2005) in a

together, these practices help students to

supportive

successfully

internships

can

begin

environment

empower

plan

was

practical

developed,

and

reflective

research

navigate

the

are

internship

journey. The authors believe that insights

students and supervisors alike.

gained from this approach carry over into Blending the streams

personal and professional aspects of life.

The authors’ experience as interns, clinicians, and internship supervisors in

Elements of training

the hospice setting helped them to

Students are presented with a music

recognize the need for a hospice-specific

therapy intern manual to provide them

education plan. They observed that many

with

agency-specific

guidelines

for

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

training

purposes

Elements

include

(MJHS,

2009).

clinical

advice,

clinicians internationally for their hospice internship training programs.

repertoire list, education related to death and

dying,

self-care

suggestions,

documentation tips, computer training, stages of grief, additional resources, and sample care plans (Hilliard, 2005). The education program follows a sixmonth training schedule. Four six-week modules each include one assignment to prompt clinical and self-growth. Leading areas of study are music therapy (1) as a supportive service; (2) as a creative communication

medium;

(3)

transformative experience; and (4) in professional

development

(Dileo

Loewy, 2005). Each week spotlights a music therapy skill, a plan of care goal, an intervention, and the reading of related articles (Hospice, Inc., 2010). Reflective skills are nurtured during individualized office supervision where interns explore and process experiences from the previous week. Primary areas of review

include

developing

courage,

flexibility, openness, ‘fearless receptivity’ (Ostaseski, 2007), presence, tolerance of uncertainty, and coping strategies (Dileo & Loewy, 2005).

References American Music Therapy Association, Inc., (2009, March). AMTA professional competencies. Retrieved January 16, 2011 from http://musictherapy.org/competencies .html Certification Board for Music Therapists, (2010). CBMT scope of practice. Retrieved January 23, 2011 from http://www.cbmt.org/CBMTScopeof Practice.pdf. Dileo, C., & Loewy, J.V. (Eds.). (2005). Music therapy at the end of life. Cherry Hill, NJ: Jeffrey. Forinash, M. (2001). Music therapy supervision. Gilsum, NH: Barcelona. Hilliard, R.E. (2005). Hospice and palliative care music therapy: A guide to program development and clinical care. Cherry Hill, NJ: Jeffrey. Hospice, Inc. (2010, July). Music therapy internship training program (JanuaryJuly). Poughkeepsie, NY: Author. Ostaseski, F. (2007). The five precepts. Retrieved January 9, 2011 from http://www.peacemaker.ch/pdf/FivePr ecepts.pdf. Metropolitan Jewish Health System. (2009). Music therapy internship manual (Revised Spring/Summer 2009). Brooklyn, NY: Author. About the authors Terry Blaine is Music Therapist and Internship Director at Hospice, Inc. in Poughkeepsie, NY. Elisa Clark is Music Therapist and

Conclusion

Lecturer at State University of New York

The authors hope that this combined

at New Paltz.

practical and reflective approach can serve as a model that may be adapted by

Contact: clarke@newpaltz.edu

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RAGAS AND THEIR RELATIONSHIP WITH ENERGY CENTERS IN THE HUMAN BODY Rajam Shanker Sangeetha Alankara–Carnatic Classical Instructor and Music Therapist Hyderabad, India For the therapist, sound as music is a

it’s

means to an end - a instrument for creating

structure of ragas [scales], swaras [notes],

the sensation of hearing, a transmission of

srutis [pitch variations] and talas [beats]

controlled energy that is perceived by the

largely facilitates the requirement of specific

ear, processed by the brain and resonates in

design and calibrated delivery of music as

the body as a symbol of movement. Sound

therapeutic intervention. Each chakra gets

and Music can thus be defined as a chain of

associated with a particular swara and with

waves, vibrations created with systematic

years of practice one attains the art of

organized

producing the therapeutic healing sound of

resonance.

uniformed

frequencies

Resonance

refers

and to

sympathetic vibration of bodies capable of producing sounds. When a fundamental tone is emanated, a number of over tones

extremely

precise

and

elaborate

the particular swara and associated chakra 1. Chakras or Energy Centers in Human Body

which are popularly known as harmonics are also created. The hormonical tones have fixed intervals above the fundamental tone. In the ancient Indian system of Nada Yoga a method termed as Nada-anusandana was in practice. Concentrating on the intertonal fluctuation of frequencies and using them for meditation and therapy was the method followed. To be specific, every human body has basic seven Chakras – The Energy Centers. Indian Classical Music and its infinite application variables are used by the

Music

Therapist

means

establishing communication with the human body’s main and subsidiary energy centers;

162

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea Illustration 1 shows the main Chakras or

2. Veena – Human Body Interface

interconnected energy centers in the human body and each has a rhythmic pulsation. Each Chakra superintends the effective and efficient functioning of a group of organs under them and has a rhythmic pulsation. Calibrated Swara specific frequency, vocal or instrumental is generated and delivered by the therapist. The basic seven notes or swaras are sa, re, ga, ma, pa, da, ni. Sa is the base note and foundation on which the

whole

edifice

music

built.

Muladhara Chakra is the base Chakra. Consequently, with this at the base and the Sahasrara represented

Chakra by

at the

the

apex

human

and

body’s

rhythmic balance and functional harmony is maintained. The Swara associated with the particular Chakra is specifically calibrated in its delivery by the therapist, and employed to provide the corrective charge to boost this energy center. interface. It is significant that many Indian Classical Music String Instruments have the same structural interface, establishing a relationship between their generation of a musical note and its resonating response in All traditions of Music

therapy recognize the fact that low-pitched

the

delivery

importance

music

emphasized. case

calibrated

cannot

but

The practice and response is

specific

particularly

when

employed as therapeutic intervention. Both Music and Music Therapy in India is amongst the the rich holistic heritage of the East handed down over generations through the

Illustration 2 is a Human Body – Veena

the human body.

Again,

Guru

Sishya

the Master-Disciple today,

for

the

Parampara, or

Traditions. serious

Even

learner

and

practitioner, it is assimilation through the Oral tradition and practice.

Traditional

Music Therapy as a mood management medium or as a therapeutic intervention tool, in both active and passive mode too continues to be substantially unchanged.

sound brings peace and calmness that relaxes the mind and the body. The highpitched sound and music brings more aggression and alertness in the listener.

About the Author Ms Rajam Shanker is an Indian Classical Traditional music therapist at Hyderabad in India. Contact: rajams.mt@gmail.com URL: www.rajamsmusictherapy.com

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THE BRAIN-JAMMING FOR FOCUS FINALE: HELPING ADHD CHILDREN WITH BIO-GUIDED MUSIC THERAPY Eric B. Miller Expressive Therapy Concepts Inc., USA Immaculata University, USA These are the final results of Dr. Miller’s NIH

normalization pattern in PRE and POST

research

NF/Music brain-maps.

project

utilizing

brain-driven

musical tones in conjunction with subject

and

selected

background

showed gains.

context

biofeedback)

music

within

Neurofeedback

(EEG

testing

also

During their “training”

sessions, subjects selected from Bach, Vivaldi, Bob Marley, Usher and other

were

classical and popular composers, while

presented at the 10th Annual Korean Music

“jamming” along with their brains via Theta-

Therapy Conference in 2006.

triggered midi-instrument scales in key with

Bio-guided music therapy (BGMT) is the

their musical choice.

systematic use of real-time physiological

assessments included typical eyes open and

data to influence the clinical application of

closed conditions, as well as listening to

music experiences utilized by a professional

different musical selections, and active

toward client health-related goals within the

musical improvisation on the Swiss “Hang”

context of a therapeutic relationship (Miller,

drum. The Hang is well-known for it’s clear

2011).

melodic tones and unique UFO-saucer like

children.

Initial

protocol

psychological

for

ADHD

brain-training

the

POST

Scores from PRE

findings

Music experiences have been

qEEG brain-map

shown to alter grey and white matter

shape.

densities (Jäncke and Lutz 2009). There is

This study added an experimental group

some

EEG

(NF-MUS) to an existing Philadelphia Office

neurofeedback may be effective in treating

for Mental Health multi-site study of two

ADHD (Pratt, Abel & Skidmore, 1995;

neurofeedback (NF) protocols. Thirty-eight

Ramirez et al., 2001; Rossiter, 2004). Pilot

subjects completed the pre- and post

research in 2004 showed EEG normalization

intervention assessment comprised of the

using BGMT (see figure 1).

Stroop, Toni-3, NEPSY Attention/Executive

Dr. Miller completed training two groups of

core domain score, Conners CPT and

8-14 year old children in December of 2005

ADHD Parent and Teacher Rating Scales

via an NIH mini-grant through Immaculata

Revised (S). NF-MUS subjects also received

Univ. EEG neuro-imaging demonstrated a

pre- and post-quantitative EEG (QEEG)

research

showing

that

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

topographical

brain-mapping.

NF-MUS

utilized a Theta/Beta protocol variation, incorporating brain-triggered musical tones assigned to Theta amplitude in key with background musical selections. Individual results within the NF-MUS group showed significant improvement on NEPSY Executive Function/Attention subscale index scores. and improvement individually on the Stroop Color and Word tests, but showed mixed results on the combined Stroop Color/Word test.. A paired samples T-test showed no significant differences between pre and post Toni-3 scores. Between-group analysis showed the NF-

References Jäncke, L. (2009). The plastic human brain. Restorative Neurology and Neuroscience, 27(5), 521-538. Miller, E. (2011 in press). Bio-Guided Music Therapy: A practitioner’s guide to the clinical integration of music and biofeedback, London: Jessica Kingsley. Pratt, R.; Abel, H.; & Skidmore, J. (1995) The effects of neurofeedback training with background music on EEG patterns of ADD and ADHD children. The International J of Arts Medicine, 4 (1). Ramirez, P. M.; Desantis, D.; & Opler, L. A. (2001). EEG biofeedback treatment of ADD. A viable alternative to traditional medical intervention? Annals of the New York Academy of Sciences, 931, 342-358. Rossiter, T. (2004) The effectiveness of neurofeedback and stimulant drugs in treating AD/HD: Part I. Review of Methodological Issues. Applied Psychophysiology and Biofeedback, 29 (2), 95-112

MUS group superior to the other NF groups

About the Author

and control subjects on three measures: the

Eric Miller, Ph.D., MT-BC is a music therapist, biofeedback practitioner, author and adjunct faculty at Immaculata and Montclair Universities, U.S.A Jazzgrass. Contact: Miller@Biofeedback.net

NEPSY audio subtest (p = .01); the Conners Parent Rating Scale ADHD index (p = .015); and, the Conners Parent Survey Cognitive subscale (p = .043). Differences in QEEG brain maps ranged from very little change pre- and postintervention to noticeable normalization patterns. NF-MUS subjects decreased their Theta/Beta ratio (p=.004) and increased their SMR (p=.012) as hypothesized. however,

was

Theta not

reduction significant

alone, (p=.189).

These results indicate that a brain-triggered musical

component

neurofeedback

protocols may yield superior remediation of ADHD

symptoms

than

standard

neurofeedback protocols. Figure 1: 2004 Pilot Data: Note a pattern of normalization across all bands, with significant reduction in “hot” Delta, Beta and high Beta rhythms. ISSN: 1610-191X © 2011 WFMT. All rights reserved.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

PERSPECTIVES ON MUSIC TECHNOLOGY IN THERAPEUTIC SETTINGS Yari Bundy Human Mirror Project, U.S.A. Richard Bogen Everyone Music, U.S.A

Abstract

Dual Perspectives

An introduction and exploration of useful

Each of the presenters has their own

music

techniques

approach to making music. Yari Bundy uses

(Ableton

a software setup, with a laptop, midi

technologies

including:

computer

and programs

LIVE), digital looping, utilizing audio effects,

controllers

contact microphones, midi controllers, and

Ableton

innovative touch-sensitive instruments made

percussionist

and

vocalist,

by KORG. An overview of both hardware

microphones

and

instruments

and software will be presented along with

combination with effects pedals and KORG

opportunities to participate and discuss the

electronic instruments.

and

the

LIVE.

versatile

Richard

program

Bogen,

uses in

potential therapeutic applications. Abelton LIVE Music Technology

LIVE is on the cutting edge of music

As our technology evolves so to does our

technology. It is the first program to focus

relationship with how we enjoy and create

on the live performance. It is setup in a way

music. Having an understanding of these

that promotes creativity and spontaneity. It

new technologies can be the key to

is completely fluid and allows for near

connecting

through

complete customization through midi control.

contemporary music. Technology’s purpose

LIVE’s ability to record, loop, overdub and

is to make things easier and more user-

manipulate samples opens up a world of

friendly. This is no different when it comes to

possibilities for use in the classroom or

creating music. By removing barriers to

therapy session.

creativity, musicians, “non-musicians” and

over so many incredible effects and samples

disabled populations can create music.

allows clients to truly explore their potential.

with

clients

Having real time control

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

KORG Instruments

and

For almost 50 years, KORG has been

education:

creating instruments for electronic musicians

Journal of Music Therapy, 41(4), 282-

and DJ’s.

320.

Some products developed in

recent years could become valuable tools

research

Magee,

W.L.,

for

music

review

(2006.)

therapy literature.

Electronic

for music therapists working with children

technologies in clinical music therapy: a

and adults.

survey

practice

and

attitudes.

Technology and Disability, 18(3), 139The Kaoss Pad is a touch sensitive effects

146.

processor and sampler, which can be used with a microphone or ipod to easily alter a

About the Authors

sound

and

Yari Bundy is a musician and artist who

Kaossilator Pro use similar touch sensitive

works in the digital realm and has been

pads, but act as synthesizers with various

working on adapting commonly used music

lead, bass, chord, drum, and sound effect

software for therapeutic purposes.

instruments. The new KORG Wavedrum is

Contact: yaribundy@gmail.com

source.

The

Kaossilator

a percussion synthesizer that can be played by the hands, sticks or mallets. It features

Richard Bogen, MT-BC specializes in using

over 200 settings such as; traditional drum

traditional rhythms and folk songs along with

set

ethnic

technology and improvisation as a music

percussion (conga, udu, taiko, tabla, talking

therapist for children with developmental

drum, balafon and gamelan) and features an

disabilities.

adjustable head.

Contact: rbogen@gmail.com

sounds,

electronic

sounds,

These KORG instruments are all fun and easy for anyone to use. They each have unique and contemporary sounds that give the music a modern touch.

References Crowe, B., & Rio, R. (2004.) Implications of technology in music therapy practice

167

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

ORFF AND AUTISM: DEVELOPING RECIPROCAL LANGUAGE THROUGH CHANT, SONG, AND LITERATURE Amelia G. Furman Minneapolis Public Schools, Minneapolis, MN, USA Ronna S. Kaplan The Music Settlement, Cleveland, Ohio, USA Abstract

response. This sequence was repeated in

Music therapists working with students with

literature by finding books and poetry with

Autism Spectrum Disorders (ASD) must

repeated phrases, and changing responses

Integrate goals and objectives, classroom/

to model and assist students in building a

district curriculums and standards, and

repertoire of responses. Social songs and

diverse

student

sequential

skills

series

and

levels.

chants were created to assist the students in

skills

developing the skills to ask and respond to

reciprocal language built around national

questions.

music standards will be presented. Orff techniques

and

instruments

expand

chants, songs and books will be included.

While the primary focus was meeting the communication and social emotional goals and objectives of the students consideration

Description:

was given to National Standards for Music

A review of Individualized Education Plan

Education in the United States and the

(IEP) goals and objectives for students

opportunity to work on several of the content

currently being served by programmatic or

and

specific music therapy services revealed a

included:

significant

reciprocal

improvising melodies and accompaniments,

communication and word fluency as a focus.

composing and arranging within specified

Individual and small group music therapy

guidelines and evaluating. When working

sessions offer an ideal setting to develop,

with

practice and generalize these skills. A

Disorder it is important to build, layer and

hierarchy

music

develop skills in a sequential manner that

assist

can be easily generalized. Often in the

number

experiences

skills was

with

and

developed

achievement performing

students

with

students in developing skills. This included

public

echo songs, call and response songs, and

integration

between

songs

objectives,

classroom

that

required

independent

standards.

schools

there

instruments,

Autism

is IEP

These

Spectrum

not

enough

goals

and

curriculums

and

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

district standards. Music therapy sessions

Use of songs to promote independence

can be constructed to incorporate these

in morning greeting routines for young

areas. This ensures the students acquire

children with autism. Journal of Autism

both

and Developmental Disorders, 37(7)

conversational

increasing

and

their

musical

skills

opportunities

for

mainstreaming and inclusion within the

1264-1271. Lim,

(2010).

The

effect

school day. A review of IEP goals and

“developmental

objectives and the music standards will be

training through music” on speech

provided.

production in children with autism

speech-language

spectrum disorders. Journal of Music Selected References

Therapy, 47(1) 2-26.

Adamek, M.S., Thaut, M.H., & Furman, A.G.

Whipple, J. (2004) Music in intervention for

(2008) Individuals with autism and

children and adolescents with autism A

autism

meta-analysis.

spectrum

disorders.

Williams, K. Gfelller, & M. Thaut (Eds.), An

introduction

music

Journal

Music

Therapy, 41, 90-106.

therapy:

Theory and Practice (pp 117-142).

About the Authors

Silver Spring, MD: AMTA.

Amelia (Amy) Furman, MM, MT-BC is a

Furman, A.G., & Humpal, M. (2006) Goals and

treatment

childhood

objectives

and

early

intervention

music therapist/music educator with the Minneapolis

Public

Schools,

Minnesota,

USA and currently Vice President of the

settings. In M. Humpal (Ed.) Best

AMTA.

Practices in Music Therapy: Early

Contact: afurman@mpls.k12.mn.us

Childhood and School Age Settings. Ronna S. Kaplan, MA, MT-BC is Director of

Silver Spring, MD: AMTA. Kaplan, R.S. & Steele, A. L., An analysis of

the Department of Music Therapy at The

music therapy program goals and

Music Settlement in Cleveland, Ohio, USA,

outcomes for clients with diagnoses on

and

the autism spectrum. Journal of Music

Therapy Association.

President of the American Music

Therapy, 42, 2-19. Kaplan, R. (2005). Adaptation, the fifth component of the Schulwerk, The Orff Echo, 38 (1), 13. Kern, P., Wolery, M., & Aldridge, D. (2007).

169

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THINK A SONG – BRAIN, MIND, CONSCIOUSNESS: THE MUSICIAN’S WAY Alexander J. Graur Medicamus Italiana Torino (LLC), Italy

Abstract

the most abstract language; together with

Together with mathematics and logic, music

the mathematics it is the pure product of the

is the most abstract form of language. A

human consciousness. Plus the lively effects

Romantic era prejudice presented Music as

on the brain-‐mind-‐organism relationships.

an Art only, where Art is conceived as a not

It is working on these relationships that I

well-‐defined phenomenon, belonging to the

developed my neurotherapy method. I am a

sphere of instinctual, irrational actions of the

professional musician with a medical school

human mind and without specific rules and

background, and I think that music is a

laws (the so called “inspiration”). This is still

science above all: because the rules Music

widespread (miss) concept, which impedes

used and apply are the rules of the logical

the

thought and consciousness.

scientists

take

seriously

consideration the idea of Music as a Science.

But

that

wasn’t

always

the

situation.

In this brief presentation I would like to present and analyze the musical thought in relationships with both the consciousness’

In the ancient civilizations of Athens and

aspects and the living applications of the

Rome, of China and India, music was

consequences

considered and studied as a science,

Neurotherapy™.

Music

Integrative

together with mathematics and grammar. And there is a logical reason for that: Music

Presentation’s Points:

is the link between abstract and concrete

•

Music and Brain

thinking. It prepares the mind to understand

•

Thinking in Music: what happens in

the abstract thinking and to apply it to the

the musician’s brain

concrete, living world.

•

Music and Consciousness

Music is also a language, with a vocabulary,

•

Conclusions: Implications and

a grammar and syntax. Ever wondered how

Applications

come that people belonging to ALL the cultures in the world can (and do) learn

Multimedia & Releases

Music? It is because Music is

The multimedia examples will be available

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC THERAPY APPLICATION USING KOREAN TRADITIONAL MUSIC Eunjoo Jung Korean Music Therapy Association Soojin Kim Korean Music Therapy Association used. Depending on the starting and ending

Abstract Korean traditional music has its own musical elements; melody, Jan-dan(Rhythm pattern) and music form. It's good for music therapist to know how to apply Korean traditional music on the therapeutic field.

tones, a different appreciation can be valued out of them. There are categories: Sol scale, La scale, Do scale, Re scale, Mi scale. Jang-dan ‘Jang-dan’ is Korean rhythm pattern includes more than a time pattern concept such as

Understanding of Korean Traditional

tempo, dynamic, han-bae (pattern). Korean

Music It’s told the highlights of Korean music lies in

traditional music goes with 5:3 or 3:2

its ‘improvisation’. There is a whole frame

shorter than other part. Especially Jang-dan

but underneath it, everything would be

is considered as a superior concept to

irregular and freely. The musical variation

melody, so most of melody is made within a

appears improvising as most oriental music

Jang-dan framework. Jang-dan is also

proceeds without scores. Korean traditional

played variation within the basic patterns.

music

Jang-dan is made up of two patterns;

can

characterized

three

representative elements; melody, Jan-dan

composition whose one side is longer or

Jeongak-Jandan, Minsogak- Jandan.

(Rhythm pattern) and music form. Music Form We will divide and explain Korean traditional

Melody(scale and modes) In

general,

proceeds

Korean

traditional

monophonic

way.

music Korean

traditional music consists of 5-tone scale(CD-E-G-A), but it is a little different from western music. Most of music is composed with

minor

3rd

and

Major

2nd

and

sometimes 5-tone scale with semitone is

music according to the differences in kinds of music form and playing form differences. And we can explain it along universal or specific form. There are categories: form along Hanbae, Expansion form, Leading and receiving

form,

Hwandu(head

parts)

Hwanip(the repetition in melody) form.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

Music

Therapy

applied

with

Korean

Traditional Music

rhythmical structure. On music therapeutic application, it is recommended to vocalize Jang-dan first in order to get used to it.

Improvisation with Korean Pentatonic Scale

Ex) Se-ma-chi Jandan

We can use Korean pentatonic scale in improvisation. Then we intend to experience it mixed with Korean traditional songs. Conclusion Rhythmic transformation with Jeonganbo

Korean traditional music has shown its

(Korean traditional score)

unique quality and a great possibility on a

Jeonganbo is the Asia’s first mensural

various field of music therapy. There are

notation since King Sejong(1418-1450) of

improvisation, versatility and freedom in it.

Chosun Dynasty. This accomplishes the

Through creative musical experience with

spatial visualization of the sound length and

Korean Traditional music, we intend to make

offers clients who don’t have basic musical

a behavior change with a meaningful

background to have the easier chance.

analysis.

bea

ful me

dy References

Songwriting by leading and receiving form

Kwon, O.S.(2006). Korean traditional music. Seoul: Minsokwon.

Leading and receiving form is an important feature in Korean traditional song, Min-yo. It

Seo, Hanbeum(1993). An Introduction to Korean Music. Seoul: Taerim.

has an open structure where leading part and receiving part keep exchanging the

About the Authors

songs through entertaining improvisation

Eunjoo Jung

and go completing them. This is similar to

Contact: mtjej@naver.com

therapeutic songwriting. When we change lyrics, it is important to adjust the rhythm of

Soojin Kim

the words to 3.4 or 4.4(steady syllable

Contact: soojin06@hanmail.net

number) of most of Korean music verses. Improvisation with Jang-dan Jang-dan is applied prior to melody and leads the whole music providing the basic

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

along Hanbae, Expansion form, Leading and

Improvisation with Jang-dan

receiving

Jang-dan is applied prior to melody and

form,

Hwandu(head

parts)

Hwanip(the repetition in melody) form.

leads the whole music providing the basic rhythmical structure. On music therapeutic

Music

Therapy

applied

with

Korean

Traditional Music

application, it is recommended to vocalize Jang-dan first in order to get used to it.

Improvisation with Korean Pentatonic

Ex) Se-ma-chi Jandan

Scale We can use Korean pentatonic scale in improvisation. Then we intend to experience it mixed with Korean traditional songs.

Conclusion Korean traditional music has shown its

Rhythmic transformation with Jeonganbo

unique quality and a great possibility on a

(Korean traditional score)

various field of music therapy. There are

Jeonganbo is the Asia’s first mensural

improvisation, versatility and freedom in it.

notation since King Sejong(1418-1450) of

Through creative musical experience with

Chosun Dynasty. This accomplishes the

Korean Traditional music, we intend to make

spatial visualization of the sound length and

a behavior change with a meaningful

offers clients who don’t have basic musical

analysis.

background to have the easier chance. bea

ful me

References Kwon, O.S.(2006). Korean traditional music.

Songwriting by leading and receiving form

Seoul: Minsokwon. Seo, Hanbeum(1993). An Introduction to

Leading and receiving form is an important

Korean Music. Seoul: Taerim.

feature in Korean traditional song, Min-yo. It has an open structure where leading part

About the Authors

and receiving part keep exchanging the

Eunjoo Jung

songs through entertaining improvisation

Contact: mtjej@naver.com

and go completing them. This is similar to therapeutic songwriting. When we change

Soojin Kim

lyrics, it is important to adjust the rhythm of

Contact: soojin06@hanmail.net

the words to 3.4 or 4.4(steady syllable number) of most of Korean music verses.

173

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THE EXPLORATION OF CHINESE MUSIC IN THE GIM MUSIC PROGRAM 'HARVEST' Wai Man Ng, Professional Music Therapy Centre, Hong Kong, China Abstract

use of music as therapy and that the music is

The creation of the first Chinese Guided Imagery

actually the primary therapist. However, if the

and Music (GIM) music program ‘Harvest’ was

matching-up of music and culture is not good

done in 2008 which includes six music extracts

enough between clients and therapists, the clients

lasting for 31 minutes. The music program

might not have the best benefit from the music.

explored the style of Chinese music, the process

Therefore, if the Chinese clients take the GIM

of creating the music program, the rationale of the

sessions with their own music, they might have

music

stronger musical and cultural recognition, which

program,

and

the

imagery

six

participants in the music program. The result

probably enhance the therapeutic result.

showed the significant relationship between music, client’s

imagery

and

emotions.

also

Music in GIM is a very important guide, which

demonstrated the benefit of music for clients with

helps the clients go on a consciousness and

same cultural background.

music trip. Summer (1988) claims that often a client is stymied by a difficulty, which, if

Introduction

approached form a different angle, could be

Music programs are a crucial element in GIM.

ameliorated. That different angle of approach,

Helen Bonny and other GIM therapists have

which is suggested by the GIM experience can

created

Most

also provide new insight for the solution of a

program designers belong to the Western culture,

behavioural problem. Thondup (1998), a Tibetan

have classical music training and mostly use

monk, mentions that if we need to heal ourselves,

classical music in their GIM music programs.

we have to learn to recognize and accept

However, now that GIM is spreading to Asian

everything in our life. When we can do it, we will

countries, including China, cultural differences

have a huge amount of spiritual resources, which

imply that Western classical music might not be

is our harvest.

many

GIM

music

programs.

the best choice for Chinese people. Therefore, Chinese elements need to be included in a GIM

The four-step Process of Creating the Program

music program. I am very proud to be the first

A. Selection of appropriate Chinese Musical Style

Chinese GIM therapist and created the first GIM

/ B. Listening and Selection / C. Arrangement and

music program “Harvest”.

First Trial / D. Rearrangement and Second Trial

Literature Review and the Concept of Creating

The Structure of the Chinese Music Program

the Chinese Music Program “Harvest”

“Harvest”

Classical music is the main element in GIM

The final version of the Chinese music program is

process. Ventre (2002) claims that BMGIM is the

named as Harvest including six short pieces of

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

Chinese music with totally duration of 31:05

sessions might be evoked, the main significance

minutes.

is in the experience and quality of the client’s journey, including imagery, feelings, insights, and

(a)

(b)

Violin Concerto The Tragedy of Laing

the impact of all these on their inner self and

Shanbo and Zhu Yingtai (Beginning)

future life. Whether the imagery encompasses

05:01

good or bad, happy or sad, success or failure,

Guanzi Concerto Fantasia of the Silk

participants will have achieved their own harvest,

Road (3rd Movement: A Verse of the

which can be an important resource in their lives.

Ancient Path) 06:38 (c)

Music Poem Dreaming of Bathing in Huaqing Pool (Third Scene) 09:29

(d) (e) (f)

References Bonny, H. L. (2002). Music Consciousness: The

The Red Detachment of Women (The Drill

Evolution of Guided Imagery and Music. NH:

of the Red Detachment of Women) 03:34

Barcelona Publishers.

Musical Poem Thoughts on the Silk Road

Chan, M. C. (2004). Because of You, Chinese

(Third Movement: Love Song) 02:56

Music will be more Attractive. Hong Kong:

Violin Concerto The Tragedy of Laing

The United Press.

Shanbo and Zhu Yingtai (Ending) 03:25

Grocke,

(2002).

The

Bonny

Music

Programs. In K. Bruscia and D. Grocke The Client’s Experience and Feedback from

(Eds.) Guided Imagery and Music: The

the Chinese Music Program “Harvest”

Bonny Method and Beyond. Gilsum, NH.

Six participants agreed to take a GIM session with

Barcelona Publishers.

the program; two piano teachers, two Chinese

Summer, L. (1988). Guided Imagery and Music

instrument players, and two non-musicians. In

in the Institutional Setting. MO: MMB Music,

order to keep the neutral experience, the

Inc.

participants were not required to bring any issue

Thondup, T. (1998). The Healing Power of Mind.

or theme in the trial sessions. They were only

Taiwan:

required to take the relaxation induction, listening

Company.

process and post-session discussion.

Living

Psychology

Publishing

Yu, S. W. (2001). Out of Chaos and Coincidence: Hong Kong Music Culture. China: Oxford

Conclusion

University Press (China) Ltd.

According to feedback from participants, a series of emotions was experienced throughout ‘Harvest’.

About the Author

These included: ‘peaceful, empty, anxious, difficult,

Wai Man NG (MA, BMus, BSc, GradDip, PGDip)

afraid, hopeful, quiet, secure, and back home’.

is the only therapist and lecturer in the Chinese

Therefore ‘Harvest’ might be suitable for clients

regions with both the qualifications of Registered

who, desiring a different perspective, want to

Music

recapitulate a session series and then summarize

Therapist (US).

what they have gained from a certain period of life.

Contact: hkmusictherapist@yahoo.com.hk

Although different emotions than in the original

URL: http://www.mtpro.com.hk

Therapist

(UK)

and

Registered

175

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13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THE PATTERN OF THE FAMILY: A MUSIC THERAPEUTIC APPROACH WITH FAMILY CONSTELLATIONS Soren Oscarsson Stockholm, Sweden

Description

‘musical system’ and patients often find new

Family Constellation is an effective and powerful

ways of resolving their lives (Timmermann, T.

method to recognize family entanglements, in

2001). ‘Family Constellations’ can be used to

the family of origin as well as in the present

work with a whole family, with an individual in a

family. Most often unexpected, solution oriented

group, or in individual music therapy. The

interventions bring relaxation and understanding

method can also be used as a means of

in deep human problem situations and allow love

supervision.

to flow again between the members of the family system.

Important Tasks 

Family

constellation.

Before

that



family

members

What position do I have in the family (orchestra)?

Virginia Satir developed family sculpting, the precursor of Systemic Constellations. In this

between

(Interplay)

German therapist, Bert Hellinger developed Systemic

Connections



What kind of instrument do I need to express my self?

therapeutic approach we consider the individual not as a separate unit, but as part of a greater



What is the sound of my family?

whole, a family system. The original method is



What is the sound of me?

built on theories from family therapy and



Am I an ensemble player or a soloist?

systemic theory. The ideas have been taken



What space do I need?

further on and we use musical instruments to



What happens if I change my position, my instrument or the dynamics?

symbolise and to let the members in the family express themselves. This reveals the inner image that the patient holds about his/her family,

Procedure

a dynamic, which is made audible by playing the

The following procedure depends on the type of

instruments. Working with the constellations of

group work.

instruments often leads to suprising changes in



Tell about the family, the situation

their play. As each instrument finds resolution, a sense

peace

emerges

throughout

this

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13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea



Paint a picture of your family. Consider each

Links

member.

http://en.wikipedia.org/wiki/Systemic_Constellati

What’s

she/he

like,

what

character/nature? Maximum 10 minutes. 

Orchestrate

each

member.

Choice

ons of http://www.timmermann-domain.de/familycon.pdf

instruments for each one. 

Choose a person, another player (from the group present) representing each member in that family. Normally no one plays him/her-

References Hellinger,

Manne, A

Timmermann,

Practical

Family

Guide

(2001).

Musikinstrumente,

Improvisation und die Bewegungen der

Position 

Placing in the room?

Seele.



Direction. Who see whom?

Musiktherapeuten.



Interplay - What kind of? Does everybody

Systemaufstellung.

play together or are there sub-groups?

Systemische

Aufstellungserfahrungen In:

eines

Praxis

der

Hrsg.:

Lösungen

IAG

nach

Bert

Hellinger e.V., München Heft 2, 2001,

Performance

S.26 - 30

Protagonist: The principal character in a work of fiction conducts, directs and could change

(2009).

North Atlantic books, Berkeley CA

How’s the person like? How to play, what



Uncovering the Origins of Family Conflict.

Instruction to each player. What character? kind of sound?

Constellations:

self! 

himself

into

different

Timmermann, T (2001). Family Constellations

roles

with

(characters).

Musical

Instruments,

Phenomenological Systemic Approach as

Reflection

applies

Music

Therapy.

Music



Protagonist



Other player



Listener (reflection group)

About the Author

Musical reflection

Soren Oscarsson, MA is music therapist in

Verbal reflection

Children Outpatient Clinic and supervisor in

Work of Change 

New performance



New sound



Intermutual relations



Dream job



New protagonist

Therapy European Conference in Naples.

music therapy training program Royal College of Music in Stockholm, Sweden. Contact: soren.oscarsson@telia.com

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13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

GROUP-ANALYTIC MUSIC THERAPY SUPERVISION Soren Oscarsson Stockholm, Sweden

Abstract

listens.

We use music as a means of expression and to

referential improvisation usually deals with the

explore

feelings, counter transference issues or needs of

unconscious

material.

use

improvisation both for the presenter and the

comments

are

allowed.

The

the presenter

group members in to provide for reflection, and to deal with counter transference issues, feelings

Discussion with the presenter. What did she

or needs of the presenter.

hear in the music? What images? What did she experience or feel? What is the client expecting

Description

from her? What could she offer and what could

This workshop will introduce a group analytic

she not?

music therapy supervision model. The model is inspired by Heidi Ahonen-Eerikainen (2002), and

Small group verbal reflection. What did I hear

her work with music therapy, but adjusted for

in the music, what feelings and relationships

specific needs in our supervision groups.

where involved? Different thoughts, ideas and images are suggested as free as possible.

Procedure The presenter/supervisee describes his/her case

Improvisation of the reflection group. If there

without preparations. She/he can also tell his/her

is an outer circle, there is a musical reflection of

dreams

their feelings and images as well.

about

the

situation

through

free

associations and allow free flow unconscious material to become conscious. Usually the

Discussion of the reflection group.

presenter finds out that she knows about her

expressions of the reflection group make the

client more than she may have thought (Ahonen-

process richer and can offer new points of view.

Eerikainen, 2002).

Usually there is more objectivity and distance.

The

Often the therapeutic relationship that became Musical Improvisation. This includes anything

visible in the small group becomes stronger in

the presenter needs to improvise.

the reflection group. It is like a double mirror (Ahonen-Eerikainen,, 2002).

Musical Reflection. The small group reflects the case in an improvisation. The presenter only

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13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

The Purpose

sense and professional identity with feedback to

The main purpose in supervision is to help the

the client and the therapist.

therapist become more present in their contact with the client, to understand and see behind the

To work in a group-constellation with music

symptoms and what the symptoms need to

therapy supervision, and with a creative activity

communicate. What does the client need to tell,

in music, gives an effect of holding and

to negotiate?

containing to the therapist (supervisee). It could help the therapist to hold and contain the needs

Another purpose is to understand self, as a

from the client within the counter transference.

therapist, and in the process. What does the music of the client, her behaviour and symptoms

References

do to me? How do I react to symptoms and to

Ahonen-Eerikainen, H. (2002). Group-Analytic

the

person

having

the

symptoms?

These

Music therapyâ&#x20AC;&#x201C;using dreams and musical

reflections become a resource to understand

images as a pathway to the unconscious

process,

levels of the group matrix. Nordic Journal of

counter-transference

and

parallel

process.

Music Therapy 11(1)

Supervision improves the creative process and

Odell-Miller,

Richards,

(2009).

ensures there is not a focus on a predestined

Supervision of Music Therapy - A theoretical

solution and models a flexible and open mind in

and practical handbook. Routledge, East

meeting with the client. Music is primary a way to

Sussex.

stay

symbolic

level

and

not

intellectualize. It allows for an experience on a

About the Author

psychic, physical and sensuous level.

Soren Oscarsson, MA is music therapist in Children Outpatient Clinic and supervisor in

Supervision contains aspects of pedagogy in its

music therapy training program Royal College of

purpose

Music in Stockholm, Sweden.

generate

competence

and

professional knowledge. The use of music in supervision improves a musical and creative

Contact: soren.oscarsson@telia.com

179

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MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

ORIENTAL NEW AGE RELAXATION MUSIC AND AUTONOMIC NERVOUS SYSTEM Hsiu-Ting Liang Chairperson, Taipei Inner Connection Music Association, Taipei, Taiwan Huei-chuan Sung Associate Professor, Department of Nursing, Tzu Chi College of Technology and Tzu Chi University, Hualien, Taiwan Abstract This one-group pre-post test study evaluated effects of five types of oriental new age relaxation music on autonomic nervous system. Forty-three nursing students’ heart rate variability was monitored while they listened to five types of music. Participants with strong sympathetic nervous system had increased parasympathetic responses and decreased heart rates while listening to the most relaxing music. Introduction Music can facilitate feelings of physical and mental relaxation by refocusing individual’s attention in a pleasant and relaxing state. Research suggests that music listening has shown positive effects in reducing anxiety in various populations. However, there is limited research related to the effect of listening to oriental new age relaxation music on autonomic nervous system among Taiwanese adults with stress problems. Literature Review Listening regularly to favorite Jazz, classic or popular music improves the speed of rehabilitation of stroke patients. (Särkämö et al 2008). The experience of pleasure to these abstract stimuli is highly specific to cultural and personal preferences, which can vary tremendously across individuals (Salimpoor et al, 2010). For example, a pilot study results show that listening to a specific type of oriental new age relaxation music reduced the level of anxiety among Taiwanese adults (Sung, Liang, & Lee. 2009).

Methods This one-group pretest and posttest study aimed to determine five types of oriental new age relaxation music and further to evaluate its effects on autonomic nervous system. Five types of oriental new age relaxation music were categorized by speed and tempo, according to two dimensions by the stimulative music and sedative music. Forty-three nursing students who reported to have stress completed the study. The participants were asked to listen and rate each type of music on the Music Emotion Visual Analogue Scale and Semantic Music Emotion Scale. The participants were then asked to listen to five types of music with 3minute no-music clips in between via headphones individually while lying comfortably on the bed. The participants were monitored for their heart rate variability (including heart rate, low frequency (LF), high frequency(HF), LF/HF ratio using HRV Monitor (Yin-Yang Instrument). The Results The results indicated that the semantic description of five-type music was consistent with the result of the music emotion visual analogue scale. After the participants listened to five types of music, their mean heart rates were decreased more with slower music. The mean HF was 479.24 as they listened to the first type of music, whereas it increased gradually when they listened to types 2, 3, 4, and 5. The result shows that HF increased as the music became softer, which indicates

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

that the participants were more relaxed. When the participants listened to music of type 1, the mean LF/HF ratio was 1.07 and it slightly decreased as they listened to music of type 2 and 3. Generally speaking, the softer the music was the more the participants were relaxed. However, the mean LF/HF ratio was slightly increased with music of type 4 and type 5. Conclusion The results indicated that the semantic description of five-type music was consistent with the result of the music emotion visual analogue scale. The mean heart rate decreased as the participants listened to softer types of music. Regarding heart rate variability, participants who had strong sympathetic nervous system had increased parasympathetic responses and decreased heart rates while listening to the most relaxing music. Those who had strong parasympathetic nervous system had greater enhanced sympathetic responses while listening to cheerful and lively music compared to other four types of music. This research showed that listening to new age oriental relaxing music created by Chinese decreased heart rate and other anxiety related physiological indicators, and thus relaxed the listeners.

peak emotion to music. Nature Neuroscience, 14, 257-262. Särkämö T., Tervaniemi, M., Laitinen, S. et al (2008). Music listening enhances cognitive recovery and mood after middle cerebral artery stroke. Brain, 131, 866-876. Sung, H.C., Liang, H.T., & Lee, W.L. (2009). The effect that listening to oriental new age relaxation music has on anxiety state and heart rate variability among Taiwanese adults. International Journal of Evidence-Based Healthcare, 7 (3), 225.

Future Suggestion Future research using a more rigorous research design with a larger sample size is needed. Meditation has long tradition in Oriental culture; it manifests itself in both artistic expression and unique relaxing effects of music. More research is needed to devote to the effects and applications of music from various cultural traditions. References Menon, V. & Levitin, D.J. (2005). The rewards of music listening: Response and physiological connectivity of the mesolimbic system. NeuroImage, 28 (1), 175-184. Salimpoor,V.H., Benovoy, M., Larcher, K., Dagher, A. & Zatorre, R.J. (2011). Anatomically distinct dopamine release during anticipation and experience of

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MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

POSTERSESSIONS 185

Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC THERAPY IN A PATIENT WITH PARKINSON’S DISEASE AND CHRONIC DELIRANT PSYCHOSIS Conxita Bentz Catalan Parkinson’s Disease Association, Barcelona, Spain

Abstract

had a very positive attitude towards art and

Music therapy was applied to a 48 year-old

music was also considered.

woman patient with Parkinson’s disease associated with psychosis and delirium of

Music therapy was mainly directed at

chronic evolution. Given her positive attitude

facilitating the expression of emotions, at

towards art and music, it was decided to

reverting the consequences of Parkinson’s

apply music therapy, which resulted in an

disease, and, consequently, at improving

improvement in her emotional, social and

her self-esteem.

behavioral areas. During the first phase of the treatment Description

(focused on the psychiatric problem rather

This research deals with music therapy

than in Parkinson’s disease), music chosen

applied to a 48 year-old woman patient with

by the patient and music new to her in order

Parkinson’s

with

to avoid undesired memories. Both types of

psychosis and delirium of chronic evolution.

music were useful to equilibrate the patient’s

The

emotional

patient

disease had

associated had

four

hospital

and

psychological

condition.

admissions due to acute episodes of her

Several musical compositions were used,

psychosis,

especially those from the musical work

and

interdisciplinary

intervention was decided.

“L’Alba de les Emocions”, composed by this author, which achieves those emotional

In addition to psychological, psychiatric and

changes

neurologic treatment, music therapy was

(proposed by Altshuler), by readdressing the

started knowing that the patient presented

patient’s mood and psychic state.

based

the

iso

principle

an important necessity to express her emotions and to readdress them in order to

As soon as the patient was able to

accept, and be able to face, the challenges

participate actively, she was asked to play

of her Parkinson’s and of her private and

percussion instruments that she chose, and

professional life. The fact that the patient

to express herself by singing along.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

Throughout

the

sessions,

the

patient

showed a remarkable improvement which

Bentz, C., (2008). Oh, Mundo!

CD,

Animamusic, S.L.

allowed her to accept Parkinson’s disease

Pacchetti, C. et al, (2000). Active music

and to use tools which could help her to

therapy in Parkinson’s disease: an

overcome this disease’s limitations.

integrative method for motor and emotional rehabilitation. Psychosom

During the second phase of the treatment,

Med., 62(3), 386-93.

aimed directly at Parkinson’s disease, music from this author’s work “Oh, Mundo!” was

Thaut, M. H. et al, (1996). Rhythmic auditory

used, which is based on the rhythmic and

stimulation

melodic patterns proposed by Thaut et al.

Parkinson’s

gait

training

disease

for

patients.

Movement Disorders, 11(2), 193-200. For neuromuscular rehabilitation musical relaxation, vocal exercises and free rhythmic

About the Author

movements were also applied in order to

Conxita Bentz is a composer and performer

improve her expression and communication

specialized in music therapy. She majored in

abilities.

Music at Barcelona’s Conservatory, and she also has a Master’s degree in MT from the

The music therapy applied and the patient’s evolution

resulted

U. of Barcelona.

substantial

improvement in the patient’s emotional,

Contact: conxitabentz@ono.com

social, behavioral and motor conditions.

URL: www.conxitabentz.com

References Altshuler,

I.,

(1948).

experience

with

therapeutic

agent.

psychiatrist’s

music Music

a and

Medicine, 1971, 271-272. Bentz, C., (2003). L’alba de les emocions. CD, Animamusic, S.L.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

MUSIC THERAPY FOR A SHY PATIENT WITH TERMINAL CANCER CASE OF MUSIC THERAPY RELIEVING A WIFE FROM HER GRIEF Akiko Chino Musashidai Hospital, Japan

Introduction

One day, his doctor suggested him to join

This report describes how a patient with

music therapy to reduce his stress, but he

terminal cancer and his family received

refused the suggestion and said he was not

psychological support through music therapy.

interested in music. On the 29th day of his hospitalization, his wife was crying with the

Subjects

song

The case was a man in his late 50’s with

therapy for another patient in the same room.

terminal cancer.

The music therapist told her, “I can play your

He was treated with

‘Karatachi-Nikki’

during

music

chemotherapy in July of year X-1 (We

husband’s favorite song, if you like.”

The

started music therapy in year X). The pain

wife was pleased, but he wasn’t and said, “I

was out of control in January of year X and

am happy just listening to other people’s

he was referred to the hospital for pain relief

songs”. He told his wife to ask the therapist

in February. He was a welder but he has

to play one of her favorite songs instead.

been taking days off from work because of his cancer. According to his family, he was

After a while, he kept refusing the music

shy, reticent, gentle, and stubborn.

His

therapy, but the therapist visited him every

cancer condition had been explained to him

day to chat with him and he began to talk

at the previous hospital; however, he had

about his past.

not been told the prognosis.

hospitalization, he suddenly start singing

On the 85th day of his

with a melody which the therapist was Progress

playing for another patient in other room.

After hospitalization, his legs get paralysis

Everybody was amazed and a nurse asked

by his cancer spreading to the bone, and it

the therapist to play music for him too. Soon

made him incapacitated but his wife came to

after, the therapist brought a keyboard to his

the

him

bedside and started the therapy. He asked

They spent the time talking to

his wife to choose her favorite songs and he

hospital

massage.

everyday

each other peacefully.

and

gave

sang every song.

He and his wife talked

about their memory of the songs. The wife

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

pointed her finger to the lyrics of ‘Omaeni’

after the patient suddenly began to sing.

(For You), where it says ‘Just be with me,

The therapy provided the family with their

you don’t have to say anything’ and she told

last peaceful time together.

him, “This is what I feel”. He smiled shyly and said “I know”. His daughter, doctor, and

This is a case showing how music therapy

everyone in the room were smiling and

contributed to the relief of a patient and his

happy just watching them.

family members’ grief.

Four days later, he was in terminal delirium and lost his consciousness after undergoing

Contact: chino.akiko@gmail.com

sedation. His wife was with him 24 hours while he was in coma. The therapist set a music therapy for her and she requested the song that has a memory with her husband, th and she talked about it. On the 100 day,

he passed away. Conclusion The patient was not talkative and not good at showing his emotions. At a music therapy session, he preferred his wife’s favorite songs, instead of his own favorite.

wanted to heal her grief, rather than his own through music. The therapy worked well as it helped the patient achieve his wish of relieving his wife’s pain. Music was able to draw out their past and music therapy encouraged them to talk about their memories.

Even though he

refused music therapy at the beginning, the therapist

visited

him

every

established a relationship.

day

and

So that the

therapist was able to provide therapy soon

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

INVESTIGATING MOTHERS’ LIVE SINGING AND SPEAKING INTERACTION WITH PRETERM INFANTS IN NICU

Manuela Filippa Ph.D. Candidate, Université Paris Ouest Nanterre La Défense, France Maya Gratier Université Paris Ouest Nanterre La Défense, France

Abstract

is well documented in the first months of life

This study explores the way in which mothers speak and sing to their preterm infants in the first weeks of life in the NICU as well as the effects of these two modes of communications on (1) infants’ clinical and physiological parameters

and

(2)

behavioral

and

Preliminary results suggest that (1) during vocal stimulation, preterm infants experience significantly less “critical events”, clinical parameters show greater stability (< standard deviation in HRV, OxSat), the HRV and the increase

maternal

vocal

(p>0.005), stimulation

involved preterm infants. Moreover, it has been proved that in the last two months of gestation a fetus can hear and learn the individual features of the mother’s speaking or singing voice (Trevarthen, 2008). This

interactional reactions.

OxSat

(Gratier & Apter, 2009), but few observations

and

(2)

article

reports

the

theoretical

underpinnings of the study of maternal singing, considered as an important relational based

intervention

early

dyadic

communication between mothers and preterm infants.

live

significantly

increases the incidence of “calm alertness states”, which are thought to be important in

Materials and Methods To date, 10 out of 20 preterm neonates have been studied in the Aosta Hospital NICU, Aosta, Italy. Their weight at birth was between

the process of mother/infant bonding.

950 and 2410 g and the entry criteria at the time of the recordings were (1) >29 weeks

Introduction In recent years the experiences of preterm infant have begun to be considered in relation to the complex environment to which they have to adapt, environments that are both physical and social (Als, 1994).

Vocal

communication between mothers and infants

PCA, (2) > 1000g, (3) stable condition (absence

additional

oxygen

pathological

mechanical

ventilation,

needed,

conditions).

The

specific remaining

neonates will take part in the research in the coming months. The study was approved by

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

the Ethical Committee and included parental

activation of the proto-interaction between

written informed consent and primary nurse

mothers and preterm infants, as indicated by

and primary doctor approval.

the intensifying of the “calm alertness states”. The reduction of “critical events” (hypoxemia -

Procedure

SpO2 < 80% e/o bradycardia, HR<80 bpm)

All infants are tested for 6 days, during their

can be a valid indicator of a better quality of

hospital stay in their room in their own

life for preterm infants in the NICU (Standley,

incubators, one hour after their afternoon

J. M., 2002).

feeding. All mothers involved are asked, on 3 different days, to speak and sing to their

In conclusion, (1) further analyses are needed

infants. Before and between these days, a

to compare the quantity of engagement

day with no stimulation provides comparison

signals with and without maternal vocal

data.

stimulation and (2) detailed microanalysis of the proto-interactions is essential in order to

Results and Discussion

find

Of the 20 participants that are planned to be

sophistication and, ergo, importance of the

included in the study, 10 have been analyzed

mother-infant relationship in preterm infant

to date. No infants displayed signs of

development.

evidence

supporting

the

precocity,

overstimulation or distress. During maternal vocal stimulation we found an increase of HRV and Oxygen Saturation (p>0.05); a decrease in standard deviation of clinical

parameters, a decrease of “critical events” and an increase of calm alertness states.

References Als, H., et al., (1994). Individualized developmental care for the very lowbirth-weight preterm infant. Medical and neurofunctional effects, JAMA. 1994, 272(11):853-8. Gratier, M. & Apter, G. (2009). The musicality of belonging: repetition and variation in mother-infant interaction. In Malloch, S., & Trevarthen, C., Communicative Musicality, Oxford, Oxford University Press. Standley, J. (2002). A meta-analysis of the efficacy of music therapy for premature infants. Journal of Pediatric Nursing, 17, 107–113. Trevarthen, C., (2008) The musical art of infant conversation, In M. IMBERTY & M. GRATIER (eds), Musicae Scientiae Special Issue «Narrative in music and interaction».

These results indicate that the maternal live speaking and singing stimulation does not

Contact: mgfilippa@libero.it

have a soothing effect. We observe rather an

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

PERCEPTION OF EMOTION IN DEPRESSED AND HEALTHY INDIVIDUALS SUBJECT TO MUSICAL STIMULI Erika Flores Jenym Sivoli Nelissa De Pool Marinaisabel Vargas Lucimey Lima Hospital Centro Salud Mental del Este “El Peñón,” Venezuela Laboratorio de Neuroquímica, Instituto Venezolano de Investigaciones Científicas

Abstract

both

There are many factors that affect the

changed

perception of emotions. The aim of this

fragment; whereas depressed maintain the

study was to compare the perception of

same perception.

groups,

since

perception

healthy for

individuals

the

second

emotions to musical stimuli in depressed patients with healthy subjects. Fifty six

Introduction

individuals, 19-59 years old were included

The emotions are very complex experiences

(70% healthy, 30% depressive). Patient

and their perception depends on multiple

Health Questionnaire for Depression was

factors, like cultural differences, language,

applied. The subjects listened a musical

lived experiences, as well as personality,

piece, and completed a questionnaire of

state of mind or type of psychopathology.

perception of emotions designed for this

The aim of this study was to compare the

study. In healthy group, 38% answered with

perception

some positive emotions and 56% with some

patients with healthy patients to musical

negative emotions to first musical fragment,

stimuli.

emotions

depressed

whereas in the depressive group values were 18% and 76%, respectively. Healthy

Participants

group answered to the second fragment:

56 Adults were studied, 45 females and 11

82%

10%

males, 18 and 65 years (37,93±11,18), from

emotionally negative. In depressed group

Hospital Centro de Salud Mental del Este “El

56% answered emotionally positive and

Peñón”

33% emotionally negative. There was a

Caracas, July and August 2010. Approved

statistically significant difference between

by Ethic Committees, and written consent.

emotionally

positive

and

Hospital

Universitario

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea Not having psychotic symptoms or drug consumption. From total, 39 (70%) were healthy and 17 (30%) had some degree of depression by Patient Health Questionnaire (PHQ-9). Figure 1: Type of emotion perceived by individuals to musical stimuli.

Procedure All the subjects listened a musical piece that was designed and composed by the first author of this study. Next, they were asked to

fill

the

questionnaire

emotions,

distinguishing between first and second fragments. Results and Discussion In the healthy group 15 individuals answered with

some

positive

emotion

and

individuals with some negatives in the first musical fragment, whereas in the depressed group 3 individuals answered with some positive emotion and 13 answered with some negatives. For the second musical fragment, 32 of the healthy group answered emotionally whereas

positive the

and

depressed

negative, group

individuals answered emotionally positive and 6 answered negative. Healthy individuals changed perception on having heard the second fragment,

Conclusion In the present groups, emotional perception of music is related to mood status. References Greenwald, A. G. (1992). New look 3: Unconscious cognition reclaimed. American Psychologist, 47, 766-779. Hevner, K., (1936). Experimental studies of the elements of expression in music. American Journal of Psychology, 48, 246–268. Menon, V., Levitin, D.J. (2005). The rewards of music listening: response and physiological connectivity of the mesolimbic system. Neuroimage, 28, 175-84. Iakovides, S.A., Iliadou, V.T., Bizeli, V.T., Kaprinis, S.G., Fountoulakis, K.N., Kaprinis, G.S., (2004). Psychophysiology and psychoacoustics of music: Perception of complex sound in normal subjects and psychiatric patients. Ann Gen Hosp Psychiatry. 6. Plutchik, R. (1980). A general psychoevolutionary theory of emotion. In R. Plutchik & H. Kellerman (Eds.), Emotion: Theory, research, and experience: Vol. 1. Theories of emotion 333. Reisch, T., Ebner-Priemer, U.W., Tschacher, W., Bohus, M., Linehan, M.M., (2008). Sequences of emotions in patients withborderline personality disorder. Acta Psychiatr Scand. 118, 42-48.

(p=0,0003), whereas depressed individuals maintain the same perception for both fragments (Figure 1).

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

ACTIVE MUSIC THERAPY, ACQUIRED BRAIN INJURY, AND INTEREPERSONAL COMMUNICATION COMPETENCES Søren Hald Ph.D. Candidate, Aalborg University, Denmark Objective This

poster

correlation

presentation

explores

between

the

relatives,

staff

and

participants.

interpersonal

Interpersonal communication competences

communication competences in improvised

in music were measured by blinded raters

music and daily life in people with acquired

using an adapted version of Bruscia’s (1987)

brain injury (ABI).

Improvisation Assessment Profile -autonomy profile (IAP-Aut.) and an alteration of the

Design

ICCS questionnaire into musical means.

The correlation hypothesis was tested on 18 participants having suffered from ‘medium’

Rationale

acquired brain injury (ABI).

Musical interaction relies on many different

To test the

interpersonal effect of music therapy a

networks

randomized cross-over design (AB-BA) was

together(Peretz and Zatorre, 2005). When

assigned on 11 participants who have lived

persons with ABI actively do music, they are

with their injury for more than five years. ‘A’

offered an opportunity for simultaneous

was twenty group music therapy sessions

activation

and ‘B’ was 4-5 months of standard

cognitive- and communicative structures of

rehabilitation. 3 participants got very ill and

the brain.

the

brain

emotional-,

working

motoric-,

left the study. Music therapy with persons suffering a The 7 participants who had acute ABI were

medium ABI most often addresses needs

allocated to music therapy condition or

such as; voice and speech training, motoric

standard rehabilitation, based on treatment

training, song writing, social interaction,

considerations.

emotional relief, relaxation, and cognitive

Communication

competences in daily life was measured with

training (Baker and Tamplin, 2006).

an altered version of Rubin and Martin

It is widely acknowledged that ABI to a large

(1994)

extend

Interpersonal

Communication

Competence Scale (ICCS) deployed on

affects

psychosocial

functioning(Morton and Wehman, 1995).

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

Research indicate that active music therapy

raters. The rating tool is base on the ICCS

can have an positive effect on interaction

questions and Bruscia’s (1987) IAP-Aut.

competences (Barker and Brunk, 1991,

definitions. In the free improvisation the

Nayak et al., 2000, Purdie, 1997)

raters will evaluate the participant musical stance in four categories; volume, rhythmic

When client and music therapist play music

ground, phrasing, and melody. Every ten

together, their musical interaction behavior

second the rater will indicate if the client is;

is continually adjusted. When interacting

Dependant, Follower, Partner, Leader, or

musically

Resister.

they

communication

use

interpersonal

competences

such

empathy, self-disclosure, social relaxation,

References

expressiveness, focused attention, etc. It is

BAKER, F. & TAMPLIN, J. (2006) Music therapy methods in neurorehabilitation, London, Jessica Kingsley Publishers. BARKER, V. L. & BRUNK, B. (1991) The Role of Creative Arts Group in the Treatment of Clients with Traumatic Brain Injury. Music therapy perspectives, 9, 26-31. BRUSCIA, K. E. (1987) Improvisational models of music therapy, Springfield, Ill., Charles C. Thomas. MORTON, M. V. & WEHMAN, P. (1995) Psychosocial and emotional sequelae of individuals with traumatic brain injury: a literature review and recommendations. Brain Injury, 9, 81-92. NAYAK, S., WHEELER, B. L., SHIFLETT, S. C. & AGOSTINELLI, S. (2000) Effect of music therapy on mood and social interaction among individuals with acute traumatic brain injury and stroke. Rehabilitation Psychology, 45, 274-283. PERETZ, I. & ZATORRE, R. J. (2005) Brain organization for music processing. Annu.Rev.Psychol, 56, 89-114. PURDIE, H. (1997) Music Therapy with Adults who have Traumatic Brain Injury and Stroke. British Journal of music Therapy, 11, 45-50. RUBIN, R. B. & MARTIN, M. M. (1994) Development of a Measure of Interpersonal Communication Competence. Communication Research Reports, 11, 33-44. WIGRAM, T. (2004) Improvisation : methods and techniques for music therapy clinicians, educators, and students, London ; Philadelphia, J. Kingsley Publishers.

the studies general hypothesis that an overall gain in doing music therapy in neurological

rehabilitation

improved

interpersonal communication competences. Musical Interaction Measurements To measure the participants’ interpersonal competences in musical improvisation, the participants did four musical exercises. The exercise

titles

are;

dialog,

me,

autonomy, and free improvisation. The improvisational exercises are inspired by Wigram (2004) and are designed to assess communication competences in musical interaction. After the exercises the music therapist and participant filled out a musical communication competence questionnaire inspired by the ICCS. This protocol was executed pre and post the twenty group music therapy sessions. The four musical exercises were videorecorded and is to be rated by two blinded

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

HOSPICE MUSIC THERAPY IN EASTERN CULTURE: AN ADAPTIVE PRACTICE IN TAIWAN Fu-Nien Hsieh Tainan National University of the Arts, Tainan, Taiwan Abstract

challenge for the music therapist. On the

The purpose of this study was to explore the

other hand, hospice care increases the

adaptation of music therapy practice in

emphasis on family coherence. Every family

hospice

Challenges,

member is expected to gather around during

adaptive strategies and goals of hospice

the dying process in order to comply with the

music therapy in the eastern culture are

virtue of filial piety. As a result, the

presented.

involvement of family members in music

care

Taiwan.

therapy session plays a crucial role. Introduction The first hospice care program in Taiwan

Method

was established in 1990. However, not until

The author works as a part-time music

recently, people become aware of hospice

therapist in a 20-bed hospice care center at

care. Although a growing body evidence

a hospital in southern Taiwan. This study

supports the effectiveness of music therapy

examined

for hospice patients in physical, emotional

completed after music therapy sessions

and spiritual needs, music therapy remains

conducted by the author, which detailed

absent from most hospice programs in

music therapy interventions, goals, and

Taiwan. Therefore, to practice music therapy

responses or comments of patients and

in hospice care remains a challenge for

family members.

over

800

progress

notes

music therapists. One of the famous Confucius quotes, “If we

Results

don't know life, how can we know death?”

Job title

This reveals the attitude towards death in

With the unfamiliarity about music therapy,

Taiwan’s

choose

the author had to modify her job title from

alternative words to avoid articulating ‘death’

music therapist to music teacher. When the

directly. It is also not uncommon that the

author

family chooses to keep the diagnosis a

therapist, most patients refused the service

secret from

the patient. Therefore, to

politely. The term ‘music therapist’ is new to

discuss any topic related to death is a

many patients and they do not know what to

culture.

People

often

was

introduced

the

music

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

expect

from

the

therapist.

The

lack

repertoires, which provide great ways of

comprehension of music therapy often

communication to express feelings and

impedes referrals. The term ‘music teacher’

thoughts.

is more common to patients and increases

Complex cultural blend and colonial history

their willingness to participate.

influence the song selections used in music therapy sessions. Songs are selected from

The interdisciplinary team

several

The nurses and volunteers often participate

Mandarin

with the author in the beginning of music

Japanese,

therapy sessions. In addition to making

Therefore, it is important for the music

music therapy referrals, they sometimes

therapist to have basic knowledge of the

sing and interact with patients and family

patient’s

members.

music and languages.

Their

involvement

often

different

languages,

Chinese, and

Taiwanese,

indigenous

cultural

including Hakka,

languages.

background,

preferred

encourages the patients’ participation. The rapport between therapist and patient is built

Conclusion

through collaboration of the interdisciplinary

This study indicates that the culturally-

team.

centered practice in hospice music therapy is

essential.

The

cultural

differences

Goals and Interventions

regarding

Considering the conservative character of

preference, are among the challenges the

the Taiwanese, the therapeutic process

music therapist must address. The use of

begins with entertainment-oriented goals in

adaptive strategies to support hospice music

order

therapy in eastern culture is crucial.

accomplish

therapeutic

goals.

death,

language,

music

Under the influences of Karaoke, which becomes a newly developed culture in

References

Taiwanese

three

Forrest, L. (2011). Supportive Cancer Care

decades, singing prevails over other music

at the End of Life: Mapping the Cultural

therapy

Landscape in Palliative Care and Music

society

interventions.

the In

past addition,

the

singing activity on the bus tour for the elderly contributes

the

choice

Therapy. Music and Medicine, 3(1), 9-14.

singing

intervention. The bus tour is a common

About the Authors

activity for the elderly in Taiwan and many

Fu-Nien Hsieh, MA, MM, MT-BC is the

people

President of the Music Therapy Association

through

develop it.

their

These

singing

interests

experiences

increase participation of patients and enrich

of Taiwan. Contact: funien2000@yahoo.com.tw

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

A QUALITATIVE EXPLORATION OF A MUISC THERAPIST’S WRITINGS ON MEDICAL MUSIC THERAPY Jennifer D. Jones, PhD, MT-BC Western Illinois University, USA Abstract

Method

Qualitative analysis of clinical notes and

The writings were generated in the 13 year

therapist reaction statements written about

of this author’s career as a music therapist

music therapy provided for patients in the

when I was completing a service-learning

hospital evolved into two main themes:

course in a medical hospital. One hundred

Experiencing Music and The Therapist Within

Contact Notes, 22 Reaction Statements, a

Me.

summary paper, and presentation materials

were analyzed. After several readings and categorizations, two main themes emerged.

Introduction Music therapists challenged when asked put our services into words since many music

Results

experiences

Frequently,

Figure 1 displays the relationship of the

accounts of music therapy are best attempts

themes and subthemes. The themes were

at objective reporting on public events that

titled Evidences of the Therapist Within Me

exclude the therapist’s inner experience.

and Experiencing Music.

are

ineffable.

Aigen (1990) asserted that the omission of the therapist’s experience limits our discovery.

Words that supported Evidences of the Therapist Within Me included descriptions of

Researchers have used reflective writing to

patients and their responses to music therapy

inform

have

along with my experience of providing care.

Alzheimer’s disease (Ahonen-Eerikainen, et

Musical pseudonyms were given to patients

al., 2007), cancer patients (O’Callaghan &

who had strong responses to music therapy

McDermott, 2004), and children with severe

(e.g.

disability (Wheeler, 1999). Perhaps what we

Additionally, I detailed the medical situation

write to ourselves is uniquely informative of

(e.g. brain surgery, congestion in lungs, IV,

the mental dialogue resulting from music

catheter) and the music therapy assessment

therapy. My purpose with this qualitative

(e.g. moving her feet to the beat; hummed;

analysis

sang along in a thin, breathless voice; closed

studies

was

with

persons

come

understanding of my words

who

deeper

Mr.

Morrison

for

Van

Morrison).

eyes during slow tunes).

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

The connection between music and family was evident. Conclusion Reflective writing may or may not be part of a typical clinician’s daily practice. However, I found that writing served as a release and supervision. The insights revealed through analysis of my words promoted personal and clinical growth. References

Figure 1. The most powerful words were my description of my own experiences. Though my role was as a volunteer, I was functioning as a therapist.

Descriptive

idioms

included:

Clinician-side kicked in; Got my ‘therapist’ going; My therapist-bell is rung. Additional “I” statements affirmed my role as a music therapist, including, “The truth is most days you get music therapy out of me because it is who I am.” Self-care became a necessity since my role was therapeutic.

Aigen, K. (1990). Echoes of silence. Music Therapy, 9, 44-61. Ahonen-Eerikainen, H., Rippin, K., Sibille, N., Koch, R., & Dalby, D. M. (2007). “Not bad for an 85-year-old!” The qualitative analysis of the role of music, therapeutic benefits and group therapeutic factors of the St. Joseph’s Alzheimer’s Adult Day Program Music Therapy Group. Canadian Journal of Music Therapy, 13, 37-62. O’Callaghan, C., & McDermott, F. (2004). Music therapy’s relevance in a cancer hospital researched through a constructivist lens. Journal of Music Therapy, 41, 151-185. Wheeler, B. L. (1999). Experiencing pleasure in working with severely disabled children. Journal of Music Therapy, 36, 56-80.

Experiencing Music clarified my realization of how the role of music in medical music

About the Author:

therapy differed from my previous work in

Jennifer D. Jones is the Director of Music

psychiatry and developmental disability. The

Therapy at Western Illinois University. Her

ability to honor a patient’s request for music

clinical practice included music therapy in

was critical and created intimacy. Some

psychiatry and developmental disability with

patients declined live music instead preferring

research interests in songs and songwriting.

storytelling about family musical experiences.

Contact: jdj4music@comcast.net.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

CORRELATION OF OBJECTIVE ANALYSIS OF PITCH/RHYTHM WITH SUBJECTIVE EVALUATIONS FOR DYSARTHRIA PATIENTS Maki Kato, Kazumasa Yamamoto, and Seiichi Nakagawa Dept. of Computer Sciences and Engineering, Toyohashi University of Technology, Japan Abstract

accident patients: nine male patients and

This study was achieved through singing

two female patients. They have dysarthria,

instruction exercises in Music Therapy (MT)

which induces the production of unclear and

sessions to improve vocal articulation for

breathy verbal sounds, and limited voice

dysarthria

articulations.

patients

due

neurological

disorders. We examined the correlation of

During each 40 minutes-long MT session,

acoustic analysis of pith and rhythm with

25 minutes was dedicated to vocal training

perceptual

and practice upper trunk movements. This

articulation

impression

evaluations

improvements

after

and vocal

training was performed 40 times in a year.

training for the patients. The results showed

During this study, each patient’s singing and

that there were some correlations.

speech of meaningless sentences were recorded a total of four times within one year.

Introduction

For the acoustic analysis, we analyzed their

Kato, Yamamoto and Nakagawa’s basic

singing pitch (F0) and rhythm (duration) of

research found a strong correlation between

the each syllable by computer software of

acoustic analytical measurement (objective

Boersma, P., and Weenink, D. (2009). To

evaluation)

evaluate the effect of the singing exercises,

and

perceptual

impression

evaluation (subjective evaluation). However,

the

in this previous research, the results were

frequency)

based on a small quantity of data, thus, in

normalized. They were compared between

this study we increased the number of

each subject and therapist, and calculated

patients and their tests.

as standard deviations (SD). A decreasing

singing

pitch and

the

(log

fundamental

duration

were

SD over sessions means the patient is Methods

improving, because the patient’s pitch and

The eleven patients of this research live at a

rhythm is becoming closer to the therapist’s.

facility for the physically disabled, two are

Seven music school students and nine

patients with residual disability after a head

university students scored the patients’

injury, two are spinocerebellar degeneration

singing

patients, and seven are cerebrovascular

evaluation in pitch and rhythm. The students

for

the

perceptual

impression

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

also dictated down the patients meaningless

exercises were an effective rehabilitation

sentences.

approach

for

remaining

and

improving

patients’ functions of vocal speech organ, Results

oral and respiratory system for dysarthria

1. The SD of F0 or duration (objective

patients even years after the accident or the

evaluation)

and

the

average

disease.

perceptual impression of pitch or rhythm evaluations (subjective evaluation for

References

singing) showed strong correlations.

Kato, M., Yamamoto , K., & Nakagawa, S.

(correlation: -0.466∼

-0.477, P<0.01)

2. The of SD of F0 or duration (objective evaluation)

and

articulation

improvement

evaluation moderate

the

percentage

Correlation

Analysis

Perceptual

Acoustic

Pitch/Rhythm

Impression

with

Evaluations

after Singing Training for Dysarthria

(subjective

intelligibility)

(2009).

Patients. The 2009 Annual Conference

showed

correlations.(correlation:-

the

American

Music

Therapy

Association (Poster Presentation).

0.245∼ -0.400, P<0.05)

Boersma, P., & Weenink, D. “ Praat: doing Summary

phonetics by computer,” Computer

An acoustic analysis by computer could also

program: http//www.Praat.org/, 2009.

be a useful way to evaluate the singing improvement as a physical analysis instead

About the Authors

of human’s judgment as a psychological

Maki Kato is a Ph.D. candidate in Electronic

analysis.

Information Engineering at the Toyohashi

From a clinical point of view, the dysarthria

University of Technology, Japan.

patients showed a greater improvement in

Contact: kato@slp.ics.tut.ac.jp

rhythm compared to pitch. The results may show that the patients may have difficulty

Dr.

Kazumasa

controlling the movement of their vocal

Professor at the Department of Computer

cords due to their limited ability to produce

Sciences

different pitches. Also, patients with serious

University of Technology, Japan.

and

Yamamoto

Engineering,

Assistant Toyohashi

symptoms of dysarthria showed significant improvement in articulation, but patients with

Dr. Seiichi Nakagawa is Professor at the

lighter symptoms of dysarthria only showed

Department of Computer Sciences and

slight improvements.

Engineering,

The results also indicated that singing

Technology, Japan.

Toyohashi

University

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

IMPROVING THE ABILITIES OF K-12 STUDENTS IN GRASPING TIMBRE THROUGH MAX/MSP SOFTWARE Chang-Hyun Kim Bio and Brain Engineering Department at KAIST, South Korea Dr. Sang-Hoon Oh Department of Information Communication Engineering at Mokwon University, South Korea Dr. Soo-Young Lee Electrical Engineering Department and Bio & Brain Engineering Department at KAIST, South Korea There are three independent factors in

attributes

sound; frequency, duration and timbre.

psychoacoustically.

Frequency

and

additive sound synthesis, they will test the

duration is the playing time of a note.

sound quality such as brightness, fullness,

However, timbre is quite difficult to define

roughness

quantitatively and qualitatively. Levitin [1]

synthesis.

determines

the

pitch

human

and

sound

etc

other

perception words,

additive

sound

said that “Timbre is the characteristic for discerning many instruments.”

Also ASA

We will explain the five additive synthesis

(American Standards Association) defines

attributes; Harmonics, Waveform, ADSR,

timbre as “[…] that attribute of sensation in

Phase and Noise. These attributes will be

terms of which a listener can judge that two

tested by the seven 9-12 grade piano major

sounds having the same loudness and pitch

students based on the separate tasks. At the

are dissimilar.” As two quotes describe,

end of each task, we performed lab

timbre

testimony for checking their grasps in sound

defined

subjectively

and

ambiguously.

timbre on each attribute. Figure 1 shows the timbre test patch, which includes all five

Therefore, it is very hard for K-12 musically

tasks.

gifted students to understand timbre exactly. To overcome this difficulty, we design an

Our objective of this paper was enhancing

easy and novel laboratory for timbre through

their

additive sound synthesis. In this paper, we

cognition

will try to make K-12 musically gifted

attributes in the additive synthesis. Through

students understand the effect of these five

our MAX/MSP test runs, we successfully

connectivity of

between

sound

timbre

the

human

and

timbre

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea enhance

musically

gifted

10-12

grade

From each testimony result, even though

students’ understanding in timbre and give

there

them more motivation to become familiar

expression, students have common sense in

with DSP algorithms intuitively from our

the timbre perception corresponding to each

testimony

synthesis attribute.

(e.g.

Table

Subjective

small

feeling

difference

evaluation testimony result after Waveform Task).

For students’ interest, we will give students a final term project topic; designing any kind of

musical

instrument

through

additive

synthesis with their trial and error parameter set. Then they will play a music piece by changing

fundamental

frequencies

and

durations with their own music instrument.

Figure 1.Additive Synthesis Timbre Test Patch for MAX/MSP

Table 1. Subjective evaluation testimony result after Harmonics task Harmonic number Responses (Omitted if repeat) (1)(1,2,3,4,5,6,7)  Smoother than the first sound, rubbing sound with emery cloth  Clogged sound  Similar sound with (2)  Lower pitch (2)(1,3,5,7,9,11,13)  Rough breathing sound, sound like bringing up phlegm  Smooth but a little rougher than (1)  Sound in the cosmos  Dignified and comfortable sound

References [1] Daniel J. Levitin.(2006). This is Your Brain on Music. United States of America and Canada: Dutton Adult. [2] Curtis Roads.(1996). The Computer Music Tutorial. Cambridge Massachusetts London England: The MIT Press. [3] Thomas D. Rossing.(1990). The Science of Sound.United States of America and Canada: Anddison-Wesley. [4] Michael J. Ruiz.(1985), Modular Synthesizer. The physics teacher, 138144. [5] Gail Rosen, Jason Silverman, and Adheer Chauhan. (2009), Connecting Artistically-Inclined K-12 Students to Physics and Math Through Image processing examples. The 5TH IEEE Signal Processing Education Workshop. [6] Scott C. Douglas.(2001), The infinity project: Digital signal processing and digital music in high school engineering education. The IEEE Workshop on the Applications of Signal Processing to Audio and Acoustics. About the Authors Mr.ChangHyun Kim is currently a Ph.D student. Dr. Sang-Hoon Oh is currently a Professor at Mokwon University. Lastly, Dr. Soo-Young Lee is a Professor at KAIST. Contact: flipflop98@gmail.com

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

CAN’T KIDS PLAY TOGETHER? DUET MUSIC THERAPY FOR AUTISM AND ADHD Alice Hui-ju Lee Kaohsiung Chang Gung Hospital

Objective This

eye contact while talking c) being able to

abstract

intends

present

the

stay with music.

effectiveness of music therapy for a duet of a child with autism and a child with ADHD in

The pair was able to come to music therapy

discussion of selective attention and joint

at the same time for four consecutive

attention.

sessions.

In the duet, the main music

therapy goal was for them to work together. Case Reports

The social interaction between Payton and

Six years old male client Payton and six

Mike increased over time measured by the

years old male client Mike were referred to

parts of the songs and the time the pair

music therapy requested by both moms

played together.

separately approximately one year ago. Mike started his music therapy alone for his

Discussion

ADHD/autism half year before their duet

Attention is the key to the path of learning.

music

Researches

therapy

session.

Payton

was

have

pointed

out

that

diagnosed of autism at the age of three and

attention is a critical skill to develop social

he started music therapy at the age of five

and language skills in children with autism

for his self-play.

and children with ADHD (Charman, 2003; Cohen, 2003).

While these children with

According to the different diagnoses of these

various impairments have difficulty in the

two clients, the individual goals for each one

realm of the society world, music therapy

of them were different.

For Payton, the

provides them with a common playground.

three main goals in music therapy were: a)

This paper is going to discuss selective

maintaining eye contact while talking b)

attention (concentration on a stimulus or

being

event

able

understand/follow

verbal

with

attendant

disregard

for

direction c) being able to communicate. For

other stimuli or events), and joint attention

Mike, the three main goals in music therapy

(using cues to identify and share the

were: a) emotional control b) maintaining

attentional focus of another), and how

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

ADHD child could help the autistic child. References Charman,

Tony

(2003)

Why

Joint

Attention a Pivotal Skill in Autism? The Royal Society. Behavioural and Brain Sciences Unit, Institute of Child Health. Geurts, l., Luman, M. & Catharina S.(2008) What’s in a game: the effect of social motivation on interference control in boys with ADHD and autism spectrum disorder. Journal of Child Psychology & Psychiatry. 49(8), 848-857.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

CONSIDERATION OF THE EFFEFTIVENESS OF MUSIC CARE THROUGH A CASE STUDY ON A PATIENT WITH MULTIPLE HANDICAPS Keiko Miyamoto Japan Music Care Association, Japan Mie Itou and Chie Okegawa Japan Music Care Association, Japan Introduction

Methods

Music Care (MC), one of the music therapy

We selected patients who could possibly

methods in Japan, is practiced at a facility

play percussion instruments. The group had

for

severe

the MC sessions once a month for three

patients

years, for a total of 36 times. MC has

require constant care because of their

original methods and songs to 1) stimulate

difficulties with communication. Here we

rhythmically to practice concentration, 2)

consider the effectiveness of MC, using a

encourage reaction to the music, 3) play

case from this facility.

instruments, and 4) maintain the harmonious

the

visually

intellectual

impaired

disabilities.

with

These

feelings gained through music. Purpose Mr. A, a 51-year-old male patient with

Process and Results

amblyopia, is half paralyzed and finds it

The first year: Mr. A could not sit for an

difficult to sit and walk. His lack of motivation

extended period of time. Thus, he would

often causes him to sleep in his room. He

often lie on his side and play a drum. When

occasionally loses emotional control and

screams out loud. We set the following

immediately and fall asleep. However, he

short-term goals taking the above into

could participate in a cultural festival.

consideration. The patient would be able to:

The second year: Mr. A played the drum

1) enjoy the MC sessions 2) play an

sitting in his wheelchair. After playing one

instrument and 3) perform in front of an

song, he would say, “I’m finished,” and drop

audience at a cultural festival. We also set

the drumsticks. He would, however, start

the long-term goals as follows: 1) become

playing if asked to perform again. We

motivated and stabilized emotionally. 2) gain

repeated this exchange for the entire 1-hour

emotional control. 3) strengthen his back

session. In later sessions, Mr. A was able to

and leg muscles, improving his sitting

sit in a chair and participate, indicating his

position and walking and to be able to

ability to stay seated had become stabilized.

mobilize his paralyzed left hand.

The third year: Mr. A recognized the end of

played

the

drum,

would

stop

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

the songs and would stop performing

the music. Also, this activated their spirits

voluntarily. He showed enthusiasm when

and stabilized their emotional conditions.

playing the drum. He even tried to use his

4) The MC original methods are created with

paralyzed left hand to strike the tambourine.

full

He gave an excellent performance at the

promote voluntary movements in patients.

cultural festival.

Mr. A actively participated in playing a drum

utilization

musical

elements

and was able to continue by anticipating the Discussion

activities. As a result, his back muscles were

The significant improvement that an elderly

strengthened and his ability to stay seated

Mr.

The

was improved. The music elevated his

played

emotional state and he willingly played a

important roles in achieving these great

tambourine with his paralyzed left hand to

results. 1) MC has original methods with

our greatest surprise.

following

showed

was

remarkable.

characteristics

more than 100 songs. These original songs were created for MC to gain emotional

References

stability and to encourage the training of the

Okumura, A., (2008). Ongaku de nou wa kokomade saisei suru. Japan: Ningen to rekishi sha Yamane, H., (2007). Hito to Oto, Ongaku Ryouhou toshite Ongaku wo Tsukau, Japan: Seikai sha Matsui, No., (1980). Ongatku Ryouhou no Tebiki, Japan: Makino shuppan

necessary movements for developmental support and physical recovery. The MC songs are recorded on CDs along with some other classical masterpieces and pop music songs. This allows us to constantly provide high

quality

music,

compared

live

performances. The therapists were able to select the songs that suited the patientsâ&#x20AC;&#x2122; conditions, creating an effective counseling method with some musical improvisation. 2) Using CDs made it easy for the patients to anticipate the beginning and the end of the songs and participate with enthusiasm. This helped them cultivate the ability to adjust socially and promote independent selfmanagement. 3) The short and simple MC songs helped the patients have a sense of coherence, success, and achievement when

About the Authors Keiko Miyamoto: Pres. of Japan Music Care Assoc., Executive Director and a certified music therapist of the Japanese Music Therapy Assoc.

m-care@po3.nsknet.or.jp

Mie Ito: A member of Japan Music Care Assoc., an advisory committee member and a certified music therapist of Japanese Music Therapy Association. Chie Okegawa: A member of the Japan Music Care Association and staff member of the Kasanomisaki Music Therapy Research Center.

they were prompted to speak out along with

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

EFFECT OF LANNA MUSIC LISTENING AND MASSAGE ON EMOTIONAL AND PHYSIOLOGICAL CHANGE: PRELIMINARY DATA FROM THAI VOLUNTEER GROUP Peerasak Lerttrakarnnon Boosong Kasempitakpong Winthana Kusirisin Anuchart Matanasarawoot Faculty of Medicine, Chiang Mai University, Thailand Polkae Vacharachaisurapol Anchaya Dutjanuthat Chiang Mai Provincial Public Health Office, Thailand

Abstract

varying

The study measured the effects of the new

Massage has some evidence for a positive

traditional Lanna - style music (called

effect on diastolic blood pressure (Moraska,

“Lanna Keetabambud”) on the emotions and

A., et al, 2008). Traditional Lanna - style

physiological changes to volunteers. This

song,

was a non-randomized cross-over clinical

Keetabambud”) would improve health.

selectivity

newly

(Warren,

composed

J.,

(called

2008).

“Lanna

trial study for 60 volunteers between May – October 2010. Post-relaxation score of Thai

Objectives

volunteer group was highest in the music

The study measured the effects of the music

listening during massage test.

on the emotions and physiological changes in volunteers.

Keywords; music therapy, massage Corresponding author:

Method

Peerasak Lerttrakarnnon M.D.

This was a non-randomized cross-over

Department of Family Medicine, Faculty of

clinical trial study for 60 volunteers (equal

Medicine, Chiang Mai University. Thailand

Thai

and

foreign).

Sample 2

size

was

calculated by n = Z pq/e equation. They

E - mail: plerttra@med.cmu.ac.th

were tested by three different methods, Introduction

including listening to the music alone,

Music engages a distributed set of cortical

massage alone and music listening during

modules that process different perceptual,

the massage between May - October 2010.

cognitive and emotional components with

Pre and post health data were collected and

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

analyzed by number, percent, paired t-test or Wilcoxon signed rank test, repeated ANOVA test or Friedman test. This study was approved by the Research Ethics Committee (study code 10JUL010268) Results These were the preliminary data results in the 30 Thai volunteers. Their average age was 49.0±17.8 years old. Most of them were

Variables SBP (mm. Hg) DBP (mm. Hg) PR (time/minute) o Temperature (T)( C) Relaxation score (RS) Total PSS (24.6±4.7 before test)

Mean ± S.D. Pre-test Post-test 128.3±11.0 128.9 ±16.0 74.4±9.6** 77.8±10.8** 74.1±9.7* 64.8±9.4* 1 2 36.3±0.6** 36.0±0.1** 3 4.8±2.2** 9.0±0.9** 24.8±4.6

Remarks: SBP=systolic blood pressure, DBP=diastolic blood pressure, PR=Pulse rate, PSS=Perceived Stress Score, * Paired t-test p value < 0.05, ** Wilcoxon 1-3 Signed Ranks Test p value < 0.05, Friedman test p value < 0.05

female (60%). Health results were shown in

Discussion

Table 1-3. Among three tests, pre PR, post

These were the preliminary data results in

SBP,

30 Thai volunteers. Music effected the pulse

post

and

TPSS

were

not

significantly different by repeated ANOVA. Table 1: show mean and S.D. of SBP, DBP, pulse rate, temperature, relaxation score, TPSS pre and post music listening test in Thai volunteer. Variables SBP (mm. Hg) DBP (mm. Hg) PR (time/minute) o Temperature (T)( C) Relaxation score (RS) TPSS ( 24.6±4.7 before test)

Mean ± S.D. Pre-test Post-test 125.9±15.5 128.6±15.5 74.7±11.5 76.2±12.9 72.8±9.1* 67.8±7.9* 1 2 36.4±0.5** 36.2±0.4** 3 7.6±2.5** 8.6±2.1** 25.4±4.3

SBP (mm. Hg) DBP (mm. Hg) PR (time/minute) o Temperature (T)( C) Relaxation score (RS) TPSS (24.6±4.7 before test)

Post-relaxation score was highest in the music listening during massage test. Acknowledgements We thank Mr.Supoj Sukklacd, the composer. Service and art project, Faculty of Fine Arts, Chiang Mai University supported grant for this study. Faculty of Medicine, Chiang Mai

Table 2: show mean and S.D. of SBP, DBP, pulse rate, temperature, relaxation score, TPSS pre and post massage test in Thai volunteer. Variables

rate, temperature and level of relaxation.

Mean ± S.D. Pre-test Post-test 125.8±13.0 129.5±14.8 74.4±10.1* 77.3±8.7* 73.2±10.2* 65.4±6.8* 1 2 36.0±0.0 36.0±0.1 3 4.5±1.8** 8.5±1.3** 25.3±3.8

Table 3: show mean and S.D. of SBP, DBP, pulse rate, temperature, relaxation score, TPSS pre and post music listening during massage test in Thai volunteer

University

approved

our

study

and

supported for conference and publication. References Warren,J.(2008). How does the brain process music ?.Clinical Medicine,8,323. Moraska, A., Pollinil, R. A., Boulanger, K., Brooks, M. Z., & Teitlebaum, L. (2008). Physiological Adjustments to Stress Measures Following Massage Therapy: A Review of the Literature. eCAM , 1-10. doi:10.1093/ecam/nen0

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

A STUDY OF THE ECOLOGICAL TRAIT IN KOREAN TRADITIONAL MUSIC Ji Young Moon Sookmyung Women’s University, Seoul, Korea

concerns

Abstract Korean

traditional

music

that

has

and

criticisms

about

these

phenomena and therefore and academic-

harmonized the people's life in Korea with

practical

nature

between human and nature has come. We

has

organic

interactive

connectivity between human and nature,

demand

for

win-win

strategy

call it Ecology or Ecological Paradigm.

human and human, human and music, and nature and music. Therefore it is called a

The deep ecology, a representative ecology,

truly ecological music that connects win-win

refuses anthropocentic view and it has

relationship between human and nature

general ideas of the relationship between

through musical experience. Now we need

human and nature as a holistic view. The

to show an active and profound attitude to

ultimate goals of the deep ecology are self-

utilize

realization and bio-centric equality.

Korean

traditional

music

therapeutic elements. Korean traditional

In the ecological approach, music express

music will help to foster nature-friendly

the unity of human and nature through

sensibility and ultimately to recover the

sounds, music had existed with human's

relationship between human and nature.

lives, surroundings, and nature since its beginning. Music itself that associated with

Description

human's life is very ecological. Ecological

The rapid growth of industrial, economic,

music helps to establish the nature-friendly

and scientific development that brought the

sensitivity because it contains the ecological

easy and comfortable life and the material

elements that express nature and the life of

prosperity to humankind has caused the

human being live together with nature

crisis

through musical sound.

the

ecological

system.

The

destruction of nature by mankind has brought about the catastrophe of ecological

Korean traditional music reflects the history

system so that the communication has been

and the life of the ordinary people in Korea.

broke off between human and nature or

People in Korea who have formed folk and

human and human. There have been some

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

ecological community for many years have

Korean

music

therapy

has

achieved

expressed human's life and emotion as a

remarkable academic growth and every

part of nature through nature sound. Thus

traditional music is getting attention from all

Korean traditional music includes many

over the world in accordance with the

ecological elements and embodies the win-

ecological movement. Now we need to show

win spirits between human and nature,

an active and profound attitude to utilize

which is emphasized in the ecology.

Korean traditional music as therapeutic elements. If we can apply Korean traditional has

music therapeutically, it will help to foster

harmonized the people's life in Korean with

nature-friendly sensibility and ultimately to

nature

recover the relationship between human and

Korean

traditional

has

music

that

organic

interactive

connectivity between human and nature,

nature.

human and human, human and music, and nature and music. Therefore it is called a

References

truly ecological music that connects win-win

Kim, H. R.(2008). A study on the teaching

relationship between human and nature

method of composition based on the

through musical experience. The win-win

musical characteristic of Gyeonggi folk

ecological values between human and nature are highly required nowaday so that Korean traditional music can be a good source

the

ecological

music

study

because it has sung about the life of people

songs. Unpublished master’s thesis, Korea National University of Education. Lee, I. W.(2007). A study of ecological music education.

Unpublished

dissertation,

Chonbuk

doctoral National

University.

living with nature for a long period. About the Authors We

also

can

win-win

Ji Young Moon, Ph.D. is the professor of

relationship between human and nature,

Graduate School of Music Therapy at

human and human through it. There are

Sookmyung Women’s University and Vice-

many possibilities that Korean traditional folk

President of the Korean Music Therapy

songs

Association and Organization Committee

ecological music experience that can show

member for the 13th World Congress of

the win-win relationship between human and

Music Therapy.

nature with its intimacy to the public.

Contact: jymoon@sookmyung.ac

would

experience

fully

the

utilized

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

USING REGULATIVE MUSIC THERAPY AT A COLLEGE COUNSELING CENTER IN JAPAN Naoko Moridaira Josai University, Japan

Introduction

western classical music.

Regulative music therapy (RMT) is one of

principle of RMT is very similar to Morita

the receptive music therapies developed

therapy which originated in Japan and

by C. Schwabe in Germany. The presenter

whose central principle is “leaving things as

has used RMT for twenty years at a college

they are”. RMT is also similar to Zen and

counseling

Yoga in which people calm down through

centers are established for the sake of all

observing their own physical sensations

students’ welfare, so they deal with a wide

consciously and expanding their awareness.

variety of problems and symptoms, not only

RMT seems to be accepted by Japanese

through

personal

students without much difficulty because of

through

group

center.

College

counseling

activities.

but

also

However

the

However the

these characteristics.

proportion of students who use student counseling centers in Japan is only 4.8

The

percent of all the students. This is because

counseling center in Japan

most services that counseling centers offer

are for problem solving or treatment of mental symptoms. There are only a few

RMT

college

We use RMT both in dyadic and small group style.

universities that offer services based on a developmental model.

practice

When listening to the music we sit on chairs or lie on our backs on the floor.

Each session consists of 10-20 minutes of listening to the music and 20-30

RMT originally developed as a method for

minutes of sharing of participants’

meditation,

experience.

and

then

later

became

psychotherapeutic music therapy mainly for neurotic or psychosomatic patients.

four steps so that participants can

recently it has been expanding into various fields; both clinical and non-clinical; as one of the resource-oriented music therapies.

A total of 20 sessions are composed of master the method gradually.

Sessions are held twice a week for three months or once a week for six months.

RMT originated in Germany and uses

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

The efficacy of RMT

who have various symptoms and problems

Symptoms that are reduced by participating

that are often seen at college counseling

in RMT at a college counseling center

center but also for the relatively healthy

excess tension when one must stand in

students to help them cope with stressful

front of others or meet people

situations and enhance their abilities. The

excess tension when one takes an

fact

exam. or is involved in a competition

purposes can be enrolled in the same group

lack of concentration

is the strong point of RMT for application of

getting lost in a loop of negative thinking

the method to student counseling. RMT

distraction by noise

could be a method that is adequate to the

sleep disorder

characteristics and needs of a student

psychosomatic symptoms, stuttering,

counseling center and can contribute to

obsessive compulsive symptoms

improving services for various kinds of

that

students

who

have

different

students. Effects of RMT that are reported by students who have participated:

References

can cope with stressful events calmly

can use time efficiently

don’t worry about small things

can think “Let it be” “Things will work out”

can change negative mood to positive

Schwabe, C. (2007). Regulatory music therapy (RMT). Milestones of a conceptual development. In FrohneHgemann, I. (Ed.) Receptive music therapy Theory and practice. Reichert Verlag, pp. 203-210. Schwabe, C. & Röhrborn,H.(1996). Regulative Musiktherapie Entwicklung, Stand und Perspektiven in derpsychotherapeutischen Medizin. 3. Auflage. Gustav Fischer Verlag. Wosch,T.(2005). Alex: An ongoing research on alexithymia and regulative music therapy. Music Therapy Today, 6, 16541671.

mood easily -

can accept themselves as they are

can be with people with ease

Effects of RMT shown by psychological inventories (GHQ, STAI, POMS) -

reduction of neurotic symptoms

About the Author

reduction of trait anxiety

Naoko Moridaira, Ph.D. is a certified clinical

reduction of social activity defect

psychologist who works at the School of

reduction of confusion

economics,

increase of vitality

Japan.

Discussion

Josai

University,

Saitama,

Contact: m-naoko@muc.biglobe.ne.jp

RMT is effective not only for the students

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

INITIAL RESULTS OF A PILOT MUSIC GROUP FOR ADULTS WITH MENTAL ILLNESSES Panos Ntourntoufis First Guildhall School of Music and Drama, London

the

Housing

Project

Queen’s

Gardens The house at Queen’s Gardens (simply referred to as QG below) in Bayswater belongs to London Cyrenians Housing, a London-based charity providing housing and support to people with mental health problems, rough sleepers, ex offenders, etc [1]. QG houses and provides medium support to about a dozen adult service users from various backgrounds but all suffering with residual mental illness symptoms, mainly schizophrenia, bipolar or bipolaraffective disorders. The service users typically arrive at the Cyrenians Housing after they have been discharged from hospital where they were admitted following the acute phase of a psychotic episode. Their stay at QG represents a bridge towards independence. QG works with the Recovery Model which promotes sustained recovery by addressing negative symptoms such as auditory hallucinations, paranoia, suspicion, social withdrawal or lack of motivation. Medication can decrease the symptoms the service users suffer from and group activities can help them socialize more freely, increase their self-confidence level and therefore help with the recovery process. A number of social activities, art groups, outings, have been proposed in the past and have had limited success. Anne, the QG manager, believes that a group based around making music could dramatically improve these results. This view was not shared by all and a number of colleagues were skeptical as to the usefulness of such an activity. The Music Group A Typical Music Group Session

Each session lasts 90 minutes and happens weekly on Monday afternoons. It is organized around a program, which is distributed to the service users at the beginning of the session and which contains the lyrics of a number of songs (typically between 6 and 10 songs). The session consists in going through some of the songs in the list, based on the service users’ feedback during the session. For each song, a recording is first played. Then, all session participants are invited to sing the song, either by singing along to the recording or accompanied by myself at the keyboard. In addition, the participants can play one of the percussion instruments available in the room. My main role as music leader is to encourage their participation through demonstration (by singing through the song and/or accompanying it at the keyboard), explanation of the difficult elements of the song and encouragement of each user. Choice of Music During the four months of this pilot, the songs covered have been by bands such as The Beatles, Abba, Madonna, Beach Boys, Culture Club, Queen, Bob Marley, Elvis Presley, Bob Dylan, etc. Some African songs were also included, such as Siyahamba or Thula Sizwe. A large majority of songs have been suggested by the service users themselves. Some songs were difficult to sing along to, either because they are too difficult technically or simply because of their nature (e.g. dance music). Also,

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

reading the lyrics from a sheet of paper can prove difficult for some service users, either because of bad eyesight or poor literacy. Despite this, a large percentage of songs have been successful. In particular, a participant would have a greater enthusiasm for a song suggested by them. On the other hand, I’ve also noticed a definite disappointment when none of the songs suggested by a user appeared in the programme of the session. Other aspects of the users’ participation and enjoyment of the music may relate to the connections with their past, song themes that connect with them emotionally or the musical structure itself. It is also likely that the users’ internal thoughts, voice hearing, etc, can greatly affect the way they react to a particular song during the music session. Working Environment The music sessions are taking place in a large communal room in the house, which is normally used as a dining space, with service users wandering in and out during a session. Fortunately this only happens rarely during a typical session. On the one hand, this situation is not ideal from a boundaries perspective. On the other, a benefit is that service users not participating in the session can hear the music from their room and perhaps consider joining the group. Group Dynamics The number of participants to the music sessions is fairly constant, around 6 people in general. A core set of 3 or 4 people are present at almost all sessions. There is usually at least one supporting staff present at each session. Sometimes, the manager also attends.

The number of participants at a session is important, where a session is more likely to be successful if a critical number of participants, at least 5 or 6, has been reached. What is of great importance is how the users relate to each other during the music session but also how they relate to the music leader, in this case me. Other points to consider are also their views on what the sessions aim to achieve, and how they perceive my role (e.g., entertainer, therapist or friend) and me as an individual. Also important are the dynamics between the session participants and non participants (especially if the non participants are people who usually take part). Conclusions In this paper, I have described the initial results of a music group I have been running at QG, a medium-support housing project for adults with mental illnesses, run by the London Cyrenians Housing group. The music group was created in order to help the service users improve their social skills, increase their self-confidence level and therefore help with the recovery process. Initial results have been very encouraging and the service users have been attending the music group sessions consistently and with very little or no need for prompting from management. Indeed, what has been crucial is the rapport that has been established, through the music making and also through conversations, between all the service users, the supporting staff and me, the music group leader. References [1] www.londoncyrenians.org.uk/html/we_work_ with.html

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THE AQR-INSTRUMENT: ASSESSMENT OF THE QUALITY OF RELATIONSHIP Silke Reimer University of Arts, Berlin, Germany

Abstract The

the music therapist is developed by children

AQR-Instrument

the

with profound developmental disorders. It

assessment of the quality of relationship. It

contains four scales. Three scales have their

has been developed by the music therapist

focus on the child and describe the child’s

K. Schumacher and the developmental

instrumental expression (IQR), the vocal-

psychologist C. Calvet in music therapy with

pre-speech

children

spectrum.

physical emotional expression (PEQR). The

Developmental Psychological knowledge,

fourth scale focuses on the music therapist

especially

and his/ her intervention (TQR). Every scale

the

infancy

facilitates

autistic research,

forms

the

theoretical basis.

expression

(VQR)

and

the

differentiates between seven “modi” which follow the logic of the normal development

Introduction

(Stern 2000). The seven modi are:

Schumacher’s work with children on the

•

0: Lack of contact/ Contact Refusal

autistic spectrum led to the question of the

•

1: Sensory Contact/ Contact-reaction

origins of the human ability to build up

•

2: Functionalizing Contact

interpersonal relationships. The examination

•

3: Contact to oneself/ Self awareness

of the “self-concept”, as formulated by the

•

4: Contact to an Other/ Intersubjectivity

infancy researcher D. Stern (Stern 2000),

•

5: Relationship to an Other/ Interactivity

initially led to interpreting the clinical picture

•

6: Joint experience/ Interaffectivity

of autism from the point of view of infancyand attachment theorists and formed a basis

A complete and overworked publication of

for methodical interventions in music therapy

the AQR-Instrument and its developmental

(Schumacher 1999).

psychology basis is in press (Schumacher/ Calvet/ Reimer 2011).

The four Scales The AQR-Instrument focuses on how the

The application of the AQR-Instrument

relationship of oneself (body and voice), to

The AQR-Instrument can be applied to

objects such as music instruments and to

confirm

the

qualities

relationship

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

(diagnostic) as well as the presentation of a

Schumacher, K./ Calvet, C./ Reimer, S.

course of therapy (evaluation). It can answer

(2011):

Das

the question whether the therapist offers his

seine

entwicklungspsychologischen

intervention appropriate to the patient’s state

Grundlagen. Göttingen: Vandenhoeck

of development (method) and helps to work

& Ruprecht (in press).

out an appropriate aim for the therapy (prognosis).

EBQ-Instrument

und

Schumacher, K. / Calvet, C./ Stallmann, M. (2005):

Zwischenmenschliche

Beziehungsfähigkeit.

In:

Müller

Transfer to other Areas of Indication

Oursin, B. (Ed.): Ich wachse, wenn ich

Several music therapists have transferred

Musik mache. Wiesbaden: Reichert

the

Verlag.

AQR-Instrument

indication.

For

their

example

areas there

of are

publications for psychosomatic medicine (Körber 2009) and dementia (Warme 2010).

Säuglingsforschung.

Frankfurt/M.:

Peter Lang. Stern, D. (2000): The Interpersonal World of

Reliability The reliability of the scales was analysed in 2005

Schumacher, K. (1999). Musiktherapie und

(Schumacher,

Calvet,

Stallmann

the Infant. New York: Basic Books. Warme,

(2010):

Musiktherapeutische

2005). The results showed the following

Interventionen

intraclass correlations (ICC) for the various

Bestimmung

scales:

Beziehungsfähigkeit. In: Muthesius,

anhand von

Kontakt-

der und

ICC

Sonntag, Warme, Falk: Musiktherapie

IQR

0.82

für Menschen mit Demenz. Mabuse

VQR

0.83

Verlag

PEQR

0.75

TQR

0.78

About the Author Silke Reimer, music therapist (DMtG), has

References

her area of research in “music therapy and

Körber, A. (2009): Beziehungsqualität in der

infant research” in collaboration with Karin

Musiktherapie patienten. chung

mit

Psychotherapie-

Vergleichende

interpersonalen

Untersu-

Schumacher

and

Claudine

Calvet,

University of Arts, Berlin.

Verhaltens

(EBQ, OPD-2, IIP). VDM Verlag Dr.

Contact: silke.reimer@berlin.de

Müller

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THE EFFECT OF SONGWRITING ON MOTIVATION AND READINESS ON CLIENTS IN DETOXIFICATION Michael J. Silverman University of Minnesota, United States

Introduction

or back to the community.

There is little doubt that those who abuse

have

substances are in need of treatment and will

prerequisite

continue to be a client population in need of

(Beckman, 1980) and noted its lack can be

treatment services. While researchers have

used to explain treatment failure (Miller,

found music therapy to be effective in

1985). Being motivated for treatment is an

substance abuse settings (Baker, Gleadhill,

important factor in the successful treatment

& Dingle, 2007; Cevasco, Kennedy, &

of people addicted to drugs and alcohol (De

Generally, 2005; Dingle, Gleadhill, & Baker,

Leon

2008; James, 1988; Jones, 2005), a need

Simpson & Joe, 1993).

considered

Researchers

motivation

for

successful

Jainchill,

1986;

treatment

Miller,

1985;

remains for randomized and controlled trials (Silverman, investigation

2010). into

Furthermore,

idiosyncratic

variables

Purpose Researchers

consistently

concerning substance abuse rehabilitation

treatment

and treatment is warranted to provide

treatment and that when most therapies are

relevant and generalizable outcome data.

compared there are few between-group

found

effective

that

than

differences (Silverman, 2008). Thus, there Motivation Research

is a need to compare music therapy

Although patients in a detoxification facility

interventions with a ‘pure’ control condition

require treatment, the length of stay is often

instead of comparing it with an active control

extremely brief (Soshensky, 2007).

condition

Thus,

(such

verbal

therapy).

as motivation is considered a key factor

Furthermore, there is a need for the music

(Karoly,

psychosocial

therapy and substance abuse literature to

focused

utilize studies incorporating higher levels of

motivating patients for additional treatment,

evidence for the purpose of an eventual

identifying triggers, developing coping skills,

meta-analysis

and preparing patients to transition from the

randomized and controlled trials (Silverman,

detoxification facility to a longer-term facility

2010). Therefore, the purpose of this study

1980),

interventions

are

available typically

that

incorporates

only

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

was to determine the effect of a single session of songwriting on motivation and treatment

retention

patients

detoxification unit. Design Participants (N = 99) were randomized to experimental

(posttest

only)

control

(pretest only) conditions in an attempt to provide treatment to all participants in an inclusive single session design. Results Results indicated that after a single music therapy condition, experimental participants had significantly higher motivation (p < .014) and readiness (p < .002) than control participants.

Themes

from

patients’

composed lyrics concerned action, emotions and feelings, change, reflection, admission, and responsibility. References Baker, F. A., Gleadhill, L. M., & Dingle, G. A. (2007). Music therapy and emotional exploration: Exposing substance abuse clients to the experiences of non-drug inducing emotions. Arts in Psychotherapy, 34, 321-330. Cevasco, A. M., Kennedy, R., & Generally, N. R. (2005). Comparison of movementto-music, rhythm activities, and competitive games on depression, stress, anxiety, and anger of females in

substance abuse rehabilitation. Journal of Music Therapy, 42, 64-80. Dingle, G. A., Gleadhill, L., & Baker, F. A. (2008). Can music therapy engage patients in group cognitive behaviour therapy for substance abuse treatment? Drug and Alcohol Review, 27, 190-196. James, M. R. (1988). Self monitoring inclinations and adolescent clients with chemical dependency. Journal of Music Therapy, 25(2), 94–102. Jones, J. D. (2005). A comparison of songwriting and lyric analysis techniques to evoke emotional change in a single session with people who are chemically dependent. Journal of Music Therapy, 42, 94-110. Silverman, M. J. (2008). Quantitative comparison of cognitive behavioral therapy and music therapy research: A methodological best-practice analysis to guide future investigation for adult psychiatric patients. Journal of Music Therapy, 45, 457-506. Silverman, M. J. (2010). Applying levels of evidence to the psychiatric music therapy literature base. Arts in Psychotherapy, 37, 1-7. Soshensky, R. (2007). Music therapy for clients with substance abuse disorders. In B. J. Crowe & C. Colwell (Eds.), Music therapy for children, adolescents, and adults with mental disorders (pp. 149-164). Silver Spring, MD: American Music Therapy Association. About the Author Michael Silverman, Ph.D., MT-BC is director of Music Therapy at the University of Minnesota. Contact: silvermj@umn.edu

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

EFFECTS OF MEDIUM-TERM MUSIC THERAPY PROGRAM IN A GROUP SESSION FOR AUTISM SPECTRUM Ryoko Suzuki Center for Child Development and Psychosomatic Medicine, Dokkyo Medical University, Koshigaya Hospital, Japan Saitama Child Music therapy Society, Japan Nihon University College of Art Toho College of Music, Japan Izumi Futamata, Azusa Shimamoto, Moe Kurita, Naho Sugimoto, Tomoko Akiyama, Azusa Maruyama, Ryoichi Sakuta Objectives

to accomplish the advanced stages of

We have been doing music therapy (MT) in

adjusting to social behavior among children

the form of group sessions to improve social

with 25 sessions in total. This was based on

and communication skills for children with

understanding of the characteristics and

autism

The

circumstances of each child. To set a clear

purpose of this study is to report on issues

scenario, we considered to be caused by

about MT, and to investigate the effects of

introducing programs in small steps to learn

medium-term MT program.

skills that the children lacked. Furthermore,

spectrum

disorder

(ASD).

we extended the range of music to various Methods

genres. It was suggested that a diverse

The subjects were 10 ASD children, aged 7

repertoire familiar to the children and our

to 10 years old. Each session was 60

program would lead to the expansion of their

minutes, once a month, a total of 25 times.

tolerance and flexibility. Our medium-term

One

MT program was thought to be very useful

pediatric

neurologist,

clinical

psychologist, and 4 music therapists have

for prospective plans for the group session.

participated in MT. Refereces Process and Results

Kaplan, R. S., & Steele, A. L.(2005).An

Table 1 shows change of objectives &

analysis of music therapy program

programs.

goals and outcomes for clients with diagnoses on the autism spectrum.

Discussion Each

program

Journal of was

achieved

3~5

sessions. Therefore, the children were able

Music Therapy, Spring,

42(1), 2-19. Walworth, D. D.,(2007). The use of music

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

therapy within the SCERTS model for

Disorder. Journal of Music Therapy,

children

Spring,

with

Autism

Spectrum

44(1),

2-22.

Table 1: Change of objectives & programs

Objectives & Programs

Communication behavior (acquisition and expansion） Relationship between therapist Relationships between and children. children. Action based on Th.’s instruction

Invitation of sociality Promotion of advanced social behavior between children.

・Program for infer intention

Role reversal through the therapist’s instruction

Concerted action between Cl.

and cooperation with each other.

・Dance with other Cl.

・Role reversal in game of music

S13

Expansion of flexibility and reduction of persistency

・Draw straws.

Concerted action in the group

・Behavioral imitation matched music ・The therapist displays the drum, and the children beat it. ・Dance with the therapist.

S15 S19

S21

・Dance in the group

Activity leaded by children

・the child signals the start of action ・the child makes rules for program

themselves with various music using major and minor scales.

S23

Cooperation among the whole group members

・In relationships with each

・Since 1, the objective is learn communication behavioral by therapist’s instruction. ・Animation songs familiar to children and cheerful music were used for motivation.

・Japanese pop music was used to become familiar with the music culture of respective ages.

Cl.→Aim to facilitate ・Volleyball using balloon interpersonal generalization. ・Balloon race accompanied by music Flexible cooperation ・Aim to familiarize

with each other

・Walk together with music ・Carry basket together with music ・Cooperation in obstacle game

About the Authors

Tomoko

Akiyama:

certified

Clinical

Ryoko Suzuki: PhD, RMT Japan.

Psychologist.

ryoko323232@yahoo.co.jp

Azusa Maruyama: RMT Japan.

Izumi Futamata: An associate professor at

Ryoichi Sakuta: MD, Child Neurologist,

Toho College of Music and RMT Japan.

Professor at Dokkyo Medical University.

Azusa Shimamoto: RMT Japan. Moe Kurita: RMT Japan (Complementary). Naho Sugimoto: RMT Japan.

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

THE EFFECTS OF MUSIC THERAPY ON NEWBORN BABIES IN NEONATAL INTENSIVE CARE UNIT (NICU) Reiko Wada Kyushu Lutheran College, Japan

Abstract

an artificial breathing system. The music

This study was conducted on a female child

therapy was conducted every two weeks for

residing in NICU since birth. Each music

two years after she received a tracheal

therapy session consisted of a sequence of

fenestration surgery at 14 months old.

recorded songs composed by the music

When the mother visited the baby, she

therapist. As the sessions progressed, the

listened to music which the music therapist

child was observed by the therapist and

created. Sometimes the music therapist

mother to motion for more when the music

would compose a song based on the

stopped. Positive emotional development of

interaction of the mother and baby. The

the child was observed as well as a strong

music was changed once every two months.

bond between the parents and child at the end of music therapy.

Applying Music Therapy In the first period (14 months – 19 months),

Background

The baby, the mother and the music

There have been discussions about various

therapist listened to the music, which was

problems within the medical system for new-

created by the music therapist for 20

born babies. Since 1995, music therapy was

minutes. Often the baby maintained eye

conducted

cognitive

contact with the mother while listening to the

delays discharged from NICU. From 1999

music. In the second period (20 months to

onwards, music therapy was conducted

32 months), the music therapist used the

directly in the NICU pediatrics ward.

electronic keyboard to create music through

with

children

with

improvisation. When the music was played, Music Therapy

the child would move her head slightly and

The participant was a female baby who was

an emotional bond was established between

born weighing 2504 g. She was diagnosed

the child and her mother. In the third period,

with hydrops fetalis, a condition in the fetus

reactions

characterized by accumulation of fluid in

significant and seen more often. In the later

fetal compartments. Due to this condition the

sessions the parents tried more playful

patient was unable to breathe and required

music.

from

the

baby

were

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Proceedings of the 13 WFMT World Congress of Music Therapy July 5-9, 2011 in Seoul, Korea

Results

between

Physical Development

Interaction throughout therapy helped to

The patient did not have the muscle to move

motivate the mother to maintain mental

her body. Slight movement of the fingers

strength. Accepting a child’s disability is

were observed and she was able to slowly

often discussed as starting with the stage of

move objects such as balloons or picture

confusion and ending with recovery. Drotar,

cards.

Baskiewicz, Irvin, Kennell & Klaus (1975)

the

child

and

the

mother.

have identified emotional stages of parents Mental Development

who have disabled children as Shock,

Through the study, the baby was observed

Denial, Sadness and Upset, Adjustment,

to cry more frequently when she was alone.

and Recovery. Nakata (1995) has also

She was observed as being calm when

mentioned that accepting disabilities is

caregivers were around her talking to or

cycled with repeated feelings of denial and

playing with her. When the mother, music

accepting. In this study, the mother of a child

therapist, or staff at the hospital talked to

was having these repeated feelings. The

her, the child would nod and express more

music therapy helped to motivate the

emotion. When the patient would play with

parents mentally and though the music

picture cards, she would choose which card

therapy sessions, the family relationship

to play through eye contact and interaction

grew.

with the mother. This helped to develop the attachment and bond between the baby and

References

her parents.

Drotar,D., Baskiewicz,A., Irvin,N., Kennell,J., & Klaus,M (1975). The adaptation of par-ents to the birth of an' infant with a con-genital malformation :A hypothetical model. Pe-diatrics, 56, 710-717. Yujiro Nakata(1995). Oya no shogai no nishiki to jyuyou ni kansuru kansatu. Waseda Psychol.Rep, 27, 83-92

Discussion This study showed that music therapy can bring positive effects to a new born who is disabled and requires a lengthy hospital stay. The music therapy helped the baby to develop mentally and physically. In addition the therapy helped to build the bond

223

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MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

WFMTANNOUNCEMENTS 225

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

WFMT Congress Events Visit our WFMT

Booth

2011

WFMT Council Meetings (Council only)

Presentation of the World Congress 2014 & 217 Proposals

July 3 & 4, 2011

July 4, 2011 from 9-12 AM All WFMT members are invited to attend.

WFMT Booth

Spotlight Sessions organized by the WFMT Council

July 5-9, 2011

July 6-9, 2011 from 9-11 AM All congress participants are invited to attend.

WFMT Roundtable July 6, 2011 from 1:30-3:00 PM All congress participants are invited to attend.

WFMT General Business Meeting July 7, 2011 from 1-3 PM All WFMT members are invited to attend.

New WFMT Council Meeting July 9, 2011 from 3-6 PM

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MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

WHO WE ARE The Assembly of Student Delegates (ASD) is a group of dedicated international students who have an interest in collaborating with their peers around the world. The ASD aims to give students and interns a voice within the WFMT.

WHAT WE DO

AT THIS CONFERENCE... • Pre-Congress Seminar From Research to Practice 7/5 @ 9am • Open Tent Hours throughout the World Congress • On-the-Spot Tent Translations: 7/7 from 3-5pm • Tent Jam Session 7/6 @ 6:30pm • Join ASD Facilitator Rose Fienman for a session on creating a student organization on 7/6 @ 4:30pm

In its inaugural year, the ASD has met via Skype and in person at the World Congress to share ideas and information. The ASD is also hosting a PreCongress Seminar and a tent space where students can connect with one another here in Seoul.

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MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

2011

World Congress of Music Therapy

DAVID ALDRIDGE Lifetime Membership Award Tuesday, July 6, 2011 Opening Session Seoul, Korea 6-8 p.m.

The 2011 WFMT Lifetime Membership Award goes to Dr. David Aldridge, who is a music therapy educator and researcher. Dr. Aldridge currently serves as the Co-Director of the Nordoff-Robbins Zentrum, Witten and APL Professor at the University Witten/Herdecke, Germany. He is a Fellow of the Royal Society of Medicine. He publishes cutting-edge articles and books related to music therapy and integrated medicine. He is

a well-known speaker. From 2002-2008, Dr. Aldridge served as the Chair of the WFMT Research and Ethics Commission. Under his Qualitative Research in Medicine Chair at the University of Witten/Herdecke, he initiated music therapy world, the first open access online source dedicated to research in music therapy and related fields, including the Systematic Review Project and online magazine Music Therapy Today as

well as the Music Therapy Info CDROM I-IV series. Dr. Aldridgeâ&#x20AC;&#x2122;s generosity, open mind, and forward thinking has influenced the development of music therapy worldwide. He has been an incredible teacher and mentor to many of us. Find more about Dr. Aldridgeâ&#x20AC;&#x2122;s contributions to the field at http:// web.mac.com/nordoff_robbins/iWeb/ David%20Aldridge/Welcome.html.

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MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

Student Scholarship First WFMT World Congress Scholarship for Students

2011 Scholarship Recipients

Congratulations to the recipients of the first WFMT World Congress Scholarship for Students Award. This new scholarship award is offered to undergraduate and graduate music therapy students and interns who are active members of their student

organization in their countries and have an interest in global music therapy and the work of WFMT. Learn more about our award recipients and their motivation for attending the 2011 World Congress of Music Therapy in Seoul, Korea at our WFMT Facebook Group.

Jen Spivey

Julie Lytle

Anna-Kristina Stekl

Hae Sun Kim

Friderike Haslbeck

Kirsten Ghosh

Thank you to our Sponsors Rajam Shanker, India Music Therapy Consulting, California American Music Therapy Association Students

229

MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

Thank you to the WFMT Presidents and WFMT Council Members for their commitment, dedication and work on behalf of the World Federation.

Rolando Benenzon 1985-1990

Ruth Bright 1990-1993

Denize Grocke 1999-2002

Suzanne Hanser 2002-2005

Cheryl Dileo 1993-1996

Gabriela Wagner 2005-2008

Tony Wigram 1996-1999

Petra Kern 2008-2011

Honoring

WFMT Council Members David Aldridge (Germany) Gene Behrens (USA) Deborah Benkovitz (USA) Mary Boyle (USA) Al Bumanis (USA) Lesley Bunt (UK) Marly Chagas (Brazil) Byungchuel Choi (Korea) Rafael Colon (France) Cecilia Conde (Brazil) Susan Coull (Australia) Sandra Curtis (Canada) Jos De Baker (Belgium) Hans-Helmut Decker-Voigt (Germany) Patxi Del Campo (Spain) Gianluigi Di Franco (Italy) Jane Edwards (Ireland) Joerg Fachner (Finland) Amelia Ferraggina (Argentina) Rose Fienman(USA) Michelle Forinash (USA) Sunelle Fouche (South Africa) Tian Gao (China) Simon Gilbertson (Norway) Michelle Hairston (USA) Nigel Hartley (UK) Annie Heiderscheit (USA) Barbara Hesser (USA) Sigeaki Hinohara (Japan) Zhang Hong-Yi (China) Mayra Hugo (Uruguay) Cornelia Izenberg-Grzeda (Canada) Jaques Jost (France)

Cybelle Loureiro (Brazil) Lucanne Magill (Canada) Claudia Mendoza (Argentina) Heinrich Moll (Germany) Joseph Moreno (USA) Giovanna Mutti (Italy) Clementina Nastari (Brazil) Monika Noecker-Ribaupierre (Germany) Amelia Oldfield (UK) Mercedes Pavlicevic (South Africa) Lia Rejane Medes Barcellos (Brazil) Patricia Sabbatella (Spain) Nabuko Saji (Japan) Diego Shapira (Argentina) Anja Tait (Australia) Marion Tennant (Dubai) Renato Tocantis Sampaio (Brazil) Jayne Standley (USA) Lisa Summer (USA) Sumathy Sundar (India) Mohan Sundararaj (India) Gabriela Tee (USA) Varga UrbĂĄnnĂŠ (Hungary) Marco Vidret (Argentina) Barbara Wheeler (USA) ...and others not listed in the WFMT archives.

Prepared by Dr. Petra Kern

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MUSICTHERAPYTODAY Summer 2011, Volume 9, No. 1

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WFMT RECOGNITION PROGRAM

In April 2011, the WFMT Council decided to extend the WFMT recognition program beyond the WFMT Lifetime Membership Award to honor major contributions in education, practice, and research of music therapists around the world.

NEW for 2014

The new awards include a) the research/special projects award, b) the advocacy of music therapy award, c) the service award, and d) the clinical impact award. Each award will be presented once every three years at the Opening Session of the WFMT World Congress of Music Therapy. All WFMT members can nominate a candidate. The WFMT Council will review all nominations submitted online by April 30, 2013 at 6:00 p.m. (PST). Late or incomplete nominations will not be considered! Award recipients will be contacted by July 1, 2013 so that they can make plans to attend the 14th World Congress of Music Therapy to receive the award in person. Award recipients are responsible for their own travel and congress expenses.

To nominate a person

Award Categories Research/Special Projects Award

This award honors a music therapist within the world who has made a significant contribution to the development of the profession through a specific research study or scholarly project. Eligibility: This award is open to all music therapists. The person needs to have completed an outstanding research project or a scholarly project that involves (a) outcome documentation, (b) clinical applications, and (c) the reporting of outcomes within a publication or via two or more oral presentations.

Advocate of Music Therapy Award

This award honors a person who has made major contributions to the promotion of music therapy in an area of the world where the profession is less established. Eligibility: This award is open to all individuals, music therapists and non-music therapists, who meet the criteria. Possible contributions include repeated public presentations or workshops within the country, the development of a music therapy training program within a country, the establishment of music therapy clinical positions within a country, or the implementation of a short-term project that addressed specific needs. The nominee does not need to be a citizen of the country.

Service Award

This award honors a music therapist who provides significant service to the profession of music therapy through work related to the WFMT association. The work supports the growth of WFMT. Eligibility: This award is open to all music therapists and the nominee does not need to hold an office within WFMT. Service can involve long term commitments or task-specific projects.

Any questions? Contact Dr. Annie Heiderscheit Secretary/Treasurer

Clinical Impact Award

This award honors a music therapist who has had a long-term impact on advancing the knowledge and practice of music therapy within a specific clinical area or population through the publication or presentation of his or her work. Eligibility: This award is open to all music therapists who have had a long-term impact in the area of clinical work as a result of work with clients, the development of protocol or methodology, educational programs, or research. The nominee needs to demonstrate a long-term record of work and disseminated information within publications or oral presentations.

Email: secretary@wfmt.info

Online nomination available on the WFMT website at www.wfmt.info

231

Music Therapy Today: At-A-Glance Sponsor

Editor

World Federation of Music Therapy (WFMT)

Chair, WFMT Publications Commission

Purpose

Editorial Board

To disseminate current knowledge and

To Be Announced!

information about music therapy education, clinical practice, and research worldwide.

Business Manager President, World Federation of Music Therapy

Readers

Re-Established

Educators, clinicians, and researchers in

2011 under the WFMT Leadership

music therapy and related fields.

Publication Bi-Annual Online Journal

ISSN ISSN 1610-191X Link musictherapytoday.wfmt.info

NEXTSUBMISSIONDEADLINE January 2, 2012