The study arose out of a curiosity and a personal interest in finding different methods of songwriting for various target groups in music therapy. The aim of the study was that, based on a literature review and interview, compile information about the different methods of songwriting for different audiences, how as a music therapist can work with songwriting and what the outcome might be. The study presents a review of relevant literature and previous research in the field of songwriting. From a hermeneutic perspective, the interview responses interpreted and transcribed, and literature have summarized the most important and relevant on the subject. The questions have focused on how different methods might look like and what advantages and disadvantages there are to the methods, both for clinicians and clients. Questions about the tools, techniques, theoretical knowledge and reflection on the different diseases and disabilities, are also included in the study. / Uppsatsen har uppkommit ur en nyfikenhet och ett personligt intresse kring att hitta olika metoder i songwriting för olika målgrupper inom musikterapi. Syftet med studien var att, utifrån en litteraturstudie och intervjustudie, sammanställa information kring olika metoder i songwriting för olika målgrupper, hur man som musikterapeut kan arbeta med songwriting och vad resultatet kan bli. I uppsatsen presenteras en genomgång av relevant litteratur och tidigare forskning inom området songwriting. Utifrån ett hermeneutiskt perspektiv har intervjusvaren tolkats och transkriberats, och litteraturen har sammanfattats till de viktigaste och relevanta angående ämnet. Frågeställningarna har handlat om hur olika metoder kan se ut och vilka fördelar och nackdelar det finns med metoderna, både för klinikerna och klienterna. Frågor kring verktyg, tekniker, teoretiska kunskaper och överväganden kring olika sjukdomar och funktionsnedsättningar, tas också upp i studien.

M.A. (Social Work) / The primary aim of this study is to explore the use of music as an aid in the Social Work profession in South Africa with reference to other disciplines. In order to achieve this aim the following objectives were used: (i) To compare a literature study on the historic development of the use of music as an aid in rendering help; (ii) To investigate the nature and extent of training in the use of music therapy; (iii) To investigate the extent to which music as a tool is utilized by music therapists; and (iv) To suggest ways in which music as a therapeutic tool can be utilized in Social Work.

A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for a Masters degree with the Faculty of Humanities (Health Communication and Music). Johannesburg, May 2017 / This dissertation synthesises the fields of narrative medicine and music composition to address the experience of delirium, and to learn whether music has a role to play in understanding and communicating its nature. My submission takes the form of a written dissertation accompanied by a new musical composition, Delirium Part II. Both written and composed texts are based on interviews and small discussion groups with people who have experienced delirium, their families, and healthcare professionals who are familiar with delirium in people under their care – as well as observation and recording from a hospital intensive care unit (ICU). The composition incorporates both interviews and ambient hospital sounds as audio components, and was performed first on 2 March 2017 at the Music Room, University Corner, University of the Witwatersrand. The study addresses significant gaps in our understanding of delirium, from its definition to the qualities of the experience for all those affected by it. Violence is shown to be inherent to the experience, driven by a cycle that imposes it by turns on HCPs and patients. Delirium is, moreover, characterised by losses of numerous kinds: orientation, dignity, control, and ultimately personhood. This study suggests, however, that it is within our grasp to limit significantly the impacts of these losses through re-evaluating our interactions with patients and families and challenging the dehumanising aspects of care. The music of Delirium Part II, moreover, is shown to have the capacity to contribute to this re-evaluation. There are clear indications here of the potential for music and the arts more broadly to convey complex health experiences, and to be of use in training and education. Music contributes centrally to the development of this research, as a tool both for data analysis and for provoking discussion of a complex, emotive topic. The possibilities for creative practice in narrative medicine are illuminated by this cross-disciplinary study, which demonstrates both that narrative-based musical composition can teach us much about delirium; and that delirium can teach us much about care. / MT2018

Objetivo: El objetivo de este estudio fue determinar la influencia de la música en la reducción del miedo en pacientes de 6 a 10 años durante su primera cita odontológica en el Centro universitario de salud de la Universidad Peruana de Ciencias Aplicadas (UPC). Materiales y métodos: El presente estudio es de tipo ensayo clínico aleatorizado y ciego simple. La muestra se constituyó por 24 pacientes pediátricos, entre 6 y 10 años que sea su primera atención dental y visita al Centro universitario de salud UPC. El número de participantes se determinó mediante el programa estadístico OpenEpi versión 3, utilizando la fórmula de comparación de medias, para lo cual se tomaron los datos de medias y desviación estándar de una investigación previa. Se utilizó la Escala de evaluación del miedo dental en niños (CFSS-DF) antes y después de la atención de cada paciente. Se dividió la muestra en 2 grupos, un grupo con intervención música y el otro fue un grupo control. Ambos fueron evaluados en una sola cita. Resultados: Se encontró diferencia significativa en la reducción del miedo, según la escala utilizada, entre el grupo experimental y el grupo control. Conclusión: La música utilizada tiene influencia en la reducción del miedo y contribuye a mejorar el manejo de conducta del paciente durante la cita odontológica. / Tesis

abstract: Older adults diagnosed with a serious mental illness (SMI) often face a lifetime of psychiatric institutionalization, making them a very vulnerable population. However, music therapy research has not been conducted with this specific population. The purpose of this thesis was to develop an evidence-based proposed music therapy program for geriatric patients diagnosed with SMI utilizing both music-based and non-music based theoretical frameworks. The music-based approach used for the program is Dalcroze and the non-music based approach is Wellness with a focus on quality of life. The population diagnosed with SMI and the complications of aging for this population are discussed as well as the results of previous music therapy studies conducted with adults diagnosed with SMI. The components of the Dalcroze and Wellness approaches are described and the elements that are incorporated into the program include improvisation and eurhythmics and client strengths and the physical domain (movement). The proposed music therapy program will have the therapeutic goals of increased social interaction, increased self-esteem, and increased quality of life. The data collection tools are mentioned and how to measure results. The program is described in detail with session plans consisting of warm-up, improvisation, movement, and closing interventions. The recommendations for clinical evidence-based practice are discussed. / Dissertation/Thesis / Masters Thesis Music Therapy 2019

The overarching purpose of the study was to explore how music interventions, including spoken communication can be effectively facilitated with older adults with hearing loss. Specifically, aspects of the listener, auditory input, environmental factors, and non-auditory information that could be modified within the context of music therapy sessions to enhance music and speech perception were explored. A modified sequential exploratory mixed methods design (Qual->Quan+Quan) was used to address the research questions. The first phase of the study consisted of a one-time large group interview with audiologists to elicit an open discussion related to three questions: (a) What do music therapists need to know about hearing loss and assistive listening devices to effectively design and implement music therapy interventions for older adults with hearing loss? (b) What environmental considerations and modifications can be used to enhance successful communication and music listening in individual and group settings? and, (c) Are there strategies for supporting effective hearing and listening by older adults that could be applied to the context of music therapy? Data were gathered through written responses from the interview participants as well as notes taken by the moderator and a non-participant observer. Thematic analysis revealed the general categories of “areas of therapist knowledge,” “maximizing individual interactions,” and “improving access to communication.” From the initial phase of the study, a conceptual framework was identified to guide the parallel second and third phases to specifically investigate two forms of music stimuli. Phase II of the study included the creation of standardized recordings of 24 musical instruments to answer the question, How do musical instruments commonly used by music therapists with older adults interface with common configurations of hearing loss? The spectral analysis from each instrument was then applied to a series of audiograms to facilitate the comparison of each instrument’s spectral properties with common hearing loss profiles to determine potential audibility. Phase III consisted of a single-group, repeated measures design to investigate sung sentence recognition and the potential benefit derived from the inclusion of non-auditory information to facilitate top-down processing. For the purposes of this study, the Sung Sentence Recognition Test was developed to measure sentence recognition under three presentation conditions: sung with guitar accompaniment (SU-G), sung with guitar accompaniment and contextual cues (SU-G+C), and sung with guitar accompaniment and visual cues (SU-G+V). A total of 24 bilateral hearing aid users between the ages of 60 and 79 participated in Phase III. Results indicated that the presence of non-auditory information, in the form of contextual or visual cues, was beneficial for all listeners with a greater degree of benefit derived from visual cues. In addition, Phase III affirmed that listener characteristics such as music training also play a role in determining success. Clinical implications in the form of general strategies as well as recommendations matched with the auditory perceptual requirements of specific music interventions are proposed integrating the results from each of the three phases in this study.

Patient satisfaction has become increasingly important to medical facilities as a result of reimbursement rates being tied to patient satisfaction scores. Music therapy’s potential to enhance patient satisfaction scores has been explored and several studies exist examining its impact in the medical setting. No studies exist, however, examining how music therapy contributes to patient satisfaction scores in the behavioral health setting. Therefore, the purpose of this study was to compare overall patient satisfaction scores of inpatient psychiatric patients who received group music therapy services with those at the same facility who did not receive group music therapy services. Participants who attended music therapy group (n=14) received an anonymous, voluntary survey with 10 questions based on the facility’s satisfaction survey and the Hospital Consumer Assessment of Healthcare Providers and Systems (HCAHPS) survey. Participants who did not attend music therapy group (n=15) received the same survey. Results showed that patients who attended music therapy group reported overall satisfaction scores that were on average 3.02 points higher than participants who did not attend music therapy group. Age correlation and gender differences which may affect patient satisfaction scores are described. The implications for future research and current clinical practice are also discussed.

Music therapists are expected to provide live music for clients with diverse preferences, yet these therapists face many barriers preventing them from recreating client-preferred music in a way that adheres to the expectations of the genre, or with “musical authenticity.” The purpose of this study was to investigate music therapists’ perceptions and practices regarding musical authenticity. Survey responses (n = 904) indicated that music therapists highly value musical authenticity, but a major theme in the qualitative data revealed they often balance its importance with other factors. Descriptive survey data and qualitative themes revealed lack of training in functional musicianship and electronic technology as major barriers to musical authenticity. A major qualitative theme regarding therapists’ practices was the use of collaboration with clients and creative solutions. Most participants indicated use of non-electronic strategies and reported they had not used electronic technology to increase musical authenticity. Descriptive survey data and qualitative themes revealed frequent and effective use of recorded music. Finally, chi-square analyses revealed significant relationships between age and use of technology and iPad and between gender and use of technology. Music therapists would benefit from additional training, more research on authenticity, and music therapy specific guidelines for using music authentically.

The changing demographics of the United States directly impacts the populations that music therapists serve. The American Music Therapy Association (AMTA) provides a list of competencies regarding race, culture, and diversity, but how these are addressed in the classroom is not standardized. The purpose of this study was to examine music therapists’ perceptions of their training in multicultural competence. The researcher emailed 7,539 board-certified music therapists, 631 of whom completed the survey. Results indicated that 55.6% of music therapists think that multicultural competence is important, and the majority said that they felt prepared to demonstrate multicultural competence after completion of an undergraduate/equivalency music therapy program. Chi square analyses showed no significant associations between ratings of importance and gender or race/ethnicity. Results also indicated that classroom instruction was the most common way the competencies were addressed in undergraduate/equivalency programs. Qualitative analysis of how participants thought they could be better prepared revealed four themes: music skills, curricular integration, experience, and classroom activities.

Music therapy has been an established health profession for over 60 years serving a diverse population in different settings. Researchers studied the effects of burnout, career longevity, job satisfaction, and workforce analysis of clinical music therapy; however, no studies exist on the prevalence of unemployment and underemployment in clinical music therapy. The purpose of this study was to determine the prevalence of unemployment and underemployment in clinical music therapy. Participants who completed an anonymous online survey (n = 1,240) were board-certified music therapists who provided information on their current employment status. Results showed that the prevalence of unemployment among the participants was 5.78%, and prevalence of underemployment was 15.6%. Music therapists with more than 15 years of experience were more likely to work full-time than music therapists with 15 or fewer years of experience. Music therapists over 40 were no more likely to work full-time than music therapists who were 39 or younger. Implications for music therapy practice are discussed.