/Abstract Music Communication, Projection and Analogy of Handicapped Children in Music Therapy Presented work takes an interest in music contents produced by handicapped children attending music therapy sessions. The contents of music were gained from the children by the method of improvisation, particularly by "concert technique". In the theoretical part we present philosophical background for the music therapy in a field of special education and research. This background thought we have found in a gnoseology of a critical realism and a radical constructivism. Afterwards the definition and description of used music therapy terminology follows. We present three music therapy models that put great emphasis on the contents of music produced by clients. These models are: the German Morphological music therapy, the Dutch Analogical Music Therapy and the Geneape music therapy model from the Czech Republic. We also discuss general possibilities of using music therapy while working with mentally handicapped clients, autistic clients and clients suffering from sight defects, because these kinds of handicaps are included in our research group. At the end of the theoretical part we explain the terms of music communication, projection and music analogy. They are always connected to the contents of music, as...

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Trauma-informed music education is an emerging research area receiving increased attention among music educators, music teacher educators, and researchers. The purpose of this qualitative single case study was to examine one middle school trauma-informed music program. Located in a large urban city of the Northeast region in the United States, Wish Middle School (pseudonym) is an independent Title I school. An educational provider, partner, and resource center for the local community, the school’s philosophy centers on trauma-informed education for all students with the mission to serve any middle school-aged student who resides within the school’s neighborhood. Data were collected over four months during the 2021-2022 academic school year. Data sources included interviews with current students, teachers, and administrators, classroom observations, and artifacts. Many of the findings from student-, teacher-, and administrator-participant data, align with existing music education research in student-center learning, social-emotional learning, teacher-student relationships, and caring learning environments. To add to extant literature, this study’s findings inform a more complete definition of trauma-informed music education, one focused on how music teachers and students interact and co-exist in a music classroom within a trauma-informed school. Music education that is trauma-informed at Wish Middle School requires both students and the music teacher to work together, informing, and responding to each other. I propose a working definition of trauma-informed music education in this study that includes (a) music teachers who develop an affirmative and proactive perspective on student growth through individualized instruction and foster a positive student-teacher relationship; (b) classroom experiences that balance students’ self-selected activities and activities that pose encouraging and empowering challenges to students; and (c) curriculum design emphasizing students’ preferences and incorporating opportunities for students to connect with each other in a safe learning environment. More research specifically on trauma-informed music education programs is needed to continue addressing the needs of students and teachers. Future research will benefit all music education stakeholders by developing evidence-based studies to better understand and further define a trauma-informed music education framework. / Music Education

Music as a therapy still awaits complete recognition from many medical authorities. any doctors and psychiatrists are quite willing to recognize music as a potent agent in relaxing tensions and stimulating activity, but thus far only in too few instances has music been accorded status equivalent to that of the other accepted therapies.1 In the treatment of some types of mental illness it is the writer's belief music lends itself as a therapy more readily than any other medium.

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The purpose of the current investigation was to examine the efficacy of a music therapy protocol on mood states and levels of group cohesiveness in adult oncology patients. Eleven oncology patients in two groups (ages 30 to 84 years) took part in the study over a ten-week period of time (ten participants completed the study). During that period, participants took part in eight music therapy sessions consisting of two types of interventions: 1) four "music making" sessions (where the mechanism for change included the process of making music) and 2) four "music responding" sessions (where the mechanism included the process of responding to music). The two types of music therapy sessions and their effectiveness on improving mood states and group cohesiveness were examined. The Profile of Mood States- Short Form (POMS-SF) was used to assess changes in participants' mood states. A content analysis, attendance records, and a questionnaire were used to assess levels of group cohesiveness. Results showed significant improvement in mood state scores (from pre session levels to post sessions levels) after involvement in all music therapy sessions. Similar significant findings were found within each of the "music making" and "music responding" conditions but no differences were found when comparisons were made between those conditions. No statistically significant effects were found with respect to group cohesiveness measures. Study implications and future research directions are discussed.

Receiving vaccinations is a part of growing up in the United States; however, as necessary as vaccinations are, many children find the process to be frightening and painful. A review of literature indicates that non-pharmacological interventions, such as distraction, are generally effective in reducing pain and anxiety in children receiving injections. Music has been examined as a potential distraction during pediatric medical procedures, but research findings have been mixed, due, in part, to the way in which music was used: the children were primarily instructed to merely "listen to the music." It has been noted that individuals tend to maintain their attention on music more successfully when they are asked to listen for specific elements. The present study sought to determine if a focus of attention activity (pointing at pictures) involving music would affect levels of distress and perceptions of pain in pediatric injection patients. Sixty-four 4- to 6 1/2-year old children receiving routine immunizations were randomly assigned to one of three conditions: musical story, spoken story, or standard care control. Children in the two treatment conditions listened to a recorded story on headphones and pointed at corresponding pictures before, during, and after their injections. Observational data on distress and pain were collected, in addition to the child's self-rating of pain. Participants in the musical story condition tended to be less distressed and report less pain than participants in the spoken story and control conditions, although these differences were not statistically significant. Subsequent analysis indicated that children who received more injections tended to benefit more from the music intervention, in terms of their perceived pain. Implications of the findings are discussed, along with recommendations for future research in the area.

In this study an attempt was made to measure the effects of verbal discussion on musical expressiveness. Subjects (N =30) were all members of a conservatory symphony orchestra. The subjects were divided into three groups: Group 1 was a listening and discussion group; Group 2 listening only; and Group 3 control group, no treatment. The study used a pre- and post-test design in which all the subjects were requested to play a given melody twice. Analysis of the data, using two-tailed t tests and ANOVAs, revealed no statistically significant differences among the three groups for the effect of verbal discussion on expressiveness. The subjects' self-reports, however, illustrated that they perceived a difference in their expressive playing.

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