The objectives of this thesis were to explore the effects of receptive individualised live and recorded-music on interactions within participating dyads consisting of a person with dementia who was in their final phase of life (resident), and a person with whom he or she shared a close connection (carer), as well as on each individual participant. A 'Receptive' music intervention is one where participants are not required to do anything but listen. METHODS The conceptual frameworks of realist evaluation, ethnography, symbolic interactionism, and dramaturgical actionism influenced the design of this study. There were two phases: during phase-1, fifteen semi-structured interviews were conducted with 'key-consultants', who were specialists in topics related to this thesis, to inform the design of 'phase-2'. During 'phase-2', musical interventions were conducted at five non-NHS care homes in Scotland over a period of nine-months. Each intervention consisted of either individualised live-music (3 sessions) or the same or similar music pre-recorded (three sessions); all music was played by the researcher on the solo cello. Interventions took place in residents' private bedrooms, and lasted between fifteen and seventy-minutes. The order of live and recorded-music interventions was switched for approximately half the dyads. Each intervention was video-recorded for later observation. Semi-structured interviews and Visual Analogue Scales (VAS) were administered with each participating carer before and after the conclusion of their series of interventions, to compare their expectations with their actual experiences and to better understand their experience. Whenever possible, key-staff and managers were also interviewed to learn what their perceptions of this study had been: its effects on them and on participants. ANALYSIS required repeated visits to the raw data: beginning with thickly-describing all video-footage; then thematically coding all thick-descriptions and transcribed audio-interviews; and lastly revisiting all video-footage via a self-modified version of an evaluative observation instrument; 'Person Interaction Environment Care Experience in Dementia' (PIECE-dem). FINDINGS support prior research regarding the beneficial effects of individualised receptive music on listeners who have dementia. This study suggests that both live and recorded-music promote wellbeing, and enhance dyad interaction in the moment of listening. These findings demonstrate the potential for receptive music to create an embodied sense of 'haven' for people with dementia who are nearing the end of life and for those sharing the experience with them: by capturing and holding their attention, and transporting them either back in time, or entirely out of time into a state of 'flow', or into an 'intense musical experience'.

<p>I detta examensarbete presenteras olika inriktningar av musikterapi och FMT-metoden (Funktionsinriktad musikterapi) belyses ingående. Här beskrivs arbetssätt och arbetsmaterialet nämns. Ett historiskt perspektiv ges både på människor med funktionshinder genom tiderna och på musikterapins utveckling i världen och i Sverige. Olika musikterapidiscipliner presenteras liksom befintliga utbildningsmöjligheter.</p><p> </p><p>Två elever/adepter presenteras och terapin med dessa beskrivs detaljerat. Arbetet tar upp frågan om FMT-metoden måste ändras eller justeras för att kunna användas i terapin med en synskadad person? Kontentan är att det inte behövs några förändringar av metoden för att fungera för adepter med synskada.</p> / <p>This paper presents, in two case studies, the use of Functionally Oriented Music Therapy (FMT- method) with visually impaired students. The therapy with the students is described in detail, along with FMT methodology. The conclusion is that the FMT method does not need any modification when used with visually impaired students.</p><p> </p><p>The field of music therapy in general and the various disciplines are described, along with its history and development in Sweden and the world, The situation of disabled persons is also presented in an historical framework.</p>

I detta examensarbete presenteras olika inriktningar av musikterapi och FMT-metoden (Funktionsinriktad musikterapi) belyses ingående. Här beskrivs arbetssätt och arbetsmaterialet nämns. Ett historiskt perspektiv ges både på människor med funktionshinder genom tiderna och på musikterapins utveckling i världen och i Sverige. Olika musikterapidiscipliner presenteras liksom befintliga utbildningsmöjligheter.   Två elever/adepter presenteras och terapin med dessa beskrivs detaljerat. Arbetet tar upp frågan om FMT-metoden måste ändras eller justeras för att kunna användas i terapin med en synskadad person? Kontentan är att det inte behövs några förändringar av metoden för att fungera för adepter med synskada. / This paper presents, in two case studies, the use of Functionally Oriented Music Therapy (FMT- method) with visually impaired students. The therapy with the students is described in detail, along with FMT methodology. The conclusion is that the FMT method does not need any modification when used with visually impaired students.   The field of music therapy in general and the various disciplines are described, along with its history and development in Sweden and the world, The situation of disabled persons is also presented in an historical framework.

Advances in healthcare and shifts toward patient and family centered care have allowed healthcare professionals to focus on the entirety of a patient and what affects his/her health. In noting such changes, and in consideration of what affects quality of life, findings in the literature address the physiological and physiological differences between those who are caregivers versus those who are not caregivers. This study investigated the relaxation state of those who were considered informal caregivers of hospice and palliative patients in an acute hospitalized setting. A family centered music therapy session was conducted utilizing a music-­‐ assisted relaxation intervention incorporating a loving-­‐kindness meditation. A total of 29 participants, 15 males and 13 females, took part in the study and 28 participants were included in data analysis. Findings from the study suggest an increase in relaxation scores after taking part in the brief intervention. Participant survey responses indicated participants’ agreement with feeling more relaxed and supported as a caregiver after the intervention. Survey results also indicated participants’ willingness to try some relaxation techniques from the study intervention on their own.

Thesis (M.S.)--University of Michigan, 1970.

Thesis (M.S.)--University of Michigan, 1970.

This diploma thesis is focused on music therapy and related activities that were used to adapt children to nursery school. The theoretical part describes children adaptation and music therapy in general - history, definitions, methods and effects on pre-school children. The practical part contains a methodical list of music therapy activities that were applied on two and three-year-old children. The conclusion of my thesis indicates that repeatedly using specific music therapy activities makes adaptation less problematic.

The purposes of this study are to investigate the effect of the Music Attention Control Training (MACT) on three types of attention (sustained, selective, switching) in pre-adolescents (10-14 years old) with Autism Spectrum Disorder (ASD) and to identify the impact of the level of severity (mild, moderate, severe) on changes in attention scores. This modified replication study included 23 participants randomly assigned to treatment and control group stratified based on severity of ASD. Significant results via two-tailed paired-sample t-test (p< .10) indicated significant positive trends with the treatment group for the 3 out of 4 subtests of selective attention: Hector Cancellation, Hector-B Cancellation, and Hecuba Visual Search; 1 out of 4 subtests of sustained attention: Sustained Attention Response Test (SART); and the single subtest of switching attention: Red & Blues, Bags & Shoes (RBBS). Results call for modifications to further support the role of MACT on attention skills with pre-adolescents with ASD. Implications for future research and contributions to clinical practices in music therapy are discussed.

Qualitative research was conducted in order to explore the generation of social and musical capital through music therapy sessions and musical activities with youths attending the Redefine Community Music Project in the Western Cape. This study was conducted from the perspective of Wood‟s Matrix Model (2006) of music therapy where different interlinking musical activities in a range of contexts are shown to extend the benefits of individual music therapy. Data were gathered through conducting a case study with one of the ensemble groups in the Redefine Community Music Project. This group attended music therapy sessions, and the members of the group took part in ensemble rehearsals in preparation for the bi-annual public performance. Data were analysed through using Ansdell and Pavlicevic‟s (2001) method of qualitative content analysis, as well as the analytic technique of open coding proposed by Gibbs (2007). The findings suggest that the multi-faceted format of the Matrix Model of music therapy (Wood, 2006), as reflected in the socio-musical networks of the Redefine Community Music Project, offered participants enhanced opportunities to generate social and musical capital. By facilitating diverse opportunities for musicing in various contexts, participants were enabled to accrue a broad range of social and musical capital with which to create valuable relationships to the self and with others. It is suggested that music therapists and community musicians wishing to facilitate the generation of social capital through music flexibly adapt their practices to the socio-musical needs of the communities in which they work and offer diverse formats of musicing in which social and musical capital may be generated. In this manner individuals and communities may be empowered to cultivate relationships of diverse value in a creative way. / Dissertation (MMus)--University of Pretoria, 2012. / Music / unrestricted

This dissertation explores the emerging musical relationship between myself as a music therapy intern and a geriatric client diagnosed with schizophrenia residing in a psychiatric institution at which I worked during the first six months of my clinical training. Two specific areas of focus are addressed, namely the characteristics of the developing musical relationship and the strategies employed by the music therapy intern to enable its optimal development. Three excerpts, either audio or video recordings, were selected from the clinical material for analysis. The excerpts (numbered Excerpt A, B and C) were selected based on their demonstration of the emerging musical relationship between the client and myself. Corresponding written session notes also formed part of the clinical material that had to be analysed. The clinical material was coded and categorised, resulting in emerging themes being identified for interpretation in relation to the specific areas of focus of the clinical enquiry. The findings reveal that the musical relationship developed from isolation and a high degree of non-responsiveness between the client and myself in Excerpt A towards moments of musical intersubjective relating in Excerpt C. Strategies employed by me include, inter alia, providing stability, predictability, simplicity and consistency in my musical input and progressing towards incorporating improvisations within a familiar musical structure, thus an increased flexible approach. These findings are important in light of the limited literature available regarding music therapy work conducted by interns, especially during the early stages of their clinical work. / Dissertation (MMus (Music Therapy))--University of Pretoria, 2007. / Music / MMus (Music Therapy) / Unrestricted