The purpose of this study is to determine whether there is a relationship between personal value preferences (PVPs) and burnout among music therapists. A total of 450 board-certified music therapists participated in this study. Four hundred and twenty-one participants finished the survey partially and completely, and were analyzed with regard to demographic information (gender identity, years of work, worksites, weekly work hours, annual salary range). Three hundred and forty-three participants who completed the Portrait Values Questionnaire (PVQ-RR), and Maslach Burnout Inventory-Human Services Survey (MBI-HSS) were subjected to non-parametric and linear regression analyses. Regarding the relationship between worksites and burnout, the Kruskal-Wallis H test was used to detect differences in burnout as a function of reported worksite and was found to be significant for Depersonalization. Post-hoc analyses using the Dunn-Bonferroni method found one pairwise difference: Those working in Psychiatric Hospitals report higher Depersonalization than those working in Private Practice/Agency settings. This would seem to suggest that some of the characteristics of the worksite might be related to the experience of burnout. A similar approach was used to detect differences in burnout as a function of reported salary range. The result was significant for Emotional Exhaustion; however, post-hoc tests revealed that no two salary ranges differ significantly from one another. Multiple regression was used to examine the extent to which years of work and weekly work hours are related to burnout. Findings suggest that both years of work and weekly work hours and burnout were statistically significant. Further analysis finds that years of work was negatively correlated with Emotional Exhaustion and Depersonalization, and positively correlated with Personal Accomplishment; and weekly work hours was positively correlated with Emotional Exhaustion, Depersonalization, and Personal Accomplishment. Although the results are statistically significant, the practical use of these findings may be limited because of the relatively small amount of variance explained by the overall model and individually by years of work and weekly work hours. Finally, multiple regression was conducted to examine the relationship between PVPs and burnout. Results suggest that PVPs as a group are related to Emotional Exhaustion, Depersonalization, and Personal Accomplishment. Specifically, Self-Transcendence is negatively related to Emotional Exhaustion, Depersonalization, and positively related to Personal Accomplishment; Self-Enhancement is positively correlated with Emotional Exhaustion and Depersonalization and negatively correlated with Personal Accomplishment; Openness to Change is negatively correlated to Emotional Exhaustion and Depersonalization, and positively correlated to Personal Accomplishment; and Conservation is positively correlated with Emotional Exhaustion and negatively with Depersonalization and Personal Achievement. These findings as well as implications for future research and implications are explored further.

Background and objectives: Whilst Active and Receptive Music Therapy techniques have been widely researched and are employed within a range of contexts and with diverse client populations, this study reports on their specific qualitative musical and verbal affordances in major depressive disorder and schizophrenia-spectrum psychotic disorders. The study also describes and compares the respective and joint contributions of the music therapy techniques in giving rise to the affordances as well as reporting on the similarities and differences within and between diagnostic groups. This is the first study of its kind within the South African context. Methods: A qualitative research approach using a case study design, sampled purposefully twenty patients of the above mentioned diagnostic groups for participation in this study comprising a course of eight twice weekly music therapy sessions. The primary data sources were transcribed video recordings of therapy sessions and an individual in-depth semi-structured interview after the course of therapy. Clinical session notes served as a corroborative data source. In-depth content and thematic analysis explored and compared qualitative affordances during music therapy comprising active and Receptive Music Therapy techniques. The qualitative affordances under investigation were i) musical qualities, and ii) verbal expressions. Emerging from these affordances were the respective and combined affordances of the music therapy techniques as well as the similarities and differences between the diagnostic groups. Findings: Thirteen themes emerged from the analysis of clients' verbatim verbal responses to both active music making and Receptive Music Therapy techniques. These themes are: i) not to feel; ii) to do or not to do; iii) grappling with the desired future; iv) hurt and fear of undesirable outcomes; v) sadness, brokenness and futility; vi) anger, trust and vulnerability; vii) desire for connection with and affection of others; viii) barricaded from being present, now; ix) tensing and un-tensing; x) personal relating to one’s musical expression; xi) reflections on the music and music making in therapy; xii) resilience and courage and xiii) invigoration and liberation. The Active Music Therapy techniques comprising clinical improvisation, structured musical exercises, drumming, vocal work, songwriting and movement, gave rise to ten themes expressing the musical affordances. The themes that emerged were i) reciprocal responding; ii) the explicit use of symbols through music; iii) regularity; iv) disturbance and difficulty; v) turning points; vi) energy bursting or lacking; vii) bodily synchrony; viii) intensified emotional expression; ix) exploring new territory and Active Music Therapy techniques comprising clinical improvisation, structured musical exercises, drumming, vocal work, songwriting and movement, gave rise to ten themes expressing the musical affordances. The themes that emerged were i) reciprocal responding; ii) the explicit use of symbols through music; iii) regularity; iv) disturbance and difficulty; v) turning points; vi) energy bursting or lacking; vii) bodily synchrony; viii) intensified emotional expression; ix) exploring new territory and x) resolution and arrival. The emerging themes express the extent of musical and verbal expression of all clients representing both diagnostic groups. Most saliently among clients with depression the affordances were the themes on accessing creativity, accessing and articulating internal feelings, experiencing resilient parts of self, reflecting on and integrating symbolic material, motivation to act and extending musical and verbal expression during social interaction. Among clients suffering from schizophrenia spectrum disorder, the most striking affordances were experiences of regularity and flow within disorganization, orientation to ‘here and now’ experiences through active music making and working with symbolic material expressed on a continuum of concrete to abstract. Clients from both diagnostic groups experienced a reduction in unwanted symptoms as expressed through increased energy levels, experiences of pleasure in music making and spontaneous musical and verbal self-expression. Conclusion: This study revealed qualitative affordances of specific music therapy techniques expressed through verbal content and musical qualities. These showed responses within a therapeutic relationship that express inter- and intra-personal connection, give voice to what is not always verbally accessible and facilitate multi-sensory, creative experiences, increased motivation, emotional expression, and the reclamation of energy, spontaneity and resilience. / Thesis (PhD)--University of Pretoria, 2017. / Psychiatry / PhD / Unrestricted

The purpose of this study was to explore treatment options for aggression-related disorders. Two activities were examined to validate their use as frustration-reduction techniques --yoga and therapeutic drumming. Twenty-two college students were randomly assigned to participate in one of three groups--yoga, drumming, or silence (control)--following experimentally-induced frustration using a computerized Stroop color-word technique. Self-reported emotion levels and physiological responses were tracked at baseline, post-frustration, and post-treatment to measure responses to treatment. Results indicate that self-reported frustration levels were significantly reduced in all experimental groups, but physiologic responses showed no significant changes. A Multivariate Analysis of Variance (MANOVA) indicated no significant difference in lowered frustration for any of the treatment groups, suggesting that they are equally effective. These results also suggest that the passage of time may be key to successful emotion regulation. Further study should examine control variables and methodology to identify other factors that may be involved in regulating aggressive emotions.

The purpose of this study was to determine if a short video presentation, about music therapy in behavioral health, had a positive effect on staff members’ beliefs about music therapy in that setting. A total of 26 staff members, from different departments, participated in the study and completed a pre- and post-presentation questionnaire. Responses were analyzed and compared to investigate whether the video had a positive effect on staff members’ beliefs about music therapy in behavioral health. Participant demographics and pre- and post-video questionnaire responses were also analyzed and compared to explore the differential impact of the video by subgroups of specific demographic categories. Based on the results, there was evidence that there was favorable change in participants’ relevance beliefs about music therapy in behavioral health. In addition, pre- and post-questionnaire differences in means scores were larger for those working in activities than those working in nursing, larger for those who had not observed a music therapist working in behavioral health than for those who had, and larger for those who did not have a musical background when compared with those that did.

The purpose of this study was to investigate the perceptions of music therapy among oncology nurses to pinpoint areas in which music therapists can further advocate for the profession and educate the nursing staff. The study's research objectives included: (a) Examining the perceptions of music therapy regarding role, purpose of the treatment and perceived benefits, and nurses' application of music as a nursing intervention; and (b) Comparing differences in perceptions of music therapy among different settings (i.e. pediatric versus an adult), and facilities with or without music therapy services. Two-hundred and sixty-four members of the Oncology Nursing Society completed the survey. The majority of the participants (81.4%) were aware of music therapy, despite the fact that only 37.5% of the respondents worked in facilities currently offering music therapy. According to participants, volunteer musicians are primary deliverers of music therapy (43.8%), followed by nurses identifying themselves as music therapy facilitators (29.5%). Significant differences were found between the oncology nurses in adult versus pediatric settings with regard to the following referral circumstances: pre/post-operative (x² = 4.33, p < .05), playroom/music group activities/socialization (x² = 12.88, p < .001), and motor skills (x² = 6, p < .05). Results indicated a skewed vision of music therapy as well as a lack of education on all of the applications and benefits of music therapy.

This study was concerned with the effectiveness of Nordoff-Robbins Music Therapy (NRMT) carried out within a Developmental, Individual-Difference, Relationship-based (DIR®)/Floortime Framework in addressing the individual needs of children with autism. In NRMT, the child is an active participant in the music making process, playing various instruments that require no formal training. The therapist's task is to improvise music built around the child's musical responses, reactions, responses, and/or movements to engage him or her in a musical experience that will facilitate musical relatedness, communication, socialization, and awareness. The DIR® model provides a comprehensive framework for assessing, understanding, and treating the child. It centers on helping the child master the building blocks of relating, communicating, and thinking through the formulation of relationships via interactive play, using Floortime (a systematic way of working with the children to help them reach their developmental potential). This study sought to determine the effectiveness of NRMT in meeting musical goals specifically established for each individual child, and to conclude if progress in musical goals paralleled progress in non-musical (DIR®) goals. / Music Therapy

This study examined the relationship between music therapists' spiritual beliefs and their clinical practices. A survey was sent to 4243 members of the Certification Board for Music Therapy, using an electronic program, SurveyMonkey. There was a return rate of 32%. The survey contained two parts; Part I was the Music Therapy Questionnaire, and Part II was the Spiritual Involvement and Beliefs Scale (SIBS). Data were analyzed using a combination of Kruskal-Wallis Anova, Mann-Whitney U, and Spearman Rho correlation tests to analyze both the relationships as well as significant variations in responses between the survey questions and the SIBS scores. Research questions focused on the relationships between the music therapists' spirituality scores (SIBS) and their demographics, their reported spiritual beliefs and practices, and their clinical practices. Statistical analyses revealed significant differences in the relationship between SIBS scores and gender, age, and years of professional experience; however, there were no significant differences between SIBS scores and education level, regions of AMTA, or client populations served. Significant correlations were found between SIBS scores and music therapists' personal appraisal of their own spirituality, their use of music as a spiritual experience, the use of music in their own personal practice, and their belief in the importance of some type of contemplative experience in their own personal lives. Further statistical analyses also revealed significant correlations between music therapists' SIBS scores and the following clinical practices: 1) the role of spirituality as a sustaining force in their music therapy career, 2) their spiritual ideals as exemplified in their work, 3) attention to their own spirituality in their role as a music therapist, 4) their spiritual growth as a music therapist, 5) the classifying of their work as a spiritual endeavor, 6) their choice of music therapy as a profession. Additional positive correlations were found between music therapists' SIBS scores and the reported influence of spirituality on their choice of population, their comfort in addressing clients' spiritual needs when they are similar to their own, and their comfort in addressing clients' spiritual needs when they are different from their own. / Music Therapy

There is limited research on music therapy for transplant recipients, yet board-certified music therapists working in medical settings often encounter individuals from the transplant population. The purpose of this study was to examine the current practices of music therapists working with bone marrow and organ transplant recipients. A total of 68 board-certified music therapists completed an online survey, providing information related to goal areas addressed in music therapy sessions and interventions frequently used with bone marrow and organ transplant patients. The most frequently reported goal areas included: coping skills, mood, and self-expression. The most frequently reported interventions included: singing, songwriting, and improvisation. Survey respondents also shared opinions related to the need for additional resources for music therapists working with transplant recipients, as well as the most rewarding and challenging aspects of working with transplant patients. Study limitations, suggestions for future research, and implications for clinical practice are included.

Music therapy plays an integral role in end-of-life care, positively impacting emotional, social, physical, cognitive and spiritual health. The purpose of this integrative review was to collect and compile studies (N= 55) between 2000 and 2016 on the topic of music therapy interventions in end-of-life care, in order to provide both music therapy students and therapists access to the most recent and commonly used music therapy interventions and goals. Results of the integrative literature review indicate that the most common intervention for all age groups in end-of-life care is songwriting and composition, with the most common therapeutic goal being emotional expression and catharsis. Details of music therapy interventions, goals and song details are written in tables for readers to refer to as a guide. Further research is needed with each specific age group and setting, in order to provide refined results beyond what is revealed through this review. Additionally, evaluating therapeutic outcomes of the interventions and goals obtained through this integrative review is another step that can be taken for future research.

Thesis (MMus) -- University of Stellenbosch, 2003. / ENGLISH ABSTRACT: There is a growing interest in the investigation of the value of music to the development of cognitive, social, personal and motor skills pertaining to infants. Research has shown that the inclusion of music in intervention programs for physically and cognitively disabled children could have a positive influence on the development of several of their skills. Against this background the reactions and development of four children with Down syndrome from a school for the disabled in Bellville were investigated from a holistic point of view during their participation in a music stimulation program. The music stimulation program presented in this study was compiled after consulting existing well-proven music appreciation programs for non-disabled children. Some of the activities extracted from these programs were adjusted where necessary. At times nonmusical activities were also combined with music in order to address a diversity of skills by means of music. Results after the completion of the program indicated that music has the potential to enhance the development of several skills and intelligences, as identified and described by Gardner (1983), of children with Down syndrome. Although it was difficult to determine whether music was responsible for some of the improvements that were observed, the results from this study indicated that children with Down syndrome can benefit from a structured music stimulation program. / AFRIKAANSE OPSOMMING: Die waarde van musiek ten opsigte van die ontwikkeling van kognitiewe, sosiale, persoonlike en motoriese vaardighede by kleuters word toenemend ondersoek. Navorsing het getoon dat die insluiting van musiek by intervensieprogramme vir fisies en kognitief gestremde kinders die ontwikkeling van verskeie vaardighede positief kan beïnvloed. Teen hierdie agtergrond IS die reaksies en ontwikkeling van vier kinders met Downsindroom vanuit 'n holistiese oogpunt tydens deelname aan 'n musiekstimuleringsprogram ondersoek. Hierdie kinders het 'n skool vir gestremdes in Bellville bygewoon. Die musiekstimuleringsprogram wat tydens die studie gebruik is, is saamgestel deur bestaande musiekwaarderingsprograrnme vir nie-gestremde kleuters wat oor 'n aantal jare beproef is te raadpleeg en, waar nodig, die aktiwiteite aan te pas. Nie-musikale aktiwiteite is soms met musiek gekombineer ten einde 'n verskeidenheid van vaardighede deur middel van musiek aan te spreek Die resultate van die voltooiing van die program het daarop gedui dat musiek die potensiaal het om 'n positiewe invloed op die ontwikkeling van verskeie vaardighede en intelligensies, soos geïdentifiseer en beskryf deur Gardner (1983), op kinders met Downsindroom uit te oefen. Hoewel dit soms moeilik was om te bepaal of musiek verantwoordelik was vir sommige van die verbeterings wat opgemerk is, het dit uit die resultate van hierdie studie geblyk dat kinders met Downsindroom kan baat vind by 'n gestruktureerde musiekstimuleringsprogram.