Thesis (MA) -- University of Stellenbosch, 2004. / ENGLISH ABSTRACT: This study was undertaken with a view to evaluate the effect of music education on the self-concept of the learner with attention deficit hyperactivity disorder. Four learners diagnosed with attention deficit hyperactivity disorder were asked to participate in a music program presented for two terms by the researcher. The selfconcept of the learners was recorded through interviews and questionnaires by the learners and their parents before the study commenced. Observations by the researcher and objective observer were used to monitor the learners' progress during the course of the lessons. After the completion of the music program the learners and their parents were again asked to participate in an interview and to complete a questionnaire. This study revealed that music education is a great enjoyment to these learners and the self-concept and self-confidence of some of the learners improved. A literature review was done in order to obtain a perspective on attention deficit hyperactivity disorder. A historical overview provided insight into the development of this disorder necessary to describe it properly. The study also focuses on various intervention techniques which can be used by parents and teachers. In addition, the study focuses on the role of music education and music practice on the various developmental levels of the learner and how music can indeed affect relaxation and be responsible for lifelong learning. It is recommended that the learners continue with mUSIC education, because it provides them with a sense of success and it plays a vital role in the cognitive development of the learner. This, in tum, leads to lifelong learning: an influence that will remain an irrevocable part of the child for the rest of his/her life. / AFRIKAANSE OPSOMMING: Hierdie studie is onderneem met die doelom die uitwerking van musiekonderrig op die selfbeeld van die leerder met aandagafleibaarheid-hiperaktiwiteit te evalueer. Vier leerders wat gediagnoseer is met aandagafleibaarheid-hiperaktiwiteit is genader om 'n musiekprogram, aangebied deur die navorser, vir twee kwartale by te woon. Die selfbeeld van die leerders, wat vooraf deur middel van onderhoude en vraelyste deur die leerders en hulouers voltooi is, is geëvalueer. Die leerders se vordering is tydens die lesse deur middel van observering en objektiewe waarneming bepaal. Na afloop van die musiekprogram is die leerders en hulouers weer gevra om 'n onderhoud en vraelys te voltooi. Uit die studie blyk dit dat musiekonderrig 'n groot mate van genot vir die leerders is en daar was 'n verbetering in selfbeeld en selfvertroue by sommige van die leerders. 'n Literatuuroorsig bied insig oor die omvang van aandagafleibaarheid-hiperaktiwiteit en 'n historiese oorsig oor die verloop van die proses wat tot 'n beskrywing van die versteuring lei, word bekyk. Die verskeie intervensie-tegnieke wat deur ouers en opvoeders toegepas kan word, word bespreek. Verder word die rol wat musiekonderrig en musiekbeoefening op die verskillende ontwikkelingsvlakke van die leerder speel aangespreek, asook hoe musiek 'n ontspannende effek kan hê en verantwoordelik kan wees vir lewenslange leer. Dit word aanbeveel dat leerders volhou met musiekonderrig, omdat dit 'n gevoel van sukses verskaf en 'n belangrike rol speel in die leerder se kognitiewe ontwikkeling. Laasgenoemde is gevolglik verantwoordelik vir lewenslange leer: 'n onherroeplike invloed op die leerder vir die res van sy/haar lewe.

Smärta i alla dess dimensioner är ett tillstånd av ohälsa samt ett problem som påverkar hela individens livsvärld. Samtidigt är musik något som alla individer har en subjektiv upplevelse av vad det innebär och hur kroppen och sinnet påverkas av dess rytm, harmoni och melodi. Studien syftade därför till att undersöka hur musikintervention upplevdes smärtlindrande. En litteraturstudie användes som metod där 11 vetenskapliga artiklar av både kvalitativ och kvantitativ ansats granskades. Resultatet delades upp genom att kodord placerades under smärtans dimensioner och visade att musiken påverkade individens upplevelse av smärta i samtliga dimensioner. Den fysiologiska dimensionen, som fokuserade på de fysiologiska orsakerna bakom smärtan visades påverkas starkast av musikintervention. Svagaste påverkan hade musiken på den sociokulturella dimensionen, som fokuserade till stor del på hur smärtan manifesterades på omgivningen. I resultatet framkom även att det viktigaste för att musikintervention skulle upplevas smärtlindrande var att attraktionskraften till musikstycket var tillräckligt uppskattat hos individen. / Pain in all its dimensions is a state of ill health as well as a problem that affects the entire life-world of the individual. At the same time, music is something that all individuals have a subjective experience of what it means and how the body and mind are affected by its rhythm, harmony and melody. Therefore the study aimed to investigate how music as an intervention was perceived as a relief in pain. A literature study was used as method, where 11 scientific articles of both qualitative and quantitative approach was reviewed. The result was divided by code words and placed under the different pain dimensions. The result demonstrated that the music affected the individual's experience of pain in all of the dimensions. The physiological dimension, which focused on the physiological causes of the pain appeared most strongly influenced by the music intervention. Weakest influence the music had on the socio-cultural dimension, which focused largely on how the pain was manifested in the surroundings of the individual. The results also revealed that the most important thing for music intervention to be perceived as reliving in pain was that the piece of music was sufficiently appreciated by the individual.

Bakgrund: Den palliativa vården skall omfamna och ta hand om människan då sjukdomen inte längre är botbar. Inom palliativ vård är det viktigt att inte enbart behandla den fysiska smärtan utan tillgodose och ha människans alla dimensioner i åtanke. Människan som vårdas palliativt kan lida fysiskt, psykiskt, psykosocialt och existentiellt. Det är önskvärt att se över vilka alternativa behandlingsmetoder som kan stötta dessa dimensioner för patienter som vårdas palliativt. Musik har sedan urminnes tider haft förmågan att beröra människan på flera olika plan. Konstformen kan användas i vardagen såväl som i terapeutiskt syfte. Musik som används i terapeutiskt syfte är ett eget kunskapsområde och har namngetts musikterapi. Syfte: Beskriva patienters upplevelse av musikterapi inom den palliativa vården. Metod: I litteraturöversikten har vetenskapliga artiklar samlats in via olika databaser med sökorden music och palliative care. Till resultatet valdes 11 artiklar som bearbetades med en analys av Friberg för litteraturöversikter. Därefter sammanställdes resultatet med hjälp av teman och subteman. Den teoretiska referensramen som användes var Katie Erikssons caritativa vårdteori. Resultat: Litteraturöversiktens resultat visar att musikterapi kan ge positiva upplevelser för människan som vårdas palliativt. Musikterapin har en värdefull inverkan på hela människan – fysiskt, psykiskt, existentiellt och psykosocialt. De fysiska aspekterna som påverkades var hjärtfrekvens, andning, oro, vakenhet och smärta. De psykiska var att musikterapi bidrog till att lindra oro och ångest, samt verkade psykiskt avkopplande. Patientens existentiella dimension påverkades av musik genom att den bidrog till livsreflektion och meningsskapande. Patientens psykosociala sida stöttades genom att de upplevde en ökad samhörighet och kontakt med närstående och andra patienter. Resultaten påvisade även negativa risker med musikterapi, som terapeuten måste vara uppmärksam på. Dessa var att musiken kunde skapa starka, negativa känslor och minnen. Patienten kunde även känna hopplöshet över att inte orka delta i terapin eller ha för låg kunskap om instrumenten. Diskussion: Musikterapi har en förmåga att ge positiva upplevelser inom den palliativa vården och bör implementeras mer i omvårdnaden. Resultaten som musikterapin ger får stöd av styrdokument och mål för palliativ vård. Studier behövs som undersöker om musikterapi skulle kunna innebära en minskning av läkemedel. Resultatet bidrar till att förbättra det praktiska vårdarbetet genom att patienten får omvårdnad ur ett helhetsperspektiv och kan delta i terapin trots sviktande funktioner.

In work with clients having profound learning disability, music therapists may include in sessions assistants not trained as music therapists. This study is a qualitative inquiry addressing the questions: 1) How does improvised music influence the interaction between teenagers with profound and multiple disability and learning support assistants? 2) Which aspects of the music are associated with any influences found? A survey of music therapists, exploring how assistants are used and how effectively they perform their role, found that assistants are often used as ‘interaction partners’. To explore how the therapist may facilitate client-assistant interaction, about which little is known, video clips from the writer’s clinical practice were purposively selected in order to illustrate an approach entitled Triadic Support of Interaction by Improvisation (TSII). Seven learning support assistants (LSAs) each viewed a video clip showing her own interaction with a teenager having profound disability, supported by the writer’s improvised music. Semi-structured interviews explored the LSAs’ understanding of the behaviour and inferred mental processes of the teenagers, their own behaviour and mental processes and the music improvised by the therapist to support the interaction. A variant of Interpretative Phenomenological Analysis generated shared themes, which included concern for the teenagers’ autonomy, interest in their communicative behaviour and understanding of the mutuality of interaction. The therapist’s improvisation was seen by the LSAs as influencing only the teenagers. All the clips were also viewed by three music therapists, who used a mechanical continuous response device to register the influence of the therapist’s improvisation on four ‘scenarios’: the teenagers’ behaviour, their inferred mental processes, the LSAs’ behaviour and their inferred mental processes. Inter-rater agreement between the three therapists’ continuous responses was generally low, but some intra-rater correlations were found between pairs of scenarios, which the music was perceived as influencing in similar ways. This finding supports the conclusion that musical influences, although they may be analysed according to the four scenarios, actually function as a mutually inter-related system rather than as four independent processes. Each therapist selected decision points from the graphic record of her/his individual responses to discussed with the other therapists as a panel. Positive evaluations were made of the role of TSII in supporting the observed teenager-LSA interactions and the inferred underlying mental processes. This research design was exploratory, and not intended to test specific hypotheses about the mechanisms of musical influence. Tentative suggestions of associations between influences and musical features are however offered by the writer. Indications for the use of TSII are given and other applications suggested for novel aspects of the methodology developed for this study. A refinement of the continuous response task is proposed, and the requirements for any future formal evaluation of TSII are outlined.

This outcome study investigates whether music therapy can improve the emotional well-being of adolescents who are at risk of exclusion or underachievement. Specifically, it addresses music therapy’s impact on students’ self-esteem, anxiety, attitude towards learning, behaviour and relationships with peers. The setting for the research was a mainstream secondary school and its federated special school for students with emotional and behavioural difficulties. Over nineteen months, a mixed methods design was used to observe change in students before and after music therapy. One group received twenty, weekly, individual sessions, and the other formed a wait-list group for comparison and then received the same treatment. At four different times during the project quantitative data were collected from students, teaching staff and school records, and qualitative data from semi-structured interviews with the students before and after their period of intervention. The study found that music therapy made a positive difference. The high level of treatment adherence (95%) of all twenty-two students confirmed music therapy’s appeal to this client group. The majority of teachers (58%) reported improvement in students’ social development and attitude overall, and for some mainstream students (56%) recognition of self-concept increased. The conviction with which students conveyed their positive experiences of music therapy was striking. The study supports the author’s argument for therapeutic support to be made available at secondary schools and promotes a student-centred approach, as exemplified in the thesis. It concludes that music therapy can be effective for youth at risk but requires more participants in subsequent investigations for it to be proved statistically.

Injuries to the brain are the leading cause of permanent disability and death. Survivors of acquired brain injury (ABI) experience cognitive impairments and emotional problems. These often persist into community rehabilitation and are among the most significant needs for those in chronic stages of rehabilitation. There is a dearth of research providing evidence of music therapy addressing cognitive deficits and emotional needs in a holistic approach. This research answers the question how can brief group music therapy address cognitive functional gains and emotional needs of people with acquired brain injury. A mixed methods design was used to investigate the effect of 16 sessions of weekly group music therapy on attention and memory impairments, and emotional needs of ten ABI survivors in community rehabilitation. Quantitative data were collected to determine the effect of treatment on attention and memory functioning, mood state, and the satisfaction of emotional needs. Qualitative data were collected to reveal survivors’ experiences of brain injury and brief group music therapy. Analysis of the data showed that the intervention improved sustained attention (p<.05, r=.80) and immediate memory recall (p>.05, r=.46), and that the effect of treatment increased with dosage. Overall, the intervention was more effective than standard care, and cognitive functional gains continued after treatment for some ABI survivors. The intervention addressed emotional needs of feeling confident (p<.05, d=.88), feeling part of a group (p<.05, d=.74), feeling productive/useful (p<.05, d=.90), feeling supportive (p<.05, d=.75), feeling valued (p<.05, d=.74), and enjoyment (p<.05, d=.34). Improvements in these domains were observed in the immediate term and over the course of therapy. Music therapy enabled emotional adjustment through the development of selfawareness and insight. This study offers a music therapy method to deliver a holistic approach in rehabilitation. It demonstrates that music therapy can provide a cost effective, holistic treatment for ABI survivors.

Music therapy is widely portrayed either as a paramedical practice within which music is a technology applied as a form of treatment or as a form of psychotherapy within which the music plays a primarily symbolic role or acts as a lead in to verbal consideration of the patient’s presenting issues. Music therapy research currently focuses predominantly on demonstrating “evidence of effectiveness” in terms of symptomatic outcome, thus preserving a focus on the individual congruent with the medical model. In contrast, this thesis seeks to examine ethnographically the ways in which music therapy gets accomplished as a situated social practice within a community mental health resource centre in a UK urban area. Drawing both on the observations and experiences of the researcher (a music therapist already working within this setting) and on formal and informal interviews with the centre’s members and staff, it seeks to identify ways in which music therapy gets done and value ascribed to it. Observations are compared with the “norms” portrayed by dominant professional discourse, and reasons for discrepancies considered. Particular attention is paid to self-awareness, intimacy and conviviality as facets of what music therapy has to offer in such a setting, and to social capital theory and Goffman’s dramaturgical approach as broader conceptual frameworks for such affordances. Consideration is also given to the “fit” between the affordances of music itself, and the “craft” required of diverse actors in order that music therapy can be considered to offer an ecology which promotes health and well-being. Finally, the findings are re-addressed towards music therapy itself via the lens of what it means to be “clinical” in order that a sociological “craft” perspective maybe brought to bear within the discipline.

Title: The use of music therapy for physically disabled Author: Bc. Jan Janyška Leading: Mgr. Barbara Valešová Malecová, Ph. D. Summary The thesis is trying to clarify the base of constantly developing discipline called music therapy, specifically music therapy for people with specific needs. In the introduction the psychological value of physical disability is mentioned with a focus on a cerebral palsy. The theoretical chapter is dealing with an impact of sound on a human body considering the music therapy. Practical part is focused on designing a music therapy plan which was subsequently applied in practice with physically disabled people. Key words Physical disability, cerebral palsy, sound, music, music therapy

The aim of this thesis was to explain therapeutic possibilities of sound in all its connections. Sound is described in relation to several disciplines. Initially, sound is presented as an acoustic and psychoacoustic phenomenon, followed by characterization of physiology of auditory system and findings from psychology of music. The focus of the thesis is anchored in the chapter dedicated to healing and corrective effects of sound - the music therapy. After short history context is presented, the characteristics and analysis of contemporary situation are discussed. Several types of sound - noise, music and sound of speech - are studied in their positive as well as negative influence on psychic and physical health of human. Current research is represented by selection of relevant papers (n=9) which are assessed by the criterion of credibility and rigidness of methodology. This aspect is also perceived as an essential one for the future research in the area of sound effect on human psychic and physical health.

This diploma thesis focuses on using music (primarily songs) in teaching English as a foreign language. The theoretical part deals with different aspects of the benefits of music. The first chapter covers the discipline of music therapy, it is followed by a chapter about Stephen Krashen's Affective Filter Hypothesis and subsequently about music and brain. Then there is a chapter about the role of motivation through music and the outline of possible criteria for choosing a good song. A chapter about different aspects of using songs: to teach grammar, vocabulary, pronunciation and culture close this part. The goal of the practical part is to provide examples of using songs in an English lesson. A short chapter is concerned with other activities connected to music. The practical part consists of two surveys: the first one is a survey of a textbook series and the second one deals with the results of a survey carried out at different types of schools. Key words: music therapy, motivation, song, exploitation of the song