Introdução: a musicoterapia pode ser definida, de forma simples, como um processo de avaliação e tratamento que utiliza técnicas e experiências musicais, no qual a avaliação possibilita não apenas estabelecer metas e objetivos, mas também verificar se estes foram atendidos. Em razão da falta de instrumentos traduzidos e validados no Brasil muitos musicoterapeutas desenvolvem seus próprios instrumentos de avaliação ou utilizam ferramentas de avaliação de outras áreas como forma de realizar as suas atividades. Entretanto é de ser considerado que a utilização de instrumentos de avaliação que não sejam específicos da musicoterapia pode resultar em avaliações imprecisas, pois não há garantia de que instrumentos de outras áreas tenham o mesmo nível de precisão e acuidade quando utilizados na avaliação musicoterapeutica. Justificativa: verifica-se uma carência de estudos de validação desses instrumentos tanto em nível nacional quanto em nível internacional. Ao mesmo tempo, não há registros de publicações sobre validação de instrumentos de avaliação em musicoterapia no Brasil. Objetivos: traduzir e validar um instrumento de avaliação específico da musicoterapia para uso no Brasil: a Individualized Music Therapy Assessment Profile (IMTAP). A IMTAP avalia dez diferentes grupos de comportamentos, fornecendo um perfil individual detalhado. Metodologia: a tradução e validação da IMTAP foi realizada através de um estudo transversal, no qual examinou-se as propriedades psicométricas de validade de conteúdo, validade convergente e concordância entre avaliadores. Resultados: as evidências de validade de conteúdo foram consideradas satisfatórias, exigindo poucos ajustes na revisão final da tradução. Encontrou-se boa correlação entre os avaliadores (CCI=0,98). Em relação à validade convergente, foram encontradas correlações negativas moderadas na comparação entre a comunicação expressiva IMTAP (idiossincrasias vocais) e a escala CCC verbal (r=-0,519) e não verbal (r=-0,468). Conclusões: a metodologia utilizada no processo de tradução e as propriedades psicométricas encontradas no estudo de validação habilitam a versão brasileira da IMTAP para uso no Brasil. / Introduction: the music therapy could be defined in a simple way as a process of assessment and treatment that uses musical techniques and experiences, on which the assessment allows not just establish goals and objectives, but also check whether they were reached. Owing to lacking of translated and validated instruments in Brazil, music therapists use assessment tools from other areas or developed by themselves in order to do their activities. However, must be taking account that the utilization of non specific assessment tools from music therapy could lead to imprecise results, because there is no guarantee that these instruments from other areas have the same level of precision and accuracy if utilized as a music therapy assessment tool. Justification: are observed a lacking of validation studies of these instruments even at national and international levels. In parallel, there are no records of validation’s studies about music therapy’s assessment tools in Brazil. Objectives: translating and validating a specific instrument of music therapy for use in Brazil: the Individualized Music Therapy Assessment Profile (IMTAP). The IMTAP assesses ten different behavioral groups, providing an individual and detailed profile. Methodology: the translation and validation of IMTAP were done through a transversal study, where have been analyzed the psychometric properties of contents of validity, convergent validity and agreement among evaluators. Results: the evidences of content validity were considered acceptable, demanding just a few adjustments during the final translating revision. Has been detected good correspondence between evaluators (ICC=0.98) indicating good conditions of IMTAP acceptance. Related to convergent validity, were found negative moderated correspondences on comparison between expressive communication IMTAP (vocals idiosyncrasy) and CCC verbal scale (r=-0.519) and non verbal (r=-0.468). Conclusions: the methodology used at translation’s process and psychometric properties observed during the studies of validation leads to admit an IMTAP's Brazilian version for use in Brazil.

Introdução: a musicoterapia pode ser definida, de forma simples, como um processo de avaliação e tratamento que utiliza técnicas e experiências musicais, no qual a avaliação possibilita não apenas estabelecer metas e objetivos, mas também verificar se estes foram atendidos. Em razão da falta de instrumentos traduzidos e validados no Brasil muitos musicoterapeutas desenvolvem seus próprios instrumentos de avaliação ou utilizam ferramentas de avaliação de outras áreas como forma de realizar as suas atividades. Entretanto é de ser considerado que a utilização de instrumentos de avaliação que não sejam específicos da musicoterapia pode resultar em avaliações imprecisas, pois não há garantia de que instrumentos de outras áreas tenham o mesmo nível de precisão e acuidade quando utilizados na avaliação musicoterapeutica. Justificativa: verifica-se uma carência de estudos de validação desses instrumentos tanto em nível nacional quanto em nível internacional. Ao mesmo tempo, não há registros de publicações sobre validação de instrumentos de avaliação em musicoterapia no Brasil. Objetivos: traduzir e validar um instrumento de avaliação específico da musicoterapia para uso no Brasil: a Individualized Music Therapy Assessment Profile (IMTAP). A IMTAP avalia dez diferentes grupos de comportamentos, fornecendo um perfil individual detalhado. Metodologia: a tradução e validação da IMTAP foi realizada através de um estudo transversal, no qual examinou-se as propriedades psicométricas de validade de conteúdo, validade convergente e concordância entre avaliadores. Resultados: as evidências de validade de conteúdo foram consideradas satisfatórias, exigindo poucos ajustes na revisão final da tradução. Encontrou-se boa correlação entre os avaliadores (CCI=0,98). Em relação à validade convergente, foram encontradas correlações negativas moderadas na comparação entre a comunicação expressiva IMTAP (idiossincrasias vocais) e a escala CCC verbal (r=-0,519) e não verbal (r=-0,468). Conclusões: a metodologia utilizada no processo de tradução e as propriedades psicométricas encontradas no estudo de validação habilitam a versão brasileira da IMTAP para uso no Brasil. / Introduction: the music therapy could be defined in a simple way as a process of assessment and treatment that uses musical techniques and experiences, on which the assessment allows not just establish goals and objectives, but also check whether they were reached. Owing to lacking of translated and validated instruments in Brazil, music therapists use assessment tools from other areas or developed by themselves in order to do their activities. However, must be taking account that the utilization of non specific assessment tools from music therapy could lead to imprecise results, because there is no guarantee that these instruments from other areas have the same level of precision and accuracy if utilized as a music therapy assessment tool. Justification: are observed a lacking of validation studies of these instruments even at national and international levels. In parallel, there are no records of validation’s studies about music therapy’s assessment tools in Brazil. Objectives: translating and validating a specific instrument of music therapy for use in Brazil: the Individualized Music Therapy Assessment Profile (IMTAP). The IMTAP assesses ten different behavioral groups, providing an individual and detailed profile. Methodology: the translation and validation of IMTAP were done through a transversal study, where have been analyzed the psychometric properties of contents of validity, convergent validity and agreement among evaluators. Results: the evidences of content validity were considered acceptable, demanding just a few adjustments during the final translating revision. Has been detected good correspondence between evaluators (ICC=0.98) indicating good conditions of IMTAP acceptance. Related to convergent validity, were found negative moderated correspondences on comparison between expressive communication IMTAP (vocals idiosyncrasy) and CCC verbal scale (r=-0.519) and non verbal (r=-0.468). Conclusions: the methodology used at translation’s process and psychometric properties observed during the studies of validation leads to admit an IMTAP's Brazilian version for use in Brazil.

M.Cur. (Obstetrics and Neonatal Nursing) / A premature baby is physiologically and neurologically immature and does not always react as desired to the extra-uterine environment. A possible way to stimulate babies is by playing slow baroque music to them. The purpose of the study was to determine what effect slow baroque.music has on the heart rate, respiratory rate, saturation, blood pressure and motor movements of premature babies. The effect of slow baroque music on premature babies was investigated by means of an extensive literature study, but only limited research on premature babies was found. A preparatory study was used to determine whether slow baroque music has a positive effect on the behaviour of premature babies. Ten premature babies were then used as case studies to determine the effect of slow baroque music on their heart and respiratory rates, saturation, blood pressure and motor movements. The following conclusions were reached by statistically processing the results: • Slow baroque music had a positive and significant effect on the babies' respiratory rate and motor movements. • The heart rate, saturation and blood pressure of the babies showed a slight positive effect only. Nursing guidelines were established for playing baroque music to premature babies and recommendations were made for further research.

The purpose of this study was to contribute an experiential understanding of everyday "music listening experiences through a text that also conveyed a pathic way of knowing. I studied the phenomenon of music listening in the particular context of women living with chronic illness (i.e., a physical condition that is managed rather than cured), and in keeping with van Manen's (1990, 2000) applied hermeneutic-phenomenological approach. Van Manen's approach to phenomenological inquiry emphasizes implementation of the reductio (the reduction), attention to the vocatio (the vocative dimension), and the use of empirical and reflective methods to generate and analyze data. The question that guided this study was: What is the lived experience and lived meaning of music listening for women living with chronic illness? Six women were interviewed in multiple conversations about their music listening experiences. All lived with chronic illness, and identified music listening as important in their lives. Following an initial analysis based on multiple readings from holistic, selective, and detailed perspectives, I used a guided existential reflection based on lived body, lived time, lived space, and lived relation to further understand, organize, and reveal the many ways in which the women listened to music. Writing and rewriting in a reflective and dialogical manner were grounding elements of analysis. Findings contribute in several ways. Most broadly, the final text was constructed to communicate an understanding that is embodied and discursive (i.e., knowledge as participation), and that leads to personal formative knowledge (i.e., knowledge as being). As a phenomenology of music listening, results suggested that to listen to music is to be in the company of music; that is, to be with a longtime companion who ultimately aids in accommodating the unanticipated arrival of chronic illness. Implications include future research to further investigate the complex, relational dynamics associated with music listening experiences, as well as the possibility of the body as a source of knowledge (i.e., mind-body), acting as a musical compass in music listening experiences. Implications for counselling practice are also described. / Education, Faculty of / Educational and Counselling Psychology, and Special Education (ECPS), Department of / Graduate

Syftet med denna uppsats är att utifrån ett hermeneutiskt perspektiv utforska några inom musikterapiområdet insatta personers uppfattningar om Community Music Therapy inom svensk musikterapi, utifrån frågeställningarna: Hur uppfattas det svenska musikterapilandskapet? Vilken betydelse anses inriktningen Community Music Therapy ha inom svensk musikterapi? På vilka sätt och inom vilka samhällsområden i Sverige anses CoMT kunna fylla en funktion? Uppsatsen grundar sig i hermeneutisk vetenskapsfilosofi och metoden utgörs av kvalitativa, halvstrukturerade intervjuer som analyserats utifrån tematisk analys. Resultatet består av en tre metaforiska teman: Vilse i behandlingslandskapet, med undertemana Svårt att synas och höras, Som en smygande kameleont samt En glänta dit solljuset når ner. Det andra temat är Ett öppnat landskap, med undertemana Spår i landskapet samt Alfahannarna i granndjungeln. Det tredje temat är In i ny och okänd terräng. Uppsatsen avslutas med en diskussionsdel, inklusive en metoddiskussion, tankar kring arbetets betydelse samt fortsatt forskning.

This research study sought to examine if and how ten youth referred for being “at risk” at a high school in Johannesburg, South Africa could explore and express their autonomy through a music therapy process. Within this qualitative case study, video and focus group data were analysed using Braun and Clarke’s (2017) reflexive thematic analysis methods. Four themes emerged, namely adolescents’ formulation of their autonomy, navigating autonomy in context, opportunities to explore and express autonomy within the music therapy process specifically, and transfer and application into daily life. Autonomy was found to be both an individual pursuit and a relational process for these adolescents. Both of these aspects were explored in an integrated way through this group music therapy intervention. This indicated that music therapy is a useful approach for youth deemed to be “at risk” because the process can hold both the growth of an individual and their need for independence, whilst simultaneously offering belonging within a contained group process. / Dissertation (MMus (Music Therapy))--University of Pretoria 2020. / Music / MMus (Music Therapy) / Unrestricted

Thirty-seven volunteers participated in a study examining the effects of sedative music on test anxiety in college students. The experimental group used sedative music with progressive muscle relaxation and a suggestion of imagery before the scheduled hour of a final examination. The control group had self selected relaxation with no music. Baseline measurements were taken in blood pressure and pulse rates. These measurements were repeated and an anxiety inventory was administered before and after treatment. Results indicated no significant differences between the two groups in the physiological measurements. Verbal report from the anxiety inventory gave significant results at the .05 level.

The purpose of this study was to examine the effect of rhythmic auditory cueing on Bilateral Arm Training on movement accuracy and speed for survivors of stroke. Three participants underwent a six-week home training of drum playing in repetitive reaching movements, practicing for three hours a week. They were randomly assigned to the treatment group (Bilateral Arm Training with Rhythmic Auditory Cueing; n = 2) and control group (Bilateral Arm Training only; n= 1). Assessments of the Wolf Motor Function Test (WMFT), tempo velocity, and spatial accuracy were performed at pre-, mid-, and post-training. All participants showed decreases in task performance times on the WMFT and improvements on the Functional Ability Scale, along with increased spatial accuracy. The treatment group maintained tempo velocity throughout the training but the non-cued participant moved slower at post- than at pre- and mid-assessment. Qualitative observations showed that the auditory-cued participants improved in movement quality through increased spatial alignment of the trunk and extension of the paretic arm, whereas the non-cued participant did not. Recommendations for future study as well as for designing home-training programs are given.

Bibliography: leaves 168-172. / The primary focus of this dissertation was work with a group of children who were experiencing problems in reading and to formulate strategies which incorporates an innovative approach using music. Many learning problems encountered today could be avoided if children's earliest backgrounds were rich in songs, poems set to music, nursery rhymes and musical games. It is necessary for a child to experience rhythm in every possible way to enable him to read with a flowing rhythm and a pleasant intonation. A child must be able to feel and experience the rhythm of the spoken word by repeating rhymes, phrases, chanting children's names, for example. This is done by tapping the word, using body movements (clapping, stamping) and transferring this rhythm to percussion instruments while experiencing the speech rhythm. Many approaches have been used with children who are disabled readers and none use music as a tool. The progress of these children has therefore been slow, tedious and not always successful. Music has not been used before as an approach to assist children with reading disabilities. In this dissertation it has been proved that music helps children overcome their reading problems, as it is the only approach which offers total involvement of the child and therefore the best results are achieved. All children involved in the research enjoyed the activities and derived great pleasure from performing them unaware that the process of remediation was taking place.

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