Music is still rarely mentioned or included as a vital factor in public health strategies to promote health and well-being. This study considers the significance of music and musicking and its role as a lay or folk healing practice in the lives of men and women with long-term illnesses and disease. 22 participants aged 34 to 65 from Oslo and Akershus counties in Norway were recruited as a strategic sample in research involving eight in-depth interviews stretching over a year from 2004 to 2005. The research, participatory and actionorientated, focused on whether participants could, through exposure to and exchange of new musical materials and practices learn to use music as a `technology' of health promotion and self care. A novel `Participatory CD design' was developed, involving participants' reflections on, and contribution to, the making of four CD compilations. The `Participatory CD Design' shed further light on which types of music seemed to benefit whom and why, and processes and changes in relation to music and musicking that occurred both before and during fieldwork were discussed. Music could occupy a space that made life worth living, and hence revitalize the energetic and resourceful parts of individuals with long-term illnesses. Participants described their involvement with the project, and their subsequent raised musical consciousnessa s beneficial, resulting in increaseds elf-awarenessa nd a new repertoire of musical skills relating to self care. Participants considered music listening and musicking to be important tools in the process of change and self-development, enhancing well-being and `wellness' and offering resources for recovery and quality of life in the face of illness. Exploring systematically the relationship between music and health from a lay perspective may help to document vital links and connections for future interdisciplinary work and collaborations

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This thesis investigates the emotional response of audiences to music via physiological indicators, with the goal of creating interfaces that use emotional stale for music control, specifically in performance scenarios via electrodermal and cardiovascular measures. In the past two decades, multiple disciplines have shown interest in studying the relationship between music, emotion, and its physiological manifestation. However, despite the increasing attention, the actual mechanisms on how music modulates human emotion and how this correlates with physiological changes are still not well understood. Therefore, this topic provides interesting challenges to determine if musical emotions can be measured from audiences in ecological environments via physiological signals, In order to address this, there are several questions that need to be resolved; including how to measure physiological indicators of emotion in concert environments, what level of shared responses and variance can be expected from public audiences, and how to assess the induction of musical emotions on listeners. In order to answer these questions, the wor\( in this thesis starts by measuring physiological indicators of emotion in music concerts, revealing high correlations between the physiology of performers and audience members, as well as associations between physiological changes and structural and acoustical features of the music. In order to assess fell emotion on listeners and how these are manifested via changes in physiology, a series of modular public listening experiments (Emotion in Motion) were implemented in Dublin and New York, collecting physiological data and self-report measures of emotion from over 4000 participants. Analysis of this database reveals a set of specific physiological indicators that show significant relationships with musically induced emotions. This thesis also contributes robust feature extraction tools for EDA and HR, and a methodology for synchronization of multimodal signals for musical performance research .

This thesis focusses on the way in which the music therapy profession in the UK has developed during the period 1958-2003.1 have investigated historical information, including archival material, regarding the development of music therapy and drawn upon a number of sociological models in order to explore some of the key concepts of profession. I have interwoven the concepts from these two main sources to provide new and original research. Although I argue that the various aspects of the field are all interlinked, I focus on the manner in which music therapy has interacted with the social and political climate within which it has evolved. I argue that the field of music therapy m the UK has engaged fully in a process of professionalisation which involves complex interactions with other professional bodies, the government, accrediting authorities, employers, clients, and the public. These interactions have, on the one hand, created conflicts within the music therapy profession due, in particular, to outside political pressures. On the other hand this has also compelled the profession to seek a balance between the needs of the discipline and its clients, and the demands of the political climate within which music therapy has to work. I consider the arguments that the professionalisation of music therapy is detrimental to the creativity and integrity of the field. These criticisms have been directed at the Association of Professional Music Therapists because its work has been based on securing appropriate terms and conditions for practitioners. Although these criticisms offer an opportunity for music therapy in the UK to reflect on its development, I argue that the process of professionalisation has succeeded in spite of all in creating a strong and ethically sound foundation from which music therapy can be practised, and that this process has not been primarily an exercise m professional self-preservation or promotion.

The present research study grew out of my professional practice as a music therapist, and seeks to put forward a new approach to the relationship between theory, research and clinical practice - while still relating in meaningful ways to a broad range of existing work. Music therapy in the UK is a broad and expanding profession, encompassing a notably diverse range of theoretical approaches and practical applications. Such approaches and applications may use, for example, free improvisation, songwriting, or listening- and response-based techniques. And there is a range of specialised literature dealing with each of these areas, as well as a number of broader, overarching studies dealing with the overall field. Within the tradition of a model based largely on musical improvisation, which has been my own practice, the use of pre-composed songs might be regarded as unusual, perhaps even as anomalous. But I hope to show that it is in fact a useful and profoundly revealing process which is firmly rooted in an ethos of active musical participation. This thesis examines the use of songs in forensic pyschiatric music therapy for women, and offers this use of song as an alternative model of musical creativity within such a context. My research project as a whole is approached from the philosophical framework of behaviourism; and the thesis is written from a 'social constructionist' perspective of the creation and enactment of self-identity, grounded in a belief that life and music become inextricably associated during the constructive process. As its major source of evidence, the study presents a longitudinal case study of one woman over the entire three-year course of her therapy. Her song choices are examined according to an adaptation of therapeutic narrative analysis, framed within a chronological view of events. Music remains a central focus and presence within the study, both as a vehicle for song texts and as a therapeutic medium in its own right; and the archetype of sonata form is invoked as a structural framework for analysis and the production of meaning. Images and bi-polar constructs are abstracted from the songs and their metaphoric content interpreted in the context of known life experiences and the progress of the therapy sessions themselves. Results reveal a strong use of generative metaphoric imagery which is humanized yet also, crucially, emotionally decentred or depersonalized. This then leads to assertions of a process of 'Music Therapy by Proxy'. There are also clear indications of the relevance of the passing of time as a dimension of the therapeutic process, resulting in a pattern which I term 'Reverse Chronology'. The songs which were used during the course of therapy provide words, imagery and, in addition, a musical substrate or continuum which 'carries' the textual-and-visual components but also has its own expressive and therapeutic importance. All these elements have their place and function within the therapy as described. Song as a concept is further defined as a transformative or metamorphic process enabling the expression of deeply personal, often unheard or 'suppressed' voices. Emerging from this process, seven core themes are indentified. These then provide the focus for a wider discussion concerning the significance of song and imagery for women in forensic therapy, and the issues which arise from them. Finally, suggestions are made for music therapy practice and for possible new directions in future research.

This study explored the interaction between persons and songs in therapy, and was described according to the ideas of Social Constructionism and the Narrative Approach (Freedman & Combs, 1996; Gergen, 1985, 1994; Hoyt, 1998). The meanings around songs and the therapist-client interaction were explored. A flowing process evolved that allowed for new ideas to become part of the therapeutic conversations (Anderson & Goolishian, 1988; Hoffman, 1994). The research was qualitative as befits the above-mentioned epistemology. Therapeutic conversations evolved with a single client, in which songs and music were used to explore her life story. An unstructured interview was conducted to explore the therapeutic process underlying the incorporation of songs in therapeutic conversations. The hermeneutic method of analysis was employed to identify themes and meanings that encompassed the research participant's life story as well as the therapeutic process in which songs were utilised to facilitate therapeutic dialogues. It was found that the themes elicited in this study reflected the themes discussed in the literature. The following themes underlying the therapeutic process of songs were identified: songs created an emotional release; they elicited memories, feelings and imagery; they facilitated relaxation, coloured relationships and provided a new skill. This exploration of the themes allowed for rich descriptions of the participant's story and the therapeutic conversations, to emerge. / Clinical psychology / M.A. (Clinical psychology)

Afrikaans text / Die doel van hierdie studie was om vas te stel of musiek in terapie gebruik kan word deur ' opvoedkundige sielkundiges, asook wat die verskil is tussen musiekterapie en die terapeutiese aanwending van musiek deur ander terapeute. Vir die verkenning van die terapeutiese gebruik van musiek is 'n literatuurstudie gedoen oor die fenomeen musiekterapie, asook oor die terapeutiese gebruik van musiek. Die twee verskynsels is met mekaar vergelyk om ooreenkomste en verskille aan te dui. Die empiriese studie het aan die lig gebring dat musiek op baie verskillende maniere in terapie gebruik kan word en gekombineer kan word met ander hulpmiddels. Die emosionele en kognitiewe funksie wat musiek vervul is met die studie uitgewys. Musiek help byvoorbeeld om 'n emosionele klimaat te skep wat effektief in terapie gebruik kan word; en musiek kan 'n mens se denke stimuleer. Aanbevelings is ook gegee vir die terapeutiese gebruik van musiek. / The object of the study was to determine if and how music can be used in therapy by the educational psychologist. The further aim was to determine the difference between music therapy and the therapeutic application of music by other therapists. In the exploration of the therapeutic use of music, a comparative study was done between music therapy as phenomenon and the therapeutic use of music, where similarities and differences were outlined. The empirical study showed that music can be used in different ways in therapy and can also be combined with other therapeutical aids. According to this study, music can fulfill an emotional and a cognitive roll. A pleasant emotional climate for therapy can be created and stimulate the client's thoughts. With this study it was possible to give guidelines for therapeutic applications of music. / Psychology of Education / M. Ed. (Voorligting)

This study explored the interaction between persons and songs in therapy, and was described according to the ideas of Social Constructionism and the Narrative Approach (Freedman & Combs, 1996; Gergen, 1985, 1994; Hoyt, 1998). The meanings around songs and the therapist-client interaction were explored. A flowing process evolved that allowed for new ideas to become part of the therapeutic conversations (Anderson & Goolishian, 1988; Hoffman, 1994). The research was qualitative as befits the above-mentioned epistemology. Therapeutic conversations evolved with a single client, in which songs and music were used to explore her life story. An unstructured interview was conducted to explore the therapeutic process underlying the incorporation of songs in therapeutic conversations. The hermeneutic method of analysis was employed to identify themes and meanings that encompassed the research participant's life story as well as the therapeutic process in which songs were utilised to facilitate therapeutic dialogues. It was found that the themes elicited in this study reflected the themes discussed in the literature. The following themes underlying the therapeutic process of songs were identified: songs created an emotional release; they elicited memories, feelings and imagery; they facilitated relaxation, coloured relationships and provided a new skill. This exploration of the themes allowed for rich descriptions of the participant's story and the therapeutic conversations, to emerge. / Clinical psychology / M.A. (Clinical psychology)

Afrikaans text / Die doel van hierdie studie was om vas te stel of musiek in terapie gebruik kan word deur ' opvoedkundige sielkundiges, asook wat die verskil is tussen musiekterapie en die terapeutiese aanwending van musiek deur ander terapeute. Vir die verkenning van die terapeutiese gebruik van musiek is 'n literatuurstudie gedoen oor die fenomeen musiekterapie, asook oor die terapeutiese gebruik van musiek. Die twee verskynsels is met mekaar vergelyk om ooreenkomste en verskille aan te dui. Die empiriese studie het aan die lig gebring dat musiek op baie verskillende maniere in terapie gebruik kan word en gekombineer kan word met ander hulpmiddels. Die emosionele en kognitiewe funksie wat musiek vervul is met die studie uitgewys. Musiek help byvoorbeeld om 'n emosionele klimaat te skep wat effektief in terapie gebruik kan word; en musiek kan 'n mens se denke stimuleer. Aanbevelings is ook gegee vir die terapeutiese gebruik van musiek. / The object of the study was to determine if and how music can be used in therapy by the educational psychologist. The further aim was to determine the difference between music therapy and the therapeutic application of music by other therapists. In the exploration of the therapeutic use of music, a comparative study was done between music therapy as phenomenon and the therapeutic use of music, where similarities and differences were outlined. The empirical study showed that music can be used in different ways in therapy and can also be combined with other therapeutical aids. According to this study, music can fulfill an emotional and a cognitive roll. A pleasant emotional climate for therapy can be created and stimulate the client's thoughts. With this study it was possible to give guidelines for therapeutic applications of music. / Psychology of Education / M. Ed. (Voorligting)

Une recherche qualitative à partir de l’étude d’un cas de groupe retrace le travail clinique tel qu’il est « en train de se faire » dans un dispositif de musicothérapie analytique de groupe, sur le terrain « ordinaire » d’un hôpital de jour accueillant des sujets adultes souffrant de troubles psychiatriques invalidants. Plusieurs voix, psychanalytiques, musicologiques et philosophiques, offrent une trame conceptuelle pour interroger la rencontre et le jeu avec les sons au sein du groupe, et la façon dont le jeu contribue à restaurer les processus de symbolisation primaire particulièrement empêchés pour les sujets que nous accueillons. Dans le cadre-dispositif ouvrant des potentialités de transferts multidirectionnels et d’associativité dans une pluralité de langage, les éléments relevés dans l’observation du cheminement clinique du groupe sont le support d’un modèle d’évaluation, au sens d’extraire de la valeur, du jeu symbolisant. De la matérialité sonore et musicale, appel à la sensori-affectivo-motricité, jusqu’aux sens potentiels de la mise en mots se déploie le cheminement mouvant de mise en forme et en scène du groupe, des sujets dans les liens de groupe. Ce cheminement ouvre sur la construction de la réflexivité psychique au cœur des processus de symbolisation et d’appropriation subjective de l’expérience, expérience restée jusque-là impensable, infigurable, irreprésentable. / A qualitative research from the study of a group case retraces clinical work as it « is being done » in a plan of analytic group music therapy, on the « ordinary » ground of a day-hospital that treats adult subjects suffering from invalidating psychiatric troubles. Several voices, be they psychoanalytical, musicological, or philosophical, offer a conceptual framework with which to interrogate the encounter and the play with sounds within the group, and the way in which this play contributes to the restoration of the primary symbolisation processes that are particularly impaired for the subjects we treat. In the framework that opens a potential for multidirectional transfers and for associativity in a plurality of language, the elements gathered while observing the group’s clinical thought processes are the basis of a model of evaluation, in the sense of value extraction and of symbolisation play. From the materiality of music and sound, which calls to senso-affectivo-motricity, to the potential senses of wording, a moving process of shaping and staging develops within the group and the subjects that form the group. This process opens up on the building of the psychic reflexivity that lies at the heart of symbolisation processes and of processes through which the subjects seize experience, the latter having hitherto remained unthinkable, unfigurable and unrepresentable.