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 study explores the experiences of a group of music therapy students in setting up and working at three community placements: a residential home for the mentally disabled, an HIV/Aids clinic at a state hospital and a shelter for homeless boys. The study investigates how these students made use of a Community Music Therapy framework in conducting, reflecting on and discussing the music therapy work at these placements. The research was conducted utilizing qualitative research methodology and data were in the form of three semi-structured interviews which were conducted with the six students - two from each placement. Transcriptions of the interviews were subjected to content analysis by the researcher and these findings are discussed in relation to seven categories, namely Space and Boundaries, Performance, Community Music Therapy Theory, Staff’s varying Attitudes and Involvement, Goals and Value, Logistics and Challenges, and Students’ Personal Development. Lastly three themes that emerged from the data, namely Shifting the boundaries: music therapy inside and out; Interacting with the context and Students’ development: professional and personal growth, are discussed. / Dissertation (MMus)--University of Pretoria, 2009. / gm2014 / Music / Unrectricted

Målet med denna studie var att beskriva mammors upplevelser av babyrytmik och teoretiskt förankra denna beskrivning i ett samhällsinriktat musikterapeutiskt perspektiv. Fem (5) halvstrukturerade djupintervjuer med en medellängd på 45 minuter utfördes under vintern 2012 och analyserades enligt en hermeneutisk förståelseprocess. Mammorna var i medeltal 32 år och högt utbildade.Den gemensamma glädjen i att få sjunga, leka och finnas i musik tillsammans med sitt barn och ha en gemensam hobby värdesätts högt av mammorna som alla prioriterar hobbies med musik. För en stund är det någon annan som tar över ansvaret, en ledare som skapar klara strukturer med musik. Mammorna får slappna av och njuta tillsammans med sina barn. De berättar att babyrytmiken stimulerar till att börja sjunga, sjunga oftare och sjunga längre tid med barnen samt ger dem tillåtelse och inspiration till att privat improvisera och småsjunga hemma tillsammans med sina barn. Att få se sina barn utvecklas socialt, kunna jämföra sitt eget barns utveckling med andra barns och att få vara med som en trygg boj i barnens nyfikna första möten med ett omgivande samhälle är viktiga orsaker till att mammorna deltar och fortsätter delta i babyrytmik.Resultaten tolkades utgående ifrån ett salutogent perspektiv med både anknytningsteoretiska resonemang och ett samhällsinriktat musikterapeutiskt fokus. Babyrytmik som en av barnets första trygga, glädjefyllda kontakt med en omgivande musikalisk tradition tolkades teoretiskt med hjälp av en samhällsinriktad musikterapeutisk modell som beskriver utvecklingen från musik i dyaden, i denna studie mamman och barnet, mot ett musikaliskt samhälle.Konklusionerna av denna studie blir att den teoretiska förståelsen av hur musik kan användas i arbete inom familjer och med föräldrar och barn har all potential att utvecklas. / The aim of this study was to describe mothers ́ experiences of mother-child music groups in the theoretical frameworks of community music therapy. Five (5) semi- structured interviews with a mean duration length of 45 minutes were obtained during winter 2012 and hermeneutically processed. The mothers were highly educated women with a mean age of 32 years.The mothers in the study all prioritise hobbies that include music and they highly appreciate the common joy in singing and playing with their children. The clear structure in both music and created by the leader allows the mothers to fully relax and enjoy the music with their children. The results indicate that the music group activities support the private musical improvisations in the homes. Musical group activities give the mothers opportunities to support their children in one of their first encounters with a musical society and watch the child socially develop.The results were interpreted in a salutogenetic framework, focusing on both attachment theory in a music context and community music therapy. Mother-child music groups were theoretically grasped in this study by a community music therapy model, offering a theoretical explanation to the development from a dyadic relation (mother-child) towards a musical community.The conclusions of this study indicate that the theoretical framework for understanding how music can be used among families and with parents have clear potential to develop.

Phenomenological research was conducted to explore the lived experiences of adolescents in a Children’s home who participate in a choir that is facilitated from a community music therapy perspective. The case study involved 16 weekly choir sessions, where a variety of vocalisations and interactive vocal interventions were implemented. A performance marked the end of the process, where preferred songs were performed. Fourteen adolescents residing in Bramley Children’s Home participated in the choir and the research. Qualitative data was collected through 14 semi-structured individual interviews at the end of the process. All interview transcripts were analysed through utilising interpretative phenomenological analysis. The study concluded that participation in the community music therapy choir offered the adolescents perceived meaningful intra- and interpersonal experiences. At an intrapersonal level, the participants lived experience entailed discovering their musical voices, accessing inner strength to take action both in the here-and-now and in the future as well as experiencing a healthier picture of themselves through increased self-awareness, self-esteem and self-confidence. Utilising cognitive skills and experiencing, expressing and regulating emotions were also included in the in the intrapersonal findings. In terms of interpersonal experiences, the adolescents perceived growth in relationships, improved social skills, social harmony and connection into the community. An important finding in this study that drew on a community music therapy focus is connection into the community, where the adolescents are experiencing sustaining relationships and continuous musiking within their communities. / Dissertation (MMus)--University of Pretoria, 2016. / Music / MMus / Unrestricted

This study was designed to explore the role of community music therapy in enhancing protective factors for youth at risk, which are associated with, and predictive of resilience. Resilience is understood as adaptive behaviour when faced with adversity and threats to adaptation. This qualitative research utilised a case study of six learners from Heideveld Primary School, aged nine to eleven, who participated in nine group music therapy sessions. Video recordings of the sessions and portfolio entries created by the participants were analysed by means of thematic coding and categorising. Individual, relational, community and cultural protective factors, which can enable resilience, were observed in the music therapy space and were incorporated into eight themes that offered insight into the contextually pertinent factors that can promote resilience in relation to the types of adversity faced in the Heideveld ecology. It was also explored how these factors may be enhanced in a community music therapy process. The importance of affording experiences of safety and a nurturing support system in the music therapy space, as well as the ability of interactions within musicking to evoke and enhance protective factors, are highlighted. / Mini Dissertation (MMus)--University of Pretoria, 2017. / Music / MMus / Unrestricted

The context of this research project is Eersterust, a suburb situated east of Pretoria. Eersterust is hallmarked by socio-economic contrast: While some people in the community live comfortable lives, other community-members endure poverty and hardship. Eersterust is plagued by socio-economical problems including unemployment, crime, substance abuse and gang-activity. Music Therapy was established in Eersterust in 2003 at a community-based centre called YDO (The National Youth Development Outreach). YDO facilitates the social rehabilitation of adolescents who are at risk of coming in conflict with the law or have already committed some sort of petty crime. When Music Therapy was introduced at YDO it was isolated from the rest of the organisation as well as from the broader community of Eersterust. The Music Therapist at YDO realised that she had to adapt her work in order for it to justly address the needs of the context. In the process of adaptation, Music Therapy became integrated within the organisation and currently works both with and within the broader community of Eersterust. The adaptation of the Music Therapy practice has lead to some unconventional practices of Music Therapy according to traditional Music Therapy discourse. These Music Therapy practices may be described from a Community Music Therapy angle. The aim of this research project is to analyse the narrative of the Music Therapist working within YDO/Eersterust in order to describe the practice of Music Therapy within this context from the angle of Community Music Therapy. The following research questions were addressed in this research study: <ol><li> How is Community Music Therapy at Eersterust constructed in the context of a Music Therapy narrative? </li> <li>How does the narrative draw from and contribute to the emerging field of Community Music Therapy?</li></ol> The study is conducted within a qualitative paradigm and methods of narrative analysis were used to describe the practice of Music Therapy in the context of YDO/Eersterust. The research study is data-driven and raw data consisted of a single semi-structured interview conducted with the Music Therapist working at YDO. The narrative text was transcribed, coded and categorized. From the analysis process themes emerged that indicated the primacy of the context in influencing the construction of the narrative of the Music Therapist. These themes were used to answer the two pertaining research questions. The discussion focuses on the importance of the context as it seems to impinge directly on the Music Therapy practice within the context of YDO/Eersterust. The discussion draws from Social Construction Theory to explain how Community Music Therapy is constructed within the narrative of the Music Therapist. At the same time Community Music Therapy draws from and contributes to the narrative of the Music Therapist. Certain areas of discussion were highlighted in the emerging themes and these areas are used to describe Community Music Therapy within the context of YDO/Eersterust. In this research project the Consensus Model is presented as a contrasting thinking tool to Community Music Therapy discourse. The Consensus Model describes the standardised practice of Music Therapy as a neutral and transferable therapeutic model that can be applied in a similar way in all contexts while Community Music Therapy advocates context-bound and context-specific Music Therapy work with and within communities. Community Music Therapy implies that Music Therapy is not necessarily a neutral model that can be transferred from one context to the next. Areas may exist where Community Music Therapy and the Consensus Model may present different opinions regarding Music Therapy practice. The narrative data concludes that both Community Music Therapy and the Consensus Model are constructed within the narrative of the Music Therapist. Both these models exist simultaneously in the context of YDO/Eersterust. Music Therapy in South Africa is still an emerging field of practice. Community Music Therapy may be especially relevant to South Africa as Music Therapists are increasingly called upon to work in the contexts of socio-economically disadvantaged communities, similar to Eersterust. Whilst this study may have focused only on a single community in South Africa, my hope is that it will encourage Music Therapists in South Africa to review and research Music Therapy with and within communities in South Africa. This study will also contribute to the emerging discourse of Community Music Therapy. / Dissertation (MMus (Music Therapy))--University of Pretoria, 2005. / Music / Unrestricted

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 study explored community music therapy as a psychosocial resource for persons living with HIV/AIDS at a clinic in Tshwane, South Africa. The role of community music therapy and its implications in South Africa were addressed as a second aim. A review of the literature on HIV/AIDS suggested that Sub-Saharan Africa has the most reported cases of HIV/AIDS and that persons living with HIV/AIDS may experience a lack of psychosocial resources. These psychosocial resources included inter- and intrapersonal attributes, positive mood and feelings of well-being. The data emerged from transcription of audio and video excerpts of community music therapy sessions, which included live music making and informal interviews during sessions at an HIV/AIDS clinic. These excerpts were transcribed as thick descriptions, coded and categorized to answer the research questions. The four categories were discussed as themes and supported community music therapy as a psychosocial resource for persons living with HIV/AIDS. In the broader South African context, community music therapy is a viable, inexpensive and valuable approach to re-establish community and facilitate psychosocial resources for persons living with HIV/AIDS. / Mini Dissertation (MMus)--University of Pretoria, 2009. / gm2014 / Music / Unrestricted

No description available.

This dissertation is a qualitative interview study conducted with staff and residents at Sparrow Rainbow Village, an HIV/AIDS community. The purpose of this research was to explore the perception of the role of music held by members for their community, and specifically its role in creating a sense of community, as well as to investigate the implications these perceptions might have for setting up a community music therapy project. The interviews revealed a struggle with establishing a community identity that embraced health, as well as feeling isolated from the greater community. Music was seen as a means of bringing people together both within the community and serving to bridge the gap with the wider community and in so doing, empowering both communities simultaneously. / Dissertation (MMus (Music Therapy))--University of Pretoria, 2008. / Music / unrestricted