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.

<p> Alternative education students face many interacting challenges that put them at significant risk of dropping out of school (Carver &amp; Lewis, 2010), as well as deleterious health and psychological outcomes, and intergenerational cycles of sociopolitical disadvantage (Laird, Kienzel, Debell &amp; Chapman, 2007). Despite the persistent national epidemic of school dropout, few studies have investigated treatments for alternative education students, often characterized as &ldquo;difficult to reach&rdquo; given the chronic substance abuse, low motivation, and poor attendance typical of this population (Rumberger &amp; Lim, 2008). </p><p> This study investigated the effectiveness of a novel music therapy intervention, Recorded Music Expressive Arts (RMEA), with alternative education students. The purpose of RMEA in this context was to engage students in a potentially motivating, culturally relevant treatment that satisfies identified provisions to ameliorate dropout (Kim &amp; Taylor, 2008). RMEA employs narrative therapy concepts as a framework for treatment, and integrates songwriting, music production, and recording into psychotherapy. Through the song-creation process, participants were encouraged to &ldquo;tell their story&rdquo; to re-author problem-saturated personal narratives and discover more self-affirming ways of being (White &amp; Epston, 1990). </p><p> Participants were 10 adolescent boys, age 14&ndash;18, attending an alternative education school in the San Francisco Bay Area. Ten 60-minute individual RMEA sessions were delivered twice weekly over 7&ndash;19 weeks. Pre/post data was analyzed using Vargha-Delaney&rsquo;s <i>A</i>. Large effect sizes were found for a) coping (problem focused engagement, cognitive restructuring, problem solving, and emotional expression); b) substance misuse (decreased marijuana use) and co-occurring psychological disturbances (decreased school and behavior problems); c) increased contemplation and action readiness to respond to intervention; d) behavior (decreased internalizing, behavior, learning problems, and suspension rates); and e) attendance (increased attendance for RMEA sessions and days on which RMEA was delivered). Overall, the results indicate that RMEA is a viable and effective treatment for alternative education high school students. Analysis of participant interviews and song content further support results, as well as RMEAs proposed therapeutic mechanisms of action, including narrative therapy concepts. Findings highlight the need for replication studies with larger sample sizes, inclusion of adolescent girls, and other alternative education school settings.</p><p>

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.

<p> Students with special needs are required by law to have an individualized education plan based on their unique educational needs. Special education teachers understand these needs and provide students with instructional strategies that allow them to succeed. Music has often been used to provide students with disabilities alternative ways to learn new content; however, the use of music integration therapy in the special education setting as well as its impact on the engagement behaviors on students with special needs is not widely documented in current educational research. A collective case study was used to explore how special education teachers use music integration therapy as an instructional tool for students with special needs. Four special education teachers in a large school district in a western state who have used music therapy in their interactions with students with special needs participated in the study. Each had different motivations for their use of music therapy in the classroom. The data gathered from interviews and observations revealed that each educator viewed progress for students on an individualized basis. The implications of the results of the study and their relationship to the literature are discussed. In addition, recommendations for future research are presented.</p><p>

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

One of the purposes in writing this thesis has been to present to the reader some of the guiding principles and practices which have grown outof the writer's experiences in Musical Guidance and Therapy. During the years immediately preceding the first World War, assignments as a volunteer music worker in hospitals and settlement houses in and around Boston gave the writer practical experience in such institutions as the North End Settlement House, the Home for Crippled Children, and McLean Hospital for the mentally ill. Some of the experiences provides a type of education which could not have been obtained in a college at that time, while others shocked the writer into an awareness of the conditions prevalent in institutions for the mentally and physically handicapped. However, it was service in France during World War I which gave the writer unusual opportunities to observe the restorative power of music in overseas camps and hospitals. Chapter I of this thesis provides a suggestive historical background. It indicates that music has enjoyed a long and favorable, though interrupted, history as a therapy for mental illness. It also notes that during recent decades, and especially since World War I, increasing attention has been given to this modality in therapy. Finally, it proposes that the current status of musical therapy isoneof tentative acceptance, with complete approval of the results along the lines established by Dr. Ira Altschuler, Dr. Willem Van de Wall, and A. Flagler Fultz. In Chapter II the writer will present several case studies of mental patients in a state hospital who have been treated with music over periods of time ranging from three months to three years. The concluding chaper, Chapter III, embodies in didactic form the principles, practices, and techniques which are illustrated by the case material. As such they are the writier's findings. They have grown out of many years of study and experience, and it is the writer's opinion that they provide the basis for future development in the field of musical therapy.

abstract: Despite a substantial increase of Masters of Music Therapy degree recipients between 2002 (Cohen et. al, 2002) and 2017 (American Music Therapy Association, 2017), these numbers are not paralleled among recipients of PhD degrees with music therapy emphases. Additionally, it is notable that the Master’s Level Entry (MLE) Subcommittee Report (2017) notes “lack of doctoral programs and/or doctoral level music therapy faculty needed to sustain graduate level music therapy education programs” (p.18) as a deterrent to the move to Master's-Level Entry within the music therapy milieu. This underscores the importance of doctorate-level music therapists to the profession. Could increasing the prevalence of doctorate-level music therapists help to promote advanced studies in music therapy, and in turn augment the status of music therapy education and training? The purpose of this project was to examine advanced-level music therapists’ perceived catalysts and barriers to pursuing a doctoral degree in music therapy. Incorporating the Social Cognitive Career Theory (Lent et. al, 1994) as the underlying framework, qualitative data was garnered via semi-structured interviews with advanced-practicing music therapists located in the southwestern United States. A thematic qualitative data analysis was conducted, whereby parent codes reflected key constructs of the theoretical lens and child codes were developed inductively. Interviewees highlighted advantages of pursuing a PhD including: professional status, educational growth, and opportunities to educate others. Likewise, they identified pertinent barriers pertaining to finances, narrow job market, and dominance of research foci over clinical skills. In light of these findings, a framework for a hypothetical, Southwest-based professional development seminar was developed and embedded into the SCCT context. The hypothetical program encompassed key objectives to educate participants about the key processes, benefits and drawbacks of pursuing the music therapy doctorate, and aimed to help participants develop penchants toward the pursuit of doctorate degrees. The nine modules featured discussions and interactive learning techniques, in addition to proffering individualized mentoring from music therapy doctorate recipients as a key mainstay of the program. Modules addressed the following topics: Introductions and testimonials; PhD application and funding processes; Clinical skills; Work/life/school balance; Faculty responsibilities (research, teaching and service); Mock interview/audition; and Mentorship presentations. / Dissertation/Thesis / Masters Thesis Music Therapy 2020

Sexual abuse is a traumatic event, which leaves survivors with mental, physical and emotional needs. The aim of this qualitative study was to explore whether closed group music therapy sessions could enhance self-compassion, as reported and expressed by sexual abuse survivors. The music therapy process that was conducted was designed to facilitate the three core constructs of self-compassion as researched by Kirsten Neff (2003a), namely self-kindness, common humanity and mindfulness. The study explored the experiences of six sexual abuse survivors residing at a community centre in Lavender Hill, Cape Town, South Africa. Music therapy sessions took place once a week for a period of six weeks and the main musical components of the sessions included song-writing, group singing, drumming, vocal and instrumental improvisations and relaxation. The findings emerged from the interpretive phenomenological analysis of the individual semi-structured interview transcripts and thick descriptions of excerpts of the audio recordings. From the findings of this study it was concluded that the group music therapy sessions offered sexual abuse survivors opportunities for: self-exploration, self-confidence, interpersonal connections, the experience of being supported, encouragement, enjoyment and vitality, stress relief, emotional exploration and expression, and transformation of perspectives. These findings were represented by the following three main themes; characteristics of their lifeworlds, the affordances of music therapy for the group, and the group’s experience of transformation, which are then discussed in relation to self-compassion. / Dissertation (MMus)--University of Pretoria, 2018. / Music / MMus / Unrestricted