The institutions included in this study are all maintained and controlled by the State of California. However, the music program is not outlined or prescribed by the State but is arranged by the administration of each institution. Consequently, one institution music program differs from another, and it was necessary to contact each institution in order to get the information included in this report. Since very little material is available on this subject, it was necessary to obtain most of this information first hand. The methods employed were questionnaire and correspondence, direct interviews with superintendents and musical directors, and observation. An effort was made to get a complete picture of the music situation in each institution. The Department of Institutions does not keep a record of music schedules in the various institutions and no reports concerning music are available. Direct quotations concerning the value of music were recorded in order to note the opinions of various superintendents and other authorities in charge. The superintendents and other employees concerned extended me every courtesy in their power, and co-operated to the fullest extent in making this survey.

Music-based interventions (MBI) may facilitate communication outcomes for people with aphasia (PWA; Cheever et al., 2018; Magee et al., 2017). There are few theory-based, protocolized MBIs for PWA. This study developed a transdisciplinary, theory-based, highly structured improvised singing protocol, the Music enhanced Verb Network Strengthening Treatment (MeVNeST), that is designed to enhance the Verb Network Strengthening Treatment (VNeST) (Edmond, 2016). The feasibility and the preliminary outcomes of MeVNeST were evaluated. The study involved three stages: 1) protocol development; 2) protocol testing; 3) microanalysis. In Stage 1 Standard VNeST procedures were adapted to incorporate music components based on the theoretical premises for music and language in the brain, theories of musical expectation (Lerdahl & Krumhansl, 2007), and two frameworks for music-based intervention protocol development (Robb et al., 2011; Hanson-Abromeit, 2015). The outcome was a preliminary MeVNeST protocol. In Stage 2, two phases were implemented to evaluate the effects of MeVNeST compared with VNeST, and the effect of MeVNeST alone on word retrieval and sentence production. Effect sizes were calculated for probe scores. One participant who received seven weeks of MeVNeST showed improvements in the sentence production score for the VNeST probes of the trained verbs (d=3.22). No changes were observed on the Boston Naming Test, the Verb Naming Test, and the Western Aphasia Battery and the adjective control task. Other participants did not achieve significant changes in word retrieval and sentence production. This indicates the increased duration of MeVNeST in Phase 2 was necessary to produce the desired outcomes. In stage 3, the microanalysis results revealed that patterns of music interaction, called Patterns of Musical Influence (PMI), underpinned how the key musical components in the therapists’ improvised music influenced participants’ improvised singing. Musical strategies named Structuring Strategies and Cueing Strategies clarified the therapists’ musical strategies to facilitate participants’ performance of language tasks that were difficult. The MeVNeST protocol was revised based on the findings. This study suggests that MeVNeST is a feasible treatment approach that warrants further research. Future research is needed to test the MeVNeST protocol with a larger sample, and to optimize the capacity of improvised music to support the structured language task and escalate the generative process in the training of the semantic network. / Music Therapy

This single-session feasibility trial aimed to examine the effects of Directed-Imaginal Music Psychotherapy (DIMP) on self-awareness in relation to change in adults being treated for substance use disorder. DIMP is a two-part protocol. The first part is a live music, receptive intervention in which a trained music therapist plays a specified harmony sequence on guitar accompanied by verbal guidance to promote imagery and sensory experiences in participants. The verbal guidance is based on participant-defined “Comforts” in each of their five primary senses. The music and imagery component was followed by group verbal processing to discuss physical, emotional, or cognitive changes participant’s experience and gauge an understanding of insights into treatment gained by the participants. Participants completed the Self-Awareness Outcomes Questionnaire (SAOQ; Sutton, 2016) before and after the intervention to measure possible change in self-awareness in relation to change in their recovery. The Wilcoxon signed rank test indicated statically significant improvements in self-awareness scores from 3.37 pre-test to 3.77 post-test. Fieldnotes and transcripts from audio recordings were also used in thematic analysis. Deductive themes of Insight, Mindfulness, Reflection, and Rumination were taken from Sutton’s (2016) SAOQ study. Inductive themes of Disconnection/Connection, Safety & Comfort, Independence/Isolation, and Goal Orientation emerged from the qualitative data. Feasibility for implementation was considered through the lenses of adoption, reach fidelity, and sustainability (Pearson et al., 2020). The study found that DIMP is feasible for implementation (Bowen et al., 2009). Considerations for future research and clinical practice were identified. / Music Therapy

The purpose of this phenomenological study was to explore the musical and inner human processes that emerged in the lived experience of solo and joint free improvisation from the viewpoint of the improviser, also exploring how those processes related to the improviser’s world. The study included eight adult participants, musicians and non-musicians (amateurs), who varied in their improvisational experience as well as in age, personal and professional background. Each participant was engaged in one solo and one joint improvisation (with the researcher) on their chosen musical instruments. Improvisations were followed by an in-depth semi-structured interviews involving immediate impressions of the experience as a whole, followed by listening to the recorded improvisations where participants identified significant musical moments The synthesis of verbal and musical data revealed five interconnected, non-linear phases of the improvisers’ movement toward the attainment of creative freedom. Those were: Acceptance and Trust (letting go of expectations and judgment), Adaptation (moving through uncertainty with self and with another), Emergence (taking individual and social risks toward discovery), Transcendence (experiencing flow and moments of sync) and Expansion (experiencing the joy of individual and mutual creation). These emerged phases portrayed various musical and extra musical dimensions of the improvisers’ way of thinking, searching, acting, being and feeling in and through sound making- from the very beginning to the ending phases of their solo and joint experiences.   Reflecting humanistic-existential thinking and other relevant literature, the findings of the study showed a direct link between individuals’ involvement in improvisation and the development of courage, intentionality, adaptability, vulnerability, and empathy within meaningful musical engagement as essential qualities toward authentic growth. Participants’ musical experiences also showed a link between improvisation and life meaning. They specifically discussed issues of letting go of judgment, developing flexibility, taking personal and interpersonal risks and practicing mindful ways of listening to self and others. Applications of improvisation were discussed in the context of psychotherapy, suggesting a protocol on the conditions, practices and emerging meanings within clinical improvisation work. / Music Therapy / Accompanied by one compressed .rar file.

The purpose of this randomized controlled trial was to determine the effects of pre-transplant music therapy on distress, pain, anxiety, mood, quality of life (QOL), and pain medication use during the preparation period for hematopoietic stem cell transplant (HSCT). Distress, the primary outcome, was measured via the Distress Thermometer. QOL was assessed with the Functional Assessment of Cancer Therapy – General 7 (FACT-G7). Participants self-rated pain and anxiety on Numeric Rating Scales (NRS) and mood on the Rogers Happy/Sad Faces Scale. Participants randomized to the experimental group received three music therapy sessions prior to stem cell infusion day. Repeated measures analysis of variance (RMANOVA) was employed to detect differences between groups for distress and QOL, and t-tests were used to detect differences between groups for pain, anxiety, and mood. Data collection is ongoing and will conclude when 50 patients have been accrued. This report presents interim data analysis, with complete data available for 23 participants. The experimental group had higher distress that was statistically significant at baseline and on Day -1. Music therapy did not affect distress but showed other limited beneficial effects. There were no differences between groups at any individual time point for pain, anxiety, or mood. At all three time points, decreases in anxiety from pre-session to post-session assessment were statistically significant in the experimental group. In the first and third music therapy session, differences between pre- and post-session mood scores were statistically significant in a positive direction. Differences in pain medication use could not be calculated because too few participants required pain medication. Although music therapy did not affect the primary outcome of distress, the positive short-term effects on anxiety and limited positive effects on mood are important to acknowledge. The small sample size likely contributed to the lack of findings on distress, although the longitudinal assessment of this outcome may have also been a factor. This study provides an initial understanding of how music therapy may be effective on distress and other variables during the pre-transplant hospitalization period for patients undergoing allogeneic HSCT, as it is the first research study to examine this treatment phase. There are few music therapy research studies with patients undergoing HSCT, which leaves many options for future research. It would be worthwhile to explore any short-term effects of music therapy on distress and QOL, as well as longitudinal effects on anxiety and mood. Optimal music therapy session duration and frequency during the pre-transplant hospitalization period remains unknown. Research opportunities exist during other phases of HSCT treatment, such as the out-patient pre-transplant period, duration of hospitalization, or post-transplant follow up. Understanding the effects of music therapy for patients suffering from Graft-Versus-Host Disease could also be beneficial as this is often debilitating and can be life-threatening. Finally, there is a need for qualitative music therapy studies with this patient population, as none currently exist but could provide additional insight for future research studies as well as clinical practice. / Music Therapy

The aim of this qualitative study was to conduct a naturalistic examination of the process of a music therapy group with preverbal individuals on the autistic spectrum. The study involved a music therapy treatment process, based on music-centered music therapy and music psychotherapy, that occurred in 16 sessions over a period of approximately four months. The study investigated the nature of the clinical process, the elements that characterized the intrapersonal and interpersonal dynamics of the group, and the way participants engaged with and utilized the music in their intrapersonal and interpersonal dimensions. The research design was one originally developed by Smeijsters and Storm (1996) in which the researcher functions in an ongoing consultative role to the therapists as the therapy process proceeds. The study investigated and discussed the advantages and disadvantages of Smeijsters and Storm’s (1996) model. The analyses of the 16 sessions revealed that all the studied clients were able to operate, in terms of intra-relationship, according to Greenspan and Wieder’s (2006) first developmental stage: they demonstrated interest, curiosity, and initiative. In terms of inter-relationship, they were able to operate according to Greenspan and Wieder’s (2006) developmental second stage: they engaged and established relationship with others. It was concluded that music had a relevant role in the process of assessing, treating, and evaluating the individuals in the group. / Music Therapy

The purpose of this study was to examine the ways in which the academic and professional experiences of Black people in American music therapy reflect current attitudes within the field towards diversity and cultural awareness, and how understanding those experiences can lead to enhanced, culturally sensitive practice. An arts-based narrative inquiry methodology using poetry was employed as a means to understand the experiences of Black people in the field through artistic forms that invite readers to enter the affective worlds of the participants. A total of 10 music therapy students, clinicians and educators participated in open-ended, semi-structured interviews. Transcripts of these interviews were analyzed for thematic material as well as to provide content for poems in the participants’ voices that described their experiences. Additionally, the researcher created poems responding to each participant that reflected on aspects of the interactions, content and sub-text of the interviews. All poems were analyzed for thematic material. That material was compared with previously derived themes out of which seven main themes emerged. Those themes are: things and people are not as they seem; being the only one/one of a few; self-definition versus being defined by others; adding value to the field; dealing with the status quo; calling for greater cultural awareness, acceptance and equality; and importance of support. Findings indicated that participants did not feel as if they fully belonged in the profession and that the music therapy community inconsistently recognized and addressed the need for diversity, cultural awareness and cultural sensitivity. Implications for music therapy training and practice, along with recommendations for the field and future research are also presented. / Music Therapy

The pain relieving efficacy of music listening combined with vibrotactile cutaneous stimulation was determined. Music with mechanical vibration (30min. session; average amplitude of 26μm; frequency range of 60-600Hz.) was applied to subjects with rheumatoid arthritis using the Music Vibration Table (MVT). Scores from pain relief visual analogue scales (VAS) and McGill Pain Questionnaires (MPQ) were compared to groups with music alone and placebo. ANOVA and post hoc analysis indicated that VAS scores from music with vibration were significantly greater than music alone or placebo. MPQ scores also indicated larger percentages of change in pain perception for the music with vibration condition. However, subjects receiving music alone showed a large percentage of change on the affective dimension of the MPQ. This investigation supports the application of music with a controlled, measurable music vibration for the relief of pain. The results of this study warrant further evaluation and development of treatment protocols using music and music vibration.

abstract: ABSTRACT A survey of board-certified music therapists who identified themselves as self-employed was conducted to examine current methods of marketing related to planning, positioning, promotion, and implementation within a music therapy private practice or contracting model, as well as identify trends in marketing methods as compared to prior research. Respondents (n=273) provided data via online survey as to current marketing practices, assessment of personal marketing skills, and views on marketing's overall role in their businesses. Historical, qualitative, and quantitative distinctions were developed through statistical analysis as to the relationship between respondents' views and current marketing practices. Results show that self-employed music therapists agree marketing is a vital part of their business and that creating a unique brand identity is necessary to differentiate oneself from the competition. A positive correlation was identified between those who are confident in their marketing skills and the dollar amount of rates charged for services. Presentations, websites, and networking were regarded as the top marketing vehicles currently used to garner new business, with a trend towards increased use of social media as a potential marketing avenue. Challenges for respondents appear to include the creation and implementation of written marketing plans and maintaining measurable marketing objectives. Barriers to implementation may include confidence in personal marketing skills, time required, and financial constraints. The majority of respondents agreed that taking an 8-hour CMTE course regarding marketing methods for self-employed music therapists would be beneficial. / Dissertation/Thesis / M.M. Music Therapy 2014

This research study explored the impact of group music therapy at a school for intellectually impaired learners in Namibia. The research project generated qualitative data through individual interviews of two teachers at a school for intellectually impaired learners. Interviews were conducted with each teacher before and after participating in ten group music therapy sessions with their learners. The data was compared and discussed in terms of the teachers’ experience of the impact of group music therapy on (i) their perceptions of their learners and how this influenced their teaching approach, and (ii) their perception of music therapy as a profession. Results generated from the interviews indicated that, through participation in music therapy sessions, learners experienced and explored their individual capabilities through the medium of music. Teachers observed their learners’ potential in new areas and in this way obtained a more holistic view of their learners. As a result of noting learners’ diverse abilities, teachers also adapted their teaching approaches to work in a more learner-centred way. This complemented their classroom approach based on the Namibian educational policy of learner-centred education in which learners’ individual competencies are to be developed, requiring teachers’ sensitivity towards their learners’ needs and abilities. Findings of this study further indicated a more in-depth understanding of music therapy as an intervention by the teachers after participating in sessions with their learners. This suggests that first-hand experience provides an effective way of understanding the music therapy profession and the possibilities that it may hold in a special school for intellectually impaired learners. Findings further highlighted some challenges that may need to be overcome when implementing a music therapy programme in a special school. Copyright / Dissertation (MMus)--University of Pretoria, 2011. / Music / unrestricted