Made available in DSpace on 2016-04-29T13:31:16Z (GMT). No. of bitstreams: 1 Diego Azevedo Godoy.pdf: 643503 bytes, checksum: 3cc6bce153668e98efdf4b64cfdcb012 (MD5) Previous issue date: 2015-03-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research is intended to contribute to the study of metamorphosis processes and emancipatory movements, we seek to understand the formation and the development of professional identity of the music therapist, what are the possible dialectical movements of regulation / emancipation and the relations of recognition of professional identity, using the concept of identity developed by the theory of Ciampa (2007) and the theoretical assumptions of the nucleus of Study and Research in Identity Metamorphosis (NEPIM). Appropriating fundamentally of the conception of the syntagma: Identity-Metamorphosis-Emancipation, to develop a theoretical analysis of semi-structured interview of the subject based on the methodological foundation of the life history narrative. Since the main aspect of identity to be thorough in this research is in the dimension of recognition, we intend to study the relationship that the recognition of professional identity has with the recognition of personal identity, exploring collective identity and individual identity issues based in concepts such as: generalized other in Mead (1973), paper identity, identity of self in Habermas (1983), identity politics and political identities in Goffman (1975) / Ciampa (2002), and legal recognition and social esteem in Honneth (2003). After exposure of the literature review, the deepening on the assumptions of identity theory, and the methodological analysis of the interview, it is intended with the final considerations present data completed on the relationship that the recognition order occupies in the identity of the music therapist and the meaning attributed the same to relate their personal identity and their professional identity / A presente pesquisa tem como intenção contribuir com os estudos dos processos de metamorfose e os movimentos emancipatórios, procura-se compreender a constituição e o desenvolvimento da identidade profissional do Musicoterapeuta, quais são os possíveis movimentos dialéticos de regulação / emancipação e as relações de reconhecimento da identidade profissional, utilizando-se do conceito de identidade elaborado pela teoria de Ciampa (2007) e dos pressupostos teóricos do Núcleo de Estudos e Pesquisa Identidade Metamorfose (NEPIM). Apropriando-se fundamentalmente da concepção do sintagma: Identidade-Metamorfose-Emancipação, para elaborar uma análise teórica de entrevista semi-estruturada do sujeito, com base na fundamentação metodológica da narrativa de história de vida. Visto que o principal aspecto da identidade a ser aprofundado nessa pesquisa está na dimensão do reconhecimento, pretende-se estudar a relação que o reconhecimento da identidade profissional possui com o reconhecimento da identidade pessoal, explorando questões de identidade coletiva e de identidade individual, fundamentando-se de conceitos como: outro generalizado em Mead (1973), identidade de papel, identidade do eu em Habermas (1983), políticas de identidade e identidades políticas, em Goffman (1975) / Ciampa (2002), reconhecimento jurídico e estima social em Honneth (2003). Após a exposição da revisão de literatura, o aprofundamento sobre os pressupostos da teoria da identidade e a análise metodológica da entrevista, destina-se com as considerações finais apresentar os dados concluídos sobre a relação que a ordem do reconhecimento ocupa na identidade do Musicoterapeuta e o sentido atribuído pelo mesmo ao relacionar sua identidade pessoal e sua identidade profissional

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-18T12:06:00Z No. of bitstreams: 1 Maristela Pires da Cruz Smith.pdf: 3867891 bytes, checksum: 39a06e9c42e0bd5115746d7cac03b09e (MD5) / Made available in DSpace on 2017-07-18T12:06:00Z (GMT). No. of bitstreams: 1 Maristela Pires da Cruz Smith.pdf: 3867891 bytes, checksum: 39a06e9c42e0bd5115746d7cac03b09e (MD5) Previous issue date: 2017-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The holistic view of man – man as a social being – suggests that rehabilitative actions, applied to patients with physical disablement – such as limbs amputation – evidence efficacy, resulting in improvement and faster readaptation of the person to new ways of “being part of the world”, even when experiencing the social stigma of being a “different person”. This study explored the epistemological presuppositions of the Critical Social Psychology, which were demonstrated through Music therapy techniques. It was expected that the practice of Music therapy sessions could facilitate the expression of the subject’s internal music, whose content was recorded by means of words, subsequently transformed into singing words and then into music composition. It embraced the joint participation of the persons involved in the clinical work, that is between the researcher (author of this project) and each patient, viewed individually, since it involved a participatory action research. The speech analysis of the narratives of the life stories was based on the categories that substantiated Critical Social Psychology in the study of man: activity, consciousness and affectivity – the category “identity” spans those cited – and interpreted using Music therapy techniques. The recordings entered were based on patients’ sonorous-musical behavior observations, applying the “Recording Model of Sonorous-Rhythmic-Musical, Body-Vocal and Behavioral Reactions” (Smith, 2002), not only for the objective registration, but also for the subjective musical interpretations, with “the identity as metamorphosis” being the main theoretical reference (Ciampa, 1977). The research is qualitative. The subjects were submitted to individual clinical processes in Music therapy, which sought to lead them to attribute new meaning to their worldview through the acquisition of new current characters, added to the past and with future and emancipatory life projects. “Giving meaning to the future and, retrospectively, to the past, translates into re-interpreting them”. In this way, the present could acquire meaning and have new possibilities (Ciampa, 1998, p.105). In this investigation, themes that involved “exclusion”, “inclusion” and “reinclusion” were also tackled, due to the fact that they are deemed to be issued of identity policies / A visão de totalidade do homem - homem como ser social - sugere que as ações reabilitadoras, aplicadas a pacientes acometidos por síndromes que os incapacitam fisicamente - como amputações de membros do corpo - mostram-se eficazes resultando numa melhora, e mais rápida readaptação do sujeito, a novas formas de ‘estar no mundo’, mesmo vivenciando um estigma social de “pessoa diferente”. No estudo em questão trabalhou-se com os pressupostos epistemológicos da Psicologia Social Crítica, que foram demonstrados por meio de técnicas da Musicoterapia, pois se esperava que a prática de sessões de musicoterapia poderia facilitar a expressão da música interna dos sujeitos, conteúdo este narrado por meio de palavras, que foram transformadas em palavras cantadas e, posteriormente, em canções compostas. A participação dos envolvidos no trabalho clínico foi conjunta, isto é, entre a pesquisadora, autora deste projeto, e cada paciente participante, atendido individualmente, já que se tratou de uma pesquisa-ação-participativa. As análises de discurso das narrativas de histórias de vida, foram feitas com base nas categorias que fundamentam a Psicologia Social Crítica no estudo do homem: atividade, consciência e afetividade - sendo que a categoria “identidade” comporta as três citadas - e interpretadas com uso de técnicas da Musicoterapia. Os registros foram feitos a partir de observações do comportamento sonoro-musical dos pacientes, aplicando-se o “Modelo de Registro de Reações Sonoro-Rítmico-Musicais, Corpóreo-Vocais e Comportamentais” (Smith, 2002), tanto para o registro objetivo, quanto para as interpretações musicais subjetivas, tendo como referência teórica principal a ‘identidade como metamorfose’ (Ciampa, 1977). A pesquisa tem caráter qualitativo. Os sujeitos foram submetidos a processos clínicos individuais em musicoterapia, com a finalidade de levá-los a ressignificarem suas visões de mundo, a partir da aquisição de novas personagens do presente, somadas ao passado e com projetos de vida futuros e emancipatórios. “Dar sentido [ao] futuro e, retrospectivamente, ao passado, significa reinterpretá-los”. Com isso, seu presente também pôde adquirir sentido e ter novas possibilidades (Ciampa, 1998, p.105). Nesta investigação também foram discorridos temas que envolvem “exclusão”, “inclusão” e “reinclusão”, por se entender que estas são questões de políticas da identidade

Permission has been gained from Children’s Rehabilitation Centre, Minsk and from the relevant authorities in Belarus to use the name of the Centre in this thesis. This research explores the principal meeting points and tensions, for practitioners at Children’s Rehabilitation Centre Minsk, between Winnicott’s theories of the holding environment (1960) and play (1971), and current classroom practice with children with complex needs based on Vygotsky’s theory of defectology. It considers whether and in what ways those practitioners are able to assimilate Winnicott’s theories, and their usefulness in supporting classroom-based work with children with complex needs. Finally, the research explores perceived changes in relationships between staff and children arising from this experience, in accordance with CRC’s self-identified need for support in this area. A mixed-methods design was adopted, employing qualitative and quantitative research methods. Winnicott’s theories provide the framework for the development of a new evaluation instrument. This gives the theoretical structure for a specifically designed staff development programme, integrating teaching, experiential work and practice-based sessions, which was central to the fieldwork at CRC. Eight staff participants evaluated their usual musical interaction with a child with complex needs (pre-intervention). Following engagement with the staff development programme (intervention), participants undertook ten individual music sessions with the same child (post-intervention). Sessions were filmed, and two self-chosen extracts pre- and post-intervention were self-rated against the descriptors of the evaluation instrument. Participants then reflected on the experience with the child in interviews. To provide triangulation, the same 16 video extracts were randomised, and then rated in the same way by 16 UK music therapists in an online study. Thematic analysis of data shows that the experience of Winnicott’s ‘holding’ in the learning process enabled participants to attune to, and empathise with the child. Quantitative analysis shows consequent adaptation to the child. It is concluded that Winnicott’s theories are accessible, relevant and applicable within classroom practice at CRC, to support the establishment and development of positive relationships between staff and children.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-10-14T21:37:56Z No. of bitstreams: 2 Dissertação - Graziela França Alves Panacioni - 2012.pdf: 1418695 bytes, checksum: f28499603cc15ba3137713a5a8457b8f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-10-16T18:19:35Z (GMT) No. of bitstreams: 2 Dissertação - Graziela França Alves Panacioni - 2012.pdf: 1418695 bytes, checksum: f28499603cc15ba3137713a5a8457b8f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-16T18:19:35Z (GMT). No. of bitstreams: 2 Dissertação - Graziela França Alves Panacioni - 2012.pdf: 1418695 bytes, checksum: f28499603cc15ba3137713a5a8457b8f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2012-03-31 / Stress is a part of people’s daily lives and is influenced by many factors. Entering academic life can increase stress levels and generate physical and/or psychological symptoms that affect students’ quality of life and health. The aim of this research, which used qualitative and quantitative methodology, was to investigate the effect of music therapy in stress management for a group of undergraduate and graduate students and investigate the effect of music therapy on the quality of life of these subjects. We included undergraduate and graduate students at UFG, aged 18 years and older, who showed some level of stress on Lipp’s Stress Symptoms Inventory - LSSI (Lipp, 1996),. The subjects were referred to the research program through UFG’s Saudavelmente Program linked to the Social Service Division of PROCOM – the Office of the Dean of Academic Affairs, after approval by the university’s Ethics Committee. Qualitative data were collected using socio-demographic questionnaires, music therapy forms, semi-structured interviews, reports and audios and videos of the sessions. LSSI and WHOQOL-Bref (for assessment of quality of life), were used for collecting quantitative data. Both were administered by a psychologist involved in the research before and after the music therapy sessions. We established a closed group of nine students who participated in ten music therapy sessions lasting from sixty to ninety minutes and used the musical experiences described by Bruscia (2000). In the music therapy process, it was possible to work on strategies for coping with stress such as increasing self-esteem, decreasing anxiety, time management, life goal setting and improving intra-and interpersonal relationships. For music therapy sessions, songs related to the participants’ sound and musical identity were used. Music therapy analysis of the sessions was carried out leading to a discussion from the phenomenological point of view of the therapeutic process which went on, excerpts from interviews and the quantitative results. The results show that music therapy can contribute to health promotion, stress management and to an improvement in students’ the quality of life. In conclusion, the participation of a music therapist in multidisciplinary programs for students can help build a healthier university. / O estresse está inserido no cotidiano das pessoas e é influenciado por multifatores. O ingresso na vida acadêmica pode aumentar o nível de estresse e gerar sintomas físicos e/ou psicológicos que afetam a qualidade de vida e a saúde dos estudantes. Esta pesquisa, com metodologia quali e quantitativa, teve como objetivo investigar o efeito da Musicoterapia no controle do estresse de um grupo de graduandos e pós-graduandos e verificar o efeito da Musicoterapia na qualidade de vida desses sujeitos. Foram incluídos graduandos e pós-graduandos da UFG, com idade acima de 18 anos e que, após a aplicação do Inventário de Sintomas de Stress - ISSL (Lipp, 1996), apresentaram algum nível de estresse. Os sujeitos foram encaminhados para a pesquisa através do Programa Saudavelmente da UFG, vinculado à Coordenação de Serviço Social da PROCOM – Pró-Reitoria de Assuntos Acadêmicos, após aprovação do Comitê de Ética da universidade. Os instrumentos para a coleta de dados qualitativos foram: questionários sócio-demográficos, fichas musicoterápicas, entrevistas semi-estruturadas, relatórios, áudios e vídeos das sessões. Para a coleta de dados quantitativos foram utilizados o ISSL e o WHOQOL-Bref (para avaliação da qualidade de vida), ambos aplicados pela psicóloga colaboradora da pesquisa, antes e após os atendimentos de Musicoterapia. Foi estabelecido um grupo fechado de nove acadêmicos, que participaram de dez sessões de Musicoterapia, com duração de sessenta a noventa minutos, sendo utilizadas as experiências musicais descritas por Bruscia (2000). No processo musicoterapêutico foi possível trabalhar estratégias de enfrentamento ao estresse, tais como: fortalecimento da auto-estima, diminuição da ansiedade, organização do tempo, definição de metas de vida e melhora nas relações intra e interpessoais. Para as sessões de Musicoterapia utilizou-se músicas relacionadas à identidade sonoro-musical dos participantes. Realizou-se a análise musicoterapêutica das sessões e conduziu-se a discussão, tendo em vista a abordagem fenomenológica e relacionando o processo terapêutico desenvolvido, as falas apreendidas das entrevistas e os resultados quantitativos obtidos. Os resultados evidenciam que a Musicoterapia pode contribuir para a promoção da saúde, controle do estresse e para a melhoria da qualidade de vida dos acadêmicos. Conclui-se que a inserção do musicoterapeuta em programas multiprofissionais voltados para o atendimento de acadêmicos pode colaborar para a construção de uma universidade mais saudável.

Neste estudo foram investigadas as imagens mentais decorrentes da audição musical erudita em mulheres com dor crônica músculo-esquelética. Noventa mulheres divididas em três grupos com diagnósticos de fibromialgia, lesão por esforços repetitivos/doenças osteoarticulares relacionadas ao trabalho (LER/DORT) e afecções relacionadas à coluna vertebral foram submetidas à audição individual de três peças musicais (Ravel Música A; Wagner Música B e diversos trechos agrupados num Mix Música C). As pesquisadas foram divididas em três sub-grupos que ouviram as seqüências ABC; BCA e CAB. Os dados sócio-demográficos foram obtidos por meio de entrevista e a intensidade da dor foi avaliada pela escala numérica verbal (0-10) antes e após a audição de cada peça musical. As imagens mentais foram categorizadas simbolicamente mediante análise de desenhos realizados durante cada audição e seus respectivos relatos verbais. A intensidade da dor mais elevada foi observada no grupo de fibromialgia, que apresentou, também, menor número de desenhos. Os três grupos apresentaram redução estatisticamente significativa dos escores de intensidade da dor ao final da audição musical (p<0,001), não associada à etiologia, à utilização ou não de medicamentos, à preferência musical ou à seqüência musical ouvida. Menor redução da intensidade da dor foi observada somente para o Mix no grupo de coluna. As imagens mentais não diferiram quantitativamente, entre Ravel e Wagner, nem simbolicamente para as principais categorias observadas. Potencial evocativo musical diferenciado foi observado no que se refere às sensações de desprazer entre Ravel e Wagner, não sendo observado para as reações de prazer. O Mix apresentou resultados simbólicos e estéticos, quantitativamente inferiores em relação a Ravel e a Wagner, com predomínio de imagens descritivas. A forma e conteúdo musicais se relacionaram à produção de imagens e o efeito terapêutico observado, sugerindo, portanto, que análises estruturais, simbólicas e estéticas podem contribuir para a compreensão e utilização da música pela Enfermagem. / In this study, mental images originating from classical music listening in women with muscle skeleton chronic pain. Ninety women divided in three groups with fibromyalgia diagnosis, repetitive strain injury RSI/osteoarticular diseases related to (RSI/DORT) and diseases related to the spinal column were submitted to individual listening of three musical pieces (Ravel-Music A; Wagner - Music B, and several gathered in Mix mode - Music C). The research was divided in three subgroups that listened to the sequences ABC, BCA, and CAB. The socio-demographic data have been obtained by interview and the intensity of pain has been evaluated by the verbal numeric scale (0-10) before and after the listening of each musical piece. The mental images have been symbolically ranked by analysing the drawings during each listening and their respective verbal reports. The intensity of heavier pain has been observed in a group of fibromyalgia that showed the smallest number of drawings too. The three groups presented a statistic significant decrease of the pain intensity scores at the end of the musical listening (p<0,001) not associated to etiology, if there was the use of drugs or not, the musical preference or musical sequence listened. Lower decrease of pain intensity has been noted only for Mix in the column group. The mental images did not differ in quantity, between Ravel and Wagner, neither symbolically for the major categories observed. Evocative musical potential has been noted concerning the unpleasant sensations between Ravel and Wagner, and not observed for pleasure reactions. The Mix has shown lower results in quantity in relation to Ravel and Wagner, both symbolically and aesthetically, with predominance of descriptive images. The musical form and content related to the production of images and the observed therapeutic effect, therefore, suggests that aesthetic and symbolic structural analyses may contribute to the understanding and use of music by Nursing.

Musicoterapia é a ciência que utiliza elementos sonoro-ritmico-musicais no tratamento, reeducação, reabilitação e recuperação de indivíduos com diversas patologias ou ainda na área preventiva. Muitas vezes, pacientes com deficiência física grave, necessitam de adaptações nos instrumentos musicais para realizar o fazer musical musicoterapêutico. Algumas adaptações são feitas sob encomenda pelo musicoterapeuta e, portanto, em pequenas quantidades para o setor. Algumas vezes, um recurso adaptador de prática instrumental atende apenas às necessidades de uma determinada incapacidade física, sendo que para outras, este mesmo recurso pode ser desconfortável. Para alguns pacientes pode ser interessante colocar em prática algumas orientações recebidas na sessão de Musicoterapia em ambiente domiciliar. Entretanto, a situação econômica de alguns pacientes associada ao elevado preço de alguns instrumentos musicais adaptados, dificulta ou inviabiliza a continuidade do tratamento em ambiente domiciliar. Neste trabalho, buscou-se investigar se seria possível conceber um sistema eletrônico interativo capaz de apoiar e ampliar as estratégias de intervenções musicoterapêuticas. A metodologia da pesquisa seguiu a estratégia exploratória, de natureza tecnológica aplicada, tendo como objetivo a geração de um produto com finalidades imediatas, com base em conhecimentos prévios, capaz de viabilizar testes e estudos em situações reais de uso. Colaboraram nesta pesquisa musicoterapeutas, terapeutas ocupacionais e pacientes em tratamento de reabilitação motora. A partir do levantamento e estudos sobre o estado da arte, bem como de observações de sessões de Musicoterapia, foi concebida uma proposta de sistema de Realidade Aumentada musical para reabilitação. A partir desta proposta, foram implementadas e avaliadas três versões do sistema. A primeira avaliação foi realizada com uma especialista em Musicoterapia a fim de verificar a aplicabilidade do sistema. A segunda avaliação foi realizada durante uma intervenção de Musicoterapia na Associação de Assistência à Criança Deficiente (AACD) e, em outro momento, durante uma intervenção de Terapia Ocupacional em domicílio. A terceira avaliação foi feita em intervenções de Musicoterapia na AACD e na Associação Brasileira de Distrofia Muscular (ABDIM). A análise dos dados coletados permitiu constatar que este sistema traz os seguintes benefícios para apoiar intervenções de reabilitação motora: aumento da motivação e satisfação dos pacientes e facilitação do fazer musical de pessoas com deficiência física que possuem dificuldades em manusear os instrumentos musicais convencionais. / Music therapy is the science of using sound-rhythmic-musical elements in treatment, reeducation, recovery and rehabilitation of individuals with various diseases or in preventive activities. Often, patients with severe physical disability need to adapt musical instruments to perform \"music making\" activities in music therapy. Some adaptations are made by music therapists and, therefore, in small quantities. Sometimes, a resource adapter for instrumental practice serves only the needs of a particular disability, and for others, the same feature can be uncomfortable. Also, may be interesting for some patients to put practice some guidelines received at the music therapy session in their home environment. However, the economic situation of some patients associated with the elevated price of some adapted musical instruments hampers or prevents the continuation of care in home environments. In this study, we sought to investigate whether it would be possible to design an interactive electronic system able to support and expand the music therapist intervention strategies. The research methodology followed the exploratory strategy of applied technological, aiming to generate a product with immediate goals, based on prior knowledge, capable of delivering tests and studies in real use. Contributors to this research included music therapists, occupational therapists and patients under motor rehabilitation treatment. From the survey and studies on the state of the art, as well as observations of music therapy sessions, a proposal for an augmented reality musical system for rehabilitation was designed. Based on this proposal, were implemented and evaluated three versions of system. The first evaluation was performed with a specialist in Music Therapy to verify the applicability of system. The second evaluation was carried out during a Music Therapy intervention in the Assistance Association for Children with Disability (AACD) and, on another occasion, during an occupational therapy intervention at home. The third evaluation was performed in Music Therapy interventions in the AACD and the Brazilian Association of Muscular Dystrophy (ABDIM). The data collected analysis allowed us to observe some benefits that this technology brings to support motor rehabilitation interventions: increased morale and satisfaction of patients and facilitation of \"music making\" activities along people with physical disabilities who have difficulty handling conventional musical instruments.

Background: By 2050, it is estimated that 14 million older Americans will live with Alzheimer’s disease (AD), a progressive form of dementia with unknown cause or cure. Persons with AD and related dementias (ADRD) become increasingly dependent on others as they experience cognitive decline, which concomitantly undermines individuals’ functional skills, social initiative, and quality of life. The Alzheimer’s Association advocates for interventions that address cognition, mood, behavior, social engagement, and by extension, quality of life – goals music therapists often address. Although a small but growing body of literature suggests that clinical music therapy may be effective, the evidentiary support for the use and appropriate application of music as a form of treatment with this population is currently limited. Objectives: This thesis consisted of the development of a Clinical Practice Model of music therapy for persons with ADRD. It also examined the effectiveness of a specific, protocol-based music therapy intervention, grounded in this model, relative to a verbal discussion activity. Methods: The Clinical Practice Model is theoretically grounded in the biopsychosocial model of healthcare (Engel, 1980) and Kitwood’s (1997) personhood framework, and I developed it through extensive literature review and expert input. It includes an organizational schema for applying intervention strategies, per six themes: cognition, attention, familiarity, audibility, structure, and autonomy. The initial model predicts that an intervention built upon this schema will influence social-affective responses, quality of life, and in turn, psychosocial symptoms of ADRD. I tested a singing-based music therapy intervention, grounded in this model, through a randomized clinical crossover trial. I compared participants’ responses to music therapy to a non-music verbal discussion activity, and both conditions followed a protocol. Dependent variables included: (1) affective responses (self-reported feelings, observed emotions, and observed mood), (2) social engagement, and (3) observed quality of life. Thirty-two individuals with ADRD (n = 6 men, n = 26 women) ages 65-97 years old (μ̂ = 84.13) participated in this study. I randomly assigned treatment order; each treatment occurred in small-group format, three times per week in the afternoon (25 minutes each session), for two consecutive weeks. A two-week “wash-out” period occurred between conditions. Credentialed music therapists led both study conditions. This study followed recommendations from the National Institutes of Health Behavior Change Consortium (Bellg et al., 2004) to enhance quality assurance in protocol administration and data collection. Results and Significance: I used a linear mixed model approach to analysis. Music therapy exacted a significant, positive effect on self-reported feelings, observed emotions, and constructive engagement, particularly for individuals with moderate dementia. Results also suggested that men’s feelings improved in response to music therapy only, whereas women responded positively to both conditions. Weekly observations failed to indicate a significant change in mood or quality of life across the eight-week study. Based on these findings, I revised the Clinical Practice Model to include wellbeing (an outcome more concordant with psychosocial change in response to music intervention) rather than global quality of life (affected by numerous aspects of the care milieu). In addition to the Clinical Practice Model to the music therapy profession, contributions of this thesis include a rigorous clinical study and practical implications for music therapy practice, including the importance of considering patient characteristics and careful selection and implementation of music in a music therapy intervention.

The purposes of this study were to research the current inclusive practices in primary school music education in the Republic of Korea (ROK), identify issues that hamper optimal inclusion, and develop instructional strategies and recommendations to assist general educators in the accommodation of students with disabilities in their music classes. Analyses of public documents from the government of the ROK reveal that since the enactment of the Special Education Promotion Law (1977), there has been an increase in the number of students with disabilities educated inclusively. The current curricular requirements of the universities of education regarding general educators' music instruction and special education are limited. Furthermore, the government-mandated "Seventh Music Curriculum" (used in every ROK primary school) indicated no accommodation for use with students who have disabilities. Consequently, primary school general educators, while often expected to provide inclusive music instruction, have little preparation or resources available to assist them in making appropriate instructional modifications. Because of the limited pedagogical or research information available within the ROK, additional information regarding the accommodation of students with disabilities was obtained from special education and music education resources in the United States. These resources provided the basis for pedagogical strategies developed for adapted lesson plans for grades three through six. As these findings suggest, initiatives such as improved pre-service and in-service training are needed to prepare general educators in effective instructional methods and accommodations for inclusive music education. In-service training for such teachers could possibly be provided by music therapists if the therapists are fully conversant with the instructional difficulties faced by the teachers. The current development of the Eighth Curriculum by the South Korean government provides an excellent opportunity to include information on students with disabilities within the teacher's manuals. Additional resource materials for the teachers would also be beneficial. Future studies are needed regarding teacher competencies, pre-service preparation, in-service training, and needs assessment regarding inclusive music education.

The purposes of this 3-phase study were 1) to identify salient individual variabilities and music characteristics associated with music therapy interventions for pain management, 2) to explore current pain management practices of music therapists, 3) to delineate any differences in general musical taste (trait) and context-specific music preference (state), as well as preferred music characteristics in healthy adults and cancer patients, 4) to investigate the contributions of individual variabilities, personality, behavioral coping styles, and pain levels in predicting changes from trait to state preferences and preferred music characteristics under various pain conditions, and 5) to investigate any differences in music preference patterns between healthy adults and cancer patients. In Phase I, 97 music therapists completed an online questionnaire to provide quantitative and qualitative data regarding the saliency of individual variabilities and music characteristics in determining the choice of music for pain management interventions, as well as their current practices with adult populations in clinical settings. In Phase II, 50 healthy adults (33 females, 17 males) ranging in age from 40 to 70 years (M = 57.04 ± 7.99) completed a battery of tests and questionnaires, including a Participant Intake Form (demographic information, music background, listening habits), an adapted Short Test of Music Preference – Revised (STOMP-R-A), a Music Characteristics Test, the Miller Behavioral Style Scale – abbreviated (MBSS-abbreviated), and the NEO Five-Factor Inventory-3 (NEO-FFI-3). The STOMP-R-A measured the participants’ trait and state preferences for 23 music genres. The Music Characteristics Test involved a music listening portion for participants to rate their preferences for various music characteristics. The MBSS-abbreviated measured behavioral coping styles and the NEO-FFI-3 measured the five dimensions of personality. In Phase III, 35 cancer patients (24 females, 11 males) ranging in age from 42 to 70 years (M = 57.71 ± 7.07) completed the same measurement tools as the ones used in Phase II, as well as the Short-Form McGill Pain Questionnaire–2 (SF-MPQ-2), which measured ratings for chronic, acute, and neuropathic pain. A one-way analysis of variance was used to test for response bias amongst the music therapists in Phase I. No response bias was found. Responses were reported as sums and converted to percentages of respondents for each selected response. Qualitative responses were analyzed using open coding and thematic development techniques. An intercoder was recruited to authenticate reliability for the qualitative findings. Music therapists identified age, ethnicity, culture, and religious preferences as important individual variabilities, and tempo, rhythmic complexity, and dynamics as salient music characteristics in their ratings. The results from Phase I informed the methodology for the next two phases of this study. Participants in Phases II and III were tested individually. The paired t-test was used to determine differences between trait and state music preferences across all 23 genres. The results indicated significant decreases from trait to state music preferences across music genres in both healthy adult and cancer patient groups. Calculations of the chi-square statistic and the McNemar’s test were used to detect differences between trait music preference and state music preference specific to each of the 23 genres. Multiple logistic regression analysis was used to examine the contributions of demographic factors, personality, behavioral coping style, and pain to changes from trait to state preferences and preferred music characteristics under four pain conditions. In Phase II, age, gender, and neuroticism predicted changes in trait-state preference for music genres; and gender and behavioral coping styles predicted changes in preferences for music characteristics under low-acute, high-acute, low-chronic, and high-chronic pain conditions. In Phase III, neuroticism predicted changes in trait-state preference for music genres; and age predicted changes in preferences for music characteristics under the four pain conditions. The independent t-test was used to determine differences between healthy adults’ and cancer patients’ ratings of the importance of music, music background, and music listening habits. No significant differences were found between the two groups. Healthy adults and cancer patients were most familiar with country music and rated oldies and rock as their most preferred music genres. Healthy adults reported familiarity with and preferences for greater number of genres compared to cancer patients. In general, both groups indicated decreased preferences for music under pain conditions. The findings from this study emphasized the importance of considerations for the interactions of trait-state music preferences, individual variabilities, and music characteristics as a paradigm for context-specific pain management in adult clinical settings.

This qualitative study critically examines the researcher’s music therapy clinical practice with a preschool child with global developmental delay. The researcher/student music therapist critically examined and refined her clinical practice using an action research model. Each cycle consisted of a plan, action, data collection, reflection, and analysis. The researcher was the main participant. The child, his mother and a speech-language therapist were co-participants with different roles. The child and his mother participated in the sessions. The speech-language therapist observed three sessions through a window. Feedback from the child’s mother and the speech-language therapist contributed to the reflective data. Important issues that developed through the cycles related to early intervention techniques (having fun, being playful and spontaneous, and being in close proximity). Other important issues that developed were, the use of the voice and guitar; confidence; professionalism with parents and other health professionals; self-awareness; and the understanding of early childhood development (especially in the area of communication). Related literature on aspects of music therapy practice, music therapy in early intervention, music therapy and communication, and action research are described. These results cannot be generalised. However, they may firstly, illustrate relevant trends in early intervention, and secondly, enable the researcher to adapt skills learnt to use in future practice in early intervention