Under 1980-talet uppfanns vibroakustisk terapi. Denna upptäckt gav musikterapeuter möjlighet att använda en ny receptiv metod i musikterapi. I denna studie har jag utifrån intervjuer med tre musikterapeuter fått ta del av deras kunskap om vibroakustisk terapi. Syftet med uppsatsen har varit att skapa kunskap om den vibroakustiska metoden i musikterapi. Slutsatsen jag kommit fram till i arbetet har varit att det är en verksam metod och att behandlingen kan hjälpa många olika patientgrupper. Jag kan också dra slutsatsen att vibroakustisk terapi kan vara ett bra komplement till att endast använda musik i musikterapi, och att musiken spelar stor roll i vibroakustisk terapi. / During the 1980s, vibroacoustic therapy was invented. This discovery provided music therapists with the opportunity to use a new receptive method in music therapy. In this study, based on interviews with three music therapists, I have examined their knowledge of vibroacoustic therapy. The purpose of the thesis has been to increase understanding of the vibroacoustic therapy method in music therapy. The conclusion I have reached in the work is that it is an effective method, and that the treatment can help many different patient groups. I can also conclude that vibroacoustic therapy can be a good complement to just using music in music therapy, and that music plays a significant role in vibroacoustic therapy.

Thesis ((M.S.)?)--University of Michigan, (1993?).

Thesis ((M.S.)?)--University of Michigan, (1993?).

The context for this study is a community based organization known as the National Youth Development Outreach (YDO) in Eersterust, Pretoria. This organization caters primarily for adolescents who are in conflict with the law who have been referred to YDO by the courts. YDO offers what is known as the Adolescent Development Programme as a means of social rehabilitation. This programme is based on what is known as the Circle of Courage which has its origins in the Native American approach to child rearing. This Circle of Courage has four components, namely, Belonging, Mastery, Independence and Generosity. Music therapy was introduced at the National Youth development Outreach in January 2003. My interest in the work of music therapy within this context gave rise to this dissertation. My aim in this study is to explore how music therapy can contribute to the Adolescent Development Programme and, in particular, how the Circle of Courage can inform the goals and practice of music therapy. In addition I wish to explore how music therapy practice needs to adapt in order to be relevant within such a context. The study is conducted within the qualitative research paradigm and thus seeks not to prove one single truth. This explorative study is conducted in a naturalistic setting. Data collection is in the form of a semi structured interview with 3 personnel members from the organization, clinical session notes and video recorded excerpts from two music therapy sessions. The clinical session notes form the basis of a description of the music therapy process at YDO from January to June 2003 and work with an individual client. These descriptions serve to contextualize the semi structured interview and video excerpts. The data are coded categorized and organized into themes. These themes highlight the social context in which YDO is situated which includes the individual, the organization and the community. The data highlights the primacy of the Circle of Courage within this specific context. Music as a tool for communication as well as a barometer of relationship is also discussed. This forms the basis for addressing the two research questions. This discussion focuses on the role of the Circle of Courage in informing the goals of music therapy through considering this at a conceptual level as well as viewing clinical improvisation through the lens of the Circle of Courage. The response to the second research question is from the premise of community therapy and considers the possibility of a wider application of music therapy in such a context. Music therapy is in its infancy in South Africa, especially with this client group. I am unaware of any published literature of music therapy work with adolescents in conflict with the law. Whilst this study has focused on a very small part of the whole, my hope is that it will stimulate further thinking and research about music therapy with this client group and will contribute to a broader body of knowledge. / Dissertation (MMus (Music Therapy))--University of Pretoria, 2006. / Music / unrestricted

Studiens syfte var att undersöka hur musikterapeuters arbete fungerar inom barncancersjukvård. Hur kan musikterapi påverka cancersjuka barn och vilka resultat man kan se. Undersökningen genomfördes med intervjuer med tre verksamma musikterapeuter. I metoden tillämpades en hermeneutisk tolkningsansats med kvalitativa forskningsintervjuer och med en narrativ forskningsmetod. Musikterapi är evidensbaserad inom forskning, ett akademiskt ämne och ett professionellt yrke. Kan även definieras som en konstnärlig terapiform, som bygger på musikupplevelse, musikaliskt skapande och uttryck, kommunikation och samspel som erbjuds i relation mellan patient och terapeut. Resultatet belyser musikterapeuters uppdrag, vilket är ett mycket varierande och flexibelt arbete. Via musikens verktyg och redskap; skapa kontakt, bygga relation, utveckla kommunikation, icke-verbalt, improvisera, se och bekräfta, stärka och dela tillsammans. Musikterapi grundar sig på den psykodynamiska inriktningen inom utvecklingspsykologin, att observera och forska om ett barn i relation till dess omgivning. Musikterapiuppdraget fungerar som en kompletterande behandlingsform inom barncancersjukvård. Musikens förmåga och egenskaper kan bidra till att förstärka en patients egna personliga resurser, skapa utrymme och ge möjlighet till känslomässiga uttryck, hantering och bearbetning av ett barns svåra cancersjukdom och dess sjukhusvistelse. Utifrån intervjuerna av musikterapeuterna och deras berättelser har både signifikanta och positiva resultat har kunnat belysas i denna studie. / The purpose of this study was to examine how music therapists work with children who have cancer. How does music therapy affect the children, and what are the results. The study was made by interviewing three active music therapists. The method I used was a hermeneutic interpretation with qualitative research interviews and with a narrative method. Music therapy is evidence based in research, an academic major and profession. It can also be defined as an artistic form of therapy, where music is used as a mean for experience, creativity, expression and communication between patient and therapist. The result highlights the mission for the therapist, which is very flexible and varying, where flexibility and responsiveness is of great importance; by the tools of music create a sense of contact and communication, nonverbal, improvise, watch and confirm, strengthen and sharing. Music therapy is based on the psychodynamic alignment within developmental psychology, to observe and do research about a child relation to his or her environment. Music therapy also works as an addition to regular medical treatment within cancer care for children. The ability and characteristics of music contributes to strengthen a patient own resources, opens up ways for emotional expression in the process of working with a child with cancer disease and his or her hospitalization. Based on the interviews of the music therapists and their stories, both significant and positive results are illustrated in this study.

This thesis describes how music affects the group dynamic of children living in congregate homes in Texas

Tato diplomová práce se zabývá úlohou muzikoterapie, jako podpůrného prostředku pro člověka, který potřebuje pomoc na cestě životem. Popisuje průběh a vývoj jednotlivých muzikoterapeutických setkání, jejich dopad na klienta při uvědomování si vlastních hodnot a jejich transformaci do osobního a studentského života. Práce byla vypracována na základě vývoje kazuistiky v čase, rozhovorů a reflexe celé práce. Klíčová slova: Muzikoterapie, Klient, Muzikoterapeut, Hudba, Edukace, Downův syndrom, Mentální postižení Abstract This thesis describing with the role of music therapy as a means of support for someone who needs help along the way. It describes the progress and development of individual music therapy meetings, their impact on the client in recognizing one's own values and their transformation into a personal and student life. The work was developed based on the development of case reports in time, interviews and reflection of the whole work. Keywords: Music therapy, Client, Music therapist, Music, Education, Down syndrome, Mental disability

Denna studies syfte är att undersöka empatins betydelse inom tre olika konstnärliga terapier. I denna studie används en hermeneutisk ansats både i metoden och i den analytiska tolkningen. Underlaget för analysen har varit tre intervjuer med tre terapeuter. Empatibegreppet beskrivs utifrån ett utvecklingspsykologiskt perspektiv och dels ur ett psykodynamiskt perspektiv. Utifrån intervjuerna formades fem sammanfattande teman. 1 Det empatiska syftet. 2 Terapeuten som förebild. 3 Konstnärligt skapande. 4 Intersubjektivitet. 5 Förändringsprocess. I diskussionen problematiseras hur empatibegreppet kan användas och om behovet av att beskriva de intersubjektiva processer som är en förutsättning för empati. Den grundläggande intersubjektiva samspelsväven har nära samband med de konstnärliga interaktionsformerna som terapeuterna använder både på ett praktiskt och teoretiskt plan. / The purpose of this study is to investigate the importance of empathy in different artistic therapies. A hermeneutic approach is used in both the method and the analytical reading. The foundation for the analysis has been three interviewers with three therapists. The concept of empathy is described throw a development- psychological perspective and a psychodynamic perspective. Five summarize themes where found from the interviews. 1 The empathic purpose. 2 The therapist as a good example. 3 Artistic creativity. 4 Intersubjectivity. 5 Process of change. In the discussion the empathy-concept is being studied. How it is being used. And a need of describing intersubjective processes which is a prerequisite for empathy. The basic intersubjective interaction has a close relation to the artistic interactionforms which the therapists are using practically and theoretically.

Introdução: O implante coclear (IC) é um dos adventos tecnológicos na área da saúde mais importantes dos últimos anos. Mesmo com todo avanço tecnológico, os pacientes ainda apresentam queixas quanto ao rendimento do IC. O treinamento auditivo é o procedimento que pode proporcionar a melhora do desempenho das habilidades auditivas do indivíduo. Uma das possibilidades de treinamento auditivo é a musicoterapia. Objetivos: Verificar a influência da musicoterapia na compreensão da linguagem oral em pacientes pós linguais usuários de implante coclear, além disso, verificar a influência do efeito placebo; o desempenho das habilidades de percepção musical; verificar o desempenho das habilidades auditivas temporais de resolução e ordenação pré e pós musicoterapia em pacientes pós linguais usuários de implante coclear; e descrever os hábitos musicais nesses pacientes. Método: Participaram do estudo 11 indivíduos (média idade: 47,64 anos), pós linguais implantados, que foram submetidos a 10 sessões de musicoterapia, sendo uma por semana. Para a avaliação auditiva foram utilizados o teste Gap in Noise (GIN), o Montreal Battery Evaluation of Amusia, o teste de padrão de frequência (TPF), o teste de compreensão de sentenças, e o questionário de Munich Music Questionnaire. Todos os participantes passaram por um momento placebo antes da musicoterapia, e foram avaliados em três momentos distintos. Resultados: Foi observado melhora significativa no teste de sentenças de compreensão de fala, bem como nas habilidades musicais de contorno e melodia após musicoterapia. Não foi observado efeito placebo e nem diferença do TPF após a musicoterapia. Foi observado um desempenho ruim entre os participantes no teste GIN. Além disso, foi observado a redução do hábito de escutar música após IC. Conclusões: A musicoterapia foi uma ferramenta útil para melhorar as habilidades auditivas e compreensão de fala em indivíduos adultos pós-linguais usuários de IC, além de melhorar a frequência de escuta musical entre os participantes / Introduction: Cochlear implants (CI) represent one of the most important technological innovations in the health care sector in recent years. Despite the technological advance, patients continue to complain about CI performance. Auditory training constitutes the procedure most capable of improving the performance of individual hearing skills. One possibility for auditory training is music therapy. Objectives: To verify the influence of music therapy on the understanding of spoken language by postlingual users of cochlear implants. In addition, verify the influence of the placebo effect; the performance of musical perception skills; verify the performance of temporal auditory resolution and ordering skills of pre- and post-music therapy patients with cochlear implants. Method: A total of 11 individual postlingual implant users participated in the study (average age: 47.64 years), consisting of 10 weekly sessions of music therapy. For purposes of the respective hearing evaluations, the Gap in Noise (GIN) test, Montreal Battery Evaluation of Amusia test, Frequency Pattern Test (FPT), sentence comprehension test, and Munich Music Questionnaire were applied. All participants were submitted to a placebo condition prior to music therapy and were evaluated at three different points. Results: A significant improvement was observed in the spoken sentence comprehension test, as well as enhanced musical contour and melody skills, following music therapy. No placebo effect was observed, nor any difference in FPT after music therapy. The participants registered poor performance on the GIN test. In addition, a reduction was observed in music listening habits after CI. Conclusions: Music therapy was a useful tool to improve hearing and speech comprehension skills in adult postlingual users of CI and to improve the frequency of music listening among participants

A música é utilizada nos ritos de umbanda no momento da incorporação, ponto culminante deste ritual. Investigar o papel da música no ritual umbandista e, por meio deste, também na vida humana é ao que se propõe a dissertação. O primeiro passo é analisar de perto a natureza da música, assim como de seus elementos presentes na música feita na umbanda, a melodia e o ritmo, e a relação da música com o ser humano, no nível social, individual e neurológico. O segundo passo é investigar os conceitos de identidade, dissociação, mediunidade, alteração de consciência, transe e incorporação. Em seguida, é feita revisão da relação entre música e transe, conforme os conceitos propostos por Rouget, autores do campo de musicoterapia e outros que estudaram a relação entre transe e percussão. Um breve histórico da umbanda e da linhagem de terreiro do qual eu próprio participo, assim como da atividade corpórea que envolve a música nesse terreiro, são apresentados a seguir, situando minha própria experiência na incorporação umbandista. A música utilizada na umbanda é apresentada por meio de partituras e comentada quanto a seu caráter musical e suas letras, assim como da atuação da natureza da música no momento da incorporação. Verificou-se que a música atua conjuntamente com o contexto do grupo social e da intenção do adepto para que venha a contribuir com o processo de incorporação. A música pode distender as forças que organizam as identidades do sujeito e dispô-lo corporal e subjetivamente à mobilidade, quando este se envolve com a música. Na umbanda, o envolvimento se dá por meio de dança preparatória, a qual é praticada precedendo a incorporação. O trabalho de incorporação ou modificação das identidades resulta do acionamento da música, do contexto social do rito e da intenção do sujeito que se dispõe ao processo, ocorrendo então um deslizar desde a identidade habitual a outra identidade, construída no rito, que permite se manifestem, segundo a doutrina, entidades espirituais / Music is employed in Umbanda rites during incorporations, the high point of such rituals. Investigating it\'s role in these rituals and, hereby, it\'s role in human life is the purpose of this dissertation. The first step is to closely analyse music\'s nature as well as the nature of the elements present in the music performed in Umbandist rites, it\'s melody and rhythm, and the relation between music and human being in a social, individual and neurological level. The second step is to investigate the concepts of identity, dissociation, mediumship, alterated conciousness, trance and incorporation. Then the relation between music and trance are revised, in accordance with Rouget\'s proposed concepts, authors on music therapy and others who studied the relation between trance and percussion. A brief historic on Umbanda and the terreiro lineage I personally come from, as well as the physical activity which engages with music in this particular terreiro, are presented next, establishing my own experience in Umbandist incorporation. The music utilized is such rituals is presented here through music sheets with commentaries on it\'s musical character and lyrics, as well as the agency of the nature of music at the time of incorporation. It was found that music acts along with both the social context and the individual\'s own intentions in order to contribute to the process of incorporation. Music can distend the forces which organize an individual\'s identities leaving them open to mobility, both physical and subjective, when this subject engages with music. In Umbanda, the involvement happens through a preliminary dance which is practiced before incorporations. The work of incorporating or modifying one own\'s identity results from the musical stimulation, from the stimulation of the social context of the rite and from the intention of the subject who is disposed to the process, occurring then a sliding from the habitual identity to another, designed throughout the rites, which allows incorporeal entities to manifest itself, according to the religion\'s beliefs