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ÁUDIO 7.mp3: 381177 bytes, checksum: 7bc2bbe3b2a710578f7c47553042d742 (MD5) Previous issue date: 2012-03-30 / This research was conducted in the Music School and Performing Arts Postgraduate Program/UFG, in the research line Music, Education and Health of the Master's Degree in Music. We attempted to investigate normative children with learning difficulties in reading, proposing music therapeutic actions as mediation to expand the understanding of these cases. The field research, a case study of qualitative approach, was developed in an elementary public school in the city of Goiania, through which data were collected in many ways: music therapeutic visits to the learners, semi-structured interviews with teachers, student's family and the school context observations. The analysis was performed using data triangulation, establishing three periods (Beginner, Intermediate and Final) considering the musical sound expressions and the inter-and intrapersonal relationship aspects of these students and the perceptions aspects of the other actors (teachers and family members), and data on the dynamics of the school, generating analytical categories. The theoretical framework that subsidized this analysis was the Complexity Theory in dialogue with theoretical references of the music therapy, education and socio-historical psychology. The results of research showed that the homogeneity characteristic of the teaching/traditional school can lead to noncompliance of the students in situations of free expression and/or creative character, tending to the manifestation of misconduct and disorder. We understand, according to the complexity, that the disorder is a necessary phenomenon and concomitant to the order, since you need to learn to build, rebuild and/or deconstruct ideas, experiences and values. Music therapy in the school allowed a space for expression of the relations and intrapersonal and interpersonal conflicts of learners. We believe that, to provide significant new experiences the subject (and do experiment) therapeutic musicians from experience, it is possible to facilitate to internalization of new knowledge and, consequently, the development. Complexity theory has enabled the contextualization of learning disabilities in reading favoring the understanding of the multiple factors that are mutual. / A presente pesquisa foi desenvolvida no Programa de Pós-Graduação da Escola de Música e Artes Cênicas/UFG, na linha de Pesquisa Música, Educação e Saúde do Mestrado em Música. Buscou-se investigar sobre crianças normativas com dificuldade de aprendizagem em leitura, propondo-se ações musicoterapêuticas como mediação à ampliação da compreensão desses casos. A pesquisa de campo, um Estudo de Caso de caráter qualitativo, foi desenvolvida em uma escola do ensino fundamental pública do município de Goiânia, por meio do qual foram coletados dados sob diversas formas: atendimentos musicoterapêuticos aos educandos, entrevistas semiestruturadas com docentes e familiares dos alunos e observações do contexto escolar. A análise foi realizada através da triangulação dos dados, estabelecendo três momentos à exposição (Inicial, Intermediário e Final) considerando-se a expressão sonoro-musical e os aspectos do relacionamento inter e intrapessoal dos alunos participantes, aspectos das percepções dos demais atores (educadores e familiares), bem como dados sobre a dinâmica do contexto escolar, gerando as categorias analíticas. A fundamentação teórica que subsidiou a análise foi a Teoria da Complexidade em diálogo com referenciais teóricos da Musicoterapia, da Educação e da Psicologia Sócio-histórica. Os resultados encontrados na pesquisa evidenciaram que a homogeneidade característica do ensino/escola tradicional pode levar a não adesão dos educandos em situações de expressão livre e/ou de caráter criativo, tendendo à manifestação de condutas inadequadas e de desordem. Entendemos, à luz da Complexidade, que a desordem é um fenômeno necessário e concomitante à ordem, visto que, para aprender é preciso construir, reconstruir e/ou desconstruir ideias, experiências e valores. A Musicoterapia no contexto escolar possibilitou um espaço de expressão das relações e conflitos intra e interpessoais dos educandos. Acreditamos que, ao proporcionar novas e significativas experiências ao sujeito (fazer e experimentar) a partir das experiências musicoterapêuticas, é possível favorecer a internalização de novas aprendizagens e, consequentemente, o desenvolvimento. A teoria da Complexidade permitiu a contextualização das dificuldades de aprendizagem em leitura favorecendo a compreensão sobre os múltiplos e mútuos fatores que as constituem.

Made available in DSpace on 2016-03-15T19:43:02Z (GMT). No. of bitstreams: 1 Priscila Bernardo Mulin.pdf: 2087435 bytes, checksum: 8c5c76fa888872496f60575ee0938212 (MD5) Previous issue date: 2015-02-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aimed to describe different relationships established between music and human experience, investigating how people perceive, experience and make sense of this kind of experience. Therefore, at first it was held an exploratory research on the subject, in which it resorted to literature from different areas that study the music. This step led to important reflections about the possibilities and difficulties of investigating the musical experience, with the conductor axis of reflection and subsequent design of the research method, three references: Types of Musical behaviors described by Theodor W. Adorno, Music Therapy as na educational course and favoring of musical experience and the Phenomenology of Maurice Merleau-Ponty perception. Secondly, trying to get even closer to the experience, it was adopted a phenomenological perspective, which was placed in suspension possible theoretical frameworks that explain the musical experience. For this, it was used for investigation the musical experience the Sound-Musical History, a material in which the research subjects recorded their musical experiences from a chronological organization (family descendants to adult life) and specific questionnaires about their habits and musical preferences. The research subjects were three students of the specialization course in Music Therapy aged from 29 to 33 years. Four aspects quite present in the research subjects' reports stood constituting an interesting cutout for description of musical experiences of the subjects, the places where the musical experiences were favored, people who shared or generated these experiences, the sound sources and references to artistic and cultural universe. All these four aspects were called Sound-Musical Context. How nomothetic analysis results that laced the musical experiences of the subjects, it was observed that the elements of the Sound-Musical Context provide direct contact of the subject with the music, and so these aspects can be considered as the "objective factors "the musical experience, while the way that subjects relate and attach meaning to them, the" subjective aspects "of the experience. A trajectory of continuity in the musical experience that starts from the contact with the music and the sounds of the surroundings, from the musical actions and constituting the preferred musical experiences of each subject, were also observed. Therefore, the Sound-Musical Context, when designed from a chronological perspective, can clarify some nuances of the complex relationship between music and human experience, helping to get the structure of the phenomenon of musical experience. / Esta pesquisa teve por objetivo descrever diferentes relações estabelecidas entre música e experiência humana, investigando como as pessoas percebem, vivenciam e atribuem sentido a este tipo de experiência. Para tanto, num primeiro momento realizou-se uma pesquisa exploratória sobre o tema, na qual se recorreu a literatura de diversas áreas que estudam a música. Este passo conduziu a importantes reflexões sobre as possibilidades e as dificuldades de se investigar a experiência musical, tendo como eixo condutor da reflexão e posterior delineamento do método de pesquisa, três referenciais: os tipos de comportamentos musicais descritos por Theodor W. Adorno, a Musicoterapia enquanto campo de estudo e favorecimento da experiência musical e a Fenomenologia da Percepção de Maurice Merleau-Ponty. Num segundo momento, tentando aproximar-se ainda mais da experiência vivida, adotou-se uma perspectiva fenomenológica, na qual colocou-se em suspensão possíveis referenciais teóricos que explicariam a experiência musical. Para isso, utilizou-se para investigação da experiência musical o Histórico Sonoro-Musical, um material no qual os sujeitos de pesquisa registraram suas vivências musicais a partir de uma organização cronológica (da descendência familiar a vida adulta) e questionários específicos sobre seus hábitos e preferências musicais. Os sujeitos de pesquisa foram três alunos do curso de especialização em Musicoterapia com idades entre 29 e 33 anos. Quatro aspectos bastante presentes se destacaram constituindo um interessante recorte para descrição das experiências musicais, os lugares em que as experiências musicais foram favorecidas, as pessoas que compartilharam ou geraram estas experiências, as fontes sonoras e as referências ao universo artístico-cultural. O conjunto destes quatro aspectos foi denominado Contexto Sonoro-Musical. Como resultados da análise nomotética que entrelaçou as experiências musicais dos sujeitos de pesquisa, pôde-se verificar que os elementos do Contexto Sonoro-Musical propiciam o contato direto do sujeito com a música, e assim, tais aspectos podem ser considerados como os fatores objetivos da experiência musical, enquanto que a forma que os sujeitos se relacionam e atribuem sentido aos mesmos, os aspectos subjetivos da experiência. Uma trajetória de continuidade na experiência musical que se inicia a partir do contato com a música e os sons do entorno, passando às ações musicais e constituindo as experiências musicais preferenciais de cada sujeito, também pôde ser observada. Dessa forma, o Contexto Sonoro-Musical, quando concebido a partir de uma perspectiva cronológica, pode esclarecer algumas nuances da complexa relação entre música e experiência humana, contribuindo para se chegar a estrutura do fenômeno da experiência musical.

Syftet med denna uppsats är att utifrån sociokulturellt perspektiv utforska tre lärares syn på hur musikundervisning kan bidra till elevers välbefinnande. Forskningsfrågorna är: På vilka sätt anser musiklärarna att de skapar ett gynnsamt intersubjektivt rum? Hur arbetar musiklärarna för att stärka elevernas identitet? Vad anser lärarna att de gör för att eleverna ska utvecklas? Som bakgrund presenteras musik som ämne i skolan, grupper i skolan samt forskning kring musikens påverkan på det intersubjektiva rummet och elevers välbefinnande. Den teoretiska bakgrunden ger en bild av det sociokulturella perspektivet innan en genomgång av metodvalet görs. I resultatdelen redovisas analysen av intervjuerna där tre stora teman framträder, relationers betydelse för välbefinnandet, prövande av roller i grupp samt personlig utveckling. Uppsatsen avslutas med en diskussion av resultatet i relation till den presenterade bakgrunden och det teoretiska perspektivet under rubrikerna Musik och rörelse som medierande redskap, Personlig identitet och gruppidentitet samt Sammanhållning och välbefinnande. / The purpose of this essay is to explore, from a socio-cultural perspective, three teachers' views on how music education can contribute to students' well-being. The research questions are: In what ways does music teachers consider that they create a favorable intersubjective room? How does music teachers work to strengthen students' identity? What does the teachers think they do to help students develop? As a background, music is presented as a subject in school, groups in school and research on the influence of music on the intersubjective room and pupils' well-being. The theoretical background gives a picture of the sociocultural perspective before a review of the method is made. The results section presents the analysis of the interviews where three major themes appear;the importance of relationships for well-being, testing of roles in groups andpersonal development. In the last chapter the result are discussed in relation to the presented background as well as the theoretical perspective; Music and movement as mediating tools, Personal and group identity as well as Cohesion and well- being.

This narrative inquiry explores how the �Songs of the Spirit� Native American Flute curriculum, a culturally-responsive curriculum which involves learning to make and play a PVC version of the Native American Flute while learning the cultures and histories of this First Nations instrument, impacted spiritual and emotional aspects of the learning and lives of Aboriginal students, their families, their parents, and their school community. My research took place at an urban Aboriginal high school in Saskatchewan from January to March, 2006. I conducted recorded conversations with three students, two parents, two teachers, two administrators, two Elders, a former principal, a former school caretaker, an artistic director, and the young woman who inspired the Heart of the City Piano Program, a volunteer driven community piano program, in the fall of 1995. Aboriginal individuals, who have too often been silenced in education and in society (Giroux, 1997; Freire, 1989; Fine, 1987; Greene, 1995 & 1998; Grumet, 1999), were provided with a voice in this research.<p>Because of the voices of my research participants, I chose to use the Medicine Wheel and Tipi Teachings (Lee, 2006; Kind, Irwin, Grauer, & de Cosson, 2005) as a lens (Greene, 1995) rather than situating my research in a traditional Eurocentric body of literature. Along this journey, I reflected inwards and outwards, backwards and forwards on how my past storied experiences (Clandinin & Connelly, 2000) shaped my teaching practices and way of being in the world today. To better understand the hurt I observed and which was described by research participants as present in the lived lives and circumstances of many Aboriginal people, I moved backward in time as I reviewed the literature on the Residential School experience and gained a deeper sense of the impact of colonialism on generations of Aboriginal people. This inquiry foregrounded how hearing and playing the Northern Spirit Flute impacted the emotional and spiritual aspects of students� being, and contributed to a process of healing. When participants heard the music, �it [sounded] so eloquent and so spiritual. It [was] almost like the flute [was] weeping,� (Onawa Gaho, Recorded conversation, March 17, 2006, p. 5) bringing about �a calmness to the anger that some [Aboriginal students] have� (Sakima Qaletaqa, Recorded conversation, March 15, 2006, pp. 25-26). <p>The research findings indicate that the �Songs of the Spirit� curriculum, in honoring the holistic nature of traditional First Nations cultures and teachings, invites Aboriginal students functioning in �vigilance mode� to attend to their emotional and spiritual needs. They speak to a need for rethinking curricula in culturally-responsive ways, for attending to the importance of the arts in education, and for reforming teacher education. Sound files of the Northern Spirit Flute and selected research conversations have been embedded within the electronic version of this thesis to allow the reader to walk alongside me and share in my research journey.

University of Macau / Faculty of Social Sciences and Humanities / Department of Psychology

Denna uppsats har som syfte att undersöka om musik används i palliativ vård i Sverige och hur det i så fall beskrivs, motiveras och dokumenteras. Det är en kvalitativ intervjustudie med hermeneutisk förståelseansats. Intervjuer har genomförts med fem personer med olika yrkesprofession inom palliativ vård (sjuksköterska, sjukgymnast, arbetsterapeut, kurator och överläkare). Kontakt med de intervjuade har upprättats genom ett upprop i ett nyhetsbrev som ges ut av Svenskt Palliativt Nätverk, SPN. I uppsatsen ges en teoretisk bakgrund om palliativ vård, kris, etik, död, existentiella frågor, musik, musikterapi samt musikterapi i palliativ vård. Resultatet visar att de intervjuade använder musik i sitt vårdarbete men ingen är professionell musiker eller utbildad musikterapeut. Musikanvändningen beskrivs av informanterna genom konkreta exempel från vårdsituationer och den motiveras dels utifrån personliga erfarenheter av musikupplevelse dels med allmänna reflektioner över musikens olika möjligheter till påverkan fysiskt, psykiskt och socialt i livets slutskede. / This thesis aims to examine whether music is used in palliative care in Sweden and how it is described and justified. It is a qualitative study with hermeneutic approach. The survey consists of interviews with five different professionals working in palliative care (nurse, physiotherapist, occupational therapist, counselor, physician). Contact with the interviewees is established by a proclamation of a newsletter published by Swedish Palliative Network, SPN. The thesis provides a theoretical background of palliative care, crisis, death, ethics, music, music therapy and music therapy in palliative care. The result demonstrates that music is used in care situations and is justified by concrete experiences of how music can affect people physically, mentally and socially in the final stages of life.

This narrative inquiry explores how the �Songs of the Spirit� Native American Flute curriculum, a culturally-responsive curriculum which involves learning to make and play a PVC version of the Native American Flute while learning the cultures and histories of this First Nations instrument, impacted spiritual and emotional aspects of the learning and lives of Aboriginal students, their families, their parents, and their school community. My research took place at an urban Aboriginal high school in Saskatchewan from January to March, 2006. I conducted recorded conversations with three students, two parents, two teachers, two administrators, two Elders, a former principal, a former school caretaker, an artistic director, and the young woman who inspired the Heart of the City Piano Program, a volunteer driven community piano program, in the fall of 1995. Aboriginal individuals, who have too often been silenced in education and in society (Giroux, 1997; Freire, 1989; Fine, 1987; Greene, 1995 & 1998; Grumet, 1999), were provided with a voice in this research.<p>Because of the voices of my research participants, I chose to use the Medicine Wheel and Tipi Teachings (Lee, 2006; Kind, Irwin, Grauer, & de Cosson, 2005) as a lens (Greene, 1995) rather than situating my research in a traditional Eurocentric body of literature. Along this journey, I reflected inwards and outwards, backwards and forwards on how my past storied experiences (Clandinin & Connelly, 2000) shaped my teaching practices and way of being in the world today. To better understand the hurt I observed and which was described by research participants as present in the lived lives and circumstances of many Aboriginal people, I moved backward in time as I reviewed the literature on the Residential School experience and gained a deeper sense of the impact of colonialism on generations of Aboriginal people. This inquiry foregrounded how hearing and playing the Northern Spirit Flute impacted the emotional and spiritual aspects of students� being, and contributed to a process of healing. When participants heard the music, �it [sounded] so eloquent and so spiritual. It [was] almost like the flute [was] weeping,� (Onawa Gaho, Recorded conversation, March 17, 2006, p. 5) bringing about �a calmness to the anger that some [Aboriginal students] have� (Sakima Qaletaqa, Recorded conversation, March 15, 2006, pp. 25-26). <p>The research findings indicate that the �Songs of the Spirit� curriculum, in honoring the holistic nature of traditional First Nations cultures and teachings, invites Aboriginal students functioning in �vigilance mode� to attend to their emotional and spiritual needs. They speak to a need for rethinking curricula in culturally-responsive ways, for attending to the importance of the arts in education, and for reforming teacher education. Sound files of the Northern Spirit Flute and selected research conversations have been embedded within the electronic version of this thesis to allow the reader to walk alongside me and share in my research journey.

Increasingly, virtual reality therapy (VRT) technologies are being used to augment pediatric rehabilitation. The mechanisms underlying success/failure of VRTs are not well understood. This thesis proposed an innovative 3-phase framework for evaluating VRT technologies with respect to neuroplasticity based on results of a scoping review of 21 studies. A case study was undertaken to demonstrate use of the framework to design and evaluate ‘Musical Steps’, a VRT technology aimed at promoting heel contact in toe-walking children. 5 therapists and 4 children were engaged in this study. The system accurately detected 88%(SD=7%) of heel contacts and was rated positively in usability testing (phase 1). Feasibility studies indicated that, while enjoyable, children did not understand the feedback provided and hence, heel contact was not increased (phase 2). These findings will direct future reiterations prior to evaluating clinical impact (phase 3). The proposed framework may enhance design and translation of therapeutically relevant VRTs.

Increasingly, virtual reality therapy (VRT) technologies are being used to augment pediatric rehabilitation. The mechanisms underlying success/failure of VRTs are not well understood. This thesis proposed an innovative 3-phase framework for evaluating VRT technologies with respect to neuroplasticity based on results of a scoping review of 21 studies. A case study was undertaken to demonstrate use of the framework to design and evaluate ‘Musical Steps’, a VRT technology aimed at promoting heel contact in toe-walking children. 5 therapists and 4 children were engaged in this study. The system accurately detected 88%(SD=7%) of heel contacts and was rated positively in usability testing (phase 1). Feasibility studies indicated that, while enjoyable, children did not understand the feedback provided and hence, heel contact was not increased (phase 2). These findings will direct future reiterations prior to evaluating clinical impact (phase 3). The proposed framework may enhance design and translation of therapeutically relevant VRTs.

The effect of concurrent music on gait was investigated amongst Parkinson‟s disease (PD) patients and age-matched control subjects. Ten people (mean age 66.6 ± 6.5 years) with idiopathic Parkinson‟s disease and ten healthy age-matched (mean age 65.4 ± 6.3 years) control subjects completed steady state gait, dual task and obstacle negotiation trials in two differing test conditions; no music and whilst listening to music. Testing conditions were counterbalanced between subjects. The gait performance of PD patients was detrimentally affected by concurrently listening to music during steady state gait and obstacle negotiation, an effect that was further compounded in the dual task context. These findings imply that listening to music concurrent to gait may increase the attentional cost for PD patients. The findings of these studies have implications for patients, who may be at greater risk of falls in multi-task situations. / xi, 113 leaves ; 29 cm. --