Thesis (MSocialWork)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: An exploratory study was conducted to determine the nature and extent of the emotions and emotional experiences of alcoholics and chemically dependent adults. The study was also conducted to explore the theoretical field of music therapy and determine how music can be utilized to social group work with alcoholics and chemically dependent adults. The exploratory study was also conducted to determine how many knowledge social workers have about music therapy, and to what extent they believe it can practically be used in social group work with alcoholics and chemically dependent adults. The researchers' interest in group work and the importance of the use of creative aids during group work is the motivation for this study. The aim of the study is thus to establish guidelines for the use of music in social group work in order to provide effective intervention for alcoholics and chemically dependent adults. The most general personality traits, emotions, defence mechanisms, communication and motivational problems of alcoholics and chemically dependent adults, have been enclosed in the literature study. The corresponding principles, goals and intervention processes of group work and music therapy was also highlighted. Focus was especially placed on the corresponding functions of group work and music namely the handling of defence mechanisms, the exploration and expression of emotions, the improvement of communication, the development of a positive self-esteem, socialisation and the facilitation of personal motivation. The value of group work and music in the addressing of alcoholics' and chemically dependent adults' problems and needs, has been investigated because of the specific corresponding functions of group work and music. The umversum IS social workers at institutions that make use of group work interventions in their treatment programmes for alcoholics and chemically dependent adults. A combination of quantitative and qualitative research methods was used, namely structured interviews as well as structured questionnaires. The results of this study generally confirmed the findings of the literature study. The recommendations can be divided into three areas namely recommendations concerning policy, programmes and training of social workers, recommendations concerning the corresponding functions of group work and music, and recommendations concerning future research. The importance of further research in the testing of the value of music in group work for specific client groups was especially recommended. / AFRIKAANSE OPSOMMING: 'n Verkennende studie is in hierdie ondersoek geïmplimenteer ten einde die aard en omvang van volwasse dwelmafhanklikes se emosies en emosionele belewenisse te beskryf, 'n teoretiese verkenning van musiekterapie te doen en dit in verband te bring met maatskaplike groepwerk, en te bepaal in watter mate musiek tydens groepwerk met volwasse dwelmafhanklikes toegepas kan word. Die verkennende studie is ook geïmplimenteer om te bepaal in watter mate maatskaplike werkers kennis oor bogenoemde vorm van intervensie het en in watter mate hulle van mening is dat die benutting van musiek in groepwerkprogramme vir dwelmafhanklikes in inrigtings uitvoerbaar is. Die motivering vir hierdie studie het na vore gekom weens die navorser se belangstelling in kreatiwiteit in die uitvoer van maatskaplike groepwerk. Die doel van hierdie studie is dus om riglyne daar te stel vir die benutting van musiek in maatskaplike groepwerk ten einde effektiewe intervensie aan dwelmafhanklikes in inrigtingsverband te lewer. Die literatuurstudie het die algemene persoonlikheidstrekke, emosies, verdedigingsmeganismes, kommunikatiewe en motiveringsprobleme van dwelmafhanklikes ingesluit. Die gemeenskaplike beginsels, doelstellings en intervensieproses van groepwerk en musiekterapie is ook in die literatuurstudie uitgelig. Daar is veral gefokus op die gemeenskaplike funksies van groepwerk en musiek naamlik die hantering van verdedigingsmeganismes, die eksplorering en uitdrukking van emosies, die bevordering van kommunikasie, die ontwikkeling van 'n positiewe selfbeeld, sosialisering en die fasilitering van persoonlike motivering. Weens die spesifieke gemeenskaplike funksies van groepwerk en musiek, is daar besluit om die waarde van groepwerk en musiek in die aanspreek van dwelmafhanklikes se probleme, te ondersoek. Die universum is maatskaplike werkers by inrigtings wat intervensie aan dwelmafhanklikes deur middel van groepwerk, bied. Die ondersoek is deur 'n kombinasie van gestruktureerde onderhoude sowel as gestruktureerde vraelyste, gerig. Kwalitatiewe en kwantitatiewe inligting is dus ingesamel. Die resultate van hierdie ondersoek het tot 'n groot mate die bevindinge van die literatuurstudie bevestig naamlik dat dwelmafhanklikes met sekere persoonlikheidseienskappe, emosies, verdedigingsmeganismes en kommunikatiewe probleme presenteer; dat groepwerk 'n gewenste metode om bogenoemde behoeftes en probleme aan te spreek en te hanteer, is; en dat die benutting van musiek in groepsituasies waardevol in die fasilitering van die uitdrukking van emosies, die afbreek van verdedigingsmeganismes en die fasilitering van onder andere ontspanning, kan wees. Die aanbevelings het op drie areas gefokus naamlik algemene aanbevelings rakende inrigtingsbeleid, programme en skoling van maatskaplike werkers, aanbevelings ten opsigte van die gemeenskaplike funksies van groepwerk en musiek, en aanbevelings ten opsigte van verdere navorsing. Daar word aanbeveel dat die benuttingswaarde van musiek in groepwerk met 'n spesifieke kliëntegroep, getoets moet word.

Syfte: Avhandlingens syfte är att utveckla en generell modell för interaktiv musikterapi som kan anpassas till olika målgrupper. Ansats och metoder: Avhandlingen är en monografi med en hermeneutisk kunskapssyn och en huvudsakligt kvalitativ och explorativt undersökande inriktning. Musikterapins målsättning är att bidra till ökad hälsa och livskvalitet. Som bakgrund till avhandlingens syfte definieras och diskuteras musik, hälsa och livskvalitet. Musikterapi definieras och kopplas till teorier om musiken i terapin, om intrapsykiska och interpersonella processer samt till systemteori. Musikterapeutiska inriktningar redovisas med respektive teoretisk förankring. Musikterapi beskrivs även ur ett kliniskt perspektiv med koppling till teorier om anknytning, lekterapi och begrepp som arousal, vitalitet och emotioner. Grundläggande vetenskapliga synsätt presenteras med reflektioner kring lämpliga inriktningar i musikterapeutisk forskning. Internationell forskning om musikterapi med olika metodologiska inriktningar och för olika målgrupper och dysfunktioner samt forskning i musikterapi i de nordiska länderna redovisas, med reflektioner kring framträdande mönster i denna forskningsöversikt. Forskning om musikterapi för de specifika målgrupperna i studien presenteras. Tre studier har genomförts inom olika verksamheter med olika målgrupper. Studie 1: Musikterapi med dialys-, cancer- och psykiatripatienter på ett länssjukhus. Studie 2: Musikterapi med små cancersjuka barn på ett barnsjukhus. Studie 3:Musikterapi på ett behandlingshem för ungdomar med svåra psykosociala problem. Studierna har gemensamt syfte och gemensamma forskningsfrågor och metoder för kunskapsinsamling, främst processbeskrivningar och dialogintervjuer med klienter och personal, vilka bearbetats med innehållsanalys. För respektive studie redovisas målgrupp, genomförande och resultat. I en jämförande analys av de tre studierna redovisas vad i musikterapin som är gemensamt och vad som är målgruppsspecifikt. Resultat och slutsatser: Implementeringsarbetet med att integrera musikterapin i ordinarie verksamheter fungerade tillfredsställande i samarbete med engagerad personal. Den planerade musikterapeutiska formen med interaktion mellan terapeut och patienter/klienter fungerade genomgående med förhållningssättet att anpassa musikterapin till patientens/klientens behov och önskemål. Samtliga klienter/patienter uppgav positiva upplevelser av interaktionen med musikterapeut och musiken kunde användas som kommunikationsmedel, både för kontakt-skapande, som stimulans till verbal kommunikation och som medel för ickeverbal kom-munikation, exempelvis med små barn och avskärmade tonåringar. Samtliga målgrupper uppgav känslomässiga upplevelser med inre bilder och symboler kopplade till musiken vilka i många fall också kunde uttryckas i målade bilder och egna texter. De små barnen stimulerades i musikterapin till lek och aktivitet och ökad interaktion med sina föräldrar. Val av musik och genre, av förinspelad eller improviserad musik, av jagstödjande eller bearbetande inriktning samt av möjligheterna att kombinera musiken med bild och text, påverkades både av de berördas behov och önskemål och av målgruppens ålder, mognad, livssituation och dysfunktioner samt av hänsyn till andra pågående behandlingar. För vuxna med allvarliga somatiska sjukdomar fick musikterapin främst en inriktning mot existentiella livsfrågor medan psykiatripatienterna vanligen kopplade inre bilder och symboler till sin psykiska problematikFör ungdomar med svåra psykosociala livssituationer fick musikterapin en jagstödjande och identitetsstärkande funktion med musiken som kommunikationsmedel. De små barnen med cancer fick genom musiken tillgång till ett salutogent lekområde där de kunde vara aktiva och engagera musikterapeut och föräldrar. Musikterapin bidrog i samtliga målgrupper till förbättringar av upplevd livskvalitet och psykiskt mående och kunde även fylla en lindrande funktion vid svåra medicinska behandlingar. Även om dessa psykiska förbättringar indirekt också kunde ge positiva fysiska hälsoeffekter kunde dessa inte specifikt knytas till den genomförda musikterapin då andra behandlingar bedrevs parallellt. Sammanfattningsvis påvisade de empiriska studierna musikterapins positiva effekter på upplevd livskvalitet och gav värdefulla kunskaper gällande vilka aspekter i den interaktiva musikterapin som är generella och vilka som behöver anpassas till berörd målgrupp. Modell för interaktiv musikterapi. Modellbegreppet samt modellens kliniska bakgrund och teoretiska influenser redovisas. I denna avhandling står begreppet modell för den samlade helheten av värderingar, teorier, metoder och praktik som tillsammans bildar en modell för interaktiv musikterapi. Dimensionerna som tillsammans bildar modellen består av: Värdegrund, Brukarperspektiv, Implementering, Målgruppsanalys, Interaktion, Musik som kommunikation, Tid och närhet, Interventioner med musik-bild-text-rörelse, Symboliserings-processer, Musik-terapeutiska metodval samt Kompetens och utvärdering. Delarna bildar tillsammans en helhet för ökad förståelse av musikterapins komplexa processer. Ambitionen är att skapa överblick, struktur och vägledning i arbete med musikterapi, samtidigt som man i kliniskt arbete tar hänsyn till den enskilda individens behov, resurser och livssituation. Modellredovisningen sammanfattar de aspekter som är gemensamma för olika målgrupper och de som bör anpassas till respektive målgrupp, verksamhet och enskild klient. Avhandlingen avslutas med att återknyta till musikterapi och folkhälsa, samt reflektioner över för och nackdelar med valda forskningsmetoder, modellens styrkor och svagheter samt mina olika roller och några idéer om framtida forskning / Aim: The aim of the thesis is to develop a general model for interactive music therapy adjustable to different target groups. Introduction and method: The thesis is a monograph with a hermeneutic view of knowledge and a predominantly qualitative and explorational investigative focus. The goal of music therapy is to contribute to better health and quality of life. As background to the aim of the thesis music is defined and discussed. Music therapy is also defined and linked to theories of music in therapy, in intrapsychological and interpersonal processes, and to systems theory. Music therapeutic approaches are presented with their respective theoretical foundations. Music therapy is also described from a clinical perspective linked to theories of bounding, play therapy and concepts such as arousal, vitality and emotions. A basic scientific approach is presented with reflections about suitable directions in music therapeutic research. International research on music therapy, with varying methodological approaches for diverse target groups and dysfunctions as well as research in music therapy in the Nordic countries, are presented with reflections of the more outstanding patterns in this research overview. Research on music therapy for the specific target groups in the study is presented. Three studies have been carried out in three areas with different target groups. Study 1: Music therapy with dialysis, cancer and psychiatric patients at a county hospital. Study 2: Music therapy with small children with cancer at a children’s hospital. Study 3:Music therapy at a treatment centre for adolescents with severe psychosocial problems. The studies have joint aims and research questions as well as methods of knowledge gathering, that is chiefly process descriptions and dialogue interviews with clients and personnel, which have been processed by content analysis. Target groups, implementation and results are presented for the respective studies. A comparative analysis of the three studies, that for which music therapy is shared and that for which is target group-specific, is presented. Results and conclusions: Implementation efforts to integrate music therapy in ordinary activities worked satisfactorily in cooperation with dedicated personnel. The planned music therapeutic form of interaction between therapist and patients/clients functioned consistently with the approach of adjusting music therapy to the patient’s/client’s needs and wishes. All clients/patients reported positive experiences of interaction with the music therapist, and the music could be used as a means of communication, both for establishing contact, as a stimulus to verbal communication, and as a means of non-verbal communication, for example with small children and withdrawn teenagers. All target groups reported emotional experiences with internal images and symbols linked to the music, which, in many cases could also be expressed in painted images and personal texts. Small children were stimulated by music therapy to play and activity, and increased interaction with their parents. Music selection and genre of previously recorded or improvised music, of an identity supportive or processing approach, as well as the possibilities to combine music with paintings and text, was influenced by both the needs and desires of those involved and by the target group’s age, maturity, life situation and dysfunctions, while also showing concern for other ongoing treatments. Aim: The aim of the thesis is to develop a general model for interactive music therapy adjustable to different target groups. Introduction and method: The thesis is a monograph with a hermeneutic view of knowledge and a predominantly qualitative and explorational investigative focus. The goal of music therapy is to contribute to better health and quality of life. As background to the aim of the thesis music is defined and discussed. Music therapy is also defined and linked to theories of music in therapy, in intrapsychological and interpersonal processes, and to systems theory. Music therapeutic approaches are presented with their respective theoretical foundations. Music therapy is also described from a clinical perspective linked to theories of bounding, play therapy and concepts such as arousal, vitality and emotions. A basic scientific approach is presented with reflections about suitable directions in music therapeutic research. International research on music therapy, with varying methodological approaches for diverse target groups and dysfunctions as well as research in music therapy in the Nordic countries, are presented with reflections of the more outstanding patterns in this research overview. Research on music therapy for the specific target groups in the study is presented. Three studies have been carried out in three areas with different target groups. Study 1: Music therapy with dialysis, cancer and psychiatric patients at a county hospital. Study 2: Music therapy with small children with cancer at a children’s hospital. Study 3:Music therapy at a treatment centre for adolescents with severe psychosocial problems. The studies have joint aims and research questions as well as methods of knowledge gathering, that is chiefly process descriptions and dialogue interviews with clients and personnel, which have been processed by content analysis. Target groups, implementation and results are presented for the respective studies. A comparative analysis of the three studies, that for which music therapy is shared and that for which is target group-specific, is presented. Results and conclusions: Implementation efforts to integrate music therapy in ordinary activities worked satisfactorily in cooperation with dedicated personnel. The planned music therapeutic form of interaction between therapist and patients/clients functioned consistently with the approach of adjusting music therapy to the patient’s/client’s needs and wishes. All clients/patients reported positive experiences of interaction with the music therapist, and the music could be used as a means of communication, both for establishing contact, as a stimulus to verbal communication, and as a means of non-verbal communication, for example with small children and withdrawn teenagers. All target groups reported emotional experiences with internal images and symbols linked to the music, which, in many cases could also be expressed in painted images and personal texts. Small children were stimulated by music therapy to play and activity, and increased interaction with their parents. Music selection and genre of previously recorded or improvised music, of an identity supportive or processing approach, as well as the possibilities to combine music with paintings and text, was influenced by both the needs and desires of those involved and by the target group’s age, maturity, life situation and dysfunctions, while also showing concern for other ongoing treatments.

This thesis introduces a novel situated interactive composition system called the SMuSe (for Situated Music Server) that is grounded on principles of modern cognitive science, provides perceptual control of sound synthesis and includes emotional feedback. It illustrates both a new music composition paradigm and a synthetic psychology approach to the study of music perception, emotion and cognition. The SMuSe is composed of cognitively plausible modules implemented as a hierarchy of musical agents and relies on distributed control, parallelism, emergence and embodiment. By interacting with its environment, which provides feedback via multiple sensors, the system generates complex adaptive affective musical structures. Focusing on the micro-level of sound generation, we present two complementary techniques that give high-level perceptual control over low-level sound synthesis parameters. In a first implicit approach, a support vector machine algorithm learns to automatically map perceptual features such as loudness, pitch and brightness onto additive synthesis parameters. In a second approach, a physically-inspired synthesis model provides explicit access to perceptual and physical parameters such as pitch, loudness, brightness, attack time, inharmonicity and damping. Moving from the study of music generation and control towards the study of the musical experience itself, we then evaluate how the music generated by the SMuSe influences the listeners' emotional responses. A first psychoacoustics experiment shows the significant influence of structural (scale, register, harmony), expressive (velocity, tempo, articulation) and timbre (brightness, attack time, spectral flux) parameters on the emotional scales of valence, arousal and dominance. An additional large scale experiment involving dementia patients (an illness known to induce cognitive and affective deficits) shows that specific sound features (e.g. low loudness, low brightness) provoke specific emotional responses within the patients (e.g. low stress). Moreover, the patients' emotional responses differ from the age-matched control group, and the analysis shows an increased emotional sensitivity to sounds as the severity of the disease increases. These results suggest that sound-based therapy and diagnosis for dementia are possible. Finally, the maturity and flexibility of the SMuSe music system are demonstrated by a series of real-world applications including the sonification of a mixed-reality space, a study on physiologically-based musical interaction, a neurofeedback musical interface, a closed loop system based on reinforcement learning of emotional feedback, and a large scale multimedia performance using brain-computer interfaces. A situated, perceptive, emotive and cognitive approach to the design of musical systems paves the way for new applications for therapy but also for interactive gaming and novel physiologically-based instruments. Our approach provides a well-grounded paradigm to develop advanced synthetic aesthetics system that can inform our understanding of the psychological processes on which they rely. / Esta tesis introduce un nuevo sistema de composición situada e interactiva llamado SMuSe (por Situated Music Server). Dicho sistema está basado en principios extraídos de la ciencia cognitiva moderna, proporciona control perceptual sobre la síntesis sonora e incluye feedback emocional. Por lo tanto, ilustra tanto un paradigma nuevo para la composición musical, como un sintético enfoque psicológico al estudio de la percepción musical, las emociones y la cognición. SMuSe consta de diversos modulos, plausibles desde un punto de vista cognitivo, implementados como una jerarquía de agentes. El funcionamiento de SMuSe explota los principios de control distribuido, paralelismo, emergencia y embodiment. En función del feedback obtenido por la interacción con el entorno, el sistema genera complejas estructuras musicales afectivas. En concreto, a nivel de generación de sonido, presentamos dos técnicas complementarias que proporcionan un control perceptivo de alto nivel sobre parámetros concretos de síntesis sonora. En un primer método implícito, un algoritmo de support vector machine aprende a traducir automáticamente características perceptuales, como volumen, tono y brillo en parámetros de síntesis aditiva. En el segundo método, un modelo físico de síntesis proporciona explícitamente acceso a parámetros perceptivos y físicos, tales como tono, volumen, brillo, tiempo de ataque, inarmonía y factor de amortiguamiento. En lo que respecta al estudio de la experiencia musical en sí misma, evaluamos la influencia de la música generada por SMuSe en las respuestas emocionales del sujeto. Un primer experimento psicoacústico muestra la influencia significativa que tienen parámetros estructurales (escala,registro, armonía), expresivos (velocidad, tempo, articulación) y de timbre (brillo, ataque, flujo espectral) en la escalas emocionales de valencia, activacíon y dominancia. Adicionalmente, un experimento de gran escala realizado con pacientes de demencia, una patología que asociada a déficits afectivos y cognitivos, demuestra que los pacientes responden emocionalmente a rasgos específicos del sonido (e.g. bajo volumen y brillo inducen poca tensión). Además, la respuesta emocional de los pacientes difiere si se compara con la mostrada por un grupo de control con la misma edad media. De tal manera, una mayor respuesta emocional aparece asociada a un mayor grado de demencia. Estos resultados sugieren que sería posible desarrollar técnicas basadas en el uso de música tanto para el tratamiento de la demencia como para su diagnóstico. Para concluir, la madurez y flexibilidad de SMuSe se demuestra con una serie de aplicaciones que incluyen la sonificación de un espacio de realidad mixta, un estudio acerca de la interacción musical mediante datos fisiológicos, un interfaz musical basado en feedback neurológico, un sistema basado en aprendizaje por refuerzo del feedback emocional, y una performance multimedia de gran escala controlada mediante interfaces cerebro-máquina. Este enfoque situado, perceptivo, emocional y cognitivo al diseño de sistemas musicales abre la posibilidad de desarrollar aplicaciones no sólo terapéuticas sino también para los juegos interactivos y nuevos interfaces que empleen fisiología. Nuestra propuesta proporciona un sólido paradigma para el desarrollo de sistemas de síntesis de estéticas avanzadas, que puedan servir para entender los procesos psicológicos subyacentes

This study explored ways in which a music therapy student could modify and improve her own clinical practice in order to facilitate client contribution in group music therapy in an acute adolescent inpatient unit. Through cycles of observation, evaluation, planning, and action, the music therapy student was able to examine her facilitation techniques in detail and modified them accordingly. There were six fortnightly cycles and in each cycle, the research journal, research notes, and video-recording were systematically reviewed by the music therapy student herself, and themes were drawn out to contribute to the planning of the next cycle. The results suggested that while direct questions predominated at the start of study, the music therapy student was able to adopt a variety of other techniques by the end of the research period, including self-disclosure, appropriate eye contact, and the shifting of responsibility. The music therapy student also found that her own anxiety level, which was often caused by periods of silence in music groups, also had an important impact on her ability to facilitate. The discussion addressed other factors that are believed to have contributed to the student?s ability to facilitate in group music therapy.

This action research project examines the researcher’s journey of establishing a therapeutic relationship with a child with autism spectrum disorder during her practicum. Children with ASD present difficulty in communication and social relationship skills. As a student in training with a limited experience, the researcher had uncertainty and low confidence with regard to her clinical and professional skills which affected her work. In this project, the researcher has examined her own process of music therapy with a child with ASD and shows how she was able to improve her practice and therefore establish meaningful and effective therapeutic relationships with this client population and obtain valuable learning through the training. The study was conducted at a dedicated therapy centre in New Zealand where the researcher was in placement. A total of seven, thirty-minute weekly individual music therapy sessions and four supervision sessions were employed. This process was adapted into the design of action cycles which involved the repeated process of planning, action and evaluation. In-depth analysis of the researcher’s work was carried out throughout the cycles, using clinical notes, journal excerpts, supervision notes and video recordings of the sessions. The findings suggest that the researcher was able to improve her practice while attempting to build a therapeutic relationship with the client. Various clinical and personal issues arose such as uncertainty about improvisation, and lack of confidence in professional skills including communicating with parents, which led to disjunction and burnout symptoms. Discussions in supervision aided in in-depth reflection of the researcher’s work as well as emotional support. The researcher could ultimately develop ‘internal supervisor’ and was able to use independent strategies to help develop her work. Implications for training include making personal therapy a compulsory course requirement, providing training on professional skills, and student support groups. Future research may investigate the effectiveness of verbal input in music therapy and the emotional stages of parents.

This pilot study examined the effects of single sessions of music therapy on the level of anxiety in older persons with psychiatric disorders. The studied intervention was a 30 minute music therapy group and the control intervention was a verbal therapeutic intervention in the form of a reminiscence group. Participants acted as their own control. The measurement tool was the state part of a “State Trait Anxiety Inventory”. It was administered a total of four times, pre- and post- the music therapy intervention and preand post- the reminiscence therapy (control) group. A total of 9 participants were recruited for the study. The results indicated that single sessions of music therapy significantly reduced the level of anxiety for older persons with psychiatric disorders [t(8)=4.626, p<0.0017] as compared to the control intervention as measured by the state part of the “State Trait Anxiety Inventory”. There was no evidence for a significant carryover effect since the baselines prior to each intervention did not differ significantly (p=0.55). These results can be considered to be a part of a pilot study and early inquiry into this field since methodological difficulties and the time limitation of the research resulted in some necessary deviations from the original protocol. A major limitation of the study was the choice of a measurement tool, which required the client to be cognitively high functioning. Thus these results are limited to cognitively able clients, which is a relatively small proportion of this client group that could potentially benefit from music therapy. It is suggested that for future research with this client group the measured variable be physical relaxation, rather than anxiety.

Diss. (sammanfattning) Stockholm : Karol. inst., 2003. / Härtill 5 uppsatser.

Conselho Nacional de Desenvolvimento Científico e Tecnológico / A utilização da música na reabilitação de pessoas que fazem uso abusivo de substâncias psicoativas configura-se como uma incógnita epistemológica para o campo da musicoterapia. A carência de pesquisas teóricas e práticas no âmbito da musicoterapia, que atentem para a complexidade da demanda na reabilitação de pessoas acometidas pelo abuso de substâncias, é o principal motivador para a elaboração do trabalho. Sendo metodologicamente provindo de revisão bibliográfica, o escrito é divido em três momentos. O primeiro investiga de que maneira o uso abusivo de substâncias psicoativas arraigou-se como um dos principais problemas da sociedade atual e de que forma o uso de substâncias está culturalmente relacionado às artes, especificamente a música. Servirão de aporte para essa parte, os olhos da Teologia da Libertação, a qual busca no âmago do sofrimento das pessoas, o reconhecimento da dignidade inerente a todos os seres humanos. A identificação das vias rituais pelas quais acontece a trans-significação do real pelo ser humano, é executada no segundo momento. Questões relacionadas às linguagens e às formas pelas quais o ser humano sai da realidade, as quais intermediam suas buscas existenciais, são o cerne dessa parte. O terceiro e último momento avista a natureza comunicacional e organizacional da música, para uma formulação epistemológica que contemple a demanda concernente à prática clínica musicoterapêutica na reabilitação de pessoas acometidas pelo abuso de substâncias. Identifica-se nessa parte, que a sessão musicoterapêutica é uma prática salutar de trans-significação do devir humano. / The use of music in rehabilitation of people who use psychoactive substances emerges as an epistemological question to the field of Music Therapy. The lack of theoretical and practical researches in Music Therapy, which focuses on the complexity of the demand in rehabilitation of people affected by the abuse of substances, is the main motivator for the development of this work. Methodologically based on a bibliographical review, this dissertation is divided into three parts. The first investigates how the abuse of psychoactive substances rooted itself as one of the main problems of the current society and how the use of substances is culturally related to the arts, specifically music. This part has an approach of the Liberation Theology, which seeks the recognition of the dignity, common to all human beings, by looking into the suffering of the people. The second part identifies the ritual paths, in which the trans-signification of what is real happens. Issues related to language and ways the human being uses to leave reality, which mediate their existential quest, are the core of this part. The third and last part addresses the communicational and organizational nature of the music, in order to build an epistemological concept that considers the demand regarding to the clinical music therapy practice in rehabilitation of people affected by the abuse of substances. In this part, we identify that the Music Therapy session is a healthy practice of trans-signification of becoming human.

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Percebe-se que no contexto hodierno, cada vez mais as pessoas estão tendo dificuldades em lidar com a carga que o mundo pós-moderno ocidental inflige. O resultado disto são os inúmeros casos de pessoas que procuram por terapias. Esta pesquisa aborda a colaboração entre a Teologia Prática e a Musicoterapia no concernente a sua atuação para potencialização do cuidado em grupos de canto na IECLB. Para tanto se fez necessário um trabalho de pesquisa bibliográfica com a finalidade de apresentar formas de cuidado oriundas do fazer musical, das mensagens da hinologia oficial da IECLB, entre outros fatores terapêuticos atrelados ao convívio e vínculo grupal. O presente trabalho está dividido em três capítulos. O primeiro capítulo destinou-se à exposição de dois importantes conceitos para este trabalho: Musicoterapia com sua abordagem terapêutica dos elementos da música (ritmo, melodia, harmonia) fornecendo um cuidado diferenciado às pessoas em situação de fragilidade; e o cuidado a partir, principalmente da concepção do teólogo Leonardo Boff. O referido cuidado é abordado primeiramente de uma forma geral, visando suas diferentes definições, até um cuidado mais específico encontrado na diaconia e cuidado advindo de Cristo. O segundo capítulo se caracteriza por uma abordagem histórica expondo a ligação da música com a espiritualidade, especialmente com a fé judaico-cristã; na sequência é pesquisada a relação música-igreja-grupo a partir do envolvimento de Lutero, e, por conseguinte, pela chegada da teologia luterana em território brasileiro, junto com os primeiros imigrantes alemães. No último capítulo é realizado um levantamento bibliográfico acerca do relato de cuidado prestado por pessoas vinculadas a grupos de música, desde membros até coordenadores; são apresentadas mensagens de cuidado contidas nos temas e hinos do hinário oficial da IECLB (Hinos do Povo de Deus); também são apresentados fatores terapêuticos atrelados ao estar em grupo; e, para finalizar, são expostas algumas formas de cuidado oriundas da aplicação de possíveis objetivos terapêuticos em Musicoterapia. / One can perceive in the context of daily life, that people are having ever greater difficulties in dealing with the load inflicted upon them by the post-modern Western world. The result of this is the innumerable cases of people seeking therapies. This research deals with the collaboration between Practical Theology and Music Therapy relating to its action in potentializing care giving in singing groups in the IECLB [Evangelical Church of Lutheran Confession in Brazil]. To accomplish this bibliographical research work was necessary in order to present ways of care giving stemming from musical action, from messages from the official hymnology of the IECLB, among other therapeutic factors connected to group communal interaction and ties. This paper is divided into three chapters. The first chapter was designated to the exposition of two important concepts for this work: Music Therapy with its therapeutic approach of musical elements (rhythm, melody, harmony) providing a differentiated care giving for people in situations of frailty; and care giving based mainly on theologian Leonardo Boff&#8223;s conception. The care giving referred to is first approached in a general way, focusing on its different definitions, going to a more specific care giving found in diakonia and care giving coming from Christ. The second chapter is characterized by an historical approach presenting the connection of music to spirituality, especially within the Jewish-Christian faith; in sequence the relation of music-church-group is researched based on Luther&#8223;s involvement, and, finally, the arrival of Lutheran theology on Brazilian territory, together with the first German immigrants. In the last chapter a bibliographic survey is carried out about the reports of care giving given by people tied to music groups, from members to coordinators; care giving messages appearing in the themes and hymns of the official hymnal of the IECLB (Hinos do Povo de Deus [Hymns of the People of God]) are presented; therapeutic factors tied to being in a group are also presented; and, finalizing, some forms of care giving coming from applying possible therapeutic goals of Music Therapy are presented.

Syftet med den här uppsatsen är att undersöka om ett experimenterande med etnopoetisk transkribering av den i fältarbetet skapade etnografin kan ge fördjupade insikter i musikens funktion och betydelse inom demensvården. Det sju dagar långa fältarbetet på ett demensboende gav upphov till ljud- och videoupptagningar, intervjuer med personalen, samt fältanteckningar och -dagbok. Etnografin presenteras i två empirisk- analytiska kapitel, av vilka det första undersöker formellt organiserade musiksituationer, medan det andra undersöker informella musiksituationer på demensboendet. Den etnopoetiska transkriberingen eftersträvar att i text så noggrant som möjligt återge tal och sång, liksom även de minsta detaljer i mänsklig kommunikation, så som prosodi, gestik, koreografi och andra paralingvistiska element. Som svar på fem ställda frågor konkluderar undersökningen att den etnopoetiska transkriberingen tydliggör: 1) hur spegling, upprepning och turtagning strukturerar samspelet mellan vårdtagare och personal; 2) den sociala interaktionen mellan forskaren, personer med demenssjukdom och deras personal; 3) hur musik förekommer i situationer som inte vid första anblicken uppfattas som musik; 4) demenspatienter (som agerande subjekt); 5) den kommunikativa musikkompetensen hos personer med demenssjukdom, de anhöriga och personalen. / The aim of this paper is to investigate if an experiment with ethnopoetic transcription of the ethnography created in a field study can convey profound insights into the functions and meanings of music in dementia care. The seven days fieldwork, resulting in sound- and video recordings, interviews, field notes and diaries, was conducted in a nursing home. The ethnography is presented in two empirical-analytical chapters, the first of which investigates formally organized music situations, whereas the second scrutinizes informal music situations in the nursing home. The ethnopoetic transcript aspires to meticulously render speech and singing in text, as well as minute details of interaction, such as prosody, gestures, choreography and other paralinguistic elements of communication. In response to a set of five questions, the investigation concludes that the ethnopoetic transcription makes evident: 1) how mirroring, repetition and turn-taking structure the interaction between patients and nursing staff; 2) the social interaction between the researcher, the patients and the nursing staff; 3) how music actually happens in situations that at first sight may be considered non-music situations; 4) dementia patients (as acting subjects); 5) the communicative music-competence of dementia patients, their relatives and the nursing staff.