Ph.D., School of Music, Facultyof Humanities, University of the Witwatersrand, 2011 / My interest in conducting this empirical research exploring music as a tool for rehabilitation and empowerment of prison offenders was sparked by my observation in 2002 of the problematic use of music at Mthatha Medium Correctional Centre (MMCC). Music activities were simply a microcosm of music activities outside prison, and despite the existence of the National Offenders Choir Competitions (NOCC) since 1997, neither offenders nor Department of Correctional Services (DCS) Officials seemed to regard participation in such activities as music education, let alone rehabilitative or empowering. In 2007 I conducted a one-year Participatory Action Research project of four cycles or stages, in the prison, intended to work towards developing and improving musical, self-reflexive, and other life skills. I then used Michel Foucault’s notion of ‘panopticism’ (1978) and Paulo Freire’s theory of ‘conscientização’ (1970) to intepret the music styles, practices, and performances developed during the project and their impact on those involved. Two central questions underpinning this study are, ‘To what extent do music activities subvert the watchfulness of the prison system and environment?’ and ‘How does music encourage offenders to transcend their prisoner status and reinvent their lives as musicians ‘behind bars’, better able to reintegrate into society as rehabilitated citizens?’ Through narrative enquiry and thematic content analysis I examine how the participants’ critical consciousness about music and about themselves was raised and the way in which the praxis (reflection and action) method had changed their lives. In the light of the results from this approach and context, I devised a set of recommendations for a music education curriculum for implementation in South African prisons,

No description available.

Dissertation (M.Mus. (Music Therapy)) -- University of Pretoria, 2006. / Abstract in English. Includes bibliographical references.

Thesis (doctoral)--Universität zu Köln, 1988. / Includes bibliographical references (p. 229-232).

Thesis (Ph.D.)--Antioch University, 2009. / Title from PDF t.p. (viewed March 26, 2010). Advisor: Carolyn Kenny, Ph.D. "A dissertation submitted to the Ph.D. in Leadership and Change program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2009."--from the title page. Includes bibliographical references (p. 263-277).

Thesis (doctoral)--Universität zu Köln, 1988. / Includes bibliographical references (p. 229-232).

Thesis (M.D.)--University of Pennsylvania, 1806. / Microform version available in the Readex Early American Imprints series.

Also published as thesis, Université de Paris, under title : Sur quelques effets physiologiques de la musique. / At head of title: Dr. X. Verdier. "Index bibliographique": p. [89]-90.

The purpose of this study was to provide a critical interpretive synthesis (CIS) of the literature focused on music therapy at the end of life. The guiding question for this inquiry was, “What is the essence of the music therapy experience at the end of life, as it is explained across the literature?” Music therapy has been offered in hospice and palliative care in the United States, almost from its inception, when the first hospice in the United States opened in 1974. Since then, hospice has grown to be one of the most common settings for music therapists. The abundant literature addressing music therapy at the end of life demonstrates the meaningfulness of this clinical work, however, little synthesis of this literature has been published. CIS, a research methodology developed in 2006 by Dixon-Woods, et al., offers researchers a method for synthesizing diverse bodies of literature, and explicitly integrates quantitative, qualitative and non-empirical literature. Unlike methods for conventional systematic reviews, researchers using CIS draw from distinctive traditions of meta-ethnography to synthesize, build synthetic constructs, and generate a synthesizing argument. The resulting argument—an integrative, coherent theoretical framework—comprises a network of constructs and the relationships between them. Through the capacity of music therapy to establish, reestablish, or enhance the connection to self, connection to others, and connection to spirituality for people at the end of life, Connection emerged as the synthesizing argument in this study. As such, Connection became the unifying theoretical framework linking existing constructs across the literature. Within this framework, the role of the music therapist as companion emerged, demonstrating the essence of their presence to facilitate those connections, within a therapeutic relationship accelerated and enhanced by the music. This critical interpretive synthesis of the literature on music therapy at the end of life provides a meaningful resource for music therapists working in end of life care, or for those who aspire to do so. The meaningful work of individual authors is strengthened by the unifying connections made in this synthesis and music therapists are offered a theoretical framework from which to approach clinical work and a potential focus for therapy. This study illuminates some of the subtleties and complexities of music therapy at the end of life and brings to the forefront a deeper understanding of how music therapy impacts the end of life experience. / Music Therapy

abstract: Hospice Music Therapy is an established specialization area within the field of music therapy with significant empirical research confirming its efficacy. Much of the current research on hospice music therapy concerns the use of receptive music therapy and traditional counseling and psychotherapy techniques. According to a survey of people with terminal illness, the most common needs experienced are: pain management, support for autonomy to the fullest extent possible, psychosocial support, and spiritual support. Mindfulness and mindfulness based interventions have been linked to increased self-compassion, reduced stress, reduced anxiety, and a reduction in self-reported perception of pain. While music therapy performs well in empirical measures of hospice-related need areas, mindfulness techniques and practice may enhance the music therapist’s capacity for self-care and administering hospice treatment. Additionally, music therapy may be a good companion to a mindfulness based therapy due to similar cognitive effects and processes that are utilized in each. This thesis will formulate a conceptual framework in which mindfulness and body awareness might be used as an integral aspect to the music therapist's practice in the hospice setting. / Dissertation/Thesis / Masters Thesis Music Therapy 2018