Submitted by admin tede (tede@pucgoias.edu.br) on 2017-05-12T14:32:56Z No. of bitstreams: 1 HUMBERTO DOS SANTOS NETO.pdf: 1093947 bytes, checksum: 9ab7fc1e1d1c02f0d2b06682de899abb (MD5) / Made available in DSpace on 2017-05-12T14:32:56Z (GMT). No. of bitstreams: 1 HUMBERTO DOS SANTOS NETO.pdf: 1093947 bytes, checksum: 9ab7fc1e1d1c02f0d2b06682de899abb (MD5) Previous issue date: 2017-02-13 / This work was carried out in order to understand the use of music and its therapeutic elements; Techniques and procedures used within the Neo-Pentecostal liturgical process. It was aimed at the verification of a religious process, which approximates in a similar way a therapeutic process, and which reinforces and demonstrates aspects already proposed by religion, which can make sense of life, nomia, resignification, salvation and healing in people who are They find themselves in a situation of vulnerability and emotional, spiritual and even physical fragility, thus covering the eschatological and anthropological dimensions. In another sphere, we observed and evidenced some techniques and methods of music therapy, used in the cults, that potentiate the dynamics that religion offers. In our methodology, in addition to the observations of various meetings and gatherings of Neo-Pentecostal communities, both in person and in social media, we also participate in specific events with an emphasis on healing and liberation, called 'Encounter with God' or 'Tremendous Encounter' . From an informal perspective, it was possible to hear testimonies from believers and religious leaders participating in these events in order to discuss the existence or not of music therapy resources in the liturgies of such meetings, but with the aim of collecting data to tabulate and analyze Comparatively the same. Considering that our object is the observation of music therapy resources and their use in the liturgy of these communities, a vast amount of material was also read on social media, blogs, TV and the internet. In addition, we use part of neopentecostal confessional literature and the science of religion, psychology, music therapy, music and anthropology. These contents were configured as sources for understanding how the technical elements of music and music therapy can enhance the dynamics already offered by religion. / Este trabalho foi realizado no intuito de compreender a utilização da música e seus elementos terapêuticos; as técnicas e os procedimentos musicoterapêuticos utilizados, dentro do processo litúrgico Neopentecostal. Visou-se à verificação de um processo religioso, que se aproxima de forma análoga de um processo terapêutico, e que reforça e evidencia aspectos já propostos pela religião, que podem possibilitar sentido de vida, nomia, ressignificação, salvação e cura em pessoas que se encontram em situação de vulnerabilidade e fragilidade emocional, espiritual e até física, abrangendo assim as dimensões escatológicas e antropológicas. Em outra esfera, observamos e evidenciamos algumas técnicas e métodos musicoterapêuticos, utilizados nos cultos, que potencializam as dinâmicas que a religião oferece. Em nossa metodologia, além das observações de diversas reuniões e ajuntamentos das comunidades neopentecostais, tanto de forma presencial, quanto pelas mídias sociais, também participamos de eventos específicos com ênfase na cura e libertação, chamados de ‘Encontro com Deus’ ou ‘Encontro Tremendo’. Em uma perspectiva informal, foi possível ouvir depoimentos de fiéis e dos líderes religiosos participantes desses eventos com o fim de que eles discorressem sobre a existência ou não de recursos musicoterapêuticos nas liturgias de tais encontros, porém com o objetivo de recolher dados para tabular e analisar comparativamente os mesmos. Tendo em vista que nosso objeto se constitui na observação dos recursos musicoterapêuticos e sua utilização dos mesmos na liturgia dessas comunidades, foi também realizada uma leitura de vasto material, divulgado em mídias sociais, blogs, TV e internet. Ademais, utilizamos parte da literatura confessional neopentecostal e da ciência da religião, psicologia, musicoterapia, música e antropologia. Esses conteúdos configuraram-se como fontes para compreensão de como os elementos técnicos da música e musicoterapia podem potencializar as dinâmicas, já oferecidas pela religião.

<p> Traditionally, Melodic Intonation Therapy (MIT) has been used as means of increasing verbal output (expressive language) in individuals with Broca&rsquo;s aphasia; however, recently MIT has been studied for its potential impacts on the autism spectrum disorder (ASD) population, as well. The purpose of this study was to examine the features of music (i.e., exaggerated pitch and/or rhythm) found in traditional MIT against traditional speech to determine the impact of these musical features on receptive language abilities in individuals with ASD. This study involved an ASD group and a typically developing (TD) group, both with school-age children. Each group was presented with an experimental protocol, which included prompting each subject with a simple verbal command to manipulate one of four objects that had been placed in front of them. These commands were presented in a traditional speech condition, an exaggerated intonation condition, or a rhythmically controlled condition. We hypothesized that the rhythmic condition would be the most successful for promoting auditory comprehension of verbal commands in the subjects with ASD. Our hypothesis was partially supported, as one of the ASD subjects found the most success with the rhythmically controlled commands; but the other ASD subject found intonation to be the most helpful condition. Both ASD subjects indicated that music was more successful than traditional speech for comprehending simple auditory commands. Future studies should extend to other age groups, and should also examine why these musical components are more successful than speech within the ASD population.</p>

Thesis (M.A.)--Catholic Theological Union at Chicago, 1998. / Vita. Includes bibliographical references (leaves 152-155).

In the field of twentieth-century musicology, studies have emphasized the music of Bela Bartok from a strictly hannonic standpoint. While these studies have provided insight into harmonic manipulation and tonal language there has been little emphasis placed on the role of rhythm and how it relates to the development of Bartok’s music. This study provides an analysis and discussion of rhythmic manipulation, structure and contour of rhythmic motives in String Quartets Nos. I and 4. This analysis was influenced by the methods and philosophies created and discussed by Edward Cone, Emo Lendvai, and John Roeder, among others. I adapted Lendvai's harmonic diagrams to illustrate the rhythmic conflict in Bartok's music. In addition to expanding established analytical models and concepts, I have created original analytical concepts such as rhythmic environments, rhythmic· oppression, and confrontation to identify and discuss important musical events. This is a novel rhythmic rather than harmonic study which provides an original method of analysis that is inspired by the rhythmic life of Bartok's String Quartets and may be used to interpret other music of the twentieth century.

Afrikaans text / Die doel van hierdie studie was om vas te stel of musiek in terapie gebruik kan word deur ' opvoedkundige sielkundiges, asook wat die verskil is tussen musiekterapie en die terapeutiese aanwending van musiek deur ander terapeute. Vir die verkenning van die terapeutiese gebruik van musiek is 'n literatuurstudie gedoen oor die fenomeen musiekterapie, asook oor die terapeutiese gebruik van musiek. Die twee verskynsels is met mekaar vergelyk om ooreenkomste en verskille aan te dui. Die empiriese studie het aan die lig gebring dat musiek op baie verskillende maniere in terapie gebruik kan word en gekombineer kan word met ander hulpmiddels. Die emosionele en kognitiewe funksie wat musiek vervul is met die studie uitgewys. Musiek help byvoorbeeld om 'n emosionele klimaat te skep wat effektief in terapie gebruik kan word; en musiek kan 'n mens se denke stimuleer. Aanbevelings is ook gegee vir die terapeutiese gebruik van musiek. / The object of the study was to determine if and how music can be used in therapy by the educational psychologist. The further aim was to determine the difference between music therapy and the therapeutic application of music by other therapists. In the exploration of the therapeutic use of music, a comparative study was done between music therapy as phenomenon and the therapeutic use of music, where similarities and differences were outlined. The empirical study showed that music can be used in different ways in therapy and can also be combined with other therapeutical aids. According to this study, music can fulfill an emotional and a cognitive roll. A pleasant emotional climate for therapy can be created and stimulate the client's thoughts. With this study it was possible to give guidelines for therapeutic applications of music. / Psychology of Education / M. Ed. (Voorligting)

Afrikaans text / Die doel van hierdie studie was om vas te stel of musiek in terapie gebruik kan word deur ' opvoedkundige sielkundiges, asook wat die verskil is tussen musiekterapie en die terapeutiese aanwending van musiek deur ander terapeute. Vir die verkenning van die terapeutiese gebruik van musiek is 'n literatuurstudie gedoen oor die fenomeen musiekterapie, asook oor die terapeutiese gebruik van musiek. Die twee verskynsels is met mekaar vergelyk om ooreenkomste en verskille aan te dui. Die empiriese studie het aan die lig gebring dat musiek op baie verskillende maniere in terapie gebruik kan word en gekombineer kan word met ander hulpmiddels. Die emosionele en kognitiewe funksie wat musiek vervul is met die studie uitgewys. Musiek help byvoorbeeld om 'n emosionele klimaat te skep wat effektief in terapie gebruik kan word; en musiek kan 'n mens se denke stimuleer. Aanbevelings is ook gegee vir die terapeutiese gebruik van musiek. / The object of the study was to determine if and how music can be used in therapy by the educational psychologist. The further aim was to determine the difference between music therapy and the therapeutic application of music by other therapists. In the exploration of the therapeutic use of music, a comparative study was done between music therapy as phenomenon and the therapeutic use of music, where similarities and differences were outlined. The empirical study showed that music can be used in different ways in therapy and can also be combined with other therapeutical aids. According to this study, music can fulfill an emotional and a cognitive roll. A pleasant emotional climate for therapy can be created and stimulate the client's thoughts. With this study it was possible to give guidelines for therapeutic applications of music. / Psychology of Education / M. Ed. (Voorligting)

Title: The use of music therapy for physically disabled Author: Bc. Jan Janyška Leading: Mgr. Barbara Valešová Malecová, Ph. D. Summary The thesis is trying to clarify the base of constantly developing discipline called music therapy, specifically music therapy for people with specific needs. In the introduction the psychological value of physical disability is mentioned with a focus on a cerebral palsy. The theoretical chapter is dealing with an impact of sound on a human body considering the music therapy. Practical part is focused on designing a music therapy plan which was subsequently applied in practice with physically disabled people. Key words Physical disability, cerebral palsy, sound, music, music therapy

The aim of this research is to contribute ideas toward the possibilities of what music therapy can be, by examining the therapeutic potentials of creating and performing music within the context of an Australian maximum-security women’s prison. Until recently, music therapists rarely documented or explored the potential of performance for music therapy practice while some health professionals even suggested that performance is anti-therapeutic (See Maratos, 2004). Music therapists writing about their practices in forensic settings emphasise the therapeutic potentials of singing and song writing rather than performance and they predominantly approach these activities from a behavioural orientation. The almost singular theoretical approach to practising music therapy in forensic settings reflects a lack of relevant research. Consequently, the purpose underlying this research is to explore the therapeutic potentials of making and performing music with women in prison from an alternative perspective; namely humanistic rather than behavioural. The aim of this research is not only to examine previously undocumented processes in music therapy such as performance but also to contribute to the literature concerning the health and wellbeing of women in prison. / The research was designed as a qualitative case study of a ten-week creative process involving seven women in prison who collaboratively created a musical together with artists from a theatre company. As a culmination of this ten-week process, the women in prison and the artists of the theatre company performed the musical to an audience of approximately 60 prisoners, prison officers, health professionals and prison staff. In order to examine the therapeutic potentials of creating and performing music in this case, post-performance interviews were conducted with the seven women who were in prison as well as with the artists involved in the theatre company. The researcher also wrote session notes throughout the ten-week process and these, as well as the interviews and five songs created during the ten weeks, comprise the data set for this study. / The data was analysed using a variety of qualitative techniques chosen for their suitability to two main research tasks: 1) describing the case and 2) analysing the therapeutic potentials of creating and performing music in this case. In order to describe what happened collectively throughout the ten-week process, a content analysis was performed upon the researcher’s session notes. Phenomenological techniques of analysis were then applied to the interviews with the women in prison in order to describe the essence of each individual’s experience of the ten-week process. The five songs are presented in their original form as a way of further illustrating the case. In order to describe the work of the theatre company, techniques of grounded theory were used to analyse the interviews with the participating artists. Grounded theory analysis was also the method used to ultimately explain various aspects relating to the therapeutic potentials of creating and performing music in this case. / The main results of this analysis are presented in three parts. The first set of results explains how creating and performing music in this case served the participating women in prison as a bridge from the ‘inside’ to the ‘outside’. These women described a real and symbolic divide between their realities inside prison and the world outside the razor wire. By creating and performing music, the women were able to experience five different ways of shifting outside of their realities in prison, by moving 1) from physical and symbolic ‘inside’ places to ‘outside’ places, 2) from privacy to public, 3) from solitude to togetherness, 4) from self-focus to a focus on others, and 5) from subjective thought processes to objective thought processes. The results outline different therapeutic potentials for each type of outward movement. The exploration of an outward-directed approach to music experience in this case can help to extend conventional music therapy practices where inward-directed therapeutic shifts are more commonly described. / The second set of results depicts the influence of five personal resources that helped the women to enact the therapeutic potentials associated with each of the five outward shifts. In particular, these results suggest that each type of outward movement was especially powerful when courage, readiness, exchange, support and trust were present in their fullest dimensions. It was these resources, rather than the processes usually associated with therapy, that enabled the therapeutic potentials of creating and performing music in this case to be fulfilled. Consequently, the notions of ‘therapy’ and ‘therapeutic’ are further delineated while important implications for the use of music as therapy and for the related practice of ‘arts in health’ are highlighted. / The third and final set of results suggest that music in this case, when compared with visual art and drama, provided the women with a ‘middle road’ in terms of the levels of exposure required by each art-form. As a predominantly gentle form of exposure, music in this case provided therapeutic potentials that differed more in strength rather than quality when compared with drama and visual art. These results suggest the importance of creativity in explaining the relationship between the therapeutic potentials of all arts therapies while also representing important implications for the development of indigenous theory in music therapy. / In relation to the stated aims, this research documents and explores the therapeutic potentials of musical performance and directly relates these potentials to new possibilities for music therapy practice. Furthermore, the research presents a humanistic rather than behavioural approach to creating and performing music with women in prison, thereby adding variety and depth to the sparse music therapy literature related to forensic health. More broadly, however, this research adds to the slim body of literature concerning women in prison by outlining a creative and powerful approach to helping such women improve their health and well-being.

Thesis (D.W.S.)--Robert E. Webber Institute for Worship Studies, 2007. / Abstract. Includes bibliographical references (leaves 143-148).

Thesis (D.W.S.)--Robert E. Webber Institute for Worship Studies, 2007. / Abstract. Includes bibliographical references (leaves 143-148).