Thesis (M.M.) Florida State University, 2005. / Advisor: Alice-Ann Darrow, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-26-07). Document formatted into pages; contains 71 pages. Includes biographical sketch. Includes bibliographical references.

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This multiparadigm inquiry sought to investigate music therapy group processes aimed at facilitating empathic interactions between adolescents referred for aggression in a relatively under-resourced school in Eersterust, South Africa. Two qualitative studies were conducted under the umbrella of this multiparadigm research. The first employed Husserlian phenomenology and the second was informed by the theories of Deleuze and Gergen. In the two studies music therapy practice differed in relation to how the adolescent participants were produced and the therapeutic techniques that were used. Theoretically, notions of aggression and empathy differed between the two paradigms and this held varying implications for practice. The research process within the two studies differed in that, while in the descriptive phenomenological study an experiential essence could be pursued, the study informed by the thinking of Deleuze and Gergen afforded relational rhizomic expansion of meaning. Music was also foregrounded and receded in varying ways within the two studies. The implications for music therapy practice that were highlighted by the phenomenological study were the value of bracketing; the usefulness of a client-centred approach that balances structure and freedom; and the importance of considering empathy in multifaceted ways. In the study informed by the theories of Deleuze and Gergen, the usefulness of aggression within a non-judgemental approach to music therapy that concurrently seeks to enhance collective well-being was highlighted. Other implications for music therapy practice that were emphasised through this second study were the value of a more inclusive concept of empathy in music therapy; the value of “small bends”; and the importance of considering assemblages that can inform the planning of therapeutic processes and possibilities for participants’ growth. Through deep immersion in each paradigm, diverse representations could be offered and a richer understanding of the topic under consideration could be generated. The research aimed to explore the role of paradigmatic orientation, particularly regarding the relationships between practice, theory and research. By “plugging” group music therapy processes into two different paradigms, varying approaches to thinking could become possible. The creative potential for interplay between the two paradigms was explored. / Thesis (DMus)--University of Pretoria, 2018. / Music / DMus / Unrestricted

Dissertation (MMus (Music Therapy))--University of Pretoria, 2008. / Music / unrestricted

Music therapy is becoming widely recognised as an effective non-pharmacological therapeutic modality in dementia care, offering psychological, social, and physical benefits. However, little is known about the neurophysiological activity during active and receptive music therapy methods for persons with dementia. This may shed light on client experiences, particularly those with limited external responses. In this pre-experimental pilot study, a group of healthy older adults (n=5) and persons with mild-moderate (n=8) and severe dementia (n=5) received once-off individual music therapy sessions including receptive and active techniques during which heart rate (HR), respiration rate (RR), and electroencephalogram (EEG) responses were recorded. There was a general increase in HR from baseline resting measures and nonparametric tests showed significant changes during singing a familiar song (p=0.044) and drumming (p=0.019). An increase was also observed during vocal improvisation. RR was highly variable as it was influenced by singing. The largest increase occurred during drumming. The autonomic data suggest that active music therapy techniques may induce greater physiological arousal than receptive techniques but this requires further investigation. Findings were minimal for the prefrontal cortex EEG; however, there were significant limitations in the acquisition and analysis of this data. There was an unexpected decrease in Gamma power for participants with severe dementia during the drumming exercise, which may implicate the Default Mode Network (DMN). Four case examples are presented in the discussion that illustrate significant moments within the sessions and relate these to the real-time neurophysiological data. These case examples highlight the differences in engagement between participants with mild-moderate and severe dementia and explore several instances of the neurophysiological data that bring insight into participant experiences as well as the shortcomings of the neurophysiological data. Whilst the findings were modest, this research offers insight into the challenges and limitations of experimental research in music therapy and dementia. This dissertation reflects on the limitations of neurophysiological investigations of active music-making and the challenges of the dual researcher-therapist role. It critiques the ecological validity of protocolised music therapy and the use of purely quantitative methodology in music therapy research. / Mini Dissertation (MMus (Music Therapy))--University of Pretoria, 2021. / Music / MMus (Music Therapy) / Unrestricted

This study explores music therapists’ and traditional healers’ understandings of their roles and relationships in the South African healthcare context with the hope of contributing to an emerging and fruitful dialogue. Interviews were held with two groups of participants: four traditional healers (TH), and four music therapists (MT), in this multiple case study. Thematic analysis was used to interpret the data. While the THs were mostly unfamiliar with MT as a discipline, THs and MTs converged in their views that musicking is a salient therapeutic approach in South Africa, as it is non-verbal and, therefore, crosses language barriers. The THs and MTs in this study acknowledged that the biomedical approach to mental health is valuable in relieving symptoms, but often does not approach the deeper cause(s). Therapeutic musicking, however, were thought to offer consolation, create opportunities for reflection, and a safe container to explore difficulties or trauma. Where MTs diverged from THs waas in their use of music to focus on clients developing personal agency. THs diverged from MTs in their use of music to perform spiritual healing. While the MTs recognised the value of spirituality for some clients, they saw this as being beyond their scope of practice. Both sets of practitioners described TH as a marginalised perspective that should be valued more, for its spiritual focus, and in light of advancing social justice. According to the MTs, validating marginalised perspectives is part of the greater therapeutic work of healing the effects of colonisation. The MTs hoped to learn from THs and gain a more cultural grounding in music, as well as indigenous knowledge systems. Both groups of practitioners envisioned a future healthcare system as having multiple modalities, with scopes of practice in mind, and developing more trust among disciplines, in order to better serve South Africa’s diverse population. / Mini Dissertation (MMus (Music Therapy))--University of Pretoria, 2021. / National Arts Council / Music / MMus (Music Therapy) / Unrestricted

This study examined the effects of music versus silence on measures of state anxiety, perceived relaxation, and physiological responses of chiropractic patients prior to and immediately after chiropractic treatment interventions. Thirty subjects were randomly assigned to one of three conditions. The control group (I) was instructed to relax in silence. Experimental group (II) listened to preferred style of music with relaxation instruction. Experimental group (III) listened to new age music with deep-breathing/visualization relaxation instruction. State anxiety inventory, ten-point Likert tension scale rating, and blood pressure measurements were administered before and after chiropractic procedures for each condition. Additionally, a questionnaire was completed post-treatment. Significant differences (12 < .05) were found from pretest to posttest among the three groups for state anxiety and Likert scale ratings for tension. No significance was rendered for physiological measurements across conditions.

Based on previous studies, it seems few music therapists have assessed the needs of multicultural clients regarding relaxation. There are many research studies available that discuss specific qualities of (i.e. dynamics, tempo, and melodic content), and preferences for relaxing music. Additionally, there are studies that examine the use of music for relaxation with specific populations. However, none exist regarding the cultural aspects of music and relaxation. This study attempted to remedy this oversight by polling international students who attended a small private university in central California. It was thought there would be a significant difference between students of different cultural backgrounds and the types of music they used for relaxation. It was also assumed there would be a statistically significant difference between the average scores of questions designed to elicit opposite responses regarding specific qualities of relaxing music. Questionnaires were mailed through the International Students Office to all international students attending the university. Of those 21 0 mailed questionnaires, 7 4 were returned, resulting in 74 usable responses. Using the Kruskal-Wallis one way analysis of variance, there was statistical significance (Q < .05) regarding the specific instruments which people like to hear when relaxing, in addition to the amount of rhythm and percussion heard when listening to relaxing music. Statistical significance was also found (using !-tests) between the overall responses on questions designed to elicit opposite responses regarding specific qualities of music (Q < .05). The characteristics of preferred relaxing music by international students were found to be slow over fast, quiet over loud, low-pitched over high-pitched, and familiar over unfamiliar music.

Thesis (M.S.)--Boston University

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