The role of varied therapies in the rehabilitation of the retarded child; occupational therapy, music therapy, speech therapy and remedial reading.
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Music therapy is still not widely known within everyday medical and psychotherapeutical contexts. Music touches fundamental themes of human existence and is important in preventive as well as in clinical and rehabilitative areas. The highly specialized and technical areas of medicine need to be complemented by artistic therapeutic approaches that recognize the physical and sensory aspects of the suffering person. Active and receptive music therapy and training have evolved in different fields of health care. A theory embracing various approaches is particularly useful. Fundamental attitudes in the music therapy relationship will be differentiated and the importance of music therapy will be presented using examples based on the treatment of cancer patients.
Music therapy is becoming an increasingly prevalent method for assisting in the mental health needs of a variety of different conditions. However, other tangential aids can greatly facilitate the music therapy process. The use of Projectives techniques to assist in the process of music therapy and to assess the growth and development of clients is described.
Music stands for the mystical expression of life cycles celebrations: birth, death, renewal of seasons, hunting, rituals of passage... It serves in other familiar conjunctures, such as the dentist chair, waiting rooms and on the telephone, helping us to relax or increase our patience. However, music is not for everyone at all times. With each individual, its significance varies according to the moment and the situation. If a nurse can make use of it with some persons, it is because they have convinced her that music can be of comfort to them and can reduce their pain and anxiety. The role of the caregiver is to attend to the sick by different means. Music is one of them. By being alert and prudent, nurses can provide a care traditionally perpetuated as comforting. Music therapy is the controlled use of music and its elements to help the physiological, psychological and emotional integration of the individual in the course of a treatment for illness or incapacity. Its active mode implies that clients participate by playing an instrument or by singing to express oneself. It opens or maintains the field of communication. In the passive mode, therapists use tapes, disks or interpret pieces of music themselves. Its meaning, its power, take on other dimensions. When introducing music on a palliative care unit, for example, an initial assessment of each client is required to discover and monitor the degree of their acceptance. Thereafter, a continuous evaluation ensures that appropriate adjustments are made in the choice of music offered.(ABSTRACT TRUNCATED AT 250 WORDS)
Music therapy is a discipline which often is included in the group of natural, complementary and non-pharmaceutical therapies. In this therapy, the importance of teamwork and interdisciplinary communication between the musical therapist and the other professionals deserve to be highlighted.
In this article is explained, that, in spite of existing communities between music therapy and cooperating remedial education on the one hand and music education on the other, we can separate with regard to the method music therapy as one form of psychotherapy from educational influence. But in practice at therapy of children with psychical disturbances we always must take into considerations the education object in view.
BACKGROUND: While music/music therapy does not represent a treatment of dementia, its use is based on a possible beneficial effect on symptoms including social, emotional and cognitive skills and for decreasing behavioral problems of individuals with dementias. Thus, there are clear implications for patients' and caregivers' quality of life. However, quantification and documentation of the evidence of this effect is necessary. Professional music therapists are accountable for providing efficient, beneficial treatment. Further, music therapists are responsible for assessing, designing and implementing music therapy treatments, monitoring client progress, and reformulating their practice according to data collected and new advancements in the field. If they wait until sufficient valid, empirical data on all aspects of a disability or music response are available before attempting to design a therapy session, they may well reach retirement age before even one client can be served. On the other hand, promulgating the efficacy of music therapy in general, or of specific music therapy techniques, in the absence of any substantiation other than intuition or tradition borders on professional recklessness. OBJECTIVES: To gather and evaluate the evidence for the effectiveness of music therapy for dementia symptoms. SEARCH STRATEGY: All available sources of references were searched for randomised controlled trials of music therapy used as an intervention in dementia. The search terms included 'controlled trial or study, music*, therapy, dement*, Alzheimer*, cognitive impairment.' SELECTION CRITERIA: The reviewers assessed the methodological quality of the studies available for inclusion. The criteria used are presence and adequacy of a control condition, independent assessment of patients' performance (ie standardized ratings carried out by a person other than the music therapist) and the number of participants (no fewer than three). DATA COLLECTION AND ANALYSIS: No randomised controlled trials, or trials with quantitative data suitable for analysis were found. MAIN RESULTS: The research into music therapy to date has lacked methodological design rigour. However, the research evidence available provides sufficient grounds on which to justify further investigations into the use of music therapy in dementia patients. In this context, the reviewers discuss some of the issues and research from the studies that were considered for inclusion. REVIEWER'S CONCLUSIONS: This review was not able to identify reliable empirical evidence on which to justify the use of music therapy as a treatment for dementia. However, the evidence available suggests that music therapy may be beneficial in treating or managing dementia symptoms, and the predominant conclusion of this review is the highlighting of the need for better designed studies of the intervention.
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This article reviews the use of technology in music therapy practice and research for the purpose of providing music therapy educators and clinicians with specific and accurate accounts of the types and benefits of technology being used in various settings. Additionally, this knowledge will help universities comply with National Association of Schools of Music requirements and help to standardize the education and training of music therapists in this rapidly changing area. Information was gathered through a literature review of music therapy and related professional journals and a wide variety of books and personal communications. More data were gathered in a survey requesting information on current use of technology in education and practice. This solicitation was sent to all American Music Therapy Association approved universities and clinical training directors. Technology applications in music therapy are organized according to the following categories: (a) adapted musical instruments, (b) recording technology, (c) electric/electronic musical instruments, (d) computer applications, (e) medical technology, (f) assistive technology for the disabled, and (g) technology-based music/sound healing practices. The literature reviewed covers 177 books and articles from a span of almost 40 years. Recommendations are made for incorporating technology into music therapy course work and for review and revision of AMTA competencies. The need for an all-encompassing clinical survey of the use of technology in current music therapy practice is also identified.
Music therapy program directors were surveyed about various aspects of their music therapy practica. The survey addressed various aspects of the structure of the practicum, on-campus clinics, faculty supervision, videotaped supervision, and evaluation of practicum students. Responses were received from 38 educators from undergraduate programs. Results indicate that there is wide variety in the number of practica required and in the amount of time spent in practica. Several populations are included in the practicum experiences offered by every university, although the means of achieving this variety varies. Results also showed variations in the way that practicum experiences are set up so that in some cases students observe and assist, sometimes eventually assuming full responsibility for the session, while in others the students are responsible for the entire session from the beginning. The content of classes that accompany the practica, when such classes exist, is similar from program to program. There are also wide variations in practicum supervision and faculty compensation for this supervision.
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The purpose of this study was to carry out a comparison between references to articles published in the Journal of Music Therapy before December 2002 identified through searching PubMed/MEDLINE, the Ingenta database and those actually published in the journal. To carry out this comparison we have created a new database, called the Music Therapy World Journal Index, which includes complete indexes of selected music therapy journals. All articles published in the Journal of Music Therapy since its commencement in 1964 are referenced in this database. We found a large number of articles that are not identified by searching PubMed/MEDLINE. There is an under-representation of both the amount of articles published in this journal and in the range of areas for clinical application and research in music therapy. The Ingenta database is comprehensive but limited in its coverage of the early years. To carry out a comprehensive research of the literature, it is necessary to consult an expert database, such as the Music Therapy World Journal Index, that guarantees an unequivocal level of completeness.
This article updates previous content analyses of the Journal of Music Therapy (JMT) and presents information regarding the behavioral research approach to music therapy as reflected by published studies. JMT articles from 1964 through 1999 were examined to determine if the methodology included a behavioral research design (e.g., reversal, multiple baseline). Case studies not meeting the design criteria were excluded from the sample as were experimental group studies using a behavioral observation method or behavioral technique within a traditional statistical design. Experimental studies, however, in which behavioral research designs were included in treatment conditions and assigned to different groups were included. Articles meeting the behavioral research design criteria were analyzed to determine the type of design, the behavioral observation method and reliability report, the client population, and the music application. Of the 607 articles published in JMT, 96 or 15.8% included a behavioral research design. The lowest percentage occurred in the earliest volumes of JMT during the latter part of the 60s. An increase in behavioral research articles occurred during the 70s and 80s and continued throughout the 90s. Other findings include the following: (a) the most prevalent design was the reversal (ABA) with many variations; (b) the predominant observation methods were frequency counts and interval recording with an increase in observation reliability reports in the 80s and 90s; (c) studies published during the 80s and 90s included a wide variety of client populations compared to the 60s and 70s predominant applications with mental retardation and emotional disturbances; (d) the contingent application of music was highest during the 70s and 80s and virtually nonexistent during the 60s and 90s when other treatment conditions employed music as noncontingent background stimulus, an activity for structuring responses, and a cue for maintaining nonmusic responses. The increase in articles through the decades coupled with the increased diversity of populations suggests that behavioral research designs are flexible and applicable in music therapy practice today as much as they were during the initial phase during the 70s and 80s.
To examine attitudes toward and knowledge of research in music therapy, a three-part survey was administered to 150 randomly selected music therapists, with complete surveys returned by 66 respondents. The survey consisted of a cover page gathering background information, a series of 20 statements assessing attitudes toward music therapy research, and 25 true-false questions examining subjects' knowledge of research terminology and methodology. Analysis of survey responses indicated a generally positive attitude toward research, but dissatisfaction with the current status of research in the field. No relationship was found between research attitudes and research knowledge, and no significant effects on research knowledge were discerned for education, present position, or research background. Results of this study are discussed in terms of implications and issues to be addressed by academicians, clinicians, and researchers in music therapy.
EEG asymmetry, specifically greater relative right frontal activation, is associated with negative affect. Depressed adults show stable patterns of this asymmetry. The present study assessed the effects of massage therapy and music therapy on frontal EEG asymmetry in depressed adolescents. Thirty adolescents with greater relative right frontal EEG activation and symptoms of depression were given either massage therapy (n = 14) or music therapy (n = 16). EEG was recorded for three-minute periods before, during, and after therapy. Frontal EEG asymmetry was significantly attenuated during and after the massage and music sessions.
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Music has soothed the souls of human beings for ages. It also has helped people recover from ailments since ancient times. Today, there is a widespread interest in the use of music therapy in treating psychiatric disorders. This article describes the various types of music therapy in use today and also offers insight into how music therapy can be incorporated into the management of psychiatric disorders and as an element of psychotherapy.
The purpose of the study was to examine the effect of field experiences on music therapy students' perceptions of choral music for geriatric wellness programs. Specifically, the study investigated music therapy students': a) personal comfort working with senior adult singers; b) perceptions of preparation in their educational training to work with senior adults in a choral music wellness program; c) perceptions of senior adults' functioning levels as singers in choral ensembles; d) perceptions of senior adults' functioning levels as learners; and e) willingness to seek additional opportunities to lead senior adults in choral music wellness programs. Comparative analysis using pretest and posttest scores for each grouping was completed. Significant mean score differences were found in the categories of student comfort, preparation, perceptions of singing, and willingness, with gains from pre- to posttest in all categories. The general demographics and perceptions of learning groupings increased and decreased, respectively, though not significantly, following the field experience. Analysis combining all groups, creating an overall pretest and posttest score, was also completed. Results revealed that students felt significantly more positive about choral music being used in wellness programs for senior adults after the field experience.