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Music Therapy (Wigram, Pedersen, & Bonde, 2004b), Analytic Music Therapy (Priestley, 19942012) and the Improvisation , Assessment Profiles (IAPs) (Bruscia, 1987; Bonde, 2005 ). Neurologic Music Therapy (NMT) is a standardized and research-based use of music to improve function as the result of neurological disease or trauma.
The World Health Organization defines health as: “...a state of complete physical, mental and social well-being, and not merely the absence of disease or infirmity.”. Therapeutic music supports health and the process of healing primarily through the principles of. Music-thanatology is a specialization within the broader sub-specialty of ...
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Jan 1, 2008 · The World Federation of Music Therapy (WFMT) defines music therapy as "qualified music therapists use music or musical elements (sound, rhythm, melody, and harmony) for individuals or groups to ...
- Personal Motivation
- Significance
- Principles
- Problem Statement
- Participants
- Design
- Materials
- Results
- Participant A: Cognitive-Behavior Theory and Music Therapy
- Assessment
- Challenges
- Assessment
- Evaluation
- Benefits
- Assessment
- Treatment
- Evaluation
- Benefits
- Challenges
- Summary
- Limitations
- Implications for Music Therapy Education and Training
- Recommendations for Future Study
- My Future Plan
Currently, I am a music therapist working within a 36-bed, acute inpatient unit. The primary theoretical orientation for the hospital is based on a cognitive-behavior model. The treatment team includes psychiatrists, nurses, social workers, psychologists, counselors, music therapists, psychiatric assistants, and a recreation therapist. Clients admi...
Attending conferences has provided me with insight into the role and function of music in groups when working with individuals in a mental health field. Conference presentations of clinical work, for example, have exposed me to the variety of theoretical orientations utilized in music therapy practice. These presentations, as well as Silverman’s ...
The id, ego, and superego are the main elements in Freud’s psychoanalytic theory of personality (Corey, 2009). The id, also known as the pleasure principle, is the element of the personality that is demanding, insistent, and blind. The ego, which is known as the reality principle, regulates and controls the personality. The ego’s responsibility is ...
The purpose of this study is to examine the theoretical framework (i.e., cognitive- behavior, psychodynamic, humanistic) used by music therapists during group music therapy sessions for adults residing in inpatient psychiatric hospitals. Sub-problems are: How do music therapists currently use the framework of their theoretical orientation to assess...
Through purposive sampling, potential participants were referred to the researcher by her faculty mentors. Participants were invited via e-mail with an attachment including the necessary information regarding the study and the method of collecting data (See Appendix B & C). The participants interested in the study were asked to respond to the resea...
A descriptive analysis was conducted to gain a better understanding of the benefits and challenges of using a defined theoretical orientation, when working in a group setting with adults diagnosed with psychiatric disorders. In order to obtain information, participants participated in a semi-structured interview.
A tape recorder was used during Skype interviews for reliability when transcribing post interview.
The purpose of this study was to examine the theoretical frameworks that music therapists use when working with adults that are diagnosed with mental disorders. The research questions focused on how music therapists currently practice within their theoretical orientation, including benefits and challenges they faced. Participant A (cognitive-beha...
Participant A has been working with the mental health population in the current hospital site for twenty years; five years with the pediatric population and fifteen years with the adult population. He was introduced to the cognitive-behavior model while working in this setting. The hospital and the rehabilitation department follow a Dialectical Beh...
Upon receiving a referral from psychiatrists, social workers, or nurses at her facility, Participant B reviewed the client’s chart, conducted a verbal interview, and invited the client to a group music therapy session as part of her assessment process. Although published assessment measures are not utilized, Participant B has personally designed an...
When countertransference impeded during a session, Participant B faced challenges. She related to a time in a group session when controlling behaviors were exhibited by a client. Participant B attempted to foster her countertransference musically to continue the process and provide a therapeutic space for the other clients. However, the musical pro...
Participant C reported that within 72 hours of a client’s admission, an individual verbal assessment is conducted. The following information is obtained: reason for admission, education, marital status, legal history, life skills, leisure activities, and family background. During the assessment, Participant C also assessed the client’s attention sp...
Participant C’s weekly progress notes include evaluations of each music therapy group by examining clients’ attention spans, levels of participation, awareness of their personal issues and thoughts, and their ability to express themselves; in relation to their symptoms and what they have learned in psycho-education groups. Based on Participant C’s...
According to the humanistic perspective, providing space and freedom for self- expression of clients’ emotions are important. The focus is on clients’ gaining confidence through support to assist them with their own therapy process. The therapist is simply a facilitator if the clients, for instance, exhibit uncertainty in the middle of an improvisa...
To perform an assessment, all three participants conducted a verbal interview and an informal music assessment. While all three music therapists obtained information on clients’ social, cognitive, emotional, vocational, and communicative levels, they used different methodologies to do so. Both Participants B and C assessed their clients through imp...
Treatment for clients in Participant B’s facility spans several years as it is provided in a long-term facility. As the same groups of clients collaborate weekly in group therapy sessions, all group members continuously build rapport with each other throughout the treatment period. Conversely, Participants A and C have felt interventions to be rush...
Participants A, B, and C, struggled to provide a coherent description of their individual evaluation processes. All participants reported using their own personal observations rather than a standardized format or evaluation tool. Specifically, Participant A focused on his clients’ response to either musical experiences or other non-musical activiti...
Contrary to the participants’ difficulties explaining their personalized evaluation methods, participants spoke freely about the specific benefits of their relative theoretical orientation. Additionally, they agreed that music is the primary therapeutic tool that assists clients in progressing towards their goals. The following benefits were noted ...
While clear differences regarding the benefits between each theoretical orientation were noted, this was not observed for challenges. Specifically, Participants B and C expressed similar challenges and shared examples of deterring from their respective orientations during encounters with clients who are highly resistant to the treatment method of t...
The purpose of this study was to examine how music therapists, based on their respective theoretical orientations, implement music experiences into their clinical work. I also examined the benefits that these music therapists receive and the challenges that they face. Three music therapists who work in adult psychiatric settings were interviewed. T...
This study has three limitations. First, the setting of the inpatient facility could be either acute or long-term. The similarities and differences in the clinical work of Participant A was harder to compare than the work of Participant B and C, due to the differences in average length of stay. Second, the information regarding non-verbal communica...
Choi (2008) emphasizes that music therapists are responsible for understanding the role of music as a clinical tool and how theoretical orientations influence their practice. Based on the responses of the three participants, it is evident that their level of training and their clinical experiences has influenced the development of their orientation...
Future studies should closely examine how music therapists within the same orientation view their clinical work, as well as compare the similarities or differences behind the styles and techniques used. These types of examinations can enhance the theoretical understanding, and also demonstrate how to effectively implement psychological theoretical ...
From interviewing other music therapists in the psychiatric field, I am inspired and encouraged to continue on my career path as a clinician providing music therapy services to clients diagnosed with mental disorders. Reflection on my own work occurred continuously throughout the research process, as I listened to the participants’ stories and rela...
- Angel A. Park
- 2011
The Music Therapy Clinical Self Assessment Guide is designed for use by clinician’s in evaluating one’s own practice, using ATMA’s Standard’s of Practice. The goal is to accurately understand the basis for current performance so that better results can be achieved through focused improvement.
usic Therapy in a School Setting“Music therapy (MT) is the clinical and evidence-based use of music interventions to accomplish individualized goals. thin a therapeutic relationship. Music therapy interventions can be designed to promote wellness, manage stress, alleviate pain, express feelings, enhance memory, improve communication, and p.
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What is the music therapy clinical Self Assessment Guide?
16.2 Formulate goals and objectives for individuals and group therapy based upon assessment findings. 17.2 Provide music therapy experiences to change nonmusical behavior. 18.2 Modify treatment approaches based on the client's response to therapy. 18.3 Recognize significant changes and patterns in the client's response to therapy.
