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group_1_presentation_3_-_music_therapy [2019/04/03 16:35] chens60 [Music Therapy] |
group_1_presentation_3_-_music_therapy [2019/04/03 17:07] (current) chens60 [References] |
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| “Music therapy is a discipline in which credentialed professionals (MTA*) use music purposefully within therapeutic relationships to support development, health, and well-being. Music therapists use music safely and ethically to address human needs within cognitive, communicative, emotional, musical, physical, social, and spiritual domains.” | “Music therapy is a discipline in which credentialed professionals (MTA*) use music purposefully within therapeutic relationships to support development, health, and well-being. Music therapists use music safely and ethically to address human needs within cognitive, communicative, emotional, musical, physical, social, and spiritual domains.” | ||
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| + | CAMT. (n.d.) | ||
| <box 44% round | > {{ :mt.jpg?450 |}} </box| Figure 1: An individual during a music therapy session. > | <box 44% round | > {{ :mt.jpg?450 |}} </box| Figure 1: An individual during a music therapy session. > | ||
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| A music-centered, humanistic approach developed by Paul Nordoff (American Composer) and Clive Robbins (British special educator). They believed that within each one of us is a "music child", meaning regardless of diagnoses the ability to engage in music remains healthy and able to engage with others. In this approach, one therapist is playing an instrument, while the second therapist is with the child, helping them play their instrument. The music therapists need to be accomplished musicians and flexible with the music in this approach. | A music-centered, humanistic approach developed by Paul Nordoff (American Composer) and Clive Robbins (British special educator). They believed that within each one of us is a "music child", meaning regardless of diagnoses the ability to engage in music remains healthy and able to engage with others. In this approach, one therapist is playing an instrument, while the second therapist is with the child, helping them play their instrument. The music therapists need to be accomplished musicians and flexible with the music in this approach. | ||
| - | <box 57% round | > {{ :nord.jpg?600 |}} </box| Figure 1: An individual using the Nordoff-Robbins approach. > | + | <box 57% round | > {{ :nord.jpg?600 |}} </box| Figure 2: An individual using the Nordoff-Robbins approach. > |
| ==== BioMedical Models ==== | ==== BioMedical Models ==== | ||
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| In this model, the client makes up music on the spot by singing or by using an instrument within the moment. As a result, they are able to create a rhythm, melody, and a song. During the process, the music therapist does not implement any rules and allows the client to improvise freely (Bruscia, 1988). It helps the client explore their mood and encourages social skills and interaction. Within this model, goals include verbal communication, self-expression, group skills, creativity, and cognitive skills (Bruscia, 1988). This model is used for many clients including those with neurological damage, mental health conditions, anxiety, and autistic spectrum disorders (Macdonald & Wilson, 2014). | In this model, the client makes up music on the spot by singing or by using an instrument within the moment. As a result, they are able to create a rhythm, melody, and a song. During the process, the music therapist does not implement any rules and allows the client to improvise freely (Bruscia, 1988). It helps the client explore their mood and encourages social skills and interaction. Within this model, goals include verbal communication, self-expression, group skills, creativity, and cognitive skills (Bruscia, 1988). This model is used for many clients including those with neurological damage, mental health conditions, anxiety, and autistic spectrum disorders (Macdonald & Wilson, 2014). | ||
| - | <box 40% round | > {{ :free.jpg?400 |}} </box| Figure 1: An individual with hiccups. > | + | <box 40% round | > {{ :free.jpg?400 |}} </box| Figure 3: The use of the Free improvisation model. > |
| ==== Analytically-oriented music therapy model ==== | ==== Analytically-oriented music therapy model ==== | ||
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| In this model, song lyrics are used to promote meaningful discussion in individual or group music therapy. It can provide a sense of normalcy, and to comprehend death, loss and pain in a more comfortable method (Ellis, 2016). The songs can be selected by the client or it can be a contemporary song. The idea is that analyzing lyrics of a song allows the client to reflect on how they view themselves in the world and how they are feeling (Ellis, 2016). | In this model, song lyrics are used to promote meaningful discussion in individual or group music therapy. It can provide a sense of normalcy, and to comprehend death, loss and pain in a more comfortable method (Ellis, 2016). The songs can be selected by the client or it can be a contemporary song. The idea is that analyzing lyrics of a song allows the client to reflect on how they view themselves in the world and how they are feeling (Ellis, 2016). | ||
| - | <box 35% round | > {{ :lyric.jpg?350 |}} </box| Figure 1: An individual with hiccups. > | + | <box 35% round | > {{ :lyric.jpg?350 |}} </box| Figure 4: The use of lyric analysis in a music therapy session. > |
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| - | <box 30% round | > {{ :nt.jpg?300 |}} </box| Figure 2: The biology of hiccups.> | + | <box 30% round | > {{ :nt.jpg?300 |}} </box| Figure 5: A diagram of neurotransmitters.> |
| ===== How can music modify pain? ===== | ===== How can music modify pain? ===== | ||
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| **Affective (pertaining to emotions)** | **Affective (pertaining to emotions)** | ||
| - | * Music facilitates a sense of control over pain (Linnermann et al. 2015; Mitchell & MacDonald, 2006). | + | * Music facilitates a sense of control over pain (Linnemann et al. 2015; Mitchell & MacDonald, 2006). |
| - | * Additionally, it has the ability to reduce pain perception by reducing stress (Linnermann et al. 2015). | + | * Additionally, it has the ability to reduce pain perception by reducing stress (Linnemann et al. 2015). |
| **Cognitive (pertaining to distracting stimulus)** | **Cognitive (pertaining to distracting stimulus)** | ||
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| When a music therapist and a client composes music together, the client is able to share their feelings and experiences through the music. Additionally, endorphins are released in the body. Again, this is associated with the limbic system. Consequently, pain perception decreases as emotions are being released and endorphins are increased (Finnerty, 2006). | When a music therapist and a client composes music together, the client is able to share their feelings and experiences through the music. Additionally, endorphins are released in the body. Again, this is associated with the limbic system. Consequently, pain perception decreases as emotions are being released and endorphins are increased (Finnerty, 2006). | ||
| - | <box 50% round | > {{compo.jpg?550}} </box| Figure 4: Components of the brain in an individual with a central nervous system disorder.> | + | <box 50% round | > {{compo.jpg?550}} </box| Figure 6: Composing in music therapy.> |
| ===== Limbic System ===== | ===== Limbic System ===== | ||
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| - | <box 46% round | > {{ :limbic.png?400 |}} </box| Figure 4: Components of the brain in an individual with a central nervous system disorder.> | + | <box 46% round | > {{ :limbic.png?400 |}} </box| Figure 7: The limbic system.> |
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| Sendelbach and colleagues studied whether music therapy during postoperative recovery periods contributed to a reduction in “anxiety, pain levels, HR and BP”. Both anxiety and pain levels were measured using a scale ranging from 0 to 10. Heart rate, a physiological parameter, was non-invasively measured using a bedside monitor; likewise, the blood pressure was measured. There were significant decreases in all four parameters, having measured them before and after music therapy. The interventions used included music selection and listening. | Sendelbach and colleagues studied whether music therapy during postoperative recovery periods contributed to a reduction in “anxiety, pain levels, HR and BP”. Both anxiety and pain levels were measured using a scale ranging from 0 to 10. Heart rate, a physiological parameter, was non-invasively measured using a bedside monitor; likewise, the blood pressure was measured. There were significant decreases in all four parameters, having measured them before and after music therapy. The interventions used included music selection and listening. | ||
| - | <box 80% round | > {{ chart.jpg?850 |}} </box| Figure 5: Parts of the body involved in hiccups.> | + | <box 80% round | > {{ chart.jpg?850 |}} </box| Figure 8: Diagram showing decreased anxiety and pain after music therapy.> |
| **Oncology And Palliative Care Pilot Study** | **Oncology And Palliative Care Pilot Study** | ||
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| ====== References ====== | ====== References ====== | ||
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| + | Arnold, M. (2015). What Is Eclectic Therapy? Retrieved from https://www.crchealth.com/types-of-therapy/what-is-eclectic-therapy/ | ||
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| + | Baker, F., & Krout, R. (2009). Songwriting via Skype: An online music therapy intervention to enhance social skills in an adolescent diagnosed with Asperger's Syndrome. //British Journal of Music Therapy, 23//(2), 3-14. | ||
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| + | Baker, F., Wigram, T., Stott, D., & McFerran, K. (2008). Therapeutic Songwriting in Music Therapy: Part I: Who Are the Therapists, Who Are the Clients, and Why Is Songwriting Used?. //Nordic Journal of Music Therapy, 17//(2), 105-123. | ||
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| + | Beaulieu-Boire, G., Bourque, S., Chagnon, F., Chouinard, L., Gallo-Payet, N., & Lesur, O. (2013). Music and biological stress dampening in mechanically-ventilated patients at the intensive care unit ward—a prospective interventional randomized crossover trial. //Journal of Critical Care, 28//(4), 442-450. doi:10.1016/j.jcrc.2013.01.007 | ||
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| + | Bruscia, K. (1988). A Survey of Treatment Procedures in Improvisational Music ... Retrieved from http://journals.sagepub.com/doi/abs/10.1177/0305735688161002 | ||
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| + | Bradt, J., Magee, W. L., Dileo, C., Wheeler, B. L., & Mcgilloway, E. (2010). Music therapy for acquired brain injury. //Cochrane Database of Systematic Reviews.// doi:10.1002/14651858.cd006787.pub2 | ||
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| + | CAMT. (n.d.). About Music Therapy. Retrieved April 3, 2019, from https://www.musictherapy.ca/about-camt-music-therapy/about-music-therapy/ | ||
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| + | Ellis, A. (2016). Lyric Analysis. Retrieved from http://blogs.cuit.columbia.edu/are2126/2016/12/02/lyric-analysis/ | ||
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| + | Finnerty, R. (2006, November). Music Therapy as an Intervention for Pain Perception. Retrieved April 2, 2019, from http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.530.5016&rep=rep1&type=pdf | ||
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| + | Linnemann, A., Kappert, M. B., Fischer, S., Doerr, J. M., Strahler, J., & Nater, U. M. (2015). The effects of music listening on pain and stress in the daily life of patients with fibromyalgia syndrome. //Frontiers in Human Neuroscience, 9//. doi:10.3389/fnhum.2015.00434 | ||
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| + | Macdonald, R. A., & Wilson, G. B. (2014). Musical improvisation and health: A review. //Psychology of Well-Being,4//(1). doi:10.1186/s13612-014-0020-9 | ||
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| + | Melzack, R., & Wall, P. D. (1965). Pain mechanisms: A new theory. //Science, 150//(3699), 971-9, 3-11. | ||
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| + | Mitchell, L. A., & Macdonald, R. A. (2006). An Experimental Investigation of the Effects of Preferred and Relaxing Music Listening on Pain Perception. //Journal of Music Therapy, 43//(4), 295-316. doi:10.1093/jmt/43.4.295 | ||
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| + | Sendelbach, S. E., Halm, M. A., Doran, K. A., Miller, E. H., & Gaillard, P. (2006). Effects of music therapy on physiological and psychological outcomes for patients undergoing cardiac surgery. //Journal of cardiovascular nursing, 21//(3), 194-200. | ||
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| + | Thaut, M. H. (2008). Rhythm, music, and the brain: Scientific foundations and clinical applications. New York: Routledge. | ||
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| + | Wan, C. Y., Rüüber, T., Hohmann, A., & Schlaug, G. (2010). The therapeutic effects of singing in neurological disorders. //Music perception: An interdisciplinary journal, 27//(4), 287-295. | ||
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| + | Wigram, T., Pedersen, I. N., & Bonde, L. O. (2002). A comprehensive guide to music therapy: Theory, clinical practice, research, and training. London: Jessica Kingsle | ||
