Creating musical life reviews with older people: a community case study

Older people living in their homes might experience growing loneliness, detachment from their social environment, and decreased functional ability. In this community case study, we report on a project we initiated to enhance the functional ability of older people by creating musical life reviews (MLR) with them. We connected seven of our music therapy graduates (MT) to older people living in the neighborhood across the street from campus. MTs were first trained to work by a protocol for creating MLRs with older people, developed by the authors of this article. They then worked with older people from the neighborhood for 10 one-on-one sessions, on personally tailored MLRs. MTs kept on meeting in weekly group supervision sessions, thus learning from each other- and forming a community of their own. Participants expressed their high satisfaction with the process and reported that their MLRs became increasingly important to them. Most of them were interested in taking their MLR one step ahead, and playing it to family and/or friends, and, as part of the process, planned a personal event to do this. Further, two big community events were initiated by participants and MTs. To conclude, we show how the community project enhanced the functional ability of those participating in it. We also point at possible challenges and recommendations for further implementation of the project

Why Music Therapists Choose to Work with a Clinical Population: An International Pilot Survey

(1) Background: Throughout their career, music therapists make decisions regarding the clinical population they choose to work with. Though such decisions can have broad implications on the professional development of the music therapist, not much is known about the reasons for making these decisions and whether they are affected by demographic or professional factors. (2) Methods: In this pilot study, we surveyed 439 music therapists from six countries (i.e., Austria, the Czech Republic, Germany, Israel, Spain, and Switzerland) using an online questionnaire. We asked the respondents to explain why they chose to work with their main clienteles, and we examined whether their reasons were connected to demographic factors such as country of origin, gender, and seniority, and professional factors such as experience as a music therapist and population one works with. (3) Results: The category analysis of these responses pointed at nine distinct reasons that could be grouped into "practical reasons", "reasons of connection", and "innovation". There were differences in reasoning between music therapists from different countries, and with different degrees of seniority, but not between male and female music therapists. (4) Discussion: The implications on training programs and on policy makers are discussed as well as the importance of this subject to the development of music therapists' professional identity

“Let’s talk music”, un modello per crescere la comunicazione interculturale: provando di capire perché e come la musica aiuta

Questo articolo presenta il modello Let’sTalk Music, in cui persone provenienti da diversi background culturali lavorano in un contesto di gruppo per affrontare e risolvere conflitti culturali e di identità.Il modello è basato su attività musicali e l'obiettivo di questo articolo è capire come e perché la musica aiuta a promuovere questa causa.Per fare ciò, un’attenta analisi delle componenti di "identità musicale" è stata condotta ( "La mia musica", "La musica della mia cultura", "La musica degli altri non mi piace", e "La musica degli altri che non conosco"), e successivamente, i modi con cui la musica è stata utilizzata per colmare identità musicali di persone provenienti da diversi (talvolta opposti)backgrounds.Il modello Let's talk musicviene in seguito descritto, e vengono dati esempi per dimostrare come esso consenta l'interazione delle componenti all'interno della propria identità musicale, e tra le identità musicali di diverse persone.E 'dimostrato che questo interagire può permettere ai partecipanti di Let's talk musicdi ottenere una più sviluppatae più tollerante identità. L'articolo si conclude con le osservazioni sull'importanza di tali processi per consentire una società migliore.Dieser Artikel präsentiert das „Let’stalkmusic“ Modell, in dem Menschen aus unterschiedlichen Kulturkreisen in Gruppen zusammenarbeiten um Kultur- und Identitätskonflikte anzusprechen und zu lösen. Das Modell basiert auf musikalischen Aktivitäten und das Ziel dieses Artikels ist es zu verstehen, warum und wie Musik hilft, dieses Anliegen zu fördern. Zu diesem Zweck wurde eine sorgfältige Analyse der Komponenten von „musikalischer Identität“ („Meine Musik“, „die Musik meiner Kultur“, „Musik anderer, die ich nicht mag“, Musik anderer, die ich mag“, „Musik anderer, die ich nicht kenne“) durchgeführt. Anschließend wurde die Art und Weise, in denen Musik benutzt wurde, um eine Brücke zu schlagen zwischen den musikalische Identitäten von Menschen mit unterschiedlichen (und manchmal gegensätzlichen) Hintergründen begründet. Das „Let’stalkmusicmodel“ wird beschrieben und es werden Beispiele dafür gegeben, um zu zeigen wie dieses Modell das Zusammenspiel mit den Komponenten der eigenen musikalischen Identität und zwischen den musikalischen Identitäten verschiedener Menschen ermöglicht. Es wird gezeigt, dass dieses Zusammenspiel den „Let’stalkmusik“ Teilnehmern ermöglicht, eine besser entwickelte und tolerantere Identität zu bekommen. Der Artikel schließt mit Bemerkungen zur Wichtigkeit solcher Prozesse, um eine bessere Gesellschaft zu ermöglichen.Cet article présente le modèle‘Let’s Talk Music’, danslequel les gens de différentesoriginesculturellestravaillentdans un contexte de grouped'aborder et de résoudre les conflitsculturels et identitaires. Le modèleestbasé sur des activités musicales et le but de cet article est de comprendrepourquoi et comment la musiquecontribue à promouvoircette cause. Pour ce faire, une analyse minutieuse des éléments de "l'identité musicale" a étéréalisée ("Ma musique", "musique de ma culture", "la musique des autres ne me plaît pas", et "la musique des autres, je ne sais pas”) et par la suite des moyens par lesquels la musique a étéutilisée pour combler les identités musicales de personnes de différentes (parfoisopposés) milieuxontététrouvés. Le modèle de“Let’s Talk Music”ensuitedécrit et des exemplessontdonnés pour montrer comment cemodèlepermetl'interactionau sein des composantes de l'identité musicale de l'un et entre les identités musicales de différentespersonnes. On montre que cejeufinalementpermet aux participants de musiqueParlonsd'abordd'acquériruneidentité plus développé, plus tolérant. L'articleconclut avec des remarques sur l'importance de cesprocessus pour permettre à unesociétémeilleure.Esse artigo apresenta o modelo Vamos falar de música, no qual pessoas de diferentes culturas colaboram em um atendimento de grupo para endereçar e solucionar conflitos de cultura e identidade. O modelo é composto de atividades musicais e o objetivo desse artigo é compreender como e por que a música ajuda a promover essa causa. Com essa finalidade, foi conduzida uma análise cuidadosa dos componentes da “identidade musical” (“Minha música”, “a música da Minha cultura”, “a música do Outro que eu não gosto”, e “a música do Outro que eu não conheço”), e em seguida foram encontradas maneiras pelas quais a música foi usada para fazer a ponte entre identidades musicais de pessoas com experiências diferentes (algumas vezes opostas). O modelo Vamos falar de música é descrito com exemplos para demonstrar como esse modelo favorece a interaçãocom os componentes de uma identidade musical e entre identidades musicais de distintas pessoas. Demonstrou-se que tal interação proporciona aos participantes de Vamos falar de música a aquisição de uma identidade mais desenvolvida e mais tolerante. O artigo conclui com observações da importância de tais processos na colaboração para uma sociedade melhor.本稿は、異なる文化背景を持つ人々が、文化やアイデンティティの葛藤にグループで取り組み、解決する「音楽を語ろう」モデルを紹介する。このモデルは、音楽活動をベースにおくものであり、本稿の目的は、音楽がなぜ、どのようにこの目標を推進する助けとなるのかを理解することである。そのために、「音楽アイデンティティ」の要素を慎重に分析し（「私の音楽」「私の文化の音楽」「私が好きではない他者の音楽」「私が知らない他者の音楽」）、その後、異なる（場合によっては対立する）背景の人々の音楽的アイデンティティに橋渡しをする音楽の用い方が見出された。次に「音楽を語ろう」モデルを説明し、その人の音楽アイデンティティの構成要素間で、また、異なる人々の音楽アイデンティティ間での交流がいかに可能になるのかについての例が示される。こうした交流によって、「音楽を語ろう」の参加者たちが最終的により発展した、そしてより耐性のあるアイデンティティを獲得することが示される。結論として、よりよい社会のためのこうしたプロセスの重要性について言及する。This article presents the Let's talk music model, in which people from different cultural backgrounds work in a group setting to address and resolve cultural and identity conflicts. The model is based on musical activities and the goal of this article is to understand why and how music helps to promote this cause. To do this, a careful analysis of the components of "musical identity" was conducted (My music, My culture's music, Other's music I do not like, and Other's music I do not know) and thereafter ways by which music was used to bridge the musical identities of people from different (sometimes opposing) backgrounds were found. The Let's talk music model is then described and examples are given to show how this model enables the interplay within the components of one's musical identity and between the musical identities of different people. It is shown that this interplay eventually enables Let's talk music participants to gain a more developed, more tolerant identity. The article concludes with remarks on the importance of such processes to enable a better society

On the power of music to affect intergroup relations

In three experiments we examined whether songs that are widely used in times of crisis (crisis songs, CS) could resume their unifying effect when they are played off-context. In the first experiment, two conflictual groups, religious and secular Jews, were exposed to CS, to love songs (LS), or to no songs and were then asked to express their attitudes towards their outgroups. It was found that CS positively affected respondents attitudes: stigmas and prejudice were lessened. In a second experiment, the CS effect was examined under more restrictive conditions. Instead of listening to CS, participants were asked to recall them from memory. In addition, attitudes towards ingroups and outgroups were collected more systematically. Results showed again that CS reduced intergroup bias. In a third experiment we tried to understand the mechanism underlying the CS effect by examining the thoughts and associations that people had while listening to CS. Analysis of the associations showed that unifying themes such as "nationalism," "sorrow and grief," and "unity" were most prominent when religious and secular respondents listened to CS. The CS effect and its underlying mechanism are explained in light of the "common ingroup identity model." CS had the power to bring into awareness that the conflicting groups belong to one superordinate social group which, in turn, reduced stigmas, prejudice, and intergroup bias. Possible implications of these findings are discussed

Music Therapy with Neonatal Intensive Care Unit-Discharged Mother-Infant Dyads: Developing a Method for Nurturing Communicative Parental Efficacy (CoPE with Music)

While much advancement has been documented in the practice of music therapy in the neonatal intensive care unit (NICU) environment, there is currently a shortage of music therapy-based methods for NICU-discharged dyads. Back in their homes, mothers might feel alone, lacking guidance, and possibly losing their parental efficacy and their ability to communicate with their baby. In this article, we present a method for nurturing the communicative parental efficacy (CoPE) that was successfully practiced with several NICU-discharged dyads. In eight weekly sessions, the music therapist improvises with the dyad and focuses on (1) containing the mother’s emotions; (2) modeling musical interactions with the baby; and (3) practicing these musical interactions with the mother, enabling her to gain communicative parental efficacy. The basic ideas of CoPE are outlined, and a short case study is then described, to demonstrate how it is used. Finally, suggestions for future directions for the development of CoPE are provided

Towards Sustainable Implementation of Music in Daily Care of People With Dementia and Their Spouses

Primary caregivers (PCs) of people with dementia deal with stressful daily living, especially spouses whose care recipient is at home. Several programs have been developed to aid caregiving by providing musical strategies, yet successful sustainable implementation of music in the daily lives of the couples awaits further research and development. To promote this, in this pilot study we proposed a music therapy program that included 12 weekly sessions with the couple in their home environment. In addition, there were bi-weekly phone counseling sessions with the PC, to reflect on the joint sessions and to help implement music in daily life. Findings based on the description, analysis, and interpretation of two cases showed that the proposed program provided a strong foundation upon which the treatment could succeed; it relied on natural forces such as the use of songs, which can empower each of the spouses individually, as well as together as a couple; and it included elements of ongoing support that enabled preservation of the accomplishments that were achieved during the sessions. Future research is required to examine whether this program is appropriate for couples in other housing contexts, and in different stages of dementia. (PsycInfo Database Record (c) 2021 APA, all rights reserved

Die klinischen und theoretischen Trends der Musiktherapeuten: Der Fall Israel

Dans l’étude actuelle, nous avons mené une première de son enquête en ligne genre de musicothérapeutes (MT) en Israël. Bien que ce domaine se soit développé rapidement et à ce jour comprend environ 700 MTs, il n'y avait pas encore une enquête menée pour adresser leurs domaines d'intérêt, et leurs orientations cliniques et théoriques. Au total, 107 MTs, dont 48 avaient plus de 8 ans d'expérience (MEMT) et 57 avaient moins de 8 ans d'expérience (LEMT), ont répondu à un sondage sur Internet: a) les instruments et les techniques qu'ils utilisent , (B) les populations avec lesquelles ils travaillent, et (c) leur orientation théorique. Les résultats ont révélé des différences significatives entre les MEMT et les LEMT dans presque tous les domaines d'enquête. Généralement, la plupart des jeunes générations sont ouvertes à plus de techniques, maîtrisent plus d'instruments et utilisent plus de musique dans leur travail. Dans un monde continuellement en train de se mondialiser, les résultats de cette étude sont pertinents non seulement pour les musicothérapeutes israéliens, mais aussi pour d'autres, puisque la situation locale saisie dans cette étude peut être comparée et liée à la situation dans d'autres pays. Des recommandations sont fournies pour les endroits où de telles études et enquêtes n'ont pas encore été menées.Nel presente studio abbiamo condotto un sondaggio online sui musicoterapisti (MTs) in Israele, per la prima volta nel suo genere. Nonostante questo settore sia cresciuto rapidamente e ad oggi comprenda circa 700 MTs, non era ancora stato condotto un sondaggio indirizzato ai loro campi di interesse, ai loro orientamenti clinici e teorici. Un totale di 107 MTs, dei quali 48 avevano più di 8 anni di esperienza (MEMT) e 57 d meno di 8 anni (LEMT), ha risposto a un sondaggio internet esaminando: (a) gli strumenti e le tecniche che usano , (b) le popolazioni con cui lavorano, e (c) il loro orientamento teorico. I risultati hanno indicato differenze significative tra MEMTs e LEMTs in quasi tutti i campi di indagine. In generale, la maggior parte delle giovani generazioni è aperta a più tecniche, è abilitata a più strumenti, e usa più musica nel proprio lavoro. In un mondo di continua globalizzazione, i risultati di questo studio sono rilevanti non solo per i musicoterapisti israeliani, ma anche per gli altri, dal momento che la situazione locale rilevata in questo studio può essere confrontata e riferita alle situazioni di altri Paesi. Ciò è raccomandato per quei luoghi in cui tali studi d’indagine non sono ancora stati effettuati.In the present study we conducted a first of its kind online survey of music therapists (MTs) in Israel. Though this field has been growing rapidly and to date includes about 700 MTs, there was not yet a survey conducted to adress their fields of interest, and their clinical and theoretical orientations.A total of 107 MTs, 48 of which had more than 8 years of experience (MEMT) and 57 of which had less than 8 years of experience (LEMT), answered an internet survey examining: (a) the instruments and the techniques they use, (b) the populations they work with, and (c) their theoretical orientation. Results indicated significant differences between MEMTs and LEMTs in almost all fields of inquiry.Generally, most of the younger generation is open to more techniques, proficient with more instruments, and uses more music in their work. In a continuously globalizing world, the results of this study are relevant to not only Israeli music therapists, but others as well since the local situation captured in this study can be compared and related to the situations in other countries. Recommendations are provided for places where such studies and surveys have not yet been conducted.In der vorliegenden Studie führten wir eine Online-Umfrage von Musiktherapeuten (MTs) in Israel durch (die erste dieser Art). Obwohl das Feld schnell gewachsen ist und bis heute rund 700 MTs umfasst, wurde noch keine Umfrage durchgeführt, die sich mit ihren Interessenfelder und klinischen und theoretischen Orientierungen befasst. Insgesamt 107 MTs, von denen 48 mehr als 8 Jahre Erfahrung (MEMT) und 57 davon weniger als 8 Jahre Erfahrung (LEMT) hatten, beantworteten eine Internet-Befragung zu: a) den Instrumente und die Techniken, die sie verwenden , (B) den Populationen, mit denen sie arbeiten, und (c) ihrer theoretische Orientierung. Die Ergebnisse zeigten signifikante Unterschiede zwischen MEMTs und LEMTs in fast allen Untersuchungsfeldern. Im Allgemeinen sind die meisten der jüngeren Generation offen für mehr Techniken, kompetent mit mehr Instrumenten und nutzen mehr Musik in ihrer Arbeit. In einer kontinuierlich globalisierenden Welt sind die Ergebnisse dieser Studie nicht nur für israelische Musiktherapeuten relevant, sondern auch für andere, da die in dieser Studie eingefangene lokale Situation verglichen und mit den Situationen in anderen Ländern verknüpft werden könnte. Empfehlungen für Orte, an denen solche Studien und Erhebungen noch nicht durchgeführt wurden werden gegeben.この研究では、イスラエルにおける音楽療法士（MTs）に対するこの種の最初のオンライン調査を行った。この分野は急速に成長してきており、今日までに約700名の音楽療法士を擁するにいたっているが、彼らの関心の分野、臨床的及び理論的指向についての調査はなされてこなかった。 合計107名のMTのうち48名が8年以上の経験（MEMT）、57名が8年未満の経験(LEMT)を持っており、(a)使用する楽器や技法、(b)取り組んでいる対象者領域、(c)理論的指向についてのインターネット調査に回答した。その結果、MEMTとLEMTの間ではほとんどすべての質問領域において大きな相違が示された。全体的には、若い世代はより多くの技法に開かれており、より多くの楽器に熟達しており、より多くの音楽をその仕事に用いている。グローバル化を続ける世界において、この研究の結果はイスラエルの音楽療法士だけではなく他の地域にも言えることであろう。なぜならこの研究に示された局所的状況は、他の国々とも比較され、関係づけられ得るものだからである。こうした研究や調査がまだ行われていない地域への助言にも触れる

Computational elucidation of the effects induced by music making.

Music making, in the form of free improvisations, is a common technique in music therapy, used to express one's feelings or ideas in the non-verbal language of music. In the broader sense, arts therapies, and music therapy in particular, are used to induce therapeutic and psychosocial effects, and to help mitigate symptoms in serious and chronic diseases. They are also used to empower the wellbeing and quality of life for both healthy individuals and patients. However, much research is still required to understand how music-based and arts-based approaches work, and to eventually enhance their effectivity. The clinical setting employing the arts constitutes a rich dynamic environment of occurrences that is difficult to capture, being driven by complex, simultaneous, and interwoven behavioral processes. Our computational paradigm is designed to allow substantial barriers in the arts-based fields to be overcome by enabling the rigorous and quantitative tracking, analyzing and documenting of the underlying dynamic processes. Here we expand the method for the music modality and apply it in a proof of principle experimentation to study expressive behavioral effects of diverse musical improvisation tasks on individuals and collectives. We have obtained statistically significant results that include empirical expressive patterns of feelings, as well as proficiency, gender and age behavioral differences, which point to variation factors of these categorized collectives in music making. Our results also suggest that males are more exploratory than females (e.g., they exhibit a larger range of octaves and intensity) and that the older people express musical characterized negativity more than younger ones (e.g., exhibiting larger note clusters and more chromatic transitions). We discuss implications of these findings to music therapy, such as behavioral diversity causality in treatment, as well as future scientific and clinical applications of the methodology