Structured music workshops for individuals with learning difficulties An evaluation study

SIGLEAvailable from British Library Document Supply Centre-DSC:DXN008329 / BLDSC - British Library Document Supply CentreGBUnited Kingdo

An empirical investigation into the effects of structured music workshops for individuals with intellectual disabilities

The utility of music as a therapeutic intervention for individuals with intellectual disabilities has been widely discussed (Aldridge, 1993; Schalkwijk, 1995; Wigram, 1995). However, although an extensive literature exists which advocates music as a therapeutic intervention for a wide variety of populations, there is a need for empirical evaluation (Maranto, 1991; Radhakishnan, 1991; Purdie, 1997). This paper presents a study investigating the effects of structured music workshops for individuals with intellectual disabilities. A random sample of 60 individuals voluntarily participated in this research. All participants were assessed using a variety of previously validated techniques and techniques designed and validated for use in this study. An experimental group (N = 19) participated in a ten-week music programme. In comparison with a non-intervention control group (N = 16) and an intervention control group (N = 24), results indicated significant improvements in musical ability, communication and self-perception of musical ability for participants in the experimental group. A longitudinal investigation (N = 12) indicated that the developments made by the experimental group remained six months following the intervention. It is suggested that musical activities may provide an environment that facilitates skill development for individuals with intellectual disabilities. Directions for future research and limitations of the study are also considered

An empirical investigation of the anxiolytic and pain reducing effects of music

This article reports two empirical experiments investigating the anxiety and pain reducing effects of listening to music via personal stereo following surgical procedures involving general anaesthetic. Both experiments involved participants selecting music of their own choice. In Experiment 1, following minor surgery on the foot, 20 participants in an experimental group listened to music while 20 participants in a control group did not. Results indicate that the music group felt significantly less anxiety than the control group. No differences in pain measurements between the two groups were found. Experiment 2 involved a music listening group of 30 females and a no music control group of 28 females. Both groups underwent a total abdominal hysterectomy. Postoperative measures of pain, anxiety and patient-controlled analgesia were taken. No differences between the groups were obtained on these measurements. The results of both experiments are discussed with reference to subjective responses to musical stimuli

Identification of animal movement patterns using tri-axial accelerometry

Shepard ELC, Wilson RP, Albareda D, Gleiss A, Gómez Laich A, Halsey LG, Liebsch N, Macdonald DW, Morgan DT, Myers AE, Newman C, Quintana F (2008) Identification of animal movement patterns using tri-axial accelerometry. Endangered Species Research 10; 47-60

Creativity and flow in musical composition: an empirical investigation

Although an extensive literature exists on creativity and music, there is a lack of published research investigating possible links between musical creativity and Csikszentmihalyi's concept of flow or optimal experience. This article examines a group composition task to study the relationships between creativity, flow and the quality of the compositions produced. First-year university students (n = 45) worked on a group composition task during three meetings. Each time the students met, they completed a detailed questionnaire that assessed aspects of each student's experience of the group compositional process using an 'experience sampling form' based on Csikszentmihalyi's previous work. Completed compositions were recorded and rated for quality and creativity by the participants and by a group of music education specialists (n= 24). Results indicated a number of ways in which the specialists' assessments of quality related to the students' assessments of creativity and flow. The study provides an example of a research method that can be used to further our understanding of the processes and outcomes of group music composition tasks. The discussion also considers a number of important ways that the concept of flow can be utilized within a music education context