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Moretti, Francesco. "Musicians Can Fly : Heterogeneous material, Renaissance sources and contemporary group improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2557.
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Fairbairn, Hazel. "Group playing in traditional Irish music." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282816.
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Beyers, Johanna Frederika. "Participatory consciousness in group music therapy." Diss., University of Pretoria, 2006. http://hdl.handle.net/2263/29612.
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No abstract available Copyright 2005, University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. Please cite as follows: Beyers, JF 2005, Participatory consciousness in group music therapy, MMus dissertation, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-11202007-113847 / > E742/gm<br>Dissertation (MMus (Music Therapy))--University of Pretoria, 2008.<br>Music<br>unrestricted
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Beyers, Johanna Frederika. "Participatory consciousness in group music therapy." Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-11202007-113847/.
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Behr, Adam. "Group identity : bands, rock and popular music." Thesis, University of Stirling, 2010. http://hdl.handle.net/1893/3051.
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Since rock became the subject of academic study, its attendant ideology has been scrutinised and its mythical and Romantic components exposed. Largely absent from this account has been a thorough analysis of the phenomenon of the ‘band’. The role of individual acts and the wider contexts in which they worked has been discussed at the expense of an examination of an important form of music-making. This thesis seeks to address that gap. Using a mixture of literary research and ethnography, I present an overall picture of the band as a modus operandum, charting its evolution during the emergence of rock and presenting evidence that it has become a key means by which people enter and engage with the field of popular music. I suggest that debates about ‘authenticity’ in rock, in seeking to see through industry rhetoric have overlooked the way in which creativity in bands is closely connected to social interaction. My historical analysis brings to light the way in which the group- identified band has become embedded into popular music practice through the power of narratives.Two case studies, contextualised with archival material and interviews, form the basis for a model for collective creativity. By demonstrating how social action and narrative myth feed into one another, I argue that the group identity of a band is the core of the industrially mediated texts to which audiences respond. Our understanding of how authenticity is ascribed in popular music, and rock in particular, has paid too much attention to genre-based arguments and not enough to musical and social methods. I propose a way of revising this to take better account of rock as an actual practice.
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Sangiorgio, Andrea. "Collaborative creativity in music education : children's interactions in group creative music making." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/20648.
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This study intended to develop a theoretical framework for understanding children's collaborative creativity in music. The focus was on creative interactions and on how early primary children interact when they engage in creative group music making. Related questions were on: 1) the different communicative media employed, 2) the component aspects of group work influencing children's creative endeavours, 3) the meanings that children attribute to their creative experience, and 4) the educational and ethical values of creative interactions. The study was carried out in a private music school in Rome, Italy. A group of eight 5-7-year-old children participated over eight months in 30 weekly sessions of group creative activities in music and movement. I was the teacher researcher and worked with a co-teacher. This exploratory, interpretive inquiry was framed by sociocultural perspectives on learning and creativity. A qualitative research methodology was adopted, which combined methodological elements derived from case study research, ethnographic approaches, and practitioner research. Data collection methods included participant observation, video-recording of sessions, documentation, and strategies for eliciting children's meanings. Thematic analysis, both theory-driven and data-driven, was conducted in order to identify relevant issues. The findings of the study suggest that in creative collaborative work in music bodily interactions and musical interactions have a stronger significance than verbal interactions. A conceptual distinction was made between 'cooperative' vs 'collaborative' which helped to characterise the different degrees of interactivity in the group's creative work. The study identified a range of component aspects which influenced the quality and productivity of children's collaborative interactions. These included: children's characteristics, context and setting, pedagogical approach, task design, collaboratively emergent processes, underlying tensions in creative learning, reflection on and evaluation of creative work, and time. Children actively gave meaning to their group creative music making mostly in terms of imagery and narrative, though they were gradually shifting towards more purely musical conceptualisations. Creating music in groups had the potential to enhance their sense of competence, ownership and belonging, and supported ethical values such as promoting the person, freedom, responsibility, a multiplicity of perspectives, and democracy. Three meta-themes run throughout the findings of the study, which are in line with sociocultural perspectives: i) a systems perspective as necessary to gain a more comprehensive view of collaborative creativity; ii) creativity as an inherently social phenomenon, and iii) creativity as processual and emergent. The implications for pedagogical practice highlight the importance of including creative collaborative activities in the music curriculum.
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Rabinowitch, Tal-Chen. "Musical group interaction : mechanisms and effects." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648235.
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Williams, Carol Joy. "Autonomy, sheltered street children and group music therapy." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/36765.
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The context of this study is a street shelter, situated in the inner city of Pretoria. This was the first time that music therapy sessions were conducted at the shelter. This study is conducted within a qualitative research paradigm. The primary data source is five video and one audio excerpt. The secondary data source is session notes. The data is coded, categorised and organised into emergent themes. The emergent themes highlight five aspects of group music therapy that enabled autonomy in a group of children living in the street shelter. These five emergent themes are the basis of the discussion addressing the two research questions of this study. This study shows that group music therapy is an effective and appropriate way in which these sheltered street children are able to experience autonomy, including improved self-esteem and feelings of achievement and mastery. To my knowledge, there has been no music therapy literature published with regards to group music therapy with sheltered street children within the South African context as well as internationally.<br>Dissertation (MMus)--University of Pretoria, 2009.<br>gm2014<br>Music<br>Unrestricted
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Wall, Sara. "The Real Group : Evolution of Sound." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-173677.
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Abstract Sara Wall: The Real Group-Evolution of Sound. Institutionen for musikvetenskap, Uppsala universitet, 2002. 60 p. The purpose of this thesis is to track the cause of The Real Group's evolution of sound by means of analyzing song recordings from three chronologically selected albums. The areas of components used for the analysis are self-formulated and based on a variety of material and sources. In order to heighten the reader's understanding of the relatively new and abstract term, sound is described within the realm of pop and rock and applied to a cappellajazz. This is mainly accomplished with the help ofFer-Erik Brolinson and Holger Larsen's previous studies within the realm of rock. Certain sound components from their analysis have been selected for use in my analysis. In my thesis, the history of a cappella is overviewed, as is the history of The Real Group. Lennart Reimers' essay from Choral music perspectives is used in combination with American Richard Sparks' book The Swedish Choral Miracle: Swedish A Cappella Music Since 1945 to describe how The Real Group has been affected by the Swedish a cappella tradition. Reimers' presents three sets of"isms" that contribute to the formation of the Swedish a cappella tradition and Sparks bases his six components on Reimers' "isms." The analysis of the songs is based on the following areas of components: Vocal skill, Choice of repertoire, Diction, Effects processing, Overall "feel" and Text content. The eight selected songs fit into the following categories: Ballads, Upbeat/fast tempo songs and Swedish songs. The results of the study conclude that the most motivating factors of change include vocal maturity, steadily increased skill, need for musical growth and expansion and change in personal maturity and perspective. The results are highlighted by personal accounts given by group member Feder Karlsson.
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Mattos, Andre Brandalise. "The Psychodynamics of Music-centered Group Music Therapy with People on the Autistic Spectrum." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/358894.
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Music Therapy<br>Ph.D.<br>The aim of this qualitative study was to conduct a naturalistic examination of the process of a music therapy group with preverbal individuals on the autistic spectrum. The study involved a music therapy treatment process, based on music-centered music therapy and music psychotherapy, that occurred in 16 sessions over a period of approximately four months. The study investigated the nature of the clinical process, the elements that characterized the intrapersonal and interpersonal dynamics of the group, and the way participants engaged with and utilized the music in their intrapersonal and interpersonal dimensions. The research design was one originally developed by Smeijsters and Storm (1996) in which the researcher functions in an ongoing consultative role to the therapists as the therapy process proceeds. The study investigated and discussed the advantages and disadvantages of Smeijsters and Storm’s (1996) model. The analyses of the 16 sessions revealed that all the studied clients were able to operate, in terms of intra-relationship, according to Greenspan and Wieder’s (2006) first developmental stage: they demonstrated interest, curiosity, and initiative. In terms of inter-relationship, they were able to operate according to Greenspan and Wieder’s (2006) developmental second stage: they engaged and established relationship with others. It was concluded that music had a relevant role in the process of assessing, treating, and evaluating the individuals in the group.<br>Temple University--Theses
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Loth, Helen. "An investigation into the relevance of gamelan music to the practice of music therapy." Thesis, Anglia Ruskin University, 2014. https://arro.anglia.ac.uk/id/eprint/578535/1/PhD%20thesis%20Helen%20Loth%20for%20ARRO.pdf.
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This study investigates the use of Indonesian gamelan with participants who have special needs or with special populations, and considers what the playing of gamelan music has to offer music therapy practice. The gamelan is an ensemble of instruments on which the traditional music of Indonesia is played, consisting of mainly tuned and un-tuned percussion instruments tuned to four, five or seven tone scales. Gamelan are being increasingly used for music activities with participants who have special needs, such as learning disabilities, mental health problems or sensory impairments, and with special populations, such as prisoners. Whilst aims are broadly educational, therapeutic benefits are also being noted.
There is little research into the effectiveness of this use of gamelan; the therapeutic benefits have not been researched within the context of music therapy. As an experienced music therapist and gamelan musician, I considered that investigating the potential for using gamelan within music therapy would produce new knowledge that could extend the practice of music therapy.
Various qualitative methods within a naturalistic paradigm were used to investigate current and past practice of gamelan playing with special needs groups and to identify the therapeutic benefits. Semi-structured interviews were undertaken with gamelan tutors working in this area and a music therapy project using gamelan with a group of children who had learning difficulties was undertaken by the author. Using a thematic approach to the analysis of data, the key features of gamelan playing which have relevance for music therapy practice were identified.
Gamelan playing was found to have a range of therapeutic benefits which can be used intentionally by a music therapist to address therapeutic aims. It was found firstly that the playing of traditional gamelan music can be used for specific therapeutic purposes and secondly, that the music and instruments can be adapted and used within various music therapy approaches and for participants with a range of disabilities. A set of guiding principles are also proposed for the use of this new music therapy practice.
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Loth, Helen. "An investigation into the relevance of gamelan music to the practice of music therapy." Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/578535/.
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This study investigates the use of Indonesian gamelan with participants who have special needs or with special populations, and considers what the playing of gamelan music has to offer music therapy practice. The gamelan is an ensemble of instruments on which the traditional music of Indonesia is played, consisting of mainly tuned and un-tuned percussion instruments tuned to four, five or seven tone scales. Gamelan are being increasingly used for music activities with participants who have special needs, such as learning disabilities, mental health problems or sensory impairments, and with special populations, such as prisoners. Whilst aims are broadly educational, therapeutic benefits are also being noted. There is little research into the effectiveness of this use of gamelan; the therapeutic benefits have not been researched within the context of music therapy. As an experienced music therapist and gamelan musician, I considered that investigating the potential for using gamelan within music therapy would produce new knowledge that could extend the practice of music therapy. Various qualitative methods within a naturalistic paradigm were used to investigate current and past practice of gamelan playing with special needs groups and to identify the therapeutic benefits. Semi-structured interviews were undertaken with gamelan tutors working in this area and a music therapy project using gamelan with a group of children who had learning difficulties was undertaken by the author. Using a thematic approach to the analysis of data, the key features of gamelan playing which have relevance for music therapy practice were identified. Gamelan playing was found to have a range of therapeutic benefits which can be used intentionally by a music therapist to address therapeutic aims. It was found firstly that the playing of traditional gamelan music can be used for specific therapeutic purposes and secondly, that the music and instruments can be adapted and used within various music therapy approaches and for participants with a range of disabilities. A set of guiding principles are also proposed for the use of this new music therapy practice.
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Munroe, Laurie C. "Embraced by the sound, a music therapy chime group." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/MQ57915.pdf.
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Hudgins, Kenna D. "The Effect of Music Therapy on the Grief Process and Group Cohesion of Grief Support Groups." Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1181099998.
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Bowers, Daniel S. ""Let's stick together" : social identity, music fans, and group membership." Thesis, University of South Wales, 2016. https://pure.southwales.ac.uk/en/studentthesis/lets-stick-together(0efbe4e9-c20c-44e1-93a2-f85ff7702a23).html.
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Social identity theory (SIT) suggests that the groups to which an individual belongs, to a large degree, define their identity. Previous research has demonstrated that music fanship is a particularly effective group membership for the construction and communication of an individual's identity (e.g. Rentfrow & Gosling, 2003) and that music preferences can guide how we perceive and act towards others (e.g. Lonsdale & North, 2009). However, there has not been a great deal of research examining the differences between the fans of different styles of music and also how and why the importance of music fanship changes across the lifespan. This thesis examines the differences between the fans of different styles of music on key indices of social identity. It also examines whether there are cross sectional age differences between music fans in terms of these indices. The current body of work was designed so that aspects of the findings could be triangulated between studies to increase their reliability and validity. Six studies, using a variety of methodologies, have been conducted to investigate these questions. Study 1 was questionnaire based and investigated four key areas of music fanship (1) perceived commitment, (2) behavioural commitment, (3) music based judgements of others & (4) music group joining processes. Studies 2 and 3 were quasi experimental in nature and made use of a novel visual analogue scale to assess differences between fans of different musical styles on their in-group identification and other indices of social identity and to test elements of contemporary conceptualisations of identification. Study 4 was a card sorting task which examined the relative importance of music to fans' identities. Study 5 was an adjective selection task where fans were asked to choose words that described the members of both their musical in-group and selected out-groups to investigate key social identity processes. Study 6 was a large scale qualitative study where fans of different musical styles and ages were asked to talk about their experiences of being a music fan across the lifecourse. Study 1 showed that there were key differences between fans of different musical styles and ages in terms of the four areas investigated. Studies 2, 3 and 4 demonstrated that although people saw their music fanship as being relatively important to their overall identity, that there did not appear to be significant differences between fans of different ages or of different types in this regard. These studies also showed support for elements of the Leach at al. (2008) model of identification as well as Postmes et al.'s (2013) single dimension of identification. Study 5 indicated that the self-definition profiles of different music fan groups were indeed different from one another and that fans were more positive than negative about the members of their in-group. It also demonstrated that an individual's own group membership had an impact on how they subsequently described the members of opposing groups. A thematic analysis of the interviews and focus groups in Study 6 found that three superordinate themes emerged. These were (1) group joining & becoming a fan, (2) social identity processes amongst music fans & (3) music fanship changes across the lifespan. These findings show clear differences between the fans of different musical styles in aspects of group joining processes, subsequent social identity processes with which they engage and how much they identify with their in-group. It also demonstrates cross sectional differences between fans of different ages for these processes. These findings have implications for future research on elective group membership and social identity processes.
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McKinnon, Danielle. "Exploring self-compassion : group music therapy with sexual assault survivors." Diss., University of Pretoria, 2018. http://hdl.handle.net/2263/65532.
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Sexual abuse is a traumatic event, which leaves survivors with mental, physical and emotional needs. The aim of this qualitative study was to explore whether closed group music therapy sessions could enhance self-compassion, as reported and expressed by sexual abuse survivors. The music therapy process that was conducted was designed to facilitate the three core constructs of self-compassion as researched by Kirsten Neff (2003a), namely self-kindness, common humanity and mindfulness. The study explored the experiences of six sexual abuse survivors residing at a community centre in Lavender Hill, Cape Town, South Africa. Music therapy sessions took place once a week for a period of six weeks and the main musical components of the sessions included song-writing, group singing, drumming, vocal and instrumental improvisations and relaxation. The findings emerged from the interpretive phenomenological analysis of the individual semi-structured interview transcripts and thick descriptions of excerpts of the audio recordings. From the findings of this study it was concluded that the group music therapy sessions offered sexual abuse survivors opportunities for: self-exploration, self-confidence, interpersonal connections, the experience of being supported, encouragement, enjoyment and vitality, stress relief, emotional exploration and expression, and transformation of perspectives. These findings were represented by the following three main themes; characteristics of their lifeworlds, the affordances of music therapy for the group, and the group’s experience of transformation, which are then discussed in relation to self-compassion.<br>Dissertation (MMus)--University of Pretoria, 2018.<br>Music<br>MMus<br>Unrestricted
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Jong, Jacqueline B. de. "Collective talent : a study on improvisational group performance in music /." [Amsterdam] : Vossiuspers UvA, 2006. http://dare.uva.nl/document/33052.
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Pollard, Anné Francoisé. "Group music therapy in a paediatric oncology ward working with a wide open group in a wide open space /." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-10072008-132209/.
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Thorpe, Vicki. "We made this song : the group song writing processes of three adolescent rock bands : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in History and Literature of Music /." ResearhArchive@Victoria e-Thesis, 2007. http://hdl.handle.net/10063/272.
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Waldon, Eric G. "The effects of group music therapy on mood states and cohesiveness in adult oncology patients." Scholarly Commons, 2000. https://scholarlycommons.pacific.edu/uop_etds/534.
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The purpose of the current investigation was to examine the efficacy of a music therapy protocol on mood states and levels of group cohesiveness in adult oncology patients. Eleven oncology patients in two groups (ages 30 to 84 years) took part in the study over a ten-week period of time (ten participants completed the study). During that period, participants took part in eight music therapy sessions consisting of two types of interventions: 1) four "music making" sessions (where the mechanism for change included the process of making music) and 2) four "music responding" sessions (where the mechanism included the process of responding to music). The two types of music therapy sessions and their effectiveness on improving mood states and group cohesiveness were examined. The Profile of Mood States- Short Form (POMS-SF) was used to assess changes in participants' mood states. A content analysis, attendance records, and a questionnaire were used to assess levels of group cohesiveness. Results showed significant improvement in mood state scores (from pre session levels to post sessions levels) after involvement in all music therapy sessions. Similar significant findings were found within each of the "music making" and "music responding" conditions but no differences were found when comparisons were made between those conditions. No statistically significant effects were found with respect to group cohesiveness measures. Study implications and future research directions are discussed.
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Beegle, Amy C. "Children at work in their musical expression : a classroom-based study of small group improvisation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11204.
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Pulman, Mark. "'Knowing yourself through others' : peer assessment in popular music group work." Thesis, Sheffield Hallam University, 2008. http://shura.shu.ac.uk/3823/.
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This enquiry investigates the experiences and responses to peer assessment of group work involving cohorts of undergraduate popular music students over a five-year period. Working within the context of band rehearsing and performing, the enquiry focuses on how intra-peer assessment impact on students’ personal attributes and their learning. The literature review presents an overview of peer learning, group work, peer assessment processes, and a survey of the peer assessment literature on music in Higher Education reveals a lack of research into popular music group work. An action research design was established to study developing peer assessment activities of group work involving nineteen rehearsing and performing cycles. This allowed interventions and refinements to be made from cycle to cycle from which qualitative interview data and quantitative peer assessment data were collected. The analysis and interpretation of this data explain the key themes that arose from the students’ experiences of peer assessment in the action research. These include the development of awareness and knowledge about their personal attributes. Confidence, feedback and a moral dimension, often involving honesty and trust, were of particular significance. A new process model of intra-peer assessment is proposed. It offers a sequence of graduated stages of personal attribute usage, which create experiences over a period of time, that support students’ learning about themselves and about others through intra-peer assessment activities. The key activity, which also gives the model its particular distinctiveness, involves bands decide for each of their members appropriate personal attributes to be used as criteria for intra-peer assessment. The enquiry emphasises the importance of providing experiential and interactional contexts for intra-peer assessment, as important learning opportunities arise from such settings. This study provides a social constructivist explanation for the development of students’ personal attributes and the building of trust and honesty in the rehearsing and performing cycles.
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Carr, Catherine. "Modelling of intensive group music therapy for acute adult psychiatric inpatients." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/26966.
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Background: Acute inpatient stays are decreasing. Evidence for music therapy in mental healthcare exists but practice varies. Short admissions and therapy frequency (usually weekly), limit access, yet acceptability of increased frequency to patients is unknown. Research to model processes and outcomes of intensive provision may identify how best to provide for acute contexts informing clinical practice and future research. Methods: 114 patients admitted to hospital with acute mental health problems were recruited. Patients attended group music therapy 1-3 times per week during admission. Repeated measures assessing patient experiences, session appraisal, motivation and commitment were completed. Questionnaire thematic analysis identified important processes which were coded from session recordings. Multilevel modelling was used to examine associations between music therapy components, session appraisal, motivation, commitment and subsequent attendance. End of therapy interviews with 16 patients explored changes experienced and views on therapy frequency. Results: Attendance was 3 times greater for patients with 3 sessions per week. The majority found increased frequency acceptable and beneficial. Processes of engagement, emotional expression and social connection suggested active music-making, synchrony and singing to be important for group cohesion. Singing was significantly associated with appraisal and motivation. Musical initiation by group members was associated with motivation and commitment. All three outcomes were associated with each other, with session appraisal and increased frequency independently associated with subsequent attendance. Patient attributions for change included creativity, experiential learning and therapist directed reflective discussions. Conclusion: Intensive group music therapy is acceptable to the majority of patients, perceived as beneficial and increases access. Intensive provision is associated with greater engagement and positive experiences, which in turn, are associated with group commitment. Patient experiences can inform practice. Further research should examine effectiveness of intensive provision. Therapists should continue to prioritise engagement through active music-making and singing, and services consider implementation of intensive provision.
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Williams, Kristle Claire. "Open group music therapy workshops with homeless adults : a case study." Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/43285.
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People who are homeless tend to suffer from stress, substance abuse and mental health problems. Music therapy with a closed group of homeless adults residing in an American homeless shelter has shown potential benefit. The aim of this qualitative study was to explore how open group music therapy sessions designed to facilitate emotional expression, interpersonal connection, stimulation, and self-esteem were experienced by homeless adults not residing in a common shelter. The current study made use of a sample of homeless adults visiting a church feeding scheme in Port Elizabeth, South Africa. The sessions were framed as music workshops and the main components used included: drumming, vocal and instrumental improvisation, and known songs. A total of six, weekly, open group music therapy workshops were held at the feeding scheme for a maximum of ten participants per session. Videotaped recordings were made of each music therapy session and one different participant was interviewed after the session each week. From the interpretative phenomenological analysis of the transcripts of individual interviews and the videotaped recordings of sessions, a number of themes emerged. From the findings of this study it was concluded that the open group music therapy sessions offered homeless adults opportunities for: increased self-esteem, meaningful interpersonal connection, constructive use of time, stress relief, meeting emotional needs, and transformation.<br>Dissertation (MMus)--University of Pretoria, 2013.<br>lk2014<br>Music<br>MMus<br>Unrestricted
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Stoll, Joni L. "The relationship of high school band directors' assessment practices to ratings at a large group adjudicated event." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1227713397.
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Thesis (Ph.D.)--Kent State University, 2008.<br>Title from PDF t.p. (viewed Jan. 21, 2010). Advisor: Jay Dorfman. Keywords: Assessment; instrumental music. Includes bibliographical references (p. 103-112).
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Stephens, Torrance T. "An examination of the effect of using rap music as an adjunct to music therapy in group counseling." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1992. http://digitalcommons.auctr.edu/dissertations/1998.
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This investigation examined the effects of using rap music in group counseling as a counseling adjunct. A multi-group experimental design was used to determine whether statistically significant differences would be evidenced. In addition, a methodology that employed rap music in the counseling process was developed. The subjects included thirty undergraduates from Clark Atlanta University. Although visible means differences were observed, computed t-ratio's indicated that there was no statistically significant differences between groups pre- and posttest scores as measured by Mooney Problem Checklist (1950).
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Minetti, Alfredo. "Sensivel a study on social aesthetics, group creativity, and collective emotion /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3277984.
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Thesis (Ph.D.)--Indiana University, Dept. of Anthropology, 2007.<br>Source: Dissertation Abstracts International, Volume: 68-09, Section: A, page: 3927. Adviser: Anya P. Royce. Title from dissertation home page (viewed May 5, 2008).
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O'Connor, Alexander J. "A Comparative Analysis of Rehearsal Techniques for Instrumental Ensembles During Group Playing." Wittenberg University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1617960102315298.
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Halko, Gabrielle. "The Family Orchestra Project: Examining Adult-Child Bonding During Adolescence Through Group Music Making." Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/347097.
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The purpose of this multiple case study was to examine the experiences of adolescent students and their adult relatives participating in The Family Orchestra Project, a program designed to promote family bonding through shared musical study and performance. Participants of this study were four adult-child dyads. Data collected included field notes, a questionnaire, a focus group interview, adult-child pair interviews, audio recordings, written prompts, and a video recording. Five cross-case themes emerged during coding and data analysis: Role Reversal, Patience, Practice, Bonding, and Group Music Making. The findings of the study reveal that a shared music making experience such as The Family Orchestra Project can facilitate adult-child bonding and communication during early adolescence while also challenging the individuals to grow as they assume nontraditional roles in their relationship. Implications for practice in the music education of adolescents are discussed and recommendations for future research are provided in the concluding chapter.
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LeBlanc, Sylvie. ""Le monde qu'on connaǐt" : the music of 1755 and the construction of Acadian identity." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98548.
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This thesis explores the role of popular music in articulating socio-cultural identities by examining the contribution of the Acadian group, 1755. As the rapid modernization of Acadians' way of life led to a sense of cultural alienation, cultural products played a prominent role in asserting their cultural specificity. Accordingly, the 1970s were not only rich in artistic production, but also saw the development of a distinctive Acadian popular music practice. Responding to fears of acculturation and folklorization, Acadian popular music embodied Acadians' desire to embrace a modern identity all the while maintaining ties with their traditional identity. 1755's music actively took part in reinventing Acadian identity by constructing a cultural narrative that reflected Acadians' contemporary reality and by renegotiating what was commonly held as "Acadian" music. As a result, it became invested with ideological significance by Acadian consumers, regarded not merely as commercial music but rather as a symbol of their cultural emancipation.
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Pool, Jonathan. "Brief group music therapy for acquired brain injury : cognition and emotional needs." Thesis, Anglia Ruskin University, 2013. http://arro.anglia.ac.uk/312324/.
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Injuries to the brain are the leading cause of permanent disability and death. Survivors of acquired brain injury (ABI) experience cognitive impairments and emotional problems. These often persist into community rehabilitation and are among the most significant needs for those in chronic stages of rehabilitation. There is a dearth of research providing evidence of music therapy addressing cognitive deficits and emotional needs in a holistic approach. This research answers the question how can brief group music therapy address cognitive functional gains and emotional needs of people with acquired brain injury. A mixed methods design was used to investigate the effect of 16 sessions of weekly group music therapy on attention and memory impairments, and emotional needs of ten ABI survivors in community rehabilitation. Quantitative data were collected to determine the effect of treatment on attention and memory functioning, mood state, and the satisfaction of emotional needs. Qualitative data were collected to reveal survivors’ experiences of brain injury and brief group music therapy. Analysis of the data showed that the intervention improved sustained attention (p<.05, r=.80) and immediate memory recall (p>.05, r=.46), and that the effect of treatment increased with dosage. Overall, the intervention was more effective than standard care, and cognitive functional gains continued after treatment for some ABI survivors. The intervention addressed emotional needs of feeling confident (p<.05, d=.88), feeling part of a group (p<.05, d=.74), feeling productive/useful (p<.05, d=.90), feeling supportive (p<.05, d=.75), feeling valued (p<.05, d=.74), and enjoyment (p<.05, d=.34). Improvements in these domains were observed in the immediate term and over the course of therapy. Music therapy enabled emotional adjustment through the development of selfawareness and insight. This study offers a music therapy method to deliver a holistic approach in rehabilitation. It demonstrates that music therapy can provide a cost effective, holistic treatment for ABI survivors.
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Warr, Richard Lloyd. "Music consumption : the impact of social networking, identity formation, and group influence." Thesis, Swansea University, 2015. https://cronfa.swan.ac.uk/Record/cronfa43122.
Full textAbstract:
Previous researchers such as McGuire & Slater (2005) noted that people have an inherent need to share favourite music with other people, and also theorised that a democratisation of culture is taking place with consumers effectively standing by (or in some cases even replacing) traditional tastemakers by sharing music with one another through the Internet; thus shaping culture and in turn themselves. In addition, this theory supports the notion that once music consumers discover others online who have similar or interesting tastes, they may begin to interact with one another; therefore leading to the formation of communities around an artist or genre (or around a particular tastemaker such as a podcaster) which may also provide benefits to consumers in other areas of their social lives. The motivation of this thesis was to explore how these online social influences compared to the traditional offline social influences that can be inferred upon music consumption behaviours and habits. Methods of consumption can include listening to music alone or with others, obtaining music in different formats and on various platforms, and attending live events such as music shows or festivals. A study was conceptualised on behaviours relating to live music consumption, with a literature review being conducted on the exploration of the music industry and its digitisation, identity theory (both individual and collective), and social influence. The research methodology was separated into two phases; the first being a qualitative exploratory investigation consisting of a webnography data collection which was used to examine relevant trends in online forums, and the second an online survey. The online survey allowed for the quantitative testing of the theoretical frameworks identified by the literature review, as well as enabling the development of predictive models for live music consumption behaviours in both the online and offline social contexts.
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Lotter, Sané. "The affordances of narrative group music therapy with adolescents who self harm." Diss., University of Pretoria, 2018. http://hdl.handle.net/2263/64975.
Full textAbstract:
This qualitative study examined how adolescent participants who self-harm narrate motivations for and experiences of self-harm and what a narrative group music therapy process could afford them. Seven participants from a high school in South Africa who engage in self-harm attended narrative group music therapy sessions for six weeks. Multiple interventions were used to create opportunities for self-expression within sessions. Narratives that emerged during this therapeutic process were analysed. Five main narratives were identified: “who I am, becoming and strive to be,” “relationships,” “worldview,” “self-harm,” “music therapy.”<br>Mini Dissertation (MMus)--University of Pretoria, 2018.<br>Music<br>MMus<br>Unrestricted
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Mei, Yuxin. "Negotiating Decades of Change in America: The Houston Chinese Traditional Music Group." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011833/.
Full textAbstract:
For over two hundred years, Chinese immigrants have brought ancient customs and musical traditions to their new homes in America. As in many immigrant communities, a new heritage that embodies and exhibits both the quintessential features of American culture and genuine Chinese heritage have come together to form new expressive cultures that are uniquely "Chinese American." As the youngest of the major American Chinese immigrant centers, the city of Houston, Texas provides an exemplary example of a distinct cultural cohesion that, in part, resulted from significant cultural and political upheavals in the latter half of the twentieth century. During this era of political unrest, many Chinese people's attitudes towards their traditional culture changed drastically. The Houston Chinese Traditional Music Group (HCTMG) is a Chinese orchestra comprised of amateur and professional musicians ranging in age from 13 to over 60 years old. Performing regularly for the Chinese immigrant population in Houston, HCTMG's take on traditional Chinese music deviates greatly from that of older, more established immigrant communities on the East and West Coasts and in some parts of mainland China. Via participant observation, interviews, and analysis of source materials, this paper examines how changing political and economic climates in China during the 1960s to the 1990s—when the majority of HCTMG musicians lived in China –are reflected in the musical decisions of HCTMG and the greater Houston Chinese immigrant community at large.
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Best, Helene. "Group music therapy utilising marimba playing for children with low self-esteem." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/43760.
Full textAbstract:
Qualitative research was conducted to explore if, and how, music therapy utilising group marimba playing can facilitate increased self-esteem for children in a small independent school in the Western Cape. The case study involved ten weekly group music therapy sessions as well as a performance session. African marimbas were used in conjunction with other methods of active music making in the group sessions. Excerpts of video recordings were analysed and the Behavioural Indicators of Self-esteem (BIOS) rating scale was completed for each child pre- and post-intervention in order to examine whether music therapy sessions facilitated changes in children’s self-esteem that transferred to the classroom situation. The findings from the qualitative analysis of video excerpts indicate that group music therapy intervention utilising marimba playing appeared to facilitate the development of self-esteem. Experiences were provided to increase the participants’ sense of worthiness and competence. Results of the BIOS scale could not be statistically analysed due to the small sample size, but the data suggests that the music therapy intervention had an impact that carried over to the classroom situation on participants who were assessed to have lower self-esteem before the intervention (compared to others in the sample) as observed in their classroom behaviour.<br>Dissertation (MMus)--University of Pretoria, 2015.<br>Music<br>MMus<br>Unrestricted
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Coetzee, Elthea. "Creative group music teaching and the principles of Gestalt play therapy in the foundation phase in South African education." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5290.
Full textAbstract:
Thesis (MMus (Music))--University of Stellenbosch, 2010.<br>ENGLISH ABSTRACT: Music teaching in groups is an important aspect of the development of the child in
Foundation Phase teaching. Early childhood has been described as the most critical
period in the child’s musical development. With the introduction of Outcomes based
Education in South Africa, the curriculum regarding the presentation of music
classes has changed. Similarities between music group classes and Gestalt Play
Therapy were investigated, with the aim of incorporating concepts of Gestalt Play
Therapy into music group classes.
Legislation was studied in order to determine the expectations of the South African
government, and specifically the education departments, relating to music teaching.
In the present curriculum, the weight allocation for music in the Foundation Phase
was significantly reduced from what it was previously. Teachers must structure their
own music programme into their curriculum. Investigation into the presentation of
creative music group classes, with the incorporation of the principles of Gestalt Play
Therapy, was undertaken in this research study.
Gestalt Play Therapy is a holistic approach that combines the principles of Gestalt
theory with Play Therapy. Research was undertaken to investigate whether specific
stages in Gestalt Play Therapy could be successfully combined with music group
classes. This research emphasizes that the developmental stages of the child, specifically
physical, neurological, cognitive and language development, should be taken into
account when presenting lessons, and that children may be guided towards a higher
level of integration and balance in themselves. Research into OBE principles
suggests that the way forward could be a continuation of the OBE model, but with
certain amendments.
An inductive study of practical observation and presentation of creative group
classes was undertaken. It was found that most teachers were not adequately
qualified to present music classes, and creativity was not satisfactorily addressed in
their lessons.<br>AFRIKAANSE OPSOMMING: Musiekonderrig in groepe is ‘n belangrike aspek rakende die ontwikkeling van die
kind in Grondslagfase onderrig. Vroeë kinderjare word beskryf as die mees kritieke
periode in die kind se musikale ontwikkeling. Met die inwerkingstelling van
Uitkomsgebaseerde onderrig in Suid-Afrika, het die kurrikulum aangaande die
aanbieding van musiekklasse verander. Ooreenkomste tussen musiekonderrig in
groepe en Gestalt Spelterapie is ondersoek, met die doel om konsepte van Gestalt
Spelterapie in musiekonderrig in groepe te inkorporeer.
Wetgewing is bestudeer om die verwagtinge, aangaande musiekonderrig, van die
Suid Afrikaanse regering, en spesifiek die onderwysdepartemente, te bepaal. Binne
die huidige kurrikulum is die gewig toegeken aan musiek, binne die Grondslagfase,
aansienlik verminder van voorheen. Onderwysers moet self hul musiekprogramme
binne hulle kurrikulum struktureer. ‘n Ondersoek is geloods om die aanbieding van
kreatiewe musiekonderrig in groepe te kombineer met die beginsels van Gestalt
Spelterapie.
Gestalt Spelterapie is ‘n holistiese benadering wat die beginsels van Gestalt teorie
kombineer met Spelterapie. Navorsing is gedoen om te bepaal of spesifieke stadia in
Gestalt Spelterapie suksesvol gekombineer kan word met musiekonderrig in groepe.
Hierdie navorsing benadruk dat die ontwikkelingsstadia van die kind, spesifiek
fisiologies, neurologies, kognitief en taalontwikkeling, in ag geneem moet word
wanneer lesse aangebied word, en dat kinders hierdeur gelei kan word na ‘n hoër
vlak van innerlike integrasie en balans.
v
Navorsing gedoen betreffende die beginsels van Uitkomsgebaseerde onderrig is
aanduidend dat hierdie onderrigmodel wel voortgesit sou kon word, maar met
bepaalde aanpassings.
‘n Induktiewe studie van praktiese waarneming sowel as aanbieding van kreatiewe
groepsklasse is onderneem. Daar is bevind dat die meeste onderwysers nie
voldoende gekwalifiseerd is om musiekklasse aan te bied nie, en kreatiwiteit is ook
nie bevredigend in hulle lesse aangespreek nie.
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Hoffman, Kenneth Lloyd Jr. "Ohio Band Directors' Perceptions of Large Group Adjudicated Events." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397662993.
Full text
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Chorna, Olena. "The effect of music versus non-music activities on English word acquisition in a toddler group with ESL learners." Tallahassee, Fla. : Florida State University, 2009. http://purl.fcla.edu/fsu/lib/digcoll/undergraduate/honors-theses/244580.
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Pollard, Anne Francoise, and Anne Francoise Pollard. "Group music therapy in a paediatric oncology ward : working with a wide open group in a wide open space." Diss., University of Pretoria, 2007. http://hdl.handle.net/2263/31335.
Full textAbstract:
This mini-dissertation is structured as a clinical inquiry based on a detailed analysis of music therapy work with a wide open group at Kalafong Hospital’s paediatric oncology ward. The focus of this inquiry is to characterise ‘working moments’ within a wide open group music therapy context, that appears to be impacted by noise levels, group structures, and a generally busy and unpredictable physical environment. In addition, this clinical inquiry identifies clinical skills employed during ‘working moments’ with a wide open group. Research methods of description, coding, categorising and theme identification are applied in the analysis of three video excerpts and corresponding sessions’ session notes. The chosen excerpts are based on a working definition of ‘working moments’. The findings of this clinical inquiry suggest that characteristics of wide open groups include the following: Breaking social isolation and Shifting from illness to health. It furthermore identifies the roles and tasks of the therapist in a wide open music therapy group. This mini-dissertation also includes a proposed research project that stems directly from the clinical inquiry.<br>Dissertation (MMus)--University of Pretoria, 2007.<br>Music<br>MMus<br>Unrestricted
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LaPrade, Madelyn L. "THE EFFECT OF GROUP MUSIC THERAPY ON PATIENT SATISFACTION IN A BEHAVIORAL HEALTH SETTING." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/123.
Full textAbstract:
Patient satisfaction has become increasingly important to medical facilities as a result of reimbursement rates being tied to patient satisfaction scores. Music therapy’s potential to enhance patient satisfaction scores has been explored and several studies exist examining its impact in the medical setting. No studies exist, however, examining how music therapy contributes to patient satisfaction scores in the behavioral health setting. Therefore, the purpose of this study was to compare overall patient satisfaction scores of inpatient psychiatric patients who received group music therapy services with those at the same facility who did not receive group music therapy services.
Participants who attended music therapy group (n=14) received an anonymous, voluntary survey with 10 questions based on the facility’s satisfaction survey and the Hospital Consumer Assessment of Healthcare Providers and Systems (HCAHPS) survey. Participants who did not attend music therapy group (n=15) received the same survey.
Results showed that patients who attended music therapy group reported overall satisfaction scores that were on average 3.02 points higher than participants who did not attend music therapy group. Age correlation and gender differences which may affect patient satisfaction scores are described. The implications for future research and current clinical practice are also discussed.
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Jung, Joo Yeon. "Peer learning group among college voice majors | Collaborative inquiry case study." Thesis, Teachers College, Columbia University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3594111.
Full textAbstract:
<p> This collaborative inquiry case study investigated a pre-existing peer learning group composed of five Korean college voice students and a non-musician facilitator. The group was chosen for this research to understand the implications of a diversified learning context in addition to the typical master-apprenticeship context of higher music education. The main activity for this peer learning group was researching literature related to classical vocal music along with presenting a performance project. This performance was in connection to their learning, and the chosen theme was a musical autobiography. Data were collected during the performance project process that included participant observations, interviews, and artifacts. The peer group's learning experiences and how this process influenced their behaviors, attitudes, and performance, and the role of the facilitator were content analyzed and reported. Results revealed that the students' intense meaning making process included mutual communication, cooperative interaction, enhanced motivation with group cohesion, and a sense of autonomy in their music learning. The autobiographic aspects of each member's life as a musician proved to be transformative in their learning and positively influenced their identity development as musicians. Careful intervention regarding individual differences was found to be an important consideration. The role of the non-musician facilitator aided group development with a contrasting perspective, allowing for positive support to the individuals, and suggestions for long-term goals regarding pedagogical aspects despite his lack of a music background. Challenges of the peer learning group included a lack of available learning resources, time intensiveness of the process, and a lack of continuity with few consistent acknowledged goals. </p><p> This study illuminated the need to reflect on diverse learning contexts in addition to the traditional master-apprentice dyad in order to enhance students' initiatives in their learning process; allow for opportunities for the formation of their musical identities; and to encourage a facilitator role for the master teachers. Future research is recommended to replicate peer learning among diverse musicians and to focus further on autobiographic learning in addition to online learning opportunities. Continuous innovation in the learning process in higher music education will empower future musicians to be creative meaning makers and lifelong learners.</p>
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Cho, Heeyoun Kim. "THE EFFECTS OF GROUP SINGING ON QUALITY OF LIFE AND AFFECT OF PEOPLE WITH DEMENTIA: A RANDOMIZED CONTROLLED TRIAL." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/384540.
Full textAbstract:
Music Therapy<br>Ph.D.<br>The prevalence of dementia, a progressive and degenerative syndrome, increases dramatically with age (Alzheimer’s Disease International, n.d.), and it is critical to develop effective strategies and evidence-based interventions to improve the quality of life for persons with dementia (Crespo, Hornillos, & De Quirós, 2013; Vink, Birks, Bruinsma, & Scholten, 2004). Music therapy has drawn attention as a promising non-pharmacological approach for individuals with dementia (Brotons, 2000; Vink et al., 2004). A variety of music interventions have been widely applied for dementia care not only by music therapists, but also by other healthcare professionals. Among those interventions, singing and listening are utilized most frequently. The purpose of the current study was to compare the short-term effects of two music interventions, including a music therapy-singing group and a music medicine-listening group, as well as a control-TV group, on quality of life and positive and negative affect of persons with dementia at a long-term care facility. Fifty-two participants, ranging in age from 63 to 99 years, were randomly assigned to one of three groups, and thirty-seven completed the interventions. The participants in each group were engaged for a 40-minute session twice a week for four consecutive weeks. The music therapy-singing group was facilitated by a music therapist, whereas the music medicine-listening and the control-TV group were led by nursing home activity assistants. Quality of life was measured at baseline and after the last session. Only the MT-singing group demonstrated significant improvements when compared to the other groups. Positive and negative affect were measured at three points, including pre and post the first, fourth and eighth sessions. Only the MT-singing group increased positive affect scores and decreased negative affect scores significantly. Based on the findings of the current study, music therapy involving singing may be beneficial in improving quality of life and affect in persons with dementia at long-term care facilities.<br>Temple University--Theses
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Ashton, Graham R. "Got ‘em on a String: The Collective Skills, Knowledge and Attributes of Group String Teachers in Queensland." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365725.
Full textAbstract:
There appear to be considerable differences in the outcomes of group string teaching programs in Queensland. Some teachers appear to be able to generate, manage and administrate highly efficacious programs; others seem to experience difficulty transferring the knowledge and skills required for students to become successful string players. This study investigates the collective skills, knowledge and attributes apparent in group string teaching. As a case study with multiple participants, the investigation documents the reflections of group string pedagogues, observes the outcomes of their programs and teaching methods, and synthesises these elements into a profile of collective skills, knowledge, and attributes. The collective profile is then compared with the Australian Professional Standards for Teachers mandated by the Australian Institute for Teaching and School Leadership (AITSL), to ascertain points of corroboration and where there is a disconnect. Whilst there is significant overlap between the collective profile and the AITSL standards, some mismatch is evident. Implications of the study include the need to review the training and early-career mentoring of group instrumental music teachers.<br>Thesis (Masters)<br>Master of Philosophy (MPhil)<br>Queensland Conservatorium of Music<br>Arts, Education and Law<br>Full Text
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Martin, Christopher. ""We feed off each other" embodiment, phenomenology and listener receptivity of Nirvana's In utero /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143406900.
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Compton, Dickinson Stella J. "A feasibility trial of group cognitive analytic music therapy in secure hospital settings." Thesis, Anglia Ruskin University, 2014. https://arro.anglia.ac.uk/id/eprint/581523/1/Stella%20Compton%20Dickinson%20Final%20thesis.pdf.
Full textAbstract:
There are no large-scale outcome studies of music therapy in secure hospital settings for people who have committed serious offences. These patients have a right to expect evidence-based multi-disciplinary treatment (Duggan et al. 2006); NICE (2010). Music therapy therefore should take a form which can be integrated into the treatment pathway.
A single site implementation of a mixed-methods patient preference randomised controlled trial investigated the clinical effectiveness of a manualised music therapy model called Group Cognitive Analytic Music Therapy (G-CAMT). This context-specific, time limited intervention incorporates theories from Group Analysis (Foulkes 1964) and Cognitive Analytic Therapy (Ryle and Kerr 2003). The central research question was ‘Is G-CAMT feasible and effective for offenders in a secure multi-disciplinary treatment setting?’
The research process followed the Medical Research Council framework for developing and evaluating complex interventions (Campbell et al. 2000, 2007). Twenty patients were recruited; those expressing no preference were randomised to treatment or control arms. The two music therapists and the principal investigator were masked to their allocation status. Those in the treatment arm were allocated to one of two treatment groups of five, each run individually by one of the music therapists. Each group had sixteen ninety minute weekly sessions with followup at eight weeks. Treatment and control groups received standard care.
The primary measure was the Person’s Relating to Others Questionnaire (Birtchnell and Evans 2004) Secondary measures were the Basic Empathy Scale (Jolliffe and Farrington 2006a), The Multi-Scale Dissociation Inventory (Briere, 2002) and an observational measure, the Chart of Interpersonal Reactions in Closed Living Environments (Blackburn and Glasgow, 1993). Quantitative data from these measures were examined for associations with qualitative data from semi-structured interviews administered to the music therapists and analyzed using Interpretative Phenomenological Analysis (Smith et.al. 2009)
Findings from the results of the primary measure demonstrated statistically significant (Mann Whitney U: p<.05) reductions in favour of the treatment group compared to the control, in intrusive, restrictive and possessive behaviors and helpless or self-denigrating behaviours. There were improvements over time within the treatment group in the domains of sociability and hostility (Friedman Test :p<.04). The use of a manual was shown to help the music therapists manage the risk of violence without constraining their creativity. Two years after the end of the treatment 78% of treatment participants had moved to conditions of lower security over a mean period of 19 months compared with 66% of control subjects over a mean period of 25.5 months. The thesis concludes by situating G-CAMT amongst contemporary music therapy models.
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Compton, Dickinson Stella J. "A feasibility trial of group cognitive analytic music therapy in secure hospital settings." Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/581523/.
Full textAbstract:
There are no large-scale outcome studies of music therapy in secure hospital settings for people who have committed serious offences. These patients have a right to expect evidence-based multi-disciplinary treatment (Duggan et al. 2006); NICE (2010). Music therapy therefore should take a form which can be integrated into the treatment pathway. A single site implementation of a mixed-methods patient preference randomised controlled trial investigated the clinical effectiveness of a manualised music therapy model called Group Cognitive Analytic Music Therapy (G-CAMT). This context-specific, time limited intervention incorporates theories from Group Analysis (Foulkes 1964) and Cognitive Analytic Therapy (Ryle and Kerr 2003). The central research question was ‘Is G-CAMT feasible and effective for offenders in a secure multi-disciplinary treatment setting?’ The research process followed the Medical Research Council framework for developing and evaluating complex interventions (Campbell et al. 2000, 2007). Twenty patients were recruited; those expressing no preference were randomised to treatment or control arms. The two music therapists and the principal investigator were masked to their allocation status. Those in the treatment arm were allocated to one of two treatment groups of five, each run individually by one of the music therapists. Each group had sixteen ninety minute weekly sessions with followup at eight weeks. Treatment and control groups received standard care. The primary measure was the Person’s Relating to Others Questionnaire (Birtchnell and Evans 2004) Secondary measures were the Basic Empathy Scale (Jolliffe and Farrington 2006a), The Multi-Scale Dissociation Inventory (Briere, 2002) and an observational measure, the Chart of Interpersonal Reactions in Closed Living Environments (Blackburn and Glasgow, 1993). Quantitative data from these measures were examined for associations with qualitative data from semi-structured interviews administered to the music therapists and analyzed using Interpretative Phenomenological Analysis (Smith et.al. 2009) Findings from the results of the primary measure demonstrated statistically significant (Mann Whitney U: p<.05) reductions in favour of the treatment group compared to the control, in intrusive, restrictive and possessive behaviors and helpless or self-denigrating behaviours. There were improvements over time within the treatment group in the domains of sociability and hostility (Friedman Test :p<.04). The use of a manual was shown to help the music therapists manage the risk of violence without constraining their creativity. Two years after the end of the treatment 78% of treatment participants had moved to conditions of lower security over a mean period of 19 months compared with 66% of control subjects over a mean period of 25.5 months. The thesis concludes by situating G-CAMT amongst contemporary music therapy models.
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Walsh, Brian Michael. "Structure, function, and process in the early song cycles and extended songs of the Canadian rock group Rush /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486546889380388.
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Waldon, Eric G. "The effects of group music therapy on mood states and cohesiveness in adult oncology patients : a thesis." Scholarly Commons, 2001. https://scholarlycommons.pacific.edu/uop_etds/534.
Full textAbstract:
The purpose of the current investigation was to examine the efficacy of a music therapy protocol on mood states and levels of group cohesiveness in adult oncology patients. Eleven oncology patients in two groups (ages 30 to 84 years) took part in the study over a ten-week period of time (ten participants completed the study). During that period, participants took part in eight music therapy sessions consisting of two types of interventions: 1) four "music making" sessions (where the mechanism for change included the process of making music) and 2) four "music responding" sessions (where the mechanism included the process of responding to music). The two types of music therapy sessions and their effectiveness on improving mood states and group cohesiveness were examined. The Profile of Mood States- Short Form (POMS-SF) was used to assess changes in participants' mood states. A content analysis, attendance records, and a questionnaire were used to assess levels of group cohesiveness. Results showed significant improvement in mood state scores (from pre session levels to post sessions levels) after involvement in all music therapy sessions. Similar significant findings were found within each of the "music making" and "music responding" conditions but no differences were found when comparisons were made between those conditions. No statistically significant effects were found with respect to group cohesiveness measures. Study implications and future research directions are discussed.
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Abad, Vicky Shirley Anne. "The effectiveness of a short-term group music therapy intervention for young parents and their children." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/46954/1/Vicky_Abad_Thesis.pdf.
Full textAbstract:
The quality of early life experiences are known to influence a child’s capacities for emotional, social, cognitive and physical competence throughout their life (Peterson, 1996; Zubrick et al., 2008). These early life experiences are directly affected by parenting and family environments. A lack of positive parenting has significant implications both for children, and the broader communities in which they live (Davies & Cummings, 1994; Dryfoos, 1990; Sanders, 1995). Young parents are known to be at risk of experiencing adverse circumstances that affect their ability to provide positive parenting to their children (Milan et al., 2004; Trad, 1995). There is a need to provide parenting support programs to young parents that offer opportunities for them to come together, support each other and learn ways to provide for their children’s developmental needs in a friendly, engaging and non-judgemental environment. This research project examines the effectiveness of a 10 week group music therapy program Sing & Grow as an early parenting intervention for 535 young parents. Sing & Grow is a national early parenting intervention program funded by the Australian Government and delivered by Playgroup Queensland. It is designed and delivered by Registered Music Therapists for families at risk of marginalisation with children aged from birth to three years. The aim of the program is to improve parenting skills and parent-child interactions, and increase social support networks through participation in a group that is strengths-based and structured in a way that lends itself to modelling, peer learning and facilitated learning. During the 10 weeks parents have opportunities to learn practical, hands-on ways to interact and play with their children that are conducive to positive parent-child relationships and ongoing child development. A range of interactive, nurturing, stimulating and developmental music activities provide the framework for parents to interact and play with their children. This research uses data collected through the Sing & Grow National Evaluation Study to examine outcomes for all participants aged 25 years and younger, who attended programs during the Sing & Grow pilot study and main study from mid-2005 to the end of 2007. The research examines the change from pre to post in self-reported parent behaviours, parent mental health and parent social support, and therapist observed parent-child interactions. A range of statistical analyses are used to address each Research Objective for the young parent population, and for subgroups within this population. Research Objective 1 explored the patterns of attendance in the Sing & Grow program for young parents, and for subgroups within this population. Results showed that levels of attendance were lower than expected and influenced by Indigenous status and source of family income. Patterns of attendance showed a decline over time and incomplete data rates were high which may indicate high dropout rates. Research Objective 2 explored perceived satisfaction, benefits and social support links made. Satisfaction levels with the program and staff were very high. Indigenous status was associated with lower levels of reported satisfaction with both the program and staff. Perceived benefits from participation in the program were very high. Employment status was associated with perceived benefits: parents who were not employed were more likely than employed parents to report that their understanding of child development had increased as a result of participation in the program. Social support connections were reported for participants with other professionals, services and parents. In particular, families were more likely to link up with playgroup staff and services. Those parents who attended six or more sessions were significantly more likely to attend a playgroup than those who attended five sessions or less. Social support connections were related to source of family income, level of education, Indigenous status and language background. Research Objective 3 investigated pre to post change on self-report parenting skills and parent mental health. Results indicated that participation in the Sing & Grow program was associated with improvements in parent mental health. No improvements were found for self-reported parenting skills. Research Objective 4 investigated pre to post change in therapist observation measures of parent-child interactions. Results indicated that participation in the Sing & Grow program was associated with large and significant improvements in parent sensitivity to, engagement with and acceptance of the child. There were significant interactions across time (pre to post) for the parent characteristics of Indigenous status, family income and level of education. Research Objective 5 explored the relationship between the number of sessions attended and extent of change on self-report outcomes and therapist observed outcomes, respectively. For each, an overall change score was devised to ascertain those parents who had made any positive changes over time. Results showed that there was no significant relationship between high attendance and positive change in either the self-report or therapist observed behavioural measures. A risk index was also constructed to test for a relationship between the risk status of the parent. Parents with the highest risk status were significantly more likely to attend six or more sessions than other parents, but risk status was not associated with any differences in parent reported outcomes or therapist observations. The results of this research study indicate that Sing & Grow is effective in improving outcomes for young parents’ mental health, parent-child interactions and social support connections. High attendance by families in the highest category for risk factors may indicate that the program is effective at engaging and retaining parents who are most at-risk and therefore traditionally hard to reach. Very high levels of satisfaction and perceived benefits support this. Further research is required to help confirm the promising evidence from the current study that a short term group music therapy program can support young parents and improve their parenting outcomes. In particular, this needs to address the more disappointing outcomes of the current research study to improve attendance and engagement of all young parents in the program and especially the needs of young Indigenous parents.
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May, Bruce D. "Music helps me live inside my head : a longitudinal ethnographic case study of a group of senior high school music students." Thesis, Queensland University of Technology, 2003.
Find full textAbstract:
Within the established tradition of qualitative research techniques, this ethnographic case study reveals the musical lives of two single sex groups of Senior High School music students in Queensland. The research was carried out during 1998 and 1999 at two Brisbane Independent Non-Government Schools, one a Boys School and the other a Girls School. It was centred on a mixed core group of Year 11 students [21 students] who had elected to study the subject "Senior Music". The research continued for the two years of their senior course. Students were
interviewed in groups initially and then individually over this period with an increasing focus being made on the issues as they evolved. This research provides an evolving view of aspects of the understandings that these students had about music in their lives. Knowledge about young people and their involvement with music as a human experience, including the more formal processes of music in education, has been generated. This knowledge is fundamental because it emerged from the key stakeholders - the students. It was important that these student ideas
be documented, to portray the positive and negative roles that music can play in the lives of a particular group of students; in this case, a basically musically committed group who, for the most part, already have a passion
for music in their lives. The data generated from this ethnographic case study has the capacity to challenge existing teaching practice and approaches to learning in the secondary school music curriculum, in particular, the course at the senior level of years 11 and 12 that these
students were studying over the two years of this research project. The study presents the voices of the students by recording their responses to a variety of musical discussions.
The themes of this research intersected as the research evolved. The principal "players" consisted of; (i) the voice of the student, (ii) the formal course of study, (iv) the literature, and (iv) the voice of the experienced
practitioner in the form of myself as the researcher. This was the context that guided the results of the study.
The study focussed on the students' views and responses to the world of music with the themes emerging as it progressed over the two years. One theme concerned their listening habits in music, whether it was in the context of their formal studies of music or simply the casual listening
experiences in their lives in general. Another theme involved their musical performing experiences either through the formally organised setting of concert performances, as part of their class music course, or as a part of their informal experiences of making music. The students also reflected on their music rehearsals in ensembles such as orchestras, bands and vocal groups as well as on their music practice sessions at home.
Another emerging theme was composition as part of the students' musical experiences. This area did not attract the same level of attention as listening and performing but nonetheless had a significant impact on the students as young musicians. All these areas had connections in some
way with their formal study of music through the school class music course.
Other themes emerged that were interwoven with the above major themes. These included:
(i) the place of music in their lives in general;
(ii) the place of music and its relationship to their other academic studies;
(iii) the influence of the culture of the school and of society in general;
(iv) the personal musical interests of the students;
(v) extensions to their musical world through associations with other people who may be part of this world;
(vi) other areas of the students' lives that impinge on their musical experiences, and;
(vii) differences between the formal requirements of music syllabi and the needs and interests of the learner.
The findings of the study provide a valuable insight into the understandings that a group of adolescents have concerning the place of music in their lives. It reveals the extent to which many of these understandings reinforce and support the success of the formal aspects of their musical education, whilst at the same time revealing tensions between their personal connections with music and music as a formal course of study at school. The study also allowed the opportunity to record and "celebrate" the place of music in the lives of a group of adolescents by documenting the positive aspects of having music in their
lives and in their education. Parents, teachers and syllabus writers need to be reminded of the positive aspects of music in the lives of adolescents. This case study reveals the actual "voice" of the committed music student and suggests that in designing courses of study, music educators should take into account the interests and passions of their students.