Bibliografías temáticas / End-of-life music

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Literatura académica sobre el tema "End-of-life music"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 3 de febrero de 2022

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Artículos de revistas sobre el tema "End-of-life music"

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Wilkerson, Anne, Lauren Dimaio, and Yumiko Sato. "Countertransference in End-of-Life Music Therapy." Music Therapy Perspectives 35, no. 1 (2015): 13–22. http://dx.doi.org/10.1093/mtp/miu046.

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Abstract Countertransference is a complex and important issue for end-of-life music therapists. However, limited literature is available on the subject of end-of-life music therapy and countertransference to guide professionals as we encounter the effects of countertransference inside and outside sessions. There are circumstances associated with end-of-life music therapy that require a closer look, that demand recognition, and that may result in better music experiences for our clients. The purpose of this article is to explore the experiences and influences of countertransference in the uniqu
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Whitehead, Phyllis. "Music Therapy for End-of-Life Care." Clinical Journal of Oncology Nursing 15, no. 6 (2011): 697–98. http://dx.doi.org/10.1188/11.cjon.697-698.

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Wagner, H. J. "Music therapy at the end of life." Journal of Music Therapy 47, no. 2 (2010): 190–95. http://dx.doi.org/10.1093/jmt/47.2.190.

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Graham-Wisener, Lisa, Grace Watts, Jenny Kirkwood, et al. "Music therapy in UK palliative and end-of-life care: a service evaluation." BMJ Supportive & Palliative Care 8, no. 3 (2018): 282–84. http://dx.doi.org/10.1136/bmjspcare-2018-001510.

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Music therapy aligns to the holistic approach to palliative and end-of-life care (PEOLC), with an emergent evidence base reporting positive effect on a range of health-related outcomes for both patient and family carer alongside high client demand. However, the current service provision and the role of music therapists in supporting individuals receiving PEOLC in the UK is currently unknown.ObjectivesThis service evaluation aims to identify the provision, role and perceived impact of UK music therapists in supporting patients receiving PEOLC, their families and health and social care professio
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Cox, Helen, and Peter Roberts. "From music into silence: an exploration of music-thanatology vigils at end of life." Spirituality and Health International 8, no. 2 (2007): 80–91. http://dx.doi.org/10.1002/shi.288.

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Black, Beth Perry, and Patricia Penrose-Thompson. "Music as a Therapeutic Resource in End-of-Life Care." Journal of Hospice & Palliative Nursing 14, no. 2 (2012): 118–25. http://dx.doi.org/10.1097/njh.0b013e31824765a2.

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Potvin, Noah, Cathleen Flynn, and Jillian Storm. "Ethical Decision-Making at Intersections of Spirituality and Music Therapy in End-of-Life Care." Music Therapy Perspectives 38, no. 1 (2020): 20–24. http://dx.doi.org/10.1093/mtp/miz027.

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Abstract Music therapists in end-of-life care settings are commonly requested by patients to self-disclose their spiritual beliefs and to participate in explicit spiritual practices or rituals. Four potential courses of action available to music therapists will be framed using an integrative ethical decision-making model in context of the American Music Therapy Association Code of Ethics. Stakeholdership, moderating obligations, and ethical values are concepts integral to this examination, providing music therapists dynamic constructs to continuously utilize when determining effective, cultura
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Cobb Memory, Barbara. "On Wings of Song: Music Therapy at the End of Life." Gerontologist 44, no. 4 (2004): 578–79. http://dx.doi.org/10.1093/geront/44.4.578.

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DeNora, Tia. "Resounding the great divide: theorising music in everyday life at the end of life." Mortality 17, no. 2 (2012): 92–105. http://dx.doi.org/10.1080/13576275.2012.673375.

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Uçaner Çifdalöz, Burçin. "Music Therapy and Music Based Interventions for Dementia and End of Life Care in Turkey." Journal of International Social Research 12, no. 67 (2019): 529–35. http://dx.doi.org/10.17719/jisr.2019.3691.

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Tesis sobre el tema "End-of-life music"

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Sukumaran, Ranjani. "Music Therapy Interventions for End-of-Life Care: An Integrative Literature Review." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/64.

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Music therapy plays an integral role in end-of-life care, positively impacting emotional, social, physical, cognitive and spiritual health. The purpose of this integrative review was to collect and compile studies (N= 55) between 2000 and 2016 on the topic of music therapy interventions in end-of-life care, in order to provide both music therapy students and therapists access to the most recent and commonly used music therapy interventions and goals. Results of the integrative literature review indicate that the most common intervention for all age groups in end-of-life care is songwriting and
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Lemchak, Brooke Carroll. "MUSIC THERAPY AT THE END OF LIFE: A CRITICAL INTERPRETIVE SYNTHESIS OF THE LITERATURE." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/480015.

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Music Therapy<br>Ph.D.<br>The purpose of this study was to provide a critical interpretive synthesis (CIS) of the literature focused on music therapy at the end of life. The guiding question for this inquiry was, “What is the essence of the music therapy experience at the end of life, as it is explained across the literature?” Music therapy has been offered in hospice and palliative care in the United States, almost from its inception, when the first hospice in the United States opened in 1974. Since then, hospice has grown to be one of the most common settings for music therapists. The abunda
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Masko, Meganne Kathleen. "Music therapy and spiritual care in end-of-life: ethical and training issues identified by chaplains and music therapists." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5021.

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The overarching purpose of this study was to explore the thoughts and attitudes of hospice chaplains and music therapists (MTs) related to the questions, "Is it appropriate for music therapists to provide spiritual care as part of the hospice team," "What kind of training and preparation do music therapists and chaplains think hospice music therapists should have before engaging in spiritual care work," and "What should the content be of spiritual care training for music therapists?" The study used a sequential exploratory qualitative/quantitative mixed methods design utilizing parallel purpos
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Marklund, Elisabeth. "Musik i palliativ vård : en intervjustudie med vårdpersonal." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1319.

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Denna uppsats har som syfte att undersöka om musik används i palliativ vård i Sverige och hur det i så fall beskrivs, motiveras och dokumenteras. Det är en kvalitativ intervjustudie med hermeneutisk förståelseansats. Intervjuer har genomförts med fem personer med olika yrkesprofession inom palliativ vård (sjuksköterska, sjukgymnast, arbetsterapeut, kurator och överläkare). Kontakt med de intervjuade har upprättats genom ett upprop i ett nyhetsbrev som ges ut av Svenskt Palliativt Nätverk, SPN. I uppsatsen ges en teoretisk bakgrund om palliativ vård, kris, etik, död, existentiel
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Garabedian, Claire Elizabeth. "'I'd rather have music!' : the effects of live and recorded music for people with dementia living in care homes, and their carers." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21757.

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The objectives of this thesis were to explore the effects of receptive individualised live and recorded-music on interactions within participating dyads consisting of a person with dementia who was in their final phase of life (resident), and a person with whom he or she shared a close connection (carer), as well as on each individual participant. A 'Receptive' music intervention is one where participants are not required to do anything but listen. METHODS The conceptual frameworks of realist evaluation, ethnography, symbolic interactionism, and dramaturgical actionism influenced the design of
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Viper, Marianne. "Musik som tröst : En studie om betydelsen av musik vid avsked och sorgearbete." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3218.

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Syftet med detta arbete är att utforska betydelsen av musik vid avsked hos sörjande människor. Internationell och skandinavisk forskning inom närliggande områden har i större utsträckning beaktat musikens terapeutiska och psykologiska roll. I Sverige saknas i stort sett forskning inom detta ämne. Studien är av kvalitativ art där narrativ analyseras utifrån ett hermeneutiskt perspektiv och det empiriska underlaget i uppsatsen består av 12 livsberättelser av efterlevande i sorgegrupper. De berättar om sorg och förlust samt på vilka sätt de relaterar till musik i samband med begravningen och vida
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Nguyen, Judy T. Standley Jayne M. "The effect of music therapy on end-of-life patients' quality of life, emotional state, and family satisfaction as measured by self-report." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-09182003-150733/.

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Thesis (M.M.) -- Florida State University, 2003.<br>Advisor: Jayne M. Standley, Florida State University, School of Music. Title and description from thesis home page (viewed 9-23-04). Document formatted into pages; contains 62 pages. Includes biographical sketch. Includes bibliographical references.
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Libros sobre el tema "End-of-life music"

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Music at the end of life: Easing the pain and preparing the passage. Praeger, 2010.

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Fantacci, Silvia, ed. Ruggero Jacobbi. Firenze University Press, 2008. http://dx.doi.org/10.36253/978-88-8453-688-4.

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"Ah, if only I were not so alive and so crowded with things, what a book I would write […] but there's so little time […]. There's lots of time to map them out, that's true, but it's not enough." This is the voice of the protagonist of Convalescenza, one of the stories in this book that – thanks to the painstaking editorial attention of Silvia Fantacci – presents the prose written by Ruggero Jacobbi starting from his precocious youth through to the Sixties. The nine sections, recording fragments of memories, vestiges of mystery and bitter solitude, meander between cinema and theatre, revoke th
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Vera, Alejandro. The Sweet Penance of Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190940218.001.0001.

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This book provides a fresh, comprehensive view of the musical life and its cultural context in Santiago, Chile, from its foundation in 1541 to the end of the colonial period, roughly in 1810. Combining the study of archival documents, secondary sources, and music scores, it deals with different aspects of musical life in the cathedral (Chapter 1), convents and monasteries (Chapter 2), private houses (Chapter 3), and public spaces (Chapter 4), considering, as well, the life and function of musicians as crucial agents in the music field (Chapter 5). Despite its focus on a particular city of Lati
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Schiff, David. A Brief Life of a Very Long Life. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0003.

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This chapter outlines the known facts about Carter’s life and tracks the reception history of his music. Carter grew up in a comfortable upper middle class New York household and was groomed to take over the successful importing business founded by his grandfather. His family gave him piano lessons but otherwise discouraged his pursuit of music which only began in earnest when he was in high school and first met Charles Ives. Even after that meeting, Carter studied literature, not music, as a Harvard undergraduate, and only received a full musical education when he went to Paris to study with
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McWilliam, Rohan. London's West End. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823414.001.0001.

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How did the West End of London become the world’s leading pleasure district? What is the source of its magnetic appeal? How did the centre of London become Theatreland? London’s West End is the first ever history of the area which has enthralled millions. From the Strand up to Oxford Street, the West End came to stand for sensation and vulgarity but also the promotion of high culture. The reader will explore the growth of theatres, opera houses, galleries, restaurants, department stores, casinos, exhibition centres, night clubs, street life, and the sex industry. The West End produced shows an
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Watson, Tessa. The World is Alive! Music Therapy with Adults with Learning Disabilities. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.22.

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This chapter describes music therapy work with adults with learning disabilities. This group of people have a cognitive disability that will not change, bringing with it challenges to living a fulfilled and satisfying life and sometimes associated health issues. A wide range of issues, from severe communication problems, bereavement, mental health problems, challenging behavior, to end-of-life issues require music therapists to bring a wide range of skills and approaches to their work. This chapter presents the diagnosis and history of this population, and the history of music therapy work in
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Sapiro, Ian. The Pop-Music Industry and the British Musical. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.13.

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This chapter discusses the intersection of the pop music industry and the British musical through the genre of the rock opera. In the late 1960s British artists started using the LP to create longer songs and projects, and theatrical practice began to move away from a reliance on narrative linearity and towards increased spectacle. The result of this experimentation was the concept album, and where such albums contained narratives they were termed rock operas. This chapter considers Tommy (1969) and Jesus Christ Superstar (1970)—two works fundamental to the establishment of rock opera—as well
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White, Harry. The Musical Discourse of Servitude. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190903879.001.0001.

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The Musical Discourse of Servitude examines the music of Johann Joseph Fux (ca. 1660–1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux’s long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late Bar
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Yunhwa Rao, Nancy. An Examination of the Aria Song “Shilin Jita”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040566.003.0006.

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Cantonese opera aria was a primary form of musical utterance in Chinatowns in the 1920s. They were heard not only at theaters but also as aria song on phonograph records at laundries, canneries, or stores, or through life performance at clubhouses of family associations. As an introduction to this sound world, this chapter examines a popular aria from that decade: Li Xuefang’s “Shilin Jita” from Madame White Snake. The lyrics are comprised of couplets of ten-syllable verses, and the aria is a fanxian erhuang type. Focusing on the transcription of a historical recording, the chapter delves into
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Bakan, Michael B. Graeme Gibson. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190855833.003.0007.

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Graeme Gibson is a man of many talents. He curates an online museum of more than four hundred world music instruments, plays many of those instruments himself, designs and builds others, and conducts copious research on music traditions worldwide. Because “world music involves numerous traditions [up] to contemporary musics,” Graeme says, “I prefer to think of it as a spectrum that includes numerous genres.” He sees parallels between the spectrum of world music and the autism spectrum, where he states that he “also found that everyone is different from their case, to my case and so on. I do ag
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Capítulos de libros sobre el tema "End-of-life music"

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Puchalski, Christina M. "The Role of Music at the End of life." In A Time for Listening and Caring. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780195146820.003.0020.

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"Drumming a Dying Friend Home: An Exploration of the Interconnectedness of Place and Music." In Exploring Issues of Care, Dying and the End of Life. BRILL, 2011. http://dx.doi.org/10.1163/9781848880580_007.

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"The use of music-thanatology with palliative and end-of-life populations in healthcare settings." In Managing Arts Programs in Healthcare. Routledge, 2015. http://dx.doi.org/10.4324/9781315754420-27.

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Hakobian, Levon. "The Adventures of Soviet Music in the West: Historical Highlights." In Russian Music since 1917. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266151.003.0004.

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This chapter deals with the history of Soviet music’s relations with the outside world from the mid-1920s until the end of the millennium. During all these decades the Soviet musical production of any coloration was perceived by the free Western world as something largely strange or alien, often exotic, almost ‘barbarian’. The inevitable spiritual distance between the Soviet world and the ‘non-Soviet’ one resulted in some significant misunderstandings. Though some important recent publications by Western musicologists display a well qualified view on the music and musical life in the Soviet Union, the traces of past naiveties and/or prejudices are still felt quite often even in the writings of major specialists.
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atrick bell, adam p., and Benjamin Bolden. "Sonic Signatures (Beginner)." In The Music Technology Cookbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0026.

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This experiential activity is comprised of a series of exercises with the end goal of creating “sonic signatures”—micro-compositions of just a few seconds that represent the individual as a musical being. Creating a sonic signature is typically associated with marketing, but engaging in this exercise can also serve as a way to: (1) reflect and share on how we experience and make meaning from music in everyday life, (2) consider how these experiences shape our respective personal identities, and (3) create representations of these identities through the visual and sonic arts.
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Smith, Steven C. "Indian Summer." In Music by Max Steiner. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0022.

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This chapter depicts Steiner at the apex of his powers, just before the collapse of the Hollywood studio system. Between 1947 and 1948 Steiner composed several brilliant scores and at least three of his finest: for John Huston’s The Treasure of the Sierra Madre, Jean Negulesco’s Johnny Belinda (which earned Jane Wyman a Best Actress Oscar), and Adventures of Don Juan, starring Errol Flynn in his last big-budget swashbuckler. Don Juan demonstrates the transformative power of film music: during production, the alcoholic Flynn could barely stand. But Steiner’s exuberant, lyrical, and witty score convinced audiences that Flynn remained a larger-than-life hero. In 1947, Steiner married Lee Blair, who would remain a devoted companion to the end of Max’s life. Steiner also lavished son Ronald with expensive gifts—giving the boy everything except what he wanted most: time with his father.
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Ashbolt, Anthony, and Glenn Mitchell. "Music, the Political Score, and Communism in Australia: 1945–1968." In Red Strains. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265390.003.0011.

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Throughout the 1940s and 1950s, and into the 1960s decade of rebellion, the Communist Party of Australia (CPA) developed significant relationships with cultural and artistic movements. The youth wing of the CPA, The Eureka Youth League (EYL), played a particularly important role in the attempt to forge an alliance between musicians and communism. First through jazz, and then through two folk music revivals, the EYL sought to use music to recruit members and to foster its ideological and political struggles. In the end, the EYL's and CPA's relationship with both jazz and folk was tenuous. Yet along the way, the music itself flourished. This, then, is a story of tensions between and paradoxes surrounding the Party and musicians sympathetic to it. Yet it is also a story about how the cultural life of Australia was greatly enriched by the EYL's attempt to use music as a political tool.
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McWilliam, Rohan. "The Beau Monde." In London's West End. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823414.003.0004.

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Chapter 3 explores the world of elite leisure in both its high and low forms to uncover how the aristocracy continued to shape the West End in the first half of the nineteenth century. This chapter is devoted to nightlife and is intended to show that one purpose of pleasure districts was to construct the idea of the night-time economy. The chapter explores the world of gentlemens’ clubs and other locations of masculine pleasure before moving into an examination of opera, ballet, and gambling; both sources of aristocratic networks. The second half of the chapter then looks at the world of low life in the Covent Garden and Maiden Lane areas; territory of the ‘flash’ and the bohemians. Affluent gentlemen explored what they saw as the ‘underworld’. Here was a world of disreputable bars and spaces for popular song. There is a detailed analysis of venues such as the Cider Cellars which shaped the development of popular music and culture with its bawdy ballads.
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Hickmott, Sarah. "‘Catacoustic’ Subjects and the Injustice of Being Born: Lacoue-Labarthe’s Musical Maternal Muse." In Music, Philosophy and Gender in Nancy, Lacoue-Labarthe, Badiou. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458313.003.0004.

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This chapter approaches two texts in detail, both of which explicitly focus on the relationship between music and philosophy: ‘L’Echo du sujet’ – a well-known essay from the early collection Typographies I (1979) which theorises a ‘catacoustic’ subject (rooted in a proto- or pre- subjective musico-rhythmic element) – and Le Chant des Muses (2005), transcribed from a talk aimed at teenagers given towards the end of his life. As well as critiquing the alignment of the maternal-feminine with the musical, the chapter probes at Lacoue-Labarthe’s construction of this essentially rhythmical/emotional – and constitutively nostalgic – subject and locates in this gesture his own autobiographical impulse. The chapter also develops from the thinking on tonality outlined with Nancy, to develop a critique of the assumed notion of the musical work: a static, total, bound and autonomous object which obscures its means of production and the labour required for its (re)production (regardless of whether it is actually performed, as such). Finally, in the way that Lacoue-Labarthe expressly puts this into relation to education, socialisation and environment, the chapter argues that there is an important political and ethical value to Lacoue-Labarthe’s conception of a ‘catacoustic’ subject.
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Greene, Kevin D. "Big Bill Broonzy." In The Invention and Reinvention of Big Bill Broonzy. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469646497.003.0008.

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While touring Europe through the 1950s, Big Bill became a legendary musician whose music and history mesmerized European audiences in the UK and on the continent. Although successful, his tours there added frustrations and created personal relationships that would stay with him until the end of his life. In Holland, he met a young Dutch theatre costume designer with whom he fell in love and produced a son. From the early 1950s to his death in 1958, Big Bill would try to maintain his relationship with Pim van Isveldt while balancing the significant changes in his career and a wife back home in Chicago. Broonzy crafted celebrity in Europe that moved beyond the United States’ racial boundaries, eventually becoming an iconic figure for black music during the decade even if he had been marginalized within the folk music revival and changing music landscape back home.
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Actas de conferencias sobre el tema "End-of-life music"

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Nadri, Chihab, Chairunisa Anaya, Shan Yuan, and Myounghoon Jeon. "Preliminary Guidelines on the Sonification of Visual Artworks: Linking Music, Sonification & Visual Arts." In ICAD 2019: The 25th International Conference on Auditory Display. Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.074.

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Sonification and data processing algorithms have advanced over the years to reach practical applications in our everyday life. Similarly, image processing techniques have improved over time. While a number of image sonification methods have already been developed, few have delved into potential synergies through the combined use of multiple data and image processing techniques. Additionally, little has been done on the use of image sonification for artworks, as most research has been focused on the transcription of visual data for people with visual impairments. Our goal is to sonify paintings
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