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Artículos de revistas 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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1

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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2

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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3

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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4

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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5

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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8

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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9

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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10

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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11

McConnell, Tracey, David Scott, and Sam Porter. "Music therapy for end-of-life care: An updated systematic review." Palliative Medicine 30, no. 9 (2016): 877–83. http://dx.doi.org/10.1177/0269216316635387.

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Salas, Barbara. "Crossing the River Styx: the power of music, spirituality and religion at the end of life." Music and Medicine 11, no. 4 (2019): 226. http://dx.doi.org/10.47513/mmd.v11i4.700.

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Dying from a terminal illness involves a period of transition throughout which the person deals with multiple losses, including the loss of one’s own life. The awareness of death makes the individual confront spiritual questions that touch the very nature of existence, and music can help intensify that spiritual experience bringing new meaning to the end of life. The reasons why spirituality, religion and music can facilitate the existential quest for meaning and provide an overall improvement of the quality of life at the end of life will be explored, aiming to suggest that a humanist approac
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13

Graham-Wisener, Lisa, Joanne Reid, Tracy McConnell, et al. "23 Findings from a pilot and feasibility trial of a music therapy intervention in specialist palliative care." BMJ Supportive & Palliative Care 8, no. 3 (2018): 368.2–368. http://dx.doi.org/10.1136/bmjspcare-2018-mariecurie.23.

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IntroductionMusic therapy aligns to the holistic approach to palliative and end-of-life care (PEOLC) with increased prevalence in PEOLC settings (Graham-Wisener et al. 2018). Despite this there is a dearth of high-quality evidence examining the impact of music therapy towards end of life on quality of life (McConnell et al. 2016).AimsThe aim of this pilot and feasibility study was to: test procedures; outcomes and validated tools; estimate recruitment and attrition rates; and calculate the sample size required for a phase III randomised controlled trial.MethodsA single-centre pilot and feasibi
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14

Clements-Cortes, A. "Portraits of Music Therapy in Facilitating Relationship Completion at the End of Life." Music and Medicine 3, no. 1 (2010): 31–39. http://dx.doi.org/10.1177/1943862110388181.

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15

Potvin, Noah, and Cathleen Flynn. "Music Therapy as a Psychospiritual Ministry of Intercession During Imminent Death." Music Therapy Perspectives 37, no. 2 (2019): 120–32. http://dx.doi.org/10.1093/mtp/miz002.

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Abstract Imminent death is a critical stage in end-of-life care requiring a shared attention to the preparatory needs of both patient and caregiver(s). For many patients and caregivers who identify as Christian, the Holy Spirit can be an integral resource capable of facilitating a healthy death experience. Music therapy, as a resource-oriented practice, has the potential to be a ministry facilitating access to the Holy Spirit for patients and caregivers to use for unique purposes. Drawing from both music therapy and theological concepts and identifying their intersections, this paper frames an
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16

Stolp, Mareli. "New Music for New South Africans: The New Music Indabas in South Africa, 2000–02." Journal of the Royal Musical Association 143, no. 1 (2018): 211–32. http://dx.doi.org/10.1080/02690403.2018.1434354.

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ABSTRACTThis article explores the content, scope and impact of an annual contemporary music festival in South Africa, the first of which was presented in 2000 by New Music South Africa (NMSA), the South African chapter of the International Society for Contemporary Music (ISCM). It explores the New Music Indabas of 2000–02 against the background of the political and cultural transformations that characterized South Africa, especially in the aftermath of the end of apartheid. Research into the archive of NMSA provided an entry point into understanding South African cultural, social and political
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Wagner, Elizabeth A. "Flying Away: Music as a Means for Letting Go at the End of Life." Journal of Palliative Medicine 18, no. 12 (2015): 1076–77. http://dx.doi.org/10.1089/jpm.2015.0053.

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Schroeder-Sheker, Therese. "The Chalice of Repose Project’s Music-Thanatology History and Praxis." Music and Medicine 9, no. 2 (2017): 128. http://dx.doi.org/10.47513/mmd.v9i2.573.

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Abstract The palliative medical modality of music-thanatology as developed by the author and pioneered at the Chalice of Repose Project is an evidence-based practice-vocation-profession, and maintains a singular focus and orientation: the physical and spiritual care of the dying with prescriptive music. Music-thanatology palliative care is delivered in every psychosocial setting and serves every patient constituency, pediatric to geriatric. The music-thanatology delivery of prescriptive music occurs live, at the bedside; is responsive to the patient’s unique, dynamic medical and interior condi
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19

Claxton-Oldfield, Stephen, and Alexie Dunnett. "Hospice Palliative Care Volunteers’ Experiences With Unusual End-of-Life Phenomena." OMEGA - Journal of Death and Dying 77, no. 1 (2016): 3–14. http://dx.doi.org/10.1177/0030222816666541.

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Forty-five Canadian hospice palliative care volunteers responded to a survey examining whether they had witnessed or been told about any unusual end-of-life phenomena (EOLP) in their work with dying patients and their families in the past year. The most commonly witnessed EOLP were patients talking to or reaching out their hands toward deceased relatives or friends (34%), occurrences of terminal lucidity (33%), and patients seemingly getting ready for a trip or journey (28%). At least a third of the volunteers indicated that a patient or a patient’s family member had told them about visions or
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Li, Guangwei, Shuxue Ding, Yujie Li, and Kangkang Zhang. "Music generation and human voice conversion based on LSTM." MATEC Web of Conferences 336 (2021): 06015. http://dx.doi.org/10.1051/matecconf/202133606015.

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Music is closely related to human life and is an important way for people to express their feelings in life. Deep neural networks have played a significant role in the field of music processing. There are many different neural network models to implement deep learning for audio processing. For general neural networks, there are problems such as complex operation and slow computing speed. In this paper, we introduce Long Short-Term Memory (LSTM), which is a circulating neural network, to realize end-to-end training. The network structure is simple and can generate better audio sequences after t
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21

Schreck, Brian. "Voices of the Dying and Bereaved: Music Therapy Narratives by Amy Clements-Cortes & Sara Varvas Klink." Music and Medicine 8, no. 4 (2016): 214. http://dx.doi.org/10.47513/mmd.v8i4.529.

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An examination of the role of music therapy in end-of-life care and bereavement. The authors focus on grief and loss, taking a client-centered humanistic perspective. The first half of the book deals with end-of-life care: it provides a thematic review of literature, a summary of music therapy techniques, and three case studies by Clements-Cortes. The second half deals with bereavement; it also provides reviews of literature and techniques and three case studies by Klinck, and in addition, presents a group model. Case studies are presented in narrative format in order to honor the voices of th
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22

Peng, Cynthia S. "Our Shared Humanity—Music as a Means of Facilitating Conversations on End-of-Life Care." JAMA Oncology 4, no. 6 (2018): 771. http://dx.doi.org/10.1001/jamaoncol.2017.4186.

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23

Schmelz, Peter. "Valentin Silvestrov and the Echoes of Music History." Journal of Musicology 31, no. 2 (2014): 231–71. http://dx.doi.org/10.1525/jm.2014.31.2.231.

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In 1980 Soviet Ukrainian composer Valentin Silvestrov began a series of “postludes,” a genre representing, in his words, a “collecting of echoes, a form opening not to the end, as is more usual, but to the beginning.” This article examines Silvestrov’s Symphony no. 5 (1980–82), and the theory, practice, and reception of his evolving “post” style. The symphony represents a unique congruence of modernism and postmodernism, nostalgia and continuity, expressed at the end of the Soviet Union, the end of the twentieth century, and what many believed to be the end of history. Completed near the concl
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24

Garmash, O. A. "Sources of Russian Musical Management: Unexplored Pages." Observatory of Culture, no. 3 (June 28, 2015): 63–69. http://dx.doi.org/10.25281/2072-3156-2015-0-3-63-69.

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Sources of Russian Musical Management: Unexplored Pages (by Olga Garmash) considers the history of organization of musical life in Russia in the epoch «before management». The author views this theme through a prism of previous music experience based on some historical sources of the end of 19th - beginning of 20th century. The main line - a composer’s one - of the classic music promotion of that time has been examined.
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25

Davis, Kirsten, and Joanne Davidson. "Music Therapy for Seniors at End-of-Life: Literature Review and a Preliminary Randomized Feasibility Study." Palliative Medicine and Hospice Care – Open Journal 5, no. 1 (2019): 4–13. http://dx.doi.org/10.17140/pmhcoj-5-131.

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26

Hilliard, Russell E. "Music Therapy in Hospice and Palliative Care: a Review of the Empirical Data." Evidence-Based Complementary and Alternative Medicine 2, no. 2 (2005): 173–78. http://dx.doi.org/10.1093/ecam/neh076.

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Although music therapy is an established allied health profession and is used with increasing frequency in the treatment of those with a terminal illness, there is a real dearth of empirical research literature supporting the use of music therapy in end-of-life care. This article reviews the empirical studies found in the literature and documents the emergence of an evidenced-based approach to the use of music therapy in hospice and palliative care. A total of 11 studies are reviewed; of these, six show significant differences supporting the use of music therapy in this area. Dependent variabl
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27

Mahoney, Mike. "The Great Brandoni: A Life of Creativity and Connection." Music Therapy Perspectives 37, no. 2 (2019): 102–9. http://dx.doi.org/10.1093/mtp/miz007.

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Abstract In this article, I share the story of my work with Brandon, a long-term patient who had a significant impact on my practice. Brandon was 8 when he was diagnosed with acute myeloid leukemia (AML), a form of childhood cancer that took his ability to walk. Beyond the hospital, family dynamics brought even more stressors to Brandon’s life. But even after his interest in my song- and instrument-based interventions dwindled, his drive toward creativity and connection with others made music therapy a vital resource for him. While I supported him, Brandon had a knack for helping me uncover ne
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Stige, Brynjulf, Susan Hadley, and Katrina McFerran. "Passion, Action, and Reflection." Voices: A World Forum for Music Therapy 19, no. 2 (2019): 1. http://dx.doi.org/10.15845/voices.v19i2.2849.

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This issue of Voices contains an intriguing range of articles, about the humanizing potential of music therapy in end of life care (Zoe Tao), sequential working memory recall in neurodivergent and neurotypical individuals (Edward Todd Schwartzberg & Michael J Silverman), the role of music listening in vibroacoustic treatment (Elsa Campbell, Birgitta Burger & Esa Ala-Ruona), the therapeutic value of recording in music therapy (Kevin Kirkland & Shannon Nesbitt), and proposed mechanisms of change in the arts-based psychotherapies (Anna Gerge, Jane Hawes, Lotti Eklöf & Inge Nygaard
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Morrison, Simon. "Galina Ustvolskaya Outside, Inside, and Beyond Music History." Journal of Musicology 36, no. 1 (2019): 96–129. http://dx.doi.org/10.1525/jm.2019.36.1.96.

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Even among devotees of her music, Galina Ustvolskaya is often reduced to an intersectional victim of gendered and political repression, a fearful casualty of the Soviet system. Her percussive scores, including the Sixth Piano Sonata, have earned Ustvolskaya the nickname “lady with the hammers.” This article reviews the literature about this composer alongside scores from the beginning, middle, and end of her career, asking: Should her life and work be considered from a less empathetic perspective in order to take greater account of her craft, and to avoid the gendered, cultural, and political
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Morales, Ximena, Ricardo Blondet, Marcos Milanez, Deepak Mandi, Gabino Lares, and Michael A. Silverman. "A MODEL OF CARE FOR OLDER ADULTS WITH IMPAIRED VISION OR BLINDNESS AT THE END OF LIFE." Innovation in Aging 3, Supplement_1 (2019): S551. http://dx.doi.org/10.1093/geroni/igz038.2031.

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Abstract Our objectives were to describe unique challenges of visually-impaired patients receiving end-of-life institutional care and to propose a model for the comprehensive care of the vision-impaired patients incorporating bedside techniques and advanced assistive technology. The prevalence of visual impairment in long-term care is increasing. Collaborating with our Blind Rehabilitation Center, we have summarized a care model including the identification of patients who have impaired vision and adjustments of daily routine. Care was consistently provided by staff with voices familiar to pat
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31

Kale, Malini. "INDIAN CULTURAL HERITAGE - RAJASTHANI FOLK MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3467.

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Indian music is the foundation of music. Indian lifestyle is inspired by music itself. With the creation of the universe, there is no page of human scripture that is void of music. As soon as he was born, the music that he heard was composed in his heart for life, and eventually he remained very close to the end of this music. This music is a form of protection of human body.
 भारतीय संगीत का मूलाधार संगीत है। संगीत से ही भारतीय जीवन शैली अनुप्रेरित है। सृष्टि के निर्माण से मानव के ग्रंथ का कोई भी पृष्ठ ऐसा नहीं है जो संगीत से शून्य हो। जन्म लेते ही जो गीत सुने उसका संगीत जीवन पर्यन्त रग
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32

Jasemi Zergani, Ebtesam, and Farah Naderi. "The Effectiveness of Music on Quality of Life and Anxiety Symptoms in the Post Traumatic Stress Disorder in Bustan Hospital of Ahvaz City." Review of European Studies 8, no. 3 (2016): 237. http://dx.doi.org/10.5539/res.v8n3p237.

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<p>The present study aims at investigating the effectiveness of music on quality of life and anxiety symptoms of the veterans with post traumatic stress disorder in Bustan hospital of Ahvaz City. 40 persons were selected by simple random sampling method from the aforementioned population. The research design was an experimental one of type pretest-posttest with control group. Quality of Life inventory SF-36 (2005) and Spielberger Anxiety inventory (2005) were used for collecting the data. After selecting groups randomly, pretest was implemented on both experiment group (20 persons) and c
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Tao, Zoe. "The “Palliative Soul”." Voices: A World Forum for Music Therapy 19, no. 2 (2019): 13. http://dx.doi.org/10.15845/voices.v19i2.2841.

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This qualitative research project features semi-structured interviews on perspectives of humanistic care with Spanish physicians and therapists who have worked in or are familiar with music therapy and end of life care, disciplines that identify themselves as centering humanistic values in patient care. The purpose of the study was to have the thirteen music therapists and physicians elaborate on their perceptions regarding humanistic patient care and synthesize common elements from their interviews. A grounded theory approach was used to construct and derive themes among interviewees, and a n
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Gablik, Suzi. "Conversations before the End of Time: Dialogues on Art, Life, and Spiritual Renewal." Journal of Aesthetics and Art Criticism 57, no. 4 (1999): 486. http://dx.doi.org/10.2307/432167.

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35

Halstead, Marilyn Tuls, and Sherry Tuls Roscoe. "Restoring the Spirit at the End of Life: Music as an Intervention for Oncology Nurses." Clinical Journal of Oncology Nursing 6, no. 6 (2002): 332–36. http://dx.doi.org/10.1188/02.cjon.332-336.

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36

Warth, Marco, Jens Kessler, Josien van Kampen, Beate Ditzen, and Hubert J. Bardenheuer. "‘Song of Life’: music therapy in terminally ill patients with cancer." BMJ Supportive & Palliative Care 8, no. 2 (2018): 167–70. http://dx.doi.org/10.1136/bmjspcare-2017-001475.

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ObjectivesMusic therapy (MT) holds a promising potential to meet emotional and existential needs in palliative care patients. The aim of the present pilot study was to assess the feasibility, acceptance and potential effectiveness of a novel MT intervention to improve life closure and spiritual well-being of terminally ill patients with cancer receiving palliative care.MethodsThe ‘Song of Life’ (SOL) intervention was provided on two consecutive sessions containing a biographical interview and a live performance of a song with high biographical relevance to the patient in a lullaby style. Pre-t
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Clements-Cortes, Amy. "Relationship Completion in Palliative Care Music Therapy: Clinical Case Example-Part 1." Music and Medicine 10, no. 2 (2018): 80. http://dx.doi.org/10.47513/mmd.v10i2.607.

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The following case study represents an example of music therapy research in palliative care with a focus on relationship completion. This case of ‘Bill’, presents one of the four participant’s experience in the research study on relationship completion in palliative care. The results of Bill’s case are presented in Part II of this paper.(1) Bill received 30 individual music therapy sessions provided at three levels of practice.(2) The music therapy techniques utilized included: song choice; lyric discussion and analysis; songwriting, singing and playing pre-composed songs; life review; and son
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McConville, Brendan P. "RECONNOITERING THE SONIC SPECTRUM OF SALVATORE SCIARRINO IN ‘ALL' AURE IN UNA LONTANANZA’." Tempo 65, no. 255 (2011): 31–44. http://dx.doi.org/10.1017/s0040298211000040.

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The above quote, extracted from his L'Opere per Flauto (1977–1990), provides not only a colorful introduction to the effusive imagination of Italian composer Salvatore Sciarrino, but also a preview of what an unfamiliar listener may expect to find in his music. His largely unchanging musical language has slowly yet deliberately – like the four-minute unbroken cello glissando found near the end of his Vanitas for voice, cello and piano (1981)– captured the attention of composers, performers, scholars, and new music enthusiasts for over 30 years. Moreover, examination of Sciarrino's music provok
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Cieślak, Agnieszka. "Bronisław Mirski - Polish Music Director of the Silent Film Era1." Musicology Today 17, no. 1 (2020): 72–83. http://dx.doi.org/10.2478/muso-2020-0006.

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Abstract Bronisław Mirski (b. 1887 as Moszkowicz in Żyrardów near Warsaw, Poland – d. 1927 in El Paso, Texas) belongs to the substantial group of Polish émigré artists of Jewish origin. A violinist and conductor educated in Europe, he permanently settled in the United States at the end of 1914 under the name of Nek Mirskey and soon began working as a music director in movie theatres. He was in charge of the musical settings for elaborate artistic programmes composed of silent films as well as music and stage attractions. His first widely acclaimed shows were presented at the Metropolitan Theat
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Davies, James. "Julia's Gift: The Social Life of Scores, c.1830." Journal of the Royal Musical Association 131, no. 2 (2006): 287–309. http://dx.doi.org/10.1093/jrma/fkl003.

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This article addresses a subject long overlooked by students and scholarship – the musical annual. Emerging in London in 1829, this was an enormously popular brand of commercial publication conventionally produced for holiday sales. One particular copy – given as a present to an 11-year-old girl that year – proves a useful starting point from which to interrogate these items as a whole. Several avenues of inquiry suggest themselves: ideas of gift exchange and commerce, histories of the role such music played in adolescent upbringing and pianism, accounts of period notions of ‘the fair sex’, an
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Fulk, Kirkland A. "Sounds German?: Popular Music in Postwar Germany at the Crossroads of the National and Transnational." German Politics and Society 35, no. 2 (2017): 1–6. http://dx.doi.org/10.3167/gps.2017.350201.

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A musical undercurrent has long permeated German culture and intellectual life. For more than a century, theories and practices of folk, art, and classical music—variously understood both in their mutual interrelation and as entirely distinct—have anchored definitions of German national identity and the German cultural heritage. More recently, musical styles such as jazz, rock and roll, and hip-hop have also played a key role in the emergence of new social movements and alternative sensibilities in Germany. Indeed, since the end of World War II, popular music practices in Germany have been alt
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Garabedian, Claire E., and Fiona Kelly. "Haven: Sharing receptive music listening to foster connections and wellbeing for people with dementia who are nearing the end of life, and those who care for them." Dementia 19, no. 5 (2018): 1657–71. http://dx.doi.org/10.1177/1471301218804728.

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This paper reports on research exploring the effects of music played for 12 dyads: a care home resident (‘resident’) with dementia and someone closely connected to him/her (‘carer’). Six individualised music interventions (3 live and 3 pre-recorded) were played by the first author on solo cello within five Scottish non-NHS care homes. All interventions were video-recorded. Semi-structured interviews with carer participants, key staff, and managers explored their responses to interventions. Thick descriptions of video recordings and interview transcripts were thematically coded using Nvivo. A k
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Worthington, Emily. "‘The Uttermost Perfection of all Wind Instruments’: Franz Tausch (1762–1817) as Virtuoso Clarinettist and Director of the Conservatorium Der Bläseinstrumente in Berlin." Music and Letters 101, no. 2 (2020): 238–69. http://dx.doi.org/10.1093/ml/gcaa006.

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Abstract The life of clarinettist Franz Tausch (1762–1817) spanned a formative period of development both for his instrument and the culture he operated within, yet he has been neglected because of his lack of association with a major composer. Tausch received his musical education at the Mannheim and Munich courts, where he was exposed to broad cultural and musical influences. His compositions for clarinet show his playing to have foreshadowed the virtuosity associated with his pupils Heinrich Baermann and Bernhard Henrik Crusell. This can particularly be seen in his exploitation of the new p
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Park, Anna, Christine Guptill, and Thelma Sumsion. "Why Music Majors Pursue Music Despite the Risk of Playing-related Injuries." Medical Problems of Performing Artists 22, no. 3 (2007): 89–96. http://dx.doi.org/10.21091/mppa.2007.3021.

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Music is an occupation that has existed across cultures and societies for millennia. What music means and how it is used differ depending on the context of an individual's life. University music majors often pursue music as a future career goal, despite the fact that playing-related injuries are a significant risk for this population and could end their careers. The purpose of this study was to investigate why university music majors pursue music despite the risk of playing-related injuries. This qualitative study used a naturalistic approach and focus groups to collect data. Nine students par
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45

Forrest, L. "Supportive Cancer Care at the End of Life: Mapping the Cultural Landscape in Palliative Care and Music Therapy." Music and Medicine 3, no. 1 (2011): 9–14. http://dx.doi.org/10.1177/1943862110390820.

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Lehtonen, Kimmo, and Antti Juvonen. "The Art Music’s Road from a Closed System to Openness." Journal of Pedagogy and Psychology "Signum Temporis" 4, no. 1 (2011): 46–61. http://dx.doi.org/10.2478/v10195-011-0044-3.

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Abstract In this article we form a review-like vision of the development of Finnish music educational system. We use a philosophic-historic method combining the historical events into the educational theories and philosophical points of view. We use conceptions from music sociology and musicology combined in educational and partly historical point of view. The aim of the study is to find similar elements in the development of Finnish music education and positivistic and behaviouristic theories. The power structures and the ways of action are analyzed and estimated in spirit of discussion and o
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Keefe, Simon P. "“No kind of reading is so generally interesting as biography”: Establishing Narratives for Haydn and Mozart in the Second and Third Decades of the Nineteenth Century." 19th-Century Music 44, no. 2 (2020): 67–79. http://dx.doi.org/10.1525/ncm.2020.44.2.67.

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Very little critical attention has been directed toward biographical writings on Haydn and Mozart in the second and third decades of the nineteenth century, following the first wave of work by Friedrich Schlichtegroll and Franz Niemetschek (for Mozart, 1793, 1798) and Georg August Griesinger and Albert Dies (for Haydn, 1809, 1810). Examining varied biographically oriented materials in books, short profiles, anecdotes, and fiction, this article establishes contrasting narratives for the two composers during this period: Mozart was regarded as thoroughly immersed in music from beginning to end,
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48

Kirchhoff, KT, and RL Beckstrand. "Critical care nurses' perceptions of obstacles and helpful behaviors in providing end-of-life care to dying patients." American Journal of Critical Care 9, no. 2 (2000): 96–105. http://dx.doi.org/10.4037/ajcc2000.9.2.96.

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BACKGROUND: Little is known about nurses' perceptions of obstacles or helpful behaviors ("helps") in providing end-of-life care in the intensive care setting. OBJECTIVE: To determine the importance of various obstacles and helps in providing end-of-life care as perceived by critical care nurses. METHODS: A questionnaire was mailed to 300 members of the American Association of Critical-Care Nurses. Nurses were asked to rate obstacles and helps in giving end-of-life care, and additional obstacles and/or helps, and answer demographic questions. RESULTS: Six of the top 10 obstacles were related to
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Geiger, Friedrich. "Art as a Vocation: Vladimir Vogel's dramma-oratorio ‘Jona ging doch nach Ninive’." Tempo, no. 218 (October 2001): 11–14. http://dx.doi.org/10.1017/s0040298200008640.

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The composer Vladimir Vogel was born in Moscow in 1896. His mother was Russian, his father a businessman who came from Dresden. After the end of the First World War Vogel went to Berlin where he was admitted to Ferruccio Busoni's masterclass, along with Kurt Weill. His studies completed, his career was at first extremely promising, but it came to an abrupt halt with the relinquishing of power to the National Socialists. In jeopardy on three counts, as a Communist, a Jew and a so-called Neutöner or ‘new-note composer’, Vogel roamed Europe for a number of years. Finally he found a refuge in Swit
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Glatthorn, Austin. "In the Name of the Emperor." Journal of Musicology 35, no. 1 (2018): 1–41. http://dx.doi.org/10.1525/jm.2018.35.1.1.

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In July 1786 Prince Carl Anselm of Thurn und Taxis concluded that he had no choice but to dissolve his Italian court opera. This owed in part to the success of the German theater, which had been established in 1784 to rival the Prince’s Hoftheater and contest his position as the Holy Roman Emperor’s representative to the Reichstag in Regensburg. New evidence challenges the prevailing view that the dissolution of the Taxis’s court opera marked the end of the family’s musical patronage and involvement in Regensburg’s cultural life. In the face of opposition from other Reichstag officials, the Th
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