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Challenging moments are likely to be part of every therapist's career. The present study sought to explore challenging moments in music therapy from the lived experience of music therapists. The main research question was: how do music therapists experience challenging moments with their clients? Related questions include: what is the nature of a challenging moment in music therapy? How do music therapists approach a challenging moment? What is the value of these moments for the therapist and the client? Four Registered Music Therapists (RMT) were interviewed using an approach informed by phenomenological inquiry. The interviews were analyzed based on Grocke's (1999) method of phenomenological inquiry. Three global themes were consistent for all the participants: a) the challenge seems to lie in understanding and/or meeting the client where the client is; b) a challenge may elicit a wide range of emotions and feelings; and c) a challenging moment may have a positive outcome for the therapist. Ideas from Gabel, Oster and Pfeffer (1988) frame the discussion of the findings and construct a final description of challenging moments in music therapy. It is suggested that challenges may derive from a disparity between the client's and the music therapist's expectations of the therapeutic process. [ABSTRACT FROM AUTHOR]

Background: Given that music therapists work across a wide range of disabilities, it is important that therapists have at least a fundamental understanding of the neurophysiology associated with the client/patient populations that they serve. Yet, there is a large gap of evidence regarding the neurophysiological changes associated with applying music as therapy. Objective: The purpose of this article is to provide music therapists with a general background in neuroplasticity principles that can be applied to the use of music therapy with multiple populations. Methods: This article will review literature on neuroplasticity and literature supporting the specific attributes of music therapy that apply to neuroplasticity. Finally, examples of how to use neuroplasticity principles to explain and support clinical music therapy will be provided. Results: Using the material presented in this review, music therapists will be equipped with information to effectively communicate why music therapy works using three neuroplasticity principles; increase in dopamine, neural synchrony, and a clear signal. Conclusion: Music therapy is a powerful tool to enhance neuroplasticity in the brain. [ABSTRACT FROM PUBLISHER]

The article presents news for music therapists about congresses and medical reports including the congress "Guided Imagery and Music" from April 27-29, 2012 in Hückeswagen, Germany, the meeting of the European Music Therapy Confederation (EMTC) in Vienna, Austria, from May 28-29, 2011, and a report about the numbers of young people listening to very loud music and the effects of listening to loud music.

The article provides an overview of the Third International Congress of Interdisciplinary Music Effectiveness Research meeting in November 2010 in Krems, Austria. Speakers presented lectures on topics relating to music therapy including music and neuroscience, chronobiological regulation, and music therapy practice with cancer patients and children in hospitals. Among the speakers were professors Cheryl Dileo, Lucanne Magill, and Thomas Stegemann.

The purpose of this research was to discover the markers of interplay between the music therapist and the medically fragile newborn infant. Video footage of 3 infants was selected to exemplify 3 significant events in the therapeutic process. Four expert reviewers viewed the footage and completed a video-cued discussion with the therapist/researcher. Reviews and discussions were collated with the therapist-researcher's post-session notes to create rich descriptions from which the articulated and inferred behaviors of both therapist and infant were thematically analyzed. The outcome was 14 sets of behaviors used by the medically fragile newborn infants to indicate availability for interplay and 20 sets of behaviors the therapist used in response to the infants. The interaction between these behaviors provided 7 markers of interplay between the music therapist and the medically fragile newborn infant. [ABSTRACT FROM AUTHOR]

In October of 2007, a survey was sent to music therapists working in Quebec schools who were members of the AQM. The objective was to get a picture of music therapy in the school environment, especially in the contexts of working environment and hiring conditions, in order to prioritize actions taken for the development of the profession in the future. The following report shows the results of the surveys indicate a clear link between professional recognition of the music therapist from his environment, hiring conditions, and the practicing of music therapy in the school environment. The recommendations aim to guide the actions of the various levels of the educational world, our professional associations of actual and future music therapists, with regards to the development of the title of Music Therapist. By this, we hope that stakeholders in the school system will better understand the role of the music therapist as a non-teaching professional and would instead facilitate a working environment that would favor high quality services for special needs clientele. [ABSTRACT FROM AUTHOR]

Relationships may be a source of significant psychological pain at the end-of-life. Dying persons often experience anticipatory grief over the loss of relationships with spouses, children, parents, friends and pets, and the loss of future life events such as weddings and the birth of grandchildren. Music therapy is commonly used in palliative care settings and is a powerful tool for addressing issues around relationships. This paper will demonstrate how music therapists may access the power of music to assist and enhance relationship completion at the end-of-life. It is anchored in a critical examination of the roles of music therapy within Dileo and Dneaster's (2005) palliative care music therapy model, in the various contexts of relationship completion, and within the frameworks of the psychological, sociological, and medical literature. An analysis and discussion of this model is presented with clinical music therapy examples alongside a review of music therapy tools, techniques, and practice. [ABSTRACT FROM AUTHOR]

For the past two decades, a focus of improved mental health service delivery has been the inclusion of interprofessional collaboration initiatives. As administrators and policy-makers increasingly adopt evidenceand outcome-based funding structures, it would be prudent for music therapists to cultivate increased collaboration between music therapy and other mental health professions. This idea is further supported by the current move toward regulating music therapy in Ontario and other parts of Canada, and the large number of music therapists who identify themselves as mental health workers. Consequently, interprofessional education should play a significant role in music therapy education to better prepare for effective teamwork in clinical practice, and to enhance client outcomes. This paper reviews the evidence of effectiveness in interprofessional education in mental health and seeks to build an argument for implementing interprofessional education in pre-licensure music therapy education. [ABSTRACT FROM AUTHOR]

This article addresses the need for theoretical markers in order to support the development of music psychotherapy and augment the dialogue between music therapy and psychotherapy in Canada. Faced with deficient notions of objectivity and subjectivity with regards to one's musical sense, the author shows that music played in a therapeutic context is essentially an intersubjective phenomenon which calls for an interpretive approach. When applied to music therapy, the theory of intersubjectivity offers guidelines to interpret the musical experience and understand its role withing therapeutic change. Music is not considered to have meaning in itself, but the meaning emerges progressively by convergent or divergent connections with other elements of the therapy. The patient is encouraged to experiment and discover various aspects of himself and their relationships through music. He is engaged with his therapist in the task of co-creating meaning. The uniqueness, as well as the mutual therapeutic relationship are recognized by the theory of intersubjectivity and allow the therapist to realize his own contribution to the process. Clinical vignettes are used to illustrate this point. [ABSTRACT FROM AUTHOR]

Interactive Family Music Therapy can have a unique role to play when working as part of a multidisciplinary team by demonstrating a capacity to surprise' a client/patient when they least expect it. It provides a positive shared experience that can add to multidisciplinary assessment and treatment planning. This article will illustrate the role Interactive Family Music Therapy has at Redbank House and includes case material. [ABSTRACT FROM AUTHOR]

Board-certified music therapists were surveyed about their use of clinical improvisation and the improvisation instruction they had received in undergraduate/equivalency programs in the United States. A distinction was made between music improvisation and clinical improvisation. The survey sought responses regarding client populations, goals, theoretical orientations, influential models of improvisational music therapy, and musical media that are relevant to MT-BCs' use of improvisation in therapy. Further issues addressed include whether clinical improvisation instruction was received in undergraduate/equivalency programs and/or during internships and how this instruction was received as well as perceptions regarding level of preparedness to use clinical improvisation. Results from 559 respondents indicate that improvisation is widely used by MT-BCs but that instruction in the method at the undergraduate/equivalency level is neither widespread nor consistent in programs across the United States. The adequacy of improvisation-based competencies and guidelines established by AMTA, CBMT, and NASM for instruction in effective and ethical use of clinical improvisation is questioned. [ABSTRACT FROM AUTHOR]

The purposes of this study are (a) to highlight the diversity of the cultural and religious practices, including musical traditions and repertoire, of people who are Jewish in the United States and (b) to describe, according to practicing music therapists, how those beliefs and practices can influence and interact with music therapy practice. Part I briefly introduces concepts important to Jewish religion and culture while Part II consists of data from music therapists who work clinically with Jewish people gathered through questionnaires and interviews regarding their uses of music and approaches to religious and cultural matters specific to this minority group. Part II also emphasizes practical clinical issues and has implications for clinical practice with a variety of Jewish people and people from other groups in many music therapy settings. [ABSTRACT FROM AUTHOR]

The author discusses the efficacy of Toddler Rocks, a music-based education program for disadvantaged inner-city preschoolers, as a therapy for preschool children. The author relates some considerations in creating music therapy program in the Rock and Roll Hall of Fame & Museum that would benefit children and parents who would not ordinarily have access due to socioeconomic status.

This reflection emerges from the author's process to become accredited with the Canadian Association for Music Therapy. She presents a concrete vision of music therapy practice in remote areas, with clients suffering from pervasive developmental disorders (PDD) within a rehabilitation context. Considering different approaches, the author brings forward a phenomenological vision perspective as the central element of her music therapy interventions. Various case studies make concrete the application of humanistic concepts in the current practice of a music therapist concerned with an open attitude toward others and her own self. [ABSTRACT FROM AUTHOR]

The following paper gives us the opportunity to meet and pay tribute to François Jacquemot, French music therapist, co-founder and director of the European Music Therapy Institute in Metz and co-founder of Fédération française de musicothérapie (French Music Therapy Federation). Jacquemot passed away during the winter of 2007. Not only was he very much involved with the development of music therapy in France and internationally, he also influenced many generations of music therapists and practitioners in the fields of mental health and cognitive impairment. Here are two short texts written by Jacquemot. The first one, L'objet sonore (the sound object) explains his concept of psychomusical intervention by demonstrating influences of sound on an individual, starting at birth. The second text, La voix (the voice)…, is more of a reflection on the power of voice and song. A clinical example illustrates the impact of his voice on his own identity building. Although these texts are already 15 years old, they are still very relevant. They give us the opportunity to deepen our reflection on music, sound and voice. Jacquemot, this is how I would affectionately call him, had a deep and rich voice, a sparkling laugh, and a true sight… and though his writings, he is still with us! [ABSTRACT FROM AUTHOR]

This article demonstrates the potential efficacy of community based singing groups to improve the health and quality of life of adults diagnosed with cancer. An overview on music therapy practices utilized in adult cancer care is presented. Publications related to the health benefits of singing in both therapeutic and community contexts are reviewed. Information pertaining to the role of psychosocial support groups in the treatment processes of persons with cancer is used to establish the relevance of community based group singing experiences for this population. Initial guidelines on how to effectively facilitate a community based singing group for persons with cancer are outlined and discussed within the context of the author's clinical experiences. Implications for research are presented. It is hoped that this article will inspire music therapists to develop community based singing groups for persons with cancer, and to conduct much needed research in this area. [ABSTRACT FROM AUTHOR]

Previous research has found that music therapists, who work with geriatric clients in singing activities, indicated they know and use 3 times more popular or popular style music (songs from musicals) than folk songs. The purposes of the current study were to determine music therapy majors' recognition of popular songs and songs from musicals by asking whether they: (a) had heard the songs before, (b) could "name the tune" of each song, and (c) list the decade each song was composed. Results showed that students had previously heard many of the songs; however, this was not an indication of whether they could name the song title or the decade in which it was composed. Additionally, percentage data indicated that My Favorite Things and You Are My Sunshine were the most heard/recognized songs, Over the Rainbow was the most correctly named song title, and Five Foot Two, Eyes of Blue was the song most correctly identified by decade. Further results and discussion are included. [ABSTRACT FROM AUTHOR]

Songwriting as a therapeutic intervention has received increasing attention in the field of music therapy over the past decade however much of the publications focus on clinical outcomes rather than methods of practice. This paper, part of a two-part research report into trends in the clinical practice of songwriting, aims to describe the most frequently employed goal areas across a range of clinical populations and compare these findings with the published literature. Responses to a 21-question online survey were obtained from 477 professional music therapists practicing in 29 countries which focused on approaches to songwriting within their practice with a single clinical population. Chisquare or comparable Exact tests (Fisher-Freeman-Halton) were applied to the data and significant associations were found according to different clinical populations particularly with respect to the aims of songwriting in clinical practice and the frequency with which songwriting is employed in practice. The data highlights that songwriting is frequently employed in developmental disability and ASD practice, with reports on songwriting with these diagnostic groups being underrepresented in the music therapy literature. The survey identified that the most frequently endorsed goal areas align with the literature base and included a) experiencing mastery, develop self-confidence, enhance selfesteem; b) choice and decision making; c) develop a sense of self; d) externalising thoughts, fantasies, and emotions; e) telling the client's story; and f) gaining insight or clarifying thoughts and feelings. [ABSTRACT FROM AUTHOR]

This article is a description of the Music Therapy Assessment of Automatic Thoughts (MTAAT), a cognitive behavioral intervention designed to help couples improve communication. This method was designed to be a part of the type of communication training exercises that may take place in marriage counseling. It involves spouses taking turns improvising on percussion instruments to depict musically what they perceive as their typical pattern of communication. While one improvises, the other writes thoughts that result from what the other is musically "saying." These are designed to serve as assessments of the automatic, conscious thoughts each spouse has when communicating. The results of an initial clinical application suggest that the MTAAT may successfully enable couples to communicate musically with one another and may reveal a degree of interpersonal knowledge about their relationship and the types of automatic thoughts they have while communicating verbally with one another. The authors suggest the need for research on the applicability of the MTAAT in a marriage counseling setting and other settings where therapists use cognitive behavioral music therapy interventions. [ABSTRACT FROM AUTHOR]

Music therapy can be a vocally demanding profession. The purpose of this article is to raise awareness within our profession of the physiological, environmental, and personal factors that may lead to vocal strain or abuse. In an extensive literature review and database search, no articles were found on the prevalence of vocal health issues among music therapists. However, it is logical that with the daily vocal demands faced by music therapists, they may be at risk for vocal problems. This article identifies some of the environmental and habitual factors that influence vocal health. Parallels are drawn between the vocal demands and working environments of music therapists and other professional voice users such as teachers for whom prevalence, causal factors, and treatment modalities are known. It is hoped that by raising awareness, music therapists experiencing difficulty with their voices will be more likely to seek medical assistance and consider the habits and surroundings that may pose risks to their vocal health. [ABSTRACT FROM AUTHOR]

This discussion paper presents Phases of Interplay as a framework to facilitate reflection on progress within individual music therapy sessions with full-term hospitalized infants. Drawing on a nursing protocol for premature infants and principles from psychotherapy, this diagrammatic representation of session progress offers a tool for explicating the more implicit elements of interplay and the relationship between therapist and infant client. This is a framework for use by clinicians in daily practice. [ABSTRACT FROM AUTHOR]

A group of 20 healthy older adults (females = 17, males = 3), who ranged in age from 66 to 84 years, participated in a movement program designed to enhance functional outcomes. The program, Motivating Moves®, was designed by a Laban movement analyst. It consisted of 14 movement sequences set to music especially composed to reflect the dynamics, rhythm, timing, and phrasing of the movements. After 5 weeks, individuals showed statistically significant increases in Reuben's Physical Performance Test (Reuben & Siu, 1990) in areas of gait speed and putting on and removing a jacket. For those persons (n = 5) who extended their involvement beyond 5 weeks, additional changes were not statistically significant. All participants indicated through anonymous comments that they experienced positive physical outcomes, that they enjoyed the pro- gram, and that they would recommend it to others. [ABSTRACT FROM AUTHOR]

The literature on music therapy with hospice patients often accentuates the positive aspects of the process and places less emphasis on difficulties the therapist may face. This article examines specific obstacles that may arise when working with dying patients. Four vignettes are presented, which include issues of apathy, depression, anger and frustration. The seemingly overprotective family member scenario is also viewed in relationship to its effect upon the dying patient. A closer look at such difficulties may deepen the understanding of what a person may experience when approaching death. The therapist's reactions to the patient's experiences (counter-transference) are explored and emphasized as well. The author's work within the hospice setting was guided in weekly Analytical Music Therapy supervision sessions, whereby, over a period of one year, helpful lessons on coping with patients' rejection were discussed. The lessons and the supervision techniques that were used to teach them are outlined at the conclusion of this article. [ABSTRACT FROM AUTHOR]

The purpose of Study 1 was to determine differences in female music therapy (MR) and non-music majors' vocal range. Twenty-seven female MT and 28 female non-music majors participated. Results indicated no significant difference for lowest mean comfortable singing note between groups; however, significant differences occurred regarding highest mean comfortable note, p < .0001 and the mean number of semitones in vocal range, p < .0001. Non-music majors also indicated a preference for singing in lower keys. The purpose of Study 2 was to determine if MT students selected appropriate keys for young and older adult populations. Students said they played songs in keys that fit their vocal range and were easy to play. Also, students placed 25% of the songs for older adults and 41 % of the songs for young adults in keys outside of their vocal range. Clinical implications are provided. [ABSTRACT FROM AUTHOR]

The investigator identified music therapists' theoretical awareness of their practices and analyzed factors influencing their specific theoretical orientations and models. A 2-page survey was mailed to 500 board-certified music therapists in the United States; 272 returned surveys were analyzed. Data analysis revealed that respondents': (a) adoption of current theoretical approaches is contingent on the attended college, area of practice, and their age groups; (b) work satisfaction is not a function of involvement with theoretical orientations but rather of their area of practice and attendance at national music therapy conferences; (c) involvement in music making is not a function of theoretical orientations but of academic degrees; (d) emphasis on client's musical growth and aesthetic quality of music was not a function of theoretical orientations or any other investigated factor; (e) satisfaction with past education was not a function of involvement with theoretical orientations but of the area of practice; (f) desire to expand their theoretical knowledge was not a function of theoretical orientations but of academic degrees. [ABSTRACT FROM AUTHOR]

A Computer-based Music Perception Assessment for Children (CMPAC) was designed and administered to 49 children (31 elementary school children; 18 hospitalized children) for the purpose of field testing and standardization. CMPAC is conceptualized as an assessment tool that yields information important to music therapists regarding children's listening and musically-related behavior: These behaviors include information on music choices and the effect of music on behavior (e.g., spontaneous singing or movement). The assessment involves children "clicking on" pictures that represent genres of children's music and listening to brief musical excerpts. Musical genres on CMPAC included songs from Sesame Street, the Animaniacs, Hap Palmer, Barney, and Disney. As part of the assessment, CMPAC generates three types of data about a child's listening behaviors: (a) the frequency with which the child listens to specific songs; (b) the duration of time the child spends listening to music; and (c) the order (or chronology) in which the child listens to specific songs. Additionally, the music therapist administering CMPAC records descriptive observations of the child's listening behavior (e.g., the child sings along to the music, the child moves during music listening, the child appears easily distracted by noises/activities in the hall, the child indiscriminately clicks [or repeatedly clicks] on a picture of music without attending to the music, etc.). Data obtained from field testing and from the clinical dispositions of 10 music therapists examining data output was subjected to statistical analysis in order to determine the predictive utility of CMPAC. Results suggest that CMPAC is a useful and valid assessment for assisting music therapists in making referral decisions for hospitalized children. [ABSTRACT FROM AUTHOR]

This study is a measure of the effectiveness of music therapy education by testing it against a proven educational model. It evaluates the role of knowledge, interest and learning strategies in the Model of Domain Learning (Alexander, 1997, 2003). Participants (n = 79) were presented with a video of music therapy and the effect of the independent variables (knowledge, interest, strategies) on recall at two points in time were examined. Music therapy students were compared with music students and other therapy students (art therapy, dance therapy, counseling therapy) in terms of their recall of the video. Music therapy students achieved the highest levels of knowledge and interests. No significant differences were found between the three groups on the strategy component of the model. Overall, results were consistent with the Model and with the view that specific learning occurs within identified domains of knowledge or expertise. The results therefore, indicate efficacy for the music therapy education investigated in this study. [ABSTRACT FROM AUTHOR]

This historical study explored the contributions of Juliette Alvin to the early development of Japanese music therapy. Alvin visited Japan twice, once in 1967 and once in 1969. Despite the brevity of her stays, Alvin presented Japanese music therapy pioneers with a vivid picture of music therapy profession and clinical practice. Professional associations were launched, catalyzed by her visit. Alvin's clinical demonstrations inspired one of the music therapy pioneers to explore not only his own philosophy but a comprehensive view of the future direction of Japanese music therapy. A young musician, who worked as an assistant in Alvin's sessions, adopted her approach and became a leader in Japanese music therapy. Information about Alvin were obtained from letters, books, newspapers, journal articles, interviews with Japanese music therapy pioneers, and Alvin's own reports on her practice in Japan. Implications of Alvin's approach are also discussed for the role that music therapy today can play in addressing the needs of clients. [ABSTRACT FROM AUTHOR]

This paper aims to establish a link between the felt quality in musical expression and the psycho-somatic structure of the person playing. This includes specific areas of the body, a corresponding set of emotions and thought patterns, as well as the deeper needs of the person. Discernment of felt quality is facilitated by using the symbolic reference system of the five Indian and Greek elements earth, water, fire, air and space. This framework not only enables the therapist to locate a client's limitations or blockages, but also a means of understanding how to work on them, thus ultimately improving their musicality and well-being. The findings are drawn from the author's work as a music-therapist with adult clients as well as with young autistic, psychotic and disharmonic children, aged 2-8 in a day clinic in central France. Within that work, strong evidence has been found for seven major neuro-musical thresholds, that, when worked on, can bring about substantial changes in a person. [ABSTRACT FROM AUTHOR]

The purpose of this study was to examine the life of Ira Maximilian Altshuler, psychiatrist and pioneer music therapist. In 1938, Dr. Altshuler initiated one of the first large-scale music therapy programs for mentally ill persons in the country at Detroit's Eloise Hospital. His innovative programs combined psychoanalytic techniques and music therapy methods specifically designed for use with large groups of clients. He later trained some of the first music therapy interns in the country, including Carol Collins, who served for many years as Professor of Music Therapy at Wayne State University, and Esther Goetz Gilliland, who later became President of NAMT. Dr. Altshuler promoted the practice and profession tirelessly, speaking to numerous audiences over the years and writing 19 articles about music therapy. Altshuler participated in the National Association for Music Therapy (NAMT) organizational meeting held in New York City in 1950. An active member of the organization for many years, he served on the Research Committee and hosted the 1955 national NAMT conference in Detroit. Even after Altshuler's retirement from Eloise Hospital in 1963, he remained active in numerous civic, music, and music therapy activities until his death 5 year later. Ira Altshuler should be remembered along with other music therapists from the time-Willem Van de Wall, Harriet Ayer Seymour and others-who vigorously embraced and advanced the status of the profession. [ABSTRACT FROM AUTHOR]

Music therapists have had an interest in bibliographic research for over 20 years, beginning with Jellison's 1973 analysis of the frequency and types of articles appearing in the existing music therapy literature. Since then, several other researchers have continued in this line of inquiry. The purpose of this study was to (a) identify historical trends in the types of articles that have been published in major music therapy periodicals in the English language, (b) identify historical trends for each type of article within each music therapy journal, (c) to compare percentages of article types within each music therapy journal and (d) to compare percentages of article types across journals. Specifically, how many quantitative, qualitative, historical, philosophical/theoretical, clinical and professional articles have been published throughout the history of the following journals: Journal of Music Therapy, Music Therapy: Journal of the American Association for Music Therapy, Music Therapy Perspectives, The Arts in Psychotherapy, Journal of the Association for Music & Imagery, The Australian Journal of Music Therapy, The Nordic Journal of Music Therapy, The British Journal of Music Therapy, and The New Zealand Society for Music Therapy Journal. [ABSTRACT FROM AUTHOR]

This descriptive study examined the music content of 88 episodes from the PBS television show Barney & Friends, which aired from September 1992 to September 1998, in an attempt to quantify musical examples and presentations that may be considered introductory music experiences for preschoolers. Using many of the procedures identified by Wolfe and Stambaugh (1993) in their study on the music of Sesame Street, 25% of Barney & Friends' 88 episodes were analyzed by using the computer observation program SCRIBE in determining: (a) the temporal use of music; (b) performance medium; and (c) intention of music use. Furthermore, each structural prompt presentation (n = 749) from all 88 episodes was examined for: (a) tempo; (b) vocal range; (c) music style; (d) word clarity; (e) repetition; (f) vocal modeling; and (g) movement. Results revealed that the show contained more music (92.2%) than nonmusic (7.8%), with the majority of this music containing instrumental sounds (61%). The function of this music was distributed equally between structural prompt music (48%) and background music (48%). The majority of the structural prompt music contained newly composed material (52%), while 33% consisted of previously composed material. Fifteen percent contained a combination of newly composed and previously composed material. The most common tempo range for presentations on the show was 80-100 bpm, while vocal ranges of a 9th, 8th, 6th, and 7th were predominant and most often sung by children's voices. The adult male voice was also common, with 84% of all adult vocals being male. The tessitura category with the greatest number of appearances was middle C to C above (n = 133), with the majority of the presentations (n = 435, 73%) extending singers' voices over the register lift of B above middle C. Children's music and music of the American heritage were the most common style categories observed, and these two categories combined on 260 (35%) presentations. The use of choreographed movement and props/costumes was also prevalent, and may have contributed to high interobserver reliability of tempo. Implications for music therapists and teachers working with young children and music researchers examining various epistemological questions of music learning and behavior are discussed. [ABSTRACT FROM AUTHOR]

Eight persons (7 females & 1 male) with moderately-severe to severe dementia diagnoses residing at an urban healthcare facility, participated in this study. Informed consent procedures were followed and agreed upon by participants and their families. The participants ranged in age from 73-90 years, with an average age of 81 years. An experienced board-certified music therapist led 16 singalong sessions. The sessions were divided into 4 sessions of each of the following 4 conditions in randomized order of presentation: (a) live music of simple guitar accompaniment, (b) live music of complex guitar accompaniment, (c) recorded music of simple guitar accompaniment, and (d) recorded music of complex guitar accompaniment. Results indicated no significant differences in the amount of singing by the group for the 4 conditions. However, there were significant differences in group behavior related to the 4 conditions before and after song presentations, including attention, leaving the group, reading lyrics, compliments, and applause. Implications for music therapy training and programming are discussed. [ABSTRACT FROM AUTHOR]

The present investigation was undertaken in response to music therapists working in school settings for information relating to the availability of music therapy assessments and the feasibility of standardizing an assessment instrument for music therapists to use in school settings. Five research questions were identified, and the music therapy literature was surveyed to compile responses to those questions. Three different online data bases (ERIC, PsycINFO, and Article 1st) were used, covering articles published between 1980 and 1997. Individual hand searches were done of the Arts in Psychotherapy, Journal of Music Therapy, Journal of Research in Music Education, Journal of the International Association of Music for the Handicapped, Music Therapy and Music Therapy Perspectives. The questions and responses were as follows: 1. Which music-based assessment tools are being used with children with disabilities? Little commonality in assessment tools being used by music therapists and researchers was discovered. Of the total 41 studies, 20 (49%) reported using a "named" or "titled" assessment tool, and in the remaining 51% of studies, the authors reported using an untitled, and usually experimenter-designed, original assessment tool. 2. Have certain assessments been used in more than one study? Very limited replication of existing assessments was found. Of the 16 "named" assessments, only 3 were found to be used in more than one research study. 3. Are the actual assessments published along with the articles describing their use? Only 3 of the 20 studies using named assessments were published along with the journal article. Of the remaining 21 studies using original, experimenter-designed assessment tools, only 6 (28%) had the assessment instrument published with the article. 4. What is the primary purpose for using the assessment? Six primary purposes emerged from the review of the literature: to compare with data obtained from other assessment measures or from other populations (39%), as a baseline or pretest measure (29%), to determine eligibility for services or the receipt of treatment (12%), to determine the psychometric properties of the assessment (7%), suitability of the instrument for the given population (7%), and the identification of musical preferences (5%). 5. What are the musical or nonmusic elements being assessed? Musical elements were: music perception (37%), musical aptitude (29%), musical preferences (12%), and attention to/enjoyment of music (2%). Nonmusical behaviors/responses were: self-expression (10%), motor responses (10%), behavioral responses (7%), cognitive development (2%), and acts of communication (2%). 6. What subject populations are being assessed? Subject populations were: children with developmental disabilities/mental retardation (44%), children with autism (10%), children with hearing impairments (17%), "psychiatric" clients or emotionally disturbed (22%), individuals described as "handicapped" (5%), individuals with physical disabilities (2%), and a student with a speech impairment (2%). Nondisabled individuals were also included in 12 of the aforementioned studies. [ABSTRACT FROM AUTHOR]

The article offers information on the method of analyzing improvisations in music therapy. It notes the importance of the musical building blocks of improvisation to understand the intricacies of the process. It highlights the need of the music therapists to be prepared to spend time with the chosen improvisation in order to use the method effectively.

This study explores the main changes gained from Guided Imagery and Music (GIM) therapy as described by former clients. It also explores whether gains are integrated into the clients' lives and if those changes stabilize over periods of time after finishing GIM therapy. Questionnaires were sent to GIM therapists who forwarded them to former GIM clients. Twenty-five former GIM clients returned questionnaires directly to the researcher. Results show that the main gains reported by former clients of GIM therapy are (a) getting more in touch with one's emotions, (b) gaining insights into some problems, (c) spiritual growth, (d) increased relaxation, and (e) discovering new parts of oneself. Results also show that GIM therapy might be helpful for clients with symptoms of anxiety and/or fear, and for clients who want to increase their self-esteem. Changes gained during GIM therapy appear to stabilize over a period of time after finishing GIM therapy. They improved after termination of therapy, especially in the mental and transpersonal areas. [ABSTRACT FROM AUTHOR]

This qualitative research study examines the author's experience of pleasure in working as a music therapist with children with severe, multiple disabilities. The impetus for the study came when she experienced great pleasure in working with these children, and sought to better understand what made the experience so enjoyable. Videotapes of music therapy sessions were studied from several angles, and the following categories into which enjoyable experiences fit were formulated: Intentionality (allowing assistance, continuing on own after assisted initiation, initiation upon request, spontaneous initiation); emotionality (smiling, physical closeness); communication (humming, specific sounds or words); and mutuality (with another child, with therapist, upon request, with physical cues, spontaneous). Themes of responsiveness and expectations were found to run throughout the author's experience of pleasure, and she relates these themes to other areas of her life. Possible applicability to others, both in ways in which the findings might be used directly, and ways in which themes (such as her themes of responsiveness and expectations) might be used to increase others' understanding of themselves as therapists, are discussed. It is suggested that when music therapists make connections between their personal lives and clinical enjoyment, it can help them to find more pleasure in their work and thus better serve their clients. [ABSTRACT FROM AUTHOR]

A recent qualitative review of literature in the area of music/ music therapy and dementias published since 1985 suggested that music/music therapy is an effective intervention for maintaining and improving active involvement, social, emotional and cognitive skills, and for decreasing behavioral problems of individuals with dementias (Brotons, Koger, & Pickett-Cooper, 1997). The present analysis sought to update and quantify this relationship, and investigate the extent to which methodological variables influenced treatment effectiveness. Twenty-one empirical studies, with a total of 336 subjects suffering from symptoms of dementia, were included in the meta-analysis. Overall, the effect of music/music therapy was found to be highly significant. A homogeneity analysis determined that the effect sizes were not consistent across studies; thus, a series of moderating variable analyses were conducted. We were unable to determine the source of variability between studies by analyzing type of therapeutic intervention (active or passive), music (live or taped), therapist's training (trained music therapist vs. other professional), dependent variable (behavioral, cognitive, or social), or length of treatment. Although the published literature demonstrates that music/music therapy is an effective method overall for treating symptoms of dementia, systematic variation of treatment protocols is necessary to identify the underlying mechanisms and delineate the most effective techniques. [ABSTRACT FROM AUTHOR]

The article discusses the aspects for researchers to consider in conducting qualitative music therapy research. Researchers are advised to consider that their categories of observation are biased to show reflexivity in music therapy practice. It is considered that the best thing that researchers can do is to give good interpretations in such practice as there can be no general theories in music therapy. Researchers also need to deal with the underlying values of their activity.

The purpose of this study was to examine the perceptions of music therapists toward inclusion (providing services within general education settings) and to determine their willingness to provide their services in these settings. A questionnaire was sent to 560 music therapists of which 373 responded (67%). A descriptive analysis indicated that although the vast majority of music therapists are providing their services in a segregated setting, they (a) overwhelmingly know about inclusion, (b) perceive benefits to clients with and without disabilities, and (c) are willing to provide their services within an inclusive setting. Why then do therapists so overwhelmingly provide their services in noninclusive settings? Possible answers to this question as well as the challenge this creates to the field of music therapy are discussed. [ABSTRACT FROM AUTHOR]

Job satisfaction surveys were mailed to 2,371 registered and certified members from the National Association for Music Therapy (NAMT) and the American Association for Music Therapy (AAMT). Materials included a 36-item questionnaire and a stamped, return addressed envelope. Of the questionnaires distributed, 1,344 (57%) were returned. Reliability analysis of the job satisfaction scale, performed as a measure of internal consistency on 885 cases, revealed an alpha coefficient of .85. The measure of job satisfaction used in this study is therefore accepted as highly reliable. The present study suggests that music therapists indeed report a pleasurable emotional state as they evaluate their jobs. The nature of music therapists' work and other conditions of their employment contribute to high job satisfaction. [ABSTRACT FROM AUTHOR]

This article reviews current music therapy literature related to assessment and identifies five parameters used to define music therapy assessment instruments. These parameters are client population, theory/model, area of functioning/condition, technique, and response to the institution. A conceptualization of assessment is presented as an outgrowth of the interaction among intrinsic factors (e.g., the therapist's theoretical orientation and perception of the function of the assessment) and extrinsic factors (e.g., the exigencies and needs of the patient population and the pressures and demands of the institution). The author suggests guidelines for designing assessment instruments that will help to enhance the professional status of music therapists. [ABSTRACT FROM AUTHOR]

The purpose of the study was to examine the relationship between a passive music-listening activity, designed to facilitate concentration and relaxation, and subsequent performance of a specific classroom task, matching numbers. Subjects were 17 trainable mentally retarded (TMR) students, 6 to 11 years of age, in two primary self-contained classes. Both groups of students received treatment and control conditions in reverse order over a 2-week period. Experimental conditions consisted of a brief taped story illustrated on a felt board with characters and scenes from the story, a short rest period paired with a relaxing music selection, and 5 minutes of individual number matching at the students' seats. Control conditions were identical but without the music. Results were not significant for number-matching comparisons overall. The older group of students exhibited significantly less behavior during the music/rest than during the rest phase. [ABSTRACT FROM AUTHOR]

The purpose of this study was to investigate the work values of university music therapy and music performance majors. Thirty-four subjects completed the Work Values Inventory (Super, 1970). Univariate t tests were performed to determine differences for the two groups on the individual scales. Significant differences were found for four scales: "altruism,"in favor of music therapy majors (p < .005); and "economic returns" (p < .01), "esthetic" (p < .01), and "prestige" (p < .04) in favor of performance majors. Results support the findings of several authors who have investigated personality characteristics of working music therapists. The results also suggest that the Work Values Inventory could be an appropriate instrument for use by university music therapy chairpersons in counseling prospective music therapy students. [ABSTRACT FROM AUTHOR]

A low-cost microcomputer was used to analyze systematically the behavioral interactions between a music therapist and a 55-year-old mentally retarded female. The microcomputer permitted the authors to determine quickly and cost effectively the effect of music therapy sessions on the client's behavior. The study demonstrates that current microcomputer technology can now be used to collect and analyze process-oriented data for application in both research and training activities. The implications for process-oriented research and training are discussed. [ABSTRACT FROM AUTHOR]

To examine attitudes toward and knowledge of research in music therapy, a three-part survey was administered to 150 randomly selected music therapists, with complete surveys returned by 66 respondents. The survey consisted of a cover page gathering background information, a series of 20 statements assessing attitudes toward music therapy research, and 25 true-false questions examining subjects' knowledge of research terminology and methodology. Analysis of survey responses indicated a generally positive attitude toward research, but dissatisfaction with the current status of research in the field. No relationship was found between research attitudes and research knowledge, and no significant effects on research knowledge were discerned for education, present position, or research background. Results of this study are discussed in terms of implications and issues to be addressed by academicians, clinicians, and researchers in music therapy. [ABSTRACT FROM AUTHOR]

The article presents a study that assesses the effectiveness of music therapy clinical training of collegiate programs. Surveys were conducted for overall music therapy curricula where results revealed several attitudes among Registered Music Therapists (RMTs) and with the adequacy of pre-internship clinical training and internships, RMTs indicated a greater standardization of clinical training. It notes that music therapy strength lies in the individuality and innovative of its practitioner.

A concern foremost in the minds of music therapists today is related to expanding the job market. One approach to creating leverage with this problem is through use of the "contractual arrangement" by which services of the music therapist are purchased by one contracting agency from another central agency. There are many advantages, as well as some disadvantages which relate to each of the three parties involved (music therapist and the two agencies). The purchase of service concept is however, a viable plan which can be utilized by almost any agency to provide music therapy services where funds for full-time staff are presently unavailable. [ABSTRACT FROM AUTHOR]

The article focuses on the existence of music therapy in a decentralized hospital in Kansas. The Music Therapy Department at Topeka State Hospital occupies a unique position as it conforms the hospital pattern in being decentralized yet it keeps its identity as a separate department. It notes that the Music Therapy Department helps music therapists in their professional growth as well as is responsible for the student training program.