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Introduction: Working with a person living with dementia over the years presents a significant challenge for the music therapist, particularly in determining the appropriate duration of intervention. This challenge is compounded by the evident deceleration process experienced by the person, necessitating a high degree of sensitivity and adaptability from the therapist. Method: This article draws on the author's extensive experience as a music therapist, spanning individual sessions lasting from 6 to 14 years with the same person. Insights gleaned from clinical moments over this duration highlight challenges inherent in long-term therapeutic interventions. Results: The therapeutic relationship developed over the years enables the music therapist to adjust the intervention progressively to the client's evolving needs and remain attuned despite challenges in interpreting the person's responses during severe dementia. Discussion: This reflection emphasizes the relevance of music therapy in providing continuous care for persons with severe dementia, acknowledging the inherent challenges of such interventions. [ABSTRACT FROM AUTHOR]

Introduction: Social media has transformed how music therapists work, with numerous practitioners utilizing the affordances of social media in music therapy practice. So far, music therapy research has been significantly limited regarding the ethical implications of social media use. A better understanding of the ethics of social media use is needed to inform the continuous evaluation of professional ethical guidelines. Methods: We conducted a systematic text condensation of transcripts from one conversational focus group consisting of five participants with diverse connections to music therapy and social media. Results: The results highlight the many ways social media can facilitate both substantial value as well as serious risk in music therapy practice. Through the analysis, it has also become clear that music therapists must make complex considerations in working with social media to maintain a level of responsible practice. Discussion: This study provides (a) insights and experiences from practice gathered in a conversational focus group, (b) discussions exploring the possible value and risks of social media use in music therapy, and (c) implications for practice including a summary of some ethical reflections. [ABSTRACT FROM AUTHOR]

Introduction: Acquired communication impairments (ACIs) can significantly hinder the development and functioning of language and communication in children, impeding their social interactions and self-expression. Music therapy is emerging as a favourable practice in supporting children with ACIs; however, a deeper understanding of the clinical practices of music therapists with this population is required to advance service provision. Method: This study employed an online cross-sectional descriptive survey to investigate current approaches, clinical interventions, and outcome measures used by music therapists working with young children with ACIs to address language- and communication-oriented goals. Fifty-four music therapists across ten countries completed a 16-item online questionnaire. Descriptive statistics and conventional content analysis were used to analyse the data. Results: Respondents demonstrated a notable preference for humanistic and integrative approaches in their clinical practice. Among the diverse range of interventions employed by music therapists, song singing, vocal improvisation, and music and play emerged as the most effective techniques for supporting individuals with ACIs in achieving their communication goals. Additionally, collaborative endeavours with speech and language therapists were considered the most impactful approach to intervention. Respondents also sought alternative non-standardised evaluation methods, driven by a scarcity of suitable measures, to evaluate the effectiveness of their work. Discussion: There exists a high degree of heterogeneity in clinical practices amongst music therapists working with children with ACIs, reflecting diverse backgrounds and approaches. The absence of clear trends or dominant approaches emphasises the necessity for further research to establish evidence-based practices for this population. [ABSTRACT FROM AUTHOR]

The diagnosis of cancer or cardiac abnormalities in infants is often associated with prolonged hospitalization, which can negatively impact caregiver-child bonding due to separation, medical stressors, and changes in the caregiving role. The purpose of this study was to pilot an interdisciplinary psychosocial intervention including songwriting, an expressive journal and activity book, and a bonding assessment. Interventions were facilitated by a board-certified music therapist and Certified Child Life Specialist. A total of 15 families completed the pretest, four intervention sessions, and post intervention test. Quantitative data suggest increased caregiver–child bonding and increased caregiver confidence. Caregivers reported high levels of satisfaction with the intervention in qualitative responses. In summary, results from this pilot study lay the groundwork for a future larger-scale evaluation. [ABSTRACT FROM AUTHOR]

The impact of setting and therapist perspective are explored through the shared experiences of Morgan (a therapy participant), Cheryl (a parent), and Kerry (a music therapist). Undertaken through a series of conversations, the authors identify three themes that reflect differences in the school setting and music therapy clinic where Morgan, a teenager with Down syndrome, participated in music therapy: (1) The structure and expectations of the setting, (2) the values of the setting, and (3) The perspectives of the people working in the setting. Each theme is explored in relation to these two settings, revealing important differences in the experiences and perceptions of each author. Further reflections provide opportunities for readers to consider their own perspectives with regard to music therapy service delivery, particularly in terms of how one aligns with, or is differentiated from, the setting in which they work. Plain language abstract (written by Morgan) This project is about music therapy at school and at the clinic. Readers will learn how music therapy helps Morgan. People, like teachers, should read the project to know Morgan. Music therapists should read the project to be happy and proud. Please go to Appendix A for a plain language summary of the whole article. [ABSTRACT FROM AUTHOR]

The United States Census Bureau suggests that the number of non-English speakers is on the rise, and thus, music therapists may be faced with working with patients who speak different languages, necessitating the need for language interpretation (Dietrich & Hernandez, 2022). In efforts to explore and better understand music therapists' experiences of delivering music therapy services with language interpreters, five music therapists were interviewed in a semi-structured format. Interviews were conducted and analyzed using interpretative phenomenological analysis. Five domains emerged from the data: (a) benefits of working with interpreters, (b) drawbacks of working with interpreters, (c) feelings associated when working with interpreters, (d) potential reasons why music therapists may not work with interpreters, and (e) considerations for music therapists working with interpreters. The findings provide a greater understanding of how music therapists currently work with interpreters, as well as indicate the need for increased education and awareness. [ABSTRACT FROM AUTHOR]

Following completion of formal clinical training, music therapists may choose to seek professional supervision to stimulate and support their professional development. The American Music Therapy Association and Certification Board for Music Therapists assert that music therapists are responsible for seeking supervision when needed. However, no means of accountability for music therapists or standard of training for music therapy supervisors exist. Little is known about the current rate of music therapists' participation in professional supervision or their experiences therein. For this study, a 38-item survey was disseminated to credentialed music therapists. A total of 339 (39%) of 875 music therapist respondents participated in professional supervision; 231 (68%) of those were supervised by a music therapist; and about 100 (43%) of those supervisors used music in supervision. Most participants felt comfortable addressing cultural issues within supervision. Almost 75% of participants believed there should be a formalized training program to become a professional music therapy supervisor, 47% believed there should be a required credential to provide music therapy supervision, and 67% believed music therapists should be required to receive supervision. Concerns about standardizing the supervision process were shared. Recommendations include providing an incentive for participation in supervision, offering accessible options of supervision, and further research into music therapists' needs and experiences in supervision. [ABSTRACT FROM AUTHOR]

By championing the strengths, resources, and resilience of service users and increasing treatment access while limiting costs, single-session therapy (SST) represents a collaborative, direct, and transparent approach to providing treatment. In SST, service users have active and empowered roles in determining the focus, solutions, and extent of the therapy. SST practitioners note that all circumstances, settings, and contexts are unique and thus provide service users with autonomy to help them address the concerns that brought them to seek treatment. In Part II, I describe various ways to implement SST for music therapy clinicians in acute mental health settings. As Carr et al. (2013) noted a need for a music therapy model in acute mental health settings, I highlight Soo-Hoo's (2018) Strength-Based Multicultural Integrative Therapy model as a potential therapeutic framework. To help music therapists apply aspects of SST to their clinical practice, I also provide questions for therapists to use in SST, describe how to conclude SST, provide suggestions for single-session group music therapy and other applications of single-session therapy in music therapy, and conclude with a critical reflection of SST. [ABSTRACT FROM AUTHOR]

Previous research supports music therapy's benefits for addressing acute pain intensity in various populations. However, few studies have investigated music therapy's impact on clinically relevant patient-reported outcomes (PROs) among individuals with chronic pain. Authors held multiple meetings focused on existing theoretical frameworks, published recommendations regarding core outcomes, and their own clinical practice and research among individuals with chronic pain. Recommendations are presented using sickle cell disease (SCD) as an exemplar condition. Music therapists working in hospitals that serve individuals with SCD have a unique opportunity to build therapeutic relationships over multiple hospitalizations and help these individuals develop self-management strategies for addressing chronic pain and improving quality of life. To assess the impact of their interventions, music therapists working with people with chronic pain conditions may benefit from using PROs focused on pain interference, self-efficacy, pain catastrophizing, and physical, emotional, and social functioning. PRO selection should ensure that measures are (a) relevant to the population's specific needs; (b) appropriate to individuals' developmental and health literacy levels; (c) appropriate to individuals' culture, environment, and socio-economic status; and (d) not overly burdensome. According to the Theory of Self-Care Management for SCD, music therapy can serve as a self-care management resource for improving self-efficacy and mediating the relationship between vulnerability factors and health outcomes. Accordingly, it is important for appropriate PROs to be used within practice and research to capture these important domains and improve our understanding of how music therapy can help individuals with chronic pain achieve meaningful outcomes. [ABSTRACT FROM AUTHOR]

Background: Music Therapy (MT) is a non-pharmacological, art-based intervention that employs music experiences within a therapeutic alliance to attend to clients' physical, emotional, cognitive, and social requirements. This is the first study aiming at investigating the impact of MT on the psychological facets of children suffering from cancer. Methods: The study, combining the AQR and m-YPAS assessment tools, evaluated behavioral, sound–musical, and interactive parameters in pediatric oncology patients undergoing MT sessions during hospitalization. Fifty patients admitted to the Paediatric Oncology and Haematology Unit at Policlinico S. Orsola Hospital in Bologna, Italy, were enrolled, irrespective of their treatment regimen. Data collection occurred on the first day of the MT session between 3 p.m. and 5 p.m., with observations conducted by independent observers. In addition to traditional statistical analysis, network analysis was used to explore the combined interactions of all parameters, effectively discerning the distinctive roles played by each one during therapy sessions and their influence on all others. Results: Network analysis highlighted distinct patterns of interactions among parameters during the various sessions, emphasizing the role of positive emotions and a calm setting, the child's ability to take the initiative in sessions, their sense of agency, and the parent's role in guiding them. Significant differences were recorded at each time point between all variables considered. Conclusions: The results of this innovative study may pave the way for future multicenter studies aimed at further exploring the role of MT in children undergoing both curative and palliative treatments for cancer. [ABSTRACT FROM AUTHOR]

In this article, authors present and contextualise findings from a research project examining the experience and impact of participation in an international music therapy student placement for nine Australian music therapists. Research participants reflect on the impact both at the time of the student placement, and subsequently on their professional lives as music therapists. Researchers used qualitative thematic analysis to analyse nine open-ended interviews with the research participants. Themes were articulated over three iterations of analysis and were developed into a series of narratives that reflected various perspectives on key emerging themes. Researchers interpreted five broad areas of learning from the data: Placement structure; challenges and supporting factors on placement; learning opportunities identified within the placement; future impact on individuals; and broader insights for the international development music therapy literature. Learning from across these five areas is considered in relation to the context of international development as an emerging practice area in music therapy. Researchers suggest how key data points may inform future approaches to music therapy practice. A critical lens is used to consider some ethical considerations related to this area of work, and to propose ways that research learning may inform future music therapy practice in international development. [ABSTRACT FROM AUTHOR]

Therapeutic encounters are swathed in writing from referral and consent forms, clinical and process notes, evaluations and assessments to reports. However, there has been very little research into the broader meaning, function and context of writing in music therapy. In this article, I hope to encourage music therapists to think critically about the writing they produce and use in clinical practice. I draw on guidance from professional bodies, theories of memory, phenomenology, existentialism, the psychoanalytic perspectives on language of Lacan and Kristeva and post-modern ideas around the meaning and contextual understanding of a text through the writings of Foucault, Barthes and McLuhan. I encourage more reflexivity regarding the role of the music therapist's self and intersubjective elements within the writing. I ask what influence the act of writing itself exerts on clinical practice and reflect on the role of language and its adequacy for describing the music therapy encounter. I further explore how music therapists contextualise the writing they produce, speculating on some of its functions in relation to the therapist, client and institution. In conclusion, I argue that clinical writing in all its forms potentially has a powerful impact on the therapy process as a whole. [ABSTRACT FROM AUTHOR]

Flexible Assertive Community Treatment provides integrated and community-based support to clients with mental illness and challenges in social functioning. Music therapy has been incorporated into several Norwegian Flexible Assertive Community Treatment teams, but there is limited published research on its outcomes. The Flexible Assertive Community Treatment model is recovery oriented, and the significance of robust relationships with staff members is emphasised. To understand the processes and critical factors in the relationships between service users and their Music Therapist in Flexible Assertive Community Treatment, we addressed the following research question: What characterises the relationship and interaction between the Music Therapist and the service user in the context of Flexible Assertive Community Treatment? Six joint interviews with service users and their Music Therapist were conducted using a dyadic approach. Using reflexive thematic analysis, the characteristics of the music therapy relationship were categorised in three themes; (1) the humanistic, therapeutic relationship, (2) the friendship-like relationship and (3) the musical relationship. The relationship between the service user and the Music Therapist is essential to therapeutic outcome, and links to common factors in therapy. Building relationships with the Music Therapist and the Flexible Assertive Community Treatment team may be a vital step towards social participation for the service user and may be understood as a critical factor towards recovery. [ABSTRACT FROM AUTHOR]

BackgroundMethodsResultsConclusionUnderstanding how music group facilitators work across the health-care continuum has received sparse research attention.An explanatory multiple case study design was used to identify approaches employed by experienced facilitators. Five music facilitators working in contrasting areas of practice were interviewed and video recorded engaging with the same groups at three timepoints.All facilitators demonstrated four common behaviours: applying a consistent structure for each session; creating a positive and relaxing atmosphere for the work; engaging with varying musical repertoire and activities; and offering clear instructions for the participants. Their styles of practice were found to be shaped by their personality, educational background, as well as the size of the group, health conditions, and cultural identities of their music participants.These skilled facilitators showed flexibility, always aiming to accommodate participants’ needs, and revealing new evidence of a common approach to music facilitation across different types of participant groups. [ABSTRACT FROM AUTHOR]

Background: Children and young people with life-limiting conditions and their families need physical and emotional support to manage the challenges of their lives. There is a lack of synthesised qualitative research about how music therapy is experienced by children, young people and their families supported by paediatric palliative care services. Aim: To systematically identify and synthesise qualitative research on experiences of music therapy in paediatric palliative care from stakeholder perspectives. Design: A Qualitative Evidence Synthesis was conducted using Thematic Synthesis. The review protocol was registered in PROSPERO (registration number: CRD42021251025). Data sources: Searches were conducted with no dates imposed via the electronic databases PsycINFO, MEDLINE, EMBASE, AMED and CINAHL in April 2021 and updated in April 2022. Studies were appraised for quality using the Critical Appraisal Skills Programme tool (CASP). Results: A total of 148 studies were found, 5 studies met the eligibility criteria reporting the experiences of 14 mothers, 24 family members and 4 staff members in paediatric palliative care. There were five overarching themes: emotional and physical reprieve, opportunity for normalised experiences, thriving despite life limited condition, enhance family wellbeing and therapeutic relationship central to outcomes. Conclusion: Music therapy provides unique benefits for this paediatric population particularly in supporting child and family wellbeing. The therapeutic relationship, interpersonal skills of the therapist and experience in paediatric palliative care are perceived as central to these positive outcomes. [ABSTRACT FROM AUTHOR]

Many music therapists propose that chaos, such as destructiveness and disintegration, could thwart music therapy group processes and should be minimised or resolved. From a paradoxical approach, however, chaos is understood as a transformative complement to ordered, formative music therapy experiences. The research in this paper explored how music therapists and adolescents could engage with chaos as a resource in music therapy groups. From a paradoxical approach, the music therapist--researcher facilitated two short-term group music therapy processes with nine young South Africans from under-resourced and often violent communities, referred for committing offences. The researcher utilised crystallisation, including constructivist grounded theory, participatory action research, and abduction, to analyse how group members could engage with chaotic group experiences. Findings, constructed through a cyclical process of data collection, analysis, and inclusion of group feedback, are presented in a matrix. The matrix shows how groups could utilise chaos to explore multiple possibilities for responding to challenges. They expressed themselves courageously and played unconventional group roles through their musicking and participation. They juggled paradoxical tensions between observational and active, integrative and disintegrative, engagement styles. This supported their transformation in the group, and potentially within the chaotic South African context. Music therapists can use the matrix to support adolescents in music therapy groups to engage with chaos as a transformative resource. They can accompany young people through offering holding, resources and collaborative support. When it is safe, music therapists may allow or encourage chaos that empowers adolescents to cope with challenges independently. [ABSTRACT FROM AUTHOR]

ABSTRACT: Given the limited literature on the specific termination practices of music therapists in multiple clinical settings, clinicians were asked to participate in open-ended interviews to address the following research questions: What are the current termination practices of music therapists? What types of termination practices might they describe? and What processes do they move through in their termination practices? Thematic analysis of the interview data was used to identify several themes, one of which is described in the present paper: clinical intentions. Four clinical intentions are described in the results: preparing the person for termination, considering the person's context, framing the therapeutic structure, and implementing the termination process. Comparison of the results to the termination-related music therapy literature showed that general guidelines for termination are not universally applicable. A model for self/peer-supervision and decision-making for termination was presented for three purposes: (a) to provide an approach for students and clinicians to consider the specific termination-related circumstances in which they find themselves, (b) to provide an approach for them to consider how they might most effectively attend to the needs of the persons they serve, and (c) to provide an approach for them to consider their own needs for self-care. [ABSTRACT FROM AUTHOR]

Centered in the Scholarship of Teaching and Learning, we describe and reflect upon student and teacher experiences of an undergraduate music therapy course in which students are introduced to two core clinical perspectives derived from the music therapy literature: decision-making and case formulation. Guiding the reader through four interrelated course phases, we discuss key content areas, challenges students encountered, and the ways the course instructors engaged with and worked through these challenges. Key learning outcomes are identified, specifically focusing on the importance of 1) teaching multiple perspectives early in a music therapy curriculum, 2) prerequisite knowledge, 3) musical competence, and 4) an integrated curriculum. In doing so, we advocate for an integral perspective to clinical practice, through which students develop the ability to locate themselves and shift perspectives in service of their clients. [ABSTRACT FROM AUTHOR]

The study aimed to determine the study feasibility of a weekly virtual community-based choral singing program and to explore the impact of weekly choral singing on resilience, anxiety, and benefit finding in cancer survivors. Six participants were recruited from the Survivorship Choir (SC), led by a board-certified music therapist and affiliated with a cancer center. Study participants attended their standard 90-minute rehearsals, which were conducted virtually because of COVID-19 pandemic restrictions. Researchers followed participants over eight weeks, collecting data at weeks one and eight. Five self-report instruments were used and included a researcher-designed Demographic Form. The Connor-Davidson Resilience Scale (CD-RISC-10) is a 10-item questionnaire assessing participants' resilience. The PROMIS: Emotional Distress-Anxiety Scale measured participants' anxiety levels, and the Carver Benefit Finding Scale assessed participants' benefit finding levels. The participant Feedback Form, designed by the researchers, assessed the study's feasibility and effectiveness. High attendance and completion rates demonstrated the study's feasibility. Choral singing led to a statistically significant increase in resilience (W = 0.00, p =.036, r rb = -1.00) between baseline (M = 28.33, SD = 7.20) and week 8 (M = 33.83, SD = 4.88), demonstrating a large effect. While not significant, anxiety and benefit finding trended in a desirable direction with large effects. The present study format was feasible during the COVID-19 pandemic. The study showed that community-based choral singing, even in a virtual format, may positively affect cancer survivorship by increasing resilience and benefit finding and alleviating anxiety. [ABSTRACT FROM AUTHOR]

To support student learning about clinical music therapy termination processes, a qualitative research method was used to address three research questions: (a) What are the current termination practices of music therapists from multiple clinical settings? (b) What types of termination practices might they describe? and (c) What processes do they move through in their termination practices? Forty-six music therapists were interviewed about their experiences of clinical termination in music therapy. They described 134 termination scenarios that took place in 18 different types of clinical settings. Inductive thematic analysis of the scenarios identified several themes, one of which is addressed in this paper: termination types. Nine types of termination processes are described in the results. The types were described using the salient features of the termination scenarios. Identifying termination types in this way has the potential to provide students and clinicians with ways to think critically and creatively about what it means to effectively terminate a therapeutic relationship and about what effective termination can look like in different clinical settings. [ABSTRACT FROM AUTHOR]

Music therapy is by nature an interdisciplinary profession, focusing on the triangulation of the client, the therapist, and the music. This complex relationship creates the necessity for specialized supervision practices. As part of the training for this profession, it is required that students are supervised by board-certified music therapists during practicum placements. Music therapy supervision has incorporated theories grounded in the field of psychology to inform supervision practices. However, recent work in the field suggests Appreciative Education theory may be a more useful approach for supervision. Appreciative education is "a framework that provides an intentional and positive approach to bettering educational enterprises by focusing on the strengths and potential of individuals and organizations to accomplish co-created goals" (Bloom, J. Hutson, B. He, Y. & Konkle, E. 2013). Appreciative education. New Directions for Student Services, 143, 5–6). This paper discusses examples of the appreciative education approach and how to best integrate these practices within the context of undergraduate music therapy supervision. For this article, the primary approach discussed will be the 6D framework developed (Bloom, J. L. Hutson, B. L. & He, Y. (2008). The appreciative advising revolution. Stipes Publishing). The purpose of this practical application is for music therapy supervisors to integrate this framework into their supervisory practices. [ABSTRACT FROM AUTHOR]

Twelve music therapists working in a range of settings throughout the United States were interviewed and asked to recall harmful events they experienced during music therapy sessions. In total, 61 harmful or potentially harmful events were described and subsequently analyzed using procedures consistent with qualitative content analysis. Four categories emerged that characterized these harmful events: (1) emotional harm, (2) physiological harm, (3) physical harm, and (4) relationship harm. Within each of these categories, therapist self-awareness, clinical decision-making, and clinical competence are discussed. The findings suggest a need for increased awareness of the potential for harm in music therapy clinical practice, increased education for students and new professionals entering clinical training/practice, as well as additional research exploring the ways music therapists may define, navigate, and prevent harm. [ABSTRACT FROM AUTHOR]

Music therapy has a long history in France. However, little is known about music therapists working in medical settings and how they perceive their role and status. This study aimed to address this need. A survey was emailed to the 315 music therapists in France registered with either of the two main professional music therapy organizations. Respondents who reported working in medical settings within the last five years were asked to complete the survey. Descriptive statistics were used to analyze their demographic data, employment status, clinical practice information, and perceptions regarding their role and status. Eighty-four respondents were included in the data analysis. Findings showed that nearly 30% of the respondents had to persuade their medical facility to offer music therapy services. Over half of the respondents (57%) received medical training as part of their degree requirements. On average, the respondents worked 14 hours per week, and this was mainly in residential care facilities with patients with neurodegenerative disorders. Respondents strongly agreed that a music therapist's role includes assessing patients, setting treatment goals, reporting progress, and communicating with the medical team. However, respondents stated that their status and role remained unclear to their medical colleagues. Despite promising advancements in the field of music therapy, in France the profession lacks the full support and recognition of the medical community. Additional efforts in the areas of medical training and systematic evidence-based practice are needed to improve the status of music therapists in France and elsewhere. [ABSTRACT FROM AUTHOR]

Introduction and aims: Czech music therapists lacked the skills and knowledge to adapt their practice to virtual music therapy (VMT) at the beginning of the COVID-19 pandemic, when physical contact was restricted. The aims of this project were to implement the best evidence-based recommendations concerning VMT in the practice of Czech music therapists and increase the number of therapists using VMT. Methods: The project used the JBI Evidence Implementation Framework to promote change in the practice of participants. A baseline audit of 26 practitioners was conducted using questionnaires and interviews. The audit criteria consisted of 8 best practice recommendations, followed by the implementation of targeted strategies and a follow-up audit. Results: Of the 26 music therapists, 18 began practicing VMT following the rollout of the implementation strategies. Strategies included educational workshops, instructional materials, technological support, individual counseling, and interactive training sessions. There was an increase in compliance with all audit criteria. The most critical barriers were lack of knowledge about VMT and lack of technical skills; lack of resources; technological challenges; low confidence of music therapists to provide VMT; and reduced need for VMT after the lockdown restrictions were relaxed. Conclusions: The implementation project helped to overcome temporary pandemic restrictions, increase the quality of VMT practice, develop strategies for VMT training, and identify reasons for using VMT during the pandemic and beyond. [ABSTRACT FROM AUTHOR]

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This article considers the experiences and learning of the author during a year-long music therapy trainee placement at a drop-in centre for adults with disabilities. The context and setup of the placement are outlined and the author discusses how his approach was influenced by ideas taken from community music therapy literature. The article then focuses on how music therapy supported Shona, a woman with cerebral palsy, to access her community. The journey of Shona and the trainee Music Therapist is depicted as a joint pathway encompassing individual sessions, group work and performance; insights and reflections from the trainee's tutors are discussed and the work is conceptualised in three stages. The affordances and limitations of iPad technology (with 'Thumbjam' software) are also discussed. The author reflects on the frustration he felt at different stages of this journey, where the advice of his tutors seemed to contradict each other. He concludes that there is no 'right' answer, only additional perspectives in a continual process of finding new ways to take the work forward. Shona's story and her real name are used with her informed consent. [ABSTRACT FROM AUTHOR]

Introduction: Hospitalization may have a major impact on older patients as it is often a period of psychosocial vulnerability. Music is one of the most described art forms used in healthcare. Applied in clinical settings, it can affect a patients' emotional and psychosocial well‐being. Incorporating a wider perspective of health promotion that aims to advance not only physical health, but a patients' overall well‐being, is part of a person‐centred approach to care. We developed an innovative participatory music practice in which professional musicians and music therapists visited patients at their bedside for 10–15 min in a Dutch and Austrian hospital. This qualitative study explores the added value of live bedside music practice for older hospitalized patients in Austria and the Netherlands. Methods: Semi‐structured interviews were conducted between October 2020 and February 2022 with 23 hospitalized patients aged ≥60 years. Due to the COVID‐19 pandemic, the music sessions in Austria were facilitated by establishing a live connection between musicians and patients using a tablet. Data were transcribed verbatim and performed qualitative content analysis following the steps of thematic analysis. The COnsolidated criteria for REporting Qualitative research (COREQ) checklist was applied to report data collection, analysis and results. Results: Four themes emerged from the data analysis. Participants described the perceived influences of live bedside music in terms of (1) emotional release, (2) positive distraction, (3) alterations in contact and (4) shared humanity. Overall, participants positively valued the live bedside music practice and expressed a desire for its continuation. Conclusion: This study explores the experiences and the added value of live bedside music for older hospitalized patients. By facilitating distraction and emotional release and enhancing nurse–patient interactions, live bedside music can significantly improve hospital experiences for older patients. Results reveal that live bedside music provides a positive patient experience and can be part of integrative and holistic care for hospitalized older patients. Live bedside music can attend to the emotional needs of older patients which are often under addressed in clinical settings but are crucial for enhancing their well‐being. [ABSTRACT FROM AUTHOR]

Music therapy is actively used with early adolescents in relation to their emotional skill development. Yet, the conceptualization of emotional skills is typically not systematically addressed in therapeutic practice. This study examined music therapists' views on the progress of emotional skills when working with early adolescents with mental health conditions. The study also explored what kind of methods the therapists use with the target group, and the applicability of a previously published conceptual model. We conducted a deductive-inductive content analysis of transcripts from four focus group interviews among 13 professional music therapists. The therapists concluded that the progress of the emotional skills of their clients can be seen both in daily functioning as well as the client's functioning in therapy. The selection of therapy methods was broad and included both music-based and non-music-based methods. Therapists considered the presented conceptualization of emotional skills to be valid, but had difficulty examining their practices using all levels of the model. Several practical features were identified that were considered beneficial for the therapists in clinical practice. This study adds to knowledge about the progress of emotional skill development, working methods, and useful perspectives for working on emotional skills in early adolescents with mental health conditions. The conceptual model of emotional skills can offer a tool for helping music therapists define, observe and analyse emotional skills in the therapy context. [ABSTRACT FROM AUTHOR]

Two approaches to assessment and treatment planning, case formulation and decision-making, are presented and compared in order to consider what each bring to music therapy clinical practice. Case formulation processes are compared with decision-making processes to illuminate the differences inherent to each approach. Special attention is given to differences related to data collection, use of theory, therapist expertise, client collaboration, context, and power. Clear differences in these two assessment and treatment planning processes emerge, particularly in the ways in which the client is understood, the ways in which the client's needs are contextualized and the ways in which they might be engaged as collaborators in the therapy process. Considering these two different perspectives offers opportunities for music therapists to reflect on how they position themselves in relation to clients – particularly in terms of the extent to which power, desire, collaboration, and equity are realized within the therapeutic relationship. The context in which therapy takes place is also considered differently in each approach, and this has implications for the way the client's needs are understood. When considered as a whole, this article invites further discussion about how music therapists conceptualize the personhood of clients, and how this impacts the way therapy unfolds. [ABSTRACT FROM AUTHOR]

The purpose of this study was to examine high school music teachers' knowledge of music therapy, interest in music therapy, and career recommendations for music therapy relative to other music careers. High school music teachers (N  = 65) from one southeastern state completed a researcher-designed survey instrument designed to investigate these areas. Results indicated varied levels of knowledge about music therapy, although teachers who previously attended institutions that offered music therapy degree programs provided higher knowledge ratings than those who had not attended institutions with music therapy programs. Additionally, participants reported a relatively high interest in music therapy and a willingness to promote it as a career to their students. Participants reported that they were most likely to recommend music education as a career to their students, followed by music performance and music therapy. In response to open-ended questions, participants indicated that they believed personal characteristics were the most important qualities of prospective music therapists and that musical characteristics were the most important qualities of prospective music educators. They also expressed an interest in more information about music therapy, especially related to job characteristics. Implications of these findings and suggestions for future research are discussed. [ABSTRACT FROM AUTHOR]

Music therapy is a newer profession within hospice, with limited evidence of other disciplines' perceptions of a music therapist's role in hospice care. The purpose of this study was to examine if perception differences exist between music therapists and interdisciplinary team (IDT) members regarding how 25 job tasks related to the music therapist's role within a clinical interdisciplinary hospice team. Two groups consisting of board-certified music therapists (MT-BC) and IDT members completed an online Qualtrics survey to rate how 25 job tasks were perceived to pertain to the music therapist's role in hospice care. A two-way mixed ANOVA indicated the significant differences between the 2 groups for 13 of the 25 tasks, suggesting less understanding of an MT-BC's role within a hospice IDT. For the 13 tasks perceived significantly different, a one-way ANOVA was run and indicated significant between discipline perceptual differences for nine of the 13 tasks. Qualitative statements indicated contracted and employed MT-BCs experienced similar perceived barriers of IDT colleagues lack of understanding music therapy and the MT-BC not being able to attend IDT or participate regularly. Overall, required IDT groups' qualitative statements were positive, with the most common responses across disciplines indicating that MT-BCs elicited positive responses from patients and caregivers, provided a distraction from pain or agitation, and increased patients' quality of life. The current study's outcomes highlight the need for music therapists to provide more education to colleagues regarding a music therapist's role in the hospice setting. [ABSTRACT FROM AUTHOR]

The majority of South Africans use both traditional and Western healthcare services. Although traditional healers have long since recognized and utilized the healing power of music, music therapy as a profession in this country is largely aligned with Western medical approaches, as it is regulated by the Health Professions Council of South Africa. This alignment leaves little recognition to traditional health practitioners. In the current study, we explored music therapists' and traditional healers' perceptions of their roles and relationships with each other in South African healthcare with the hope of initiating dialogue. Four traditional healers (TH) and four music therapists (MT) participated in interviews within this multiple case study, and thematic analysis was used to interpret the data. We identified eight overarching themes that appeared most salient to the music therapists and traditional healers (framed from their perspectives): (1) Both our practices support wellbeing, with music as a tool; (2) We both seek to enhance general well-being, but with different specializations; (3) We both focus on relational connection; (4) We both emphasize the importance of culture; (5) THs emphasize spirituality; (6) We hold curious, yet cautious regard for each other's practices; (7) MT may aid in addressing psychosocial needs in South Africa; and (8) We both welcome a pluralism of approaches. Both groups of practitioners envisioned a future healthcare system that embraces multiple modalities while reflecting on the need to engage in issues related to boundaries of scopes of practice. They highlighted the need for greater trust between practitioners from different approaches to serve a diverse population better. [ABSTRACT FROM AUTHOR]

Genre-bending is an evolving term that indicates the tendency for musical and cultural elements to interact with each other, often defying previously established genre distinctions. Evolutions of technology have expanded the way music is both created and consumed, and together with globalization, has shaped the development of a global music landscape. Hybrid elements and dynamics of music and culture have important implications for the development and exchange of musical identities outside of and within music therapy. In this article, there is a brief review of the digitalization of music technology related to consumers and curators. We highlight how digitalization and globalization have increased access through media democratization and afforded a global digital agency. This agency is explored with both the access and engagement of consumers, and the impact on curation by music creators. Those introductory elements are used for grounding the article's main idea of genre-bending; including what it is, the ways it functions in popular music today, sociocultural and relational elements, and implications for music therapy. As part of this discourse, we highlight how the global music landscape has encouraged diverse music tastes and normalized inclusive engagement, and the subsequent importance of understanding individuals as being situated through multicultural music personhood. These shifts shape the intersubjective meaning making between therapist and client, impacting musical identities. The article concludes by delving into the ways these realities influence how music therapists hold space for curation, clients' resources, and cultural assets through hybrid therapeutic dynamics. [ABSTRACT FROM AUTHOR]

The concept of self-care for music therapists is not a new topic in the literature, yet music therapy students' perspectives have largely been excluded from formal discussions and research studies. For this reason, this study aimed to examine music therapy students' conceptualizations of self-care and identify practices that students frequently engage in for self-care. As part of a national survey, music therapy students currently enrolled in an academic degree program for music therapy within the United States defined self-care and identified up to three of their most frequent self-care practices. We analyzed the student self-care definitions and self-care practices using inductive content analysis. Two primary categories emerged from the student definitions—the Act of Self-Care and the Desired Outcomes of Self-Care—with several more detailed subcategories. Additionally, we grouped participants' most common self-care practices into 10 categories and identified two emergent areas for exploration: self-care practices done with others/done alone and engaging in self-care practices that intentionally do not involve anything related to academics/coursework/clinical work. Together, these findings indicate that students' conceptualizations of self-care and their self-care practices have similarities and differences with music therapy professionals' perspectives and practices. We discuss these findings in depth and provide recommendations for future self-care discussions that emphasize the need to prioritize students' perspectives and to expand conceptualizations of self-care to include contextual and systemic impacts and factors that influence the individual self-care experience. [ABSTRACT FROM AUTHOR]

Improving the well‐being of children has been widely discussed, yet research‐exploring strategies aimed at improving this in school‐based settings is still an emerging field of research. This mixed methods study investigated the impact of a singing intervention on the subjective well‐being of a class of 27 children aged 8–9. Over the course of 2 weeks, the class took part in 20 minutes of daily group singing with a focus on learning popular music that they chose. The sessions were delivered by a generalist primary teacher who had previously worked as a music specialist. In measuring children's subjective well‐being with emphasis on life satisfaction, the 'Student's Life Satisfaction Scale' was administered to the children pre‐ and post‐intervention. Of the 27 children, four (identified as disadvantaged) were interviewed as part of a focus group at the end of the intervention and questions centred around the children's opinions and enjoyment of the intervention. Results indicated that there was a much lower proportion of children with low subjective well‐being scores after the intervention than before the intervention (as measured by the SLSS questionnaire). Analysis of the Likert scale data showed a 'medium' (d = 0.5) effect size. Thematic analysis of the focus group revealed that singing had a broadly positive effect on the well‐being of those children, which is consistent with findings found in similar trials involving adults. Links to the theoretical framework of 'flow' by Csikszentmihalhi (1975) are drawn, alongside the PERMA well‐being framework model (Seligman, 2012) to help explain the effects of being engrossed in an enjoyable activity such as group singing and how this in turn can impact subjective well‐being. [ABSTRACT FROM AUTHOR]

While recovery has been highlighted as a prime aspect in the flexible assertive community treatment (FACT) model, research on the application of this model in Norway suggests that there is still a potential for providing service users with better participation in the local society. Music therapy has been highlighted as a form of intersubjective activity that is relational and can promote empowerment and personal recovery. The social aspect of recovery has been highlighted in recent years, and this article explores how music therapy, offered through FACT, may support social recovery for service users. The research design was that of a qualitative interview study. Six semi-structured, joint interviews were conducted with FACT service users and their music therapist. Using reflexive thematic analysis, the main theme music therapy as social recovery was generated, with four relating sub-themes: musicking as activity, musicking as social handcraft, musicking as togetherness, and musicking as network. Using the framework of social recovery, this article discusses the potential of music therapy within FACT as a collaborative activity that can provide recovery capital – including social and musical capital – and potentially contribute to social recovery. [ABSTRACT FROM AUTHOR]

Music therapy practice and research in the field of autism has often followed medical narratives that reinforce neurotypical normalcy by locating the difficulties of social interaction in the autistic person. By exploring the relational phenomenon of attunement, this paper focuses on the social and material ecology of interactions. The authors try to unpack circumstances that can support or hinder attunement dynamics between autistic and non-autistic people. A video-vignette from music therapy with an autistic boy, who explores the sound of building blocks formed the point of departure for this research. The vignette was self-identified by the music therapist as an apparently failed attunement experience. Based on this vignette, we conducted an interview with the therapist and focus groups with parents of autistic children and colleagues from different professions, one of whom is autistic. We used an interpretative hermeneutical methodology for crystallisation of perspectives. We uncovered four spaces that impacted on the mutuality and co-creation of attunement dynamics. The room (physical space), the school context (professional space), and the material (sensory space) afford the interaction (relational space) between the child and the therapist in enabling and disabling ways. Listening to the child's sound making with the building blocks was identified as the autistic child's way of knowing and sounding that needs to be listened to carefully, rather than being questioned or disregarded. Findings of this research might encourage therapists to foster an understanding of social interaction that is mutually co-constituted and enactive, and that contradicts the mainstream pathologisation of autism. [ABSTRACT FROM AUTHOR]

Research in music therapy and autistic people to date has predominantly focused on communication and social interaction outcomes. The purpose of this exploration was to explore the lived experiences of young autistic adults in Nordoff-Robbins Music Therapy. To our knowledge, the body of research that seeks to understand participants' perspectives regarding their experiences of music therapy and the goals they want to pursue is limited. Four autistic young adult men who had received at least 6 months of Nordoff-Robbins music therapy services at the Nordoff-Robbins Center for Music Therapy at New York University participated in this study. Each participant engaged in four to five interview sessions to share their experiences of Nordoff-Robbins Music Therapy and the role it plays in their life. Interviews were analyzed using the IPA method. A summary of the results was shared with each participant to ensure sensitivity to and accuracy of their lived experiences. Three themes emerged from the analysis: (1) Participants attend Nordoff-Robbins music therapy to develop their musicianship and personal selves; (2) participants create meaningful relationships with their peers, music therapists, and music; and (3) participants bring their sociocultural identities into music therapy sessions. Participants' responses led to a critical reexamining of "the music child", challenging music therapy research and practice agendas of normalizing autistic social and communication behaviors, and suggest the need for more research that collaborates and centers the autistic community. [ABSTRACT FROM AUTHOR]

People in rural communities often encounter unique circumstances when accessing healthcare services and there is a lack of literature investigating music therapy in rural areas. Since nearly 20% of the United States population lives in rural areas, it is imperative to understand not only barriers in providing and accessing music therapy but potential solutions to these challenges. Therefore, the purpose of this exploratory interpretivist study was to identify barriers and potential solutions to improve music therapy access in rural communities within the United States. We conducted semi-structured interviews with five board-certified music therapists with experience working in rural communities. We used an inductive approach to thematic analysis to analyze data and incorporated member checking and trustworthiness to clarify and verify results. We identified five themes (supported by 13 subthemes): (1) General differences between rural and urban communities; (2) Factors potentially increasing therapist burnout; (3) Factors inhibiting service user access to music therapy; (4) Potential solutions to increase access; and (5) Methods to reduce therapist burnout. The emerging themes and subthemes describe insights into the experiences of music therapists working in rural communities and identify unique challenges as well as potential methods to mitigate barriers. Implications for clinical practice, limitations, and suggestions for future research are provided. [ABSTRACT FROM AUTHOR]