First

Music Therapy
Today
WFMT online journal
Volume 13, No. 1
Special Issue
Proceedings 15 World Congress of Music Therapy
2016 WFMT. All rights reserved. ISSN: 1610-191X
Proceedings of the 15th WFMT World Congress of Music Therapy. Tsukuba/Japan. July 4-8, 2017
Suggested Citation of this Publication
Author A. A., Author B, B., & Author C. C. (2017). Title of arti-

cle. In M. Mercadal-Brotons & A. Clements-Cortes (Eds.). Pro-
ceedings of the 15 World Congress of Music Therapy. Special
Issue of Music Therapy Today 13(1), pp-pp. Retrieved from
http://musictherapytoday.wfmt.info
2
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are those of the authors of the respective articles and not ne-
cessary those of editors, proofreaders, or the World Federa-
tion of Music Therapy (WFMT). Consequently, we assume no
liability or risk that may be incurred as a consequence, directly
or indirectly, of the use and application of any of the contents
of this publication.
Fos this special issue authors have prepared their own ma-
nuscripts attending to content, grammar, language fluency,
and formatting. Any errors may be duscussed with the au-
thors.
3
Proceedings
15 World Congress of Music Therapy
Tsukuba, Japan. July 4-8, 2017
Edited by
Prof. Dr. Melissa Mercadal-Brotons, PhD, MT-BC, SMTAE
Prof. Dr. Amy Clements-Cortes, PhD, RP, MTA, MT-BC, FAMI
Profreaders
Annie Heiderscheit, PhD, MT-BC, LMFT
Michael Silverman, PhD, MT-BC
Anita L. Gadberry, PhD, MT-BC/L
Ms. Helen Oosthuizen, MMus
Ms. Elsa Campbell, MA
Cover and Graphic Design

Editorial Médica Jims, S. L.
Published by
World Federation of Music Therapy
www.wfmtinfo.com
Music Therapy Today, ISSN 1610-191X
Sponsored by:
4
CONTENTS
SPECIAL ISSUE. CONGRESS PROCEEDINGS
15 World Congress of Music Therapy. Tsukuba, Japan.
CONGRESS ORGANIZER NOTE

GREETINGS FROM THE CONGRESS ORGANIZER ..... 31
Michiko Kato
CO-EDITORS NOTE
MOVING FORWARD AND INSPIRING THE NEW GENERATION OF MUSIC THERAPISTS ..... 32
Amy Clements-Cortes and Melissa Mercadal-Brotons
PRESENTATIONS
AFRICA
CREATING CONNECTIONS: EXPLORING THE IMPACT OF THERAPEUTIC CAREGIVER

SINGING ON THE ELDERLY WITH DEMENTIA AT A RESIDENTIAL ELDERLY CARE
FACILITY IN SOUTH AFRICA ..... 35
Karyn Stuart
AUSTRALIA-NEW ZEALAND
MUSICAL RECOVERY: REGAINING HEALTHY RELATIONSHIPS WITH MUSIC

DURING MENTAL HEALTH RECOVERY ..... 38
Jennifer Bibb
5
A FUTURE OF MUSIC THERAPY RESEARCH AND PRACTICE IN THE TREATMENT

OF EATING DISORDERS ..... 40
Jennifer Bibb, Annie Heiderscheit, Ingvild Stene and Gro Trondalen
GENERATE INCOME AND SHARE YOUR EXPERTISE AS A MUSIC THERAPY

ENTREPRENEUR ON MUSIC THERAPY ONLINE ..... 42
Jacinta Calabro
SUPPORTING HEALTHY AGEING AND MANAGEMENT OF AGE RELATED DISEASE

IN AUSTRALIA ..... 44
Imogen Clark
MUSICAL MEMORIES: CONNECTING PEOPLE WITH DEMENTIA AND THEIR FAMILY

CAREGIVERS THROUGH SONG ..... 46
Imogen Clark, Jeanette Tamplin, Claire Lee and Felicity Baker
CONSULTING THE FUTURE: THE VALUE OF SHORT-TERM PROGRAMS

AND CONSULTANCY IN MUSIC THERAPY ..... 48
Romy Engelbrecht and Alice Parkhill
COLLABORATIVE SONGWRITING WITH CHILDREN IN THE HOMELESSNESS

AND FAMILY VIOLENCE CONTEXT ..... 50
Rebecca Fairchild
INTERNATIONAL PERSPECTIVES ON MUSIC THERAPY IN CHILD WELFARE ..... 52

Rebecca Fairchild, Philippa Derrington, Jinah Kim, Viggo Krüger, Stine Jacobsen
and Michael Zanders
LESSONS LEARNT IN PAEDIATRIC NEUROLOGICAL REHABILITATION ACROSS

THE GLOBE ..... 54
Michelle Fisher
USING MUSIC THERAPY RESEARCH TO PROMOTE SOCIAL EQUITY AND ACCESS

IN HEALTHCARE ..... 56
Lucy Forrest
WHAT’S THAT SOUND? TELE-INTERVENTION MUSIC THERAPY

FOR YOUNG CHILDREN WITH HEARING LOSS ..... 58
Allison Fuller and Roxanne McLeod
BRINGING CREATIVE ARTS AND NON-VERBAL KNOWINGS TO THE EXPERIENCE

OF SUPERVISION ..... 60
Jeanette Kennelly and Tania Balil
THE COLLECTIVE MUSIC THERAPY PODCAST: INNOVATIVE APPROACHES

TO TRANSLATING AND COMMUNICATING PRACTICE ..... 62
Asami Koike and Matthew Lewin
6
MECHANISMS OF CHANGE IN SELF-CONCEOT AND WELLBEING FOLLOWING

A SONGWRITING INTERVENTION FOR PEOPLE IN EARLY PHASE OF
NEUROREHABILITATION ..... 64
Young-Eun C Lee, Felicity A Baker and Jeanette Tamplin
DIFFERENT LIVES DIFFERENT TRUTHS, A COLLABORATIVE MUSIC PROJECT

FOR MENTAL HEALTH PROMOTION ..... 66
Jeanette Milford
MUSIC AND ART THERAPY COLLABORATIONS IN ACUTE PAEDIATRICS ..... 68

Lauren Miller, Jo Rimmer, Michelle Dixon, Matilda Dawson and Amy McKay
THE EXPERIENCE OF SPEECH PATHOLOGISTS WORKING WITH MUSIC THERAPISTS

TO FOSTER SPEECH AND LANGUAGE DEVELOPMENT FOR CHILDREN
WITH HEARING IMPAIRMENTS ..... 70
Crystal Moloney
DIFFERENTIATED SELF AND INTEGRATED SELF IN IMPROVISATIONAL MUSIC THERAPY

ON AN INDIVIDUAL-COMMUNAL CONTINUUM: THE CLIENTS’ EXPERIENCE
FROM THE CLIENTS’ AND THERAPISTS’ POINT OF VIEW ..... 72
Izumi Nago
THE BIG PICTURE: THE GLOBAL SOUNDTRACK TO GROWING MUSIC THERAPY

IN DEMENTIA CARE ..... 74
Alice Parkhill and Romy Engelbrecht
SINGING FOR WELLBEING IN A NEW ZEALAND SCHOOL SEVERELY AFFECTED BY

EARTHQUAKES ..... 76
Daphne Rickson, Robert Legg and Dianna Reynolds
EFFICACY OF PARKINSONG GROUPS FOR IMPROVING

COMMUNICATION AND WELLBEING IN PARKINSON’S DISEASE ..... 78
Jeanette Tamplin, Adam Vogel, Caterina Marigliani, Felicity A Baker,
Jane Davidson and Meg E Morris
MUSIC THERAPY WITH YOUNG CHILDREN ON THE AUTISM SPECTRUM:

PARTNERSHIP WITH PARENTS ..... 80
Grace Thompson
EASTERN MEDITERRANEAN
THE ONLINE CONFERENCE FOR MUSIC THERAPY:

SUPPORTING INTERNATIONAL COLLABORATION AND ONLINE EDUCATION ..... 83
Aksana Kavaliova-Moussi and Faith Halverson-Ramos
7
EUROPE
THE EFFECTS OF MUSICAL ATTENTION CONTROL TRAINING (MACT)

IN RESIDENTIAL YOUTH CARE ..... 85
Tom Abrahams
CHILD MUSIC PSYCHOTHERAPY AS A CONTINUUM OF DEVELOPMENT:

THEORY AND PRACTICE ..... 87
Sami Alanne
MIXIS: A WEB PLATFORM TO DOCUMENT AND

CAPITALIZE THE MUSIC THERAPY ACTIVITIES ..... 89
Fabio Circelli and Grazia Parente
MUSIC INTEGRATION GROUP FOR REFUGEE MOTHERS AND

CHILDREN SEEKING ASYLUM IN SWEDEN ..... 91
Dale Copans Åstrand
MUSIC THERAPY IN GERIATRICS: A TARGET GROUP SPECIFIC NEEDS ANALYSES ..... 93

Biljana Vrancic Coutinho, Michael Kessler, Dorothee v. Moreau, Alexander F. Wormit,
Carsten Diener and Thomas K. Hillecke
LULLABIES IN THE WORLD LINEAR ANALYSIS OF MELODY, RHYTHM AND

HARMONY FOR APPLICATION IN MUSIC THERAPY ..... 95
Silvio L. Feliciani and Rosa Caringella
MUSIC THERAPY ACADEMIA AND PRACTICE IN ITALY ..... 97

Silvio L. Feliciani and Massimo Magri
EMBODIMENT AND PSYCHODYNAMIC MOVEMENT IN MUSIC THERAPY

ACADEMIC TRAINING – A WORKSHOP ..... 99
Eva Frank-Bleckwedel
“WIRED BY MUSIC” – A PILOT STUDY ON THE EFFECTIVENESS OF

MUSIC THERAPY IN DEPRESSIVE ADOLESCENTS ..... 100
Josephine Geipel, Thomas Karl Hillecke, Peter Parzer, Franz Resch and Michael Kaess
MUSIC. MATTER. MAKING: TOWARD A MUSIC THERAPY BEYOND THE HUMAN ..... 102
Simon Gilbertson
HUMOUR IN MUSIC THERAPY: IMPROVISING CHANGE ..... 104

Nicky Haire
ENCOUNTERS ON STAGE: EXLORING EMBODIED EMPATHIC IMPROVISATION

AS PERFORMANCE ..... 106
Nicky Haire, Philippa Derrington, Vicky Karkou and Suzi Cunningham
8
STORYCOMPOSING IS ON A NEW PATH FOR PERSONS WITH DEMENTIA ..... 108

Hanna Hakomäki and Leena Tuomisto-Saarikoski
MUSIC THERAPY IN GERIATRICS:

A TOOLBOX OF MUSIC THERAPEUTIC INTERVENTIONS ..... 110
Thomas K. Hillecke, Michael Kessler, Dorothee v. Moreau, Alexander F. Wormit, Carsten
Diener, and Biljana Vrancic Coutinho
MUSIC-THERAPEUTICAL VOCAL IMPROVISATION AS AN INTERVENTION FOR

PROFESSIONAL SINGERS WITH FUNCTIONAL DYSPHONIA ..... 112
Tina Hörhold
‘HISTORY, METHOD AND EDUCATION’ OF TURKISH MUSIC THERAPY ..... 114

Emine Elif Sahin Karadeniz
MUSIC THERAPY IN GERIATRICS: IMPLEMENTATION AND EVALUATION

OF A MUSIC THERAPY CONCEPT ..... 116
Michael Kessler, Biljana Vrancic Coutinho, Dorothee v. Moreau, Alexander F. Wormit,
Carsten Diener, Thomas K. Hillecke
LIFE LONG LEARNING PROCESSES IN COMMUNITY MUSIC THERAPY

A CASE STORY FROM A SCHOOL SETTING ..... 118
Viggo Krüger
MUSIC THERAPY: BORDERLINE PERSONALITY DISORDER AND

THE MENTALIZING POINT OF VIEW ..... 119
Gerhard Kupski
TINDERBOX PROJECT: PARTNERSHIP WORKING TO FACILITATE

A LARGE YOUTH MUSIC GROUP ..... 120
Jenny Laahs and Luci Holland
THE IDENTIFICATION OF NEW MUSICAL GRIDS AND METHODS

TO EVALUATE THE EFFICACY OF MUSIC THERAPY IN EXTREME CASES
OF SEVERE MENTAL DISORDER ..... 122
Cinzia Leone
AN EXPLORATION OF THE EXPERIENCES OF MUSIC THERAPISTS WORKING

WITH A TRANSLATOR ..... 124
Emmeline Lynda McCracken
IMPROVISATIONAL MUSIC THERAPY AND TRANSCULTURAL CHALLENGES

AMONG ASIANS ..... 126
Ti Liu Madl and Eckhard Weymann
9
FROM SELF-CONSTRUCTION TO GROUP TOTEM: THE CREATED MUSICAL

INSTRUMENT AS A REPRESENTATION TOOL ..... 128
Aslı Özyıldız
BRINGING IT ALL BACK HOME ..... 130

Alexia Quin
VIOLIN AND MIND: AN UNUSUAL MUSIC THERAPY PROJECT WITH PERSONS

WITH ALZHEIMER'S ..... 132
Silvia Ragni, Machiko Nagasawa and Luisa Bartorelli
THE ROLE OF CAREGIVERS AND MUSIC THERAPISTS FOR WELL-BEING IN PERSONS

WITH DEMENTIA ..... 134
Hanne Mette Ridder
THE DEVELOPMENT OF PERSON ATTUNED MUSICAL INTERACTION (PAMI)

FOR PEOPLE WITH DEMENTIA ..... 136
Hanne Mette Ridder, Margrete Bach Madsen, Jens Anderson-Ingstrup and Orii McDermott
DESCRIPTIVE RESEARCH IN MUSIC THERAPY IN SPAIN ..... 138

Patricia L. Sabbatella, Melissa Mercadal-Brotons and María Teresa Del Moral Marcos
IDEAS FOR MUSIC THERAPY INTERVENTIONS BASED ON MINDFULNESS PRINCIPLES ..... 140
Özgür Salur
COGAN SYNDROME: IMPROVEMENT OF PSYCHOMOTORIC ASPECTS

WITH A MUSIC THERAPY PROGRAMME ..... 142
Belinda Sánchez Mozo
THE AQR-TOOL – ASSESSMENT OF THE QUALITY OF RELATIONSHIP –

THEORY AND APPLICATION ..... 144
Karin Schumacher, Sonoko Suzuki-Kupski and Gerhard Kupski
PREMATURE FAMILY MUSIC THERAPY INTERVENTION (PFMI): A PROTOCOL

TO SUPPORT PARENTING, ATTACHMENT BOND AND PRETERM DEVELOPMENT ..... 146
Barbara Sgobbi, Maria Elena Bolis and Massimo Agosti
LEARNING FROM SERVICE EVALUATION: IDENTIFYING ‘IMPACT AREAS’

OF MUSIC THERAPY SERVICES ..... 148
Neta Spiro and Giorgos Tsiris
ETHICAL ISSUES IN MUSIC THERAPY – HOW TO DEAL WITH ETHICAL DILEMMAS ... 150
Thomas Stegemann and Eckhard Weymann
10
GROUP MUSIC THERAPY IN THE TREATMENT OF EATING DISORDERS ..... 152

Ingvild Stene
GROUP MUSIC THERAPY INTERVENTIONS TO ENHANCE MENTALIZATION ..... 153

Gitta Strehlow
FROM COMMUNITY MUSIC THERAPY TO PEACE ..... 155

Enrica Tifatino
A MUSIC THERAPY PROTOCOL FOR ADOLESCENTS SUFFERING FROM

CHRONIC FATIGUE SYNDROME ..... 157
Gro Trondalen and Julie Mangersnes
RAP & SING MUSIC THERAPY APPLICATIONS ENHANCE EMOTION REGULATION

OF ADOLESCENTS IN SCHOOLSETTING ..... 159
Sylka Uhlig
VOICEWORK – TRANSCENDING SOCIETIES, GENERATIONS, CONTINENTS -

VOCAL SENSITIVITY AND DIVERSITY, ESSENTIAL FOR MUSIC THERAPY ..... 161
Sylka Uhlig
COMPOSE ONESELF TO COMPOSE COLLECTIVE SONGWRITING WORKSHOP –

TO TREAT PSYCHIATRIC ILLNESSES IN BOTH ADULT AND ADOLESCENTS ..... 163
Andrea Volpini
SINGING IN A FOREST SOUND BATH –

SHINRIN YOKU FROM A MUSIC THERAPY PERSPECTIVE ..... 165
Andrea Volpini
UNDERSTANDING OUR REFUGEE CLIENTS: EXPLORING POLITICAL, CULTURAL

AND SOCIAL CONTEXTS ..... 167
Eva Marija Vukich
THE DEVELOPMENT OF CREATIVE THERAPY-BASED PLAY GROUPS FOR

PRE-SCHOOL CHILDREN AND PARENTS IN INNER CITY LONDON ..... 169
Katherine Walters and Claire Everest
MIX & MATCH. INTEGRATING MUSIC TECHNOLOGY SKILLS IN

PROFESSIONAL MUSIC THERAPY TRAINING ..... 171
Carola Werger and Marijke Groothuis
ADOE-AN INTERCULTURAL WORKGROUP ON MUSIC THERAPY ..... 173

Eckhard Weymann and Karin Schumacher
MUSIC THERAPISTS IN ISRAEL: THEIR CLINICAL AND THEORETICAL ORIENTATION ..... 175
Chava Wiess, Ayelet Dassa and Avi Gilboa
11
SOFTWARE BASED AND AUTOMATIZED MICROANALYSIS

IN MUSIC THERAPY ASSESSMENT FOR CLINICAL PRACTICE ..... 177
Thomas Wosch
MEDIAL TEMPORAL AND FRONTAL NEURONAL NETWORKS IN

AUTOBIOGRAPHICAL MUSICAL MEMORIES IN DEMENTIA ..... 179
Thomas Wosch, Didier Grandjean and Young-Eun Claire Lee
LATIN AMERICA
MUSIC THERAPY EDUCATION IN BRAZIL:

ANALYZING TRAINING COURSES’ CURRICULUMS ..... 182
Lázaro Castro Silva Nascimento and Noemi Nascimento Ansay
FAMILY-CENTRED MUSIC THERAPY IN THE NEONATAL INTENSIVE CARE UNIT (NICU):

CULTURE(S), CLINICAL PRACTICE, AND RESEARCH IN COLOMBIA ..... 184
Mark Ettenberger
FOCAL MUSIC THERAPY IN OBSTETRIC (FMTO) WITH TEEN PREGNANCY ..... 186
Gabriel F. Federico
MUSIC THERAPY AND ITS RELATIONSHIP TO SCHIZOPHRENIA:

A PILOT STUDY AT A REHABILITATION CENTRE IN TRINIDAD ..... 188
Jamal J Glynn
MUSIC, DRAWING AND MOVEMENT (MICC). A METHOD OF CREATIVE

INTERVENTION IN CRISIS AND TRAUMA ..... 190
Mireya P. González
LEVEL OF ENGAGEMENT OF STUDENTS IN MUSICAL PRACTICE IN A

MUSIC THERAPY BACHELOR'S PROGRAM ..... 192
Mariana Lacerda Arruda, Gislaine Vagetti and Claudimara Zanchetta
KEEPING COMMUNITY ALIVE THROUGH RESPONSORIAL SINGING

AND AFRO-COLOMBIAN RHYTHMS IN GROUP EXPERIENCES ..... 194
Juan Pablo Liévano Gamboa, Andrea Giraldo Soto and Diego Alejandro Torres Güiza
INTERSHIP PRATICE WITHIN A CENTER FOR RESEARCH AND CLINICAL TRAINING

IN MUSIC THERAPY ..... 196
Clara Marcia Piazzetta, Noemi Nascimento Ansay, Sheila Beggiato,
Rosemyriam Cunha and Mariana Lacerda Arruda
RESEARCH CONDUCTED BY BRAZILIAN MUSIC THERAPISTS IN DOCTORATE PROGRAMS,

A LONGITUDINAL STUDY ..... 198
Claudia Regina de Oliveira Zanini and Clara Márcia Freitas Piazzetta
12
NORTH AMERICA
EXPLORING AN INTEGRAL UNDERSTANDING OF EVIDENCE-BASED

MUSIC THERAPY PRACTICE ..... 201
Brian Abrams
BUILDING YOUR SCOPE: EXPANDING YOUR CLINICAL EXPERTISE ..... 203

Debbie Bates and Annie Heiderscheit
CRISSCROSSING CULTURES: EASTERN AND WESTERN CONCEPTS

AND PRACTICES OF MUSIC THERAPY ..... 205
Laura E. Beer
TWELVE INTERNATIONAL ROAD SIGNS: WHAT TRAUMA-INFORMED WORK

IN OTHER COUNTRIES HAS TAUGHT ME ..... 207
Gene Ann Behrens
NETWORKING WITH THE WFMT – THE METAPHOR OF A SPIN-DRUM ..... 209

Gene Ann Behrens, Amy Clements-Cortes, Anita L. Gadberry, Aksana Kavaliova-Moussi,
Jeanette Milford, Annie Heiderscheit, Annabelle Brault, Melissa Brotons and Claudia Zanini
MUSIC PRODUCTION IN ADULT MENTAL HEALTH SETTING:

A COMMUNITY MUSIC THERAPY MODEL ..... 211
Dany Bouchard
CLINICAL IMPROVISATION TECHNIQUES IN MUSIC THERAPY:

EXPERIENTIAL WORKSHOP ..... 213
Debbie Carroll and Claire Lefebvre
VOICES OF THE DYING AND EMERGING THEMES IN PALLIATIVE

CARE MUSIC THERAPY ..... 215
Amy Clements-Cortes
SHORT-TERM EFFECTS OF RHYTHMIC SENSORY

STIMULATION AND ALZHEIMER’S DISEASE ..... 217
Amy Clements-Cortes, Heidi Ahonen, Michael Evans, Morris Freedman and Lee Bartel
INTERGENERATIONAL MUSIC THERAPY: BRIDGING THE GENERATIONAL GAP

THROUGH COMMUNITY-BASED MUSIC MAKING ..... 219
Michael R. Detmer, Petra Kern, Jill Jacobi-Vessels and Kristi M. King
CLINICAL IMPROVISATION IN MUSIC THERAPY:

THEORY, PRACTICE, RESEARCH AND TRAINING ..... 221
Cheryl Dileo, Jaakko Erkkilä, Jos De Backer and Katrien Foubert
13
MUSIC BRINGS US HOME: RESEARCH AND PRACTICE REGARDING

MUSIC THERAPY FOR HOMELESS PERSONS ..... 223
Cheryl Dileo, Jennifer Gravish and Jennifer Swanson
ONCE SERVED, TWICE FORGOTTEN: HOW TO SUPPORT ADULTS

WITH SPECIAL NEEDS AND THEIR FAMILIES ..... 224
Anita L. Gadberry and David L. Gadberry
OUTCOMES OF RESEARCH STUDY ON MUSIC IMAGERY AND

RELAXATION WITH WOMEN IN INDIA ..... 226
Maria Montserrat Gimeno and Haden Minifie
BURNOUT AMONG MUSIC THERAPISTS: PRELIMINARY RESULTS FROM

AN INTEGRATIVE REVIEW ..... 228
Lori F. Gooding
MUSIC THERAPY TO MEET PARENTS’ NEEDS IN

THE NEONATAL INTENSIVE CARE UNIT (NICU) ..... 230
Lori F. Gooding
ADVOCACY FOR THE PROFESSION OF MUSIC THERAPY:

INTERNATIONAL PERSPECTIVES ..... 232
Annie Heiderscheit, Angel Leung and Carol Lotter
PERSON-CENTERED DEMENTIA CARE: VALIDATING PERSONHOOD THROUGH

CAREGIVER-FACILITATED MUSIC INTERVENTION ..... 234
Feilin Hsiao and Ruth A. Macgregor
STUDYING MUSIC THERAPY IN FOREIGN CULTURES: STUDENTS’ UNIQUE EXPERIENCES

IN CROSS-CULTURAL PRACTICES ..... 236
Asako Miyahara Kando
IT’S TIME TO SHARE THE DATA: OUTCOMES OF THE INTERNATIONAL SURVEY STUDY ..... 238
Petra Kern and Daniel B. Tague
THE TRANSFORMATIVE APPLICATIONS OF ANALYTICAL MUSIC THERAPY TECHNIQUES

IN MUSIC THERAPY WELLNESS ..... 240
Seung-A Kim
MAKE IT MY HOME—1ST YEAR ADJUSTMENT FOR

INTERNATIONAL MUSIC THERAPY STUDENTS ..... 242
ChihChen Sophia Lee and Yu-Ling Chen
MUSIC PSYCHOTHERAPY TREATMENTS FOR ACUTE,

CHRONIC AND PROCEDURAL PAIN ..... 243
Joanne Loewy, John Mondanaro and Andrew Rossetti
14
MUSIC THERAPY AND STROKE: RESEARCH AND PRACTICE OF SURVIVORS IN

A COMMUNITY OF CARERS ..... 245
Joanne Loewy and Andrew Rosetti
MUSIC AND MEDICINE: INTERDISCIPLINARY TRENDS IN RESEARCH ..... 247

Joanne Loewy, Ralph Spintge, Amy Clements-Cortes, Erik Baumann and Annie Heiderscheit
FIRST SOUNDS-RHYTHM, BREATH AND LULLABY (RBL)-

AN INTERNATIONAL TRAINING MODEL ..... 249
Joanne Loewy, Aimee Telsey, Ann-Marie Dassler, Andrew Rossetti, Mitsuko Itoh and
Naoko Mizutani
BEING IN A MUSIC THERAPISTS’ BAND: ABOUT MUSICAL AND CLINICAL BENEFITS ..... 251
Julie Migner-Laurin, Dany Bouchard and Julien Peyrin
THE MOMENTUM CHOIR AS COMMUNITY MUSIC THERAPY:

BELONG, BELIEVE, INSPIRE ..... 253
Joni Milgram-Luterman and Mendelt Hoekstra
BIO-GUIDED MUSIC THERAPY: FOCUS ON BRAIN MAPS ..... 255

Eric B. Miller
PARENTS’ EXPERIENCES OF MUSIC THERAPY IN

THE NEONATAL INTENSIVE CARE UNIT (NICU) ..... 256
Naoko Mizutani
CAN MUSIC SUPPORT EMOTION REGULATION DEVELOPMENT?

EXPLORING A MUSIC-BASED INTERVENTION STRATEGY ..... 258
Kimberly Sena Moore and Deanna Hanson-Abromeit
THE THERAPEUTIC FUNCTION OF MUSIC FOR

THE MUSICAL CONTOUR REGULATION FACILITATION INTERVENTION ..... 260
Kimberly Sena Moore and Deanna Hanson-Abromeit
MUSIC-CENTERED SONG EXPLORATION ..... 262

Kathleen M. Murphy and Brian Abrams
MUSIC THERAPY WITH YOUTH AT RISKS ..... 264

Julien Peyrin
INSPIRATION FROM TRINIDAD: STEELPAN AND CALYPSO FOR GLOBAL

MUSIC THERAPY INTERVENTIONS ..... 265
Jean Raabe
15
COMMUNITY MUSIC THERAPY FOR COLLEGE STUDENTS WITH AND

WITHOUT INTELLECTUAL DISABILITIES ..... 267
Melody Schwantes
SONG AND EMOTION: EXPLORING THE ROLE OF MUSIC IN EMOTIONAL REGULATION

WITH ADOLESCENTS HOSPITILIZED FOR ACUTE PSYCHIATRIC CARE ..... 269
Johanna Shriver
TONING, SINGING AND BREATHING: MEASURING COGNITIVE, RESPIRATORY,

CARDIOVASCULAR AND EMOTIONAL RESPONSES ..... 271
Shelley Snow, Nicolo Bernardi and Alexandre Lehmann
MUSIC PREFERENCE, INDIVIDUAL VARIABILITIES, AND MUSIC CHARACTERISTICS:

A MULTI-AXIS PARADIGM FOR PAIN ..... 273
Xueli Tan
CONTENT ANALYSIS OF THE USE OF MUSIC IN PAIN RESEARCH

ACROSS HEALTHCARE DISCIPLINES ..... 275
Xueli Tan, Yu-Hsin Hung and Ruoxi Zhang
A REVIEW OF MULTICULTURAL MUSIC THERAPY LITERATURE:

TRENDS AND FUTURE DIRECTIONS ..... 277
Jonathan Tang
EXPERIENCES AS A STUDENT OVERSEAS AND A PROFESSIONAL BACK HOME ..... 279

Jonathan Tang, Yi-Ying Lin, Luis Armando Rivera, Keiko Shiokawa, Michelle Low
and Dawn Chik
THE DEVELOPMENT OF MUSIC THERAPY SERVICES IN ECUADOR:

CULTURAL CONSIDERATIONS AND OPPORTUNITIES ..... 281
Katie Van Loan
GIVING VOICE TO CLIENT AND CULTURAL RESISTANCE ..... 282

Katie Van Loan and Yoomi Park
CRITICALLY EVOLVING: CURRENT TRENDS IN ARTS-BASED RESEARCH

Michael Viega, Laura Beer, Simon Gilbertson, Tríona McCaffrey,
Guylaine Vaillancourt, Alpha Woodward and Rebecca Zarate
RECENT DEVELOPMENTS IN MUSIC THERAPY RESEARCH ..... 286

Barbara L. Wheeler and Kathleen M. Murphy
16
INTERPROFESSIONAL MUSIC THERAPY AND SPEECH/LANGUAGE THERAPY

FOR PRESCHOOL-AGED CHILDREN AND THEIR CAREGIVERS ..... 288
Patricia Winter and Anthony Kaseoru
RECOVERING THE TRUE VOICE: VOCAL PSYCHOTHERAPY IN ACTION ..... 290

Jenny Hoi Yan Fu and Allison Reynolds
FROM AMERICA TO CHINA: AN INTERNATIONAL MUSIC THERAPY AND

SPECIAL MUSIC EDUCATION PARTNERSHIP ..... 292
Olivia Swedberg Yinger and Lori F. Gooding
SCALING CLINICAL PRACTICE TO MEET PATIENTS NEEDS:

FUTURE MUSIC THERAPY PRACTICE ..... 294
Hope Young and Emily Morris
ROOTS: A CASE STUDY ON THE USE OF MELODY TO ALLEVIATE SYMPTOMS

OF ANXIETY ..... 296
Juan P. Zambonini
SOUTHEAST ASIA
THE USE OF MUSIC IN BUDDHIST PSYCHOLOGY ACTIVITIES ..... 299

Puchong Chimpiboon
MUSIC THERAPY WITH A WOMAN IN A RED-LIGHT DISTRICT IN KOLKATA ..... 301

Alice Laing
HINDUSTANI MUSIC AS A TOOL FOR STRESS RELAXATION MEDIUM FOR

AGED PEOPLE ..... 303
Lovely Sharma and Debasis Chakroborty
BETWEEN EAST AND WEST: THE JOURNEY OF UK-TRAINED MUSIC

THERAPISTS IN ASIA ..... 305
Monica Subiantoro, Yukina Osawa, Tomoko Sakamoto,
Chi-Yen Chang and Lee Lap Kwan
WESTERN PACIFIC REGION
TIME-SERIES ANALYSIS OF MOOD CHANGES BY GROUP SINGING:

ASSUMING MUSIC THERAPY ..... 308
Fumiho Akagi, Satoshi Kawase Naomi Takehara, Tomoko Ichinose and Tsutomu Masuko
17
NOVEL MUSICAL INSTRUMENT FOR SEVERELY DISABLED AND

HEALTHY ELDERLY PEOPLE TO PLAY ..... 310
Kenzo Akazawa, Mototsugu Horai, Tsutomu Masuko, Tomoko Ichinose, Kakuko Matsu-
moto, Naomi Takehara and Ryuhei Okuno
ENHANCEMENT OF DOPAMINERGIC BRAIN FUNCTIONS BY MUSIC ..... 312

Kayo Akiyama and Den’etsu Sutoo
ELECTRONIC MUSICAL INSTRUMENTS TO HELP BEGINNERS PLAY

IN MUSIC ENSEMBLES AND DISCOVER ERROERS ..... 314
Yui Andou, Tomomi Aoki, Naomi Takehara, Toko Yoshizato , Kakuko Matsumoto, Tomoko
Ichinose, Masaki Wada,, Ryuhei Okuno and Kenzo Akazawa
A STUDY ON THE POTENTIAL BENEFITS OF MUSIC THERAPISTS

AS OUTSIDE SPECIALISTS ..... 316
Kumi Aoki, Hiroko Ogawa, Katsumi Yanagida and Yuko Kawata
MUSIC THERAPY FOR CHILDREN WITH ANGELMAN SYNDROME ..... 318

Kumi Aoki and Naoki Otani
THE POSSIBILITY OF USING A SMALL HARP FOR REHABILITATION ..... 320

Nozomi Awata, Rika Sugiyama and Maho Takasu
EXPLORING THE NEUROLOGICAL UNDERPINNINGS OF IMPROVISATIONAL

PERFORMANCE IN CORRELATION WITH CREATIVITY ..... 322
Jared Boasen, Yuya Takeshita, Veikko Jousmäki and Koichi Yokosawa
CLINICAL STUDY OF MUSIC THERAPY FOR MENTAL DISORDERS ..... 324

Shine Chen and Ju-Kuang Hsieh
USING KAGAYASHIKI MUSIC CARE ON PATIENTS WITH MENTAL ILLNESS ..... 326
Chiao-Han Chiang, Wen-Yin Lin, Chung-Ying Lin, and Wan-Ju Huang
THE EFFECTS OF CELLO PLAYING MUSIC THERAPY ON THE SELF-EFFICACY

OF INSTITUTIONALIZED CHILDREN ..... 328
Ju-eun Choi and Soyoung Moon
MAKING MUSIC BEING WELL HONG KONG (MMBWHK) – 7 YEARS AND COUNTING ..... 330
Jacqueline Chow and Jacqueline Leung
CHINESE MONGOL SHAMANIC HEALING AND MODERN MUSIC THERAPY:

COMPARISIONS, COMMONALITIES AND IMPLICAITIONS ..... 332
Fu Cong
18
EFFECTS OF MUSIC LISTENING ON EXPERIMENTALLY INDUCED

PSYCHOPHYSIOLOGICAL STRESS ..... 334
Naokuni Ebihara and Noriko Nakamoto
THE LICENSING SYSTEM FOR MUSIC THERAPISTS OF

THE JAPANESE MUSIC THERAPY ASSOCIATION ..... 336
Hiroko Fujimoto and Masaki Gunji
COMMUNITY MUSIC THERAPY PLANS OF THE JAPANESE MUSIC THERAPY ASSOCIATION

－ REPORTS ON SIX CASES― ..... 338
Hiroko Fujimoto, Yasuji Murai, Shizue Fujimoto, Miho Maebashi, Megumi Misaki, Eriko Ide
and Chieko Noda
THE MEETING OF MUSIC THERAPY AND JAPANESE BODY ART, KIRYUHO ..... 340
Shizue Fujimoto and Kyoko Sato
PATIENT’S UNCONSCIOUSNESS LEVEL IMPROVED BY CARE AND

MUSIC PROVIDED BY HIS FAMILY ..... 342
Etsuo Fujita, Koji Kakishita, Keita Terui, Yoshihito Owai, Fuminori Ohta,
Megumi Kiyoi, Maiko Hattori, Tomoki Iguchi, Mito Hayashi, Hironobu Hoshiya,
Kensaku Shojima, Kenichi Furukawa , Kousuke Shimada, Yuya Nakanishi,
Yusaku Nishikawa, Yuji Tohda and Katsuhiro Yamamoto
TO IMPROVE ATTENTIVENESS OF ELEMENTARY SCHOOL PUPILS AT RISK ..... 344

Miho Fushimi, Natsumi Ohura, Maiko Yamada, Naomi Takehara,
Kakuko Matsumoto and Tsutomu Masuko
A TRIAL OF MUSIC THERAPY IN OUR PALLIATIVE WARD ..... 346

Yoshiro Goto, Hisako Nakayama, Tamaki Ogami, Hiroe Kudo, Takuji Nishisato,
Akihiko Watanabe and Kazuhiko Koike
THE EFFECTS OF THERAPEUTIC VOCAL TRAINING ON THE VOCAL QUALITY

AND DEPRESSION OF CHRONIC STROKE PATIENTS ..... 348
Go-eun Heo and Soyoung Moon
ELEMENTS TO SELECT MUSIC THERAPY FOR PSYCHIATRIC PATIENTS ..... 350

Haruko Hisamatsu, Sayaka Kobayashi, Hidehiro Oshibuchi and Katsuji Nishimura
APPLICATION OF MUSIC THERAPY TO SEVERELY DISABLED PEOPLE

BY PARTICIPATORY INTERVENTION ON GUITAR ..... 352
Tomoko Homma
EASING MENTAL TRAUMA WITH MUSIC THERAPY ..... 354

Sanae Hori
19
RESEARCH, DEVELOPMENT, AND APPLICATION OF LAMBDOMA SPECTRUM

ON 24 SOLAR TERMS ..... 356
Ju-Kuang Hsieh
THE ROLE OF THE MOST INFLUENTIAL MUSIC FOR YOUNG ADULTS ..... 358
Kazuyoshi Ichihashi
THE CHANGE OF THE CEREBRAL BLOOD FLOW BY LISTENING TO MUSIC ..... 360
Nana Ichimura, Emiko Oguchi, Takae Inagaki and Mai Murayama
SOME THOUGHTS ON THE RELATIONSHIP BETWEEN THE OMNIVOROUS

MUSICAL ATTITUDE AND THE FOUNDATIONS OF THERAPEUTIC
PRACTICE OF JAPANESE PEOPLE ..... 362
Rika Ikuno-Yamamoto
INTERPRETATION OF MUSICAL/RELATIONAL ASPECTS BETWEEN CLIENT

AND THERAPIST IN LONG-TERM CLINICAL PRACTICE ..... 364
Rika Ikuno-Yamamoto
SOME THOUGHTS ON THE RELATIONSHIP BETWEEN THE OMNIVOROUS MUSICAL ATTITUDE

OF JAPANESE PEOPLE AND THE FOUNDATIONS OF THERAPEUTIC PRACTICE IN JAPAN ..... 366
Rika Ikuno-Yamamoto
KNOWING/COMMUNICATING THE CLINICAL PROCESS IN MUSIC THERAPY PRACTICE ..... 368

Rika Ikuno-Yamamoto, Brian Abrams, Simon Gilbertson, Kakuko Matsumoto, Katrina
McFerran, Hiroko Miyake, Kana Okazaki-Sakaue and Brynjulf Stige
WHY DO CHILDREN LOVE “TAKOYAKI-SONG”? -

JAPANESE NURSERY RHYMES IN MUSIC THERAPY- ..... 370
Jun Ino
MEDICAL MUSIC THERAPY: PAST, PRESENT, AND FUTURE ..... 372

Satoko Inoue, Lori Gooding, Darcy Deloach, Hideaki Sakata
and Gakuho Okada
USING MUSIC AND ART AS A THERAPEUTIC APPROACH FOR

EARLY INTERVENTION PRACTICE IN JAPAN ..... 374
Satoko Inoue and Atsuko Nadata
ADAPTIVE KEYBOARD ACCOMPANIMENT TECHNIQUES FOR GROUP SINGING

Fumio Isawa, Michiko Kato and Junko Yamaguchi
HOW ARE CHANGES IN REPETITIVE DRUMMING PATTERNS EXPERIENCED IN

PSYCHIATRIC MUSIC THERAPY? ..... 378
Okiko Ishihara
20
MUSIC THERAPY FOR ADULTS WITH INTELLECTUAL DISABILITY:

CLINICAL APPLICATION OF ENSEMBLE ACTIVITY ..... 380
Yuko Izumi
MUSIC THERAPY ON FUNCTIONAL IMPROVEMENT OF PARALYSIS CAUSED

BY CEREBRAL INFARCTION SEQUELA ..... 382
Satomi Jibe
THE EFFECTIVENESS OF MUSIC THERAPY AS PART OF IN-HOSPITAL

REHABILITATION FOR PARKINSON’S DISEASE ..... 384
Minako Kajita, Yoriko Kohara, Chie Ohgushi, Sachiko Watanabe,
Miho Kawamura, Shiho Okuda, Masayuki Shirakawa, and Ryoichi Shiba
THE USE OF MUSIC INSTRUMENTS BASED ON SENSORY INTEGRATION THEORY ..... 386
Tsugiko Kakizaki
ASSOCIATION OF MUSIC RECOGNITION AND SPEECH PERCEPTION

IN CHILDREN WITH BILATERAL COCHLEAR IMPLANTS ..... 388
Yukihiko Kanda and Chiharu Wakasugi
MUSIC THERAPY AND AUDITORY HABILITATION FOR A DEAF CHILD WITH

THE SEVERE INNER EAR ANOMALY USING HER COCHLEAR IMPLANTS ..... 390
Yukihiko Kanda and Chiharu Wakasugi
CLINICAL APPLICATIONS OF NEUROLOGIC MUSIC THERAPY (NMT) TECHNIQUES

IN NON-MEDICAL SETTINGS ..... 392
Yuka Kasuya-Ueba, Miho Sugihara, Ai Matsushita and Hiroko Komatsu
EFFECTS OF MUSIC ACTIVITIES ON ATTENTION CONTROL OF CHILDREN:

AN EXPERIMENTAL STUDY ..... 394
Yuka Kasuya-Ueba and Motomi Toichi
VALIDATION OF THE EFFECTIVENESS PRODUCED BY “OTO RAKU TRAINING”

USING SMALL INSTRUMENTS ..... 396
Izumi Katsuragi and Erika Watanabe
THE EFFECTIVENESS OF INDIVIDUALIZED MUSIC THERAPY BASED

ON MUSICAL PREFERENCES ..... 398
Miho Kawamura and Yoriko Kohara
THE IMMEDIATE EFFECT OF RHYTHMIC AUDITORY STIMULATION ON THE GAIT OF STROKE

ADULTS DEPENDING ON THE CHORD CHANGES ..... 400
Ji-Seok Kim
21
EFFECT OF MUSIC THERAPY AS PREVENTIVE CARE ..... 402

Isoda Kimiko and Sekiya Masako
TWO ASPECTS OF JAPANESE CULTURE AND THEIR INFLUENCE ON MUSIC THERAPY ..... 404
Hiroko Kimura
ACOUSTIC CHARACTERISTICS OF TONE AND INSTRUMENTS FOR

CHILDREN OF HEARING DIFFICULTY ..... 406
Hiromi Kinemuchi
TRIAL USE OF MUSIC THERAPY IN JAPANESE ELEMENTARY SCHOOLS ..... 408

Kumiko Kishi and Chiyuki Sugihara
WHAT WAS REQUIRED OF MUSIC THERAPY IN EAST JAPAN

EARTHQUAKE EVACUATION SHELTERS? ..... 410
Haruka Kitamura and Nobuko Saji
EFFECTS OF MUSIC THERAPY FOR MILD COGNITIVE IMPAIRMENT ..... 412

Toshie Kobayashi, Takako Akaboshi, Akiko Kanemaru, Kenji Ishii and Kazutomi Kanemaru
DEVELOPMENT OF A RATING SCALE FOR MUSIC THERAPY

IN A REHABILITATION HOSPITAL ..... 414
Yoriko Kohara, Minako Kajita, Chie Ohgushi, Sachiko Watanabe,
Miho Kawamura, Shiho Okuda, Masayuki Shirakawa and Ryoichi Shiba
MUSICAL SPEECH THERAPY FOR DOWN’S SYNDROME CHILDREN

WHO HAD WEST SYNDROME ..... 416
Toshiko Kojjima and Fumihito Kasai
LET’S SING ALONG WITH “HARMONIC TONE” IN MIND！..... 418

Yasuko Kondo
DEVELOPMENT OF A PROGRAM FOR DEMENTIA PREVENTION USING

A CHARACTERISTIC OF RHYTHM ..... 419
Nobuko Kubota
MUSIC THERAPY FOR PROMOTING SELF-CONTROL IN CHILDREN WITH

AUTISM SPECTRUM DISORDERS ..... 420
Moe Kurita, Izumi Futamata, Ryoko Suzuki, Azusa Uchida, Azusa Sanpei, Chika Iijima
and Ryoichi Sakuta
MUSIC THERAPY IN PALLIATIVE CARE: A SURVEY STUDY OF

THE PALLIATIVE WARD AT A TEACHING HOSPITAL IN SOUTHERN TAIWAN ..... 422
Alice Hui-ju Lee and Ting-Yu Lai
22
MUSIC TRAINING AND PSYCHOLOGICAL WELL-BEING AMONG

EARLY ADOLESCENTS IN HONG KONG ..... 424
Man Chong Leung and Rebecca Y. M. Cheung
HOME-BASED CD PROJECT: USING MUSIC TO ENHANCE CHILDREN’S DEVELOPMENT

IN THE CANTONESE POPULATION ..... 426
Jacqueline Leung, Kingman Chung and Bettina Wan
PRIVATE PRACTICE IN MUSIC THERAPY – AN INTERNATIONAL PERSPECTIVE ..... 428

Angel Leung, Pan Ho, Nozomi Nagasaka, Ye-Chun Chien and Fang-Yu Liu
ADVOCATING MUSIC THERAPY: A GENERAL EDUCATION ELECTIVE IN

A FULL-TIME HIGHER EDUCATION CURRICULUM ..... 430
Angel Leung and Martin Lee
THE RE-ENTRY EXPERIENCES OF INTERNATIONAL MUSIC THERAPY PROFESSIONALS

FROM THE ASIA PACIFIC RIM AREA ..... 432
Angel Leung, Brian L. Wilson, Edward A. Roth and David S. Smith
THE APPLICATION OF MUSIC THERAPY IN COLLABORATION WITH

MULTISENSORY STIMULATION FOR INDIVIDUALS WITH SEVERE DEMENTIA ..... 434
Woon Tyen (Tammy) Lim
RAISING MUSIC BETWEEN ALLEYS: AN EXAMPLE OF MUSIC CARE

IN DAYCARE CENTERS ..... 436
Hsin-Hui Lin
EXPERIENCES OF “MUSIC CARE” WITH DEMENTIA IN TAIWAN ..... 438

Wan-Yu Lin
FROM CONFLICT TO SYNERGY - A TEN-YEAR SUCCESSFUL PARTNERSHIP

WITH SOCIAL WORKERS ..... 440
Hok Tsun Ma
TRADITIONAL JAPANESE CULTURE PROVIDES EFFECTIVE MUSIC THERAPY TECHNIQUES

FOR ELDERLY JAPANESE CLIENTS ..... 442
Eiichiro Makino
EFFECTS OF MUSIC AND EXERCISE ACTIVITIES ON COGNITION

AND EMOTION IN ELDERLY ..... 444
Sekiya Masako, Moriya Kiyoshi, Kuroki Rimiko,
Kitagawa Tomoko and Moriya Naoyuki
SUPPORTING MUSICAL ACTIVITIES FOR HEARING IMPAIRED CHILDREN

WHO ARE COCHLEAR IMPLANT RECIPIENTS ..... 446
Yuji Matsumoto and Noriko Maruyama
23
MEANING CONSTRUCTION BY MUSICAL NARRATIVE:

A GROUP THERAPY APPROACH FOR JUVENILE CRIMINALS ..... 448
Kakuko Matsumoto, Naomi Takehara,Tomoko Ichinose and Yuji Igari
PRISMA ANALYSIS OF THE THERAPEUTIC APPLICATION OF MUSIC

IN THE HEALTHCARE PROFESSION ..... 450
Kumi Shigenobu*Matsuyama
THE FALL OF FREDDIE THE LEAF: CREATIVE MUSIC MAKING ..... 452
PROFESSIONAL SIGNIFICANCE AND ROLES OF

THE HYOGO MUSIC THERAPIST ASSOCIATION, JAPAN ..... 454
Satoko Matsuzaki
MUSIC THERAPY FOR EARTHQUAKE SURVIVORS:

RESTORATION OF IDENTITY AND COMMUNITY THROUGH MUSICKING ..... 456
Kazuko Mii, Shizue Terata and Kana Okazaki-Sakaue
DEVELOPMENT OF THE ELECTRONIC INSTRUMENT WITH

ACCELERATION SENSOR AVAILABLE IN MUSIC THERAPY ..... 458
Minoru Mitsui, Erika Watanabe and Yuta Sakurai
WADAIKO PERFORMANCE ENCOURAGES COMMUNICATION SKILLS

OF MENTALLY DISABLED PERSONS ..... 460
Eriko Mizuno
INTRODUCTION TO REGULATIVE MUSIC THERAPY (RMT)-

ITS PRACTICE IN JAPAN AS A MINDFULNESS METHOD – ..... 462
Naoko Moridaira
INTRODUCING MUSIC THERAPY APPROACH ON BABIES

WITH CONGENITAL HEARING LOSS ..... 464
Kano Murakami, Takako Akaboshi, Satoshi Asanuma and Nodoka Adachi
A CASE STUDY: GRIEF AND INDIVIDUATION PROCESS THROUGH GUIDED IMAGERY

AND MUSIC AND IMPROVISATION ..... 466
Atsuko Nadata
LEARNING FROM EXPERIENCE: HOW TO MAINTAIN THE QUALITY OF

MUSIC THERAPY PROGRAMS AS BUSINESS GROWS ..... 468
Atsuko Nadata and Satoko Inoue
THE POTENTIAL THERAPEUTIC POWER OF MUSIC FOR CANCER PATIENTS ..... 470
Ritsuko Nagashima, Maiko Aoyagi and Masami Fujisato
24
THE EFFECTIVENESS OF MUSIC THERAPY ADDED TO THE LIFE REVIEW OF

CLIENTS WITH DEMENTIA ..... 472
Eika Nakamura
MEMORY OF OLDER ADULTS AND MUSIC POWER ..... 473

Kiyoko Nakasato
HOME-VISITING MUSIC THERAPY FOR VENTILATED

ALS PATIENTS AND THEIR FAMILIES ..... 475
Hisako Nakayama
SINGING TRAINING WITH AUTOMATIC EVALUATION

FOR PEOPLE WITH DYSARTHRIA ..... 477
Maki Nanahara
ONE KIND OF MUSIC THERAPY BORN IN JAPAN: MUSIC CARE ..... 479
Chihiro Nishijima
THE FUNCTION OF COMMUNITY MUSIC THERAPY PROMOTING GRIEF CARE ..... 481
Yumi Nishimoto and Hiroko Kimura
AN INTERACTIVE, INTERGENERATIONAL,
AND EXPERIENCE-ORIENTED CONCERT ONCE A YEAR ..... 483
Chieko Noda, Shion Hino and Jurika Abe
SONGWRITING FOCUSING ON PROCESS AND ITS IMPLICATIONS FOR THE CLIENT

AS A SOCIAL BEING ..... 485
Akiko Nose
MUSIC THERAPY PRACTICE IN ASIAN COUNTRIES FROM

MULTICULTURALLY TRAINED THERAPISTS’ PERSPECTIVES ..... 487
Aki (Takai) Ohmae, Mi Hyun Bae, Yihsuan Lee and Sadudee Apisutiporn
GLOBAL EQUIVALENCY CERTIFICATE FOR MUSIC THERAPISTS.

PART II: PROFESSIONAL IDENTITY AND COMPETENCIES ..... 489
Kana Okazaki-Sakaue, Krzysztof Stachyra and Amy Clements-Cortes
THE BENEFICIAL EFFECT OF GROUP RHYTHM SESSIONS ON CHILDREN AT RISK ..... 491
Natsumi Oura, Maiko Yamada, Miho Fushimi,Tsutomu Masuko and Naomi Takehara
FIVE-YEAR MUSIC THERAPY FOR VICTIMS OF THE 2011 GREAT EAST ..... 493
Nobuko Saji
THE EFFECTIVENESS OF THREE-AND-A-HALF-YEAR MUSIC THERAPY

FOR ELDERLY PEOPLE WITH PARKINSON’S DISEASE ..... 495
Nobuko Saji and Ayumi Matsuyama
25
HOW ARE EMOTIONS EXPRESSED THROUGH THE VOICE IN MUSIC THERAPY ..... 497
Tomoko Sakamoto
MUSIC THERAPY FOR DEMENTIA: THERAPEUTIC USE OF LYRIC WRITING

TO RECONSTRUCT SELF-ESTEEM ..... 499
Terue Senoo
EFFECTIVENESS OF THE 100-POINT RATING SCALE TO EVALUATE

MUSIC THERAPISTS’ SKILLS ..... 501
Naoko Sensui, Michiko Kasajima, Junko Nagai,
Takako Hasebe, Chisato Takahashi, Toshiko Takata and Kazumi Takeuchi
EFFECTS OF MUSIC THERAPY ON PAIN RELIEF

AND RELAXATION OF HOSPICE PATIENTS ..... 503
Miho Shigetani, Rikako Hiraoka, Sachiko Imura, Tomoko Arase,
Akira Kondo and Noriko Tanida
SOCIAL INCLUSION AND EXCLUSION THROUGH COMMUNITY

MUSIC THERAPY IN JAPAN ..... 505
Kumi Shimada, Hiroko Miyake and Rii Numata
EMOTIONAL IMPACT OF ALTO RECORDER

ON ELDERLY JAPANESE DEMENTIA CLIENTS ..... 507
Junko Shiraki
CLINICAL IMPROVISATION: RELEVANCE OF THE BIOLOGICAL INDICATIONS

AND SUBJECTIVE STATEMENTS OF MUSIC THERAPISTS ..... 509
Ayako Sugata, Takako Ito and Makoto Iwanaga
LEGACY OF JAPANESE MUSIC FOR NEXT-GENERATION OF MUSIC THERAPISTS ..... 511

Chiyuki Sugihara
PROFESSIONAL DEVELOPMENT INITIATIVES OF THE JAPAN MUSIC THERAPY ASSOCIATION,

KINKI BRANCH, OSAKA ..... 513
Chiyuki Sugihara and Yoshie Ito
CONSIDERATION OF RHYTHM IMITATION ABILITY OF ELDERLY PEOPLE ..... 515

Satomi Suzukawa
WHICH SOUND IS MOST SUITABLE? -BELL ENSEMBLE AT A PSYCHIATRIC CLINIC ..... 517
Akiko Suzuki
MUSIC THERAPY IN PEDIATRIC HEALTHCARE: 10 YEARS OF PROGRESS IN JAPAN ..... 518

Ryoko Suzuki, Izumi Futamata, Moe Kurita,Azusa Uchida, Azusa Sanpei,
Chika Iijima, Tomoko Akiyama and Ryoichi Sakuta
26
THE EMOTIONAL CHARACTERISTICS OF “MODE”: YONANUKI MODED, BLUES MODE,

AND ATONALITY ..... 520
Ryoko Suzuki and Tatsuo Fuchigami
THE EMOTIONAL CHARACTERISTICS OF “MODES”:

CHURCH AND ARABIAN MODES ..... 522
Ryoko Suzuki and Tatsuo Fuchigami
THE SIGNIFICANCE OF GROUP MUSIC THERAPY SPANNING MAMY GENERATIONS

AND MEDICAL CONDITIONS ..... 524
Ryoko Suzuki, Azusa Uchida and Moe Kurita
EFFECTS OF MEDICAL MUSIC-CARE THERAPY FOR CHILDREN

WITH NEURODEVELOPMENTAL DISORDERS ..... 525
Naomitsu Suzuki, Tamiko Hayash, Suzuko Matsumoto and Keiko Miyamoto
PRACTICE OF MEDICAL MUSIC-CARE THERAPY

FOR CHILDREN WITH DEVELOPMENTAL DISORDERS ..... 527
Naomitsu Suzuki, Haruka Kenmochi, Tamiko Hayashi,
Suzuko Matsumoto and Keiko Miyamoto
AN APPROACH TO DEPRESSION: “MIRRORING-AND-REFLECTING”

ROLE OF THE MUSIC THERAPIST ..... 529
Makiko Takahashi
MUSIC THERAPY FOR ‘AHEAD SICK’ ELDERLY ..... 531

Ryotaro Takahashi
THERAPEUTIC MEANING OF AFRICAN POLYRHYTHM THROUGH

DRUM ENSEMBLE SESSION ..... 533
Kanae Takahashi, Naoki Otani and Makiko Kubota
HANDBELL ENSEMBLE ENHANCES THE PREFRONTAL

COGNITIVE FUNCTION IN ELDERLY ..... 535
Takiko Takahashi and Yuji Takano
PHYSIOLOGICAL AND COGNITIVE INVESTIGATION OF PLAYING INSTRUMENTS AS

AN EFFECTIVE COGNITIVE STIMULUS ..... 537
Naomi Takehara, Tomomi Aoki, Mio Nakayama, Toko Yoshizato, Kakuko Matsumoto,
Tomoko Ichinose, Takanobu Higuchi, Ryuhei Okuno and Kenzo Akazawa
THE IMPORTANCE OF RHYTHM CHANGES IN MUSIC THERAPY ..... 539

Yuya Takeshita, Jared Boasen and Koichi Yokosawa
A VENUE CONSISTING OF A NEW KIND OF CARE FOCUSING ON RELATIONSHIPS IN

A COOPERATIVE VENUE ..... 541
Sachiko Takeuchi
27
COMMUNITY INVOLVEMENT THROUGH MUSIC THERAPY FOR

A CLIENT WITH AFTEREEFFECTS OF ENCEPHALITIS ..... 543
Miyuki Tomiyama
LET’S THINK ABOUT MUSIC THERAPY PRACTICE AND RESEARCH ..... 544
Yamada Toru, Mitsui Eiko, Takasaki Yuka, Oga Kenya,
Nagashima Ritsuko and Yamazaki Ikuko
A STUDY OF THE MUSIC THERAPY BASED ON

THE ANCIENT CHINESE MEDICAL THEORY ..... 546
Hsing-chuan Tsai
HOW AN ENTERPIRSE POPULARIZES MUSIC CARE IN TAIWAN AND CHINA ..... 548
Jin Duen Tsai and Keiko Miyamoto
THE MUSIC THERAPISTS TRAINING PROGRAM BY

HOYOGO PREFECTURAL ADMINISTRATION ..... 550
Takako Tsukuda and Naoko Sayamoto
PRACTICAL REPORTS OF MUSIC THERAPY BY MEDICAL WORKERS ..... 552

Minori Uchijima, Yasuyuki Sato, Rie Hanaoka and Masaki Kobashi
THE PROBLEMS AND POSSIBILITIES OF MUSIC THERAPY PRACTICE IN

MEDICAL ENVIRONMENTS ..... 554
Minori Uchijima, Yasuyuki Sato, Rie Hanaoka, Masaki Kobashi, Suzanne Hanser
and Nobuko Saji
RHYTHMIC TRAINING IMPROVES GAIT PERFORMANCE IN PATIENTS

WITH PARKINSON’S DISEASE ..... 556
Sumie Uchino, Toshie Kobayashi, Akiko Kanemaru, Takako Akaboshi, Takayuki Kato) and
Kazutomi Kanemaru
NAGASHI: TRADITIONAL JAPANESE STROLLING MUSIC PERFORMANCES AS

A MUSIC THERAPY TECHNIQUE ..... 558
Maki Uemura and Eiichiro Makino
OTO NO WA : SINGING AND MUSIC SESSIONS AS SUPPORT

FOR THE ELDERLY IN COMMUNITY ..... 560
Makiko Ueno and Yuri Goto
MUSIC THERAPY AND CALLIGRAPHY WITH A BOY WITH DOWNS SYNDROME ..... 562
Shoko Usui
DOES SINGING CHANGE SINGERS’ EXPRESSIONS INTO A SMILE? ..... 564

Yuko Utsuno and Reiko Yano
28
A RESARCH PROJECT OF FIVE CHINESE GIM MUSIC PROGRAMS ..... 566

Wai Man NG
EFFECTS OF LISTENING TO MUSIC ON PHYSIOLOGICAL CHANGES ..... 568

Kyoko Watanabe and Mayuko Ito
RESEARCHING MONGOL MUSIC THERAPY:

A CASE STUDY OF HORQIN SHAMANIC HEALING ..... 570
Toya Wren
PSYCHOLOGICAL SUPPORT FOR MOTHERS IN MUSIC THERAPY

FOR SEVERLY DISABLED CHILDREN ..... 572
Mie Yaeda
SEMINAR ON MUSIC THERAPY FOR HIGH SCHOOL STUDENTS,

QUESTIONNAIRE SURVEY TO FOLLOW ..... 574
Chiho Yaginuma
USING JAPANESE DRUM FOR EMOTIONAL RELEASE OF SENIORS

WITH DEMENTIA IN FACILITIES ..... 576
Yukiko Yamada
THE CHARACTERISTICS OF MUSIC TO IMPROVE QUALITY OF SLEEP ..... 578

Ami Yamasato, Mayu Kondo, Shunya Hosino, Jun Kikuchi,
Shigeki Okino and Kenji Yamamoto
THE EFFECT OF THE MUSIC ON THE NEGATIVE MOOD AFTER STROKE:

LITERATURE RESEARCH ..... 580
Miho Yamauchi
NORDOFF-ROBBINS MUSIC THERAPY WITH ELDERLY WITH BPSD IN HONG KONG ..... 582
Chau Suet Yan, Cat
COMMUNITY MUSIC THERAPY IN HONG KONG: COMMUNITY MUSIC THERAPY

IN UMBRELLA REVOLUTION ..... 584
Chau Suet Yan, Cat and Ng Man Kei
A STUDY OF MUSIC THERAPY FOR PATIENTS WITH RHEUMATOID ARTHRITIS ..... 586
Miura Yasushi, Oga Kenya, Hayashi Tomoko and Yamazaki Ikuko
MUSIC-BASED VOICE PROTOCOL FOR SWALLOWING, VOCAL FUNCTION,

AND QUALITY OF LIFE OF PATIENT WITH DYSPHAGIA: A CASE STUDY ..... 588
Myung-Sun Yeo
EXPLORING THE POTENTIAL OF EMPLOYING CHINESE MUSIC ELEMENTS

IN CONTEMPORARY MUSIC THERAPY PRACTICE — A LOCAL PERSPECTIVE ..... 589
Emily Man Ting Yeung, Sit Lo Wong and Wai Man Ng
29
PYCHODYNAMIC ORIENTED MUSIC THERAPY FOR A CHILD WITH

A PERVASIVE DEVELOPMENTAL DISORDER ..... 591
Masae Yokobori
THE ROLE OF THE MUSIC THERAPIST AT THE HOSPICE DAY CARE SERVICE ..... 593
Yuko Yonekura
CAN SYNCHRONIZED MOVEMENTS BE A MARKER FOR

SOCIAL MOTOR SKILLS DEVELOPMENT? ..... 595
Ga Eul Yoo
A STUDY OF MT FOR QOL OF BED-RIDDEN PERSON WITH SEVERE ..... 596

Nanako Yumita
MUSIC THERAPISTS’ AND MUSICIANS’ PERCEPTION OF ENVIRONMENTAL MUSIC THERAPY

AND ENVIRONMENTAL MUSIC IN A HOSPITAL SETTING ..... 598
Jing-wen Zhang, John Mahoney and Mary Doherty
30
GREETINGS FROM THE CONGRESS ORGANIZER

Welcome to the World Congress of Music Therapy! Welcome to Japan!
The first World Congress of Music Therapy in

Japan is about to begin, and more than 2,000
people are attending from over the world. I
hope it will be an unforgettable congress for
each of you!
The theme of the Congress is «Moving For-

ward with Music Therapy», a theme which
was chosen with the hope that leaders in the
field of music therapy, experts, practitioners,
beginners, students, and people from other
fields would gather, interact and learn from
one another. We also hope that attendees
find ways to advance the discipline of music
therapy, both at the international level and at
the regional level, wherever you may be from.
Finally, I would like to thank the many people

who helped prepare the 15th World Congress
of Music Therapy. It would have been impos-
sible to hold such a big event without their
hard work and enthusiastic support. The rest
of the Congress is in your hands. I hope all of
you will take advantage of this opportunity to
enjoy yourselves, meet new people, expand
your networks, and boost music therapy, here
and around the world.
Michiko Kato, MM, RMT (Japan)

Congress Organizer of the 15th World Con-
gress of Music Therapy
31
MOVING FORWARD & INSPIRING THE NEW GENERATION OF

MUSIC THERAPISTS
As co-editors of this important new edition the WFMT website at http://www.wfmt.info

of Music Therapy Today (MTT) we are plea- for submission guidelines to our online jour-
sed to write an introduction to the spring nal.
2017 special edition. This latest edition fea-
tures the proceedings of the 15th World We would both like to thank the editorial
Congress of Music Therapy (WCMT) in Tsu- board members of MTT and additional volun-
kuba, Japan and includes 287 contributions teers for their role in proofreading and edi-
from music therapists, educators, resear- ting the submissions in this edition. Please
chers, and allied health care professionals join us in extending our thanks to: Ms. Elsa
from the 8 global regions of the WFMT. Con- Campbell, Dr. Anita Gadberry, Dr. Annie Hei-
current oral papers, roundtable, workshops derschiet, Ms. Helen Oosthuizen and Dr. Mi-
and poster presenters at the WCMT were in- chael Silverman.
vited to submit a short paper about their
presentations. On behalf of the WFMT and We would also like to thank the WCMT Scien-
the WCMT organizers, we would like to thank tific Committee for their role in reviewing all
each author for their contributions to this of the submissions to the WCMT. Please join
publication. us in thanking: Mr. Gabriel Federico, Dr.
Annie Heiderscheit, Dr. Yuka Kasuya, Dr. Petra
These proceedings offer a dynamic and com- Kern, Dr. Sooji Kim, Dr. Satomi Kondo, Ms.
prehensive collection of significant develop- Makiko Kubota, Dr. Joanne Loewy, Dr. Katrina
ments in music therapy research and clinical McFerran, Dr. Kana Okazaki-Sakaue, Ms.
practice; as well as music and medicine initia- Helen Oosthuizen, Dr. Patricia L. Sabbatella,
tives. Further papers are provided on the de- Dr. Michael Silverman, Dr. Alison Short, Dr.
velopment of music therapy in newer areas Ralph Spintge, Dr. Thomas Stegeman, Dr. Su-
of the world and education advances. mathy Sunder, Dr. Giorgos Tsiris and Ms.
Yuuko Yonukura.
We are confident you will enjoy the opportu-
nity to read these submissions and learn new Finally we want to extend sincere gratitude to
and valuable information to take into your the WFMT WCMT Chair Michiko Kato for her
own clinical practices and scholarly work. Pu- role in overseeing this important World Con-
blications such as this one are an important gress. Further appreciation is extended to the
way of sharing knowledge and growing the li- Japanese Music Therapy Association and all
brary of music therapy practice, which can WCMT Organizing Committee Members.
grow the profession and the efficacy of our
discipline. With that in mind, we hope you The WCMT theme of Moving Forward with
will consider submitting your own papers to Music Therapy: Inspiring the Next Genera-
future editions of MTT. The next deadline for tion is definitely evident in this collection of
submissions is January 2, 2018. Please visit papers. We have no doubt that when you
32
engage in reading this edition you will feel

inspired and learn and grow your own pro-
fessional practice.
Warm Regards from Spain and Canada.
Amy Clements-Cortes, PhD, RP, MT-BC, MTA,

FAMI
WFMT President
Amy
Melissa Mercadal-Brotons, PhD, MT-BC,

SMTAE
Chair Publications Commission, WFMT
Chair Scientific Committee, WCMT 2017
Melissa
33
AFRICA
34
CREATING CONNECTIONS: EXPLORING THE IMPACT

OF THERAPEUTIC CAREGIVER SINGING ON THE ELDERLY
WITH DEMENTIA AT A RESIDENTIAL ELDERLY CARE FACILITY
IN SOUTH AFRICA
Karyn Stuart
Music Therapist, South Africa
The South African Context
In South Africa, with its population of 55.6 mi- who have difficulty communicating (Beer,
llion people, diverse cultures and 11 official 2016) and there are aspects of the therapeu-
languages, music, especially singing, is often tic use of music that may be shared with ca-
at the centre of cultural events: from a tradi- regivers that would assist them in providing
tional ‘rite of passage’ ceremony to the roa- effective care, providing them with a useful
ring chants at local rugby games. Statistics SA resource. I sought to explore the impact of
(2011) states that there are over 2.2 million caregiver singing, during morning care rou-
people living with Dementia in South Africa. tines, on the residents, the caregivers them-
Access to quality care is often lacking in qua- selves and their interaction.
lity and quantity especially in rural and under-
resourced areas (Van Der Poel, 2009). As one Methodology
of approximately only 50 registered music
therapists in South Africa, tapping into the Four dyads (caregiver and resident with se-
existing culture of singing seems relevant and vere dementia) were videoed during usual
necessary, and an applicable way of promo- morning care routines (MCRs), after which
ting an intimate and client-centered way of caregivers attended a comprehensive expe-
working as described by Kitwood and Bredin riential workshop focusing on singing, attu-
(1992). nement, use of elements of music and
observation skills. Subsequently, the same
Caregiver Singing Pilot Study dyads were videoed during ‘singing’ MCRs.
Caregivers were interviewed about their ex-
I undertook a qualitative pilot study at a resi- periences. All ethical considerations regar-
dential Dementia-care unit where caregivers ding inclusion in the study and use of video
expressed difficulty in relating to residents, footage were addressed. Videos and inter-
especially during morning care routines (was- views were transcribed, coded and catego-
hing and dressing) where agitation and ag- rized, and the process was peer reviewed.
gression added to caregivers’ experience of
burden of care. Detachment, isolation and Emerging Themes from Singing MCRs
distress, common in persons with Dementia
(Pratt & Wilkinson, 2003) exacerbated diffi- Shared Awareness: Both caregivers and resi-
cult interactions. Music therapists are able dents were more alert to each other as seen
to create meaningful connections with those in an increase in eye contact and awareness
35
of surroundings. The livelier energy levels cre- lity care of the resident whilst alleviating ca-
ated opportunities for more appropriate res- regiver stress. Further research and applica-
ponses to each other. In stark contrast to the tion in this field would be valuable.
usual MRCs, caregivers were more responsive
to the residents’ actions and attempts at References
communicating.
Beer, L (2016) The role of the music therapist
Shared Engagement and Enjoyment: Singing in training caregivers of people who have
together allowed for more conversations, re- advanced dementia. Nordic Journal of Mu-
miniscence and meaningful touch than in the sic Therapy 26(2), 185-189.
usual MCRs. The pleasure and playfulness Kitwood, T., Bredin, K. (1992) Towards a theo-
created a sense of togetherness and led to ry of dementia care: personhood and well-
the use of fewer instructions and more enjo- being. Ageing and Society, 12, 269-287.
yable interactions. Pratt, R., Wilkinson, H. (2003) A psychosocial
model of understanding the experience of
Shared Intention: Residents seemed better receiving a diagnosis of dementia. Demen-
able, and more motivated, to comply with tia 2(2), 181-199.
verbal and implied instructions. Caregivers re- Van der Poel, R., Pretorius, C. (2009) Demen-
ported feeling empowered to contribute to- tia in low and middle income countries:
wards positive changes in mood and increa- the need for research and advocacy. De-
sed independence in the residents. mentia 8(4), 451-454.
Statistics SA (2011). Retrieved from http://
Conclusion www.statssa.gov.za
The opportunities for connection created About the Author

through caregiver singing, support a client-
centered way of engaging, impacting both Karyn Stuart is based in Cape Town, South
the resident and the caregiver. In an under- Africa and has a private practice with interest
resourced country like South Africa, this can in trauma, elderly care and special needs.
be a valuable method of contributing to qua- Email: Karyn@capetownmusictherapy.co.za
36
AUSTRALIA
NEW ZEALAND
37
MUSICAL RECOVERY: REGAINING HEALTHY RELATIONSHIPS

WITH MUSIC DURING MENTAL HEALTH RECOVERY
Jennifer Bibb
National Music Therapy Research Unit, Faculty of VCA & MCM,
University of Melbourne, Australia
Background gering encounters with music. The results

illustrate how people with mental illness can
Music therapy has previously been identi- lose touch with the use of music as a health
fied as a way to foster processes of mental resource during their recovery. Many partici-
health recovery (Ansdell & Meehan, 2010; pants in this study reported a range of exis-
Hense, McFerran & McGorry, 2014; McCaf- ting music use habits and triggering encoun-
frey, Edwards, & Fannon, 2011; Solli, Rolvs- ters with music in their singing group which
jord, & Borg, 2013). However, little is known appeared to interfere with their use of music
about the specific factors apparent in group as a health resource. Attendance in group sin-
singing within music therapy and commu- ging was described as helpful in promoting a
nity-based music contexts which promote new, healthy relationship with music. A new
recovery. The current project aimed to ad- term, ‘musical recovery’ was developed which
dress this gap by exploring the conditional depicts a process of regaining healthy rela-
and contextual factors involved in group sin- tionships with music to promote mental he-
ging which promote recovery. alth recovery.
Method This paper will discuss factors which were

identified as promoting and interfering with
Twenty-three adults who were in mental he- musical recovery, and the importance of gui-
alth recovery were recruited from a number ding and supporting consumers in their music
of different singing groups in inpatient and use during recovery. Clinical implications for
community mental health contexts around music therapists will be discussed, and a con-
Melbourne, Australia. A grounded theory ap- tinuum depicting the diverse nature of group
proach primarily influenced by Strauss and singing participation in different settings will
Corbin (1998) was adopted which allowed for be presented.
a deep exploration of meaning and action into
participants’’ experiences of group singing. References
Findings Ansdell, G., & Meehan, J. (2010). “Some light

at the end of the tunnel”: Exploring users'
The findings of this study are presented as a evidence for the effectiveness of music
grounded theory of group singing which is therapy in adult mental health settings.
described as a resource for regaining healthy Music and Medicine, 2(1), 29–40. doi:10.
relationships with music in response to trig- 1177/1943862109352482
38
Hense, C., McFerran, K. S., & McGorry, P. Strauss, A. L., & Corbin, J. M. (1998). Basics
(2014). Constructing a grounded theory of qualitative research: Techniques and
of young people’s recovery of musical procedures for developing grounded the-
identity in mental illness. The Arts in ory. Thousand Oaks: Sage Publications.
Psychotherapy, 41, 594–603.
McCaffrey, T., Edwards, J., & Fannon, D. About the Author
(2011). Is there a role for music therapy
in the recovery approach in mental he- Jennifer Bibb has recently completed her PhD
alth? The Arts in Psychotherapy, 38(3), with the National Music Therapy Research
185-189. doi:10.1016/j.aip.2011.04.006 Unit (NaMTRU) at the University of Mel-
Solli, H. P., Rolvsjord, R., & Borg, M. (2013). bourne, Australia and works clinically with
Toward understanding music therapy as people in mental health recovery.
a recovery-oriented practice within men- Email: bibb.jennifer@unimelb.edu.au
tal health care: A meta-synthesis of ser-
vice users’ experiences. Journal of Music
Therapy, 50(4), 244–273.
39
A FUTURE OF MUSIC THERAPY RESEARCH AND PRACTICE IN THE

TREATMENT OF EATING DISORDERS
Jennifer Bibb
Faculty of VCA & MCM, University of Melbourne, Victoria, Australia
Annie Heiderscheit
Augsburg College
Ingvild Stene
Norwegian Academy of Music
Gro Trondalen
Norwegian Academy of Music
The role of music therapy in the treatment of to address the multiple and complex issues
eating disorders has had little attention in re- underlying her eating disorder (Heiderscheit,
cent years. With the increasing rate of eating 2015).
disorder diagnosis worldwide, and the com-
plex and resistive nature of the illness, it is Presentation 3 (Stene) will explore music lis-
vital to gain further support for music therapy tening and emotional knowledge in eating di-
programs in eating disorder recovery servi- sorders, presenting results from a group mu-
ces. This symposium will showcase four clini- sic therapy study with female adults suffering
cal research case studies from four music from an eating disorder.
therapists practicing in the area of eating di-
sorder treatment and recovery around the Presentation 4 (Trondalen, 2015) will suggest
world. a possible agenda for future developments
within music therapy clinical practice, theory
Presentation 1 (Bibb) will present the results and research for Eating Disorders.
from a mixed methods study comparing the
level of post-meal related anxiety of adult in- Following the four 15 minute case presenta-
patients with anorexia nervosa before and tions, a 30 minute panel (of the four presen-
after 89 music therapy sessions in compari- ters) and audience discussion will be facilita-
son to standard care (Bibb, Castle & Newton, ted by the primary presenter and will be
2015, 2016). based around the future of research in the
field of music therapy and eating disorders.
Presentation 2 (Heiderscheit) will present a The combination of two prolific, expert clini-
clinical case of a young graduate student in cian-researchers in this area, and two early
eating disorder treatment utilizing the Bonny career clinician-researchers will provide a uni-
Method of Guided Imagery and Music (GIM) que perspective on the topic. Through this
40
symposium, we hope to offer an opportunity About the Authors

for learning, collaboration and inspiration for
researcher-clinicians working in this field. Jennifer Bibb has recently completed her PhD
at the National Music Therapy Research Unit
References (NaMTRU) at the University of Melbourne,
Australia and works clinically with people in
Bibb, J., Castle, D., & Newton, R. (2015). The mental health recovery.
role of music therapy in reducing post Email: bibb.jennifer@unimelb.edu.au
meal related anxiety for patients with ano-
rexia nervosa. Journal of Eating Disorders, Annie Heiderscheit is a board certified music
3(5). doi:10.1186/s40337-015-0088-5 therapist and has 18 years of clinical expe-
Bibb, J., Castle, D., & Newton, R. (2016). ‘Cir- rience. She holds a master's degree in coun-
cuit breaking’ the anxiety: Experiences of seling from Iowa State University and has a
group music therapy during supported doctorate in music/ music therapy from the
post-meal time for adults with anorexia University of Minnesota.
nervosa. Australian Journal of Music The-
rapy, 27, 1-11. Ingvild Stene is music therapist, psychothe-
Heiderscheit, A. (2015). GIM in the Therapeu- rapist and PhD student at the Norwegian Aca-
tic Hour and case illustration of an adult demy of Music.
client in eating disorder treatment. In D.
Grocke, and T. Moe, (Eds.). Guided Ima- Gro Trondalen is professor in music therapy
gery and Music (GIM) and Imagery Me- and Director of Centre for Research in Music
thods for Individual and Group Therapy, and Health (CREMAH) at the Norwegian Aca-
(99-107). London, England: Jessica Kings- demy of Music, Oslo.
ley Publishers.
Trondalen, G. (2015). Music Therapy and Ea-
ting Disorders: Envisioning future clincal
practice, theory and research. In C. Dileo
(Ed.), Envisioning the Future of Music The-
rapy (pp. 31-44). Philadelphia: Temple
University, Phildelpia.
41
GENERATE INCOME AND SHARE YOUR EXPERTISE AS A MUSIC

THERAPY ENTREPRENEUR ON MUSIC THERAPY ONLINE
Jacinta Calabro, RMT
Music Therapy Online, Australia
Continuing professional development is an and are available to all, anytime, anywhere.

important indicator for success in the music Watch when you like, wherever you like. Ac-
therapy profession. However, it is not al- cess and availability to expert knowledge is
ways easy to find quality advanced training now available on demand.
and knowledge that suits our individual
areas of practice or our level of experience. Music Therapy Online provides tutorials on
a diverse range of topics to enable music
We are an incredibly diverse profession. therapists to continue to learn and grow in
With many different ways of working, many their career, with tutorials offered across a
populations to service and differing frame- range of categories including clinical skills,
works and theories underpinning our work, methods, theories and frameworks, rese-
it can be difficult to access advanced educa- arch, supervision, business skills and self
tion that is relevant. It can also be difficult care. The tutorials are also a useful resource
to access online journal articles, conferen- for music therapists required to accrue on-
ces, or other appropriate informal learning going education credit or for those wishing
opportunities once we finish our university to upskill, change their area of practice or
training. broaden their music therapy knowledge.
Music Therapy Online Shine your light
Online professional development is a relati- MTO tutorials are created by music thera-
vely new way for music therapists to main- pists, for music therapists. Many of us work
tain their learning, share their knowledge, in isolation or in small teams and our oppor-
and thrive in their career. tunity for sharing our work and our skills can
be limited. With Music Therapy Online we
Music Therapy Online (MTO) is a new re- can now share our knowledge with collea-
source, which offers music therapists high gues anywhere in the world.
quality, affordable and easy to understand
professional development tutorials by ex- Big ideas and small ideas are all welcome.
pert music therapists from around the world. Big concepts such as frameworks, theories
and new research are ever evolving, exciting
Music Therapy Online serves music thera- and vital to the foundation of a solid clinical
pists worldwide by creating and commissio- practice. But small ideas are valuable too
ning high quality professional development and can be the difference between a good
tutorials. The tutorials are provided online clinician and an exceptional clinician. How
42
do expert clinicians practice? What techni- Interested?

ques and ideas do they use in their work?
Creating an online tutorial is a fantastic way to
If you have expertise in a particular area shine your light on a global scale, educate
then Music Therapy Online would like to other music therapists, generate passive in-
help you share that knowledge. By sharing come and join an inspiring new generation of
your knowledge and shining your light you’re music therapy entrepreneurs seeking to leve-
helping other music therapists shine too. rage their knowledge and maximize their time.
Music Therapy Entrepreneurs By sharing our expertise and supporting each

other’s learning we not only grow and streng-
Music Therapy Online primarily seeks to then our own professional networks, we grow
support music therapist’s ongoing education and strengthen our professional globally.
but MTO also aims to provide a source of in-
come for music therapists who contribute to www.musictherapyonline.org
Music Therapy Online as Presenters.
References
By signing up as a Presenter at Music The-
rapy Online, expert music therapists can Continuing Professional Development (2004).
create educational resources that not only The Benefits of Online Training and Deve-
benefit other music therapists but also ge- lopment. Retrieved from http://continuing
nerate passive income. Music therapists can professionaldevelopment.org/the-bene-
create a tutorial that makes them money fits-of-online-training-and-development/
while they sleep. How? Ferriss, T. (2007). The 4-Hour Workweek: Es-
cape 9-5, Live Anywhere, and Join the New
Once each tutorial is created it is available Rich. Crown Publishing Group.
for purchase at Music Therapy Online. It be-
comes an evergreen asset – meaning that About the Author
the tutorial can then be sold multiple times.
As Presenters earn a percentage of each sale Jacinta is the founder of Music Therapy On-
they can earn income from their tutorial in- line – Learn, Share, Grow!
definitely. Email: Jacinta_c@yahoo.com
43
SUPPORTING HEALTHY AGEING AND MANAGEMENT OF

AGE RELATED DISEASE IN AUSTRALIA
Imogen Clark
Ageing policy in Australia cal arousal and positive subjective experience

leading to increased adherence with recom-
As the global population ages, more people mended amounts of physical activity (Clark,
are experiencing the privilege of growing old. Baker, & Taylor, 2016a). We tested this model
By 2050, estimates suggest that over 2 billion in a mixed methods randomised controlled
people will be aged 60 years or over (WHO, trial over 6 months with 56 older adults post
2016). Current buzz terms, including healthy cardiac rehabilitation. Results suggested that
ageing and active ageing, are used to describe personalised music listening during walking
the notion of optimal health, independent life helped older adults with cardiac disease to
participation and security required for high manage barriers to physical activity and exer-
quality of life through the full course of life. cise at higher intensity leading to cumulative
In Australia, 2 major policies support princi- health benefits including improved waist cir-
ples of healthy ageing (AIHW, 2017): 1) Pre- cumference, exercise capacity, blood pressure
ventative health, promotes healthy lifestyle and body mass index (Clark, Baker, Peiris,
choices, such as physical activity participa- Shoebridge, & Taylor, 2016; Clark, Baker, &
tion; 2) Living longer better, has a strong focus Taylor, 2016b). This research illustrates the
on supporting people with dementia (PWD) strong potential of music therapy as a preven-
and their family caregivers (FCG). This presen- tative health measure for older adults.
tation will discuss recent music therapy rese-
arch in Australia targeted to address these Living longer better: Music therapy and
policies. dementia care in the community
Preventative health: Music therapy, The living longer better policy in Australia
physical activity and cardiac disease aims to support PWD and their FCG to live to-
gether for as long as possible in the family
Regular physical activity is widely recognised home. PWD are able to engage with music
as a preventative health measure that signi- into the very late stages of disease, making
ficantly reduces the incidence of age related music a powerful therapeutic resource that
non-communicable diseases such as cardiac may support care-recipient-giver relationship
disease, dementia and cancer (AIHW, 2107). quality, and management of dementia symp-
Our research examined music listening stra- toms including agitation, depression, apathy
tegies to improve physical activity participa- and anxiety. In Australia, we are currently in-
tion among older adults with cardiac disease. vestigating effects of group singing and per-
My conceptual model proposed that perso- sonalised home music programs on outcomes
nalised music listening promotes physiologi- examining wellbeing and connection bet-
44
ween community-dwelling PWD and their sic Therapy, 25, 1, 76-104. doi: 10. 1080/
FCG. While preliminary quantitative results 08098131.2015.1008558
are yet to be analysed, PWD and FCG partici- Clark, I.N., Baker, F.A., Peiris, C.L., Shoebridge,
pants have reported benefits from meaning- G., & Taylor, N.F. (2016). Participant-selec-
ful engagement with other group members ted music and physical activity in older
and their loved ones. We have also observed adults following cardiac rehabilitation: a
high levels of musical participation and cama- randomised controlled trial. Clinical Reha-
raderie, and the learning of new skills by PWD bilitation. Retrieved from http://journals.
and FCG. sagepub.com.ezp.lib.unimelb.edu.au/doi/
abs/10.1177/0269215516640864 doi:0.
Conclusion 1177/0269215516640864
Clark, I.N., Baker, F.A. & Taylor, N.F. (2016b).
This research demonstrates how innovative Older adults’ music listening preferences
music therapy interventions address ageing to support physical activity following car-
policy and may reduce the burden of age re- diac rehabilitation. Journal of Music The-
lated health care to society. rapy, 1-27. doi: 10.1093/jmt/thw011
World Health Organisation (2016). Ageing
References and health. Retrieved from http://www.
who.int/mediacentre/factsheets/fs404/en/
Australian Institute of Health and Welfare
(2017). Ageing, disability & carers. Retrie- About the Author
ved from http://www.aihw.gov.au/ageing/
Clark, I.N., Baker, F.A., & Taylor, N.F. (2016a). Imogen Clark (PhD) is a Postdoctoral Rese-
The modulating effects of music listening arch Fellow and Lecturer at the University of
on health related exercise and physical ac- Melbourne, and clinician at Austin Health,
tivity in adults: A systematic review and Australia.
narrative synthesis. Nordic Journal of Mu- Email: imogen.clark@unimelb.edu.au
45
MUSICAL MEMORIES: CONNECTING PEOPLE WITH DEMENTIA

AND THEIR FAMILY CAREGIVERS THROUGH SONG
Imogen Clark
Jeanette Tamplin
University of Melbourne
Claire Lee
Felicity Baker
Description Method
Active music participation may offer benefits A mixed-methods, single group pre-post de-
for people with dementia (PWD) and their sign utilised standardised outcome measu-
family care givers (FCG) living in the commu- res and qualitative interviews. Participants
nity (Baird & Samson, 2015). For the PWD, were recruited through dementia clinics,
this capacity to respond to music-making ac- consumer groups, and support agencies. The
tivities, such as singing, may facilitate remi- intervention consisted of 20 weekly group
niscence and successful social engagement sessions (attended by PWD and FCG toge-
(Vanstone & Cuddy, 2010). As a conse- ther) with singing activities and opportuni-
quence, FCG may experience meaningful ties for social interaction. PWD/FCG dyads
and satisfying connection with their loved were also given individualised recorded mu-
one (Baker, Grocke & Pachana, 2012). Re- sic programs for use at home. These resour-
ceptive music listening interventions may ces aimed to provide FCG with music-based
also assist with the management of challen- strategies to support management of de-
ging symptoms of dementia, such as agita- mentia symptoms.
tion and anxiety, offering FCG strategies to
use in the home. Discussion
This feasibility study investigated the effects Data collection is still underway for this
of therapeutic singing groups and a home study, but results will be available for pre-
music therapy program for PWD/FCG dyads sentation at the Congress. Findings from the
on: PWD/FCG relationship; life satisfaction, feasibility study and implications for further
caregiver satisfaction, flourishing, and depres- planned research will be discussed. Expec-
sion in FCG; and anxiety, quality of life, agitated outcomes include support for: 1) sustai-
tion, apathy, and cognitive function in PWD. ned and fulfilling relationships between
46
PWD and their FCG; 2) alleviation of psycho- http://www.austmta.org. au/journal/ar-

social and emotional difficulties commonly ticle/connecting-through-music-study-
experienced by PWD and their FCG; and 3) spousal-caregiver-directed-music-interve
PWD and their FCG to remain together in ntion
the family home for as long as possible.
These outcomes may improve the quality of About the Authors
life for PWD and FCG while also reducing he-
althcare costs. Imogen Clark (PhD) is a Post Doctoral Rese-
arch Fellow and Lecturer at the University of
References Melbourne, and music therapist at the Royal
Talbot Rehabilitation Centre – Austin Health,
Baird A., & Samson, S. (2015). Music and de- Australia.
mentia. In E. Altenműler, S. Finger, & F. Email: Imogen.clark@unimelb.edu.au
Boller (Eds.). Music, neurology, and neu-
roscience: Evolution, the musical brain, Jeanette Tamplin (PhD) holds an NHMRC-
medical conditions, and therapies: Pro- ARC Dementia Research Development Fe-
gress in Brain Research, 217, 207-235. llowship at the University of Melbourne, and
doi: 10.1016/bs.pbr.2014.11.028 works as a music therapist at the Royal Tal-
Vanstone, A. D., & Cuddy, L. L. (2010). Musi- bot Rehabilitation Centre – Austin Health,
cal memory in Alzheimer's Disease. Aging, Australia.
Neuropsychology, & Cognition, 17(1),
108-128. doi: 10.1080/138255809 03042 Claire Lee (PhD) is a Research Fellow at the
676 University of Melbourne with qualifications
Baker, F. A., Grocke, D., & Pachana, N. A. in Music Therapy and Neuropsychology.
(2012). Connecting through music: A stu-
dy of a spousal caregiver-directed music Felicity Baker (PhD) is Associate Dean (Aca-
intervention designed to prolong fulfilling demic) at the Faculty of VCA and MCM and
relationships in couples where one per- co-director of the National Music Therapy
son has dementia. Australian Journal of Research Unit, University of Melbourne,
Music Therapy, 23, 4-21. Retrieved from Australia.
47
CONSULTING THE FUTURE: THE VALUE OF SHORT-TERM

PROGRAMS AND CONSULTANCY IN MUSIC THERAPY
Romy Engelbrecht
Calvary Health Care Bethlehem, Australia
Alice Parkhill
Calvary Health Care Bethlehem, Australia
Consultancy in Music therapy tancy practice in music therapy involves

educating or supervising others to using
With rapidly developing technology, access music in therapeutic or purposeful ways.
to music streaming, and the growing recog- A skill sharing approach (Rickson, 2012)
nition and demand for music in health, short- can be easily applied to music therapy,
term and consultancy programs present a and involves specific programs to empo-
unique and emergent market for expanding wer carers, families or other professionals
music therapy services. Despite its potential, to use music in health.
little is currently known about the global or cli- 2. Collaborative clinical practice: Working to-
nical consultancy practices of registered or gether with other health or education
board-certified music therapists. In 2002, a professionals to co-facilitate or apply mu-
survey of 873 American music therapists sho- sic within a particular program (Green &
wed that 44% provided consultancy services Johnson, 2015). Examples of this can be
(Register, 2002). The majority of consulting seen when music therapists have the op-
work centred on education, including works- portunity and referral relationships to work
hops, in-services and seminars, and was pre- with other health professionals.
dominantly in special education, disability, or 3. Consulting with organisations and servi-
aged care (Register, 2002), highlighting a li- ces providers: Providing expert advice and
mited application of consultancy in practice recommendations, including reviewing how
to date. The lack of clarity in the definition, music is used in health and how to im-
utilisation and understanding of consulting, prove outcomes.
combined with a lack of training for music the- 4. Increasing music access and technology:
rapists has prevented its further exploration With tele-health a growing component in
and development within our profession. To re- care, music therapists can play a role in
medy this, the authors propose a model of assessing, setting up, starting and evalua-
consultancy to grow practice and understan- ting a program that can be run by other
ding in music therapy. staff or carers (e.g. iPod programs). While
the technology available is not yet good
Proposed model of consultancy for music enough, it is also worth considering the
therapy: future applications of music therapy over
teleconferencing platforms.
1. Education and training: Existing consul-
48
Considerations in consultancy healthcare workforce. Journal of Sociology

of Health and Illness, 27 (7). 897 – 919. doi:
Music therapists complete extensive training 10.1111/j.1467-9566.2005. 00463.x.
and supervised practice to become experts in Rice, A. H. (2000). Interdisciplinary collabo-
applying music in health and therapy, using ration in health care: Education, practice,
best and evidence-based practice, however, and research. In National Academies of
we do not solely own music. While consul- Practice Forum: Issues in Interdisciplinary
tancy provides a dearth of opportunities for Care. Sage Publications.
expanding practice, the appropriate balance Rickson, D.A. (2012). Music therapy school
needs to be reached for empowering others consultation: A unique practice. Nordic
to use music and how we as clinicians can en- Journal of Music Therapy, 21(3). 1 – 18,
sure continued ethical and appropriate use. doi: 10.1080/08098131.2012.654474.
The controversy of differentiating music the-
rapy from music in therapy and health needs About the Authors
to be further discussed and explored, parti-
cularly with the growing pressure on health Romy Engelbrecht is a RMT who specializes
professionals to use innovation and flexibility in working with older adults, palliative care,
in the boundaries of their roles (Nancarrow progressive neurology, and family grief and
& Borthwick, 2005), and the ever-expanding loss.
technology and accessibility of music. Music Email: romy.engelbrecht@calvarycare.org.au.
therapy as a profession needs to ackno-
wledge the changing digital landscape and Alice Parkhill is a RMT who specializes in
dynamic work boundaries to meet growing working in palliative care, progressive neu-
demand, and to stay at the forefront of new rological diseases, dementia and mental he-
and unique applications of music. alth.
Email: Alice.Parkhill@calvarycare.org.au
References
Nancarrow, S.A., & Borthwick, A.M. (2005).

Dynamic professional boundaries in the
49
COLLABORATIVE SONGWRITING WITH CHILDREN IN

THE HOMELESSNESS AND FAMILY VIOLENCE CONTEXT
Rebecca Fairchild
The University of Melbourne, Australia
Introduction the cases will be discussed. The children des-

cribed a range of resources that help them to
The majority of literature about children ex- ‘do well’ in their lives including family, friends,
periencing homelessness and family vio- music, sport, pets and a positive outlook.
lence focusses on reporting problems and They also explored other resources they wish
highlighting detrimental health, educational they could have access to including more
and developmental outcomes for children. money, food, safety, positive relationships
In contrast, there is little acknowledgement and recreational activities. The songs created
of children’s personal resources and capaci- represent the capacity and strengths of chil-
ties in times of crisis. Therefore a better ba- dren despite their experiences of transience
lance is needed in representing children’s and violence, while also acknowledging the
strengths alongside their challenges (Fair- gaps in the service system including the limi-
child, McFerran & Thompson, 2016). ted social and emotional opportunities for
children in this context.
Overview of the presentation
The results emphasise the need for music
This paper will describe a participatory arts therapists to work towards building upon
based research project, involving 15 pre- the existing resources in children’s lives and
adolescent children who were experiencing to consider using song writing as a collabo-
homelessness and family violence. The pro- rative research method to provide opportu-
ject aims to 1) Explore the resources that nities for children’s voices to be heard and
children draw upon when life gets hard and responded to in times of crisis. In addition,
2) Engage children as co-researchers and re- the capacity for using strengths based song-
present their voices and experiences in mu- writing as an approach to initial engagement
tually empowering ways. Songwriting was and assessment in music therapy practice
used as a collaborative research method to will be discussed.
co-construct knowledge with children through
group and individual interviews, with chil- References
dren being invited to write songs about what
helps them to ‘do well’ in their everyday Fairchild, R., McFerran, K.S., & Thompson, G.
lives. (2016). A critical interpretive synthesis of
the ways children’s needs and capacities
This presentation will share excerpts from are represented in the homelessness and
the songs written in collaboration with the family violence system. Children Austra-
children and the key learning’s from across lia. https://doi.org/10.1017/cha.2016.46
50
About the Author
Rebecca Fairchild is a PhD researcher explo-

ring children’s resources in the context of
homelessness and family violence.
Email: rfairchild@student.unimelb.edu.au
51
INTERNATIONAL PERSPECTIVES ON MUSIC THERAPY

IN CHILD WELFARE
Rebecca Fairchild
Philippa Derrington
Queen Margaret University, United Kingdom
Jinah Kim
Jeonju University, Korea
Viggo Krüger
University of Bergen, Norway
Stine Jacobsen
Aalborg University, Denmark
Michael Zanders
Texas Woman’s University, United States of America
There is a growing interest and need for ves on music therapy within the different
music therapists to work with children and child welfare systems around the world. The
young people who have been oppressed and panel members will draw from their exper-
marginalised due to their experiences of po- tise across contexts such as child protection
verty, abuse and violence. Child welfare aims (Jacobsen, 2016), foster care (Krüger & Stige,
to support and nurture children's wellbeing 2015; Zanders, 2015), abuse (Kim, 2015),
and music therapy offers opportunities for young people excluded from school (Derring-
children's voices to be heard and responded ton, 2012), family violence and homeless-
to in meaningful ways. The research and lite- ness (Fairchild, McFerran & Thompson, 2016)
rature has addressed the immediate and to explore some of the recent developments
long term risks, mental health concerns and and challenges in child welfare research and
challenges that children in these systems practice. Possible future implications for
often face, however there is a lack of foun- music therapy in this context will be explo-
dational understanding of the internal and red, with a focus on the ways music thera-
external resources that children need in their pists may collaborate with children, families,
lives to assist them to cope and be resilient service systems and the wider community in
in the face of adversity. This roundtable dis- an attempt to contribute to personal and so-
cussion will provide international perspecti- cial change.
52
References Zanders, M. L. (2015). Music therapy prac-

tices and processes with foster care
Derrington, P. (2012) ‘“Yeah I’ll do music!” youth: Formulating an approach to clini-
Working with secondary-aged students cal work. Music Therapy Perspectives,
with complex emotional and behavioural 33 (2), 97-107.
difficulties’. In J. Tomlinson, P. Derrington,
& A. Oldfield Music Therapy in Schools: About the Authors
Working with children of all ages in
mainstream and special education. Jes- Rebecca Fairchild is a PhD researcher explo-
sica Kingsley Publishers, London: UK. ring children's resources in the context of ho-
melessness and family violence.
Fairchild, R., McFerran, K.S., & Thompson, G. Email: rfairchild@student.unimelb.edu.au
(2016). A critical interpretive synthesis of
the ways children’s needs and capacities Philippa Derrington, PhD., is Programme Le-
are represented in the homelessness and ader of the MSc Music Therapy at Queen
family violence system. Children Australia. Margaret University, Edinburgh and her re-
search area is music therapy for youth at
Jacobsen, S. L. (2016). A Meaningful Jour- risk.
ney: Including Parents in Interactive
Music Therapy with Emotionally Neglec- Jinah Kim, PhD., is associate professor and
ted Children. In S. Daniel & C. Trevarthen head of Creative Arts Therapy department at
Companionship: The Rhythm of Relating Jeonju University.
in Children’s Therapies. Jessica Kingsley
Publishers, London: UK (in preparation). Viggo Krüger, PhD., is associate professor at
GAMUT, University of Bergen, as well as
Kim, J. (2015). Music therapy with children music therapist at Aleris Ungplan & BOI.
who have been exposed to ongoing child
abuse and poverty: A pilot study. Nordic Stine Lindahl Jacobsen, PhD., is Associate
Journal of Music Therapy, 24(1), 27-43. Professor at Aalborg University. Her research
areas include families at risk and standardized
Krüger, V., & Stige, B. (2015). Between rights music therapy assessment tools.
and realities–music as a structuring re-
source in child welfare everyday life: a Michael L. Zanders, PhD., is currently an as-
qualitative study. Nordic Journal of Music sistant professor and coordinator of music
Therapy, 24(2), 99-122. therapy at Texas Woman's University
53
LESSONS LEARNT IN PAEDIATRIC NEUROLOGICAL

REHABILITATION ACROSS THE GLOBE
Michelle Fisher
The Royal Children’s Hospital, Melbourne, Australia
Very Special Kids, Melbourne, Australia
Our world is full of people of many cultures the role- that music is considered ‘Haram’
and a person’s culture is not necessarily de- that is, forbidden. It was indicated that this
fined by the country of birth or by the com- belief actually presented minimal issues to
munity in which they are located. Kim and the music therapy service. Families accepted
Whitehead-Pleaux (2015) identify that music that music therapy was a part of their treat-
is the representation of a specific culture or ment and they entrusted their child’s health
the self and society to which the individual and well being into the hands of the profes-
belongs. sionals.
This paper is seated on the experiences of Given the background knowledge of the
the author, as a young, white, female Aus- Muslim faith, this seemed oddly straightfor-
tralian music therapist, working in a British ward, which led the therapist to question
paediatric hospital with Arabic, Muslim fa- why a family would accept music therapy as
milies, who may have the belief that music a service. The other staff at the facility high-
is ‘Haram,’ that is, forbidden. The author lighted that it was very expensive for children
then translated what was learnt into the to be treated there, the services weren’t
Australian paediatric hospital environment available in their home countries and there-
and was able to reflect on what cultural res- fore, most families were accepting of what
pect actually looks like, and how to better the professionals recommended would be
meet the needs of people of diverse cultural best for their child- they handed responsibi-
backgrounds utilizing a music therapy ser- lity over to the people they respected, with
vice in hospital. their highly specialised & experienced kno-
wledge, skills and opinions. This paper utili-
At a private hospital in the UK, the majority ses case examples to explore what this ac-
of patients were from Middle Eastern coun- ceptance looked like and how the therapist
tries, whose embassies provided the funding approached the work. One of the themes
for them to come the UK for treatment. The- that Gadberry (2014) identified as resona-
refore, patients referred to music therapy ting for the therapist working in a foreign
were usually of Arabic background, Muslim country was ‘allowing the music to facilitate.’
faith, and their level of English language va- As the case examples will portray, perhaps
ried. Upon her commencement, the thera- how hearing how positively their children
pist was provided with information about respond to music assists families to accept
the Arabic culture and Muslim faith. This in- that music therapy can be beneficial and
cluded a prominent piece of information for how music may be something that their
54
child can participate in, and express themsel- about client cultural values, and what cultu-
ves in, despite disabilities. Forrest (2014) also ral respect means and looks like, demonstra-
notes, “the culture and cultural identity of an ted with case examples and practical sug-
individual or family is not static, but rather gestions for clinical practice.
ecological, changing over time and in res-
ponse to circumstances and environments, References
as people move locales and communities.”
Many of the children were admitted to this Forrest, L. (2014). Your song, my song, our
hospital for prolonged periods, so their cultu- song: developing music therapy pro-
ral identity in a sense evolved in response to grams for a culturally diverse community
the environment, assimilating into the culture in home-based paediatric palliative care.
and community of the hospital. Australian Journal of Music Therapy, 25,
15-27.
The author then transitioned back to the Gadberry, A.L. (2014). Cross-cultural pers-
Australian Paediatric Hospital environment pective: A thematic analysis of a music
and found herself reflecting on these recent therapist’s experience providing treat-
experiences when she was presented with ment in a foreign country. Australian
patients whose ethnic and cultural back- Journal of Music Therapy, 25, 66-80.
grounds differed to her own. This highligh- Kim, S. & Whitehead-Pleaux, A. (2015). Mu-
ted to the author the importance of deve- sic therapy and cultural diversity. In B.
loping authentic skills in multicultural em- Wheeler, (Ed.), Music therapy handbook.
pathy. She viewed first hand how a commit- New York: Guilford Publications.
ment of the therapist to learning about
client’s cultural needs and values, and exa- About the Author
mining their own personal cultural values
and how they may relate or conflict with Michelle Fisher has over seven years expe-
that of the client, is imperative in developing rience, currently working in paediatric neuro-
an effective therapeutic relationship, to then logical rehabilitation and palliative care. Mi-
bring about positive outcomes (Kim & Whi- chelle has experience working and studying in
tehead-Pleaux, 2015). This paper will further the UK, USA and Australia.
explore how the therapist can learn more Email: Michellefisher.rmt@gmail.com
55
USING MUSIC THERAPY RESEARCH TO PROMOTE SOCIAL

EQUITY AND ACCESS IN HEALTHCARE
Lucy Forrest
Melbourne, Australia
Abstract how cultural beliefs and practices were as-

sociated with 1) care of children in PPC, 2)
This paper explores how research can iden- families’ use of music, and 3) children's and
tify barriers and promote access and social parents' engagement with and experiences
equity in healthcare service provision; and of music therapy in home-based PPC. Ulti-
will discuss the findings of a study that exa- mately, the study aimed to identify barriers
mined the experience of music and music and improve access to home-based PPC mu-
therapy for paediatric palliative care (PPC) sic therapy services for children and families
patients and their families, who come from of diverse cultural backgrounds.
diverse cultural backgrounds
Design
Description
Study 1 – repeated interviews with parents
Access to healthcare services is complex, inof PPC patients aged 0-12 years receiving
fluenced by those who provide and those music therapy through a community pallia-
who utilize the services; and demanding tive care program;
consideration of social and cultural factors
(Levesque, Harris and Russell, 2013). In wor- Study 2 – focus group interview with music
king with a culturally diverse community, cli- therapists providing music therapy to PPC
nicians must be culturally aware, sensitive patients in community palliative care;
and responsive, and consider the impact of
language, age, gender, faith, cultural and Study 3 – author’s clinical memories and re-
community perceptions and patterns of reflections on 34 cases.
lationship, and geographical and cultural iso-
lation in ensuring program accessibility (Fo- A grounded theory methodology informed
rrest, 2014). data collection and analysis; and a repeated-
interview design was employed to capture
This paper presents the findings of a rese- the experiences of patients and families over
arch study that examined parents’ and music time, and through their palliative care jour-
therapists’ reflections on the experience of ney.
music and home-based music therapy for
children in PPC and their families, who come Data sources: parent interviews; music the-
from diverse cultural backgrounds. The rapist focus group; the author’s clinical me-
study aimed to explore how children in PPC mories and reflections; and a meta-synthesis
and their parents used music in their lives; of the findings of the three studies.
56
The findings of the study will be presented, (2013). Patient-centred access to health-
and implications of the findings in promo- care: conceptualizing access at the inter-
ting social equity and access in home-based face of health systems and populations.
palliative care for children/families which International Journal for Equity in Health,
come from diverse cultural backgrounds will 12; 18. DOI: 10.1186/1475-9276-12-18.
be discussed.
About the Author
References
Lucy Forrest is a senior clinician-researcher
Forrest, L.C. (2014). Your song, my song, our and clinical supervisor in oncology and pa-
song: Developing music therapy programs lliative care across the life-span, neuro-reha-
for a culturally diverse community in home- bilitation and early intervention; and enjoys
based paediatric palliative care. Australian working with families from diverse cultural
Journal of Music Therapy, 25, 15-27. backgrounds.
Levesque, J-F., Harris, M.F., and Russell, G. E-mail: lforrest24@gmail.com
57
WHAT’S THAT SOUND? TELE-INTERVENTION MUSIC THERAPY

FOR YOUNG CHILDREN WITH HEARING LOSS
Allison Fuller
MusicConnect and Western Sydney University, Australia
Roxanne McLeod
MusicConnect and The Children’s Hospital at Westmead
Introduction tervention is an emerging field of practice,

requiring collaboration and investment by
This paper focuses on a family-centred tele- service providers and clients to navigate the
intervention music therapy program in Aus- challenges inherent in this form of service
tralia for young children with hearing loss. delivery (Blaiser et al., 2013). Music Thera-
The presentation will cover the intervention pists are venturing into this new space with
models and therapeutic approach used, a small number of projects and services un-
along with initial findings and practical sug- derway in Australia. In addition to current
gestions for music therapists embarking on practice, an innovative partnership has re-
tele-intervention service provision. cently been established between an early in-
tervention music therapy program, and an
Tele-intervention organisation providing services to hearing
impaired children and their families.
The landscape of providing therapeutic ser-
vices and healthcare in Australia is evolving The challenge of reaching families in rural
with the increased use of tele-intervention areas was identified, and a music therapy
programs, particularly as communication tele-intervention trial commenced with
technologies have become more advanced three varying models of group intervention.
and accessible. Community and private or- These involved programs and workshops
ganisations are realising the potential of re- that were conducted either entirely via tele-
aching rural and remote families via video intervention or a mix of videoconference
conferencing platforms. With greater access and face-to-face sessions. Programs were
to high-speed internet connections, families led by registered music therapists and sup-
with health and wellbeing concerns are now ported by listening and spoken language
able to access specialists in major cities and specialists.
regional hubs from their own homes, there-
fore maximising the potential for positive The overall goals in each format were to em-
outcomes. phasise the importance of creative fun, to
encourage positive parent-child interactions
Music Therapy Tele-intervention and support early learning and child deve-
lopment. Theory of mind was also a focus,
The provision of music therapy via tele-in- as recent studies have shown that children
58
with hearing loss growing up in hearing fa- of workshop model, weekly model, and mi-
milies are seriously delayed in developing xed model, highlighted the benefits and cha-
theory of mind understanding (Peterson, llenges inherent in this form of service deli-
2016). very, particularly with children who have he-
aring loss. Learnings from these experiences
and further programs by the authors will
add to the growing knowledge base of this
method of music therapy delivery.
References
Blaiser, K., Behl, D., Callow-Heusser, C., &

White, K. (2013). Measuring costs and
outcomes of tele-intervention when ser-
ving families of children who are deaf/
hard-of-hearing. International Journal of
Telerehabilitation, 5(2), 3-10.
Peterson, C. (2016). Empathy and Theory of
Mind in Deaf and Hearing. Journal of
Feedback Deaf Studies and Deaf Education, 21(2),
141–147.
Preliminary feedback indicates positive po-
tential for these modes of tele-intervention About the Authors
delivery. To date, parents/carers have been
favourable when giving early informal com- Allison Fuller has over 20 years of expe-
ments on the programs. Initial observations rience as a music therapist, supervisor edu-
and experiences have indicated there may cator, and program manager across a range
be a positive impact on the level of parent- of music therapy settings, with a focus on fa-
child interaction and hands-on music making mily-centered music therapy practice.
when the music therapist is not physically Email: al@musicconnect.net.au
present at the facility or within the home.
Roxanne McLeod specialises in working with
Conclusion children and families in early intervention
and paediatric music therapy.
The three tele-intervention delivery modes Email: roxanne@musicconnect.net
59
BRINGING CREATIVE ARTS AND NON-VERBAL KNOWINGS

TO THE EXPERIENCE OF SUPERVISION
Jeanette Kennelly
Founder of Inspiravision; Honorary Research Fellow, School of Music,
University of Queensland, Australia
Tania Balil
Registered Music Therapist & Creative Arts Therapist, Woodridge State School
Traditionally, three different models for edu- Our innovative workshop will introduce par-
cation, health, and social care professions ticipants to the role and use of creative arts
frame supervision practice: psychotherapy- supervision approaches. There are no levels
based; developmental and social role. Along- of creative skill or ability required by parti-
side these models, creative approaches and cipants in order to experience the benefits
expressive arts methods in supervision can of this supervisory approach.
provide alternative means of exploring the
dynamics of professional practice (Chesner This workshop will
& Zografou, 2014; Lee & Khare, 2001). Par-
ticipants work collaboratively to inquire in a • Present the evidence for and benefits of
multi-modal way into the experiencing des- expressive arts supervision approaches in-
cribed by one or more participants, with the formed by a co-constructive paradigm
hope of acquiring new understanding of me- • Provide participants with an opportunity
anings held and developed through dialo- to explore experientially some of the is-
gues, resonance, and representations of all sues they bring to supervision through a
involved. There is no prescribed method representation in one or a variety of crea-
other than ‘being present and responding’ tive mediums, and
to whatever arises. It is not a problem-sol- • Invite participants to reflect on the crea-
ving approach, rather an opportunity to tive representations of their supervision
make individual and collective meaning from experience and explore collaborative un-
a common experiencing through intersub- derstandings on the phenomena that may
jective dialogues. Engaging in a non-talking impact work practice
process can create new awareness behind
experiences that had only been previously References
articulated in verbal form. These approaches
can promote a different understanding of Chesner, A., & Zografou, L. (2014). Creative
the supervisee’s reflexive practice. They can supervision across modalities. London:
be adapted to any form of group process, Jessica Kingsley Publishers.
research, organisational issues or commu- Lee, C. A., & Khare, K. (2001). The supervi-
nity development (Lett, 2011). sion of clinical improvisation in aesthetic
music therapy: A music-centered appro-
60
ach. In M. Forinash (Ed.). Music therapy nic, and runs a professional supervision pri-
supervision (pp. 247-270). Gilsum, NH: vate practice.
Barcelona Publishers. Email: jeanette@inspiravision.com.au
Lett, W.R (2011) An inquiry into making sen-
se of our lives. Victoria: Rebus Press. Tania is a creative arts therapist and music
therapist who has worked with child and
About the Authors adolescent refugees in school settings, in re-
sidential aged care, and is passionate about
Jeanette is an experienced Registered Music the use of creative arts modalities in profes-
Therapist who currently works in adult on- sional supervision and personal self-reflec-
cology, with children in a family medical cli- tion.
61
THE COLLECTIVE MUSIC THERAPY PODCAST:

INNOVATIVE APPROACHES TO TRANSLATING
AND COMMUNICATING PRACTICE
Asami Koike
Frontyard Youth Services, Melbourne City Mission, Australia
Matthew Lewin
Collective Music Therapy
The complexities of defining music therapy te, understandable and enjoyable discus-
have often created robust debate and dis- sions, creating broader awareness and enga-
cussion within the field (Ansdell, 2002; Stige, gement of the profession and practice in the
2012). However, the way in which the role community (Granito, Scorolli & Borghi, 2015).
of music therapy is translated from acade- These discussions illustrate international
mic and professional discourse and commu- perspectives on the ways in which music
nicated to the general public is often over- therapy can be used to support the health
looked. This poses a challenge to the field as and well-being of individuals and communi-
a lack of general awareness leads to music ties.
therapy being misunderstood, undervalued
and underrepresented in health services. Resource-oriented and Community music
Furthermore, greater communication of one’s therapy frameworks support the empower-
role has been found to increase positive ment of individuals and communities to en-
client outcomes (Suter et al., 2009), thus hance well-being through access to music
highlighting the importance of translating activities and experiences (Rolvsjord, 2010).
and communicating the practice of music Drawing upon these frameworks, the pod-
therapy to a broad audience. cast becomes a tangible tool that supports
the individual to be better informed, thus
In response to this challenge, the presenters creating the potential for greater equity in
have developed an engaging, conversational choosing health services. This is especially
podcast program about music therapy ai- pertinent in Australia where changes in he-
med at the general public (CMT, 2016). The alth-care delivery are shifting towards grea-
Collective Music Therapy podcast is a fort- ter freedom of choice for many service users
nightly podcast and was launched in June (NDIS, 2016). Thus, more accessible forms of
2016 via iTunes and Soundcloud. By Decem- information delivery are required.
ber 2016, the podcast had received approxi-
mately 2,000 unique listens and more Relevance to Conference Theme
importantly, had reached a broad audience
spanning 43 different countries. The podcast For the profession of music therapy to move
supports the translation of the abstract con- forward, it is imperative that music thera-
cepts of “music” and “therapy” into concre- pists embrace and create opportunities for
62
broader appreciation and engagement with Suter, E., Arndt, J., Arthur, N., Parboosingh,
music therapy. This presentation will outline J., Taylor, E., & Deutschlander, S. (2009).
the goals, methods and implications of a Role understanding and effective com-
music therapy podcast aimed at generating munication as core competencies for co-
greater interest and demand in the field. llaborative practice. Journal of Interpro-
fessional Care, 23(1), 41-51. Doi: 10/
References 1080/13561820802338579
Stige, B., & Aaro, L. E. (2012). Invitation to
Ansdell, G. (2002). Community Music The- community music therapy. New York, NY:
rapy & The Winds of Change. Voices: A Taylor & Francis.
World Forum For Music Therapy, 2(2).
doi:10.15845/voices.v2i2.83. About the Authors
CMT. (2016). Collective Music Therapy Pod-
cast. Retrieved from: http://www.collec- Asami is a registered music therapist who
tivemusictherapy.com/podcast/ supports the holistic wellbeing of young pe-
Granito, C., Scorolli, C., & Borghi, A. M. (2015). ople experiencing, or at risk of homeless-
Naming a Lego world. The role of lan- ness in Melbourne, Australia through music
guage in the acquisition of abstract con- therapy and trauma-sensitive yoga.
cepts. PLoS ONE, 10(1), 1-21. Doi: 10. Email: info@collectivemusictherapy.com
1371/journal.pone.0114615
National Disability Insurance Scheme (NDIS). Matt is a registered music therapist and com-
(2016). What is the NDIS? Retrieved from munity musician who works in both innova-
https://www.ndis.gov.au/about-us/what- tive music therapy research programs and
ndis.html private practice in Melbourne, Australia.
Rolvsjord, R. (2010). Resource-oriented music
therapy in mental health care. Gilsum, NH:
Barcelona Publishers, 2010.
63
MECHANISMS OF CHANGE IN SELF-CONCEPT AND WELLBEING

FOLLOWING A SONGWRITING INTERVENTION FOR PEOPLE IN
THE EARLY PHASE OF NEUROREHABILITATION
Young-Eun C Lee
Felicity A Baker
Jeanette Tamplin
Introduction study was to construct knowledge about the

mechanisms of change active during a song-
Self-concept represents a collection of sub- writing intervention for people in the early
jective beliefs and schemas that encompass stages of recovery following acquired neuro-
the past, present, and future selves and co- logical injury.
vers multidimensional domains, involving
cognitive competence, academic perfor- Method
mance, social acceptance and physical appe-
arance [1]. Maladaptive views of identity We recruited 5 people with ABI and 5 people
post-injury have been associated with unhe- with SCI from inpatient rehabilitation units.
althy coping and subsequent risk of develo- These participants engaged in a 12-session
ping psychopathology including depression songwriting program in which they worked
and anxiety [2]. collaboratively with a music therapist to ex-
plore their past, present and future selves.
Therapeutic songwriting is one approach Measures of self-concept, depression, an-
that has been used to promote adjustment xiety, affect, satisfaction with life, and flou-
to some of the common losses following ac- rishing were administered pre-, mid-, and
quired neurological injuries [3]. Recently, post-intervention, and compared with repe-
our research team has developed and pilo- ated measures of flow and meaningfulness
ted a targeted songwriting intervention spe- of songwriting.
cifically designed to explore past, present
and future self for people with Spinal Cord Results
Injury (SCI) and Acquired Brain Injury (ABI)
by promoting adjustment using post-injury Medium effects were found for changes in self-
narratives [4]. To date, however, there have concept (d = 0.557) depression (d = 0.682). Im-
been no investigations of the potential me- provements in self-concept over time were
chanisms of change during the songwriting associated with decreases in depression, an-
process. To this end, the goal of the current xiety, and negative affect, and an increase in
64
flourishing and positive affect. Strong expe- jectories of emotional distress symptoms
riences of flow were not positively correla- 5 years after traumatic brain injury. Brain
ted with positive changes to self-concept Injury, 9052, 1-9.
and wellbeing, whereas deriving high levels Baker, F., Wigram, T., Stott, D., & McFerran,
of meaning were associated with increased K. (2008). Therapeutic songwriting in mu-
negative affect, increased anxiety, and redu- sitherapy: part 1. Who are the therapists,
ced emotional suppression. who are the clients, and why is songwri-
ting used? Nordic Journal of Music The-
Discussion rapy, 17, 105-123.
Tamplin, J., Baker, F. A., Rickard, N., Roddy,
Our findings demonstrate that songwriting C., & MacDonald, R. (2015). A ttherapeu-
intervention is positively associated with en- tic songwriting protocol to promote in-
hanced wellbeing outcomes. In addition, our tegration of self-concept in people with
analyses provide preliminary evidence that acquired brain injuries. Nordic Journal of
individuals who perceive the songwriting in- Music Therapy, 25, 111-133.
tervention as highly meaningful process are
more likely to acknowledge their emotions About the Authors
and consequently experience an increase in
anxiety and depression; this needs to be ex- Young-Eun Claire Lee is a Music Therapist
plored further in future studies with larger and Clinical Neuropsychology Registrar who
sample sizes. We suggest that acknowled- is a Postdoctoral Research Fellow at the Uni-
ging their changed circumstances allow indi- versity of Melbourne.
viduals with acquired neurological injuries Email: lee.y@unimelb.edu.au
to grieve for their losses and reconstruct and
healthy, coherent sense of self. Felicity A Baker is Professor of Music The-
rapy at the University of Melbourne and co-
References director of the National Music Therapy Re-
search Unit.
Fitt,, W.H., & Warren, W. L.. (1996). (2nd
Ed.). Tennessee Self-Concept Scale, TSCS: Jeanette Tamplin is a music therapist and
2. USA: Western Psychological Services. the NHMRC-ARC Dementia Research fellow
Sigurdardottir, S., Andelic, N., Roe, C., & Schan- at the University of Melbourne.
ke, K. (2014). Identifying longitudinal tra-
65
DIFFERENT LIVES DIFFERENT TRUTHS, A COLLABORATIVE

MUSIC PROJECT FOR MENTAL HEALTH PROMOTION
Jeanette Milford RMT, MMusThrpy(Melb), PGDipAppPsych
Mental Health Rehabilitation and Recovery, South Australia
Community music therapy has expanded the songs as authentic as possible, to promote
role of the music therapist beyond clinician empathy and understanding and to avoid
to include facilitator, advocate, project coor- oversimplifying or sensationalizing. Diverse
dinator, consultant and networker. In making songs balance the sometimes overwhelming
music for health, music therapists are explo- reality of experiences such as anxiety, para-
ring new possibilities and opportunities re- noia, psychosis, rejection, loss and confusion
lating to broader agendas, arenas, agents, with recovery themes of hope, acceptance,
activities and artefacts (Stige, 2004). Pavli- connection, validation, and understanding.
cevic and Ansdell (2004) acknowledge the The song cycle also has the potential to be
way music can be an attractor, connector developed into a moving, entertaining and
and motivator, not only reflecting emotional uplifting musical drama performance. The
life but creating it, playing a vital role in he- music therapist volunteered outside her
alth promotion, personal and cultural iden- work role, encouraging the songwriter to
tity building. pursue his vision and organizing musicians
to bring the original songs to life.
This project was initiated by a songwriter
and a music therapist to investigate the po- The songs were intended to assist consu-
tential of composing, recording and performers and carers to talk openly about their
ming songs specifically for mental health experiences and to gain acceptance and
recovery and promotion purposes. Partici- knowledge through sharing with others.
pants volunteered to perform and record Consumers have been supported to use par-
the original song cycle, bringing a wide ran- ticular songs for emotional self-regulation,
ge of musical skills. Some musicians were self-soothing and self-validation and to re-
self-taught and others professional, and duce anxiety, stress and isolation. The songs
some brought their lived experience of men- have been used as a tool to support and va-
tal health issues, either personally or as ca- lidate the caring role, including difficult emo-
rers. The project was titled Different Lives tions like anger, guilt, love and hopelessness.
Different Truths to acknowledge the way A carer who performed a song about having
personal truth and reality is shaped by our a son with schizophrenia commented that
unique lived experiences. the song enabled other carers to ackno-
wledge their feelings and reflect on both
The songwriter’s creative vision was to cap- personal and shared experiences.
ture some of the lived experiences of dea-
ling with and recovering from various forms As mental health promotion, the songs are
of trauma. His intentions were to make the intended to be used in community and
66
mainstream educational settings to facilitate and challenges by expanding their roles and
deeper understanding and empathy for pe- taking on diverse opportunities to build re-
ople experiencing trauma and mental ill- sources, partnerships and networks relevant
ness. A song from the perspective of so- to their particular context.
meone hearing voices has been used in pu-
blic seminars with voice-hearers, staff and References
carers, in order to open conversations and
to combat the shame and isolation associa- Pavlicevic, M., & Ansdell, G. (2004). Intro-
ted with these experiences. The song has duction: ‘The ripple effect’. In Pavlicevic,
also been played to tertiary students and po- M. & Ansdell, G. (Eds.). Community music
lice cadets who described it as a powerful therapy. London and Philadelphia: Jessica
means of gaining insight into the challenges Kingsley Publishers.
presented by such confronting experiences. Stige, B. (2004). Community music therapy:
Music therapists face exciting times as spe- culture, care and welfare. In Pavlicevic, M.
cialists looking more broadly at ways to pro- & G. Ansdell (Eds.), Community music the-
mote health and wellbeing of individuals, rapy. London: Jessica Kingsley Publishers.
groups and communities. Pavlicevic and
Ansdell (2004) recommend working flexibly About the Author
along a continuum of individual and commu-
nal possibilities with the courage to throw Jeanette Milford is an experienced music
theoretical concerns to the wind when ap- therapist in mental health rehabilitation and
propriate, daring to follow the needs of pe- recovery and was WFMT Regional Liaison for
ople and circumstances. Music therapists Australia/New Zealand 2011-2017.
face new opportunities, advantages, risks E-mail:jeanette.milford@sa.gov.au
67
MUSIC AND ART THERAPY COLLABORATIONS

IN ACUTE PAEDIATRICS
Lauren Miller & Jo Rimmer
The Royal Children’s Hospital (RCH), Australia
Michelle Dixon, Matilda Dawson & Amy McKay

The Royal Children’s Hospital (RCH), Australia
Presented by registered music therapists, increase potential for overall engagement

this poster describes shared experiences of and improve patient outcomes. Beginning
clinical collaboration with art therapists in interactions with regulating, rhythmic music
an Australian acute pediatric hospital, with activities, or using receptive music to create
the aim of stimulating conversation about a familiar auditory environment, appears to
creative partnerships. Two program streams open a creative ‘window of tolerance’ (Sie-
are outlined to highlight the therapeutic gel, 1999) in which to engage in artmaking
possibilities of combined music and art the- and promote abstract thinking processes. Li-
rapy with children and young people: Onco- kewise, art offers variable media qualities
logy and Eating Disorders. (restrictive to fluid forms) and the potential
for visual representation, or an artistic pro-
Why combine music and art? duct, that can be externalised or viewed
from a distance.
While a growing volume of literature exami-
nes the use of arts-based therapies in acute Program stream 1. Oncology
pediatrics (Edwards & Kennelly, 2015; Mal-
chiodi, 2013), there are limited resources Similarly to the collaboration undertaken at
which discuss collaborative partnerships the New York University Langone Medical
between art and music therapies (Nesbitt & Centre (Nesbitt & Tabatt-Haussman, 2008),
Tabatt-Haussman, 2008). The authors’ ex- the creative working partnership between
perience of working together has been mu- music and art therapists in pediatric onco-
tually beneficial, providing opportunities for logy has provided a context of normalization
professional growth and insight into outco- for patients and their families within the me-
mes that extend beyond individual discipli- dical environment at the RCH. This current
nes. The process-driven shared approach, collaboration has addressed goals during on-
including methods, therapeutic outcomes cology treatment including reduction of an-
and case studies, will be examined through xiety, stress and nausea, improved mood
the lens of partnering therapists. and affect, physical rehabilitation (active
participation), family cohesion and increa-
The complementary elements of each disci- sed engagement in wider multidisciplinary
pline (art and music) have been observed to services.
68
References
Cameron, N., & Kipnis, S. (2015). Making

sense through creativity: Creative arts
therapy with adolescents in an inpatient
eating disorder program. In A. Heiders-
cheit (Ed.), Creative Arts Therapies and
Clients with Eating Disorders (pp. 142-
164).
Dokter, D.(Ed.). (1994). Arts therapies and
clients with eating disorders: Fragile
Figure 1. Oncology music and art therapy board (pp. 247-261). London: Jessica
group (RCH, 2016). Kingsley Publishers.
Edwards, J. & Kennelly, J. (2015). Music the-
Program stream 2. Eating Disorders rapy for hospitalized children. The Oxford
Handbook of Music Therapy.
Young people requiring inpatient treatment Malchiodi, C. A. (2013). Art therapy and he-
for eating disorders often experience multi- alth care. New York: Guilford Press.
ple admissions for extreme medical and cog- Nesbitt.L.L., & Tabatt-Haussman, K. (2008).
nitive instability. The expansion of the pre- The Role of the Creative Arts Therapies in
existing music therapy group to include art the Treatment of Pediatric Hematology
therapy has been observed to provide addi- and Oncology Patients. Primary Psychia-
tional avenues to explore abstract concepts try, 15(7).
such as emotional awareness/expression Siegel, D. (1999). The Developing Mind. New
and identity formation (Cameron & Kipnis, York: Guilford Press.
2012; Dokter, 1994). Young people who do
not have a strong connection with music About the Authors
have been observed to engage well with art,
and vice versa. Lauren and Jo are music therapy clinicians
in Melbourne, Australia. They share an ac-
tive interest in improving clinical outcomes
for children and young people at the RCH,
with their art therapy collaborators
Michelle Dixon, Amy McKay and Matilda

Dawson.
Email: lauren.miller@rch.org.au
All case material has been de-identified

and shared with express permission.
Figure 2. Emotion in music (RCH, 2016).
69
THE EXPERIENCE OF SPEECH PATHOLOGISTS WORKING

WITH MUSIC THERAPISTS TO FOSTER SPEECH
AND LANGUAGE DEVELOPMENT FOR CHILDREN
WITH HEARING IMPAIRMENTS
Crystal Moloney
Masters of Music Therapy, University of Melbourne, Australia
Background Methods
It has been documented that music is not Data were collected through two in-depth
only able to be perceived, but also positively interviews with speech pathologists, who
experienced by children and adults with he- work collaboratively with a registered music
aring impairments (Chen-Hafteck & Schraer- therapist, co-facilitating group therapy ses-
Joiner, 2011). Music, in the form of infant- sions for babies and toddlers with hearing
directed speech, is known to be an innate impairments. The data was analysed through
form of early communication, and research the process of inductive thematic analysis
suggests that this innate musicality is no dif- (Braun & Clarke, 2006).
ferent for children with hearing impairments
(Chen-Hafteck & Schraer-Joiner, 2011). Re- Results
cently, neuroimaging technology has shown
connections between the neural mecha- There were a number of themes which
nisms and pathways of music and language, emerged from the data, with many similari-
highlighting the connection between music ties between participant’s responses. Ove-
and language development (Barton & Rob- rall, both interviewees spoke of how well the
bins, 2015). For children with hearing im- music therapy goals and interventions fit
pairments, continued exposure to auditory with and complimented their own speech
stimuli has shown to have a positive effect goals. Both participants also emphasised the
on listening ability, and in turn language de- motivation music provided for the children.
velopment (Barton & Robbins, 2015). With Through the children’s enjoyment of music,
this knowledge, it was hypothesised that and the positive environment this created,
music experiences may be beneficial as part it was reported that the group were more
of speech therapy for children with hearing relaxed, and therefore better prepared to
impairments, and there is currently little work toward their speech goals. They were
music therapy research in this area. This also motivated to use their voices, in order
study aimed to gain insight into the expe- to participate in musical activities, and to re-
rience of speech pathologists, working with quest more of the music they loved.
music therapists to foster speech and lan-
guage development for children with hea- The overarching goal that both speech pa-
ring impairments. thologists were working toward was ‘lear-
70
ning to listen’. They explained that after co- for example, where children’s vocalisations
chlear implant fittings, there is a long pro- were imitated using instruments, creating
cess of auditory rehabilitation, in order for conversation. This was effective at these
the brain to recognise sound. A speech the- children’s preverbal stage. It was clear that
rapy technique called ‘acoustic highlighting’ this interdisciplinary partnership was valued
was utilised, to make speech sound more in- by the interviewees, who showed excite-
teresting and to engage the children. This in- ment toward the future of this collaborative
volved speaking with exaggerated pitch and work. Further music therapy research speci-
melodic contours, similar to the ‘musical’ fic to this setting would be beneficial, to give
qualities of infant-directed speech. This also these children the opportunity to reach their
demonstrated appropriate intonation and full potential, and to experience the joy of
speech rhythm, and it was found that music music, just as their typically hearing peers.
was often effective in the same way.
References
Music was also found to assist in aspects of
social development, creating opportunities Barton, C., & Robbins, A. (2015). Jumpstar-
to practice social skills such as turn taking ting auditory learning in children with
and peer awareness. Further, the group pro- cochlear implants through music expe-
vided a chance to develop age appropriate riences. Cochlear Implants International,
social skills, as these children often spent a 16(S3), S51-S62.
lot of time in therapy learning to communi- Chen-Hafteck, L., & Schraer-Joiner, L. (2011).
cate with adults only. The engagement in musical activities of
young children with varied hearing abili-
The therapy team worked closely, formula- ties. Music Education Research, 13(1), 93-
ting goals and session plans collaboratively. 106.
However due to the unpredictable nature of
the children’s needs, flexibility was often ne- About the Author
cessary, and ongoing communication during
sessions was vital to adapt plans as needed. Crystal Moloney attained a Masters of Mu-
These results show that music was used in a sic Therapy from the University of Mel-
number of ways to encourage speech, inclu- bourne, Australia in 2016 and is also an
ding learning to listen, developing social accomplished performer and music educa-
skills, providing motivation and creating a tor.
positive learning environment. Music was Email: crystal_moloney@yahoo.com.au
also used as a communication form in itself,
71
DIFFERENTIATED SELF AND INTEGRATED

SELF IN IMPROVISATIONAL MUSIC THERAPY
ON AN INDIVIDUAL-COMMUNAL CONTINUUM:
THE CLIENTS’ EXPERIENCE FROM THE CLIENTS’ AND
THERAPISTS’ POINT OF VIEW
Izumi Nago
Musical Between (Director), Nordoff-Robbins Australia, Australia
Introduction from others) and integration (a union with

others beyond the self) through the flow ex-
This proposed research study aims to inves- perience (Csikszentmihalyi, 1975, 1990, 1993,
tigate clients’ musical experience of self in 1997). Theories of differentiated self and in-
improvisational music therapy, on an indivi- tegrated self may explain the positive chan-
dual-communal continuum, through Flow ges in self that occur through music therapy,
Theory. The music therapy world seems to both in the individual and group-community
be in a transition period due to a growing settings.
need for Community Music Therapy. Ansdell
(2002) advocated music therapy on an indi- Method
vidual-communal continuum whereby clients
can flexibly take music therapy in different Mixed method will be used to investigate
settings from individual to community. The the clients’ experience of self in music the-
presenter has witnessed the positive effect rapy and the outcome of music therapy in-
on clients undertaking individual to commu- tervention. There will be two different plans
nity sessions, depending on their needs, in of action in this study. The first plan involves
her own practice. From this experience, each the implementation of improvisational music
individual, group and community session therapy with 10 adult participants in the
seems to have a different effect that com- three different settings. Eight weekly indivi-
plements each other. Shaping a theoretical dual sessions will be conducted followed by
explanation of this effect and process is the 4 weekly group sessions and all the partici-
basis of the study. pants will perform in a community concert
in the end. Music will be improvised in all
Flow is the state of complete absorption in these settings. Each participant will fill in the
an activity, and music is an ideal activity to Flow State Questionnaire with additional
induce flow experience (Csikszentmihalyi, questions regarding differentiated self and
1990). The concept of self in Flow Theory is integrated self after each session to gather
that the self grows when it increases in com- quantitative data. Interviews will be conduc-
plexity through differentiation (a movement ted after each setting of individual, group
toward uniqueness and separating oneself and community for qualitative data. A pre-
72
test and post-test of the whole music the- both analyses will be expected to compli-
rapy intervention will be conducted with a ment each other to understand both music
simple likert scale regarding differentiation therapy experience and outcome.
and integration. The purpose of these tests
will be to investigate the outcome of this in- It is hoped that this study will contribute in
tervention. the construction of a supportive theory of
music therapy on an individual-communal
The second plan involves the surveying and in- continuum and to contribute in the develop-
terviewing of the music therapists who prac- ment of a holistic model of music therapy.
tice individual to community music therapy.
Their clients’ experiences from the therapists’ References
point of view regarding differentiation and
integration will be discussed. Forty to 50 sur- Ansdell, G. (2002). Community music therapy
veys will be expected to be completed and 4 and the wings of change. Voices. Retrieved
to 5 key informants will be interviewed. from https://voices.no/index.php/voices/
article/view/83/65
Clients’ music therapy experience will be in- Csikszentmihalyi, M. (1975). Beyond bore-
vestigated from both the clients’ subjective dom and anxiety. California: Jossey-Bass
and therapists’ objective point of view through Inc. Publishers.
these two different project plans. It will allow Csikszentmihalyi, M.(1990). Flow: The psy-
us to view clients’ experiences through two chology of optimal experience. NY: Har-
different lenses: from inside and outside, and per Perennial.
will increase trustworthiness of the study re- Csikszentmihalyi, M. (1993). The evolving
sult. self. NY: HarperCollins Publishers.
Csikszentmihalyi, M. (1997). Finding flow.
Results NY: Basic Books.
Thematic analysis will be used for all the in- About the Author
terview data and descriptive statistics will be
used for the quantitative data. The result of Email: izuminago@gmail.com
73
THE BIG PICTURE: THE GLOBAL SOUNDTRACK TO GROWING

MUSIC THERAPY IN DEMENTIA CARE
Alice Parkhill
Calvary HealthCare Bethlehem, Australia
Romy Engelbrecht
Calvary HealthCare Bethlehem, Australia
This presentation examines music therapy in tic goals or change is unlikely to be reali-
dementia care on a macro scale through the sed. We propose methods of enticing and
lens of four key concepts: specialisation, in- retaining skilled clinicians in dementia
centives, facilitation and innovation. Based care.
on research and clinical experience, this sub- 3. Facilitation: Strong facilitation skills are an
mission examines the barriers and road- essential part of music therapy with the
blocks that can be found in dementia care, clients, their families, and multidiscipli-
including challenging behaviours, emotional nary staff to foster understanding and
and psychological burnout, physical and support for music therapy, enabling the
mental demands of the work, necessary skill clients to gain maximal benefits (Hancock
shortages, and gaining organisational and et al., 2006).
staff support. Using these key concepts, we 4. Innovation: As healthcare and practice
propose a framework for growing the pro- evolve, there is a need for constant inno-
fession to meet rising clinical demand for vation and research to support the conti-
services in an ageing population, including: nued value of music therapy in dementia
care and to develop the existing evidence-
1. Specialisation: Working with dementia base. This is essential for music therapy to
can be emotionally draining, therefore, be positioned at the forefront of demen-
strong self-care practices are needed to tia care and continue to play a vital role in
make it sustainable and rewarding (Te Bo- the wellbeing of those with dementia.
ekhorst, 2008). We suggest that demen-
tia-specific, specialised training and men- The combination and integration of these
toring is needed to assist music therapists four facets and how they may improve the
to work with the complex case presenta- quality and volume of music therapy in de-
tion often present in people who have dementia care will be a central focus of the
mentia (Teri, Huda, Gibbons, Young & Van presentation. During discussion, participants
Leynseele, 2005). will be invited to contribute towards crea-
2. Incentives: Encouragement is needed to ting strategies and resources, allowing for in-
support music therapists to navigate the ternational collaboration and peer learning
environment of dementia work and to as- across countries and levels of experience.
sist them to find satisfaction, particularly Strategies will be examined at the different
where the conventional form of therapeu- organizational levels including community
74
understanding, managerial engagement, and job characteristics. International Psycho-

direct work with care staff, residents and fa- geriatrics, 20(05), 927-940.
milies. Furthermore, practical applications Teri, L., Huda, P., Gibbons, L., Young, H., &
of the four key concepts will be discussed, Van Laynseele, J. (2005). STAR: A demen-
including developing support networks for tia-specific training program for staff in
music therapists, supporting recent gradua- assisted living residences. The Gerontolo-
tes, developing consultancy, and improving gist, 45, (5). 683 – 693. doi: 10.1093/ge-
resources. ront/45.5.686.
References About the Authors
Hancock, K., Chang, E., Johnson, A., Harrison, Alice Parkhill is a RMT who specializes in wor-
K., Daly, J., Easterbrook, S., ... & Davidson, king in palliative care, progressive neurologi-
P. M. (2006). Palliative care for people with cal diseases, dementia and mental health.
advanced dementia: The need for a colla- Email: Alice.Parkhill@calvarycare.org.au
borative, evidence-based approach. Alz-
heimer's Care Today, 7(1), 49-57. Romy Engelbrecht is a RMT who specializes
Te Boekhorst, S., Willemse, B., Depla, M. F., in working with older adults, palliative care,
Eefsting, J. A., & Pot, A. M. (2008). Wor- progressive neurology, and family grief and
king in group living homes for older peo- loss.
ple with dementia: the effects on job Email:
satisfaction and burnout and the role of romy.engelbrecht@calvarycare.org.au.
75
SINGING FOR WELLBEING IN A NEW ZEALAND SCHOOL

SEVERELY AFFECTED BY EARTHQUAKES
Dr. Daphne Rickson
Dr. Robert Legg
Victoria University of Wellington, New Zealand
Dianna Reynolds
Waitākiri School, New Zealand
Abstract and the evidence that well-being influences

learning is uncontested. Dodge et al. (2012)
Our research investigates the perceived re- describe subjective wellbeing as “the ba-
lationship between singing and well-being, lance point between an individual’s resource
in a school community severely affected by pool and the challenges faced” (p. 229). Dra-
earthquakes. Singing was introduced speci- wing on this model, we view singing as a re-
fically to enhance wellbeing. The factors that source that can counter the challenges faced
enabled daily classroom singing to be deve- by staff and children in school communities.
loped and sustained, and the perceived re-
lationship between singing and school well- Since the devastating 2010-2011 earthqua-
being, will be outlined. kes, members of our Christchurch primary
school community have been singing daily
Singing for Wellbeing to improve wellbeing, and wellbeing scores
remain high. Taking a participatory action re-
There is increasing pressure on schools to search approach, university, teacher and
address children’s social and emotional child researchers gathered data from tea-
needs, together with their learning needs. chers’ journals (google docs); children’s art-
Children flourish in a caring environment works, video journaling, and peer-peer inter-
that focuses on relationships, where they views; as well as teachers and children focus
feel connected, and where they have a sen- groups; to determine how the programme
se of belonging. A positive school climate was developed, sustained, and perceived.
therefore leads to academic success as well
as student and staff wellbeing (Cavanagh, Initial findings suggest that the daily singing
2008; Education Review Office, 2015; Sel- for wellbeing was able to be developed and
don, 2013; Viner et al., 2012). sustained because teachers passionately be-
lieve singing is good for children and, while
There is good evidence to suggest singing is it was helpful to work towards performan-
a highly motivating medium that can have a ces, the primary focus was on singing for fun
positive impact on wellbeing (Clift, 2012); rather than music education. Other factors
76
include allowing children to choose the re- and wellbeing. Oxford: Oxford University
pertoire, and to listen or move to music ins- Press.
tead of or as well as singing. Education Review Office. (2015b). Wellbeing
for children's success at primary school.
Our teachers and children argue that class- Wellington: Education Review Office.
room singing promotes positive emotions, Seldon, A. (2013). Foreword. In C. Proctor &
improves mood, energizes them, connects P. A. Linley (Eds.), Research, applications,
peers and family, fosters identity, and can and interventions for children and adoles-
bring comfort, calm, and a sense of achieve- cents (pp. vii-viii). Heidelberg: Springer
ment. At the time of writing (December 2016) Dordrecht.
findings are preliminary. However, it is evi- Ministry of Education (2014) Te Kete Ipu-
dent that correlations can be made between rangi. The New Zealand Curriculum On-
perceptions of classroom singing, and sub- line: Health and physical education. Mi-
jective well-being which involves sense of nistry of Education, Wellington, NZ.
belonging and connection to school; expe- Viner, R. M., Ozer, E. M., Denny, S., Marmot,
rience of achievement and success; resi- M., Resnick, M., & Fatusi, A. (2012). Ado-
lience; self-confidence; self-management lescence and the social determinants of
skills; physical activity; a sense of being ca- health. The Lancet, 379(9825), 1641.
red for; experience of feeling safe at school;
sense of being included; confidence in iden- About the Authors
tity and optimism about the future (NZ Cu-
rriculum Online, 2014). Dr Daphne Rickson is a Senior Lecturer on
the Master of Music Therapy programme at
References Victoria University of Wellington, NZ.
Email: Daphne.Rickson@vuw.ac.nz.
Cavanagh, T. (2008). Schooling for Happi-
ness: Rethinking the Aims of Education. Dr Robert Legg is a Senior Lecturer in music
Kairaranga, 9(1), 20-23. education and pedagogy at Victoria Univer-
Clift, S. M. (2012). Chapter 9: Singing, Well- sity of Wellington, NZ.
being, and Health. In R. A. MacDonald, G.
Kreutz, & L. Mitchell (Eds.), Music, health, Dianne Reynolds is Deputy Principal at Wai-
tākiri School, Christchurch, NZ.
77
EFFICACY OF PARKINSON GROUPS FOR IMPROVING

COMMUNICATION AND WELLBEING IN PARKINSON’S DISEASE
Jeanette Tamplin
Adam Vogel
Caterina Marigliani
Parkinson’s Victoria, Australia
Felicity A Baker
Jane Davidson
Meg E Morris
La Trobe University, Australia
Description These substantial problems negatively im-

pact social participation and vocational op-
Communication impairment is one of the portunities, and may lead to breakdown in
most common symptoms of Parkinson’s di- family and social relationships.
sease, significantly impacting quality of life
(Miller, 2012). Speech characteristics may in- Singing shares many of the neural networks
clude a soft, monotone, breathy or hoarse and structural mechanisms used during spe-
voice quality, imprecise articulation, dyspro- ech and can thus be used therapeutically to
sody and dysfluency (Skodda et al., 2013). target functional communication issues and
These characteristics, combined with redu- provide rhythmic cues to stimulate and or-
ced nonverbal communication, cognitive-lin- ganize motor speech output. This pilot fea-
guistic impairment and poor self-perception sibility study investigated the effects of Par-
of speech, make communication difficult kinson singing groups over three months on
and lead to self-consciousness, reduced like- speech and communication participation,
lihood to participate in conversation, and using a comprehensive battery of measures.
the avoidance of social interaction that re-
quires speaking. Communication difficulties Method
can compound issues of depression and re-
lated social isolation (Miller et al., 2006). Participants with Parkinson’s disease (n=77)
78
completed assessments of speech, voice and ge in Parkinson's disease: Changes and

respiratory function at baseline and three interventions. Neurodegenerative Dise-
months. Intervention participants (n=48) at- ase Management, 2(3), 279-289.
tended 2-hour weekly or monthly singing Skodda, S., Grönheit, W., Mancinelli, N., &
group sessions incorporating targeted vocal Schlegel, U. (2013). Progression of voice
and respiratory exercises and singing speci- and speech impairment in the course of
fically selected, familiar songs. These ses- Parkinson's disease: A longitudinal study.
sions were designed to elicit high intensity Parkinson’s Disease, 1-8.
vocal output and respiratory effort, with the
aim of improving communication outcomes. About the Authors
Control participants (n=29) took part in re-
gular weekly or monthly peer support Dr. Jeanette Tamplin is an NHMRC-ARC De-
and/or creative activity groups that did not mentia Research Fellow at The University of
involve singing. Melbourne, and music therapist at Austin
Health, Australia.
Discussion Email: jeanette.tamplin@unimelb.edu.au
Data analysis was underway at the time of Associate Professor Adam Vogel leads the
submission, but results will be presented at Centre for Neuroscience of Speech at The
the World Congress. Findings from the fea- University of Melbourne.
sibility study and implications for further
planned research will be discussed. Antici- Caterina Marigliani is a speech pathologist
pated outcomes include: increased respira- at Parkinson’s Victoria.
tory pressures, voice intensity, pitch and
loudness ranges, improved voice quality, and Professor Felicity Baker is Co-Director of the
communication confidence, and subsequent National Music Therapy Research Unit at
improved quality of life. The University of Melbourne.
References Jane Davidson is Professor of Creative and

Performing Arts (Music) at The University of
Miller, N., Noble, E., Jones, D., & Burn, D. J. Melbourne.
(2006). Life with communication changes
in Parkinson’s disease. Age and Aging, Meg Morris is a physiotherapist and Profes-
35(3), 235-239. sor of Clinical and Rehabilitation Practice,
Miller, N. (2012). Speech, voice and langua- Healthscope and La Trobe University.
79
MUSIC THERAPY WITH YOUNG CHILDREN ON THE AUTISM

SPECTRUM: PARTNERSHIP WITH PARENTS
Grace Thompson
Understanding how to best support social were meaningful and valuable for their chil-
development and inclusion for children on dren on the autism spectrum (Thompson, in
the autism spectrum is important to all press; Thompson, 2016; Thompson, 2015;
members of society. The preschool years are Thompson, 2013). Overwhelmingly, parents
a time of rapid development, and as such reported that music therapy is a motivating
are recognised as a period where intensive and engaging activity that provides meaning-
support will have benefits for child develop- ful opportunities for social engagement bet-
ment and family outcomes. Young children ween family members. This paper will also
learn best through play experiences with pa- present ideas for how to translate these re-
rents and family members who are nurtu- search findings into practice, with a particular
ring, warm, and attuned to their needs focus on supporting families to use music for
(Schore, 2005; Stern, 2010). Children on the wellbeing in the home.
autism spectrum may have features that cre-
ate challenges to their ability to relate and References
engage with their family (Carpente, 2013),
often leading to fewer opportunities for so- Carpente, JA. (2013). The Individual Music-
cial learning (Clifford & Dissanayake, 2008). Centered Assessment Profile for Neurode-
velopmental Disorders: A Clinical Ma-
Partnering with parents in early intervention nual. New York: Regina Publishers.
services is now recognised as best practice Clifford, S. M., & Dissanayake, C. (2008). The
in Australia (ECIA, 2016). Collaborating and early development of joint attention in
partnering with family members is vital for infants with autistic disorder using home
positive child and family outcomes, as the video observations and parental inter-
foundational elements of social responsive- view. Journal of Autism and Developmen-
ness are typically fostered within natural, tal Disorders, 38(5), 791-805.
everyday, 2-way purposeful communications ECIA. (2016). National guidelines: Best prac-
with others (Schertz, Odom, Baggett, & Si- tice in early childhood intervention. Early
deris, 2013). Activities that are motivating Childhood Intervention Australia (Victo-
and engaging for children are essential in rian Chapter). Retrieved from https://
providing opportunities for spontaneous so- www.ecia.org.au/resources/best-prac-
cial engagement. tice-guidelines
Lindahl Jacobson, S., & Thompson, G. (Eds.).
This paper presented the results from recent (2016). Music Therapy with Families: The-
qualitative research projects exploring parent rapeutic Approaches & Theoretical Pers-
perspectives on aspects of music therapy that pectives. UK: Jessica Kingsley.
80
Schertz, H. H., Odom, S. L., Baggett, K. M., & parent-child relationship by mothers of
Sideris, J. H. (2013). Effects of Joint Atten- young children with autism spectrum di-
tion Mediated Learning for toddlers with sorder. Nordic Journal of Music The-
autism spectrum disorders: An initial ran- rapy,24(1),3-26.doi:10.1080/0 8 0 9
domized controlled study. Early Childhood 8131.2013.858762
Research Quarterly, 28(2), 249-258. doi: Thompson, G., McFerran, K., & Gold, C. (2013).
10.1016/j.ecresq.2012.06.006 Family-centred music therapy to promote
Schore, A. N. (2005). Back to basics. Attach- social engagement in young children with
ment, affect regulation and the develo- severe autism spectrum disorder: A ran-
ping right brain: Linking developmental domised controlled study. Child: Care,
neuroscience to pediatrics. Pediatrics in Health & Development, 40 (6), 840-852.
Review, 26(6), 204-217. doi: 10.1111/cch.12121
Stern, D. N. (2010). The issue of vitality. Nor-
dic Journal of Music Therapy, 19(2), 88- About the Author
102. doi:10.1080/08098131.2010.497634
Thompson, G. (in press). Long-term outco- Grace Thompson is a researcher and lectu-
mes for family quality of life following rer at The University of Melbourne, is Presi-
music therapy with young children on the dent of the Australian Music Therapy Asso-
autism spectrum. ciation, and her research focuses on child
Thompson, G., & McFerran, K. (2015). “We’ve and parent outcomes following music the-
got a special connection”: Qualitative rapy.
analysis of descriptions of change in the Email: graceat@unimelb.edu.au
81
EASTERN
MEDITERRANEAN
82
THE ONLINE CONFERENCE FOR MUSIC THERAPY:

SUPPORTING INTERNATIONAL COLLABORATION AND
ONLINE EDUCATION
Aksana Kavaliova-Moussi
Co-Chair, Online Conference for Music Therapy; private practice, Kingdom of Bahrain
Faith Halverson-Ramos
Executive Director, Online Conference for Music Therapy, private practice, Colorado, USA
Online education and professional develop- audience includes how online continuing
ment for music therapists is relatively new. education, such as the OCMT, can provide
Until 2011 there were no continuing educa- opportunities for increased international co-
tion options other that live attendances or llaboration among music therapists.
correspondence courses. A small team of
music therapists from Canada, Bahrain and References
the USA founded the Online Conference for
Music Therapy (OCMT) in 2010. In 2015, the Kavaliova-Moussi, A. & Halverson-Ramos, F.
OCMT became a 501(c)3 non-profit organi- (2016). The Online Conference for Music
zation registered with the State of Maryland Therapy: supporting international colla-
in the United States. Today, the OCMT re- boration and education. Nordic Journal of
mains a unique 24-hours live online event Music Therapy, 25(1), 37-38.
that is also recorded, where professionals Kavaliova, A. (2012). Online Conference for
and music therapy students from all parts of Music Therapy: Reflection on two success-
the world meet to learn, network, dissemi- ful years. Ensemble: Canadian Association
nate research and clinical practice informa- for Music Therapy Newsletter, 38 (2), 22.
tion. The OCMT creates opportunities for
international collaboration and provides ac- About the Authors
cessible online education options for music
therapists and music therapy students. Aksana Kavaliova-Moussi, MMT, BMT, Neu-
rologic Music Therapist, Fellow; Co- Chair of
International representatives from the OCMT the Online Conference for Music Therapy;
share information about this unique music private practice in the Kingdom of Bahrain
therapy conference through live and video Email: moussiaksana@hotmail.com
recorded presentation in order to provide an
overview of the OCMT history, mission and Faith Halverson-Ramos, MA, MT-BC, Licen-
vision. The objective of this presentation is sed Professional Counselor; Executive Direc-
to educate international music therapists tor of the Online Conference for Music The-
about the OCMT and how they can partici- rapy; private practice in Boulder, Colorado
pate in the conference. Discussion with the (USA).
83
proceedings of the 15th WFMT World Congress of Music Therapy. Tsukuba/Japan. July 4-8, 2017
europe
84
THe eFFeCTS oF MuSICAL ATTeNTIoN CoNTroL TrAINING

(MACT) IN reSIDeNTIAL YouTH CAre
Tom Abrahams
Spirit Youth Care, The Netherlands
Introduction group received treatment as usual, but wi-

thout any music therapy or music training
Around 75 percent of all adolescents placed during the intervention period.
within secured residential youth care set-
tings in The Netherlands are diagnosed with Participants included were both males and
attention related problems such as Attention females (age 16-17), diagnosed with ADHD,
Deficit Hyperactivity Disorder (ADHD), Op- ADD, ODD and/or CD and a minimum TIQ of
positional Defiant Disorder (ODD) or Con- 85. All of them stayed in “De Koppeling”, a
duct Disorder (CD) (Schuijt & Konijn, 2015). secured residential youth care facility in
Musical Attention Control Training (MACT) is Amsterdam, The Netherlands.
one of the techniques originating from the
Neurologic Music Therapy (Thaut, 2005). All participants completed the Trail Making Test
MACT has proven to be an effective inter- (TMT) A + B and the WISC-III Digit Span (DS)
vention to improve attention outcomes with Forward and Backward to measure focused, se-
several populations including traumatic lective, sustained and alternating attention.
brain injury, stroke and autism. The purpose Measurements were conducted at baseline,
of this randomized controlled pilot study and after respectively six and nine weeks.
was to obtain preliminary evidence on the
usability and effects of MACT on attention results
outcomes with adolescents in secured resi-
dential youth care settings. Although no significance was found due to
the small sample group, measurements indi-
Method cate an improvement in attention outcomes
varying from 12 to 88 percent in the MACT-
Six participants (n=6) were randomized to group. In comparison, the results of the IMT-
Musical Attention Control Training (MACT, group only showed minor improvements in
n=2), Improvisational Music Therapy (IMT, alternating and selective attention and even
n=2) or a control group (TAU, n=2). During a small decrease in sustained and focused at-
six consecutive weeks, both groups followed tention. Interestingly, one of the participants
the designated interventions for 45 minutes in the TAU-group showed the highest overall
at fixed moments during the week. The increase in sustained attention (34 percent).
MACT-group was conducted according to
the clinical protocol provided in Thaut (2014, Discussion
p. 260), the IMT-group repeated two impro-
visational exercises weekly and the control When compared to IMT and TAU, the results
85
of this study suggest that MACT is a usable references

and effective intervention to improve focu-
sed, sustained and alternating attention on Thaut, M.H. & Gardiner, J.C. (2014) Musical
adolescents placed within secured residen- Attention Control training. In M.H. Thaut
tial youth care settings. & V. Hoemberg (Eds.), Handbook of Neu-
rologic Music Therapy. New York: Oxford
With this population generally showing low University Press.
treatment motivation, it is notable that the Abrahams. T.P. (2016). Musical Attention
MACT-protocol was very well tolerated, with Control training (MACT) in secured resi-
an overall attendance of 97 percent. dential youth care: a randomized contro-
lled pilot study. In review by: The Arts in
Furthermore, all participants were highly Psychotherapy.
motivated to complete both the TMT- and Pasiali, V., LaGasse, A.B. & Penn, S.L. (2014).
DS-tests. Feedback from the participants The effect of Musical Attention Control
stated they were eager to see if they could Training (MACT) on Attention Skills of
improve their scores every time they took a Adolescents with Neurodevelopmental
test. This could be an important considera- Delays: A Pilot Study. Journal of Music
tion in relation to further studies with this Therapy, 51(4), 333-354. doi:10.1093/
complex population. jmt/thu030.
This study was a first step to obtain evidence About the Author
on the effects of MACT on attention outcomes
with adolescents placed within secured resi- Tom Abrahams (MMTh, NMT) works as a
dential youth care settings. Although the re- music therapist/researcher at Spirit Youth
sults show no significance due to the small Care in Amsterdam, The Netherlands.
number of participants, this study provides va- Email: t.abrahams@dekoppeling.com
luable recommendations for future research
with this diverse and complex population.
86
CHILD MuSIC pSYCHoTHerApY AS A CoNTINuuM

oF DeVeLopMeNT: THeorY AND prACTICe
Sami Alanne
Apollo Therapy Services, Finland
Music psychotherapy Approaches cure and supporting atmosphere. A thera-

pist can recommend and encourage the use
Music psychotherapy is an approach where of music in the form of a game, especially
music as psychotherapy is itself considered with shy children at the beginning of the-
to be psychotherapy (Bruscia, 1998). Music rapy. The music psychotherapy process often
can be cathartic, release emotions, and acti- involves active improvisation without de-
vate psychic functions of the mind in a day- mands. Clients find their own way of expres-
dream like state (reverie) or as fantasies. This sing themselves naturally without coercive
can include receptive and active methods methods. Then, it is possible to reach the
which bring pleasure, and relax and calm unconscious through the symbolism and as-
down children. In music-centered psychothe- sociations relating to music. (Alanne, 2014;
rapy, much of the activity and communica- De Backer & Sutton, 2014.)
tion happens through music. A therapist uses
free improvisation with different instruments Music and Sounds as
as the main method, with a child or an ado- Informative Sources of a Development
lescent who has emotional problems and
cannot therefore discuss their thoughts and Music is a developmental object for children.
emotions with the therapist. (Alanne, 2010, It enables the continuance of the separation-
2014; De Backer & Sutton, 2014.) individuation process and the experience of
thirdness in the relationship between a the-
Music in psychotherapy is music psychotherapist and a patient, as an analytic third. In
rapy where both music and verbal psychotherapy, the phase-specific verbal and musi-
therapy are used equally. A therapist can use cal interventions of providing insights, portra-
methods such as songs, projective music lis- ying empathy, and holding client's emotions
tening, free association to music, and guided at their level of disturbance, development,
imagery in their different forms. In verbal and verbal skill are applied. Interpretations
psychotherapy with music, music has no can be genetic/ transference interpretations,
special therapeutic goal. It can sometimes as well as here and now interpretations of
be used to promote discussion. Frequently, “moving along” with the patient's music in
psychodynamic music psychotherapy with clinical improvisations. Music provides a
children involves elements from all four de- meaningful dynamic shape for emotional
fined approaches. (Alanne, 2010, 2014.) arousal, and works through the rhythms, vi-
brations, chords, and melodies of music,
Music psychotherapy in Action which a therapist holds and contains. A the-
rapist attunes, mirrors, matches, and reflects
Music psychotherapy should happen in a se- the experiences in a way that models the
87
early reciprocity and non-verbal communications of three clinical case studies. Sibe-
tion of a mother and an infant. lius Academy, Music Education Depart-
ment, Studia Musica 44.
The patient's dynamic unconscious, transfe- Alanne, S. (2014). Musiikkipsykoterapia. Te-
rence, resistance, defenses, and symptoms oria ja käytäntö. [Music Psychotherapy.
are analyzed through the symbolism of Theory and Practice.] Acta Universitatis
music. Verbal techniques such as empathic Ouluensis D Medica 1248.
describing, confronting, clarifying, and inter- Bruscia, K.E. (1998). An introduction to the
preting the child`s behavior are applied in music psychotherapy. In K. E. Bruscia (Ed.),
accordance with music. In a therapy of suf- The dynamics of music psychotherapy
ficient length, a therapist can become a de- (pp. 1–15). Gilsum, NH: Barcelona.
velopmental object for a child through the De Backer, J. & Sutton, J. (2014). Therapeutic
music. The goals for music psychotherapy interventions in psychodynamic music
with children are usually better self-unders- therapy: The music in music therapy. In J.
tanding, and the regulation of emotions and De Backer & J. Sutton (Eds.), The music in
behavior through music and words. Music music therapy: Psychodynamic music the-
psychotherapy enables a safe therapeutic rapy in Europe: Clinical, theoretical and re-
regression to the early developmental pha- search approaches (pp. 338–349). Lon-
ses, as well as corrective experiences, for don-Philadelphia: Jessica Kingsley.
traumatized and deprived children. (Alanne,
2010, 2014; De Backer & Sutton, 2014.) About the Author
references Dr. Alanne is a training psychotherapist, a

supervisor, and a music therapist in Hel-
Alanne, S. (2010). Music psychotherapy with sinki.
refugee survivors of torture: Interpreta- Email: sami.alanne@apolloterapiapalvelut.fi
88
MIXIS: A WeB pLATForM To DoCuMeNT AND CApITALIZe THe

MuSIC THerApY ACTIVITIeS
Fabio Circelli
Lebenshilfe Onlus (Bz), Italy
Grazia Parente
Lebenshilfe Onlus (Bz), Italy
Keywords: Traceability – Flexibility – Trans- therapy courses. MIxIS provides access to

missibility. review the documents and projects availa-
ble, as well as enter, edit and store new data
Abstract sets about the client.
The project MIxIS enhances the client expe- Through an easy manageable interface,
rience, promoting continuity and traceability made up of several cards, it is possible to
of music therapy interventions addressed. upload the basic documentation about the
Through a shared system of documentation person involved in the music therapy pro-
and registration of therapeutic processes, cess. Other functional sections are: plan-
linked networks are created and developed ning, development, and assessment. The
among: operators, beneficiaries, families information entered in the system is availa-
and organizations, safeguarding their own ble after the end of the activity, creating a
privacy. traceable data set useful for the treatment
of client.
Description
Each card is made up of different fields rela-
MIxIS (Innovative Models for Social Inclusion ted to the therapeutic targets, through an
– www.bzmixis.eu) is a project created by identification code, allowed to connect sig-
the social cooperative “GliamicidiSari”. The nificant parts of the process, making it sha-
Lebenshilfe Onlus (Bolzano) has supported reable and visible to other specialists.
and developed this project, creating an or-
ganic system of credentials for the various The MIxIS makes the therapeutic process
sectors covered, including music therapy ac- clear and continuous, leaving the musical fo-
tivities. otprints traceable at any time, and using a
unique pin for each client, making it comple-
The system is an easily accessible web-based tely private and individual.
application. The home page illustrates the
various areas of activity. After logging-in, ac- Such a system, for music therapy in particu-
cess is provided to the “consulenze &t era- lar, offers a flexible structure and can be edi-
pie” page and in this virtual space you can ted, expanded and applied to various areas
find all you need to know about the music of therapy. Its main feature is that it is not
89
linked to an exclusive therapist, but it is a ba- Assessment Profile: IMTAP. London and
seline for the new generations. MIxIS gene- Philadelphia - Jessica Kingsley Publishers
rates information on musical biographies of Berger, D. S. (2009). On Developing Music
clients and provides opportunities for future Therapy Goals and Objectives. Retrieved
research. from:https://www.voices.no/index.php/v
oices/article/view/362 doi:http: //dx.doi.
references org/10.15845/voices.v9i1.362
Bruscia K. (1998). Standards of Integrity for
Wigram T., Nygaard Pedersen I., Bonde L. O. Qualitative Music Therapy Research. Re-
(Eds). (2002). A comprehensive Guide to trieved,from:https://www.voices.no/ind
Music Therapy: Theory, Clinical, Practice, ex.php/voices/article/view/238 doi:http:
Research and Training. London and Phi- //dx.doi.org/10.15845/voices.v5i3.238
ladelphia: Jessica Kingsley Publishers
Midgley G. (2000). Systemic Intervention: About the Authors
Philosophy, Methodology, and Practice.-
Contemporary System Thinking. Kluwer Fabio Circelli: graduated from the CEEP of
Academic/Plenum Publishers ASSISI (Italy) and musictherapist since 2007.
Bruscia K. (1987). Improvisational models of AIM partner.
music therapy. Publishers by Charles C Email: fabio.circelli@libero.it
Thomas.
Tuesday Baxter H., Berghofer, J. A., MacEwan Grazia parente: graduated in music therapy
L., Nelson J., Peters K., & Roberts P. (Eds). in Bari (Italy), she worked as music therapist
(2007). The individualized Music Therapy since 2005.
90
MuSIC INTeGrATIoN Group For reFuGee MoTHerS AND

CHILDreN SeeKING ASYLuM IN SWeDeN
Dale Copans Åstrand
The Church of Sweden, Sweden
Introduction program Description
In 2015 a total of 162,877 people sought as- Recognizing a need, my colleague and I star-
ylum in Sweden, twice as many as in 2014. ted an integration music group for mothers
Of those, the Swedish Migration Board deci- and their small children in the spring of
ded upon 58,802 cases and granted resi- 2016. The majority of the women were from
dence permits to 32,631 (Swedish Migration Syria; the others were from Afghanistan and
Agency, 2016). In 2015 the largest group of Yemen. Some had already been given per-
immigrants came from Syria. This trend con- manent resident status while others were
tinued in 2016 with the majority of asylum awaiting a decision from the Migration Board.
seekers coming from Syria, Afghanistan, and The makeup of the group was dynamic as
Iraq (Migrationsinfo.se, 2016). These immi- there was no formal registration but many
grants have not only fled war-torn countries, women attended on a weekly basis.
but many of the women have traveled on
their own, pregnant, or with children. During A semi-directive model was used, allowing
their journey they may have been at risk for the mothers and children to explore and im-
sexual and gender-based violence in addi- provise, but also guiding the sessions with
tion to other dangers involved with fleeing music and songs intended to teach the Swe-
(Clayton, 2016). dish language, and offer opportunities for
expression and interaction. The sessions in-
Refugees bear a great deal of stress, not only cluded singing, dancing, playing instruments,
as a result of their past experiences but also and using props such as pom-poms, scarves,
as they await a decision from the Migration and belly dancing shawls to demonstrate di-
Board, or even after they have been granted rections, colors, and other concepts.
asylum (Tinghög, 2009). Acculturative stress
in immigrant parents has been positively co- Each week we asked the women what they
rrelated to anxiety symptoms in their chil- would like to do. We felt this would allow
dren (Leon, 2014). In Sweden, newly arrived them some control over their situation and
adult asylum seekers study Swedish and chil- also make them active participants in the ses-
dren attend school or daycare. However, sions. One woman told us she hadn't danced
mothers with very young children are often in five years and this was now her greatest
at home, isolated from the rest of society, desire. We covered the windows in the room
unable to meet Swedes and learn the lan- with screens for privacy and played familiar
guage, adding to their stress. dance music. The expression of joy on her face
91
was incredible as she danced freely around Leon, A. L. (2014). Immigration and stress:
the room with her baby in her arms. Another The relationship between parents' accul-
mother rarely ventured out of her apartment. turative stress and young children's an-
Her son became very excited each time she xiety symptoms. Inquiries Journal/ Stu-
got him ready to go out, anticipating making dent Pulse, 6(03). Retrieved from http://
music in our group. She has since started so- www.inquiriesjournal.com/a?id=861
cializing with other group members outside Swedish Migration Agency (2016, October 3).
her home. When Swedish mothers were in at- Statistics. Retrieved from http:// www.mi-
tendance there were opportunities for socia- grationsverket.se/English/Startpage.html
lization and integration that were otherwise Migrationsinfo.se (2016, October 19). As-
not available to the refugee women and chil- ylsökande i Sverige. Retrieved from http:
dren. We taught each other songs, exchanging //www.migrationsinfo.se/migration/sve-
vocabulary and stories, much as Orth (2005) rige/asylsokande-i-sverige/
described. The sharing of music aided in cross- Orth, J. (2005). Music therapy with trauma-
cultural understanding and bridged gaps bet- tized refugees in a clinical setting. Voices:
ween our cultures and music (Jones, Baker & A World Forum for Music Therapy, 5(2).
Day, 2004). A study is being planned investi- doi:10.15845/voices.v5i2.227
gating interaction and cooperation between Oscarsson, S. (2017). To recreate hope and
mother and child using different methodolo- dignity: Music therapy with refugee chil-
gical categories similar to the ones described dren with pervasive refusal syndrome. In
by Oscarsson (2017) and also looking at the S. Lindahl Jacobsen & G. Thompson (Eds.),
effect of the integration group on the stress Music therapy with families: Therapeutic
levels of its participants. approaches and theoretical perspectives.
London: Jessica Kingsley.
references Tinghög, P. (2009). Migration, stress and
mental ill health: Post-migration factors
Clayton, J. (2016, January 20). Refugee and experiences in the Swedish context
women on the move in Europe are at risk, (Doctoral dissertation). Available from
says UN. Retrieved from http://www. SwePub.(swepub:oai:DiVA.org:liu-18216)
unhcr.org/news/latest/2016/1/569fb22b
6/refugee-women-move-europe-risk- About the Author
says-un.html
Jones, C., Baker, F., & Day, T. (2004). From Dale Copans-Åstrand, MM, MT-BC, Music
healing rituals to music therapy: Bridging Therapist at the Church of Sweden, Täby,
the cultural divide between therapist and Sweden and Supervisor at Stockholm’s City
young Sudanese refugees. The Arts in Mission.
Psychotherapy, 31(2), 89-100. doi: 10. Email: pejedale@yahoo.com
1016/j.aip.2004.02.002
92
MuSIC THerApY IN GerIATrICS:

A TArGeT Group SpeCIFIC NeeDS ANALYSeS
Biljana Vrancic Coutinho1, Michael Kessler1, Dorothee V. Moreau1,
Alexander F. Wormit1, Carsten Diener1, Thomas K. Hillecke1
1
SRH Hochschule Heidelberg, Germany
Context and aim of the project Methods
Aging is often accompanied by age-related Self-report questionnaires are used to assess

limitations, decline in physical or cognitive wellbeing of the patients, their relatives and
functionality in everyday life or increased care workers. Additionally, self- and proxy-
rate of age-related diseases like dementia. report questionnaires are used to assess
Studies indicate that Music Therapy has a quality of life of the patients as well as care
high potential to contribute meeting these workers stresses and strains during their
complex health needs by e.g. reducing agi- daily work routine.
tation, anxiety or depression and enhancing
relaxation and wellbeing. (McDermott, Cre- Guided Interviews are conducted with pa-
llin, Ridder, & Orrell, 2013; Ueda, Suzukamo, tients, relatives and care workers to provide
Sato, & Izumi, 2013; Warth, Keßler, Hillecke, more in-depth insights, especially in terms
& Bardenheuer, 2015; Zhao, Bai, Bo & Chi, of the attitude towards Music Therapy.
2016) At the same time Music Therapy can
have a positive impact on care workers (Hsu, results
Flowerdew, Parker, Fachner, & Odell-Miller,
2015). Within the project “Music Therapy Questionnaire-data of patients (n=65), relati-
360°”, a concept for the establishment of ves (n=12), care workers (n=30) is evaluated.
Music Therapy interventions to improve A qualitative content analysis of guided inter-
quality of life for patients, relatives and care views with patients (n=4), relatives (n=4) and
workers in eldercare is developed, imple- care workers (n=8) is performed. In the inter-
mented and evaluated in two local geriatric views, four main topics emerged: previous ex-
facilities in south Germany. To develop the periences, preferences, doubts and challen-
Music Therapy concept, a systematic litera- ges, and attitude towards presented Music
ture search is conducted and initial needs Therapy techniques.
analyses in both facilities are undertaken.
The aim of the needs analyses is to assess Considering the results of the need analyses,
the specific needs and attitude of the pa- a modularly-designed Music Therapy con-
tients, their relatives and care workers in cept that is attuned to the specific needs of
terms of music therapy. In the context of patients, their relatives and care workers is
“Music Therapy 360°”, this paper presenta- developed to improve wellbeing, care rela-
tion will focus on the methods and results of tionship and to reduce strains during daily
the needs analyses. nursing routine.
93
references teacher (B.Mus.), music therapist (M.A.) and

a research associate at the Institute of Ap-
Hsu, M. H., Flowerdew, R., Parker, M., Fach- plied Research, SRH University Heidelberg.
ner, J., & Odell-Miller, H. (2015). Indivi- Email: Biljana.Coutinho@srh.de
dual music therapy for managing neuro-
psychiatric symptoms for people with de- Michael Keßler, M.A. is a music therapist
mentia and their carers: a cluster rando- and research associate at the Institute of Ap-
mised controlled feasibility study. BMC plied Research, SRH University Heidelberg.
Geriatrics, 15(84), 1-19.
McDermott, O., Crellin, N., Ridder, H. M., & Dorothee v. Moreau, Prof. Dr. rer. medic., is
Orrell, M. (2013). Music therapy in de- the program coordinator and head of the
mentia: a narrative synthesis. Internatio- Music Therapy master program at the SRH
nal Journal of Geriatric Psychiatry, 28, University Heidelberg.
781–794.
Ueda , T., Suzukamo, Y., Sato, M., & Izumi, S. Alexander F. Wormit, Dr. sc. hum. is Profes-
(2013). Effects of music therapy on beha- sor of Clinical Music Therapy and the head
vioral and psychological symptoms of de- of the Music Therapy bachelor program at
mentia: a systematic review and meta- the SRH University Heidelberg.
analysis. Ageing Research Reviews, 12(2),
628-41. Carsten Diener, Dr. sc. hum., is Professor for
Warth, M., Keßler, J., Hillecke, T. K., & Bar- Clinical and Biological Psychology and vice
denheuer, H. J. (2015). Music therapy in dean at the School of Applied Psychology,
palliative care—a randomized controlled SRH University Heidelberg.
trial to evaluate effects on relaxation.
Deutsches Ärzteblatt International, 112 Thomas K. Hillecke, Dr. sc. hum., is Professor
(46), 788–794. of Clinical Psychology and vice dean of the
Zhao, K., Bai, Z. G., Bo, A., & Chi, I. (2016). A School of Therapeutic Sciences, SRH Univer-
systematic review and meta-analysis of sity Heidelberg.
music therapy for the older adults with
depression. International Journal of Ge- Notes
riatric Psychiatry, 31(11), 1188–1198.
The Project “Music Therapy 360°” is funded
About the Authors by the German Federal Ministry of Educa-
tion and Research for a period of three years
Biljana V. Coutinho, is a professional piano (2015 – 2018). Funding Code: 03FH006SX5.
94
LuLLABIeS IN THe WorLD LINeAr ANALYSIS oF MeLoDY,

rHYTHM AND HArMoNY For AppLICATIoN
IN MuSIC THerApY
Silvio L. Feliciani
State Conservatory of Music, Pescara, Italy
Rosa Caringella
Lullabies in the world 3. The harmonic profile, revealing aspects of

the sensitivity, the range of emotions, and
The lullaby is a song performed by a familiar the cultural quality of those people, and
voice, which can induce sleep in children. 4. The lyrical profile, which reveals the cog-
But in some societies they are used to pass nitive level.
down cultural knowledge or traditions. Our
study is the analysis of these songs, from a All these elements can be used in music the-
melodic, rhythmic, and harmonic profile for rapy to optimize the adequacy of perfor-
their use in therapeutic relationships. mance and interventions. This information
is particularly useful for music therapists
Lullabies can be found in the popular culture who have to operate in multicultural con-
of all peoples. But the purposes of lullabies texts and regions.
vary. In some societies they are used to pass
down cultural knowledge or tradition. The The results of this analysis will also allow us
European Commission has created the Lulla- to identify what rhythmic and musical ele-
bies of Europe project to collect lullabies in ments should be used in order to achieve ef-
all the different languages of the community fective improvisation in sound relationships.
in order to preserve their cultural heritage. The analysis of the lullaby provides a com-
prehensive understanding of the cultural
Our study presents the analysis of these short identity of a people, and allows us to appro-
songs, from a melodic, rhythmic, and har- ach its culture with a language and in an ap-
monic perspective. The results of this analy- propriate manner.
sis provide a psychodynamic reading of the
songs, and more precisely: The melodic linear analysis
1. The musical interval profile that characte- The melodic linear analysis is the most im-
rizes the sound cultural identity of that portant and the most informative of all
community; other analyses and is usually neglected.
2. The rhythmic profile that reveals the pat-
terns of neuropsychological functioning of I will present a model I have created which
the members of that community; is very effective in the following:
95
1. Reducing the melody to its essential fac- references

tors (melodic profile of pitch/rhythmic
pattern of durations); Baraldi, B. (Ed.) (2010). Lullaby, Castelvecchi.
2. Recognition and classification of the inter- Miller, M., & Avery, B. (Eds.). (2008) Hector
val structures creating the melodic pro- Sevilla Lullaby, Italycomics.
file, and of temporal structures of gene- Hocking, A. (2012). Lullaby, Watersong Per-
rating the rhythmic pattern; sico, G. (Ed.). (2004). La ninna nanna.
3. Reduction in symbols, by means of the Universitarie romane.
low numbers, and the explicit and implicit Feliciani, S. (Ed.). (1982) New teaching of
chordal structure; musical composition, Melodic linear ana-
4. Process of comparison of all detected ele- lysis. Italia: Fono Edizioni.
ments.
About the Authors
Out of this complex series of operations we
will have the basic elements of music i.e. we prof. Silvio Feliciani is composer, pianist, music
will have the melodic and rhythmic profile. therapist with a Master’s degree in Sociology.
We shall see if there is a special interval in Currently he is Head of the Music Therapy De-
melodic micro-organism succession, and we parment in the State Conservatory of Music in
will find out how the permutation and trans- Pescara. He is also Professor in piano reper-
position of these recurring intervals is orga- toire and performance practice and Adjunct
nized. Professor in applied music therapy, theory
methods and history of music therapy and di-
All information provided by all these ele- gital processing of mixer sound.
ments is used to organize an extended pro- Email:
cess of comparison. In addition, the follo- silvio.feliciani@conservatoriopescara.gov.it
wing factors will be investigated: the thema-
tic process and the melodic order, as well prof. rosa Caringella is a psychologist, psy-
the structural functions of harmony and chotherapist, music therapist, Adjunct pro-
tonal order. fessor in psychodynamics of the child mu-
sical repertoire, and supervisor of clinical
The presentation concludes with the presen- cases in the Bachelor’s Degree Program in
tation of some examples of analysis and ob- Music Therapy in the State Conservatory of
servation of the results Music in Pescara , Italy.
96
MuSIC THerApY ACADeMIA AND prACTICe IN ITALY

Silvio L. Feliciani
Massimo Magri
premise vidual and group simulations, and in the

most diverse contexts.
In Italy there are 80 music conservatories,
and 80 universities. The bachelor’s degree The ultimate goal of the program is to pro-
program in Music Therapy at Pescara Con- vide students with the ability to learn the
servatory is a special program since it is the fundamental parameters of sound commu-
only nationally accredited Bachelor's degree nication; to use sound elements in a nonver-
in Music Therapy in Italy. The music therapy bal context; to recognize the use of the
students of this institution are distinguished patient’s body-music-sound expressions.
by their musicianship and preparation.
The fundamental part of our activities invol-
The poster ves the participation of our students in pla-
cements with patients.
This Poster illustrates the overall academic
plan of the degree including the content of The presentation illustrates the activities,
the various disciplines. The presentation will which give an international dimension to the
devote special attention to internship and program: international placement, seminars,
practical music therapy training. and master classes. The most important ac-
tivity is certainly the job placement in fo-
The students, working together in pairs or reign institutions, but the seminars and
groups, learn to recognise how they feel, to master classes are held by experienced and
give life to feelings themselves through internationally renowned musicians or pro-
sounds, and learn how to control and ma- fessionals. Sometimes, these activities are
nage the outflow of emotions through the also linked to teachers' mobility within dif-
use of sound and music. ferent institutions.
In the first year, students who must focus on All this activity produces positive results.
sound production, have to learn the use of The time that the foreign guests spend with
various aspects of dual and group sound re- our students always leaves very positive ef-
lationships. fects and shows them previously unimagi-
ned perspectives.
Students of the second year will learn the
technique of thematic improvisation in indi- Our own teachers can also benefit from
97
these visits, since they can compare their Therapy Deparment in the State Conserva-
knowledge and broaden their interests. tory of Music in Pescara, Professor in piano
repertoire and performance practice and
Songs and Thesis Adjunct Professor in applied music therapy,
theory methods and history of music the-
The poster will also present: rapy and digital processing of mixer sound.
Email:
a) the best songs composed by the students silvio.feliciani@conservatoriopescara.gov.it
for welcoming and greeting patients, se-
lected by myself prof. Massimo Magri, cellist, Director and Pro-
b) the titles of the thesis awarded with dis- fessor of the State Conservatory of Music in
tinction by the Commission, and the link Pescara (Italy). In 1979, while still a student, he
from which they can be downloaded (in won the competition for principal cello at the
English). PM Orchestra in Milan and was selected for
the European Community Youth Orchestra
references (ECYO). He debuted as soloist with Orchestra
Sinfonica Abruzzese. The same year he gradua-
Feliciani, S. (2012). The Bachelor Degree Pro- ted with full marks and honours. In 1987 he
gram In The Music Therapy Course Edu- was invited as principal cellist at the Teatro de-
cational Purpose. Retrieved from http:// ll'Opera in Rome and was called to be part of
conspemusictherapy.weebly.com/about- the strings chamber orchestra " I Solisti Aqui-
academic-course.html lani". With them he played in theaters and
concert halls in Italy, Europe USA, Canada, Cen-
About the Authors tral and South America, Russia collaborating
with many artists of international standing. He
prof. Silvio Feliciani, a composer, pianist, recorded different works for cello and piano,
and music therapist with a Master’s degree strings sextet and strings chamber orchestra
in Sociology, is currnetly Head of the Music for important international labels.
98
eMBoDIMeNT AND pSYCHoDYNAMIC MoVeMeNT IN MuSIC

THerApIST ACADeMIC TrAINING – A WorKSHop
Eva Frank-Bleckwedel
Hochschule für Musik und Theater Hamburg, Germany
Body, Mind and Soul are inseparably intert- programs at University of Music and Theatre
wined and embedded in the social and eco- in Hamburg, Germany.
logical environment. Conscious and uncons-
cious communication with ourselves and This workshop will give you a short overview
others are based on body. You can’t neither about the underlying theories.
perceive, nor express, nor communicate wi-
thout your body. Embodiment (Maja Storch, Switzerland) and
Psychodynamic Movement (Mary Priestley,
That leads us to the question, how thera- Great Britain).
pists and clients can use body and move-
ment as a resource in therapy. And best of all give you the chance, as a prac-
tical insight, to move your body to exercise
Psychodynamic Movement is a wonderful the power of Psychodynamic Movement.
way to learn more about body-sensations
and to discover the power of bodywork in references
combination with music in therapy.
Nygard, I. (2002). Psychodynamic movement:
For music therapists it is essential to develop A basic training methodology for music
an excellent body awareness, open for their therapists. In J.Th Eschen (Ed.), Analytical
own sensations as well as for their clients’ music therapy (pp.190-216). London: Jes-
sensations. sica Kingsley Publishers
Psychodynamic Movement is a great chance About the Author

to enlarge that skill and a powerful tool in
music therapy in regard to diagnosis and in- prof. eva Frank-Bleckwedel, director Institut
tervention für Musiktherapie, teaches psychodynamic mo-
vement and therapeutic improvisation at Ham-
Psychodynamic Movement Training is a key burger Hochschule für Musik und Theater.
subject of our bachelor and master degrees Email: eva.bleckwedel@hfmt-hamburg.de
99
“WIreD BY MuSIC” – A pILoT STuDY oN THe eFFeCTIVeNeSS

oF MuSIC THerApY IN DepreSSIVe ADoLeSCeNTS
Josephine Geipel
Department of Child and Adolescent Psychiatry, Centre for Psychosocial Medicine,
University of Heidelberg, Germany
School of Therapeutic Sciences, SRH University Heidelberg, Germany
Thomas Karl Hillecke

School of Therapeutic Sciences, SRH University Heidelberg, Germany
Peter Parzer, Franz Resch, Michael Kaess

Department of Child and Adolescent Psychiatry, Centre for Psychosocial Medicine,
University of Heidelberg, Germany
The present paper describes the develop- atment guidelines for adolescents (Gold et al.,
ment and pilot evaluation of a music therapy 2004). Therefore, the aim of the present pilot
treatment manual for depressive adoles- study was to develop a treatment manual and
cents including active and receptive techni- to evaluate suitable methods for a subsequent
ques. Primary treatment goals are the im- randomized controlled trial.
provement of emotion regulation and inter-
personal relationships. Preliminary results The present pilot study utilizes a prospective,
from the pilot study will be presented. single-arm repeated-measures design. Re-
cruitment has started in January 2016 and is
Depression is among the most prevalent men- expected to be completed in July 2017. The
tal illnesses in adolescents. Recent research primary outcome is depression (CDRS-R, BDI-
found evidence supporting the hypothesis of II), secondary outcomes encompass emotion
depression mainly being a disorder of emotion regulation (Feel-KJ), quality of life (KIDS-
regulation. Listening to music and associated CREEN) and stress (heart rate variability, hair
activities are of major importance in adoles- cortisol). Clients aged between 13 and 17
cents’ identity formation, mood regulation, years with a depression diagnosis are eligible
and peer group building processes (McFerran, to participate in a manualized music therapy
2010). Moreover, neuroimaging studies found treatment lasting for twelve weekly single
strong associations between neural networks sessions. Interventions of the manual mainly
involved in music processing and those res- focus on stabilization, improvement of emo-
ponsible for emotion regulation (Koelsch, tion regulation, realization, recognition, ex-
2014). However, despite the evaluated posi- pression of own feelings and the work on
tive impact of music therapy on depression in interpersonal relationships. The manual com-
adults (Maratos et al., 2008), there is a lack of bines receptive music therapy methods such
scientifically sound studies and formalized tre- as listening to the client’s preferred music and
100
creating playlists, with active approaches ciate and lecturer in the undergraduate and
such as referential improvisations and mu- graduate programs of the School of Thera-
sical role plays. Expected results are a feasible peutic Sciences, SRH University Heidelberg,
and methodologically robust design for a Germany and a PhD student at the Univer-
phase-II clinical trial and the final version of a sity of Heidelberg, Germany.
music therapy treatment manual for depres- Email: Josephine.Geipel@hochschule-hei-
sive adolescents. Preliminary results concer- delberg.de
ning the clinical outcomes of the pilot study
will be presented. Thomas K. Hillecke, Dr. sc. hum., is Professor
of Clinical Psychology and vice dean of the
references School of Therapeutic Sciences, SRH Univer-
sity Heidelberg, Germany
Gold, C., Voracek, M., & Wigram, T. (2004).
Effects of music therapy for children and peter parzer, Dipl.-Psych., is senior research
adolescents with psychopathology: a meta fellow at the Department of Child and Ado-
-analysis. Journal of Child Psychology and lescent Psychiatry, University of Heidelberg,
Psychiatry, 45(6), 1054-1063. Germany.
Koelsch, S., (2014). Brain correlates of mu-
sic-evoked emotions. Nature Reviews Franz resch, Dr. med., is Medical Director at
Neuroscience, 15, 170-180. the Department of Child and Adolescent
Maratos, A.S., Gold, C., Wang, X., & Craw- Psychiatry and professor at the Faculty of
ford, M. J. (2008). Music therapy for de- Medicine, University of Heidelberg, Ger-
pression. Cochrane Database Systematic many.
Review 23; (1): CD004517.
McFerran, K. (2010). Adolescents, Music and Michael Kaess, Dr. med., is Head of the Sec-
Music Therapy. Philadelphia: Jessica Kingsley. tion for Translational Psychobiology in Child
and Adolescent Psychiatry, Managing Con-
About the Authors sultant and Associate Professor at the De-
partment of Child and Adolescent Psychiatry,
Josephine Geipel, M.A., is a research asso- University of Heidelberg, Germany.
101
MuSIC. MATTer. MAKING: ToWArD A MuSIC THerApY

BeYoND THe HuMAN
Simon Gilbertson
The Grieg Academy, Grieg Academy Music Therapy Research Centre,
Faculty of Art, Music and Design, University of Bergen, Norway
Introduction exclusion and privileging still remains ‘con-

trolled’ and segregative of the ‘world’ as
Contemporary music therapy, I suggest, human, non-human, living and non-living.
needs to consider the imperative of onto- There is a ‘trouble’ (Haraway, 2016) here
genesis, the coming into being, which enga- that needs to be remained with.
ges with the matter, devices and processes
of how music therapy is made that goes be- response
yond interpersonal relations and ingrained
dualism (Kohn, 2013) and moves towards To rectify this, is to understand differences
correspondences (Ingold, 2013) multiplici- between ontology (being) and ontogenesis
ties (Mol, 2013), and inseparability (Gilbert- (becoming) and what ubiquitous implica-
son, 2015). tions these have for music therapy beyond
supposed epistemological diversity. I choose
Challenge to follow the path of ontogenesis through
which an unclear ‘world’ (de Pina-Cabral
Major definitions of music therapy com- 2014) emerges in which music therapy dis-
monly struggle with encompassing a diver- course is per definition inseparable from the
sity of therapy, research and education matter, devices and processes of how music
practices whilst at the same time using res- therapy is made (e.g. Gilbertson & Aldridge
trictive verbal devises such as “use of music” 2008). As music therapy can be considered
and “relationships” to draw boundaries over ‘to be of the world’, it is important to consi-
expansive ranges of music and health prac- der which different imperatives drive music
tices, rituals and ancient behaviors of caring therapy enactments. This consideration ques-
and living. Though many of these definitions tions the apparent familiarity of what it is to
may seem different, they commonly share be human. It increases an extended and ma-
one aspect: a near complete absence of ack- terially engaged reflexivity and a sensing of
nowledgement of the non-human agential trouble with any mainstreaming of therapy,
and creative properties of the world in research and educational methods which
which all clients and therapists are. Even disregard material agency and ecological si-
where the use of the term ‘complex inter- tuatedness. As Donna Haraway (2016) sug-
ventions’ can be seen to offer a potential so- gests, “staying with the trouble requires
lution, I agree with contrasting texts (Cohn learning to be truly present […] as mortal
et al 2013) that there is a continuing need to critters entwined in myriad unfinished con-
re-consider different forms of ‘complex’ and figurations of places, times, matters, mea-
to avoid a ‘complex’ that through a subtle nings” (p.1).
102
To develop music therapy, I presently turn to ble: Making kin in the Chthulucene. Lon-
audio, video, semiotic, computer graphic, don: Duke University Press.
body casting, instrument design and archi- Ingold, T. (2013). Making: Anthropology, Ar-
tectural and theoretical examples taken chaeology, Art and Architecture. London:
from therapeutic, research and education Routledge.
practices and will stay with the trouble. Kohn, E. (2013). How Forests Think: Toward
an anthropology beyond the human. Lon-
references don: University of California Press.
Lock, M. (2015). Comprehending the Body
Cohn, S., Clinch, M., Bunn, C. & Stronge, P. in the Era of the Epigenome. Current
(2013). Entangled complexity: Why com- Anthropology, 56(2), 151-177
plex interventions are just not complica- Mol, A. (2003). The Body Multiple: Ontology
ted enough. Journal of Health Service in Medical Practice. London: Duke Uni-
Research and Policy, 18(1), 40-43. versity Press.
De Pina-Cabral, J. (2014). World: An anthro-
pological examination (part 1). HAU: Jour- About the Author
nal of Ethnographic Theory, 4(1), 49-73
Gilbertson, S. (2015). In visible hands: The Simon Gilbertson, Associate Professor in
matter and making of music therapy. Music Therapy: Integrated Master in Music
Jour-nal of Music Therapy, 52(4), 487-514 Therapy program, Grieg Academy Music
Gilbertson, S. & Aldridge, D. (2008). Music Therapy Research Centre, Grieg Research
therapy and traumatic brain injury: A School for Interdisciplinary Music Studies,
light on a dark night. London: Jessica Faculty of Art, Music and Design, University
Kingsley Publishers. of Bergen, Norway.
Haraway, D. (2016). Staying with the Trou- Email: simon.gilbertson@uib.no
103
HuMour IN MuSIC THerApY: IMproVISING CHANGe

Nicky Haire
Freelance Music Therapist, Edinburgh, UK
Introduction tation, clumsiness/slapstick and incongruity,

and the author observed how these quali-
There is a growing interest in humour in ties were realised in music therapy; through
music therapy, yet there has, to date, been ‘comedy’ instrumentation, musical style/de-
little in-depth research into the phenomenon. vices, words, gestalt, gesture, facial expres-
(Amir, 2005). This paper will explore the exis- sion etc. (Amir, 2005; Haire 2008). It was
tence of humour in musical and non-musical concluded that the use of humour depends
exchanges in music therapy with adults with largely on the personal characteristics of
neurological conditions and, using case ma- each therapist and client, their individual
terial, will consider humour in relation to im- needs, and a shared cultural understanding.
provisation and therapeutic process.
Having worked as a music therapist with
overview adults with neurological conditions in diffe-
rent settings for just under ten years, the au-
According to Simon Critchley ‘…humour pro- thor’s interest in the phenomenology of
vides an oblique phenomenology of ordi- humour in interactive and empathically mo-
nary life; it is a way of describing the si- tivated musical improvisation with this client
tuation of our existence and, at its best, in- group has developed. Thus far, it has been
dicates how we might change that situation’ the author’s experience that humour in
(Critchley in Baggini & Stangroom J, 2002, music therapy forms a central part of rela-
p.198). tional work, not only with clients and carers,
but also with staff members.
In a small-scale study, the author explored
the role of humour in music therapy in a In a therapeutic relationship, humour offers
paediatric psychiatric setting. (Haire, 2008; opportunities for spontaneous, dialogic, em-
Haire & Oldfield, 2009). In studying the role bodied, non-verbal relational experiences
of humour in the shared musical and non- with self and other; thus facilitating new ex-
musical exchanges with young people, the periences, identifying possibilities for change,
impact it had on the therapeutic process in illuminating different perspectives and con-
this work was highlighted. Humour was evi- tributing to positive social connections, en-
dent in a number of ways and was being hanced quality of life and general wellbeing.
used as an icebreaker, a diversion, an equa-
lizer, a means of socializing and a means of The main motivation for this paper comes
avoiding socializing or masking feelings, to from the author’s desire to explore her ap-
address issues of control and to instill hope. proach to clinical practice in depth. In addi-
The various features that made humour tion to addressing any positive effects of
were also discussed: e.g. exaggeration, imi- humour on engagement, social interaction,
104
mood, and quality of life, the author is also Haire, N. (2008). An exploration of the hole
keen to explore issues of over-arousal and of humour in music therapy with children
self-regulation, and discuss the concept that in a psychiatric setting. Unpublished Mas-
humour can be used as a device or tool to eli- ters dissertation. Cambridge: Anglia Rus-
cit a predictable outcome, potentially leading kin University.
to instances of overuse and/or misuse. Haire, N., & Oldfield, A., (2009). Adding hu-
mour to the music therapist’s tool-kit:
references Reflections on its role in child psychiatry.
The British Journal of Music Therapy, 23
Amir, D. (2005). Musical humour in improvi- (1). ISSN 1359-4575.
sational music therapy. Australian Jour-
nal of Music Therapy, 16, 3-24. About the Author
Critchley, S. (2002). ContinentalpPhilosophy
and emancipation. In J. Baggin & J. Sangs- Nicky Haire is a freelance music therapist in
troom (Eds.). New British Philosophy: The Edinburgh, UK, with a special interest in im-
Interviews. London: Routledge provisation, embodiment, empathy and hu-
Critchley, S. (2002). On humour. London: mour in music therapy.
Routledge Email: nickyhaire@gmail.com
105
eNCouNTerS oN STAGe: eXLorING eMBoDIeD eMpATHIC

IMproVISATIoN AS perForMANCe
Nicky Haire
Freelance Music Therapist, Edinburgh, Scotland, UK
Philippa Derrington
Queen Margaret University
Vicky Karkou
Edgehill University
Suzi Cunningham
Freelance Dance Artist and Therapist
Introduction music.ed.ac.uk), this roundtable will move

beyond a simple ‘role-play’ between the-
This roundtable is organized around live im- rapists which might illustrate how clinical
provised non-verbal dialogues between a improvisation occurs in a therapeutic con-
Dance Movement Therapist and a Music text, and use this live encounter as a basis
Therapist. Taking Erving Goffman’s sociolo- to reflect on themes which may arise such
gical concept of encounters (Goffman, 1961) as empathic improvisation, embodiment,
as a starting point, the therapist’s expe- perception, space, play, and performance of
rience, alongside the experience of ‘the au- self.
dience’ will then be explored and discussed.
As therapists we reveal elements of oursel-
overview ves all the time to clients, within a therapeu-
tic alliance, but what does the experience of
‘… it is not simply enough to listen and res- entering into this kind of encounter in public
pond to the client in the music making. feel like? How comfortable does the thera-
There needs to be an emotional reciprocity pist feel in revealing the self and exposing
on the part of the therapist also’ (Darnley the intimacy of such an encounter?
Smith, 2014, p.162).
The panel will explore how shared unders-
Building on important collaborative work that tanding arises, or does not arise, when the
has grown out of the annual multi-discipli- therapists dialogue with each other through
nary improvisation research forum hosted by movement and sound; how these different
music psychologists, Dr. Graeme Wilson and modalities interplay, and the effect of being
Prof. Raymond MacDonald at Edinburgh Uni- in dialogue ‘on stage’. Indeed, how are sha-
versity: Concurrent (http://www.concurrent. red narrative and/or ‘moments of meeting’
106
(Stern, 2004) perceived and understood (or Stern, D. (2004). The Present Moment in Psy-
not) between improvising agents and au- chotherapy and Everyday Life. New York,
dience in a non-verbal exchange? How do London: W. W. Norton & Company
we understand the ecology of the improvi-
sed encounter in a semi-public space? And About the Authors
how do internal and external experiences
and perceptions manifest in play, sound, and Nicky Haire is a freelance music therapist
embodiment when ‘in performance’? working in the UK with a special interest in
empathic improvisation and embodiment.
This is a unique opportunity to move forward Email: nickyhaire@gmail.com
and innovate together as Arts Therapists, to
witness the live dynamic vulnerability of such philippa Derrington is Programme Leader of
an encounter in an open space, and to be an the MSc Music Therapy at Queen Margaret
active agent in exploring and experiencing University, Edinburgh and her research area
the encounter as an audience member. focusses on adolescents and wellbeing.
references professor Vicky Karkou holds a chair at Edge

Hill University, leads the research theme of
Darnley Smith, R., (2013). What is the Music arts for wellbeing, which she explores through
of Music Therapy? An Enquiry into the a range of qualitative, quantitative and arts-
Aesthetics of Clinical Improvisation. Dur- based methodologies.
ham Thesis, Durham University. Available
at Durham E-theses Online: http://ethe- Suzi Cunningham is a dance artist and Mo-
ses.dur.ac.uk/6975/Accessed March 2016. vement Psychotherapist based in Edinburgh.
Goffman, E. (1961). Encounters: Two Studies She has a special interest in the field of ad-
in the Sociology of Interaction. USA: Mar- diction, embodied improvisation and Butoh
tino Publishing. techniques.
107
STorYCoMpoSING IS oN A NeW pATH For perSoNS

WITH DeMeNTIA
Hanna Hakomäki & Leena Tuomisto-Saarikoski
Finland
Introduction emotions. Storycomposing is based on mu-

sical innovations, interaction, and communi-
Storycomposing is an improvisational song- cation. The notation system, often used
writing method. It is a model for musical when Storycomposing, is known as Figure-
interaction, which provides the opportunity notes. The latest applications of the Story-
to express feelings and experiences that have composing method have taken place with
significance for an individual. The method older people with dementia.
follows four steps –1) musical expression
(time, space and instruments for musical ex- In practice
pression; no prior studies in music, or any
musical experience are needed), 2) interac- In recent years, the Finnish Cultural Founda-
tion (the Storycomposer creates a piece and tion has given grants to art projects connec-
the co-composer listens and writes the piece ted to residential care and health care
down, but there is no supervision or tea- facilities. In 2015 and 2016 there have been
ching), 3) a Storycomposition (the artefact is Storycomposing projects in care homes for
written down to make it possible to play it older persons with dementia. In these cases,
again as many times as needed), and 4) a it does not mean ‘music therapy’ but is a cre-
performance (a Storycomposition is played ative interaction between the Storycomposer
to significant others). Storycomposing is sui- and co-composer - a professional musician.
table for people of all ages, and has shown These practice-based projects have brought
its potential both in practice and in research, into light the potential of these participants
especially when working with young chil- to take part fully and capacity to express
dren and their families. The Finnish Medical themselves in this activity. Wonderful mo-
Society Duodecim conferred the Culture ments of equal, reciprocal communication
Award of 2008 on Hanna Hakomäki for de- between the Storycomposer and the co-com-
veloping the method. Hakomäki (2013) in- poser are noticeable. Despite the symptoms
vestigated the mechanism of the method of dementia, it is possible to recognize a he-
together with a 14 year old co-researcher, althy, whole person deep inside and a Story-
from the child’s perspective. The results sho- composer has been able to show the capacity
wed how Storycomposing forms a collabo- for reflecting his or her own inner world du-
rative platform for expressing a person’s ring the process of Storycomposing. Even
inner thoughts in a musical way, and helps though Storycomposers might not have pla-
to create personal narratives. These narrati- yed any instrument earlier in life, their musi-
ves can be shared as music and they often cianship can be seen and heard in this
contain or arouse memories, thoughts and activity. The question is, if the Storycompo-
108
sing activity, that has awakened musicianship fruitful collaboration between a music thera-
,can effect the everyday life of persons with pist and a musician, keeping alive the dialogue
dementia, and the quality of their life in resi- of music and musicianship in music therapy.
dential care? The human value of the ability This deepens and widens understanding of le-
to be brave enough to extend oneself to ex- vels of meaning in musical expression and com-
plore a new creative area is inestimable. munication. This collaboration with persons
with dementia will be continuing in forms of
A concert is an important part of the process. practical work, articles and research projects.
A person with dementia has an opportunity to
share his or her musical journey with his/her references
family members in an intimate, safe atmos-
phere where their compositions are played Hakomäki, H. (2013). Storycomposing as a
with the help of a musician. The concerts are path to a child’s inner world. A collaborative
impressive occasions, enriching the communi- music therapy experiment with a child co-
cation between the participants. Storycompo- researcher. (Doctoral dissertation). Jyväs-
sitions are embedded in memories, meanings kylä Studies in Humanities 204. University
and aesthetic values. The narrative embodied of Jyväskylä, Finland. Retrieved from https:
in the music of a Storycomposition is a musical //jyx.jyu.fi/dspace/bitstream/handle/1234
experience, which has to be played and liste- 56789/ 41513/978-951-39-5207-5_vaitos
ned to in order for the meaning of that narrative 27052013.pdf?sequence=1
to be shared. When this happens, the Story-
composing concert offers a forum through About the Authors
which the Storycomposer’s true self can be
seen and heard and thus it is possible to create Dr. Hanna Hakomäki is a music therapist,
a ‘new self-identity in music’ every time a psychotherapist, supervisor and the develo-
Storycomposition is performed. In the concert per of the Storycomposing method.
the voice of the person with dementia is heard Email:
both musically and literally and the support of hanna.hakomaki@musiikkiterapia.net
all participants assists the reciprocal dialogue.
Leena Tuomisto-Saarikoski is a violinist at
Discussion Tapiola Sinfonietta, the Espoo City Orchestra.
Email:
This Storycomposing project is an example of a hanna.hakomaki@musiikkiterapia.net
109
MuSIC THerApY IN GerIATrICS:

A TooLBoX oF MuSIC THerApeuTIC INTerVeNTIoNS
Thomas K. Hillecke1, Michael Kessler1, Dorothee v. Moreau1, Alexander F. Wormit1,
Carsten Diener1, Biljana Vrancic Coutinho1
1
Context and aim of the project of “Music Therapy 360°”, this paper presen-
tation focuses on the results of the literature
Aging is often accompanied by age-related review.
limitations, decline in physical or cognitive
functionality in everyday life or increased Methods
rate of age-related diseases like dementia.
Studies indicate that Music Therapy has a 15 online databases are searched using pre-
high potential to contribute meeting these defined search terms. Articles published bet-
complex health needs by e.g. reducing agi- ween 2006 and 2016 are screened according
tation, anxiety or depression and enhancing to predefined exclusion and inclusion crite-
relaxation and wellbeing. (McDermott, Cre- ria. Articles are included if they a) provided
llin, Ridder, & Orrell, 2013; Ueda, Suzukamo, a sufficient description of the music thera-
Sato, & Izumi, 2013; Warth, Keßler, Hillecke, peutic intervention with the elderly and b)
& Bardenheuer, 2015; Zhao, Bai, Bo & Chi, are written in English or German language.
2016) At the same time Music Therapy can In the next step, data on the methods and
have a positive impact on care workers (Hsu, description of the interventions, partici-
Flowerdew, Parker, Fachner, & Odell-Miller, pants, study design, study outcome are ex-
2015). Within the project “MUSIC THERAPY tracted and analyzed.
360°”, a concept for the establishment of
Music Therapy interventions to improve The identified interventions are summarized
quality of life for patients, relatives and care into different intervention groups to design
workers in eldercare is developed, imple- a catalogue of interventions.
mented in two local geriatric facilities in
south Germany and evaluated in terms of results
quality of life criteria.
The catalogue comprises a 3-tier structure:
To develop the therapeutic concept not only “Tier 1”: Basic everyday module, “Tier 2”: Re-
were qualitative interviews with Music The- creational module and “Tier 3”: Patient spe-
rapy practitioners conducted, but also syste- cific module. The tiers are split in different
matic analyses of established literature intervention subgroups with similar outcome
about music therapy with the elderly were measures of the particular interventions. For
conducted. The aim of this extensive litera- each tier, Music Therapy interventions can be
ture review is to create a catalogue of Music combined on a modular basis in accordance
Therapy interventions used in geriatric care with individual needs and demands of the
and described within the literature. In terms pilot facilities.
110
references of Clinical Psychology and vice dean of the

School of Therapeutic Sciences, SRH Univer-
Hsu, M. H., Flowerdew, R., Parker, M., Fach- sity Heidelberg.
ner, J., & Odell-Miller, H. (2015). Indivi- Email: Thomas.Hillecke@srh.de
dual music therapy for managing neu-
ropsychiatric symptoms for people with Michael Keßler, M.A. is a music therapist
dementia and their carers: a cluster ran- and research associate at the Institute of Ap-
domised controlled feasibility study. BMC plied Research, SRH University Heidelberg;
geriatrics, 15(84), 1-19.
McDermott, O., Crellin, N., Ridder, H. M., & Dorothee v. Moreau, Prof. Dr. rer. medic., is
Orrell, M. (2013). Music therapy in de- the program coordinator and head of the
mentia: a narrative synthesis. Internatio- Music Therapy master program at the SRH
nal Journal of Geriatric Psychiatry, 28, University Heidelberg.
781–794.
Ueda , T., Suzukamo, Y., Sato, M., & Izumi, S. Alexander F. Wormit, Dr. sc. hum. is Profes-
(2013). Effects of music therapy on beha- sor of Clinical Music Therapy and the head
vioral and psychological symptoms of de- of the bachelor program Music Therapy at
mentia: a systematic review and meta- the SRH University Heidelberg.
analysis. Ageing Research Reviews, 12(2),
628-41. Carsten Diener, Dr. sc. hum., is Professor for
Warth, M., Keßler, J., Hillecke, T. K., & Barden- Clinical and Biological Psychology and vice
heuer, H. J. (2015). Music therapy in pallia- dean at the School of Applied Psychology,
tive care—a randomized controlled trial to SRH University Heidelberg.
evaluate effects on relaxation. Deutsches
Ärzteblatt International, 112 (46), 788– Biljana V. Coutinho, is a professional piano
794. teacher (B.Mus.), music therapist (M.A.) and
Zhao, K., Bai, Z. G., Bo, A., & Chi, I. (2016). A a research associate at the Institute of Ap-
systematic review and meta-analysis of plied Research, SRH University Heidelberg.
music therapy for the older adults with
depression. International journal of ge- Note
riatric psychiatry, 31(11), 1188–1198.
The Project “Music Therapy 360°” is funded
About the Authors by the German Federal Ministry of Research
and Education for a period of three years.
Thomas K. Hillecke, Dr. sc. hum., is Professor Funding Code: 03FH006SX5.
111
MuSIC-THerApeuTICAL VoCAL IMproVISATIoN

AS AN INTerVeNTIoN For proFeSSIoNAL SINGerS
WITH FuNCTIoNAL DYSpHoNIA
Tina Hörhold
Berlin Career College, University of the Arts, Germany
Background results
Professional singers represent a special group The evaluation as well as the qualitative in-
of clients within the vocal therapy field. In vestigation indicated a decrease in the dys-
order to treat professional singers when phonia and related psychological symptoms
they suffer from a functional dysphonia, a experienced by the client. In the context of
special interdisciplinary expertise in the therapy, the singer realized that in the cour-
areas of medicine, vocal pedagogy, singing se of becoming a professional, the joy of sin-
and vocal therapy is necessary. Psychological ging had been lost. This could be recovered
factors also play a role in the development through reactivating the resources of singing
of vocal problems. The implementation of a during the music therapy intervention. The
multi-modal therapy is necessary to help a singer was able to return to work as a pro-
dysphonic opera singer. One approach is a fessional singer.
short-term music therapy intervention in the
framework of a vocal therapy oriented vocal Discussion
instruction. The music therapy intervention
consists exclusively of free vocal improvisa- The results of the study show that the indi-
tions as well as reflective discussions. The ef- vidual, multimodal treatment was useful for
fectiveness of this therapeutic method in a this client. Which methodology ultimately
single case is examined in the presented caused which proportion of the effect can-
paper. not be determined. It would seem that the
various treatment methods enhanced each
Methods other.
For evaluation purposes, the German ver- references

sion of the Center for Epidemologic Studies
Depression Scale, long form, Allgemeine De- Hautzinger, M., Bailer, M., Hofmeister, D., &
pressionsskala (ADS-L), as well as the Singing Keller, F. (2012). ADS. Allgemeine Depres-
Voice Handicap Index (SVHI) were used. sionsskala (2nd ed.). Göttingen: Hogrefe.
Through a qualitative contents analysis, the Kuckartz, U. (2014). Qualitative inhaltsanalyse.
conversations following the improvisations methoden, praxis, computerunterstützung
were coded, the procedures compared, and (2nd ed.). Weinheim: Beltz Juventa.
the final interview carried out with the client Lorenz, A., Kleber, B., Büttner, M., Fuchs, M.,
was analyzed. Mürbe, D., Richter, B., Sandel, M., & Nawka,
112
T. (2013). Validierung des Singing Voice About the Author

Handicap Index in der deutschen fassung.
HNO, 61, 699-706. doi: 10.1007/ s00106- Tina Hörhold, Music Therapist (M.A.), Opera
013-2721-4 Singer (M.A.) and Voice Teacher, works in
Spahn, C.., Richter, B., & Altenmüller, E. (Eds). her private practice with professional sin-
(2011). MusikerMedizin: Diagnostik, the- gers, as well as in an interdisciplinary early
rapie und prävention von musikerspezifis- intervention with autistic children.
chen. Erkrankungen. Stuttgart: Schattauer Email: th@euphonikum.com
113
HISTorY, MeTHoD AND eDuCATIoN’

oF TurKISH MuSIC THerApY
Emine Elif Sahin Karadeniz
Haliç University, Master of Music Students, Turkey
It is known that music therapy was first seen Asian Necked Bowl Lute) and with appro-
among shamans present in the lives of pri- priate Makams. The aim of this method is to
mitive tribes. The therapeutic use of music, alter the emotional state of the patients in
which started with shamans in the early pe- order to relax them and enhance their self-
riods of history, has also been influential in esteem.
Western civilization in Antiquity and Medie-
val times. Western civilizations noticed the Historically speaking, it can be said that the
effects of music on human health and advo- practice of music therapy in Turkey found its
cated for its importance. In Central Asia, he- place through Turks who appreciated the im-
aling ceremonies have been used by the portance of music, applying the methods they
shaman musicians called “Baksı” and “Kam” had developed. Hospitals for psychological he-
for various diseases. The musical healing aling and medicine utilized music therapy me-
methods were the main pillars of Turkish thodologies in the Seljuk and Ottoman period
medicine. In Islamic Civilization, Sufi’s were and pioneered the advancement of world
interested in music and they used it for they psychiatry and medicine. Although music the-
believed it to be beneficial. In Islamic Civili- rapy has a deeply-rooted history among Turks,
zations, Zekeriya Er Razi (854 - 932), Farabi with the advancement in technology and me-
(870 - 950) and İbni Sina (980 - 1037), the dicine, it eventually took a back seat. In 1976
doctors and musicologists who are close to TÜMATA (Turkish Music Research and Promo-
Tasavvuf (a practice of mysticism), focused tion Group) was established to investigate and
on the healing effects of music. The resulting promote the birth, development, treatment
musical healing techniques continued to be value, repertoire and instrumental richness of
used in Seljuk and Ottoman hospitals. the Turkish music.
Today, receptive music therapy is traditio- While music therapy works continue to be ca-
nally applied in Turkey. It is applied with a rried out in accordance with the old Turkish
patient’s choice of relevant Makams (a sys- customs, traditional Western music therapy
tem of melody types used in Turkish and in methods have also begun to be used. More
some Middle Eastern classical music), a re- importance is placed on supporting trained
laxing music, rhythm and the sound of wa- music therapy experts who conduct studies
ter. Improvised therapeutic music is played in this field. As a result, the Turkish Music
with instruments like Ney (Reed Flute), Re- Therapy Association was established in 2014
bab (Middle Eastern-Far Eastern Spike Fid- in order to effectively implement music the-
dle), Çeng (Turco-Ottoman Harp), Ud (Oud), rapy methods in a way that is recognized in-
Dombra (Turkic Lute) and Rübab (Central ternationally. There are no music therapy
114
programs in Turkey. However, in studies plan- Erer, S., & Atıcı, E. (2010). Selçuklu ve Os-
ned for the future, priority has been given to manlılarda Müzikle Tedavi Yapılan Hasta-
a strategy where widely accepted music the- neler. Uludağ Üniversitesi Tıp Fakültesi
rapy methods can be combined with Traditio- Dergisi.36(1): 29-32.
nal Music Therapy methods. The objective of Gençel Ö. (2006). Müzikle Tedavi. Kasta-
the education in Turkey is to train music the- monu Eğitim Dergisi, 2(14): 697-706.
rapists who are relevant to the modern con- Öztürk, L., Erseven, H., & Atik, MF. (2009).
text but situated within our own culture. Makamdan Şifaya. 1. Baskı, İstanbul, Tür-
Currently, studies are under way to open a kiye İş Bankası Kültür Yayınları.
certification program to train qualified spe- İbni Sina, (2004). Musiki. Türkçe Çeviri Letera
cialists in the field of music therapy. Music Yayınları.
therapy, under the name of Traditional and Kurşun, Z., Kahraman, S., & Dağlı, Y., (1998).
Complementary Medical Practices, was re- Evliya Çelebi Seyahatname 2. Cilt. İstan-
cognized by the Ministry of Health in 2015. bul, Yapı Kredi Yayınları.
references: About the Author

Ak, S. A. (2006). Müzikle Tedavi. Ankara: Öze-
ner Yayıncılık. emine elif Sahin Karadeniz lives in Istanbul
Çoban, A. (2005). Avrupa ve Türk İslam Me- and currently conducts scientific studies in
deniyetlerinde Müzikle Tedavi. İstanbul: the field of music therapy in Turkey.
Timaş Yayınları Email: e.elifsahin@gmail.com
115
MuSIC THerApY IN GerIATrICS: IMpLeMeNTATIoN

AND eVALuATIoN oF A MuSIC THerApY CoNCepT
Michael Kessler1, Biljana Vrancic Coutinho1, Dorothee v. Moreau1,
Alexander F. Wormit1, Carsten Diener1, Thomas K. Hillecke1
1
Context and aim of the project Methods
Aging is often accompanied by age-related 1. Systematic literature search and need

limitations, decline in physical or cognitive analyses: Using a mixed methods appro-
functionality in every-day life or increased ach, needs analyses in both facilities are
rate of age-related diseases like dementia. undertaken to assess the need for Music
Studies indicate that Music Therapy has a Therapy.
high potential to contribute meeting these 2. Catalogue of Intervention: Based on the
complex health needs by e.g. reducing agi- results of step one, a target group speci-
tation, anxiety or depression and enhancing fic, needs-oriented Music Therapy con-
relaxation and wellbeing. (McDermott, Cre- cept is developed.
llin, Ridder, & Orrell, 2013; Ueda, Suzukamo, 3. Implementation phase 1 (6 months): The
Sato, & Izumi, 2013; Warth, Keßler, Hillecke, designed catalogue is implemented.
& Bardenheuer, 2015; Zhao, Bai, Bo & Chi, 4. Intermediate evaluation: The interme-
2016) At the same time Music Therapy can diate evaluation is conducted and the
have a positive impact on care workers (Hsu, concept is modified and implemented
Flowerdew, Parker, Fachner, & Odell-Miller, again.
2015). 5. Implementation phase 2 (12 months): The
modified catalogue is implemented.
Within the project “MUSIC THERAPY 360°”, 6. Final evaluation: The final evaluation will
a concept for the establishment of Music be completed.
Therapy interventions to improve quality of
life for patients, relatives and care workers For all data collection the assessment instru-
in eldercare is developed, implemented in ments (qualitative interviews and self-report
two local geriatric facilities in south Ger- questionnaires for patients, relatives and care
many and evaluated in terms of quality of workers) remain constant. Additionally, feed-
life criteria. In addition, the project aims to back conversations and protocols are analyzed.
examine the transferability of the concept
and to develop a music therapeutic treat- results
ment guideline for Music Therapy with the
elderly. Based on the evaluation and the practical
116
experiences, a final concept for Music The- About the Authors

rapy with the elderly which is evaluated in
terms of quality of life criteria and its practi- Michael Keßler, M.A. is a music therapist
cal suitability is designed. and research associate at the Institute of Ap-
plied Research, SRH University Heidelberg.
references Email: Michael.Kessler@srh.de
Hsu, M. H., Flowerdew, R., Parker, M., Fach- Biljana V. Coutinho is a professional piano
ner, J., & Odell-Miller, H. (2015). Indivi- teacher (B.Mus.), music therapist (M.A.) and
dual music therapy for managing neuro- a research associate at the Institute of Ap-
psychiatric symptoms for people with de- plied Research, SRH University Heidelberg.
mentia and their carers: a cluster rando-
mised controlled feasibility study. BMC Dorothee v. Moreau, Prof. Dr. rer. medic., is
geriatrics, 15(84), 1-19. the program coordinator and head of the
McDermott, O., Crellin, N., Ridder, H. M., & Music Therapy master program at the SRH
Orrell, M. (2013). Music therapy in de- University Heidelberg.
mentia: a narrative synthesis. Internatio-
nal Journal of Geriatric Psychiatry, 28, Alexander F. Wormit, Dr. sc. hum. is Profes-
781–794. sor of Clinical Music Therapy and the head
Ueda , T., Suzukamo, Y., Sato, M., & Izumi, S. of the bachelor program Music Therapy at
(2013). Effects of music therapy on beha- the SRH University Heidelberg.
vioral and psychological symptoms of de-
Carsten Diener, Dr. sc. hum., is Professor for
mentia: a systematic review and meta
Clinical and Biological Psychology and vice
-analysis. Ageing Research Reviews, 12
dean at the School of Applied Psychology,
(2), 628-41.
SRH University Heidelberg.
Warth, M., Keßler, J., Hillecke, T. K., & Bar-
denheuer, H. J. (2015). Music therapy in Thomas K. Hillecke, Dr. sc. hum., is Professor
palliative care—a randomized controlled of Clinical Psychology and vice dean of the
trial to evaluate effects on relaxation. School of Therapeutic Sciences, SRH Univer-
Deutsches Ärzteblatt International, 112 sity Heidelberg.
(46), 788–794.
Zhao, K., Bai, Z. G., Bo, A., & Chi, I. (2016). A Notes
systematic review and meta-analysis of
music therapy for the older adults with The Project “Music Therapy 360°” is funded
depression. International journal of ge- by the German Federal Ministry of Educa-
riatric psychiatry, 31(11), 1188–1198. tion and Research for a period of three years
(2015 – 2018). Funding Code: 03FH006SX5.
117
LIFe LoNG LeArNING proCeSSeS IN CoMMuNITY

MuSIC THerApY - A CASe STorY FroM A SCHooL SeTTING
Viggo Krüger
University of Bergen, Norway
Introduction of music therapy sessions in a school setting.

The population is adolescents in the age 14-
How does Community Music Therapy func- 16 with low motivation for school participa-
tion as a resource for the development of life- tion. The narratives show music therapy can
long learning processes in a school setting? I be used in order to support what OECD (2015)
based the theoretical discussion on a socio- (Organisation for Economic Cooperation and
cultural perspective that suggests that lear- Development) describe as life-long learning
ning can be understood as social practice processes.
(Stige & Aaro, 2012). Access to various forms
of learning resources is crucial for the quality references
of learning. Music can be regarded as a re-
source more or less accessible for the learner Krüger, V., & Stige, B. (2015). Between rights
in order to achieve learning in transitions bet- and realities–music as a structuring re-
ween situations (Krüger & Stige, 2015). source in child welfare everyday life: a
qualitative study. Nordic Journal of Music
I also base the paper on an educational pers- Therapy, 24(2), 99-122.
pective suggesting that young people in lack McFerran, K. S. & Rickson, D. (2014). Crea-
of school motivation need special help and ting Music Cultures in the Schools: A Pers-
support in order to participate in school and pective from Community Music Therapy.
hence plan their future education (McFerran Gilsum: Barcelona Publishers
& Rickson, 2014). I suggest that Community OECD (2015). Skills for Social Progress, The
Music Therapy may function as a resource Power of Social and Emotional Skills.
suitable for the facilitation of vocational trai- DOI:10.1787/9789264226159-en
ning and training in social skills. Further, lei- Stige, B. & Aaro, L. E. (2012). Invitation to
sure and everyday life should be seen as Community Music Therapy. New York:
fundamental learning arenas in relation to Routledge.
school learning. Individual freedom, support
from adults, involvement of peers and com- About the Author
munity belonging is crucial to the informal le-
arning process. Implications for practice are Viggo Krüger holds a position as researcher
discussed. and music therapist at Aleris Ungplan/BOI,
Region vest, as well as a position as Asso-
Findings ciate Professor at GAMUT, University of Ber-
gen.
I present a case narrative taken from a series Email: Viggo.Kruger@uib.no
118
MuSIC THerApY: BorDerLINe perSoNALITY DISorDer

AND THe MeNTALIZING poINT oF VIeW
Gerhard Kupski
Hans-Prinzhorn-Klinik, Germany
Abstract ting frame of reference and is helpful to bridge

this gap. Based on findings of developmental
The Mentalizing Model generates important psychology and attachment theory, the AQR-
suggestions for music therapy with border- Instrument is able to grasp the music therapy
line patients. Following the tradition of Nor- aspects, hence pre-verbal processes of rela-
doff/Robbins-Music Therapy, the use of the tionship, which lead to processes of mentali-
AQR-Tool is appropriate to bridge the gap zing. Videotaped scenes illustrate the author’s
between the verbal-oriented psychotherapy ideas on music therapy with patients with bor-
conception and experience-oriented appro- derline personality disorder.
aches in music therapy. Videotaped scenes
will serve for illustration. references
Keywords: Music Therapy, Borderline Perso- Fonagy, P., Gergely, G., Jurist, E. L., & Target,
nality Disorder, AQR-Instrument. M. (2002). Affect Regulation, Mentaliza-
tion, and the Development oft the Self.
Description New York: Other Press.
Kupski, G. (2007). Borderlinestörung und
Music therapy with borderline patients be- Musiktherapie im Kontext der Dialektisch
nefits from engagement with mentalization- Behavioralen Therapie. Musiktherapeu-
based therapy (MBT), for it generates impor- tische Umschau, 28(1), 17-27.
tant suggestions concerning the direction of Kupski, G., & Schultz-Venrath, U. (2014).
interventions and the role and function of Let’s “Beat the Drum... Yes, But Tell Me
the therapist in music therapy interaction as How...“ – Interventionen on der Musik-
well. therapie mit Borderline-Patienten aus
Sicht des Mentalisierungsmodells. Jahr-
Nevertheless, the interplay between the ver- buch Musiktherapie Bd. 10, 165-195.
bal-oriented psychotherapeutic conception
on the one hand and experience-oriented About the Author
approaches in music therapy on the other
hand should be pointed out. Gerhard Kupski has been working as a music
therapist (NRMT) with borderline patients in
Following the tradition of Nordoff/Robbins- a psychiatric hospital since 1999 and is cer-
Music Therapy (NRMT), the AQR-Tool (assess- tified to use the AQR-Tool.
ment of the quality of relationship) is the ac- Email: suzupski@freenet.de
119
TINDerBoX proJeCT: pArTNerSHIp WorKING To FACILITATe

A LArGe YouTH MuSIC Group
Jenny Laahs
Nordoff Robbins Scotland, United Kingdom
Luci Holland
Tinderbox Project
Background attended workshops through this program-

me, comprising a variety of ages, socio-eco-
As the music therapy profession grows, so nomic backgrounds, musical tastes, musical
does the need to utilise music therapy trai- training and additional support needs or lack
ning in increasingly flexible ways, as the thereof. Given this variety and the partici-
range of client groups and circumstances in pant-led nature of the project, it is no sur-
which we may find ourselves working ex- prise that the use of music in workshops is
pands. This case study considers a music also hugely varied, and has included compo-
therapist working as part of a broad commu- sition and song writing, trying new instru-
nity arts project in Edinburgh, Scotland, ments, improvisation, music listening, rap-
named the Tinderbox Project. ping and music technology.
The Tinderbox Project comprises a city-wide Discussion

range of music and arts based programmes
for young people (Tinderbox Project, 2016). The breadth of this project is notable not
One of these programmes is a large open only in its content and the demographics of
group for ages 8-25, which aims to use music the attendees, but also in the team of fifteen
as a means to develop confidence and crea- workshop facilitators, which includes music
tivity, and promote positive relationships. therapists, community musicians, perfor-
This programme’s format has evolved consi- mers, youth workers and music educators.
derably since its conception in 2011, and cu- Each facilitator brings a different musical
rrently comprises weekly workshops, deli- and interpersonal skill-set to the team, in-
vered concurrently in five different settings, formed by their professional experiences
concluding each term with a collaborative outside of the project. This case study is
performance. These settings include a school written from the perspective of a music the-
for pupils with autism, a youth homeless- rapist working on this team, and considers
ness charity, and a community arts centre in the relevance of music therapy skills and
a deprived area of Edinburgh. knowledge for a project such as this, which
is outside of music therapy practice as it is
In the final term of 2016, 153 young people defined in the United Kingdom. The benefits
120
of collaboration outside of music therapy references

can be described on three levels; for the in-
dividual therapist who collaborates, for the Pavlicevic, M. (2003). Groups in music: Stra-
clients/participants, and for the music the- tegies from Music Therapy. London and
rapy profession as a whole. For example, New York: Jessica Kingsley
one could consider the author’s develop- Pavlicevic, M. & Ansdell, A. (Eds.) (2004)
ment of a particular interest in community Community music therapy. London and
music therapy theory (e.g. Pavlicevic & Ans- Philadelphia: Jessica Kingsley
dell (2004)) as a result of this work, or the Tinderbox Project (2016). What we do. Re-
relevance of music therapy theory and prac- trieved December 10, 2016, from https:
tice to group music-making in other contexts //tinderboxproject.co.uk/what-we-do/
(Pavlicevic, 2003) and its impact on the ex- Twyford, K., & Watson, T. (Eds.). (2008). In-
perience of the participants. Furthermore, tegrated team working: Music therapy as
collaboration can promote consolidation of part of transdisciplinary and collabora-
the music therapy profession’s identity tive approaches. London and Philadel-
(Twyford & Watson, 2008); this is especially phia: Jessica Kingsley
relevant in the context of this work, given
the relative youth of the music therapy com- About the Authors
munity in Scotland compared to other parts
of the U.K. Jenny Laahs trained as a music therapist at
Queen Margaret University, Edinburgh, and
Conclusion currently works primarily with children,
young people and adults with learning disa-
The inclusion of music therapist professio- bilities at Nordoff Robbins Scotland.
nals in this project team seems to be both Email: jennylaahs@nrscot.org.uk
relevant and mutually beneficial. This pro-
gramme, and indeed the Tinderbox Project Luci Holland is a composer, arranger, conduc-
as a whole, has evolved considerably over tor and arts producer who composes for film,
time, and continues to do so as participants games and concert, and also works as project
and facilitators learn about, from and with manager/musical director with the youth
each other in this dynamic and exciting music charity Tinderbox Project and their va-
group. rious youth/community music projects.
121
THe IDeNTIFICATIoN oF NeW MuSICAL GrIDS AND MeTHoDS

To eVALuATe THe eFFICACY oF MuSIC THerApY IN eXTreMe
CASeS oF SeVere MeNTAL DISorDer
Cinzia Leone
Italian Music Therapy Association, Italy
Music therapy is a useful tool for the treat- bodily movement using musical instruments
ment of severe mental disorders. It promo- (mainly idiophones) like an extension of
tes emotional expression through a non- human body. The second one, named “Vocal
verbal channel, stimulating a process of ope- Pathway”, for assessing vocal sounds, speci-
ning towards the outside world. The diagno- fically vowels, consonants, groupings of
sis of this extreme case client has been sounds and words or phrases. In addition,
changed many times (autism, Asperger syn- considering the initial clinical condition of
drome, neurocognitive developmental defi- the patient, characterized by the total ab-
cit, severe mental disorder). The patient sence of verbalization, this grid was also use-
started music therapy 8 years ago and du- ful to evaluate differences among vocal
ring the first observation showed a complex sounds emitted and their pitch within 3rd in-
situation of atypical clinical framework, ex- terval, storage and playback of short melo-
cessive facial tensions with total absence of dic sequences. Annual assessment showed
verbalization. The music therapy approach a slow but positive progress of behavior,
followed the clinical evolution of the pa- neurocognitive development, acquisition of
tient. Clinical techniques applied in this case certain phonemes and, if appropriately sti-
were clinical improvisation, and vocal sounds mulated, the patient was able to use few
with different musical instruments. In addi- specific words correctly. In future more re-
tion we have used Musical Conversation and searches to establish standards to evaluate
creative listening that followed the setting the efficacy of music therapy treatment on
in an attempt to involve different physical these cases will be needed.
senses. Clinical evaluation has been perfor-
med every six months through specific ob- references
servation grids. According to psychological
evaluation and considering atypical clinical Wood, S., (2013). Evaluation of Community
aspects of the case, was necessary to create Music Therapy: Why is it a Problem?. In L.
specific musical grids, which are still not O. Bonde, E. Ruud, M. S. Skanland & G.
final, tailored for this extreme case that pre- Trondalen (Eds.), Musical Life Stories Narra-
sents several undefined clinical aspects with tives on Health Musicking. Oslo, Norwegian
a non relevant results in published litera- Academy of Music: Centre for Music and
ture. The grids used were two: the first, Health Publication series, Vol: 6.
named “Instrumental Pathway”, in order to Schopler, E., Reichler, R.J., & Rochen Renner,
assess the relationship between rhythm and B., (1988). The childhood autism rating
122
scale (CARS). Los Angeles, CA: Western Conference, Poster Presentation. Wien,
Psychological Services. Congress 2016
Peretz, I., & Zatorre, R., (2003). The Cogni- Lu Edgerton, C., (1994). The Effect of Impro-
tive Neuroscience of Music. Oxford: Ox- visational Music Therapy on the Commu-
ford University Press. nicative Behaviors of Autistic Children.
Kern, P., & Humpal, M. (2012). Early child- Journal of Music Therapy, 31 (1): 31-62.
hood music therapy and autism spectrum doi: 10.1093/jmt/31.1.31
disorders: Developing potential in young Mundy, P., & Newell, L., (2007). Joint Atten-
children and their families. London and tion Study Has Implications For Unders-
Philadelphia: Jessica Kingsley. tanding Autism. Curr Dir Psychol Sci., 16
Cripps, C., Tsiris, G., & Spiro, N. (2016). Out- (5), 269–274. doi:10.1111/j.1467-8721
come measures in music therapy: A re- .2007.00518.x.
source developed by the Nordoff Robbins
research team. London: Nordoff Robbins. About the Author
Berruchon, S., Mac Nab, B., & Bréard, V.,
(2016). The contribution of the evalua- Cinzia Leone, music therapist, works in Com-
tion tools M.O.T and E.G.M.L.E: case munity and Research Institutes with difficult
study of a patient with communication cases.
disorder. 10th European Music Therapy Email: prof.cinzia.leone@gmail.com
123
AN eXpLorATIoN oF THe eXperIeNCeS oF MuSIC THerApISTS

WorKING WITH A TrANSLATor
Emmeline Lynda McCracken (Bmus, MSc Music Therapy)
ELM Music Therapy, Scotland
With the need for music therapy growing translator. Lang and McInerney focus on this
globally, therapists from the UK have been in the most depth and particularly on the ef-
increasingly working in countries with no or fect the translator being present had on the
lacking access to music therapy, and with client. The experiences and effects on the
clients for whom English is not their first lan- translator have been explored in greater de-
guage. These settings may necessitate the tail by Lang et al. and Woodward.
support of a translator, and the peculiarity
of the relationship between the therapist Having used a translator in Bosnia and Her-
and the translator is the focus of my explo- zegovina where I have volunteered on the
ration of the reality of field work for music Balkans Music Camps with Professor Nigel
therapists. Osborne since 2008, I’ve accumulated con-
siderable field experience. During my work
I am interested to build understanding and on the camps I have used translators in cre-
discover to what extent music therapists use ative song-writing. Limitations of my expe-
translators and what are their clinical experience are set by the nature of the camps -
riences, and whether further, substantial re- these are community music camps which
search is needed to be carried out in this did not offer the dimension of using a trans-
area of the profession. lator within a clinical setting.
There is a noticeable lacuna in the literature Having met, spoken to and learnt of other
on the use of translators in music therapy, music therapists’ experiences of using trans-
with most exploration offered by a small lators within the profession I have found
number of authors, and mostly by music that many have had similar experiences to
therapists working abroad. Existing litera- myself, in using a translator on a predomi-
ture offers a handful of articles which refer nantly community music basis. There have,
to the use of a translator. Both Fitzsimons however, been some who have used a trans-
(2016) and Bolger (2012) touch briefly on lator in clinical music therapy. There is a
the difficulties and experiences of linguistic need to explore in further depth this parti-
barriers they have experienced when wor- cular phenomenon and situation which oc-
king within a different culture, with Bolger curs in field work as well as provide a gui-
focusing particularly on her experiences of dance-type insight on work with a translator.
working with her translator. Lang and McI-
nerney (2002), Lang, McInerney, Monaghan Due to the sparse literature surrounding this
and Sutton (2002), and Woodward (2014) topic, and obvious need amongst the profes-
explore the experiences of working with a sionals in the field, a paper researching and
124
analyzing the work of a music therapist with Lang, L., McInerney, U., Monaghan, R. & Sut-
a translator would be beneficial to furthe- ton, J. (2002). Supervision: Processes in
ring our understanding of the challenges of Listening Together – An Experience of
the profession as well as provide an oppor- Distance Supervision of Work with Trau-
tunity to further our capacities to compe- matised Children. In J.P. Sutton (Ed.),
tently perform our work. Music Therapy and Trauma – Internatio-
nal Perspectives. London: Jessica Kingsley
references Publishers.
Woodward, A. (2015). Tapestry of Tears: An
Bolger, L. (2012). Music Therapy and Inter- Autoethnography of Leadership, Personal
national Development in Action and Re- Transformation, and Music Therapy in
flection: A Case Study of a Women’s Mu- Humanitarian Aid in Bosnia Herzegovina.
sic Group in Rural Bangladesh. Australian Dissertations & Theses. Paper 192. http:
Journal of Music Therapy, 23, 22-41. //aura.antioch.edu/etds/192
Fitzsimons, B. (2016). Approaching music the-
rapy in a different country: A literature re- About the Author
view on cultural considerations when
practicing in a developing country. British emmeline McCracken is based in Scotland,
Journal of Music Therapy, 30(2) 83-88. and runs ELM Music Therapy providing ses-
Lang, L. & Mcinerney, U. (2002). Bosnia – sions to wide ranging ages of children and
Herzegovina: A Music Therapy Service in adults with a variety of conditions including;
a Post-War Environment. In J.P. Sutton cerebral palsy, ADHD, ASD, social and emo-
(Ed.), Music, Music Therapy and Trauma tional difficulties and a variety of mental he-
– International Perspectives. London: Jes- alth conditions.
sica Kingsley Publishers. E-mail: emmeline@elmmusictherapy.com
125
IMproVISATIoNAL MuSIC THerApY AND TrANSCuLTurAL

CHALLeNGeS AMoNG ASIANS
Ti Liu Madl
KBO-Inn-Salzach-Hospital, Germany
Eckhard Weymann
University of Music and Theater, Germany
Abstract wing four aspects provide the theoretical

background for a better understanding of
Improvisation and cultural specific differen- such phenomena: (i) collectivistic self-con-
ces are the topics of this presentation, which cept of Confucianism; (ii) structure of tradi-
is structured in two parts. Part-1 deals with tional, hierarchical relationship in a Confucian
improvisation in psychodynamic music the- society; (iii) emotional expression as a cul-
rapy and its characteristics. Part-2 discusses ture dependent phenomenon; (iv) shame as
the results of a survey-based study about a dominant emotion in East Asian societies.
Asia specific behavioural patterns in group
music therapy improvisation. The correlating questions that emerge are
e.g. How does the Asian self-concept affect
Improvisational Music Therapy self-expression in music therapy? How do
Asians – accustomed to follow instructions
To participate in a free (non-idiomatic) mu- from authorities – deal with spontaneous
sical improvisation means to get into a dyna- impulses as a basis of self-expression? Do
mic playing state. The presumption that an Asians experience expression of emotions in
improvisation shows and unfolds mental music therapy as breaking of a taboo? Does
structures makes improvising and free mu- shame play a role in the music therapy im-
sical play core methods in active, psychody- provisation among Asians? And finally, con-
namic music therapy. Improvising in a group fronted with group music therapy improvi-
fosters openness for the situation, intense sation, which developments do Asian music
listening and mindfulness, respectful inte- therapists make during their educational
gration of variety and difference, interac- /professional activities and which educatio-
tion, co-creativity. Theories from psychology nal measures promote this process?
and sociology build up a framework for the
experiences from music therapy practise. Survey-based Study
Transcultural Challenge The survey-based study deals with the ques-

tion, whether there is an Asian specific be-
During music therapeutic education we can havioural pattern in group music therapy
observe certain common phenomena that improvisation. Based on the theoretical
Asian students have to deal with. The follo- background the survey study includes seven
126
categories: (i) Feeling of safety; (ii) Percep- Okazaki-Sakaue, K. (2008). Kulturschock! Und
tion of own impulses (the improvisational dann? Musiktherapeutische Umschau 29
idea); (iii) Pressure to perform; (iv) Enjoy- (1), 42-47. Doi:10.13109/ muum. 2008.
ment of self-expression; (v) Subjective expe- 29.1.42
rience of the relation of individual and the Weymann, E. (2014). Dynamische Spielver-
group; (vi) With self-expression related fassung als Voraussetzung für den Um-
thoughts and feelings; (vii) Subjective deve- gang mit Nicht-Wissen (Dynamic playing
lopment in respect to self-expression. state as a prerequisite for dealing with
unknowing) Musiktherapeutische Ums-
results chau 35(3),229-237. Doi:10.13109/ muum.
2014. 35. 3.229
The survey is addressed to European and
Asian music therapists and music therapy About the Authors
students, who are studying or have studied
in a western country. The first results sug- prof. Dr. eckhard Weymann, is professor of
gest that there is a significant difference bet- music therapy and head of the institute of
ween the improvisational behavior of Euro- music therapy at the Hamburg University of
pean and Asian music therapists, especially Music and Theater, Germany.
in the following categories: feeling of safety, Email:
perception of own impulse and enjoyment eckhard.weymann@hfmt-hamburg.de
of self-expression.
Dr. Ti Liu-Madl is a registered music thera-
references pist and works at the KBO-Inn-Salzach- Hos-
pital in Freilassing, Germany.
Haag, A. (2011). Versuch über die moderne Email: ti.liu-madl@inode.at
Seele Chinas. Giessen: Psychosozial-Verlag
127
FroM SeLF-CoNSTruCTIoN To Group ToTeM: THe CreATeD

MuSICAL INSTruMeNT AS A repreSeNTATIoN TooL
Aslı Özyıldız
Molimo Art and Counseling, Turkey
preliminaries About Self-Construction Application
In spite of the difference of conception, the These observations have led me to propose
Freudian metaphor of the patient as an ins- to some of my clients to build their own ins-
trument (Lecourt, 2001) is likely to bring to truments, whenever this kind of activity se-
light a major part of the music therapeutic emed congruent with their needs, their
experience. Indeed, music therapy often ap- consent and the goal of the therapeutic pro-
pears as an opportunity for the client to cess. The clients are free to bring and use al-
(re)construct meaning, emotions, images, most any material that they want, just as
attitudes, representations related to his/her they are encouraged to create a totally ori-
personal history. In other words, the process ginal and personal instrument, which does
includes the redesign of the self in a broad not have to look or sound like any other
sense. The musical instrument intervenes in available instrument, nor have a predefined
several steps of this process, enacting the level of complexity. Far from being a didactic
role of intermediary object, as described by or "hobby" activity, this construction focuses
Alvin and Benenzon (Pecourt, 2012). It also on the individual's inner content. The begin-
progressively becomes a tool of creation, all ning instruction is often given as: "I do not
the more powerful because of its tridimen- suggest that you build something resem-
sional and sound characteristics, capable of bling a guitar or a kalimba; instead, I suggest
being the voice of the individual - a particu- that it has something resembling you." This
larity which is not always found in therapies is also a reminder made to the clients, about
using other artistic mediations. Brun (2005) the fact that they are the masters of the the-
reminds that in the therapeutic processes rapeutic process, allowed to create and con-
using artistic mediations, the object created trol the tools in the service of their own
by the client allows him/her to create the change. Once the instruments ready, the
subject, that is to say him/herself, opening clients are invited to give them a name or
new paths for representation and symboli- title and to feel free to share any story co-
zation. On the other hand, music therapists ming to their mind about the object that
generally try to propose the most adapted they have created. Afterwards, the created
instrument to the client, according to his/ instruments may be integrated to the setting
her specific needs and abilities... a necessary and used within other music therapeutic ac-
criterion which may be optimized by taking tivities. The clients are encouraged to fami-
into account, whenever possible, the client's liarize with their own instruments by storing
choices and decisions. them and bringing them to the following
128
sessions, in order to initiate the favorable nalytique. Psychologie clinique et projec-

conditions for "feeling at one with the ins- tive, 2005/1 (11), 323-344. DOI: 10.3917/
trument", as mentioned by Estellon (2011). pcp.011.0323
Estellon, V. (2011). La musique dans l'écoute
An overview of the Group Totem psychothérapique. Essai sur l'instrument
d'écoute, Cliniques méditerranéennes,
In our work with groups, an adapted version 2011/2 (84), 109-124. DOI: 10.3917/cm.
of the therapeutic totem phenomenon is 084.0109
used. Mostly inspired by the Benenzonian Lecourt, E. (2001). La musicothérapie, le
approach (for example Benenzon, 2004), the groupe et la musicothérapie analytique
procedure takes place during the closure of de groupe. Revue de psychothérapie psy-
the session. The group members are invited chanalytique de groupe, 2001/2 (37), 99-
to create a totem, using their handmade ins- 112. DOI: 10.3917/rppg.037.0099
truments as well as any other additional ob- Pecourt, M. (2012). The Role of a Favorite
ject, in order to analyse the group dynamics Music Instrument to Enhance Communi-
and the self-perception of each member at cation in Music Therapy. A Case Study
that precise moment. Depending on the With a Child With Fragile X Syndrome.
needs, various activities around the totem Master Thesis. Department of Communi-
are proposed (musical/choreographic games, cation and Psychology, Aalborg Univer-
storytelling, etc.). The gathered elements of sity, Denmark.
information are used for the planning of the
following sessions. About the Author
references Aslı Özyıldız, MA, is a psychologist, family

counselor, musician, dance/movement the-
Benenzon, R. O. (2004). La musicothérapie: rapist and music therapy intern who works
La part oubliée de la personnalité. Brus- in private practice at Molimo Art and Coun-
sels: De Boeck Université. seling in İzmir, Turkey.
Brun, A. (2005). Historique de la médiation Email: info@molimo.biz
artistique dans la psychothérapie psycha-
129
BrINGING IT ALL BACK HoMe

Alexia Quin
Music as Therapy International, United Kingdom
This paper considers how music therapists In 2016, MasT devised a programme of pro-
have been inspired to develop their practice jects bringing its approach back home. Areas
back home having undertaken project work of clinical focus were young children, adults
overseas for the UK charity Music as Therapy with learning disabilities and people living
International (MasT). Focus is given to a se- with dementia (Allen et al, 2013; Anderson
ries of pilot projects in the UK, supporting et al, 2015; Quin, 2014; Quin & Rowland,
and enhancing care practice in a range of 2016.). The author examines the relevance
settings for children and adults. Best prac- of the approach to the UK context, its impact
tice recommendations are included. and lessons learned.
MasT uses a 3-step approach, skill-sharing Consideration is given to comparable work

between music therapists and local care undertaken by music therapists indepen-
staff worldwide: Offering introductory trai- dent of MasT (Gillespie, 2016; Hadley, 2016;
ning (Getting Started), followed by sustaina- Horesh, 2016; Lindblad, 2015; Margetts,
bility work (Keeping Going) and, ultimately, 2014; Parker & Younes, 2014; Tsolka, 2016)
capacity building (Taking it forward). Over 20 and an increasing prevalence of music the-
years these projects have enabled 11,000 rapy skill-sharing worldwide.
children/adults to benefit from continuing
music programmes by training 300 staff in references
100 care settings in 4 continents.
Allen, M., Allen, J., Hogarth, S. and Marmot,
This approach has proven effective in di- M. (2013). Working for Health Equity: The
verse care contexts and cultures. Projects re- Role of Health Professionals. London: UCL
peatedly demonstrate how principles of Institute of Health Equity.
music therapy can enable care staff to em- Anderson, A., Bohacikova, R., Hsu, M., Odell-
brace musical tools to bring new opportuni- Miller, H. & Quin, A. (2015). What is the
ties for non-verbal communication, develop- relevance of skill-sharing to music thera-
ments in language and social skills, empathy, pists working in the field of dementia
self-expression and emotional well-being, to care? In Music Therapy and Dementia
make surprising connections and build rela- Care in the 21st Century Conference Pro-
tionships with service users. gramme (p.12). Cambridge: Anglia Ruskin
University.
This paper explores the experiences of music Gillespie, C. (2016). Creative Connections:
therapists who have worked with MasT on Intensive Interaction Training in a Resi-
international skill-sharing projects, and their dential Service for People with Profound
relevance to traditional clinical music the- and Multiple Learning Disabilities. In Ara-
rapy practice on returning home. vinth, U., Pavlicevic, M. & Watts, G. (Eds.),
130
Re-Visioning our Voice: Resourcing Music terpoints: Music Therapy Practice in the
Therapy for contemporary needs (p.115). 21st Century (p.52). London: BAMT.
London: BAMT. Parker, D. & Younes, L. (2014). Music and Re-
Hadley, S. (2016). Exploring the Collabora- silience: Introducing Music Therapy in
tive Roles of Transient Practitioners and the Refugee Camps Of Lebanon. In J.
Constant Practitioners. In Strange,J., Fachner, P. Kern, & G. Tucek (Eds.), Proce-
Odell-Miller, H. & Richards, E. (Eds), edings of the 14. WCMT. Special issue of
Music Therapy in Collaboration and As- Music Therapy Today 10(1), pp–pp.180-
sistance in Music Therapy Practice - 181.
Roles, Relationships, Challenges (Chpt. Quin, A, (2014). Embedding Innovation into
14). London: Jessica Kingsley Publishing. the Counterpoint of Music Therapy Prac-
Horesh, T. (2016). Thoughts on Western The- tice Today. BJMT, Vol. 28, No. 2, 16-24.
rapeutic Practices in Myanmar, Nagaland Quin, A. & Rowland, C. (2016). Skill-sharing:
and Bethlehem. In Proceedings of 3rd In- How can we ensure that this enhances
ternational Conference on “Best Practi- (and not jeopardises) our clinical role? In
ced Models and Research in Music The- Aravinth, U. et al. (Eds.), Re-Visioning our
rapy: Global Perspectives”. Pondicherry. Voice (p.169). London: BAMT.
Lindblad, K. (2015). The music therapist in de- Tsolka, E. (2016). Home and Away: How a
mentia nursing homes – a new role? In Music Therapy placement in Palestine
Music Therapy and Dementia Care in the has contemporary relevance to UK prac-
21st Century Conference Programme (p.60). tice. In Aravinth, U. et al. (Eds.), Re-Visio-
Cambridge: Anglia Ruskin University. ning our Voice (p.94). London: BAMT.
Margetts, L. (2014). ‘Voices across cultures’
Exploring with classroom practitioners About the Author
the potential of the voice in developing a
holding environment and playfulness in Alexia Quin is a music therapist and the di-
music therapy-based work with children rector of Music as Therapy International.
with complex needs in Belarus. In G. Tsi- Email: alexiaquin@musicastherapy.org
ris, Warner, C. & Watts, G. (Eds.), Coun-
131
VIoLIN AND MIND: AN uNuSuAL MuSIC THerApY proJeCT

WITH perSoNS WITH ALZHeIMer'S
Silvia Ragni
Alzheimer Day Center, Fondazione Sanità e Ricerca, Rome, Italy
Machiko Nagasawa
L’Aquila, Italy
Luisa Bartorelli
Scientific Committee, Fondazione Sanità e Ricerca, Rome, Italy
This new music therapy project, in which pe- People with dementia gradually lose me-
ople with dementia work with the violin, is mory and language, while the emotional and
a continuation of a previous study in 2006 spiritual spheres remain preserved for a long
which had positive results. When we started time. Because of cognitive difficulties, peo-
the original project, we were concerned that ple are not able to express themselves nor
this instrument might be unsuitable and make themselves understood and someti-
might create a reaction of fear or rejection mes they are excluded from relations with
among the participants. The violin is nor- others, thus suffering painful isolation losing
mally excluded from a music therapy setting esteem and self-confidence.
for the difficulty associated with the instru-
ment, and for the image that has built up Listening to music and even playing a music
and been passed on over centuries: vir- instrument are valuable tools to enable self-
tuoso, diabolical, impossible. In contrast, ho- expression and communication, allowing pe-
wever, the hypothesis that the violin could ople with dementia to still feel a sense of
be accepted and happily used by the parti- belonging. As in non-verbal modes of ex-
cipants has been proven true. They appre- pression, music bypasses the cognitive level
ciate the characteristics of the violin: it is an and enables expression when there is an in-
instrument from our present day culture, it ability to use words, or because the person
vibrates and it is held close to the body. Fur- does not want to. Music has an effect on a
thermore, it can be played in a group. The person at different levels: corporal (bringing
use of the violin in an active way can now be out body movement), emotive (recalling me-
considered part of a music therapy setting. mory and autobiographical aspects), cogni-
We know that the use of music in the care tive, relational and even spiritual, depending
of people with dementia is becoming wide- on the kind of music. In our project, the vio-
spread. Supported by studies in neuros- lin is not only listened to by the persons but
cience, it is now evident that stimulating also played by them, following a specific me-
creativity and expression can activate the thod of musical therapy integrated with the
damaged brain circuits. simple aspects of instrumental teaching. The
132
violin becomes a real chamber music instru- sation in which the participant shares what
ment and each group consists of 4 to 5 par- they feel, a very intense narrative moment
ticipants, each with his or her own violin. during which the person expresses feelings,
memories and thoughts which the music has
The work is led by two music therapists who brought out in a comfortable setting with
play the violin. The sessions last 50 minutes the other participants. There is a sense of
each and there are 12 – 16 sessions in total accomplishment, self-esteem and gratifica-
during the project. Each session is divided tion.
into four phases. The first is the listening
phase when the music therapist and violinist references
play a specific musical theme at the start of
each session. Music is then introduced from Ragni S. et al, (2014). Proceedings of the
a wide repertoire including various musical 14th World congress of Music Therapy
genres from different eras – popular, classi- (WMTC) 2014, Krems/Austria
cal, opera, Italian songs, marches, hymns,
and folk music. The repertoire of about 100 About the Authors
pieces is selected on the basis of informa-
tion obtained from interviews with the par- Silvia ragni: Psychologist & Music Therapist,
ticipants and their families. Next is the Alzheimer Day Center of Fondazione Sanità
introductory phase and the participants are e Ricerca in Rome, Italy.
introduced to the violin slowly by holding, Email: silviaragni62@gmail.com,
stroking and tapping the violin. Then comes
the practical phase when the participants Machiko Nagasawa: Violinist & Music The-
start by strumming and plucking the strings rapist, Graduated in Musicology and Violin
of the violin. Then they play with their bows from the Osaka Kyoiku University.
in a simple manner, like in a chamber music
group. Finally, there is the musical dialogue Luisa Bartorelli: Professor of Psychogeria-
when each participant has their personal trics, President of Lazio Section of Italian As-
time to improvise on their violin together sociation of Psychogeriatric Medicine, Pre-
with the therapist. There is a short conver- sident of Alzheimer Uniti, Italy.
133
THe roLe oF CAreGIVerS AND MuSIC THerApISTS

For WeLL-BeING IN perSoNS WITH DeMeNTIA
Hanne Mette Ridder
Aging, Dementia and Caregiving Qualitative Interview
Aging means “to grow old” – and healthy An in-depth interview was carried out with
aging means growing old in a way where the Ann, who took care of her husband at home
person remains active, autonomous and in- until his death. The following is a short sum-
tegrated. This emphasizes an approach to mary of Ann’s story: Ann calls herself “un-
aging and well-being in opposition to anti- musical”, and describes her husband, John,
aging and ageism. Dementia is a syndrome as a musically gifted person who loved clas-
affecting cognitive functioning, but is not di- sical music. In the last years, the couple lis-
rectly related to age although dementia di- tened daily to playlists she developed over
seases are more common with old age. time; noting each time she experienced a
People in mid- to late-stage dementia show piece of music both of them liked. She des-
severe cognitive decline and require exten- cribed their shared listening, and how John
sive assistance to carry out daily activities. enjoyed these daily moments. Shortly be-
They are therefore dependent on someone fore his death, Ann used music for hours at
to assist them around the clock. The assis- the hospital. She not only described the es-
tance or caregiving may be provided by fa- thetic values of composed music, but also
mily or other informal carers, or by pro- how John related to the tone of voice and
fessionals. Caregiving is often reported as tempo; he did not understand words in com-
stressful and as a physical, emotional and munication, but understood the musical
economic burden which may negatively af- components in what was expressed. Ann
fect healthy aging and well-being (see Rid- described caregiving as “tuff”, but also told
der, 2016). about shared moments of presence, warmth,
happiness and comfort.
Aims: exploring Caregivers’ use of Music
Analysis and results
A series of in-depth interviews were carried
out with the aim to understand the benefits A hermeneutic-phenomenological seven-
of musical interaction on well-being in per- step analysis was carried out using the Nvivo
sons with dementia and their caregivers, to software. The transcript was coded through
explore best practice of caregivers’ use of an inductive process, keeping as close as
music, and to reveal how music therapists possible to the original wording. Hereafter a
may play a role in facilitating caregiver com- deductive process followed, structuring and
petences. integrating the categories in a broader con-
134
ceptual framework, e.g. including a psycho- perspectives

social model of music in dementia (McDer-
mott, Orrell, & Ridder, 2014). In order to achieve well-being in people with
dementia and their carers, there is a need to
Two important findings from this interview increase knowledge about family carers’ use
were that 1) even though the caregiver descri- of music and how music therapists may play
bed herself as “unmusical”, she used various a role in coordinating and facilitating family
ways for her and John to experience music, and professional carers’ use of music
and 2) even though caregiving was described
as a burden, she still offered a salutogenetic references
(health focused) perspective to dementia.
McDermott, O., Orrell, M., & Ridder, H. M.
This caregiver used music to establish "Who you (2014). The importance of music for pe-
are“, using music with a stabilizing and rituali- ople with dementia: the perspectives of
zing function (Listening to personalized music in people with dementia, family carers, staff
order to provide routine, stability, safety, and and music therapists. Aging & Mental He-
continuity. Attending cultural/spiritual events alth, 18(6), 706–16.
or concerts, with John strengthened and trans- Ridder, H. M. O. (2016). Partners in Care: A
formed afterwards). Further, she used music Psychosocial Approach to Music Therapy
regarding the "Here and now" with a territorial, and Dementia. In S.L. Jacobsen & G.
recreative, signaling, or regulating function Thompson (Eds) Music Therapy with Fa-
(Using music to mark the space as yours and to milies (pp. 269–289). London: Jessica
be in control. Creating a sound landscape with Kingsley Publishers.
background music and musical signals. By being
occupied or diverted by listening alone to liked About the Author
music, and by regulating mood or arousal).
Finally, she used music to achieve ”Connec- Hanne Mette ridder, DMTF, professor, Doc-
tedness” with a communicative or relational toral Programme in Music Therapy, AAU. She
function. (Musical parameters played an incre- is PI for a five year human science core group
asing role when communicating, and music research study funded by the Velux Founda-
allowed reciprocity and a shared bodily and tions.
emotional experience). Email: hanne@hum.aau.dk.
135
THe DeVeLopMeNT oF perSoN ATTuNeD MuSICAL

INTerACTIoN (pAMI) For peopLe WITH DeMeNTIA
Hanne Mette Ridder
Margrete Bach Madsen

Aalborg University
Jens Anderson-Ingstrup
Aalborg University
Orii McDermott
University of Nottingham; Aalborg University
The Person Attuned Musical Interaction (PAMI) lationships with people with moderate to se-
manual aims to encourage interdisciplinary vere dementia.
skills-sharing and explore how carers may
use certain music therapy components when Methods
interacting with residents with moderate to
severe dementia. Our preliminary results in- The first phase of this four-year study focused
dicate PAMI helps to cultivate reciprocity on the development and piloting of the PAMI
between a person with dementia and a care manual. Following an action research me-
home staff. thod, interviews and consultations with spe-
cialist music therapists were conducted to
Background identify the essential components for ena-
bling attuned musical interaction with a per-
Despite the progression of dementia, a person with dementia. Consultations and work-
son’s need to relate to another human being shops with music therapists and care home
remains. The carer’s task is to pick up com- staff allowed the researchers to develop an
municative signals from the person and res- in-depth understanding of the key compo-
pond back in a way that gives meaning and nents of interactions with the residents with
context (Kitwood & Bredin, 1992). Formal moderate to severe dementia. In order to un-
music therapy needs to be provided by trai- derstand how a complex intervention (Craig
ned music therapists (McDermott, Crellin, et al., 2013) and music therapy key characte-
Ridder, & Orrell, 2013). However, it may be ristics (Geretsegger, Holck, & Carpente, 2015)
possible to identify and manualise some may be integrated in a manualised form in
music therapy components and therapists’ dementia care, a literature review was ca-
expert knowledge that carers can use in rried out with focus on manuals regarding re-
daily life to build more attuned, two-way relationship for persons with dementia. In addi-
136
tion, a literature review on person centred (2013). Developing and evaluating com-
care for dementia was conducted to develop plex interventions: The new Medical Re-
a theoretical framework and contextualise search Council guidance. International
the music therapy key components within Journal of Nursing Studies, 50(5), 587–
person centred care. Identified key compo- 592.
nents formed the basis for developing the Geretsegger, M., Holck, U., & Carpente, J. A.
pilot PAMI manual. Consensus methods and (2015). Common Characteristics of Im-
expert consultations were utilized to refine provisational Approaches in Music The-
the pilot manual. rapy for Children with Autism Spectrum
Disorder. Developing Treatment Guideli-
results nes, 52(2), 258–281.
Kitwood, T., & Bredin, K. (1992). Towards a
Shared practice stories gave access to carers Theory of Dementia Care: Personhood
and music therapists’ implicit tacit sensory, and Well-being. Ageing and Society, 12
emotional, and bodily experiences of PAMI. (1992), 269–287.
Preliminary results suggest the importance McDermott, O., Crellin, N., Ridder, H. M., &
of using oneself as an instrument in regula- Orrell, M. (2013). Music therapy in de-
ting tension and in attuning to the other per- mentia: A narrative synthesis systematic
son. This has implications for learning mo- review. International Journal of Geriatric
dels and for how to understand the role of Psychiatry, 28(8), 781–794.
professional caring. The development of the
PAMI manual indicates that it is possible to About the Authors
describe and share the core elements of at-
tuned musical interactions that encourage Hanne Mette ridder, DMTF, professor of
reciprocity between a person with dementia MT, Doctoral Programme in MT, AAU. Email:
and a care home staff. Further evaluation of hanne@hum.aau.dk
PAMI will include descriptions and analysis
of interactions followed by refinement of Margrete B. Madsen, DMTF, MA in Learning
the manual with particular emphasis on ca- processes (didactics), PhD fellow, AAU.
rers’ learning processes and the practicing
of person-attuned care. Jens Anderson-Ingstrup, DMTF, NMT, PhD
fellow, AAU.
references
orii McDermott, PhD, DipMT, MMT, postdoc
Craig, P., Dieppe, P., Macintyre, S., et al. AAU, Senior Research Fellow, UoN.
137
DeSCrIpTIVe reSeArCH IN MuSIC THerApY IN SpAIN

Patricia L. Sabbatella
University of Cádiz, Spain
Melissa Mercadal-Brotons
Escola Superior de Música de Catalunya (Barcelona, Spain)
María Teresa Del Moral Marcos

Universidad Pontificia de Salamanca (UPSA), Spain
Introduction music therapy profession (4), (b) music the-

rapist profile (5), (c) music therapy clinical
Descriptive research in the field of Music practice (4), (d) music therapy education (2)
Therapy has contributed to increase kno- and, (e) music therapy research (2).
wledge on the status of the profession at dif-
ferent levels. Survey designs have been used A total of 20 dissertations were found in the
as the main method. Spanish Dissertations database “TESEO” (1976
-May 2016) which included MUSIC THERAPY in
Method the title. The topics addressed are: (a) music
therapy clinical practice with different popula-
The purpose of this research was to provide tions (17), (b) music therapy methods of eva-
updated information about the professional luation (1), (c) music therapy profession (1),
situation of music therapy in Spain based on and, (d) history of music therapy (1).
the analysis of descriptive research covering
the last three decades. The data included Conclusion
survey studies conducted in Spain and doc-
toral dissertations. This paper examines the contribution of des-
criptive research within the area of the mu-
Data collection and analysis sic therapy profession in Spain.
Specific information was identified and ca- The results of this study provide a map of the
tegorized. Five categories were identified for current situation of the profession and give cli-
data analysis: (a) music therapy profession, nicians and researchers valuable information
(b) music therapist profile, (c) music therapy regarding the current status of research activi-
clinical practice, (d) music therapy educa- ties connected with clinical practice and other
tion, and (e) music therapy research. professional areas in music therapy in Spain.
results references
Seventeen articles were published which co- Brotons, M., & Sabbatella, P. (2016). Music
vered the five categories identified: (a) therapy methods and assessment practi-
138
ces of professional music therapists in Del Moral, M.; Mercadal-Brotons, M., Sán-
Spain: A descriptive study. Nordic Journal chez-Prada, A., & Sabbatella, P. (2015). La
of Music Therapy, 25 (sup1), 141. doi: identidad del musicoterapeuta en Es-
10.1080/08098131.2016.1180181. paña: Un estudio cualitativo. Music Ho-
Del Moral, M.T., Mercadal-Brotons, M., Sán- die, 15(2), 9- 21.
chez-Prada, A., Sabbatella, P., & Herná- Mercadal-Brotons, M., Sabbatella, P. L., &
dez-Crego, M. (2016). Music therapy Del Moral Marcos, M. T. (2015). Music
research in Spain: A SWOT analysis of the therapy as a profession in Spain: Past,
current situation and improvement stra- present and future. Approaches: Music
tegies. Nordic Journal of Music Therapy, Therapy & Special Music Education, First
25 (sup 1), 125. doi: 10.1080/08098131. View (Advance online publication), 1-9.
2016.1180155. http://.primarymusic.gr
Del Moral, M. T. (2015). Investigación en mu-
sicoterapia: Análisis de la situación actual About the Authors
en España y propuestas de mejora (Tesis
doctoral). Salamanca, Universidad Ponti- patricia L. Sabbatella, PhD, EMTR, SMTAE.
ficia de Salamanca. Senior Lecturer in Music Therapy. Leader Re-
Del Moral, M. T., Mercadal-Brotons, M., & searcher Music Therapy Lab (UCA).
Sánchez-Prada, A. (2014). Music therapy Email: laboratorio.musicoterapia@uca.es
research in Spain: A descriptive study. In
J. Fachner, P. Kern & G. Tucek (Eds.). Pro- Melissa Mercadal-Brotons, PhD, MT-BC,
ceedings of the 14th World Congress of SMTAE. Director of Music Therapy Master
Music Therapy. Music Therapy Today, 10 Program (ESMUC). Chair Publications Com-
(1), 342-343. mission (WFMT).
Del Moral, M.; Mercadal-Brotons, M., & Sab-
batella, P. (2015). Un Estudio descriptivo María Teresa Del Moral Marcos, PhD, MTAE.
sobre el perfil del musicoterapeuta en Es- Lecturer at Universidad Pontificia de Sala-
paña. Música, Terapia y Comunicación, manca. Member Research and Ethics Com-
35, 15-29. mission (WFMT).
139
IDeAS For MuSIC THerApY INTerVeNTIoNS

BASeD oN MINDFuLNeSS prINCIpLeS
Özgür Salur
Turkey
Introduction nical practice. This paper examines these at-

tempts and attempts to share ideas for
Mindfulness has enjoyed popularity in last music therapy interventions based on mind-
decades, both in common culture and clini- fulness principles with fellow music thera-
cal psychology studies. It is a concept that pists, while the author carries the hope that
has been derived from Buddhism and claims they can benefit from mindfulness in their
to raise one’s self-control, objectivity, affect clinical work, inside and outside of the the-
tolerance, flexibility, equanimity, concentra- rapy room.
tion, and mental clarity. It also raises emo-
tional intelligence and the ability to relate to Methods
others and one's self with kindness, accep-
tance and compassion (Davis & Hayes, To get a glimpse of what is being done cu-
2012). It has its tools and exercises including rrently by therapists in this area, the author
meditation and by using these it aims to scans the literature for studies and books
achieve its goals through sharpening the connecting mindfulness and music therapy.
senses, creating awareness towards one’s He is also searching for professional music
self thoughts and emotions and showing therapists whose works involve mindfulness
compassion and acceptance towards own practices. Then he interviews these thera-
and other people’s thoughts and emotions. pists in a semi-structured frame and brings
Research literature also shows at meta- the data together by looking at the most
analytical level that mindfulness has become used methods and interventions by these
an effective psychotherapy method (Khoury therapists.
et al., 2013) and is included in both solely
mindfulness- based protocols such as Mind- The author also shares his ideas and sugges-
fulness Based Cognitive Therapy (Segal, Wi- tions about possible music therapy interven-
lliams, & Teasdale, 2012) and Mindfulness tions and ways of including mindfulness in
-based Stress Reduction (Grossman, Nie- clinical processes.
mann, Schmidt, & Walach, 2004) and in other
protocols which included mindfulness as a In the presentation, after explaining basic
part of them such as Acceptance and Com- principles of mindfulness, music therapy in-
mitment Therapy (Hayes, Strosahl, & Wilson, tervention examples are given for these
1999) and Dialectical Behavior Therapy (Li- principles. Some of them use receptive tech-
nehan, 1993). niques, during which the participants can ex-
perience these interventions directly, others
There are also music therapists’ attempts to (active techniques) are being discussed and
include mindfulness as a concept in their cli- explained and the chance is offered to par-
140
ticipants to imagine how they would feel like (1999). Acceptance and commitment the-
in that activity. rapy: An experiential approach to beha-
vior change. New York, NY: Guilford Press.
The presentation also includes short begin- Khoury, B., Lecomte, T., Fortin, G., Masse,
ning and ending meditations that help the M., Therien, P., Bouchard, V., … Hofmann,
audience to enjoy simple mindfulness expe- S. G. (2013). Mindfulness-based therapy:
rience. These parts do not include music and A comprehensive meta-analysis. Clinical
the aim is to introduce mindfulness to the Psychology Review, 33(6), 763–771.
audience experientially and to create a Linehan, M. M. (1993). Cognitive-behavioral
mindful gathering environment with higher treatment of borderline personality disor-
level of presence. der. New York, NY: Guilford Press.
Segal, Z. V., Williams, J. M. G., & Teasdale, J.
references D. (2012). Mindfulness-based cognitive
therapy for depression (2nd Ed.). New
Davis, D. M., & Hayes, J. A. (2012). What are York: Guilford Press.
the benefits of mindfulness? Retrieved
December 15, 2016, from http://www. About the Author
apa.org/monitor/2012/07-08/ce-cor-
ner.aspx ozgur is a music therapy researcher, mainly
Grossman, P., Niemann, L., Schmidt, S., & Wa- interested in mindfulness and severe mental
lach, H. (2004). Mindfulness-based stress illnesses, trying to develop universal music
reduction and health benefits: A meta- therapy practices in Turkey and working to-
analysis. Journal of Psychosomatic Rese- wards his PhD in Clinical Psychology at Jyväs-
arch, 57(1), 35–43. kylä University, Finland.
Hayes, S. C., Strosahl, K. D., & Wilson, K. G. Email: o@ozgursalur.com
141
CoGAN SYNDroMe: IMproVeMeNT oF pSYCHoMoTorIC

ASpeCTS WITH A MuSIC THerApY proGrAMMe
Belinda Sánchez Mozo
Higher Education Center for Music, Katarina Gurska, Spain
Cogan's Syndrome or Oculomotor Congeni- Our secondary objectives were to decrease

tal Apraxia, is a rare disease that affects the the cephalic movements through the actions
eye and alters brain function. It impedes the of singing and dancing, as well as to reduce
voluntary horizontal movement of the eyes her pain and self-concept through music
as well as the capacity to fix the eyesight. therapy consisting of improvisation, piano
playing, singing and dancing.
Patients with Cogan's Syndrome can suffer
from a diversity of derived alterations. The The study design was a quasi-experimental,
patient (Mía) suffers from a serious associa- quantitative, "before-after", in a place adapted
ted disease called Oculomotor Ataxia-Apra- to the programme and the patient's needs.
xia. It affects the coordination between her The study was divided into three phases and
eyes and hand movements. took place over the course of eight and a half
months.Different tests were adapted and used
Due to her two-dimensional perception, Mía for the evaluation. We measured the variation
can play flat instruments without a problem. in the degrees of the cephalic movements with
However, when she plays the piano (a three- a computer programme, used common pedia-
dimensional instrument that depends on tric scales to measure the area and level of
fine motor skills), confusion stems from the pain and evaluated her self-concept by analy-
execution and representation of the melodic zing her negative/positive/self-esteem using a
design. See VIDeo 1A non-verbal response. Finally, drawings were
selected from the Frostig Test in order to eva-
Due to the poor capacity to fix her eyesight, luate the visual-motor/visual-spatial coordi-
Mía presents cephalic movements, such as nation. The patient represented the given
the tilting of her head, as well as shaking drawings over the keyboard, with and without
when she moves. See VIDeo 2A visual references.
All these factors cause her frequent pain (es- In the intervention programme, improvisa-
pecially headaches) and a risk in the deve- tion was made with the piano and small per-
lopment of her self-concept, given that she's cussive instruments. Piano playing was based
very conscious of her difficulties. on the Frostig test as well as melodies that
were chosen by Mía. Pre-recorded music
Therefore, our principal objective was to im- was used for the dancing choreography and
prove her visual-motor/visual-spatial coor- singing was accompanied by the music the-
dination, through the act of playing the piano. rapist piano playing. See VIDeo 3A
142
results Apraxia of Cogan's Syndrome. In this case,

the piano served as an efficient instrument
An improvement in the degrees of the ce- to improve the patient's fine psychomotor
phalic movements; however not sufficient to skills.
surpass the assigned levels. In 10 sessions,
we saw improvements in the areas of pain, references
and two occasions where the level of pain
did not decrease. Between sessions 1 and Bodak R, Malhotra P, Bernardi NF, Cocchini
10, we saw an improvement in the three pa- G, Stewart L. (2014). Reducing chronic
rameters of the self concept (self esteem visuo-spatial neglect following right he-
was the most favorable). Through the use of misphere stroke through instrument pla-
references for the visual-motor/visual-spa- ying. Front Hum Neuroscience, 8, 413.
tial coordination, we can conclude that be- Grasland A, Pouchot J, Hachulla E, Blétry O,
fore the use of music therapy, the patient Papo T, Vinceneux P. (2004) Study group
had greater visual-spatial difficulties. Howe- for Cogan's Syndrome. Typical and atypi-
ver, after the execution through the referen- cal Cogan's syndrome: 32 cases and re-
cing, this was the factor that saw the grea- view of the literature. Rheumatology, 43
test proportional improvement. Without re- (8),1007-15.
ferences, the visuo-motor/visual-spatial co-
ordination posed a great difficulty (before About the Author
the use of music therapy). They both impro-
ved considerably after the use of music the- Belinda Sánchez is a pianist and music thera-
rapy (especially the visual-motor coordina- pist. She has been an adviser at MeV (Music
tion). in Vein, an ongoing music therapy research
program in Spanish hospitals) and the Spa-
We confirm that this music therapy pro- nish National Institute of Optometry.
gramme provides benefits on the Ataxia- Email: sanchezmozo@gmail.com
143
THe AQr-TooL – ASSeSSMeNT oF THe QuALITY

oF reLATIoNSHIp – THeorY AND AppLICATIoN
Karin Schumacher
Music Therapy with Children on the autistic spectrum
Development of the AQR-Tool, Germany
Sonoko Suzuki-Kupski
Music Therapy in Neurological Rehabilitation
Gerhard Kupski
Music Therapy with Borderline Patients
Abstract Claudine Calvet. The examination of the con-

cept of development, as formulated by the
The AQR-Tool is a tool to evaluate the As- infancy researcher Daniel Stern (Stern 2000),
sessment of the Quality of Relationship in initially led to interpreting the clinical pic-
Music Therapy. It is based on findings of de- ture of autism from the point of view of in-
velopmental psychology and attachment fancy and attachment theorists. The deve-
theory and can be illustrated by videotaped lopment of socio-emotional skills, as descri-
scenes. Techniques of intervention in work bed by Stern, builds the theoretical basis for
with patients with impaired dialogue ability the “AQR-Tool”.
will be discussed.
The “AQR-Tool” contains four scales. Every
Description scale differentiates between seven so-called
“modi” which follow the logic of normal de-
The AQR-Tool has been developed in music velopment. Three scales have their focus on
therapy with children on the autistic spec- the patient and describe the patient’s instru-
trum and facilitates the assessment of the mental expression, the vocal-pre-speech ex-
quality of relationship. Developmental psy- pression and the physical-emotional expres-
chological knowledge, especially infant rese- sion. The fourth scale focuses on the music
arch, forms the theoretical basis. therapist and his or her intervention. The
“AQR-Tool” can be applied to confirm the
The “AQR-Tool” focuses on how the rela- qualities in a relationship (diagnostic) as well
tionship of oneself (body and voice), to ob- as the presentation of a course of therapy
jects such as musical instruments and to the (evaluation). It can indicate whether the the-
music therapist is accepted by children with rapist offers an intervention appropriate to
profound developmental disorders. It was the patient’s state of development (method)
developed by the music therapist Karin Schu- and helps to work out an appropriate stra-
macher and the developmental psychologist tegy for the therapy (prognosis).
144
During the last few years this tool has been of the infant: A view from psychoanalysis
transferred to various fields of application. and developmental psychology. New York:
This is exemplified by the work of S. Suzuki- Basic Books.
Kupski (aphasic clients/neurological rehabi-
litation) and G. Kupski (borderline clients/ About the Authors
psychotherapy).
prof. Dr. Karin Schumacher, University of the
references Arts Berlin/ (Germany), developed the AQR-
Tool from long-term experience and rese-
Schumacher, K. & Calvet, C. (2008). Synchro- arch on music therapy with autistic children
nisation, musiktherapie bei kindern mit and is still working as supervisor, researcher
autismus. (Synchronization, music the- and lecturer all around the world.
rapy with children on the autistic spec- E-mail: schumaka@gmx.de
trum). (DVD). Göttingen: Vandenhoeck &
Ruprecht. Sonoko Suzuki-Kupski has been working in
Schumacher, K., Calvet, C. & Reimer, S. neurological rehabilitation as a music thera-
(2013). Das EBQ-Instrument und seine pist (NRMT) since 1995 and is certified to
entwicklungspsychologischen Grundla- use the ARQ-Tool.
gen. Göttingen: Vandenhoeck & Ruprecht.
(Will be translated and published in En- Gerhard Kupski has been working with bor-
glish and Japanese). derline patients as a music therapist (NRMT)
Stern, D.N. (2000). The interpersonal world since 1999 and is certified to use the AQR-Tool.
145
preMATure FAMILY MuSIC THerApY INTerVeNTIoN (pFMI):

A proToCoL To SupporT pAreNTING, ATTACHMeNT BoND
AND preTerM DeVeLopMeNT
Barbara Sgobbi; Maria Elena Bolis; Massimo Agosti
Hospital “Filippo del Ponte” NICU, Italy
Introduction ding experience interrupted by premature

birth. The music therapy sessions take place
The birth of a very premature infant is a cri- three times a week with preemies and care-
tical event in the life of a family and has a givers and they consists of several phases.
traumatic impact on infants and their pa- The first phase (when preemies are in an in-
rents for emotional, social, health and eco- cubator) consists of singing lullabies or “chil-
nomic status reasons. In recent years several dren’s songs” with the parents or new songs.
initiatives were made in the NICU: from fa- The parents’ singing voices are recorded to
mily focused interventions to different music an mp3. When parents are not in NICU we
therapeutic techniques. Since 2013 at “F. Del administer parents’ songs through speakers
Ponte Hospital” in Varese, Italy, we have been in combinations to Classic Music or music lis-
structuring an integrated psychological and tened during pregnancy. When parents are
music therapeutic Italian protocol, PFMI. Our near the incubator (or in Kangaroo therapy)
goal is to support the preemies’ neurobeha- they are encouraged to sing live the lullaby
vioral development, improve the wellbeing through the portholes of the opened incu-
of caregivers, support their relationship and bator or during skin-to-skin contact. The
promote sound ecology. The music therapy music therapist helps parents to sing in the
activities engage both the parent and the in- event of emotional difficulty, gives them an
fant reciprocally in physical, sensory, and adequate vocal technique, and teaches them
emotional experiences and become a sup- how to use song-writing for personal lulla-
port during hospitalization and after dischar- bies. The second phase begins when the
ge. The methodologies that we have used baby has achieved a good degree of stability.
provide early intervention from the first days The newborn, through combination of diffe-
of hospitalization in NICU and make use of rent music (relaxing or activating effect), and
music therapy sessions: live (parental song, singing mother (live or recording) is stimula-
lullaby, live music) and recorded (listening to ted to develop nutritive sucking, solace, and
recorded parental songs and music tracks). interactive attention towards their parents.
These techniques are used either indivi- In addition to live music, lullaby, mp3 spea-
dually or together, depending on the stabi- kers, we used the PAL device for the nutri-
lity of the newborn and the objectives set. tive sucking. In the third phase, before dis-
This stimulates parents to take an active role charging, the administration of music beco-
in the son’s care and treatment and allows mes predominantly live with the parent’s
the baby to find the affectivity and the bon- voice accompanied by instruments played
146
by the music therapist (ukuele, ocean drum, references

gatobox, kalimba). In the last phase (after
discharging) the newborn and their parents Standley, J. M. (2012). Music therapy rese-
are directed to music therapy in group and arch in the NICU: An updated meta-analy-
in water (pool). sis. Neonatal Network, 31(5), 311-316.
doi:10.1891/0730-0832.31.5.311
The effectiveness of this protocol was eva- Haslbeck, F. B. (2012). Music therapy for pre-
luated by a randomized study conducted mature infants and their parents: An in-
from 1st May 2014 to October 2016. To es- tegrative review. Nordic Journal of Music
timate the beneficial effects of treatment in Therapy, 21(3), 1-38. doi:10.1080/08098
the short and long-term we considered se- 131 .2011.648653
veral parameters: clinical course, hrv analy- Loewy, J., Stewart, K., Dassler, A. M., Telsey, A.,
sis, general movements, oxygen’s saturation, & Homel, P. (2013). The effects of music
stress level of the parent and of the child, therapy on vital signs, feeding, and sleep in
neuro-behavioral, neurological development premature infants. Pediatrics, 131(5), 902-
of the premature baby and the relationship 18. doi: 10.1542/peds.2012-1367.
with his parents. The target population was
made of 140 preterm infants (male and fe- About the Authors
male) and their parents. All infants were
born under 32 GA (between 23-32 weeks’ Barbara Sgobbi, Music therapist*.
gestational age) and/or weighed under 1500 Email: barbarasgobbi@gmail.com
g at birth and began participation in the
study within two weeks after birth and after Maria elena Bolis, Psychologist*.
clinical evaluation. First results show a posi-
tive trend regarding the beneficial influence Massimo Agosti, Nicu Director*.
of music therapy on outcomes in the short
and long term of treatment. *NICU, Hospital Del Ponte Varese, Italy.
147
LeArNING FroM SerVICe eVALuATIoN:

IDeNTIFYING ‘IMpACT AreAS’ oF MuSIC THerApY SerVICeS
Neta Spiro
Nordoff Robbins England and Wales, UK
Giorgos Tsiris
Nordoff Robbins Scotland, UK
Queen Margaret University, UK
Introduction project. Drawing from work at Nordoff Rob-

bins England and Wales (see also Tsiris, Spiro
In recent years, there has been an increased & Pavlicevic, 2017), this review included: (a)
demand for evaluating music therapy servi- retrospective analysis of 27 evaluation re-
ces not only within large service providers, ports of music therapy services provided in
but also as a professional requirement for in- diverse settings and with a range of client
dividual music therapists. groups, and (b) an online survey of music
therapists who co-led these evaluation pro-
Typically, service evaluations are associated jects. Data was analyzed using descriptive
with pragmatic functions (including service statistics and coding.
review, development, and funding) and their
outcomes often remain unpublished, inter- The reports that were included in this review
nal organizational reports. In addition, ser- shared an evaluative approach that consi-
vice evaluation outcomes are not widely ders the potential impact of music therapy
considered within the research communi- not only on clients (service-users), but also
ties, perhaps in part because of their con- on their families, carers, staff and the whole
text-specificity (Tsiris, Spiro & Pavlicevic, worksite (Tsiris, Pavlicevic & Farrant, 2014).
2015). This approach is in line with socio-cultural
epistemologies underpinning contemporary
Given the amount and kinds of information music therapy practices (Pavlicevic et al.,
collected in such service evaluation projects 2015; Procter, 2013).
from practitioners, service-users and those
around them, such projects constitute a hid- Identifying ‘impact areas’
den treasure trove of information particu-
larly about the perceived impact of music Through exploration of patterns and poten-
therapy services. tial commonalities across the different eva-
luation reports, this review revealed a num-
Learning from service evaluation ber of ‘impact areas’ of music therapy servi-
ces. These refer to perceived impact areas
In an attempt to gain further knowledge from that music therapy is reported to have (in
service evaluation, we carried out a review varying degrees) across different settings
148
and client groups. Areas of impact, in line difference? Abstracts of the 10th Euro-
with the evaluative approach, related to four pean Music Therapy Conference ‘A sym-
groups: service-users, families, carers and phony of dialogues’ (Vienna, Austria, 5-9
friends, staff, and the organization as a whole. July 2016), Nordic Journal of Music The-
rapy, 25: sup1, 70-71.
Implications Tsiris, G., Pavlicevic, M., & Farrant, C. (2014).
A Guide to Evaluation for Arts Therapists
The findings show that service evaluation, and and Arts & Health Practitioners. London:
the identified ‘impact areas’, can contribute to Jessica Kingsley Publishers.
practice, assessment and research initiatives Tsiris, G., Spiro, N., & Pavlicevic, M. (2017).
(Spiro & Tsiris, 2016; Tsiris, Spiro & Pavlicevic, Re-positioning music therapy service eva-
2017). The context-sensitive nature of such luation: A case of five Nordoff-Robbins
evaluations enables the identification of areas music therapy service evaluations in neu-
of impact that can feed back into practice and ro-rehabilitation. Nordic Journal of Music
also generate research questions. While ack- Therapy, 1-25.
nowledging its limitations, we consider what Procter, S. (2013). Music therapy: What is it for
service evaluation can offer and how it can be whom? An ethnography of music therapy
re-positioned in relation to the broader kno- in a community mental health resource
wledge base in music therapy. centre. PhD Thesis, University of Exeter.
references About the Authors
Pavlicevic, M., Tsiris, G., Wood, S., Powell, H., Neta Spiro is Head of Research at Nordoff
Graham, J., Sanderson, R., Millman, R., & Robbins and a member of the Faculty of Mu-
Gibson, J. (2015). The ‘ripple effect’: To- sic, University of Cambridge.
wards researching improvisational music Email: neta.spiro@nordoff-robbins.org.uk
therapy in dementia care-homes. Demen-
tia: The International Journal of Social Re- Giorgos Tsiris is Head of Research at Nordoff
search and Practice, 14(5), 659-679. Robbins Scotland, a Lecturer in Music The-
Spiro, N., & Tsiris, G. (2016). Assessment and rapy at Queen Margaret University in Edin-
evaluation in music therapy: Is there a burgh.
149
eTHICAL ISSueS IN MuSIC THerApY –

HoW To DeAL WITH eTHICAL DILeMMAS
Thomas Stegemann
University of Music and Performing Arts Vienna, Austria
Eckhard Weymann
Hamburg University of Music and Theater, Germany
Background and discuss problem-solving skills for ethical

dilemmas.
In their everyday professional life, music the-
rapists are frequently confronted with deci- ethical Decision-Making Model
sions that raise ethical questions. This is in
part due to current medical advancements The first step in a systematic approach is: “De-
relating to existential questions regarding the cide if the problem is an ethical one or not”
beginning, the end, and the meaning of life, (Dileo, 2000, p. 17). If you conclude that the
e.g. in neonatology, mental health, neurology, problem is an ethical one – and not a practical
or hospice care. Ethical questions include or a methodological problem –, it is feasible
conflicts of interest regarding emotional, eco- to use the Ethical Decision-Making Model.
nomic, and legal issues or questions concer- Based on a model by Dileo (2000) with 12
ning the autonomy of clients. Further, the use steps, the current model has been modified
of music per se within therapy settings might by the authors to allow for an easier applica-
bring up ethical questions. tion in clinical practice:
objectives I. Context
In this workshop, we will discuss how to iden- Identify and describe the situation. Consider
tify ethical issues, how to address ethical both the situation and the context. Who is in-
questions, and how to find “solutions” to volved (directly or indirectly)? Assess the obli-
ethical dilemmas by applying a decision-ma- gations owed and to whom. What are
king model (see below). In our opinion, it is relevant values and norms in that particular
crucial to foster the awareness for ethical is- situation, and how can they be weighed in
sues in music therapy. As it is not possible to the given situation? What is the main issue?
teach “ethical behavior” but only to encou-
rage thinking and reflecting upon ethical to- II. Analysis and Discussion
pics in a systematic way, the workshop format
offers an excellent opportunity to develop Consult relevant information from theory and
150
current debates with respect to ethical issues the professional and an ongoing dynamic pro-
in music therapy. Take different perspectives cess of arguing, dialoguing and (self-)reflec-
with respect to the ethical dilemma into action.
count. Consult with colleagues, supervisors,
and all possible resources. Scope of Application
III. Decision-making Ethical issues are of increasing importance

not only in the everyday clinical practice of
Generate and evaluate different reasonable music therapy, but also within the fields of re-
solutions and consider possible consequen- search (Murphy, 2016), training and supervi-
ces. Come to a conclusion. sion, and in the conduct of professional
meetings and conferences.
IV. Realization and Consequences
references
Implement and evaluate the decision. Consi-
der new ethical issues/conflicts as a conse- Dileo, C. (2000). Ethical Thinking in Music The-
quence of your decision. rapy. Cherry Hill: Jeffrey Books.
Murphy, K.M. (2016). Ethical thinking in music
Workshop Description therapy research. In B.L. Wheeler & K.M.
Murphy (Eds.), An introduction to music
Following the scheme of the model, vignettes therapy research (pp. 47-54). Dallas, TX:
from music therapy practice will be elabora- Barcelona.
ted upon and discussed in groupwork. Parti-
cipants will also have the opportunity to About the Authors
present cases from their own work. In addi-
tion, free musical improvisation will be intro- univ.-prof. Dr. med. Dr. sc. mus. Thomas Ste-
duced as an approach of reflecting on ethical gemann is a music therapist and a child and
questions in a non-verbal way. adolescent psychiatrist, serving as head of
the Viennese music therapy training course.
The workshop offers the opportunity to prac- Email: stegemann@mdw.ac.at
tise ethical thinking in the form of dialogues
with colleagues. This highlights the notion prof. Dr. sc. mus. eckhard Weymann is a
that professional ethics are not only a subject music therapist, music teacher and supervi-
for moral norms and regulations (“code of sor, serving as head of the Hamburg music
conduct”) but even more an inner attitude of therapy training course.
151
Group MuSIC THerApY IN THe TreATMeNT

oF eATING DISorDerS
Ingvild Stene
Norwegian Academy of Music, Norway
Abstract sions. The researcher is also the music the-

rapist in the group sessions, working with a
This presentation addresses a PhD study with clinical psychologist. The receptive approach
people suffering from an eating disorder. The in the study is an exploratory one, which
research embeds a pilot and a follow up ba- embraces music examples brought forward
sed on semi-structured interviews, tests, and by the group members. The music listening
observations. The presentation discusses how excerpts which are chosen by the music the-
group music therapy and receptive music therapist, are inspired by the method Guided
rapeutic approaches can support emotional Imagery and Music (GIM).
knowledge and mentalization in eating disor-
ders. This presentation suggests some results
from the study, and discusses the clients’ ex-
Description periences, which also includes, how music
affects their bodily experiences and their
This paper presents a PhD study with people emotional states of being. Examples from
suffering from an eating disorder. Eating di- these experiences elaborate as emotional
sorders are psychiatric conditions in which knowledge development in the group music
medical complications are common. Despite therapy. Positive and negative experiences
their prevalence and the devastating effects of the body are discussed within a mentali-
on those who suffer from them, there is still zation-based framework.
no clear consensus on how to best unders-
tand and treat these multifaceted conditions. About the Author
The present study includes semi-structured Ingvild Stene is music therapist, psychothe-
interviews, tests, and participatory observa- rapist and PhD fellow at the Centre for Re-
tions. The main objective is to investigate search in Music and Health (CREMAH). Nor-
how five female adults experience receptive wegian Academy of Music.
music therapy approaches in 11 group ses- Email: Ingvild.stene@nmh.no
152
Group MuSIC THerApY INTerVeNTIoNS To eNHANCe

MeNTALIZATIoN
Gitta Strehlow
University of Music and Theatre Hamburg, Institute for Music Therapy, Germany
The concept of mentalization has changed a mentalizing and music therapy. The first con-
lot over the past decade. Originally develo- ference about the Art of Mentalizing was
ped in the mid-nineties by Peter Fonagy and held in New York (2016) and showed how
his colleagues in England, the term mentali- the therapeutic dialogue through art, music
zation is nowadays well known and the con- and dance can enhance the mentalization
cept of mentalization is used in many coun- capacity.
tries all over the world.
This paper will demonstrate one of the core
Mentalizing – seeing ourselves from the out- interventions “mentalizing the affect” in
side and others from the inside – develops group music therapy. Other interventions to
within the context of attachment relations- stimulate the implicit and explicit mentaliza-
hips. The most recent enhancement focuses tion capacity in group music therapy will
on group therapy and the theory of episte- also be shown.
mic trust (Bateman & Fonagy, 2016).
references
For the past ten years, music therapists from
different countries (e.g. Belgium, Denmark, Bateman, A. & Fonagy, P. (2016). Mentaliza-
Germany, UK) have been working success- tion-based treatment for personality di-
fully with the concept of mentalization (Han- sorders. Oxford: Oxford University Press.
nibal, 2014; Strehlow, 2013; Strehlow & Hannibal, N. (2014). Implicit and explicit men-
Lindner, 2016). Patients and therapists are talization in music therapy in the psychia-
interpreting their way of playing music, the tric treatment of people with borderline
moods and wishes of self, others and the re- personality disorder. In J. de Becker & J.
lationships between the players. Fonagy’s in- Sutton (Eds.), The music in music therapy.
terventions focus on explicit mentalization. (pp 211-223). London: Jessica Kingsley.
Music therapists deal with implicit (automa- Strehlow, G. & Lindner, R. (2016). Music the-
tic) and explicit (controlled) mentalization rapy interaction patterns in relation to
during and after playing or listening to music. Borderline Personality Disorder (BPD) pa-
The capacity to mentalize depends on the tients. Nordic Journal of Music Therapy,
level of stress, therefore music therapy in- 25(2), 134-158.doi: 10.1080/08098131.
terventions should be carefully matched to 2015.1011207
the arousal level. Strehlow, G. (2013). Music versus shard. In
S. Metzner (Ed.): Reflected sounds: Case
This paper will give an update on music the- studies from music therapy (pp. 163-201).
rapy publications and conferences regarding Gießen: Psychosozial-Verlag.
153
About the Author
Dr. Gitta Strehlow, Dipl. Music Therapist, has

worked sixteen years with adults at Be-
thesda-Hospital Hamburg Bergedorf, Psy-
chiatry, Psychotherapy, and with sexually
abused children.
Email: Gitta.Strehlow@t-online.de
154
FroM CoMMuNITY MuSIC THerApY To peACe

Enrica Tifatino
Artistic Multiespai Artemisabcn, Spain
Abstract nocent people, when the world is desperately

shouting this necessity of peace. From this
There is a long tradition of Music Therapy concern, this research has developed and is
(MT) as an auxiliary tool of medicine. There aimed to gather evidence that confirmed the
is a tradition about the clinical application to hypothesis that Community Music Therapy
intervene in specifics diseases or specific can be used to promote a culture of peace.
groups. Music therapy is a field still open to
research and further input regarding preven- Methodology
tion. The field is vast and fertile that unfolds
a series of infinite possibilities in application The methodology used for this work inclu-
areas. It’s necessary to broaden the inter- des a comparative analysis, organizing and
pretation and use of Community and Pre- reviewing the material within the biblio-
ventive Music Therapy, from considering it graphy found, for a final analysis and discus-
not only a tool to promote individual welfare sion. The research is qualitative and descrip-
within society but also a potential vehicle to tive, rather than quantitative. Therefore the
support peace and social justice. results are described in relation to each
theme so that there is a greater understan-
This work is to be a review of various studies ding of them. A systematic review of the li-
reported in recent years in various publica- terature published to date is carried out.
tions and congress that refer to two intertwi-
ned aspects: On one hand the benefits of results
music therapy in preventive and community
level, considering the individual and social. The most important outcome of each pro-
On the other, the possibility of a culture of gram or project is to have discovered a way
peace through Music Therapy to help victims of violence, to allow the in-
tegration of all members in a community, to
Introduction educate for peace and to foster nonviolent
attitudes. Using music therapy at a commu-
We live in a time particular of instability, and nity level allows not only reaching large
politic, economic, and social development. groups of people, but also achieves objecti-
Violence and conflict are the consequences ves that include the physical-mental-psycho-
of such instability. The interest in this area is logical health of each member of the com-
linked to a constant search to find a possible munities. Although with sometimes diffe-
solution to resolve the situation. The world rent approaches, it can be confirmed that
needs peace and a just society. We should not the objectives and goals of each interven-
accept and see the pain and suffering of in- tion are very similar to each other and direc-
155
ted towards Social Welfare. In evaluating the About the Author

results presented by the articles and pro-
jects, all the works are directed and oriented Tifatino is a music therapist, drum circle fa-
towards the resolution of the conflicts and cilitator cultural journalist and director and
suggest recommendations for the future owner of Artistic Multiespai Artemisabcn.
work of music therapy in this context. Email: artemisa.bcn@hotmail.com
156
A MuSIC THerApY proToCoL For ADoLeSCeNTS SuFFerING

FroM CHroNIC FATIGue SYNDroMe
Gro Trondalen
Norwegian Academy of Music, Norway
Julie Mangersnes
Akershus University Hospital, Norway
Introduction The music therapy protocol
This presentation addresses the music the- The music therapy protocol is an integrated
rapy treatment protocol within the ongoing part of this project, where youths develo-
research project “Chronic fatigue following ping CFS/ME are offered a combination of
acute Epstein-Barr virus infection in adoles- music therapy and cognitive behavioral the-
cents” (CEBA): a randomized controlled trial. rapy (CPT). The treatment program consists
The research study is a combined prospec- of 10 sessions of 90 minutes’ duration, over
tive and cross-sectional study of 25 adoles- a period of 10 weeks. The music therapy in-
cents (12-20 years) suffering from acute EBV terventions include receptive music therapy
infections and 25 healthy controls of similar focusing on the development of personal
age- and gender distribution (50 in total). To play lists, to be used in the everyday life of
our knowledge, there is no study or protocol the client, and music listening including re-
identical to the present one. laxation procedures. Other music therapy in-
terventions in the individual music therapy
CFS/Me – a major cause of adolescent session can be music improvisation on a va-
disability with unknown patho-physiology riety of instruments, in addition to songwri-
ting, rooted in themes brought forward by
Chronic fatigue syndrome/myalgic encepha- the client in the session. The music therapy
lomyelitis (CFS/ME) is characterized by unex- protocol is developed in order to support
plained, long-lasting, disabling fatigue and the general aim of the study that is to inves-
exertion intolerance, accompanied by pain, tigate the effect of an individually tailored
cognitive impairments, orthostatic problems, training program in adolescents developing
sleep difficulties and other symptoms (Royal CFS/ME after an acute EBV infection.
College of Paediatrics and Child Health, 2004).
CFS/ME is a major cause of disability among references
adolescents, and may have detrimental effects
on psychosocial and academic development, Nijhof, S. L., Maijer, K., Bleijenberg, G., Uiter-
as well as family functioning (Wyller, Reme & waal, C., Kimpen, J. L., & Van Depute, E. M.
Mollnes, 2015). Adolescent CFS/ME preva- (2011). Adolescent chronic fatigue syn-
lence is estimated at 0.1 % to 1.0 % (Nijhof et drome: Prevalence, incidence, and morbi-
al., 2011). Treatment options are limited. dity. Pediatrics, 127(5). 1169-75.
157
Royal College of Paediatrics and Child He- About the Authors

alth. (2004). Evidence based guidelines
for the management of CFS/ME chronic Gro Trondalen, CMT, PhD, Fellow of AMI is
fatigue syndrome/myalgic encephalopa- professor in music therapy and Director of
thy) in children and young adults. Retrie- the Centre for Research in Music and Health
ved from http://www.rcpch.ac.uk/ system (CREMAH) at the Norwegian Academy of
/files/protected/page/RCPCH%20CFS.pdf Music, Oslo, Norway.
Wyller, V. B., Reme, S. E., and Mollnes, T. E. Email: gt@nmh.no
(2015). Chronic fatigue syndrome/myal-
gic encephalo-myelitis – pathophysiology, Julie Mangernes, CMT, is a music therapist
diagnosis and treatment. Tidsskr Nor Le- working at Akershus University Hospital and
geforen, 135(23,24), 2172 – 2175. at Oslo University hospital, Oslo, Norway.
158
rAp & SING MuSIC THerApY AppLICATIoNS eNHANCe

eMoTIoN reGuLATIoN oF ADoLeSCeNTS IN SCHooLSeTTING
Sylka Uhlig, PhD
VU University Amsterdam, The Netherlands
Abstract line, and again after 4 months without inter-

ventions.
Music as an effective self-regulative tool for
emotions and behavioural adaptation for results
adolescents, can enhance the development
of emotion related skills when applied as Primary outcome data (n=98). include mea-
music therapeutic school intervention. The sures of psychological well-being of adoles-
purpose of this study was the assessment of cents, about self-description, emotion regu-
the applied Rap & Sing Music Therapy to lation and self-esteem. Significant difference
strengthen self-perception and -description between groups was shown, and indicated a
as well as self-esteem by the development stabilized Rap&SingMT group, in opposite to
of self-regulative skills for modulation of po- increased problems in control group (p=.001;
sitive and negative feelings in a non-clinical, np2=.132). Rap&SingMT yielded significant
school-based program. improvements on measures of ‘emotional
symptoms’ and ‘hyperactivity/inattention’
Method items on SDQ teacher, and on DERS subscale
of ‘difficulty engaging in goal-directed beha-
Boys and girls, ages between 8-12, partici- vior when distressed’. No other applied me-
pated in the project with their own class du- asures showed significant outcomes. Howe-
ring regular school hours. No adolescent was ver, there seems to be an overall benefit of
excluded, no pre-screening for special needs Rap&SingMT, indicated by its significant de-
conditions was applied. Adolescents with clined problem score of all measures, as op-
and without behavior and/or developmental posed to the control group.
delays were included in the same study con-
dition. Control groups were informed about Discussion
their control status, their exclusion from
music data and their postponed Rap&SingMT Our findings point to links with studies for
sessions. One hundred and ninety adoles- emotional and motivational engagement, as
cents of grade 8 of a public school in the Ne- Rap&SingMT provided group collaboration
therlands, were randomly assigned to an by identifying sensitive personal and peer
experimental group who received Rap& themes in a safe music therapeutic environ-
SingMT, and a control group who received ment, to enhance skills for well-being in ado-
regular classes. Both interventions were ap- lescence. For long-term emotional and be-
plied to 6 classes once a week during 4 havioral adaptation processes, interventions
months. Measurements took place at base- and assessments might need to cover longer
159
periods of time, and to repeat interventions music through a crowdsourcing game. In-
for at least 9 or 12 months, e.g. to reduce formation Processing & Management,
specific problems (Stockings et al., 2016). 52(1), 115-128.
The short Rap&SingMT cycles of 45 minutes HIP HOP PSYCH’ (2014). British platform for
once a week during 4 months without spare Hip Hop and Therapy. What happens when
time, showed interference with school sche- Music meets Psychology? (n.d.). Retrieved
dules which limited numbers of sessions February 21, 2017, from http://www.
from 16 to 13. Further concerns about co- hiphoppsych.co.uk/index.html.
llected data, which consisted of subjective Stockings, E. A., Degenhardt, L., Dobbins, T.,
experiences and personal reflections of Lee, Y. Y., Erskine, H. E., Whiteford, H. A.,
Rap&SingMT participants recorded by inter- & Patton, G. (2016). Preventing depres-
views, revealed that adolescents were una- sion and anxiety in young people: a re-
ble or unwilling to translate their ‘lived music view of the joint efficacy of universal,
experiences’ into words. Musical emotions selective and indicated prevention. Psy-
seem not directly translatable into words (Al- chological medicine, 46(01), 11-26.
janaki, Wiering, & Veltkamp, 2016), an often Uhlig, S., Dimitriadis, T., Hakvoort, L. & Scher-
discussed theme, is especially true for pre- der, E. (2016). Rap and singing are used by
verbal experiences during ‘flow’ moments in music therapists to enhance emotional
music. self-regulation of youth: Results of a sur-
vey of music therapists in the Nether-
Conclusion lands. Arts in Psychotherapy, 53; 44–54.
Uhlig, S., Jansen, E., & Scherder, E. (2016).
The significant results of this study contri- Study protocol RapMusicTherapy for
bute to the empowerment for rap applica- emotion regulation in a school setting.
tions in music therapy. Linking rap’s au- Psychology of Music, 44(5), 1068-1081.
thentic vocal and cultural messages with he- Viega, M. (2015). Exploring the Discourse in
alth and wellbeing, addressing personal, se- Hip Hop and Implications for Music The-
rious and uncomfortable themes, the deve- rapy Practice. Music Therapy Perspecti-
lopment of emotion related skills in schools ves, miv035.
can be enhanced, likewise other settings
(HIP HOP PSYCH’, 2014; Uhlig, Dimitriadis, About the Author
Hakvoort, & Scherder, 2016; Viega, 2015).
Sylka uhlig, PhD, VU University Amsterdam,
references Clinical Neuropsychology & Lecturer HAN
University, Creative Arts Therapies, Nether-
Aljanaki, A., Wiering, F., & Veltkamp, R. C. lands.
(2016). Studying emotion induced by Email: Sylka.Uhlig@gmail.com
160
VoICeWorK – TrANSCeNDING SoCIeTIeS, GeNerATIoNS,

CoNTINeNTS- VoCAL SeNSITIVITY AND DIVerSITY,
eSSeNTIAL For MuSIC THerApY
Sylka Uhlig
VU University Amsterdam, The Netherlands
Vocalizations and singing are used in all ther, whereby one changes melody/melodic
human societies, generation and continents, line, rhythm or dynamics, is a way of testing
and present a broad diversity of human ex- whether others will follow or not. Therefore,
pression and communication patterns. Vocal the development of trust for protection and
sounds of clinical and non-clinical popula- survival through singing are evolutionary
tions influence us - and our emotions indivi- needs. Voice research presents fascinating
dually, socially and culturally - offer treasures results about humans, which are valuable
of information. Vocal sounds seem to be re- for daily life as well as for therapy. For exam-
lated more to biology than to culture, like ple, performed research about the pitch of
the natural authentic expressions of emo- the voice of politicians, found that pitch is
tions, an innate program of physiological related to the assumed capacity of leaders-
changes which are associated with emotio- hip: "Sounds Like a Winner: Voice Pitch In-
nal reactions - like in situations of pain, so- fluences Perception of Leadership Capacity
rrow or pleasure (Juslin & Timmers, 2011). in Both Men and Women. Male and female
These vocal sounds are acoustic symbols of leaders with lower voices get selected (Klofs-
collective values (Uhlig, 2006). For that rea- tad et al. (2012)!
son, through the voice, vocalizing and sin-
ging define human attributes and transcend Clinical research about voices does not pre-
cultures and generations - as they both are sent less fascinating results, like a study
used in all societies (Peretz, 2009). which analyzed intonation, rhythm and pitch
of doctors (surgeons) voices to detect mal-
Vocal emotional expression and vocal com- practice processes. This study discovered
munication perform the exchange of emo- that not all surgeons are sued after malprac-
tions, feelings and attachment values like the tice, but it dependents on their voices: “If a
bonding relationship between humans, de- surgeon’s voice was judged to sound domi-
veloped through fine-tuned exchange of mu- nant, the surgeon tended to be in the sued
sical/vocal qualities. Vocal sounds as group. If the voice sounded less dominant
protection and warning system for fear and and more concerned, the surgeon tended to
danger, support feelings of safety and deve- be in the non-sued group“ (Ambady et al.,
lop trust for survival and cooperation as well 2002). Another clinical example is presented
as for healthy attachment ties (Koelsch et al., about a client’s experience of music therapy
2011; Malloch & Trevarthen, 2009). Archaeo- during his coma condition): ”The music was
logical research revealed that singing toge- exquisite. The first time I didn’t recognize it
161
as a voice, but as some kind of medieval wind Baker and Uhlig (Ed) Jessica Kingsley Pu-
instrument. But the second time I knew it was blishers, GB.
a voice, that there was a person there, there Gustorff, G. & Hannich, H. (2000). Jenseits
was someone who didn’t want to kill me” des Wortes, Musiktherapie mit komatoe-
(Gustorff & Hannich, 2000). sen Patienten auf der Intensivstation.
Verlang Hans Huber, Germany.
The important role of the voice in therapy - Juslin, P.N., & Timmers, R. (2011). Expression
as it is practiced in music therapy and des- and communication of emotion in music
cribed by Baker & Uhlig (2011), requires performance. In: Juslin, P.N., and Slo-
awareness and vocal training for therapists: boda, J.A. Handbook of Music and Emo-
Voicework from birth to death, the anatomy tion. Theory, Research, Applications. Ox-
and function of human voice, its sensitivity ford: Oxford University Press.
and evolutionary connotation presents rese- Klofstad, C. A., Anderson, R. C., & Peters, S.
arch of different disciplines and defines the (2012). Sounds like a winner: voice pitch
specificity of the voice as human instrument. influences perception of leadership capa-
A large diversity of perception and interpre- city in both men and women. Procee-
tation of human voices as well as approa- dings of the Royal Society B: Biological
ches to therapeutic voice work are demons- Sciences, 279(1738), 2698-2704.
trated – a comparative analysis. An overview Peretz, I. (2009). Brain specialization for mu-
about these subjects gives information for sic: New evidence from congenital amu-
basic and professional use, and offers an in- sia. In I. Peretz, & R. Zatorre. The Cogni-
vitation for awareness for the development tive Neuroscience of Music. New York:
of vocal interventions and dialogues in music Oxford University Press.
therapy. Uhlig, S. (2006). Authentic voices – authentic
singing: A multicultural approach to vocal
references music Therapy. Barcelona Publishers, USA.
Ambady, N., LaPlante, D., Nguyen, T., Rosen- About the Author
thal, R., Chaumeton, N., & Levinson, W.
(2002). Surgeons' tone of voice: a clue to Sylka uhlig, PhD, VU University Amsterdam,
malpractice history. Surgery, 132(1), 5-9. Clinical Neuropsychology & Lecturer HAN Uni-
Baker, F., & Uhlig, S. (2011) Voicework in versity, Creative Arts Therapies. Netherlands
Music Therapy, Research and Practice. Email: Sylka.Uhlig@gmail.com
162
CoMpoSe oNeSeLF To CoMpoSe

CoLLeCTIVe SoNGWrITING WorKSHop – To TreAT
pSYCHIATrIC ILLNeSSeS IN BoTH ADuLT AND ADoLeSCeNTS
Andrea Volpini *
Music Therapist Kaos Adult Mental Health Day-care Center, Perugia - Italy
This workshop concerns a music therapy in which raw material emerges, so we begin
technique, termed collective songwriting, to define images, characters, stories and
experimented by me for many years now in themes, to reach a rich and full description
mental health settings, to treat psychiatric of what happens, considering the sounds of
illnesses including psychosis and autism in the composed music as a guide. In this
both adults and adolescents. The objectives phase, it is very important to safeguard as
of the experience are: to promote personal much as possible the nature of what has
redefinition through the discovery of resour- been expressed, working for the recovery of
ces that become skills, to perceive themsel- the words, grabbing as much communica-
ves as an author, to realize songs as commu- tion as you can, “accept it as it sounds, wi-
nication tools with the external world. Co- thout translating or interpreting, it should
llective songwriting is an articulated process be a delicate fermentation” (Rainer Maria
whereby the music and lyrics produced by Rilke). This is the lyrical elaboration phase:
patients will help with teasing out their he- one reads and rereads, aloud with the group,
althy parts which are stuck and not easily ac- you move from element to element, from
cessible. It is a space to discover how the expression to expression, from image to
authentic communication through music image, letting representations grow gra-
contains vital, powerful and liberating ele- dually. We are creating personifications and
ments of poetry. “It is a work about some- trying to establish an inner conversation
thing or someone inside us that wants des- with them. In these moments, evocative lan-
perately to be”. (Marina Ivanovna Cvetaeva). guage prevails, the language of poetry, not
It's organized in a structured setting in which denotative and that remains open to diffe-
a group of twenty observers is arranged in a rent possibilities. The images may resound
circle around a circle of the ten composers. in us and speak to us. You can discover that
The process starts with the composing of these words and images have an order and
music in which the music therapist departs a brightness. It’s another condensation pro-
from the melodic cells, which emerged du- cess in which characters, figures, personifi-
ring the free vocal improvisation of the cation, personified figures, find a form. You
group, then condenses, connects and com- can also discover a double-movement: while
poses a piece of music with the group. you work on the figures, the figures work on
Hence we can go to the second step of the you, creating tensions, announcements and
process, by an active imagination production revelations. Staying in the middle of the ex-
163
perience is central, suffering together during Methods, Techniques and Clinical Appli-
the creation of the song, also remaining in the cations for Music Therapy Clinicians, Edu-
cloud of unknowing, helping participants to cators and Students. London: Jessica
find and articulate their own linguistic world. Kingsley Publishers.
In some participants, you can disclose what Hillman J.& Shamdasani S. (2013). Lament of
Hillman called the poetic basis of mind, which the Dead: Psychology After Jung Red Book.
corresponds to the psyche’s natural way of New York: W. W. Norton & Compa-ny.
speaking which is a direct result of non-con- Coleridge, Samuel Taylor, edited by Nigel
ceptual thinking. Following this step, which Leask. (1997). Biographia Literaria. Lon-
leads to the articulation of the verse, we can don: J. M. Dent.
choose the title, another part of the elabora- Marina Cvetaeva, M. (1984). A chi do ascolto,
tion process in which we reflect on every ele- in Il poeta e il tempo. Milano: Adelphi.
ment of the song which is then recorded and Rainer Maria Rilke, R. M. (2002). Letters to
a home-made video clip, with drawings made a young poet. New York: Dover Publica-
by participants, produced and presented to tions.
the community through the Internet or public Hillman J., (1997) The Soul’s Code: in Serch of
events. After the explanation of these steps, Character and calling. New York: Grand
the workshop ends with a guided discussion Central Publishing.
between the participants. Finally, conclusions
are drawn which further underline the objec-
tives and benefits of the process in the light About the Author
of the experience and suggestions which
emerged during the discussion. Andrea Volpini, an Italian music therapist,
songwriter and musician, has worked in men-
references tal health and as a presenter in national and
international congresses since 1996.
Baker F. & Wigram T., (2005). Songwriting: Email: andrea.volpini@alice.it
164
SINGING IN A ForeST SouND BATH – SHINrIN YoKu

FroM A MuSIC THerApY perSpeCTIVe
Andrea Volpini* Music Therapist
Kaos Adult Mental Health day-care Center, Perugia - Italy
Some of the most interesting evidence of immersed in, the emotional process of dis-
nature’s health benefits revolve around the covery and a personal process of redefini-
popular Japanese practice of "Shinrin Yoku", tion. Like an experienced driver, the music
an activity, which involves spending time in therapist uses appropriate changes of his
natural surroundings. This case study con- vocal tone to tune the group’s cycles of
cerns a form of experimental music therapy, energy oscillations, putting them in phase
set in a forest, for the treatment of groups with one another, and ensuring that the
of up to 10 adults with a variety of psychia- energy level, from chaotic and excess, is go-
tric diseases. The therapeutic activity requi- verned and decreased. This ‘fulcrum sound’
res being in contact with the generative may be the root of a chord that harmonizes
power of the wood’s natural elements, cou- emerged intervals, or the note which deter-
pled with a form music therapy. After a short mines the major or the minor mode, or sim-
walk carrying portable stools, the group arri- ply a pedal note which supports the cloud
ves in the wood. Arranged in a circle, the of sounds that gradually emerges and leads
group members sit on their stools, hold to order. Through the technique of free
hands with the person sitting next to them, vocal improvisation and the subsequent re-
and close their eyes, listening to the high-fi- search-phase mechanism, the sounds of the
delity soundscape around them. Then, using forest and singers correlate and resonate
the technique of free vocal improvisation, with each other with the same beat and in-
they begin to sing together without over- tensity, resulting in a cross-coherent system
whelming the external sounds of nature: first that determines heart rate variability and
producing quiet, long tones of varying pitch respiratory rhythms. In the transitional
which, gathering and synchronizing by the phase, we can observe and verify the en-
rules of harmony, will become the first chords trainment phenomenon called ‘dragging’, a
and then organized music. On the way to this biomusicology phenomenon related to a
temporary organized musical state, one might body's perceived synchronization with ex-
feel a state of elevation, an “electro-emo- ternal rhythm. Joseph Giordania defines en-
tive” force, until perceiving, through “let trainment as the human ability to be drag-
yourself go” sound production, a profound ged. This capacity occurs with the achieve-
sense of relaxation. ment of specific altered states of conscious-
ness – states in which you lose your indi-
The participants’ search for deep, intense viduality, do not feel fear and pain, engage
communication with themselves and the su- in a collective identity, and actions are pro-
rrounding natural elements puts them into duced in the interest of the group. When
a state of meditation connected with, and this attunement takes place, the system
165
goes into a coherent state. Singing in a fo- references

rest also means feeling and listening to what
is around us, integrating oneself with an ar- Li Q. (2010). Effect of forest bathing trips on
ticulate soundscape. It creates an ‘intuitive human immune function. Environ Health
system’ allowing for self-investigation and Prev Med. 15(1):9-17.
self-knowledge, a shared experience with Lee J, Park BJ, Tsunetsugu Y, Ohira T, Kagawa
very high emotional intensity that can pro- T, Miyazaki Y. (2011 Feb). Effect of forest
duce profound changes in consciousness. bathing on physiological and psychologi-
Once again, music acts as an awareness space cal responses in young Japanese male
that releases internal tensions and attempts subjects. Public Health; 125(2):93-100.
to harmonize deep parts of the psyche, not Epub 2011 Feb 1.
in an enclosed institutional space, but ins- Jordania, J. (2011). Why do People Sing? Music
tead bathing in the natural sounds of the fo- in Human Evolution. Tbilisi, ed. Logos.
rest, in a fresh and unknown dimension of McCraty R., Childre D. (2010). Coherence: Brid-
play and fun. The singers exit from themsel- ging personal, social, and global health. Al-
ves, the habitual “I", and enter into a freer ternativeTherapies, Jul/Aug2010, Vol.10,N4
and more creative potential key size, re-con- Vickhoff B., Malmgren H., Astrom R., Nyberg
tacting vital parts of themselves probably G., Ekstrom S., Engwal M., Snygg, J., Nils-
buried and hidden, parts which had perhaps son M., & Jornsten R. (2013). Music struc-
even given up. At every meeting, directly ture determines heart rate variability of
after the improvisation, there is a discussion singers https://www.ncbi.nlm.nih.gov/
about the experience in which the music pmc/articles/PMC3705176/
therapist takes note of literally every com-
munication between the participants. An About the Author
audio recording of the session is used as an
additional analytical tool for quarterly clini- Andrea Volpini is an Italian music therapist,
cal intervision. songwriter and musician. Email: andrea.vol-
pini@alice.it
166
uNDerSTANDING our reFuGee CLIeNTS:

eXpLorING poLITICAL, CuLTurAL AND SoCIAL CoNTeXTS
Eva Marija Vukich
University of East London, UK
Private Practice for Music Therapy Croatia/ USA
Abstract riences, to re-make or re-create home and a

sense of belonging. While it may be assu-
According to UNHCR (United Nations High med that the pre-flight/ conflict phase is the
Commissioner for Refugees, 2016), there are most traumatic or life-changing event, it has
an estimated 65.3 million forcibly displaced been found that most refugees experience
people worldwide. This figure accounts for greater trauma during the temporary-settle-
persons who are forced to flee home due to ment and settlement phase in a new country
social and political insecurity, conflict or en- as they navigate political and cultural pro-
vironmental disaster. Many migrate within cesses, often having to struggle for basic
their nation’s borders, while others traverse human rights and their right to remain in the
borders to claim asylum through internatio- receiving country (Harris, 2003). Hostile and
nal refugee protection laws in order to ob- restrictive immigration policies in so-called
tain security, wellbeing, and belonging. ‘safe’ countries often create very instable
Naturally, music therapists are increasingly environments for asylum-seekers and refu-
encountering this client population in a va- gees, as the means of survival or even their
riety of settings, as can be evidenced in the existence is criminalized. The general ‘poli-
surge of relevant music therapy literature in ticization of the individual’ in all phases is
the past decade. While the available litera- fundamental to the refugee experience and
ture succeeds in providing insight into case- alludes to the complexity of the interrelating
specific therapy, very few attempt to identify contexts wherein the person becomes a re-
the unique dominant traits of the refugee fugee. In order to explore the plurality of the
experience, nor do they recognize the exis- political, cultural, interpersonal, and intraps-
tence of an emerging client population des- ychic dimensions, the author assumes a cul-
erving of analysis. ture-centered approach aided by Bronfen-
brenner’s ecological systems theory which
This paper was written in the aim to identify, posits that “an individual is influenced and
in relation to music therapy, the multi-di- develops in relation to changing or interac-
mensional experiences of a refugee or forting properties in his/her immediate envi-
ced migrant as they navigate through the ronment, from levels of interpersonal rela-
phases of pre-flight, flight, temporary-settle- tionships to community to society (p. 21).
ment, and settlement. These phases are The ecological model can provide the frame-
marked both temporally and geographically, work with which to map the interacting con-
and require a persistent creativity to trans- texts which impact the wellbeing of a re-
cend previous and current negative expe- fugee client, from the political to the intra-
167
personal. Ecological model has previously ture and design. Cambridge, MA: Harvard
been recognized as a useful tool for locating University Press.
the agency of the client, therapist and the Crenshaw, K. (1991). Mapping the Margins:
music within the relational processes bet- Intersectionality, Identity Politics, and
ween contexts in community and culture- Violence against Women of Color. Stan-
centered music therapy (Stige, 2002). Plural ford Law Review, 43(6), 1241. doi:10.
identities can further be analyzed through 2307/ 1229039
the feminist theory of intersectionality Harris, J. (2003). ‘All Doors are Closed to Us’:
which posits that by locating multiple social A social model analysis of the experien-
identities (such as gender, class, race, and di- ces of disabled refugees and asylum see-
sability) with a socio-historical perspective, kers in Britain. Disability & Society,18(4),
a picture can emerge which illuminates areas 395-410. doi:10.1080/ 09687590320000
of ‘constrained or productive power’ (Crens- 80968
haw, 1991). Intersectional analysis also of- Papadopoulos, R. K. (2003). Therapeutic care
fers rare insight into the power dynamics for refugees: no place like home. London:
which occur within a multi-cultural thera- Karnac.
peutic setting, as the therapist can inhe- Stige, B. (2002). Culture-centered music the-
rently act as a representation of the institu- rapy. Gilsum, NH: Barcelona.
tion and culture of the prevailing system, Vukich, E.M. (2015). Reframing refugee care in
against which the refugee client is often music therapy: exploring context through
struggling. It is suggested that by locating intersecitonality and ecological theory. Aca-
the refugee and therapist in their multiple demia. Retrieved 12/14/2016 from:https:
contexts, a picture of intersecting oppressed //www.academia.edu/30432661/refra-
social identities and power relations can ming_refugee_care_in_music_therapy_e
emerge and guide the therapeutic process xpoloring_context_through_intersectio-
of assessment and design. nality_and_ecological_theory
references About the Author
Blackwell, D. (2005). Counselling and psy- eva Marija Vukich is a trained music thera-
chotherapy with refugees. London: J. pist specializing in refugee and migrant care.
Kingsley . She currently resides and practices in San
Bronfenbrenner, U. (1979). The ecology of Diego, USA.
human development: experiments by na- Email: eva.vukich@gmail.com
168
THe DeVeLopMeNT oF CreATIVe THerApY-BASeD pLAY

GroupS For pre-SCHooL CHILDreN AND pAreNTS IN
INNer CITY LoNDoN
Katherine Walters
Senior Music Therapist – Coram, UK
Claire Everest
Community Engagement – Coram, UK
Context through agency or self-referrals. Referral re-

asons can include: social, emotional and be-
Having established a flexible method of wor- havioural concerns; parent isolation; attach-
king in children’s centres in London, Katherine ment difficulties; specific diagnoses such as
realised there was a huge need for therapeu- Autism. Many families have additional needs
tic work within this area. Parental depression such as overcrowded living conditions; sin-
and its impact on attachment was particularly gle parenting; siblings with Autism etc.
prevalent. In March 2015 many state-run chil-
dren’s centres (including two where Katherine These inclusive groups focus on nurturing
worked) were closed, due to government early attachments and provide a space for
changes. There was a general move toward children to develop communication in a the-
fewer, more specialised services. rapeutic environment. Parents can gain ad-
vice and support from staff and each other
In the creative therapy department at Coram, as needed: The closed nature of the group
there has been an increase in referrals to means that stronger support-networks are
music and art therapy for children who pre- formed amongst parents. This also means
sent with attachment disorders. The need children who may find relating difficult, are
for early intervention alongside parents and able to progress within the predictable
children is therefore increasingly evident in membership and format of the groups.
this work.
Modelling a child-led approach
How the groups work
By participating in the groups parents and
Claire and Katherine launched the Under 5’s children build trust and understanding of
Creative Groups at Coram in May 2016. Pa- the music and art therapists' techniques in
rents, children, therapists and early years a non-threatening setting. Secure attach-
staff come together for two hours a week ments are fostered between parents and
and participate in child-led creative activi- children through the use of modelling by
ties. Parents and children attend the groups staff, using motivating media.
169
Parents are also able to attend a taster ses- included as part of her son’s Education & He-
sion of music therapy with the therapist and alth Care Plan. Crucially this intervention
their child in a separate therapy room during gave his mother something positive at a dif-
the main group session. Here, child-led tech- ficult time. Video feedback was used to
niques are modelled by the therapist in a show his mother and new teacher how the
nurturing way and parents are given ideas of sessions impacted positively on his relating
how to continue these at home. and communicating whilst providing an ou-
tlet for non-verbal emotional expression.
Each group ends with a singing session: here
children can develop their communication references
and relating skills in the familiar group set-
ting with motivating, musical activities adap- Flower, C. & Oldfield, A. (Eds.). (2008). Music
ted to meet the needs of the families. Therapy with children and their families.
London: Jessica Kingsley Publishers.
Levinge, A. (2011). Music therapy for de-
pressed mothers and their infants. In Ed-
wards, J. (Ed.), Music Therapy and Parent
-Infant Bonding. Oxford, UK: Oxford Uni-
versity Press.
About the Authors
Katherine has set up & delivered music the-

rapy & skill-sharing projects in schools and
Staff can identify families who may benefit children's centres in London for six years.
from further therapeutic intervention and Email: katherinew@coram.org.uk
therapy sessions can be arranged outside of
the groups. Onward referrals have included Claire delivered the Coram Early Years ‘Stay
a non-verbal three year old and his mother and Play’ provision; coordinates the Creative
attending music therapy sessions: his mo- Groups and leads the Young Parents' Peer-
ther was supported in getting music therapy Education Programme at Coram.
170
MIX & MATCH INTeGrATING MuSIC TeCHNoLoGY SKILLS

IN proFeSSIoNAL MuSIC THerApY TrAINING
Carola Werger
ArtEZ Institute of the Arts, The Netherlands
Marijke Groothuis
ArtEZ Institute of the Arts, The Netherlands
Introduction developed and experienced, in which tea-

chers as well as students learned collaborati-
Although literature does refer to the impor- vely how to integrate existing music tech-
tance of educating music therapists to meet nology in a meaningful way into their profes-
21st- century skills in music technology (Crowe sional skills.
& Rio, 2004; Hahna et al., 2012; Magee, 2014;
Nagler, 2011), best practices in professional Phase 1: instruction (modelling, microtea-
training to achieve these skills are lacking. ching).
Separate courses in music technology pro- Phase 2: practising in authentic context (co-
vide students with specific skills, but tea- aching).
chers should help them integrate these into Phase 3: reflection-on-action (team-learning).
clinical work to meet the clients’ needs. Edu-
cation should therefore focus on training Instruments used for evaluation include pre-
music therapy teachers in such a way that it test/post-test questionnaires, observations,
allows their clinical expertise to become coded reflections (axial/ selective) and semi-
available in order to integrate the theory structured group interviews.
and practice of meaningful use of music
technology in daily practice. results
Method Music technology should be integrated into

the professional music therapy education by
Design-based research offered the opportu- using case-based learning and clinical reaso-
nity to find out how theory and daily prac- ning, simulation (modelling) and coaching
tice could be combined. (Joyce & Showers, 2002) to provide music
therapists with the necessary skills and con-
The case study in this research focuses on fidence regarding the specific use of music
music therapy teachers applying and integra- technology in daily practice.
ting music technology in methodology and
practice classes, using case-based learning Educational media have been developed as
and clinical reasoning as a case method. part of the training programme (video case
studies, instruction videos, music technology
As a follow-up, a 3-phase training has been game, instructional guidelines for teachers).
171
references Music and Medicine 3, 196. doi: 10.1177/

1943862111407512
Crowe, B. J., & Rio, R. (2004). Implications of
music technology in music therapy prac- About the Authors
tice and research for music therapy edu-
cation: a review of literature. Journal of Carola Werger (MEd, NMT-F) is music thera-
Music Therapy, 41(4), 282-320. pist in private practice and head of the
Joyce, B., & Showers, B. (2002). Student Music Therapy department at ArtEZ School
achievement through staff development. of the Arts.
USA: ASCD.
Magee, W. L. (2014). Music Technology in Marijke Groothuis (MMTh, NMT-F) is music
therapeutic and health settings. London: therapist in special needs education and lec-
Jessica Kingsley. turer at music therapy department of ArtEZ
Nagler, J.C. (2011). Music therapy methods School of the Arts, applying music techno-
with handheld music devices in contem- logy in music therapy is her goal.
porary clinical practice: A commentary. Email: M.groothuis@ArtEZ.nl
172
ADoe-AN INTerCuLTurAL WorKGroup oN MuSIC THerApY

Eckhard Weymann
Hamburg University of Music and Theater, Germany
Karin Schumacher
University of the Arts Berlin, Germany
Abstract mediating and adapting music therapy styles

from middle Europe, e.g. psychodynamic-
ADOE, Asian-German-Austrian Workgroup developmental approaches, to Asian cultu-
on Music Therapy meets every year in Berlin res; terminology: translation of important
or Hamburg, Germany, to discuss intercultu- terms; cultural backgrounds: religion, his-
ral questions concerning music therapy. tory, ways of life, traditions of dealing with
Which cultural similarities and differences health, illness and death; institutions for
can we find between music therapists from education and public health; questions con-
Asia and Europe. Methodical as well as ter- cerning the development of music therapy
minological questions are looked at from dif- as a profession in different countries and
ferent cultural perspectives. cultures.
establishing a workgroup Invitation to a roundtable discussion
On the occasion of professional journeys to The group presents some results and invites
Asian countries, and the support of students interested participants to a discussion.
from Asia in German and Austrian music
therapy training programs the professors Topics include; transcultural challenges of
Karin Schumacher and Eckhard Weymann Asian students in Europe, new perspectives
became interested in intercultural topics on professional identities of music thera-
concerning the profession. As participants of pists, possibilites for mutual learning with
the WFMT-Congress in Seoul, South Korea in regard to cultural diversity.
2011 they conceived the idea to establish
the workgroup ADOE. Together with collea-
references
gues, music therapists and students, from
Japan, Korea, China, Thailand and from Eu-
Haag, A. (2011). Versuch über die moderne
ropean Countries the group discusses ques-
Seele Chinas. Giessen: Psychosozial-Verlag.
tions relevant to studying, practicing and
Okazaki-Sakaue, K. (2008). Kulturschock! Und
researching music therapy.
dann?
Zur musiktherapeutischen Ausbildung asia-
Intercultural challenges
tischer Studenten im westlichen Kultur-
kreis. Musiktherapeutische Umschau, 29
The topics of the annual meetings of the
(1), 42-27.
group are (amongst others): possibilities of
173
Shiobara, S. (2010). Kultur-Mensch-Musik- teacher and supervisor is professor for music

therapie. Interkulturelle Aspekte im Um- therapy at Hamburg University of Music and
gang mit Emotionalität. Musiktherapeu- Theater, Germany.
tische Umschau, 31(1), 5-13. DOI: 10. Email:
13109/muum.2010.31.1.5 eckhard.weymann@hfmt-hamburg.de
About the Authors Dr. Karin Schumacher, music therapist, is

professor for music therapy at University of
Dr. eckhard Weymann, music therapist, music the Arts Berlin, Germany.
174
MuSIC THerApISTS IN ISrAeL:

THeIr CLINICAL AND THeoreTICAL orIeNTATIoN
Chava Wiess
David Yellin College, Jerusalem, Israel
Ayelet Dassa
Bar-Ilan University, Ramat-Gan, Haredi College, Jerusalem, Israel
Avi Gilboa
Bar-Ilan University, Ramat-Gan, Israel
Background more and less experienced MTs in almost all

fields of inquiry. Generally, most of the less
Since the early 1980s, when the first music experienced MTs were open to more techni-
therapy training programs in Israel were foun- ques, were proficient with more instruments,
ded, music therapy in this country has develo- and uses more music in their work.
ped tremendously and includes approximately
700 music therapists (MTs) working in an ever- Conclusion
growing number of educational, medical, and
mental health institutions. The results of this study enable a broad
perspective on the progress of music the-
objective rapy in Israel which is of great importance to
us as heads of music therapy programs. Such
In this presentation, findings from a study on information can be important to MTs from
MYs in Israel, their fields of interest and their other countries as well. We will use the mul-
clinical and theoretical orientation will be tinational forum of the MTs attending our
presented. In particular, differences between presentation to promote a wider dialogue
the more and less experienced MTs will be regarding developments in music therapy,
explored. and possible "generation" differences in other
countries.
Method
Key words: Music therapy, professional iden-
107 MTs answered an internet survey exa- tity, clinical orientation, professional changes
mining (1) the instruments and the techni- and advances.
ques they use; (2) the populations they
treat; and (3) their theoretical orientation. references
results Amir, D. (2012). My music is me: Musical

Presentation as a way of forming and
There are significant differences between sharing identity in music therapy group.
175
Nordic Journal of Music Therapy, 21 ( HY- Jenkins, C. (2013). Functional musicianship

PERLINK "http://www.tandfonline.com/ of music therapy students: Entering in-
toc/rnjm20/21/2"2), 176-193. ternships as perceived by internship di-
Amitay, Y. (2011). Attitudes of teachers and rectors. Music Therapy Perspectives
paraprofessionals in special education 31(2), 175-180.
schools towards music therapy. Unpublis- Sabbatella, P. L. (2004). Music therapy in
hed thesis, Bar-Ilan University. [In Hebrew]. Spain. Voices Resources. Retrieved Ja-
Blachman, Y. L. (2012). The narrative of cho- nuary 08, 2015, from http://testvoices.
osing a population to work with. In D. uib.no/community/?q=country/months-
Amir & C. Elefant (Eds.), Listen to my pain_march2004
voice: New research studies in music the- Sheehan, K. B. (2001), E-mail survey res-
rapy (pp. 257-283). Kiryat Bialik: Ach Pu- ponse rates: A review. Journal of Compu-
blishers. [In Hebrew]. ter-Mediated Communication, 6(2) doi:
Bonde, L. O. (2007). Music therapy in Den- 10.1111/j.1083-6101.2001.tb00117.x
mark. Voices Resources. Retrieved Ja- Silverman, M. J. (2007). Evaluating current
nuary 08, 2015, from http://testvoices. trends in psychiatric music therapy: A
uib.no/community/?q=monthdenmark_j descriptive analysis. Journal of Music
anuary2007 Therapy 44(4), 388-414.
Clark, M. E., & Kranz, P. (1996). Attitudes and Trondalen, G., Rolvsjord, R., & Stige, B. (2010).
experiences of new music therapy stu- Music therapy in Norway – Approaching
dents. Journal of Music Therapy, 33(2), a new decade. Voices Resources. Retrie-
124-146. ved January 14, 2015, from http://tes-
Dassa, A. (2012). The narrative of female tvoices.uib.no/community/?q=country-o
music therapists regarding their choice to f-the-month/2010-music-therapy-nor-
work with Alzheimer's patients. In D. way-approaching-new-decade
Amir, & C. Elefant (Eds.). Listen to my
voice: New research studies in music the- About the Authors
rapy (pp. 230-256). Kiryat Bialik, Israel,
Ach Books. [In Hebrew]. Dr. Chava Wiess, is Head of the music the-
Goodman, K. D. (2011). Music therapy edu- rapy program at David Yellin College, Jerusa-
cation and training: From theory to prac- lem, Israel.
tice. Springfield, Illinois: Charles C. Tho- Email: chavaw@dyellin.ac.il
mas Publication.
Gottfried, T. (2015). Israel - Country report Dr. Ayelet Dassa, is a lecturer in the MA
on professional recognition of music the- music therapy program at Bar-Ilan Univer-
rapy. Approaches, 7(1), 159-160. sity, Israel. Head of the music therapy pro-
Jackson, N. A. (2003). A survey of music the- gram at the Haredi College, Jerusalem, Israel.
rapy methods and their role in the treat-
ment of early elementary school children Dr. Avi Gilboa is Head of the Music Depart-
with ADHD. Journal of Music Therapy 40 ment and of the music therapy program at
(4), 302-323. Bar-Ilan University, Israel.
176
SoFTWAre BASeD AND AuToMATIZeD MICroANALYSIS

IN MuSIC THerApY ASSeSSMeNT For CLINICAL prACTICe
Thomas Wosch
University of applied sciences Würzburg-Schweinfurt, GERMANY / EU
Microanalysis in music therapy focused in llenge is the theoretical frame including theo-
the very beginning in research of micro-pro- ry of music therapy, psychology and neuros-
cesses in clinical practice of music therapy cience. Finally interdisciplinary perspectives
(Wosch, Wigram, 2007). In a very small num- of software based music therapy assessment
ber first tool of music therapy assessment including biomarkers will be presented and
for clinical practice was included (Wigram, discussed.
2007). Up to date the number of microanaly-
sis music therapy assessment methods for references
clinical practice increased to the number of
five (Wosch, Erkkilae 2016). All are observa- Baker, F. (2007). Using Voice Analysis Soft-
tional methods and need training to learn ware to Analyse the Sung and Spoken
these methods for application in clinical Voice. In. Wosch, T. & Wigram, T. (eds.).
practice. However, in 2007 there were also Microanalysis in Music Therapy. London
first automatized microanalysis methods and Philadelphia: Jessica Kingsley Publis-
used in music therapy research (Baker, 2007, hers, 107-119.
Erkkilae, 2007). One method (MTTB) was Erkkilä, J. (2007). Music Therapy Toolbox
based in Music Information Retrieval (Erkki- (MTTB) – An Improvisation Analysis Tool
lae, 2007). This method has been further de- for clinicians and Researchers. In. Wosch,
veloped and applied in pilots in clinical T. & Wigram, T. (eds.). Microanalysis in
practice of music therapy in developmental Music Therapy. London and Philadelphia:
disorders, in adults with psyche disorders Jessica Kingsley Publishers, 134-148.
(Jonscher, Gruschka 2011) and in health pre- Magee, W.L. & Wosch, T. (2017, in print).
vention in industry. These methods (MTTB-B, Technology developments in music the-
CoGeEmo) assess musical emotions and so- rapy. In. Federici, S., Craven, M. & Pec-
cial behavior in music (i.e. in clinical improvi- chia, L. (eds.). Assistive Technology Assess-
sations). Especially social behavior (interac- ment Handbook.
tion) fits a need of clinicians (Streeter, 2010). Wosch, T. & Wigram, T. (eds.) (2007). Micro-
The paper will present and discuss the state analysis in Music Therapy. London and
of the art of these automatized assessment Philadelphia: Jessica Kingsley Pubilshers.
tools. This includes also the need of more re- Wosch, T. & Erkkilä, J. (2016). Microanalysis
search and development in gaps of reached in objectivist research. In. Wheeler, B. &
probability and validity. One challenge in this Murphy, K. (eds.). Music Therapy Rese-
is the difference between algorithm and com- arch. 3rd edition. New Braunfels: Barce-
plex flexible human perception. Another cha- lona Publishers, 578-588.
177
About the Author
Thomas Wosch, Prof. Dr. phil., Director of

Master in Developmental and Dementia
Music Therapy, R&D foci microanalysis, as-
sessment, dementia care and prevention.
Email: thomas.wosch@fhws.de
178
MeDIAL TeMporAL AND FroNTAL NeuroNAL

NeTWorKS IN AuToBIoGrApHICAL MuSICAL
MeMorIeS IN DeMeNTIA
Thomas Wosch
University of applied sciences Würzburg-Schweinfurt, Germany
Didier Grandjean
University of Geneva, Switzerland
Young-Eun Claire Lee

Several neuroimaging studies have revealed been reported in patients with fronto-tem-
that the temporal medial regions including poral degeneration who present an increa-
both amygdala and hippocampus are modu- sed gray matter volume in the left posterior
lated by musical emotions. The activities in hippocampus (Fletcher et al., 2013), indica-
these brain regions, well known in the con- ting that the emotional attachment to music
text of memory processing, are modulated might be related to the hippocampus vo-
by unpleasant or negative musical emotions lume, itself, together with the medial pre-
(Koelsch et al., 2006; Lehne et al., 2014) and frontal cortex, subserving a possible retrieval
by pleasant music (Salimpoor et al., 2013). of related autobiographical memories. These
These results suggest that musical emotions aspects will be discussed in the light of re-
might induce an implicit and/or explicit recent neuroimaging studies and of preserved
presentations of particular autobiographical areas of brain function of musical memory
memories related to music. The medial pre- and therapy in dementia (Jacobsen et al.,
frontal cortex has also been reported being 2015, Schall et al., 2015). Extensive clinical
crucial in the context of explicit autobiogra- evidence suggests preserved musical me-
phical memories induced by familiar music mory until late stage AD (Muthesius et al.
(Janata, 2009). Patients studies have revea- 2010, Wosch 2011). A neural model will be
led that some syndromes induce an impair- discussed to explain the complex relations-
ment recognition of musical emotions while hips between autobiographical memories
others can induce an increased sensitivity to and musical emotions with its application in
music. On the one hand, patients with fronto- biography oriented music therapy in demen-
temporal degeneration have shown an im- tia.
paired recognition of musical emotions co-
rrelated to the gray matter loss in the medial references
temporal lobe structures (Omar et al., 2011).
On the other hand, musicophilia, characte- Frühholz, S., Trost, W. & Grandjean, D. (2014).
rized by a strong interest in music, has also The role of the medial temporal limbic
179
system in processing emotions in voice About the Authors

and music. Prog Neurobiol. 2014 Dec;
123: 1-17. Thomas Wosch, Prof. Dr., Director of Master
Lee, C., Williams, D.W. & Anderson J.F.I. in Developmental and Dementia Music The-
(2016). Frontal deficits differentiate pro- rapy, R&D foci microanalysis, assessment,
gressive surpranuclear palsy from Parkin- dementia care and prevention.
son’s disease. Journal of Neuropsycho- Email: thomas.wosch@fhws.de
logy, 10, 1-16.
Muthesius, D., Sonntag, J., Warme, B. & Falk, Didier Grandjean, Prof. Dr., Director of Neu-
M. (2010). Musik – Demenz – Begegnung roscience of Emotion and Affective Dynamic
(music – dementia – interpersonal rela- Lab (NEAD), comprehensive research in neu-
tionship). Frankfurt: Mabuse. roscience and psychology of emotion.
Wosch, T. (2011) (ed.). Musik und Alter in
Therapie und Pflege (Music and Older Young-eun Claire Lee, Dr., ongoing research in
Adults in Therapy and Care). Stuttgart: therapeutic songwriting in brain injury and spi-
Kohlhammer. nal cord injury, in dementia care and caregivers.
180
Proceedings of the 15th WFmt World congress of music therapy. tsukuba/Japan. July 4-8, 2017
Latin
america
181
mUSic tHeraPY eDUcatiOn in BraZiL: anaLYZinG traininG

cOUrSeS’ cUrricULUmS
Lázaro Castro Silva Nascimento
State University of Paraná, Brazil
Noemi Nascimento Ansay

State University of Paraná, Brazil
introduction data and seeks, from its reorganization, to

bring new readings and understandings about
Brazilian music therapy began to take shape the object studied.
at least 40 years ago (Carvalho, 1975) with
the creation of the first music therapy trai- Two steps were followed in this investiga-
ning course in the state of Rio de Janeiro in tion: 1) A survey of active undergraduate
the 1970’s. The number of training courses music therapy courses in Brazil using the
has increased over the years. Nowadays, Brazilian online platform e-MEC (a public
there also are some post graduate courses platform with graduation courses data); 2) a
in music therapy, which are planned for trai- search for the curriculums offered in the dif-
ned professionals in the healthcare or music ferent institutions, which was done directly
area. Even after all these years and the ex- throughout virtual pages, fan pages of social
pansion of music therapy in Brazil, the music networks of the Institutions of Higher Edu-
therapist profession is not yet regulated in cation and in direct contact with students
the country. However, Brazilian music thera- and coordinators of the courses. The curri-
pists can receive a register number by an as- culums were analyzed according to: 1) credit
sociation after they graduate, allowing their hours; 2) classroom disciplines (theoretical
practice. subjects) and 3) training internship activities
offered in the courses.
Earlier music therapy training in Brazil inclu-
ded fieldowrk like Volpi (2006), studies of results
music therapy professors, the clinical musi-
cality of the music therapist (Piazetta, 2006). We found six (6) music therapy undergra-
However, the goal of this research was to duate courses in Brazil: three (3) in the sou-
bring a first look on graduation courses’ cu- theastern region (São Paulo, Rio de Janeiro
rriculums in music therapy in Brazil. and Belo Horizonte), two in the southern re-
gion (Curitiba and Porto Alegre) and one in
method the midwestern region (Goiânia). Half of
these courses are offered in private univer-
This is a documentary research. According to sities and the other half in public universi-
Sá-Silva, Almeida and Guindani (2009) docu- ties. All courses are 8 semester, or 4 years,
mentary research operates with primary long with a total of 2400 - 3480 semester
182
hours. In the public universities - the courses Carvalho, D. H. (1975). A musicoterapia e o

are housed under the Area of Arts or Music. seu desenvolvimento no Rio de Janeiro.
But in Faculdades Metropolitanas Unidas Boletim. ABMT, nº1, may. Retrieved from
(FMU), a private university, for example, the http://biblioteca-da-musicoterapia. com/
course is under the health area. biblioteca/arquivos/artigo//Doris%20Ho
yer%20de%201975.pdf
Diversity was observed among the training Piazetta, C. M. F. (2006). Musicalidade clinica
courses. While some institutions place gre- em Musicoterapia: um estudo transdisci-
ater emphasis on students' musical kno- plinar sobre a constituição do musicote-
wledge, even requiring knowledge before rapeuta como um ser musical clínico.
registering for the course -with specific skills MsC. Thesis Federal University of Goias,
testing- others focus more on "therapeutic" Goiania - Brazil.
training, regarding clinical management. Sá-Silva, J. R.; Almeida, C. D. & Guindani, J.
F. (2009). Pesquisa documental: pistas te-
Both kinds of institutions offer a clinic-school óricas e metodológicas. Rev. Bras. His. &
service. It means that the registered stu- Ciê. Soc. v1, n1.
dents can do an internship in music therapy Volpi, S. (2006). Razão e sensibilidade: ca-
and help the community. This is relevant to minhos para a formação do professor
bring music therapy to the population, vali- musicoterapeuta. MsC. Thesis Pontificia
dating its importance and its recognition as Universidade of Paraná.
a health promotion practice.
about the authors
Discussion
Lázaro castro Silva nascimento is Music
Reflection on music therapy training is es- therapy student (Unespar - Brazil), Gestalt
sential to think about the development and therapy psychologist and doctoral student at
recognition of the profession in Brazil and University of Brasilia.
also in the world. Email: lazarocsn@live.com
references noemi nascimento ansay is Music thera-

pist, PhD. in Education from the Federal Uni-
Brazil. Plataforma e-MEC. Retrieved from versity of Paraná and Professor at the State
http://emec.mec.gov.br/. University of Paraná.
183
FamiLY-centreD mUSic tHe raPY in tHe neOnataL

intenSiVe care Unit (nicU): cULtUre(S), cLinicaL Practice,
anD reSearcH in cOLOmBia
Mark Ettenberger, PhD, MA, NICU-MT
SONO - Centro de Musicoterapia, Hospital Centro Policlínico del Olaya,
Universidad Nacional de Colombia
Paper description try and culture. Family structures, social re-

lationships, and of course the music and
Preterm birth is a main cause for neonatal ‘musicking’ are all socially and culturally sha-
mortality and long-term morbidity around ped aspects that influence how MT in the
the world. The required hospitalization in NICU can be done, developed, and unders-
the Neonatal Intensive Care Unit (NICU) can tood. But also the larger structural frame-
be a very stressful life event for both the works need to be taken into account and
preterm babies and their parents (Carson et both clinical service and research need to be
al., 2015; Simmons et al., 2010). Music the- tailored individually to each hospital and
rapy (MT) is known to be beneficial for fos- NICU.
tering the self-regulation and development
of preterm babies and can help parents to Hereby, the main pillars of a family-centred
reduce stress and anxiety levels and improve MT approach in a NICU in Bogotá, Colombia,
their wellbeing in the NICU (Ettenberger, will be outlined and examined within the
Rojas Cárdenas, Parker & Odell-Miller, 2016; concepts of ‘culture-centered’ and ‘culture-
Ettenberger et al., 2014; Loewy et al. 2013). specific’ music therapy (Stige, 2002). Ecolo-
gical systems theory (Bronfenbrenner, 1994)
Recently, there is a growing interest in the will be used to make the more hidden as-
cultural structural factors that underlie how pects of MT in the NICU visible. The results
MT is provided in the NICU (Shoemark, of three recently conducted mixed-methods
2015). In Colombia, South America, music research studies in this NICU (Beltrán Ardila
therapy is an emerging profession and not a & Ettenberger, in press; Ettenberger et al.,
commonly used treatment in medical set- 2016, Ettenberger et al., 2014) will be used
tings or hospitals. Conducting research as to exemplify the potentials and challenges
well as piloting clinical practice with a va- when actively integrating the families to the
riety of populations in the NICU helped to therapy process.
formalize a MT service that is now active in
three important hospitals in Bogotá, the ca- conclusions
pital of Colombia. A focus of this paper will
lie upon stressing the need to consider the There is a mayor gap in addressing and ma-
social, cultural, and structural realities when king transparent the social, cultural and struc-
implementing such a service in a new coun- tural realities when discussing music therapy
184
in the NICU. However, these realities can thods pilot study including a randomized
have a major influence on the development, trial. Voices: A World Forum for Music
implementation and outcomes of clinical Therapy, 14(2), n.p.
practice and research in this area. Loewy, J.V., Stewart, K., Dassler, A-M., Telsey,
A., & Homel, P. (2013). The effects of
references music therapy on vital signs, feeding, and
sleep in premature infants. Pediatrics,
Beltrán Ardila, Y., & Ettenberger, M. (In 131(5), 902-918.
Press). Music Therapy Songwriting with Shoemark, H., & the WCMT 2014 NICU Music
parents of preterm babies in the Neona- Therapy Roundtable Group. (2015). Cultu-
tal Intensive Care Unit (NICU) – A mixed- rally Transformed Music Therapy in the
methods pilot study. The effects of music Perinatal and Paediatric Neonatal Inten-
therapy composition on bonding and sive Care Unit: An International Report.
wellbeing of parents in the Neonatal In- Music and Medicine, 7(2). n.p.
tensive Care Unit (NICU) – A Pilot Study. Simmons, L.V.E., Rubens, C.E., Darmstadt,
Carson, C., Redshaw, M., Gray, R., & Quigley, G.L., & Gravett, M.G. (2010). Preventing
M.A. (2015). Risk of psychological dis- preterm birth and neonatal mortality: Ex-
tress in parents of preterm children in ploring the epidemiology, causes, and in-
the first year: evidence from the UK Mi- terventions. Seminars on Perinatology,
llennium Cohort Study. BMJ, 5(12), 1-9. 34, 408-415.
Ettenberger, M., Odell-Miller, H., Rojas Cár- Stige, B. (2002). Culture-centered Music The-
denas, C., & Parker, M. (2016). Family- rapy. Gilsum, NH: Barcelona Publishers.
centred music therapy with preterm
infants and their parents in the Neonatal about the author
Intensive Care Unit (NICU) in Colombia –
A mixed-methods study. Nordic Journal mark ettenberger is the director of SONO –
of Music Therapy[online], doi:10.1080/ Centro de Musicoterapia (www.sono.la), the
08098131.2016.1205650. coordinator of the music therapy depart-
Ettenberger, M., Odell-Miller, H., Rojas Cár- ment at the Hospital Centro Policlínico del
denas, C., Torres Serrano, S., Parker, M., Olaya and a university lecturer for the M.A.
& Camargo Llanos, S.M. (2014). Music in Music Therapy at the Universidad Nacio-
therapy with premature infants and rheir nal de Colombia.
caregivers in Colombia – A mixed me- Email: mark.ettenberger@gmx.at
185
FOcaL mUSic tHeraPY in OBStetric (FmtO)

WitH teen PreGnancY
Lic. Gabriel F. Federico
Argentinian Centre of Music Therapy and Investigation in Neurodevelopment and
Obstetrics, Argentina
Twenty years of development in the clinical There are different situations that exist
treatment of different types of pregnancy around teen pregnancy. The most dangerous
promoting links between families and so- are the ones where the future mothers are
ciety supporting the new role. This programs under 16, or 11-12 years old girls, when their
focuses on prevention to reinforce mother- bodies are not sufficiently developed to han-
hood, helping to become a mother or the dle a pregnancy. In addition, it is also dange-
bonding with the newborn and the orienta- rous because of the impact the pregnancy
tion they need to help the baby develop in has on their consciousness about the real
each step of childhood. care the baby needs. The young person is
letting childhood go and comes into an adult
When we talk about teen pregnancy, we are world very quickly as a premature woman.
referring to two types of crisis; one inside
the other. Teenage Identity, and maternity FMTO, through different musical activities
with all the responsibilities that raising a and procedures, promotes links between
child involves. the families and society to support these
young women in this new role. The music
Focal music therapy in obstetrics (FMTO) has therapy programs focus on prevention at all
more than 20 years of development in the levels and are very important, especially
clinical treatment of different types of preg- those which reinforce motherhood, help to
nancies. This time we will share the working become a mother, foster the bonding with
model in different hospitals with teen preg- the new-born and the orientation they need
nancies. to help the baby develop in each step of
childhood.
In Argentina, one in six births is from teen
mothers, so music therapy has a new field references
to develop. When we talk about teen preg-
nancy, we are referring to two types of crisis; Blum, T. (Ed.). (1993). Prenatal perception,
one inside the other. Teenage Identity, and learning and bonding. London: Leonardo.
maternity with all the responsibilities which 1993.
are involved in raising a child. Chamberlain, D. (1998). The mind of your new-
born baby. California: North Atlantic Books.
The pregnancy interrupts all the projects that Clark M. E., McCorkle R. R., & Williams S. B.
the young woman may have in her life; mo- (1981). Music therapy assisted labor and
difying the path which that life takes. It is very delivery. Journal of Music Therapy. 18(2),
common to leave school in this condition. 88-100.
186
Deliège, I., & Sloboda, J. (1996). Musical be- challenges of fetal development. New
ginnings. Oxford: Oxford University Press. York: Freeman.
Federico, G. (2016) A musical journey through ——————. (1999). Life in the womb. The
pregnancy. Spain: Ob Stare. origin of health and disease. New York:
Federico, G. Music Helps Birth. International Promethean.
Music Society for Prenatal Development Ortiz, J. (1999). Nurturing your child with
(IMSPD) Newsletter. Manitowoc. Vol. 10, music. Kansas: Beyond Words.
n.º 3. Panthuraamphron Chairat. (!998). Prenatal
Federico, G. (1999). Music therapy and preg- infant stimulation program. Journal of
nancy, prenatal stimulation. Proceedings Pre- and Perinatal Psychology and He-
of 26th Canadian Music Therapy Con- alth. Geyserville, 12 (3-4). 1998.
gress. Toronto.
Federico, G. (2001). The importance of about the author
music in early childhood. International
Music Society for Prenatal Development Gabriel F. Federico is the Director of CA-
(IMSPD) Newsletter. Manitowoc, 11(2). MINO (Spanish acronyms) – Argentinian
Federico, G., & Whitwell, G. (2001). Music Centre of Music Therapy and Investigation
therapy and pregnancy. Journal of Pre- in Neurodevelopment and Obstetrics; he is
and Perinatal Psychology and Health. also the creator of The Mami Sounds Me-
Geyserville, 15 (4), 299-311. thod of Focal Music Therapy in Obstetrics
González, C. (1989). The music therapy-as- (FMTO), WFMT clinical practice commission
sisted childbirth program. Journal of Pre- member, writer and college professor in Ar-
and Perinatal Psychology and Health. gentina and Spain.
Geyserville, 4 (2). Email: contacto@gabrielfederico.com
Nathanielsz, P. (1992) Life before birth. The www.gabrielfederico.com
187
mUSic tHeraPY anD itS reLatiOnSHiP tO ScHiZOPHrenia:

a PiLOt StUDY at a reHaBiLitatiOn centre in triniDaD
Jamal J Glynn
MA (Music Therapy) Psychology Department, St. Ann’s Psychiatric Hospital, Trinidad
introduction groups. The group members were both out-

patients and inpatients males between the
This paper presents findings of a clinical pro- ages of twenty and sixty. Moreover, at the
ject which studied the effect of music the- beginning of the therapy, the music sounded
rapy over a period of 24 weeks on nine schi- disorganized, and individuals seemed to be
zophrenic clients who completed the Posi- within their own worlds.
tive and Negative Syndrome Scale (PANSS)
to evaluate their symptoms before and after Settings
the music therapy process.
At the Centre, music therapy sessions were
theoretical Background: Psychoanalysis conducted once weekly in the music therapy
room. The following musical instruments
The clinical work and the development of a were available: a glockenspiel, a small elec-
client therapist relationship in this pilot study tronic keyboard, and three djembes, acous-
is informed by psychoanalytical approaches, tic guitar, a steelpan, a snare drum, a crash
including early mother infant interaction such cymbal, and small percussion instruments.
as containment theory, attachment theory, Based on the music therapy assessment,
and object relation theory, addressing the two groups were chosen for music therapy,
client’s transference, unconscious and cons- each group constituted of five clients, and
cious processes. The client may be able to ex- one client did not complete the test. The
plore different facets of other relationships in psychiatrist who was the team leader inter-
their lives within a safe and trusting environ- viewed each client and together with the
ment. Another critical aspect of this approach music therapist as an observer completed
is that it helps to develop a better understan- the Positive and Negative Syndrome Scale
ding of the emotions and ambivalences that (PANSS).The therapist supervisor recom-
occur within the clinical process during the mended this test during the planning pro-
client therapist relationship. cess.
History results
Most clients who were referred to Music There is evidence that there were improve-
Therapy were diagnosed with schizophrenia, ments in each client. The test is divided in
suffering from psychosis, hallucinations, di- three scales: Positive Scale, Negative Scale,
sorganized thoughts, and had problems with and General Psychopathology Scale. The evi-
confidence, self-esteem, and interaction in dence displayed improvements regarding
188
their negative symptoms in areas of emotio- Gabbard, G. O., & Wilkinson, S. M. (2000). Ma-
nal withdrawal, poor rapport, passive/apa- nagement of Counter Transference with
thetic, social withdrawal, difficulty in abstract Borderline Patients. Northvale, New Jersey,
thinking, lack of spontaneity and flow of con- London: Jason Aronson Inc Publishers.
versation and stereotyped thinking. Gold, C., Solli H. P., Kruger, V., & Lie S. A.
(2009). Dose –response relationship in
conclusion music therapy for people with serious
mental disorders: systematic review and
The results suggest that music therapy can meta-analysis. Clinical Psychology Review
enhance a client’s way of being. The results 29, 193-207.
are a further indication that music therapy Gold, C., Heldal, T, O., Chen X., & Mossler T.
also enables clients to be more adventurous (2011) Music therapy for Schizophrenia
and that finding support from other mem- or Schizophrenia-like Illnesses. Cochrane
bers can increase their ability to relax in the Database of Systematic Reviews 12 Art.
company of others. Research focusing on No: CD004025. doi: 10.1002/14651858.
clients living in the Caribbean and therapeutic CD004025.pub3.
processes using the steelpan would contri- Odell-Miller, H., & Richards, E. (2009). Super-
bute to existing knowledge of music therapy vision of Music Therapy. London: Rou-
interventions within the mental health set- tledge.
ting by providing a Caribbean perspective.
about the author
references
mr. Jamal Jasani Glynn has been passionate
Ansdell, G. (1995). Music for life: Aspects of about exploring the use of the steelpan in
Creative Music Therapy with Adult Clients. music therapy since his MA training in the
London, Bristol, Pennsylvania: Jessica UK and he is the first registered music the-
Kingsley Publishers. rapist currently working within the psychia-
Bowlby, J., & Holmes, J. (1993). Attachment tric setting in Trinidad.
Theory. London: Routledge. Email: jamalglynn@hotmail.com
189
mUSic, DraWinG anD mOVement (micc) a metHOD

OF creatiVe interVentiOn in criSiS anD traUma
Mireya P. González
COANIQUEM - Chile
abstract involving music, drawing and movement

provide psychosocial support for those suf-
Victims of natural or man-made disasters, fering personal and socio-cultural loss. Ti-
such as earthquakes and fires, are vulnera- mely emotional and spiritual support can
ble to severe emotional distress, leading to determine the success of victims in overco-
other difficulties as they begin to rebuild ming the challenges of reconstructing their
their lives. Creative music therapy can sup- world.
port a positive process for personal and
community development following a disas- method
ter.
“Workshops for Self-Care and Personal De-
introduction velopment”, engage participants in dynamic
creative activities in a safe space. Three ses-
Following a natural or man-made disaster, sions, each with clear objectives, offer par-
when conditions of safety have been resto- ticipants an opportunity for non-verbal
red and basic needs taken care of, any acute expression and catharsis.
distress must be addressed or post-trauma-
tic stress syndrome can result. People may Session 1: Participants connect with their
suffer depression, hopelessness, and insom- emotions, feelings, and realize their need for
nia, among other conditions. Interventions catharsis. (Phase I). Session 2: Participants
involving music, drawing, and movement, become aware of personal and community
can provide individual or group support and strengths and resources (Phase II). Session
an opportunity for self-expression in a safe 3: In groups, participants discuss the value
nonverbal environment. Creativity allows an of community resilience and work together
outlet for emotions, and plays an important to find solutions (Phase III).
role in developing resilience and strengthe-
ning people’s ability to deal with trauma. The most vulnerable groups are seniors and
children, as they are often unable to express
Description their feelings and fears. Front line workers
(firefighters, healthcare workers, teachers,
“Creative Intervention in Crisis” (MICC), de- and police) are also at risk. Providing ele-
veloped in Chile following the February 2010 ments for musical expression using instru-
earthquake, is a method which provides ments, songs, stories, and body movement
emotional support for victims in crisis situa- with an emphasis on breathing techniques,
tions. Dynamic individual or group activities are very useful. Thus, the use of music and
190
other creative elements of expression will be tional Journal of Culture and Mental He-
carefully introduced according to the needs alth, 8(1), 34-45, DOI: 10.1080/17542
of clients and the natural process of trauma 863.2014.892519.
in each individual. Kaplan, F. (2007). Art therapy and social ac-
tion. London: Jessica Kinsley Publishers.
results Landau, J. (2004). Sistemas Familiares, 20
(3). El modelo LINC: una estrategia cola-
The opportunity to participate in music the- borativa para la resiliencia comunitaria
rapy sessions, using a protocol for crisis and http://www.linkinghumansystems.com/d
trauma intervention, can have a positive ocs/ModeloLINC.pdf
outcome for victims of natural or man-made Loewy, J., & Frisch, H. (2002) Caring for the
disasters. Making music, drawing, move- caregiver: The use of music and music the-
ment and breathing exercises, allow partici- rapy in grief and trauma. Silver Spring,
pants a natural outlet to freely share their MD: American Music Therapy Association
feelings and experiences in a supportive at- Carey, L. (2006). Expressive and creative arts
mosphere, whether in individual or group methods for trauma survivors. London:
sessions. Participants have reported that Jessica Kinsley Publishers
this environment allowed them to channel Sutton, J. (2002). Music, music therapy and
their worries and fears constructively, and trauma. London: Jessica Kinsley Publis-
resulted in lowering their anxiety levels. Ca- hers.
reful consideration of the cultural context Pavlicevic, M. (2003). Groups in music: Stra-
and religious beliefs of trauma victims are tegies from music therapy. London: Jes-
essential in achieving a sensitive and infor- sica Kinsley Publishers.
med intervention.
about the author
references
mireya Gonzalez, BFA, MTA, is the Coordi-
Guerd, N., Wheatley, A. & Casta, G. (2015). nator of the Music Therapy Department at
Does one trauma fit all? Exploring the re- COANIQUEM – Chile.
levance of PTSD across cultures, Interna- Email: en.musika@gmail.com
191
LeVeL OF enGaGement OF StUDentS in mUSicaL Practice

in a mUSic tHeraPY BacHeLOr'S PrOGram
Mariana Lacerda Arruda
UNESPAR, Brazil
Gislaine Vagetti
UNESPAR, Brazil
Claudimara Zanchetta
Recanto Tarumã, Brazil
abstract Self-determination uses empirical methods to

determine the internal resources of persona-
The objective of this quantitative research lity and self-regulation (1985). According to
was to determine the level of engagement this theory, three psychological needs are dis-
of students in musical practice in a Music cussed: the need for competence, autonomy
Therapy Bachelor's Degree Program. The fo- and emotional connections.
llowing references were used: theory of self-
determination, self-efficacy beliefs and flow For the elaboration of empirical research
theory. The instruments used were: profile data, the following questionnaires were
of the participants and flow experience re- adapted and developed by Araújo and Pic-
porting by Araújo and Pickler. The question- kler (2008): Profile of participants and Flow
naire was completed using the Likert scale. Experience.
Description Questionnaires were sent to 48 students

and 30 of them were completed. From the
Flow Theory describes the quality of the in- first questionnaire it was found that: accor-
volvement of people in activities performed ding to the most significant results, before
with great concentration and excitement. graduation it was found that 76% of the sub-
Csikszentmihalyi (1999) points out that these jects studied in private music schools and
states are generated by affective compo- 76% studied music for more than 5 years.
nents of motivation, which direct the execu- 40% studied music for 2 to 3 days a week
tion of an activity. and another 40% studied music 3 to 5 days
a week. 43% studied for 1 hour/ day and
The beliefs of self-efficacy, according to 36% studied 30 minutes/per day. 50% didn’t
Brandura (1997), influence the choices of study more because of the time dedicated
courses of action, in setting goals, in the to work. 56% have other musicians in the fa-
amount of effort and perseverance in the mily. From the second questionnaire, based
pursuit of goals. And a good performance on the Likert scale, with the following op-
depends on those elements. tions: never, rarely, often, almost always or
192
always it was found that most students when fluxo. Psicologia do envolvimento com a
studying the musical practice: occasionally vida cotidiana. Rio de Janeiro: Rocco.
lose track of time, always get the feeling of Deci, E. L., & Ryan, R. M. (1995). Intrinsic mo-
well-being, always experience feelings of joy, tivation and self-determination in human
always feel instant pleasure, always have the behavior. New York: Plenum.
desire to continue playing, always desire to
overcome challenges, often show satisfac- about the authors
tion with results, almost always realize that
his/her practice is becoming better, almost mariana L. arruda, Music Therapist, Profes-
always disconnect themselves from the out- sor at the State University of Parana – Brazil,
side world and always wish to play/sing even currently undertaking a Master's degree in
more. Education at the Federal University of Pa-
rana – Brazil.
references Email: marianalarruda@gmail.com
Araújo, R. C., & Pickler, L. (2013). Um estudo Gislaine Vagetti, PhD in Physical Education
sobre motivação e estado de fluxo na from the Federal University of Paraná and
execução música. In: ANAIS DO SIMCAM4 Professor at the State University of Parana -
– IV Simpósio de Cognição e Artes Musi- Brazil.
cais.
Bandura, A. (1997). Self-efficacy: The exer- claudimara Zanchetta, Music Therapist at
cise of control. New York: W.H. Freeman. Recanto do Tarumã Nursing Home.
Csikszentmihalyi, M. (1999). A descoberta do
193
KeePinG cOmmUnitY aLiVe tHrOUGH reSPOnSOriaL

SinGinG anD aFrO-cOLOmBian rHYtHmS
in GrOUP eXPerienceS
Juan Pablo Liévano Gamboa
Economist & Master in Anthropology. Universidad de los Andes, Colombia
.
Andrea Giraldo Soto
Music Therapist. Universidad del Salvador, Argentina
Diego Alejandro Torres Güiza

Psychologist & Master in Music Therapy. Universidad Nacional de Colombia
The creation of social connectedness and so- which there is music, where all of them are
cial capital are nowadays an important issue agents who are responsible for what hap-
in many contexts and new methodologies pens within that time. Therefore, during a
are arising. Today, many creative arts based music therapy session, the meaning of music
community intervention programs are being is constructed through interactions and exis-
designed, endorsed and implemented to sti- ting relationships established by the partici-
mulate the reconstruction of deteriorated so- pants who are part of that particular mu-
cial fabric. It is all about “doing” art to modify sicking. In this context, music has to be un-
the way people relate to others, mitigate an- derstood as a unique way of relating (Stige,
tagonistic relationships, and/or assume inter- 2003) where musicking can manifest and re-
action from different points of view. In this define social, natural and spiritual relations-
context, arts operate as a medium, a tool hips of a particular individual or community.
whose main purpose is to have an impact on In this framework, it is essential to concep-
people and somehow address and rebuild tualize music from an ecological perspective,
the deteriorated connections. Findings from where it behaves as a changing multidimen-
research conducted by Gomez (2015) con- sional environment that allows the expo-
clude that the effectiveness of these inter- sure, analysis and recreation of biological,
ventions depend greatly on collective psychological and sociocultural features of
participation and therefore music has a sig- the participants (Stige, 2003).
nificant potential to foster the recreation of
social fabric. It is also important to understand that
music, and its meaning, are born within spe-
Small (1999) proposes the action of "music- cific historical and cultural contexts, there-
king”, where the musical act consists of any fore, many musics exist. An important de-
form of participation within a musical per- cision for a music therapist (MT) is the choi-
formance. It is a conscious action of the pe- ce of a particular kind of music for a session.
ople who are present at the moment in Musicking interventions yield better results
194
when the interpreted music reflects the social connectedness and to rebuild deterio-
identity or is an important reference for the rated relations. Their music is composed of
specific individual or community, since indi- a main melody responsorial singing choruses
viduals have been immersed in this specific and syncopated percussive polyphonies.
kind of music since infancy (Ansdell & Stige,
2008). This choice greatly facilitates the re- references
construction of social values for the MT. If
community/group musicking is to be guided Gómez, C. (2015). La incorporación del ritual
by a MT it is imperative that (s)he is able to del pagamento en una intervención de
take into account the cultural significance of musicoterapia, para contribuir a la cali-
music within the community/group’s con- dad d vida del grupo de jóvenes despla-
text. zados de la Fundación Arte Sin Fronteras
del municipio de Soacha. Bogotá: Tesis de
Music and its meaning are naturally reprodu- Maestría, Universidad Nacional de Co-
ced mimetically within specific historical and lombia.
cultural ecosystems. Therefore, mimesis is at Small, C. (1998) Musicking: The meanings of
the very core of musicking where the mimetic performing and listening. Middletown,
human act cannot be reduced to the mere ac- CT: Wesleyan University Press
tion of copying or imitating. It necessarily de- Stige, B. (2002). Culture-centered music the-
notes a physical action of performative nature rapy. Gilsum, NH: Barcelona
(Wulf et al.; 1992). Consequently, to address Wulf, C. (1992) Mimesis: Culture-Art-Society.
work with a community/ group, mimesis is a Berkeley and Los Angeles, California: Uni-
valuable methodology through which the MT versity of California Press.
can learn to interpret, understand and parti-
cipate in musicking so that (s)he can later on about the authors
further develop the ability to promote and/or
guide the transformation of emotions and D.a. torres Güiza, PS, MT, professor at the
the re-definition of prior experiences to meet Music Therapy Masters program, Universidad
an established objective. Nacional de Colombia.
Email: datorresgu@unal.edu.co
The Afro-descendants of the Colombian Pa-
cific Coast have reproduced social binding J. P. Lievano Gamboa, social scientist and mu-
community rituals since the XVII century. sician, currently undergoing a deep immer-
The “Arullos” (lullabies) are social events sion in Afro-Colombian culture and human
where individuals come together to drum, right issues.
sing and praise catholic saints from dusk
until sunrise. These rituals, where food is a.P. Giraldo Soto, Co-Director of SONO -
served, neighbors come together and music Music Therapy Center, current president of
does not stop, have always served to create the Colombian Music Therapy Association.
195
interSHiP Pratice WitHin a center FOr reSearcH

anD cLinicaL traininG in mUSic tHeraPY
Clara Marcia Piazzetta, Noemi Nascimento Ansay,
Sheila Beggiato, Rosemyriam Cunha, Mariana Lacerda Arruda
UNESPAR, Brazil
abstract are referred to the CAEMT by professionals

and by Social, Health and Special Education
This study presents the data collected at a Institutions. In 2015, 45 patients were assis-
Center for Research and Clinical Training in ted per week, in groups or individually. These
Music Therapy in a public University in Bra- sessions were carried out by 3rd and 4th year
zil. This work aims to reflect the importance students, under the supervision of four tea-
of this Center for the construction of kno- chers who were also music therapists. The
wledge, research, professional qualification demands were for people in need of neuro-
and community assistance. logical rehabilitation (14.28% of total ses-
sions); mental health disorders (5.7%); de-
Description mands on the social context (8.5); educatio-
nal demands, (28.5%); and Pervasive Deve-
The three pillars that make up the Brazilian lopmental Disorder/Autism (42.85%). From
Higher Education are: Education, Research, this report, the objective of this work is to re-
and Extension. For this purpose, the Bache- flect on the importance of a Clinical Center
lor's Degree Program in Music Therapy from within the Uni- versity for the construction of
the State University of Paraná (Campus Curi- knowledge and professional qualification of
tiba II - FAP) has the Center for Research and the music therapist.
Clinical Training in Music Therapy Prof. Clo-
tilde Leinig - the “CAEMT”, which has provi- references
ded since 1976, an academic space suitable
for the training of students, the conduction UNESPAR-FAP. (2014). Matriz Curricular do
of research and community assistance. It Curso de Musicoterapia. Website: http:/
should be noted that all sessions are part of /www.fap.pr.gov.br/arquivos/File/CO-
the academic internship program. The objec- MUNICACAO_2014/Matriz_Curricular_M
tives of the CAEMT are: a) to provide music usicoterapia_2014.pdf
therapy care to society in general; b) to give _______________. (2014). Regulamento do
pedagogical support to the Undergraduate Centro de Atendimento e Estudos em Mu-
and Postgraduate Degree Programs in Music sicoterapia.Website:ttp://www.fap.pr.
Therapy; c) to develop studies, extension pro- gov.br/arquivos/File/COMUNICACAO_20
jects and technical-scientific research. Under 15/Regulamentos/regulamento_caemt_
this view, the CAEMT has met different de- 2014.pdf
mands/needs of the community. Participants
196
about the authors degree in education from the Federal Uni-

versity of Paraná and a Professor at the State
clara márcia Piazzetta, Music therapist, University of Paraná.
Master of Music from the Federal University
of Goiás and Professor at the State Univer- Sheila Beggiato, Music therapist, Master’s
sity of Paraná. degree in education from the Pontificia Uni-
Email: clara.marcia@gmail.com versidade Católica and Professor at the State
University of Paraná.
noemi ansay, Music therapist, PhD in Educa-
tion from the Federal University of Paraná and rosemyriam cunha, Music therapist, PhD in
Professor at the State University of Paraná. education from the Federal University of Pa-
raná and Professor at the State University of
mariana arruda, Music therapist, Master's Paraná.
197
reSearcH cOnDUcteD BY BraZiLian mUSic tHeraPiStS

in DOctOrate PrOGramS, a LOnGitUDinaL StUDY
Claudia Regina de Oliveira Zanini
Federal University of Goiás - UFG, Brazil
Clara Márcia Freitas Piazzetta

State University of Paraná - UNESPAR, Brazil
introduction to identify the relationship between the re-

searchers field of occupation and knowledge
The insertion of music therapists in Stricto areas of the graduate programs. In Brazil
Sensu Postgraduate Programs in Brazil is re- the classification of the areas of knowledge
cent, beginning in the late 1990s. Thus, so has eminently practical purpose, aiming to
far there are few studies illustrating the re- provide a body of information that acts in
ality of research in music therapy in Brazil. science and technology, an agile and func-
During the X Brazilian Symposium on Music tional way to aggregate their information.
Therapy (Porto Alegre, 2000), the first survey This document, constructed in the 1950s by
was presented with limited data due to the CNPq (National Coordination of Scientific
small number of studies that met the criteria and Technological Development, a govern-
of scientific research. For Bruscia (2000: 247): ment agency responsible for promoting
"research is a systematic and self-monitoring scientific and technological research in the
investigation that leads to a discovery or a country) was superficially expanded with the
new insight". Therefore, research results can inclusion of the "other" category only. The-
contribute to confirm or alter an existing refore, Music Therapy is not included in this
practice or knowledge. The construction of table.
knowledge in music therapy has been a fre-
quent area of study. From Gaston, 1968, to methods and results
Aigen, 2014, it has been recognized the im-
portance of the three pillars that relate and This is a documental research with quantita-
enhance the theoretical field of the profes- tive-qualitative approach, which is based on
sion: research, clinical practice and theory. data available in the Lattes Platform Curri-
The knowledge of what is being developed cula (CNPq). The methodological design was
by Brazilian research music therapists provi- drawn from the curriculum of Brazilian mu-
des an overview of music therapy studies in sic therapists followed four stages and had
Brazil. This study aims to present an over- the following inclusion criteria, the presence
view of the research conducted by doctoral of the word “music therapy” in the title, the
level Brazilian music therapists in graduate keywords or abstract; and the author have a
programs, completed from January 2000 to music therapist degree, bachelor or specia-
June 2016. This investigation the scientific list academic training recognized in the
production arising from these studies strived country. The research steps covered the lo-
198
cation of the curriculum, identification of the research of music therapists are present
the area of occupation, and the quantifica- in different areas of knowledge. In-depth stu-
tion of publications. When researching the dies on music therapy are few. This may occur
subject of music therapy, 714 curricula were because there are no specific music therapy
found in which 49 doctoral level music the- programs in the country.
rapists were identified. Then, 27 did not use
the Word “music therapy” and, 22 were sui- references
ted in the inclusion criteria. The data analy-
sis considered the area of knowledge of the Aigen, K. (2014). The Study of Music The-
graduate programs and the area of applica- rapy: Current Issues and Concepts. Edi-
bility of music therapy developed by the tora Routledge.
music therapist researcher. The areas of kno- Bruscia, K. (2000). Definindo Musicoterapia.
wledge of the graduate programs identified Rio de Janeiro: Enelivros.
were Health Sciences (45%), Human Scien- Gaston, E. T. (1968). Tratado de Musicotera-
ces (32%), Music, Letters, Communication pia. Buenos Aires: Paidós.
and Semiotics (23%). The areas of applicabi-
lity developed by the music therapist rese- about the authors
archer were: Mental Health (27%), Hospital
área (23%), Theory of Music Therapy (18%), claudia regina de Oliveira Zanini, MT. PhD
Neurosciences (9%), Education (5%), Health in Health Sciences and Master in Music
Promotion (9%), Protocols in Music Therapy (UFG). Chair, Research and Ethics Commis-
(5%) and Women's Health (4%). sion (WFMT). Focuses on Cardiology and Ge-
rontology.
conclusion Email: mtclaudiazanini@gmail.com
Most of the studies were conducted in health clara marcia Freitas Piazzetta, MT. Master
science programs with research on mental in Music (UFG). Research line: Music The-
health. In Brazil, music therapy is not recog- rapy and Neuroscience.
nized as an area of knowledge by CNPq. Thus, Email: clara.marcia@gmail.com.
199
North
america
200
eXPLoriNG aN iNteGraL UNDerStaNDiNG

oF eViDeNce-BaSeD mUSic theraPY Practice
Brian Abrams, PhD, LCAT, LPC, MT-BC
Montclair State University, USA
In response to a pervasive trend across a wide pective for another, or for overshadowing and
array of health care professions (Sackett, Ro- obscuring one perspective with one or more
senberg, Muir Gray, Haynes, & Richardson, of the others, impeding the advancement of
1996), the music therapy profession has the music therapy field's own evidence base
sought to advance itself by promoting Evi- (Abrams, 2014; Aigen, 2015). Thus, the pur-
dence-Based Practice (EBP) of music therapy pose of this presentation was to illustrate a
(American Music Therapy Association, 2005). framework based upon four distinct episte-
The extant literature on music therapy prac- mological perspectives (Wilber, 2001) on evi-
tice, theory, and research provides a range of dence-based music therapy practice that
very different perspectives on what may together represent an integral understanding
count as the "evidence" upon which practice (Abrams, 2010).
is based (e.g., biomedical, cognitive-behavio-
ral, psychodynamic, existential-humanistic, references
music-centered, and holistic orientations; ob-
jectivist and interpretivist research methods; Abrams, B. (2010). Evidence-based music the-
etc.). Furthermore, a close examination of the rapy practice: An integral understanding.
core elements in some of the more promi- Journal of Music Therapy, 47 (4), 351-379.
nent definitions of EBP reveals the possibility Abrams, B. (2014, August). Letter to the edi-
for an inclusive understanding, potentially tor. Music Therapy Perspectives. Retrieved
embracing the full range of perspectives on on October 1 2015 from http://mtp.ox-
evidence for music therapy practice (Bruscia, fordjournals.org/content/early/2015/08/0
2014). In spite this diversity, however, the 5/mtp.miv026.extract (dpi: 10.1093/mtp/
inter-relationships among these different miv026)
perspectives on evidence, and how each in- Aigen, K. (2015). A critique of evidence-based
forms music therapy practice, have not been practice in music therapy. Music Therapy
explored and organized into a coherent fra- Perspectives. Retrieved October 1 2015 from
mework wherein each perspective is conside- http://mtp.oxfordjournals.org/content/early/
red on balanced, equal grounds along with 2015/04/08/mtp.miv013.abstract (doi:
each of the others. Without such a frame- 10.1093/mtp/miv013)
work, the endeavor to "locate" a particular American Music Therapy Association. (2005,
perspective with respect to others, as well as November). Motion on Research Strategic
to promote productive dialogs among these Priority passed by the Board of the Ameri-
various perspectives, can become problema- can Music Therapy Association, annual
tic, and may be accompanied by certain risks, conference of the American Music Therapy
such as the possibility for mistaking one pers- Association. Orlando, Florida.
201
Bruscia, K. E. (2014). Defining music therapy (3rd rapy practice, based upon four distinct pers-
Ed.). University Park, IL: Barcelona Publishers. pectives; it further presented information on
Sackett, D. L., Rosenberg, W. M. C., Muir Gray, how an integral understanding of evidence-
J. A., Haynes, R. B., & Richardson, W. S. based music therapy practice can inform
(1996). Evidence based medicine: What it everyday clinical music therapy work.
is and what it isn't. British Medical Journal,
31, 71-72. about the author
Wilber. K. E. (2001). A theory of everything.
Boston: Shambhala. Brian abrams has been a music therapist since
1995, with experience across a wide range of
Session overview clinical contexts. He currently serves as coor-
dinator of music therapy at Montclair State
The session presented an understanding of University.
the significance of evidence-based music the- Email: abramsb@montclair.edu
202
BUiLDiNG YoUr ScoPe: eXPaNDiNG YoUr cLiNicaL eXPertiSe

Debbie Bates
Cleveland Clinic Arts and Medicine Institute, Cleveland, OH, USA
Annie Heiderscheit
Augsburg College, Minneapolis, MN, USA
clinical scenario education requirements for music therapists.

Music therapists only provide services within
Consider this: For the past two years, Caroline the scope of practice that reflects his/her
(a new professional) has been working with level of competence. However, the music the-
children diagnosed with autism spectrum di- rapy profession is not defined by a single
sorders. She applies for a full-time job provi- music intervention or experience, but rather
ding music therapy for adults being treated a continuum of skills sets (simple to complex)
for cancer. She thinks she would enjoy this that make the profession unique. This unique
work, although she is uncertain about wor- continuum also adds to the complexity of as-
king with this clinical population. Does this sessing competence, yet competence is an
scenario raise any concerns? If so, what? ethical and legal imperative.
Professional competence & scope of practice code of ethics and competence

Competence is defined as “the ability to do
one’s job properly” (Raven & Stephenson, The first item in the AMTA (2014) Code of
2001). Scope of practice is more difficult to Ethics asserts, "The MT will perform only
define, as a universal definition does not those duties for which he/she has been ade-
exist; among healthcare professionals it may quately trained, not engaging outside his/her
refer to competence, standards of practice, area of competence" (1.1). Additionally, we
or a legal base of practice (White, Oelke, Bes- are compelled to be aware of personal limi-
ner, Doran, Hall, & Giovannetti, 2008). The tations, problems, and values that might in-
American Music Therapy Association (AMTA) terfere with our professional work and aspire
and Certification Board for Music Therapists to strive for the highest standards in our work
(2015) state that the music therapists’ scope (AMTA, 2014). Competence is comprised of
of practice outlines the knowledge, skills, abi- practical and theoretical knowledge, cogni-
lities, and experience for qualified clinicians tive skills, abilities, behaviors, judgment, self-
to practice safely and effectively, applies es- awareness, and values (Raven & Stephenson,
tablished standards of clinical practice wi- 2001; Dileo, 2000). Competence is challen-
thout risk of harm to the public, defines the ging because it can be difficult to assess. The
potential for harm by individuals without for- practice of music therapy is broad; music the-
malized music therapy training and creden- rapists’ goals and interventions are influen-
tials, and describes the education, clinical ced by clinical populations, settings, or
training, board certification, and continuing individuals’ needs, areas and levels of prac-
203
tice, theoretical orientation, and ranges of ex- tification Board for Music Therapists.
perience (Dileo, 2000). Music therapy educa- (2015). Scope of practice. Retrieved from
tion and clinical training within the United http://www.cbmt.org/
States covers a spectrum of clinical popula- American Music Therapy Association. (2014).
tions and music therapy methods, but it is dif- Code of ethics. Retrieved from http:// www.
ficult to address the full breadth and depth of musictherapy.org/about/ethics/
these topics within a single training curricu- Dileo, C. (2000). Ethical thinking in music the-
lum. rapy. Cherry Hill, NJ: Jeffrey Books.
Raven, J., & Stephenson, J. (Eds.). (2001).
A new professional’s first job might be in a dif- Competency in the Learning Society. New
ferent setting than his/her clinical internship. York: Peter Lang.
It is also unrealistic to consider that music White, D., Oelke, N., Besner, J., Doran, D.,
therapists are likely to work with the same cli- Hall, L. & Giovannetti, P. (2008). Nursing
nical population for the entire span of their Scope of Practice: Descriptions and Cha-
careers, interests may expand, new opportu- llenges. Nursing Research, 21(1), 44-57.
nities arise, or personal situations change.
These factors may challenge areas of compe- about the authors
tence, which can lead to the age-old conun-
drum: How do professionals change their Debbie Bates, MMT, MT-BC is the Music The-
clinical focus and obtain jobs without related rapy Manager for the Arts and Medicine Ins-
experience? How do professionals get expe- titute at the Cleveland Clinic and a PhD can-
rience without having the job? The answer didate at Temple University.
has ethical implications and may depend on Email: dsbates@neo.rr.com
the methods by which a music therapist pur-
sues a vastly different path. annie heiderscheit, Ph.D., MT-BC, LMFT is
the Director of Music Therapy at Augsburg
references College in Minneapolis, MN and senior music
therapist at the University of Masonic Chil-
American Music Therapy Association & Cer- dren’s Hospital.
204
criSScroSSiNG cULtUreS: eaSterN aND WeSterN coNcePtS

aND PracticeS oF mUSic theraPY
Laura E. Beer, PhD, MT-BC
Marylhurst University, USA
Music therapy is a recognized therapeutic desires and thoughts (Jung, 1989). Not to
form used throughout the world. Educatio- oversimplify, but Western culture seeks to
nal programs for the modality exist in va- free itself from repression while Eastern
rious countries, yet many students choose culture retains values of humility and enga-
to attend school in the United States to gement in collective society via emotional res-
study music therapy. They do so out of a traint and a focus on social harmony.
deep commitment to music and to helping
others. A Western education, however, not Themes such as harmony with nature, inte-
only presents a culture clash of customs, va- gration of differences, importance of family,
lues, foods, and landscape, but also propels being other-oriented versus individual-orien-
these students into a tradition of therapy in ted, and seeking resolution are found in
which self-awareness and the expression of Asian cultures (Tseng, Chang, & Nishizono,
emotions are valued as goals. These goals 2005). These are deeply held values, and
are inherently counterintuitive to many in- Asian forms of therapy tend to focus on
ternational students: they grew up, were so- strengthening these purpose of the study
cialized, and steeped in an Eastern tradition being referred to here (Beer, 2015) was to
of caring for others over self, collectivism, look at what happens to graduates, specifi-
strong family ties, and reserved emotional cally those from Asian countries, when they
expression. Traveling to the US for music return home and are faced with bringing
therapy education not only presents a cul- their new-found knowledge into the work-
ture clash of customs, values, foods, and place. In the study conducted by Dr. Beer,
landscape, but also propels these students music improvisation was paired with inter-
into a Western tradition of therapy in which views in data collection, analysis, and repre-
self-awareness and the expression of emo- sentation, and music excerpts will be played
tions are valued as goals (Shea & Yeh, 2008). to highlight themes and experiences. Hana,
a music therapist who had traveled from her
Notions of therapy are based upon cultural home country of Japan to study in the US,
values. Eastern ideals of valuing family honor, created an improvisation she titled “Stud-
emotional restraint, and collectivism over ying”. The music evokes a sensation of being
personal freedom shape an approach to the- ungrounded, yet there is also a musical leap
rapy that is more practical, cognitive, and in- upward of an octave, suggesting a reaching
tegrative (Nishizono, 2005). The Western out and moving forward (Beer, 2015).
valuing of freedom of expression and indivi-
duality has led to psychotherapeutic approa- LiSteN to aUDio 1B
ches based upon exploration of unconscious
205
Focusing on this shift in cultural perspective ved in Japan. In W-S Tseng, S. C. Chang,
of therapy presents an opportunity to eluci- and Nishizono, M. (Eds.), Asian culture
date and define fundamental differences in and psychotherapy (pp. 40-54). Honolulu,
notions of therapy and also to explore the HI: University of Hawai'i Press.
education US universities are providing in- Shea, M., & Yeh, C. J. (2008). Asian American
ternational music therapy students. Asian students’ cultural values, stigma, and re-
clinicians who trained in the US literally lational self-construal: Correlates of atti-
crisscross cultural divides: they find them- tudes toward professional help seeking.
selves at one point of contrary and compe- Journal of Mental Health Counseling,
ting needs when they arrive here and begin 30(2), 157-172.
to learn about western therapy, and at ano- Tseng, W-S., Chang, S. C., & Nishizono, M.
ther when they return home and realize the (2005). Asian culture and psychotherapy:
language they learned here does not trans- An overview. In W-S Tseng, S. C. Chang,
late into their language. and Nishizono, M. (Eds.), Asian culture
and psychotherapy (pp. 1-18). Honolulu,
references HI: University of Hawai'i Press.
Beer, L. E. (2015). Crisscrossing cultural divides: about the author

Experiences of Asian music therapists who
studied in the United States. Qualitative In- Dr. Beer is Program Director of Music The-
quiries in Music Therapy: A Monograph Se- rapy and Chair of the Counseling & Creative
ries, 10(4), 127-173. (monograph) Therapies Department at Marylhurst Univer-
Jung, C. G. (1989). Memories, dreams, reflec- sity, and has published research on expe-
tions. New York, NY: Vintage Books. riences of Asian students who study in the
Nishizono, M. (2005). Culture, psychopatho- United States.
logy, and psychotherapy: Changes obser- Email: lbeer@marylhurst.edu
206
tWeLVe iNterNatioNaL roaD SiGNS:

What traUma-iNFormeD WorK iN other coUNtrieS
haS taUGht me
Dr. Gene Ann Behrens
Elizabethtown College, USA
While the literature provides some sugges- prepare by reflecting on who I am as a result
ted ‘to-do’ and ‘not-to-do’ lists for music of my past before I leave. This processing
therapists working internationally (Brown, seems to help me be more accessible to per-
2002; Quin, 2016), limited advice seems to sonal changes that occur during the trip and
exist concerning day-to-day interactions begin the processing as I start home. In ad-
when training staff or providing therapy. As dition, sign three tells me to be responsible
a music therapist, I have done trauma work for developing a plan before I leave that
in Bethlehem, Optional Practical Training makes the project sustainable. I have lear-
(OPT) for almost three months; trained non- ned to begin preparations for each trip by
governmental organization (NGO) staff in reflecting on these first three international
Somaliland twice; and provided training road signs.
and treatment in the slums of Kenya. Expe-
riences from these international journeys Once I arrive at my destination, I then need
continue to teach me important concepts, to be aware of several other international
techniques, and insights about how to pro- road signs. One key word on two of these
vide therapy, train staff, and engage in day- road signs is collaborative. Road sign four
to-day interactions in other countries. In a suggests that when presenting myself, I
way, these lessons present themselves as a need to avoid presenting myself as an au-
series of international road signs that guide thority, especially when brought in as an ex-
my work. pert. Instead, I need to create a collaborative
planning experience where I work alongside
To recognize these international road signs the people, listening and observing as they
even before I start to travel, I need to first tell me how I can help. Road sign five re-
be mindful of what my past has taught me minds me to also step back and teach from
and prepare for future responsibilities. The a collaborative perspective— that I am lear-
first road sign reminds me to leave my Ame- ning with them. I need to be open to the
ricanized lenses and biases behind and view class taking over a discussion to understand
events through an encultured perspective. a concept. As a sixth road sign, I work at
As I continue to prepare for a trip, I also identifying realistic expectations that do not
begin thinking forward and consider two key underestimate their ability to work with
responsibilities: road signs two and three. complex topics but also be ready to adjust
Road sign two reminds me to be aware that for differences in culture and language. Road
I will not be the same person when I return, sign seven highlights my need to present
as some changes can be challenging. I often many example experiences to support lear-
207
ning complex concepts and develop rela- perceive the strength and resiliency of peo-
tionships. ple. Road sign twelve is about learning the
importance of observing lines of authority in
Collaborative teaching also relates to letting a culture and within the organizations. This
go of boundaries, a concept on two other structure needs to be respected during all
signs. Number eight is about letting go of my interactions.
music therapy boundary, presenting expe-
riences using different definitions of “what While not exhaustive, these twelve interna-
is music”; I also need to be aware of which tional road signs reflect lessons I have lear-
arts are used and what materials are availa- ned while working abroad. They begin, ho-
ble in each situation. Content on road sign wever, with an understanding of oneself and
nine encourages me to let go of job titles one’s biases.
and learn how to train staff for the therapy
jobs that are needed. I need to present the- references
rapy concepts and methods in a way that
keeps the staff and those whom they serve Brown, J. (2001). Towards a culturally cente-
safe. In some situations, few trained specia- red music therapy practice. Canadian
lists are available. Journal of Music Therapy, 8: 1, 10-23.
Quin, A. (2016). Approaching music therapy
Three other road signs relate to lessons from in a different country: A literature review
my day-to-day experiences. Road sign ten on cultural considerations when practi-
stresses flexibility as a key to responding in sing in a developing country. British Jour-
many situations, such as dealing with events nal of Music Therapy, 30, 83-88.
and time. No matter what starting time is
announced, the actual time for an event is about the author
when it actually begins, as the concept of
time can be very relative. The eleventh road Gene ann Behrens, Ph.D., MT-BC. Prof. at
sign reminds me to balance the reality of fe- Elizabethtown College, USA & on WFMT
eling overwhelmed by the poverty or tra- exec. board; focus is neurobiology of trauma.
gedy of a situation with an ability to also Email: behrenga@etown.edu
208
NetWorKiNG With the WFmt

the metaPhor oF a SPiN-DrUm
Dr. Gene Ann Behrens, Dr. Amy Clements-Cortes, Dr. Anita L. Gadberry,
Aksana Kavaliova-Moussi, Jeanette Milford, Dr. Annie Heiderscheit,
Annabelle Brault, Dr. Melissa Brotons, Dr. Claudia Zanini
World Federation of Music Therapy
Networking among music therapists across give of oneself when beginning to network.
countries is critical to promote the deve- While music therapists may know this prin-
lopment of the profession worldwide. This ciple as a part of their relationship building
communication needs to occur across esta- tools, challenges sometimes arise when they
blished, developing, and emerging profes- seek to learn about each other as collea-
sional organizations, as well as with countries gues. To give the instrument a voice, diffe-
where the potential to introduce music the- rent colored beads are placed in the body of
rapy exists. Despite the diversity across music the spin-drum between the two heads; this
therapists, professionals can connect on one may symbolize the need to be open to diffe-
or more issues they face in the future-pro- ring views. The turning stick that connects
fessional recognition and credibility, current the two drum heads and provides an ability
treatment integrated with traditional hea- to turn and direct the drum represents the
ling, credentialing or licensing, job opportu- organization and work of the World Federa-
nities, research, and training (Mercada-Bro- tion of Music Therapy (WFMT). This associa-
tons & Heiderscheit, 2015; Wheeler & Baker tion seeks to provide direction and basic
2010). structure to connect music therapists across
the world.
Making the connections necessary to further
the profession of music therapy, however, As the spin-drum is put together, strings are
often can be a challenge given the diversity added to the outside which may signify a
and physical distance among music thera- need to reach out and make contacts—the
pists across the world. A review of networ- more strings or the more contacts, the bet-
king principles can reveal insight into the ter the eventual sound of the drum. Like-
skills needed to further open channels of wise, the more music therapists challenge
communication. The parts of a spin-drum, a themselves to reach out and get to know
drum found in many cultures, in turn may colleagues from different countries during
provide a metaphor for presenting and dis- a world congress, the more rich their own
cussing these skills. music making during therapy will become.
Finally, the beads on the end of the strings
Such a metaphor might begin by referencing complete the spin-drum and allow music
the container or the two sides of the spin- therapists to share the making of music; this
drum as a symbol of the need to listen and addition also highlights the importance of
209
sharing resources. The commissions and about the authors

liaisons serve to develop and disseminate
information from many areas such as, edu- Gene ann Behrens, Ph.D., MT-BC—directs
cation, clinical practice, trauma, and rese- music therapy at Elizabethtown College,
arch. USA; is GCI commissioner for WFMT; and fo-
cuses on the neurobiology of trauma.
Music therapists around the globe are wor- Email: behrenga@etown.edu
king to create and define their own profes-
sional fields in their respective countries. amy clements-cortes, PhD, RP, MT-BC, MTA,
Similarities and differences exist across the- FAMI—Assistant Professor, University of To-
se experiences. The World Federation of ronto; Instructor & Supervisor, Wilfrid Lau-
Music Therapy was created to not only sup- rier University; WFMT President.
port the development of music therapy
across the world, but to also facilitate com- along with:
munication, networking, and the sharing of
information across organizations and among anita L. Gadberry, PhD, MT-BC/L— Asso-
individuals. To promote this networking and ciate Professor & WFMT Exec. Board.
information sharing among individuals, mu-
sic therapists need to step outside their de- aksana Kavaliova-moussi, MMT, NMT-Fe-
fined areas, listen to each other’s drum beats, llow. & WFMT Exec. Board.
and learn to make music together. Spin-
drums can provide a metaphor for discus- Jeanette milford, RMT, MMusThrpy(Melb),
sions about how we come together to com- PGDipAppPsych & WFMT Exec. Board.
municate and make music.
annie heiderscheit, Ph.D., MT-BC, LMFT, As-
references sociate Professor & WFMT Exec. Board
Mercadal-Brotons, M. & Heiderscheit, A. annabelle Brault, MA, MTA, MT-BC & WFMT
(Ed.) (2015). Music Therapy Today 30th Exec. Board.
Anniversary Edition. Retrieved from http:
//musictherapytoday.wfmt.info melissa Brotons, PhD, MT-BC, SMTAE—Pro-
Wheeler, B. & Baker, F. (2010). Influences of fessor & WFMT Exec. Board.
music therapists’ worldviews on work in
different countries. The Arts in Psycho- claudia Zanini, Mt., PhD— Professor, WFMT
therapy, 37(3), 215-227. Exec. Board.
210
mUSic ProDUctioN iN aDULt meNtaL heaLth SettiNG:

a commUNitY mUSic theraPY moDeL
Dany Bouchard
MUHC (McGill University Health Center), Canada
In the context in which the music therapist We will also discuss how music production
has to record his client’s original songs and/or in mental health can be considered as a
musical performances, how can music pro- community music therapy model. Links that
duction be used as a therapeutic process? can be made with other interested profes-
What are the objectives and the short and sional musicians and how to reach the com-
long-term benefits? munity at large in the post-production stage
will be elaborated.
Since budget restrictions are always a reality
that music therapists have to face; we have to Submitted are two examples of songs sho-
find ways to implement projects that involve wing the results of musical production wi-
the recording of a CD and have to strategize thin mental health settings. The song
how to produce it with high quality standards Melancholy is from the mental health choir
(professional results). During that process, the Le Groupe MusiArt (part of the MUHC -
music therapist will often become a music Montreal General Hospital).
producer. We will explore the double role of LiSteN to aUDio 1c
the music therapist regarding this aspect.
The song Les amis authentiques is from Le
A description of a complete cycle of music Big Bang Band whose members have mental
production process will be presented: Pre- health issues. (part of Les Impatients, a men-
Production (improvisation to composition), tal health foundation).
Tracking (recording, mixing), Post-Production LiSteN to aUDio 2c
(editing, live performance, broadcasting, etc.).
references
This complete cycle is linked to two case stu-
dies: 1) a mental health choir, 2) creation of Stige, B. (2002). Culture-centered music
a band with members having mental health therapy. Gilsum, NH: Barcelona Publis-
issues. Both cases demonstrate the music hers.
production cycle; displaying how they share Rudd, E. (2010). Music Therapy: A perspec-
their creativity (original songs) and perform tive from the humanities. New Braunfels,
concerts in the community thus sensitizing TX: Barcelona Publishers.
the public about mental health issues. Turry, A. (2001). Performance and Product:
Clinical Implications for the Music Thera-
The difference between musical improvisa- pist. Retrieved from http://www.music-
tion and composition in music production therapyworld.net/modules/archive/pape
will be highlighted. rs/show_abstract.php?id=39
211
about the author
Since 2007, Dany Bouchard has been wor-

king with adult mental health population in
the Department of Psychiatry of the MUHC
(McGill University Health Center) and the
mental health foundation Les Impatients,
both located in Montréal, Canada.
Email: dany.bouchard@muhc.mcgill.ca
212
cLiNicaL imProViSatioN techNiQUeS iN mUSic theraPY:

eXPerieNtiaL WorKShoP
Debbie Carroll
Université du Québec à Montréal, Canada
Claire Lefebvre
abstract the presenters since 1988. It not only inclu-

des strategies for developing clinical musi-
In this workshop, participants will explore a cianship; it also provides a vocabulary for
series of exercises designed to practise the articulating the what, why, when, and how
clinical application of improvisation techni- of our unique role as music therapists in a
ques with a broad spectrum of clientele. The language that can be understood by health-
presenters will introduce a process-oriented care and educational professionals, adminis-
approach to clinical improvisation based on trators and decision makers alike.
a guide they co-authored (Carroll & Lefeb-
vre, 2013). This experiential workshop will familiarize
participants with a systematic process-orien-
Description ted approach to clinical improvisation and
effective ways of applying clinical improvisa-
Improvisation plays a central role in music tion techniques in order to meet the diverse
therapy, and the use of clinical improvisation needs of a client, individually or in the con-
is, in large part, what sets music therapists text of a group. For example, what improvi-
apart and makes our contribution to the field sation techniques can be used to work with
of health care and education so unique. This a client whose playing tends to be compul-
is reflected in the growing number of music sive or impulsive, fleeting or continuous?
therapy publications focusing on improvi- Through a series of role-play exercises with
sational approaches as well as on broade- specific clinical and musical ‘playing rules’,
ning the clinical improvisational resources participants will practice applying the tech-
of music therapists (see list of references niques with clinical intuiton and creative in-
below). tent. This workshop will be of particular
interest to music therapy students, clini-
The taxonomy of clinical improvisation tech- cians, educators and supervisors.
niques, described by Kenneth Bruscia (1987),
provided the inspiration for developing a te- references
aching guide for understanding and applying
these techniques (Carroll & Lefebvre, 2013). Bruscia, K. (1987). Improvisational models of
This guide took shape within the context of music therapy. Springfield, IL: Charles C.
clinical improvisational courses taught by Thomas.
213
Carroll, D. & Lefebvre, C. (2013). Clinical im- Priestley, M. (1994). Essays on analytical
provisation techniques in music therapy: music therapy. Gilsum, NH: Barcelona.
Guide for students, clinicians and educa- Wigram, T. (2004). Improvisation: Methods
tors. Springfield, IL: Charles C. Thomas. and techniques for music therapy clini-
Gardstrom, S. (2007). Music therapy impro- cians, educators and students. London,
visation for groups: Essential leadership UK: Jessica Kingsley.
competencies. Gilsum, NH: Barcelona.
Hiller, J. (2009). Use of and instruction in cli- about the authors
nical improvisation. Music Therapy Pers-
pectives, 27(1), 25-32. Debbie carroll, Ph.D, LGSMT, MTA. Accom-
Lee, C. & Houde, M. (2010). Improvising in plished pianist, music therapy clinician, edu-
styles: A workbook for music therapists, cator, supervisor and researcher, Dr. Carroll
educators and musicians. Gilsum, NH: teaches at the Université du Québec à Mon-
Barcelona. tréal (UQÁM), and presents her work natio-
Lee, C., Berends, A. & Pun, S. (Eds.) (2015). nally and internationally.
Composition and improvisation resources Email: carroll.debbie@uqam.ca
for music therapists. Gilsum, NH: Barcelona.
Lee, C. & Pun, S. (Eds.) (2015). Song resour- claire Lefebvre, MA, MTA. Music Therapy
ces for music therapists. Gilsum, NH: Bar- professor at the Université du Québec à
celona. Montréal for more than 25 years, Claire Le-
Nordoff, P. & Robbins, C. (2007). Creative febvre has worked clinically with children
music therapy: A guide to fostering clini- and adolescents in psychiatric and special
cal musicianship. Gilsum, NH: Barcelona. education settings.
214
VoiceS oF the DYiNG aND emerGiNG themeS iN PaLLiatiVe

care mUSic theraPY
Amy Clements-Cortes
Music and Health Research Collaboratory, University of Toronto, Canada
music therapy in end-of-Life care Music therapy to support relationships. The

third category related to whole person care
Music Therapy uniquely affirms the holistic involves: 7) Music therapy as life review and
well-being of individuals in a number of en- legacy creation; 8) Music therapy as a spiri-
vironments at end-of-life and plays a unique tual/transpersonal, growth experience; and
and important interdisciplinary role in pallia- 9) Music therapy to enhance quality of life.
tive care. While the literature is increasingly
growing on the effectiveness of music the- Dileo and Dneaster model of music
rapy in palliative care, it is not without a risk therapy in Palliative care
of bias due to a high percentage of anecdo-
tal data, or small sample sizes in quantitative Dileo and Dneaster’s (2005) Model of Music
studies. Nevertheless, music therapy has the Therapy in Palliative Care defines three le-
potential to engage the client to address the vels of practice including: supportive; com-
complex issues that arise and are compoun- municative/expressive; and transformative.
ded in the dying experience. At the supportive level, music therapy is
used to palliate symptoms common to end-
emerging themes in Palliative care music of-life, and to offer support for the patient.
therapy At the communicative and expressive level,
music therapy is used as a vehicle for the pa-
A systematic review of the current practice tient to reflect and convey feelings. At the
of music therapy in palliative care has resul- transformative level, music therapy is imple-
ted in the emergence of nine themes of mented to facilitate growth and insight at
practice, falling into three categories: physi- the end-of-life.
cal, psychosocial, and whole person care.
The physical topics relate to specific con- clinical case example of emerging themes
cerns regarding end-of-life care and include:
1) Music therapy for effective symptom ma- The clinical case “Saying Goodbye with Song”
nagement; 2) Music therapy for pain mana- shares the story of Dean, a 68 year old male
gement; and 3) Music therapy to promote dying of pancreatic cancer. Music therapy was
relaxation. Psychosocial themes connect to instrumental in helping Dean connect to his
anxieties regarding emotional expression, wife, children and grandchildren. Songwri-
grieving, closure and relationship completing, improvisation and song choice were the
tion. They are: 4) Music therapy to streng- primary techniques utilized in the 11 music
then self-identity; 5) Music therapy to support therapy sessions he received. Music therapy
emotional expression and grieving; and 6) with Dean was implemented at three levels
215
of practice over the course of his sessions. It references

was first introduced at the supportive and
communicative/expressive levels to provide Bradt, J., Dileo, C., Grocke, D., & Magill, L.
music for relaxation and sleep, as well as to (2011). Music interventions for impro-
help with emotional expression and reminis- ving psychological and physical outcomes
cence with his wife Elena. Music therapy in cancer patients. Cochrane Database of
quickly continued at the communicative/ex- Systematic Reviews, 2011(8), Article.
pressive level and the transformative level CD006911,doi:10.1002/14651858.CD00
where Dean worked to select the songs and 6911.pub2.
lyrics for a “Grandchildren Tribute”, and also Clements-Cortés, A. (2013). Adults in pallia-
for a song he was writing for Elena. Song tive/hospice care, In J. Allen (Ed.), Guide-
choice and lyric analysis were particularly im- lines for Music Therapy Practice in Adult
portant in helping Dean connect with each of Medical Care (pp. 295–346). New Braun-
his grandchildren while leaving them a legacy fels, TX: Barcelona.
gift. Relationship completion was at the fore- Dileo, C., & Dneaster, D. (2005). Introduction:
front in the session where Dean’s family State of the art. In C. Dileo & J.
heard the Grandchildren Tribute for the first V. Loewy (Eds.). Music therapy at the end of
time. Song choice, and lyric discussion and life (pp. xix-xxvii). Cherry Hill, NJ: Jeffrey
analysis also helped facilitate the anticipatory Books.
grieving process. Dean’s case is an example of
the following emergent themes in palliative about the author
care music therapy: 1) Physical: Music The-
rapy to Promote Relaxation; 2) Psychosocial: amy clements-cortes, PhD, RP, MT-BC, MTA,
Emotional Expression and Grieving, Suppor- FAMI, Assistant Professor, University of To-
ting Relationships, and Relationship Comple- ronto; Instructor & Supervisor, Wilfrid Lau-
tion; and 3) Spiritual and Whole Person Care: rier University; WFMT President.
Life Review and Legacy Creation. Email: a.clements.cortes@utoronto.ca
216
Short-term eFFectS oF rhYthmic SeNSorY StimULatioN

aND aLZheimer’S DiSeaSe
Amy Clements-Cortes
Heidi Ahonen
Wilfrid Laurier University, Waterloo, Ontario, Canada
Michael Evans
University of Toronto, Toronto, Ontario
Morris Freedman
Department of Medicine (Neurology), Baycrest Health Sciences and University of To-
ronto; Rotman Research Institute, Baycrest, Toronto, Canada
Lee Bartel
Dementia is a prominent issue in today’s so- that is associated with intra-brain communi-
ciety. Alzheimer’s disease (AD) is the most cation and cognition (Jeffreys et. al, 1996; Ri-
common type of dementia (Braak and Tre- bary et. al, 1991).
dici, 2012) and by 2050 it is estimated that
the incidence of AD will increase 100% the Pilot Study
around the world (Turpie, 2015). At present
pharmaceuticals are the first treatment but This study assessed the effect of stimulating
overall are not highly effective in terms of the somatosensory system of Alzheimer’s di-
symptom management. There is a growing sease (AD) patients with 40Hz sound. A total
body of literature documenting the explora- of 18 participants completed the AB cross-
tion of other treatment options such as cog- over study design involving 13 sessions: in-
nitive, recreation, and music therapy. take and 12 treatment. Treatment A was the
40 Hz sound stimulation, and Treatment B
Low frequency sound is the foundation of involved the use of visual stimulation via
Rhythmic Sensory Stimulation (RSS), which DVD. Both treatments were given two times
was the treatment used in this study. Essen- per week over 6 weeks. There were 3 out-
tially, RSS applies sound and vibration to the come measures the: St. Louis University Men-
body and auditory systems. This study used tal Status Test (SLUMS), Observed Emotion
40 Hz to stimulate participants based on evi- Rating Scale, and behavioural observation by
dence that persons with AD have lower le- the researcher. The series of 6 SLUMS scores
vels of steady state 40Hz gamma activity in treatment A and the 6 scores in treatment
217
B were submitted to regression ana-lysis sont, R., Boltont, J. P. R., Lado, F., Mogilner,
with comparison by group. Slopes for the A., & Llinas, R. (1991). Magnetic field to-
entire sample and the subgroups in the 40Hz mography of coherent thalamocortical 40-
treatment were all significant. The 40Hz tre- Hz oscillations in humans. Proceedings of
atment led to a session average effect size the National Academy of Sciences 88,
of.58 on the SLUMS test score per treat- 11037-11041.
ment. The quantitative data are further sup- Turpie, I. (2014). Global Aging: Challenges
ported by thematic analysis of qualitative and Opportunities from a Health Care
data. Results are highly encouraging and fur- Perspective. Landscapes of Aging CAG:
ther research is implicated, specifically a lar- October, 2014; Niagara Falls, ON.
ger randomized control trial.
about the authors
references
amy clements-cortes, PhD, RP, MT-BC, MTA,
Braak, H., & Del Tredici, K. (2012) Where, FAMI, Assistant Professor, University of To-
when, and in what form does sporadic ronto; Instructor & Supervisor, Wilfrid Lau-
Alzheimer disease begin? Current Opi- rier University; WFMT President.
nion in Neurology, 6, 708-14. doi: 10. Email: a.clements.cortes@utoronto.ca
1097/WCO.0b013e32835a3432.
Clements-Cortés, A., Ahonen, H., Evan, M., heidi ahonen, PhD, RP, MTA, FAMI, Professor
Freedman, M. & Bartel, L. (2016). Short & Director CIMTR, Wilfrid Laurier University.
term effects of rhythmic sensory stimula-
tion in Alzheimer’s disease: An exploratory michael evans, PhD, Professor, University of
pilot study. Journal of Alzheimer’s Disease, Toronto.
52(2), 651-660. DOI 10.3233/ JAD-160081
https://tspace.library.utoronto.ca/han- morris Freedman MD, FRCPC, Professor, De-
dle/1807/72411 partment of Medicine (Neurology), Univer-
Jefferys, J. G. R., Traub, R. D., & Whittington, sity of Toronto; Head, Division of Neurology,
M. A. (1996) Neuronal networks for indu- Baycrest
ced ’40 Hz’ Rhythms. Trends in Neuros-
cience, 19, 202-208. Lee Bartel, PhD, Professor & Past Director
Ribary, U., Ioannidest, A. A., Singht, K. D., Has- MaHRC, University of Toronto.
218
iNterGeNeratioNaL mUSic theraPY:

BriDGiNG the GeNeratioNaL GaP throUGh
commUNitY-BaSeD mUSic maKiNG
Michael R. Detmer
University of Louisville, Norton Women’s and Children’s Hospital, USA
Petra Kern
University of Louisville, Music Therapy Consulting, USA
Jill Jacobi-Vessels
University of Louisville, Early Learning Campus, USA
Kristi M. King
University of Louisville, Department of Health and Sport Sciences, USA
introduction method
Intergenerational programming is mutually Participants of this study are three-year-old

beneficial for participating generation groups. children from a university-based child care
Children and older adults involved in inter- setting and older adults from a senior living
generational activities demonstrate impro- facility, some of whom have cognitive impair-
ved attitudes toward, and interaction with ments such as Alzheimer’s disease, dementia,
the opposite age group (Belgrave, 2011; and Parkinson’s disease. The experimental
Isaki & Harmon, 2015). Older adults also de- group will participate in 30-minute, semi-we-
monstrate increased physical activity/func- ekly music therapy sessions following a con-
tion, intellectual ability, and improvements sistent format:
in areas related to quality of life (Sakurai et
al., 2016). Despite these documented bene- 1. A gathering activity (10 minutes) using an
fits, there is a large gap in intergenerational original transition song to orient the par-
research due to a limited number of studies ticipants,
that examine effects across multiple domain 2. A signature greeting song (3 minutes) to
areas, and even fewer that are music-based. promote intergenerational interaction,
Therefore, the purpose of this study is to 3. Non-locomotor and locomotor movement
identify the effects of an intergenerational (5 minutes) to improve adults’ physical
music therapy program on children’s lite- functioning,
racy, older adults’ physical functioning and 4. Instrument Play (5 minutes) to promote
self-worth, and interactions between the intergenerational interaction,
two age groups. 5. Storybook singing (5 minutes) correspon-
219
ding to the storybook of the day to im- Isaki, E., & Harmon, M. T. (2015). Children
prove children’s literacy skills, and adults reading interactively: The so-
6. Storybook reading (5 minutes) to improve cial benefits of an exploratory intergene-
children’s literacy skills (see Figure 1), and a rational program. Communication Disor-
7. Closing/goodbye activity (7 minutes) using ders Quarterly, 36(2), 90-101.
a signature “goodbye” song to promote in- Sakurai, R., Yasunaga, M., Murayama, Y., Ohba,
tergenerational interaction. H., Nonaka, K., Suzuki, H., . . . Fujiwara, Y.
(2016). Long-term effects of an interge-
This study was approved by the Institutional nerational program on functional capa-
Review Board at the researchers’ university. city in older adults: Results from a seven
-year follow-up of the REPRINTS study.
Archives of Gerontology and Geriatrics,
64, 13-20.
about the authors
michael r. Detmer, MME, MT-BC is a music

therapist, instructor, and clinical supervisor at
University of Louisville and Norton Women’s
and Children’s Hospital in Louisville, KY.
Email: michael.detmer@louisville.edu
Figure 1. Storybook reading.
Petra Kern, Ph.D., MT-BC, MTA, DMtG, owner
results of Music Therapy Consulting, adjunct Asso-
ciate Professor at the University of Louisville,
Preliminary results, a program evaluation, and Editor-in-Chief of imagine is former
and future recommendations will be shared WFMT President and recipient of the 2014
during the 15th World Congress of Music WFMT Service Award.
Therapy in Tsukuba, Japan.
Jill Jacobi-Vessels, Ph.D. is the Director of
references the Early Learning Campus and is a faculty
member in Early Childhood Education at the
Belgrave, M. (2011). The effect of a music- University of Louisville in Louisville, KY.
based intergenerational program on chil-
dren and older adults’ intergenerational Kristi m. King, Ph.D., CHES is an associate pro-
interactions, cross-age attitudes, and older fessor in Exercise Physiology and Community
adults’ psychosocial well-being. Journal of Health in the Department of Health and Sport
Music Therapy, 48(4), 486-508. Sciences at the University of Louisville.
220
cLiNicaL imProViSatioN iN mUSic theraPY:

theorY, Practice, reSearch aND traiNiNG
Dr. Cheryl Dileo, MT-BC
Laura H. Carnell Professor of Music Therapy, Temple University, USA
Dr. Jaakko Erkkilä

Professor of Music Therapy, University of Jyväskylä, Finland
Dr. Jos De Backer

Professor of Music Therapy, LUCA, School of Arts, Campus Lemmens KULeuven,
Belgium
Drs. Katrien Foubert

Music Therapy Faculty LUCA, School of Arts, Campus Lemmens KULeuven, Belgium
abstract music therapy: Psychodynamic music the-

rapy in Europe: Clinical, theoretical and
Clinical improvisation is widely used in music research approaches. London and Phila-
therapeutic settings. This roundtable will re- delphia: Jessica Kingsley Publishers.
flect the use and innovative research in clinical
improvisation in music therapy practice from about the authors
an international, multi-theoretical perspec-
tive. Four music therapists from three diffe- Dr. cheryl Dileo, PhD, MT-BC is the Laura H.
rent countries will provide a comprehensive Carnell Professor of Music Therapy and Di-
perspective regarding innovative theoretical rector of the PhD Program in Music Therapy
perspectives and clinical uses of improvisation and the Arts ad Quality of Life Research Cen-
with various classifications of psychiatric and ter, Temple University, Philadelphia, USA.
medical populations. They will also present re- Email: cdileo@temple.edu
levant information on improvisational analysis
(manual and computational) and how to as- Dr. Jaakko erkkilä is Professor of Music The-
sess the emotional impact of improvisations rapy and Director of the Music Therapy Pro-
through heart rate variability measurements. gram, University of Jyväskylä, Finland.
Finally, they will discuss issues in conducting
various types of research in improvisation and Dr. Jos De Backer is Professor of Music The-
also on advanced training in improvisation. rapy and Director of the Music Therapy Pro-
grams at LUCA, School of Arts, Campus
reference Lemmens KULeuven, and Head of Music
Therapy at the University Clinic in Korten-
De Backer, J. & J. Sutton (2014). The music in berg, Belgium.
221
Drs. Katrien Foubert is on the Music The-

rapy Faculty LUCA, School of Arts, Campus
Lemmens KULeuven, and Music Therapist at
the University Clinic in Kortenberg, Belgium.
222
mUSic BriNGS US home: reSearch aND Practice

reGarDiNG mUSic theraPY For homeLeSS PerSoNS
Dr. Cheryl Dileo, MT-BC
Laura H. Carnell Professor of Music Therapy, Temple University, Philadelphia, USA
Jennifer Gravish, MMT. MT-BC

Temple University, Philadelphia, USA
Jennifer Swanson, MMT, MT-BC

Private Practice, Philadelphia, PA, USA
abstract chestra musicians who provided musical

support. Data were collected pre and post
An innovative collaborative clinical and rese- the 14 week sessions and at the end of each
arch project is described in this presentation. session. Interviews with participants at the
Effects of weekly music therapy sessions offe- end of the program provided insights into
red over 5 months on mood, coping, expres- their experiences in music therapy. Videos
sion, hope and quality of life of homeless will show the clinical process of participants
persons are presented with qualitative data as well as the respective roles of music the-
from participant interviews. Clinical processes rapists and professional musicians.
are described and accompanied by video.
about the authors
Description
Dr. cheryl Dileo, PhD, MT-BC is the Laura H.
This presentation will describe a study con- Carnell Professor of Music Therapy and Di-
ducted in a collaborative effort between rector of the PhD Program in Music Therapy
Temple University’s Arts and Quality of Life and the Arts ad Quality of Life Research Cen-
Research Center, the Collaborative Learning ter, Temple University, Philadelphia, USA.
Department of the Philadelphia Symphony Email: cdileo@temple.edu
Orchestra, and Broad Street Ministry that
examined the effects of a 14-week music Jennifer Gravish, MMT,, MT-BC, is a PhD stu-
therapy program on mood, coping, expres- dent and Teaching Assistant at Temple Uni-
sion, hope and quality of life in persons ex- versity, Philadelphia, USA.
periencing homelessness. Music therapy
sessions were conducted by two master’s- Jennifer Swanson, MMT, MT-BC, is a Music
level music therapists and included 2-3 or- Therapist in Private Practice, Philadelphia, USA.
223
oNce SerVeD, tWice ForGotteN: hoW to SUPPort aDULtS

With SPeciaL NeeDS aND their FamiLieS
Dr. Anita L. Gadberry
University of North Dakota, USA
Dr. David L. Gadberry

Minnesota State University, USA
Adults with special needs are often an over- was also seen in Pavlicevic, O’Neil, Powell,
looked population in society. Frequently, Jones, and Sampathianaki’s 2014 study of
therapeutic services are provided for chil- young adults with severe learning disabilities
dren, yet services for adults are not as com- participating in long-term music therapy. Se-
mon. Thus, individuals may have received veral positive outcomes for the clients and
services when they were younger, yet are es- their family members were documented by
sentially overlooked, or forgotten once they the authors. Clients developed confidence
become adults. These individuals and their and improved their self-esteem in a group
families have many unmet needs, and fin- that allowed them to safely explore their per-
ding a place in society and having a mea- sonhood without being controlled. The parti-
ningful life can be challenging. Limited work cipants reported forming friendships and
and leisure opportunities for adults and lack feeling that they belonged in a peer group.
of respite care for their families leave many Their families also became friends with one
people with a lower quality of life. another and reported feeling less isolated.
Belonging, having meaning in life, and feeling
Music therapy, including community music valued all contribute to life satisfaction (Eide-
therapy, offers viable solutions for this po- vall & Leufstadius, 2014).
pulation and their families. Clarkson and Ki-
llick (2016) detailed a helpful example of Music therapy offers a unique environment
community music therapy that not only met for adults with special needs to communi-
the needs of clients and their caregivers, but cate, interact, express themselves, and de-
also transformed how treatment was provi- velop as human beings. Caregivers and fa-
ded by moving sessions out of the clinic and milies may be included in the music therapy
into the clients’ community living area. Du- sessions, thus participating in meaningful
ring music therapy sessions, adults with in- moments with their loved ones. They may
tellectual disabilities and their caregivers also choose to use the time to interact with
engaged in meaningful interactions that pro- each other, building support systems while
vided positive emotional feedback to each their child or care receiver is engaged in a
party. music therapy group. Through music the-
rapy, adults with special needs and their fa-
The importance of emotional connections and milies can meet a variety of needs and ex-
expression, facilitated by nonverbal means, perience validation of their strengths.
224
references with young adults with severe learning

disabilities. Journal of Intellectual Disabi-
Clarkson, A. R., & Killick, M. (2016). A bigger lities, 18(1), 5-19. doi: 10.1177/ 1744629
picture: Community music therapy groups 5135|1354
in residential settings for people with le-
arning disabilities. Voices: A World Forum about the authors
for Music Therapy, 16(3). Retrieved from
https://voices.no/index.php/voices/ anita L. Gadberry, PhD, MT-BC/L, serves on
article/view/845 the World Federation of Music Therapy
Eidevall, K., & Leufstadius, C., (2014). Percei- council and conducts research with indivi-
ved meaningfulness of music and partici- duals with disabilities.
pation in a music group among young Email: Anita.gadberry@und.edu
adults with physical disabilities. Journal
of Occupational Science, 21(2), 130-142. David L. Gadberry, PhD, is assistant profes-
doi: 10.1080/14427591.2013.764817 sor of music education at Minnesota State
Pavlicevic, M., O’Neil, N., Powell, H., Jones, O., University, Mankato, and has previously wor-
& Sampathianaki, E. (2014). Making music, ked as a habilitation provider for adults with
making friends: Long-term music therapy developmental disabilities.
225
oUtcomeS oF reSearch StUDY oN mUSic imaGerY aND

reLaXatioN With WomeN iN iNDia
Maria Montserrat Gimeno
State University of New York at New Paltz, United States
Haden Minifie
Music Together, Poughkeepsie, United States
The presentation at the 15th WFMT World of MIR versus PMR and the control group
Congress of Music Therapy will disseminate will be also outlined and discussed.
the results obtained from the study entitled, (2) An overview of the MIR technique will be
“The Effects of Music Imagery Relaxation given to understand its principles. Since
(MIR) on Anxiety Levels of Indian Women MIR is an adaptation of the Bonny Me-
Undergoing Breast Cancer Surgery,” a rando- thod of Guided Imagery and Music (GIM),
mized controlled trial. MIR is an innovative parallels between both approaches will
technique created by the lead investigator be addressed.
that was tested recently in a preceding pilot (3) Because the study will be conducted in
study conducted at the Health Alliance of India, cultural issues will be addressed.
the Hudson Valley in Kingston, NY (Gimeno, Specifically, we will discuss music choices
2015). The themes to be covered during this by the participants (did they prefer Wes-
presentation will include: (1) outcomes of tern music or more traditional Indian raga
the current research study; (2) fundamentals music?) and how the songs chosen related
of the music therapy technique used called to the imagery of their experience. Be-
“Music Imagery Relaxation” (MIR); (3) cultu- cause Indian culture is vastly different
ral awareness while conducting a research from the Western cultures, the authors
study in India; and (4) further research on will present their understanding of how
music therapy research based protocols. the therapeutic relationship differed bet-
ween hospital patients in the previously
(1) The presentation will discuss the results conducted pilot study in the United Sta-
of the study examining the effectiveness tes versus our work with the patients in
of MIR on pre-surgical anxiety in Indian the current study.
women undergoing breast cancer sur-
gery. In the first experimental group, MIR In addition, the authors’ perception of In-
was administered just prior to surgery, in dian culture and hospital adjustments while
a second experimental group, Progres- implementing a clinically western music the-
sive Muscle Relaxation (PMR) was admi- rapy treatment intervention will be discus-
nistered just prior to surgery, and a third sed. Emphasis will be placed on the cultural
experimental group received standard aspects of women spirituality, music, and
care. Comparisons between the efficacy narratives of relaxation inductions.
226
The presentation will conclude with an open Music (GIM) and Music Imagery Methods
forum for questions. for Individual and Group Therapy. Gilsum,
NH: Barcelona Publishers.
references
about the authors
Gimeno, M. M. (2015). The effects of music
imagery relaxation technique (MIR) in me- maria montserrat Gimeno is an Associate
dical setting. In S. Sumathy & V. Srinivasan Professor at the State University of New York
(Eds). Proceedings of 2nd International at New Paltz. She has completed a Doctorate
Conference on Current Trends in Music The- in Counseling Psychology and is a Fellow of
rapy Education, Clinical Practice and Rese- the Association for Music and Imagery (AMI).
arch. (pp 30-37). Pondicherry: Centre for Her research focuses on the effects of music
Music Therapy Education and Research; and imagery in medical settings.
Mahatma Gandhi Medical College and Re- Email: gimenom@newpaltz.edu
search Institute; Sri Balaji Vidyapeeth
Gimeno, M. M. (2015a). MED-GIM Adapta- haden minifie received her Master's in Music
tions of the Bonny method for medical Therapy from SUNY New Paltz. She is the Co-
patients: Individual sessions. In Grocke, founder of Sing Out! International, LLC, a
D. E., & Moe, T. (Eds). Guided Imagery and community music therapy organization.
227
BUrNoUt amoNG mUSic theraPiStS: PreLimiNarY reSULtS

From aN iNteGratiVe reVieW
Lori F. Gooding
Florida State University, USA
Burnout integrative review
Burnout is a state of physical, emotional, or An integrative review is a systematic rese-

mental exhaustion that can lead to decreased arch review method that integrates data
motivation and distress as well as cause a re- from diverse methodologies ranging from
duced sense of accomplishment (Gooding, experimental to non-experimental studies.
2016). Burnout is a gradual process, and it has Integrative reviews are a comprehensive ap-
been cited as a concern for those in helping proach to analysis and are appropriate when
professions, including music therapists (Fo- multiple types of literature are to be revie-
wler, 2006). This is due in part to the fact that wed (Gooding & Yinger, 2015). Integrative
music therapists frequently work in stressful reviews also allow for inclusion of practice
environments, which can contribute to bur- applications, theory and/or guidelines (Sou-
nout. Other factors that have been associated thern Connecticut State University, 2016).
with burnout in the field of music therapy in- The purpose of the current integrative re-
clude (a) insufficient pay, (b) lack of respect, view was to systematically examine burnout
understanding, or appreciation, (c) loss is- (and related factors) in music therapy. The
sues, (d) multiple roles or non-music therapy poster will provide a description of the search
job duties, (e) lack of self-awareness, (f) lack criteria and methodology, and preliminary re-
of benefits for those in contract work, and (g) sults related to study type, assessment tools,
heavy case load (Chang, 2014; Clements-Cor- etc. Preliminary themes will also be identi-
tes, 2006; Oppenheim, 1987). fied.
Music therapy researchers have investigated Preliminary results

burnout, career longevity, turnover, and
other factors related to occupational stress or Burnout is a concern for music therapists
burnout. Personality factors that may contri- and risk factors include insufficient pay,
bute have been identified (Vega, 2010), co- work overload, and lack of support, among
ping strategies have been suggested (Bitcon, others (Clements-Cortes, 2013). However,
1981), and preventative practices that can de- health promoting behaviors may offset some
crease burnout and increase career longevity of the risk. Music therapists need to be awa-
have been identified (Fowler, 2006). Howe- re of the risks and taught self-care strategies
ver, no studies to date have comprehensively to promote well-being, prevent burnout,
summarized the literature on burnout and re- and promote career satisfaction (Gooding,
lated factors in the field of music therapy. 2016).
228
references Gooding L., & Yinger O. (2014). Forum: Stu-

dents with disabilities in the string class-
Bitcon, C. H. (1981). Guest Editorial. Journal room: an integrative review. String Re-
of Music Therapy, 17, 2-6. search Journal, 5, 5–27.
Chang, K. (2014). An opportunity for positive Mayo Clinic Staff. (2015, September 17). Job
change and growth: Music therapists’ ex- burnout: How to spot it and take action.
periences of burnout. Canadian Journal Retrieved from http://www.mayoclinic.
of Music Therapy, 20, 64-85. org/healthy-lifestyle/adult-health/in-
Clements-Cortes, A. (2006). Occupational depth/burnout/art-20046642?pg=1
stressors among music therapists working Oppenheim, L. (1987). Factors related to occu-
in palliative care. Canadian Association for pational stress or burnout among music the-
Music Therapy Journal, 12, 30– 60. rapists. Journal of Music Therapy, 24, 97-106.
Clements-Cortes, A. (2013). Burnout in mu- Vega, V. (2010). Personality, burnout, and
sic therapists: Work, individual, and so- longevity among professional music the-
cial factors. Music Therapy Perspectives, rapists. Journal of Music Therapy, 47,
31, 166-174. doi: 10.1093/mtp/31. 2.166 155-179. doi: 10.1093/jmt/47.2.155
Fowler, K. L. (2006). The relations between Southern Connecticut State University (2016).
personality characteristics, work environ- Literature reviews. Retrieved from http:
ment, and the professional well-being of //libguides.southernct.edu/nursing/re-
music therapists. Journal of Music The- views
rapy, 43, 174-197.
Gooding, L. F. (2016). Occupational health about the author
and well-being: Hazards, treatment op-
tions, and prevention strategies for music Lori Gooding, PhD, MT-BC, is an Assistant
therapists. Music Therapy Perspectives. Professor of Music Therapy at Florida State
Advance online publication. doi: 10. University.
1093/mtp/miw028 Email: lgooding@fsu.edu
229
mUSic theraPY to meet PareNtS’ NeeDS iN the NeoNataL

iNteNSiVe care UNit (NicU)
Lori F. Gooding
Florida State University, USA
introduction dence-based practices that address common

parental factors like anxiety, environmental
Parents of infants hospitalized in the Neonatal stressors, and altered parental role. Informa-
Intensive Care Unit (NICU) face a wide range tion from the presenter’s own research will
of stressors including interpersonal stressors, be shared, and case examples and sugges-
financial difficulties, birth-related trauma, and tions for practice will be provided. In parti-
issues related to work and child care balance. cular, the presenter will discuss the use of
As a result, parents of infants in the NICU are parent-preferred music, counseling skills, and
more likely to experience posttraumatic stress singing and song writing. Complications that
symptoms, depressive symptoms, and delays may impede patient- and family-centered
in attachment (Hall et al., 2015). Healthcare care will also be covered, and creative ways
facilities now recognize the need to provide to deliver care will be shared.
parental psychosocial support (Hall et al.,
2015), and music therapy has been shown to conclusion
be an effective tool to both address psycho-
social needs and provide patient- and family- Parents experience considerable stress when
centered care (Gooding, Yinger, & Iocono, their infant is in the NICU, and music thera-
2015). Music therapy protocols are regularly pists are increasingly called to address both
used in the NICU (Gooding, 2010) and recent infant and parent needs in this setting. In fact,
studies have shown that 73% of music thera- data from one study have suggested that
pists who work in the NICU address parental music therapists who work in the NICU regu-
anxiety (Trainor, 2015). Research has shown larly address goals like parent anxiety and pa-
that music therapy interventions can increase rent-infant bonding (Trainor & Gooding,
relaxation in parents (Colliver, 2015) and that 2016). Given that music therapists are acti-
music therapy may alter parental role beha- vely engaged in patient- and family-centered
viors in parents of infants in the NICU (Goo- care in the NICU setting, it is important that
ding, in process). Studies have further shown we both understand parents’ needs and de-
that addressing children’s needs through velop best practices to address these needs.
music therapy can positively impact parents
and can improve their perceptions of the he- references
althcare experience (Gooding et al., 2015).
Colliver, A. A. (2015). The effect of music lis-
evidence-Based Practices tening on relaxation level and volume of
breast milk pumped by mothers of infants
This session will provide an overview of evi- in the neonatal intensive care unit. (Mas-
230
ter’s thesis). Retrieved from http://ukno- and Infant Nursing Reviews, 15, 24-27.
wledge.uky.edu/music_etds/39 doi:10.1053/j.nainr.2015.01.007
Gooding, L. F. (2010). Using music therapy Trainor, B. L. (2015). Addressing parent needs
protocols in the treatment of premature in the neonatal intensive care unit: A sur-
infants: An introduction to current practi- vey of music therapists. (Master’s thesis).
ces. The Arts in Psychotherapy, 37, 211- Retrieved from https://login.proxy.lib.fsu.
214. doi:10.1016/j.aip.2010.04.003 edu/login?url=http://search.proquest.com
Gooding, L. F., Yinger, O. S., & Iocono, J. (2015). /docview/1697862130?accountid=4840
Preoperative music therapy for pediatric Trainor, B. L. & Gooding, L. F. (2016). Meeting
ambulatory surgery patients: A retrospec- parental needs through music therapy: A
tive case series. Music Therapy Perspectives, survey of music therapy practices. Manus-
34, 191-199. doi: 10.1093/mtp/miv 031 cript in preparation.
Hall, S., Hynan, M., Phillips, R., Press, J., Kenner,
C., & Ryan, D. J. (2015). Development of about the author
program standards for psychosocial sup-
port of parents of infants admitted to a Lori Gooding is an Assistant Professor of Music
neonatal intensive care unit: A national in- Therapy at Florida State University.
terdisciplinary consensus model. Newborn Email: lgooding@fsu.edu
231
aDVocacY For the ProFeSSioN oF mUSic theraPY:

iNterNatioNaL PerSPectiVeS
Annie Heiderscheit
Augsburg College, Minneapolis, MN, USA
Angel Leung
Institute for Creative Arts Therapy (HK), Hong Kong
Carol Lotter
University of Pretoria, Pretoria, Gauteng, South Africa
advocacy in music therapy The purpose of this presentation is to identify

and discuss issues surrounding the advocacy
Advocacy within the profession of music of the profession of music therapy. The pre-
therapy is vital to the establishment of pro- senters will examine the challenges, succes-
fessional practice. Music therapy as a pro- ses and strategies for advocating for music
fession is in differing stages of development therapy in different communities that are
around the world and there are issues rela- experiencing various stages of development
ted to advocacy in every country. Three of the profession. The presenters represen-
music therapists from differing regions will ting three different parts of the world, inclu-
share their experiences related to advocacy. ding the United States, Hong Kong, and South
Africa will share approaches for defining, pro-
Professional advocacy moting and establishing professional boun-
daries for the profession of music therapy.
The profession of music therapy is more wi- Specific examples of advocacy experiences
dely recognized internationally than ever be- will be examined and discussed to provide
fore. In some countries the profession has participants with tools to develop the skills to
been established for over sixty years. In other advocate for music therapy effectively and ef-
parts of the world music therapy is just emer- ficiently in their own communities.
ging as a profession. The development of a
profession at any stage requires trained pro- references
fessionals to advocate for the professional
practice and representation of the profession Grace, P. (2001). Professional advocacy: Wi-
itself (Grace, 2001; Mark, 2005, Myers, et al, dening the scope of accountability. Nur-
2002). This can vary from country to country sing Philosophy, 2(2), 151-162.
due to cultural perspectives and heritage. Ad- Mark, L. (2005). Why music? Essays on the
ditionally, music therapists do not hold a uni- importance of music education and ad-
versal credential and there is not an edu- vocacy. Why does your profession need
cational requirement or entry level that is advocacy? International Journal of Music
consistent throughout the world. Education, 23(2), 94-98.
232
Myers, J. Sweeney, T. & White, V. (2002). Ad- angel Leung, MM, MT-BC, MTA, NMT is an
vocacy for counseling and counselors: A adjunct faculty member at the Education
professional imperative. Journal of Coun- University of Hong Kong, and the co-founder
seling & Development, 80(4), 394-402. of the Institute for Creative Arts Therapy
(HK) since 2014.
about the authors
carol Lotter, (MMus) Music Therapy, an
annie heiderscheit, Ph.D., MT-BC, LMFT is the HPCSA registered music therapist and GIM
Director of Music Therapy at Augsburg College Fellow, is Co-Director of the Music Therapy
in Minneapolis, MN and senior music therapist Training Program at the University of Preto-
at the University of Masonic Children’s Hospital. ria. Carol is completing her PhD in Mental
Email: heidersc@augsburg.edu Health.
233
PerSoN-ceNtereD DemeNtia care:

VaLiDatiNG PerSoNhooD throUGh
careGiVer-FaciLitateD mUSic iNterVeNtioN
Feilin Hsiao, Ph.D., MT-BC
University of the Pacific, USA
Ruth A. Macgregor, MA, MT-BC

University of the Pacific, USA
introduction as “a standing or status that is bestowed

upon one human being, by others, in the
Marked by global deterioration in cognitive, context of relationship and social being” (p.
motor, communication, and social functio- 8). Based on this framework, the philosophy
ning, dementia is a major neurocognitive di- of person-centered dementia care emphasi-
sorder that compromises abilities essential to zes that meaningful relationships can be sus-
tasks of daily living and independence. As de- tained by acknowledging care recipients’
mentia progresses, behavioral and psycholo- perspectives and experiences, thus valida-
gical symptoms such as agitation, aggression, ting their personal identities and histories,
and apathy become apparent. Consequently, and promoting reciprocity and shared deci-
caring for persons with moderate to severe sion making. This is particularly relevant to
dementia often involves excessive, prolonged music therapy, which involves selecting music
emotional strain for caregivers due to the de- that reflects personal identity and history in
cline in meaningful interaction and reciprocal order to promote relationship building and
connection with care recipients. Therefore, interpersonal connectedness through shared
maintaining quality relationships between ca- musical experiences (McDermott, Orrell, &
regivers and care recipients is essential for Ridder, 2014). In addition, given the evi-
effective, compassionate, and sustainable cadence that persons with dementia retain au-
regiving. It is also a major predictor of the tobiographical memories associated with
caregiving dyad’s well-being and the caregi- familiar music despite the deterioration in
ver’s perceived burden and sense of meaning their cognitive functioning, purposefully se-
in his or her role (Quinn, 2015). lected music can generate reciprocal inter-
action in caregiving dyads and foster positive
Literature review emotional experiences (Janata, 2009; McDer-
mott et al., 2014).
To challenge the biomedical model of de-
mentia care and its negative underlying as- caregiver-facilitated music intervention
sumptions about persons with dementia
and their capabilities, Kitwood (1997) deve- Addressing the conceptual framework of per-
loped the concept of personhood, defined sonhood, the caregiver-directed music inter-
234
vention supports interpersonal engagement ries. Cerebral Cortex, 19, 2579-2594. doi:
in caregiver–care recipient dyads with shared 10.1093/cercor/bhp008F
musical experiences. The intervention imple- Kitwood, T. (1997). Dementia Reconsidered:
ments Kitwood’s (1997) positive person work The person comes first. Buckingham, UK:
including collaboration, validation, negotia- Open University Press.
tion, play, stimulation, creation and giving. McDermott, O., Orrell, M. & Ridder, H. M.
The music therapist’s primary responsibilities (2014). The importance of music for pe-
include formulating a treatment plan for the ople with dementia: The perspectives of
caregiving dyads and training family caregi- people with dementia, family carers, staff
vers to implement acquired facilitation skills. and music therapists. Aging & Mental He-
The procedures consist of a pre-treatment alth, 18, 706–716.
intake, an assessment, caregiver training, Quinn, C. (2015). Balancing needs: The role
implementation, and post-treatment and fo- of motivations, meanings and relations-
llow-up evaluations. Four forms of music- hip dynamics in the experience of infor-
based interventions are used: singing and mal caregivers of people with dementia.
humming, gentle movement, instrument pla- Dementia: The International Journal of
ying, and receptive listening. Drawing upon Social Research and Practice, 14, 1471-
case scenarios, effective facilitation skills to 3012.
support musical engagement and strategies
to promote caregiver persistence will be dis- about the authors
cussed.
Feilin hsiao is the associate professor and
references music therapy program director at the Uni-
versity of the Pacific.
Brodaty, H., & Donkin, M. (2009). Family ca- (E-mail: fhsiao@pacific.edu
regivers of people with dementia. Dialo-
gues in Clinical Neuroscience, 11, 217- ruth macgregor is a clinical supervisor at
228. the University of the Pacific whose research
Janata, P. (2009). The neural architecture of focuses on music therapy strategies with ca-
music-evoked autobiographical memo- regivers of persons with dementia.
235
StUDYiNG mUSic theraPY iN ForeiGN cULtUreS: StUDeNtS’

UNiQUe eXPerieNceS iN croSS-cULtUraL PracticeS
Asako Miyahara Kando
Concordia University, Canada
abstract Although the experiences of international

students are relevant to cross-cultural music
This paper explores experiences of interna- therapy practices, the current literature has
tional students who study music therapy not yet examined these in depth. Especially,
while residing in foreign cultures, focusing the narratives and perspectives of those
on multifaceted challenges they navigate who have studied in a culturally different en-
during their training. The discussion provi- vironment need to be unfolded further to
des a new understanding of their reciprocal enhance our understanding. This presenta-
and intercultural experiences as a critical re- tion explores some distinctive features of in-
source for music therapy practices which, by ternational students’ learning experiences,
nature, are multicultural. reflecting on the presenter’s experiences as
a foreign student in different cultural socie-
Description ties, most notably in India and Canada, along
with views from existing literature. In parti-
Those who study music therapy while resi- cular, this presentation will examine barriers
ding in a culturally different environment in- related to 1) students’ cultural/social back-
evitably encounter various barriers in and grounds, 2) their identities, and 3) their lear-
out of their music therapy training. The cha- ning environments; using theoretical frames
llenges they face and navigate would vary such as acculturation, dominant narratives,
depending on the cultural aspects which mono/multiculturalism, and collectivism/ in-
make each individual unique and diversified. dividualism. The discussion subsequently ex-
How do international students navigate and plores how their reciprocal and intercultural
negotiate these barriers during their course- experiences would become crucial in a broa-
work and clinical experiences? Does their der context of music therapy practice which
way of engaging with the host cultures affect should be multicultural in its orientation.
their navigation of barriers in music therapy
practice? How do their learning experiences references
differ from those of students who study in
their own cultures? Does the nature of Kim, S. (2011). Predictors of acculturative
music therapy have a specific impact on stress among international music therapy
their experiences? Ultimately, would their students in the United State. Music The-
experiences contribute to their strength as rapy Perspectives, 29(2), 126-132.
music therapist and be applicable to the Thomas, A. & Sham, F.T.Y. (2014). “Hidden
music therapy practice in their home coun- rules”: A Duo-ethnographical Approach
tries? to Explore the Impact of Culture on Clini-
236
cal Practice. Australian Journal of Music about the author

Therapy, 25, 81-91.
Wheeler, B. L. & Baker, F. A. (2010). Influen- asako miyahara Kando completed a Post
ces of music therapists' worldviews on Graduate Diploma course in Music Therapy
work in different countries. The Arts in under UK curriculum with an Australian tutor
Psychotherapy, 37, 215-227. at The Music Therapy Trust, India, in 2015,
Young, L. (2009). Multicultural issues encoun- and is currently studying in the Graduate Di-
tered in the supervision of music therapy ploma course in Music Therapy at Concordia
internship in the United States and Canada. University, Montreal, Canada.
The Arts in Psychotherapy, 36, 191-201. Email: albmibiegga@gmail.com
237
it’S time to Share the Data:

oUtcomeS oF the iNterNatioNaL SUrVeY StUDY
Petra Kern
Music Therapy Consulting, USA, University of Louisville, USA
Daniel B. Tague
Shenandoah University, USA, World Federation of Music Therapy
introduction method
Every week, there are social media posts, Participants. Considering low response rates
news reports, international conferences, or reported in several previous international sur-
scientific articles about happenings or the vey studies, this research inquiry involved 18
benefits of music therapy in different parts key partners from WFMT’s current association
of the world. This leads to questions like: “Is and full organizational members. Their role
music therapy a growing profession world- was to a) provide expertise in strengthening
wide?” “How do music therapists practice the questionnaire, b) translate the question-
around the world?,” or “What are the global naire into their native language, c) provide ac-
trends?” While there is a wealth of informa- curate member information and contacts, and
tion on country-specific topics (i.e., history, d) support the dissemination of the survey
political background, training and education, through multiple pre-scripted announcements.
clinical practice, theoretical frameworks and
approaches, research, recognition and state Instrument Design. A 30-item questionnaire
regulations, organizational issues, publica- was distributed through SurveyMonkey® to
tions and online resources) (e.g., ECMT, 5,619 professional music therapists in five out
2016; imagine, 2016; WFMT, 2016), only a of WFMT’s eight regions. The questions with
few countries have published recent data- multiple-choice answers addressed demogra-
based workforce analyses (e.g., AMTA, phic information, practice-related items, and
2015). clinical trends in music therapy. Before the
data collection, an Institutional Review Board
Despite previous efforts of council members (IRB) approved all related documents of this
of the World Federation of Music Therapy survey study.
(WFMT), there is currently no descriptive
data on the worldwide development of the Data Analysis. Quantitative data from multiple-
profession. Therefore, it was time to gather choice questions were tallied and converted
some data! Data-based information allows into percentages by SurveyMonkey®. Qualita-
for informed advocacy, up-to-date training tive data from open-ended questions and
opportunities, and planning a sustainable fu- “other” sections were analyzed by following an
ture of the field. open coding procedure (Creswell, 2015).
238
results and Discussion World Federation of Music Therapy (WFMT).

(2016). Regional information. Retrieved from
"It's Time to Share the Data" is reflective of http://www.wfmt.info/resource-centers/
the main impetus for this one-of-a kind inter- publication-center/regional-information/
national survey. The authors will share and
discuss the results of the survey at the 15th acknowledgement
World Congress of Music Therapy in Tsukuba,
Japan in a concurrent and poster session. Thanks to all key partners, participants, and
work study students who contributed their
references talents and time to make this international
study possible.
American Music Therapy Association. (AMTA,
2015). 2015 AMTA member survey and about the authors
workforce analysis: A descriptive statisti-
cal profile of the AMTA membership. Sil- Petra Kern, Ph.D., MT-BC, MTA, DMtG, owner
ver Spring, MD: Author. of Music Therapy Consulting, adjunct Asso-
Creswell, J. W. (2015). Educational research: ciate Professor at the University of Louisville,
Planning, conducting, and evaluating and Editor-in-Chief of imagine is former
quantitative and qualitative research (5th WFMT President and recipient of the 2014
edition). Upper Saddle River, NJ: Pearson WFMT Service Award.
Education, Inc. Email: petrakern@musictherapy.biz
European Confederation of Music Therapy.
(ECMT, 2016). Country information. Retrie- Daniel B. tague, Ph.D., MT-BC, music thera-
ved from http://emtc-eu.com/country-re- pist and Assistant Professor and Director of
ports/imagine (2016). Color of us. Retrie- Music Therapy at Shenandoah University is
ved from http://www.imagine.musicthe- WFMT’s current Chair of the Clinical Practice
rapy.biz/?page_id=32 Commission.
239
the traNSFormatiVe aPPLicatioNS oF aNaLYticaL mUSic

theraPY techNiQUeS iN mUSic theraPY WeLLNeSS
Seung-A Kim
Molloy College, USA
Stress Reduction in Analytical Music Therapy detect the status of the clients’ emotional
Due to the complexity of modern society, well-beings and help them to develop some
the degree of stress that people experience strategies to deal with existing stress (Cop-
daily has been greater than ever before. per, 2012).
Chronic stress can be detrimental to their
well-being. It may also have a prolonged ef- role-Playing to enhance assertiveness
fect on their lives (Kim, 2013a). Therefore,
reducing stress has been an important topic Although improvisation or other creative mo-
for music therapy. This presentation empha- dalities can also be used to lessen the stress
sizes the benefits of Analytical Music The- level of the clients (Kim, 2013a; 2013b). Using
rapy (AMT) techniques to help individuals by free improvisation is a primary medium. Three
reducing and preventing stress. purposes of using improvisation are:
Analytical Music Therapy (AMT) was born a. To uncover issues while doing role plays
out of 96 experimental sessions by Mary based upon clients’ presenting problems
Priestley and two other colleagues, Marjorie (Eschen, 2002)
Wardel and Peter Wright in Brittan in the b. To enhance creativity and spontaneity in
1970’s. They called these sessions Interthe- improvisation (Priestley, 1974; Scheiby,
rapy: They took turns in the roles of client 2002)
and therapist while the third person was an c. To manage stress (Kim, 2013a).
observer who documented the sessions and
commented afterwards on what took place. Clients who display somatic symptoms or
During the Intertherapy period, they were ex- who experience chronic stress would benefit
ploring new techniques and interventions from this technique to relieve physical
and conceptualized them to one of the signi- symptoms related to stress (Kim, 2013b).
ficant models in music therapy, AMT (Pries-
tley, 1975). Psychodynamic movement
Priestley (1994) took a positive way of loo- One of the techniques that was developed
king at these aspects of life in pointing out by Priestley and modified by Pedersen and
that “times of stress, viewed as opportuni- Scheiby is Psychodynamic Movement (Pe-
ties for maturation, can produce in both the- dersen, 2002). This technique is particularly
rapist and patient the incentive to struggle useful for clients to gain greater insight into
and grow” (p. 198). In Analytical Music The- their own body, mind and spirit. “The core
rapy, analytical music therapists sensitively of psychodynamic movement is improvised
240
movement by one or more persons on an Kim, S. (2013b). The Cultural Integrity of a

agreed topic, accompanied by one or more Music Therapist in Analytical Music The-
persons who follow and interpret the move- rapy-Oriented Supervision (AMTOS). Voi-
ments in a parallel instrumental/voice im- ces: A World Forum for Music Therapy.
provisation. This is also called “improvised Pedersen, I. N. (2002). Psychodnynamic mo-
movement to improvised music” (p. 191). vement—A basic training methodology
for music therapists. In J. Th. Eschen (Ed.),
In addition, role- play and experiential exer- Analytical Music Therapy (pp. 190-215).
cises provide an opportunity to examine and London and Philadelphia: Jessica Kingsley
experience transference and other psycho- Publishers.
dynamic phenomena relating to stress. By Priestley, M. (1994). Essays on analytical
utilizing AMT techniques, analytical music music therapy. Phoenixville, PA: Barce-
therapists help clients develop their ability to lona Publishers.
articulate and discuss important concepts of Priestley, M. (1975). Music therapy in action.
stress reduction and prevention as well as London: Constable
their own feelings and self-reflections on Scheiby, B. B. (2002). Improvisation as a mu-
stress. sical healing tool and life approach theo-
retical and clinical applications of analy-
references tical music therapy (AMT) in a short and
long term rehabilitation facility. In J. Th.
Cooper, M. (2012). A musical analysis of how Eschen (Ed.), Analytical Music Therapy
Priestley implemented the techniques she (pp. 115-156). London and Philadelphia:
developed for Analytical Music Therapy Jessica Kingsley Publishers.
(Unpublished doctoral dissertation). Tem-
ple University, Philadelphia, PA. about the author
Kim, S. (2013a). Stress reduction and well-
ness. In L. Eyre (Ed.), Guidelines for Music Seung-a Kim, PhD, LCAT, MT-BC, Associate
Therapy Practice in Mental Health: A Four Professor/Director Undergraduate Music
Volume Series (pp. 797-839). Gilsum, NH: Therapy at Molloy College, NY, USA.
Barcelona Publishers. Email: skim@molloy.edu
241
maKe it mY home—1St Year aDJUStmeNt For

iNterNatioNaL mUSic theraPY StUDeNtS
ChihChen Sophia Lee, PhD, MT-BC
Southwestern Oklahoma State University, USA
Yu-Ling Chen, PhD, MT-BC

Southwestern Oklahoma State University, USA
abstract girls. Journal of child and adolescent psy-

chiatric nursing, 19(3), 103-111.
For international students, study abroad Tas, M. (2013). International students: Cha-
means facing new challenges in communica- llenges of adjustment to university life in
tion, culture, and/or academic studies. The the US. International Journal of Educa-
project demonstrates approaches that help tion, 5(3), 1.
international music therapy student stud- Wu, H. P., Garza, E., & Guzman, N. (2015). In-
ying in the United States adjust and cope ternational student’s challenge and ad-
with the aforementioned challenges, and justment to college. Education Research
learn to establish healthy relationships with International, 2015.
classmates, professors, and clients.
Keywords: Cultural Adjustments, Internatio- about the authors

nal Student, Music Therapy, Study Abroad.
chihchen Sophia Lee, Ph.D., MT-BC, the Direc-
references tor of Music Therapy at Southwestern Okla-
homa State University, is experienced in Hospice
Fritz, M. V., Chin, D., & DeMarinis, V. (2008). and Long-term care, Early Interventions, Do-
Stressors, anxiety, acculturation and ad- mestic Violence, and Rural At-Risk Youth.
justment among international and North Email: Sophia.lee@swosu.edu
American students. International Journal
of Intercultural Relations, 32(3), 244-259. Yu-Ling chen, Ph.D., MT-BC, the Assistant
Kim, S., Kverno, K., Lee, E. M., Park, J. H., Lee, professor of music therapy and piano divi-
H. H., & Kim, H. L. (2006). Development sion coordinator at Southwestern Oklahoma
of a music group psychotherapy interven- State University, has her research interests
tion for the primary prevention of adjus- in dementia and Neurologic Music Therapy
tment difficulties in Korean adolescent applications.
242
mUSic PSYchotheraPY treatmeNtS For acUte,

chroNic aND ProceDUraL PaiN
Joanne Loewy
The Louis Armstrong Ctr for Music & Medicine. Mount Sinai Beth Israel/ Icahn School
of Medicine, USA
John Mondanaro
The Louis & Lucille Music Therapy Program. Mount Sinai Health System, USA
Andrew Rossetti
Radiation Oncology, ICU. Mount Sinai Cancer Centers, USA
Music therapy offers a plethora of techniques arch and clinical practice we place stronger
for changing the perception of pain in infants, emphasis on integrative strategies, directing
children (Loewy, 1996) and adults (Monda- patients and caregivers in methods that inte-
naro & Sara, 2013), providing coping strate- grate culturally specific music into daily care.
gies for acute, chronic and procedural pain. Implementing music therapy into the plan of
Understanding of pain has broadened to a care for patients in pain translates into safe,
neuromatrix model expanding toward an in- preventative, cost effective, symptom-focu-
tegrative foundation of systems. When pain sed treatment.
is triggered, we perceive a weaving of expe-
rience, an interaction between a wide array Rhythm release, tonal intervallic synthesis
of dimensions: sensory, affective, evaluative, (Loewy, 2011) breath entrainment and music
postural, and other domains of function. visualization purposefully utilize live, cultu-
(Malzack & Katz, 2004) Musical processes fa- rally meaningful music (Mondanaro, 2016) to
cilitated through therapeutic alliances in- enhance strength or to relax. Such techni-
fluence multiple domains, resulting in less ques can unite individuals and groups in hos-
perceived pain. Music medicine and music pitals or clinical settings. In fragile settings
therapy are safe, potentially effective integra- such as radiation oncology, the programming
tive treatments indicated for many types of of recorded music has a significant place
pain. Participants will assess, and evaluate (Rossetti, 2014)-understanding anxiety’s role
through 'experiential' a variety of pain music in managing discomfort, pain and the trials
therapy applications-utilizing live music clini- and tribulations of dis-ease may afford a me-
cal improvisation. Whether acute episodes aningful place for music therapy interven-
during pain crises or a lingering pain resulting tions.
from a chronic condition, music therapy is
analgesic, an in-the-moment treatment mo- references
dality. Within particular treatment regimens
music therapists assess and evaluate-in rese- Melzack, R, & Katz, J, (2004). The Gate Con-
243
trol Theory: Reaching for the Brain. In about the authors

Hadjistavropoulos, T., Craig, K.(Eds) Pain:
Psychological perspectives. (13-34). Mah- Joanne Loewy, DA, MT-BC, LCAT is a public
wah, NJ, US: Lawrence Erlbaum Associa- speaker, consultant, clinician, researcher, co-
tes Publishers. EIC of the international, peer reviewed jour-
Loewy, J. (2011). Tonal Intervallic Synthesis nal ‘Music and Medicine’ and Director of the
in Medical Music Therapy. In F. Baker, & Louis Armstrong Center at Mount Sinai Beth
S. Ulig, (Eds), Voicework in Music Therapy Israel & an Associate Professor at Icahn
(pp. 242-263). London, Jessica Kingsley School of Medicine.
Publishers. Email: JLoewy@mountsinai.org
Loewy, J. (1997). Music Therapy and Pedia-
tric Pain. Cherry Hill: New Jersey: Jeffrey John mondanaro MA, LCAT, MT-BC, CCLS, is
Books. the Clinical Director of the Louis Armstrong
Mondanaro, J. (2016). Multicultural Medical Music Therapy Department at Mount Sinai
Music Psychotherapy in Affirming Iden- Beth Israel in NYC, and doctoral student at
tity to Facilitate Optimal Coping During New York University, who teaches, presents
Hospitaliza-tion. Music Therapy Perspec- and publishes his work on integrative care.
tives, 34 (2), 2016, 154-160.
Mondanaro, J. F., & Sara, G. (2013). Music andrew rossetti, MMT, LCAT, MT-BC, is a cli-
and medicine: Integrative models in the nical music psychotherapist, researcher, co-
treatment of pain. New York: Satchnote ordinator of the music therapy program in
Press. radiology oncology at Mount Sinai Beth Israel
Rossetti, A. (2014) Towards prescribed music in NYC, who teaches in the music therapy
in clinical contexts: More than words. masters programs at the Montclair State and
Music and Medicine, 6(2), 70-77. the University of Barcelona.
244
mUSic theraPY aND StroKe: reSearch aND Practice

oF SUrViVorS iN a commUNitY oF carerS
Joanne Loewy, DA, MT-BC, LCAT
The Louis Armstrong Center for Music and Medicine, Mount Sinai Beth Israel,
New York, NY, USA
Andrew Rossetti, MMT, LCAT, MT-BC

The Louis Armstrong Center for Music and Medicine, Mount Sinai Beth Israel,
New York, NY, USA
This presentation discusses medical music chronic illness, including strokes (Särkämö,
psychotherapy in treatment for survivors of Tervaniemi & Huotilainen, 2013; Sun & Buys,
stroke, reviewing existing literature as well 2013; Talmage, Ludlam, Leão, Fogg-Rogers,
as music therapy approaches. Our particular & Purdy, 2013). The existing literature in
focus addresses our ongoing research pro- music therapy focusing on the interrela-
ject which examines the effects of music tionship of communal/group singing and he-
therapy, and group singing in particular, on alth is limited to several studies (Clift &
language and quality of life experienced by Hancox, 2010; Clift & Morrison, 2010; Live-
survivors of stroke and their carers. The per- sey et al., 2012; Sun & Buys, 2013; Talmage
son who experiences stroke can be left with et al., 2013). Collective music making such
functional deficits in the domains of cogni- as choir singing enhances social capital and
tion, communication and/or motor control. has a direct impact on mental and physical
These impairments can lead to mood disor- health. Integrating music in a comprehen-
ders and isolation. The carers of patients sive rehabilitation plan for stroke survivors’
with stroke also bear a tremendous emotio- affect, quality of life and speech may prove
nal and physical burden. The carer-patient to be useful in systemized efforts to address
relationship is impacted on many levels. treatments that may improve the psycholo-
Music and music therapy’s rehabilitative in- gical well-being of patients with language
fluence are notable as therapeutic tools fo- loss.
cusing on neuromotor related activation of
brain structures and regions related to mo- references
vement in stroke.
Clift, S., & Hancox, G. (2010). The significance
The use of singing is recognized as one of of choral singing for sustaining psycholo-
the most powerful music therapy interven- gical well-being: Findings from a survey of
tions in enhancing emotional, psychological, cho-risters in England, Australia and Ger-
and psychosocial aspect of well-being in nor- many. Music and Health, 3(1), 79-96.
mal function. Singing in groups is also nota- Clift, S., & Morrison, I. (2010). Group singing
ble as beneficial for individuals living with fosters mental health and well-being: Fin-
245
dings from the East Kent “Singing for He- Talmage, A., Ludlam, S., Leão, S. H. S., Fogg-
alth” network project. Mental Health and Rogers, L., & Purdy, S. C. (2013). Leading
Social Inclusion, 15(2), 88–97. the CeleBRation choir: The choral singing
Livesey, L., Morrison, I., Clift, S., & Camic, P. therapy protocol and the role of the
(2012). Benefits of choral singing for so- music therapist in a social singing group
cial and mental well-being: Qualitative for adults with neurological conditions.
findings from a cross-national survey of New Zealand Journal of Music Therapy,
choir members. Journal of Public Mental 11, 7–50
Health, 11(1), 10–26.
Loewy, J., Ard, J., & Mizutani, N. (2015). about the authors
Music Therapy and Neurologic dysfunc-
tion to address self-expression, language, Joanne Loewy, DA, MT-BC, LCAT, is a public
and communication: The Impact of group speaker, consultant, clinician, researcher
singing on stroke survivors and caregi- and co-EIC of the international, journal
vers. In Linda. S. C (Ed.), Communication ‘Music and Medicine’ and is based in NYC as
and Aging: Creative Approaches to Im- the Director of the Louis Armstrong Center
proving the Quality of Life (pp. 269-299). for Music and Medicine at Mount Sinai Beth
San Diego, CA: Plural Publishing, Inc. Israel and an Associate Professor at Icahn
Raglio, A., Fazio, P., Imbriani, C., & Granieri, School of Medicine. NY, U.S.A.
E. (2013). Neuroscientific basis and effec- Email: JLoewy@chpnet.org
tiveness of music and music therapy in
neuromotor rehabilitation. OA Alterna- andrew rossetti, MMT, LCAT, MT-BC, is a cli-
tive Medicine, 1(1), 1–8. nical music psychotherapist, and coordinator
Särkämö, T., Tervaniemi, M., & Huotilainen, M. of the music therapy program in radiology
(2013). Music perception and cognition: oncology at Mount Sinai Beth Israel hospital,
Development, neural basis, and rehabilita- instructor in music therapy masters pro-
tive use of music. Wiley Interdisciplinary grams- University of Barcelona, and Mont-
Reviews, 4(4), 441–451. clair State University, NJ, U.S.A.
Sun, J., & Buys, N. J. (2013). Improving Abo-
riginal and Torres Strait Islander Austra- Naoko mizutani, MS, MT-BC, CCLS, is a
lians’ well-being using participatory com- board certified music therapist and child life
munity singing approach. International specialist at the Joseph M. Sanzari Children’s
Journal on Disability and Human Deve- Hospital at Hackensack University Medical
lopment, 12(3), 305–316. Center, NJ, U.S.A.
246
mUSic aND meDiciNe:

iNterDiSciPLiNarY treNDS iN reSearch
Joanne Loewy
Louis Armstrong Ctr, Mount Sinai Beth Israel, Icahn School of Medicine, USA
Ralph Spintge
Sportklinik Hellersen, MusicMedicine Hamburg University, Germany
Amy Clements-Cortes
University of Toronto, Canada
Erik Baumann
Musicoterapia, Peru
Annie Heiderscheit
Augsberg College; University of Minnesota Hospital, USA
An interdisciplinary based journal team outli- how projects involving integrative aspects of
nes mechanisms of new trends in music and music and medicine are exemplified and high-
medicine. From treatments models to clinical lighted through professional writing. Case
practice; formulation of clinical trails; case re- examples will reflect articles exemplifying cri-
ports- we illustrate integrative practice reflec- tical tools in developing writing toward publi-
ted through professional writing. Articles of cation, and how significant team inclusion in
influential studies that integrate music and doing so can be. Papers that have provided
medicine will be highlighted. significant means of understanding, in mea-
suring music in medicine initiatives, will re-
Description flect a range of writing-from case studies,
through discussions of valid research instru-
With the surge of integrative approaches and ments, to qualitative descriptions to recom-
their growing acceptance in medical practice, mendations for clinical trials.
the expansion of medical music interventions
has become more readily understood. Music As we focus on articles from a variety of scien-
therapy in medicine provides for an integrative tific disciplines, we will reflect on how this jour-
experience in its unique capacity to activate nal has solidified clinical activity in its melding
several mechanisms of entrained function. of research initiatives informing practitioners
from a variety of backgrounds. The interdisci-
An interdisciplinary-based journal team iden- plinary potential for growth initiative lies in the
tifies critical aspects of music and medicine’s integrative quest for the continuity and deve-
international perspectives. We will outline lopment of research, practice, and knowledge.
247
Most journals aim to discuss interventions about the authors

and outcomes, but one of the continued
goals of ‘Music and Medicine’ is to describe, Joanne Loewy, co-EIC of the international,
analyze, and consider the impact of the peer reviewed journal ‘Music and Medicine’;
music itself-abstracts are translated in 7 lan- Director of the Louis Armstrong Center at
guages. In this way, readers have been pro- Mount Sinai Beth Israel and an Associate
vided with essential insight as to how in- Professor, Icahn School of Medicine.
terventions might be refined, thus advan- Email: Joanne.Loewy@mountsinai.org
cing the ways music can be instituted in fu-
ture medical and clinical efforts. Taking into Dr. med ralph Spintge, Director Dept. of Pain
consideration the effect of music and its im- Medicine at Sportklinik Hellersen Luedens-
pact to potentially reduce stress in medical cheid Germany, Professor of MusicMedicine
environments calls on those who institute Hamburg University for Music and Drama
the implementation of music to continually Music Therapy Master Course, Co-EIC ‘Music
assess, address, and evaluate the particulars and Medicine’ & President Int.Soc. for Music
of music’s effects. An essential primary mis- in Medicine ISMM
sion of ‘Music and Medicine’ is to work wi-
thin the broader environment of each me- amy clements-cortés, Assistant Professor,
dical genre, so that we can consider each University of Toronto; Instructor Ryerson
and every aspect of care from the personal Chang & WLU; Registered Psychotherapist;
and professional perspective of treatment President WFMT, managing Editor of ‘Music
values and preferences. and Medicine.
references erik Baumann, Director of Musicoterapia Peru;

Production editor for the MMD Journal.
Loewy, J. (2009). Prelude to Music and Me-
dicine. Music and Medicine, 1, 1, 5-8. annie heiderscheit, Director of music the-
Loewy, J. & Spintge, R. (2012). The context rapy at Augsburg College; Senior music the-
of how decisions are made. Music and rapist at University of Minnesota Masonic
Medicine, 4(1), 5-7. Children's Hospital.
248
FirSt SoUNDS-rhYthm, Breath aND LULLaBY (rBL)-

aN iNterNatioNaL traiNiNG moDeL
Joanne Loewy
The Louis Armstrong Ctr for Music & Medicine/Icahn School of Medicine, USA
Aimee Telsey
Neonatal Intensive Care. Mount Sinai Health System/ Icahn School of Medicine, USA
Ann-Marie Dassler
Neonatal Intensive Care, Mount Sinai Health System, USA
Andrew Rossetti
Environmental Music Therapy, ICU, Mount Sinai Health System, USA
Mitsuko Itoh
University of Tokyo, Japan
Naoko Mizutani
Hackensack University Medical Center, USA
A range of philosophical and theoretical con- diversity of clinical music therapy approaches
texts can inform the application of music in as representative of neonatal care being ins-
NICU and Special Care Nurseries. The First tituted using the RBL approach that is deve-
Sounds method is a 3 prong, live music loping around the world will be explicated.
psychotherapy approach addressing medical Emphasis on applications for program buil-
and musical interventions with a team, including will include the fostering of develop-
sive of music therapists, a neonatologist & ment in Japanese hospitals. These specified
nurse practitioner. The First Sounds: Rhythm, considerations may be applicable to the in-
Breath, Lullaby training has been ‘grandpa- itiation of new programs in other countries.
rented’ in 18 countries. Focus includes EMT (RBL, 2016) Attendees will design live music
(Environmental Music Therapy) development applications of the transnatal environment
with evidence-based live music interventions focused on rhythm, timbre and tonal inter-
oriented within a neuropsychological deve- uterine elements to foster comfort, stability,
lopmental music context for premature in- nurturance, safety, increasing opportunities
fants and their caregivers. Tier 1 training for entrainment and self-regulation for the
includes music psychotherapy support for ca- premature infant. Attendees will demons-
regivers informed by theories of healthy dya- trate knowledge and application of the First
dic, triadic development, and trauma theory Sounds model -contingent singing, evalua-
embracing culturally sensitive applications. A tion of applicative sounds & music to increase
249
respiratory, sleep, feeding, and quiet-alert op- about the authors

portunities with proficiency. (Loewy, 2013)
Attendees will demonstrate the blanket of Joanne Loewy, DA, MT-BC, LCAT is a public
sound applications: tonal-vocal holding, with speaker, consultant, clinician, researcher, co-
competence to develop lullabies (Loewy, EIC of the international, peer reviewed jour-
2015) catered to address the developmen- nal ‘Music and Medicine.’ Director Louis
tal, physical, emotional and cultural needs Armstrong Center, Mount Sinai Beth Israel,
of the infant & family and will effectively Associate Professor, Icahn School of Medi-
evaluate the caregivers’ level of trauma and cine.
identify music anchors whereby families of Email: JLoewy@mountsinai.org
NICU infants will entrust music therapy sup-
port to enhance the caregiver-infant bonding aimee telsey, MD FAAP Asst Prof Icahn School
process. Attendees will explicate, through of Medicine, Neonatologist.
trauma amelioration theory music’s process
in EMT providing a tangible means of coping ann-marie Dassler, RN, MSN, FN, Family Nurse
where professional & personal caregivers Practitioner.
connect to infants through song of kin-foste-
ring parent-child attachment. andrew rossetti, MMT, LCAT, MT-BC, clinical
music psychotherapist, researcher, coordina-
references tor of the music therapy program in radio-
logy oncology at Mount Sinai Beth Israel,
First Sounds: Rhythm, Breath & Lullaby Trai- University of Barcelona, and Montclair State
ner compendium, (2016), NY, NY: Satch- University, NJ, USA.
note Armstrong Press.
Loewy, J. (2015) NICU Music Therapy: Song of mitsuko itoh, BA, MD, MPH, Pediatrician,
Kin as Critical Lullaby in Research and Prac- University of Tokyo Hospital, Researcher,
tice, Annals NY Acad of Sciences, Vol 1337, University of Tokyo, Graduate School of Me-
The Neurosciences and Music V, 178-185. dicine, Department of Public Health/Health
Loewy J, Stewart K, Dassler A.M, Telsey A, et Policy, Japan.
al. (2013). The Effects of Music Therapy
on Vital Signs, Feeding, and Sleep in Pre- Naoko mizutani, MS, MT-BC, CCLS music
mature Infants. Pediatrics. DOI: 10.1542/ therapist at Hackensack University Medical
peds.2013-1367;PMID: 23589814 Center, New Jersey.
250
BeiNG iN a mUSic theraPiStS’ BaND:

aBoUt mUSicaL aND cLiNicaL BeNeFitS
Julie Migner-Laurin
Dany Bouchard
MUHC (McGill University Health Center), Canada
Julien Peyrin
Dans La Rue, Canada
In all caregiving professions, self-care out- We will point out the relevance of crossing
side the clinical space is an ethical responsi- the bridge between improvisation and com-
bility; it allows us to revitalize and be avai- position by going through full musical produc-
lable again for our client’s needs. Taking into tion process, as it allows us to continuously
account the specificity of using music in our explore and reinforce our musical identities.
therapeutic approach, the goal of this pre- Phases of our creative process include 1)
sentation is to highlight the importance of free improvisation and raw recording, 2) re-
making music and being involved in creative listening and making choices, 3) building
process for ourselves as music therapists. structure and consolidating the song’s vi-
sion, 4) recording sessions, 5) editing and
With a function similar to peer supervision mixing, 6) broadcasting and sharing. There
groups, our band was formed in a music cen- will be short audio examples of these pha-
tered vision, as we put our needs to be active ses.
and nourished musically in the forefront. By
going through the joys and challenges of group Then through clinical examples, we will
music creating, we follow the idea of walking focus on how being in a music therapist’s
the same path that we invite our patients to band influences our professional practices.
engage.
We will end by a reflection about the need
The particularities of a music therapists’ band to include basics of musical production tech-
will be described: space for free improvisa- niques in music therapy programs.
tion, sense of security, freedom and accep-
tance, adaptation to different levels of needs references
(from individual needs to the song’s needs).
Therefore, our musical approach both differs Aigen, K. (2005). Music Centered Music The-
from clinical context (where the client’s needs rapy. Gilsum, NH: Barcelona Publishers.
prevail) and professional music making (less Priestley, M. (1994). Analytical Music Therapy.
pressure on results and time issues). Phonixville, PA: Barcelona Publishers.
251
about the authors Montréal (Qc, Canada) and he’s been wor-
king in mental health with adults since 2007
Julie migner-Laurin studied music therapy for the MUHC (McGill University Health Cen-
(2000) and psychology (2009) at Uqam uni- ter) and the foundation ‘Les Impatients’.
versity (Qc, Canada) and she holds a private
practice in music psychotherapy and clinical Julien Peyrin studied music therapy in Fran-
psychology with adults and adolescents. ce and Québec and he’s been practicing with
E-mail: juliemlaurin@gmail.com children and young adults in vulnerable si-
tuations since 2008 for Dans La Rue and Ste-
Dany Bouchard studied music therapy in Justine Hospital.
252
the momeNtUm choir aS commUNitY mUSic theraPY:

BeLoNG, BeLieVe, iNSPire
Joni Milgram-Luterman
State University of New York at Fredonia, USA. Momentum Western New York
Mendelt Hoekstra
Momentum Choir Niagara. Bethesda Community Services, Canada
abstract professionally facilitated performance choir

that developed from a vision to nurture the
This paper tells the story of the Momentum gifts of musicians who live with a disability.
Choir and Momentum Western New York. Artistic Director and founder Dr. Joni Mil-
An example of Community Music Therapy, gram-Luterman was inspired by the perfor-
the choirs provide authentic musical expe- mers and Artistic Director Mendelt Hoekstra
rience in which the gifts of unique artists are of the original, highly successful Momentum
professionally nurtured, and their commu- Choir, established 2007 from the Niagara Re-
nities have the opportunity to learn about gion of Canada, whose mission is to provide
the abilities and talents of individuals with an authentic musical experience in which
disabilities. the gifts of unique artists can be professio-
nally nurtured, and through which the ar-
introduction tists can be given the opportunity to belong,
believe and inspire. The original Momentum
We believe that there is a need for Commu- Choir began with eight choir members ten
nity Music Therapy projects that address the years ago and currently has over 65 choir
unique needs of adults living with disabilities members who perform for audiences of
who are talented, passionate musicians. Ma- over 2000 people at a single concert. Mo-
ny individuals have had rich music experien- mentum Western New York, inspired by the
ces in school that were for them, as for ma- success of the Momentum Choir, held audi-
ny of us, the most important aspect of their tions in the fall of 2015, began rehearsals
social and academic lives. The transition from with ten choir members in December of that
K – 12 to adulthood is challenging, fraught year, and has already had 4 successful con-
with many losses – with the loss of mem- certs of over 80 audience members, adding
bership in the school music community as six new members by year’s end.
one of the most difficult. The concept of Mo-
mentum Choir fulfills this need. Momentum Choirs as Community Music
Therapy provide opportunities for indivi-
momentum choirs duals to connect with a community of musi-
cians leading to many benefits, including an
Established in September 2015, Momentum increased sense of purpose. Additionally, fa-
Western New York is a highly disciplined, mily members and friends have new oppor-
253
tunities to be proud of and support the ta- Stige, B. (2012). Elaborations toward a no-
lents of their loved ones. Finally, choir mem- tion of community music therapy. Gilsum,
bers serve as disability advocates to the NH: Barcelona
wider community.
about the authors
references
Joni milgram-Luterman, PhD, MT-BC, LCAT
Aigen, K. (2014). The study of music therapy: is Director of Music Therapy at the State Uni-
Current issues and concepts. New York, versity of New York at Fredonia, and Artistic
NY: Routledge Director of Momentum WNY.
Ghetti, C. M. (2016). Performing a Family of E-mail:
Practices: Developments in community Joni.Milgram-Luterman@fredonia.edu
music therapy across International Contexts.
Music Therapy Perspectives, 34, 2, 161-170. mendelt hoekstra, BMT is Executive and Ar-
Pavlicevic, M & Ansdell, G. (Eds). (2004). tistic Director of Momentum Choir Niagara,
Community music therapy. London: Jes- and Music Therapist at Bethesda Commu-
sica Kingsley nity Services, Ontario, Canada.
254
Bio-GUiDeD mUSic theraPY: FocUS oN BraiN maPS

Eric B. Miller, Ph.D. MT-BC
introduction vocal toning condition. Brain maps during

several musical conditions showed toning
One of the signature processes that differen- and Tibetan bowls to appear normalizing
tiates Bio-guided Music Therapy from other compared with silence. The 50-string sound
neurological and medical-based music the- bed showed most dramatic slow-wave re-
rapy approaches, is the utilization of real- duction.
time physiological data to inform live music
therapy intervention (Miller, 2011). This
arrangement of both music and data func-
tioning as “co-therapists” allows for direct
targeting of medical complaints by addres-
sing associated physical symptoms in the
music therapy moment. Common monito-
ring measures include electromyograms for
muscle-related disorders, electrodermal and
thermal monitors for stress-related disor-
ders and electroencephalography (EEG) and
hemoencephalography (HEG) for neuro-re- Figure 1. Z-scored EEG theta and alpha
lated disorders. amplitudes during vocal toning.
Brain maps
references
Measures that may be used to generate gra-
phical representations of the brain include Miller, E. B. (2011). Bio-guided music the-
the EEG, magnetic resonance imaging (MRI), rapy: A practitioner’s guide to the clinical
positron emission tomography (PET) and integration of music and biofeedback.
others. In a quantitative EEG (qEEG) map a London, England: Jessica Kingsley.
color key shows “hot” areas in orange or red
indicating amplitudes or coherence above about the author
the mean, and cooler colors of aqua and
blue for levels below the mean. eric miller, Ph.D. MT-BC directs the David Ott
Lab for Music & Health at Montclair State Uni-
In the above figure, we see “normal” EEG versity and collaborated with Grammy-winning
theta levels in green next to elevated EEG cellist, David Darling on the CD Jazzgrass.
alpha levels in yellow and orange during a Email: Miller@Biofeedback.net
255
PareNtS’ eXPerieNceS oF mUSic theraPY iN the NeoNataL

iNteNSiVe care UNit (NicU)
Naoko Mizutani, MS, MT-BC, CCLS
The Joseph M. Sanzari Children’s Hospital at Hackensack University Medical Center,
NJ, U.S.A.
This presentation discusses a study explo- pics, however, have not been extensively in-
ring experiences of parents whose infants vestigated in the field of music therapy, whe-
are in the NICU and how they express such reas they have been discussed and investigated
experiences during music therapy sessions. a great deal in health care fields other than
Pregnancy and the birth of a new child can music therapy. Considering the crucial role that
be exciting and joyful for families, but can parents play in infant care and the necessity of
also be overwhelming for some. When an in- providing care that meet parents’ psychological
fant is born prematurely, with associated and psychosocial needs, I identified a need to
complications and medical issues, this pre- conduct a study that explores experiences in
cious time can turn into a stressful and trau- the NICU from a parental perspective. Further-
matic experience, negatively affecting both more, music therapy research has not yet exa-
infants and parents. mined parental verbal and musical responses
during music therapy sessions in the NICU.
Primary caregivers and parents of NICU in-
fants experience tremendous stress, feelings Three parents of premature infants in the
of loss, uncertainty, guilt, and betrayal during NICU participated in an individual music the-
their NICU stay (Aagaard & Hall, 2008; Clea- rapy session and post-session interview that
veland, 2008). Much music therapy research was conducted right after the session. Data
has focused on the effects of music therapy was collected through video recordings of
on premature infants’ physiological and be- music therapy sessions and post-session in-
havioral needs, such as heart rate, respira- terviews. Results from the music therapy
tory rate, oxygen saturation rate, sucking session analyses revealed the complexity
response, and weight gain (Standley, 2012). that exists in the therapy process and provi-
Various music therapy interventional proto- ded the referential and ontological mea-
cols have been developed and implemented nings from each session. This was affirmed
in order to meet above mentioned areas (Go- through the detailed examination of various
oding, 2010). Literature and research in mu- components of the session. Through the
sic therapy recognizes the importance of post-session interview analyses, seven glo-
understanding and integrating parental pers- bal themes associated with parents’ expe-
pectives and needs into caring for their new- riences of music therapy, as well as their
born in the NICU (Benzies, Magill-Evans, experiences pertaining to their role as a pa-
Hayden, & Ballantyne, 2013; Bieleninik & rent and overall experience in the NICU
Gold, 2014; Edwards, 2011a; Loewy, 2011, were discovered. Study results may inform
2015b; Shoemark & Dearn, 2008). These to- needs of parents in the NICU as well as roles
256
of music therapy in addressing and meeting tocols in the treatment of premature in-
such needs. fants: An introduction to current practices.
The Arts in Psychotherapy, 37, 211-214.
references Loewy, J. V. (2011). Music therapy for hospi-
talized infants and their parents. In J. Ed-
Aagaard, H., & Hall, E. O. C. (2008). Mothers’ wards (Ed.), Music therapy and parent
experiences of having a preterm infant in -infant bonding (pp. 179-190). New York,
the neonatal care unit: A Meta-synthesis, NY: Oxford University Press.
Journal of Pediatric Nursing, 23(3),26-36. Loewy, J. V. (2015b). NICU music therapy:
doi:10.1016/j.pedn.2007.02.003 Song of kin as critical lullaby in research
Benzies, K. M., Magill-Evans, J. E., Hayden, K. and practice. Annals of the New York Aca-
A., & Ballantyne, M. (2013). Key compo- demy of Sciences, 1337. 178-185.
nents of early intervention programs for Shoemark, H., & Dearn, T. (2008). Keeping
preterm infants and their parents: A syste- parents at the center of family centered
matic review and meta-analysis. BMC Preg- music therapy with hospitalized infants.
nancy and Childbirth, 13(Suppl 1), S10. The Australian Journal of Music Therapy,
Bieleninik, Ł., & Gold, C. (2014). Early inter- 19, 3-24
vention for premature infants in neonatal Standley, J. (2012). Music therapy research
intensive care unit. ACTA Neuropsycholo- in the NICU: An updated meta-analysis.
gica, 12(2), 185-203. Neonatal Network, 31(5), 311-316.
Cleavelend, L. M. (2008). Parenting in the
neonatal intensive care unit. Journal of about the author
Obstetric, Gynecologic, and Neonatal Nur-
sing, 37(6), 666-691. Naoko mizutani, MS, MT-BC, CCLS, is a
Edwards, J. (2011a). Music therapy and pa- board certified music therapist and a child
rent-infant bonding. In J. Edwards (Ed.), life specialist at the Joseph M. Sanzari Chil-
Music therapy and parent-infant bonding dren’s Hospital at Hackensack University
(pp. 5-21). New York, NY: Oxford Univer- Medical Center, NJ, U.S.A.
sity Press. Email:
Gooding, F. L. (2010). Using music therapy pro- Naoko.Mizutani@hackensackmeridian.org
257
caN mUSic SUPPort emotioN reGULatioN DeVeLoPmeNt?

eXPLoriNG a mUSic-BaSeD iNterVeNtioN StrateGY
Kimberly Sena Moore
Department of Music Education and Music Therapy, Frost School of Music,
University of Miami, USA
Deanna Hanson-Abromeit
Division of Music Education and Music Therapy, School of Music,
University of Kansas, USA
Emotion regulation (ER) is the ability for a the development of the MCRF intervention
person to maintain a comfortable state of through an overview of its theoretical and
arousal by controlling and shifting his or her conceptual framework, to summarize stages
emotional experiences and expressions. The of feasibility and fidelity testing for the MCRF
emergence of maladaptive ER occurs in intervention, and to present preliminary fea-
childhood and is one characteristic often sibility and fidelity results. Overall, the MCRF
shared by several disorders. Maladaptive ER intervention demonstrated moderate to large
can significantly affect multiple areas in child clinical effect sizes across multiple scores me-
development, such as the ability to learn in asuring emotion regulation skills pre- and
school, form and maintain healthy relations- post-intervention (feasibility). Furthermore,
hips with peers and adults, and manage and the implementation of the music applications
inhibit behavioral responses. adhered to the MCRF intervention protocol
an average of 85.4% of the time. Implications
Interventions for children at-risk for develo- of research findings are explored in relation
ping maladaptive ER skills are limited and to how they influence clinical music therapy
need further exploration. Based on limita- practice and future research.
tions noted in existing treatment options, a
Musical Contour Regulation Facilitation (MCRF) references
intervention was developed to improve ER
abilities in preschool-aged children by provi- Bakker, F. C. Persoon, A., Schoon, Y., & Olde Ric-
ding opportunities to practice real-time ma- kert, M. G. M. (2014). Uniform presenta-
nagement of high and low arousal expe- tion of process evaluation results facilitates
riences. As part of the intervention develop- the evaluation of complex interventions:
ment process, the feasibility and fidelity of the Development of a graph. Journal of Evalua-
MCRF intervention were examined, with the tion in Clinical Practice, 21, 97-102. doi:10.
aims of exploring the efficacy and perceived 1111/jep.12252
meaningfulness of the intervention (feasibi- Feldman, R. (2009). The development of re-
lity), as well as examining the impact of the gulatory functions from birth to 5 years:
music stimulus and therapist effect on child Insights from premature infants. Child
engagement and arousal levels (fidelity). Development, 80(2), 544-561.
Sena Moore, K., & Hanson-Abromeit, D. (2015).
The purpose of this presentation is to outline Theory-guided Therapeutic Function of Mu-
258
sic to facilitate emotion regulation develop- Music at the University of Miami. She is As-
ment in preschool-aged children. Frontiers sociate Editor-Communications for the Jour-
in Human Neuroscience, 9, 572. doi: nal of Music Therapy, serves as Regulatory
10.3389/fnhum.2015. 00572 Affairs Associate for the Certification Board
Sena Moore, K. (2015). Musical Contour Re- for Music Therapists, blogs, and studies mu-
gulation Facilitation (MCRF) to support sic’s impact on emotion regulation develop-
emotion regulation development in pres- ment.
choolers: A mixed methods feasibility Email: ksenamoore@miami.edu
study [Doctoral dissertation]. Retrieved
from https://mospace.umsystem.edu/ Deanna hanson-abromeit, Ph.D., MT-BC is
an associate professor at the University of
about the authors Kansas and researches music interventions
with infants, music as a mechanism for chan-
Kimberly Sena moore, Ph.D., MT-BC is an ge, and competency-based training and su-
assistant professor in the Frost School of pervision.
259
the theraPeUtic FUNctioN oF mUSic For the mUSicaL

coNtoUr reGULatioN FaciLitatioN iNterVeNtioN
Kimberly Sena Moore
Department of Music Education and Music Therapy, Frost School of Music,
University of Miami, USA
Deanna Hanson-Abromeit
Division of Music Education and Music Therapy, School of Music,
University of Kansas, USA
Emotion regulation (ER) is the ability for a development literature was conducted to in-
person to maintain a comfortable state of form the TFM. Results provided guidelines for
arousal by controlling and shifting his or her structuring the music stimulus to create mu-
emotional experiences and expressions. The sically facilitated high and low arousal expe-
emergence of maladaptive ER occurs in riences. Developmentally appropriate music
childhood and is one characteristic often for preschool-aged children should include
shared by several disorders. Maladaptive ER rhythmic and melodic repetition, consonant
can significantly affect multiple areas in child harmonies, binary rhythms, and an easy-to-
development, such as the ability to learn in follow, step-wise melodic contour that falls
school, form and maintain healthy relations- within an octave range. Music composed to
hips with peers and adults, and manage and facilitate high arousal can incorporate more
inhibit behavioral responses. complex ternary rhythmic pattern, fast tem-
pos, bright timbres, staccato articulations,
Interventions for children at-risk for develo- complex musical textures, as well as unexpec-
ping maladaptive ER skills are limited and need ted or novel musical events (e.g. a sudden
further exploration. Based on limitations no- rhythmic change). Music composed to facili-
ted in existing treatment options, a Musical tate low arousal can incorporate soft dyna-
Contour Regulation Facilitation (MCRF) inter- mics, a low-than-normal pitch range, slow
vention was developed to improve ER abilities tempos, ritardandos, simple musical textures,
in preschool-aged children by providing oppor- and legato articulations.
tunities through the contour and temporal
structure of a music therapy session to prac- references
tice real-time management of high and low
arousal experiences. Hanson-Abromeit, D. (2015). A conceptual
methodology to define the Therapeutic
The purpose of this research is to provide a Function of Music. Music Therapy Pers-
theoretical rationale for the Therapeutic pectives. Advance online publication. doi:
Function of Music (TFM) to support the MCRF 10.1093/mtp/miu061
intervention. A review and synthesis of the Sena Moore, K., & Hanson-Abromeit, D. (2015).
music theory, music neuroscience, and music Theory-guided Therapeutic Function of
260
Music to facilitate emotion regulation de- at the University of Miami. She is Associate
velopment in preschool-aged children. Editor-Communications for the Journal of
Frontiers in Human Neuroscience, 9, 572. Music Therapy, serves as Regulatory Affairs
doi: 10.3389/fnhum.2015. 00572 Associate for the Certification Board for
Sena Moore, K. (2015). Musical Contour Re- Music Therapists, blogs, and studies music’s
gulation Facilitation (MCRF) to support impact on emotion regulation development.
emotion regulation development in pres- Email: ksenamoore@miami.edu
choolers: A mixed methods feasibility
study [Doctoral dissertation]. Retrieved Deanna hanson-abromeit, Ph.D., MT-BC is
from https://mospace.umsystem.edu/ an associate professor at the University of
Kansas and researches music interventions
about the authors with infants, music as a mechanism for
change, and competency-based training and
Kimberly Sena moore, Ph.D., MT-BC is an as- supervision.
sistant professor in the Frost School of Music
261
mUSic-ceNtereD SoNG eXPLoratioN

Kathleen M. Murphy, PhD, MT-BC
Loyola University-New Orleans, USA
Brian Abrams, PhD, MT-BC

Songs are the basis for numerous music the- sists within the subsequent, verbal discus-
rapy experiences. This presentation will fo- sion.
cus on music-centered song exploration—an
approach to working with pre-composed By contrast, Music-Centered Song Explora-
songs in music therapy in which the music tion engages clients in the song as whole
plays a primary role in the therapeutic pro- musical experience, in which lyrics are trea-
cess. ted as inextricable from the lived, aesthetic-
temporal context of the musical gestalt.
Song Discussion, often referred to as Lyric Based upon this principle, Music-Centered
Analysis, has been defined by Bruscia (2014) Song Exploration can be defined via a modi-
as: fied version of Bruscia’s Song Discussion, as
follows:
The therapist brings in a song that serves
as a springboard for discussion of issues The therapist brings in a song that serves
that are therapeutically relevant to the as a springboard for discussion of issues
client. After listening to the song, the that are therapeutically relevant to the
client is asked to analyze the meaning of client. Through listening to the song, as a
the lyrics and to examine (in dialogue whole or in individual excerpts (depending
with the therapist or other clients), the upon the specific nature and direction of
relevance of the lyrics to the client or the the session) the client is asked to explore
client’s life. (p. 340). the experience of the song, and to examine
(in dialogue with the therapist or other
Many music therapists utilize songs in this clients), the relevance of the music and
way, focusing on the verbal content of a son- lyrics to the client or client’s life.
g’s lyrics, and employing the music as a pre-
text for verbal discussion. In this approach, In this method, music is understood as cen-
the therapist typically works within a psy- tral to the therapeutic experience, and as
cho-educational and/or behavioral health the core, guiding principle of the work and
framework, in which songs are utilized for its goals. This method is rooted in theory po-
topical, thematic lyrical contents that align siting that the experiential, therapeutic po-
with clinical goals. In this work, while the tential of a song resides in its musical con-
music may “prime” the client’s awareness in text, and that a music-centered approach
certain ways, much of the work itself con- better integrates the unique expertise em-
262
bodied in music therapy as a discipline on methods in music therapy. Philadelphia,

behalf of the client. Techniques used in the PA: Jessica Kingsley Publishers
facilitation of this method are drawn from Loewy, J. V. (2002). Song sensitation: How
related models, such as the Bonny Method fragile we are. In J. V. Loewy & A. F. Hara,
Caring for the caregiver: The use of music
Session overview therapy in grief and trauma (pp.33-43).
Silver Springs, MD: American Music The-
The session will present a music-centered rapy Association
approach to song exploration, including ba- Turry, A. (2010). Integrating musical and psy-
sic constructs of music-centered theory, and chotherapeutic thinking: Research on the
the procedural processes involved (song se- relationship between words and music in
lection, facilitation and evaluating music- clinically improvised songs. Qualitative In-
centered song exploration). quiries in Music Therapy, 5, 116-172.
references about the authors
Aigen, K. (2005). Music-centered music the- Kathleen m. murphy, PhD, MT-BC, teaches
rapy. Gilsum. NH: Barcelona Publishers. music therapy at Loyola University, with a re-
Brusica, K. E. (1998). An introduction to music search focus on music therapy in addictions.
psychotherapy. In K. E. Bruscia (Ed.), The Email: kmmurphy@loyno.edu.
dynamics of music psychotherapy (pp. 1-
15). Gilsum, NH: Barcelona Publishers. Brian abrams, PhD, MT-BC, serves as Associate
Bruscia, K. E. & Grocke, D. E. (2002). Guided Professor of Music and Coordinator of Music
imagery and music: the Bonny method Therapy at the John J. Cali School of Music,
and beyond. Gilsum, NH: Barcelona Publis- Montclair State University, with a focus on hu-
hers. manistic dimensions of music therapy.
Grocke, D. E., & Wigram, T. (2006). Receptive Email: abramsb@montclair.edu
263
mUSic theraPY With YoUth at riSKS

Julien Peyrin
Dans La Rue, Canada
Firstly, we will begin on a general note by pre- references

senting the various issues affecting that clien-
tele (including: family and social exclusion, drug Dingle, G. A. Gleadhill, L. & Baker, F. A. (2008).
addiction, psychiatric disorders, suicide, etc.). Can music therapy engage patients in group
cognitive behaviour therapy for substance
Then, we shall define the role of music therapy abuse treatment? Drug & Alcohol Review,
by describing the diverse kinds of interventions 27(2), 190-196.
adapted to this population. An individualized Ghetti, C. M. (2004). Incorporating music the-
framework is established with each teenager rapy into the harm reduction approach to
who joins the therapeutic approach of this managing substance use problems. Music
music program, including sessions of psycho- Therapy Perspectives, American Music,
musical relaxation proposed to youth living Therapy Association, 22, 84-90.
with stress and anxiety disorders, drum circle Soshensky, R. (2001). Music therapy and ad-
sessions dedicated to the improvisation and diction. Music Therapy Perspectives, 19
the expression of oneself in context of open (1), 45-52.
group, and finally musical recording sessions in
studio (texts, songs or improvisations). about the author
We shall approach more exactly the project Julien Peyrin studied music therapy in France
of the musical compilations made in 2013 and Québec and he’s been practicing with
and 2016, involving young people benefiting children and young adults in vulnerable situa-
from our services with professional artists. tions since 2008 for Dans La Rue and Ste-Jus-
We will see how this kind of project with the- tine Hospital.
rapeutic aim could be developed with other Email: julien.peyrin@gmail.com
populations in difficulties.
264
iNSPiratioN From triNiDaD: SteeLPaN aND caLYPSo

For GLoBaL mUSic theraPY iNterVeNtioNS
Jean Raabe, M.Ed., MBA, MT-BC
University of the West Indies, Trinidad & Tobago and Michigan, USA
Scientific documentation concerning the use Congress was originally designed for a diffe-
of steelpan and calypso for music therapy in- rent international audience to hear about
terventions has not been readily available for the intrinsic therapeutic value of the steel-
music therapists. The author of this paper pan. The steelpan fraternity has a global
seeks to change that with the support and as- membership, so a similar workshop was first
sistance of interested colleagues. The steel- done for that audience in 2012 (Port of
pan has properties and characteristics unlike Spain, Trinidad, W.I.). A year later the works-
many of the instruments used by the author hop was redesigned to present at a confe-
for therapy, making it a more effective tool rence in Trinidad concerning arts for persons
than instruments previously favored for music with disabilities, and then redesigned again
therapy sessions. The traditional rote me- for music therapists at multiple annual AMTA
mory style of teaching steelpan has also been conferences. The interactive workshop has
conducive to designing effective therapeutic provided participants with opportunities to
interventions. play steelpans and percussion, and demons-
trated intervention possibilities for music
The therapeutic value of an instrument that therapists working with various client popu-
has melodic, harmonic and percussive capa- lations.
bilities all in one is immeasurable. The instru-
ment’s design lends itself to giving a client Steelpans (drums) were born out of innova-
success on the first attempt, because the har- tive, yet poverty-stricken, panyards of Trini-
monic partials brought out in tuning each dad & Tobago. The instrument was associated
note bring richness and beauty with the sin- with crime and delinquency in its early years,
gle strike on a note. The pan speaks to the but was elevated to the national instrument
heart of people in a special way, because it of T&T in 1992. Pans have provided an op-
also vibrates and produces tones in compari- portunity to use instruments that are both
son with the human voice. The author has melodic and percussive, have harmonization
not used another instrument that can “sing” capabilities and capture the interest of clients
for a client, so for a non-vocalist it adds a new in a variety of ways. A wide range of popula-
dimension to their capabilities in producing tions have been drawn to the pleasing sound
and creating music. This has also true for non- of the instruments, making them an effective
musicians, making it more valid for clients catalyst for powerful music therapy interven-
who’ve never had a voice in so-called modern tions. The therapeutic aspects of steelpan
society. became evident through sharing how the
instruments were built and tuned, as well as
The workshop presentation for the 15th World how the history and cultural ramifications
265
were critical to the development of these rious stages of Alzheimer's disease. Jour-
versatile instruments. Video clips of steel- nal of Music Therapy, 43(3), 226-246.
bands from around the world strengthened Werner, P., Swope, A., &Heide, F. (2009). Eth-
understanding of the therapeutic value of nicity, music experience, and depression.
steelpan as a global entity. Journal of Music Therapy, 46(4), 339-358.
Helmlinger, A. (2010). Mémoriser à plusieurs.
Calypso music was the original style used Expérience sur l’effet du groupe dans les
with steelpans, but with A440 chromatic tu- steelbands (Trinidad et Tobago). Memori-
ning they have blended well with other ins- zing together. Group effect experiments in
truments to play any musical style. Calypso steelbands (Trinidad and Tobago). Annales
rhythms and chord progressions were used Fyssen 24: 216–235. Further Information
for improvisation, while participants interac- on Steelpan https://en.wikipedia.org/ wiki/
ted and propelled the interventions demons- Steelpan Phase II Pan Groove - More Love -
trated/used during the workshop. The im- National Panorama Finals 2013 - 1st Place:
provisational form of calypso called extempo https://www.youtube.com/watch?
was the main style used, however, blues and v=zWuWvgqycA
Caribbean folk music were also used to give
clarity on how a variety of genres work with about the author
steelpans.
Jean uses steelpan for community music the-
references rapy in Michigan, USA, teaches a music the-
rapy course at University of the West Indies,
Cevasco, A., & Grant, R. (2006). Value of mu- Trinidad, and played with internationally re-
sical instruments used by the therapist to cognized Phase II Pan Groove (1995-1015).
elicit responses from individuals in va- Email: occasions@yahoo.com
266
commUNitY mUSic theraPY For coLLeGe StUDeNtS With

aND WithoUt iNteLLectUaL DiSaBiLitieS
Melody Schwantes
Appalachian State University, USA
Students with intellectual and developmental pus. The music therapy sessions included ins-
disabilities (IDD) have recently been granted trument playing, instrument learning, group
limited access to 2 and 4-year colleges and music making, improvisation, and dance/mo-
universities in the United States through the vement to music- all utilizing participant se-
support of federally funded grant programs. lected music. The semester en-ded with
One of the challenges that students with IDD students attending two different concerts to-
often struggle with while enrolled in these gether outside of the group setting.
programs is developing authentic social inter-
actions and community (Grigal, Hart, & Weir, After the conclusion of the sessions inter-
2013). To help support students at our uni- views were held with the participants in order
versity enrolled in such a program, we deve- to determine what they would consider to be
loped a pilot community music therapy group the outcomes of participating in the commu-
to create a space for college students with nity music therapy sessions. It was found that
and without IDD to come together in a natu- a previous relationship to music, whether for-
ral setting in their residence hall to form re- mal or informal was helpful in encouraging
lationships through the creation of music. students to participate in the music therapy
This action research study aimed to find out sessions. During the music therapy sessions,
how music therapy might support relations- music selection, connection to the music and
hip building for students with and without to other participants, and methods of parti-
IDD. cipation all positively contributed to building
community. Some of the logistics, including
Adults with IDD have accessed community the time of the sessions and the location in
music therapy (Stige, 2013) and creative arts the open lobby were challenges identified
therapies (2009), however, little research that may have been barriers to developing
has been conducted to learn of their percep- deeper relationship. The participants high-
tions and experiences in the music therapy lighted the importance of attending a concert
sessions. Further, there have been very few together as it helped to perform the group
music therapy studies that have provided an (Stige & Aarø, 2012) in many ways. Finally, the
inclusive context that benefitted both indi- participants articulated ways that participa-
viduals with IDD and without IDD. ting in the group gave them courage to be
themselves and to not be afraid to try new
Over the course of the fall semester, volun- things in the future. Students with and wi-
teer students participated in 10, weekly thout IDD highlighted ways that they perso-
community music therapy sessions in the nally benefitted from participating in the
open lobby of their residence hall on cam- group.
267
Guidelines and relevant to the topic of the Stige, B. (2013). Action: A society for all? The
manuscript are encouraged. Clear images (jpg cultural festival in Sogn og Fjordane, Nor-
file, maximum of 1 MB), audio (mp3 file; ma- way. In B. Stige, G. Ansdell, C. Elefant, &
ximum of 10 MB), videos (mp4, maximum of M. Pavlicevic (Eds.) Where music helps
50 MB) must be submitted separately. (pp. 115-124). Burlington, VT: Ashgate.
Stige, B., & Aarø, L. E. (2012). Invitation to
references community music therapy. New York, NY:
Routledge.
Grigal, M., Hart, D., & Weir, C. (2013). Pos-
tsecondary education for people with in- about the author
tellectual disability: Current issues and
critical challenges. Inclusion, 1(1), 50–63. melody is a senior lecturer in music therapy
doi: 10. 1352/2326-6988-1.1.050 at Appalachian State University. She is the
Lister, S., Tanguay, D., Snow, S., & D’Amico, M. copyeditor for Voices-A World Forum for
(2009). Development of a creative arts Music Therapy.
therapies center for people with develop- Email: sophia.lee@swosu.edu
mental disabilities. Art Therapy, 26, 34-37.
268
SoNG aND emotioN: eXPLoriNG the roLe oF mUSic iN

emotioNaL reGULatioN With aDoLeSceNtS hoSPitiLiZeD
For acUte PSYchiatric care
Johanna Shriver
Lesley University, USA
Background vering a variety of genres and styles. Each

participant met with the researcher twice,
For adolescents hospitalized for intensive with 24 hours minimum in between ses-
care in a mental health facility, the process sions. Session one was identified as self gui-
of developing emotional regulation can be ded, in that the participants selected music
interrupted. Research has identified music without researcher instruction. In session
therapy as an effective model of treatment two, the researcher issued additional ins-
with the adolescent population (McFerran, tructions to guide music selection, therefore
2010). Further research has identified music it was referred to as externally guided. Par-
as an important piece in assisting adoles- ticipants were provided with lyrics to each
cents develop the ability to regulate emo- song selected and asked to highlight lyrics
tions effectively, building resiliency and co- they found meaningful. After the listening,
ping skills (Eberstadt, 2005; Gooding, 2011; participants were again asked how they felt
Schwartz 2004). and then asked a variety of open ended
questions about lyrics, the music of the
method and results song, and which, if any, had contributed to
any emotional change through the listening
Research was conducted with three adoles- experience. The researcher analyzed partici-
cent patients in a public psychiatric hospital pant identified lyrics and provided opportu-
in the form of a 1:1 music listening, inter- nities for the participants to identify the role
view, and lyric analysis session. The method music plays in their life. Participants used
of research was phenomenological and qua- the same songs and were asked the same
litative, focusing on the individual relations- questions at both sessions.
hip of each participant to music and the role
it plays on their life. Research was conduc- Out of three participants, three out of three
ted under the approval of the state Institu- achieved emotional regulation when allo-
tional Review Board and the ethical guide- wed to self guide and identified the change
lines of the American Music Therapy Asso- as lyric driven. In the externally guided ses-
ciation. sion, only one of three affected an emotio-
nal change and identified this change as
In each session, participants were asked music driven. The other participants recor-
how they were feeling and asked to select ded no change in emotions. Participants
two or three songs from a list of 25 songs co- identified common themes of fear, accep-
269
tance, authority, and parental relationships clients and is an important clinical tool in
through lyrics, and commonly shared uses of their treatment and recovery.
music included emotional expression and
managing emotions. For purposes of this references
study, exclusions included patients actively
self-harming and cognitively limited patients Eberstadt, M. (2004). Eminem is right: The
who were unable to assent to the research primal scream of teenage music. Policy
with full understanding. Review, 128, 19-32.
Gooding, L.F. (2011). The effect of a music
While the sample size of this study was small, therapy social skills training program on
patterns emerged that appear to indicate par- improving social competence in children
ticipants were able to achieve emotional re- and adolescents with social skill deficits.
gulation through lyrics that validated their Journal of Music Therapy 48(4).
emotions in the moment, allowing for rele- McFerran, K. (2010). Adolescents, music and
ase, management and freedom to resolve music therapy: Methods and techniques
emotions as needed. When instructed by for clinicians, educators and students.
another to regulate emotions a certain way, London: Jessica Kingsley.
participants were unable to achieve regula- Schwartz, K. (2004). Music, preferences, per-
tion, or simply chose the fastest method to sonality style, and developmental issues
fulfill the instruction, thus not allowing for of adolescents. The Journal of Youth Mi-
full emotional regulation. nistry 3(1). 47-64.
This research has demonstrated the impor- about the author

tant role music can, and does, play in develo-
ping emotional regulation with adolescents Johanna Shriver, M.A., MT-BC currently works
experiencing severe emotional dysregulation. as a clinician on an adolescent acute psychia-
While there is more to learn, it is clear music tric unit in a private psychiatric hospital.
plays an important role in the lives of our Email: johanna.shriver@gmail.com
270
toNiNG, SiNGiNG aND BreathiNG: meaSUriNG coGNitiVe,

reSPiratorY, carDioVaScULar aND emotioNaL reSPoNSeS
Shelley Snow
Centre for the Arts in Human Development
Concordia University, Montreal, Canada
Nicolo Bernardi
International Laboratory for Brain, Music and Sound Research (BRAMS).
McGill University, Montreal, Canada
Alexandre Lehmann
International Laboratory for Brain, Music and Sound Research (BRAMS).
McGill University, Montreal, Canada
introduction throughout the approximately 2-hour experi-

ment. Qualitative measures consisted of an
This study involved a collaboration between interview conducted at the conclusion of the
a music therapist and two neuroscientists. Its experiment, and a Music and Emotions ques-
purpose was to explore toning, a form of vo- tionnaire administered at the conclusion of
calizing that is gaining in its use and applica- each of 4 protocols comprising the study. The
tions in music therapy practice (Austin, 2009, primary objective was to gather descriptive
Clements-Cortes, 2016, Ilya, 2013). A scienti- information concerning the effects of self-ad-
fic understanding of toning is lacking because ministered toning on study participants, and
of the paucity of studies to date. The current secondarily, singing and breathing.
study sought to increase our understanding
of toning through an exploratory mixed me- The presentation will include further informa-
thods approach. tion on the procedures, as well as the metho-
dologies employed to analyze the data.
Design, objectives, Procedures
results
Empirical data was gathered using a single-
blinded, cross-over group study. Participants Results indicate many therapeutic benefits to
were 20 adults who were non-musicians. The toning. Among these is a significant finding
objective was to investigate the effect of to- that toning results in a respiration rate of 6.1
ning and singing on cardiorespiratory and ce- breaths per minute, which has significant
rebral physiology, and to disentangle the role cardiovascular and respiratory benefits, as
of breathing from that of vocal production. well as psychological benefits. Singing songs
Continuous cardiorespiratory and cerebral re- also positively impacts cardiorespiratory
cordings were taken for baseline data, and function, although to a lesser extent. Toning
271
increases heart rate variability. It also de- Rider, M., Mickey, C., Weldin, C. & Hawkinson,
monstrates the capacity to easily induce an R. (1991). The effects of toning, listening
altered state of consciousness or attention, and singing on psychophysiological res-
which is often described as meditative. Full ponses. In C. Maranto (Ed.), Applications
results will be discussed in the presentation. of music in medicine. Washington, DC: Na-
tional Association for Music Therapy.
conclusion Snow, S. (2011). Healing through sound: An
exploration of a vocal sound healing me-
The results of this study provide important thod in Great Britain. (Unpublished docto-
new information on toning, with the poten- ral dissertation). Concordia University,
tial for expanded areas of clinical application Montreal, Canada.
of this intervention. This study also offers a
model for collaboration between music the- about the authors
rapists and neuroscientists.
Shelley Snow, PhD, MTA, is a Music Therapy
references Researcher at Concordia University and the
founder/director of The Dorian Centre where
Austin, D. (2009). The theory and practice of she conducts her private practice.
vocal psychotherapy: Songs of the self. Email: shelleysnow@sympatico.ca
Philadelphia: Jessica Kingsley.
Clements-Cortés, A. (2016). Development Nicolo Bernardi, PhD, is a psychologist and
and efficacy of music therapy techniques cognitive neuroscientist, interested in the
within palliative care. Complementary biological bases of holistic health practices.
Therapies in Clinical Practice, 23, 125-129.
Iliya, Y.A. (2011). Singing for healing and ho- alexandre Lehmann, PhD, is a cognitive neu-
pe: Music therapy methods that use the roscience professor and researcher interested
voice with individuals who are homeless in many aspects of human hearing, from the
and mentally ill. Music Therapy Perspecti- basics of the auditory system to the pleasure
ves, 29(1), 14-22. of moving to a beat.
272
mUSic PreFereNce, iNDiViDUaL VariaBiLitieS, aND mUSic

characteriSticS: a mULti-aXiS ParaDiGm For PaiN
Xueli Tan, PhD, MT-BC
Lesley University, United States of America
abstract tive data regarding the saliency of individual

variabilities and music characteristics in de-
This 3-phase mixed methods study ascertai- termining the choice of music for pain mana-
ned salient individual variabilities and music gement interventions. Healthy adults and
characteristics associated with pain manage- cancer patients completed a battery of tests
ment interventions. Participants included 97 and questionnaires, including a Participant
music therapists, 50 healthy adults, and 35 Intake Form, an adapted Short Test of Music
cancer patients. The results revealed predic- Preference-Revised (STOMP-R-A), a Music
tors such as demographics, personality, and Characteristics Test, the Miller Behavioral
coping styles in influencing changes in music Style Scale-abbreviated (MBSS-abbreviated),
preferences under various pain contexts. and the NEO Five-Factor Inventory-3 (NEO-
FFI-3). In addition, the of the McGill Pain
Purpose of Study Questionnaire-2 (SF-MPQ-2).
The purposes of this 3-phase mixed methods Data analysis

study were to 1) identify salient individual va-
riabilities and music characteristics associa- A one-way ANOVA, independent t-test, chi-
ted with interventions for pain management, square statistic and the McNemar’s test were
2) explore current pain management practi- utilized to test for possible response bias, dif-
ces of music therapists, 3) delineate any diffe- ferences in baseline covariates, statistical dif-
rences in general musical taste and context- ferences between general music tastes and
specific music preference, as well as prefe- music preference, and genre-specific prefe-
rred music characteristics, and 4) investigate rence changes respectively. Qualitative res-
the contributions of individual variabilities, ponses were analyzed using open coding and
personality, behavioral coping styles, and pain thematic development techniques. Multiple
levels in predicting changes in music prefe- logistic regression analysis was used to exa-
rences and preferred music characteristics mine the contributions of demographic fac-
under various pain conditions. tors, personality, behavioral coping style, and
pain to changes from musical tastes to music
method preferences and preferred music characteris-
tics under four pain conditions.
Participants included 97 music therapists, 50
healthy adults, and 35 cancer patients. The results
music therapists completed an online ques-
tionnaire to provide quantitative and qualita- The results indicated that participants’ music
273
preferences under various pain contexts dif- lled trial of the effects on postoperative
fered from their general musical tastes. pain. Anaesthesia: Journal of the Associa-
Analysis indicated that participants’ age, tion of Anaesthetists of Great Britain and
gender, personality, and behavioral coping Ireland, 58(7), 699-703.
styles predicted how likely their music pre- Rentfrow, P. J., & McDonald, J. A. (2010). Pre-
ferences might change, and also predicted ference, personality, and emotion. In P.
their preferred music characteristics under N. Juslin & J. A. Sloboda (Eds.), Handbook
different pain situations. of music and emotion: Theory, research,
applications (pp. 669-695). New York, NY:
conclusions Oxford University Press.
Sloboda, J. A., O’Neill, S. A., & Ivaldi, A. (2001).
The findings from this study emphasized the Functions of music in everyday life: An
importance of considerations for the inter- exploratory study using the Experience
actions of music preferences, individual va- Sampling Methodology. Musicae Scien-
riabilities, and music characteristics as a tiae, 5, 9-32.
paradigm for context-specific pain manage- Tan, X., Yowler, C. J., Super, D. M., & Fra-
ment in adult clinical settings. tianne, R. B. (2010). The efficacy of music
therapy protocols for decreasing pain,
references anxiety, and muscle tension levels during
burn dressing changes: A prospective
Fillingim, R. B., King, C. D., Ribeiro-Dasilva, M. randomized crossover trial. Journal of
C., Rahim-Williams, B., & Riley, J. L., III. Burn Care and Research, 31, 590-597.
(2009). Sex, gender, and pain: A review of doi:10.1097/BCR.0b013e3181e4d71b
recent clinical and experimental findings.
The Journal of Pain, 10(5), 447-485. about the author
Melzack, R. (1996). Gate control theory: On
the evolution of pain concepts. Pain Fo- Xueli tan, PhD, MT-BC is the assistant pro-
rum, 5(2), 128-138. fessor of music therapy at Lesley University
Nilsson, U., Rawal, N., & Unosson, M. (2003). (USA).
A comparison of intra-operative or pos- Email: xtan3@lesley.edu
toperative exposure to music – a contro-
274
coNteNt aNaLYSiS oF the USe oF mUSic iN PaiN reSearch

acroSS heaLthcare DiSciPLiNeS
Xueli Tan, PhD, MT-BC, Yu-Hsin Hung, MA, MT-BC, Ruoxi Zhang, MA, BC-DMT
Lesley University, United States of America
abstract 1) “pain” and “music” in article title.

2) published from 2001 – 2015.
The purpose of this content analysis was to 3) published in English.
compare the use of music in pain research 4) included clinical patients as sample.
studies across healthcare disciplines within 5) clinical trials, RCTs, clinical trial phase
the last 15 years. The results showed that I, II, III, IV, controlled clinical trial, jour-
the incidences of patient-preferred versus nal article, research article, peer revie-
experimenter-chosen music, and passive wed.
versus active music interventions in the 90
research studies included in this analysis. Exclusion Criteria:
1) included healthy adults/students/mu-
Purpose of Study sicians as sample.
2) music is not the primary independent
With growing interest and recognition for the variable.
therapeutic use of music in clinical settings, 3) case study, commentary, systematic
medical doctors, nurses, neuroscientists, review, meta-analysis, conference pro-
psychologists and other allied healthcare proceeding, conference abstract, litera-
fessionals are increasingly involved in rese- ture review.
arch studies to address the efficacy of music
in pain management. The purpose of this results
study was to compare and contrast the use
of music in pain research studies across he- A total of 90 research articles were included
althcare disciplines. Specifically, this syste- in the analysis. Two researchers utilized a set
matic review of the contents of the studies of operational definitions to analyze the
highlighted the salient issues in music and contents of these 90 articles. Inter-coder re-
pain research across disciplines. liability was established. The greatest num-
ber of research studies were conducted in
method the United States (29). There had been a ste-
ady increase in the number of studies utili-
An online search was conducted using three zing music in pain research, especially in
search engines (CINAHL Plus, IIMP, PubMed). studies conducted by medical doctors, nur-
The inclusion and exclusion criteria were as ses, and other allied health professionals.
follows: Studies led collaboratively by music thera-
pists and allied health professionals had the
Inclusion Criteria: greatest variation of passive and active mu-
275
sic interventions and the highest percentage Whitehead-Pleaux, A. M., Baryza, M. J., &
use (85.7%) of patient-preferred music. Sheridan, R. L. (2006). The effects of music
therapy on pediatric patients’ pain and an-
conclusions xiety during donor site dressing change.
Journal of Music Therapy, 43(2), 136-153.
The results have implications for increasing
collaborative work between music thera- about the authors
pists and allied healthcare professionals.
Xueli tan, PhD, MT-BC is the assistant pro-
references fessor of music therapy at Lesley University
(USA). Email: xtan3@lesley.edu
Tan, X., Yowler, C. J., Super, D. M., & Fratianne,
R. B. (2010). The efficacy of music therapy Yu-hsin hung, MA, MT-BC is a music thera-
protocols for decreasing pain, anxiety, and pist and graduate from Lesley University
muscle tension levels during burn dressing (USA).
changes: A prospective randomized cros-
sover trial. Journal of Burn Care and Rese- ruoxi Zhang, MA, BC-DMT is a dance thera-
arch, 31, 590-597. doi:10.1097/BCR.0b0 pist and graduate from Lesley University
13e3181e4d71b (USA).
276
a reVieW oF mULticULtUraL mUSic theraPY LiteratUre:

treNDS aND FUtUre DirectioNS
Jonathan Tang
Florida Hospital Orlando, USA
By 2050, more than half of the U.S. popula- from inception (1982) through 2014 were
tion is projected to be of non-white ethnicity searched using the following keywords: race,
(Colby & Ortman, 2015). It becomes inevita- culture, and multicultural. Based on initial
ble that we will encounter individuals from findings, inclusion criteria were determined
different cultural backgrounds. Numerous for relevance to the study. The articles inclu-
studies have documented ethnic and racial ded were those that addressed international
disparities in health and healthcare. In res- practices, international students, multicul-
ponse, scholars introduced “cultural compe- tural training, and/or music therapy with
tency” to address this important issue. The specific ethnic or racial groups. Subcultures
call for “cultural competency” has been ma- such as the Deaf and LGBTQ populations
de in healthcare and helping professions. In were excluded. Book reviews, editorials, an-
the music therapy profession, “cultural com- notated bibliographies, columns, indices,
petency” is poorly defined. It is listed under and honorary acknowledgments were also
the American Music Therapy Association excluded.
(AMTA) Profession Competencies, Professio-
nal Role/Ethics, 17.11 which states music Articles were categorized and quantified
therapists “demonstrate skill in working with based on four domains: (1) clinical popula-
culturally diverse populations.” tion, (2) professional issues, (3) foundational
research, and (4) theory development. Clini-
The purpose of this study was to analyze the cal population encompasses music therapy
content of multicultural research published with specific racial or ethnic groups, as well
in the Journal of Music Therapy (JMT) and as in specific countries. Professional issues
Music Therapy Perspectives (MTP). Multicul- include multicultural training, attitudes of
tural research plays an important role in de- professionals, international students, and
veloping evidence-based practices for our supervision. Foundational research refers to
work with culturally diverse clientele. The descriptions of world music and other cultu-
research questions include, what is the state res. Theory development denotes theories
of multicultural music therapy literature in pertaining to cultural competency, cultural
JMT and MTP? What are the trends in mul- empathy, and culturally centered practice.
ticultural research? What types of issues are When an article had two distinct purposes,
researchers investigating? How are cultural it was categorized in both sections. Each ar-
issues investigated or examined? ticle was only accounted for once in the total
count. Articles were also categorized based
JMT articles published from inception (1964) on mode of inquiry: philosophical, historical,
through 2014, and MTP articles published experimental, and descriptive. Tabulations
277
were also grouped into two time periods competency” to be clearly defined in the
(through 2003 and after 2003) to enable AMTA Professional Competencies. Follow up
comparison with an earlier multicultural re- research includes investigating reasons for
view conducted by Chase (2003). lack of multicultural research.
Since JMT’s and MTP’s inception through references

2014, there were a total of 27 journal articles.
This is the breakdown according to the do- Betancourt, J. R., Green, A. R., Carrillo, J. E.,
mains: clinical population (n=8), professional & Ananeh-Firempong, O. (2003). Defining
issues (n=13), foundational research (n=7), cultural competence: A practical frame-
and theory development (n=3). This is the work for addressing racial/ethnic dispari-
breakdown according to mode of inquiry: ex- ties in health and health care. Public
perimental (n=4), descriptive (n=18), histori- Health Reports, 118(4), 293-302.
cal (n=3), and philosophical (n=2). Results Chase, K. M. (2003). Multicultural music the-
indicate an overall increase in the number of rapy: A review of literature. Music The-
articles published after 2003: an almost 100% rapy Perspectives, 21(2), 84-88.
increase in JMT and a 60% increase in MTP. Colby, S. L. & Ortman, J. M. (2015). Projec-
Despite this increase, there is still a dearth of tions of the size and composition of the
multicultural music therapy literature for a U.S. population: 2014 to 2060 (Publica-
profession that began over 50 years ago. In tion No. P25-1143). Washington, DC: U.S.
order for our profession to meet this quickly Census Bureau.
changing cultural climate, we need more mul- Darrow, A. & Molloy, D. (1998). Multicultural
ticultural research. perspectives in music therapy: An exami-
nation of the literature, educational cu-
This research advances music therapy clini- rricula, and clinical practices in culturally
cal practice by highlighting gaps and areas diverse cities of the United States. Music
needed for future research. They include Therapy Perspectives, 16(1), 27-32.
music therapy methods when working with
culturally diverse individuals, cross-cultural about the author
comparisons of music perception and music
therapy protocols, cultural matching in music Jonathan tang currently works at Florida
therapy, and theoretical frameworks of cul- Hospital Orlando in USA, serving patients of
tural competency in music therapy. Further- all ages and diagnoses.
more, this author advocates for “cultural Email: Jonathan.Tang@FLHosp.org
278
eXPerieNceS aS a StUDeNt oVerSeaS aND a ProFeSSioNaL

BacK home
Jonathan Tang
Florida Hospital Orlando, USA
Yi-Ying Lin
Taipei Medical University Hospital, Taiwan
Luis Armando Rivera

Center for the Integral Attention to Children with Disabilities, Dominican Republic
Keiko Shiokawa
Chofu Development Support Lab, Japan
Michelle Low
Singapore General Hospital, Singapore
Dawn Chik
Rainbow Centre Yishun Park School, Singapore
introduction Benefits of Studying abroad
Within music therapy, reports indicate that Studying music therapy abroad helps inter-
68% of accredited programs of the American national students increase cultural self-awa-
Music Therapy Association enrolled interna- reness. This understanding translates to
tional students (Hsiao, 2011). Furthermore, empathizing with patients’ social contexts.
42% of international students intend to re- In addition, international students bring di-
turn to their home countries upon comple- verse perspectives that enrich their pro-
tion of music therapy degrees (Brotons, grams.
1997). International students face numerous
issues when studying abroad and when re- Difficulties Faced When Studying abroad
turning home. Despite the increased interest
in multicultural issues in ethical concerns, Studying in a foreign country is often accom-
education, clinical practice, and supervision panied with challenges including discrimina-
(Hadley & Norris, 2016), reentry issues were tion, homesickness, and acculturative stress.
not emphasized (Hsiao, 2011). Therefore, Other acculturative stressors include English
the purpose of this symposium is to pro- proficiency, neuroticism, and music therapy
mote discourse on reentry. academic stress (Kim, 2011).
279
challenges Faced Upon reentry Hadley, S. & Norris, M. S. (2016). Musical

multicultural competency in music the-
Music therapists returning home face reentry rapy: The first step. Music Therapy Pers-
difficulties. Lack of job opportunities can be pectives, 34(2), 129-137.
attributed to low awareness and advocacy in Hsiao, F. (2011). From the ideal to the real
one’s home country. In some countries, there world: A phenomenological inquiry into
are no music therapy associations or prior student sojourners’ reentry adaptation.
music therapy presence. Thus, music thera- Journal of Music Therapy, 48(4), 420-439.
pists need to explain and justify their work Kim, S-A. (2011). Predictors of acculturative
to the public and regulatory agencies in stress among international music therapy
order for them to differentiate themselves students in the United States. Music The-
from musicians. Another issue commonly rapy Perspectives, 29(2), 126-132.
faced is integrating knowledge learned
abroad to the local context. Examples in- about the authors
clude learning new repertoire and develo-
ping culturally appropriate interventions. Jonathan tang currently works at Florida
Hospital Orlando in USA, serving patients of
Discussion and recommendations all ages and diagnoses.
Email: Jonathan.Tang@FLHosp.org
Speakers of this symposium will share their
personal experiences. The speakers recom- Yi-Ying Lin currently works at Taipei Medical
mend that international students work toge- University Hospital in Taiwan, serving chil-
ther with their schools to prepare for their dren with special needs and adult stroke pa-
intercultural transition. This includes resear- tients.
ching the music therapy landscape in their
home country and building strong networks Luis armando rivera is currently serving va-
for advice and support. rious populations in the city of Santo Do-
mingo, in his home country of Dominican
Overall, music therapy programs and inter- Republic.
national students need to emphasize and
consider intercultural career transitions ear- Keiko Shiokawa currently works in Tokyo,
ly on. This is essential for the growth of Japan, and has served adults recovering
music therapy around the world. from stroke and children with developmen-
tal challenges.
references
michelle Low currently works at Singapore
Brotons, M., Graham-Hurley, K., Hairston, General Hospital, serving patients under-
M., Hawley, T., Michel, D., Moreno, J., … going neuro-rehabilitation.
Taylor, D. (1997). A survey of internatio-
nal music therapy students in NAMT-ap- Dawn chik currently works at Rainbow Cen-
proved academic programs. Music Therapy tre Yishun Park School, serving children with
Perspectives, 15(1), 45-49. developmental and multiple disabilities.
280
the DeVeLoPmeNt oF mUSic theraPY SerViceS iN ecUaDor:

cULtUraL coNSiDeratioNS aND oPPortUNitieS
Katie Van Loan
Mount Sinai Hospital, USA
This presentation offers insight and perspec- both musical and non-musical contexts. An ou-
tive into the experience of the first board cer- tline of the music therapy process and impact
tified music therapist to collaborate with a of the music therapist’s visit will be shared; in-
provincial governmental program in Ecuador. cluding methodology, education techniques,
Case examples and video footage will be sha- and evaluation development. Additionally,
red to illustrate the impact of the visit and the current music therapy status and poten-
cultural considerations. Future opportunities tial opportunities to educate, visit and con-
for the field of music therapy will be shared. duct research will be discussed.
Ecuador has a wide array of low-income, di- Implications of this presentation may 1) pro-
sabled individuals who have limited access vide future resources and opportunities to
to resources and services. This presentation music therapy students and professionals, 2)
discusses how the first music therapy servi- inform future implementation of clinical trai-
ces were introduced into the Centro de Equi- ning for working in Latin culture, and 3) di-
noterapia program to enhance communal rectly improve the quality of services to
and therapeutic benefits. underprivileged disabled children living in
Ecuador, through added knowledge and re-
The music therapist will share her impres- search.
sions of her month-long work in Ecuador; in-
cluding the benefits and challenges to adap- about the author
ting and working in a Latin culture. The lan-
guage barrier deepened this therapist’s mu- ms. Van Loan, MA, MT-BC, LCAT is experien-
sic, observation, and listening skills. ced working with children, adults, and se-
niors in a variety of settings, and supervises
This presentation will also offer perspectives music therapy students.
and an open discussion for collaborating in Email: Kvanloan@hotmail.com
281
GiViNG Voice to cLieNt aND cULtUraL reSiStaNce

Katie Van Loan
Mount Sinai Hospital, New York, NY USA
Yoomi Park
MA, AMT, NRMT Iogaoka Hospital, Kanazawa, Ishikawa, Japan
This presentation will examine both client tical orientations and techniques will be sha-
and cultural resistance from the perspectives red. The therapist’s includes sensitivity, em-
of two music therapists. Considerations for pathic understanding, a warm environment,
working in a Japanese culture and/or with respect, and a willingness to join, witness and
clients from diverse cultural backgrounds will understand client resistance. Therapist coun-
be shared. Additionally, clinical techniques for tertransference and client transference will
supporting resistance in clients with mental be reflected to affirm and deepen understan-
illness will be outlined. ding of client resistance and support self-
discovery. The various ways resistance is por-
Resistance is a phenomenon occurring across trayed in multi-cultures.
cultures and when provided the therapeutic
relationship. A review of theoretical defini- Implications of this presentation may 1)
tions of resistance will be presented as well provide clinical resources to students and
as the cultural connotations, particularly in professionals, 2) foster understanding and
the US and Japan. appreciation for client and cultural resistance,
3) inform future implementation of clinical
Case studies will illustrate the experiences training programs with emphasis on cultural
of two music therapists with client and cul- awareness and a broader theoretical frame-
tural resistance. Both therapists were trai- work for working with client resistance.
ned in the United States. One therapist
works in New York City in a psychiatric set- references
ting and will address client resistance from
a multi-cultural perspective. The other the- Ruud, E. (1998). Music therapy: Improvisa-
rapist practices in Japan, also working in a tion, communication and culture. Gilsum,
psychiatric setting will share how her trai- NH: Barcelona.
ning and cultural experiences living in New Schapira, D. (2002). New sounds in culture.
York City influences her current clinical work voices: A world forum for music therapy.
and perspective on Japanese culture. Retrieved November 12, 2012, from
http://testvoices.uib.no/?q=fortnightly-
The therapists will provide considerations to columns/2002-new-sounds-culture.
enhance ones awareness when working with Stige, B. (2003). Elaborations toward a no-
client and cultural resistance in both musical tion of community music therapy. Oslo:
and non-musical contexts. Aspects to theore- Unipub AS.
282
about the authors Yoomi Park, MA,AMT, NRMT. Music Psycho-

therapist at Iogaoka Hospital,
ms. Van Loan, MA, MT-BC, LCAT is experien- Kanazawa, Ishikawa, Japan
ced working with children adults and seniors
in a variety of settings, and supervises music
therapy students. Email: Kvanloan@hot-
mail.com
283
criticaLLY eVoLViNG: cUrreNt treNDS iN artS-BaSeD

reSearch iN mUSic theraPY
Michael Viega, Ph.D., LCAT, MT-BC
State University of New York (SUNY), New Paltz, USA
Laura Beer, PhD, MT-BC

Marylhurst University, PA, USA
Simon Gilbertson, Dr. rer. medic., HPC Registered Arts Therapist (Music).
The Grieg Academy, Grieg Academy Music Therapy Research Centre,
The Faculty of Art, Music and Design, University of Bergen
Tríona McCaffrey, PhD, MA MT, BA, Dip Psych.

Irish World Academy of Music & Dance, University of Limerick, Ireland
Guylaine Vaillancourt, PhD, MTA

Concordia University, Montreal, QC. Canada
Alpha, Woodward, MTA, MMT, PhD

Marywood University, PA, USA
Rebecca Zarate, Ph.D., LCAT, MT-BC, AVPT

Lesley University, MD, USA
Voices of arts-based researchers chers share their reflections and perspectives

on the current trends of ABR in music the-
In 2015-2016, Journal of Music Therapy (Vo- rapy.
lume 52, Issue 4), Nordic Journal of Music
Therapy (Volume 25, Issue 3), and Music Laura Beer: Arts-based research practices
Therapy Perspectives (Volume 34, Issue 1) offer qualitative researchers a rich, versatile
dedicated special editions to the to role of means of collecting data that embody the
aesthetics and art in research, theory, educa- participants’ experiences in systematic and
tion, and clinical practice. Given the diversity inventive ways. When creative arts are incor-
in which arts-based research (ABR) is presen- porated into the design and promulgation of
ted in music therapy literature, it is important a music therapy research project, data be-
to understand the boundaries and variations come part of an interactive experience for re-
of art’s role in research methodology, design, aders to emotionally and intuitively feel this
and dissemination. Below, arts-based resear- experience through an aesthetic medium.
284
Simon Gilbertson: Arts-based research me- ristic, which can be shared and expereinced
thods promise innovative ways for envisio- in performance and aesehtic experience.
ning the future history of music therapy
theory, where the world might be conside- Alpha Woodward: My current interest wi-
red to be situated and materially insepara- thin an ABR framework pays homage to my
ble enactments of living and experience. own creative resource for performative wri-
What seems to be evolving is that research ting – the human imagination. Imagination
methodologies like ABR extensively recogni- is the culprit behind all civil, scientific and
zes and cares for the ontogenesis, or process artful advances in humanity – and yet it is vi-
of lived inseparability, of the practice parti- llified as untrustworthy, whimsical, the mark
cipants within education, research and the- of madness, nonmeasureable, and perhaps
rapy. downright dodgy. My research – and all re-
search – although not focused on the imagi-
Tríona McCaffrey: As a growing field of in- nation – requires it.
quiry in music therapy, ABR has remained re-
latively unconstrained. Such freedom pre- Rebecca Zarate: I am interested in applying
sents researchers with an exciting array of an inclusive perspective of critical improvi-
possibilities as they creatively explore, disco- sation practice, research, and pedagogy that
ver and uncover the social world. ABR may be acknowledges the presence of difference in
particularly relevant to music therapy resear- society. Critical social aesthetics is an appro-
chers who wish to pursue creative knowledge ach within this perspective that harnesses
that emphasizes notions of inclusiveness and an arts-based clinical and research method
equity. called clinical listening<->cultural listening
grounded in an indigenous artistic philo-
Guylaine Vaillancourt: Arts-based research sophy.
provides us with a holistic perspective of the
dynamic field of research, looking from an- references
gles that combine various ways of knowing,
linear and non-linear thinking, intuition, and Edwards, J. (2015). Getting messy: Playing,
expression that create an evolving live kno- and engaging the creative, within Rese-
wledge. arch inquiry. Journal of Music Therapy,
52(4), 437-440.
Michael Viega: As an artist-as-researcher, I Viega, M. (2016). Aestehtic sense and sensibi-
trust that my artistic choices and aestehtic lity: Arts-based research and music therapy.
worldview will guide me towards an unders- Music Therapy Perspectives, 34(1), 1-3.
tanding of the complex social phenonme-
nons I am investigating. Embedded in the art about the authors:
and music created within the context of re-
search is the wisdom of our collective heu- Email: viegam@newpaltz.edu
285
receNt DeVeLoPmeNtS iN mUSic theraPY reSearch

Barbara L. Wheeler
Kathleen M. Murphy
Loyola University, USA
Music therapy research continues to grow the first edition were all from the U.S, the
and develop. This presentation provides an second edition included 13 international au-
overview of these developments as reflected thors from 7 countries, and the third edition
in the third edition of Music Therapy Rese- includes 26 international authors from 12
arch, published in 2016. The presenters trace countries.
the development of music therapy research
from the first edition of this book, Music The- The third edition also includes significant
rapy Research: Quantitative and Qualitative changes to the content. Included in this edi-
Perspectives, published in 1995, through the tion are chapters that emphasize the rela-
second edition, Music Therapy Research, pu- tionship between research and theory, in
blished in 2005, to the current edition. Ove- addition to research and practice. Attention
rall trends in research are presented. is given to multicultural considerations, in-
terdisciplinary collaborations and guidelines
The session highlights new developments in for obtaining funding. There is considerably
music therapy research including an expla- more detail on research designs, with expan-
nation of the terms objectivist and interpre- ded chapters describing methods of collec-
tivist. These terms were introduced in the ting and analyzing data for all types of re-
third edition of Music Therapy Research to search. Finally, chapters on microanalysis,
describe approaches to research, generally mixed methods, and methods for synthesi-
used instead of the terms quantitative and zing research have been included, as well as
qualitative research. The terms are used to a division of historical research into objecti-
indicate a broadening of the understanding vist and interpretivist.
of ways of classifying research, and their use
reflects aspects of growth and development In addition to presenting and discussing the
of music therapy research. changes in the three books, the presenters dis-
cuss how the changes reflect changes in music
The presenters describe and explain the ra- therapy research and how they have influen-
tionale for the changes made to the third ced and continue to influence that research.
edition of the text as a way to highlight how
music therapy research has developed. An references
obvious change is an increase in the number
of chapters: from 24 in the first edition to 41 Wheeler, B. L. (Ed.). (1995). Music therapy
in the second and 68 in the third. Authors in research: Quantitative and qualitative
286
perspectives. Gilsum, NH: Barcelona Pu- time at Montclair State University and the
blishers. University of Louisville and currently writes,
Wheeler, B. L. (Ed.). (2005). Music therapy edits, and presents about music therapy.
research (2nd ed.). Gilsum, NH: Barce- Email:Barbara.wheeler@louisville.edu
lona Publishers.
Wheeler, B. L., & Murphy, K. M. (Eds.). Music Kathleen m. murphy, PhD, MT-BC, teaches
therapy research (3rd ed.). Dallas, TX: music therapy at Loyola University, with a
Barcelona Publishers. research focus on music therapy in addic-
tions.
about the authors
1
Barbara Wheeler is Professor Emeritus at
Barbara L. Wheeler, PhD, MT-BC, taught full- Montclair State University.
287
iNterProFeSSioNaL mUSic theraPY

aND SPeech/LaNGUaGe theraPY For
PreSchooL-aGeD chiLDreN aND their careGiVerS
Patricia Winter, Ph.D., MT-BC
Radford University, Radford Virginia, USA
Anthony Kaseoru, Music Therapy Graduate Student

Radford University, Radford Virginia
introduction Participants
The Preschool Language Lab (PLL) is an inter- The children in the PLL have varied diagno-
professional music therapy and speech/lan- ses including autism spectrum disorders,
guage pathology program for preschool polymicorgyria (a neurological disorder),
aged children with speech and language di- phonological disorders, developmental apra-
sorders. Children 18 months through six- xia of speech, sensory processing disorder,
years of age engage in an immersive music and may wear hearing aids or have cochlear
and language environment with a focus on implants. Goals may include, perception
the development of play skills, social skills, and production of speech, detection of
language skills, and musical expression. sound, recognition of sound, and unders-
Music therapy and speech/ language the- tanding the meaning of sounds (Gfeller,
rapy students and professionals collaborati- Driscoll, Kenworthy, and Voorst, 2011). Mu-
vely plan and implement experiences that sic therapy activities address speech and
support increased child-to-child communi- language goals as well as provide “ample
cation and engagement. Children, who par- opportunities to practice listening, spea-
ticipate, wear a small digital recording king, and use of language” (p. 48). Treat-
device that tracks and analyzes the speech ment goals also emphasize the importance
sounds produced while they are in the pro- of the social and cooperative nature of mu-
gram. This data can then be evaluated for sic experiences providing opportunities for
purposeful and non-purposeful utterances children to practice the aforementioned
and turns of communication among partici- communication skills.
pants. The PLL also includes a caregiver-
training component, providing additional re- role of music therapy within
sources through training modules, demons- the interprofessional collaboration
trations, lectures, and session observations
with the intention of encouraging increased Children learn through active engagement
implementation of music therapy and spe- with their environment and multisensory
ech therapy interventions in the home en- play experiences. Play in this context serves
vironment. as “a demonstration of what children know…
288
[and] a demonstration of what they are cu- references

rrently thinking about” (Lifter, et al., 2011,
p. 226). Music therapists and speech/lan- Cassidy, C.H., & Winter, P. (2016). Speech-lan-
guage pathologists create opportunities for guage pathology and music therapy caregi-
play and support child acquisition of impor- ver training and caregiving levels of stress:
tant developmental milestones such as social An interprofessional pilot study. Internatio-
engagement, peer-to-peer communication, nal Journal of Health Sciences, 4(1), 11-20.
and emotional expression. Music therapy Gfeller, K. E., Driscoll, V., Kenworthy, M., &
interventions are integral to the play-focu- Van Voorst, T. (2011). Music therapy for
sed PLL, as the music maintains the interest preschool cochlear implant recipients.
of the children and allows for speech, lan- Music Therapy Perspectives, 29(1), 39-49.
guage, and/or communication targets to be Lifter, K., Foster-Sanda, S., Arzamarski, C.,
embedded within the musical experience it- Briesch, J., & McClure, E. (2011). Over-
self. view of play: Its uses and importance in
early intervention/early childhood spe-
caregiver training cial education. Infants & Young Children,
24(3), 225-245.
Another key element of the PLL is a dedicated
caregiver training component that serves to about the authors
provide opportunities for caregivers to re-
ceive direct instruction on the implementa- Patricia Winter, Ph.D., MT-BC is Assistant
tion of music therapy and speech/language Professor of Music, Music therapy. She
pathology interventions in the home environ- works with preschool aged children with di-
ment. Music therapy research indicates that sorders of speech and language and educa-
the inclusion of caregivers into music therapy tors in rural schools in Malawi, Africa.
sessions positively impacts parents and chil- Email: pwinter3@radford.edu
dren in a variety of ways including, non-verbal
communication, mutual attunement or syn- anthony Kaseoru, is a Master’s of Science,
chrony, decreased caregiving stress, positive with a concentration in Music Therapy, can-
emotional parental responses, child-initiated didate at Radford University, class of 2019.
communication, parental engagement, and He Is an Interlibrary Loan Specialist at Mc
development of child social skills (Cassidy, & Connell Library and plays music for a non-
Winter, 2016). profit preschool in southwest Virginia.
289
recoVeriNG the trUe Voice:

VocaL PSYchotheraPY iN actioN
Jenny Hoi Yan Fu, LCAT, MT-BC
New York, NY, USA
Allison Reynolds, LCSW, LCAT, MT-BC

New York, NY, USA
Background Singing is intimately related to our psycho-

logical and emotional responses. According
Vocal Psychotherapy, developed by Dr. Diane to Levine (1997), the residue of unresolved,
Austin, is the first model of voice based mu- un-discharged energy gets trapped in the
sic psychotherapy. The definition of vocal nervous system and creates the debilitating
psychotherapy is the use of breath, sounds, symptoms associated with trauma. When
vocal improvisation, songs and dialogue wi- we sing, internally resonating vibrations break
thin a client-therapist relationship to pro- up and release blockages of energy, relea-
mote intrapsychic and interpersonal growth sing feelings and allowing a natural flow of
and change. Austin’s Vocal Psychotherapy vitality and a state of equilibrium to return
advanced training program has been offe- to the body. These benefits are particularly
ring music therapists, trained at the master’s relevant to clients who have frozen, numbed
level, the opportunity to learn theoretical off areas in the body that hold traumatic ex-
underpinnings that integrate the physical, perience.
psychological and spiritual benefits of sin-
ging, with theories from the fields of psycho- Vocal holding techniques
logy, traumatology, addiction treatment and
psychodrama. Vocal holding techniques is the name ascri-
bed to a method of vocal improvisation, de-
Austin’s Vocal Psychotherapy is based on the veloped and refined by Dr. Austin since 1994.
premise that the voice is the primary instru- Austin’s Vocal holding techniques involve the
ment in music therapy. As we breathe de- intentional use of two chords in combination
eply to sustain the tones, our heart rate with the therapist’s voice in order to create a
slows and our nervous system is calmed. Our consistent and stable musical environment
voices resonate inward to help us connect to that facilitates improvised singing within the
our bodies and express our emotions as they client therapist relationship.
resonate outward to help us connect to
others. Singing can provide clients an oppor- This method provides a reliable, safe struc-
tunity to express the inexpressible, to give a ture for the client who is afraid or unaccusto-
voice to all the parts that long to be heard, med to improvising. Vocal holding techniques
and join them in a song of integration. can be used to promote a therapeutic regres-
290
sion in which unconscious feelings, sensa- propel the improvisation and therapeutic
tions, memories and associations can be ac- process forward.
cessed, processed and integrated. These
unconscious experiences are directly related references
to parts of the self that have been split off
and suspended in time due to traumatic oc- Austin, D. (2001). In search of the self: The
currences. When contacted and communica- use of vocal holding techniques with
ted with, these younger parts can be reunited adults traumatized as children. Music
with the ego and the vital energy they contain Therapy Perspectives, 19(1), 22-30.
can be made available to the present day per- Austin, D. (2002). The voice of trauma: A
sonality. Developmental arrests can be repai- wounded healer’s perspective. In J. Sutton
red and a more complete sense of self can be (Ed.), Music, music therapy and trauma.
attained. London: Jessica Kingsley Publishers.
Austin, D. (2007). ‘Vocal holding example.’
Free associative Singing Available from: www.dianeaustin.com
Austin, D. (2008). The theory and practice of
Austin’s Free Associative Singing is the term vocal psychotherapy: Songs of the self.
used to describe a technique that can be im- London: Jessica Kingsley Publishers.
plemented when words enter the vocal hol- Freud, S. (1938). An outline of psychoanalysis.
ding process. It is similar to Freud’s (1938) New York, NY: WW Norton & Company.
technique of free association in that clients Levine, P. (1997). Waking the tiger: Healing
are encouraged to spontaneously verbalize trauma. Berkeley, CA: North Atlantic Books.
whatever comes into their head with the ex-
pectation that by doing so, they will come about the authors
into contact with unconscious images, me-
mories and associated feelings. It differs from Jenny hoi Yan Fu, LCAT, MT-BC, a PhD Candi-
Freud’s technique in that the client is singing date at New York University Steinhardt School,
instead of speaking, but more significantly, is training under Dr. Diane Austin as a trainer
the therapist is also singing and contributing in Austin Vocal Psychotherapy. Email: music-
to the musical stream of consciousness by therapyconnection@gmail.com
making active verbal and musical interven-
tions. The accompaniment (two-chord pat- allison reynolds, LCSW, LCAT, MT-BC, wor-
tern) and therapist’s singing both contain king in private practice in New York City, is
and “hold” the client’s emerging self and also training under Dr. Diane Austin as a trai-
psychic contents. This creates momentum ner in Austin Vocal Psychotherapy.
through the music and the lyrics that will Email: allison@musicislifenyc.com
291
From america to chiNa: aN iNterNatioNaL mUSic

theraPY aND SPeciaL mUSic eDUcatioN PartNerShiP
Olivia Swedberg Yinger, PhD, MT-BC
University of Kentucky, U.S.A.
Lori F. Gooding, PhD, MT-BC

Florida State University, U.S.A.
China has the largest population of any the partnership is to provide music educa-
country in the world. Although the music the- tors, special educators, and parents with a)
rapy profession in China is growing (Kwan, training on the use of music with special le-
2013), the number of music therapists in arners, b) opportunities to practice techni-
China, which, according to the Chinese Pro- ques in role playing scenarios and receive
fessional Music Therapist Association web- individual feedback, and c) resources to im-
site, was fewer than 100 in 2016 (China prove provision of music-based experiences
Chamber of Commerce & Industry Manage- to students with special needs.
ment Committee of Music Therapy Industry,
2016), is small relative to the number of peo- From 2013 to 2016, we visited China five
ple with disabilities, of whom there are over times. The first visit (in May 2013) provided
83 million (Weiss, 2010). There are many ap- an opportunity for us to meet with adminis-
plications of music in special education that trators from The Guangzhou Children’s Pa-
can help meet the needs of children with di- lace, an organization in Guangzhou that
sabilities. Music therapists are well-equipped provides group and individual music instruc-
to provide suggestions for teachers in special tion to students with disabilities. In Decem-
education and music education settings on ber 2013, May 2014, and May 2015, we
how to use music effectively with individuals returned to Guangzhou to present works-
with special needs. Advocates of the growth hops to a core group of music educators,
of music therapy and special music education special educators, and parents from Guangz-
in China often look to music therapists from hou and other regions of China. During our
other countries, including the United States, December 2013 visit, we also met with fa-
for assistance with professional advocacy and culty members from East China Normal Uni-
information provision (Zhang, Gao, & Liu, versity in Shanghai to discuss the possibility
2016). of offering a workshop for students, educa-
tors, and parents in Shanghai, which we
In 2013, the authors, both of whom are were able to do in May 2016.
music therapists on faculty at institutions of
higher education in the U.S.A., began deve- Many of the questions we have received
loping an international partnership with Chi- from participants in the workshops over the
nese organizations and academic facilities in past three years related to the use of music
Guangzhou and Shanghai. The mission of to engage children with autism spectrum di-
292
sorders. Equally as prevalent were questions gional_Information_files/Fact%20Page_C

about managing challenging behaviors at hina%202013.pdf.
home and in the classroom. Engaging with Weiss, T. C. (2010). Overview of disability in
music therapists and music educators in China. Retrieved April 17, 2014 from
China and drawing on their knowledge of http://www.disabled-world.com/news/
Chinese music and culture has been and will asia/china/disability-china.php.
continue to be a key component of the part- Zhang, J. W., Gao, T., & Liu, M. (2016). Music
nership. therapy in China. Music & Medicine, 8,
67-70.
references
about the authors
China Chamber of Commerce & Industry
Management Committee of Music The- olivia Swedberg Yinger, PhD, MT-BC, is Di-
rapy Industry (2016). List of registered rector of Music Therapy and Assistant Pro-
music therapists. Retrieved from http: fessor of Music Therapy at the University of
//www.chinamusictherapy.org/index10.h Kentucky. E-mail: Olivia.yinger@uky.edu
tml
Kwan, M. (2013). Music therapy in China. Re- Lori Gooding, PhD, MT-BC, is Assistant Pro-
trieved August 26, 2013 from http:// fessor of Music Therapy at Florida State Uni-
www.musictherapyworld.net/WFMT/ Re- versity.
293
ScaLiNG cLiNicaL Practice to meet PatieNtS NeeDS:

FUtUre mUSic theraPY Practice
Hope Young, MT-BC
Center for Music Therapy, Inc., Austin, Texas
Emily Morris, MT-BC

Center for Music Therapy, Inc., Austin, Texas
abstract nal and international multi-sector collabora-

tion will be explored.
Improving clinical research, treatment and
outcomes through next generation solutions Participants will be shown video documen-
is the focus of this presentation. The presentation of how music therapists are taking the
ter will discuss technology innovation for an lead in the development of better biomedi-
emerging global music therapy industry cal clinical tools and technology’s. Partici-
through integrated platforms, partnerships pants will watch interviews with biomedical
and analytics for global healthcare solutions. company executives as they work with music
therapist to achieve their goal to integrate
Description music more effectively in their advanced
medical systems.
Improving clinical research, treatment and
outcomes through next generation solutions There is a growing community of individuals,
is the focus of this presentation. The presen- entrepreneurs and nonprofits interested in
ter will discuss technology innovation for an harnessing IT to tackle local and global health-
emerging global music therapy industry care problems. The presenter will facilitate a
through integrated platforms, partnerships discussion encouraging a new generation of
and analytics for global healthcare solutions. music therapist in the development of models
and approaches that are anchored in data
The presenter will provide examples and up- analytics. These types of developments create
dates on current music therapy research; new capabilities to tackle problems we face
treatment and clinical programming utilizing regarding the scale of patient need and our
integrated technology (IT), which incorpo- currently insufficient patient care and delivery
rate smart sensors and data analytics to im- system models.
prove patient care.
references
Implications for music therapy regarding cu-
rrent partnerships and collaborations with Fact Sheet, Electronic White House, Office
various public and private entities such as of the Press Secretary, Fact Sheet: (2015).
the SmartCity Initiatives which is building Administration Announces New “Smart
global IT infrastructure through local, natio- Cities” Initiative to Help Communities
294
Tackle Local Challenges and Improve City about the authors

Services. Washington, D.C. https://www.
whitehouse.gov/the-press-office/2015/ hope Young, MT-BC is the President/Owner
09/14/fact-sheet-administration-an- of the Center for Music Therapy, Inc., in Aus-
nounces-new-smart-cities-initiative-help tin, Texas.
Survey, Electronic American Music Therapy Email: hyoung@centerformusictherapy.com
Association, (AMTA) (2014). 2014 AMTA
Member Survey and Workforce Analysis. emily morris, MT-BC is the lead therapist of
http://www.musictherapy.org/2014_wor the clinical team at Center for Music The-
kforce_study_now_available/ rapy, Inc. in Austin, Texas.
295
rootS: a caSe StUDY oN the USe oF meLoDY

to aLLeViate SYmPtomS oF aNXietY
Juan P. Zambonini
Graduate Assistant, Temple University, United States
abstract in establishing a bond to the deceased (Iliya &

Harris, 2015). This was done using techniques
A retrospective case study of a year-long the- such as vocal holding (Austin, 1999).
rapeutic process carried out in Mexico with a
client with symptoms of an anxiety disorder. method
The study explores the use of melodic inter-
ventions used to alleviate respiratory crisis. During the treatment, vocal holding and free
The process was supervised and analyzed vocal association techniques (Austin, 1999)
using Bruscia’s IAP (1998) and aspects of mul- were used to facilitate expression and elabo-
ticulturalism and countertransference. rate the client's grieving process. In this pro-
cess of elaboration, the client was asked to
Background choose two chords from a harmonic progres-
sion. Once those two chords were chosen,
Anxiety disorders are becoming more com- the client could choose the style in which she
mon among the world's population. Music preferred that those chords would be played
therapy is emerging as a possible treatment and so a free improvisation would begin.
solution in many countries where music the-
rapists are included within the community The improvisation was recorded and then
of health professionals. played back for the client to listen and dis-
cuss any thoughts or images that emerged
This paper seeks to provide insight into me- based on the listening. These thoughts or
lodic interventions provided during a music images were taken into account to choose
therapy treatment carried out in Mexico du- the direction of the musical experience of
ring the years of 2015 and 2016. The client the following sessions. There were added
was a 26-year-old female with symptoms of elements to Austin’s techniques based on
an anxiety disorder that involved mainly res- the Music Therapy Plurimodal Approach
piratory crisis and a need to flee out of small (Schapira, Fernandez, Sánchez, Hugo, 2007).
spaces. This was associated with the recent The client also brought in aspects of narra-
death of her grandmother and the relocation tive and plastic arts as part of her therapeu-
from her hometown to a new and larger city. tic process. In ocations, the client would
choose to draw or write a short text while
In a study by Iliya and Harris (2015), we can see the improvisation was being played back.
that singin g in an imaginal dialogue with a de-
ceased family member can help express and Supervision was an important aspect of the
tolerate grief, which was named to be helpful treatment’s success. During the supervision,
296
Bruscia’s Improvisation Assessments Profiles references

(IAP) (Bruscia, 1998) were identified as a
possible tool to analyze the client’s improvi- Austin, D. (1999). Vocal Improvisation in
sation in the search of the appropriate inter- analytically oriented music therapy with
ventions to alleviate her symptoms. This adults . In Wigram and de Backer (Eds.),
assesment instrument provided an objective Clinical Applications in Music Therapy in
view of the client's musical experiences and Psychiatry. Philadelphia, P: Jessica Kings-
a clear direction for the interventions nee- ley Publishers
ded. Aspects of multiculturalism and coun- Bruscia, K. E. (1998). Defining Music The-
tertransference were also analyzed in rapy. Gilsum, NH. Barcelona Publishers.
supervision given that the treating therapist Schapira, D; Ferrari, K.; Sánchez, V, & Hugo,
was from Argentina and was going through M. (2007). Musicoterapia: Abordaje Plu-
a grieving process himself. rimodal. Buenos Aires. ADIM Ediciones.
Iliya, Y. A., & Harris, B. T. (2015). Singing an
The interventions within the therapeutic Imaginal Dialogue: a Qualitative Exami-
process aimed to provide security and a nation of a Bereavement Intervention
solid base by using the tonal center as a pre- with Creative Arts Therapists. Nordic
vailing holding and grounding structure. The Journal of Music Therapy, 25(3), 248-272
use of tonal center suggested a way to con- http://dx.doi.org/10.1080/08098131.201
nect with the emotional context. 5.1044259
results about the author
At the end of the treatment, the client re- Juan P. Zambonini, Music therapist. Former
ported a considerable decrease in the fre- professor at the Bachelors of Music Therapy
quency of her respiratory crisis as well as an program at the Universidad del Salvador in
increased sense of self and direction in her Buenos Aires, Argentina. Currently comple-
life. This case study aims to support groun- ting the Master's in Music Therapy at Tem-
ding melodic interventions as a possible in- ple University.
tervention to alleviate anxiety symptoms. Email: uanzambo@gmail.com
297
Proceedings of the 15th WFMt World Congress of Music therapy. tsukuba/Japan. July 4-8, 2017
SouthEaSt
aSia
298
thE uSE oF MuSiC iN BuDDhiSt PSYChoLoGY aCtiVitiES

Puchong Chimpiboon
Vocational Therapist, Siriraj Palliative Care Center,
Faculty of Medicine Siriraj Hospital, Mahidol University, Thailand
introduction cause of suffering (samudaya). All suffering is

not happening by itself. There must be some
Buddhist Psychology Activity was developed reasons for which suffering occurs such as
for healing losses. The Buddhist Doctrine in- sensual desire, craving for existence, and cra-
cluding the Four Noble Truths, and the Thre- ving for self-annihilation. (3) The truth of the
efold Training was the main philosophy (Gu- end of suffering (nirhodha) means to unders-
navaddho & Mookdee, 2011). Previous music tand this concept as if suffering occurred, it
therapy studies reported that music interven- could also disappear. (4) The truth of the path
tion had benefits in healing losses (Hilliard, that frees us from suffering (magga) and is
2001; Hudgins, 2007). Therefore, music inter- the way to end suffering.
ventions can also be applied in Buddhist
Psychology Activity. This paper demonstrates Threefold Training is another principle of de-
how to apply music interventions in Buddhist veloping Buddhist Psychology Activity which
Psychology Activity in the content of (1) Bud- consists of (1) morality, which is the practice
dhist Psychology Activity, and (2) Music Inter- for developing the right speech, right action,
ventions in Buddhist Activity. and right livelihood; (2) concentration which
is practiced to develop the consciousness for
Buddhist Psychology activity making the right effort, right mindfulness,
and right concentration; (3) wisdom which
Buddhist Psychology Activity for healing los- is the training to create the right understan-
ses was the application of the Buddhist ding (Thera, 2010).
principles and the process of Buddhist
Psychology. The Buddhist principles consist Activities in Buddhist Psychology consist of
of the Four Noble Truths, and the Threefold the use of Buddhist precepts, chanting, me-
Training (Gunavaddho & Mookdee, 2011). ditation, discussed Doctrine, pouring water
of dedication, and Buddhist counseling. It re-
Four Noble Truths are the four main truths of quires 15-20 participants to stay for four
the suffering people for which Lord Buddha days and three nights at a peaceful place
attained enlightenment (Mcdougall, 2005). (Gunavaddho & Mookdee, 2011).
These consist of (1) The truth of suffering
(dukkha) which is the existence of suffering in Music interventions in Buddhist activity
life: birth, aging, illness, and death are all suf-
fering; grief, anger, jealousy, anxiety, disap- Group drumming, lyric analysis, song-writing,
pointment; the separation from the loved singing, rap-writing, rhythmic improvisation,
ones, enmity, and avidity. (2) The truth of the structured drumming, and music listening are
299
music techniques which have been used for Health, B., & Ling, J. (2012). Creative song-
healing losses, to work directly with patients, writing in therapy at the end of life and
and patients and caregivers (Clements-Cor- in bereavement. Mortality, 17(2), 106-
tes, 2004; Heath & Lings, 2012; Hilliard, 2001; 118.
Hudgins, 2007; Magill, 2009). Hilliard, R.E. (2001). The effects of music
therapy-based bereavement groups on
Many of the music interventions tested in mood and behavior of grieving children:
the previous studies, can also be applied in A pilot study. Journal of Music therapy,
Buddhist psychology activity. The choice of 38(4), 291-306.
specific interventions will depend on the Hudgins, K. D. (2007). The effect of music
therapeutic objectives. For example (1) live therapy on the grief process and group
music listening to prepare positive mood be- cohesion of grief support group (Unpu-
fore participating in Buddhist activities; (2) blished Master Thesis). Ohio University.
singing, music movement, and drumming to Ohio.
develop a therapeutic relationship; (3) pla- Magill, L. (2009). The meaning of the music:
ying instruments and music listening to prac- The role of music in palliative care music
tice consciousness and promote relaxation; therapy as perceived by bereaved caregi-
and (4) lyric analysis and song writing, to un- vers of advanced cancer patients. Ameri-
derstand the Four Noble Truths and the can Journal of Hospice & Palliative
Threefold Training. Medicine, 26(1), 33-39
Mcdougall, G. (Edidtor). (2005). The four
References noble truths. Somerville, US: Wisdom Pu-
blication.
Clements-Cortes, A. (2004). The use of music Thera, T. (2010). The threefold division of the
in facilitating emotional expression in the noble eightfold path. London: Rider &
terminally ill. American Journal of Hospice Company.
& Palliative Medicine, 21(4), 255-260).
Gunavaddho, P.P., & Mookdee, S. (2011). Ef- about the author
fects of grief reducing program for the
Bereaved people using Buddhist practi- Puchong Chimpiboon is the vocational the-
ces combined with Buddhist psychologi- rapist who provided music therapy service
cal counseling. Journal of psychiatry at Siriraj hospital as the full time carer.
association of Thailand, 56(4), 403-412. E-mail: puchongmsmu@gmail.com
300
MuSiC thERaPY With a WoMaN iN a RED-LiGht DiStRiCt

iN KoLKata
Alice Laing
Music Therapist, Kolkata, India
Context and false self, relevant to aspects of her

trauma context and current experiences.
The United Nations (UN 2009) reported that Music therapy papers (Sutton 2002; Austin
India is a source, destination and transit 2002), and psychological and psychoanalyti-
country for sex trafficking. Literature shows cal papers on trauma (Kalsched 1996: Scott
that trafficking survivors are prone to high et al. 2000; Garland 2002) supported the
levels of Post Traumatic Stress Disorder (Her- therapeutic thinking throughout the work.
man 1992), depression, suicidal ideation,
and interpersonal difficulties (Williamson, Creating and holding a safe therapeutic
2010). Acute stress disorder, attachment dif- space where Shristi felt in control and em-
ficulties and ddissociative identity disorder powered was vital to the development of
(Barker, 2016: Clawson et al., 2013) are also our relationship. She had fluency in her
evidenced. music, which gave me some idea of her mu-
sicality and her affinity with particular Asian
Music therapy is offered in this context to modalities. Her developing use of musical
support psychological and emotional health. timbres ranged from expressing her own cul-
Through the therapeutic relationship and tural rooted Nepali qualities to contextually
work it is considered that aspects of trauma more representative Bollywood music.
and self may be given the opportunity to be
heard and explored, resulting in the indivi- Sutton (2002) describes silence as being a
dual’s journey becoming less isolated and significant component in Music therapy
fragmented. ‘The core experiences of psy- work with those who have experienced
chological trauma are disempowerment and trauma. At times both the intimacy of si-
disconnection from others. Recovery there- lence and the ending of improvisations ap-
fore is based upon the empowerment of the peared hard for Shristi to tolerate and
survivor.’ (Herman 1992, p.133) regulate. Concurrently, the constancy of her
music-making seemed to be a way of num-
Reflective Case Study bing, even disassociating from feelings or
thoughts from trauma experiences, and a
I will present a case study of Music therapy means of managing connection and intimacy
work with one woman who was trafficked, within our dyadic music making.
for commercial sex work from Nepal,
“Shristi”. At the time we met she was aged Shristi’s sung voice became central in the
25 years old. The work lasted 18 months and music. Her developing affirmative voice be-
showed emergent themes of intimacy, true came deeper in tone, more expressive and
301
exploratory, with long and expressive phra- Garland, C. (2002). Understanding Trauma.
ses. The vocal improvisations seemed to ex- A Psychoanalytical Approach. London:
press a part of herself, which at other times Karnac
appeared hidden. I witnessed the hard work Herman, J. (1992) Trauma and Recovery.
of allowing for, finding and integrating her Basic Books: New York
developing ‘true self’ following the effects Kalsched, D. (2001). The Inner World of
of long-term physical abuse and traumatic trauma. London: Rutledge
experiences. UN (2009). Violence Against Women. [De-
partment of Public Information DPI/
in Conclusion 2546A,] www.un.org/en/events/ endvio-
lenceday/pdf/UNiTE_TheSituation_EN.pdf
The development of Shristi's musical language, Scott, M. J., & Palmer, S. (2000) Trauma and
timbres, expression and verbal communica- Post-traumatic Stress Disorder. London:
tion throughout the work demonstrate the Cassel
power within the language of music to con- Sutton, J. (2002). Music, Music Therapy and
nect deeply with our stories, our true selves, Trauma. London: Jessica Kingsley.
and our identity. Her use of, progression, Williamson, E., Dutch, N. M., & Clawson, H.
and responses through the work taught me J. (2010). Evidence-based mental health
much about her trauma experiences, the treatment for victims of human traffic-
significance of therapeutic congruence, and king. Office of the Assistant Secretary for
necessary musical and emotional holding Planning and Evaluation, U.S. Depart-
through the work. ment of Health and Human Services.
http://aspe.hhs.gov/hsp/07/HumanTraf-
References ficking/Mental Health/index.shtml.
Austin, D. (2002). The Wounded Healer.’ In about the author

J. Sutton, Music, Music Therapy and
Trauma. London: Jessica Kingsley . alice is a Music Therapist working in a red-
Barker, G., (2016) The affects of trauma on light district in Kolkata with both women
attachment. http://www.ccaa.net.au/do- who are trafficked and those with disabilities
cuments/TheEffectsOfTraumaOnAttach- living in the area.
ment.pdf Email: alice.laing@yahoo.co.uk
302
hiNDuStaNi MuSiC aS a tooL FoR StRESS RELaXatioN

MEDiuM FoR aGED PEoPLE
Lovely Sharma
Raja Man Singh Tomar Music and Art University, India
Debasis Chakroborty
Mangalayatan University, India
abstract ful than language. Music can be thought of

as a type of perceptual illusion, much the
There are references of healing techniques same way in which a collage is perceived.
in the ancient Indian Philosophy. The science The brain imposes structure and order on a
of utilizing sound vibrations has been adap- sequence of sounds that, in effect, creates
ted as a final tool to achieve ‘salvation’. Ac- an entirely new system of meaning.
cording to Veda, chanting of some specific
Mantras (hymns) from ancient Indian scrip- More than any other stimulus, music has the
tures and singing or playing compositions ability to conjure up images and feelings that
from Hindustani music have an enormous need not necessarily be directly reflected in
power to heal mental stress level. memory. The overall phenomenon still re-
tains a certain level of mystery; the reasons
Description behind the ‘thrill’ of listening to music is
strongly tied in with various theories based
Ancient Indian texts and manuscripts have on synesthesia. Skilled composers manipu-
frequently referred to Hindustani Sangeet or late the emotion within a song by knowing
North Indian Classical Music in several con- what their audience’s expectations are, and
texts. Several special Indian texts in Sanskrit controlling when those expectations will
language have been written and compiled (and will not) be met.
with the sole purpose of educating practitio-
ners about the healing qualities of Hindustani Through many years of experience, the au-
music. There are various other references in thors have developed some compositions of
the Brahmanas and Upanishads which indi- traditional Indian music. After successful ap-
cate that chanting of Mantras or singing of plication of those compositions to prisoners
traditional compositions can reduce stress le- and children with intellectual disabilities,
vels of human beings through the use of the Sharma and Chakroborty (2008) observed
finest tonal qualities of microtones. that suitable musical compositions of Indian
music have deep aesthetic appeal and can
Music is a common phenomenon that cros- touch anybody more quickly because of its
ses all borders and boundaries of nationality, micro and quarter tonal qualities.
race, and culture. A tool for arousing emo-
tions and feelings, music is far more power- A research study has been conducted on the
303
aged persons of an elder care home in 2015 cal compositions along using different strin-
in which especially designed Hindustani mu- ged and percussion instruments during the
sical compositions were used as therapeutic presentation of the workshop.
tool for stress relaxation (Sharma & Chakro- LiStEN to auDio 1D
borty, 2015). In this research work, emphasis
has been given on devotional songs and ins- References
trumental music presentations along with
the practice of some Yoga Mudras (postures) Sharma, L., & Chakroborty, D. (2008). Effect
which were documented through a works- of music on prisoners. New Delhi: Sanjay
hop presentation at the 2011 World Con- Prakashan.
gress of Music Therapy. Chakroborty, D. (2011) Why and How classi-
cal music can be an effective relaxation
The following results have been found: and stress tool? A study of some pro-
blems and solutions, journal of ICFA Stu-
• Music’s form and structure can bring order dies I. Ishika Publishing House, Jaipur.
and security to aged people. It encourages Sharma, L. & Chakroborty, D. (2015). A study
coordination and communication, so im- of healing techniques through Mu-sic and
proves their quality of life. Listening to Yoga, Psycho-Lingua, vol.II. Rakhi Prakas-
music on headphones reduces stress and han, Agra
anxiety in elder care homes.
• Music can help reduce both the sensation about the authors
and distress of both chronic pain and pos-
toperative pain. Prof. Lovely Sharma, an academician and
• Listening to music can relieve depression music therapist, has earned laurels for her
and increase self-esteem ratings in elderly research works on music throughout her ca-
people. rrier and is a renowned Sitarist and expert
• Making music can reduce burnout and im- of Hindustani music.
prove mood among elderly people. Email: drlovelysharma@gmail.com
• Music therapy significantly reduces emo-
tional distress and boosts quality of life Debasis Chakroborty is an internationally
among aged people. renowned virtuoso of Indian Classical slide
guitar and has also vast experience of aca-
The researchers will demonstrate the musi- demic.
304
BEtWEEN EaSt aND WESt: thE JouRNEY oF uK-tRaiNED

MuSiC thERaPiStS iN aSia
Monica Subiantoro
Universitas Pelita Harapan, Indonesia
Yukina Osawa
Child Development Institute in Social Welfare Corporation Doronkokai, Japan
Tomoko Sakamoto
Stella Music Therapy Service, Japan
Chi-Yen Chang
AWWA Ltd. Health and Senior Care, Singapore
Lee Lap Kwan

Freelance Music Therapy, Hong Kong
Background being, but the practice of music therapy as

a professional service is still considerably
Music therapy is a culturally sensitive prac- rare. Lack of knowledge and understanding
tice. Music therapists trained in a different about disability has also impeded the
country often experience culture shock growth of music therapy in this multicultu-
when they return to their home country. ral, geographically large country. Bringing
This paper will discuss some challenges met western and eastern cultures together in
in clinical practice in relation to the historical music therapy, finding a suitable approach
and political backgrounds, the difference in and introducing the concept of therapy, are
settings where music therapists work, the inevitably a two-way journey.
awareness of disability and concept of the-
rapy, as well as the relevance of theories and JaPaN
approaches to our clinical settings. Five UK-
trained music therapists who currently prac- The demand for music therapy practice in
tice is Asia are featured in this round-table Tokyo has been increasing, which has given
presentation. rise to many studies. Although it is gradually
recognized that music has certain effects,
iNDoNESia music therapists still face the reality that it
is tough to find a full-time position and to
Music therapy is a very young profession in differentiate from sessions run by a music
Indonesia. There is a growing understanding teacher or a musician, for instance. There-
of the relationship between music and well- fore, it will take time to be understood and
305
to be established as a position for a member adopted with a wide variety of populations,

of clinical professions. for instance, children with special educatio-
nal needs, people with learning disabilities,
In Japan overall, there are several difficulties adults with drug abstinence, the elderly, pe-
when a therapist brings a culturally different ople with palliative care, and so forth. There
style of music therapy. How people think are some discrepancies and difficulties bet-
about “music” is especially an important ween learning and practice in Hong Kong.
point. Many Japanese consider “music” as The cultures in two places differ and how
an education. They believe that music people view music therapy to enhance their
should be played technically perfectly rather wellbeing.
than to be enjoyed. Therefore, a careful ex-
planation of what is music therapy is neces- about the authors
sary, and the therapist should try to clarify
the misunderstanding about music therapy Monica Subiantoro is a music therapy lectu-
session. rer and music therapist at Universitas Pelita
Harapan, Karawaci, Indonesia.
SiNGaPoRE Email: monica.subiantoro@uph.edu
The cultural diversity of Singapore actively Yukina osawa is a music therapist at Child
impacts the intervention of music therapy Development Institute in Social Welfare Cor-
and makes positive use of the nature of poration Doronkokai, Tokyo, Japan.
music therapy itself. Interestingly, Singapore
is one of the countries with highest percen- tomoko Sakamoto is a music therapist at
tage of full-time music therapists around the Stella Music Therapy Service, Kansai, Japan.
world. Currently the demands for music the-
rapy have been increasing and expanding to Chi-Yen Chang is a music therapist in a long-
diverse settings. More and more organiza- term care setting with seniors in Singapore,
tions are eager to look for music therapy ser- working with a wide range of clients from di-
vice, but there is a shortage of local music verse cultural backgrounds.
therapists.
Lee Lap Kwan has been a freelance music
hoNG KoNG therapist in Hong Kong for approximately 2.5
years and primarily worked with children
Music therapy has been more widely known with special needs and adults with learning
over recent years in Hong Kong. It has been disabilities.
306
proceedings of the 15th wfMt world congress of Music therapy. tsukuba/Japan. July 4-8, 2017
western
pacific
307
tiMe-series anaLYsis Of MOOD cHanGes BY

GrOUp sinGinG: assUMinG MUsic tHerapY
Fumiho Akagi
Mukogawa Women’s University, Japan
Satoshi Kawase
Nagoya Institute of Technology, Japan
Naomi Takehara, Tomoko Ichinose, Tsutomu Masuko

abstract Method
This study aimed to quantitatively examine the Participants. Two groups of women univer-
effects of group singing on moods. Through sity students (n = 20) participated in the
questionnaires and video feedback, results re- study.
vealed that mood improvement and increase Stimuli. Seven songs were played in the ses-
in the sense of cohesion through group singing sion. To eliminate order effect, the order in
can be caused by the time-series change of the which the songs were played differed bet-
cohesion and flow states. ween the two groups although the seven
songs played in the experiment were the
Background same.
Procedure. The experiment comprised two
Group singing is a method used in music the- parts. After obtaining informed consent,
rapy sessions for improving mood or enhan- group singing sessions were conducted; par-
cing feelings of collectiveness in general. ticipants sang songs for approximately 40 mi-
However, the effects of group singing on nutes. The Multiple Mood Scale (Terasaki et
mood and the sense of cohesion have not al., 1992) and the original scale for group co-
been quantitatively investigated. The concept hesion based on a study by Yamada et al.
of flow states (Csikszentmihalyi, 1990) and (2013) were administrated pre- and post-sin-
group cohesion was assumed to be one of the ging. Second, the participants watched videos
influential factors. of their own singing and rated the level of co-
hesion and flow state on the time-series of
aim the singing.
This study aimed to examine the effects of results

group singing on members’ mood and sense
of cohesion through a time-series analysis in Figure 1 shows the time-series changes of
pseudo music therapy settings. averaged ratings of group cohesion and flow
308
state. Through statistical analysis, the main references

results were as follows: (1) The sense of co-
hesion and flow states in singing changed si- Csikszentmihalyi, M. (1990). Flow: The psy-
milarly with respect to the time-series and (2) chology of optimal experience. New York:
the participants’ mood changed positively Harper Row
through the session in both the groups. The Kuribayashi, F. (2010). Shudan-kasho-ryoho
process of cohesion and flow states was also wo Kangaeru: Sekai-eki na Shiten kara
found to be dependent on the order in which (Discussing group singing therapy: inter-
the songs were played in each group. national point of view). Japanese Journal
of Music Therapy, 10(1), 46–52.
Terasaki, M., Kishimoto, Y., & Koga, A. (1992).
Tamenteki-kanjo-jotai-shakudo no Sakusei
(Construction of multiple mood scale). Ja-
panese Psychological Research, 62(6), 350
–356.
Yamada, K., Arai, H., Nakazawa, T., Kawata, Y.,
Kamimura, A., & Hirosawa, M. (2013). A
study of the unity of sports teams: Deve-
lopment of a scale and examination of re-
lated factors. Journal of Physical Education
and Sport, 13(4), 489–497.
about the authors

Figure 1. An example of time-series data of
group cohesion and flow state; error bars fumiho akagi is Singer, obtained BA (in Aca-
show standard errors. demic Study of Music).
Email: minna_thanks_123@yahoo.co.jp
conclusions
satoshi Kawase. Doctor of Human Science.
This study revealed that an improvement in Tomoko Ichinose. MA, RMT(Japan), MT-BC.
mood and an increase in the sense of cohe-
sion through group singing can be caused by naomi takehara obtained Ph.D (Culture and
the time-series change of the cohesion and information Science), RMT(Japan).
flow states, influenced by the characteristics
of the music of the songs and the order in tsutomu Masuko obtained BA from Kyoto
which they are played. University. M.M.from Ball State University.
309
nOVeL MUsicaL instrUMent fOr seVereLY DisaBLeD

anD HeaLtHY eLDerLY peOpLe tO pLaY
Kenzo Akazawa, Mototsugu Horai, Tsutomu Masuko
Social Welfare Organization Kibounoie, Japan
Tomoko Ichinose, Kakuko Matsumoto, Naomi Takehara

Ryuhei Okuno
Setsunan University, Japan
introduction in a PC so that any previous music experien-

ces are not required. We developed various
Recently, usefulness of music support therapy user interfaces responding to weak force,
has been widely recognized in neural rehabili- small movement, and breath pressure. A
tation since the pioneer work by Schneider et client was able to make music easily, by
al. (2007). We have developed a novel electro- pointing a touch screen or handling a user
nic musical instrument, Cymis, which the seve- interface, where score was displayed on a
rely disabled are able to enjoy playing (Akazawa monitor. Signal from a user interface was
2012, 2017). Actually we performed an inter- sent to PC, and then processed to produce
vention using Cymis to two stroke patients with sound with MIDI signal source. For the he-
upper limbs paresis, and obtained significant althy elderly people, a guide of the perfor-
improvement in motor function of paretic mance was displayed on the monitor. The
limbs (Igai, 2016). Further, we applied Cymis computer network system was used as an
and Kinect in music therapy for children with ensemble supporting device.
autism spectrum disorders (Ichinose, 2015).
results
In another field, there is an important co-
hort study (Balbag, 2014; Verghese, 2003) In 2008, a field experiment commenced, and
indicating that frequent performance of mu- in 2016, nineteen facilities such as hospitals,
sic instruments has the significant effect of special schools, and nursing homes were uti-
reducing the risk of dementia in the elderly. lizing it in Japan. These results seem to show
Since to prevent dementia is an urgent issue, the usefulness of Cymis. First, the instru-
we have commenced a pilot study of appl- ment's accessibility was revealed by the fact
ying Cymis to healthy elderly people. that 34 clients played Cymis for an average
of 6.6 years in one facility (54 persons with
Method severe disabilities). Second, 13 clients sho-
wed progress in performance, which pos-
Cymis consists of PC (Windows) and interfa- sibly reflected improvements of the upper
ces. Programmed musical scores are stored limb motor control function.
310
A pilot study for the healthy elderly was made Igai (Fujita) R, et al. (2016). Rehabilitation trai-
in a small community. Five individuals wi- ning for upper limb paresis of brain disease
thout previous music experience were able to patients using the electric musical instru-
perform easily in music ensemble with Cymis. ment: Cyber Musical Instrument with
Score (Cymis). Journal of Medical Music
conclusion Therapy, 9, 1-19.
Cymis was useful, effective, and attractive to about the authors

persons with disabilities; it permitted them to
enjoy music performance that might not Dr. K. akazawa (Emeritus Professor of Osaka
otherwise be possible, and some evidence to University, Japan) is a Director of Advanced
therapeutic effect was found. It was showed Applied Music Institute, Kibounoie Takara-
that the healthy elderly could play Cymis zuka. His major is biomedical engineering
while enjoying participating in the ensemble. (nerve & muscle, assistive technology).
Email: akazawa@cymis.jp
references
t. ichinose is an Associate Professor, Muko-
Akazawa, K., et al. (2012). Novel electronic gawa Women's University, Board-Certified
musical instrument for persons with cere- Music Therapist (Japan), (U.S.A).
bral palsy to play and enjoy together. Proc.
9th ICDVRAT. pp. 419-422. Dr. K. Matsumoto (Associate Professor), Dr.
Akazawa K, et al. (2017). Novel electronic mu- n. takehara (Assistant Professor) and tsu-
sical instrument with pre-programmed tomu Masuko (Emeritus Professor of Mu-
score for the disabled to enjoy playing kogawa Women’s University) are Board-
music. Advanced Biomedical Engineering, Certified Music Therapists (Japan).
6, 1-7, doi: 10.14326/abe. 6.1
Ichinose, T., et al. (2015). Applying a novel M. Horai is an Executive Director, Kibounoie
electronic musical instrument and kinect Takarazuka.
in music therapy for children with autism
spectrum disorders. WCE-2015 Procee- Dr. r. Okuno is a Professor of Faculty of
dings pp.90-93, World Congress on Educa- Science and Engineering, Setsunan Univer-
tion, Dublin. sity.
311
enHanceMent Of DOpaMinerGic Brain fUnctiOns

BY MUsic
Kayo Akiyama
Faculty of Medicine, University of Tsukuba, Japan
Den’etsu Sutoo
Department of Biological Sciences, Graduate School of Science,
The University of Tokyo, Japan
Our previous studies revealed that calcium containing sounds of different frequencies
enhances dopamine synthesis in the brain on brain functions in SHR. The music-de-
through a calmodulin-dependent system. In pendent blood pressure-reducing res-
a series of studies, we examined the effect ponse was associated with an increase in
of music on this pathway. sound frequency, and was markedly grea-
ter at a high frequency (4k-16k Hz) compa-
Music accelerates dopamine synthesis red with lower frequencies. These findings
suggest that music containing high-frequen-
Spontaneously hypertensive rats (SHR) expo- cy sounds stimulates dopamine synthesis,
sed to Mozart’s music (K. 205) exhibited signi- and might therefore regulate and/or affect
ficantly reduced systolic blood pressure along various brain functions (Akiyama & Sutoo,
with decreased behavioral activity. The effect 2011).
of the music was abolished by inhibiting the
dopamine-synthesizing pathway in the brain. Music enhances the response to alcohol
Exposure to music also led to significant incre-
ases in serum calcium levels and neostriatal Next, the relationship between music and al-
dopamine levels. Together, these findings and cohol was investigated behaviorally. Ethanol-
those of previous studies suggest that music induced sleep time in mice was increased
en-hances calcium-dependent dopamine syn- following exposure to Mozart’s music (K.
thesis in the brain, and that the subsequent in- 205). The effect of music was abolished by
crease in dopamine reduces blood pressure via inhibition of the dopamine-synthesizing path-
dopamine D2 receptors. Acceleration of cal- way in the brain, suggest-ing that music en-
cium-dependent dopamine synthesis might hances the effect of alcohol through acce-
thus be a mechanism by which music modifies leration of dopamine synthesis. Since an-
blood pressure and other brain functions cient times, music has been enjoyed in com-
(Sutoo & Akiyama, 2004). bination with alcohol or used to aid the sick.
Why do people desire music for pleasure
role of high-frequency sounds and cure? We think that the results of this
study provide clues to answer these ques-
We then investigated the effect of music tions (Akiyama & Sutoo, 2010).
312
Music improves symptoms ce, 8(3), 156-159. Retrieved from http://

of neurologic disorders www.cpn.or.kr/journal/view.html?uid=97
&vmd=Full
Based on these findings, we hypothesize Akiyama, K., & Sutoo, D. (2011). Effect of dif-
that listening to music could effectively rec- ferent frequencies of music on blood
tify the symptoms of various diseases invol- pressure regulation in spontaneously hy-
ving central dopamine dysfunction, such as pertensive rats. Neuroscience Letters,
Parkinson’s disease, epilepsy, dementia with 487(1), 58-60. doi:10.1016/j.neulet.2010.
Lewy bodies, and attention deficit/hyperac- 09. 073
tivity disorder. Sutoo, D., & Akiyama, K. (2003). Regulation
of brain function by exercise. Neurobio-
Previous reports demonstrated that exercise logy of Disease, 13(1), 1-14. doi: 10. 1016
stimulates calcium metabolic hormone and /S0969-9961(03)00030-5
increases blood calcium levels, thereby in- Sutoo, D., & Akiyama, K. (2004). Music im-
creasing dopamine synthesis in the brain, proves dopaminergic neurotransmission:
similar to the effect of music (Sutoo & Aki- demonstration based on the effect of
yama, 2003). We think that the activities and music on blood pressure regulation. Brain
experiences of daily life, such as listening to Research, 1016(2), 255-262. doi: 10.1016
music and participating in exercise, enhance /j.brainres.2004.05.018
dopaminergic activity, subsequently regula-
ting and/or affecting various brain functions, about the authors
and that this mechanism might underlie the
improving effect of the activities and expe- Kayo akiyama, Ph.D., is a researcher at Uni-
riences of daily living on the symptoms of versity of Tsukuba, and a fellow of the Inter-
various diseases that involve dopamine national College of Neuropsycho-pharma-
dysfunction. cology (CINP) and a councilor of Japanese
Society of Neuropsychopharma-cology.
references Email: kayo@akiyama-ac.jp
Akiyama, K., & Sutoo, D. (2010). Music enhan- Den’etsu sutoo, Ph.D., is a researcher in neu-
ces drunkenness: a phenomenon related roscience at the University of Tokyo (2013-pre-
to increased dopaminergic function. Clini- sent) and at University of Tsukuba (1975-2013).
cal Psychopharmacology and Neuroscien- Email: den@sutoo.jp
313
eLectrOnic MUsicaL instrUMents tO HeLp BeGinners pLaY

in MUsic enseMBLes anD DiscOVer errOers
Yui Andou, Tomomi Aoki, Naomi Takehara, Toko Yoshizato,
Kakuko Matsumoto, Tomoko Ichinose
Department of Music, Mukogawa Women's University, Japan
Masaki Wada, Ryuhei Okuno

2Department of Electronics, Setsunan University, Japan
Kenzo Akazawa
Advanced Applied Music Institute,
Social Welfare Organization Kibounoie Takarazuka, Japan
abstract was displayed on a monitor, and as an op-

tion, a moving guide was simultaneously dis-
We have been developing a novel electronic played on the same monitor (Figure1).
musical instrument with score. This study
aims to develop an instrument system for
music beginners to perform in an ensemble
and to create a software program for displa-
ying the error of performance in time and
show its feasibility.
Background
An important cohort study indicates that fre-

quent performance of music instruments
has a significant effect of reducing the risk Figure 1. Cymis Ensemble.
of dementia in the elderly. We developed a
network system enabling an ensemble of Method
the Cymis and created a computer program
for measuring time error against an ideal First, a programmed score of a Japanese
time sequence of a music piece to teach the song [Momiji] was created at 84bpm. Se-
player. cond, four university students (two females
majoring in music and two beginners of
As a pilot study, we have applied the system music) were asked to perform in an ensem-
to young, healthy people to obtain feasibi- ble with the Cymis, where the beginners
lity. The Cymis includes a computer, touch watched a guide of the performance on the
screen, and a programmed score. The score monitor and the music majors watched a
314
music conductor in front of them. As an HuiChi Li, et al. (2015). The effect of music
ideal music piece was played synchronously therapy on cognitive functioning among
on four computers on the network system, older adults: A systematic review and
time differences between the ideal and ac- meta-analysis. Journal of the American
tual performance by the four participants Medical Directors Association, 16(1), 71-
were measured. 77.
Third, the time difference up to which the about the authors

music majors could be patient to hear the
music piece without any mental rejection Y. andou obtained RMT (JAPAN).
was examined. The same piece [Momiji] was Email: yui.ktep@gmail.com
simultaneously played with two different
instruments, piano and flute, where the Ma. t. aoki, (Assistant) Mukogawa Wome-
time difference was set only in the first n's University, RMT (JAPAN).
notes of the phrases.
Dr. n. takehara (Assistant Professor) Muko-
results gawa Women's University, RMT (JAPAN).
The threshold was set at approximately M. wada obtained a BA.

180ms. Results indicated that the beginners,
as well as the music majors, could perform Ma. toko Yoshizato (Assistant) Mukogawa
in the ensemble with the help of a guide wi- Women's University, RMT (JAPAN).
thin a time difference (root mean squared
error) of less than 150ms after learning. Dr. K. Matsumoto (Associate Professor) Mu-
kogawa Women's University, RMT (JAPAN).
references
Ma. t. ichinose is an Associate Professor, Mu-
Akazawa K, Kawai T, Okuno R, Masuko T, & kogawa Women's University, RMT (JAPAN),
Nishida H. (2012). Novel electronic musi- MT-BC.
cal instrument for persons with cerebral
palsy to play and enjoy together. Proc. Dr. r. Okuno is a Professor of the Faculty of
9th Intl Conf. Disability, Virtual Reality & Science and Engineering, Setsunan Univer-
Associated Technologies, Laval, 419-422. sity.
Verghese, J., Lipton, R.B., Katz, M.J., Hall,
C.B., Derby, C.A., Kuslansky, G.,Ambrose, Dr. K. akazawa (Emeritus Professor at Osaka
A.F., Sliwinski, M., & Buschke, H. (2003). University, Japan) is a Director of the Advan-
Leisure activities and the risk of dementia ced Applied Music Institute, Kibounoie Taka-
in the elderly. New England Journal of razuka. His major is in biomedical engineering
Medicine, 348 (25), 2508-2516. (nerve & muscle, assistive technology).
315
a stUDY On tHe pOtentiaL Benefits Of MUsic tHerapists

as OUtsiDe speciaLists
Kumi Aoki
Komei Tokyo Metropolitan School for the Physically Disabled, Japan
Hiroko Ogawa, Katsumi Yanagida, Yuko Kawata

Komei Tokyo Metropolitan School for the Physically Disabled
Background and MT would provide better education to

students with disabilities.
This is a case study of music therapists as
outside specialists at a special needs edu- the purpose of the study
cation school for the physically disabled in
Japan. In recent years, adding outside spe- The purpose is to review an ongoing music
cialists to the existing staff has become in- therapy program at a special needs educa-
creasingly popular at these schools in Japan. tion school for the physically disabled, and
The purpose of the addition is to have them identify potential benefits of MT.
assist in the development of appropriate
programs that satisfy special educational the program
needs of students with disabilities, whose
severity differ from one individual to ano- Two music therapists played the roles as
ther. For Tokyo metropolitan school districts, shown below in two programs.
a plan by the Board of Education from 2011
to 2016 calls for the addition of specialists On campus program (Elementary, Junior High,
from outside to every special needs educa- High schools):
tion schools. However, the opportunities for
such specialists are generally limited to • Support music teachers in music class;
physical therapists, occupational therapists • Perform music therapy sessions primarily
and speech therapists, excluding music the- in elementary school;
rapists (MT).
Home program:
Though opportunities are limited, there are
some success stories. In this paper, we will • Accompany a home program teacher and
show an example of MT at the special needs perform music therapy sessions;
education school for the physically disabled
in Tokyo. The authors’ school was one of the The latter program included 20 of 22 students
pioneering ones to invite MT as outside spe- with disabilities enrolled at school. Each stu-
cialists with the expectation that collabora- dent participated in therapy sessions with vi-
tion between the existing music teachers siting MT twice or more during the fiscal year.
316
results cialists work closely together to maximize their

effectiveness. Specifically for music education,
The following benefits were identified through both music teacher and MT can bring different
discussions with music teachers, questionnai- expertise to class and, thereby, provide richer
res to home program teachers, and feedback educational experience for the students. In the
from parents. presentation, we will show the chart which
summarizes our proposed approach.
For on campus program:
references
• Music teachers started having deeper un-
derstanding of their students with disabi- Sato, T, Fujii, Y, & Takeda, A. (2015). A study
lities; on Collaboration with Outside Specialists at
• Richer musical education; Special Support Schools for the Physically Di-
• Music teachers discovered that some stu- sabled: Based on a nationwide question-
dents had skills for communication and naire survey of special support schools for
musical expression that had been pre- the physically disabled. Journal of Akita Uni-
viously unnoticed. versity Faculty of Education and Human Stu-
dies 70. (pp 85-96). （肢体不自由特別支
Home program: 援学校における外部専門家との連携の
• Music teachers started having deeper un-

あり方に関する検討－全国肢体不自由
derstanding of their students with disabi-

特別支援学校における外部専門家活用
lity;
に関するアンケート調査－. 秋田大学教
• Richer musical education;

育文化学部研究紀要）
• Opportunity for students to be exposed to about the authors

live music;
• Opportunity for students and their family Kumi aoki, RMT(Japan), MA
to get out of daily routine. Email: doremifasolasido@jcom.home.ne.jp
conclusions—Benefits of Mt in special needs Hiroko Ogawa, RMT(Japan)

education
Katsumi Yanagida, Music Teacher, RMT
As we have shown, MT can contribute greatly (Japan)
to special needs education. In general, it is im-
perative that teaching staff and outside spe- Yuko Kawata, teacher of Home program.
317
MUsic tHerapY fOr cHiLDren witH anGeLMan sYnDrOMe

Kumi Aoki
Showa University of Music. Music Therapy Research Center, Japan
Naoki Otani
Nagano Medical Hygiene College, Japan
about angelman syndrome into account the short attention span, and
ensured careful intervention by therapists to
Angelman syndrome is a complex genetic di- avoid unnecessary excitement.
sorder that was first described in 1965 by Dr.
Harry Angelman. The syndrome is caused by After the modification, the two clients star-
an abnormality in a region of chromosome ted to respond positively to music therapy
15. It is estimated that this rare condition af- and engaged in lively communication with
fects about 1 in 12,000 to 20,000 people. their therapists through music and musical
The main characteristics are delayed motor instruments. We also observed that their
activities, intellectual retardation with mini- focus on musical activities noticeably impro-
mal or absent speech (receptive and non- ved.
verbal communication skills higher than ver-
bal ones), developmental delay, ataxic, and further investigation
seizures. There are common unique beha-
viors such as constant happy behavior that Our initial findings made us wonder whether
includes frequent laughing, smiling, and ex- they also applied to ASC in general. What
citability. Hyperactivity and a short attention outside stimuli trigger negative behaviors?
span are also common. Will other ACS respond in the same way as
our two students?
Modification of therapy environment
for asc and initial findings To answer our questions, we performed a
study that consisted of the following:
We have performed music therapy for two
ASC over several years. At first, they showed 1. Evaluation of ASC’s response to sensory
hyperactivity, short attention spans, and fre- stimuli: We asked parents to fill in JSI-R
quent excitability during our sessions. It ap- check sheet. We also performed semi-
peared that outside stimuli, especially tactile structured interviews with them tofurther
one, was triggering such negative reactions. explore the hypersensitivity of their chil-
Therefore, we modified the therapy in order dren against sound.
to minimize undesired behaviors. For ins- 2. Trial music therapy sessions: We provided
tance, we established a simpler environ- suitable sessions to a larger number of
ment, adjusted the stimulation by quantity ASC, sixteen to be exact, and analyzed
and quality, designed the program taking their common reaction. We also carried
318
out to a comparative study of the effecti- 1. Their capabilities to express themselves

veness of two different therapeutic ap- and non-verbal communication skills with
proaches involving music, i.e., music others would improve.
therapy vs non-MT. 2. Non-verbal communication experienced
through music therapy could help ACS
results develop their two-way communication
skills.
1. Sensitivity to outside stimuli: The analysis
of the JSI-R data showed all ASC had hy- Our study revealed that ASC are sometimes
persensitivity to tactile sensation and hypersensitive to sensory stimuli. This needs
some sensitivity to proprioceptive and to be taken into account when designing
vestibular sensations, but not to auditory music therapy, especially for young children
one. However, during our interviews the who may have hypersensitivity to sound.
parents reported some auditory sensiti-
vity for their children, especially in early Finally, we would like to add that music the-
childhood. rapy will need to be tailored to each indivi-
2. Reaction to music therapy: In the therapy dual’s needs even though ASC share many
sessions, ASC showed common positive common traits.
responses. Even though their short atten-
tion span is widely recognized, it lengthe- reference
ned considerably with music around. In
addition, their non-verbal communication Aoki, K., & Otani, N.(2009). Music Therapy for
with main and co-music therapists be- Children with Angelman Syndrome: Investiga-
came more frequent and lively. tion into the Therapeutic Approach for the Di-
sability Characteristics(Japanese). Showa
conclusion University of Music, Music and Arts Manage-
ment Research Center.
ASC share many common, observable cha-
racteristics. Now, we found that they also about the authors
show common positive response to music
and music therapy. Kumi aoki, RMT(Japan), MA.
Email: doremifasolasido@jcom.home.ne.jp
The following effects of music therapy can
be expected for ASC: naoki Otani, RMT(Japan), MA.
319
tHe pOssiBiLitY Of UsinG a sMaLL Harp fOr reHaBiLitatiOn

Nozomi Awata
Trust Garden Nursing Home, Japan
Rika Sugiyama
Bunkakoto Promotion Association
Maho Takasu
Ikuta School Sokyoku
Although the Japanese harp, koto, is a rather On the other hand, koto music is familiar to
big traditional musical instrument, a half- many people because it is often used as a
size version called the bunkagoto also exists. means of introducing Japanese culture and
We introduce its usage for rehabilitation and sometimes Japanese restaurants use it for
the maintenance of hand function, and we background music.
will show you how easy, enjoyable, and use-
ful it is to play it by letting you try it. Considering the above, playing the bunka-
goto is a good way for people to rehabilitate
The bunkagoto, with a length of 86cm and and maintain the function of their hands, as
weight of 3kg, has a soft sound. The sheet well as helping to enable relaxation and com-
music is written in accordance with the forting them. We will demonstrate how to
number of strings, so it is not necessary for play the bunkagoto and let you enjoy playing
players to be able to read a score to play it. it, too.
To play the bunkagoto, one puts it on the
table and simply follows the numbers on the You will be able to experience playing the
score. One holds and picks its strings using instrument and thereby have a greater un-
the fingers and thumbs, which requires both derstanding of how this can be used in reha-
hands to move differently yet simultane- bilitation. Moreover, we will look for further
ously. The 13 strings are made of Dacron (si- possibilities of using the bunkagoto.
milar to silk) and are soft to touch, so it is see ViDeO 1e
easy to make controlled sounds from soft to
loud by adjusting the picking pressure. The references
range of the bunkagoto is close to that of the
human voice, so you can play the tune of fa- Tamura, H. (2006). A Fundamental Study on
miliar songs, e.g. Sakura Sakura (Cherry Blos- the Therapeutic Effects of Sounds and
som) and Edelweiss; it is also possible to sing Music in a Social Cultural Context, Psycho-
at the same time. Because the koto is one of logical and Physiological Influences of Ja-
Japan’s traditional musical instruments, panese Sounds and Music Including Ultra-
adults used to play it as children, so playing sonic Waves (Japanese). Japanese Journal
the bunkagoto brings back old memories. of Music Therapy, 6, 132-145.
320
about the authors rika sugiyama, Certified instructor of Bun-

kakoto promotion association. Special sup-
nozomi awata: Sakurabayashi music the- port class music lecturer, Japan.
rapy study group and music therapist at the
Trust Garden nursing home, Japan. Maho takasu, Instructor of Ikuta school sok-
Email: nozomiawata@hotmail.com yoku, Japan.
321
eXpLOrinG tHe neUrOLOGicaL UnDerpinninGs

Of iMprOVisatiOnaL perfOrMance
in cOrreLatiOn witH creatiVitY
Jared Boasen
Hokkaido University, Japan
Yuya Takeshita
Veikko Jousmäki
Aalto University, Finland
Koichi Yokosawa
introduction creative ability. Therefore, in order to contri-

bute evidence to support the current and ex-
Improvisational music has come to be effec- panded use of improvisational music for
tively used as a therapy across a diverse range therapeutic and educational purposes, we
of patient demographics (Gómez & Gómez, are exploring a paradigm that qualitatively
2016). However, research on the neurological measures creative ability, and uses magneto-
underpinnings of improvisational therapy is encephalography (MEG) to evaluate neurolo-
still lacking. Recently, neuroimaging studies gical differences between improvisationally
have used improvisational music perfor- experienced and inexperienced populations
mance as a paradigm for studying creativity during music performance, and diagnostically
due to its ease of execution in a laboratory measures neurological changes that occur
setting and its presumed intrinsic involve- due to improvisational training.
ment of creative cognition (Limb & Braun,
2008). Indeed, there are multiple qualitative study paradigm
studies linking improvisational music perfor-
mance experience with higher creative ability This paradigm targets subjects experienced
(Benedek et al., 2014), and numerous reports and inexperienced in improvisational music.
on the benefits of improvisational music the- Their creative ability is evaluated via a Japa-
rapy, including inspired creativity (Rylatt, nese language-based divergent thinking as-
2012). However, studies regarding improvisa- sessment (S-A Creativity, SacBell). As for
tional experience in normal populations are MEG-based neurological evaluations, sub-
limited, and have not attempted to directly jects are presented a series of different me-
explore the neurological effects of improvisa- lodic rhythm patterns to which they respond
tional training/therapy, nor correlate such re- on a simplified keyboard using melodic and/
sults to other qualitative measures such as or rhythmic improvisation, and non-impro-
322
visation playing styles. This performance An fMRI Study of Jazz Improvisation. Plo-
task has been designed to be simple enough sOne, 3(2):e1679.doi: 10.1371/journal.
for even non-experienced subjects to per- pone.0001679.
form successfully after a short, pre-experi- Benedek et al. (2014). Creativity and perso-
ment practice session. Differences in the nality in classical, jazz and folk musicians.
spectral and spatial characteristics of neuro- Personality and Individual Differences 63
magnetic activity are expected to emerge (100), 117-121.
between improvisationally experienced and Rylatt P. (2012). The benefits of creative the-
non-experienced groups. These differences rapy for people with dementia. Nursing
are furthermore hypothesized to correlate Standard, 26(33),42-47.
with creative ability, and change in the non-
experienced group following a series of im- about the authors
provisational music training sessions. It is
hoped this paradigm will not only further Jared Boasen. Performing musician/singer
our understanding regarding the neurologi- songwriter. Multidisciplinary medical rese-
cal underpinnings of improvisation, creati- arch background. Ph.D. student at Hokkaido
vity, and music performance, but also lay the University.
groundwork for further clinical-based neu- Email: jfboasen@eis.hokudai.ac.jp
rological inquiries into the effects of music
therapy. Yuya takeshita, semi-RMT (Japan), has spe-
cialized in music therapy and clinical engine-
references ering. Ph.D. student at Hokkaido University.
Gómez, M. & Gómez, J. (2016). Music therapy Veikko Jousmäki, Ph.D.Director and Senior
and Alzheimer's disease: Cognitive, psy- Scientist of Aalto Neuroimaging at Aalto Uni-
chological, and behavioural effects. Neu- versity.
rología,S0213-4853(16)00004-9.doi:
10.1016/j.nrl.2015.12.003. Koichi Yokosawa, Ph. D. Specializes in Biome-
Limb, C. & Braun , A. (2008). Neural Substra- dical Engineering, and is engaged mainly in
tes of Spontaneous Musical Performance: studying brain function using MEG.
323
cLinicaL stUDY Of MUsic tHerapY fOr MentaL DisOrDers

Shine Chen
Director of You & Me Clinic, Taiwan
Ju-Kuang Hsieh
Chairman of Chung Hua Music Therapy Institute
abstract three groups, along with 18 normal people as

the control group, were administered Bio-
This study applies harmless and clinically ef- wave Resonance Music Therapy treatment
fective ‘Biowave Resonance Music Therapy’ for 6 months.
as a complementary therapy on criminals
with mental disorders. The study also uses result: The result shows that this kind of the-
cross validation between Heart Rate Variation rapy can enhance mentally ill criminals’ emo-
Analysis (HRV) and 3DMRA Magnetic Reso- tional stability, reduce stress index and SDNN
nance Cell Analysis, and evaluates its effect of autonomic nervous system, and possess its
with Breaking Rule Ratio. statistical significance. It also consolidates
drug treatment, causes reduction in the num-
Description ber of incidence, and extends the duration of
‘stabilization period.’
Criminals with mental disorders are socially
marginalized people. In prison, due to the reference
difficulties of interpersonal interactions,
there are endless violence such as quarrels, Shi, Y.N., & Huang, M.C. (2002). Music The-
fights, and internecine war. Thus, drug therapy in Psychiatric day-care unit. Chinese
rapy has become the first choice. However, Group Psychotherapy, 8(1/2), 3-8.
because of frequent side effects and sequel Li, X., Yeh, M.Y., & Liu, T.R. (1993). The effec-
from drug, under various types of subjective tiveness of music therapy in improving
and objective unfavorable situations, “co- the mental symptoms and interpersonal
rrectional practice” becomes futile. interactions of inpatient psychiatric unit
patients. Nursing Research, 1(2): 145-
Through senses (eyes, ears, noses, tongues, 157.
skins) stimulation, ‘Biowave Resonance Music Wang, S.M., Yeh, M.Y., & Zhang, L.Y. (2003).
Therapy’ plays a role as an auxiliary psycho- Research of Music Therapy Effectiveness
tropic substance. Increased emotional, stress on Chronic Mental Illness. Chang Gung
management abilities and insight, decreased Nursing, 14(4), No. 44: 342-352.
incidence of diseases, and increased correc- Chlan, L., & Tracy, M.F. (1999). Music therapy
tional functions of criminals are expected. in critical care: Indications and guidelines
for intervention. Critical Care Nurse, 19
Method: 55 mentally ill criminals divided into (3), 35-41.
324
Gerra, G., Zaimovic, A., Franchini, D., Palla- about the authors
dino, M., Guicastro, G., Reali, N., Maestri,
Dr. shine chen is the Diplomate in Integra-
D., Caccavari, R., Delsignore, R., & Bram-
ted Chinese and Western Medicine, the Di-
billa, F. (1998). Neuroendocrine respon-
plomate in Cosmetic Surgery and Anti-aging
ses of healthy volunteers to ‘techno-
Medicine, the Director of You & Me Clinic,
music’: Relationship with personality
and the Assistant Director of Dr. Apple Aes-
traits and emotional state. International
thetics Medical Clinic.
Journal of Psychophysiology, 28(1), 99-
Email: chiachi1966@yahoo.com.tw
111.
Gold, C. (2007). Music therapy improves Ju-Kuang Hsieh is the President of Asian Music
symptoms in adults hospitalised with Therapy Confederation, the Dean of Institute
schizophrenia. Evidence Based Mental of British Micromusic, and the Dean of Inter-
Health, 10(3), 77. national Lambdoma Research Institute.
325
UsinG KaGaYasHiKi MUsic care On patients

witH MentaL iLLness
Chiao-Han Chiang
Department of Occupational Therapy, Jianan Psychiatric Center,
Ministry of Health and Welfare, Taiwan
Wen-Yin Lin
Ministry of Health and Welfare
Chung-Ying Lin
Department of Rehabilitation Sciences, The Hong Kong Polytechnic University
Wan-Ju Huang
Ministry of Health and Welfare
abstract fore, this study aimed to examine the effects

of Kagayashiki music care on QoL for the afo-
We examined the effects of Kagayashiki music rementioned population.
care, which originates from Japan, on quality
of life (QoL) for chronic patients with mental Methods
illness. Patients were randomly assigned into
an experimental group (EG, n=29) or a control Using a convenience sampling, we recruited
group (CG, n=29), and we found that EG had patients in a psychiatric center and randomly
better QoL than did CG. assigned them into an experimental group
(EG, n=29) or a control group (CG, n=29). The
Objective EG received eight-week, each week per hour,
music care; the CG received usual care during
Kagayashiki music care, which theory origina- the experimental periods. WHOQOL-BREF
tes from Japan, provides stimuli based on with four domains (physical, psychological,
music characteristics to improve the emotion social, and environment) was used to mea-
of participants. The music care was introdu- sure QoL for both groups at the baseline and
ced and used in Taiwan since 2000, and its ef- eight weeks later.
fect was found in improving quality of life
(QoL), depressive symptoms, and cognitive results
functions for different types of participants.
However, no studies investigate its effect on The psychological (p=0.02) and social QoL
chronic patients with mental illness. There- (p=0.03) of the EG were significantly impro-
326
ved; the environment QoL showed a trend of (2007). The Case Study of Hospice Care with
improvement (p=0.07) after receiving music Kagayashiki Music Care. Taiwan Journal of
care. We additionally controlled age, sex, Hospice Palliative Care, 12(2), 172-186.
onset age, and diagnosis to compare the QoL
between two groups and found that EG had Key words: Kagayashiki Music Care; chronic
trends of having better QoL in psychological mental illness; quality of life.
(p=0.07), social (p=0.05), and environment
(p=0.09) than did the CG. Moreover, we about the authors
found significant interaction effects between
sex and group in psychological (p=0.04) and Ms. chiao-Han chiang, an occupational the-
social (p=0.02) QoL: the QoL improvement rapist in the field of psychosocial dysfunction,
was mainly in female patients. is a member of the society of Taiwan Kagayas-
hiki Music Care for eight years.
conclusions E-mail: OwL3209@yahoo.com.tw
Our results showed that Kagayashiki music Ms. wen-Yin Lin, an occupational therapist in
care could be an effective treatment for cli- the field of psychosocial dysfunction, is a
nicians to help chronic patients with mental member of the society of Taiwan Kagayashiki
illness to improve their QoL, especially for fe- Music Care for three years.
male patients.
Mr. chung-Ying Lin, a PhD of MSc, is a lectu-
references rer in The Hong Kong Polytechnic University.
Shih, Y.-N., & Luo, T.-H. (2008). Applications of Ms. wan-Ju Huang, an occupational therapist
Kagayashiki Music Care in Health Care. in the field of psychosocial dysfunction, is a
Journal of Taiwan Occupational Therapy director of department of Occupational The-
Research and Practice, 4(1), 27-33. rapy, Jianan Psychiatric Center, Ministry of
Kao, K.-S., Lung, C.-H., Lin, W.-Y., & Lee, I.-Y. Health and Welfare.
327
tHe effects Of ceLLO pLaYinG MUsic tHerapY

On tHe seLf-efficacY Of institUtiOnaLiZeD cHiLDren
Ju-eun Choi
Myongji University, Korea
Soyoung Moon
Myongji University
abstract proving the confidence and self-regulated

efficacy through collaborative musical per-
This study determined the effects of cello pla- formance by applying previously created
ying based music therapy on the self-efficacy melodies in former stages and a mini-con-
of children in institutional care. Results com- cert was followed afterward. For the measu-
paring pre- and post-tests showed significant rements, a general self-efficacy index was
improvements in the self-efficacy index. This assessed between pre- and post-sessions.
indicates that a therapeutic cello playing pro- Also, a self-expression behaviors observa-
gram could be effective in improving self-effi- tion scale was used as a secondary measu-
cacy of children in institutional facilities. rement.
Objective results
This study is aimed at examining how cello pla- Overall, all participants displayed significant
ying based music therapy influences the self- increases in self-efficacy index in the post-
efficacy of the children in an institutional care. test, with an improvement rate of 24.46% on
average. Moreover, in the results of the self-
Method expression behaviors observation scale, the
frequency of positive language and emotio-
Three children participated in the study, nal expressions of the participants were im-
aged from 11 to 13 under the care of the ins- proved, implying that participating in the
titutional facility Daegu in Korea. The music program promoted each participant to acti-
therapy session was conducted for 50 minu- vely problem-solving, as well as improve
tes, twice a week, making up total 15 ses- their competency.
sions. The first introductory stage was aimed
at reducing a fear of the new trial through conclusions
exploration. The second developmental sta-
ge consisted of experiencing self-regulated This result suggests that cello playing based
efficacy through music improvisation. In the music therapy program can improve the ins-
third in-depth stage participants achieved a titutionalized children’s self-efficacy, indica-
sense of accomplishment by regulating task ting a cello’s role as a therapeutic medium
difficulty. The final stage was aimed at im- in a music therapy clinical setting.
328
references licy. Development and Psychopathology,

12(4). 677-693.
Alvin, J. (1975). The identity of a music the- Joanne, E., Kathleen, H., & Robert. D. M.,
rapy group: A developmental process. Brenda, M. (2013). New directions for
British Journal of Music Therapy, 6(3). 9- strings teacher's manual. Book 1: The FJH
17. Music Company.
Alvin, J. (1978). Music therapy for the autis- Robb, S. L. (2000). The effect of therapeutic
tic child. London: Oxford University Press. music interventions on the behavior of hos-
Bandura, A. (1986). The explanatory and pitalized children in isolation: Developing a
predictive scope of self-efficacy theory. contextual support model of music therapy.
Journal of Social and Clinical Psychology, Journal of Music Therapy, 37(2). 118-146.
4(3), 359-373. Wigram, T. (2006). Improvisation: Methods
Dannlowski, U.. Kugelc, H., Grotegerda, D., and techniques for music therapy clini-
Redlicha, R., Opela, N., Dohma, K., Za- cians, educators, and students. London:
rembaa, D., Gröglera, A., Schwierena, J., Jessica Kingsley Publishers.
Suslowd, T., Ohrmanna, P., Bauera, J.,
Krugb, A., Kircherb, T., Jansenb, A., Doms- about the authors
chkee, K., Hohoffa, C., Zwitserloodf, P.,
Heinrichsg, M., Arolta, V., Heindelc, W., & Ju-eun choi, M.Mus.th., is a registered music
Baunei, B. (2016). Disadvantage of social therapist practicing in Korea.
sensitivity: Interaction of oxytocin recep- Email: chlwndms109@naver.com
tor genotype and child maltreatment on
brain Structure. Biological Psychiatry, soyoung Moon, Ph.D., NMT, is an assistant
80(5). 398-405. professor, Head of Music Therapy Depart-
Gunnar, M. R., Bruce, J., & Grotevant, H. D. ment, Graduate School of Social Education at
(2000). International adoption of institu- Myongji University in Korea.
tionally reared children: Research and po- Email: symoon@mju.ac.kr
329
MaKinG MUsic BeinG weLL HOnG KOnG (MMBwHK) –

7 Years anD cOUntinG
Jacqueline Chow
Music Therapist, Singapore
Jacqueline Leung
Music Therapist, Hong Kong
abstract munity music therapy among music thera-

pists, and with the lack of manpower, support
Making Music Being Well Hong Kong and funding, the campaign was streamlined
(MMBWHK) was first launched in 2011, ai- to promoting mainly the music therapy pro-
ming to share health-related benefits of fession alongside the benefits of music ma-
group music making and to provide emotio- king in the community in the years that
nal support for the community, in the after- followed.
math of the 2011 Tōhoku tsunami. 2017
marks the seventh year anniversary and we results
hope to evaluate its effectiveness and seek
direction for future planning. In 2012, seven music therapists collaborated
to conduct a one-day workshop, speaking on
introduction Music Therapy in Early Intervention, with
100 participants.
The community music therapy campaign,
MMBWHK, was adapted from MMBW in In 2013, 10 music therapists co-presented a
Australia, however there was no funding for two-day workshop on Music Therapy and
the campaign in Hong Kong. Five passionate ASD and ADHD, and Case Studies in Music
volunteers, with only one music therapist in Therapy, with 130 participants.
the team, spearheaded the now annual
event. That year, we ran a 7-day event, com- In 2014, 18 music therapists visited six public
prising a 24-hour music marathon and 50 hospitals, with nine of them sharing with 215
music-related activities, with 31 supporting medical staff research and case studies of
organizations, reaching out to 1000 people. music therapy in medical settings. A printed
Events included harp and accordion perfor- annotated bibliography was also compiled.
mances, yoga with live music, group singing,
indie band music sharing sessions, school In 2015, 11 music therapists co-presented
talks, and music therapy sessions. on Music Therapy Across the Lifespan in
three full-day workshops, with 185 partici-
Method pants.
Struggling for openness in the idea of com- In 2016, the theme of the project was Music
330
Therapy in Action, and culminated with three delines for intervention. Critical Care
workshops conducted over three days rea- Nurse, 6(3), 183-191.
ching 253 participants. Kokotsaki, D. & Hallam, S. (2007). Higher
education music students’ perception of
The theme for 2017 will be on community the benefits of participative music ma-
music therapy. king. Music Education Research, 9(1), 93-
109.
Discussion Longhi, E. & Pickett, N. (2008). Music and
well-being in long-term hospitalized chil-
Over the course of seven years, MMBWHK dren. Psychology of Music, 36(2), 247-256.
has been running on a voluntary basis wi- Stige, B. (2014). Community music therapy
thout funding. With the number of music and the process of learning about and strug-
therapists collaborating in raising public gling for openness. International Journal
awareness of the music therapy profession, of Community Music, 7(1), 47-55.
and the strong support we have had, we
hope to receive continuous support and gui- about the authors
dance from our fellow colleagues, public and
generous donors. Jacqueline chow is a registered music the-
rapist practising in Singapore, specializing in
MMBWHK, 7 years and counting! special education and early childhood music.
Email: mmbw@live.hk
references
Jacqueline Leung is a registered music the-
Chlan, L.L. & Tracey, M.F. (1999). Music therapist practising in Hong Kong, specializing
rapy in critical care: indications and gui- in special education and aged care.
331
cHinese MOnGOL sHaManic HeaLinG anD MODern

MUsic tHerapY: cOMparisiOns, cOMMOnaLities
anD iMpLicatiOns
Fu Cong
Beijing Institute of Education, Beijing, China
a word about research Background Conservatory of Music and extensive shama-

nic field data (including 15 musical pieces, 30
Modern music therapy, as some experts hours of recorded interviews, 4000 pictures
maintain, originates from shamanism (Winn, and extensive observational notes recording
Crowe, Moreno 1989; Aigenk 1991, Moreno the practices and approaches/viewpoints of
1995). While I worked on my MA and PhD Shamans, their disciples and patients).
programs, I applied techniques of musical
psychodrama by Joseph J. Moreno (1999),
such as musical role reversal, musical dou-
bling, musical mirroring, and music break-in
and break-out techniques and so on, in my cli-
nical work and found them effective, Through
reading related literature, I also discovered
that some musical psychodramatic elements
(such as warm-up, role playing, etc.) owe
their origins to Shamanism, a primitive reli-
gion around the globe.( Moreno J.,1999)
Thus, I conducted a study themed “An Inves-
tigation of the commonality between Shama-
nic Healing and Musical Psychodrama”1.
commonalities and contrasts
My study focuses on the Shamanic healing ri-

tuals in Khorchin of Inner Mongolia and iden-
tifies the commonalities and differences
between modern music therapy and Mongol
Shamanic healing. Data include several cases
of musical psychodramatic groups at China
1. Musical psychodrama is an approach to modern

music therapy that I focused on in my study. So “mo-
dern music therapy”, as described below , mainly refers
to musical psychodrama.
332
Research findings point to some commona- also re-examine and discuss the potential roles
lities between modern music therapy and and values of Shamanic healing wisdom in the
Shamanic healing in terms of therapeutic localized development of music therapy and
roles, process, music and forms of expres- clinical application of musical psychodrama in
sion. One particular finding is the existence China, and suggest that efforts be made to
of an altered state of consciousness (ASC)2 in value, conserve and research the traditional
both shamanic healing and music psycho- healing rituals and cultures.
drama (Guo, 2010), and I categorize ASCs
into “shamanic ASC”, “alternating ASC” and references
“conscious ASC”. Some differences are also
identified, notably the transcendentalist Cao, B. (2010). Ritual soundscape: Theory
focus on spirituality in the Shamanic healing and practice. Shanghai: Shanghai Conser-
and the treatment of the psyche under the vatory of Music Press.
scientific paradigm in music psychodrama. Guo, S. (2010). Living culture of the primi-
This implies that music psychodrama might tive: A study into shamanism. Shanghai:
learn from the explorations of spirituality Shanghai People’s Publishing House.
and the practice-oriented value of the cen- Koen, B. D. (2008). Beyond the roof of the
turies-old Shamanic healing needs to be ex- world: Music, prayer, and healing in the
plored. In addition, I also trace the Shamanic Pamir Mountains. Oxford: Oxford Univer-
“genes” of modern music therapy by drawing sity Press.
on the “Soundscape” theory by Chinese pro- Moreno, J. (1999). Acting your inner music:
fessor Cao Benye (2010); “Collective Uncons- music therapy and psychodrama. NH:
ciousness and Archetypes” by Karl Jung(Tilly, Barcelona Publishers.
1987); and “Soundscape and Musical—Spiri- Tilly, M. (1987). The therapy of music. In W.
tual Entrainment” by Koen (2008). With an McGuire & R. F. C. Hull (Eds.). C. G. Jung
in-depth analysis from the perspectives of speaking (pp. 274, 275). Princeton: Prin-
“music and soundscape”, “music and ar- ceton University Press.
chetype”, “music and consciousness gui- Winn, T., Crowe, B., & Moreno J.J. (1989).
dance”, I also hope to unfold the profound Shamanism and music therapy: Ancient
wisdom, artistic appeals and therapeutic healing techniques in modern practice [J].
charms of ancient Shamanic healing rituals Music Therapy Perspectives 7(1), 67-71.
and their humanistic implications in modern Aigen, K. (1991). The voice of the forest: A
society. conception of music for music therapy[J].
Music Therapy, 10(1), 77-98.
problems and prospects
about the author
This study advances new thoughts and sugges-
tions. For example, as the absence of a view of fu cong is a lecturer in the Department of
musical culture is one of the most important Music at Beijing Institute of Education, and
yet often neglected fields, it is necessary to received her MA and PhD in music therapy
strengthen interdisciplinary cooperation and from China Conservatory of Music.
multicultural development of music therapy. I Email: fullcong@yeah.net
2. Conscious ASC” I allude to here means a psychic state

where in the musical psychodrama, the consciousness
of role playing is often clear but temporarily out of self,
and the different levels of the altered state of cons-
ciousness depends on the degree of self-consciousness.
333
effects Of MUsic ListeninG On eXperiMentaLLY

inDUceD psYcHOpHYsiOLOGicaL stress
Naokuni Ebihara
Professor Emeritus of Toyama University, Japan
Noriko Nakamoto
Komatsu City Office, Ishikawa, Japan
abstract Method
The present study was conducted to reveal Twenty-six participants (13 men and 13
the effects of music listening on experimen- women) were assigned to either a music-
tally induced psychophysiological stress sta- condition or a non-music-condition, and
tes. The matter of concern was the temporal performed the ‘Trier Social Stress Test’ (TSST)
changes of stress levels during and after lis- which increased their stress states (Kirs-
tening to relaxing music. In conclusion, music chbaum, Pirke, & Hellhammer, 1993). The
listening reduced psychological stress levels subjective stress states were measured by
more rapidly than resting quietly after the the psychological tests of J-SACL (Japanese
stress tasks. We also analyzed relationships Stress Arousal Check List) and MMS (Multi-
between psychological and physiological pro- ple Mood Scale). Concentration levels of sa-
cesses of stress reduction. livary cortisol and secretory immunoglo-
bulin A (S-IgA) were measured as indices of
introduction physiological stress states. After performing
stress tasks of TSST, participants in music-
Many people usually listen to music for men- condition listened to two pieces of music,
tal stress reduction and for healing themsel- one of which is defined as peaceful and
ves consciously or unconsciously. A number consoling by Matsuda (1998) and the other
of studies have investigated the effects of is adopted in the experiment involved with
music listening on psychological and physio- stress reduction by Yamashita (2000). Par-
logical stress states (Hirokawa & Ohira, 2003). ticipants in non-music-condition stayed
However, there have been few studies to quiet and rested after stress tasks without
examine precisely the recovery processes listening to music. We carried out J-SACL
from stress states through music listening tests and collected saliva samples four ti-
(Khalfa, Bella, Roy, Peretz, & Lupien, 2003). mes during each experimental session ta-
Therefore, the present study investigated king about fifty minutes. We measured the
detailed temporal course in which psycholo- levels of salivary cortisol and S-IgA by
gical and physiological stresses could be re- means of ELISA (Enzyme-Linked Immuno-
duced by virtue of music. sorbent Assay).
334
results and conclusions students. Journal of Music Therapy,

40(3), 189-211.
The values of psychological stress scale of J- Khalfa, S., Bella, S. D., Roy, M., Peretz, I., &
SACL and the levels of salivary cortisol con- Lupien, S. J. (2003). Effects of relaxing
centration significantly increased after the music on salivary cortisol level after
tasks of TSST. Afterwards, participants in psychological stress. Annals of the New
music-condition showed more rapid reduc- York Academy of Sciences, 999, 374-376.
tion of psychological stress than those in non- Kirschbaum, C., Pirke, K. M., & Hellhammer,
music-condition. On the other hand, the D. H. (1993). The 'Trier Social Stress Test': A
levels of salivary cortisol of participants in tool for investigating psychobiological
music-condition less increased than the cor- stress responses in a laboratory setting.
tisol levels of those in non-music-condition. Neuropsychobiology, 28 (1-2), 76-81.
Although exact temporal correspondence Matsuda, M., Atsumi T., Suzuki, S., Itoh, Y., &
was not observed between psychological and Nagamura, Y. (1998). What kind of music
physiological stress reduction processes, it gives you a “Feeling of peace of mind” or
was concluded that listening to relaxing music a “Feeling of being consoled”? The Jour-
effectively reduced experimentally induced nal of Japanese Biomusic Association,
psychological stress and meanwhile suppres- 16(2), 201-208.
sed increase of physiological stress. Further Yamashita, M. (2000). The effect of music lis-
investigations would be required to analyze tening to stress: An endocrinological
detailed temporal processes of stress reduc- study. Journal of the Musicological So-
tion caused by music listening and to explore ciety of Ja-pan, 45(2), 143-152.
their individual differences.
about the author
references
naokuni ebihara is lecturer of the Open Uni-
Hirokawa, E., & Ohira, H. (2003). The effects versity of Japan and a councilor of Japanese
of music listening after a stressful task on Music Therapy Association.
immune functions, neuroendocrine res- Email: mtpsycho1996@ybb.ne.jp
ponses, and emotional states in college
335
tHe LicensinG sYsteM fOr MUsic tHerapists Of

tHe Japanese MUsic tHerapY assOciatiOn
Hiroko Fujimoto
NPO Musashino Music Therapy (Japan)
Masaki Gunji
Seitoku University (Japan)
The Japanese Music Therapy Association meet the growing social demand for music
(hereafter. The Association) has a system for therapists. Since 2010, the licensing system
educating, training and licensing music the- of the Association has become simplified.
rapists in Japan. This session first gives a The Association grants the license to appli-
brief historical report on the system and cants who pass a paper test, a music perfor-
then invites comments and suggestions of mance test and an interview test with the
the participants. Association. There are three categories of
applicants: graduates of recognized colleges,
The Association is the largest music therapy non-graduates, and those who hold foreign
association in Japan with a membership of music therapy certificates. Applicants of the
approximately 5,500 as of April, 2016. It was last category are exempt from the paper
established in 2001 by succeeding All Japan test. The validity of the license of the Asso-
Music Therapy Union (hereafter, the Union), ciation is five years. Licensees should renew
which consisted of the Bio-music Society their license every five years by meeting the
and the Clinical Music Therapy Association. requirements for the renewal.
The Union had a certification system, which
the Association adopted. The Union establis- Mr. Gunji and I are now planning to upgrade
hed two measures in 1995. One was the cu- the current system of the Association for
rriculum guidelines for a music therapy educating, training and licensing music the-
course. The Union recognized colleges which rapists. Participants’ questions, comments
followed the guidelines. These guidelines and/or suggestions would be highly appre-
are still valid with a revision in 2011. The ciated.
other was to give a MT license to eligible
members of the Union, which Association references
also continued. This program started in 1996
and was valid until March, 2010. This hel- Nihon-Ongakuryouhou Gakkai (2016) Nihon-
ped, for example, those members who had Ongakuryouhougakkai Ongakuryouhous-
a certain academic background, e.g., a ba- hi Ninteikisoku (ippan kosu), (The licen-
chelor’s degree and who were working as sing standard committee, the Japanese
therapists of other genres. The Association Music Therapy Association (2016) The
provided such people with alternative ways rules for qualifying a music therapist of
to apply for the license test. This served to our association－the general course), 1-5.
336
Nihon-Ongakuryouhou Gakkai (2016) Nihon- sident, the Japanese Music Therapy Association.
Ongakuryouhougakkai News No. 3１. President, NPO Musashino Music Therapy (NPO:
(The Japanese Music Therapy Association Non-profit Organization) http://m-mt.org/
(2016) The Japanese Music Therapy As- Email: hfujimoto@jcom.zaq.ne.jp
sociation News No. 31, 2.
Masaki Gunji. rMt(Japan)
about the authors Associate Prof., Seitoku University, Director,
The Japanese Music Therapy Association.
Hiroko fujimoto . M.Ed., RMT(Japan) Vice Pre- Email: Masa92000@apricot.ocn.ne.jp
337
cOMMUnitY MUsic tHerapY pLans Of

tHe Japanese MUsic tHerapY assOciatiOn
－ repOrts On siX cases―
Hiroko Fujimoto, Yasuji Murai, Shizue Fujimoto, Miho Maebashi,
Megumi Misaki, Eriko Ide, Chieko Noda
Japanese Music Therapy Association, Japan
Responding to the policy of the Japanese rapy Group. Discussions by the participants
Government for mitigating the rapidly aging follow.
population problem, the Japanese Music
Therapy Association (hereafter, the Associa- Some of the highlights of the reports are as
tion) formulated the Music Therapy Commu- follows. In Setagaya, the pilot project giving
nity Plan in 2013. This Plan shifts the main therapy to an average of 40 people in 2016
target of aged clients of music therapy from is being reorganized into several small sized
those in nursing homes to those living in projects. In Musashino, therapy recipients
their own residences. This means that music visited a nursing home and a kindergarten
therapy should work for promoting men- to give a concert based on the music the-
tal/physical health of elderly individuals by rapy they received. It was observed that
having them enjoy music together with not only those listening to the music but
others in the same community. The Associa- those making it were empowered. In Ka-
tion started a two-year pilot project in Seta- gawa, a series of music therapy sessions
gaya Ward in Tokyo in July 2015. In parallel, sponsored by the Kagawa prefecture has
other programs are also going on by the been provided. Kagawa is now planning to
members of the Association. In this session, provide secluded elderly people with music
after the explanation of explaining the Plan, therapy.
the following six programs are reported and
discussed: the pilot project of the Associa- references
tion in Setagaya for elderly people, the Mat-
sudo project for elderly people on the Murai, Y. (2013). Fukurijicho Aisatau. Japa-
request of the Seitoku University, the Mu- nese Music Therapy Association News,
sashino project for elderly people and in- 25(1).
fants by the initiative of the NPO (non-profit Stige, B., Ansdell, G., Elefant, C. & Pavlicevic,
organization) Musashino Music Therapy, the M. (2010), Where music helps: Commu-
Kagawa project for elderly people on the re- nity music therapy in action and reflec-
quest of the prefectural government, the Ka- tion. Abingdon, UK: Routledge.
nagawa project for infants on the request of
the Sagami Women’s University, and the Ki- about the authors
nuta project for people of various ages by
the initiative of the NPO Kinuta Music The- Hiroko fujimoto, M.Ed., RMT, Chairperson
338
of the Board of Directors, the NPO (non- Miho Maebashi, RMT, Director, NPO Musas-
profit organization) Musashino Music The- hino Music Therapy.
rapy.
Email: hfujimoto@jcom.zaq.ne.jp chieko noda, RMT, President, Kinuta Music
Therapy, NPO.
Yasuji Murai, MD. Professor, Seitoku Univer-
sity. eriko ide, RMT, Lecturer, Sagami Women’s
University.
shizue fujimoto, RMT, Chairperson, Music
Therapy Setagaya Club. All of the authors are members of the Japa-
nese Music Association, of which Dr. Yasuji
Megumi Misaki, RMT, President, Kagawa Murai and Ms. Hiroko Fujimoto are Presi-
Music Therapy Study Group. dent and Vice President, respectively.
339
tHe MeetinG Of MUsic tHerapY

anD Japanese BODY art, KirYUHO
Shizue Fujimoto
Sagami Mental Care Center, Kanagawa, Japan
Kyoko Sato
Main Instructor of Kiryuho Institute
Introducing an original blend of voicing and body”, he has accordingly organized a practi-
movement exercises developed by incorpo- cal system of psychosomatic techniques. Star-
rating teachings of Kiryuho, a contemporary ting with workshops in Paris in the 1980’s for
Japanese body art exploring grammar of the the International Centre for Theatre Research
body and anchored in Eastern traditions. of Mr. Peter Brook, Kiryuho has attracted in-
ternational attention in such fields as theater
Our exercises have helped participants ex- arts and contemporary dance in many coun-
perience more natural speaking through a tries over the last 30 years.
more relaxed state of mind-body to focus on
themselves. In actual music therapy sessions, applying
Kiryuho has helped people nurture a more
We will introduce some original exercises natural state of mind and body to focus on
which relate voicing closely with the body themselves, while resulting in more natural
through movement, words and series of mo- speaking and vocalizations and a more rela-
vements (Resonant Circles, etc.). These tech- xed playing of instruments. Kiryuho can also
niques have been developed in real-life be used as a beneficial training tool for
music therapy situations by utilising specific music therapists themselves as a way of cul-
Kiryuho principles and exercises. tivating deeper personal sensitivity, percep-
tion and awareness:
Kiryuho was founded by Mr. Kajo Tsuboi, who
majored in psychology and has practiced Ai- 1. Cultivating consciousness of the body ac-
kido and various traditional martial arts: KI cording to the “3R” principles of Relaxa-
means life force, RYU means flow, and HO is tion, Relations, and Realization.
the way or law of. By carefully studying the 2. Becoming aware of key points in your
psychosomatic conditions of contemporary body for relaxation and focusing.
people in light of Oriental philosophies of life 3. Dance-like spiral movements to help KI
and outlooks on the body, he has discovered (energy) circulation.
a law-like nature of the body common to 4. Exercises for directly experiencing corre-
wide-ranging artistic expressions, craftsmans- lation between your imagination and
hip, martial arts, sports, health methods and body.
meditation, etc. Referring to such common, 5. Nurturing deeper awareness of your pos-
underlying factors as the “grammar of the tures and breathing.
340
“Matsu no koto wa matsu ni narae / If you Sagami Mental Care Center.

want to know about a pine tree, go to see Email: fu.shizue@gmail.com
and learn from a pine tree”; it’s the wisdom
of Basho’s Haiku poem. We learn about the Kyoko sato, Kiryuho Instructor, Lecturer of
body through the body. In other words, it’s psychology at Sagami Women’s University,
the practice of inquiring inwardly and liste- Kanagawa, Japan.
ning for answers directly from the body.
http://www.kiryuho.com https://www.face-
references book.com/kiryuho/
http://d.hatena.ne.jp/tsuboikajo+2/)
Fujimoto, S. (2003). Hibiki to Shintai (Reso-
nance and Body). The Vibrant Music The-
rapy Workshop, 2-3, 94-96, Tokyo; Aozora
ongakusya.
Tsuboi, Kajo. Ki no Shintaijutsu (1994) (Body
work with the Ki energy, life force) Tokyo;
Kosakusha Shintai wo Jikkan suru <3R>
(2016）
(Connecting deeply with our bodies with
<3R’s> exercise). Tokyo; Kiryuho no kai
about the authors
shizue fujimoto, RMT (JAPAN), and a mem-

ber of the Council of JMTA, works at
341
patient’s UncOnsciOUsness LeVeL iMprOVeD BY care

anD MUsic prOViDeD BY His faMiLY
Etsuo Fujita
Department of Respiratory Medicine, Hashimoto Municipal Hospital,
Wakayama, Japan.
Koji Kakishita; Keita Terui; Yoshihito Owai

Department of Neurosurgery, Hashimoto Municipal Hospital, Wakayama, Japan.
Fuminori Ohta; Megumi Kiyoi

Department of Breast Thoracic Surgery, Hashimoto Municipal Hospital,
Wakayama, Japan.
Maiko Hattori
Department of Dermatology, Hashimoto Municipal Hospital, Wakayama, Japan.
Tomoki Iguchi; Mito Hayashi

Department of Orthopedics, Hashimoto Municipal Hospital, Wakayama, Japan.
Hironobu Hoshiya
Department of Cardiology, Hashimoto Municipal Hospital, Wakayama, Japan.
Kensaku Shojima
Department of Internal Medicine, Hashimoto Municipal Hospital, Wakayama, Japan.
Kenichi Furukawa
Department of Gynecology, Hashimoto Municipal Hospital, Wakayama, Japan.
Kousuke Shimada,
Department of Surgery, Hashimoto Municipal Hospital, Wakayama, Japan.
Yuya Nakanishi
Department of Respiratory Medicine & Allergology,
Kinki University School of Medicine, Nara Hospital, Nara, Japan.
Yusaku Nishikawa; Yuji Tohda

Department of Respiratory Medicine & Allergology,
Kinki University School of Medicine, Osaka, Japan.
Katsuhiro Yamamoto
Department of Cardiology, Hashimoto Municipal Hospital, Wakayama, Japan
342
abstract improvement and evaluated changes in his

consciousness level due to music. EEG data
An 87-year-old man with femoral fracture, was examined by neurosurgeons who deter-
pneumonia, cerebral infarction and respira- mined that there was some significant diffe-
tory failure improved his health through the rence between results obtained before and
help provided by his family, which included after listening to music. Thus, we believe that
music played on a radio they brought and the patient’s improvement in consciousness
other co-medical care. level in the present case was due primarily to
the care provided by his family, which may
Description have increased his sensitivity to music.
An 87-year-old man was admitted to our fa- references

cility with femoral fracture and pneumonia, Särkämö, T., Tervaniemi, M., Laitinen, S., Fors-
and tracheostomy was performed for respi- blom, A., Soinila, S., Mikkonen, M., Autti,
ratory failure. The patient was managed with T., Silvennoinen, H.M., Erkkilä, J., Laine, M.,
a portable artificial ventilator. In addition, he Peretz, I., & Hietanen. M. (2008). Music lis-
also had brain infarction and declining cons- tening enhances cognitive recovery and
ciousness level. His daughter brought a radio mood after middle cerebral artery stroke.
to play music for him, and we found that his Brain, 131(3), 866-876.
consciousness level improved when she came
and took care of him. We used electroence- about the authors
phalography (EEG) and Japanese songs pla-
yed on a CD player to assess the patient’s Email: efujita@hashimoto-hsp.jp
343
tO iMprOVe attentiVeness Of eLeMentarY scHOOL

pUpiLs at risK
Miho Fushimi
Welfare Facility “Kibouno-ie”, Japan
Natsumi Ohura1, Maiko Yamada1,

Naomi Takehara2, Kakuko Matsumoto2, Tsutomu Masuko2
1
Welfare Facility “Kibouno-ie”, Japan
2
abstract After 60 mins tutoring once a week, 20 mins

group music therapy session had been offered.
This study was to verify effectiveness of
music therapy as a part of tutoring program We examined the children behavior for 6
for children at risk to benefit endurance of months (24 sessions) from May 29, 201X.
attentiveness. The picture analysis was used
to evaluate transition of behavior. Introduc- In order to evaluate children’s attentiveness,
tion of new tasks triggered better out-come 24 sessions were divided into three stages.
in concentration. Structure of each stage is as follows:
introduction 1. S. 1~S.16 Learning the basic rhythm pattern.

2. S.17~S.20 Putt accents on beats.
To improve attentiveness of children at risk, 3. S. 21-S 24 Subjects imitate the rhythm
the welfare Facility Kibouno-ie offered home pattern presented by the therapist.
-work tutoring and music therapy rhythm
session once-a-week. Prior research indica- Therapist changes the position of accented
ted that music therapy session for adults be- beats and tempo to faster tempo.
nefits increasing attentiveness and enduring
concentration (Thaut 1980). We analyzed images by ERAN 4.9.2 targeting
a child whose behavior show difficulty in fo-
Hypothetically, the rhythm session will help cusing attention and concentrating in his
stimulating children to be attentive and be tasks. Segmented images are analyzed by
concentrating in home-work study. ERAN 4.9.2. Analysis was focused on Fre-
quency and duration of the subject’s desig-
Method nated behavior.
The subjects of this study are about 20 ele- results

mentary pupils from the public school in A
city. They are 1st to 3rd graders. Two points are extracted:
344
1. Transition of stray behavior. Lessened stray new tasks and gradual development to the
behavior at S.21~S.24 significantly. complex rhythm pattern.
2. Inquiring activities: Inquiring behavior ap-
peared only when the new task was intro- references
duced. Analysis indicated diminishing the
stray behaviors at the third session period. 1. Ho, P., Tsao, J., Bloch, L. &. Zeltzer , L. (2011).
Endurance of concentration became lon- The Impact of group drumming on social-
ger significantly. emotional behavior in low-income chil-
dren. Evidence-Based Complementary
Discussion and consideration and Alternative Medicine, 2011, 14.
2. Kim, J. (2015). Music therapy with chil-
Abovementioned musical integration stimula- dren who have been exposed to ongoing
ted children and made the stray behavior di- child abuse and poverty: A pilot study.
minished. Addition to the accented beats, Nordic Journal of Music Therapy, 24(1),
changing the tempo made children’s tasks 27-43.
more difficult. As the child tasks become more 3. Smith, R., Rathcke, T., Cummins, F., Overy,
difficult, his intrinsic motivation to accomplish K., & Scott, S. (2014). Communicative
the tasks his intrinsic motivation to solve the rhythms in brain and behaviour. Phil.
task becomes higher. Higher motivation made Trans. R. Soc. B, 369(1658), 20130389.
him more attentive and concentrates.
about the authors
This pilot study found significant improve-
ment of subject attentiveness, decrease of Miho fushimi, RMT(Japan), Kibouno-ie.
social-emotional stray behavior through the Email: mihofu39@gmail.com
345
a triaL Of MUsic tHerapY in OUr paLLiatiVe warD

Yoshiro Goto
Sapporo Kiyota Hospital, Japan
Hisako Nakayama, Tamaki Ogami, Hiroe Kudo, Takuji Nishisato,

Akihiko Watanabe, Kazuhiko Koike
Palliative Care Unit (PCU), Sapporo Kiyota Hospital, Japan
abstract the Viewing the full Moon in September.

Bon (Hosting the Spirits of our Ancestors)
It is difficult to relieve or reduce spiritual dance in August or local dance festival in
pains among end-of-life cancer clients. In June raised their spirits when with dancing
our palliative care ward, music sessions or rhythm. By sharing precious and comforta-
activities including Karaoke singing and mini- ble time with other clients, they fostered en-
concerts were introduced weekly for two couragement to face their own spiritual
and half years to achieve this aim. Music struggles. Some clients expressed directly by
therapy may strongly facilitate expressing their own words or some of them chose a
their soul pains indirectly and restoring song in which lyrics demonstrated their sin-
psychological comfort before passing (Naka- cere feelings.
yama, 2007).
Usually five to ten persons participated in
results & Discussion one group session. Some were in beds or on
wheelchairs. MTs carefully prepared the most
In order to relieve mental and psychological appropriate songs corresponding to each
strains of end-of-life cancer clients, biweekly client’s taste. Programs were consisted of
tea parties were initially held in our palliative nursery rhymes and old popular songs, which
care ward (20 beds in total), which started in were most preferred by aged patients, be-
2009 and additional musical sessions perfor- cause those songs easily reminded them of
med by a registered music therapist (MT) for good old days. Therapists’ voices along with
one and half years since 2014. The tea par- tunes on a piano or a keyboard invited
ties were open for mini-concerts by staff clients to the music world soothingly.
members playing instruments such as piano,
cello, or Shakuhachi, a traditional Japanese One group session, 45 to 50 minutes, pro-
bamboo flute. Participants sometimes enjo- gressed in a more attractive and stimulating
yed Karaoke music, and sang nursery rhymes, manner when percussion instruments were
folk songs, pop music numbers, or Japanese in the clients’ hands. At the end of music
traditional songs together. Music related ac- sessions, relaxation or healing sensation
tivities were based on traditional or seasonal were acknowledged in not only cancer pa-
events such as New Year’s Day, the Doll Fes- tients, but also caregivers and even other
tival in March, the Star Festival in July and health professions in the ward. The MT
346
might have the opportunity to visit clients at references

their bedside to deliver a music package at
their request. Hillard, R. E. (2012). Music therapy in hos-
pice and palliative care. Evidence- based
Therefore, our clients had a chance to listen complementary and alternative Medi-
to authentic music therapy as well as to cine, 2(2), 173-178.
enjoy Karaoke of their own taste for eleva- Nakayama H. (2007). Hospice care and mu-
ting their mood as if those in disease-free sic. Tokyo: Shun-ju-sha Press.
physical and mental conditions. Participants O’Callaghan, C., & McDernott, F. (2004). Music
expressed good feedback after the sessions, therapy’s relevance in cancer hospital rese-
such as “had an enjoyable time, almost for- arched through a constructivist lens. Jour-
got the ill feeling and pain”. Promotion of nal of Music Therapy 41(2), 151-185.
conversation and reminiscence of memorial O’Callaghan, McDernott, F, Reid P., Michael
experiences were noted. Life revues were N., Hudson P., Zalcberg J., & Edwards J.
often seen among those with spiritual pains. (2016). Music’s Relevance for People Affec-
A number of families thanked the MTs for ted by Cancer: A Meta-Ethnography and
heartwarming music gifts received even a Implications for Music Therapy. Journal of
few days prior to the departure. Some par- Music Therapy 53(4), 398-439.
ticipants had good sleep, stable vital signs or
no episode of psychophysical unfavorable about the authors
reactions, even in clients with dementia.
Goto: a doctor in rehabilitation medicine and
conclusion a leader of music activities.
Music therapy and music related activities nakayama and Ogami are enthusiastic music
were significant complementary therapies therapists. Other staff members are coope-
for an End-of-Life client with profound spiri- rative doctors and a head nurse in the pallia-
tual sufferings hospitalized in the palliative tive care unit.
care ward. Email: ygm99@gmail.com
347
tHe effects Of tHerapeUtic VOcaL traininG On tHe VOcaL

QUaLitY anD DepressiOn Of cHrOnic strOKe patients
Go-eun Heo
Esia Care Hospital, Korea
Soyoung Moon
Myongji University
abstract interventions. The variables of: maximum

phonation time, fundamental frequency, vocal
This study examined the effects of therapeu- intensity, frequency perturbation, amplitude
tic vocal training on chronic stroke patient- perturbation, and noise-to-harmonic ratio
s’vocal quality and depression using Praat were analyzed with the measurement. Also,
analysis and Geriatric Depression Scale- the participants’ depression levels were as-
Korea. Results comparing pre- and post-tests sessed pre- and post-sessions using Geriatric
showed significant improvements in vocal Depression Scale-Korea test.
quality and depression levels. This indicates
therapeutic vocal training maybe effective in results
rehabilitating vocal quality and depression
of stroke patients. The results of vocal quality comparison in the
treatment group showed statistically signifi-
Objective cant improvements in maximum phonation
time, amplitude perturbation and noise-to-
The purpose of this study was to examine harmonic ratio. The variables of fundamental
the effects of therapeutic vocal training on frequency, vocal intensity, and frequency per-
chronic stroke patients' vocal quality and de- turbation were improved but not statistically
pression. significant in the treatment group. However,
there was no significant difference in all sub-
Method components of vocal quality in the control
group. Second, the depression index in the
Twenty participants were assigned to either treatment group displayed decreases in ave-
a music therapy group (n=10) or a control rage whereas there was a slight increase in
group (n=10) using convenience sampling. the degree of depression in the control
Half-hour individual music therapy sessions group.
comprising respiration exercises, vocal trai-
ning and therapeutic singing were conducted conclusions
two days per week for five weeks, consisting
of ten sessions in total. Using the Praat pro- Thus, we can conclude based on this study
gram, the participants’ vocal quality was me- that the therapeutic vocal training promoted
asured before and immediately after the improvement of vocal quality and decrease
348
of depression for chronic stroke patients. lowitz, D. J. (2014). The effect of singing
This indicates that therapeutic vocal training training on voice quality for people with
may be an effective intervention in rehabili- quadriplegia. Journal of Voice, 28(1), 128.
tating vocal quality and depression of chro- e19-128. e26.
nic stroke patients. Tamplin, J., Baker, F. A., Jones, B., Way, A., &
Lee, S. (2013). ‘Stroke a Chord’: The ef-
references fect of singing in a community choir on
mood and social engagement for people
Di Benedetto, P., Cavazzon, M., Mondolo, F., living with aphasia following a stroke.
Rugiu, G., Peratoner, A., & Biasutti, E. NeuroRehabilitation, 32(4), 929-941.
(2009). Voice and choral singing treat- Thaut, M. H. (2005). Rhythm, Music, and the
ment: A new approach for speech and Brain: Scientific Foundations and Clinical
voice disorders in Parkinson’s disease. Applications. New York: Routledge.
European Journal of Physical and Rehabi- Thaut, M. H., & Hoemberg, V. (Eds.). (2014).
litation Medicine, 45(1), 13-19. Handbook of Neurologic Music Therapy.
Baker, F., & Uhlig, S. (2011). Voicework in Oxford University Press.
Music Therapy: Research and Practice.
London: Jessica Kingsley Publishers. about the authors
Haneishi, E. (2001). Effects of a music the-
rapy voice protocol on speech intelligibi- Go-eun Heo, M.Mus.th., is a registered music
lity, vocal acoustic measures, and mood therapist practicing in Esia Care Hospital in
of individuals with Parkinson's disease. Korea.
Journal of Music Therapy, 38(4), 273-290. Email: ysjeye@naver.com
Kenny, D. T., & Faunce, G. (2004). The impact
of group singing on mood, coping, and soyoung Moon, Ph.D., NMT, is an assistant
perceived pain in chronic pain patients professor, Head of Music Therapy Depart-
attending a multidisciplinary pain clinic. ment, Graduate School of Social Education
Journal of Music Therapy. 41(3). 241-538. at Myongji University in Korea.
Tamplin, J., Baker, F. A., Buttifant, M., & Ber- Email: symoon@mju.ac.kr
349
eLeMents tO seLect MUsic tHerapY

fOr psYcHiatric patients
Haruko Hisamatsu
Tokyo Women’s Medical University, Japan
Sayaka Kobayashi
Hidehiro Oshibuchi
Katsuji Nishimura
abstract therapy to psychiatric patients. Thus, the

purpose of this study was to survey if the re-
We administered description-and selection- cognition and preference of music therapy
type questionnaires to medical staff wor- is different between various medical staff.
king in psychiatric hospital in order to sur- We administered questionnaires to medical
vey their preference regarding music the- staff regarding their recognition and prefe-
rapy. Subjects were psychiatrists, nurses, rence of the music therapy. Staff exhibited
psychologists, occupational therapists, and different attitudes toward music therapy, al-
pharmacists. Each job category exhibited though their own criteria for indication of
different attitudes toward music therapy music therapy were similar. These findings
suggesting that the proper recognition of suggest that leading medical staff’s recogni-
music therapy is important for medical staff tion of music therapy appropriately expand
to apply the music therapy psychiatric pa- opportunities for psychiatric patients to par-
tients appropriately. ticipate in the music therapy. Additional stu-
dies of analysis of the correlation between
Description the medical staff’s recognition and the effi-
cacy of the music therapy with a larger num-
We are interested in the effective applica- ber of subjects are warranted.
tion of music therapy for patients with
psychiatric disease. The reasons for patients analysis method
to participate in music therapy are various,
and many patients choose music therapy We used Fisher's exact test for the analysis
based on medical doctors’ and other medi- of the selection-style questionnaires. We
cal staff’s suggestions, although there are no used the content analysis of Berelson, B. for
established criteria for indication of music the analysis of the description.
350
results music therapy for schizophrenic patients

a randomized study. Acta Psychiatr Scand.,
Thirty four of 60 medical staff (56.6%) re- 116(5), 362-70.
plied to the questionnaire. 40% of medical Hayashi N, Tanabe Y, Nakagawa S, Noguchi
doctors and 73% of the other medical staff M, Iwata C, Koubuchi Y, Watanabe M,
replied to the questionnaire. Significant dif- Okui M, Takagi K, Sugita K, Horiuchi K, Sa-
ferences were shown in some questionnai- saki A, & Koike I. (2002). Effects of group
res between medical doctors and the other musical therapy on inpatients with chro-
medical staff. nic psychoses: a controlled study. Psy-
chiatry Clin Neurosci. 56(2), 187-93.
references
about the authors
Gold C., Solli H.P, Krüger V, & Lie S.A. (2009).
Dose-response relationship in music the- I am working with patient psychosis as a
rapy for people with serious mental di- music therapist. I am also a part-time lectu-
sorders: systematic review and meta- rer of Tokyo woman medical University and
analysis. Clin Psychol Rev. 29(3), 193-207. Tokyo Musashino hospital.
Ulrich G., Houtmans T., & Gold C.(2007). The Email: uk-opera2008@ksh.biglobe.ne.jp
additional therapeutic effect of group
351
appLicatiOn Of MUsic tHerapY tO seVereLY DisaBLeD

peOpLe BY participatOrY interVentiOn On GUitar
Tomoko Homma
Social Welfare Corporation Osaka-Fu Shougaisha-Fukushi-Jigyoudan, Japan
abstract lity. It consists of two parts: (A) the use of an

irregular guitar tuning we call “ITG” and the
It is not easy for severely intellectually disa- use of a new specialized pick, as well as (B)
bled people to play musical instruments pri- the enhanced participation of a music the-
marily due to physical and intellectual cons- rapist.
traints. However, they often have a strong mo-
tivation and desire for self-expression through Most guitars are tuned to "EADGBE" from
music. I believed they could enjoy musical their lower-scale but ITG is tuned to
self-expression if we provided a new, suppor- "DGDGGD". The ITG tuning, which produces
tive methodology for them. harmonic sound even if a string is open. The
guitar is one instrument in which the player
In this report, we propose a methodology of feels the sound vibration of the strings and
participatory intervention to make it easier it seemed that mixing the sound and the vi-
and possible for them to do so. We also dis- bration creates a special sensation in the
cuss our observations when deploying this player. In addition, I invented a special pick
methodology and other issues from a parti- ("SHAMOJI-pick") which reduces physical li-
cipant viewpoint. mitations related to hand dexterity so as to
produce sound easily.
Description
I also added certain participatory interven-
Since childhood, one client (”CL”a male in his tions by a music therapist to facilitate the es-
50s) has been observed and heard singing tablishment of a musical context. For exam-
the hook lines of rhythmic music which he ple, CL may be able to produce guitar sounds
enjoys. CL also has a severe intellectual di- but he may also need to change pitch. The
sability and has been diagnosed with an Au- basic idea is to have CL and a music therapist
tistic Spectrum Disorder (ASD). In promoting play alongside each other. The music thera-
his music ability, there have been difficulties pist can facilitate a change in pitch and
related to (1) communication with a music model examples of singing (singing to CL's
therapist using a linguistic approach and (2) own accompaniment).
concentration when playing an instrument
(or when singing) due to hyperactivity. Music therapy sessions for CL began in May
2014, and by the end of May 2016 he had
Therefore we have devised a new suppor- had a total of 86 sessions. In the beginning,
ting methodology using a guitar which the music therapist focused on CL’s vocaliza-
allows CL to express his intrinsic musical abi- tions together with the production of guitar
352
sounds and vibrations. CL had expressed a important about himself. However, there will
desire to play the guitar in concert, and eight be some concerns about co-dependency bet-
months after his first session he played gra- ween CL and the music therapist. In future I
cefully (with the music therapist’s participa- would like to encourage CL to play the guitar
tory intervention) in front of an audience of and express himself independently.
approximately 100 people.
references
During CL’s initial sessions, he had difficulties
with maintaining concentration and often Yoshida, Y. (2011) Kai-hou-gen de dekiru
left the music room. By the 3d session, when Gitaa serapi (Guitar therapy /Let's start
the music therapist played and sang a song from DGDGGD Tuning). Aozora publica-
which CL liked, CL showed an interest in pla- tion, ISBN-13: 978-4904437070.
ying the guitar using the Shamoji-Pick. After Homma, T. (2009). Gita no hikigatari ha kak-
that day, CL never left the music room during koii. Kanntan gita no ni-nin-san-kyaku-
sessions. By the 10th session, CL's concentra- sou kara umareta utai kanaderu iyoku
tion and ability were dramatically improving. (Singing to my own accompaniment is
He could play two songs on guitar, conti- COOL! /Bringing out motivation for guitar
nuously (about 5minuts). By the 22nd ses- performing by partnership (playing side
sion, and with the day of the concert drawing by side). The Bulletin of the Social Wel-
near, I, as the music therapist, was amazed at fare Corpo-ration Osaka-Fu Shougaisha-
the improvement of CL's concentration when Fukushi-Jigyoudan, 20, 1-8.
he kept playing guitar for about 15 minutes. Nishimura, Y. (2001) Katari-kakeru Karada
He started to sing to his own accompaniment (Implicit body expression in coma/Phe-
using a soft voice (under the facilitation of the nom-enology on nursing). Yurumi publi-
music therapist). His voice seemed to exhibit cation, ISBN-13: 978-4946509254.
the joy of expression which is an authentic
desire of all humans. Sessions have brought about the author
about psychological stability in CL's life as re-
ported during an interview with CL's parents tomoko Homma is a music therapist, social
in June 2016. The music therapist has tried to worker, coach (Organization Development),
support CL in expressing something vital and Email: tokosan111@zeus.eonet.ne.jp
353
easinG MentaL traUMa witH MUsic tHerapY

Sanae Hori
Kobe College; President, Ashiya Music Therapy Institute, Japan
introduction thing else. But gradually, my friends and I,

who were all musicians, realized that we still
The Great Hanshin-Awaji Earthquake occu- had music. And music was the only thing we
rred on January 17, 1995. It caused devasta- could engage in under the circumstances.
tion on an unprecedented scale, and forever Even though supply of water and gas had
changed the perception of disasters in not yet been restored, we got together and
Japan. As a musician living in the local area, began making preparations to resume the
I was personally affected by the earthquake, Visiting Program in early February.
an experience that prompted me to pursue
a career in music therapy. In my presenta- Developments from the Great east Japan
tion, I would like to describe the effect the earthquake, and care provided to patients
disaster had on me, my encounters with pa- and families
tients who were facing death, and some of
the things I keep in mind while working in On March 11, 2011, a major earthquake
palliative care units. struck northeastern Japan, killing around
16,000 people. Thousands more are still mis-
My experiences of sing. Unlike the Great Hanshin-Awaji Earth-
the Great Hanshin-awaji earthquake quake, the Great East Japan Earthquake was
a combination of natural and man-made di-
I began holding Visiting Concerts and con- sasters, causing immeasurable suffering to
ducting music therapy activities in a small the people of Japan. As I continued to work
way in 1992. Even today, when I think about closely, through music, with people who had
the day the earthquake struck, I am over- been mentally damaged and traumatized by
whelmed by a mass of vivid memories that natural disasters such as earthquakes and
make me shudder with fear. As one of the typhoons, and by accidents and incidents, I
victims, however, I believe that I was even- became aware of the importance of not only
tually able to make a recovery from the di- providing care to the disaster victims, but
saster, both physically and mentally, by in- also of expanding such care to the victims’
teracting with other disaster victims through families and the bereaved. This was also
music. what I felt in providing music therapy to pe-
ople who were living with illnesses and disa-
After the earthquake, we knew we could no bilities. These people lived with a fear of
longer take ordinary life and security for illness, such as of seizures and symptoms;
granted. Survival became our top priority. their feelings were damaged because of ha-
We had to somehow live our lives in de- ving fallen ill; they also felt sorry for their fa-
fiance of the awful reality that we faced. We milies for having caused them trouble and
had no time or energy left to think of any- pain. On the other hand, I also learned that
354
their families felt exactly the same way as need to think about what sort of circumstan-
the patients themselves. ces they are in, care for them, and quietly be
there, by their side. It is also important to
Music therapy as hospice care guess what the clients are feeling by putting
ourselves in their shoes. The type of support
Thanks to Dr. Masako Sekimoto, who foun- we provide must recognize what makes a
ded the Palliative Care Unit at Rokko Hospi- person who he or she is, and protect and
tal and is currently a home-hospice care treasure his or her dignity at all times. I want
physician, I was given the opportunity, be- to make music therapy a moment in which
ginning in 1994, to offer music therapy at a a client can feel relaxed and enjoy peace of
palliative care ward in a hospice. espite li- mind. The time we spend together with a
ving in fear, distress and sorrow, each of the client is an irreplaceable moment that oc-
patients was steadfastly confronting his or curs just once. I sincerely hope to share that
her own death, and was trying to make the physical space and spend that time as best
best of each and every moment. The pa- as I can, so that we can live such moments
tients were thinking about their families and together.
friends, and wishing the best for them. Be-
cause my encounter with most of these pa- reference
tients was often the last one I would have, I
tried to carry out my activities with all my Hori, S. (2011). Mental care to people who
heart and to make every moment count. have lost their loved ones. Ontomo Mook,
the Music Therapy, 19, p.22. Tokyo: On-
conclusion gaku no Tomo Sha Corporation.
When we as music therapists encounter about the author

clients who are enveloped in sorrow, we
must keep in mind that they are human A music therapist certified by the Japanese
beings, first and foremost, before they are Music Therapy Association and Lecturer at
labeled as a disaster victim, a patient, a fa- Kobe College.
mily member, or a bereaved individual. We Email: ashiya-mt.hori@dream.ocn.ne.jp
355
researcH, DeVeLOpMent, anD appLicatiOn

Of LaMBDOMa spectrUM On 24 sOLar terMs
Ju-Kuang Hsieh
Chairman of Chung Hua Music Therapy Institute, Taiwan
introduction fundamental principles for the

twenty-four solar terms and Lambdoma
The medical view of the twenty-four solar interstellar spectral Music treatment
terms, is the essence of Chinese ancient wis-
dom, the pioneer in preventive medicine, Huang Di Nei Jing says that defensive qi
and the necessary knowledge for every he- spends one day and one night converging at
althcare practitioner. fengfu meridian point; it goes down one sec-
tion a day on the next day; that is, it goesdown
According to the earliest Chinese medical book one section a day out of fengfu meridian
Huang Di Nei Jing: The energy of each organ in point. It reaches down to the Sacrum on the
the human body is all under the control of a 25th day. It goes into the spinal cord on the
specific part of the spine. It corresponds to the 26th day, and then injects into the hidden tho-
twenty-four solar terms in the nature in which roughfare vessel (Hsieh, 2008, p. 49). Whene-
energy is massively lost during the transition ver encountering transitions of the solar
of the solar terms, causing decreased immune terms, energy of the human organs would
function of the body (Hsieh, 2008, p. 44). converge in accordance with the correspon-
ding astrological aspects of the sun, moon,
Applying Lambdoma Spectral Music and Mi- and stars. The energy change generated cau-
crocosmic Music, in compliance with the co- ses discomfort of the body, to certain extent
rresponding positions of the spine in the even leads to diseases. Thus, based on the co-
round solar terms to give energy supple- rresponding solar terms, it is suggested to give
ment to the spine would have a multiplier energy supplement to organs and spines.
effect for boosting the immune system.
Employment of the twenty-four solar terms
in accordance with music treatment ocurs
relevantly fast and with significant effective-
ness, since it functions through the resonance
effect and neurotransmission.
cross-reference application of the

twenty-four solar systems and
Microcosmic Music
On 2/4, beginning of spring, the solar term

Figure 1. Chinese calendar. energy acts on the 12th thoracic vertebrae,
356
which corresponds to the gastrointestinal and kidneys. The Earth, Sun, Moon compila-
system and the stomach. The Earth, Sun, tion album, and Venus spectral music are
Moon compilation album, and Mars spectral suggested.
music are suggested.
On 11/7, beginning of winter, the solar term
On 3/21, the vernal equinox, the solar term energy acts on the 11th thoracic vertebra,
energy acts on the 6th thoracic vertebrae, which corresponds to the respiratory system
which corresponds to the respiratory system and the throat. The Earth, Sun, Moon com-
and the lung. The Earth, Sun, Moon compi- pilation album, and Venus spectral music are
lation album, and Venus spectral music are suggested.
suggested.
On 12/22, the winter solstice, the solar term
On 5/5, beginning of summer, the solar term energy acts on the 5th lumba vertebra,
energy acts on the 7th cervical vertebra, which corresponds to the gastrointestinal
which corresponds to the digestive system system and the small intestines. The Earth,
and the liver. The Earth, Sun, Moon compi- Sun, Moon compilation album, and Saturn
lation album, and Jupiter spectral music are spectral music are suggested.
suggested.
references
On 6/25, the summer solstice, the solar
term energy acts on the 1st cervical verte- Hero, B. (2012). Lambdoma Music Spectrum
bra, which corresponds to the nervous Therapy. Taipei, Taiwan: Shunda Publica-
system and the brain. The Earth, Sun, Moon tions Ltd.
compilation album, and Mars spectral music Hsieh, J.K. (2005). Oriental Music Therapy.
are suggested. Taipei, Taiwan: Literature Hoke Art.
Hsieh, J.K. (2008). Mind Resonance Music.
On 8/7, beginning of autumn, the solar term Taipei, Taiwan: Jiu-You-Da Publications
energy acts on the 6th thoracic vertebra, Ltd.
which corresponds to the digestive system
and pancreas. The Earth, Sun, Moon compi- about the author
lation album, and Mars spectral music are
suggested. Ju-Kuang Hsieh is the President of Asian Music
Therapy Confederation, the Dean of Institute
On 9/23, the autumnal equinox, the solar of British Micromusic, and the Dean of Inter-
term energy acts on the 5th thoracic verte- national Lambdoma Research Institute.
bra, which corresponds to the urinary system Email: chmti.info@gmail.com
357
tHe rOLe Of tHe MOst infLUentiaL MUsic

fOr YOUnG aDULts
Kazuyoshi Ichihashi
The University of Tokyo, Keio University, Japan
introduction “Eikou no Kakehashi (Bridge of Glory)” (Com-

position: Hitoshi Kitagawa, Performance:
Music enhances changes of physiological, Yuzu) and “Kokoro e (Mind picture)” (Compo-
psychological, and behavioral activity of sition: Kitagawa Keniti, Performance: Road of
human beings (Blood & Zatorre, 2001), and Major), which were selected by three sub-
helps the recovery from brain damages such jects each. Second most selected music inclu-
as middle cerebral artery stroke (Särkämö et ded “Sekaini hitotudakeno hana (The Only
al., 2008). We are fascinated with music Flower in the World)” (Composition: Noriyuki
irrespective of age and sex. What is the most Makihara, Performance: SMAP) and “Ketsui
influential music for you? What is the role of no Asa ni (In the Morning of Decision)” (Com-
your most influential music for you? position: Futoshi, Performance: Aqua Timez)
selected by two subjects each. Other subjects
purpose selected different music.
The purpose of this study was to investigate Positive emotion (23%), Interest of music
the role of the most influential music for in- (19%), Changing values (15%), Boost (11%),
dividual young adults in their life, and dis- Action (8%), Reminiscences (8%), Comfort
cuss music therapy in the future. (3%), Be moved (3%), Nothing (3%), Sympathy
(2%), Sound sleep (1%), Control of mind (1%),
Methods Happiness (1%), Like (1%) and Waterworks
(1%) were represented as the roles of the se-
The most influential music for Japanese young lected influential music for them.
adults (Average age 20.1 years, SD= 1.0 year,
n = 118, Male = 90, Female = 28) in Toyo Uni-
versity in Japan were investigated by question-
naire using web education system (ToyoNet-
Ace, manaba course, Asahi net). After obtaining
informed consent, participants selected the
most important music in their life and wrote a
free description about the selected music.
results
As a result, most of the selected music was Figure 1. Percentage of the roles of the
popular music. The most selected music was selected important music.
358
Discussion acknowledgments
According to the results, “Positive state of Special thanks to students of Toyo University
mind (34%)”, “Behavioral change including and Mrs. Asami Miyaoka for their kind sup-
music activities (24%)”, “Change in sense of port in this study.
values (15%)” and “Reminisce about the past
(8%)” were represented as the roles of the se- references
lected influential music for them in general.
These results were partly different from the Blood, A. J., & Zatorre, R. J. (2001). Intensely
results of research by Williams (2001), indica- pleasurable responses to music correlate
ting that listening to popular music is daily with activity in brain regions implicated
routine, rather than as a meaningful source in reward and emotion. Proceedings of
for identity investment . the National Academy of Sciences,
98(20), 11818-11823. doi: 10.1073/pnas.
191355898
Särkämö, T., Tervaniemi, M., Laitinen, S., Fors-
blom, A., Soinila, S., Mikkonen, M., Autti,
T., Silvennoinen, HM., Erkkilä, J., Laine, M.,
Peetz, I., & Hietanen, M. (2008). Music lis-
tening enhances cognitive recovery and
mood after middle cerebral artery stroke.
Brain, 131(3), 866-876. doi: 10.1093/
brain/ awn013
Williams, C. (2001). Does it really matter?
Figure 2. Percentage of the roles of the Young people and popular music. Popular
selected important music in general. Music, 20(02), 223-242.doi:10.1017/ S02
611 43001001428
I suggested that production of positive mind
and behavioral change with the most in- about the author
fluential music or self-important music are
important factors in music therapy. We have Kazuyoshi ichihashi (ph.D.). I have been stu-
to make a data bank of the most influential dying the basic research of music therapy
music and self-important music to achieve using human and sea cucumber.
effective music therapy for individual clients. E-mail: kazuyoshi.ichihashi@gmail.com
359
tHe cHanGe Of tHe cereBraL BLOOD fLOw

BY ListeninG tO MUsic
Nana Ichimura
Graduate School of Medical Pharmacology Showa University, Japan
Emiko Oguchi
Graduate School of Nursing and Rehabilitation Sciences, Showa University
Takae Inagaki
Graduate School of Nursing and Rehabilitation Sciences, Showa University
Mai Murayama
Graduate School of Medical Pharmacology Showa University
abstract the brain by listening to music using optical

topography equipment (NIRS) for twenties
This study aimed to discuss how the cerebral in the past study.
blood flow will change by the preference of
music. Twenty-two research subjects listened As a result, it is suggested that listener 's
to four music numbers for 2 minutes each, and preference greatly contributed to cerebral
intracranial oxygenated hemoglobin (HbO2) blood flow. There are reports that the taste
value of the research subjects on the listening of music varies depending on generation,
were determined. When the change of cere- and it seems that the era background and
bral blood flow of the research subjects was the living background of the person are gre-
analyzed according to their preference of the atly related.
tone, it is suggested that the change of cere-
bral blood flow by listening to music was pos-
sibly influenced with their preference of tune Method
and a strong physiological reaction.
Twenty-two of 35-53 year-old women (mean
introduction age of 40.54) were to listen to four music
numbers, Music A (The lord), Music B (Yester-
There are studies that use salivary stress day), Music C (Carmen), and Music D (Gym-
hormone or POMS as an indicator to exa- nopedies) for 2minutes each, and their in-
mine the relaxation effect of music, but tracranial oxyhemoglobin value was determi-
there are few research reports using cere- ned. While listening to music the impression
bral blood flow as an index. survey of the music, and their impression of
the music after listening to all numbers was
We examined fluctuation of HbO2 value in asked.
360
results rebral blood flow is related to music tune

and music preference
Music A and Music C, the cerebral blood flow
of the research subjects who liked each music Key words: music, oxyhemoglobin(HbO2)
number increased, and their impression were preference, spectroscopy(NIRS)
as "rhythmical" and "exciting". The cerebral
blood flow of the research subjects who dislike references
the music decreased, and the impression as
"noisy" and "busy" were obtained. The cere- Asano H., Ishikawa T., Nozawa A., Mizuno T.,
bral blood flow of the research subjects who Mithui T., Ide H. & Miyahara M.(2012).
like Music B and Music D each decreased, and Examination about detection of deep kan-
their impression as "nostalgic" and "calm" sei using oxygenated hemoglobin concen-
were obtained. The cerebral blood flow of the tration. Japan Society of Kansei Engi-
research subjects who dislike the music incre- neering, 11(2), 349-355.
ased, and the impression as "dark" and "lone- Ichimura N., & Oguchi E. (2013). Influence of
some" were obtained. The impression on each listening to different kind of classic music
music number tended similar both while liste- on the changes in oxyhemoglobin con-
ning and after listening. centration in brain. The Showa Univer-
sity Journal of Medical Sciences, 11, 58
Discussion -67.
Kobayashi K., Abe S., & Asano K. (2014). The
Cerebral blood flow decreases when liste- influence of thermal and odor stimula-
ning to quiet music is preferred, and cere- tions on the activation of central nervous
bral blood flow tends to increase when system The Showa University Journal of
disliked. On the other hand, cerebral blood Medical Sciences, 12, 73-89.
flow increases when listening to bustling
music is preferred, and cerebral blood flow about the author
tends to decrease when disliked
nana ichimura is a student of the Showa
conclusion University Graduate School of Medicine, and
a nurse in the Showa University Hospital.
It was suggested that the fluctuation of ce- Email: nana@za.catv-yokohama.ne.jp
361
sOMe tHOUGHts On tHe reLatiOnsHip Between tHe

OMniVOrOUs MUsicaL attitUDe anD tHe fOUnDatiOns
Of tHerapeUtic practice Of Japanese peOpLe
Rika Ikuno-Yamamoto
Ochanomizu University, Japan
Having grown up in Japan, studied the pro- different music from the traditional one, but
fessional basics of music therapy abroad and more importantly, “Ongaku” was imprinted
subsequently having practiced in Japan for in people’s mind as something to be perfor-
20 years, I am gradually becoming to unders- med “collectively” and “correctly” as the
tand and accept how our musical choices good citizens, under a master’s leadership.
and music making processes reflect the as- This continued until the end of WWII (1945).
pects unique to Japanese people. One of However, after the war, new democracy and
these aspects that I have been especially economic growth led to the Japanese popu-
conscious of lately is Japanese people’s om- lation having access to all kinds of music that
nivorous attitude to music. By omnivorous I flowed into Japan. Original music was also
mean that we not only have abundant mu- produced introducing these foreign styles,
sical resources to choose from, we seem to keeping the strong influences underneath
actively shift, adjust to or even mix different from the previous two periods. It could be
musical styles so smoothly according to en- said that these externally and politically cau-
vironment and timing. sed changes in Japanese people’s musical
lives covertly grew their unique omnivorous
the Historical context attitude to music today.
This tendency seems to have been partly de- Japanese Omnivorous attitude to Music
veloped due to the social phenomena and
drastic changes in music as Japanese people In addition to the tremendous variety in the
have experienced in the last 200 years. Ja- musical taste in today’s Japanese society, I
panese traditional music, nurtured under have found two distinctive features in their
the direct/indirect influences from the su- omnivorous attitude. One is the mixture in
rrounding Asian countries up to Edo era was styles. For example, newly produced pop
kept that way due to the closure of the music often combines different elements
country during this era. However, when the from existent styles intentionally or uninten-
Meiji government opened the country to fo- tionally, which itself seems to attract the pu-
reign influence and trade in 1860, it abruptly blic as a new trend. Another feature is the
urged schools to reform music as “Ongaku speed and smoothness in which Japanese
音楽 ” based on the European Classics, in people are able to digest and shift between
order to catch up with these internationally various styles. They follow each of the styles
powerful countries. It was not only totally artfully, seemingly to even enjoy the drama-
362
tic gaps between them. Although musical munity settings as “just music,” “music for”,
globalization is commonly seen in many and “music with”. In addition, one of the most
countries, this Japanese’ attitude to multi- effective and already prevailing senses of the
culture might appear incoherent or even therapeutic foundation in Japan seems to be
nonsense to foreigners. “music within (us).”
This free, incoherent style is also seen in Ja- Development of Japanese Music therapy
panese’ daily actions such as eating, reli-
gious ceremonies, as well as music therapy This unique feature of Japanese therapeutic
theories! They have a tendency not to limit foundation does not necessarily suit the lin-
their mode to just one, but “shop around” guistic and deductive academic styles that
imitating the surface features, adjusting to are conventional in the Western traditions,
the momentary realistic situation. since another feature of Japanese mentality
is “non-verbal,” that we tend not to speak
What Lies Behind Their Omnivorous Attitude out about the most essential. Still, it is the
Why? My insight is that in spite of Japanese time for Japanese music therapists to some-
people’s precise and conscientious following how face and investigate the originality in
of the format (”Kata型 ”) of certain styles, our music, community and music therapy.
their minds are never really immersed in any
one of them. Instead, their keen and cons- references
tant consciousness is on the unspoken and
ultimate goal behind: being connected as Ikuno, R. (2005). Development and prospect
the same community members. We need to of music therapy in Japan. Voices A World
be co-present with the persons beside us. Forum for Music Therapy, 5 (1). Retrieved
from https://voices.no/index.php/ voi-
Japanese sense of co-presence ces/article/view/211/155
Jane, B. (2016). Personal communication.
This Japanese sense of co-presence feels Wakao, Y. (2014). Oya no tame no atarashii on-
slightly different from the one originated in gaku no kyokasho. Tokyo: Saboten Shobo.
Western cultures, where two individuals, “I”
and “you”, build the common space, step by about the author
step. By contrast, it is “we” that emerges first
in any forms of Japanese community, and its rika ikuno-Yamamoto, Ph.D., MT-BC, RMT.
coherent existence is critical for any signifi- Faculty of Core Research, Ochanomizu Uni-
cant events to happen. versity; Lecturer, Tokai University; Chairper-
son, Nobana Learning Nest for Music and
A Scottish community music specialist Jane Human Development.
Bentley categorizes the use of music in com- Email: rika@pirika.com
363
interpretatiOn Of MUsicaL/reLatiOnaL aspects

Between cLient anD tHerapist in LOnG-terM
cLinicaL practice
Rika Ikuno-Yamamoto
introduction therapist mediated by music, from a view-

point of what they had experienced in the
The term “practice” is translated to ”Jissen 実 musical interaction. In this process, intervie-
践” in Japanese, and philosopher Yujiro Na- wing the client regarding her inner experien-
kamura describes it as “drawing out hidden ces was inapplicable, since she did not have
aspects of reality…by each member’s first verbal ability. Therefore, therapist (author)‘s
hand experiences”, through which “theory is interpretation of both sides’ experiences
strengthened (Nakamura, 1992, P.70).” “Prac- through participant observation and microa-
tice” is at the core of clinical music therapy nalysis of the video recordings with session
and investigating its process is equally impor- notes has become the primary basis of the
tant as evidencing the outcome. However, its methodology. However, mechanical extrac-
methodology is not yet sufficiently cultivated. tion of functional relational behaviors, such
as eye contact, tempo merging, rhythmic
purpose matching, etc. was not appropriate, as it re-
presented the sequence of discontinuous sta-
This presentation aims to illustrate an ethno- tes under an established value criteria for
graphy informed methodology designed for relationship. Another limitation common to
the study in the author’s Ph.D. thesis, inves- the above mentioned two approaches was
tigating musical/relational aspects of long that they took a standpoint to look into the
term music therapy (Ikuno-Yamamoto, 2015). action/experience of each participant sepa-
rately, and then brought them together to
case conclude that this can be viewed as the “re-
lationship.”
The subject of the study included 137 indivi-
dual music therapy sessions between a client Yumi Nishimura points out that an action of
with profound developmental delay and the one person is not only attributed to that per-
therapist (author), extended over client’s 6 - son, but it is also a result of the other person
12 years old period. (Nishimura, 2008), which suggests that rela-
tionship exists in “inter-action.” From this in-
Methodology exploration sight, the approach of the author’s study was
to interpret interaction between the two par-
The study shed light on the transformation of ticipants, utilizing the music produced between
the relationship between the client and the them as context based empirical material for
364
ethnography. Since this client had developed a to investigate the relationship between non-
variety of musical actions such as the ways ma- verbal client and herself as therapist in a clo-
king sounds, the ways stepping out from ma- sed setting. In this study, the inter-actions
king sounds, making the flow/ break of sounds, illustrated by graphic notations of music,,
and actions around the instruments, these are their precise analyses and step-by-step inter-
all regarded as “music” in this study. pretations based on the therapist’s unders-
tanding of the context led to the rational
the design of the interpretation procedure clarification of relationship transformation
process.
Based on two prior studies of the case, three
excerpts from sessions (approx. 5 minutes references
each) were purposively selected to represent
turning points in the process. Each excerpt Nakamura, Y. (1992). Rinsho no chi towa na-
was interpreted through the following proce- nika [What is clinical knowledge?]. Tokyo:
dure, cyclically referring to the former steps. Iwanami Shoten, Publishers
Ikuno-Yamamoto, R. (2015). Co-presence as
1. Parallel time-series documentation of each mediated by music: An interpretation of
participant’s actions through reviewing the musical/relational aspects of long
video recording and session note. term music therapy. Ph.D. thesis in Ocha-
2. Interpretative description of the inter-ac- nomizu University.
tions, illustrated by graphic notations. Nishimura, Y. (2008). Katarikakeru Shintai:
3. Finding, categorizing, and interpreting “re- Kango kea no genshogaku [Body speaking
peatedly presented musical inter-actions” to us: phenomenology of nursing care].
throughout the episode. Tokyo: Yumiru Suppan
4. Context based interpretation of all the
inter-actions and overview illustrated in a about the author
chart.
6. Discussing the concepts of relationship that rika ikuno-Yamamoto, Ph.D., MT-BC. Faculty
emerged in the excerpts. of Core Research, Ochanomizu University;
Lecturer, Tokai University; Chairperson, No-
conclusion bana Learning Nest for Music and Human De-
velopment
It is a challenging condition for a researcher Email: rika@pirika.com
365
sOMe tHOUGHts On tHe reLatiOnsHip Between

tHe OMniVOrOUs MUsicaL attitUDe Of Japanese peOpLe
anD tHe fOUnDatiOns Of tHerapeUtic practice in Japan
Rika Ikuno-Yamamoto
introduction tively” and “correctly” to be good citizens,

under a master’s leadership. This continued
In this article, I would like to discuss Japanese until the end of WWII (1945). After the war,
people’s omnivorous attitude to music as one new democracy and economic growth sud-
of the keys to understand the foundation of denly led all kinds of music flow into Japan.
therapeutic practice in Japan. By omnivorous People have actively absorbed and applied
I mean that Japanese people not only have these imported musical styles, covertly reflec-
abundant musical resources to choose from, ting the strong influences from the experien-
they seem to actively shift and adjust to mu- ces in the previous two periods (Wakao,
sical styles smoothly according to the mo- 2014). In this way, Japanese people have ac-
mentary environment. quired abundant musical resources as well as
the unique omnivorous attitude to music.
the Historical context
The Japanese Omnivorous Attitude to Music
This tendency seems to have been partly de- Today, Japanese people enjoy and shift bet-
veloped due to the social phenomena and ween various musical styles with remarkable
drastic changes in musical life Japanese peo- speed and smoothness. They follow each of
ple have experienced in the last 200 years, as the styles artfully, seeming to even enjoy the
reviewed next. dramatic gaps between them. Although mu-
sical globalization is commonly seen in many
Japanese traditional music, nurtured up to countries, this Japanese attitude to multi-cul-
Edo era was preserved due to the Edo go- ture seems to be distinctively unique.
vernment’s policy to close the country bet-
ween 1639 - 1854. However, when the Meiji Interestingly, this omnivorous attitude is also
government opened the country to foreign seen in Japanese daily actions such as eating,
influence and trade in 1860, it abruptly urged religious customs, as well as application of
schools to reform music as “Ongaku音楽 ” music therapy theories! Japanese music the-
based on the European Classics, in order to rapists have a tendency not to limit their the-
catch up with these internationally powerful oretical foundation to just one, but “shop
countries. It was not only totally different around” the surface features, adjusting to the
from the traditional music, but more impor- momentary realistic situation. It might appear
tantly, “Ongaku” was imprinted in people’s rather incoherent to non-Japanese music the-
mind as something to be performed “collec- rapists.
366
what Lies Behind the Omnivorous attitude therapy does not necessarily fit the linguistic
of Japanese people and deductive academic style discussions
that are conventional in Western traditions,
Having grown up in Japan, studied the profes- since another feature of Japanese mentality
sional basics of music therapy abroad and is “non-verbal,” that we tend to avoid spea-
subsequently having practiced in Japan for 20 king out about the most essential issue shared
years, I have reached the insight that in spite in community but co-sensing it nonverbally
of Japanese people’s precise and conscien- (Ikuno, 2005). Still, it is the time for Japanese
tious following of the format (”Kata型 ”) of music therapists to somehow face and inves-
certain styles, their minds are not really im- tigate the originality in our music, community
mersed in any one of them. Instead, their and music therapy, and communicate it inter-
keen and constant consciousness is directed nationally.
to the unspoken and ultimate goal: being co-
llaboratively co-present with others. references
Japanese sense of co-presence Wakao, Y. (2014). Oya no tame no atarashii

ongaku no kyokasho [A music text book for
This Japanese sense of co-presence feels parents]. Tokyo: Saboten Shobo
slightly different from the one originating in Bentley, J. (2015). Music and wellbeing in
Western cultures, where two individuals, “I” older adults: East to West. The Baring
and “you”, build the common space, step by Foundation
step. By contrast, it is “we” that emerges first Ikuno, R. (2005). Development and prospect
in any forms of Japanese community, and its of music therapy in Japan. Voices A World
stable existence is critical for any significant Forum for Music Therapy, 5 (1). Retrieved
events to happen. Jane Bentley categorizes from http://dx.doi.org/10.15845/voices.
the use of music in community settings as v5i1.212
“just music,” “music for”, and “music with
(Bentley, 2015).” In addition, one of the most about the author
effective and prevailing senses of the thera-
peutic foundation in Japan seems to be “dwe- rika ikuno-Yamamoto, Ph.D., MT-BC, RMT
lling within music.” Faculty of Core Research, Ochanomizu Uni-
versity; Lecturer, Tokai University; Chairper-
Development of Japanese Music therapy son, Nobana Learning Nest for Music and
Human Development
This unique foundation of Japanese music Email: rika@pirika.com
367
KnOwinG/cOMMUnicatinG tHe cLinicaL prOcess

in MUsic tHerapY practice
1. thinking about process; 2. illustrative approaches
Rika Ikuno-Yamamoto
7 Additional Authors (See about the Author)
aim of the roundtables because these experiences in processes can-

not be fully accessed through standard lan-
These two Roundtables facilitate dialogue guages of established theories including
on music therapy clinical processes, equally EBM.
important as articulating evidence and out-
comes under the previously established fra- thinking about process
meworks. In order to think about this aspect
and to encourage the use of language which There are several recent discourses that
matches the experiences in practice, the in- value the process. David Aldridge describes
ternational scholars exploring this issue will that the therapeutic “change is the expe-
exchange their perspectives. rience of qualities relating to stages of tran-
sition rather than being a sequence of
Background symptom scores4).” Brian Abrams advocates,
in the definition of his relationship-based
In 1968, William Seers began a conversation theory, “music therapy consists of the client
about the processes of music therapy1), and and therapist working together relationally
building on his work, Carolyn Kenny articu- and aesthetically in time…5)” Kenny suggests
lated theoretical concepts naming creative that “by focusing on outcome, we lose sight
process as the product of music therapy of this ever-changing spirit of change6).” And
practice2). But since then, very little has been Stige states “theoretical insights and key re-
done until Brynjulf Stige shed light on prac- search questions emerge from practical con-
tice turn in music therapy theory3). As a he- text3).” These concepts invite us to reflect on
alth-service field, it is understandable that the identity of music therapy as a healthcare
outcomes and effects have been a focus wi- discipline. The Roundtable (1) will focus on
thin the discipline. However, they are not “the ways of thinking about process.“
the complete story ― process plays just as
central a role in comprising the nature of the Languages to approach processes
work, as it is that which clients actually ex-
perience and that in which music therapists If the established standard language is not
engage in everyday clinical sessions. This as- applicable to access and communicate what
pect has not been discussed enough simply is happening in the process, music therapists
368
need to develop their own languages. Nee- Kenny, C. (2015). Performing theory: Playing
dless to say, there is no one universal lan- in the music therapy discourse. Journal of
guage that fits all such tasks since it has to Music Therapy, 52 (4), 457-486.
be based on the contextual evidences7). In Pavlicevic, M., Ansdell, G. et al. (2009). Pre-
addition, if we look at the process as the senting the evidence second edition,
constantly transforming phenomena instead Nordoff-Robbins Music Therapy Research
of the stable and universal events, what Department. (Link originally retrieved
would be the keys to create such languages? exists no more.)
In the Roundtable (2), four experimental ap-
proaches will be introduced, followed by the about the authors
dialogue including the audience.
rika ikuno-Yamamoto (Ph.D., Faculty of
references Core Research, Ochanomizu University,
Email: rika@pirika.com.
Sears, W. (2012). A revision and expansion
of processes in music therapy. In K. Brus- Brian abrams, Ph.D., Associate Professor,
cia (Ed.), Readings in music therapy The- Montclair State University.
ory (1801-2378). Gilsum, NH:Barcelona
Publishers. simon Gilbertson, Ph.D., Associate Profes-
Kenny, C. (1989). The field of play –A guide for sor, Bergen University.
the theory and practice of music therapy–
. CA: Ridgeview Publishing Company. Kakuko Matsumoto, Ph.D., Associate Profes-
Stige, B. (2015). Practice turn in music the- sor, Mukogawa Women’s University.
rapy theory. Music Therapy Perspectives,
33 (1), 3-11. Katrina Mcferran, Ph.D., Professor, the Uni-
Aldridge, D. (2003). Staying close to practice: versity of Melbourne).
Which evidence, for whom, by whom.
Music Therapy Today, 4 (4), http://www. Hiroko Miyake, Ph.D., Lecturer, Meijigakuin
wfmt.info /Musictherapyworld/ University.
Abrams, B. (2012). A relationship-based the-
ory of music therapy: Understanding pro- Kana Okazaki-sakaue, D.A., Associate Pro-
cesses and goals as being-together- fessor, Kobe University.
musically. In K. Bruscia (Ed.), Readings in
music therapy theory (58-76). Gilsum, Brynjulf stige, Ph.D., Professor, University of
NH: Barcelona Publishers. Bergen.
369
wHY DO cHiLDren LOVe “taKOYaKi-sOnG”?

-Japanese nUrserY rHYMes in MUsic tHerapY-
Jun Ino
Ino Music Lab Fun, Japan
abstract kura Sakura”). Folk song scale (Folk and

children’s songs ) and Ryūkyū Scale. Chil-
This workshop will focus on the Japanese dren often sing along with “Folk song
nursery rhymes for music therapy. First we scale” .
will examine the characteristics of Japanese 2. Why not playing some Japanese nursery
nursery rhymes. Next we will play some Ja- rhymes? We will enjoy two songs.One is
panese nursery rhymes and discuss why we traditional Japanese handball game “Anta-
use these songs in the music therapy while gata-Dokosa”.Next one is “Zou-sui-mame”
examining the children’s favorite song “TA- from America sent to Japan.
KOYAKI-SONG” 3. Why we use nursery rhymes in music the-
rapy? There are several reasons we often
workshop menu use nursery rhymes in music therapy. The
first reason is that we play songs with our
This workshop will provide opportunities voice and body. Voice provides the safety
of client-therapist space in the early stage
♪ to learn the characteristics of the nursery of the session. And children can feel the
rhymes of Japan music through the body. In addition chil-
♪ to experience Japanese nursery rhymes dren can have a prospect on their own ac-
♪ to discuss why and how we use nursery tions in the short playing. Also it helps to
rhymes in the music therapy. form an attachment relationship. In this
way nursery rhymes are so helpful in con-
Participants can learn while enjoying the Ja- necting the development of actions that
panese wind instrument “Shino-Bue”. have purposes, and children can develop
relationships with others.
1. At first I will show the characteristics of 4. Why do children love “Takoyaki-Song”?
the Japanese nursery rhymes. Both Wes- “Takoyaki-Song” is one of the most favo-
tern and Japanese-style songs are used in rite songs. Why do children love it? Tako-
Japan. Also Japanese children are familiar yaki is their favorite food in Japan. This
in both styles. Some nursery rhymes are song uses pentatonic scale and has mo-
often made using the pentatonic scale. vements synchronized with its word
Although not well known, it is said that rhythms. So they are very happy to play.
there are four types of pentatonic scales In this way these songs are very useful
classified by Fumio Koizumi of Ethnomu- when doing music therapy with children
sicologist. They are Ritsu Scale (from because children are able to learn a lot
China), Capital (or Urban)Scale (ex. “Sa- while playing.
370
reference about the author
Tanaka, K. (2003). Japanese music at a An excutive board of member of the Japanese

glance. Ongaku-no-tomo-sha National insti- Music Therapy Association and a member of
tute for the Promotion of Japanese Art and the Japan Dalcroze Music Education Society.
Culture.(2007). Digital Library of Culture. E-Mail: musiclab.fun@gmail.com
Let's memorize “TAKOYAKI-SONG” before the workshop.
371
MeDicaL MUsic tHerapY: past, present, anD fUtUre

Satoko Inoue
Yamato International School, Japan
Lori Gooding
Florida State University
Darcy Deloach
University of Louisville
Hideaki Sakata
Kawagoe Otology Clinic
Gakuho Okada
Kawagoe Otology Clinic
introduction lored or modified by medical personnel, such

as doctors, nurses, and other therapist like
Music therapy is an established profession speech pathologists. Today music therapy is
in both Japan and the United States, but the still not included in the national certification
ability to practice in medical settings is limi- system and is not categorized as a medical
ted in Japan. Each country has different res- profession in Japan. In 2005, Medical and
trictions for practicing in medical settings, educational professionals began to collabo-
especially in terms of recognition as a he- rate with music therapists to treat individuals
althcare profession. Understanding limita- with specific medical conditions like brain da-
tions, restrictions, and opportunities is the mage or terminal illness (Ikuno, 2005), and
key factor in promoting medical music the- music therapy is now increasingly recognized
rapy practice. for its use with hospital patients (Obara,
2016).
practice Overview
Music therapy has been an established pro-
Music therapy was first established in Japan fession in the United States for over 60 years,
in the early 1970s. In late 1990's, music the- and references to medical music therapy can
rapy in pediatric otolaryngology was introdu- be found as early as the 1960s (Shatin, Kotter,
ced. The initial focus was on newborn infants & Longmore, 1964). By the 1990s, music the-
identified with hearing loss via the Universal rapy programs were being developed in in-
Newborn Hearing Screening (UNHS) and a patient, hospice, children’s hospital, and reha-
detailed examination. Music therapy proce- bilitation facilities, and medical music therapy
dures were developmental in nature, and tai- was increasingly recognized as an effective
372
treatment for psychological or physical disor- Marwick, C. (1996). Leaving concert hall for
ders (Marwick, 1996). Today, music therapy is clinic, therapist now test music’s charms.
identified as an allied health profession, and Journal of the American Medical Associa-
some of the top hospitals in the U.S. have tion, 275, 267-268. doi:10.1001/jama.
music therapy programs (U.S. News and 1996.03530280017006.
World Report, 2016). Since 2000, medical Obara, S. (2016, February 11). Music therapy
music therapy in the United States has grown increasingly recognized in Japan for hospi-
and the body of evidence, which includes tal patients and elderly. The Japanese
meta-analyses and RCTS, also continues to Times. Retrieved from http://www.japan-
grow. Likewise, the average number of medi- times.co.jp/news/2016/02/11/national/sc
cal populations served grew between 2000 ience-health/music-therapy-increasingly-
and 2015, as did the mean number of thera- recognized-japan-hospital-patients-el-
pists who work in medical settings. Addi- derly/#.V3F_xLgrLIU
tionally, mean salaries for medical music Register, D. (2002). Collaboration and consul-
therapists have grown, increasing by approxi- tation: A survey of board certified music
mately $20,000 (Gooding, 2016). However, therapists. Journal of Music Therapy, 39,
there are still many facilities that do not have 305-321. doi: 10.1093/jmt/39.4.305
music therapy programs and collaboration, Shatin, L., Kotter, W., & Douglas-Longmore,
consultation, and education are essential for G. (1964). A psychological study of the
further growth and development (Register, music therapist in rehabilitation. The
2002). A panel of American and Japanese Journal of General Psychology, 71, 193-
music therapists and physicians will highlight 205.
existing practices and outline a vision for me- U.S. News and World Report (2016). Best Hos-
dical music therapy in both countries. pitals Rankings. Retrieved May 25, 2016
from http://health.usnews.com/ best-hos-
references pitals.
Gooding, L. F. (2016). Professional and rese- about the authors

arch trends in medical music therapy: A
descriptive analysis. Poster presented at satoko Mori-inoue, Ph, D. MT-BC, works at
the annual meeting of the American Music Yamato International School.
Therapy Association, Sandusky, OH. Email: inoue.m.satoko@gmail.com
Ikuno, R. (2016). Music therapy growth in
Japan: The richness and the confusion of Lori Gooding, Ph,D. MT-BC, is an Assistant
transition. Retrieved from https://voices. Professor of Music Therapy at Florida State
no/index.php/voices/article/view/42/26. University.
373
UsinG MUsic anD art as a tHerapeUtic apprOacH fOr earLY

interVentiOn practice in Japan
Satoko Inoue
Atsuko Nadata
Works in private practice
introduction approch in early intervention setting
The Japanese government has estimated Usually, typical child development centers
that 6.5 percent of Japanese children have offer only “individual” and “group” lessons
developmental disorders (Ministry of He- for early intervention. However, this specific
alth, 2014). Developmental disorders are organization, which is located in the suburb
conditions in childhood that involve deve- of Tokyo, wanted more approaches for emo-
lopmental difficulties in different areas. They tional development in children with the de-
can lead to social maladjustment, such as velopmental disorders. Thus, music and art
truancy, social withdrawal, and depression can foster creativity and imagination, pro-
and mental illness in adulthood, and can mote spontaneous experiences and allow
also result in secondary trauma such as sui- children to be themselves in a non-judgmen-
cide. tal environment. Through the process of
music and artwork, Oto to Iro no Ryoiku pro-
Children who suffer from these disorders vided children with opportunities to en-
and receive the appropriate habilitation trai- hance self-expression, self-esteem, gross
ning (Ryouiku) earlier than around five years and fine motor skills development and sen-
old are better able to adapt in society. Ho- sorimotor skill development (Music Therapy
wever, among approximately 300,000 chil- Connections NI. Music Therapy and Autism,
dren who potentially have developmental 2016).
disabilities in Japan, only 8.5 % children have
the opportunity for intervention (Ministry of Several music therapy techniques were used
Education, 2012). The number of facilities to create a developmentally appropriate
where Ryouiku is provided for infants and program; examples will be provided from
toddlers with developmental disorders is the program. Each session lasted 45 minutes
very limited. with the music therapist facilitating active
engagement in music during the first 30 mi-
This workshop will introduce Oto to Iro no nutes of the session. During the last 15 mi-
Ryoiku (Music and Art lesson), which was nutes, the children worked on art materials
created for children with developmental di- while the lead music therapist explained the
sabilities, particularly those with emotional therapeutic aims to parents in order to help
and communication challenges. them understand their children’s behavior.
374
Since music and art therapy are new moda- references

lities, working with parents is vital to the
success of the program because it allows the Music Therapy Connections NI. Music The-
music therapist to build trust and explain the rapy and Autism (2016). Retrieved from
therapeutic approaches. http://www.mtcni.co.uk/music-therapy-
and-autism.
conclusion Ministry of Education (2012). The results of
survey study for the students enrolled in
Intervention of music and art offers modeling, regular classes whom may have develop-
listening, performing and emotional expres- mental disabilities and require the spe-
sion opportunities during music activities. cial educational assistance.
Also, during the intervention, music and art Ministry of Health (2014). Health and Wel-
provide positive experience and foster the joy fare manager conference material.
and confidence to express and convey their
motivation to learn more. Additionally, the about the authors
positive experience will help children to have
self-affirmation. Therefore, including music satoko Mori-inoue, Ph, D. MT-BC, works at
therapy in the early intervention will create a Yamato International School.
foundation that promotes the growth of the Email: inoue.m.satoko@gmail.com
child with communication difficulties. Clinical
examples and practical use of music and arts atsuko nadata MT-BC, FAMI, works in pri-
in the early intervention settings that facilitate vate practice.
these goals in Japan will be discussed. Email: letsmusicing@gmail.com
375
aDaptiVe KeYBOarD accOMpaniMent tecHniQUes

fOr GrOUp sinGinG in MUsic tHerapY
Fumio Isawa
Hojinkai Omiya Kosei Hospital, Japan
Michiko Kato
Nihon University College of Art
Junko Yamaguchi
Adachi Rojin Care Center, Japan
abstract rapists need to acquire skills to play all these

songs with different approaches to adapt the
Group singing is very popular among music accompaniment to the “here and now” of the
therapy activities in Japan. However, not music therapy sessions. The figures below
much attention has been paid to the impor- show how the presenters adjust their accom-
tance of accompaniment. In this workshop, paniments depending on the situation as well
using recorded materials, musical scores and as musical factors of songs. All the factors in-
live performance, the presenters will de- fluence each other, and music therapists care-
monstrate how music therapists could mo- fully need to listen to and observe what is
dify their accompaniments depending on happening.
the situation and the clients.
The presenters will introduce their clinical
Description experiences with different types of popula-
tions: older adults, psychiatric patients, and
To provide effective accompaniments for children with disabilities. Significant atten-
group singing, music therapists need to con- tion will be paid to the following: impor-
sider at least the following: physical, psycho- tance of breath, the space between tones,
logical, and cognitive functional levels, pre- proper use of different touches, and fluctua-
ference of music, activity interest, and the tions of melody.
background of clients, as well as the group si-
tuation related to many other factors.
In Japan, the group size tends to be larger, and

a music therapist often leads a session with
over 30 people. It is expected to have a wide
repertoire including Japanese folksongs, popu-
lar songs, children’s songs, some classical
songs, and international songs, etc. Music the- Figure 1. Factors of the situation.
376
references
Fujino, S. (2002). Banso (Accompaniment). In

T. Shinoda and M. Kato (Eds.), Hyojun On-
gaku-ryoho Nyumon ge Jissenhen, (Stan-
dard Music Therapy Introduction Vol. 2
Practical Section rev.). Tokyo; Shunjusha.
Kato, M. (2006). Koreisha no Ongaku-ryoho ni
okeru Kasho Banso – Kiso Gijutsu no Kaku-
toku ni tsuite (Accompaniment for Singing
with the Older Adults – Acquiring Basic
Skills). Journal of Music Therapy, 16, 9-17.
Yamaguchi, J. (2010). Shudan Ongaku-ryoho
Figure 2. Musical elements to be wo kangaeru: Jissensha no Shiten kara
adjusted. (Discussion about Group Singing from the
Practitioner’s Perspective). Japanese Jour-
With carefully adjusted accompaniment, nal of Music Therapy, 10 (1), 65-69.
clients become aware of not only the song
itself, but the timing, phrasing, beats, and about the authors
construction of the music. They will be mo-
tivated and supported at the same time. fumio isawa, MTR (Japan), is a music thera-
Thus, the sound of the music provides a safe pist working with psychiatric patients at Ho-
environment for the participants and allows jinkai Omiya Kosei Hospital in Saitama Pre-
some of them to feel secure by just being fecture, Japan.
there without having to actively sing. Email: fmiwo@tbz.t-com.ne.jp
Over the past decades, the presenters have Michiko Kato, MA, MTR (Japan), is a music
been researching and examining various therapist working mainly with older adults
qualities of accompaniment, and they will in different clinical sites in Tokyo and Kana-
provide concrete examples from their expe- gawa Prefecture, Japan.
riences and knowledge by demonstrating on
the keyboard using recorded materials of Junko Yamaguchi, MTR (Japan), is a music
sessions and musical scores. Participants will therapist working with older adults and chil-
be invited to sing in different situations. dren with disabilities in Chiba Prefecture.
377
HOw are cHanGes in repetitiVe DrUMMinG patterns

eXperienceD in psYcHiatric MUsic tHerapY?
Okiko Ishihara
Kobe University, Japan
abstract and therefore be aware of the inter-relations-

hip between one player and another.
This presentation looks at experiencing repe-
titive patterning with a client with Schizophre- This paper builds on De Backer’s research by
nia, as compared to playing in a professional offering a microanalysis of how music made by
percussion ensemble when repetitive patter- a psychotic client and therapist contains tran-
ning occurs within the context of a minimalist sitions between discrepancies in rhythmic pat-
composition. A microanalysis of transitioning terning, and musical synchronicity between
between rhythmic patterns in both scenarios therapist and patient. The method used is first-
is discussed in relation to Tustin’s concept of person research. In order to shed light on the
the autistic object (1992, p.111-126). potential emotional meaning of such musical
experiences, the presentation identifies diffe-
Descriptions rences in the therapist’s emotional reactions
to rhythmic patterning when performing
Subtle variations in rhythmic patterning can be ‘Drumming’ (by the composer Steve Reich,
experienced as communicative and enjoyable 1971), and her emotional experience of
when performing pieces such as ‘Drumming synchronized drumming with drum patterns
(1971)’ by Steve Reich (1937- ). Identifying improvised by the patient in a music therapy
such rhythmic discrepancies in drumming im- session.
provised by a client and a therapist may help
a music therapist understand significant mo- By analyzing her experiences of performing
ments of communication. The concept of par- the percussion piece 'Drumming' and in par-
ticipatory discrepancies is an essential one in ticular the process of transition from one
understanding many styles of music and in rhythmic pattern to another, four different
applying them to clinical work (Aigen, 2002). states of playing have been identified:
A characteristic of drumming created by some 1. Secure playing (the pattern has started / is
psychotic clients in music therapy has been comfortable to play)
identified as repetitive or constantly similar 2. Reflective playing (the pattern is establis-
musical patterning. De Backer (2007) explains hed / the mind can reflect on the self)
these styles of playing as sensorial playing. He 3. Automatic playing (the mind is unaware of
questions whether, when patterns are repe- the playing)
ated continuously, psychotic patients have 4. Kinaesthetic playing (after playing the pat-
the psychic space for symbolization, meaning tern for a long time the mind is most aware
they cannot appropriate a ‘musical object’ of the physicality of the action).
378
When one player slightly alters their pattern, from the outside world in improvisations can
other players have to protect their own musi- give the client new experienced space. This
cal space, keeping hold of their own rhythmic brings about the possibility that the music
pattern. When one player shifts their pattern may shift to communicative and inclusive of
(using acceleration), feelings of insecurity kinaesthetic playing. The paper presents audio
occur for those who need to keep their tempo examples from the music therapist’s profes-
stable and unaltered. When patterns have sional performances and her work with these
shifted, and joined to make new patterns, pla- psychotic patients.
yers experience that synchronicity as mat-
ching each other. These experiences of re- references
petitive rhythmic playing in a performance
context may help music therapists to think Aigen, K. (2002). Playin’ in the Band: A Quali-
about the experiences that clients may en- tative Study of Popular Music Styles as Cli-
counter in music therapy. nical improvisation. University Park: Bar-
celona Publishers
Tustin’s concept of the autistic object (1992) De Backer, J., & Wigram, T. (2007). Analysis of
applies to sounds, and leads to what the ob- notated music examples Selected from
server designates as the concrete nature of Improvisations of psychotic Patients. In T.
autistic experience. Inada (2012) points out Wosch & T. Wigram, (Eds.). Microanalysis
that the characteristics of psychotic repetitive in music therapy. London: Jessica Kingsley.
patterns are explained as a self-defense for Inada, M. (2012). The space of music therapy.
keeping a balance of mentality, leading to au- Kyoto: Nakanishiya Publishers.
tistic object. Tustin, F. (1992). Autistic states in children, re-
vised Edition. London Routledge.
In clinical work, repetitive patterning with
psychotic clients has meaning as a way to pro- about the author
tect one's own inner space in improvised
music. When this happens, the therapist may Okiko ishihara, Dip.MA.MT., a music thera-
feel emptiness, such as automatic playing pist trained in the UK, currently works with
along with a client’s playing. However, reflec- adults in mental health services and is a Ph.D.
ting playing in improvisation may also be pos- student at Kobe University in Japan.
sible. The slightly different rhythmic variations Email: okikoishihara@gmail.com
379
MUsic tHerapY fOr aDULts witH inteLLectUaL DisaBiLitY:

cLinicaL appLicatiOn Of enseMBLe actiVitY
Yuko Izumi
NPO corpolation Andante KOBE, Japan
aims of this case study reseach to D, and the client played a baking track
with open strings.
This case presentation will illustrate group
music therapy for 7 adult clients with inte- As they repeatedly played their parts with
llectual disability. The session consists of the score, their instrument skills, role recog-
some ensemble activities including: nition, and skill to harmonize with others im-
proved. The clients showed effort in syn-
1. Arrangement of pre-composed pieces and chronizing body movement (i.e. right arm of
2. Blues jam session. violin players) and note value. They appea-
red to understand the musical structure and
The study investigates therapeutic changes spontaneously expressed feelings between
in the adult clients and the clinical efficacy phrases.
of the ensemble activity.
For program 2, the clients chose their own
clinical process instrument each time (piano, electronic
organ, drum, marimba, sound block, and
Clients who participated in this study were blues harp, as well as percussion instru-
7 intellectually challenged individuals with ments including the tambourine, the cow-
an age range of 16 to 39. For program 1, Two bell and the pianica.). The therapist did not
clients played the violins, three clients pla- set the length of the music after a twelve
yed tone chimes, one client played the gui- bars theme from the song of ‘C Jam Blues’
tar, and other one client played the piano. and conducted players to verse (chorus) and
The therapist and performance support staff solo sections. It also developed into a per-
played the violin, flute ,and the drum. They formance where clients and therapist ans-
played “Pachelbel’s Canon (D major)”arran- wered to other client’s suggestions, which
ged for the client. The CL violinists played allowed all the performers to share the time
open strings and a couple of two degrees flow of ‘waiting for a suggestion’, ‘listening
higher tones that can be played by holding to the suggestion’ and ‘answering it’. The
and releasing the E and A strings using their solo part provided an opportunity for each
left index finger, alterning up and down bo- client to be a main performer, and they pla-
wing stroke every two beats. The tone chime yed and expressed themselves completely
players held the first and the third notes of freely. Players of instruments with pitches
a chord in each hand and played chords (piano, pianica and electronic organ) be-
using the Numerical Musical Notation (spe- came ad lib players using the blue notes
cifying D=1, A=2, G=3). The guitar was tuned scale, and those who played instruments
380
with a tone of code (blues harp) delivered expression of each client through the pro-
an improvised performance using code and gram.
rhythm. Even though the length of the music 2. Both programs brought clients’ joy for mu-
was not determined, all the clients finished sical experience and promoted self-expres-
playing at the same time with one of them sion and group cohesion. It is important
gesturing to indicate the end of the perfor- that therapists utilize the aspects of music,
mance. such as structure, genre, style, arrange-
ment, etc. effectively based on the needs
After the therapist explained accents, move- of the clients.
ments, and rest (pause) in verse, the clients be-
came more concentrated and exhibited references
various expressions. Their development of mu-
sical communication was at first therapist-to- Nordoff, P., & Robbins,C. (1983). Music the-
client nature but turned into client-to-client rapy in Special Education. Gilsum, NH:
interaction which resulted in mutual activities Barcelona
through music. Aigen, K. (2005). Music-centered music the-
rapy. Gilsum, NH: Barcelona Publishers.
results and conclusion Wakao, Y., & Okazaki, K.(1996). Ongakuryou-
hou no tameno sokkyouensou hando-
Overall, the results suggest that the clients bukku (Handbook of MusicTherapy Im-
felt comfort from playing the fixed piece, le- provisation.) Ongakunotomosya.
arned about the teamwork to share musical
ideas. They gained a sense of achievement about the author
in the program:
Yuko izumi is a music therapist in JMTA, and a
1. And that acceptance of clients’ expressions president of NPO corpolation Andante-KOBE.
by the therapist and other clients led to Email:andante_kobe@yahoo.co.jp
musical dialogue, expanding to their inner
381
MUsic tHerapY On fUnctiOnaL iMprOVeMent Of

paraLYsis caUseD BY cereBraL infarctiOn seQUeLa
Satomi Jibe, BA, RMT (Japan)
Mikajima Nursing Home. International College of Music Therapy, Japan
preface using the paralyzed parts. MMSE(Mini-Men-

tal State Examination) 30/30 points. The long
It has been said that it is difficult to recover term target: expanding range of motor exer-
for patients who have motor paralyses in cise on Activities of Daily Living, short term
their fingers as a result of cerebral apoplexy, target: expanding range of reach on the pa-
if it has passed over six months. However, ralyzed parts and heightening the dexterity.
we now recognize that recovery of functions
is possible through rehabilitations, if paraly- Method
sis is not severe, even if it reaches the main-
tenance phase after more than one year. Treatment occurred for a two year period,
During this time, with physical therapy and with sessions taking place once a week for
the addition of, music therapy, vibration is 20minutes, for a total of 94 sessions. Physical
given to the paralyzed parts using some mu- therapy took place twice a week for 20minu-
sical instruments to be operated in different tes, in addition to group music therapy that
ways, focusing on sense stimulation (vibra- occurred 1-2 times a week. Sessions included
tion) at the time of playing. This article ex- sensorye input using the strings, drum, hol-
plores the long term effectiveness of the ding, exquisite movements and range of mo-
music therapy for function improvement on tion exercises. African music, lyrical songs,
paralysis. pop songs, and traditional folk songs were
used. Evaluation included the Brunnstrom
case illustration and aim Test which was given before and after music
therapy every 10 music therapy sessions, me-
Mr. A was a 63 year old male. He developed asuring time for realizing vibration on the
cerebral infarction in October and experien- eight parts of left upper and lower limbs (in-
ced imperfect paralysis on the left upper and cluding the middle finger, thumb, elbow, me-
lower limbs, as well as, sense impediment tacarpophalangeal joint of middle finger,
and dysarthria. Individual music therapy ses- metacarpophalangeal joint of thumb, wrist,
sions starting in November one year later ankle, and knee) using medical tuning fork.
after his development. He could walk around Each evaluation was completed by the physi-
with cane. Contractures appeared on both cal therapist and music therapist Additionally,
upper and lower limbs. Brunnstrom (recovery a hearing survey was carried out .
of motor function) stages: Ⅲon the upper
limbs and fingers, Ⅳ on the lower limbs, Con- results
tractures appeared on both upper and lower
limbs. Daily life movements were restricted The results demonstrated no changes on the
382
Brunnstrom stage, except nearly Ⅳon the neous rhythms. This connects with the exten-
upper limbs. Time for realizing vibration on sion of time for realizing vibration as sense
the eight parts had been extended. When function was stimulated. It is inferred that as
time for realizing vibration was measured, it music stimulation had been affected on mo-
was expected that there are some errors ac- tor nerves system unconsciously, by repeating
cording to the degree of strength of cord bat- a series of movement while playing music ins-
ting instrument, and after immediate changes truments for a long time, sense/movement
of measurement values were processed sta- was heightened, consequently improving ran-
tistically doing T-approval, significant changes ges of his activities of daily living. It is sugges-
(p<0.05) were seen on the middle finger, ted that it would be possible to be gene-
elbow, and knee. Following the treatment, ralized on the activities of daily living by
Mr. A reported he could hold his grandchild, heightening effects of rehabilitation on the
renew his driving license, eat dessert with a paralyzed parts being facilitated to sense/mo-
cup, hold bowl, put on gloves. The range of vement and by maintaining motivation.
reach of the left upper limbs was extended
and dexterity of fingers was raised. references
consideration Yamane, H. (2007). Hito to oto’ ongaku ryoho

toshite ongaku wo tsukau. Seikaisya.
Rhythmic music was utilized and applied to Thaut, M. (2006). Rhythm, music, and the
the paralyzed parts urging sense stimulation brain: Scientific foundations and clinical
(vibration) through music instruments, hol- applications. Kyoudouisho Shuppansha
ding ability and motor skill. It is suggested
that music elicits functional movements by about the author
getting positive feedback from timing pattern
of movement with its constant and simluta- Email: msj81189@gmail.com
383
tHe effectiVeness Of MUsic tHerapY as part Of

in-HOspitaL reHaBiLitatiOn fOr parKinsOn’s Disease
Minako Kajita1
1
Hyogo Rehabilitation Center Hospital, Japan
Yoriko Kohara2
2
KOBE Women’s University Graduate School, Japan
Chie Ohgushi1, Sachiko Watanabe1, Miho Kawamura2, Shiho Okuda3,

Masayuki Shirakawa4, Ryoichi Shiba5
3
Hyogo Rehabilitation Center Hospital, Department of Neurology, Japan
4
Hyogo Rehabilitation Center Hospital, Department of Clinical Psychology, Japan
5
Hyogo Rehabilitation Center Hospital, Department of Orthopedics, Japan
abstract hospitalized and participated in rehabilita-

tion for approximately five weeks. The music
Rhythmic auditory stimulation is said to be therapy group underwent PT and OT, which
effective for treating gait disorders in pa- included active music therapy and rhythmic
tients with Parkinson’s disease. This study auditory stimulation training. The outcome
investigated the therapeutic effect of an in- measures were:
hospital rehabilitation program combining
physical and occupational therapy with 1. Unified Parkinson’s Disease Rating Scale
rhythmic auditory stimulation, and active (UPDRS) part II (activities of daily living,
music therapy on motor symptoms and vo- ADL) and part III (motor skills) during the
lition. “on” state.
2. The Functional Independence Measure
Method (FIM) motor and cognitive items.
3. Gait speed and step size using the 50-m
Forty-seven patients with Parkinson’s dise- walk test.
ase (25 males and 22 females with Hoehn 4. Zung’s Self-Rating Depression Scale (SDS).
and Yahr Staging of Parkinson’s disease II– 5. The Clinical Assessment for Spontaneity
IV) hospitalized for rehabilitation were ran- (CAS) interview assessment, question-
domly selected for the following groups: 1. naire, and assessed results at week 1 and
Music therapy group (36 patients; mean 5 of hospitalization, of which the mean re-
age: 69.1 years; mean duration of disease: sults were compared using the t-test.
83.7 months) and 2. Control group (11 pa-
tients; mean age: 69.0 years; mean duration results
of disease: 97.8 months). Subjects in both
groups had no medication changes while 1. The music therapy group showed signifi-
384
cant improvement in all the following thod for motor and emotional rehabilita-
items: gait speed, UPDRS part II and part tion. Psychosomatic Medicine, 62(3),
III, FIM motor and FIM cognitive, CAS vo- 386-393.
lition assessment (p < 0.001), step size,
and SDS (p < 0.01). about the authors
2. The control group’s FIM motor item scores
and gait speed and step size (p < 0.01) Minako Kajita (M.ed., RMT(Japan)), is a lec-
scores showed significant improvement. turer at Osaka College of Music and work as
However, their UPDRS scores were limited music therapist at Hyogo Rehabilitation Cen-
to a significant trend and their SDS scores ter Hospital.
showed no significant difference. Email: kahtarina@star.zaq.jp
conclusion Yoriko Kohara (Ph.D., RMT(Japan), PSW) is

music therapist,Clinical Psychologist and
The results of this study indicate that reha- work as associate professor at Kobe Wo-
bilitation that combines PT and OT with men’s University.
rhythmic auditory stimulation and active
music therapy is effective in improving chie Ohgushi (RMT(Japan) and sachiko wa-
motor and depression symptoms and voli- tanabe (RMT(Japan)) are music therapist at
tion in patients with Parkinson’s disease. Hyogo Rehabilitation Center Hospital.
references Miho Kawamura (M.ed, RMT(Japan)) is

music therapist, and research student of
Hayashi, A. (2004). A study of effects of Kobe Women’s University Graduate School.
rhythmic auditory stimulation for gait dis-
turbance in patients with Parkinson’s dise- Masayuki shirakawa (M.A.,CP(Japan)) work
ase. Sogo Rehabilitation, 32(9), 847- 851. at Hyogo Rehabilitation Center Hospital.
Inai, H.(2012). Rhythmic Stimulation reflec-
ting individual preference in generating a shiho Okuda (MD, Ph.D.) and ryoichi shiba
gait change in patients with Parkinson ‘s (MD,Ph.D.) work at Hyogo Rehabilitation
disease gait disorder. Review of the lite- Center Hospital.
rature on Music therapies. SLIU Reporsi-
tory, 16(2), 1-9. Disclosure
Pacchetti,C., Mancini,F., Aglieri,R. & Fun-
darò, C.et al.(2000). Active music therapy This work was supported by JSPS KAKENHI
in Parkinson’ disease: an integrative me- Grant Numbers 21530750, 15K0416.
385
tHe Use Of MUsic instrUMents

BaseD On sensOrY inteGratiOn tHeOrY
Tsugiko Kakizaki
Yamato University, Japan
functions of sensory integration (si) prior to treatment in order to facilitate desi-

rable behaviors.
Ayres defined “the organization of sensation
for use”, SI is an indispensable function for Children with atypical development also
all people to carry out everyday tasks (Ayres, tend to exhibit sensory discrimination pro-
1979). By integrating gustatory, olfactory blems, and/or dyspraxia such as difficulties
and tactile senses, we can identify an apple in bilateral coordination, hand-eye coordina-
is edible. By integrating vestibular, proprio- tion, midline-crossing and postural mainte-
ceptive and visual senses, we can safely ride nance. If a child has problems with tactile
a bike. Ayres also explains sensations are discrimination and hand-eye coordination, it
“food for the brain”, as sensory stimuli nur- may be difficult writing with a pencil. Pro-
ture child development not only for physical blems with bilateral coordination and mi-
but also academic skills such as reading and dline-crossing may result in struggles with
writing (Ayres, 1979). clothing and/or drawing. These problems
may be improved by playing music instru-
SI dysfunctions, which may frequently be ments, as it also requires the discrimination
observed by children with atypical develop- and praxis skills. Moreover, motivation for
ment, are divided into two kinds, Sensory playing music instruments may facilitate to
Modulation Dysfunction (SMD) and dyspra- pursue these therapeutic tasks.
xia (Miller, 2006). A child with SMD, may
fluctuate between over-reacting and under- application of si to Mt
reacting to sensory messages (Miller, 2006).
If a child is over-reactive (hyper-sensitive) Since music instruments bear multisensory
to auditory input, a brilliant sound of tree stimuli, music therapists have an advantage
chime may trigger aversive behaviors for to utilize sensory stimuli for treating children.
the child. Whereas, if a child is under-reac- Yet, an overview of MT literature reveals limi-
tive (hypo-sensitive) to proprioceptive in- ted documentation regarding practical uses
put, the child may strum an autoharp while of SI based MT. Thus, an introduction of basic
pressing the strings with pressure more SI knowledge into MT is necessary.
than necessary. Both hyper/hypo reactive
behaviors are cause by unbearable discom- child with Hyper-sensitivity to auditory
fort. Furthermore, sensitivity is a physical input: Although many individuals with ASD
issue the child finds difficult to manage alo- are hyper-sensitive to auditory input, the
ne. Hence, music therapists need to unders- same individuals tend to be hypo-sensitive
tand each child’s sensory responsiveness to visual input (Kakizaki, 2016). Hence, al-
386
though being exposed to undesired auditory this difficulty tends to use both limbs. For
information, they may seek visual input and example, while drawing a horizontal line, the
bear the discomfort. Thus, music instru- left hand holds pencil on the left side, and
ments that produce multisensory stimuli can exchange to the right hand at midline. Even-
be useful devices for a child to deal with au- tually it may cause difficulty in establishing
ditory discomfort. the dominant hand. To deal with this pro-
blem, woodblock is appropriate and des-
case: Initial stage of practice, when a big ktype handbell is also useful.
ocean drum was slightly swayed over a
group of children, a boy with auditory hyper- conclusion
sensitive covered his ears reflexively while
tracking the rolling beads with his eyes. Ho- Music instruments are useful devices as far
wever, as the same drum was administered as their sensory quality is appropriate for a
over a few months, the boy ceased covering child’s SI characteristics. Therefore, music
his ears. In addition, he engaged in watching therapists need to understand basic SI kno-
the rolling beads with a subtle smile. It indi- wledge to fulfill each child’s potential.
cates music instruments can be useful devi-
ces to accustom even a child with auditory references
hyper-sensitive to multisensory environ-
ments. Ayres, A. J. (1979). Sensory integration and
the child. Los Angeles: Western Psycholo-
child with Hypo-sensitivity to propriocep- gical Services.
tive input: A child with hypo-sensitive to Kakizaki, T. (2016). Music therapy for foste-
proprioceptive input may actively seek sen- ring children with sensory integration.
sory stimuli by hitting any object strongly. Tokyo: Meijitosho Shuppan.
This may be considered compensative beha- Miller, L. (2006). Sensational kids: Hope and
vior to eliminate sensory discomfort from help for children with sensory processing
hypo-sensitivity. In this case, hitting djembe disorder. New York: Perigee Book.
with bear hands can be an appropriate acti-
vity. It is important to let him play freely to about the author
fulfill his sensory needs.
tsugiko Kakizaki is a professor at Yamato
child with Midline-crossing Difficulty: Be- University in Japan, a lecturer speaking on SI
haviors of midline-crossing difficulty can be based MT practice and a music therapist
observed in hesitating transferring one hand specialized for developmentally difficulty.
over to other side of the body. A child with Email: tsugiko26@yahoo.co.jp
387
assOciatiOn Of MUsic recOGnitiOn anD speecH

perceptiOn in cHiLDren witH BiLateraL
cOcHLear iMpLants
Yukihiko Kanda
Kanda ENT clinic, Nagasaki Bell Hearing Center.
Department of Otolaryngology Head and Neck Surgery,
Nagasaki University Graduate School of Biomedical Sciences, Nagasaki, Japan
Chiharu Wakasugi
Kanda ENT clinic, Nagasaki Bell Hearing Center
introduction acquired language. Furthermore, we evalua-

ted audiological abilities including:
It has been said that music recognition for
children with a cochlear implant (CI) is diffi- 1. Speech discrimination score (SDS)
cult, however, a recent study has shown that 2. Word recognition score (WRS),
children with CI can enjoy music, sing and 3. SDS under the noise from speaker (S/N
also have the ability to identify well-known ratio=80dBSPL/70dBSPL, 10dB and S/N
music using sheet music. In our study, when ratio=70dBSPL/70dBSPL, 0dB) The statis-
children were exposed to and also actively tical analysis was done by using Student
listened to music at home starting at a t-test and paired t-test (stat view and
young age with CI, this resulted in higher excel).
word recognition scores. In this paper, we
compare performance on speech perception results
tasks in musically trained and untrained bi-
laterally implanted children and teens. On WRS, musically trained children and
teens outperformed their non-musically trai-
Materials and Methods ned counterparts at 60 dB SPL when tested
with second CI (p=0.04<0.05*) and bilateral
Twenty three children or teens with CI were CI (p=0.003< 0.005**). The mean SDS at
tested on their recognition of familiar melo- 60dBSPL show that there were significant
dies sung using only the syllable ‘la’ with the differences between the musically trained
music being played by a piano. Twelve were children and non-musically trained counter-
taking or had taken music lessons pre- or parts on first CI (p=0.02<0.05*) and bilateral
post-operatively and eleven had no formal CI (p=0.03<0.05*). The mean SDS under the
musical training. We performed a music re- noise (S/N=80/70), musically trained chil-
cognition test (see Nakata, et al. in this pro- dren and teens outperformed their non-mu-
ceeding for the procedure) on these 23 sically trained counterparts when tested
children with bilateral CIs who had already with bilateral CI (p=0.04< 0.05*).
388
Discussion tion tests. Their scores revealed 100% at

60dBSPL and 96-100% at 70dBSPL on WRS,
Musical training had a significant impact on 90-100% at 60dBSPL and at 70dBSPL on SDS
every test result, including WRS and SDS wi- and 75-85% on SDS under the noise (S/N=
thout or with noise. Generally, significant 80/70). We are hopeful in also expecting im-
differences between the musically trained provement in the pitch recognizing ability and
children and their non-musically trained in the phoneme speech perception of chil-
counterparts became more predominant dren with CI with the help of music lessons
during the more difficult examinations. and binaural hearing strategy.
The effectiveness of music lessons was clearly conclusion

demonstrated in children’s ability to unders-
tand phonemes and the monosyllabic words Music lessons are very useful and very effec-
in children with CI. This phenomenon is likely tive for the development of speech recogni-
related to a report (by Nakata et al.) also tion in children with CI.
being presented here discussing the benefits
of musical training that improved children’s references
musical perception (pitch specifically). We be-
lieve that children enjoy listening to music a Nakata, T., Trehub, S. E, & Kanda, Y. (2012).
great deal and thus can develop their hearing Effect of cochlear implants on children's
performance. We speculate that musical trai- perception and production of speech
ning for CI children stimulates the amygdala prosody. Journal of the Acoustical Society
and the insula that present both the nucleus of America, 131(2), 1307-14.
of feelings and emotion, as well as the hippo-
campus that is the nucleus of the memory about the authors
from a medial geniculate nucleus in the
acoustic pathway. This may lead to a richer Yukihiko Kanda studied CI surgery, rehabili-
and better language acquisition than just tation and hearing aid fitting in Würzburg
through verbal learning. University, and has the experience over 400
cochlear implant operations and 2,400 hea-
Four children who received their 2nd CI at the ring aid fitting.
age 6 or younger and started to enroll in Email: kanday1961gutentag@gmail.com
music lessons at age 3 had perfect scores on
the music recognition test. Furthermore, chiharu wakasugi is a music therapist. Her
those four children excelled in speech percep- specialty is playing the piano and dancing.
389
MUsic tHerapY anD aUDitOrY HaBiLitatiOn fOr

a Deaf cHiLD witH tHe seVere inner ear anOMaLY
UsinG Her cOcHLear iMpLants
Yukihiko Kanda
Kanda ENT clinic, Nagasaki Bell Hearing Center,
Department of Otolaryngology Head and Neck Surgery,
Nagasaki University Graduate School of Biomedical Sciences, Nagasaki, Japan
Chiharu Wakasugi
Kanda ENT clinic, Nagasaki Bell Hearing Center
introduction case
In general, mild forms of inner ear anomaly A 5-year-7-month old girl’s Newborn Hea-
such as enlarged vestibular aqueduct, vesti- ring Screening (NHS) was referred. Her Au-
bular anomaly, and incomplete partition of ditory Brainstem Response, Auditory Steady-
the cochlea are associated with excellent State Response and Distortion Product Oto-
postoperative speech perception abilities. acoustic Emission showed no response. The
girl’s condition did not improve from bilate-
The speech perception abilities of children rally fitted hearing aids nor intensive audi-
with cochlear implants having more severe tory habilitation. Preoperative CT findings
forms of inner ear anomaly such as common revealed ‘Aplastic Cochlea and facial nerve
cavity or severe cochlear hypoplasia, are anomaly’. It was difficult to determine just
suboptimal and uncertain, but clear benefit how much her hearing would improve after
can be obtained from cochlear implantation receiving a CI. However, due to the hearing
(CI). However, cochlear aplasia is considered threshold in her hearing aids, she could not
as a contraindication or very difficult indica- perceive many everyday sounds and there-
tion for CI. fore react appropriately to her immediate
environment. As such, it was hoped that a CI
We performed CI for a deaf child with a se- operation could help. We implanted the first
verely malformed cochlea using Sennaroglu CI on November 11th 2011, and the second
Classification. Through auditory-verbal/oral CI on February 15th 2013. I inserted a whole
education and music therapy, her speaking medium electrode into her left ear and a
abilities have markedly improved. Music whole compressed electrode into her right
therapy is likely a contributing factor to the ear of Med-EL.
development of speech language, phonation
and improved social skills for severely hea- Although this child did not have a cochlea,
ring impaired children. CI was performed by inserting the electrode
390
array into the vestibule. She had no vertio communications improved in various situa-
and equilibrium disorder. Postoperatively, tions. She enrolled into a 1st grade class at a
the child has received Auditory-Oral educa- regular elementary school.
tion at Nagasaki Deaf School and at our he-
aring center. Her postoperative progress has conclusion
been encouraging in that her speaking abi-
lity as well her speech understanding have Music therapy brought not only musical be-
steadily improved. As her parents wished for nefits to the child, but also contributed to
her to sing nursery rhymes, we enrolled her the development of speech language, pho-
in musical therapy with the aim of bettering nation as well as her social skills. This sug-
her sound discrimination ability as well as gi- gested that Children with cochlear aplasia
ving her the chance of developing her sin- can develop better hearing thanks to music
ging skills. therapy.
The music therapist at our center performed references

a family participation session for about 40-
50 minutes once a month. Our therapist Mitani, C., Nakata, T., Trehub, S.E., Kanda, Y.,
used multiple musical instruments in con- Kumagami, H., Takasaki, K., Miyamoto, I., &
junction with a piano and also interacted Takahashi, H. (2007). Music recognition,
with the child and her family in related acti- music listening, and word recognition by
vities, for example playing, singing songs and deaf children with cochlear implants. Ear
playing musical instruments jointly with her. Hear, 28, 29S-33S,
After a 3-year period, her wearing threshold Nakata, T., Trehub, S. E., & Kanda, Y. (2012).
with CI showed 35dBHL. Effect of cochlear implants on children's per-
ception and production of speech prosody.
Her Infant-Toddler Meaningful Auditory Inte- Journal of the Acoustical Society of America.
gration Scale improved from 1 to 40 (maxi- 131(2), 1307-14.
mum score). Her Little EARS (Auditory Ques-
tionnaire)results increased from 7 to 35 about the authors
(also maximum score). Her speech percep-
tion using CDs (3 Syllabic words) scored 52%. Yukihiko Kanda studied CI surgery, rehabili-
When the sessions first started, she could tation and hearing aid fitting in Würzburg
mimic neither the therapist’s voice nor the University, and has the experience over 400
accompanying movements of a song she was cochlear implant operations and 2,400 hea-
presented. However, upon repeated ses- ring aid fitting.
sions, her initially monotone singing voice Email: kanday1961gutentag@gmail.com
dramatically improved to the point she was
able to confidently perform the songs in chiharu wakasugi is a music therapist. Her
front of us and her parents. Auditory-Oral specialty is playing the piano and dancing.
391
cLinicaL appLicatiOns Of neUrOLOGic MUsic tHerapY

(nMt) tecHniQUes in nOn-MeDicaL settinGs
Yuka Kasuya-Ueba, MMT, MT-BC, RMT (Japan), NMT (fellow)
Kurashiki Sakuyo University, Japan
Kyoto University Graduate School of Medicine
Miho Sugihara, RMT (Japan), NMT (fellow)

Izumoshimin Rihabilitation Hospital
Ai Matsushita, RMT (Japan), NMT

Social Welfare Corporation Tojoalicekai Shiltopiayuki
Hiroko Komatsu, RMT (Japan), NMT

Social Welfare Corporation "Zeno" Syounenbokujyo "Zeno" Yamabikogakuen
abstract tual disability, potentially having autistic

characteristics, and hyperactive tendencies.
Three Japanese music therapists will des- Because of the difficulties of processing mul-
cribe their work utilizing NMT techniques in tiple stimuli, he was easily disturbed during
non-medical settings. The NMT founder, Dr. tasks. As a result of participating in “Musical
Michael Thaut, will provide comments from Attention Control Training” interventions,
a research standpoint, and Mrs. Johnson, his attention control improved.
the pioneer NMT practitioner will share va-
rious clinical experiences to deepen discus- Ms. Matsushita will present about her work
sions on NMT applications in non-medical with an 86-year-old woman in a nursing
settings. home who suffered from aphasia after stroke.
To meet her treatment goal to increase non-
Description propositional reflexive speech, she utilized
“Musical Speech Stimulation”. The client sho-
The purpose of this symposium is to (a) in- wed improvement in her daily conversation.
troduce clinical applications of NMT in non-
medical settings and (b) discuss possibilities Ms. Komatsu will report her works with a 54-
and limitations of NMT applications for pe- year-old female with Down syndrome who
ople who are not in acute rehabilitation. Al- developed Alzheimer’s disease. Her decline
though NMT was introduced in 2006 in in daily living activities was reducing her par-
Japan, many therapists still think that NMT ticipation in activities. “Therapeutic Instru-
is effective only in medical-related settings. mental Music Performance” was applied to
Ms. Sugihara will report her work with a 14- increase endurance in her hands and arms.
year-old boy diagnosed with severe intellec- With a 40-year-old male client with severe in-
392
tellectual disabilities, “Music in Psychosocial Thaut, M. H. & Hoemberg, V. (2014). Hand-

Training and Counseling” was utilized to im- book of Neurologic Music Therapy. UK:
prove his emotional control. In both cases, Oxford University Press.
gradual progress was observed in sessions. Hurt-Thaut, C., & Johnson, S. (2003). Neuro-
logic music therapy with children: Scien-
Mrs. Johnson will share her clinical expe- tific foundations and clinical applications.
rience with community exercise groups utili- Music therapy in pediatric healthcare:
zed NMT sensorimotor techniques and with Research and evidence-based practice,
an outpatient pediatric group utilized NMT 81-100.
techniques for developing cognitive, speech
and language, and sensorimotor skills. about the authors
These reports show that music therapy in- Yuka Kasuya-Ueba, MMT, MT-BC, NMT fe-
tervention encourages brain plasticity, one llow, is a junior associate professor at Kuras-
of the basic concepts of NMT, for clients in hiki Sakuyo University, the only school in
the chronic phase, developmental phase, Japan which offers the class focused on
and with severe congenital disabilities. NMT.
Email: yuka.kasuya@ksu.ac.jp
references Presenters in this symposiums, Miho sugi-

hara, ai Matsushita, and Hiroko Komatsu
Thaut, M. H. (2005). Rhythm, Music, and the are former students of Kurashiki Sakuyo Uni-
Brain: Scientific Foundations and Clinical versity and all are certified as a neurologic
Applications. NY: Taylor & Francis Group. music therapist.
393
effects Of MUsic actiVities On attentiOn cOntrOL Of

cHiLDren: an eXperiMentaL stUDY
Yuka Kasuya-Ueba
Kurashiki Sakuyo University, Japan
Kyoto University Graduate School of Medicine, Japan
Dr. Motomi Toichi

Kyoto University Graduate School of Medicine, Japan
The Organization for Promoting Neurodevelopmental Disorder Research
abstract perience difficulties participating in group

playing, working at tasks, delays in learning,
Participants (n = 34) were normal, healthy and difficulties building relationships with
children aged six to nine years. The study in- peers which can lead to cognitive and social
vestigated the effectiveness of music activities “stumbles” (Kasuya, 2012).
for attention control. The attention assess-
ment, TEA-Ch (The Test of Everyday Attention The purpose of this study was to (a) examine
for Children), was given before and after inter- the effects of music activities on children’s
active instrumental activities and interactive attention control and (b) investigate the
TV game activities in two separate trials. In types of attention (sustained, selective, swit-
this poster presentation, results that data ching, or divided) enhanced by music activi-
analysis of the assessment revealed the effec- ties.
tiveness of interactive instrumental activities
on their different types of skills such as sustai- In this repeated-measures design study,
ned, selective, and attentional control/swit- thirty-four children aged six to nine years
ching attention will be shown. participated. Six of the 34 participants were
excluded from statistical analysis, because
Description three were considered to have possible de-
velopmental disabilities by the psychiatrist,
Through engagement with one’s environ- a research collaborator for this study, and
ment, attention functions develop in a step- the other three scored as extreme outliers
wise fashion from early childhood. If the in the TEA-Ch. Each participant took part in
development of these basic functions, which 30-minutes of interactive instrumental
underlies higher brain function such as cog- music activities and interactive TV game ac-
nition and learning, is immature or functions tivities on two separate days. The TEA-Ch
inappropriately, other abilities are affected, was administered before and after each ses-
including cognitive function, social and com- sion. The results of the statistical analysis of
munication skills. For example, children with the TEA-Ch scores will be demonstrated in
ASD who show attention problems likely ex- the presentation.
394
references experimental study using the test of at-

tentional functions for children). The
Thaut, M. H. (2005). Rhythm, music, and the 14th Japanese Music Therapy Association
brain: Scientific foundations and clinical Annual Conference Proceedings, 107.
applications. NY: Taylor & Francis Group.
Kasuya, Y. (2012). Jiheisho Supekutoramu about the authors
Shougaiji no Cyuui Kinou no Kaizen wo Mo-
kuteki to shita Ongakutekikunren ni kan- Yuka Kasuya-Ueba, MMT, MT-BC, RMT, is a ju-
suru Bunkentekikentou (Review of related nior associate professor at Kurashiki Sakuyo
literature on musical training for improving University, with doctoral work in ASD, music,
attentional functions in children with Au- and brain science at Kyoto University Gra-
tism Spectrum Disorders), The annual of duate School of Medicine.
music psychology & therapy, 41, 23-37. Email: yuka.kasuya@ksu.ac.jp
Kasuya, Y. (2014). Ongaku Katsudou ga Jidou
no Chuuikinou ni motarasu Eikyou: Jidou- Motomi toichi, M.D., phD
youcyuuikinoukennsa wo mochiita jik- Kyoto University Graduate School of Medi-
kentekikenkyuu (Effects of musical acti- cine, The Organization for Promoting Neuro-
vities on attention control of children: An developmental Disorder Research.
395
VaLiDatiOn Of tHe effectiVeness prODUceD BY

“OtO raKU traininG” UsinG sMaLL instrUMents
Izumi Katsuragi
International College of Music Therapy, Japan
Erika Watanabe
International College of Music Therapy
purpose of research and a test for abilities in activities of daily li-

ving, as indicators for balance function (js-
8.5 million Japanese of aged 65 or older are star 2012). As indicators for cognitive func-
estimated to have dementia or to be at risk. tion, we also carried out the Group-style
“OTO RAKU training” is an exercise program Matsui Word Memory Test (immediate re-
that uses small percussion instruments. The call/delayed recall). In all of these tests, we
program was developed by music therapists, made comparisons between performance
physical therapists, and health/fitness pro- before and after the intervention by using a
gram developers. The purpose of this pro- t-test (a=.05). In the last session, we also ca-
gram is to increase or maintain balance and rried out an individual survey on the degree
cognitive function as a form of care preven- of the subjects’ satisfaction.
tion. The program is aimed at healthy adults
who are over 65 years old. The purpose of results
our research is to examine effectiveness of
our program. We compared results of the pre- and post-
intervention tests. Although we found sig-
subjects nificant improvements in gait ability and
IADLs in both groups, no special effect from
Twenty healthy elderly women aged 75.6 on the “OTO RAKU training” was found. This
average who had not exercised regularly we- was because we also saw significant impro-
re divided into the intervention group (12 vements in those skills in the control group,
people, avg. age 75.41±3.57) and the control and we could not find significant differen-
group (8 people, avg. age 75.87± 2.75). ces between the two groups in this study.
The results of the group-style word me-
Methods mory test by Matsui for delayed recall sho-
wed that mean difference was slightly
We provided “OTO RAKU training” over the higher in the training group (One tailed:
course of ten sessions from December in t(11)=-2.17, p<.05.). The results of the
20xx to March in 20xx＋1. Each session was questionnaire survey showed that the trai-
one hour in length. We carried out two types ning group's levels of satisfaction was high
of tests, namely a test for walking ability, in all five fields.
396
Discussion This program also could be a sustainable ac-

tivity because participants’ satisfaction levels
Satoh and colleagues (2014) reported that were high. However, our results needed to be
physical exercises with music were effective generalized carefully due to the small number
in improving and maintaining cognitive func- of subjects and lack of significant difference
tions. Participants in the training group lear- found between groups in physical tasks. The
ned the music well, which enabled them to comparison of larger and more varied groups
anticipate when movement and performing remains a task for future research.
tasks would occur. Therefore they were able
to produce rhythm with proper timing, and references
they were also able to perform movements
more smoothly. Konoike’s study (2012) sug- Satoh, M., Ogawa, J., Tokita, T., Nakaguchi,
gested that when rhythm information is pro- N., Nakao, K., Kida, H., & Yomimoto, H.
cessed in the brain, all tasks, such as (2014). The effects of physical exercise
memorizing, storing, and retrieving the infor- with music on cognitive function of el-
mation are processed in the same network derly people: Mikihama-Kiho Project,
area as in the case of exercise. Therefore, PLOS ONE 9 (10) doi: 10.1371/journal.
physical exercise with music, such as playing pone.0111284
percussion instruments could be an interven- Konoike, N., Kotozaki, Y., & Nakamura, K.
tion where people practice patterned and se- (2012). Rhythm information represented
quenced movements repetitively, and that in the fronto-parieto-cerebellar motor
could activate areas in the brain that are re- system. Neuroimage, 63 (1), 328-338.
lated to cognitive functions. If they are moti- doi:10.1016/j.neuroimage.2012.07.002
vated and feel a sense of achievement and
satisfaction, it would be possible to decrease about the authors
their feelings of resistance or fear toward par-
ticipating in physical programs. The satisfac- izumi Katsuragi: music therapist, OTO RAKU
tion questionnaire shows some positive trainer.
comments regarding those feelings. In con- Email: izumikatsuragi0110@gmail.com
clusion, “OTO RAKU training” could be bene-
ficial for healthy older adults in preventing erika watanabe: music therapist, a curricu-
decline in physical and cognitive functions. lum coordinator.
397
tHe effectiVeness Of inDiViDUaLiZeD MUsic tHerapY

BaseD On MUsicaL preferences
Miho Kawamura
Yoriko Kohara
abstract truments, with “Twinkle Twinkle Little Star”

as the final song. From X + 1 year and 3
It is difficult to ascertain the effectiveness months, an infrared thermal imaging camera
of music therapy in patients with severe (InfReC R300SR-S, Nippon Avionics Co., Ltd.)
motor and intellectual disabilities simply by was used to measure skin temperature at 5-s
observing their behavior. Therefore, the ef- intervals during the sessions. For the analysis,
fectiveness of music therapy was objecti- we used the mean value of the nasal skin
vely evaluated by measuring autonomic temperature, where the peripheral blood
changes in skin temperature using mini- vessels were distributed.
mally invasive thermography.
results
Method
The mean skin temperature was 31.95°C at
This study investigated the effectiveness of the start and 34.09°C at the end of the ses-
music therapy based on the changes in the sions, indicating a rise in temperature of
skin temperature of a subject. Individualized 2.14°C.
music therapy is based on musical preferen-
ces, and this therapy helped increase vocali-
zation, the playing of musical instruments,
and voluntary participation of this individual.
Mr. A, a 47-year-old male with craniosynosto-
sis and language impairment (Type 1, Level 2)
was residing in a support facility for disabled
persons; he did not speak but vocalized vo-
wels, making it difficult to determine what he
wanted. Since X, he had been undergoing we-
ekly individualized music therapy sessions,
and each session lasted for approximately 40
mins. In these musical improvisations, the
therapist played the piano according to Mr.
A’s vocalization or Mr. A played musical ins- Figure 1. Skin temperature before session.
398
jects who have difficulty in communicating

and expressing emotions.
references
Kumamoto, M. (2009). Study on evaluation

method of stress: Nasal skin temperature
and psychological state. Sanyo Review,
16, 39-48.
Kawamura, M. & Kohara, Y. (2016). A study on
the effect of individual and group music
therapy for severe motor and intellectual
disabilities -Skin temperature measure-
Figure 2. Skin temperature after session.
ments using thermography effectiveness
of individual and group music therapy for
conclusion persons with severe mental and physical
disabilities. Journal of KOBE Women’s Uni-
Kumamoto (2000) et al. reported that nasal versity for Educational Sciences, 29, 51-65.
skin temperature falls with pain or anxiety. In
this study, the skin temperature rise indicated about the authors
relaxation, suggesting that the playing of mu-
sical instruments, which was a major part of Miho Kawamura, M. ed., RMT(Japan), is mu-
the sessions, reflected Mr. A’s preference. sic therapist and research student of KOBE
Moreover, during “Twinkle Twinkle Little Women’s University Graduate School.
Star,” which contains high-register notes that Email: miporiina21@yahoo.co.jp
we infer Mr. A preferred, he reached for the
musical instruments between the end of the Yoriko Kohara (Ph.D., RMT(Japan), CP(Japan),
song and the end of the session, and the skin PSW) is music therapist, Clinical Psychologist
temperature was found to be highest at and works as associate professor at KOBE
34.32°C during this time. These results sug- Women’s University Graduate School.
gest the significance of considering the pa- Contact: kohara.yori@suma.kobe-wu.ac.jp
tient’s preference as well as the musical
register used during the sessions. Therefore, Disclosure
skin temperature measurements allowed the
determination of subject preference in this This work was supported by JSPS KAKENHI
study. Further study is needed in more sub- Grant Numbers 21530750, 15K04169.
399
tHe iMMeDiate effect Of rHYtHMic aUDitOrY

stiMULatiOn On tHe Gait Of strOKe aDULts
DepenDinG On tHe cHOrD cHanGes
Ji-Seok Kim
Music Therapist in Gachon Integrated Development and Psychology Center, Korea
abstract using MIDI programs to keep the tone, velo-

city, and tempo.
In studies about music and brain responses,
musical chords were shown to activate the result
frontal lobe of the listener. This is thought to
be helpful in the gait rehabilitation of stroke First, as a result of conducting RAS gait trai-
patients because the frontal lobe contains ning, there was an instant statistically signi-
the primary motor area involved in all volun- ficant increase in cadence, velocity, and
tary movements of the body. This study was stride length in the consonance and disso-
conducted to verify these theories. nance groups.
Description Second, as a result of analyzing the compa-

rison of changed gait function between the
The purpose of this study was to examine groups, no statistically significant difference
the influence of chords on Rhythmic Audi- was presented.
tory Stimulation(RAS) by looking into instant
effects of gait function based on the type of Overall, it was revealed that RAS has an instant
chord when applying RAS to adult stroke pa- effect on the enhancement of gait function of
tients. Single session RAS gait training was stroke patients, regardless of the type of
conducted by dividing 62 adult stroke pa- chord. Also, it was revealed that the degree of
tients currently under hospitalized treat- gait function increase was higher in the conso-
ment into a ‘consonance’ group of 31 and nance group than the dissonance group al-
‘dissonance’ group of 31. The influence of though it is not statistically significant.
consonant and dissonant chords on RAS was
verified by using cadence, velocity and stride The details of music and the therapeutic in-
length presented in each group. tervention in this study will be discussed fur-
ther in this presentation.
Based on Helmholtz and Stumpf's theories
(Kim, 2013; Lee, 2005; Helmholtz, 1954), references
three consonant intervals (octave, perfect
fifth, perfect forth) and three dissonant in- Foss, A. H., Altschuler, E, L., & James, K. H. (2007).
tervals (major second, minor seventh, minor Neural correlates of the Pythagorean ratio
second) were used. Chords were provided rules. Neuroreport, 18, 1521-1525.
400
Helmholtz, H. (1954). The sensation of tone. potential study of sensory consonance and
New York: Dover Publications. dissonance in musicians and nonmusicians.
Kim, Y. (2013). Read the Helmholtz’s listen Neuroreport, 20, 87-92.
theory. Perception and cognition of music Seoul Medical University. (2014). Neurology.
2 (pp. 45–62). Seoul: Music world. Seoul: Seoul university publication cultu-
Komeilipoor, N., Rodger, M. W. M., Craig, C. M., ral institute.
& Cesari, P. (2015). Harmony in movement:
Effects of musical dissonance on movement about the author
timing and form. Experimental Brain Rese-
arch, 233, 1585-1595. Kim Ji-seok is an M.A in Gachon graduate
Lee, S. W. (2005). Perception and cognition of school, Music Therapist in Gachon integra-
chord. Perception and cognition of music ted development and psychology center and
1 (pp. 217-254). Seoul: Music world. Music Therapist of the National Association
Minati, L., Rosazza, C., D’Incerti, L., Pletrocini, of Korean Music Therapists.
E., Valentini, L., Scaioli, V., … Bruzzone, M. Email: k860208@naver.com
G. (2009). Functional MRI/event-related
401
effect Of MUsic tHerapY as preVentiVe care

Isoda Kimiko, RMT (Japan)
Casa Day-servis
Sekiya Masako, RMT (Japan)

Sapporo Otani University, Japan
introduction evaluated after each therapy session using the

Mood Check List-Short Form (MCL-S.1) which
The weakening of the elderly body and the measures feelings of pleasure and relaxation.
decline of cognitive function are becoming
a social problem. Many methods are being Although the individual cognitive function
studied to uphold the maintenance of physi- scores using MMSE did not change signifi-
cal function. It is thought that it is effective cantly after therapy, the mean score increa-
to utilize music familiar from birth to pre- sed slightly. We suppose that cognitive func-
vent aging. Therefore, this study practiced tions were maintained at existing levels wi-
active group music therapy as long-term thout deteriorating. With the MCL-S.1 mea-
care prevention, 12 times every other week suring emotion, a significant difference was
for 6 months. It aimed to examine whether observed in the level of feelings of pleasure
music therapy is effective for improving cog- and relaxation before and after therapy.
nitive function and emotion.
Feelings of anxiety were reduced after music
Method therapy, although not significantly. From these
results, it became clear that active music the-
In this study, music therapy was conducted by rapy suppresses cognitive decline and enhan-
two music therapists for 1 hour every other ces pleasant feelings and relaxation, as ex-
week for 6 months (12 times total). Subjects pressed by key words such as “fun” “viva-
were elderly residents in the community. cious” and “laid-back”. This study suggests
Contents of active music therapy were as fo- that music therapy is an effective preventive
llows: Greetings, introducing conversations tool for cognitive function and emotion.
about seasons, singing seasonal songs, pla-
ying music bell etc. as simple music instru- summary
ment, and singing familiar songs. Finally,
singing a song at a relaxed tempo and a cool- Declining physical and mental functions can-
down with closing words. not be avoided with age. However, it is pos-
sible to delay the degradation.
Cognitive function was evaluated using the
Mini-Mental State Examination (MMSE) im- references
mediately before the first and immediately
after the twelfth (last) session. Emotions were Kitamura, T. (1991) Mini-Mental State (MMS).
402
Ohtsuka, T. and Honma, A. (Eds) Guide of about the authors

the examination of intellectual function
for elderly people, 35-38, World Planning isoda Kimiko, Master of Education RMT, Japan.
(Tokyo) (In Japanese). Email:casa@blue.ocn.ne.jp
Hashimoto, K. and Tokunaga, M. (1996). Re-
liability and validity of the Mood Check sekiya Masako, Master of Education.
List-Short Form 1(MCL-S.1). Measuring
the mood state during exercise. J. Health
Sci., 18, 109-114 (In Japanese).
403
twO aspects Of Japanese cULtUre anD tHeir infLUence

On MUsic tHerapY
Hiroko Kimura
Kumamoto University, Japan
abstract ches. This study considers some aspects of

Japanese culture that affect music therapy
In Japan, group singing is popular in music there, and looks at the possibilities of ma-
therapy for the elderly. This seems to reflect king use of it in other cultural contexts, to
its collectivistic culture but also contains in- establish a wider scheme of music therapy.
dividualistic cultural aspects, as Zen and love
of nature exemplify. Music therapy in va- individualism and collectivism
rious countries, not just Japan, will be more
fruitful if both these aspects are considered. Harry C. Triandis, a cross-cultural psycholo-
gist, sees individualism as consisting of loo-
Background sely linked individuals who view themselves
as independent of collectives, and he sees co-
The theory and practice of music therapy llectivism as a social pattern consisting of clo-
was initially developed in the United States sely linked individuals who see themselves as
and Europe, and then spread throughout parts of one or more collectives (family, tribe,
the world. Today one of the foci of music nation, etc.). He noted that although coun-
therapy appears to be how to integrate wes- tries such as Brazil, India, Japan, and Russia
tern theories and practices with non-wes- are seen as being collectivist countries, with
tern cultures and vice-versa. Japan is often France, the United States, the United King-
categorized as a collectivistic culture (Hofs- dom, and Germany as individualistic coun-
tede, 2010; Triandis, 1995), but some cultu- tries, both collectivistic and individualistic
ral psychologists point out that there are elements can be found in all these countries
several unusual aspects in Japanese collec- in different combinations (Triandis, 1995).
tivism that mark it out from other collecti-
vistic cultures (Clark, 1978; Hall, 1976). Since Japanese culture and Music therapy
the 1960s, Zen, a Japanese Buddhist philo-
sophical practice, has drawn attention Japanese culture is considered to be homoge-
among Western intellectuals and artists, for neous, group-centered, and interdependent,
example John Cage. Zen encourages us to where people avoid conspicuous behavior.
concentrate on self and intuition, which These characteristics are connected to the de-
means it has individualistic characteristics. velopment of group music therapy in Japan,
Cultural issues contain various complex as- especially group singing for older people. Al-
pects, dividing them into a simple dicho- though group singing has the merit of fostering
tomy is not appropriate but some mixing of bonds and inspiring reminiscence, it tends to
aspects is possible to create new approa- repress free individual expression, which may
404
result in some stress for individuals. Japanese Hall, E. T. (1976). Beyond culture. New York:
people, accustomed to living in a collectivistic Anchor Books.
culture, know how to avoid stress by focusing Hofstede, G., Hofstede, G. J., & Minkov, M.
on their inner world. For example, Zen focuses (2010). Cultures and organizations: Soft-
on the true self, valuing individual existence. A ware of the mind (3rd ed.). New York:
large part of Japanese art, such as poems, McGraw-Hill.
paintings, and music, have a deep connection Markus, H. R. & Kitayama, S. (1991). Culture
to nature, and personal feelings often incar- and the self: Implications for cognition,
nate in a scene of nature. emotion, and motivation. Psychological
Review, 98(2), pp.224-253.
This suggests that Japanese culture seems to Nisbett, R. E. (2003). The geography of
put importance both on the group and the thought: How Asians and Westerners
individual, and Japanese music therapy can think differently…and why. New York:
be more effective if these cultural aspects Free Press.
are considered. Music therapists from other Stige, B. (2002). Culture-centered music the-
cultures may also do well to consider how rapy. Gilsum: Barcelona.
the mix of collectivistic and individualistic Triandis, H.C. (1995). Individualism & collec-
aspects operates in their culture and how to tivism. Boulder: Westview Press.
adjust their music therapy accordingly.
about the author
references
Hiroko Kimura, a musicologist (MA) and a
Clark, G. (1978). The human-relations so- RMT, is an associate professor of Kumamoto
ciety and the ideological society. The University, who has worked as a music the-
Japan Foundation Newsletter. Retrieved rapist with older people and children with
from http://gregoryclark.net/jfounda- special needs.
tion.html on 2016. 05.28 Email: pkimura@kumamoto-u.ac.jp
405
acOUstic cHaracteristics Of tOne anD instrUMents

fOr cHiLDren Of HearinG DifficULitY
Hiromi Kinemuchi
ARIAKE College of Education and the Arts, Japan
introduction proximately 30 to 70(dBSPL).The stimuli dis-

crimination task: In considering the acoustic
The development of hearing is an important characteristics of tones and instruments for
factor in the understanding of communica- children with hearing difficulties, I designed
tion. However, there are few studies that con- two types of tasks as follows: Task 1 was for
sider the cognitive system for auditory me- discrimination of rhythm (wadaiko – Japa-
mory and its relationship to hearing stimulus. nese Drum) and Task 2 was for discrimina-
Since music sounds are not related to seman- tion of pitch (violin, oboe and voice). These
tics in the same way as spoken language is for made up four varied sounds. The stimuli for
children, especially children with hearing dif- the discrimination tasks included five pat-
ficulties, we chose to examine hearing ability terns. Each stimulus for each task was made
in the short term memory of study partici- up of two or four separate phrase from one
pants, without determining a language deve- of five different tunes selected from an ele-
lopment level. This led us to examine whe- mentary school music textbook in Japan. In
ther children with hearing difficulties could the present research, selected themes of in-
discriminate sequences of rhythm and pitch. dividual compositions were used in the tes-
This study tests listening performance, based ting of children with hearing difficulties.
on musical sounds and the ability for children These stimuli were acoustically analyzed by
with hearing difficulties to categorize musical sounds analysis software (Speech Analyzer).
sounds. The analysis will be focused on how
to hear differences in sound and music of mu- Task 1: I investigated the discriminatory abi-
sical instruments. The ultimate goal of this re- lity for the sequence of rhythm in partici-
search is to help music therapists explore the pants. This task was categorized by testing
acoustic features of easy listening music for five sounds played on a wadaiko.
hard-of-hearing child.
Task 2: I investigated the discriminatory abi-
Method lity for the sequence of pitch in participants.
This task was categorized by testing five
Participants: The participants of this study sounds played on a violin (Task 2-a), oboe
are children with hearing difficulties. They (Task 2-b), and vocal sounds (Task 2-c).
are Middle School children enrolled in the
Deaf School. Their hearing levels range from Procedure: At the beginning of each task,
approximately 70 to 120(dBHL), and Aided participants received instruction regarding
Hearing Thresholds (A.H.T.) range from ap- sounds to pay attention to. In order to per-
406
form the task, all participants were asked to difficulties preferred the timbre of the Japa-
listen for stimuli to discriminate in each of nese drum, and key musical instruments
the patterns. from the five types of experiments.
results and Discussion references
In Task 1, participants were able to perform Kinemuchi, H., Sudo, T., & Hamada, T. (2001).
at 88% accuracy. The acoustic characteristics Ability of children healing impairments to
of this music were analyzed by a sound spec- categorize as music sounds played on a
trogram that measured sound pressure as Japanese Drum (wadaiko). The Japanese
well as pitch level for each sound. It was Association of Special Education, 38(4),
found that the sounds played on the wadaiko 11-20.
could be constructed within intervals of sin- Snyder B. (2000). Music and memory: An
gular tones, without adding other tones or introduction. The MIT Press.
harmonies to the musical resonance. In Task Thompson,W.F. (2008). Music, thought, and
2, the score which participants gained in tests feeling: Understanding the psychology of
were an average rate of 79% accuracy in ca- music. Oxford University Press.
tegorizing discrimination of sounds played on Sudo, T. & Kinemuchi, H. (2010). The science
the 3 instruments (violin, oboe, voice). Howe- of musical expression. ARTES publishing.
ver, there was a high variance in the rate with
the individual children. about the author
conclusion Hiromi Kinemuchi, Ph.D. is a professor at

ARIAKE College of Education and the Arts.
In this present research study, we found that My research interests include auditory me-
children with hearing difficulties could cate- mory in children with developmental disabi-
gorize the contour of musical sounds at an lities.
amazingly high rate. Children with hearing Email: kinemuchi@ariake.ac.jp
407
triaL Use Of MUsic tHerapY in Japanese

eLeMentarY scHOOLs
Kumiko Kishi
Elementary School Music Teacher (Japan)
Chiyuki Sugihara
NPO Free-a-Stage (Japan)
abstract blems. The author, a music teacher, reports

on two children displaying problematic be-
The perspectives and techniques of music the- havior who were subjects in a trial to intro-
rapy were used to support children with produce the perspectives and techniques of
blematic behavior, which showed a reduction music therapy in two scenarios: regular
following repeated sessions. The author, a music lessons and special-class activities to
music teacher, reports on the insights gained support autonomy, each lasting 20 minutes.
through therapy practice and professional su- The cases, as reported to the JMTA: (1) In-
pervisions, and discusses the effectiveness corporate music therapy in the classroom
and issues of music therapy in education. for pupils who have issues with self-esteem
and cooperativeness, since it can help work
Description to restructure interpersonal relationships
through ensemble play on Japanese drums.
Music education in Japan has a tendency to (2) Attempt to recognize the perspectives
favour music which represents the changing and benefits of music therapy in special clas-
of the seasons, and helps listeners feeling ses, as well as changes in motivation to-
them. Furthermore, at events like school en- wards learning and self-esteem needs, via
trance and graduation ceremonies, people instrument playing. Following, successful ex-
sing traditional songs. The current compulsory periences within the special class and regu-
education in Japan guarantees that the needs lar class groups, the children exhibited an
of each student with a disability will be met, altered sense of self-esteem and need for re-
whether it be at a school for students with cognition and reduced problematic beha-
special needs, or at a mainstream elementary vior. The feelings of fulfillment and accom-
or junior high school with special classrooms plishment positively affected the pupils’ mo-
established to encourage independence and tivation, reducing problem behavior at school
social involvement for those living with disa- and home (verbal and physical abuse of
bilities. Statistics show 129,018 Japanese pu- others, walking out of the room, etc.). The
pils are enrolled in special elementary school trial was instructive in the importance of (1)
classes, while approximately 7.75% of those understanding the specific nature of the di-
in regular classes have potential developmen- sorder and environmental and family factors
tal disorders and require special education (2) understanding and respecting the fee-
support due to emotional and behavioral pro- lings of isolated children (3) coordinating
408
with families and other teachers (4) atten- the understanding of music therapy among
ding professional supervisions. As the sub- families and teachers (2) securing curricu-
jects were physically and manually unapt, lum time for music therapy.
and known to have little experience in coo-
perative activities, the teacher built em- Facing the above challenges, it is essential for
pathy by playing piano and having the the students to experience, enjoy their own
subjects keep time with their own instru- musical expression, and understand the be-
ments. Later, these subjects started to con- auty, joys of expressing themselves through
nect with other children as they began collaboration with others at school.
learning how to form relationships with and
through the author. Subsequently, using so- references
othing childish words and expressions, the
subjects were later encouraged to play ins- Naikakufu, H. (2015). 27-nendoban Kodomo/
truments together. Coordination with fami- Wakamono Hakusho (White Paper on
lies and other teachers was promoted through Children and Young People 2015). Tokyo:
reference to the positive effects. In the pe- Cabinet Office, Government of Japan.
riodic supervisions, appropriate response Okada, T. (2011). Aichaku-shogai Kodomo-
techniques were learned through analysis of jidai wo Hikizuru Hitobito [Attachment Di-
video recordings and the author reflected on sorder: People Still Carrying the Baggage
the appropriate mental attitude when con- of their Childhood]. Tokyo: Kobunsha.
fronting problematic behavior. These in-
sights were used as feedback to adjust class- about the authors
room approaches. A music therapy program
adapted to individual or group emotional is- Kumiko Kishi (RMT, Japan) teaches music at
sues was found to provide emotional sup- a public school in Osaka. Affiliated to the
port. By introducing music therapy pers- NPO Free-a-Stage, she is engaged in introdu-
pectives and techniques, the author was ap- cing music therapy into music education
parently able to reintegrate the subjects in under the supervision of chiyuki sugihara.
the group. Future issues are (1) improving Email: kumikonkon.kk@gmail.com
409
wHat was reQUireD Of MUsic tHerapY in east Japan

eartHQUaKe eVacUatiOn sHeLters?
Haruka Kitamura
Music therapist at Ekubo, Japan
Nobuko Saji
Emeritus Professor of Miyagi University
introduction 5 shelter staff members and volunteers. The

program consisted of physical exercises,
The Great East Japan Earthquake occurred hand movements to music, singing, and pla-
on March 11, 2011, producing the largest ying instruments. Behavioral records were
tsunami ever recorded in Japan and causing made from post-session assessments by MT
immense damage. staff and video recordings taken by MT staff.
Consent for video recording was obtained
Six weeks later, the authors conducted a sur- from staff and MT participants after it was
vey of needs at evacuation shelters B, C, and explained that the recordings would be de-
D in City A, which suffered tsunami damage. leted after use.
It was found that shelter staff had difficulty
providing support for all the disaster victims, results
and when family members went out to clean-
up efforts, support was needed for people re- Behavioral records showed changes in (1)
maining in the shelter. We provided music the subjects’ location before and during MT,
therapy (MT) at shelter B during mornings as (2) conversation, and (3) physical activity. (1)
requested by shelter staff, and investigated Before MT, Ms. E waited in the rear the first
what was required of MT at shelter B. time but in the second and later sessions
moved to the middle or front. Mr. F waited
Method in a rear corner the first time, but in front of
the Th for the final session. During MT, both
The subjects were 2 MT participants who at- Ms. E and Mr. F participated from various
tended continuously of the total of 26: Ms. places in the shelter, but in the final session
E (73-year-old woman) and Mr. F (77-year- all participants had gathered toward the
old man). MT was held 4 times during May front. (2) During MT, most conversations
2011. Ms. E participated all 4 times and Mr. were between participants and shelter staff
F participated 3 times. The MT was held in or Th during the first three sessions, but in
shelter B (approx. 140 m2), with sessions of the final session participants chatted with
about 30 minutes each based on the wishes each other. In contrast, after each session
of shelter staff. The MT staff was 1–2 music both Ms. E and Mr. F talked with Th and
therapists (Th) and 1 pianist, assisted by 3– other participants before returning to their
410
living areas. After the final session, all parti- F exercised with the group and Th, and
cipants not only chatted with each other but that Ms. E changed her location seems to
also spoke about their future worries and indicate that MT “gets people moving”
anxiety. (3) During MT, Ms. E moved from (Takumi, 2013) and is one way to prevent
the rear to the middle or front when the disuse syndrome.
music started playing and went from sitting
to standing. She also showed original move- conclusions
ment in the second and later sessions. Mr. F
stood from the first session and participated What shelter residents needed was:
from the rear, but did not show any original
movement. 1. A time away from the worry, anxiety and
tension of life in the shelter. MT was an
Discussion occasion for relief of stress and interac-
tion with other victims.
1. The subjects’ movement from the rear to 2. MT also provided a place for physical mo-
the front or across from the Th while wai- vement by elderly people who spent their
ting for MT is thought to show that MT was days in the shelter, and it allowed their fa-
something they enjoyed. Their varying lo- mily members to leave the shelter wi-
cations during MT is thought to be due to thout worry. It also helped to prevent
the constant strain from living together disuse syndrome.
with other disaster victims in the shelter.
However, gathering toward the front in the reference
final session suggests that MT was “a place
where they could relax” (Kato, 2011). Kato, H. (2011). Mental care from the Hans-
2. The chatting seen during the final session hin-Awaji earthquake to Tohoku. Tokyo:
indicates that MT was an occasion for Kodansha. (In Japanese.)
interaction with others as well as “a place
for self-expression” (Miyamoto et al., about the authors
2014). The conversation about worries
after the final session indicates that MT Haruka Kitamura, MA, RMT (Japan) and no-
produced familiarity and empathy among buko saji, PhD, RMT (Japan) have provided
participants from a “decreased mental im- music therapy for people with dementia in
pact from the disaster based on the kno- nursing homes and for disaster victims in
wledge that they are not the only victims” Japan for 6 years.
(Kato, 2011). (3) That both Ms. E and Mr. Email: kitamura.haruka24@gmail.com
411
effects Of MUsic tHerapY fOr MiLD cOGnitiVe

iMpairMent
Toshie Kobayashi , Takako Akaboshi
Tokyo Music Volunteer Association, Japan
Akiko Kanemaru, Kenji Ishii, Kazutomi Kanemaru

Tokyo Metropolitan Geriatric Hospital, Japan
introduction pants sang songs and played small drums

with musical beats. We examined the cere-
Mild cognitive impairment (MCI) is thought bralglucose metabolism of these patients
to be a prodromal phase of dementia. The- using FDG-PET before and after the music
refore, prevention of conversion from MCI therapy. We also performed neuropsycholo-
to dementia is one of the important targets gical tests including MMSE and Hasegawa
of therapy. Music therapy has been reported Dementia Scale-revised (HDS-R).
to be effective for dementia patients. Here,
we investigated the efficacy of music the- results
rapy for MCI.
FDG-PET after music therapy showed an im-
Objective provement of glucose metabolism in the fron-
tal lobe, especially in the prefrontal area, in 2
The aim of this study was to assess the effi- patients with MCI. This improvement of glu-
cacy of music therapy for MCI using 18F- cose metabolism in the frontal region in FDG-
fluorodeoxy glucose-positron emission PET was consistent with the activation of the
tomography (FDG-PET). frontal lobe function in these patients. They
have become more active and more commu-
Methods nicative. After the evaluation, the two MCI pa-
tients have continued music therapy, and
Participants remained as MCI after a 7 year follow-up. The
figure below shows the results of FDG-PET in
Two patients with MCI (2 males, age 75 and one of the MCI patients (upper: before music
76. Mini-Mental State Examination (MMSE): therapy: MMSE 26; middle: after music the-
27 and 26) participated in this study. MCI was rapy: MMSE 26; lower: after 7 years: MMSE
diagnosed based on Petersen’s criteria. 24). The red areas show increased activity and
the blue areas show decreased activity. Al-
Procedure though the levels of glucose metabolism were
decreased in the temporal lobe (arrow), those
Music therapy was performed for 60 minu- in the frontal lobe were improved after music
tes once every week (20 times). The partici- therapy and were still preserved after 7 years.
412
Kanemaru K, Kanemaru A, Kobayashi T, Ko-

yano K, Akaboshi T, Sakurai Y, Akaboshi T,
& Ishii K. (2013). The effects of music the-
rapy for mild cognitive impairment and
Alzheimer’s disease assessed by PET. Jpn
J of Music Therapy, 13, 87-93.
about the authors
Discussion toshie Kobayashi is a music therapist

Email: toshibun@mwd.biglobe.ne.jp
This study indicates that music therapy acti-
vates the frontal lobe function in MCI pa- takako akaboshi is a director of Tokyo Music
tients, and that music therapy may inhibit Volunteer Association.
conversion from MCI to dementia.
akiko Kanemaru, M.D: Department of Reha-
references bilitation.
Petersen RC, Doody R, Kurz A, Mohs RC, Mo- Kenji ishii, M.D: Team for Neuroimaging Re-
rris JC, Rabins PV, Ritchie K, Rossor M, search.
Thal L, & Winblad B. (2001). Current con-
cepts in mild cognitive impairment. Arch Kazutomi Kanemaru, M.D: Department of
Neurol, 58(12), 1985-1992. Neurology.
413
DeVeLOpMent Of a ratinG scaLe fOr MUsic tHerapY in

a reHaBiLitatiOn HOspitaL
Yoriko Kohara
Kobe Women’s University Graduate School, Japan
Minako Kajita
Chie Ohgushi2, Sachiko Watanabe2, Miho Kawamura1, Shiho Okuda2,

Masayuki Shirakawa2, Ryoichi Shiba2
1
Kobe Women’s University Graduate School, Japan
2
abstract Music Therapy Checklist YK (S) (MTCL-YK (S))

that has been specially developed for the el-
This study focused on “attention functions” derly suffering from dementia or other di-
that are said to have a significant impact on sorders, and the validity and reliability of
the treatment of various disorders and con- MTCL-YK (DOA) was examined.
ditions in a rehabilitation hospital. Further-
more, it has led to the development of a results
Music Therapy Checklist: Disorder of Atten-
tion Version (MTCL-YK (DOA)) to evaluate The checklist is a rating scale for assessment
the effect of music therapy on such “atten- based on the therapist’s own observations
tion disorders.” and consists of three broad classifications:
“common items,” “music scenes,” and “inter-
Method personal situations.” Moreover, it consists of
a total of 21 items, with “common items” in-
Effective music therapy techniques and pro- cluding the three items of “cognitive func-
grams such as active music therapy through tions, physical functions, and attention func-
auditory perception were selected with the tions,” and with nine items each in “music
aim of addressing “attention disorders” du- scenes” and “interpersonal situations.“ Regar-
ring the period of recovery in a rehabilita- ding inter-rater reliability for this checklist,
tion hospital. Music therapy sessions were four music therapists conducted observations
conducted with 21 participants with atten- and evaluated session videos of seven atten-
tion disorders. In order to develop a music tion disorders cases. The results showed a
therapy checklist for evaluating this effect, a high inter-rater concordance rate (intra-class
revision of the Music Therapy Checklist YK correlation coefficient: r=0.98). Further, re-
(DOA) was conducted. Targeting “attention garding criterion-related validity, correlation
disorders,” MTCL-YK (DOA) was based on the with other psychological tests was reviewed.
414
A high correlation was seen in Clinical Assess- other conditions: Focusing on the deve-
ment for Spontaneity (CAS) (r=0.80), Clinical lopment of Checklist (MTCL-YK(S)) and
Assessment for Attention (CAT) (r=0.55), and short-and long-term effects of music the-
the Function Independence Measure (FIM) rapy). Bulletin of the Faculty of Literature
(r=0.77), suggesting that it is useful as a rating Kobe Women’s University, (46), 83-97.
scale for“attention disorders.” The authors
would like to conduct further validation in the about the authors
future
Yoriko Kohara (Ph.D., RMT(Japan), PSW) is a
references music therapist and clinical psychologist and
now works as an associate professor at KOBE
Thaut, M.H..(2005). Rhythm, music, and the Women’s University, faculty of Literature.
brain: Scientific foundations and clinical Email: kohara.yori@suma.kobe-wu.ac.jp
applications. London: Routledge.
Kohara, Y., Kiyoshi,M., & Kiyoshi,N. (2013). Minako Kajita (M.ed., RMT (Japan)), chie
Ninchisyo-to no Koreisya wo Taisyo-toshita Ohgushi (RMT(Japan) and sachiko wata-
Ongaku-ryoho no Koka ni Kansuru Jissen- nabe RMT (Japan)) work as music therapists
teki-kenkyu -Chyoki-teki na Ongaku-ryoho at Hyogo Rehabilitation Center Hospital.
no Koka wo Chushin ni- (A practical study
of the effects of music therapy on elderly Miho Kawamura (M.ed, RMT(Japan)) is a
people with dementia, etc.(Report no.1): music therapist, and research student of
focusing on the effects of long-term music Kobe Women’s University Graduate School.
therapy), The Journal of Kansai Music The-
rapy Association, (11),160-167. shiho Okuda (MD, Ph.D.), Masayuki shira-
Kohara, Y., Kiyoshi, M., & Kiyoshi, N. (2013). kawa (M.A., CP(Japan)) and ryoichi shiba
Ninchisyo-to no Koreisya wo Taisyo-toshita (MD, Ph.D.) work at Hyogo Rehabilitation
Ongaku-ryoho no Koka ni Kansuru Jissen- Center Hospital.
teki-kenkyu - Checklist(MTCL-YK(S)) no
Kaihatsu oyobi Ongaku-ryoho no Tanki- acknowledgement
koka Choki-koka wo Chyushin ni- (A prac-
tical study of the effects of music therapy This work was supported by JSPS KAKENHI
on elderly participants with dementia and Grant Numbers 21530750, 15K04169.
415
MUsicaL speecH tHerapY fOr DOwn’s sYnDrOMe

cHiLDren wHO HaD west sYnDrOMe
Toshiko Kojjima, Fumihito Kasai
Showa University School of Medicine, Department of Rehabilitation Medicine, Japan
abstract the rhythm with a tambourine and blowing

in with a kazoo was used in the daily prac-
The patient was a 12 year old girl. She was tice. Once a week, the program was revie-
diagnosed with Down's syndrome, then de- wed and adjusted by a music therapist. The
veloped West syndrome in infancy. She was training session was recorded once a week
unable to speak. Musical speech therapy to check the mother’s technique and assess
was conducted. The effectiveness of this the subject’s speech development.
method was confirmed.
results
Background
After two weeks, she began to watch the mo-
Treatment of West syndrome involves Adre- vement of our mouths. After one month, she
nocorticotropic hormone (ACTH) therapy. could say a few words such as "School". After
One side effect of ACTH therapy is atrophy four months, when it was lunch time at
of the brain. This causes delay or regression school, she could say to her teacher "Give
of psychomotor development. Language ac- me". She became able to acquire some words
quisition is difficult especially in the case in daily life. It became possible to some ex-
with children with Down's syndrome. Musi- tent to be able to communicate with people
cal speech therapy was carried out at home. around her.
The aim of this study was to confirm the ef-
fectiveness of this method. conclusions
Methods Musical speech therapy was effective be-

cause a short program was carried out each
The subject was a 12 year old girl with Down's day, and she could do musical speech the-
syndrome, who developed West syndrome in rapy every day, due to a music therapist and
infancy. Her development level was DQ16. her mother working together.
Speech level was about that of an 8-month
old baby, such as " Ba Ba ". A program was references
implemented where musical speech therapy
was carried out every day for 10 minutes. Kasai, F., & Kojima, T. (2013). Music approach
She was taught every other week by a music and knowledge required for the medical
therapist, and her mother carried out day to team: music therapy and rehabilitation to
day practice. Singing with the melodies, and learn from the ground up. Ongakunoto-
humming her name and greetings by playing mosha.
416
Matsuzaki, M. (1993). Long-term prognosis of studying music therapy as a form of rehabi-

301 patients with West syndrome: evaluation litation.
of repeated course of ACTH in terms of 5-year Email: kojima-mt@med.showa-u.ac.jp
prognosis of seizure and intellectual develop-
ment. J Tokyo Womens Med Coll, 63, 178-187. fumihito Kasai is a rehabilitation specialist
who is studying the effectiveness of music
about the authors therapy as a form of rehabilitation.
toshiko Kojima is a music therapist who is
417
Let’s sinG aLOnG witH “HarMOnic tOne” in MinD！

Yasuko Kondo
Nihon Rinsho Shinri Kenkyujo, Japan
A moment to feel that a client is comfortable nance among a cavity of throat, mouth with
becomes the key while a client communicates nose, and that will be acquired not only by
with a therapist through music by the music practicing lips, tongue and jaw movements,
therapy. Quality of the music and the quality but through posture and breathing lessons.
of the therapist's voice become important.
When music therapists learn and become fa-
The essence of our music therapy is the the- miliar with harmonic overtones and the con-
rapist's voice, and the frequency analyzer cept, they will utilize it to talk and sing
software visualizes the timbre of singing during sessions. Then harmonic overtone
voice that contains harmonic tones of varied will assist them to upgrade the therapy
pitch as well as the fundamental tone. With workshops and better meet the needs of the
that idea in mind, we will demonstrate and clients. We hope you will find the clues du-
actually sing in our workshop. ring our workshop!
When you sing a single note, the frequency references

analyzer software on a computer draws dia-
grams which visualize the harmonic overto- Matsui, T. (1980). Ongaku ryoho no tebiki:
nes of varied pitch along with fundamental Ongaku ryohoka no tameno (Music the-
tones composing the singing voice. There rapy handbook: for music therapists).
are two types of harmonic overtone; the "in- Tokyo: Makino Shuppan. ISBN 978-4-
teger overtone" inspires majesty and univer- 8950-0012-3.
sality, while you will feel emotional and Nakamura, A. (2010). Baion: oto, kotoba,
intimate with "non-integer overtone". We shintai no bunkashi (Overtone: cultural
determine that the volume, fundamental history of tone, words and body). Tokyo:
tone, integer and non-integer overtones are Shunjusha Publishing Company. ISBN 978
the components of a timbre. In other words, -4-3939-5704-2.
it is ascertained that the ratio and pitch of Yoneyama, F. (2007). Utsukushii koede ni-
those harmonic overtones are the essential hongowo hanasu (Speaking Japanese in
factors of a timbre. sweet voice). Tokyo: Heibonsha. ISBN
978-4-5828-5377-3.
The singing workshop begins based on the
singing voice defined as above. We aim to about the author
sing overtones between 3,000Hz and 4,000
Hz, or the most audible range for a person. Yasuko Kondo
In particular, you will learn to keep reso- Email: yakko@kentec.ne.jp
418
DeVeLOpMent Of a prOGraM fOr DeMentia preVentiOn

UsinG a cHaracteristic Of rHYtHM
Nobuko Kubota
Nagoya University of Arts, Japan
Description I found out that their Mini Mental State Exa-

mination (MMSE) value maintains after this
The number of persons with dementia has study (F=4.441, P=0.013).
increased in recent years. Therefore, many
researchers are working on studies related Even the elderly people who do not like mo-
to dementia. vements can put this program into effect ea-
sily. And they can use this program if they do
It is said that the recovering rate of mild cog- not have musical instruments. I would like to
nitive impairment (MCI) is significantly in- announce the process and the contents of
fluenced by how appropriately we care for this program and also consider the charac-
the patients. Therefore, I think it is neces- teristic of the rhythm.
sary to make a prevention program for per-
sons with MCI. I made a program using a about the author
characteristic of rhythm and I think this pro-
gram is useful for one of rehabilitation in a nobuko Kubota, M.A., RMT is a professor at
cognitive function. Nagoya University of Arts and is doing rese-
arch to create programs which prevent mild
I put this program into effect in 67 elderly pe- cognitive impairment (MCI).
ople with MCI and got the following result. Email: nkubota@mte.biglobe.ne.jp
419
MUsic tHerapY fOr prOMOtinG seLf-cOntrOL

in cHiLDren witH aUtisM spectrUM DisOrDers
Moe Kurita†§
†Center for Child Development and Psychosomatic Medicine,
Dokkyo Medical University, Koshigaya Hospital, Japan
§Music therapy society for the study of neurodevelopmental disorders, Japan
Izumi Futamata‡§, Ryoko Suzuki†§, Azusa Uchida§, Azusa Sanpei§,

Chika Iijima§, Ryoichi Sakuta†§
‡Toho College of Music, Japan
abstract ment as the photos shown by the thera-

pist, they had to play the instrument, and
This study investigated the effect of music had to stop playing as soon as the thera-
therapy using the theme music of "Mission pist hid the photos. If the target behavior
Impossible" on improving self-control in chil- did not occur, the therapist performed the
dren with autism spectrum disorders. The appropriate prompt.
results showed significant reduction in im- 5. The therapist gave feedback on the chil-
pulsive behavior during the practice sessions dren's response by presenting a card sho-
and in daily life. Participants also showed in- wing "○" (for correct) or "×" (for wrong),
creased focus on listening to others’ speech. and by speech.
6. For each correct response, the therapist
Description drew a mark on the whiteboard. The the-
rapist explained to the children that they
This activity was carried out with two 4-year- should obtain five marks to complete the
old boys with autism spectrum disorders mission.
who had difficulties with self-control.
This activity was carried out six times. The
The following procedure was conducted for number of wrong responses by the children,
the music therapy: and the number of prompts by the therapist
were significantly reduced.
1. The children were given different musical
instruments. By the end of the training, the children had
2. The therapist sang the theme of "Mission become capable of self-control in the activity.
Impossible" in Japanese.
3.After singing, the therapist showed the The mothers of the children also reported
children photos of the instruments that that hyperactivity had significantly reduced
were given to them. in daily life, and that the children were able
4. When the children had the same instru- to listen carefully to others’ speech.
420
The results can be explained through the Email: m_kurri_e327@yahoo.co.jp

three following points:
izumi futamata: An associate professor at
1. The use of music in 5/4 time facilitated dra- Toho College of Music and a certified music
wing the children’s attention to the activity. therapist of Japanese Music Therapy Associa-
2. The children understood the feedback on tion where he is one of the executive board
their behavior because of visual information. members.
3. The children were motivated by the game
elements that increased the desire to get ryoko suzuki: A certified music therapist of
more correct marks on the board. Japanese Music Therapy Association.
references azusa Uchida: A certified music therapist of

Japanese Music Therapy Association.
Thaut, M. H. (2005). Rhythm, music, and the
brain: Scientific foundations and clinical azusa sanpei: A certified music therapist of
applications. NY: Routledge. Japanese Music Therapy Association.
Kouji, O.(2009). A Review of self-control re-
search in applied behavior analysis. chika iijima: A certified music therapist of
Psychological Research, 51, 39-45. Japanese Music Therapy Association.
about the authors ryoichi sakuta: MD, Professor, Center for

Child Development and Psychosomatic Me-
Moe Kurita: A certified music therapist of Ja- dicine, Dokkyo Medical University, Koshigaya
panese Music Therapy Association. Hospital, Japan.
421
MUsic tHerapY in paLLiatiVe care: a sUrVeY stUDY Of

tHe paLLiatiVe warD at a teacHinG HOspitaL in
sOUtHern taiwan
Alice Hui-ju Lee
Music Therapist, Taiwan
Kaohsiung Chung Gung Memorial Hospital
Ting-Yu Lai
Head Nurse
Kaohsiung Chung Gung Memorial Hospital
introduction 8. Disorientation and confusion.

9. Difficult medical and nursing interven-
The Hospice Palliative Care Act was passed tions.
by the Ministry of Health and Welfare in Tai- 10. Cultural and language barriers.
wan in 2000. There are currently 74 hospi-
tals providing palliative care. At a palliative Methods
care ward of the biggest teaching hospital in
southern Taiwan, music therapy was laun- The data were collected in the palliative care
ched in 2013. ward. From January 1st to December 31st in
2015, the total number of patients referred
Music therapy and palliative care to the music therapist was 30. At the end of
each therapy session, designed questionnai-
As a complementary and alternative therapy res were administered to the patients or fa-
in palliative care, music therapy is expected mily helpers to understand the patients’
to work cohesively with the medical team to responses to music therapy.
achieve the palliative goal. Given a scarcity
of research in this subject in Taiwan, the ap- results
plication of music therapy in palliative care
may help patients cope with: [1] The average score of the Likert scale ques-
tions was 8.8 on a 10-point scale. Regarding
1. Difficulty or withdrawal. the functions of music therapy in easing
2. Depression. pain, relieving depression, and helping pa-
3. Pain problems. tients relax, respondents overall affirm the
4. Persistent unexplained nausea or vomi- contributions of music therapy with an ave-
ting. rage score of 8.8. Among all, the patients’
5. Anxiety and fear. views on the need for MT, easing depres-
6. Insomnia. sion, and patient’s perspective on music the-
7. Extreme physical tension. rapy suitable for wider application received
422
the highest average score (8.9), while redu- references

cing physical discomfort and easing pain sco-
red the lowest (8.7). Munro, S., & Mount, B. (1978). Music the-
rapy in palliative care. Canadian Medical As-
conclusion sociation Journal, 119, 1029-1034.
about the authors
alice Hui-ju Lee received her B.S. in psycho-

logy from York University and graduated
from music therapy at the University of
Windsor in 2005.
Email: formosamt@cgmh.org.tw
ting-Yu Lai is the head nurse of the palliative

care unit at Kaohsiung Chung Gung Memorial
The positive evaluation of music therapy Hospital and is currently taking her master
from patients and their families in this study degree in nursing from Fooying University.
suggested that music therapy could contri- Email: lindayu@adm.cgmh.org.tw
bute to palliative care and encouraged more
healthcare professionals to explore the po-
tential of integrating music therapy into pa-
lliative care.
423
MUsic traininG anD psYcHOLOGicaL weLL-BeinG aMOnG

earLY aDOLescents in HOnG KOnG
Man Chong Leung, M.Ed.
The Education University of Hong Kong, Hong Kong
Rebecca Y. M. Cheung, Ph.D.

The Education University of Hong Kong, Hong Kong
Music engagement has long been conside- of age (M=13.51, SD=1.28; 52.4% boys) from
red as a medium in altering our emotions local secondary schools completed a set of
(Juslin & Sloboda, 2001). In this study we questionnaires. To measure music engagement,
examined the role of music engagement on positive emotions, and well-being, adolescents
adolescent functioning. Adolescence is a pe- completed the Music USE (Chin & Rickard,
riod of biological, psychological, and social 2012), the Positive and Negative Affect Sche-
transformation, when individuals encounter dule – Expanded Form (Watson & Clark, 1999),
potential increases in mood disruption and and the adolescent version of the Mental He-
emotion dysregulation (Arnett, 1999). Buil- alth Continuum Short Form (Keyes, 2009).
ding on the theory of music, mood, and mo-
vement (MMM; Murrock & Higgins, 2009), results
we tested positive emotions as a mediator
through which music training affects well- The model fit based on structural equation
being among adolescents in Hong Kong. modeling was good, χ2(15)=140.50, p<.001,
CFI=.96, TLI=.93, RMSEA=.08. Standardized
Method parameter estimates showed that music trai-
ning predicted positive emotions (β=.08,
A total of 1,318 Chinese adolescents at 12-15 p<.01) and psychological well-being (β=.60,
424
p<.05). Positive emotions predicted psycholo- stress, reconsidered. American Psycholo-

gical well-being (β=.35, p<.001). Unstandardi- gist, 54(5), 317-326. doi:10.1037/0003-
zed parameter estimates from bootstrapping 066X.54.5.317
indicated an indirect mediation effect bet- Chin, T., & Rickard, N. S. (2012). The Music
ween music training and psychological well- Use (MUSE) Questionnaire: An Instru-
being via positive emotions (95% CI: .001, ment to Measure Engagement in Music.
.034). These findings highlighted the role of Music Perception, 29(4), 429-446. doi:
positive emotions as a process between music 10.1525/MP.2012.29.4.429
training and psychological well-being. Juslin, P. N., & Sloboda, J. A. (2001). Music
and Emotion: theory and research. Ox-
Discussion ford, England; New York: Oxford Univer-
sity Press.
The current findings demonstrated cultural re- Keyes, C. L. M. (2009). Atlanta: Brief descrip-
levance of the theory of MMM (Murrock & tion of the mental health continuum short
Higgins, 2009) for the effects of music training form (MHC-SF). Retrieved from http://
on Chinese adolescents’ psychological well- www.sociology.emory.edu/ckeyes/.
being. These findings extended the literature Murrock, C., & Higgins, P. (2009). The theory
on the emotional and mental health benefits of music, mood and movement to im-
of music training in Hong Kong. Future scholars prove health outcomes. Journal of Ad-
should examine these pathways prospectively vanced Nursing, 65(10), 2249-2257 9p.
and examine other mechanisms through doi:10.1111/j.1365-2648.2009.05108.x
which music training affects mental health. Watson, D., & Clark, L. A. (1994). The PANAS-
X: Manual for the positive and negative
conclusion affect schedule-expanded form, 494-521.
doi:10.1037/1528-3542.8.4.494
Participation in music training evokes positive
emotions, which are crucial to adolescents’ he- about the authors
althy well-being. Translational research of
music training on prevention and intervention Man chong Leung is the lab manager of the
gearing towards improving adolescent well- Family Studies Lab at The Education Univer-
being merits future investigation in Hong Kong. sity of Hong Kong.
Email: leungmc@eduhk.hk
references
rebecca Y. M. cheung is an Assistant Profes-
Arnett, J. J. (1999). Adolescent storm and sor at The Education University of Hong Kong.
425
HOMe-BaseD cD prOJect: UsinG MUsic tO enHance

cHiLDren’s DeVeLOpMent in tHe cantOnese pOpULatiOn
Jacqueline Leung
Music Therapist, Hong Kong
Kingman Chung
Music Therapist
Bettina Wan
Music Therapist
abstract parent-child bonding at the same time. In

the first CD that they published, they have
Three Registered Music Therapists (RMTs) put the focus on developing social and com-
from Hong Kong worked together to create munication skills in young children.
the CD project entitled “Music at Home Social
at Ease”, where they put together originally Method
composed Cantonese songs to encourage pa-
rents to bond with their children in home- The three RMTs have started working on this
based music activities with goals targeting CD project since July 2014. The CD contains
social and communication development. 20 Cantonese songs, ten of which are origi-
nals pieces with lyrics, and the other ten are
introduction backing tracks. These songs were composed
by the three RMTs and each song is paired
One of the three RMTs in this CD project has with suggested activities with functional
often encountered questions from her clients’ goals. The purpose of having duplicates of
parents if there are any music therapy home- these tracks that do not include vocals is to
based exercises available, as other therapies encourage creativity within the children.
such as physiotherapy and speech therapy This allows the children to create their own
offer take-home exercises. lyrics with the support of their parents.
The idea of creating home-based music re- The CD comes with a booklet with lyrics, ma-
sources then arose, so that parents can help terials required, goals, and step-by-step ins-
facilitate the growth of their children in mu- tructions for each song for parents to carry
sical ways. Together with two other RMTs, out the activity with their children at home.
they started this CD Project, hoping that chil- Goals include getting children to start imita-
dren would be able to develop particular ting actions, to encourage eye contact, to
skills through the engagement in music acti- promote speech, to engage in turn taking ac-
vities with their parents while developing tivities and more.
426
In this project, ten children aged four to six activities in the home and later child out-
were recruited to be the singers. After 17 comes: Findings from the Longitudinal
months of training, studio recording, CD mi- Study of Australian Children. Early Child-
xing and mastering, ‘Music at Home Social hood Research Quarterly, 31, 113-124.
at Ease’ was released on 24 December 2015. Abad, V., & Williams, K.E. (2007). Early inter-
vention music therapy: Reporting on a 3-
results year project to address needs with at-risk
families. Music Therapy Perspectives, 25
People who purchased the CDs mainly inclu- (1), 52-58.
ded parents, teachers, social workers, stu- Edwards, J. (2014). The role of the music
dents, and therapists. Most of them purchased therapist in promoting parent infant at-
the CDs for therapy/training purposes and as tachment. Canadian Journal of Music
reference material. Others used it for parent- Therapy, 20(1), 41-51.
child activities. Thompson, G., McFerran, K.S., & Gold, C.
(2014). Family-centred music therapy to
Discussion promote social engagement in young
children with severe autism spectrum di-
Feedback about the CDs was collected sorder: A randomized controlled study.
through an online survey. The majority of Child: Care, Health & Development, 40
the consumers expressed that they are sa- (6), 840-852.
tisfied with the CD and that the activities ins-
tructions on the booklet are clear enough to about the authors
follow. However, some experienced difficul-
ties when delivering the activities. For future Jacqueline Leung is a registered music the-
development of the CD project, video de- rapist practicing in Hong Kong, specializing
monstration could be an addition for better in special education and aged care.
understanding of how music activities could
be delivered. Kingman chung is a registered music thera-
pist practicing in Hong Kong and director of
references International Music Therapy Centre.
Abad, V., Barrett, M. S., Broughton. M., Bettina wan is a registered music therapist
Welch, G. F., & Williams, K. E. (2015). As- practicing in Hong Kong and founder of He-
sociations between early shared music aling Voices.
427
priVate practice in MUsic tHerapY

– an internatiOnaL perspectiVe
Angel Leung, Pan Ho
Nozomi Nagasaka
Rhythm in Life, Japan
Ye-Chun Chien
Healing Art Co.,Ltd, Taiwan
Fang-Yu Liu
Bo-Chiun Clinic of Physical Medicine and Rehabilitation, Taipei, Taiwan
Private practice in music therapy has been an fession by the HK government. Currently
increased trend in the Asia Pacific-rim region. there are 42 music therapists registered with
Therapists face similar issues in establishing the Hong Kong Music Therapy Association
and managing their business. Some regions (HKMTA, 2016).
have their own music therapy credential
systems and clinical training programs, yet Japan
most regions do not have any formal music
therapy training programs. In some regions, The Japanese Music Therapy Association has
music therapy is not recognized as a profession approximately 5500 members with 9 bran-
by the government. The cultural differences in ches nationwide. The association has been
valuing music therapy as a profession and as a board-certifying its members according to
practice may have significant impacts when its own standards since 1996. Currently
operating a music therapy business. there are 2917 JMTA board-certified music
therapists. However, it is not clear how
Hong Kong (HK) many of them are actively practicing. Many
music therapists are in private practice, and
All music therapists practicing in HK hold they provide services in educational, geria-
credentials from overseas countries (US, UK, tric, mental health, palliative and medical
Australia and Canada). Since music therapy settings. Music therapy is not a recognized
service is commonly provided on a project nor regulated allied-health profession by the
by project bases, most music therapists are Japanese government yet.
in private practice, working in educational,
geriatric, mental wellness, palliative and me- taiwan
dical settings. Music therapy practice is not
a recognized nor regulated allied-health pro- The Association for the Promotion of Ap-
428
plied Music of the Republic of China was Therapist-coaches share stories, strate-
founded in 1996. As reported to WFMT in gies and advice. New York, NY, US: W W
2013, there were 20 music therapists acti- Norton & Co.
vely practicing. It is believed that the num- Silverman, M. (2005). Descriptive studies of
ber of music therapist has grown since then. private study in music therapy. Journal of
Music Therapy, 42(4), 262-270.
Music therapists work in different settings, Stewart, R., & Chambless, D. (2007). Does
including hospitals, clinics, rehabilitation fa- psychotherapy research inform treatment
cilities, nursing homes, non-profit organiza- decisions in private practice? Journal of
tions and private practice. The majority of Clinical Psychology, 63(3), 267-281.
music therapists provide service to people
with special needs, especially in early inter- about the authors
ventions. Music therapy is not recognized as
an allied-health profession by the Taiwanese angel Leung, MM, MT-BC, MTA, NMT is an
government. adjunct faculty at the Education University
of Hong Kong, and the co-founder of ICAT
Discussion (HK). Email: angel@icat.com.hk
The roundtable session will begin with music pan Ho, MT-BC, MTA is a clinical supervisor
therapists from Japan, Taiwan and HK provi- at the University of Hong Kong School of
ding an overview of private practice, inclu- Professional & Continue Education Postgra-
ding the current trend, and the role of music duate Diploma in music therapy, and the co-
therapy in their cultures and social welfare founder of ICAT (HK).
systems. Presenters will then share their ex-
periences of being music therapy business nozomi nagasaka, MT-BC, MMA is a part-
owners. Topics including rationales of esta- time lecturer at Musashino University and
blishing a practice, importance of advocacy, Tokyo Rissyo Junior College, and the founder
development of networking skills, business of Rhythm in Life in Tokyo, Japan since 2002.
strategies, ways to engage in collaboration
opportunities and utilizing community re- Ye-chun chien, MI, MA, EMBA is the founder
sources will be discussed. of Healing Art Company in Taiwan since 2013.
references fang-Yu Liu, MT-BC, MA, MEd, MFA is a PhD

Candidate in the Music Education Program
Grodzki, L. (2002). The new private practice: at National Taiwan Normal University.
429
aDVOcatinG MUsic tHerapY:

a GeneraL eDUcatiOn eLectiVe in a fULL-tiMe
HiGHer eDUcatiOn cUrricULUM
Angel Leung
Martin Lee
Caritas Institute of Higher Education, Hong Kong
abstract expectation and post-course feedback, and

future dissemination of the course resulting
The purpose of this presentation is to share from students’ feedback will also be discus-
the successful experience of teaching the sed. It is hoped that through information
first music therapy course as a sub-degree and experience sharing, participants will
level general education elective of a higher gain fresh ideas on advocating music the-
education institute in Hong Kong. The cu- rapy, in particular to create, administer, and
rrent music therapy scene in Hong Kong, deliver music therapy courses as general
and its relation to other countries in the education electives in higher education cu-
Asia Pacific-Rim area will be reviewed, and rriculum, as well as the hint for further de-
information about the curriculum of music velopment in various settings at a higher
therapy in Hong Kong higher education education institute.
system will also be discussed. The presen-
ters will then share their experience of set- references
ting up the first music therapy course as a
sub-degree level general education elective Goodman, K. D. (2011). Music therapy edu-
of a higher education institute, including cation and training: From theory to prac-
the need and development of the idea, pro- tice. Charles C Thomas Publisher.
cess of setting up the course, design and Wheeler, B. L., & Grocke, D. E. (2001). Report
content of the course, and the actual tea- from the World Federation of Music
ching and logistic operation of the course in Therapy Commission on Education, Trai-
the curriculum. Up till the academic year ning, and Accreditation Education Sym-
2015-2016, this music therapy course has posium. Music Therapy Perspectives,
been offered two times, and students enro- 19(1), 63-67.
lled in these two courses were interviewed
before and after the delivery of the course. about the authors
Demographic and statistical information
about the course, such as enrollment num- angel Leung, MM, MT-BC, MTA, NMT is an
ber and the distribution of students’ subject adjunct faculty at the Education University
major, will be shared. Students’ pre-course of Hong Kong, and the co-founder of the Ins-
430
titute for Creative Arts Therapy (HK) since Institute of Higher Education in Hong Kong,
2014. who served as Programme Leader in Music
Email: angel@icat.com.hk at the Education University of Hong Kong for
the sub-degree programme before joining
Martin Lee is Assistant Professor at Caritas CIHE.
431
tHe re-entrY eXperiences Of internatiOnaL MUsic

tHerapY prOfessiOnaLs frOM tHe asia pacific riM area
Angel Leung
Brian L. Wilson
Western Michigan University, USA
Edward A. Roth
David S. Smith
abstract pate in an on-line survey. Results revealed

that most participants experienced low le-
As music therapy is a relatively new health- vels of reverse cultural shock during re-entry
care profession in the Asia Pacific Rim area, to their home country. The Pearson’s Corre-
students from the area may travel to coun- lation Test found there was a medium-strong
tries with well-established music therapy negative correlation between the severity of
programs, such as the United States and reverse cultural shock experienced and level
Australia, to receive formal music therapy of re-entry satisfaction, and weak negative
education. Upon completion of their trai- correlation between re-adaptation to home
ning, many of these international professio- culture on a personal level and severity of
nals choose to return to their home country. reverse cultural shock experienced. The
The purpose of this study was to (a) assess transfer and application of music therapy
the existence and severity of reverse cultural knowledge and skills learned in the United
shock in music therapy professionals from States to the professional practice in partici-
the Asia Pacific Rim area who relocated/es- pants' home cultural environment was also
tablished their professional practices at investigated. This study serves as the star-
home after formal music therapy training in ting point for further investigation into the
the United States, (b) understand their re- subject.
entry experience by exploring the relations-
hips between reverse cultural shock and references
re-entry satisfaction, and (c) investigate the
relationship between reverse cultural shock American Music Therapy Association 2010
experienced and re-adaptation to home cul- Member Sourcebook. (2010). Silver Spring:
ture on a personal level. Forty-two music Maryland.
therapists accepted the invitation to partici- Brislin R. W., & Van Buren IV, H. (1974). Can
432
they go home again? Journal of Interna- about the authors

tional Educational and Cultural Exchange,
9 (4), 19-24. angel Leung, MM, MT-BC, MTA, NMT is an ad-
Christofi, V. & Thompson, C. L. (2007). You junct faculty at the Education University of
cannot go home again: A phenomenologi- Hong Kong, and the co-founder of the Institute
cal investigation of returning to the so- for Creative Arts Therapy (HK) since 2014.
journ country after studying abroad. Email: angel@icat.com.hk
Journal of Counselling and Development,
85 (1), 53-63. Brian wilson is the Professor Emeritus at WMU
Uehara, A. (1986). The nature of American and past editor for Music Therapy Perspectives
student re-entry adjustment and percep- of the American Music Therapy Association.
tions of the sojourn experience. Interna-
tional. Journal of Intercultural Relations, edward roth currently serves as Professor
10, 415-438. and Director of the Music Therapy program
Ward, C., Bochner, S., & Furnham, A. (2001). and Director of the laboratory for brain
The Psychology of Culture Shock. Phila- research and interdisciplinary neurosciences
delphia, PA: Taylor & Francis Inc. (BRAIN) at Western Michigan University.
World Federation of Music Therapy. (2013).
Regional Information. Retrieved from http:// Dr. David smith teaches courses in music
www.wfmt.info/WFMT/Regional_Infor- education and music therapy at Western Mi-
mation.html chigan University.
433
tHe appLicatiOn Of MUsic tHerapY in cOLLaBOratiOn

witH MULtisensOrY stiMULatiOn fOr inDiViDUaLs
witH seVere DeMentia
Woon Tyen (Tammy) Lim
Assisi Hospice, Singapore
(former employee of Trust Bridge Hospice, USA)
summary trying to enhance the neurological and sen-

sory skills of individuals with severe demen-
This symposium illustrates the first and only tia. In order to extend the practice of music
content analysis relating to music therapy for therapy, the current research is curious if
individuals with severe dementia. To enhance multisensory stimulation (i.e. olfactory, vi-
music therapy practice, the presenter also in- sual, and tactile) combined with music the-
troduces and explains an original intervention rapy may enhance the effectiveness of music
that combines music therapy and multisen- therapy treatment; and also, if the music the-
sory stimulation treatment specifically for in- rapist may be able to diagnose the clients’ re-
dividuals with severe dementia. maining senses, even if they are not auditory.
The purpose of this symposium is (1) to pre-
introduction sent the findings of a content analysis relating
to music therapy for individuals with severe
In the past several decades, music therapy dementia, and (2) to introduce and explain an
has been used as one of the treatment mo- examined original intervention based on
dalities for individuals with dementia. As a combination of documented “best practice”
hospice music therapist, this presenter has music therapy approaches found in the past
discovered that the literature about the use studies and published multisensory stimula-
of music therapy specifically for individuals tion treatment.
with severe dementia is relatively scarce.
Most of existing literature is directed towards part a: content analysis
persons diagnosed with early, mild, or mode-
rate stages of dementia (McDermott, Crellin, Eighteen articles relating to music therapy for
Ridder, & Orrell, 2013; Sherratt, Thornton, & individuals with severe dementia published
Hatton, 2004). And although many content in English between 1990 to 2014 were found.
analyses exist in music therapy literature, no Th current researcher identified 31 authors
content analysis has been published in En- and 11 different types of publications. Out of
glish about the application of music therapy 11, eight were from the field of music the-
for persons in the severe stages of dementia. rapy. Moreover, six assessment tools were
Furthermore, based on the current resear- used to determine the severity of dementia.
cher’s clinical experiences, the effect of music However, in more than one third of the arti-
as auditory stimulation can be limited when cles, the authors did not specify any assess-
434
ment tool but rather used a more general cluded needing more publications about
term. Additionally, approximately 56% of the music therapy for people in the later stages
publications utilized an experimental design, of dementia and additional research with
25% of the publications used non-experimen- this particular population.
tal modes of inquiry, and 18.8% used mixed
method designs. Seven music therapy inter- references
ventions were mentioned, and singing (68%)
was most frequently used intervention. The McDermott, O., Crellin, N., Ridder, H. M., &
researcher identified sixteen targeted varia- Orrell, M. (2013). Music therapy in de-
bles from the selected publications, and mentia: A narrative synthesis systematic
seven of theses variables significantly impro- review. Intl Journal of Geriatric Psychiatry,
ved after music therapy treatment. 28, 781-794.
part B: Mt-Mss about the author
The current researcher named this original tammy Lim, MA, MT-BC served as a music
intervention as Music Therapy-Multisensory therapist at TrustBridge Hospice, US, and has
Stimulation (MT-MSS). A pilot study using recently been employed by Assisi Hospice in
descriptive analysis, in which nine partici- Singapore. Email:
pants responded to a 12-item Likert Scale tammy.lim.wt@assisihospice.org.sg
based on their observations of patients re-
ceiving the MT-MSS treatment, was to ex- copyright. Please contact the author for per-
plore the functionality and impact of MT- mission to use the materials presented in this
MSS on persons in the severe stages of de- symposium.
mentia. The results have suggested that MT-
MSS intervention appears to have promising note
symptom management potential for indivi-
duals with severe dementia and can be ef- Special thanks to the patients and their fa-
fective as an assessment strategy. The milies as well as the staff of TrustBridge Hos-
current presenter has also developed a MT- pice who were involved in the previous
MSS assessment tool as a formative and research study that has made this sympo-
summative measure. Recommendations in- sium possible.
435
raisinG MUsic Between aLLeYs:

an eXaMpLe Of MUsic care in DaYcare center
Hsin-Hui Lin
Pingtung County Government, Taiwan
The proportion of the elderly in Pingtung psychological conditions, but also positively
County accounts for 14.93% of the whole improves their social statuses. It is hoped
elder population in Taiwan. The proportion the policy of long-term care and welfare or
meets the standard of an “aging society” as the elder lyof Pingtung County can be found
defined by the World Health Organization in the future.
(WHO). The Pingtung Country Government
has pushed forward the policy of “Live in a The activities were led by the workers who
safe community” to provide activities for the had been trained with music care program.
elderly with health benefits. In order to pro- The other workers and volunteers observed
vide further service for the elderly with poor every activity, and they needed to fill out an
health status, 9 regional care centers were observation sheet after each activity. The
transferred to day care centers, which are ca- program lasted for 7 weeks. Each activity
lled the Song-He Daycare Centers. From the was conducted 1 time per week, for 30 mi-
previous inspection in Japan, they introduced nutes for each time. There were several
the concept of music care in their daycare structured questionnaires and scales for this
centers in depth. In addition, we found that test, such as Physical Fitness Scale, Geriatric
the caregivers or the elderly had significant Depression Scale, Social Support Scale were
improvement in both physical and psycholo- adopted to evaluate the program. Moreover,
gical statuses. With the great results in Japan, the process records were used to unders-
the Pingtung County has tried to introduce tand the physical, psychological and social
the concepts and methods of music care to statuses of the elderly after participating in
their daycare centers. That is to say, Pingtung the music care program.
County is now the first county which officially
brings the concepts of music care to its day- It is found that 96% of the elderly felt they
care centers in Taiwan. had meaningful lives after participating in
the program. 100% of the elderly enjoyed
This study chose 5 daycare centers under the and that they could interact with the te-
Song-He Daycare Center which has imple- achers and the other elder more or less after
mented the music care program. There were participating in the program. 100% of the el-
57 participants in this program; including derly were assessed found by observers to
the elderly and caregivers of the daycare be happy.
centers providing care. The concepts of
music care were mainly about the activities According to the above statistics, there are
of guiding the elderly to do the exercises, 3 aspects of the music care program for day
which not only helps their physical and care centers for further studies:
436
People from different countries have diffe- sibility of being disabled can be prevented
rent reflections to music. Therefore, pro- and quality of life can be improved.
gram designers are suggested to refer to the
concepts of music care in the selection of Special thanks to Kao Kuo-shu, Lin Hsiao-ya
songs and music styles. With their own and Li Shih-jou for data collecting and analy-
music styles, the songs can be added to pro- zing.
duce different ideas and create songs which
are suitable for different countries. references
Since the main users of music care program Lin, H.(2015). Taiwan Music Care Training
are the elderly, the guidance and learning Handbook. Taiwan Music Care Associa-
styles should be easy to understand. For tion.
example, program designers can select sim- Walker, j. et al.(2004).Increasing Practitio-
ple, classic or frequently heard songs to pro- ners knowledge of participation among
vide continuous activities. Thus, the elderly elderly adults in senior center activities.
can learn under a relaxing and happy atmos- Educational Gerontology, 30(5), 353-366.
phere. Kneafsey, R. (1997). The therapeutic use of
music in a care of the elderly setting: a li-
Senior and well-experienced teachers of terature review. Journal of Clinical Nur-
music care should be introduced to day care sing, 6(5), 341-346.
centers. With the teaching of the senior and
well-experienced teachers, teachers can be about the author
trained and improve their profession.
Hsin-Hui Lin is Manager of Senior Affairs at
In conclusion, with the program, the health Pingtung County Government, Taiwan.
of the elderly will be improved and the pos- Email: tmca2010@gmail.com
437
eXperiences Of “MUsic care” witH DeMentia in taiwan

Wan-Yu Lin
Tajen University, Taiwan
abstract The researcher concludes as follows:
The purpose of the research is to understand I. Regarding the experiences and feelings of
the influence of “Music Care” on the elderly the elderly people while being in the acti-
people with Mild Cognitive Impairment vity; two situations can be seen: (1) the el-
(MCI), and to discuss why these elderly peo- derly people are hesitating to join the
ple’s sense of well-being can be improved by activity due to poor health condition and
participating in the activity, through analyses lower self-confidence; (2) those who par-
of their feelings, life experiences and senti- take in the activity are significantly encou-
ment after their participation. raged and willing to learn more.
II. Concerning the elderly people’s daily inter-
Description action with others after partaking in the ac-
tivity, three points can be noted: (1) the
“Music Care” was programming initiated by daily life-style has been positively changed
Mr. Tetsuro Kagaya, who was one of the pio- due to their interaction with peers; (2)
neers of music therapy in Japan and died in their self-confidence is recovered by family
1987, and promoted by Mrs. Keiko Miya- members’ encouragement and concern;
moto, who believes that music can produce (3) they become joyful and be inspired by
a happiness and stability in its listeners. the peers in the program of the activity.
Through coordinated choreographed move- III. As for the influence of the activity on the
ments to music, one can enhance physical ac- sense of well-being of the elderly people,
tivation and attain inner peace. three things can be said: (1) they show ob-
vious interest in the activity, and find spiri-
The research is aimed to: (1) to understand tual sustenance in family members’
the experiences and feelings of the elderly support; (2) They are willing to serve one
people with MCI while being in the program another because of the respect and un-
of “Music Care”; (2) to comprehend the el- derstanding from others; (3) the elderly
derly people’s daily interaction with others people gain the sense of achievement and
prior to and after to the activity; (3) to grasp support from the society by their earnest
the influence of the activity on the sense of commitment in the activity, and in return
well-being of the elderly people with MCI. gratefully feedback to others.
The research applies qualitative research me-
thod and semi-structured interview with six references
elderly people with MCI, three volunteer wor-
kers and three family members in one day- Bruer, R. A., Spitznagel, E., & Cloninger, C. R.
care center in Taiwan. (2007). The temporal limits of cognitive
438
change from music therapy in elderly the 5th Music Care Conference in Taiwan
persons with dementia or dementia-like (pp. 15-17). Kaohsiung: Taiwan Music Care
cognitive impairment: a randomized con- Association.
trolled trial. Journal of Music Therapy, Lin, Y.J., Chou, K.R., & Chang, C.C. (2011). The
44(4), 308-328. Application of Music Therapy on Taiwa-
Choi, AN., Lee, MS., Cheong, KJ., Lee, JS. nese Elderly. Journal of New Taipei Nur-
(2009). Effects of group music intervention sing, 13(1), 53-62. doi: 10.6540/NTJN.
on behavioral and psychological symp- 2011.1.006
toms in patients with dementia: a pilot- Suda, M., Morimoto, K., Obata, A., Koizumi, H.,
controlled trial. International Journal of & Maki, A. (2008). Emotional responses to
Neuroscience, 119(4), 471-81. music: towards scientific perspectives on
Garland, K., Psych, D., Beer, E., Eppingstall, B., music therapy. NeuroReport, 19(1), 75-78.
& O'Connor, D. (2007). Comparison of two Sung, H. C., Chang, A. M., & Abbey, J. (2006).
treatments of agitated behavior in nursing The effects of preferred music on agitation
home residents with dementia: simulated of older people with dementia in Taiwan.
family presence and preferred music. The International Journal of Geriatric Psychia-
American Journal of Geriatric Psychiatry, try, 21(10), 999-1000.
15(6), 514-521.
Lin, H.C. (2016). The impact of group music about the authors
therapy activities to physical fitness for
community elderly. Changhua Nursing, wan-Yu Lin is an Assistant Professor of He-
23(3), 24-31. doi: 10.6647/CN.23.03.06. althcare Administration at Tajen University,
Lin, W.Y. (2016). Effect of Music Care on De- Taiwan, and a faculty member of Music Care
pression for the Aboriginal Elderly and Fa- program supported by the Japan Music Care
milies in South Taiwan. In Furoto Medical Association.
& Welfare co, ltd. (Eds.), Proceedings of Email: chenelle@tajen.edu.tw
439
frOM cOnfLict tO sYnerGY - a ten-Year sUccessfUL

partnersHip witH sOciaL wOrKers
Hok Tsun Ma
Evangelical Lutheran Church Social Service Hong Kong, HKSAR
abstract there are still inadequate job opportunities.

Income sources could come from charity
The case demonstrates how music therapists funds or paid directly by agencies or users.
and social workers overcame conflicts and le- Services are usually short-term and there
verage synergies to establish an aged-care are only few contract-based/permanent re-
music therapy service program and have gular positions in the market. Most thera-
maintained it for ten years. Significant out- pists often work as freelancers with unstable
puts were identified and keys to successful income.
partnerships are discussed. We intend to em-
phasize the importance of inter-professional HeartstrinGs program
collaboration in developing the industry in
the future. While most similar projects in the region could
not continue, HEARTSTRINGS program overco-
information collection mes constrains of the market and has been
sustained for a decade which has offered more
All facts and feedback were integrated from than 150 therapeutic groups and for more
four sources - "HEARTSTRINGS" music the- than 800 elderly people and caregivers in the
rapy program management team; publica- community. This is an ongoing aged-care music
tions; staff interviews and, author’s personal therapy service program which has been esta-
reflections. Staff interviews included, 4 music blished since 2006, by Evangelical Lutheran
therapists, 3 social workers and 1 clinical Church Social Service Hong Kong - a charity or-
psychologist, which represented half of the ganization (Wong & Tang 2009).
team. Their views on local market and cross
profession collaborations were collected. Like many other services, it was first suppor-
ted by charity funds. In 2013, the agency res-
Background – employment status tructured manpower of the program and
employed an in-house music therapist as a
It is estimated over 60 qualified music the- regular full-time staff. The program is direc-
rapists are practicing in Hong Kong (Ng, ted by a social worker and managed by a
2015). More than half of them work in early multi-profession committee.
intervention and children sector, while aged
care and palliative care becomes the second significant outputs
largest population (HKMTA, 2016). There are
more jobs in the market in recent years but - Two pilot studies and one randomized-con-
there are also more therapists. Overall, trolled-trial.
440
Diagrama 1. The development of HEARTSTRINGS program.
- Establishment of a volunteer system. references

- Training workshop series which overcame
dilemma between train-the-trainer and re- Wong, Y. & Tang, Y. (2009). The practical
tain our professional identity. book: Music therapy for elderly group
- Attention training program for early inter- music for heart. Hong Kong: Evangelical
vention with integration of music therapy Lutheran Social Service – Hong Kong
and clinical psychology elements. HKMTA (2016). Hong Kong Music Therapy
Association. Member Directories Retrie-
Keys to successful partnership ved from http://www.musictherapyhk.
org/our-coaches
- Effective intervention. Ng. M. (2015). Professional music therapy
- Agency fully support. centre newsletter vol. 15. Retrieved from
- Good Teammate and team spirit. http://www.mtpro.com.hk/newsletter/n
- A working culture of learning and be crea- ewsletter_vol15.pdf
tive.
- Mutual respect, trust and faith. about the author
conclusion Hok-tsun Ma is a Nordoff-Robbins music

therapist trained in Australia and is the in-
Creating a partnership could be one of im- house music therapist of Evangelical Luthe-
portant action to facilitate music therapy in- ran Social Service – Hong Kong
dustry development. Email: hoktsunma@elchk.org.hk
441
traDitiOnaL Japanese cULtUre prOViDes effectiVe MUsic

tHerapY tecHniQUes fOr eLDerLY Japanese cLients
Eiichiro Makino, M.D.
Musashino Central Hospital, Japan
The musical sensibilities of elderly Japanese 1. Use multi-sensory techniques, such as

clients (ECs) are strongly influenced by tra- allowing ECs to move or do physical exer-
ditional Japanese music and culture, but cise while singing (Video 2);
young Japanese music therapists (YTs) often 2. Combine auditory and tactile senses
overlook this. An understanding of these tra- through the use of drums and vibro-tac-
ditions allows YTs to develop techniques tile stimulation (Video 3); and
which are more effective with ECs. 3. Stimulate all five senses through activities
based on season-themed festivals (Video
Most YTs are graduates of music schools 4).
which teach only western classical music,
since few schools teach traditional Japanese “Beyond the Fixed Stage” - “Nagashi” refers
music, which results in cultural barriers bet- to performances by traditional Japanese
ween ECs and YTs. This inhibits music the- strolling musicians.
rapy since YTs often exclude music styles
which are more acceptable to ECs and thus
more effective for them. As a student of mu-
sicology, as well as a psychiatrist, I had the
opportunity to study traditional Japanese
music and ethnomusicology at Tokyo Univer-
sity of the Arts, which is the only school in
Japan with such a program. For more than
20 years, I have been promoting a style of
music therapy more in harmony with Japa-
nese sensibilities, and have found several
techniques based on characteristics of tradi-
tional Japanese music culture which have
proven to be effective, especially with Japa-
nese ECs. These include:
“Beyond Ears” - Traditional Japanese music

culture, like ancient Greek “mousike”, is a
combination of singing, dancing and instru-
ment playing, e.g., Noh, Kabuki, Bon odori,
etc. (Video 1). I advise YTs to:
442
It has proven to be effective both in a hospi- tone color than to rhythm or melody, so
tal setting (Video 5) and with disaster survi- YTs tend to regard them as “musically
vors (Video 6). I play the violin, and my deaf”. I try to explain traditional Japanese
co-therapist, Ms. Maki Uemura) plays the musical culture and the sensibilities of ECs
keyboard-harmonica. “Sing Your Own Lyrics” to YTs to help them improve the effecti-
- Group singing is the most popular form of veness of their sessions.
singing for ECs. To make it more individually
therapeutic, clients are encouraged to im- “Nature Sounds” - Some sounds of nature
provise their own lyrics in the traditional can be musical and listened to like music
manner (Video 7). This is done with folk (Video 10). Experienced therapists leading
songs at local festivals (Video 8), such as the modern music therapy sessions frequently
famous ones which are held here in Tsukuba start by asking clients to remember and dis-
and by the royal family, and at events for di- cuss nature sounds. This can be therapeutic,
saster survivors (Video 9). even if clients are not able to hear these
sounds directly.
“Tone Color First (Without Harmony)” - Tra-
ditional Japanese music has no harmony. Ja- My experiences have shown that when wor-
panese musicians have used other methods king with elderly Japanese clients, music
to make their music appealing: therapy techniques inspired by traditional
Japanese music culture are often more the-
1. Tone color, or a tactile sense of tone. rapeutic than those based purely on classical
2. Melody lines are not restricted by har- western music.
mony, so portamento or ornamentation see ViDeO 1-10f
(kobushi) on melodies is common. It is dif-
ficult to accompany such songs with a references
well-tempered keyboard.
Listen tO aUDiO 1f Kikkawa, E. (1979). Nihon-Ongaku no Sei-
3. Rhythm patterns are not primarily metri- kaku (The Characteristics of Traditional Ja-
cal, as in western music. There are many panese Music). Tokyo; Ongaku-no-Tomosha
other kinds of rhythm, such as non-metri- Hughes, W. D. & Tokita, M. A. (Eds) (2008).
cal, free rhythm, ritardando, accelerando, The Ashgate Research Companion to Japa-
etc. Mechanical rhythm is generally avoi- nese Music. London: Ashgate.
ded. Additionally, the beat of the accom-
paniment should avoid matching the beat about the author
of the song. Instead, the two should vary
in order to highlight the singer’s voice and eiichiro Makino, M.D. (Psychiatry), M.A. (Mu-
the timbre of the instruments separately. sicology), RMT (Japan), Director of Musashino
Listen tO aUDiO 2f Central Hospital, and Founder of the Society
This is the music culture which is familiar for Japanese Culture and Music Therapy.
to today’s ECs. They are more sensitive to Email: emakino@crocus.ocn.ne.jp
443
effects Of MUsic anD eXercise actiVities On cOGnitiOn

anD eMOtiOn in eLDerLY
Sekiya Masako
Sapporo Otani University, Japan
Moriya Kiyoshi
Kuroki Rimiko, Kitagawa Tomoko, Moriya Naoyuki

Nursing home Karipu-Atsubetsu, Japan
abstract 30 minutes (M+E), (b) exercise (E), and (c) re-

gular day-service activities as control (T).
Elderly individuals attending programs at a Music and exercise tasks were instructed in
day-center were classified into three groups, sitting positions by a music therapist and a
which performed both music and exercise, health fitness programmer, respectively. Day-
exercise only, or normal day-center activities care activities were supported in almost sit-
once a week for total 60-minutes over 12 ting positions by care-staff of the day-center.
weeks. It is suggested that music and exercise Tasks each lasting 30 minutes were conduc-
activities improve cognition and emotion ted once a week for 12 weeks, and their ef-
more than the other activities. fect on cognition and emotion was evaluated
using data obtained before and after the 12-
Objectives week tasks or each one-time task. Cognition
was assessed using the Mini-Mental State
Advances in longevity are desirable, but cog- Examination (MMSE) and Frontal Assessment
nitive function tends to decline when older, Battery (FAB) in the week before and after the
and frequent occurrence of people with emo- initiation of tasks. Each activity was practiced
tion disorder is reported. In this study, we once a fixed day of the week for 30 minutes
aimed to examine the effect of music activity for 12 weeks, and the effect of these practices
and exercise practice as an activity to stimu- on cognition and emotion of the elderly was
late cognitive function and emotional state of measured before and after 12 weeks or be-
the elderly. fore and after the one practice. We evaluated
cognitive function to the week before the
Methods start (previous value) and the week after the
end (after value) using the two methods of
Homebound elderly individuals attending Mini Mental State Examination (MMSE) and
programs at a day-service center were divi- Frontal Assessment Battery at bedside (FAB).
ded into three groups for participation in dif- To assess emotion, feelings of pleasantness,
ferent tasks: (a) music and exercise for each relaxation, and anxiety were rated 12 times
444
using the Mood Check List-Short Form (MCL- references

S.1), before and after every practice. Scores
were averaged every four weeks to obtain Kitamura, T. (1991). Mini-mental state (MMS).
early, middle, and late scores. In T. Ohtsuka and A. Honma (Eds.), Guide
of the examination of intellectual function
results and Discussion for elderly people (pp. 35-38). Toyko:
World Planning .
From the results of MMSE test, which is the Dubois, B., Slachevsky, A., Litvan, I., & Pillon,
cognitive function evaluation method, impro- B. (2000). The FAB. A frontal assessment
vement was observed in the posterior value battery at bedside. Neurology, 55(11),
as compared with the previous value in 5 out 1621-1626.
of 11 MMSE items in the M + E group, 3 out Hashimoto, K., & Tokunaga, M. (1996). Relia-
of 11 items in the E group and 1 out of 11 bility and validity of the Mood Check List-
items in the T group. For the three FAB items, Short Form (MCL-S.1). Measuring the
the mean value improved only in the M＋E mood state during exercise. Journal of He-
group, although this was not significant. alth Science, 18, 109-114.
Based on the evaluation results of pleasant-
ness, relaxation, and anxiety feeling scores by about the authors
the MCL-S.1 questionnaire, we compiled 12
practices in the early, middle and late in every sekiya Masako, Master of Education, RMT,
3 weeks, and compared the average scores Sapporo Otani University.
before and after the practice. Although im- Email: masako_sekiya@sapporo-otani.ac.jp
provement was confirmed at each emotional
score of the three groups, but the improve- Moriya Kiyoshi, Doctor of Medical Science,
ment of the M + E group was more remarka- Hokkaido University, Professor Emeritus.
ble than in the other two groups. Great
improvement was observed in pleasant fee- Kuroki rimiko, Nursing home Karipu-Atsu-
ling and relaxation feeling. betsu.
From these results, it was suggested that Kitagawa tomoko, previously at Nursing
both music and exercise activity is more effec- home Karipu-Atsubetsu.
tive than physical activity in sitting position
and other activities of day-service center im- Moriya naoyuki, Doctor of Medicine, pre-
proving cognition and emotion of the elderly. viously at Nursing home Karipu-Atsubetsu.
445
sUppOrtinG MUsicaL actiVities fOr HearinG iMpaireD

cHiLDren wHO are cOcHLear iMpLant recipients
Yuji Matsumoto
Tokyo City Philharmonic Orchestra, Japan
Noriko Maruyama
Music Institute for Hearing Impaired
abstract music; albeit with limited pitch, harmonic and

melodic perception.
Cochlear implant recipients cannot hear
music as well as the hearing. My research Based on research we have conducted until
team and I have studied musical activities this point, my team and I are now conducting
that enable children with cochlear implants research on children with cochlear implants.
to feel music. Based on that research, I will These musical activities utilized acoustic ins-
present these methods of music activities for truments with emphasis on percussion ins-
children with cochlear implants. truments. With the therapist’s assistance,
recipients could create sound and control
Description timbre and dynamics. Further progress for
these recipients will require a trained thera-
When a hearing aid is inadequate for the he- pist who receives adequate support.
aring impaired to hear, cochlear implants can
often provide positive results. For these coch- Based on that research, I will present these
lear implant recipients, it becomes possible to methods of music activities for children with
converse. According to a survey in Japan, the cochlear implants.
subsequent wish for these recipients is to lis-
ten to music. However, cochlear implant reci- Methods
pients cannot hear music as well as the
hearing and because of this, some of the reci- Participants: Two subjects, ages nine and
pients abandon listening to music altogether. twelve.
Sessions: Five one-to-one sessions and three
For more than 15 years, my research team ensemble sessions.
and I have provided recipients a means for One-to-one sessions proceeded as follows:
enjoying music through various musical acti-
vities. Through these activities, we found that 1. Let the subjects search for their favorite
recognition tasks involved with pitch and har- sound.
monic differentiation were difficult. However, 2. Determine subject’s sense of rhythm.
we also discovered that having them play mu- 3. Have subject imitate rhythms.
sical instruments provided positive reinforce- 4. Emphasize listening to each other in en-
ment and created a willingness to listen to semble sessions.
446
results and Discussion Matsumoto, Y. (2016) Possibility of listening

to music by cochlear implant users. (Jin-
In the first stage, subjects could not recognize kounaiji de ongaku ha wakarimasuka, kas-
the beat. Rhythmic imitation relied on visual hyou nouryoku ha koujyhou simasuka).
cues. Repeated sessions reduced reliance on Journal of Otolaryngology Head and Neck
visual cues. Subjects could feel each other's Surgery, 32 , 1722-1733.
sound expression in ensemble sessions. We Igakusha, T. & Matsumoto, Y. (2016) Liste-
surmise that these musical activities help ning to music by magnetic loop. Associa-
cochlear implant recipients improve their abi- tion of Cochlear Implant Transmitted
lity to sense the perception of sound. Once Audition Bulletin, 115 , 44-45.
their abilities improve they should gain more Matsumoto, Y. (2011) Music for cochlear im-
satisfaction listening to music. Able to feel the plant recipients. Senzoku Journal, 40, 69-
expression of the sound, cochlear implant re- 78.
cipients will not give up listening to music and
increase the possibility of obtaining benefits about the authors
from music.
Yuji Matsumoto, Tokyo City Philharmonic Or-
references chestra Percussionist. Senzoku Gakuen Co-
llege of Music Lecturer.
Masae Shiroma: (2000) Jinkounaiji-shujyutsu- Email: hotokenomatsu@gmail.com
go no choukaku hyouka ni kansuru kenkyu
(Study on the auditory evaluation after co- noriko Maruyama, Music Institute for Hea-
chlear implant surgery), Tokyo University ring Impaired Researcher.
Graduate School of Medicine doctoral thesis. Email: noripianzu@icloud.com
447
MeaninG cOnstrUctiOn BY MUsicaL narratiVe:

a GrOUp tHerapY apprOacH fOr JUVeniLe criMinaLs
Kakuko Matsumoto, Naomi Takehara, Tomoko Ichinose
Yuji Igari
Nagoya College of Music, Japan
problem sessions were held biweekly. The first three

sessions were an introduction: playing the
It is often difficult for juvenile criminals to talk drums. After sessions, we introduced Musical
about their troubled pasts and crimes they Narrative. For the analysis of the therapeutic
have committed, as they tend to distance processes of Musical Narratives, we collected
themselves from their past actions. This kind and analyzed transcripts and emotional ex-
of detachment can quite often be the result pressions (nonverbal text data; ”silence” etc.)
of a traumatic experience including the crime from video records. To evaluate this data, we
itself. For this reason, they need to be encou- introduced both qualitative and quantitative
raged to feel remorse about past crime (Sho- analysis. The former is an analysis of semiotic
jima 2003). “Musical Narrative”—listening to activity, the latter is a content analysis using
and talking about songs with personal mea- KH coder software (Higuchi 2004).
ning—can more freely and openly connect
one’s association, as it links to personal bonds process and results
and core values of the individuals (Matsu-
moto 2005). Through the use of this appro-
ach, more expressions of feelings and a
deepening awareness of the offenders’ pasts
were observed. We will present the Musical
Narrative approach to juvenile criminals with
various special needs.
Method
The make up of the group selected for this

study is from 19 years old, their main crimes
are bodily injury resulting in death, dange-
rous driving causing injury etc. They have an
IQ of about 72 to 101, including inmates diag-
nosed with developmental disorders or de- Figure 1. shows positioning of three sessions
pression. 10 ninety-minute group therapy (from #4 to 7).
448
Each topic shows the tendency of discussion The use of songs as a catalyst combined with
moving towards different areas of commu- the group dynamic, which is a dialectical me-
nication and consciousness. Dimension 1 thod based on the tetralemma; X and non-X
shows intrapersonal and interpersonal as- (Yamanouchi 1974), enabled the group to
pects of the discussion, and Dimension 2 harmonically construct each individual’s me-
shows the depth of these conscious proces- aning of life.
ses. In these sessions deeper personal con-
nections emerged. During the three sessions, references
Nonverbal reactions (silence, nodding etc.)
and ambivalence expressions (positive and Shojima, H. (2003). Hikou Rishou no shouten.
negative, etc) occurred. Figure 2 shows the The focus of juvenile delinquency treat-
qualitative results. Through the Musical Na- ment. Tokyo: Kongō.
rrative approach, polyphonic processes in Matsumoto, K.(2005). Meaning construction
meaning construction emerged. and its transformation in narratives about
“Important Music of Oneself”. Japanese
Bulletin of Arts Therapy, 36(1,2) 95-104.
Higuchi, K.(2014). Shakaichōsa notameno
keiryoutekisuto bunseki. Quantitative text
analysis for social research. Kyoto: Naka-
nishiya.
Yamanouchi, T. (1974). Rogosu to renma
Logos and lemma. Tokyo: Iwanami.
about the authors
Kakuko Matsumoto* Ph.D., Associate Profes-

sor,
Email:kakukom@mukogawa-u.ac.jp
Discussion
naomi takehara* Ph.D. ,Assistant Professor,
Through the use of songs with personal me-
aning, truer expressions of feelings and tomoko ichinose* M.A., Associate Professor.
wider awareness of past experiences occu-
rred. We propose what made it possible is *Mukogawa Women’s University
metonymic expression. A song with personal Yuji igari M.S., Lecturer, Nagoya College of
meaning could be a substitute for one’s me- Music.
mory pertaining to important persons and
events. Using metonymical substitution, the acknowledgement
ambiguities of the meanings in Musical Na-
rratives brought harmony in discussions, as This work was supported by
participants had different interpretations. KAKENHIJSPS15K04097
449
prisMa anaLYsis Of tHe tHerapeUtic appLicatiOn Of

MUsic in tHe HeaLtHcare prOfessiOn
abstract gram indicates the exclusion and inclusion

criteria.
The purpose of this study is to investigate
how music is applied therapeutically with Materials and Method
other healthcare treatments.
A literature review was conducted according
The research project was conducted using the to the PRISMA statement.
standardized review protocol called PRISMA
(Preferred Reporting Items for Systematic Re- The electronic data resources were MEDLINE,
views and Meta-Analyses). The result provi- Qualitative Health Research, Web of SCIENCE,
des a review of literature, which met the PsycINFO, The American Journal of Occupa-
PRISMA criteria and its analysis. tional Therapy and Journal of Music Therapy.
The data collection included material from
introduction 1942 to 2016.
Music has been applied in a variety of ways There were three screening phases; the iden-
for therapeutic purposes, having been recog- tification phase, the screening phase and the
nized for its physiological and psychological eligibility phase.
effects. Particularly in the healthcare profes-
sion, music has been considered to be a form The study was limited due to the following
of media that can achieve a therapeutic goal. academic reasons:
It is useful to identify the number, the content
and the characteristics of previous research 1. A requirement of internationally peer-re-
precisely in a systematic way. viewed research.
2. Avoidance of language bias and sharing of
Object common understanding.
3. Equal accessibility to electronic databases.
The object of this study is to examine how 4. Availability of English abstracts to judge eli-
music is applied therapeutically with other gibility of the content.
healthcare treatments.
conclusion
PRISMA is an evidence-based minimum set
of items for reporting in systematic reviews It was concluded that the current systematic
and meta-analyses. The PRISMA Flow Dia- review provided a number of research papers
450
written about the therapeutic application of ses of studies that evaluate health care
music in the healthcare profession. This study interventions. Annals of Internal Medi-
also indicated the characteristics and classifi- cine, 151, (4), 65-94.
cation of reviewed materials, utilizing the Shigenobu*Matsuyama, K. (2016). The use
PRISMA Flow Diagram. of music/sound as a treatment tool in
Ooccupational therapy: A literature re-
references view. Journal of Yamato University, 2, 19-
25.
Moher, D., Liberati, A., Tetzlaff, J., Altman, G.
D., & the PRISMA Group (2009). prefe- about the author
rred reporting items for systematic re-
views and meta-analyses: The PRISMA Kumi shigenobu*Matsuyama, Ph.D. in Medi-
statement. Plos Medicine, 6 (7), 1-6. cine, Qualified Music Therapist (UK), RMT
Liberati, A., Altman, G. D., Tetzlaff, J. et al. (Japan). Lecturer at Yamato University, Fa-
(2009). The PRISMA statement for repor- culty of Allied Health Sciences.
ting systematic reviews and meta-analy- Email: kumipf@gmail.com
451
tHe faLL Of freDDie tHe Leaf: creatiVe MUsic MaKinG

abstract this activity, children are able to hear some

sounds that they have never noticed before.
The aim of this study is to present how music They realize they are living in a rich and varied
therapy students learn about “Creative Music soundscape.
Making - CMM” in a music education class
with the material titled “The Fall of Freddie Object
the Leaf”. CMM is a learning activity which
encourages students to explore the gamut of The Japan Education Council for music thera-
sounds, not just musical notes. pists has its own curriculum for therapists,
which includes the subject “Music Educa-
A total of 30 university students attended this tion”, and authorized universities are able to
learning activity during two academic years. elect it as one of the subjects.
The students were separated into six groups
and each group explored various kinds of The object of this study is to follow how
sounds around them in order to create some music therapy training students learn about
music about “The Fall of Freddie the Leaf”. CMM in a music education class with the ma-
Each group presented their music to the class terial titled “The Fall of Freddie the Leaf”.
and provided feedback to others.
Materials and Method
It was also found that the idea of CMM,
which originated in the discipline of music Period：Academic years 2016 and 2017.
education, was acceptable as one aspect of Subjects:Students of the music therapy trai-
music therapy, such as improvisation. ning course on the Japan Education Council
for music therapists whose majors are occu-
introduction pational therapy or speech-language the-
rapy. Academic year 2016: three groups. The
CMM is a concept which John Painter, an En- number of students who majored in occupa-
glish composer and music educator, sugges- tional therapy was six. The number of stu-
ted in his book called “Sound and Silence”. It dents who majored in speech-language the-
focuses on creating music using various kinds rapy was nine. Academic year 2017: three
of sounds. The original purpose of this acti- groups. The number of students who major
vity in music education was for children to ex- in occupational therapy is seven. The num-
plore and experience sounds around them. ber of students who major in speech-lan-
Any environment would provide the mate- guage therapy is eight.
rials. The activity allows children to listen and Material：Leo F. Buscaglia: “The Fall of Freddie
carefully observe their surroundings. During the Leaf”.
452
procedure found that the idea of CMM was acceptable

in music therapy as well. There is common
The students were separated into three groups ground between the two disciplines, such as
for each academic year. They discussed how improvisation.
they expressed “The Fall of Freddie the Leaf”
while exploring and experiencing the sounds CMM helps students to listen to their su-
around them through the group work. rroundings and to translate their findings to
music.
The number of classes of music education
was 15 altogether and three classes were references
spent on CMM.
Paynter, J. & Aston, P. (1970). Sound and
1. An explanation of the concept of CMM and Silence. London: Cambridge University
its significance in the history of music edu- Press.
cation was given. Leo, F. Buscaglia. (1982). The Fall of Freddie
2. The students read “The Fall of Freddie the the Leaf. USA: Slack Inc.
Leaf”, a picture book, by Leo F. Buscaglia Schafer, R. Murray (1975). The rhinoceros in
and created music based on the story the classroom. UK: Universal Edition.
through group work.
3. The students presented their group work about the author
to the class. Each group gave feedback to
others. Audio and video materials were Kumi shigenobu*Matsuyama, Ph.D. in Medi-
used for recording. cine, Qualified Music Therapist (UK), RMT
(Japan), is a Lecturer at Yamato University, Fa-
conclusion culty of Allied Health Sciences.
Email: kumipf@gmail.com
Through this 2-year-learning activity, it was
453
prOfessiOnaL siGnificance anD rOLes

Of tHe HYOGO MUsic tHerapist assOciatiOn, Japan
Satoko Matsuzaki, JMT, RMT (Hyogo prefecture)
introduction duction Promotion Project", and from the

2011 fiscal year known as the "Pre-Provision
The Great Hanshin Awaji Earthquake occu- Assistance Project" has been participating in
rred in 1995 making victims out of many in delivering prefectural aid. To the medical and
Hyogo prefecture, Japan. Based on research welfare facilities etc. that intend to introduce
suggesting that music heals the minds of vic- music therapy, the prefecture pays for part of
tims, Hyogo prefecture started an original the expenses of implementation, and in order
"music therapist training program" in 1999. to accurately match the music therapist to
In 2002, Hyogo's Prefectural Governor appro- the needs of the institution, we plan to send
ved 27 music therapists for the project. This a coordinator to the Hyogo Music Therapy As-
first group of 27 music therapists established sociation. Thanks to such generous financial
and launched the "Hyogo Prefectural Music aid, new start and entry are easy, music the-
Therapy Association" the same year. rapy is successfully understood through acti-
vities, and many facilities continue even after
For the past 15 years since its inception, we the subsidy has finished. The average reten-
have been conducting purposeful activities tion rate exceeds 80% on average. It is also at-
through the spread and development of tractive to be able to give feedback and
music therapy. We hold workshops every requests from facilities to therapists. Howe-
month to improve members' knowledge ver, because it is a one-year project, it may be
about music therapy and strengthen their difficult to secure sufficient time when star-
skills, and we also arrange and perform con- ting from the middle of the fiscal year, and as-
certs to spread awareness of music therapy. sistance may be lost before a music therapy
This presentation reports on the "Music The- program is fully established. There are many
rapy Consolidation Promotion Project" and cases where the environment on the facility
the "The Great East Japan Earthquake Tsu- side is not in place and there are many cases
nami Disaster Reconstruction Support Pro- where one is forced to place the burden of
ject" that are being undertaken as subsidized bringing in musical instruments on individual
projects in Hyogo Prefecture, and through therapists. There is also an issue in improving
collaboration with the prefectural govern- the quality of therapists who wish to continue
ment. The meaning of the existence of our offering assistance
professional association and its significance
will be discussed. the Great east Japan earthquake and
tsunami disaster reconstruction
Music therapy diffusion promotion business support program
In order to promote the spread of music the-
rapy, since 2006, the "Music Therapy Intro- After The Great East Japan Earthquake that
454
occurred in 2011, the mental health of the the financial resources of the subsidiary bu-
victims as well as the people and programs siness come from taxes. We must bear in
who support the victims, have faced many mind that taxes are being devoted to the
problems. These include the prolongation of spread and development of music therapy.
temporary housing and reconstruction, and Because Hyogo Prefecture experienced a si-
housing life. In order to contribute to the re- milar disaster and successfully accomplished
construction through mental health care of reconstruction, the East Japan Great Earth-
the victims using music therapy, we hold ses- quake disaster reconstruction support project
sions in disaster areas and concerts in the is also strong, it is thought that it is due to the
prefecture. Participants' impressions were: role that the association plays. Hyogo prefec-
"Energetic", "Healing", "Enjoyable", "Not only ture's efforts that are not unique across the
could we listen, but we were also able to par- country are becoming model cases for other
ticipate" and so on. It has not only become a prefectures, and I am excited at the prospect
place to stay close to the feelings of the vic- that Japanese music therapy will become
tims and to think about what we can do. It more fulfilling.
has also lead to a deepening of ties between
the members. references
conclusion Nara-shi Music Therapy Study Group(1997):

Nara-shi Ongaku Ryouhou eno Michi (A
It can be said that working on the Hyogo pre- Road to Nara-shi Music Therapists), Nara
fecture supplementary business, which has City Social Welfare Council.
led to securing and expanding the place of Kumiko Ukai (2006):Social Function of Music-
music therapists and raising the results, has Therapy Association-Analysis of the Gifu
led to an increase in the significance of the Prefecture Music Therapy Association-,
existence of our organization professionally. Chubu Gakuin University Bulletin, 51-57.
In cooperation with the administration, we
must carry out our purpose of mind even about the author
under severe conditions, and often suffering
from the difference between our ideals and President of HMTA.
the reality of what can be done. In the end, Email: matsuzk@nifty.com
455
MUsic tHerapY fOr eartHQUaKe sUrViVOrs: restOratiOn

Of iDentitY anD cOMMUnitY tHrOUGH MUsicKinG
Kazuko Mii
Tohoku Music Therapy Project, Japan
Shizue Terata
Music Therapy Room SAKURA, Japan
Kana Okazaki-Sakaue
research purpose has generated some unfortunate splits in the

community, and the chief priest of the temple
This presentation will illustrate how group in the town felt concerned about the situa-
music therapy has helped to restore the iden- tion and provided a space for people to as-
tities of survivors and how creating indige- semble for practicing music. The presenters
nous music has changed their sense of com- were asked to conduct group music therapy
munity. The implementation and conserva- on a regular basis.
tion of traditional music, which took a clini-
cally significant role in tending to their emo- therapeutic process and results
tional as well as their social needs, will be
analyzed and discussed. The group was named the “Utakko no Kai
(sing-along group)” at first, and then the
Background members changed its name to the “Kujirasan
Gasshodan (Kujirasan Chorus)”, as they felt
Since the Great East Japan Earthquake and dignified through the process. Their sense of
Tsunami in 2011, the survivors have been ex- cohesion grew through the process and they
periencing a continuing sense of loss, from a were able to find their roles in the commu-
variety of sources including family members, nity.
friends, housing, work and also their sense of
community due to their scattered residency The participants started to express their
in temporary housing. spontaneous ideas during the music making
process and started to share with each other
Before the incident, there used to be a big the indigenous drumming and dances of “Ki-
community in the Kirikiri-district of Otsuchi- rikiri Jinku (a very traditional folk music of
cho, Iwate prefecture, where the tsunami the Kirikiri town). They were very eager to
washed away their homes. Some families enjoy and preserve their traditional music
were able to stay in their own houses, but even though the landscapes and scenery
others had no choice but to live in temporary had collapsed due to the earthquake. Music
housing provided by the government. This therapists have supported and helped the
456
survivors retain their pride and identity as sically, supported their sense of community
well as to restore their sense of community and also served to make a bridge between
through the rediscovery and embracing of their past and the present.
their indigenous traditional music. It took on
a clinically significant role in nurturing their references
emotional as well as social needs.
Chida, K. (2012). Sanriku no Umi ni Hibike Fu-
conclusion rusato no Koe (Songs of our home, Reso-
nate with the Sanriku Ocean). Chiryou no
The therapeutic use of the singing and dan- Koe Journal,13(1), 42.
cing of indigenous traditional music has en- Makino, E. (2013). Music Therapy that suites
couraged the participants to hold a Japanese people’s sensitivity – Considera-
requiescat for the dead, and also to share tion on the cultural aspects. Japanese
prayers amongst the survivors. This music, Journal of Music Therapy 13(1), 43-55.
which has been handed down since the Edo Pavlicevic, M. & Ansdell, G. (2008). Commu-
era by their ancestors, has evoked a sense of nity Music Therapy. London: Jessica Kings-
adherence and bonding within their com- ley Publishers.
munity and its history. At the beginning of
the process, the participants were unable to about the authors
realize the importance of such traditional
music as something to base their community Kazuko Mii (JMT, Board Member of the To-
on, as their psychological damage had been hoku Music Therapy Project and Music The-
too great. Moreover, there was an emerging rapist at the Lumbini, Facility for Develop-
issue in the divisive housing situation, where mental Delayed Adults)
some were able to go home, and some had E-mail: sara.sara.mii1117@k7.dion.ne.jp
to stay in the temporary housing. Many
complicated feelings such as anger, anxiety, shizue terata (JMT, Music Therapist at MT
ambivalence and stress have created a gap Room SAKURA)
between members of the same community.
Kana Okazaki-sakaue (DA, MT-BC, MT-BC,
Regular visits by music therapists have crea- ARAM, Associate Professor of Kobe Univer-
ted a space for them to share, express and sity and Advisor of the Tohoku Music The-
reflect their feelings both verbally and mu- rapy Project).
457
DeVeLOpMent Of tHe eLectrOnic instrUMent

witH acceLeratiOn sensOr aVaiLaBLe in MUsic tHerapY
Minoru Mitsui
Institute of Technologists, JAPAN
Erika Watanabe
International College of Music Therapy
Yuta Sakurai
Institute of Technologists
introduction velop ways to evaluate the work in the fu-

ture.
With the elderly living in communities in
Japan, vilification is performed about useful- Development of the electronic instrument
ness of postural balance exercises and exer-
cises appropriate for motion tasks for daily Three dimensional signals from the accelera-
living, as well as exercises for muscle streng- tion sensor are processed by a microcontro-
thening. ller (hereinafter called “micon”). The dialog
systems are in Fig.1. As acceleration changes,
The ability to balance can effect gait greatly. sound sources connected to the micon pro-
The acceleration sensor is excellent in por- duces sounds. At the same time, the memory
tability, is little load for the elderly and its device connected to the micon records the
use to evaluate balance is under considera- acceleration data. Through this process, the
tion by Noguchi et al. In the expectation electronic musical instrument developed for
that the exercise programs with music will this research makes it possible not only to
reduce the elderly people’s risk for fall, it is produce the sound, but also evaluate the mo-
one of the tasks of music therapists to de- vement of the body and posture.
Figure 1. Dialog of Electronic Instrument.
458
experiment with the electronic instrument future work
First, we evaluated whether the instrument In the future, installing wireless devices and
we developed is functioning properly to me- connecting several instruments will facilitate
asure the acceleration and the distances. As its use for playing in concert in group music
a result, we found very few accidental errors therapy, which is expected to increase the
of acceleration data compared to the theore- participants’ motivation against the load of
tical value, so that it has enough measuring exercise.
accuracy.
about the authors
Discussion
Minoru Mitsui is associate professor in the
Our research is radical in the sense that be- Institute of Technologists from 2009. Please
cause this is an electronic musical instrument, develop electronic instrument for music the-
it can change its timbre easily, and moreover, rapy with us.
it makes it possible to evaluate the user’s abi- Email address : mitsui@iot.ac.jp
lity in postural adjustment through the acce-
leration measurement.
459
waDaiKO perfOrMance encOUraGes cOMMUnicatiOn

sKiLLs Of MentaLLY DisaBLeD persOns
Eriko Mizuno
Odawara Junior College, NPO Agora Music Club, Japan
abstract china, & Schulaug, 2009). Above all, drum-

ming may lead to significant improvement in
We use Wadaiko (Japanese drum) as a group multiple areas of social and emotional beha-
activity for mentally disabled persons. Video vior (Ho, Tsao, Bloch, & Zeltzer, 2011). In the
recording compared single play, two-person early years of the team, interactions took
play and three-person play in which each par- place only between the teacher and each
ticipant has different learning level. This remember. Gradually, the members began to
search indicated that the participants became interact with each other through wadaiko
mutually synchronized in playing Wadaiko, performance.
and felt a sense of togetherness. Thereby pla-
ying Wadaiko encourages communication Method
skills.
http://www.agora-mc.com The study participants were the wadaiko
members who had each different playing
introduction level. Video recording compared single play,
two-person play and three-person play.
People with mental disabilities tend to lack
communication skills and have difficulty with results
interpersonal relationship. They are generally
not able to behave with confidence, so they A beginner could not play with correct
are embarrassed around people. rhythm by himself, but could do pretty well
with an experienced member. Furthermore,
Wadaiko performance is used by our organi- the three-person practice was more effective
zation as a group activity for individuals with than the duet practice.
mental disabilities. Wadaiko is an instrument
that can be easily learned and enjoyed, pro- Discussion
viding moderate physical activity in addition
to musical and social interaction. This study indicated that the practice in a
group setting enhanced synchronized mo-
The rhythms of drumming draw attention to tion. One of the most important elements of
and encourage the coordinated behavior of wadaiko performance is the synchronization
people with various disorders (Aldridge, of movements, including large gestures and
1989). Rhythmic motion can also have the definitive poses. Therefore, an inexperienced
effect of eliciting spontaneous speech (Corri- member should imitate the performance of
veau & Goswami, 2009; Norton, Zipse, Mar- an experienced one. The nonverbal interac-
460
tion created a community spirit within the speech and language impairment. Cortex
group, and the process of interpersonal 45, 119–130.
interaction resembles the process of synchro- Norton, A., Zipse, L., Marchina, S., & Schu-
nization of many different rhythms (Kira, laug, G. (2009). Melodic intonation the-
2003). The results of this study appear to in- rapy: How it is done and why it might
dicate that, due to the large movements, work. Annals of the New York Academy of
loud sound and clear rhythm, the synchro- Science 1169, 431–436.
nized gestures of wadaiko performance may Kira, F. (2003). Experiment of Kansei Interac-
be a significant factor in calling the partici- tion from the Viewpoint of Rhythm. Tech-
pants’ attention to others and may Wadaiko nical report of IEICE.HCS 102, 35–40.
Performance also encourage interpersonal Giacomo, A. D., Portoghese, C., Martinelli, D.,
interaction and nonverbal communication in Fanizza, I. et al. (2009). Imitation and com-
people with limited communication skills. munication skills development in children
The imitation in behavioral intervention was with pervasive developmental disorders.
emphasized that is important to improve Neuropsychiatric Disease and Treatment
communication abilities in young autistic 5, 355-362
children (Giacomo, Portoghese, Martinelli,
Fanizza et al.,2009). about the author
references eriko Mizuno Ph.D. Music therapist. Odawara

Junior College Associate professor of Special
Aldridge, D. (1989). Music, communication Needs Nursing. NPO Agora Music Club Direc-
and medicine. Journal of the Royal Society tor: Music activities for the mentally handi-
of Medicine, 62, 743-746. capped.
Corriveau, K.H., & Goswami, U. (2009). Rhy- Email: eriko.agora@gmail.com
thmic motor entrainment in children with Web page: http://www.agora-mc.com
461
intrODUctiOn tO reGULatiVe MUsic tHerapY (rMt)

- its practice in Japan as a MinDfULness MetHOD -
Naoko Moridaira
Sagami Women’s University, Japan
introduction pose and its own kind of music. In this

workshop, the participants will experience
Regulative Music Therapy (RMT) was deve- firsthand how to regulate unnatural tensions
loped by Christoph Schwabe in Germany in in our bodies and minds by listening to
the 1950s. It is a form of psychotherapy that music and how music can be used to deepen
utilizes music to expand our awareness and and widen our awareness.
promotes well-being. In other words, it is a
way of developing our ability to be more rMt as a mindfulness method
mindful in our everyday lives through RMT.
The author has been using this form of the- In Japan, RMT was introduced by Dr. Yasuji
rapy for more than 20 years in Japan. RMT Murai in the 1980s. He gave a presentation ti-
has been used on a variety of adults with dif- tled, “Regulative Music Therapy and Zen. An
ferent purposes and goals. Most notably, the attempt to adapt the therapy for Japanese
author has used this therapy on college stu- clients”. He claimed that for Japanese thera-
dents who have been suffering from anxiety pists and clients, employing the concept of
and psychosomatic symptoms (Moridaira, Zen is helpful to understand the meaning of
2013). Additionally, the author has also used RMT. Schwabe mentions this presentation in
RMT on athletes who are looking to enhance his article about the development of RMT pu-
their performance and on parents who feel blished in 2003. He notes that he also had re-
the stress of parenthood and raising chil- cognized that the training principle of RMT
dren. In this therapy, both one-on-one and that was conceived by himself, is based on
group settings can be used. While listening the same idea of Zen. Although neither
to various kinds of classical music, the clients Schwabe nor Murai use the word “mindful-
are instructed to move their awareness to ness”, it is clear that RMT is one of the me-
different areas of their conscious experience thods that is based on the concept of
such as the music, their body sensations, mindfulness. In Japan, interest in mindful-
and their mental processes like their ness has been growing for the last several
thoughts, emotions, and moods. After that, years. Therefore, the number of people who
the clients are encouraged to share their ex- show interest in RMT is also increasing.
periences, so that the therapist and other
participants can help them to improve their functions of music in rMt
ability to expand their awareness. The the-
rapy is usually around 20 sessions in length. Among the large number of methods based
The 20 sessions of RMT are divided into se- on mindfulness, RMT is unique because it
veral stages, each of which has its own pur- employs music. With the help of music, we
462
can efficiently train an attitude of mindful- aware of as many things as possible regar-
ness. Music elicits a variety of responses dless of whether they consider them com-
from our body and mind, so we can practice fortable or uncomfortable.
observing these responses. Because in music 3. While participants are sharing their expe-
there are constant changes in rhythm, vo- riences, the therapist’s attitude of accep-
lume, tempo, and harmony, it is easier to ting their experiences is important. He/she
keep our awareness away from neurotic should also not be too directive, but should
thought patterns and unpleasant physical instead give some useful suggestions that
symptoms. And in RMT, music is viewed as may help them expand and accept their
representative of the people around us awareness.
and/or our surroundings, not ourselves. The
music is there and continues to play regar- references
dless of our desires.
Moridaira, N. (2013). Using Regulative Music
considerations upon implementation Therapy at a college counseling center in
Japan. Music Therapy Today, 9(1), 212-203.
1. It is important for the participants to not Schwabe, C. (2007). Regulatory music the-
have attachments to any expectations. rapy (RMT) Milestones of a conceptual
There is a golden rule: development. In Frohne-Hagemann, I.
- if you desire something strongly, you (Ed.) Receptive music therapy. Theory
won’t be able to obtain it. and practice. Wiesbaden: Reichert Ver-
- if you try to avoid something, then it lag, 203-210.
comes to you more strongly.
2. It’s better not to use phrases such as: “let about the author
it go”; “leave it as it is”; “accept everything
as they are”. If the participants eagerly try naoko Moridaira, Ph.D., certified clinical
to actualize these attitudes, it becomes dif- psychologist, is Professor of psychology at
ficult to actualize them. So, instead, the Sagami Women’s University, Japan.
therapist should encourage them to be Email: naokomorida@gmail.com
463
intrODUcinG MUsic tHerapY apprOacH On BaBies witH

cOnGenitaL HearinG LOss
Kano Murakami; Takako Akaboshi
Satoshi Asanuma
Saitama Children’s Medical Center, Japan
Nodoka Adachi
Saitama Children’s Medical, Japan
introduction practice Overview
The spread of the Universal Newborn Hea- Outpatient group music therapy sessions
ring Screening (UNHS) has made it possible were offered once a month (12 times per fa-
to detect congenital hearing loss. However, mily). The schedule was as follows:
mothers are often shocked or can become
depressed after a diagnosis of hearing loss 1. Staff meeting/ consultation with the oto-
shortly after child’s birth. In 1999, the De- laryngologist (20 minutes).
partment of Otorhinolaryngology at Saitama 2. Hearing Exams(COR) by Speech Therapist.
Children’s Medical Center located in a su- 3. One-hour group music therapy session.
burb of Tokyo started an outpatient class for 4. Lecture for parents from professionals for
those with an early detection of hearing 40 minutes.
loss. This course was facilitated by multidis- 5. Fitting of individual hearing aid in after-
ciplinary experts to offer team support for noon.
infants and their families, in particular for
mothers. Music therapy services were pro- Approximately ten staff participated in the
vided by a music therapist and included in music therapy session; doctors, nurses, a spe-
the multidisciplinary team. Data were collec- ech therapist, a teacher of hard of hearing
ted from 15 infants ages 0 to 2-years-old from school (in charge of infants and tod-
diagnosed with bilateral Hearing Loss in the dlers), nursery teacher, volunteers (mothers
precision examination and their parents. The who graduated from this outpatient group),
objectives of music therapy were 1) cons- and the music therapist.
truction of healthy maternal and child re-
lationship through music activities, 2) Outpatient Music therapy sessions
awareness of sound through the vibration of
music, and 3) improved communication with 1. Children fitted with a hearing aid by Speech
other family members inside and outside of Therapist.
the group. 2. A music therapist used visual cues, tactile
464
stimulation, recognition of sounds via bone wanted to participate in music therapy for
vibrations through drumming, etc. more than 12 times.
3. A music therapist encouraged imitation,
immediate reaction, small instruments ac- Discussion
tivity, cloth playing, etc. to motivate and
engage the children. The data suggested that wearing the proper
4. Child and parents interacted through the hearing aids and sound presented through vi-
music and developed nonverbal communi- brations were easily accepted by infants in
cation. the early stages of child development. Also,
providing appropriate information and colla-
results boration with the multidisciplinary team pro-
vided stability for mothers and appeared to
During the program, the music therapists co- promote interactions with their children.
llected data on the children’s acceptance of
sound. Information was also collected on the On the effects of music in medical care, Wada
mother’s state. After the completion of all 12 (2011) reported that promoting the develop-
music therapy sessions, the music therapist ment of emotions in children and the effect
summarized data taken via questionnaire of mothers' emotional stability make mutual
after each session. Results for the question relations. Results suggest that music child-
"Do mothers themselves enjoy the music the- mother therapy helped mother's emotional
rapy session?" showed increases in enjoy- stabilities. This may in turn improve the
ment across time. child’s outcomes.
time references
Question 1st - 4th 5th - 8th 9th -12th
Always fun 71％ 78％ 85％ Wada, R. (2011). On the effect of involvement
Somewhat fun 20％ 17％ 9％ in music during hospitalization in the neo-
Sometime fun 9％ 5％ 6％ natal period on its growth and develop-
Not much fun 0％ 0％ 0％ ment. Bulletin Vusuo: Research Reports, 29.
Not fun at all 0％ 0％ 0％
about the authors
Additionally, it was observed that mothers’ Kano Murakami, Tokyo Music Volunteer As-
engagement with one another increased sociation.
across time and several commented that they Email: okrkc-c4@jcom.zaq.ne.jp
465
a case stUDY: Grief anD inDiViDUatiOn prOcess tHrOUGH

GUiDeD iMaGerY anD MUsic anD iMprOVisatiOn
Atsuko Nadata
Private practice, Japan
A female client in her 30s participated in GIM because she thought she should, without
sessions to facilitate the grieving process after being aware of her grandmother’s great in-
the death of her mother. This session will pro- fluence. She never had a moment to examine
vide case examples from the sessions, using what she genuinely believed.
Joseph Campbell’s Hero’s journey and other
grief theories to examine her unique path of
grief and the individuation process.
Recently there has been an increase in books

related to thanatology and grief, yet there are
few which link the grief process and the indi-
viduation process. This poster presentation
shows the unique path of the individuation
process initiated by one client’s grief. A fe-
male client in her 30s initially started Guided
Imagery and Music (GIM) sessions to facili-
tate the grieving process a year after the
death of her mother. However, once the pro-
cess started, she brought up many other is-
sues regarding her relationship with her Figure 1. A drawing picture about her
grandmother, other family members and co- gramma and mother.
workers.
As the GIM process proceeded, boundary is-
We first worked on her relationship with her sues were raised. Boundary invasion were
grandmother who raised her mother. She re- common among her family members under
alized how much she had been influenced by the name of “family cooperation”. It was like-
her grandmother’s value systems. Recogni- ned to god’s unconditional love. It took time
tion of the triangle alliance between her for her to truly feel her long buried anger to-
grandmother, mother and herself was neces- wards her family members. She realized that
sary for her to deal with difficult dynamics she had repeatedly recreated the same dyna-
with her father, younger brother and her mo- mics with her colleagues. Without being
ther’s recurrent cancer. Since she was little, asked, she was inclined to get involved with
she had served as a mediator for her mother troubled people to try to save them. These
to deal with her uncommunicative and un- relationships were always one way and she
supportive father. She decided and did things was always frustrated by them. She had to
466
learn that she could have both unconditional person. During the next stage, initiation, she
love and clear boundaries. needed to confront and sometimes fight with
her shadow aspects which were projected
onto people around her. Then, finally, she was
ready to return to her own kingdom as a ruler
of her own realm with a sense of autonomy.
At that point she was then capable of dealing
with the initial theme, grief related to the loss
of her own mother.
The depth of psychotherapy enables clients

to explore unidentified but burning psycholo-
gical needs for transformation. GIM and im-
Figure 2. A drawing about her relationship provisation work were able to facilitate and
with her father and brother. concretize her psychological transformation.
After we went through these themes, she references

was then ready to dive into feelings towards
her mother. It was painful for her to examine Bruscia, K. & Grocke, D. (2002). Guided ima-
what was happening between her and her gery and music: The Bonny Method and
mother what she lost when she died. Joseph beyond. Barcelona Publishers.
Campbell (2008) explained that myths and Campbell, J. (2008). Hero with a thousand of
fairy tales are treasure troves of models for faces. Pantheon books.
our individual psychological development. His Levy, A. (2000). The orphaned adult: Unders-
Hero’s journey theory divides the psychologi- tanding and coping with grief and change
cal journey roughly into three stages, (a) de- after the death of our parents. Perseus
parture, (b) initiation and (c) return. In the publishers.
departure stage, a hero is called by someone
or something and feels an urge to leave the about the author
place he has lived without questioning. For
this client, her mother’s death and undiges- atsuko nadata, MT-BC, FAMI, recently works
ted grief feelings were the call for her to in- as a freelance music therapist.
itiate a new journey as an independent Email: letsusicing@gmail.com
467
LearninG frOM eXperience: HOw tO Maintain tHe

QUaLitY Of MUsic tHerapY prOGraMs as BUsiness GrOws
Atsuko Nadata, MT-BC, FAMI
Works in private practice, Japan
Satoko Inoue, Ph.D., MT-BC

introduction and group sessions, with 30 minutes of

music intervention and 15 minutes of work
As more municipal governments in Japan out- with parents).
source early intervention programs for spe-
cial needs children to private organizations, The presenters will stress that both commu-
the quality of the service has become an nication skills and a culture of mutual res-
issue. In order to grow and sustain a profes- pect as professionals are indispensable, and
sional practice, music therapists must be ca- that these skills are as important as being
pable of communicating with administrators, an experienced practitioner. Educational
non-music therapy colleagues, customers, strategies will be shared, especially for si-
and their guardians. This presentation will tuations in which other professionals and
highlight communication and administrative customers do not know how music thera-
strategies necessary for the successful launch pists use music for therapeutic intervention.
and development of music therapy programs Case examples will be provided to illustrate
in early intervention settings. successful communication and educational
strategies.
Launching and expanding a music therapy
program can be challenging, and there are Overview of our presentation
a number of aspects to consider to ensure
that the program will be successful. This The presenters will also provide an overview
presentation also provides a case example of challenges that arose as the program ex-
of a music therapy start-up program in one panded. In particular, issues of maintaining
early intervention setting in Japan. During the quality of the program and managing
the session, both challenges and accomplis- music therapists will be discussed. Topics co-
hments will be highlighted. Background in- vered will include: (1) How can we introduce
formation about the facility will be shared, the importance of supervision and self- re-
including (a) the types of staff who work in flection to music therapists and other collea-
the facility (speech and occupational thera- gues? (2) Where do we draw the line in terms
pists, clinical psychologists, teachers), (b) the of quality standards? and (3) How do we de-
types of children served (children with spe- velop and adhere to a unified mission? Eva-
cial needs), and (c) an overview of the music luation data was collected including on
therapy program (45-minutes of individual boarding, in-service, individual supervision
468
and peer study groups. Data showed a de- not change, their guardians were satisfied
cline in services and that experienced staff when their personal needs were met.
tended not to stay long in the organization.
Differences in the understanding of and be- Given that many new facilities for early inter-
liefs towards “early intervention” as well as vention for children with developmental disabi-
“music therapy” at branch locations were lities are being created in the private sector in
found. As a result, there was no clear “music Japan, the presenters will encourage the au-
therapy unit” set up and no music therapist dience to reflect back their own experiences
was assigned to be responsible of any music and share ideas for improving the working en-
therapy activities on the whole in this organi- vironment for the music therapists in the future.
zation. Therefore, music therapists were not
united, which led to the loss of the opportu- about the authors
nities to deepen other professions’ unders-
tandings and gain their cooperation and atsuko nadata, MT-BC, FAMI., works at pri-
respect. vate practice.
Email: letsmusicing@gmail.com
However, a customer satisfaction question-
naire showed that customers felt listened to satoko Mori-inoue, Ph, D. MT-BC, works at
and valued how they were treated by the Yamato International School.
staff. Even though the children’s behavior did Email: mailto:inoue.m.satoko@gmail.com
469
tHe pOtentiaL tHerapeUtic pOwer Of MUsic fOr

cancer patients
Ritsuko Nagashima
Division of Rehabilitation, Chiba Cancer Center, Japan
Maiko Aoyagi
Division of Palliative Care, Chiba Cancer Center, Japan
Masami Fujisato
Division of Palliative Care, Chiba Cancer Center, Japan
abstract the last gifts for their special persons. When

the patients and their families listen to their
The author has engaged in music therapy ses- favorite songs, they might remember their fa-
sions held in the palliative care unit of Chiba raway memories rather than their painful ones
Cancer Center as a music therapist and the- facing against cancer. Therefore, they can un-
reby contributed to the improvement of qua- derstand the meaning of their lives regardless
lity of life (QOL) of the cancer patients since of the temporal and spatial distances or life
2006. During this activity, the author and the and death. Here, we describe the never to be
author’s collaborators have met numerous forgotten memory of five patients together
patients as well as their families, and spent with their favorite songs, and discuss the po-
the irreplaceable and precious time and tential therapeutic power of music.
space with them. In the present study, we
wish to describe the memories of the most results
impressive five patients (now deceased)
along with their favorite songs. From our music therapy, we repeatedly re-
member five dead patients who are now de-
introduction ceased, and their favorite songs. Their
requested songs are as follows:
Over eleven years, we have engaged in music
therapy sessions for the cancer patients and “O-ma-e-ni” (Words by Tokiko Iwatani; Music
their families in Palliative Care Unit of Chiba by Tadashi Yoshida),
Cancer Center. Sharing the warm-hearted time “I-to” (Words and Music by Miyuki Nakajima),
and space with them, we have been always as- “I left my heart in San Francisco” (Words by
king by ourselves how music could create the Douglass Cross; Music by George Cory),
spiritual exchange. From our experience, it is “Aki-no-kehai” (Words and Music by Kazu-
suggestive that their requested songs gra- masa Oda),
dually become the impressive memories of “Sekai-no-Yakusoku” (Words by Syuntaro Ta-
them. In other words, the patients must give nigawa; Music by Yumi Kimura).
470
During and after music therapy sessions, we To satisfy them and also establish the grief
received the following messages from them: care, a music therapist has to face directly to
them together with their favorite songs, listen
“I was very surprised to hear the actual music to their words, and sincerely play their me-
in the hospital”. morable songs in the extremely precious the-
“I was very happy to sing songs together with rapeutic time and space like a treasure.
the patients”.
“This music therapy made me comfortable”. A song on the last day gives color to life of all
“This music therapy made me happy as if I persons concerned, which is the power of
were not sick in bed”. music.
“Indeed, this music therapy gave me a power
to survive”. acknowledgements
Their messages are helpful and thus prompt We thank Toshinori Ozaki of Chiba Cancer
us to create much better sessions. Collecti- Center Research Institute for his English edi-
vely, it is likely that music therapy as a pallia- ting.
tive care makes them feel much better, and
thus contributes to the advance and the es- references
tablishment of the ideal terminal care.
Kondo S. (2005). Music beyond words. Pa-
Discussion lliative Care, 15(5), 475-478.
Kenny C. (1989). The field of play: A guide for
Here, we have described the memories of the the theory and practice of music therapy.
most impressive five cancer patients together Atascadero, CA: Ridgeview.
with their favorite songs. Through our close
heart-to-heart exchanges with these patients about the authors
and their families, we want to say that music
has a strong therapeutic power (Kondo, 2005). ritsuko nagashima, Music Therapist, Division
of Rehabilitation, Chiba Cancer Center.
It has been generally accepted that the hea- Email: rnagashima@chiba-cc.jp
ring is the last sense remaining until the end
of life. With this in mind, we believe that the Maiko aoyagi, Cancer Pain Management
last songs the patients hear, are converted Nurse, Palliative Care Unit, Chiba Cancer Cen-
into their eternal memories over the sad se- ter.
paration. In other words, music turns out to
be a bridge between their past and now or Masami fujisato, Medical Doctor & Director,
now and future (Kenny, 1989). Palliative Care Center, Chiba Cancer Center.
471
tHe effectiVeness Of MUsic tHerapY aDDeD tO

tHe Life reView Of cLients witH DeMentia
Eika Nakamura
International University of Health and Welfare Graduate School, Tokyo
As the number of patients with dementia has However, it is worthwhile to conduct a qua-
recently increased in Japan, they have been litative study to consider the clients’ expe-
treated in various ways in institutions for the riences because they appeared livelier
elderly. during the latter half of the sessions in the
program.
The purpose of this study was to clarify the
effectiveness of music therapy added to a life references
review program, focusing on the relationship
between the life review program and music Watanabe, K. (2008). Ronenki-ninchisho kanja
therapy. wo taisho-to-shita ongaku-ryoho ni kan-
suru kenkyu (A study of music therapy for
Five participants with the ability to commu- elderly patients with dementia). Kazama-
nicate verbally joined the life review program syobo, Tokyo.
in a dementia ward. Haida, S. (2011). Ninchi-sho no genjo (The
present situation of dementia). Tokai uni-
The purpose and procedure was explained versity medical technology junior college
and informed consent was obtained from the general nursing research institution mis-
participants. cellany. 21, 3-10.
Matsuhara, Y. (2011). Ongaku ga ninchisho-
During the first half of the session, photos koureisha ni oyobosu QOL no kojo - Kai-
and articles were used in the life review pro- soho to najimi no ongaku wo mochiite no
gram, and during the latter half, a computer jissen- (Music therapy for elderly demen-
keyboard was used to play music that was re- tia using familiar music). J. of Kyusyu Univ.
lated to the photos and articles in order to of health and welfare. 12. 79-84.
evoke clients’ memories more effectively.
about the author
The results of each session were evaluated
for each client, using the Ehime Music The- eika nakamura is a student in the occupatio-
rapy Scale for Dementia (D-EMS). nal therapy master’s program at the Interna-
tional University of Health and Welfare
The results showed no difference between Graduate School in Tokyo, and is interested in
the first half (life review only) and latter half music therapy for the elderly with dementia.
of the sessions (life review and music). Email:e16n.i5th@gmail.com
472
MeMOrY Of OLDer aDULts anD MUsic pOwer

Kiyoko Nakasato
Andante Music Research Room, Japan
abstract The MT thought perhaps Mr A sleep had

been a conditioned reflex. But music therapy
Older Adults having a storage in the painful had an effect on it, too. Mr.A refused doctors
war, have been released from the suffering by and nurses’ touch, but not that of the MT
the Music Therapy. which resembled his mother’s strokes when
singing a lullaby. The MT thinks that it is ne-
Description cessary for MTs who work with seniors to
learn and know such historical facts.
Case A: Mr.A was 82 years old whose cancer
pain was relieved with drugs. But he had Case B: Ms.B is a 87 years old, was a member
been into excitement • arousal • insomnia for of a care prevention session. Master of Tanka.
3 days. The case led to sleep comfortably with In the old days, her Tanka " girl student wors-
Music Therapy when he was in critical condi- hipped to protect the older brother of the
tion. moon view battlefield" praying for his safety
which won the contest just before the ses-
The music therapist (MT), the author, tried sion. At that time, as " young people who
various humming songs with him. Eventually don't know the war, you wouldn't know". The
he felt comfortable with Mozart's lullaby. MT wrote music for Tanka and sung while pla-
When he was in excitement and arousal, he ying the piano. The MT told the patient she
was hallucinating about his experience in the was impressed by her praying for the safety
war. He had the vision of being taken as a pri- of her brother. And Ms.B was deeply moved
soner of war, opening his eyes,widely and rai- and they could communicate.
sed his fist to resist.
Ms. B and the elderly group session members
The MT learned in a Nordoff-Robbins Music had similar experiences, and other members
Therapy seminar “The songs with orchestra also talked about war stories, and all together
and lyrics are heavy for the patients who are chanted that song. After that, we appeared in
in low life force. The humming voice of a the "nursing care prevention event" sponso-
human is the best music to reach the pati- red by the municipality according to their re-
ents softly.” So MT tried humming songs for quest and we performed the song. Ms. B
him,which led him in peaceful sleep. Mozart's created poetry of "the first and last song" so
lullaby was a sign of bedtime at the POW that they can be sung on the MT's song for
camp held during the war. The MT didn’t consideration to fellows.
know this fact until Mr. A died, even his family
didn`t. The MT learned about through a TV MT reworked the melody, and the song is
documentary after A died. been sung at each session.
473
Ten years ago I saw a TV documentary about juvenating the hot feelings opposite to re-
warm and people from the Bosnia and Her- sentment. Attracting attention to music, I can
zegovina said: “We make Haiku, then we feel stop the idea of death".
Happiness” . This year I have heard the same
story on the Kuloachia TV. Now that the number of elderly people who
can tell war memories has decreased, we as
“HAIKU” has rhythm 5,7,5. ”TANKA” has MT who do not have these memories should
rhythm 5,7,5,7,7. Music has three elements: understand these people and be aware of the
one is “Rhythm” and the MT composed ano- big mission we have to connect them to the
ther one called “Melody”. The participants in future . The power of music will help us make
the MT session play together, and they make the rest of their lives more gentle and mea-
“Harmony”. I believe music contains three ningful, and I am confident that it will be a
elements or only one music power which fos- force to live peacefully and happily in peace.
ters the wellbeing of older adults .
references
conclusion
Frankl, V. E. (1977). Trotzdem ja zum leben
The common elements in these two cases is sagen:Ein psychologe erlebt das konzen-
that memories of war are engraved in the el- trationslager, [Man's search for meaning].
derly. Frankl (1977), who wrote "Night and München; KöselVerlag.
Fog" about the experience at Auschwitz con- Murai,Y(1995). Ongaku-ryoho no kiso [Basics
centration camp, said that "a feeling for loved for music therapy]. Tokyo; Ongaku-no-to-
ones, an intense experience of art (music) mosha.
and nature" kept the prisoners trying to es-
cape to survive to remain in this world. Mr. about the author
Dr. Toshikazu.Matsui who received Super Vai-
ses said that music therapy for the elderly Kiyoko nakasato, RMT(Japan), works at An-
"cleans their mind." dante Music Reserch Room.Graduated from
Kunitachi College of Music with a Bachelor of
Dr. Yasuji.Murai said, "The reminiscence awa- Arts (Music).
kened by music relieves people's feelings re- Email: showchuchan@gmail.com
474
HOMe-VisitinG MUsic tHerapY fOr VentiLateD

aLs patients anD tHeir faMiLies
Hisako Nakayama
RMT(Japan), Japan
abstract After the 10th session, the subjects and their

families were asked to respond to a semi-
In the home care environment, the patient’s structured questionnaire. Additionally, obser-
and the family’s quality of life (QOL) are mu- vational video recording was conducted after
tually interrelated. The effects of 7-month their ethical consent was obtained. Amylase
home-visiting music therapy on physiological activity was significantly decreased both in
and psychological indicators were examined the patients and in the family members. No
in 4 families, using a semi-structured ques- significant difference was observed in the oxy-
tionnaire survey. gen saturation level of the patients. The Face
Scale improved after each session. With re-
Description gard to the home visits, many patients said
that it was “very good” and that “it strengthe-
According to the 2014 Specific Disease Certi- ned my power to continue living my life.”
ficates for amyotrophic lateral sclerosis (ALS),
an incurable neurological disease, there were references
9950 ALS patients in Japan. In the terminal
stage, the ALS patients are pressed to make Mihara, B., Miahara, Y., Fujimoto, M., Nagas-
an ultimate decision as to whether an artificial hima, H., & Tomita, T. (2006). The effect of
ventilator is to be used. Compared with the music therapy for patients with amyotro-
West, more Japanese ALS patients have cho- phic lateral sclerosis-evaluation by neurops-
sen to use an artificial ventilator. While the ar- ychologic and physiological tests. Japanese
tificial ventilator may increase the patient’s Journal of Music Therapy, 6, 23-32.
possibility of staying alive, it is not easy for the Komori, T., & Kondo, K. (2011). ALS homon
patient to continuously retain hope and self- ongaku-ryoho gaidorain. Iwami Insatsu
respect in such a condition. The supporting fa- Kabushiki Kaisha.
mily often faces the same situation. We Toshin, G. (2015) Ongaku-ryoho kanfarensu.
examined whether music therapy would be Kitaohji Shobo.
useful for improving the QOL of the patient Kato, S., Ozawa, E., Shimada, M., Kurokawa,
and his/her family. Four families were selected J., Nishida, T., Kasahara, Y., & Nomura, M.
as survey subjects. Music therapy was con- (2010). End of life care of persons with
ducted once a month, for 7 months. After amyotrophic lateral sclerosis in hospice.
each session, physiological indicators (amylase Palliative Care Research, 5(2), 137-144.
activity, percutaneous oxygen saturation) doi: 10.2512/ jspm.5.137
were assessed, and the Face Scale was admi- Segawa, M., Okubo, H., Wakita, M., Yosida, Y.,
nistered to assess psychological indicators. & Kondou, K. (2010). The music therapy to
475
support spirituality of patients with ALS in about the author

the home. Bulletin of Nara Medical Uni-
versity School of Nursing, 6, 06-14. Hisako nakayama, RMT(Japan), is a music
Saito, A., & Kobayashi, A. (2001). The study therapist working at Palliative Care Units and
on caregivers’ subjective burden in caregi- a member of Japanese Music Therapy Asso-
ving of amyotrophic lateral sclerosis pa- ciation.
tients at home. Journal of Japan Academy Email: music@f5.dion.ne.jp
of Community Health Nursing, 3(1), 38-45.
476
sinGinG traininG witH aUtOMatic eVaLUatiOn fOr

peOpLe witH DYsartHria
Maki Nanahara
Aikou Kizen no Sato (Support Center for Persons with Disabilities), Japan
abstract and rhythm) was created in cooperation

with NETCOM CO., LTD. for the training. It
This research introduces the process of Sin- showed the improvement of patients’ sin-
ging Automatic Judgement Application (SAJA), ging.
which focuses on effects on the singing per-
formance of music therapy clients with Methods
dysarthria. The results indicate a possibility
of the correction of their pitch and rhythm in Vocal protocol in Music therapy sessions
singing. These musical elements are effec-
tive in improving speech intelligibility. This The ten patients with dysarthria (ages:
research is a fundamental study to evaluate 54~62) who reside at the facility performed
automatically the singing of people with singing and vocal training for 25 minutes in a
dysarthria. 40-minute music therapy session in a group
held once a week for one year. Each session
introduction included a test song and a few familiar songs,
physical exercises, oral exercises, and diado-
Dysarthria is a motor speech disorder resul- chokinetic practice arranged in scales.
ting from neurological injury of the motor
speech system which induces limited articu- singing automatic Judgement application
lation of phonemes (Darley 1975). For these
patients, singing training is an effective way (SAJA) was used as the pre-test, mid-test,
to improve their vocal articulation. However, and post-test for each patient every three or
so far, there was no reliable objective me- four months of music therapy sessions. The
thod of evaluating the improvement of evaluation indicates accuracy of each sylla-
clients’ singing, so subjective human judg- ble (note) of the song and the total score for
ment was the only means of evaluation. A the song. Using SAJA, each patient could see
previous study reported increasing the vocal on the tablet which syllables needed to be
range and the vocal intensity of the patients, sung higher or lower and how accurate his
which contributed to improvement in their or her tempo and rhythm were.
speech intelligibility (Kato, 2008). Also, some
correlations of acoustic features with per- results
ceptual impression evaluation were found
and showed the improvements in patients’ The result of the evaluation showed that
speech intelligibility (Kato et al., 2011, there were significant differences among the
2014). Based upon these results, SAJA (pitch patients’ three tests scores, with a 5% of sig-
477
nificance. It indicated that there were impro- intensity on central neurological disease
vements on each test. patients with dysarthria: based on the
prosodic analysis. Japanese Journal of
conclusion Music Therapy, 8(1), 67~75.
Kato, M., Yamamoto, K., & Nakagawa, S.
Many patients sang each sound carefully by (2011). Correlation of Objective Analysis
listening to the sound of the melody and re- ofPitch/Rhythm with Subjective Evalua-
ading the lyrics, which were produced from tions for Dysarthria Patients. Proceeding
the software, and their motivation rose by of the 13th World Congress of Music The-
score-based incentives. That information rapy (pp. 200-201).
might provide clues for advising to clients Kato, M., Yamamoto, K., & Nakagawa, S.
whose sound has to be improved or contro- (2014). Correlation of Acoustic Features
lled, according to the results of their tests. with Perceptual Impression Evaluation
Therefore, the combination of vocal training after Singing Training. Proceeding of the
and utilizing the singing application are ef- 14th World Congress of Music Therapy
fective ways to improve patients’ speech. (pp. 334-335).
However, there are still some future tasks of
analyzing speech intelligibility especially for about the author
dysarthria patients.
Maki nanahara (Kato) is a certified music
references therapist of Japanese Music Therapy Associa-
tion. She works as a part-time music therapist
Darley, F., Aronson, A., & Brown, J. (1975). at Aikou Kizen no Sato, at facilities for adults
Motor speech disorders. Philadelphia: W. with disabled, and at public day care centers
B. Saunders Inc. for children in Japan who need special sup-
Kato, M. (2008). The effect of music therapy- port.
for improvement of vocal range and vocal Email:mnhara16@gmail.com
478
One KinD Of MUsic tHerapY BOrn in Japan: MUsic care

Chihiro Nishijima
Nihon Fukushi University, JAPAN
about Music care ginners workshops has reached more than

20,000 worldwide (http://www.music-care.
In Japan, there is a method in the field of net/).
music therapy called “Music Care”. It was
born and has evolved in Japan. Tetsuro Ka- the features of Music care
gaya, a specialist in the field of education for
children with disabilities, is the developer. It Music Care has several unique features. First,
was called “Kagaya’s Music Therapy” in the Music Care uses recorded music (music CDs)
1960’s. He is also known to have established for the session: it is based on Kagaya’s idea
the Japanese Music Therapy Society (JMTS) that everyone should be able to practice (Mi-
in 1967 at a time when the term “music the- yamoto, 2012). Second, Music Care is practi-
rapy” was not known in Japan. ced in groups because Kagaya (Shigesita &
Kagaya, 2000, pp. 106-7) thought that the
about the Japanese Music care society real growth came out of actual interactions.
Lastly, most practitioners of Music Care are,
Kagaya’s Music Therapy became popular or once were, working at welfare facilities,
through the summer seminars and other op- such as that for elderly people, children with
portunities sponsored by JMTS. After Ka- disabilities, people with disabilities, and so
gaya’s death, Keiko Miyamoto, Kagaya’s pupil, on.
established the Japanese Music Care Society
(JMCS). It was Miyamoto who started using Music Care is sometimes regarded as illegiti-
the term “Music Care” instead of “Kagaya’s mate because of the use of music CDs during
Music Therapy”. Having had experience of the sessions, and because most practitioners
working at disabled facilities, Miyamoto are not trained musicians. Yet, the number of
(2014, pp. 79-80) “could not regard special- membership and seminars of JMCS is too
needs children as ‘clients’”. The term “care” large to ignore. Why is Music Care that popu-
was more appropriate than “therapy” be- lar? According to my research, this is because
cause “those who support special-needs chil- Music Care focuses more on the relationship,
dren, special-needs people, and elderly at rather than treatment.
welfare facilities do not cure them but ‘live
with them’” (Miyamoto, 2014, p. 80). common point with culture-centered
Music therapy
The membership of JMCS now exceeds 2,700
since 2016 (JMCS, 2016). JMCS conducts Kagaya (2000, p. 94) has stated “my goal is
workshops in Japan and even overseas, in re- not to cure children and people with disabili-
cent years. The number of participants in be- ties, but to give them an opportunity so that
479
they can have better life.” Those who practice rapy. In Group of Jiba Ishikawa. Tetsuro
Music Care inherit Kagaya’s thought: they Kagaya: Purchasing smile from a heart.
would like to build better relationships Japan: Group of Jiba Ishikawa.
among children and people with disabilities Shigeshita, K., & Kagaya, T. (2000) (Eds.). A
and elderly people in the welfare facilities, dialogue: Music, human and education. In
and the relationship between them and the Group of Jiba Ishikawa. Tetsuro Kagaya:
staff. Purchasing smile from a heart. Japan:
Group of Jiba Ishikawa.
The idea of Kagaya and Music Care is similar Miyamoto, K. (2012). Music care: Make the
to that of culture-centered music therapy. As life of the individual shine. Japan: Kawas-
Stige (2002), one of the pioneers in this field, hima-shoten.
argues, culture-centered music therapy aims Miyamoto, K. (2014). Music Care. In K. Miya-
that the clients interact with people in the moto & H. Izumi (Eds.). Knowing Music
local community, and expects changes of the Therapy: Its Theory and Technique. Japan:
community itself. Although Music Care may Kyorin-shoin
not talk of local community, it still looks to Stige, B. (2002). Culture-centered Music The-
achieve the same goal within the welfare fa- rapy. Gilsum: Barcelona Publishers.
cility. In this presentation, I would like to sum-
marize such features of Music Care from data about the author
I collected in my research.
chihiro nishijima majors in music education,
references and co-translated Musicking: The Meaning of
Performing and Listening (by Christopher
Japan Music Care Society. (2016). General Small, 1998) and Music as Social Life: The Po-
meeting program. Japan: Japan Music litics of Participation (by Thomas Turino,
Care Society. 2008).
Kagaya, T. (2000). (Ed.). My group music the- E-mail: nisijima@n-fukushi.ac.jp
480
tHe fUnctiOn Of cOMMUnitY MUsic tHerapY

prOMOtinG Grief care
Yumi Nishimoto
Freelance music therapist, Japan
Hiroko Kimura
Kumamoto University, Japan
abstract progress and results
This report describes the functions of Com- I would like to report about the case of one
munity Music Therapy (CoMT) promoting aged woman. She participated in CoMT with
Grief-Care. Our CoMT supported one partic- her husband, but her husband died after five
ipant who was bereaved of her spouse and years. Though she was depressed, she came
promoted her grief-care, and CoMT moreo- back to CoMT two months later. She said that
ver assisted her participation in community- because she had already gotten well, she
activity. The functions of CoMT are to vital-ize would continue enjoying CoMT again. Her
participants and to prepare them to enter singing volume increased more and more.
into the outside society. She seemed to regain her will to live through
singing with CoMT. She also showed renewed
introduction and method interest in outside activities. She achieved
participation in community-activity as a vo-
This report describes the functions of CoMT lunteer in the production of a music therapy
promoting Grief-Care. We practiced CoMT in session performed in a local hospital. She per-
the form of group singing of familiar old formed like a co-therapist of music therapy
songs, with the elderly for 10 years in one team, and she supported the elderly patients.
corner of an old shopping arcade in Kuma-
moto, Japan. Some of the participants had Her participation in CoMT helped her to
worries of every kind in our CoMT sessions. move out of her “internal place”. So she could
Some members were bereaved of their spou- express her feelings to the “external place”
ses and passed every day lost in their grief. through her participation in volunteer-acti-
Some of them had serious diseases. In addi- vity. She was healed at the place where she
tion to their original grief, all of the partici- had spent time singing with her husband.
pants were shocked by the sudden death of CoMT became grief-care and became an im-
fellow participants in succession during the portant step for her to move forward into the
program. However, those who were engaged society. Initially she was receiving assis-tance
in grief-care gradually got well by continuing from CoMT, but through the program she
their participation in CoMT. herself became a caregiver.
481
I reported about this participant at the 16th about the authors

JMTA Conference (2016). I would like to re-
port what has become of her and other par- Yumi nishimoto, MA, RMT(Japan), is a mu-
ticipants since then. sic therapist and a singer, based in Kuma-
moto University, working with aged elderly
references and in palliative care.
E-mail: yuminishi@k9.dion.ne.jp
Stige, B. (2002). Culture-centered music the-
rapy. Gilsum, NH: Barcelona Publishers. Hiroko Kimura, MA, RMT(Japan), is a music
Pavlicevic, M., & Ansdell, G. (Eds.). (2004). therapist and associate professor at Kuma-
Community music therapy. London: Jes- moto University, working with aged elderly
sica Kingsley Publishers. and children with special needs in Japan.
Wakao, Y. (2006). Ongaku-ryoho wo Kan-
gaeru [Thoughts about Music Therapy].
Tokyo: Ongaku-no Tomosha.
482
an interactiVe, interGeneratiOnaL,
anD eXperience-OrienteD cOncert Once a Year
Chieko Noda
Specified non-profit corporation Kinuta Music Therapy, Japan
Shion Hino
Hawaiian Hula Music Therapy
Jurika Abe
Japanese drums Hayate
Overview to us. At the time when I started practicing

music therapy in the local community, there
In this paper, we discuss a music festival for were many people who asked, what is music
persons between 0 and 100 years old. At this therapy? However, after I had continued my
event, people of all age meet one another practice for some time, people who felt that,
and enjoy music together regardless of whe- music therapy is good for your body, started
ther they have disabilities or not. We have to bring their friends to my place and at pre-
fun singing, dancing and participating in sent, I feel that local people have become fa-
rhythm activities. I introduce the rhythm ac- miliar with music therapy. I feel that music
tivity of these events with Japanese drums. therapy has gradually disseminated among
We meet up once a year to socialize through the local community through the regular
music activities. As for daily practices, each music therapy activities and the annual music
member practices music therapy individually. festival.
Music activities are carried out according to
the various ages and purposes. We thought I introduce rhythm activity today. We perfor-
on ideas that would enable interaction med a musical. This stories name is we are
among participants even for those who with cats. It is based on a children’s book. I intro-
autism spectrum disorders or those who have duce the rhythm activity of this event. Every-
dementia. We have been socializing through body, please become cats. And please shout
theater, story-telling, song parodies, physical mew. Would you like to do the rhythm acti-
activities, and rhythmic activities. The next vity by Japanese drums? And someone,
music festival coming up will be the eighth. would you beat a drum? Five people expe-
Since starting our activities, we have made rience it in turn.
presentations on the themes of our music
festival to various grant-awarding organiza- Music is without borders. Let us engage in
tions and have been able to hold this festival songs, dances and exercises to have fun toge-
over the years with the grants that were given ther!
483
references about the author
11 cats by Inoue Hisashi writer. Email: ponpoko123@kind.ocn.ne.jp

11 cats by Baba Noboru picture book writer.
484
sOnGwritinG fOcUsinG On prOcess anD its iMpLicatiOns

fOr tHe cLient as a sOciaL BeinG
Akiko Nose
Japan
abstract analyzed using session records and com-

ments from Yasu and others involved.
This case study will describe the songwriting
process of a client with cerebral palsy starting First, songwriting enabled him to be a provi-
with collaborative song creation in sessions der of music. A life-long music-lover, he had
and evolving to activities in the community. been limited by his disability to being a liste-
Focus is placed on the meaning of creating ner despite wanting to be an active music
and sharing songs in terms of his role and re- maker. When his songs were performed, he
lationships in the community. became a provider of music, being involved
“actively” in the performances.
Description
Also, songwriting provided him with oppor-
Yasu is a client in his 50s with a severe physi- tunities to convey his message to “society.”
cal disability due to cerebral palsy. He is non-
ambulatory and requires assistance for daily Additionally, his songs functioned as a me-
activities. He has difficulty with speech and dium for making connections. Yasu said one
requires the use of a conversation assistance motivation for creating songs was “to be con-
device. He lives by himself and a home-helper nected to people.” His songs encouraged
comes to support him. Sessions began when interactions between him and others and
Yasu visited the music store where I worked allowed him to form relationships with peo-
as a music therapist to take “music lessons” ple in the community.
to create original songs. Over 35 sessions,
Yasu created 5 songs. Through discussion and The findings will be discussed employing the
reflection on his musical ideas, we created concept of a “song’s life” and an ecological
songs in collaboration. This first phase led to perspective addressed in Aasgaard’s work
performances outside the sessions. Following (2000), and concepts emphasized in Commu-
Yasu’s wishes, the songs were performed at a nity Music Therapy such as connections and
concert and gatherings. Also, one song was performances.
recorded involving community musicians.
references
Interviews indicated that the process of sha-
ring and performing his songs was particu- Aasgaard, T. (2000). “A suspiciously cheerful
larly important for Yasu. Therefore, rather lady”: A study of songs’ life in the pediatric
than analyzing the content of the songs, the oncology ward, and beyond. British Jour-
meaning of the process for the client was nal of Music Therapy, 14(2), 70-82.
485
Baker, F. & Wigram, T. (Eds.). (2005). Songwri- about the author

ting: Methods, techniques and clinical ap-
plications for music therapy clinicians, akiko nose, MTA, MT-BC, works as a music
educators and students. London: Jessica therapist in Japan in a variety of settings in-
Kingsley Publishers. cluding facilities for children and adults with
Pavlicevic, M., & Ansdell, G. (Eds.). (2004). special needs.
Community music therapy. London: Jes- Email: acns1014@gmail.com
sica Kingsley Publishers.
486
MUsic tHerapY practice in asian cOUntries frOM

MULticULtUraLLY traineD tHerapists’ perspectiVes
Aki (Takai) Ohmae
Medical Corporation Tatsuoka, Japan
Mi Hyun Bae
Daegu Art University, South Korea
Yihsuan Lee
Chung Yuan Christian University Special Education Center, Taiwan
Sadudee Apisutiporn
Manarom Hospital, Thailand
abstract vidual authors (Chong, 2005; Futamata,

2005; Lee, 2003; Sumrongthong; 2004), and
This roundtable discussion will consider it has been collectively discussed at sympo-
music therapy practice in Japan, South Korea, siums and roundtable presentations. Further-
Taiwan, and Thailand from the perspectives more, recent interest in multiculturalism
of four multiculturally trained music thera- sheds a light specifically on culturally enhan-
pists. Along with a summation of the current ced practice with Asian clients and the suc-
status in each country, the panelists will dis- cessful pedagogical approaches to Asian
cuss practical ideas to promote an Asian students within Western music therapy
music therapy practice that is compatible fields.
with worldwide clinical standards and also
suitable for the homegrown field of music In Asian regions, music therapy has entered
therapy. another phase of their professionalization
and scholarship, although there may be
Description some situational differences among regions.
Celebrating the assimilation of Western
The inception and development of modern music therapy to their native cultures, the
music therapy in Asian regions have been professional organizations in these regions
significantly influenced by clinical and edu- have had critical discussions to reflect on
cational models of Western music therapy, their footsteps and to shape the bright fu-
possibly due to the return of individuals ture (MTA, 2010; KMTA, 2016).
who obtained education in Western schools
and their pioneering work on their own soil. This roundtable meeting aims to delineate
Music therapy practice in Asian countries the developments and advancements of
has been described and appraised by indi- music therapy practice in Japan, South Korea,
487
Taiwan and Thailand, and to facilitate cons- references

tructive dialogues regarding what Asian
music therapy pragmatically can share with Chong, H. J. (2005). Some considerations for fur-
clinicians overseas regarding best practices. ther development of music therapy in Korea.
Attendance will provide the opportunity for Voices: A world forum for music therapy.
learning and mulling over the following Futamata, I. (2005). Things Asian music the-
points: rapists should learn. Voices: A world
forum for music therapy.
1. Recent professional developments in Japanese Music Therapy Association. (2010).
music therapy in the four countries Report on Asian Music Therapy Sympo-
2. Clinical approaches, methods, and music sium 2009 in Tokyo.
that are frequently and significantly used Korean Music Therapy Association. (2016).
in the four countries Proceedings of the 20th Anniversary Con-
3. Clinical issues of music therapy practice in ference of Korean Music Therapy Associa-
the four countries. tion. Seoul, South Korea.
3. Combined utility of Western and Eastern Lee, C. S. (2003). Music Therapy in Taiwan.
music therapy in practice. Voices Resources.
4. Other inputs from Asia for updating clini- Sumrongthong, B. (2004). Music Therapy in
cal theories and methods in the field of Thailand. Voices Resources.
music therapy.
about the authors
Following the 13th conference in Seoul, South
Korea in 2011, the largest music therapy ga- aki Ohmae, MA, Music therapist at Medical
thering, WCMT will take place in another Corporation Tatsuoka in Japan.
Asian city, Tsukuba, Japan. Representing nei- Email: mt.raymay@gmail.com
ther simply an increasing population nor ad-
ditional, exotic music repertoires within Mi Hyun Bae, PhD, FAMI, Professor at Daegu
music therapy, music therapy in Asian regions Art University, President of Korean Associa-
has grown steadily in its quantity and quality, tion for Music and Imagery in Korea.
and perhaps, it may become another hub of
music therapy in the near future. In this open Yushuan Lee, MA, music therapist at Chung
discussion to exchange wisdom and kno- Yuan Christian University Special Education
wledge for the improvement of music the- Center in Taiwan.
rapy practice, participants are also cordially
invited to share their own data from their sadudee apisutiporn, MA, music therapist at
parts of the world. Manarom Hospital in Thailand.
488
GLOBaL eQUiVaLencY certificate fOr MUsic tHerapists

part ii: prOfessiOnaL iDentitY anD cOMpetencies
Kana Okazaki-Sakaue
Krzysztof Stachyra
Maria Curie Skłodowska University
Amy Clements-Cortes
Music and Health Research Collaboratory, University of Toronto
aims of this round table ward. The WFMT Accreditation and Certifica-
tion Commission has the stated goal of “as-
The vision statement for the commission on sisting and supporting member countries in
Accreditation & Certification “envisions a developing their own music therapy accredi-
common set of ideals and principles, which tations/licensing system.”
provide a framework for accreditation, and
certification of music therapy practice world- This round table intends to be a continued
wide”. This is a continued discussion that fo- discussion as Part II, which follows up and
llows up and further develops the previous further develops the outcome of the pre-
roundtable held at Krems/Vienna in 2014. vious forum held at Krems/Vienna in 2014.
We will continue to explore, discuss and pro-
Background vide information to countries around the
world about various types of accreditation
There is an increased interest in creating a and professional recognition. We will also
mechanism for recognizing a trained, profes- try to investigate professional identity and
sional music therapist according to a specified competencies that are essential aspects
set of global standards. The first round table when understanding what comprises a qua-
on the topic “Envisioning a global equivalency lified music therapist.
certificate for music therapists” held at
Krems/Vienna in 2014 provided a forum for agenda
music therapists from varied backgrounds
and nationalities to discuss core principles of The proposed agenda for this round table in-
music therapy training and clinical practice cludes a 10 minute overview and reflection of
that unite us as a profession regardless of Part I and 5-10 minutes of presentations by
training and location of practice. A certificate panelists from each region, followed by a 10
is a large task that requires multiple years of minute update from the WFMT Chair of the
research and evaluation of educational facili- Accreditation and Certification Commission
ties and various certification practices; thus it regarding the current state of the commission
is important to keep the dialogue moving for- and data collected from member countries.
489
The remaining 45 minutes of the session will about the authors

be used to invite participants to discuss and
respond to the current recognition standards Kana Okazaki-sakaue, DA, MT-BC, NRMT,
in various nations and also to share ideas and ARAM, Associate Professor, Kobe University;
explore the proposed standards and title for Chair of International Affairs Committee of
a Global Equivalency Certificate for Music Japanese Music Therapy Association; Mem-
Therapists. ber of Accreditation & Certification Commis-
sion WFMT
references Email: kanaokaz@people.kobe-u.ac.jp
Register, D. (2014). Envisioning a Global Equi- Krzysztof stachyra, PhD, MT-BC, Head of
valency Certificate for Music Therapists: Postgraduate Music Therapy Study Program
Training, Qualifications, Clinical Practice; and Assistant Professor at Maria Curie-
Round table Abstract, World Congress of Skłodowska University, Lublin, Poland. Pre-
Music Therapy 2014, p.20 sident of the Polish Music Therapists Asso-
Kern, P. (2014). A Message for Roundtable 2014: ciation, Chair of Accreditation & Certification
Global Equivalency Certificate for Music Commission WFMT
Therapists. http://www.wfmt.info/ leaders- Email: kris.stachyra@gmail.com
hip/commission-accreditation-certification/
Register, D., Okazaki-Sakaue, K. et al (2014). amy clements-cortes, PhD, RP, MT-BC, MTA,
Roundtable Power Point document, http: FAMI, Assistant Professor, University of To-
//www.wfmt.info/wp-content/uploads/ ronto; Instructor & Supervisor, Wilfrid Lau-
2014/10/Accreditation-Roundtable_2014- rier University; the President of WFMT
WCMT.pdf Email: a.clements.cortes@utoronto.ca
490
THE BENEFICIAL EFFECT OF GROUP RHYTHM SESSIONS

ON CHILDREN AT RISK
Natsumi Oura, Maiko Yamada, Miho Fushimi, Tsutomu Masuko
Kibouno-ie Welfare Facility, Japan
Naomi Takehara
Mukogawa Women’s University
Abstract Session Protocol
This is a case study based on the research by The sessions’ main component was imita-
Fushimi (2016), who examined the effective- tion of the therapist’s rhythmic patterns. To
ness of group rhythm sessions in improving maximize the children’s motivation, a pro-
children’s attentiveness and concentration. gressive plan for the sessions was develo-
The subjects were lower grade elementary ped.
school students from low-income families. A
series of 17-minute group rhythm sessions 1. Each child was assigned an instrument. Ins-
was held after homework tutoring. truments included castanets, clappers, tam-
bourines, bongo drums, and tone chimes.
Introduction 2. Accented beats were shifted.
3. Sudden stops were made, then the rhythm
Children from low-income families tend to was restarted.
experience a greater risk of falling behind in 4. Crescendos and diminuendos were intro-
schoolwork mainly because of inattentive- duced.
ness (New NEA Research Report March 30, 5. Volunteer leaders were selected.
2012 the National Endowment for the Arts).
To increase the children’s attentiveness and The abovementioned transitions 1 thru 5
ability to concentrate, the welfare facility were adopted step by step.
“Kibouno-ie” offered music therapy rhythm
sessions once a week. We examined the chil- Analysis
dren’s behavior for one year (47 sessions)
from May 29, 2015. Three methods of analysis were employed:
Participants 1. Teaching tutors filled out questionnaires

assessing children’s learning stimulation.
Lower grade students were recruited from The teaching tutors found children’s bet-
elementary school A in city T. Of 28 subjects ter attentiveness during study tutoring.
from the initial session, 17 (4 boys, 13 girls) 2. Narrative descriptions by music therapists
returned for subsequent sessions from July were made of the children’s behavior du-
3rd, 2015. ring music therapy session.
491
3. Sessions were videoed and images were sessions significantly improved attentive-
analyzed by ELAN Ver. 4.9.1. This measu- ness and reduced social-emotional stray be-
res the total duration of subject’s sightline havior among participants.
toward the music therapist and/or music
instruments. It also measures the total Bibliography
duration that the subject occupied res-
pective position designated. Fushimi, M. (2016). Importance of group
music therapy for the children to improve
Results attention problem spectrum for lower-
graders at risk. Unpublished thesis; Mu-
All three analysis methods indicated diminis- kogawa Women University.
hing stray behavior, with significantly longer Ho, P., Tsao, J.C.I, Bloch, L., & Zeltzer, L.K.
attentiveness and concentration. (2011). Impact of group drumming on so-
cial-emotional behavior in low-income
Discussion children. Evidence-Based Complementary
and Alternative Medicine 2011, 1-14.
Integration of musical ensemble especially to- Smith, R., Rathcke, T., Cummins, F., Overy, K.,
getherness of rhythm stimulated the children & Scott, S. (2014). Communicative rhythms
and focused their concentration on playing in brain and behavior. Phil. Trans. R. Soc. B
together in an ensemble. The instant reaction 369:20130389 (online issue) . Would be
to “Stop” and “Restart” and the rhythmic dia- published May 2017 volume 372 issue
logue contributed to the development of at- 1719.
tentiveness. During one year, there were
several points that children lost interest in About the Authors
playing in a rhythmic ensemble, and then the
therapists had to introduce new instruments Natsumi Oura: Full time music therapist of
or new rhythmic patterns. Those changes of Kibouno-ie welfare facilities working at Han-
rhythmic patterns or playing the new instru- dicapped children.
ments stimulated children. Email: urara7232@gmail.com
Limitations Maiko Yamada and Miho Fushimi: Full time

music therapists of Kibouno-ie welfare fa-
The effect of group rhythm sessions on the cilities for developmentally handicapped
attentiveness of children at risk could only adults.
be examined within the experimental group,
as the school’s administrative hurdles prohi- Tsutomu Masuko: Supervisor of music the-
bited comparison with a control group. rapists of Kibouno-ie welfare facilities.
Conclusions Naomi Takehara: Ph.D. in Culture and Infor-

mation Science. Assistant Prof. Mukogawa
This pilot study found that group rhythm Women’s University.
492
FIVE-YEAR MUSIC THERAPY FOR VICTIMS OF THE 2011 GREAT

EAST JAPAN EARTHQUAKE
Dr. Nobuko Saji
Miyagi University, Japan
Introduction Results
My colleagues and I started music therapy We distributed questionnaires to 89 victims

for victims of the 2011 Great East Japan (response rate 23%) and 83 city officials (res-
Earthquake (GEJE) one-and-a-half-months ponse rate 72%). Regarding the question of
after the disaster, at shelters and temporary “Did you think music therapy was necessary”,
housings of the disaster-stricken areas, and in a shelter period, 38% of the victims and
the work is currently in progress. 36% of the staff felt music therapy was nee-
ded, and at the present, 51% of the victims
The aim of this research is to investigate the and 83% of the staff expressed they need
significance of offering music therapy after music therapy. However, at a time soon after
a devastating earthquake by examining the GEJE, they both answered no need. To the
effectiveness of our five-year music therapy question of “What did you find difficult and
work through questionnaire surveys conduc- what were your needs?” the victims’ answers
ted between March and May, 2016, of the were “Clothes” (21%) at the time after GEJE,
victims and city officials who lived in the “Food” (17%) at a shelter period and “Resi-
most devastating areas of the GEJE. dence” (26%) and “Human Relations” (17%)
at a temporary housing period. The city offi-
Methods cials’ answers were “Food” (17%) at the time
after GEJE, “Stress and Anxiety” (33%) at a
Group sessions (30-50 min.) started at shel- shelter period and “Residence” (29%) and
ters (117m2), four times a month, then shif- “Human Relations” (29%) at a temporary
ted to temporary housings (36 m2), according housing period. Concerned with “Money”
to constructions of temporary housings, and and “Stress and Anxiety”, we found different
the frequency have reduced to once or twice opinions between victims and officials. In a
a month. The aim of music therapy was to lis- shelter period, 11% of the victims and 8% of
ten and attune with victims’ feelings. After the officials answered having economic pro-
five-years of music therapy, we investigated blems, but, at the present, 16% of the victims
the thoughts and feelings towards music the- and 0% of the officials expressed economic
rapy and their life situations in 4 different pe- problems. Contrarily, in a shelter period, 4%
riods: (1) immediately after the disaster, (2) of the victims and 8% of the officials expres-
shelter period, (3) temporary housing period, sed “Stress and Anxiety”, but, at the present,
and (4) at the present - 5 years from the di- 0% of the victims and 29% of the officials ans-
saster. wered having “Stress and Anxiety”.
493
Discussion sent, there are only a few voluntary services

for the victims. Therefore, we strongly feel
The reason for low questionnaire collection the necessity for offering continuous music
rate from the victims is considered that, therapy. They are waiting for music therapy.
after five years from GEJE, 60% of the vic-
tims have moved out to new houses. High Conclusions
questionnaire collection rate from the offi-
cials may indicate their high expectation to- Music therapy has offered a free and a
wards music therapy. The victims’ and the “happy” time and space for the victims in
officials’ responses may suggest that music shelters and temporary housings. It has sup-
therapy practice offered a free and “happy” ported the victims to go through their diffi-
time for the residents in shelters and tem- cult times by understanding and attuning to
porary housing. “Difficulties and needs at their feelings through music.
the time immediately after the GEJE” were
“Clothes” for the victims and “Food” for the References
staff. In a shelter period, “Food” for the vic-
tims and “Stress and Anxiety” for the offi- Suzuki, Y., et al. (2013). Research on mental
cials (Suzuki, et al., 2013). In a temporary health treatment at a time of emergency
housing period, both answered “Residence” immediately after a disaster; Global rese-
and “Human Relations”. These suggested arch activity on the health security and
that their difficulties and needs have shifted risk management measure. National Ins-
from “supplies for life support” to “emotio- titute of Mental Health: Japan, 1-12.
nal distress. Different opinions between vic-
tims and officials indicated the difference of About the Author
their positions. The victims remaining in
temporary housings are the people who Dr. Saji, RMT, Emeritus Professor, engages in
have serious economical and psychological music therapy practice and research for el-
problems and city officials are in a position derly people with dementia.
to support their life situations. At the pre- Email: sajin@s7.dion.ne.jp
494
THE EFFECTIVENESS OF THREE-AND-A-HALF-YEAR MUSIC

THERAPY FOR ELDERLY PEOPLE WITH PARKINSON’S DISEASE
Dr. Nobuko Saji
Miyagi University, Japan
Ayumi Matsuyama
AUN Music Therapy Group, Japan
Introduction cluding outpatients and inpatients of neuro-

logical ward, joined in after doctor’s physical
Music therapy (MT) program for patients examination. MT activities were constituted
with Parkinson’s disease (PD) was started by with greetings, finger plays and physical exer-
a request from neurological internal doctors cises, popular songs, and folk songs with ins-
in 2001. They wanted to help patients get re- truments and dances and cool down (listening)
lief from anxieties of medications and physi- music. We carefully chose music to fit with
cal function declination and live with hope participants’ feelings and played in tunes
and pleasure. The establishment of our (MT) with their playing. Three hundred twenty-
program was innovative, as it was not yet four subjects with independence were exami-
implemented in other hospitals in the area. ned out of the total number 591. The average
In every MT session, two nurses presented age was 72.6 ± 10.8 years (men: 84/woman:
to measure blood pressures (BP) and pulses 187). The data were classified into four
of participants before and after sessions and groups according to the values of WHO and
also to participate in MT activities. The par- Japan Ministry of Labor’s BP guideline; the
ticipation of nurses gave patients the feeling high BP value: >140 mmHg or >90 mmHg. The
of security and aroused medical staffs’ inte- gh-normal BP value: 140-130 mmHg or 90-85
rest in MT (Saji, et al., 2008). The aim of this mmHg. The normal value: 130-100 mmHg or
research is to investigate the effectiveness 85-60 mmHg. The low BP value: >100 mmHg
of MT by verifying collected data of systolic or >60 mmHg.
and diastolic BPs and pulses measured by
nurses and to identify the points to be im- Results
proved for patients’ health
After MT, the averages systolic and diastolic
Methods BPs of high BP value group (105 subjects)
significantly (p<0.001) decreased after MT
Group sessions were held at the open space (156→137 mmHg and 90→81 mmHg).
(117 m2) in the first floor of intractable neu- These of normal BP value group (129 sub-
rological diseases ward, once a month, for jects) have significantly (p<0.001) increased
three and a half years. Sessions took place after MT (115→120 mmHg and 70→74
between 10:00 - 11:00 am. Participants, in- mmHg). These of low BP value group (37
495
subjects) have significantly (p<0.001) incre- not have significant differences and correla-
ased after MT (92→112 mmHg and 60→73 tion, which suggested that MT had given a
mmHg). The average systolic BP of high nor- comfortable and pleasant stimulation to the
mal BP value group has significantly (p<0.5) subjects and less advantage of giving nega-
decreased after MT (133→127mmHg). Mo- tive effects. As 32% of subjects had high BP
reover in each value group, significantly po- value despite of the treatment with antihy-
sitive correlations between systolic and pertensive medicine, careful attention to the
diastolic BPs were recognized in both before possibilities of raising BP is needed during
and after MT. Particularly, the correlation co- MT practice.
efficient (0.6-0.7) between systolic and dias-
tolic BPs after MT was significantly (p<0.001) Conclusions
stronger than that of before MT (0.3-0.5).
The average pulse rate of each group incre- Continuous MTs could improve PD’s BPs to
ased or decreased slightly after MT, but normal values and is effective for PD. MT is
there were no significant difference and co- less likely to give negative effects on the sub-
rrelation. jects’ pulses.
Discussion Reference
The average systolic and diastolic BPs of high Saji, N. et al. (2008). The Effectiveness and
BP value group decreased to the high nor- Meaning of Music Therapy for the Elderly
mal value and these of low BP value group People with Parkinson’s Disease by the
increased to the normal value after MT. Questionnaire Survey. Journal of JIMS,
These indicated that continuous MT could 1(1), 107-113.
improve PD’s BPs to a normal BP value. And
every group had significantly positive corre- About the Authors
lation between systolic and diastolic BPs and
it was particularly stronger after MT. These Saji, RMT (Emeritus Professor) and Matsu-
suggested that MT is effective for PD’s BPs yama, RMT work with people with dementia
improvement. 2) Pulse rates of 4 groups and PD’s disease.
changed slightly before and after MT but did Email: sajin@s7.dion.ne.j
496
HOW ARE EMOTIONS EXPRESSED THROUGH

THE VOICE IN MUSIC THERAPY
Tomoko Sakamoto
Stella Music Therapy Service, Japan
Introduction voice indicates emotion in the session, was

investigated. In psychotherapy research Mo-
This paper describes how emotions are ex- neta, et al. (2008) measured the spectrum
pressed through speech melody “prosody” of the German specific ‘Mutter’ (Mother).
from the perspective of music therapy. This Prosody can be measured in two ways; sub-
study done with tools of speech and music jective measurement and objective measu-
therapy further indicates that not only music rement. The subjective measurement is
but also prosody can be indicative to analyse analysed through the listener’s hearing
clients’ emotions. sense. The objective measurement uses a
specific procedure which usually analyses
Prosody and Emotion frequency aided by computer software. The
objective one yields acoustic features that
In psychoanalytic music therapy, the concept may support the subjective results. Speech
“unconscious” is important (Odell-Miller, analyser (3.1.0 http://www01.sil.org/com-
2001). Vocal expression contains similar com- puting/sa/index.htm) was used in this study,
ponents to musical expression. Clients can ex- and fundamental frequency (f0), intensity,
press emotions non-verbally through music. and pitch were analysed.
(Divitis, 2010). These musical elements in
speech are called “prosody”. The function of Case Study
prosody is that it provides speaker’s emotio-
nal information to the listener (Pennington, The analysed case was a 40-year-old male
1996). Interestingly, the human expresses with Down syndrome. He had 14 individual
emotions unconsciously, because the voice is music therapy sessions, and he played im-
made from the unconscious aspirations on provised music with the therapist. In the be-
humans. Prosody in the brain is dominantly ginning phase, he normally played lively
processed in the right hemisphere homolo- music, but not displaying much emotion.
gue to the left hemisphere’s Broca and Wer- However, after the middle phase he showed
nicke area. Emotions are processed all over his deep emotion more and more through
the brain but dominantly in the right hemis- the music. The client normally said “very
phere of our brain (Adolphs, Damasio and good” after each improvisation although the
Tranel, 2002). Thus, prosody includes infor- music was not happy. Thus, the word “very
mation of human’s unconscious emotion in it. good” was chosen and analysed in this
paper.
Measuring Prosody
Comparing how his voice changed between
In this research, the client’s voice and how happy and sad feelings, when he was in a
497
happy state, his voice intensity and f(0) were clients’ unconscious feelings, thus it is worth
high. On the other hand, when he felt sad considering clients’ vocal utterances and not
feelings, the intensity and pitch were low. only music in the music therapy sessions.
The results indicate that the voice and pro-
sody include his emotional information in References
acoustic expressions, whether he spoke any
phrase or words. Adolphs, R., Damasio, H. and Tranel, D.
(2002). Neural Systems for Recognition of
Emotional Prosody: A 3-D Lesion Study.
Emotion [e-journal] 2(1), 23-51. doi:
10.1037//1528-3542.2.1.23
Divitiis, E., (2010). The magical power of
music. World neurosurgery, 73(5), 454-
455. doi: 10.1016/j.wneu.2010.03.003
Moneta, M. E., Penna, M., Loyola, H., Buch-
heim, A., and Kachere, H. (2008). Measuring
emotion in the voice during psychotherapy
interventions: A pilot study. Biol Res, 41,
Figure 1. Comparing Fundamental 389-395.
Frequency. Pennington, M, C. (1996). Phonology in En-
glish Language Teaching. London, Long-
man.
Odell-Miller, H. (2001). Music therapy and its
relationship to psychoanalysis. In Searle,
Y., Sabbadini, A., Streng Isabelle. Eds,
Where analysis meets the arts the inte-
gration of the arts therapies with psycho-
analytic theory. (pp.127-152). London,
Karmac Books.
About the Author
Figure 2. Comparing Intensity. The Author runs a private music therapy ser-
vice as a Music therapist (HCPC registered,
and MA Music Therapy gained from Anglia
Conclusion Ruskin University, UK), and Speech and Lan-
guage Therapist (Japan).
Prosody has musical aspects which reflect EmailL smtsmailbox@yahoo.co.jp
498
MUSIC THERAPY FOR DEMENTIA: THERAPEUTIC USE

OF LYRIC WRITING TO RECONSTRUCT SELF-ESTEEM
Terue Senoo
Graduate School of Human Development and Environment, Kobe University, Japan
The author of this report conducts group to songs and old music that were popular
music therapy for elderly people with de- when she was young. With the wish of Ms.
mentia in a geriatric nursing care facility. The A’s family who were concerned about her
study focuses on a case where a woman, not being willing to do other rehabilitation
who is one of the participants, regained her programs such as PT and OT, we proposed
confidence by creating a parody of a song music therapy as something she could enjoy
and began to show a more positive attitude. in her daily life as well as part of her rehabi-
For the elderly suffering from dementia with litation, and set the goal of the music the-
loss of identity, managing to reconstruct rapy process to increase her motivation.
self-confidence through lyric writing is con-
sidered to be significant. A purpose of this Clinical process
study is to clarify the clinical role of music in
this particular case. When she first participated in the therapy,
Ms. A sang quietly, looking rather stiff within
Background the group. However, as she repeatedly took
part in sessions, her facial expression be-
Ms. A (84 year-old woman) who lives in the came relaxed when she recognised a song
section for moderate dementia patients of a that was nostalgic to her and she gradually
facility for the elderly has been participating began to present positive attitudes, such as
in group music therapy for five years, as she sometimes leaning forward to sing and cop-
has been in and out of hospital due to the ying lyrics on a notebook when she liked a
after effects of strokes. Therapy is carried particular song. In the 59th session, with the
out in a form of forty-minute group music melody of Japan’s classic, ‘Tetsudo Shoka’
therapy sessions among around seventeen (railway song), we sang together two paro-
elderly participants, conduced once a week dies: ‘Umeboshi no Uta’ (song of dried and
in a multipurpose room of the facility by a salted plums), and ‘Mijitaku no Uta’ (song of
music therapist (the author) and two spe- getting dressed). Inspired by this experience,
ech-language-hearing therapists. Ms A enjo- Ms. A wrote her own version of ‘Tetsudo
yed writing letters and poetry from a young Shoka’ and presented it in the following
age as well as dressmaking as a hobby, week. The lyrics go, “I want to walk, but I
where she even designed and sewed clothes cannot”, expressing her own emotions, but
for her friends. Although Ms. A, who lost in a positive way. The author wrote her lyrics
motivation and confidence in everything on a large piece of paper, and by singing it
due to the effects of illness, had no particu- together with everyone, we shared her fee-
lar music background, she enjoyed listening ling. Triggered by this, she started showing
499
her desires, giving me her new lyrics expres- Japan, and they do not only remind them old
sing her feelings. memories, but they also trigger conversations
with each other as, for elderly people, those
Results and Conclusion are what they used to do well, and that often
leads to their self-affirmation. The course of
‘Tetsudo Shoka’ (railway song) is based on her therapy has shown the therapeutic role
the yona nuki scale, which is a unique (pen- of parody songs and lyric writing. The next
tatonic) scale to Japanese songs; melodies goal will be to write songs together with her.
are easy to remember and tones sound fami-
liar to Japanese people. Most Japanese songs References
and nursery rhymes, with few exceptions,
are written based on the yona nuki scale, and Clair, A. (2001). Therapeutic uses of music
the reason why the Japanese feel an affinity with older adults. Trans. Eri Hirokawa.in
with the tones could be due to the fact that Japan ichibaku shuppansha
they were already deeply rooted in the cul- Katou, M., Niikura, A., & Okumura, T. (2000).
ture before the Western scale with the sylla- Ongaku-ryoho no Jissen (Practice for mu-
bles Do, Re, Mi, Fa, Sol, La, and Si were intro- sic therapy). Tokyo; Shunjusha, pp.27-44
duced in Japan. Also, when focusing on lyrics Voigt,D.et al. (1999). Lexikon Musiktherapie.
of these songs, they are in seven-and-five Trans. Masami Sakaue, in Japan by Nin-
syllable meter having a metrical structure to gentorekishisha
alternate seven-tone and five-tone, a rhythm
that sounds pleasant and familiar to Japa- About the Author
nese. Songs with lyrics in seven-and-five
syllable meter could also be sung along me- Terue Senoo is a Japanese certified music
lody of a different song which also has lyrics therapist. She has worked with dementia pe-
in the same meter. ople for many years. She is currently a Mas-
ter’s degree student at Kobe University.
The lyrics of these two parody songs took Email: s-terue@maia.eonet.ne.jp
themes from daily life of the good old days of
500
EFFECTIVENESS OF THE 100-POINT RATING SCALE TO EVALUATE

MUSIC THERAPISTS’ SKILLS
Naoko Sensui, Michiko Kasajima, Junko Nagai, Takako Hasebe,
Chisato Takahashi, Toshiko Takata, Kazumi Takeuchi
NPO Japan Music Therapist Society, Japan
Summary skill examination was started. Additionally,

examinees were required to earn 60 points by
The Japan Music Therapist Society aims to undergoing practical training prior to the exa-
nurture music therapists. This study analy- mination, and conditional acceptance was
zed the opinions of 38 people who had permitted. Opinions [A]: It was reported that
taken the supporter examination (hereinaf- music therapy utilizes various approaches and
ter [A]) and several instructors (hereinafter the same therapy session can generate diffe-
[B]) regarding the evaluation of teaching rent effects and evaluation results. Examinees
skills (Kasajima & Kikkawa, 2010) and pro- were able to learn about the principles of
cesses preceding the examination, to ex- music therapy and deepen their personal ex-
plore the effectiveness of the evaluation pertise for the actual practice as a music the-
method. rapist. Opinions [B]: The evaluation was not
considered absolute and the experts recom-
Outline mended the widening of the acceptance
range (by allowing examinees to pass condi-
The evaluation items in the 100-point rating tionally, etc.). The evaluation items were con-
scale (10 points × 10 items) included 1) pro- sidered easy to grasp. Challenges were
gramming, 2) understanding the therapy reci- clarified through self-assessments and identi-
pient, 3) music selection, 4) accompaniment, fication of problem areas. The opinions were
5) speech, 6) communication, 7) responses of summarized using the Delphi method (Nari-
the therapy recipient, 8) problem handling, 9) sawa et al., 2013).
feedback skills, and 10) competency as a
music therapist. The opinions used as study Thus, we identified the effects and problems
materials included: (a) scores of 38 examinees of the evaluation method. These findings may
on a follow-up investigation, and (b) com- lead to discussions of the future direction or
ments on the evaluation method provided by challenges for performance evaluations. The
experts from the field, who had renewed their consensus achieved between Opinions [A]
certification as a music therapist, issued by and [B] supported the effectiveness of the
the Japanese Music Therapy Association. Du- evaluation method for skill improvement and
ring the Trial Phase in 2010/2011, it was diffi- employment of music therapists.
cult to establish the evaluation criteria.
However, the issues with the scale were co- References
rrected. Implementation Phase In 2012, the
evaluation items were established and the Kasajima, M., & Kikkawa, T. (2010). Music
501
Therapist Enshu Hyoka (Music Therapist ding through the Delphi process [in Ja-
Performance Evaluation), Japan Music panese]. Journal of Traumatic Stress,
Therapist Society. 10(2), 163-173.
Narisawa, T., Suzuki, Y., et al. (2013). Toward
development of a guideline for work-re- About the Authors
lated stress management of care-provi-
ders in natural disasters: Consensus buil- Email: naosensui@nifty.com
502
EFFECTS OF MUSIC THERAPY ON PAIN RELIEF

AND RELAXATION OF HOSPICE PATIENTS
Miho Shigetani
Geisei Hospital, Kochi, Japan
Rikako Hiraoka
Graduate Student, Shenandoah University, USA
Sachiko Imura
Tokushima Bunri University, Tokushima, Japan
Tomoko Arase, Akira Kondo, Noriko Tanida

Kondo Hospital, Tokushima, Japan
Background gle sessions from 2013 to 2016 for hospice

patients with cancer, and evaluated the ef-
When examined as a whole, Japanese research fects of music therapy on pain relief and re-
on music-based interventions in hospice/pallia- laxation, utilizing a pre/post-test design.
tive care mainly focuses on case reports or case
studies (Ito, 2011). For hospice music therapy Methods
to be acknowledged as one alternative inter-
vention in complementary health approaches, Subjects were 52 cancer patients (average
quantitative studies conducted by music the- age: 73.59 years old) referred by interdisci-
rapists are also needed (Hilliard, 2005; Ito, plinary team members in the hospice care
2011). Hilliard (2005), an American hospice/pa- unit of a hospital. Client assessment was
lliative care music therapist and researcher, sta- determined by a written referral form and
tes that one of the primary goals for people by direct observation and conversation
with a terminal illness is to provide pain mana- with the patients. Degree of pain and rela-
gement, which is a key component of end of xation were measured by the Numerical Ra-
life care. Music therapists often focus on pain ting Scale (NRS), a self-report measure, as
management, although the benefits of these a pre-test, prior to the music therapy ses-
interventions are equivocal. Our study evalua- sion. Upon returning to the therapist’s
ted the effects of single-session music therapy room, problems, goals, and music therapy
intervention on self-reported pain and relaxa- interventions were selected from the list of
tion of 52 Japanese hospice patients. treatment plans in Hospice Music Therapy
Assessment (Maue-Johnson & Tanguay,
Objective 2006). The music therapists revisited the pa-
tient for an approximately 20 minute session
Two music therapy interns conducted 52 sin- and a post-test evaluation.
503
Results and Discussion Assessing the unique needs of hospice

patients: A tool for music therapists.
Comparison of the pre- and post- NRS re- Music Therapy Perspectives, 24(1), 13-
sults indicated a mean reduction from 1.87 20.
to 0.79 in pain perception and a mean incre-
ase from 5.75 to 8.08 in relaxation. Analysis About the Authors
revealed significant differences as a result of
the music therapy intervention (pain, t(51) Miho Shigetani, BA, RMT (Japan Education
= 3.91, p<.01; relaxation, t(51) = 9.87, p<.01). Council for Music Therapist) graduated from
This study adds quantitative data that sup- Tokushima Bunri University Postgraduate
ports the effectiveness of hospice music the- program and is currently a music therapist
rapy interventions and provides Japanese at Geisei Hospital.
patients access to this evidence-based com- Email: mshigetanitbu@gmail.com
plementary health approach.
Rikako Hiraoka, BA, RMT (JECMT) is a Gra-
References duate student of Shenandoah University.
Hilliard, R. E. (2005). Hospice and palliative Sachiko Imura, BA, RMT (JECMT) is the Di-
care music therapy: A guide to program rector of Music Therapy at Tokushima Bunri
development and clinical care. Cherry University.
Hill, NJ: Jeffrey Books.
Ito, M. (2011). Hosupisu kanwakea ni okeru Tomoko Arase, MD, Ph.D. is the Director of
ongakuryoho: Shogaikoku to wagakuni Palliative Care Unit at Kondo Hospital.
tono hikaku kara [Music Therapy in hos-
pice/palliative care: A comparison of Akira Kondo, MD, Ph.D. is the Director of
Japan with other countries]. Annual Re- Kondo Hospital.
port of Kinjo Gakuin University, Graduate
School of Human Ecology, 11, 11-23 Noriko Tanida is the Director of the Nursing
Maue-Johnson, E. L., & Tanguay C. L. (2006). Service Department at Kondo Hospital.
504
SOCIAL INCLUSION AND EXCLUSION THROUGH COMMUNITY

MUSIC THERAPY IN JAPAN
Kumi Shimada
Japan Society for the Promotion of Science, Japan
Hiroko Miyake
Meiji Gakuin University, Japan
Rii Numata
Osaka City University, Japan
Aim of the round table practice reflects only the values of the ma-
jority. Thus, simply encouraging socially
This round table will examine the issue of so- marginalized people to participate in com-
cial inclusion and exclusion with respect to munal music practice is not enough to
community music therapy. The participants bridge the gap between the majority and
will discuss the importance of acknowled- minorities within a particular society (Mi-
ging, respecting, and maintaining the diver- yake 2014).
sity and differences among participants when
using musical activities to facilitate social in- To address this problem, it is important to
clusion. In addition, two case studies from characterize the diversity within a society.
Japan will be presented, and the theoretical However, societies are inherently a diverse
underpinnings of social inclusion will be exa- mix of intertwined yet often-conflicting cul-
mined. tures, races, ethnicities, genders, body types,
motivations, lifestyles, and worldviews that
Background cannot be reduced to a single unified iden-
tity. Thus, continuous de-institutionalization
As social situations become more and more of the relationship between individuals and
diversified, music therapy has an increa- music, as determined by the individual’s mi-
singly important role to play in society. Ho- lieu, is essential to promote social inclusion
wever, the applications of music therapy (Shimada 2015).
must continue to diversify to remain rele-
vant to our changing society. Community Program
music therapy is the use of communal music
practice to promote social inclusion and the During this round table, the following two
wellbeing of its participants (Stige et al., case studies from Japan will be presented.
2010). However, although communal music These case studies will be used to examine
practice promotes social inclusion, it can community music therapy projects that are
also promote social conformity when the facilitating social inclusion in a way that ack-
505
nowledges, respects, maintains, and harnes- clusion among people from diverse back-
ses the diversity of their participants. grounds.
Case study 1: Otoasobi Project and Otoasobi References

Kobo are practical research projects from
Kobe that are examining how the perfor- Ansdell, G. (2014). How music helps in music
mance of music can transform the lives of therapy and everyday life. Farnham: As-
participants with and without disabilities hgate Publishing.
(Numata 2016). Miyake, H. (2014). Bio-political perspecti-
ves on the expression of people with di-
Case study 2: Tokyo Diversion Research is a sabilities in music therapy: Case exam-
research project that is exploring how peoples. Voices: a World Forum of Music
ple from different backgrounds can live to- Therapy, 14(3). Retrieved from https://
gether in society. The project provides voices.no/index.php/voices/article/
opportunities for people to breach societal view/800/662
boundaries and be influenced and transfor- Numata, R. (2016). The Otoasobi Project:
med by one another. Improvising with disability. Music and
Arts in Action, 5(1), 45-51.
Theoretical considerations Shimada, K. (2015). The paradigm of com-
munity music therapy: Rethinking the
To further the understanding of how people professional role of the music therapist
from diverse backgrounds can live together from the perspective of “institution”.
in society, the theoretical underpinnings of Human and Environmental Studies, 24,
social inclusion will be examined with refe- 105-118. (in Japanese)
rence to recent movements in the fields of Stige, B., Ansdell, G., Elefant, C. & Pavlicevic,
social work and participatory art. In addi- M. (2010). Where music helps: Commu-
tion, comments to help place community nity music therapy in action and reflec-
music therapy as an intermediate connection. Farnham: Ashgate Publishing.
ting the micro-phenomenon of music and
the macro-concept of social inclusion and About the Authors
exclusion will be made by two senior music
therapy researchers: Yu Wakao (Japan) and Kumi Shimada: Postdoctoral Fellow, Japan
Gary Ansdell (UK) . Society for the Promotion of Science,
Email: shima93@gmail.com
Discussion
Hiroko Miyake: Ph.D., Lecturer, Meiji Gakuin
At the end of the session, the discussion will University
be opened to the audience to share their
views and experiences regarding the use of Rii Numata: Ph.D., Research Fellow, Osaka
music-based activities to enhance social in- City University
506
EMOTIONAL IMPACT OF ALTO RECORDER ON ELDERLY JAPANESE

DEMENTIA CLIENTS
Junko Shiraki
Music Therapy Division, NPO Free-a-Stage (Osaka)
Abstract served over ten 10-minute sessions: All sub-

jects were female with dementia and disuse
This presentation reports on the emotional syndrome. Prior to sessions, their facial ex-
impact of alto recorder playing on elderly pressions were usually blank, they had diffi-
(average age of 94.75 years) clients with de- culty making requests, were in bad temper
mentia, which had proved effective in indivi- from frustration, or simply fell asleep. Group
dual therapy with this population. The 1： Subject A: 95 years old (*NCL5, AD, dia-
effectiveness of this method is discussed with betes, and hypertension), sang along with a
reference to changes observed when it was single yell, and looked at another patient
introduced in small groups. when she started singing. Subject B: 90
years old (NCL3) demonstrated swinging of
Description the legs to keep time with the recorder =29,
was attentive to the music, and was quietly
Japan is a society of unparalleled longevity, wiping away tears. Subject C: 99 years old
with an average lifespan of approximately 84 (NCL5) was smiling at the therapist, becko-
years according to official statistics. I have ning, and following the therapist’s move-
practiced music therapy in elderly care ments around the room with her eyes. Group
homes for 12 years, and have begun to use 2: Subject D: 88 years old (NCL5) smiled at
the alto recorder as an instrument easier for and engaged in a conversation with the the-
older subjects to listen to, while offering a rapist at the end of the recital, then followed
good communication medium. It has proved the therapist with her eyes. Subject E: 103
effective in individual therapy. I will discuss years old (NCL4, AD, hypertension) was fo-
the results of individual therapy using the llowing the music with her head, nodding to-
alto recorder with a female subject, aged 88 ward the recorder as it played =26. Subject
years, suffering from AD (advanced demen- F: 87 years old (NCL 5, chronic cardiac fai-
tia). She resorted to making sounds, such as lure) was singing or breathing each simple
moaning (“Ahhhh!”) when she couldn’t pro- tone, and following the therapist with her
perly express her needs. I played the alto re- eyes. Subject G: 96 years old (NCL5, AD, de-
corder which led to some progress in her pression) gave the therapist a smile and
facial expressions and autonomic actions wave in greeting, and was watching Subject
(Japan Music Therapy Association 2013, E’s action as she beat time to the music. Sub-
2015). This presentation reports on the use ject H: 100 years old (NCL5, hypertension,
and effectiveness of the alto recorder in chronic cardiac failure) made eye contact
small group therapy sessions. Group 1 (three with the therapist, bowed slowly and shed
subjects), and Group 2 (five subjects), all ob- tears. I found playing the alto recorder in
507
both small groups and individual therapy to References

be effective. Although it is a western instru-
ment unfamiliar to this age group, its sound Ando, Y. (1996). Shinban Gakki no Onkyogaku
is similar to that of the traditional shakuha- [Acoustics of musical instruments]. Tokyo;
chi (Ando,1996) making it more accessible Ongaku- no-tomosha.
to elderly dementia patients in terms of mo- Kurakata, K. (2016) Koreisha･shogaisha no kan-
nophony, range, and volume. (Kurakata, kaku tokusei detabesu yori chokakunitsuite
2016). Regarding music and their rhythmic [Database of sensory characteristics of older
sense, I selected their favorite music with persons and persons with disabilities: He-
two-two meter and a single beat which is fa- aring], Tsukuba; Kokuritu kenkyu-kaihatu-
miliar in Japan, and they could appreciate hojin Sangyo -gijutsu-sogo- kenkyusho
the rhythm with the therapist. Using wind (AIST). Retrieved from http://scdb.db.aist.
instruments to play live music can help the go.jp/db/hearing/distribution_iso.html
therapist to synchronize with patients’ bre- http://scdb.db.aist.go.jp/db/hearing/eq_loud
athing and responses. Moreover, the the- ness.html
rapist can be mobile while playing, making
it easier to get a response from patients About the Author
through their breathing and reactions. Using
the alto recorder and these methods should Junko Shiraki, RMT(Japan), Affiliated to Mu-
be considered, as the quality and quantity of sic Therapy Division, NPO Free-a-Stage
contact between patients and the therapist (Osaka), works with the elderly, adults with
are improved. disorders and children with intellectual disor-
ders; Piano/ electric organ instructor at Ya-
*NCL (nursing care level) is a five-step evalua- maha Music School.
tion scale set by MHLW. Email: ru.maru@hotmail.co.jp
508
CLINICAL IMPROVISATION: RELEVANCE OF THE BIOLOGICAL

INDICATIONS AND SUBJECTIVE STATEMENTS OF MUSIC
THERAPISTS
Ayako Sugata
Ogaki Women's College, Japan
Takako Ito, Makoto Iwanaga

Nagoya University of Arts, Hiroshima University
Abstract their practices (Sugata, 2011). From these in-

terviews, both advantages and disadvanta-
Clinical improvisation is an important techni- ges of improvisation were discovered. When
que taught in the music therapy curriculum compared to written songs, improvisation is
in Japan. Various techniques of clinical impro- better for interacting with the client. Howe-
visation have been developed based on the ver, the feeling of anxiety might be observed
clinical experiences of music therapists. This since it may be difficult for the client to ex-
study investigates the results of biological in- pect the structure of improvised songs.
dications and the responses of music thera-
pists regarding the effectiveness of clinical Second part of presentation is a survey. A
improvisation. questionnaire was then developed to collect
a larger number of responses from other
Content music therapists in order to investigate com-
mon experiences when using clinical impro-
The therapeutic effects of clinical improvisa- visation. 81 music therapists responded via
tion have been discussed in various studies Survey Monkey and by mail. Synchronization
(Aigen, Pavlichevic, Okazaki, et al.,) Since was found to be the most useful improvisa-
many clients have severe disabilities, it can tion technique, according to the results of the
be difficult for them to discuss their expe- survey. Finally, a role-playing experiment was
riences with clinical improvisation. Myoelec- conducted in which a student played the role
tricity is a method of analyzing a subject’s of the music therapist during improvisation
muscle movements, which can indicate emo- while music therapists played the role of the
tional changes during improvisation in a client and tried to communicate non-verbally.
chronological manner. A subject’s heart rate Myoelectricity readings on the flexor carpiul-
(R-R) can also be used to indicate their emo- naris, corrugator supercilii and zygomatic
tional or mental state, such as annoyance, major muscles were taken, and heart rate (R-
excitation or concentration. This presenta- R) was also examined. We will discuss the re-
tion consists of three parts. First, semi-struc- levance of these biological indicators as well
tured interviews were conducted with 13 as the statements of music therapists in inter-
music therapists who use improvisation in views and responses to the questionnaire.
509
References Nordoff, P., & Robbins, C. (2007). Creative

music therapy: A guide to fostering clinical
Sugata, A., Takako,I. , & Iwanaga, M. How does musicianship. New Hampshire: Barcelona
a music therapist decide when to use im- Publishers.
provisational techniques? Research Poster
Presentation. The 13th The World Con- About the Authors
gress of Music Therapy, 2011.
Sugata, A., & Makoto, I. (2013). A survey of Ayako Sugata (Konishi), Master of Regional
music therapists about client interaction Science is associate professor in music the-
while using improvisational music therapy. rapy at Ogaki Women's College.
The proceedings of 13th conference of
Japan Music Therapy Association, 164. (In Takako Ito MA is associate professor at Na-
Japanese) goya University of Arts.
Okazaki, K. (2010). The clinical use of music
components and their impact in improvisa- Dr. Makoto Iwanaga is professor of Hiros-
tional music therapy. Dissertation of NYU. hima University.
Bruscia, K.E. (1987). Improvisational models Email: konisi@ogaki-tandai.ac.jp
of music therapy. Springfield, IL.: Charles
C. Thomas Publishers.
510
LEGACY OF JAPANESE MUSIC FOR NEXT-GENERATION

OF MUSIC THERAPISTS
Chiyuki Sugihara
Japanese Music Therapy Association, Free-a-Stage, Osaka
Abstract music therapist, I have used diverse music.

Specifically for people with disabilities, I use
Events and rituals that promote sensory en- music with seasonal associations and both
joyment of the seasons belong to Japan’s na- new and old motion songs. This is because
tional character. Modern Japanese people people with disabilities will, in the shared
experience diverse musical forms but some educational environment, have experienced
traditional music is still deeply ingrained. the same seasonal pieces and motion songs
The author presents examples of this legacy that guided my personal development. Client
for effective use in music therapy for future and therapist share the experience of the
music therapists. changing weather and natural world. Sharing
in anticipation, enjoyment, or resignation in
Description the face of seasonal change fosters an empa-
thetic relationship.
Postwar Japan has experienced westerniza-
tion and the information age, with an accom- I will present five cases to illustrate how this
panying change in the music that children therapy works.
hear. School children study western classical
music and Beatles songs, with less music ce- Spring: Ａ lady in her 70’s with rheumatism
lebrating Japan’s changing seasons and local group therapy at a care facility. The group
character. Within the changing cultural scene, and I competed to name common sights in
there remains, however, a strong tradition of the spring. Then, I started singing Haru Ga
passing down music in the family and in Kita, trying to match the speed of her brea-
school. Such music expresses the hopes and thing and responses. She realized that the
joys of seasonal events, such as springtime spring song included her name, then shed
songs about the Dolls’ Festival or cherry blos- tears and smiled.
soms. Children’s motion songs include Tema-
riuta, a ball-game song from Kumamoto with Summer: A 3 year old deaf and mentally cha-
a strong local character. The game has died llenged girl taking private therapy. She and I
out, but the song is still treasured locally. Mo- began to sweat heavily over Kuishinbo No
tion songs with no seasonal connection such Gorilla, a summer version. I mimed the ac-
as Gūchokipa De Nani Tsukuro have been tion of wiping away sweat, and I placed her
used in kindergartens for almost 40 years. palm on my throat, repeatedly producing
There are also orally transmitted songs such the sounds of “Atsui” (hot). At first, she was
as Kuishinbō no Gorilla. In my work in music laughing at the vibration and my expression,
education at a special school and then as a but soon became serious, and imitated my
511
gesture and pronounced, “Ahh!” Over fur- to and played along with seasonal music re-
ther sessions, she began learning more words peatedly, using instruments like bells, drums
and gestures. and claviers. They also learned to read music.
Thanks to those experiences, they could ap-
Fall: A lady in her 30’s with hydrocephalus preciate each others’ sounds during a recor-
taking group therapy at a nursing home. She der recital. They learned seasonal music at
spends her days in bed. She dislikes summer. school and home; it became a useful tool of
She noticed an autumn breeze from the win- music therapy supporting their progress. The
dow, and when I opened it, she perked up patients continue to enjoy their inventiveness
and said, “I feel good. What a beautiful sky! and seeking their potential, even after beco-
I want to sing!!” As she longed for autumn, ming adults. Using traditional seasonal music
she became one of the key figures of the and seasonal motion songs allows patients
song Matsuri. and therapists to share emotions in a suppor-
tive atmosphere. Sharing sensory and emo-
Winter: A lady in her 70’s at a terminal stage tional impressions is effective in eliciting
of cancer. She used to be a biology teacher. On motivation and activity. It is important for
a rainy and windy day, when the sounds of the next-generation music therapists to appre-
fluorescent lights and hospital machines be- ciate seasonal music and motion songs, and
came too monotonous, I wanted her to hear to employ them in therapy for people with di-
something different. I opened a window sligh- sabilities.
tly and invited sounds of heavy wind and rain
into the room. Then she looked out the win- About the Author
dow and said, “I want to smell freesia.”
Chiyuki Sugihara: RMT, Councilor for Japa-
Four seasons: Patients with autism or spec- nese Music Therapy Association, Executive
trum disorder, who have been taking music Director of NPO Free-a-Stage (Osaka)
therapy since childhood. They have listened Email: free_a_stage_mt@ktd.biglobe.ne.jp
512
PROFESSIONAL DEVELOPMENT INITIATIVES OF THE JAPAN

MUSIC THERAPY ASSOCIATION, KINKI BRANCH, OSAKA
Chiyuki Sugihara, Yoshie Ito
Japanese Music Therapy Association
Abstract though their locations, specialities, me-

thods, operational status, and so on, are
In response to recent concern over the de- not made public. However, 129 music the-
clining state of music therapy in Japan, the rapists are listed with the JMTA of Osaka.
non-profit organization Free-a-Stage enga- There is a need for better access to infor-
ges in professional development activities. mation on professional supervisors, and for
Free-a-Stage started in 1997 as the Sugihara better training for supervisors in order to
Music Club, and was formed as an NPO in establish uniform standards.
2007. Free-a-Stage aims to spread music 4) A need for measures to enhance the social
therapy throughout Osaka via training and status of music therapists, and to combat
supervision of music therapists. decreasing work opportunities, especially
for non-affiliated therapists.
This presentation reports on the activities at 5) A need for more support for group repre-
the Japanese Music Therapy Associations sentatives, to reduce workload in terms of
(JMTA) Kinki Branch, Osaka, where profes- administration, supervision of affiliated
sional groups meet to discuss therapy issues therapists, planning of training, and pro-
and improvement strategies. motional and other activities.
6) A need for systems of emotional and skill-
Description based support for therapists to supple-
ment the academic forum provided by the
Five professional groups for music therapists JMTA, to which approximately 5500 mem-
have held four meetings since November bers belong. A range of measures to im-
2015 at the JMTA’s Kinki Branch, with two prove the practice of therapy has now
more groups accessing the meeting content been adopted by seven professional groups
online. Six common issues have been iden- in Osaka Prefecture.
tified.
The abovementioned professional meetings
1) Aging of group representatives and thera- will become a regularly scheduled event.
pists leading to a shortage in the field.
2) A need for improved skills and improved To facilitate therapist training, activities and
ethics, internship and professional super- programs offered by the various groups will
vision systems, coordination with other be published in a single timetable, while
professions, and reduction of accident risk. study seminars for supervisors and JMTA
3) A lack of clear supervision. In Osaka, there members will be promoted. Meanwhile, with
are numerous JMTA registered supervisors, the cooperation of non-affiliated therapists,
513
preparations are under way for the establis- four sessions. Meetings for the preparation
hment of an Osaka Prefecture Music Thera- have become regularized, but there are still
pist Society that will offer advisory services to several issues which require further discus-
therapists. sion.
As of December of 2016, four groups have left 1. A lack of working capital.

our group, even as preparations for the foun- 2. A shortage of manpower.
dation have begun, due to several causes. In 3. The need to establish an academic network
one case, a shrinking staff feeling over burde- to further members’ educations.
ned by the head office presented insurmoun-
table difficulties. In some cases, these It is our goal to improve therapists’ ethics
preparations are not among those sanctioned and risk management strategies, and to plan
by their various professional organizations, training for cultivating supervisors. We are
while in others, the home office being reloca- meeting now to begin considering the motto
ted to Tokyo was listed as being problematic. and various purposes of the fledgling Osaka
Prefecture Music Therapist Society, its poli-
Now we have gained a new group. This is cies of operation, and to begin mapping its
thanks largely to the distribution of literature, organizational structure.
along with the list of our annual training plans
to the members on our JMTA mailing list, who About the Authors
recognize the sincere need for deeper and
more consistent training for therapists cu- Chiyuki Sugihara: Councilor for Japanese
rrently on our list of active members, as well Music Therapy Association, Executive Direc-
as those who we will welcome in the future. tor of NPO Free-a-Stage.
Music therapists were in serious need of or- Email: free_a_stage_mt@ktd.biglobe.ne.jp
ganization to belong to.
Yoshie Ito: Councilor for Japanese Music
The average number of participants in the Therapy Association, Executive Director of
supervisor training sessions was 7.7 out of Music Therapy Circle Laugh (Osaka).
514
CONSIDERATION OF RHYTHM IMITATION ABILITY

OF ELDERLY PEOPLE
Satomi Suzukawa
Silutopia Yuki, Japan
In Japan, music therapy for the elderly is wi- vestigation focused on users of B facilities
dely used, but there is little research clearly whose activities of daily living have been diag-
indicating its effects. Research on rhythm and nosed as dementia ranging from IIa to IIb. The
the elderly shows that elderly people can control group was 17 healthy elderly people
focus longer on rhythmic activities than other attending a care prevention class. In private
activities, and that rhythmic abilities are resis- rooms at each facility, subjects were given the
tant to decline. Regarding rhythm, it is known Japanese version of the Montreal Cognitive
that the elderly tend to fall behind in synchro- Assessment (MoCA-J) for cognitive assess-
nized tapping with a fast tempo compared to ment, and the rhythm imitation test. For both
young people, and that there is a relation bet- groups, the investigation was carried from Oc-
ween Trail Making Test results and synchroni- tober to November 2014 after receiving ap-
zed tapping. However, there is little research proval of the Research Ethics Committee of J.
on the imitation of rhythm by the elderly, and F. Oberlin University (reception no. 13024).
no research clearly indicating the relationship
between rhythm and cognitive function. The Results
author conjectured that perhaps the rela-
tionship with cognitive function can be better The results of the rhythm imitation tests
seen with imitation of rhythm than with were: 10.6±4.3 problems for healthy elderly
rhythm synchronization, and verified the rela- people, and 6.9±2.7 problems for elderly with
tionship between cognitive function and abi- dementia. In the t-test results, the healthy el-
lity to imitate rhythm, taking as Hypothesis 1 derly people showed significantly higher abi-
that healthy elderly people have a greater ability to imitate rhythm than elderly people
lity to imitate rhythm than elderly people with with dementia (t=(27.218)=2.545, p<.05). In
dementia, and as Hypothesis 2 that there is a addition, a positive correlation was found
significant correlation between cognitive between MOCA-J score and rhythm imitation
function, as indicated by score on a cognitive score, although it was not significant (r=.338).
assessment, and ability to imitate rhythm, re- When correlation was calculated between
gardless of a diagnosis of dementia. the lower-order items of MOCA-J and rhythm
imitation ability, a significant positive corre-
Method lation was found in the visuo-spatial execu-
tive system (r=.372, p<.05).
This investigation was targeted at women of
age 75 to 93 who have received no special Discussion
musical education. There were 16 subjects in
the elderly with dementia group, and the in- The ability to count the necessary numbers,
515
temporal discrimination, and memory reten- in elderly patients with Alzheimer’s de-
tion needed for rhythm imitation are abilities mentia. Journal of Factulty of Health
which tend to deteriorate in a person with Science, 2, 1-9.
dementia, and this is thought to be why peo- Naoki, Y., Takashi, I., & Takeshi, U. (1995) A
ple with dementia or low cognitive function Comparative study on the Rhythmic tap-
had poor ability to imitate rhythm. Some sub- ping abilities among the demented aged,
jects had a high MOCA-J score and a low the non-demented aged and the healthy
rhythm imitation test score, but the reverse young subjects using auditory and visual
was not seen. This may be because, as an in- stimulations. Annual Reports of College
dividual factor, the subject had a naturally of Medical Technology, Hokkaido Univer-
poor rhythmic ability. In addition, the corre- sity, 8, 65-79.
lation with lower-order items of the MOCA-J, Izumi, S., Sayori, F., & Kunihumi. S. (2006).
was significant with visuospatial/cognitive, The relationship between rhythmic
and it is conjectured that this was because synchronization and some cognitive func-
the problems were non-verbal. An issue for tion in schizophrenia. The journal of Ja-
the future will be verifying whether cognitive panese music therapy association, 6(2),
function drops when rhythmic ability decli- 152-160
nes. Sachiko. K. (2004) A f-MRI study on memory
function in normal subjects and patients
References with partial epilepsies. Journal of Kana-
zawa Medical University, 29, 260-271
M. Elena(Ed.). (2011). The Power Of Music.
USA: Bloomsbury Publishing. About the Author
Nobuyuki. I., Hirokazu. S., & Junya. M. (2009).
Effects of aging on the control of timing Satomi Suzukawa is a music therapist at the
and force in finger tapping movements. Silutopia Yuki in Hiroshima, Japan. This article
Research bulletin of Naruto University of is based on the suthor’s master’s thesis com-
Education, 24, 170-175. pleted Oberin University.
Takako, Y., & Kyoko. B. (2008). Musical skills Email: kanannhanonn@yahoo.co.jp
516
WHICH SOUND IS MOST SUITABLE?

-BELL ENSEMBLE AT A PSYCHIATRIC CLINIC-
Akiko Suzuki
Higashikakogawa Hospital, Japan
The main objective of the group therapy ca- beautiful. So patients can feel delight in co-
lled psychiatric day care in Japan is a revival operation with others.
of healthy social skills.
Before recording, participants select the most
The author has held monthly ensemble ac- suitable sound from 3 or 4 versions proposed
tivities called the pleasure of music at a by the music therapist which have been se-
psychiatric day care of a clinic and from 7 to lected from hundreds of sound tones of the
15 patients and 3 staff members participate electric piano. The discussion related to this
in this activity for 2 hours. Since the partici- selection process will enhance the patients’
pants are different each time, it is necessary social skills. Most psychiatric patients are
to complete one song each session. Patients poor at employing appropriate levels of self-
have selected 2 songs prior to the session. assertion. Japanese have already learned the
The music therapist plays the theme of the importance of cooperating from childhood
song on an electronic piano and patients and the training of assertive expression is
provide the accompaniment by chords using often slighted in Japan. It can result in a lack
small hand bells or chimes( Tonechime si- of self-assertion. Patients can learn self -as-
milar to choirchime). This activity is not too sertion skills by the discussion about selecting
difficult for unskilled patients and at the the suitable sound without losing their men-
same time not too easy as to become boring tal stability.
for skilled patients. It is recorded after seve-
ral times of practice. The recorded music is References
subsequently uploaded to the clinic’s web-
site. It can raise the participant’s motivation Asano, H. (2015) Seishinkadeikeagaku. (Scien-
levels. ce of psychiatric day care). Tokyo: M.C.
MUSE Inc.
The aim of this activity is to ease tension of
the interpersonal relationships, to improve About the Author
social skills and to get the feeling of achie-
vement. The characteristics of the musical Akiko Suzuki, RMT (Japan), is a music therapist
instruments used in this ensemble are con- of Higashikakogawa Hospital,and a board mem-
ducive to this aim. The bell and the chime ber of Japanese Music Therapy Association.
can be played easily and their harmony is Email: arcadia@hcc5.bai.ne.jp
517
MUSIC THERAPY IN PEDIATRIC HEALTHCARE:

10 YEARS OF PROGRESS IN JAPAN
Ryoko Suzuki
§Music therapy society for the study of neurodevelopmental disorders, Japan.
Izumi Futamata‡§, Moe Kurita†§, Azusa Uchida§, Azusa Sanpei§, Chika Iijima§,
Tomoko Akiyama§, Ryoichi Sakuta†§
‡Toho College of Music, Japan
The Child Development and Psychosomatic academic conferences, and share information
Medicine Music Therapy Seminar “Jubilant” on the website.
has been conducting music therapy clinics
with the Dokkyo Medical University Koshi- Music therapy in the field of pediatric care in-
gaya Hospital Center for Child Development volves not only cooperation between physi-
and Psychosomatic Medicine since 2007. cians, psychologists, and speech therapists
but also connects “healthcare,” “education,”
The children who participate in these music and “social services,” creating an environ-
therapy sessions always receive examinations ment in which children and their families can
with a pediatric neurologist. If necessary, they receive comprehensive support.
undergo not only music therapy but also in-
terviews with a clinical psychologist and trai- References
ning with a speech therapist.
Aldridge, D. (2012). Early childhood music the-
Currently, over 100 children have participa- rapy and autism spectrum disorders: Deve-
ted in this music therapy program. Partici- loping potential in young children and their
pants have conditions such as autism families. London: Jessica Kingsley Pub.
spectrum disorder, attention deficit hyperac- Robb, S. L. (2003). Music therapy in pediatric
tivity disorder, mental disabilities, Down’s healthcare: Research and evidence-based
syndrome, Williams syndrome, and cerebral practice. Silver Spring, MD: American Music
palsy. Therapy Association.
Aside from these sessions, the music thera- About the Authors
pists give public music therapy presentations
in the local area, teach music therapy classes Ryoko Suzuki: Doctor of Art, a certified music
to school instructors and social workers, lec- therapist of Japanese Music Therapy Associa-
ture at local special education schools, ap- tion.
pear at local social service events, present at Email: ryoko323232@yahoo.co.jp
518
Izumi Futamata: An associate professor at Chika Iijima: A certified music therapist of the
Toho College of Music and a certified music Japanese Music Therapy Association.
therapist of the Japanese Music Therapy As-
sociation where he is one of the executive Tomoko Akiyama: A certified Clinical Psycho-
board members. logist of the Japan Society of Certified Clinical
Psychologist.
Azusa Uchida: A certified music therapist of
the Japanese Music Therapy Association. Ryoichi Sakuta: MD, Professor, Center for
Child Development and Psychosomatic Medi-
Azusa Sanpei: A certified music therapist of cine, Dokkyo Medical University, Koshigaya
the Japanese Music Therapy Association. Hospital, Japan
Moe Kurita: A certified music therapist of the

Japanese Music Therapy Association.
519
THE EMOTIONAL CHARACTERISTICS OF “MODE”:

YONANUKI MODED, BLUES MODE, AND ATONALITY
Ryoko Suzuki
†Nihon University School of Medicine, Japan
‡Center for Child Development and Psychosomatic Medicine,
Tatsuo Fuchigami†
Abstract Affective Value Scale of Music (Taniguti 1995)

and our own questionnaire (49 adjectives
We examined the emotional characteristics with four levels). Furthermore, brain activity
of three modes—yonanuki, blues, and atona- when listening to each mode was examined
lity—through questionnaires and neuroima- using functional magnetic resonance imaging
ging (fMRI). Each mode was found to have its (fMRI).
own emotional characteristics. If music the-
rapists understand such characteristics, they The results of the questionnaires revealed
could better plan each therapy session and that the yonanuki mode was associated with
examine the effects of certain modes on adjectives such as “happy” and “favorite,”
clients’ behavior. while the blues mode was “gloomy” and
“drowsy.” Atonality was associated with the
Description adjectives “anxious” and “tense.” The change
in affect was greater for yonanuki and blues
Music therapists consider essential to analyze modes than for atonality. For the fMRI re-
the music used in the music therapy sessions sults, brain activity was largest for blues follo-
when reflecting on the events of each ses- wed by yonanuki and atonality. The yonanuki
sion. Notably, previous research has not yet and blues modes activated the limbic cortex.
determined whether musical modes have Our results suggest that each mode has its
particular emotional characteristics. In the own emotional characteristics (e.g., yona-
present study, we examined the emotional nuki, happy and favorable; blues, gloomy;
characteristics of three modes: yonanuki (a atonality, anxious and tense). Thus, music
pentatonic scale), blues, and atonality. Sub- therapists might learn these characteristics in
jects were 15 healthy Japanese adults. The order to improve their sessions. By knowing
stimuli were monophonic melodies using the the emotional characteristics of each mode
yonanuki mode, blues mode, and atonality well, music therapists can better plan the
(tempo, rhythm, and timbre were all the structure of each session, practice each ses-
same). Impressions of each mode were eva- sion, and examine the influence of certain
luated using two psychological measures: the modes on clients’ behavior. In this way, the
520
music therapist becomes able to provide a Wieser, H. G. (2003). Music and the brain. An-
better session for the client both intentionally nals of the New York Academy of Science,
and premeditatedly. 999, 76-94.
References About the Authors
Neuhaus, C. (2003). Perceiving musical scale Ryoko Suzuki: Doctor of Art, a certified music
structures. Annals of the New York Aca- therapist of the Japanese Music Therapy As-
demy of Science, 999(1), 184-188. sociation.
Pallesen, K. J. (2005). Emotion processing of Email: ryoko323232@yahoo.co.jp
major, minor, and dissonant chords. An-
nals of the New York Academy of Science, Tatsuo Fuchigami: M.D, and Professor at
1060, 450-453. Nihon University School of Medicine.
521
THE EMOTIONAL CHARACTERISTICS OF “MODES”:

CHURCH AND ARABIAN MODES
Ryoko Suzuki
†Nihon University School of Medicine, Japan
‡Center for Child Development and Psychosomatic Medicine,
Tatsuo Fuchigami†
Abstract evaluate the impressions of each mode,

while functional magnetic resonance ima-
We examined the emotional characteristics ging was used to measure brain activation
of two sets of modes—church (Dorian, when listening to each mode. All modes had
Phrygian, Lydian, and Mixolydian modes) unique impressions: Dorian, “peaceful” and
and Arabian—via questionnaires and neuroi- “calm”; Phrygian, “anxious,” “lonely,” “beau-
maging (fMRI). Each mode has its own emo- tiful,” and “not-so-great”; Lydian, “does not
tional characteristics. By understanding these arouse strong impression” and “a little suns-
characteristics, therapists might create bet- hiny”; Mixolydian, “drowsy,” and “somewhat
ter sessions and have a better understanding cheery”; and Arabian, “powerful,” “passio-
of certain modes’ effects on client‘s beha- nate,” and “stimulative”. Affective changes
vior. were greater for the Phrygian and Arabian
modes than for the Dorian, Lydian, and MI-
Description xolydian modes. Brain activity was lower du-
ring the Dorian and Lydian modes than
It is essential to analyse the music used in during the Phrygian, Mixolydian, and Arabian
each music therapy session when reflecting modes. The limbic cortex was activated for
on these sessions. Thus far, there has been Phrygian and Arabian modes.
no research on whether modes have unique
emotional characteristics. We examined such As shown above, each mode has its own
characteristics for two sets of modes: church emotional characteristics (e.g., Dorian, calm,
(Dorian, Phrygian, Lydian, and Mixolydian peaceful, and sedative; Phrygian, anxious and
modes) and Arabian. Subjects were 18 he- lonely; Lydian, sedative with some brightness;
althy Japanese adults. The stimuli were mo- Mixolydian, mental activity without evoking
nophonic melodies using Dorian, Phrygian, emotion; Arabian, passionate and pleasura-
Lydian, Mixolydian, and Arabian modes (the ble). Music therapists might use these charac-
tempo, rhythm, and timbre were all the teristics to their advantage by creating better
same). The Affective Value Scale of Music sessions. Indeed, if music therapists unders-
(Taniguti 1995) and an original questionnaire tand the emotional characteristics of various
(49 adjectives and four levels) were used to modes well, they can better plan how each
522
session is structured, practice each session, Bodner, E., & Gilboa, A. (2006). Emotional
and examine the causality of the client‘s be- communicability in music therapy: Diffe-
haviour. rent instruments for different emotion?
Nordic Journal of Music Therapy, 15(1).
References
About the Authors
Hill, D.S., Kamenetsky, S. B. & Trehub, S. E.
(1996). Relations among text, mode, and Ryoko Suzuki: Doctor of Art, a certified music
medium: historical and empirical perspec- therapist of the Japanese Music Therapy As-
tives. Music Perception, 14(1), 1-19. sociation.
Pallesen, K. J. (2005). Emotion processing of Email: ryoko323232@yahoo.co.jp
major, minor, and dissonant chords. An-
nals New York Academy of Science, 1060, Tatsuo Fuchigami: M.D, and Professor at
450-453. Nihon University School of Medicine.
523
THE SIGNIFICANCE OF GROUP MUSIC THERAPY SPANNING

MAMY GENERATIONS AND MEDICAL CONDITIONS
Ryoko Suzuki
§Music therapy society for the study of neurodevelopmental disorders, Japan.
‡Nihon University School of Medicine, Japan
Azusa Uchida§, Moe Kurita†§
This is a wide-ranging music therapy group In this place, everyone’s presence is always
with members aged 0 to 80 whose conditions natural and always necessary.
include physical illnesses, mental disorders,
Down’s syndrome, visual disorders, and hea- References
ring impairment. Once per month, three
music therapists hold a session with these Miell, D., MacDonald, R., &. Hargreaves, D. J.
members and their families and caregivers. (2010). Musical Communication. London:
Just as a woman in a wheelchair speaks up Oxford university press.
about getting a young boy on the autism
spectrum into the activities, as he is not yet About the Authors
used to the group, the same boy offers to
help her wheelchair move more smoothly. A Ryoko Suzuki: Doctor of Art, a certified music
young girl with Down’s syndrome warms up therapist of Japanese Music Therapy Association.
to a woman in her 80s. Everyone tries to Email: ryoko323232@yahoo.co.jp
speak in sign language, and all share the
songs of their generations with one another. Azusa Uchida: A certified music therapist of
A woman with a 3-year-old child asks advice the Japanese Music Therapy Association.
from a woman with a 20-year-old child. The
parents’ and caregivers’ funny dancing makes Moe Kurita: A certified music therapist of the
everyone erupt with laughter. Japanese Music Therapy Association.
524
EFFECTS OF MEDICAL MUSIC-CARE THERAPY FOR CHILDREN

WITH NEURODEVELOPMENTAL DISORDERS
Naomitsu Suzuki
Tsukuba Clinic for Mental Sick Children & Adolescents, Japan
Tamiko Hayash, Suzuko Matsumoto

Tsukuba Clinic for Mental Sick Children & Adolescents, Japan. Japan Music-Care Asso-
ciation, Japan
Keiko Miyamoto
Japan Music-Care Association, Japan
Abstract tion disorder owing to impaired cerebellar

function, which has been shown to cause
Children with neurodevelopmental disorders difficulties with physical balance. It is very
often have a developmental coordination di- difficult for such children to ride a tricycle or
sorder owing to impaired cerebellar function. bicycle, turn a skipping rope, and go down
Music therapy is effective in improving cere- a flight of stairs. Owing to the cerebellar
bellar function. We wish to draw attention to dysfunction, some children with neurodeve-
the benefits of medical music-care therapy lopmental disorders exhibit poor physical
and thereby recommend its use for managing balance, which may affect their behavior or
neurodevelopmental disorders. social interactions in all situations. Specifi-
cally, children with ADHD tend to have a
ASD&ADHD small cerebellar size (Valera, Faraone, Mu-
rray, et al., 2007).
Autism spectrum disorder (ASD) and atten-
tion deficit hyperactivity disorder (ADHD) Music therapy & Cerebellar function
are categorized as neurodevelopmental di-
sorders by the Diagnostic and Statistical Therefore, we considered it necessary to train
Manual of Mental Disorders, Fifth Edition their cerebellar function as soon as possible,
(DSM-5). ASD, which is frequently comorbid and hypothesized that their physical balance
with ADHD, is characterized by difficulties may gradually improve, leading to some po-
with communication, behavior, and/or social sitive effects on their behavior and/or social
interaction. interaction. Michael H. Thaut (2005) sugges-
ted that music therapy is effective in impro-
Developmental coordination disorder ving cerebellar function. Therefore, we think
that it may be useful for treating a develop-
Children with neurodevelopmental disor- mental coordination disorder through the sti-
ders often have a developmental coordina- mulation of the cerebellum.
525
Medical music-care therapy This new method combines training and eva-
luation, and is useful to improve the self-es-
We have been using the “medical music-care teem of children with neurodevelopmental
therapy” method in our clinic since 2015. This disorders.
new method is a group therapy conducted
with mothers and infants. Further, it is also Conclusion
effective in identifying neurological deficits,
particularly related to cerebellar function, We wish to draw attention to the benefits of
which are evident from other assessments medical music-care therapy, and thereby re-
such as the finger-nose test, standing on one commend its use for managing neurodeve-
foot test lopmental disorders.
References
Thaut, M. H. (2005). Rhythm, music and the

brain: Scientific Foundation and Clinical
Applications. New York: Routledge.
Valera, E. M., Faraone, S. V., Murray, K. E. et
al. (2007). Meta-analysis of structural ima-
ging findings in attention-deficit/hyperac-
tivity disorder. Biological Psychiatry, 61,
1361-1369.
About the Authors
tandem gait test Naomitsu Suzuki, Pediatrician, Certified as

Institute of Japanese Child Neurology, Direc-
tor of Tsukuba Clinic for Mental Sick Children
& Adolescents.
Email: tsukuba@kodomonokokoro.jp
Tamiko Hayashi, Music-Care Therapist on

Tsukuba Clinic for Mental Sick Children &
Adolescents.
Suzuko Matsumoto, Music-Care Therapist on

Adolescents and Director of Japan Music-
Care Association.
Keiko Miyamoto, the Chief Director of Japan

diadochokinesis test. Music-Care Association.
526
PRACTICE OF MEDICAL MUSIC-CARE THERAPY FOR CHILDREN

WITH DEVELOPMENTAL DISORDERS
Naomitsu Suzuki, Haruka Kenmochi
Tsukuba Clinic for Mental Sick Children & Adolescents, Japan
Tamiko Hayashi, Suzuko Matsumoto

Tsukuba Clinic for Mental Sick Children & Adolescents, Japan, Japan Music-Care Asso-
ciation, Japan
Keiko Miyamoto
Japan Music-Care Association, Japan
Abstract About medical music-care therapy
We introduce here how to practice gently, We’d like to show some scenes of music-care
politely, and concretely the music therapy therapy regularly held at our clinic in this
doing at our clinic by using the new method workshop. This therapy takes about 50 minu-
of medical music-care. Its new method in- tes. After participants come in to the room
cludes neurological findings, such as stan- and greet each other, music-care therapists
ding on one foot, stepping with or without proceed the therapy accompanying of music,
arm swing, finger-nose-finger with or wi- composed from the points of neurological
thout tremor, tandem gait, diadochokinesis, practice, especially cerebellum function, such
check their eye contact, creeping or crawling as finger-nose test, standing on one foot or
blowing soap bubbles, and so on. Further- tandem gait, etc. Because, children with
more, social skill training such as salutation ADHD tend to have a small cerebellar size (Va-
at the end of session, waiting their turn to lera et al., 2007). Waiting in line, participants
play the drum and returning the music-care can learn how to wait. Then, they move to
tools, is also included. music. Therapists only praise participants
527
when they do well, not scold. Even if a parti- About the Authors
cipant had a bad mood, at last one can finish
a lesson with a smile. This new method com- Naomitsu Suzuki, MD, PhD, Pediatrician,
bines training and evaluation of cerebellar Certified as Institute of Japanese Child Neu-
function and social skills, and is useful to im- rology, Director of Tsukuba Clinic for Mental
prove the self-esteem of children with deve- Sick Children & Adolescents.
lopmental disorders. Email: tsukuba@kodomonokokoro.jp
Conclusion Tamiko Hayashi, Music-Care Therapist on

Each and every method can be used easily Adolescents.
and we hope everyone here may master
these new methods of clinical music-care. Suzuko Matsumoto, Music-Care Therapist
And we also hope that every music therapist on Tsukuba Clinic for Mental Sick Children &
who is concerned with the children with de- Adolescents and Director of Japan Music-
velopmental disorders start this new me- Care Association.
thod in your country as soon as possible.
Keiko Miyamoto, the Chief Director of Japan
References Music-Care Association.
Valera, E. M., Faraone, S.V., Murray, K. E. et al. Haruka Kenmochi, Clinical Psychotherapist
(2007). Meta-analysis of structural ima- on Tsukuba Clinic for Mental Sick Children &
ging findings in attention-deficit/hyperac- Adolescents.
tivity disorder. Biological Psychiatry, 61,
1361-1369.
528
AN APPROACH TO DEPRESSION:
“MIRRORING-AND-REFLECTING” ROLE OF MUSIC THERAPIST
Makiko Takahashi, Dip-MT, MA Autism
Ongaku Ryouhou Kyoushitsu, Japan
Introduction Case study
Lack of "sense-of-realness" is a big concern “K” was diagnosed with ASD at the age of
for people with autism and autistic spec- 20. Since then, she has been withdrawn for
trum disorder (ASD) which can become an 6 years. She was receiving psychotherapy
underlying factor of depressive symptoms. but symptoms have continued to deterio-
This presentation will focus on "mirroring- rate, and at the time music therapy started,
and- reflecting" role of music therapist and she was spending most of the time in her
discuss how it allows the client to gain the bed, sleeping. Individual sessions were held
sense-of-realness and leads to improve- in her room, with the presence of her mo-
ment in depressive-symptoms. Winnicott ther who was despaired of “K’s” condition.
(1997) refers to “mirroring-and-reflecting” In playing together, “K’” played a steady, mo-
role of a therapist, describing the work of notonous, flat beat. She was able to make
psychotherapist as “a long-term giving the subtle adjustments to adapt with the bea-
patient back what the patient brings”. He tings of my playing but lacked responses to
argues that, to find one’s own self and to the affective expressions. Rhythmically, our
become able to feel real, people needs so- playing fit, although, her comments were,
meone who could reflect back “how- “my playing doesn’t fit with yours”; “I’m
he/she-is” and “how-he/she-exist” in the dazed. I’m not sure what I’m playing”. In
context of the relationship. Music is an ap- spite of playing together in an exact timing,
proachable and accessible medium for des- she felt being disconnected and seemed not
cribing and giving back the client his/her feeling “real”. Contrarily, her mother enjo-
inner experiences in an audible form and yed creating different sounds and rhythmic
allowing the client to hear him/herself and patterns although it sounded disconnected
get access to “how one-self is”. This presen- with “K’s” feeling state. Their contrasting
tation will focus on "mirroring-and-reflec- playing, between “K” and her mother, indi-
ting" role of music therapist and discuss 1) cated their unsatisfying relationship. In ses-
how music could be used to adapt and iden- sions, I stayed with “K’s” monotonous playing
tify the clients’ inner state, 2) how client ex- by just adding simple and short rhythmic
periences “mirroring/reflecting” music and patterns in between her beats in order to
3) how it leads to improvement of depres- allow her hear herself being connected with
sive symptoms, through a case study of 2 the therapist. When she was unable to get
years of music therapy work with a 26-year- up and play, I sang long tones to match her
old woman “K” with ASD. breathing and simple melodies to depict her
529
facial expressions and body movements, and adapting thoroughly to “K’s” playing and fa-
reflected back “just the way she is, being cial/body expressions through music, has allo-
with the therapist”. I did not give any direc- wed “K” to hear herself, but it also allowed her
tions to her mother concerned with how to mother to acknowledge “how K is”. These ex-
play but concentrated to engage with and to periences enabled “K’” to get access to her
reflect back “how K is” through music. In own feelings and to experience being involved
two years of practice, gradually, the mo- and connected with the others, which led to
ther’s playing became attuned with “K’s” gain the sense of “feeling real”.
playing and she stopped talking repeatedly
about regrets and mistakes she thought she Conclusion
might have done to her daughter. She be-
came the best person to understand “K’s” fe- To deal with depression, cooperation of fa-
elings and the relationship between “K” and mily is indispensable. Through listening and
her mother has improved tremendously. “K” playing together with music which reflected
became able to develop her playing by cre- “K’s” feeling states, have allowed “K” and
ating slightly different rhythmic patterns. also her mother to get access to “how K is”.
She found a part-time job on her own will It changed the mother’s consciousness to-
and began to go out and enjoy her life. wards “K” and she became the person to
support the treatment.
Discussion
References
K’s monotonous and impassive playing indica-
ted that she was being detached from her own Winnicott, D.W. (1997). Playing and reality.
feelings and also having difficulties in adapting London, Routledge
to the others’ expressions. Her mother’s lack
of awareness of “K’s” feelings and failure to About the Author
give “K” back the real picture of “how K is” se-
emed to have relevance to “K’s” feeling of dis- Practices music therapy for people with ASD
connectedness and the sense of “not feeling and learning difficulties.
real”. The therapist’s reflective responses, Email: takamatm@gmail.com
530
MUSIC THERAPY FOR ‘AHEAD SICK’ ELDERLY

Ryotaro Takahashi
Music therapist, Key-Tone Co., Ltd., Japan
The more mature your country gets, the lon- start exploding nationwide soon. The relevant
ger you are likely to live. If the percentage of ministry and agency started action in 2006 to
the elderly (over-65 years old) exceeds 21% keep those elderly healthy as long as possi-
of population, it is called super-aged society. ble. The key-word is ‘kaigo-yobou’ which
Japanese society has been aging very fast, means nursing prevention. But the question
roughly 4 times faster than that of modern is that they can offer both, effective and sus-
Europe. That rate is still rising, 25% on 2015 tainable daily life activity to those elderly.
already, 33% on 2030, up to 40% mid 21st
century. Such country did not exist ever in Since MT is not national license in Japan, I
the history. Should we call ourselves ultra- started paid-MT-service in 2009, including
super aged country? nursing-prevention for ‘ahead sick’ elderly. It
did match local demand in Yokohama-city of
At this rate, we are going to face financial 3.7million population. Here’s an example,
crisis for expanding medical/nursing care of Sakae-ward with a population of 121,000, the
elder generation. What we have to do is ke- largest aging ward in Yokohama, with 30% of
eping the elderly healthy, away from ‘yoh- the rate of aging. Despite the highest rate
kaigo’, which refers to a condition for which among the 18 wards in the city, this ward has
public nursing-care service is necessary. the lowest rate of ‘yoh-kaigo’ elders. Inhabi-
tants are enthusiastic about preventive acti-
Music therapy (hereinafter called MT) for vity. Public-health-nurses of this ward
‘ahead sick’ elderly aims to decrease future introduced MT for nursing-prevention in
social expense, hoping public budget is 2010. MT sessions have been held success-
saved for the younger generation. Not only fully almost 100 times, during these 7 years.
public budget, but we already see serious
working problems of the next generation
who have to give up their career just for nur-
sing their own parents.
If you succeed in delaying the outset of de-

mentia, you create some kind of social value.
MT for ‘ahead sick’ elderly can be a good fu-
ture stage for music therapists in an aging
country, in terms of personal and public, even
national interest.
Yokohama city monthly PR,
In Japan, social demand for nursing-care will taken in Jan. 2011.
531
As for the effect, the ward office made origi- being fun at the same time, which is an im-
nal inquiry after a series of sessions, and it portant factor for every activity at home.
showed positive results. That was not a strict Thanks to flexibility of music, you hardly feel
test but MT has got good recognition from of- mannerism. Now, MT has come to draw more
fice staff and participants, because they ex- interest among local administration of Yoko-
perienced how music works. MT session for hama city as a potential reducer of future so-
nursing prevention spreads in Yokohama city cial expense.
year by year. In 2017, it has been expanding
to 11 other wards, covering two-thirds of Yo- References
kohama city. I lead more than 100 sessions of
this kind a year, organized by these wards’ of- Okumura, A. (2008). Ongaku de nou wa koko-
fice or local inclusive support centers, on made saisei suru [Music therapy works on
public-budget. The sessions are usually 90 mi- damaged brain with unique approach,
nutes long, and focus on three areas, based from the viewpoint of brain doctor]. Tokyo:
on MT knowledge. Ongaku no tomosha.
Friedman, R. (2003). The healing power of the
1. Physical moving with music, mainly upper drum. Tokyo: Ongaku no tomosha.
limb and oral function. Thaut, M. (2006). Rhythm, music, and the
2. Singing old popular songs with rhythmical brain. Scientific foundations and clinical
percussion playing (pestle) to stimulate the applications. Tokyo: Kyodo isho
brain. Kouya, I. (2008). Utau koto ga koukuu kea ni
3. Cogni-cise with music (coined by the Mi- naru [Singing directly leads to nursing pre-
nistry of Health, Labour and Welfare, me- vention]. Tokyo: Aozora ongaku sha.
aning cognition-training + physical exercise
at the same time. You develop new nerve About the Author
networking of your brain, preventing de-
mentia (cf. Donald Hebb theory). Music therapist, Manager of Key-Tone Co.,
Ltd. Registered MT(Japan), NMT Fellow (since
As you know, MT has the big advantage to be 2010).
arranged flexibly for targeted purposes while Email: rioriottt@hotmail.com
532
THERAPEUTIC MEANING OF AFRICAN POLYRHYTHM THROUGH

DRUM ENSEMBLE SESSION
Kanae Takahashi
Nagano Medical Hygiene College, Japan
Naoki Otani
Nagano Medical Hygiene College
Makiko Kubota
Showa Music University
Introduction ment in mood state (Bittman 2004), modu-

lation of immune response (Bittman, 2001).
“The nature and life: All of this world is music. But very little data on polyrhythm can be
Everything is about the rhythm.” Doudou N'- seen.
Diaye Rose, Senegalese drummer, TAKEO - A
percussionist with Down Symdrom Background
Rhythm is primordial for human beings and The author has participated in African drum
drum therapy has been used for physical, classes over years and realized benefits of
mental, social and spiritual well-being in polyrhythm through learning and teaching.
Africa for thousands of years. Polyrhythm is The important features of polyrhythm ses-
one of important features for African music. sion are ‘superposition’ and ‘simultaneity’ as
Grove Music Online defines polyrhythm as showed in definitions above. There is no le-
“the superposition of different rhythms or ader between players. They share with
metres” and The Oxford Dictionary of Music equality and independence in the features
as “Several different rhythm performance si- of polyrhythm; ‘superposition’ and ‘simulta-
multaneously”. Several data are available on neity’. That is major difference from other
physical, mental, social and spiritual benefits drum sessions.
of drum therapy.
Objective and Method
Recent research showed the effectiveness of
group drumming session as decrease in de- This research tries to clarify the therapeutic
pression, increase in social resilience, impro- meaning of African polyrhythm through 40
vement in anxiety and mental well-being minutes drum ensemble sessions for gene-
(Fancourt 2016), stress reduction (Smith, ral public. As physical indexes, blood pres-
2014), modulation of human stress response sure and pulse and as psychological index,
(Bittman 2005), community building (Stone profile of mood states (POMS) is measured
2005), reduction of burnout and improve- between pre and post sessions. Question-
533
naire and interview are also conducted after Oxford Music Online. Oxford University
session. Press, accessed June 27, 2016. http://
www.oxfordmusiconline.com/subscriber
Analysis is done both in quantitative and /article/opr/t237/e8044.
qualitative aspects. In the presentation, cli- Smith, C., Viljoen J.T., & McGeachie L.
nical applications will be discussed through (2014). African drumming: a holistic ap-
the results. proach to reducing stress and improving
health?, Journal of Cardiovascular Medi-
References cine 15(6), 441-6.
Stone, N.N. (2005) Hand-drumming to build
Bittman, B., Berk, L., et al. (2001). Composite community: the story of the Whittier
effects of group drumming music therapy Drum Project. New Direction for Youth
on modulation of neuroendocrine-im- Development 106, summer, 73-83.
mune parameters in normal subject. Al- Takeo - A Percussionist with Down Syndrome,
ternative Therapies 7(1), 38-47. directed by Takashi Tokida, Japan, group
Bittman, B., Berk, L., et al. (2005). Recreatio- Low Position, 2011
nal music-making modulates the human
stress response: a preliminary individua- About the Authors
lized gene expression strategy. Medical
Science Monitor, 11(2), BR31-40. Kanae Takahashi, MA, RMT (Japan), is a cu-
Fancourt, D. (2016) Effects of Group Drum- rriculum coordinator at Nagano Medical
ming Interventions on Anxiety, Depres- Hygiene College and a member of Japanese
sion, Social Resilience and Inflammatory Music Therapy Association.
Immune Response among Mental Health Email: jim5@nagano-iryoueisei.ac.jp
Service Users, PLOS ONE 11(3) :e0151
136. doi:10.1371/ journal.pone.0151136. Noki Otani, MA, RMT (Japan) is working at
“Polyrhythm” Grove Music Online. Oxford Nagano Medical Hygiene College and a
Music Online. Oxford University Press, member of JM TA.
accessed June 27, 2016. http://www.
oxfordmusiconline.com:80/subscriber/ar Makiko Kubota, RMT (Japan) is working at
ticle/grove/music/22059. Showa Music University and a member of
“Polyrhythm” The Oxford Dictionary of Music, JMTA board of trustee.
534
HANDBELL ENSEMBLE ENHANCES THE PREFRONTAL

COGNITIVE FUNCTION IN ELDERLY
Takiko Takahashi
Shukutoku University, Japan
Yuji Takano
Doshisha University, Japan
Introduction Programs: We carried out 6-8 times of 90

minuts sessions of music therapy or singing
Recently, a meta-analysis reports that music per once during about two months. In both
therapy has the effectiveness of music the- sessions, we used familiar songs for elderly.
rapy against dementia (Zhang et al., 2016). Procedures: At the first, we tested their fron-
Also, we have developed a program for he- tal cognitive function with FAB test (Dubois
althy elderly people to prevent dementia and et al., 2000). Then, they participated in
have examined the effectiveness (Takahashi & music therapy or singing for two months.
Takano, 2010). The developed program is the After the all sessions, they took FAB test
handbell (tonechime) ensemble that is dual again.
task by playing the handbell and singing a
song from the music score at the same time. Results
The previous study showed that this program
had an effect of keeping cognitive function in At the pre-test, the averaged score of FAB in
healthy elderly people. In the present study, music therapy group was 13.2 (SD = 1.81),
we examined whether the developed pro- and that in control group was 14.4 (SD =
gram enhanced the frontal cognitive function 1.82). At the post-test, the averaged score in
in healthy elderly people, or not. music therapy group was 15.3 (SD = 1.62),
and that in control group was 14.5 (SD =
Method 2.80). In results of mixed design ANOVA
(music therapy × singing) ×(pre × post), the
Participants: We recruit elderly people bet- interaction effect was statistically significant
ween the age of 60 and 85 to participate (F(1, 36) = 9.07, p < .01). According to the test
music therapy group as an experimental of simple main effects, the averaged score of
group or singing group as a control group. FAB in music therapy group at the post-test
We announced that the purpose of both was larger than that at the pre-test (p < .01).
programs were for dementia prevention.
The number of music therapy group was 23, Discussion
and the mean age was 70.5 (SD = 6.24). The
number of singing group was 15, and the In music therapy group, the FAB scores in-
mean age was 72.6 (SD = 6.44). creased before and after the program.
535
Though the difference of FAB scores bet- References

ween music therapy and singing was not sta-
tistically significant, the scores in singing Ducois, B., Slachevsky, A., Litvan, I., & Pillon,
group did not change before and after the B. (2000). The FAB: a Frontal Assessment
program. In summary, these results suggest Battery at bedside. Neurology, 55(11),
that our developed program of music the- 1621-1626. doi:10.1212/WNL.55.11.1621
rapy has an effect to enhance of prefrontal Takahashi T, & Takano Y. (2010). Music the-
cognitive function in healthy elderly through rapy for dementia prevention focusing on
practice of the dual task. A limit point of this handbell activities. Japanese Journal of
experiment is to choose the group with Music Therapy, 10, 202-209 (In Japanese
which all participants participate by them- with English abstract).
selves personally. However, the difference of Zhang, Y., Cai, J., An, L., Hui, F., Ren, T., Ma,
the motive did not have both groups be- H., & Zhao, Q. (2016). Does music the-
cause it recruited participants for the pur- rapy enhance behavioral and cognirive
pose of the dementia prevention together. function in elderly dementia patients? A
In the future, the examination by the rando- systematic review and meta-analysis.
mized controlled trial is necessary. Ageing Research Review, 35, 1-11.
doi:10.1016/j/arr.2016.12. 003
About the Authors
Dr. Takiko Takahashi is a music therapist,

and studies the effectiveness of music the-
rapy for dementia, palliative care, and deve-
lopmental disorder.
Email: takiko722@yahoo.co.jp
Dr. Yuji Takano is an experimental psycholo-

gist, and studies the mechanism of memory,
emotion, and sociality .
Email: ytakano@mail.doshisha.ac.jp
Figure 1. Scores of FAB before and after
music therapy and singing program
during 2 months.
536
PHYSIOLOGICAL AND COGNITIVE INVESTIGATION

OF PLAYING INSTRUMENTS AS AN EFFECTIVE
COGNITIVE STIMULUS
Naomi Takehara, Tomomi Aoki, Mio Nakayama, Toko Yoshizato,
Kakuko Matsumoto, Tomoko Ichinose
Department of Music, Mukogawa Women's University, Japan
Takanobu Higuchi, Ryuhei Okuno

Department of Electronics, Setsunan University, Japan
Kenzo Akazawa
Advanced Applied Music Institute,
Social Welfare Organization Kibounoie Takarazuka, Japan
Abstract
Participants (music beginners and music ma-

jors) were asked to perform a piece with a
constant tempo by pointing a note head dis-
played on the touch screen with and without
sound production. After analyzing subjective
answers and EEG measurements, the Cymis
performance was indicated to be an effec-
tive cognitive stimulus.
Background Figure 1. Playing the Cymis.
An important report states that frequent Methods

performance of musical instruments has a
significant effect on reducing the risk of de- Participants: Participants were five female
mentia in the elderly. We have developed a university students who were music majors,
novel electronic musical instrument Cymis, and three male university students who
or Cyber Musical Instrument with Score, and were beginners in music.
found that not only the severely disabled
but the elderly can easily play a musical Stimuli: The music majors were instructed to
piece on it. This study investigates whether perform two popular songs by maintaining
Cymis performance could be an effective a constant tempo, while pointing each note
cognitive stimulus. head displayed on the screen. They played
537
under the conditions of with and without palsy to play and enjoy together. Proc.
sound production, with a regular tempo of 9th Intl Conf. Disability, Virtual Reality &
84bpm, and an extraordinarily fast tempo of Associated Technologies, Laval, 419-422.
150bpm. Before playing, they heard eight Verghese, J., Lipton, R.B., Katz, M.J., Hall,
beats at the preset tempo on the metro- C.B., Derby, C.A., Kuslansky, G.,Ambrose,
nome. However, the beginners in music pla- A.F., Sliwinski, M., & Buschke, H. (2003).
yed a popular song under the conditions Leisure activities and the risk of dementia
with sound production and a regular tempo in the elderly. New England Journal of
of 86bpm. Medicine 348 (25), 2508-2516.
HuiChi Li, et al. (2015). The effect of music the-
Procedure: As a physiological evaluation, we rapy on cognitive functioning among older
measured the Frontal midline theta rhythm adults: A systematic review and meta-
(Fm theta) of their brain waves under three Analysis. Journal of the American Medical
different conditions, at rest, in playing Cymis Directors Association, 16(1), 71-77.
and in calculating numbers with a game ma-
chine. All participants answered 14 ques- About the Authors
tions regarding cognitive functions and
reported results of their performance. Naomi Takehara. PhD., is Assistant Profes-
sor at Mukogawa Women's University, (Cul-
Results ture and Information Science), RMT (Japan).
Email: sumile3@gmail.com
After a steady change of improvement in
performance, the results revealed that be- MA. T. Aoki and MA. Toko Yoshizato are As-
ginners performed using the sense of touch, sistants at Mukogawa Women's University,
sight, and learning function with sound pro- RMT (Japan).
duction. Whereas, those majoring in music
performed by using the sense of hearing T. Higuchi obtained a BA.
with sound production and memory without
sound production. We found that the mag- M. Nakayama obtained RMT (Japan).
nitude of Fm theta when playing Cymis was
greater than it was when at rest but less Dr. K. Matsumoto and MA. T. Ichinose are
than calculated numbers. Associate Professors at Mukogawa Women's
University, RMT (Japan), T. Ichinose obtained
Conclusion MT-BC.
Our study demonstrated that playing the Dr. R. Okuno is a Professor at Faculty of
Cymis functioned as an effective cognitive Science and Engineering, Setsunan Univer-
stimulus. sity.
References Dr. K. Akazawa (Emeritus Professor of Osaka

University, Japan) is a Director of Advanced
Akazawa K, Kawai T, Okuno R, Masuko T, & Applied Music Institute, Kibounoie Takara-
Nishida H. (2012). Novel electronic musi- zuka. His major is biomedical engineering
cal instrument for persons with cerebral (nerve & muscle, assistive technology).
538
THE IMPORTANCE OF RHYTHM CHANGES IN MUSIC THERAPY

Yuya Takeshita, Jared Boasen
Graduate School of Health Sciences, Hokkaido University, Japan
Koichi Yokosawa
Faculty of Health Sciences, Hokkaido University
Introduction tement,” “harmony,” “strength,” “lightness,”

and “gravity.” Brain response was measured
Rhythm is intentionally changed during ac- using the 76-ch helmet magnetoencephalo-
tive music therapy sessions. However, the graphy (MEG) system (Elekta-Neuromag,
method of doing so differs depending on the custom-type).
therapist. One reason for this is that the im-
pact of rhythm changes on listeners during The listening impression experiment targe-
melodic music (i.e. non-percussive) has not ted 31 healthy adults (18 women and 13
been clarified. The present study clarifies men) (Average age 20.8 ± 1.0 years). Three
the impact of such a change on listening im- types of sound stimuli were used: “standard
pression, and the brain response correspon- tune” involving no rhythm changes; “short
ding to this change from the two experi- tune” comprised of “short” deviants inters-
ments. persed within the tune at 30s intervals; and
“long tune”, comprised of similarly inters-
Methods persed “long” deviants. AVSM-based liste-
ning impression was assessed after each
This study employed a monodically arranged tune.
tune with a simple rhythm that none of the
participants had heard before. The standard The MEG experiments targeted 33 healthy,
sound stimuli of the tune comprised 456ms right-handed adults (17 women and 16 men)
pure tones (tempo: 66 bpm) bearing linear (average age 21.1 ± 0.6). “Short” and “long”
loudness onset and decay envelopes of deviants were pseudo-randomly inserted 80
10ms and 114ms respectively. The tune was times each into the repeated tune of stan-
designed to accommodate “short” and dard stimuli. The brain activity at the inser-
“long” rhythm-deviants, auditory stimuli in tion point for “short” and “long” deviants
which the leading note of a pair of eighth was averaged separately, converted into ab-
notes was respectively either shortened to solute values, and then the evoked magnetic
a 16th note and the second note changed to potential against rhythm deviants and non-
a long eighth note, or vice versa. Listening deviants was calculated for each subject.
impression was assessed using the Affective
Value Scale of Music (AVSM) (Taniguchi, Results
1995), which is based on a set of 24 terms
of impression, and the five factors of “exci- There were no significant differences in ave-
539
rage age, sex, or length of music experience References

between the subjects participating in the
two experiments. As for listening percep- Taniguchi, T. (1995). Construction of an af-
tion-related AVSM scores, compared to the fective value scale of music acid exami-
“standard tune,” the “short tune” and “long nation of relations between the scale and
tune” elicited higher scores for factors of a multiple mood scale. Japanese Journal
“excitement” and “lightness,” and lower sco- of Psychology 65(6), 463-470,
res for the factor of “gravity.” As for brain Takeshita Y. & Yokosawa K. (2015). Acoustic
response to rhythm deviants, stronger mag- pressure reduction at rhythm deviants
netic potentials were evoked for “short” de- causes magnetoencephalographic res-
viants compared to non-deviants and “late” ponse. Engineering in Medicine and Bio-
deviants. logy Society,37th Annual International
Conference of IEEE, 6650-6653.
Discussion
About the Authors
The results of the present investigation on
the impact of within-tune rhythm changes Yuya Takeshita, semi-RMT (Japan), has spe-
indicated that they increased subjects’ im- cialized in music therapy and clinical engine-
pression of excitement. Furthermore, the ering and is a Ph.D. course student at
stronger brain response to the shortening of Hokkaido University.
the leading note suggests a greater psycho- Email: pmt@eis.hokudai.ac.jp
somatic impact of deliberate changes in le-
ading-beat rhythm. Jared Boasen is a performing musician/sin-
ger songwriter, and a Ph.D. course student
Conclusion at Hokkaido University.
Altogether it is thought that within-tune Koichi Yokosawa (Ph. D) holds a professors-

rhythm changes do have an impact on the hip, specializes in Biomedical Engineering,
client, thereby making them an essential and is engaged mainly in studying brain
element of music therapy. function using MEG.
540
A VENUE CONSISTING OF A NEW KIND OF CARE

FOCUSING ON RELATIONSHIPS IN A COOPERATIVE VENUE
Sachiko Takeuchi
Graduate School of Clinical Philosophy,
Osaka University, Japan
Abstract image of him having lots of fun singing songs

with everyone at this daycare’s music the-
The author noticed a care provider singing rapy sessions. I realized that he can still
to a male client who could no longer sing, in sing”. When a song that Mr. A liked was
a facility for those with severe dementia. being played on the piano, Mrs. M would
The author, a music therapist, observed this sing along with him, close. Relying on his
through the phenomenological method and own intuition, Mrs. M was moved by the res-
investigated in what way this produced a ponses she sensed from Mr. A. After a short
venue for a new kind of care. time, Mr. A’s mouth started to move, little
by little.
Description
Mr. A. and Mrs. M shared a time and space
A male client in his eighties, Mr. A, partici- enveloped by music. Mrs. M who bore the
pated in group music therapy once a week, responsibility of part of Mr. A’s therapy, com-
starting five years ago. He requires minor as- bined parts of both a care provider’s duties,
sistance with his verbal expression, and and a therapist’s duties. These overlapping
complete assistance with eating. He is trea- areas brought about the re-emergence of
ted by a care provider with over fifteen years Mr. A’s singing, as well as the arrival of a “co-
experience, an occupational therapist, and operative arena”.
a registered nurse. He enjoyed singing and
was quite good. The writer identified that Mrs. M strongly be-
lieved that Mr. A could still sing. The writer
However, as Mr. A’s bodily functions conti- also saw them enjoying the moment while
nued to decline, so did his singing ability. In singing. Removing the boundaries of care
an interview, a care provider Mrs. M said the provider and client, a personal relationship
following regarding Mr. A’s condition: “One materialized. The singing of the care provider,
day, he suddenly said to me, ‘If you ever a clearly defined role, penetrated the domain
need to talk, about anything at all, I am of the music therapist. Among social-care
here.’ I think he might have mistaken me for providers, there are firmly established spe-
his wife. This was about the time that he cialties, with clear boundaries. There is no
started exhibiting violent behavior due to his room for branching into another area. These
dementia. At that time, I felt that he was still efforts were attempted as a personal rela-
in control of some of his faculties. The very tionship. In this relationship, the boundaries
first thing that popped into my mind was the of both parties were removed and a venue
541
made up of a new kind of care was produced. Washida, K. (2007). Shiko no Ethics — Han
Henceforth, I would like to continue deepe- Hoho Shugi Ron (Ethics of Conception –
ning this theoretical construction. Anti-methodology), Nakanishiya Publis-
hing.
References
About the Author
Ruud, E. (2010). Music therapy: A Perspec-
tive from the Humanities. Barcelona. Pu- Sachiko Takeuchi, MA, RMT (Japan) cu-
blishers. rrently enrolled in the Clinical Philosophy
Merleau-Ponty, M. (1967). Chikaku no Gens- PhD program at Osaka University, is a music
hogaku (Phenomenology of Perception), therapist at Totoumi Hospital in Hamamatsu,
Translated by Yoshiro Takeuchi and Sada- Japan.
taka Ogi, Misuzu Shobo. Email: sachiko1515@ma.tnc.ne.jp
542
COMMUNITY INVOLVEMENT THROUGH MUSIC THERAPY

FOR A CLIENT WITH AFTEREFFECTS OF ENCEPHALITIS
Miyuki Tomiyama
Music Therapist, Japan
A client with joint contracture due to the af- As a result, the range she can play had increa-
tereffects of an acute encephalitis had im- sed which expanded her song choices. It made
proved her body functions after introducing possible for her to choose the songs which suit
instrumental activities. Through participa- her age instead of kids songs.
ting in the performance at music concerts, a
client showed improvements in her social A client was nervous at her first concert. She
nature and the development of self-esteem had stone-like expression and couldn't stretch
was observed. her arms. As she participated more concerts,
her facial expression became softer. She was
A 39-year-old female client's daily activities told by other participants that she looked
were limited to a round trip between her great and her song choices were excellent.
house and a vocational aid center which pro-
vided her a very little contact with others. Through the instrumental activities, the client
As a result she had strong tension and denial increased not only the range of joint move-
to new places and new people. It was nement, but also the range she can play, her
cessary for the client to improve her socia- confidence and self-esteem. Therefore, the
bility because of the possibility to be placed effort to take instrumental activities in client's
in a residential care setting or the possible daily life works as a musical therapeutic ap-
changes in her life in the future. However, proach towards mind and body for the peo-
there was no opportunities for her to deve- ple who suffers the aftereffects.
lop the sociability.
References
She was asked to participate in a music concert
held by a music class organized by an author Toshikazu Matsui (1980). Guide of music the-
once a year. She played keyboard. The range rapy. Makino publication.
of elbow joint movement and wrist joint mo- Toshikazu Matsui. (1996). Actual condition
vement were measured. It was aimed to im- of music therapy. Makino publication.
prove the range of movements through the Toshikazu Matsui.(1991). Group Dynamics.
activities with keyboard and table xylophone. Makino publication
543
LET’S THINK ABOUT MUSIC THERAPY PRACTICE

AND RESEARCH
Yamada Toru
Human Technology Research Institute, National Institute of Advanced Industrial
Science and Technology, Japan
Mitsui Eiko
Ibaraki Prefectural University of Health and Sciences Hospital, Japan
Takasaki Yuka
Oga Kenya
Nagashima Ritsuko
Division of Rehabilitation, Chiba Cancer Center, Japan
Yamazaki Ikuko
Department of Health and Welfare International University of Health and Welfare
Graduate School, Japan
Abstract Aims of plan
During nineteen years of music therapy prac- Music therapists have done research to inves-
tice, we found out questions and realized li- tigate of the effectiveness of music therapy
mitations about quantitative research, and by systematic and reproducible scientific me-
tried different approaches. Now we present thods up to the present. This quantitative re-
and introduce questions about qualitative, search has been mainstream so far.
quantitative, and mixed design research in
music therapy. During nineteen years of music therapy prac-
tice, we found out questions and realized li-
Theme mitations about quantitative research, and
tried to do differently. Now we present and
The themes is to investigate merits and short- introduce questions about qualitative, quan-
comings about qualitative, quantitative, and titative, and mixed design research samples
mixed design research, and to think about in music therapy.
what the practical research for human beings
should be. Our music therapy work started in the reha-
544
bilitation hospital in 1997. The team included: Therapy-What Therapist Should Know- Ja-
three music therapists, three to six occupa- panese Art Therapy.
tional therapists, and one to two volunteers.
About the Authors
We want to think and discuss about music
therapy practice and research of following Yamada Toru is a manager of Human Techno-
four points: logy Research Institute, National Institute of
Advanced Industrial Science and Technology.
1. Investigation from MCL-S and observation. Email:
2. Investigation from Smile Intensity Estima- iyamazak-sapphire@cosmos.ocn.ne.jp
tion by SVM
3. Investigation from correlation between Mitsui Eiko is a Music Therapist of Ibaraki
MCL-S and observation and Smile Intensity Prefectural University of Health and Sciences
Estimation by SVM Hospital.
4. What is the real statement of the effect of
music therapy? Takasaki yuka is a Registered Occupational
Therapist of Ibaraki Prefectural University of
References Health and Sciences Hospital.
Shimada, K., Yamada, T., Takasaki, Y., Yama- Oga Kenya is a Registered Occupational The-
zaki, I., et al. (2014) Evaluation of Music rapist of Ibaraki Prefectural University of He-
Therapy Effect by Use of Smile Intensity alth and Sciences Hospital.
Estimation by SVM. Information Proces-
sing Society of Japan, 55(2), 2569-2581. Nagashima Ritsuko is a Music Therapist of
Takasaki, Y., Yamazaki, I., Yamada, T., Shi- Division of Rehabilitation of Chiba Cancer
mada, K., & Noguchi, K., (2014) Emotional Center.
evaluation using the facial expression de-
tection software during group music the- Yamazaki Ikuko is a Music Therapist and Re-
rapy sessions(secondary report) WFOT gistered Occupational Therapist of Depart-
Mitsui, E., Takasaki, Y., Yamazaki, I., Shimada, ment of Health and Welfare International
K., Yamada, T., et al. (2014) Importance of University of Health and Welfare Graduate
Objective and Subjective Assessment in School.
545
A STUDY OF THE MUSIC THERAPY BASED ON

THE ANCIENT CHINESE MEDICAL THEORY
Hsing-chuan Tsai
QC Music Therapy Laboratory, Taiwan
Introduction and yang, body, organs and circulation by

ancient Chinese. That being said, the doctor
The research of Music Therapy of Chinese must know Qi, symptoms and core of a di-
Medicine is based on the Ancient Chinese sease or illness, data, acupuncture, rela-
Medical Theory, combined with fundamen- tionship between organs, relationship
tal analysis of musical elements, which between changes of weather and related ill-
brings the new idea and theory of music the- ness, yin yang, respectively, Qi Heng disease.
rapy. The six principle treatments are prevention
(ideal), Yin Yang and exterior and interior of
Concept of Holistic Body and Music in An- body, enriching the deficiency and balancing
cient Chinese Medicine the excess, the order of a treatment, emo-
tions, the five levels of body structure from
The study focuses on the ancient Chinese exterior to internal (skin, blood, flesh mus-
medical concept of holism of a human body cle, tendon, bone). Some principles are in-
and music that reflects the differences in terlinked and some can be used at the same
treatments and the relationship between re- time.
gions. The study points out the bias in the
three mainstreams modern music therapies Analysis of Music Essence
with theoretical criticisms; such as lack of
understanding the body as a whole and the The study discusses the European and an-
essence of music, which results the modern cient Chinese intellectuals’ concept of ele-
study often not being able to see the whole ments in music and the use of music in
picture. In realization of the obstacles in mo- therapy. The study analyzes the eight ele-
dern music therapy, I proposed a discussion ments in music: pitch and scale, length and
on methodology with a question, “What is a strength of sound (sound value and dyna-
man?” to study the concepts from ancient mic), phrase and melody, tempo, rhythm,
China and ancient Europe. harmony, musical emotion, tonality and
modes. The last element is the extension of
Principles of Treatment in Ancient Chinese the first element. In ancient time, they
Medicine mainly focused on the relationship between
organs and pitch, with bare attention to the
The study unfolds with the analysis of the connections with the other elements. In the
principles of treatments in ancient Chinese study, I analyzed the connections between
medicine. The bases of these principles are all the elements and the relationship to our
the understanding of heaven and earth, yin human body to apply to music therapy.
546
Discussion on Music Therapy from medical foundation and the real understan-
the Principle in Treatment of traditional ding of music that can truly become theory-
Chinese Medicine based academic subject.
The study discusses the possibility of music References

therapy by combining the analysis of the six
principles of treatment of the ancient Chi- Author Unknown (Unknown). Huang Di Nei
nese medicine and the analysis of the eight Jing. Wen Yuan Ge Si Ku Quan Shu. Taipei:
elements of music. Commercial Press.
Author Unknown (Unknown). Shennong
Summary Bencaojing, Wen Yuan Ge Si Ku Quan Shu.
Taipei: Commercial Press.
As modern people in a fast-paced society, it Bian, Que.( 401-310 BC). Nan Jing, Wen Yuan
is difficult to comprehend and to realize the Ge Si Ku Quan Shu. Taipei: Commercial
integrity and the value of the ancient treati- Press.
ses. This study starts out with the reflections Huang, fu M. (215-282 CE). Zhenjiu jiayi Jing,
of the methodologies of the modern days, Wen Yuan Ge Si Ku Quan Shu. Taipei:
points out the bias and obstacles and gives Commercial Press.
the theoretical criticism, then, finds the the- Wang, S. (210－258 CE). Mai jing. Wen Yuan
oretical connections between the ancient Ge Si Ku Quan Shu. Taipei: Commercial
Chinese medicine and music that could pos- Press.
sibly lead to music therapy. Music therapy
should not rely only on the generalized About the Author
scientific experiments and theory. Music
therapy should have the fundamental the- Hsing-Chuan Tsai. The originator of "Chinese
ory in medicine and music. This study shows ancient medicine and music therapy".
the new method of music therapy has the Email: singing.tsai@hotmail.com
547
HOW AN ENTERPIRSE POPULARIZES MUSIC CARE

IN TAIWAN AND CHINA
Jin Duen Tsai
Furoto Medical and Welfare Co., Ltd, Taiwan, R.O.C.
Keiko Miyamoto
Kagaya-Miyamoto Music Care Association
Introduction Furoto has been doing its best to find a way

that could look after both sides; company sur-
This paper tells of the origin, development vival and social responsivity. Ms. Keiko Miya-
process, and results of Music Care in Taiwan moto, as well as Mr. Jin Duen Tsai, has made
and China from the view of Furoto enter- a lot of efforts to have the theories, methods,
prise. and practical experiences of music care docu-
mented and to pass down the skills and tech-
Music Care is based on the theory and me- niques of music care. With paper materials
thod devised by Master Kagaya Tetsuro, and the inheritance of techniques and expe-
founder of Japan Kagaya-Miyamoto Music riences, we’re expecting to see Music Care
Care Association who died in 1993. The me- spreading to Taiwan, China, and other Chi-
thods and theories of Music Care were later nese regions, and let everyone be able to ac-
systemized and developed by Master Keiko tually experience and enjoy the magic power
Miyamoto. of music care and make more people inspired
and willing to devote themselves to music
Mr. Jin Duen Tsai, the chairman of Furoto care and helping those in need.
Company, was deeply touched and inspired
by the comforting and positive power of Developing History
music care, and he made up his mind to co-
operate with the Japanese Music Care Asso- Furoto was established in 1994 with the goal
ciation to systematically and efficiently of offering the best care services to senior
transplant music care to Taiwan and carry it citizens.
forward.
The story between Taiwan Furoto Company
Mission and Goals and the Japanese Music Care Association
could be traced back to the devastating
Even though Furoto focuses on earning pro- earthquake in Taiwan in 1999. With Furoto’s
fits, as all enterprises do, it does not ignore assistance, the Japanese Music Care team
its social responsibility and always tries to headed to the earthquake-stricken areas to
bring more welfare to the society, particu- comfort the hearts of earthquake victims
larly for those in need, such as the disabled with music care. Meanwhile, the seed of
and the elderly. music care was planted in Taiwan.
548
Cooperating with the Japanese Music Care we have had 319 participants since 2012. In
Association, Furoto developed a number of the future, we will keep making efforts to-
trainings of music care with the prospect of wards spreading the seed of music care to
letting Music Care be known by all Taiwa- every corner of Taiwan and China.
nese. Ms. Keiko Miyamoto also offered great
help in enriching the contents of the training References
courses. She set up a well-organized training
system: the elementary learner/member, Miyamoto, K. (2012). Basis and Practice of
the intermediate level, the advanced level, Music Care. Tokyo: Kawashima Shoten.
and the instructor authentication. Ms. Keiko Miyamoto Keiko & Futamata Izumi (2014).
Miyamoto showed the learners how to put Theory and Techniques of Music Care.
all these into practice by sharing her practi- Tokyo: Kawashima Shoten.
cal experiences in the training courses. Miyamoto, K. (2009). Music Therapy for
everyone at anytime and anywhere: Ap-
Beside Taiwan and China, other Chinese re- plication of Music Care. Ishikawa: Kasa-
gions like Singapore are also included in Fu- nomisakikurabu Corporation.
roto’s expansion blueprint. Therefore, in Miyamoto, K. (2010). Music Therapy for ever-
recent years, a series of promotion activities yone at anytime and anywhere: Practice
were held by the overseas subsidiary in of Music Care. Ishikawa: Kasanomisakik.
Shanghai since 2012.
About the Authors
Achievements
Mr. Jin Duen Tsai is the chairman of Furoto
NPO Taiwan Kagaya-Miyamoto Music Care Company Medical and Welfare Co., Ltd, the
Association was established in 2010, and the director of NPO Taiwan Kagaya-Miyamoto
first Taiwan National Music Care Congress Music Care Association and the Honorary di-
took place in 2007 and was held biennially rector of NPO Taiwan Physical and Mental
in the following years. Until now, in Taiwan, Functions Revitalization Association.
we have 1926 elementary learners/mem- Email: furoto.life@msa.hinet.net.
bers, 53 intermediate level members, 20 ad-
vanced level members, and 8 authorized Ms. Keiko Miyamoto is the president of Ka-
instructors. In addition, so far 7 trainings gaya-Miyamoto Music Care Association in
have been held in Hong Kong and China, and Japan.
549
THE MUSIC THERAPISTS TRAINING PROGRAM BY HOYOGO

PREFECTURAL ADMINISTRATION
Takako Tsukuda
Hyogo Earthquake Memorial 21st Century Research Institute-Hyogo Institute
for Traumatic Stress, Japan
Naoko Sayamoto
Music Therapy Kobe “Ohisama”, Japan
Introduction one of the program series “Hyogo human

care collage”, which are not only music the-
In the Great Hanshin-Awaji Earthquake rapy programs but also programs about ca-
(Kobe Earthquake), in 1995, music and acti- ring traumatic stress.
vities using music gave hope and energy to
live for those who were suffering. Through In 2001, we qualified 27 students as Hyogo
those episodes, Hyogo prefectural adminis- Prefectural Music Therapists. Now we have
tration started to make a system of develo- 352 qualified therapists.
ping music therapists. We would like to
show how we have trained as many as more The training programs are following;
than 350 therapists.
1. The basic music therapy training course (20
Abstract hours).
2. The advanced music therapy training cour-
In order to run the program, the administra- se screening test (the first stage; written
tion made a position “music therapist advi- examination, the second stage; practical
sor”, with certain requirements. examination and interview).
3. The advanced music therapy training cour-
1997-1998: Starting to considerate the pro- se (the practical field, the related fields,
gram. the practice training: 250 hours total).
1999: Opening the basic music therapy trai- 4. Qualified as a temporary Hyogo Prefectural
ning course (run by the administration). Music Therapist.
2000: Opening the advanced music therapy 5. The internship (session practices; 24 times/
training course (run by the administration). half a year, study, observation and assistant
of the related fields: more than 72 hours/
After that, with public interest we incorpo- half a year).
rated the foundation, Hyogo Earthquake 6. The final screening test.
Memorial 21st Century Research Institute- 7. Qualified as a Hyogo Prefectural Music The-
Hyogo Institute for Traumatic Stress, were rapist (valid for 5 years) by the administration
entrusted those programs by the administra- 8. Qualified as a Hyogo Prefectural Music The-
tion and have continued those programs as rapist (valid for good) through the renewal
550
screening test after 3-5 years from the ac- local governments all in the world as for
quisition of a qualification. music therapy.
Firstly, Hyogo prefectural administration star- There are cooperatively few places or
ted those programs and then the administra- systems in Japan where we can learn music
tion entrusted those programs to public therapy systematically except universities or
interest incorporated foundation, Hyogo colleges. And our prefectural administration
Earthquake Memorial 21st Century Research adopted a music therapist to run the courses
Institute-Hyogo Institute for Traumatic Stress. of the program as “music therapist advisor”.
Now we have 352 therapists and aggressively It is really appraisable.
support activities of therapists. Some thera-
pists go to different disaster areas. We have no precedent in Japan, in which an
administration started a music therapists
Conclusion training program and it has made a lot of
music therapists for a long time. We are
Hyogo prefectural administration decided to proud of that breakthrough system of our
start the program to train music therapists prefectural administration.
due to the Great Hanshin-Awaji Earthquake
(Kobe Earthquake). Since Hyogo prefecture Reference
experienced the disaster, we strongly think
that the administration can develop the pro- Public interest incorporated foundation, Hyo-
grams for music therapy as one of the local go Earthquake Memorial 21st Century Re-
governments with the viewpoints of disaster search Institute-Hyogo Institute for Trau-
victims. Hyogo prefecture has made a con- matic Stress(2016), Hyogo-ken Kokoro-no-
tribution with music therapy soon after the kea center Heisei-27-nendo zigyou-houko-
disaster and we have taken the initiative in kusyo (Hyogo Institute for Traumatic Stress
training music therapists as one of the local Business Report 2015).
governments. We conclude that we have to
expand those programs not only to spread About the Authors
music therapy in Hyogo prefecture but also
to become the model case as a pioneer of Email: takako.tsukuda.hem21@gmail.com
551
PRACTICAL REPORTS OF MUSIC THERAPY BY

MEDICAL WORKERS
Minori Uchijima, MSN and RMT(Japan)
Asahikawa Medical Center, Japan
Yasuyuki Sato, MSN

Asahikawa University, Health Nursing Department, Japan
Rie Hanaoka, CM and RMT(Japan)

Suwa Central Hospital, Japan
Masaki Kobashi, OTD and RMT(Japan)

Medical Corporate Association, Yuhokai Kurita Hospital, Japan
Introduction pain, reduce anxiety, share medical con-

ditions, and other purposes. Furthermore,
In Japan, the prevalence of music therapy con- at nursing schools, efforts are being made
ducted by medical workers is low. This presen- to disseminate music therapy by provi-
tation aims to report actual information ding lectures on its use.
concerning musica therapy practice conducted 2. Y. Sato wants to teach the educational
by four medical professionals: a nurse with a theory of music therapy at nursing scho-
music therapist certificate in Hokkaido, an as- ols. He believes that there is a need for
sistant professor in the Health Nursing Depart- music therapy classes to be provided as a
ment of Asahikawa University in Hokkaido, a part of nursing education to nursing stu-
social worker and care-manager with a music dents who intend to become nurses and
therapist certificate in Nagano Prefecture, and work in practical medical settings. Transi-
an occupational therapist with a music thera- tion of late-life health care from a hospital
pist certificate in Ibaragi Prefecture. nursing setting to a home nursing setting
are more required due to the increasing
Description number of latter-stage elderly people. He
believes that the role of music therapy,
All four presenters are currently working and which covers a wide range of treatments
practicing in medical settings. including home healing, preventive care
and terminal care, could become a promi-
1. M. Uchijima reports on music therapy sing therapy, ecologically and nationally.
conducted as a nurse and music therapist 3. R. Hanaoka reports on music therapy for
on palliative care wards and on music the- elderly people conducted as a social wor-
rapy for patients with intractable neuro- ker and music therapist. She works in the
logical disease. Music therapy, particularly care management business and focuses
for terminal care, is provided to alleviate on the International Classification of Func-
552
tioning (ICF) model in developing care music therapy in health care and future cha-
plans for patients. Regarding functioning llenges.Journal of Health Care and Nursing,
in the ICF, such as mental and physical 8(1), 8-15.
function and structure, activity, and parti-
cipation, she is considering providing ses- About the Authors
sions linked to “feasible activities” by
predicting them at the assessment stage Uchijima, M. is a nurse, psychologist and di-
in music therapy. gestive endoscopy technician at Asahikawa
4. M. Kobashi conducts music therapy for neu- Medical Center.
rological and dementia patients as an occu-
pational therapist and music therapist at a Sato, Y. is NSD and Assistant Professor at Asa-
psychiatric hospital. His aim is to alleviate hikawa University.
psychiatric symptoms in the dementia tre-
atment ward through group and individual Hanaoka R. is a care manager atf Suwa Cen-
sessions. Moreover, he has been conducting tral Hospital.
day care sessions for people with mild cog-
nitive impairment disorder using parody Kobashi, M. is OTD at Yuhokai Kurita Hospital.
songs and hand bell ensembles. Email: minoripoupou@gmail.com
References Disclosure
Nakajima, Y., et al( 2011). Development of Recordings permitted only to WFMT staffs.
553
THE PROBLEMS AND POSSIBILITIES OF MUSIC THERAPY

PRACTICE IN MEDICAL ENVIRONMENTS
Minori Uchijima, MSN, RMT
Asahikawa Medical Center, Japan
Yasuyuki Sato, MSN

Asahikawa University, Health Nursing Department, Japan
Rie Hanaoka, CM, RMT

Suwa Central Hospital, Japan
Masaki Kobashi, OTD, RMT

Medical Corporate Association, Yuhokai Kurita Hospital, Japan
Suzanne Hanser, EdD, MT-BC

Berklee College of Music, Music Therapy Department, USA
Nobuko Saji, PhD, RMT

Miyagi University, Nursing School, Japan
Abstract medical staffs, who are not qualified music

therapists. The reasons are; firstly, that most
Four panelists are nurses and social workers music therapists do not have adequate me-
who are also qualified music therapists, prac- dical knowledge; and secondly, that medical
ticing music therapy in different hospitals and professionals have limited understanding of
nursing homes. Music therapy work is rewar- what musical therapy is and of its effective-
ding and they feel happy with the work but ness.
they also confront many difficulties. In this
symposium, the four panelists, with an advi- The aim of this symposium is to present ac-
ser and a moderator, will discuss how to deal tual problems related to music therapy prac-
with practical problems in music therapy tices from the perspectives of each panelist
works and how to gain medical staff’s unders- who works in different medical environ-
tanding of the effectiveness of music therapy. ments; 1) Uchijima, M. holds music therapy
Also, they will exchange ideas with audiences, sessions at hospitals and nursing homes in
regarding the future prospects of music the- Hokkaido. She will report problems occurred
rapy in medical environment. at palliative care wards and in sessions for the
patients with intractable neurological dise-
Description ase. 2) Sato, Y. will discuss the prospect of
music therapy in-home treatment. In Japan,
In Japan, often music therapy is practiced by according to increasing number of latter-
554
stage elderly people, transition of late-life he- 5). Hanser, S. is an adviser, and 6) Saji, N. is a
alth treatment, from hospitalization to in- moderator for this symposium. They have
home care, will become indespensable in 10 been practicing music therapy for elderly pe-
years time. Music therapy could contribute to ople at hospitals and nursing homes in colla-
support this future in-home care in various boration with medical staff. Both will discuss
ways; as health treatment; preventive care; the current issues of musica therapy, such as
and terminal care. However, the effective- lack of awareness and understanding of
ness and necessity of music therapy are not music therapy work among people in other
yet widely understood among nursing and professions, and also discuss practical pro-
medical staffs. Sato will refer to the advan- blems of the work with the audience.
tage of implementing music therapy training
in the curriculum of nursing schools. 3) Ha- References
naoka, R. has been practicing music therapy
for elderly people at a hospital in Nagano. She Nakajima Y, et al. ( 2011). Development of
will discuss how to implement the concept music therapy in health care and future
of “capacity”, which ICF defines, to music the- challenges. Journal of Health Care and
rapy activity. Subjects will be highly motiva- Nursing, 8(1), 8-15.
ted through assessments of “what they could
do” and music therapy activities which en- About the Authors
hance their ability and allow them expe-
rience their potentials. Moreover, she thinks Uchijima, M. is a nurse, psychologist and di-
that, allowing other staffs to acknowledge the gestive endoscopy technician of Asahikawa
“capacity of each patient” through music the- Medical Center.
rapy sessions, will change their environmen-
tal factors. 4) Kobashi, M. carries out group Sato, Y. is NSD and Assistant Professor of
and individual music therapy sessions for pa- Asahikawa University. Hanaoka, R. is a care
tients with neurological disease and demen- manager of Suwa Central Hospital.
tia at a psychiatric hospital in Ibaragi. The aim
music therapy is to alleviate psychiatric Kobashi, M. is OTD of Yuhokai Kurita Hospital.
symptoms. Music therapy held in dementia
treatment ward, consists of singing favorite Hanser, S. was the former president of
songs and playing keyboards and harps. WFMT.
Music therapy practiced in day care services
for people with mild cognitive dysfunctions, Saji, N. was the Clinical Practice Chair of
consists of singing parody songs and taking WFMT.
part in hand bell ensembles. The aim of these Email: minoripoupou@gmail.com
activities is to activate brain functions, howe-
ver, the problem is that there are people in Disclosure
other occupations who see music therapy as
a type of recreation instead of a treatment. Recordings permitted only to WFMT staff.
555
RHYTHMIC TRAINING IMPROVES GAIT PERFORMANCE

IN PATIENTS WITH PARKINSON’S DISEASE
Sumie Uchino 1, Toshie Kobayashi 2, Akiko Kanemaru 3, Takako Akaboshi 2,
Takayuki Kato 3, Kazutomi Kanemaru 3
1
Seitoku University, Japan
2
3
Tokyo Metropolitan Geriatric Hospital, Japan
Introduction Tapping ability: Synchronizing with the pacing

sound, participants were asked to tap the
Parkinson’s disease (PD) is a chronic and pro- switches with their index fingers for finger-
gressive disorder of the nervous system that tapping tasks and to push the foot switches
affects movement. In particular, patients with their feet for foot-tapping tasks. The pa-
with PD have difficulty in starting to walk cing sound sequences of tapping tasks were
and trouble with balance. Previous studies composed of a metronome tone. All four tap-
have reported that gait disturbances were ping tasks involved left–right alternation tap-
improved with the use of appropriate audi- ping. Both the finger- and foot-tapping tests
tory cues (McIntosh et al., 1997), daily hea- were performed at 1Hz and 2Hz in a random
ring CD (Hayashi, 2016), and training in order. Each tapping had been started with me-
mental singing while walking (Satoh & Kuzu- tronome for 15 seconds and was asked to be
hara, 2008). continued without metronome for another 15
seconds. We focused on the pattern of the lat-
The objective of this study aims to assess ter half of 30 seconds without metronome
whether rhythmic music therapy can im- and the tapping-interval time per tasks. The
prove disturbed physical movements in PD primary outcome was the coefficient of varia-
patients. tion (CV) of tapping interval time that indica-
tes the stability of tap timing.
Method
Walking speed: Participants walked 10 m in
Five subjects (three males, two females, 64– the hospital rehabilitation room, according
81 years old) with mild-to–moderate PD to the instructions from the physical thera-
(Hoehn-Yahr 2 or 3) participated in the pist, and the walking speed was measured.
study. TUG: Participants sat in the chair with their
backs against the chair. On the command
Procedure “go,” they stood from the chair, walked three
meters, turned around, walked back to the
First, we evaluated participants’ tapping abi- chair, and sat down at a comfortable and
lity, walking speed, and timed up and go test safe pace. The time from the command “go”
(TUG). to sitting down was measured.
556
After an initial evaluation, all the participants, intervention. The post-intervention CV of all
as one group, underwent the one-hour music participants was less than that of pre-inter-
therapy together once a week for 12 weeks. vention at 1Hz. At 2Hz, two of three partici-
Further, they were instructed to perform pants showed that the post-intervention CV
home rhythmic training every day for 30 mi- was less than that of pre-intervention.
nutes, using original CD produced by the
Tokyo music volunteer association for 12 Walking speed: The walking speed after our
weeks. intervention was significantly faster than
that of initial state (t = 7.290, p = 0.005) (Fi-
During the group music therapy, participants gure 1), and the post-intervention TUG
gathered at the hospital rehabilitation room, speed was also significantly faster than pre-
where they sang songs clapping hands, fle- intervention (t = 2.995, p = 0.001) (Figure 2).
xing and extending their ankles at sitting po-
sition, stepped to the music and played Discussion
small drums with musical beats.
After our rhythmic music therapy, the wal-
After 12 weeks of intervention, we re-eva- king speed and TUG speed were gained. Al-
luated the tapping ability, walking speed, though stepping or flexion/extension of
and TUG speed. ankles may increase propulsive force while
walking, rhythmic music training could mo-
dulate internal rhythm in PD patients.
References
Hayashi A. (2016). Parkinson disease and

music therapy. The Journal of Adult Dise-
ases 46, 2, 227-233.
McIntosh, G.C., Brown, S.H., Rice, R, R. &
Thaut, M. H., (1997). Rhythmic auditory-
motor facilitation of gait patterns in pa-
tients with Parkinson’s disease. Journal of
Neurology, Neurosurgery, and Psychiatry
Results 62, 22-26.
Satoh, M., & Kuzuhara S. (2008). Training in
Finger tapping: Two participants showed Mental singing while walking improves
that the post-intervention, CV was less than gait disturbance in Parkinson’s disease
that of pre-intervention at 1Hz. At 2Hz, three patients. European Neurology, 60, 237-
participants showed that the post-interven- 243, doi: 10.1159/000151699
tion CV was less than that of pre-interven-
tion. About the Authors
Foot tapping: Before intervention, two parti- Sumie Uchino, MD, RMT is a part time lec-
cipants could not perform foot tapping, whe- turer at Seitoku University.
reas all could perform foot-tapping tasks after Email: s-uchino@med.tohoku.ac.jp
557
NAGASHI: TRADITIONAL JAPANESE STROLLING MUSIC

PERFORMANCES AS A MUSIC THERAPY TECHNIQUE
Maki Uemura
Musashino Central Hospital, Japan
Eiichiro Makino, MD
Musashino Central Hospital
“Nagashi”, which means “stream”, is a tradi- the hospital, with Nagashi due to the diffi-
tional form of strolling music performance in culty of moving aged patients. Thus, Nagashi
Japan. The authors explore Nagashi as a had its beginning as a music therapy techni-
music therapy technique in a hospital by wal- que in the chronic internal medicine ward of
king from bed to bed while performing music MCH. The sessions, which are about 2.5
requested by patients and visitors. The cha- hours in length, are held at least twice a
racteristics of Nagashi therapy and its effects month. Two music therapists, Dr. Makino and
are discussed. Ms. Uemura, walk from bed to bed playing
the violin and keyboard-harmonica while per-
Street performances by strolling Japanese forming requests for patients and their visi-
musicians were popular in pre-modern Japan. tors, mostly without sheet music. The the-
Known collectively as “Nagashi” in Japan, rapists also discuss with clients the memories
these performances by strolling musicians evoked by the requested music.
have survived until modern times in the form SEE VIDEO 1G
of Sinnai-nagashi, for example, in which a pair
of shamisen players perform Sinnaibushi, a
type of Joruri recitation. Roving “chindon'ya”
bands, who advertise for local merchants, can
also occasionally be spotted.
E. Makino, director, psychiatrist and music

therapist at Musashino Central Hospital
(MCH), invited some Nagashi musicians, such
as Shinnai-nagashi and Chindon’ya, to his
hospital in 1995. He was deeply impressed by
the effectiveness of the Nagashi, strolling
from bed to bed and visiting each patient wi-
thout any sharp transition.
In 2005, the hospital’s head nurse asked Dr.

Makino to replace the existing music therapy
sessions, which had been held in the lobby of
558
One client, a semi-professional guitarist suffe- located in separate rooms. The characteristic
ring from cerebral infarction, was depressed mildness and spontaneity of Nagashi the-
and upset due to hemiplegia, and would hide rapy, which are a result of its inherent struc-
his hands under his quilt because he was as- ture, help make it an effective method of
hamed of his condition. After participating in music therapy.
Nagashi sessions, however, he gradually
began to enjoy the performances, and would Improvement of dementia symptoms was
hum the songs and play the harmonica with observed in a client who said that the sound
the therapists. He eventually joined them in of Nagashi music approaching and fading
performing requests, even for patients in away evoked pleasant memories from her
other rooms. past. These cases illustrate another charac-
SEE VIDEO 2G LISTEN TO AUDIO 1G teristic of Nagashi, the movement of the
The client thereby regained his motivation for music source, which takes clients back to
physical rehabilitation, which he had pre- their good old days, making it an effective
viously rejected. His Function Independence form of reminiscence therapy.
Measure (FIM) improved from 28 to 46.
References
Since the therapists move around the entire
ward playing, clients hear the sound of music Kaempfel, E. (1727). The history of Japan.
approaching and fading away repeatedly. The London.
temporal ambiguity created by these smooth Makino, E. (2013). Nihonjin no Kansei ni Na-
transitions between individual therapy ses- jimu Ongaku-Ryoho. (Music therapy in
sions encourages client participation, even harmony with Japanese sensibility). Japa-
for those who are usually hesitant. Because nese Journal of Music Therapy, 13(1), 43-
the therapists stroll around the facility, clients 55.
can participate regardless of their physical lo-
cation, including in halls or lobbies, or whe- About the Authors
rever they happen to meet the therapists,
creating an atmosphere of spatial ambiguity M. Uemura, B.S. (Psychology), B.A. (Law),
as well, which also helps clients naturally RMT (Japan), Psychiatric Social Worker.
join in the therapy. Clients can also partici- Email: Makiuemura11@gmail.com
pate individually or in a group. It also allows
them to share their musical experience with E. Makino, M.D. (Designated Psychiatrist),
nearby patients and to communicate with M.A. (Musicology), RMT (Japan), Director of
each other in the process, even if they are Musashino Central Hospital.
559
OTO NO WA: SINGING AND MUSIC SESSIONS AS SUPPORT

FOR THE ELDERLY IN COMMUNITY
Makiko Ueno
Oto no wa, St.Luke’s International Hospital, Japan
Yuri Goto
Oto no wa, Tokyo Voice Center,International University of Health and Welfare
What’s 音の和Oto no wa? Program
We call our music session “Oto no wa”, which We start our program by singing the begin-
means “Harmony of sounds”. The Chinese ning song, ‘Do Re Mi’ from the musical The
character “音(oto)” has the meaning of sound Sound Of Music. After introducing ourselves,
or music and note, and “和(wa)” has the me- we play mental gymnastics (playing with our
aning of not only harmony but also sum(tota- hands, quizzes, etc.) as an icebreaker. Then
lity), peace, serenity, contentment, and after stretching and breathing exercise along
Japanese. with music, we sing and exercise sitting on
chairs. These activities have been developed
We’ve continued these music sessions since in consultation with a dancer who is also an
October of 2013. instructor of Ballet and Pilates. After that, a
nurse lectures on swallowing and oral health
Overview care, and swallowing exercises using music
are performed. When the group has vocali-
We gather at the chapel for 2 hours on a we- zed and warmed up, games to promote
ekday a month. An average of 30 seniors, communication (including one-on-one con-
mostly in their 70s or 80s gather every versation or massage) and performances
month. Some seniors come with their chil- presented by staff are offered, followed by
dren or grandchildren, which widens the time for a break and tea. Divided into tables,
range of ages from 21 to 96, with an average this is an opportunity for staff and attendee
age of 71. The group predominantly targets to talk to each other.
those who can come by themselves, only a
few have diseases such as dementia, cerebro- Singing is the main purpose of the last half
vascular disease, or deafness. Some like this of each session. This involves focusing on
program so much that they take over an hour conscious breath control and vocal exerci-
train trip to attend. ses, as well as singing familiar songs, seaso-
nal songs, and currently popular songs from
A singer, who is also a voice training coach at the mass media. Sometimes, easy to play
a hospital, most often leads the program, and musical instruments such as castanets, bells,
some staff such as a nurse, care worker, orga- and tambourines are played together. We
nist, pianist, guitarist, or a dancer support. are also trying to include sign language with
560
songs. Finally, we celebrate those who have or having conversations with others. We will
birthdays within the month of the session, continue to adjust our program, examining at-
and everybody hold hands to make a circle, tendees’ needs, and enhancing our activities.
singing the last song, before dispersing.
Acknowledgements
Discussion
We thank St. Mark’s Church, Fujisawa, St.
For participants, opening their mouths wi- Mark’s Kindergarten, Fujisawa and parties
dely when singing, and consciously trying to concerned.
breathe deeply appears to facilitate maintai-
ning or improving respiratory function. Fur- References
thermore, the actions of moving lips and
tongues to pronounce consonants in song Sugata, A. (2009). Playing keyboad session-
lyrics, and swallowing exercises are conside- 1 Senior edition. Aozora Ongaku-sha.
red to help maintaining or recovering oral Sugata, A. (2014). Playing keyboad session-
function. 4 Nostalgy edition. Aozora Ongaku-sha.
Kouya, I. (2008). Singing brings oral care. Ao-
Attendees who interacted little at first are zora Ongaku-sha
naturally having more and more conversa- Izumitani,, S.,& Ueno,,M., et al.(2017). Nur-
tions with others. When taught the details sing for dysphagia patients. In H. Komat-
of singing and interpretation of feelings, par- su(Ed.). Lineage nursing series 14 Oto-
ticipants sing better, which leads to an en- laryngology. Igaku-shoin
joyment of singing. Overall evaluation in
questionnaire surveys has been favorable, About the Authors
and some attendees began to request us
certain performances. More attendees are Makiko Ueno is a R.N. Midwife and Public
anticipating to come every time. health nurse, Certified Clinician (The Japa-
nese Society of Dysphagia Rehabilitation);
We realize that constant attendance at ‘Oto plays the piano.
no wa’ facilitates seniors’ interaction with Email: makuen@luke.ac.jp
others and health maintenance of social rela-
tionships, particularly for those who may Yuri Goto is a singer, musical actress and
otherwise have less opportunity of going out voice training coach.
561
MUSIC THERAPY AND CALLIGRAPHY WITH A BOY

WITH DOWNS SYNDROME
Shoko Usui
Japan
Target boy A and His Goal ying his favorite songs. I am watching over
his growth through music and care along
This case report is from the last time (pre- with his teachers, friends and family for ma-
sented at the 14th Nagoya Science Congress king the happiest of his life and constantly
of the Japanese Music Therapy Association) healthy live.
released from Calligraphy performance acti-
vity for boy A’s music therapy. The boy A’s Method
development with music therapy along with
taking my music class has been starting since The boy A decide what letter (Kanji) he wants
November 2002. It became possible to walk to write from everyday topics then do calli-
freely at the age of 4 years, training lower graphy with listening to therapist’s piano per-
limb strength training on a trampoline, and formance. After adding various instruments
improving trunk, physical strength and main- and playing those instruments, he will be able
tain. He has the record of the victory in the to find “what he can do” and enjoy the mo-
disabled section of the trampoline at the ment of “leaning” at the same time. We are
Gymnastics Association of 2015. He has here for him to improve the quality of his life.
been improving his muscle strength and
trying hard to work with his friends as tram- Progress and Results
poline mate.
The boy A’s interest in the Kanji (letter) is gra-
<Long Term Goal> First of all, maintaining dually increasing. And his calligraphy perfor-
and improving physical functions, restoring mance has been expanding since he entered
and rehabilitation of mental and physical di- in junior high school and started calligraphy
sorders, then creating his own view and his performance. He shows his passion saying and
original world by playing piano, guitar, and repeating himself “I want to write more! I am
drum based on existing songs then making able to do this better!” every time he commits
his own songs. Second of all. Having more this calligraphy performance with music. And
chances to be able to participate something these positive action are found while his piano
in society by experiencing his own perfor- performance, he says “I will play again! I want
mance. <Short Term Goal> Encouraging his to play more! I want go ahead!”
interests and motivation towards to letters
(Kanji- “Chinese letters”) with music and ca- Finding and Discussion
lligraphy. Being able to write what he is not
good at, and it will be self-realized in his ple- The boy A has high cognitive and understan-
asant time where he can be himself with pla- ding of sound memories, intervals, and
562
rhythms. The greatest talent that he shows ceive advices and encourage especially by
was he could copy the exact same song with his mother. The relationship between his
short time by understanding rhythm and mother and a boy A would be something
memorizing of tune with highly perception. that can be concerned as first next cha-
Based on listening these music, he perfor- llenge. As a conclusion, calligraphy music
med very powerful and unique calligraphy. therapy could bring him a blight life that
He is very concentrate to perform and match taught interests of both music and letters
with music he listened to. All those his arts and I would like to support him for his better
are different and every single letters indicate life with music.
his emotions such as happiness, sad, and
mad. Although, I observed his early adoles- About the Author
cence that against to his mother while his
activity. It seems little hard for him to re- Email: seveneas516@gmail.com
563
DOES SINGING CHANGE SINGERS’ EXPRESSIONS

INTO A SMILE?
Yuko Utsuno
RMT(Japan), Tone Municipal Health and Welfare Center, JAPAN
Reiko Yano
Public Health Nurse, Tone Municipal Health and Welfare Center
Introduction Four songs were selected from a nursery

song CD. The experimenters were one music
Singing is a significant part of music therapy. therapist, one public health nurse, and one
The purpose of this study is to demonstrate center staff member.
the influence of singing familiar, pleasant
songs on singers’ facial expressions. （A） Baseline: In the initial course, the main
activity of beating a rhythm with sticks was
Method conducted along with the CD songs after a
(pre-) exercise of ankle turning, followed also
1. Context and length of data-collection. The by the (post-) exercise of ankle turning.
therapy was conducted at two day care （B） Intervention: In the second session,
centers with healthy elderly people. At the main activity of beating a rhythm with
the F Center, 8 sessions were conducted sticks while singing along with the same CD
once every 2 weeks for 6 months. At the songs. Sessions A and B were repeatedly con-
K Center, sessions were once a week and ducted with different songs on the CD. We in-
lasted for 1 month, for a total of 4 ses- vestigated the changes in the participants’
sions. facial expressions, verified in an ABAB design.
2. Participants. 11 participants at F Center;, Each time the music therapist stood behind
averavg. age:age age: 74.7 years; /o aAve- the participants. Two video cameras were
rage g. MMSE score 28.10 (Range 25-30, placed in front of the participants to record
SD1.92), and 12 participants at K Center; , their facial expressions.
averageg. age: 71.58 years; y/o No MMSE
score available. Participants weare infor- The first 30 seconds in two conditions were
med of the research in writing and orally designated to facial expression judgment.
of the research to obtain individual con- The number of smiles between pre- and
sent. post- exercises were counted and compared
3. Procedure. This research was conducted using the time interval method. Smiling was
during the ankle turning and percussion counted if the facial expression met the jud-
exercise immediately after the course gement scale (figure 1). Three experimen-
opening. ters individually judged the video.
564
et al. (2008), encouraging communication be-

havior between learners and staff enhances
the learning therapy effect. When these fin-
dings are applied to a music therapy approach,
music therapy songs can also be regarded as a
communication tool. We would like to inves-
tigate further in order to verify objectively the
effectiveness of the programs.
Acknowledgment
We appreciate the cooperation of the partici-

pants and we owe our deepest gratitude to
Figure 1. Facial expression judgement those who afforded us this research opportu-
scale for smiling. (upper three faces: 1, nity in Tone Health & Welfare Center, Tsukuba
lower four faces: 0). Municipal Toyosato Exchange Center, and so
on.
Results
References
In the research at the F Center, a normality test
was performed on the judgement result of the Takahasi, T. (1997). Proven retention sessions
two conditions. Based on the verified norma- for using effects and familiar songs for the
lity in the test, a one-way repeated ANOVA sta- elderly with dementia. The Journal of Japan
tistical analysis was conducted indicating no Biomusic. 15(2),54-67.
significant difference (F(11,74)= 1.57, ns). In Shimada, K. Yamada, T. Takasaki, Y. Noguchi, Y.
the research at the K Center, a one-way repe- Yamazaki, I., & Fukui, K. (2014). Evaluation
ated ANOVA statistical analysis showed signi- of Music Therapy Effect by Use of Smile In-
ficant main effect of facial expressions of tensity Estimation by SVM. Transactions of
(F(3,43)=3.02). However, a Bonferroni multi- Information Processing Society of Japan,
ple comparison procedure did not show any 55(12), 2569-2581.
significant difference between any combina- Tajima, N. Naganuma, N., & Ishige, J. (2008).
tions. According to the observation record, se- Effects of Communicative Interaction bet-
veral participants were distracted by the ween Elderly Persons with Dementia and
therapist’s standing behind them. Smiling was their Therapists during "Learning Therapy"
observed when the subjects talked with the on the Functional Activation and Develop-
other participants. ment of Frontal Lobe in Persons with De-
mentia: A Cohort Study. Shirayuri Women's
Discussion University Bulletin, 44, A129-A145.
Our results did not verify that singing could About the Authors
promote favorable changes in singers’ facial
expressions. Shibasaki et al. (2014) proved sig- Yuko Utsuno. Music instructor, RMT(Japan),
nificant increase in smiling along with the ac- Music instructor, J.J.P.A.Certified Psychologist,
cumulation of participation through an Master’`s degree inof Human Science.
organized group music therapy program. Taka- Email: Yuko-u@mail1.accsnet.ne.jp
hashi (1997) demonstrated singing songs fami-
liar to the elderly in promoting voluntary Reiko Yano. Public Health Nurse. ,
behaviors such as smiling. According to Tajima Email::fukucen@town.tone.lg.jp
565
A RESARCH PROJECT OF FIVE CHINESE GIM MUSIC PROGRAMS

Wai Man NG
Professional Music Therapy Centre, Hong Kong, China
Background over seven weeks. The Ryff Scales of Psycho-

logical Well-Being (Ryff, 1989), The GIM Res-
Five Chinese GIM music programs were cre- ponsiveness Scale (Bruscia, 2000), and
ated based on the concept of Yin-Yang Prin- questionnaire were used in the research
ciple in 2012. A research project using those project. The GIM therapists were intervie-
programs was conducted for 10 participants. wed after all the sessions. The results sho-
The results showed that 50% of participants wed that not all the Hong Kong participants
improved on the Ryff Scales, cultural diffe- benefited from the Chinese GIM music pro-
rences impacted on the responses to music, grams. Although Hong Kong is a part of
imagery content and wellbeing. China, many people’s living style is very wes-
tern. However, for the people with a Chinese
Research Contents core, they were able to benefit from Chinese
GIM music programs.
The earliest Chinese GIM music program
was created by Hanks (1992) for a study Presentation
comparing imagery of people from Taiwan
with US participants. Since then no other During the 60-minute presentation, the Yin-
Chinese programs have been created. Howe- Yang Principle, research design, research
ver, the development of the contemporary process and result will be displayed and ex-
Chinese orchestra has been clearly establis- plained. A few music extracts from the five
hed, and a thousand Chinese orchestral Chinese GIM music programs will be tasted
works have been composed which enable a by the participants. Hopefully, the presenta-
wide selection of music for creating Chinese tion can encourage both music therapists
GIM music programmes. Ng created his first and GIM therapists to use Chinese music or
Chinese GIM music programme (Harvest) in ethnic music in their further music therapy
2008, and the second Chinese GIM music and GIM sessions.
programme (Springs) in 2010. He used the
concept of the Yin-Yang Principle to select References
and arrange the musical selections. Program
3 (Reminiscence), Program 4 (Universe) and Bruscia, K. E. (2000). A Scale for Assessing
Program 5 (Resetting Off) have also been Responsiveness to Guided Imagery and
completed based on a Yin-Yang contour. Music. Journal of the Association for
Music & Imagery, Vol. 7, p.3-6.
Ten participants involved in the research Bruscia, K. E. & Grocke, D. E. (2002). Guided
project received seven individual GIM ses- Imagery and Music: The Bonny Method
sions (approximately 1.5 hours each session) and Beyond. NH: Barcelona Publishers.
566
Hanks, K. J. (1992). ‘Music, Affect and Ima- Xia, Y. Z. et al. (2007). Introduction to Chinese
gery: A Cross-cultural Exploration’. Jour- Music History. China: Shanghai Music Pu-
nal of the Association for Music and blishing House.
Imagery, 1, 25.
Ng, W. M. (2008). Major Paper of Graduate About the Author
Diploma in Guided Imagery and Music.
Unpublished Major Paper: The University Ng, Wai Man is a UK registered music thera-
of Melbourne. pist (HCPC & BAMT) and a US registered GIM
Ryff, C. (1989). Happiness is Everything, or is therapist (FAMI) providing music therapy,
it? Explorations on the Meaning of Psycho- GIM service and music therapy education in
logical Well-Being. Journal of Personality Hong Kong.
and Social Psychology, 57, 1069-1081. Email: hkmusictherapist@yahoo.com.hk
567
EFFECTS OF LISTENING TO MUSIC ON PHYSIOLOGICAL CHANGES

Kyoko Watanabe
Kinjo Gakuin University College of Human Sciences, Japan
Mayuko Ito
Shirayuri Music Therapy Association
Introduction cond time collection of saliva sample. First,

we administered a questionnaire asking
Numerous studies examine the physiological about participants’ exposure to music apart
effects of listening to music in Japan. Several from music education at school, along with
articles suggest that listening to music and the description, duration and frequency of
music therapy decrease the physiological these musical experiences. We used salivary
index of stress and lead to emotional stability amylase, cortisol, chromogranin and secre-
(Nakayama, 2009). In contrast, some articles tory immunoglobulin A in the saliva as indices
suggest that listening to music and music the- of the subjects’ physiological behavior. The
rapy do not result in appreciable changes participants listened to the Piano Concerto
(Matsumoto, 2012). Therefore, those are still KV. 467, composed by W. A. Mozart; Waltz for
under contention. Furthermore, only a few Debby, composed by Bill Evans; and two Ja-
articles study the change differential by music panese songs, Furusato and Natsu no omoi-
experiences (Nishimura, 2003). Therefore, de. A Wilcoxon’s signed-rank test was em-
this study examines the physiological effects ployed for statistical analysis. We calculated
of listening to music and notes if these effects the differential between concentrations be-
differ according to whether or not the parti- fore and after listening to music and compa-
cipants have been exposed to music apart red the experiment group with the control
from music education at school. group using Mann–Whitney’s U-test.
Methods Results
The 167 participants recruited for this study Results revealed significant differences with
were college students from A, B and C univer- respect to the levels of salivary amylase (Z
sities. They were informed about the purpose (1,167) = −2.24), chromogranin (Z (1,48) =
of this study, methodology, confidentiality of 3.54) and secretory immunoglobulin A (Z
personal information and freedom of partici- (1,48) = 4.05). We found no significant dif-
pation before they signed their consent. ferences in the pre and post levels of corti-
sol (table 1). No significant physiological
The procedure of this study was as follows: differences were observed between partici-
answering questions → first time collection pants with experience in music and those
of saliva sample → listening to music → se- without.
568
Table 1. Comparison of the physiological changes between before and after listening music.
pre post Z-value
Salyvare amylase (n=167) 59.38(69.20) 58.83(73.60) -2.24*
Chromogranin (n=48) 5.19(5.92) 6.70(7.96) 3.54***
Cortisol (n=34) .09(.06) .08(04) -1.17

Secretory inmunogloblulin A
175.24(119.81) 235.81(123.79) 4.05***
(IgA) (n=48)
Discussion (2003) have reported that participants with

no past music experiences underwent more
The concentration of salivary amylase indi- stress reduction after listening to music than
cated that stress had been reduced after lis- those with music experiences, but no signi-
tening to music. Nakayama (2009) results ficant reduction were observed. So, we will
were similar to our results. Therefore, we therefore investigate this even further.
conclude that listening to music releases
stress, even though the concentration of References
chromogranin increased. The first time, the
participants felt some discomfort about ke- Matsumoto, K., Hirokawa, K., & Tsutsumi, T.
eping the absorbent cotton in their mouth et al. (2012). The effects of music on mood
for collecting saliva; however, the second improvement. Departmental Bulletin of
time, they expected this discomfort. Thus, Fukuyama University, 6, 55-62.
chromogranin, which increases the very mo- Nakayama, H., Tsutiya, M. & Nakajima, M.,
ment one experiences stress, was shown to (2009). The effects of music on Human hor-
be increased in this study. Alternatively, we mones. Sapporp Otani University & Junior
used test strips for collecting salivary amy- College Bulletin Japanese, 39, 61-68.
lase. These were less discomforting than ab- Nishimura, A., Ohira, T., & Iwai, M., (2003).
sorbent cotton. The level of secretory Effects of Appreciating Music on Salivary
immunoglobulin A (IgA) rose after listening Cortisol and Chromogranin A. Japanese J.
to music. IgA decreases as stress increases. Music Therapy, 3, 150-156.
Therefore, the results of this study indicate
that stress decreased after listening to About the Authors
music; we find that the immune function im-
proved as well. Kyoko Watanabe, Ph. D., RMT (Japan), is
professor at Kinjo Gakuin University College
Therefore, in this study, past experiences of Human Sciences and Clinical Psycholo-
with music did not affect the level of stress gist.
after listening to music. However, Nishimura E-mail address: kyoko-w@kinjo-u.ac.jp
569
RESEARCHING MONGOL MUSIC THERAPY:

A CASE STUDY OF HORQIN SHAMANIC HEALING
Toya Wren
No. 1 Women’s Prison in Inner Mongolia, China
Brief Introduction to Mongol Music and depth and thorough analysis of data, this ar-
Therapy ticle explores how music is applied in Shama-
nic healing for therapeutic purposes, with
Mongols have a long-standing tradition of special focus on the general features in the
music therapy. A case in point is the conven- music-based Shamanic healing of Shut’en
tional uses of Shamanism-related music and Sohu (a disease necessary for the initiation
dance to treat diseases in the Horqin district into shamanhood, whose treatment involves
of Inner Mongolia. For example, The Andai the evocation of gods to the accompaniment
Dance is used to treat hysteria in women, and of music) and Solia Gachu (a term used by lo-
when treating measles for children, morin cals for “madness”). Besides, such important
khuur is played and Mongol “heroic epic” issues as the Shamanic healing procedures
chanted. Mongols believe that music can and pathology, healing music, and the psycho-
“move the heaven and earth, and make ghost somatic responses of patients to music are
and spirits cry”, and when Mongol herdsmen also investigated to identify its mode of music
sing “Quan Nai Ge” (song summoning the ani- therapy and demystify Shamanic music hea-
mals to milk their babies), the music is so po- ling.
werful that the ewes even dearly cuddle and
accept stray lambs into their pens. In addition, the author also compares Horqin
shamanic healing and modern music therapy,
Exploring Mongol Music Therapy and concludes that (1) Horqin shamanic hea-
ling is an ancient form of music healing be-
Based on a large quantity of data from in- cause it has many commonalities with music
depth field studies that span over a period of therapy in terms of theoretical underpin-
3.5 years and after reading related literature, nings, the inheritance of healing music, hea-
especially theories on music therapy, this ling methods and techniques and therapeutic
study contextualizes such healing practices applicability to diseases, and (2) that the rich
into the time-honored shamanism of the reserve of ancient music healing rituals in the
Mongols and the cultural milieu of Horqin dis- grasslands where the Mongols live is a deser-
trict to observe and explore the underlying vedly a vital sub-branch of Chinese music the-
traces of music therapy. rapy. What’s more, the author calls for
serious academic attention to Horqin Shama-
In this study, questionnaires and interviews nic healing and suggests that it be updated,
are used to gather a pool of first-hand data standardized, systemized and included into
about three Shamanic dance-and-music inhe- Chinese music therapy landscape so to enrich
ritors and many of their patients. With an in- and advance Chinese music therapy in the
570
new century and make due contribution to of the Mongols. Huhhot: Yuanfang Publis-
human healing. hing House.
Zhang, Hongyi. (2000). Fundamentals of music
References therapy. Beijing: China Electronic and Au-
diovisual Publishing House.
Banzarov, Dorzhi. (2013). Black sect or sha-
manism of the Mongols. Hailaer: Inner About the Author
Mongolia Cultural Publishing House.
Hurilesha & Cuiyin, Bai el. (1998) A study into Toya Wren or Wang Lianfu (1975- ), Mongol,
shamanism in khorchin region. Beijing: PhD on music therapy from China Conserva-
The Ethnic Publishing House. tory of Music; her research interest is Mongol
Tayiqigud•Macang trans. (2007) The secret music healing and singing therapy centered
history of the Mongols. Chifeng: Inner on Mongol folk “long-song” therapy and its
Mongolia Science and Technology Press. techniques.
Ulanje. (2010). A study into shamanic music Email: 3180750839@qq.com
571
PSYCHOLOGICAL SUPPORT FOR MOTHERS IN MUSIC THERAPY

FOR SEVERLY DISABLED CHILDREN
Mie Yaeda
Kunitachi College of Music, Japan
Abstract as three mothers of normally functioning

adult children in their twenties.
This study identifies critical perspectives sup-
porting mothers. Three mothers severely di- First, a semi-structured interview was con-
sabled adult children (Rett-Syndrome) who ducted, and participant’s subjective narrati-
had undergone music therapy with the au- ves, which were a reflection of their child
thor in childhood and three mothers with rearing experiences, were analyzed qualitati-
normally functioning adult children were stu- vely, using the KJ method to find their psycho-
died using a semi-structured interview, and logical meanings. As a result, two of three
IFEEL Pictures, Japanese Edition. We identi- commonalities that were found between the
fied three commonalities, as well as high in- six participant mothers are as follow: First,
dividuality between them. the ability to use the environment and se-
cond, the existence of a person whom one
Description can share consistent policies. Furthermore,
the IFEEL Pictures, Japanese edition and ques-
The author has practiced individual music tionnaire survey on empathy were administe-
therapy for severely disabled children and red. As a consequence, the third commonality,
adults in a team of medical care practitio- having the necessary ability to read the basic
ners for 20 years. In daily practice as a music effect, including empathy, was found to be a
therapist, it is necessary to focus on the mo- critical axis in continuing adequate child care,
ther-child relationship and provide psycho- even in difficult aspect of child care.
logical support for mothers. This study was
conducted to identify important factors for References
providing psychological support for mother
who are raising young children. The author Bruner, J.S. (1990). Act of meaning. Cam-
is studying clinical psychology in a graduate bridge, MA: Harvard University Press.
school while continuing practice as a music Emde, R.N., Osofsky, J.D., Butter field, P.M.
therapist; this article is a summary of the au- (1993). The IFEEL Pictures; A New Instrument
thor’s master’s thesis. for Interpreting Emotion. Madison Con-
necticut; International Universities Press.
The participants are three mothers of seve- Hunter, K. (2007): The Rett Syndrome hand-
rely disabled adult children (Rett-Syndrome) book. IRSA Publishing.
in their twenties who have undergone indi- Kawakita, J. (1967) Hassouhou (Idea genera-
vidual music therapy that the author had tion methods), Tokyo; Cyuokoronshin-
conducted for mothers and children, as well sha.
572
Nagaya, S. Hamada, Y. Inoue, K. & Fukatsu, About the Author

C. (2008) The IFEEL Pictures Japanese
Edition. Japan Psychoanalytical Associa- Mie Yaeda, MA (Music Therapist, Clinical Psy-
tion 52 (1):18-29 chologist), Nordoff-Robbins Certified Music
Stern, D.N., & Stern, N.B. (1998). The Birth Therapist (NYU), RMT(Japan), practices indivi-
of a Mother: How the Motherhood Expe- dual music therapy for severely disabled chil-
rience Changes You Forever. The Miller dren and adults, and is teaching at such as
Agency, New York. Kunitachi College of Music, Aoyama Gakuin
Yaeda, M. (2007): Individual Music Therapy University, Nihon University College of Art,
for severely disabled children. Japanese Showa University of Music.
Society on Severe Motor and Intellectual Email: mieyaeda@jcom.home.ne.jp
Disabilities, 32(1).
573
SEMINAR ON MUSIC THERAPY FOR HIGH SCHOOL STUDENTS,

QUESTIONNAIRE SURVEY TO FOLLOW
Chiho Yaginuma, Music Therapist
Jiundo Hospital Day Care Office, Regional Cooperation Promotion Department Japan
Introduction Students then participated in mock therapy

workshops, using musical instruments and
I received a request to hold a seminar on physical exercises.
music therapy at a co-ed high school, where
many of its students are interested in care-
ers in social and medical welfare. I held the
seminar entitled “Music Therapy: Let’s
Learn, Experience, and Feel it” in March
2016, and later collected questionnaires and
reports from the students to study what
their impressions were.
Many nodded enthusiastically while I spoke,

Method cheered at videos, and participated eagerly
in the workshops.
First and second graders, 552 in total, atten-
ded the 60-minute seminar. I first explained Results
the basic outline of music therapy (aim, me-
thods, on-site practice, patients), followed 542 out of 552 attendees answered my post-
by photos and videos of my actual sessions. seminar questionnaire, which aimed to see
574
what the current status was on recognition It was a good opportunity to heighten inte-
and interest in music therapy. Though 90% hi- rest in music therapy in high school students,
therto had no knowledge of music therapy, namely, the ‘Next Generation’. It was also
78% liked the videos, and 82% would consider well received by the teachers, and a new se-
receiving therapy if he/she or family members minar is in the works.
were recommended to do so in the future.
References
“I would like to use what I learned today for
my grandfather who goes to day care service”. Aoki, S. (2013). Presentations to Resonate
with Your Audience. Tokyo: Achievement
“It was good to have the opportunity to Publishing.
learn about music therapy because I am in- Murai, Y. (1995). Basics for music therapy.
terested in a career in social welfare.” Tokyo: Ongaku-no-tomosha.
“I am going to collect further information on About the Author

music therapy and music therapists”.
Chiho Yaginuma studied music at Tokyo Co-
These are what some of the students wrote in llege of Music and majored in Music Educa-
the survey. The seminar, I feel, inspired many tion. I work in the field of psychiatry, and
to try to use music therapy in daily life, or to with the elderly people and children.
further study it to support their future careers. Email: chiho.yaginuma.jmta@gmail.com
575
USING JAPANESE DRUM FOR EMOTIONAL RELEASE OF SENIORS

WITH DEMENTIA IN FACILITIES
Yukiko Yamada
Nishinomiya Music Therapy Association, Japan
In Japan, it is common for seniors to live to- machi era (1400’s). Drums play a role as a
gether in a facility catered to the elderly, conductor by indicating the changes in
nursing-care welfare facility or Geriatric He- rhythmic patterns and speed. They also play
alth Services Facilities when it becomes dif- an important role in local performing arts
ficult to live alone due to dementia, or their such as local festivals and Bon dances.
family members to take care of them. When Rhythms seen in these Japanese performing
elderly people experience such changes in arts are different from western rhythms.
environment or the development of demen- There is no accented beat, and rhythms are
tia, they tend to feel emotionally insecure often structured only by single beats.
and start to lose their enthusiasm. There-
fore, using music therapy exercised at nur- In Japanese folk songs, certain musical phra-
sing homes often aims to stabilize emotion ses, such as “Yoisho”, “Dokkoisho”, “Sate”,
and activates mental and physical health of “Sore”, “Iyo”, “Korya”, “Hai-hai” and “Dont-
the seniors. Music therapy often takes the suku”, are often used. People call out those
form of group therapy, and the size of the phrases to support the dances. They en-
group varies from 5 to 20 members. hance rhythmic patterns, add variations to
the music and uplift the atmosphere.
In such group therapy sessions, seniors are
encouraged to play music by ear using Japa- Seniors are familiar with Japanese drums,
nese drums or engage in activities incorpo- and therefore, the sound of Japanese drums
rating Japanese rhythms. It is interesting to and rhythms they produce bring a sense of
note that there are prominent changes in nostalgia to them. However, since there are
their expressions after the performance, and not many chances to play Japanese drums,
positive attitude can be observed even in seniors often experience beating the drums
their subsequent activities. The sound of the for the first time in music therapy sessions.
drums and ancient rhythms evidently play This is considered to contribute to their
an important role. sense of accomplishment and in turn, pro-
vide a feeling of high satisfaction.
As ancient music from the country’s histori-
cal era has been well preserved and passed Easy-to-carry Shindo-gata Hira-daiko (Herei-
down generations, there are various kinds of nafter referred to as Japanese deep shell flat
traditional music still present in Japan. drum) is often used in my music therapy ses-
Among them is Gagaku, which is considered sions. As the name suggests, it is a flat drum
to be the oldest Japanese music, and Noh, which has a deep shell. It allows drummers to
which was developed at the time of Muro- hit the wooden frame like Miya-daiko (an im-
576
perial drum), and produces deeper sound Morita,S. (1990). Maturi no Bunkajinruigaku
than other flat drums. Japanese deep shell (Anthropology of ‘matsuri’ or Japanese
flat drum is an instrument which requires festivals). Kyoto: Sekaisisosya.
only a small force to make a loud sound, and Ono, M. (2005). Taiko to iu Gakki(An instru-
players can change tone by hitting the woo- ment, Drum). Ishikawa: Asano Taiko Bunka
den frame. During the performance, the the- Kenkyusyo.
rapist call out the musical phrases used in folk Yamakawa, N. (1991). Hogaku no Sekai (The
songs, which also enhances energy of the en- World of Japanese traditional music). To-
tire group and improves concentration. kyo: Kodansya.
Therefore, activities assimilating Japanese About the Author

culture are considered to be effective in a
music therapy session. Yukiko Yamada, RMT(Japan) is a freelance
music therapist working with seniors, and is
References also a councilor of Japanese Music Therapy
Association, President of the music therapy
Kojima, T., Higuti, A., & Motegi,K. (1991). group ”An die Musik”, and Executive board
Nihon no Ongaku, Nihon no Kokoro (Ja- member of Nishinomiya Music Therapy As-
panese Music, Japanese Mind), 75, 8-93. sociation.
Tokyo: Heibonsya. Email: yamda0519@gmail.com
577
THE CHARACTERISTICS OF MUSIC TO IMPROVE

QUALITY OF SLEEP
Ami Yamasato
Tokai University, Japan
Mayu Kondo
Shunya Hosino
Sagamidai Hospital/ Kitasato University, Japan
Jun Kikuchi
Japan University of Health Sciences, Japan
Shigeki Okino
Kenji Yamamoto
Objective ximum value is 94. The average of the den-

sity of notes is 1.062 (0.17 S.D.) / sec, the mi-
Recently, two reports of meta-analyses sho- nimum value (the lowest density) is 0.464
wed the efficacy of music to improve quality and the maximum value (the highest den-
of sleep. The purpose of this study is to cla- sity) is 4.25. The average of the redundancy
rify the characteristics of music to improve of note value is 60.01% (12.88 S.D.), the mi-
quality of sleep. nimum value is 42.8 and the maximum value
is 96.4. The average of the slope of the zero-
Methods crossings spectrum is 1.062 (0.175 S.D.), the
minimum value is 0.67 and the maximum
In twenty five tracks used in the previous value is 1.355.
study, we calculated four analysis indicators:
tempo, density of notes, redundancy of note Conclusions
value and slope of the zero-crossings spec-
trum of melody. In the previous study, most of the pieces
have been described as ‘sedative music.’ It
Results is reported that the characteristics of con-
ventional ‘sedative music’ are that tempo is
The average tempo is 62.92 (16.76 S.D.) slow, that rhythm is no finer and that me-
/min, the minimum value is 37 and the ma- lody is smooth. In this study we considered
578
more objective indicators of these characte- About the Authors

ristics. Results showed values close to the
conventional definition. However, it was re- Ami Yamasato, RMT(Japan), is a PhD student
vealed that tempo is not limited to 60~85/ at the Graduate School of Medicine, Tokai
min but 85/min or less, that density of notes University.
varies from track to track, that redundancy Email: ami.yamasato@gmail.com
of note value concentrates near 60%, and
that slope of the zero-crossings spectrum of Mayu Kondo, PhD, RMT (Japan), is an Asso-
melody concentrates in one. ciate Professor at the Graduate School of
Arts, Tokai University.
References
Shunya Hosino, PhD, is an attending doctor
Jespersen KV, Koenig J, Jennum P, & Vuust P. at Sagamidai Hospital.
(2015). Music for insomnia in adults (Re-
view). The Cochrane Collaboration. Pu- Jun Kikuchi, MSN,is an Assistant Professor at
blished by JohnWiley & Sons, Ltd. Japan University of Health Sciences.
Wang C.F., Sun Y.L, & Zang H.X. (2014). Music
therapy improves sleep quality in acute Shigeki Okino, MA, is a Professor at the Gra-
and chronic sleep disorders: A meta- duate School of Arts, Tokai University.
analysis of 10 randomized studies. Inter-
national Journal of Nursing Studies, 51, Kenji Yamamoto, MD, PhD, is a Professor at the
51–62. Graduate School of Medicine, Tokai University.
579
THE EFFECT OF THE MUSIC ON THE NEGATIVE MOOD AFTER

STROKE: LITERATURE RESEARCH
Miho Yamauchi
National Cerebral and Cardiovascular Center, Japan
Introduction Then, in order to be explore the effect of

music regarding stroke, we excluded the re-
After the cerebral apoplexy, many stroke pa- view papers.
tients have negative mood, and about one-
third of the patients become the post stroke Results
depression. Depression of a patient after a
stroke causes a decrease in cognitive func- As a result of literature search, we extracted
tion, ADL (activities of daily living), QOL 24 articles. We found that seven papers were
(quality of life). We know that these condi- concerning the mood influence of patients
tions have the serious influence to the prog- after stroke, four papers were about music-
nosis. Thus, it is important to recovery from movement therapy, three papers were about
the negative psychological states for the listening to music and unilateral neglect
stroke patients. Although psychological care after stroke. In addition, two papers of apha-
for patients after a stroke is necessary, it is sia after stroke, one of music therapy form,
thought that it is not yet done enough. In ge- and one of artistic intervention involving
neral, music is well known that to improve music therapy and four case reports were
the mood of the person, and so music is found. One of the two systematic review pa-
used as intervention tool in various situa- pers was about rhythm auditory stimulation
tions. Therefore, we predicted that music (RAS) and the other was about therapeutic
will be useful for patients even in the case interventions for post-stroke depression of
of post-stroke care. We studied the litera- nurses.
ture to investigate how music influences the
depressive mood for the stroke patients. Discussion
Method There were two types of papers mainly dea-

ling with the patient's mood after a stroke:
In currently study, we investigated the papers interventions by music therapy sessions or
for the effectiveness of music to the mood of music listening.
the stroke patients that published from Ja-
nuary 1995 to December 2015. The databases Papers on music therapy sessions were types
we used were PubMed, Web of Science and of individual therapy and group therapy.
PsychInfo, and the search terms were 'music' Those papers reported positive changes in
plus 'stroke' plus '"depression" or "mood"'. A mood due to music therapy session inter-
total of 65 papers were extracted, from which ventions. However, in the assessment of the
23 duplicate articles were excluded. mood of the patient, there was only one ar-
580
ticle that showed that the depressed state mood of music becomes clear, more effec-
statistically decreased. tive usage is discovered and may benefit the
patient.
Of the papers of music listening intervention,
one was from the rehabilitation group in References
which the nurse participated, and it seemed
to be similar to the music therapy session. In Särkämö, T., Tervaniemi, M., Laitinen, S.,
these papers, evaluation of intervention by Forsblom, A., Soinila, S., Mikkonen, M., …
music listening was based on interview stu- Hietanen, & M. (2008). Music listening
dies, that reported a mood improvement. On enhances cognitive recovery and mood
the other hand, Särkämö (2008) reported after middle cerebral artery stroke. Brain,
that the music group showed significant at- 131(3), 866–876. doi.org/10.1093/brain/
tention concentration and recovery of lan- awn013
guage memory. And also the music group Särkämö, T., Ripollés, P., Vepsäläinen, H., Autti,
experienced less depressed and confused T., Silvennoinen, H. M., Salli, E., &… Rodrí-
mood than the control group. Särkämö guez-Fornells, A. (2014). Structural chan-
(2014) also reported the increase in gray ges induced by daily music listening in the
matter in the music group using voxel-based recovering brain after middle cerebral ar-
morphometry (VBM) analysis. They sugges- tery stroke: a voxel-based morphometry
ted that music listening after stroke not only study. Frontiers in Human Neuroscience, 8
enhances behavioral recovery, but also indu- (April), 245. doi.org/10. 3389/fnhum.2014.
ces fine-grained neuroanatomical changes in 00245
the recovering brain.
About the Author
Music has a variety of elements, and so it is
important to objectively evaluate how music Miho Yamauchi, National Cerebral and Car-
improves the mood of patients after stroke. diovascular Center, Osaka, Japan.
Our expectation is that if the effect on the Email: yamauchi-cde@gmail.com
581
NORDOFF-ROBBINS MUSIC THERAPY WITH ELDERLY WITH BPSD

IN HONG KONG
Chau Suet Yan, Cat
Hong Kong Nordoff-Robins Music Therapy Association, Hong Kong
Abstract tions and etc. to regain and maintain their

physical and cognitive skills due to limited
With the understanding of the insufficiency knowledge of the way to offer help. Medica-
of the current system in aged-care nursing tion seems to be the common solution to
homes in Hong Kong and the rich experience deal with the BPSD elderlies, yet, the side ef-
in elderly service, the presenter found the fects and the real needs of them are always
way to use music to connect to the souls neglected, which results with the frustration
deep inside the clients with Behavioral and from their families of the whole nursing
Psychological Symptoms of Dementia by home system. The power of the music the-
applying the Nordoff-Robbins approach. rapy, throughout the process, is witnessed
by the staff.
Description
Nordoff-Robbins (NR) music therapy is a

client-centred and music-centred approach,
which involves strong clinical improvisation
techniques. NR therapists have high musical
sensitivity in order to build connections
through music instead of words, while t mat-
ching it to the needs of the clients. As the
nature of the approach, “music as therapy”
with the belief that every individual has a
“music child” – the inborn ability to respond
to music, every individual who is considered
as “non-communicative” such as elderlies
with severe dementia and BPSD, are reacha-
ble and connectable through music on an
equal basis “here and now” together.
In an aged-care nursing home setting in

Hong Kong, caregivers, social workers and
health professionals always encounter the
challenges of helping the BPSD elderlies
whose cases are considered complicated be-
cause of aggression, delusions, hallucina-
582
References
Robbins, C. (2005). A Journey into Creative

Music Therapy. Gilsum, N.H.: Barcelona Pu-
blishers.
Nordoff, P. & Robbins, C. (2007). Creative
Music Therapy: a guide to fostering clini-
cal musicianship (2nd Ed). Gilsum, N.H.:
Barcelona Publishers.
Raglio, A., Bellelli, G., Traficante, D., Gianotti,
M., Ubezio, M. C., Villani, D. & Trabucchi,
M. (2008). Efficacy of music therapy in the
treatment of behavioral and psychiatric
symptoms of dementia. Alzheimer Disease
and Associated Disorders, 22(2), 158-62.
About the Author
Ms. Cat Chau, who is the Hong Kong’s first

music therapist with professional qualification
in Music Therapy and Social Work. She esta-
blished the first music therapy department
operating with the full time music therapist at
a nursing home setting while creating the pro-
tocol and evaluation system for referring
clients to the music therapy department.
Email: catchau812@gmail.com
583
COMMUNITY MUSIC THERAPY IN HONG KONG: COMMUNITY

MUSIC THERAPY IN UMBRELLA REVOLUTION
Chau Suet Yan, Cat
Centre for Community Cultural Development, Hong Kong
Ng Man Kei
Centre for Community Cultural Development
Abstract music therapist and a group of local commu-

nity musicians and artists from different
During Umbrella Revolution, the presenter, a backgrounds, was a way out for the suppres-
music therapist, cooperated with community sed voices from different backgrounds in the
artists to collected stories of the whole com- community. With the record of the real life
munity, in which the storytellers were from stories under umbrella revolution by songs
different political stands. Throughout the pro- co-writing, dance movements and drawings
cess of songs co-writing, dance movements and performance outside the occupied
and drawings with the community members, areas, the voices could reach out to the pu-
the presenter witnessed the power of com- blic in the creative way while the project
munity music therapy. also encouraged open discussions among
the society with the echo of social media co-
Description verage.
In 2014, a huge pro-democracy political mo- The project finally became a bridge and a co-
vement－ “Umbrella Revolution” took place llective memory of Hong Kong that linked up
in Hong Kong. The movement adversely af- citizens with different point of views in the
fected Hong Kongers through its influences society with no judgement, in which the
on local transports, businesses, social community experienced the magic power of
media, and schools, etc. The society had dif- community music therapy together.
ferent voices, and people had mixed-feelings
and emotions towards the revolution. They Multimedia & Releases
lost confidence towards the government, ex-
perienced some unexpected situation while
they might face challenges on their rela-
tionship with family and friends due to dif-
ferent political stands. Owing to this, public
neglected and suppressed their voices in the
fast-moving city with overwhelming news.
“Community Music Therapy in umbrella re-

volution”, which was initiated by a registered
584
Pavlicevic, M. & Ansdell, G. (2004) Commu-

nity Music Therapy. London: Jessica Kings-
ley Publishers.
Elliott, D. (2009). Defining and exploring
community music. International Journal
of Community Music, 7, 6-7.
About the Authors
Ms. Suet Yan, CHAU, the first music therapist

and social worker applied community music
therapy approach to work with underprivile-
ged groups including sex workers, low income
groups, mental health etc. to enhance social
awareness and express their concerns.
References Email: catchau812@gmail.com
Eyerman, R. & Jamison, A. (1998). Music and Mr. NG Man Kei is a community artist, orga-
Social Movements: Mobilizing traditions nizer and workshop facilitator, advocating
in the twentieth century. UK: Cambridge arts empowerment through participatory pe-
University Press. dagogy for Society of Justice.
585
A STUDY OF MUSIC THERAPY FOR PATIENTS

WITH RHEUMATOID ARTHRITIS
Miura Yasushi
Department of Rehabilitation Science Kobe
University Graduate School of Health Sciences, Japan
Oga Kenya
Occupational Department of Ibaraki Prefectural University of Health Sciences Hospital
Hayashi Tomoko
Second author’s Work Affiliation
Yamazaki Ikuko
Department of Health and Welfare International
University of Health and Welfare Graduate School, Japan
Abstract a music therapist. These included seasonal

songs and Japanese pop music from older
Music therapy has been used as a means of eras, and the selection was different each
rehabilitation in recent years. However, little year. Since 2013, ‘chime bars’ were used in-
is reported on its use for patients with rheu- troduced for a couple of songs, and in 2014 a
matoid arthritis (RA). The purpose of this pre- theme song from a television show was inclu-
sentation is to discuss the effects of music ded. Participants were familiar with the songs
therapy for this population based on singing- used.
focused sessions we conducted since 2010.
The staff consisted of one physician, one or
Description two nurses, one occupational therapist, one
or two registered music therapists, and seve-
In 2010 we began conducting a music therapy ral university students majoring occupational
group session for 12 to 28 RA patients once a therapy, physical therapy, medical techno-
year. Some patients participated in multiple logy, or nursing.
years although every year there were new
participants. Their ages ranged from thirties To assess the effectiveness of the session, in
to eighties while a majority was between fif- the first year Visual Analog Scale (VAS) was
ties and seventies. The ratio between male used to measure the patients’ overall physical
and female patients was 1:10. Each session condition, and face scale was used for the
lasted approximately an hour and was sin- measurement of pain level. In the sessions
ging-based, using eight songs that were cho- during 2011 and 2012, State-Trait Anxiety In-
sen and accompanied on electronic piano by ventory (STAI) was added to assess patients’
586
state of anxiety, and General Self Efficacy of Music Therapy using instruments for
Scale (GSES) was used in 2013 session and Patients with Rheumatoid Arthritis.
Self-Efficacy Score (SES) in 2014 instead of
STAI. In 2015 session, Temporary Mood Scale About the Authors
(TMS) and ‘KOKORO’ scale were used to as-
sess the state of patients’ feelings. Miura Yasushi is an orthopedist, Associate
Professor of Department of Rehabilitation
These six music therapy sessions with RA pa- Science, Kobe University Graduate School of
tients across the six-year period revealed sig- Health Sciences.
nificant improvement in the patients’ overall Email: miura@Kobe-u.ac.jp
physical condition, pain, and anxiety, the self
assessed efficacy and the mood showed im- Oga Kenya is an Occupational Therapist, De-
provement. In conclusion, music therapy ap- partment of Occupational Therapy Ibaraki
peared as a useful interventional approach Prefectural University Hospital.
for RA patients.
Hayashi Tomoko is a Music Therapist (Japan),
References Graduate Student of International University
of Health and Welfare.
Murai, Y. (1995) Basic for Music Therapy.
Tokyo; Ongaku-no-tomosha Yamazaki Ikuko is an Occupational Therapist
Miura, Y. Yamazaki, I. et al. (2011). Music and a Music Therapist (Japan), Professor of
Therapy for Patients with Rheumatoid Department of Health and Welfare Interna-
Arthritis. tional University of Health and Welfare Gra-
Miura, Y. Yamazaki, I. et al. (2013). A Study duate School.
587
MUSIC-BASED VOICE PROTOCOL FOR SWALLOWING,

VOCAL FUNCTION, AND QUALITY OF LIFE
OF PATIENT WITH DYSPHAGIA: A CASE STUDY
Myung-Sun Yeo
Ewha Womans University, Korea
The purpose of this study is to examine chan- most important factor of their improvements.
ges in swallowing function, voice quality, and The music intervention with music-based
quality of life with music-based voice protocol protocol can be effectively implemented in
for patients with dysphagia. This music the- further research for patients with dysphagia.
rapy protocol was based on the previous
study (Kim, 2010), and modified. It designed References
to improve breathing, phonation, and swallo-
wing functions focusing on laryngeal eleva- Baker, F. & Uhlig, S. (2011). Voicework in
tion. The modified protocol of this study music therapy: Research and practice.
consists of 4 steps: 1) relaxing respiratory London, England: Kingsley Publishers.
muscle, 2) humming or singing as a prepara- Haneishi, E. (2001). The effects of a music the-
tion of vocal training, 3) vocal training for rapy voice protocol on speech intelligibility,
laryngeal elevation, 4) breathing for closing. vocal acoustic measures, and mood of in-
Three patients with dysphagia participated in dividuals with Parkinson’s disease. Journal
this study and each participant received a of Music Therapy, 38(4), 273-290.
total of 11 or 12 individual music therapy ses- Jomori, I., Mutou, S., Kikuchi, Y., Mukaikubo,
sions and each session was conducted for 30 K., & Hoshiyama, M. (2009). Modulation
minutes. In this study, three kinds of measu- of swallowing movement during music
rements were used. First, the measures of therapy. Japanese Journal of Music The-
maximum phonation time (MPT), fundamen- rapy, 9, 88-93.
tal frequency, average intensity, jitter, shim- Kim, S. J. (2010). Music therapy protocol de-
mer, noise to harmonics ratio (NHR) by praat velopment to enhance swallowing trai-
test, second, laryngeal-diadochokinesis (L- ning for stoke patients with dysphagia.
DDK) to investigate laryngeal elevation, and Journal of Music Therapy, 47, 102-119.
last, the swallowing-quality of life (SWAL- Logemann, J. A. (2007). Swallowing disor-
QOL) was measured. These cases have shown. ders. Best Practice and Research Clinical
Gastroenterology, 21(4), 563-573.
improved breathing, phonation, swallowing
function, and the scores of SWAL-QOL in all About the Author
of the patients. It suggests that the protocol
in music therapy intervention were effective Researcher of Ewha Music Rehabilitation Cen-
on laryngeal elevation related to swallowing, ter.
vocal function. Moreover, the patient’ com- Email:
pliance with recommended instructions is the odrose@naver.comodrose@naver.com
588
EXPLORING THE POTENTIAL OF EMPLOYING CHINESE MUSIC

ELEMENTS IN CONTEMPORARY MUSIC THERAPY PRACTICE
—A LOCAL PERSPECTIVE
Emily Man Ting Yeung
Professional Music Therapy Centre, Hong Kong SAR, China
Sit Lo Wong and Wai Man NG

Professional Music Therapy Centre, Hong SAR, China
Background nese music on local music therapy settings or

with Chinese populations. The most recent
Music is a universal language that speaks our one would be Wong’s empirical study which
humanity. Different genres of music and types targeted 16 local music therapists (2016). Cu-
of instruments, hold a strong ethnic orienta- rrently all music therapists were trained over-
tion that represents part of our own identities seas, due to the lack of local training. The
(Ruud, 1998: 31). knowledge and skills they bring back were
primarily based on western contexts. It was
As an international city, Hong Kong is a cultu- reported that the majority of local music the-
ral hub that embraces both east and west mu- rapists do not employ, or less frequently em-
sical cultures. The lead author, like many other ploy, Chinese music materials in their own
local cohorts, obtained her music therapy trai- practices. Additionally, 40% of respondents
ning in western country, then returned to her deemed Chinese music being an unnecessary
hometown and worked mainly with Chinese genre.
populations. The notion of employing relevant
musical materials, i.e. Chinese music, as a con- Research Question & Two Local Studies
sideration in music therapy practice: the prag-
matic aspects, the pros/cons that it brings, Therefore, it is the authors’ interest to know:
comes naturally and inevitably. .
1. What clinical aspects can Chinese music
Current Literature Body bring in a music therapy session?
2. How do Chinese clients perceive Chinese
Han (2015) discussed that cultural knowledge music and Western music differently?
is a music therapist’s competency—their
ethic background, musical trainings, contri- Two studies took place in the local contexts,
bute to the process with their clients. namely:
Owing to the fact that the local literature 1. Community music therapy sessions with
body is still at its initial stage of development, adults, and
little has been mentioned about using Chi- 2. Improvisation experiential sessions.
589
For both studies, two sessions were conducted lation To Music Therapy Practice In a Spe-
by music therapist and were taped, transcribed cialist Music Therapy Centre In Aoteraoa
and analysed. In the first study, a Chinese music New Zealand (Unpublished Master The-
programme and a classical music programme sis). Victoria University of Wellington, Ao-
was played to the clients in two sessions res- teraoa, New Zealand.
pectively. The clients’ experiences consisting Ruud, E. (1998). Music Therapy: Improvisa-
significant themes in relation to the music and tion, Communication, and Culture. Gilsum.
imagery were extracted and compared. The Barcelona Publishers.
findings were supported by questionnaires. For Wong, S.L. (2016). Hong Kong Music Thera-
the second study, Chinese music instruments pist’s Knowledge on Chinese Music and its
and Western music instruments were used for use in their Music Therapy Practice (Unpu-
experiential improvisation sessions respecti- blished Undergraduate Thesis). The Hong
vely. Interviews were conducted. Kong Academy for Performing Arts, Hong
Kong SAR, China.
Conclusions & Implications
About the Authors
The implications of Chinese music providing
as a window of creativity and self-expression Yeung, Man Ting Emily is a UK-trained music
that is specific to Chinese populations were therapist and currently provides music the-
considered. The research findings shed lights rapy services for clients across the lifespan in
on music therapists rethinking how their cul- Hong Kong.
tural identities can be contributed in their Email:
practices, leading to the discussion of the emilyyeungmusictherapist@gmail.com
wider discourse for practitioners in the fields
of contemporary music therapy, ethic music, Wong, Sit Lo is a professional Chinese Zheng
and cultural identities. player and is active in music therapy field.
References Ng, Wai Man is a UK registered music thera-

pist and a US registered GIM therapist. He
Han, H.H. (2015). A Student Music Therapist’s provides music therapy, GIM service and trai-
Exploration of Her Cultural Identities In Re- ning in Hong Kong.
590
PYCHODYNAMIC ORIENTED MUSIC THERAPY FOR A CHILD WITH

A PERVASIVE DEVELOPMENTAL DISORDER
Masae Yokobori, Dip.MT(UK)
Member of JMTA / Japan
Introduction ding to how to the therapeutic relationship

developed.
Regardless of the method employed, how to
establish an individualized therapeutic rela- Result
tionship between the client and the therapist In phase1 (s1 – s7), he did not respond to any
should be placed at the core of the whole musical interventions. Instead, he devoted
therapeutic process. In order to understand himself to creating his own game-world on
the quality of ‘relationship’ and unravel the the floor with no instruments, where he tried
client’s inner world, the therapist should not to control his therapist as a pawn in his silent
only have musical techniques but also com- game world.
prehend the psychological condition of the
client. Psychodynamic-based music therapy In phase 2(s8 – s19), I introduced short simple
combines the clinical music process and the rhythms in order to adjust his movements lit-
psychological process in mother-infant inter- tle by little. He accepted the rhythms first,
action. The aim of this study is to discuss how then gradually the melodies, but did not
the music therapist develops the therapeutic show any interest in playing instruments.
relationships in light of the psychodynamic
theory. In phase3 (s20 - s27), the client started to res-
pond musically. He initially just repeated pla-
Method ying the drums in unbearably big sounds and
up-tempo. Later in this phase, he suggested
The client was an 11years old boy with a per- me to play more slowly and softly like an
vasive developmental disorder. He spent ‘ocean'. It enabled us to play together in ‘mo-
most of his time in a special care unit which derato’ and ‘mezzo piano’. He eventually
is part of a national mainstream school. Al- stopped making his own gameworld and sho-
though he could communicate verbally with wed more engagement with the therapist
those people who were closely related to than in the former phases.
him, showed extreme emotional instability
and low self-esteem. Individual music therapy Discussion
sessions with the boy were placed at the pri-
vate music therapy institute, 30 minutes/ In the session, although the client initially lo-
week, continued for 1 year. I recorded all the oked he was playing with his therapist, the
sessions and analyzed what was happening in therapist existed only as a controllable pawn
the sessions, using psychodynamic theories. in his game world and no mutual interaction
This work is divided in three phases, accor- was found there. This situation was explained
591
by Pavlicevic (1997), the client seemed to relationship. The spontaneous musical ex-
‘seal off’ the external world in order to expe- change can be considered intrinsic to the pre-
rience autonomy only in the safe internal verbal to-and-fro relationship between mother
world. Moreover, Winnicott (1971) explained and an infant.
that the aim of therapy is to enable the client
to ‘play’ in ‘potential-space’. it is important Conclusion
for the client to re-experience the process si-
milar to that of the mother-infant interaction Creating the ‘potential-space’ influenced the
in order to create in the ‘potential-space’. client to be able to play with his therapist. Ho-
wever, it is only a start of the therapeutic re-
In phanse1, I deliberately acted as a person lationship. The next thing to do is to develop
who was controlled by the client in his game the process of ‘playing’ in that space. This ins-
world for the following two reasons: pires his self-esteem and develops his relatio-
nal skills both at the therapeutic and non-
1. To experience his ‘inner-world’ with him and, therapeutic situations.
2. To create a secure attachment base for the
therapeutic relationship to ‘contain’ the References
client fully.
Winnicott, D. (1971). Playing and reality. Lon-
According to Bion’s theory (1962), ‘contai- don: Tavistock Publications Ltd.
ning’ takes place when a mother processes Pavlicevic, M. (1997). Music therapy in con-
the unwanted and/or overwhelming objec- text, music, meaning and relationship. Lon-
tions from an infant and returns them to the don: Jessica Kingsley Publishers Ltd.
infant in a modified and palatable form. Thus, Bion, W.R. (1962). A theory of thinking. Inter-
in phase 2, I did not remain passive inside the national Journal of Psychoanalysis.
clients’ inner-world, but tried to contact him
from the external world by using improvised About the Author
music, to be more specific, by accompanying
and shaping his musical outburst. In phase 3, Masae Yokobori worked for NHS hospital and
the improvisation between the client and the special needs department of primary school
therapist in the ‘potential-space’ provides an and private facilities in U.K / Japan
effective context for developing ta herapeutic Email: masaeyokobori1112@hotmail.co.jp
592
THE ROLE OF THE MUSIC THERAPIST AT

THE HOSPICE DAY CARE SERVICE
Yuko Yonekura
Kurashiki Sakuyo University / Yazz Clinic, Japan
Abstract at the hospice day care service at Yazz clinic

and analyzed responses to a questionnaire
This study examines the role of the music the- conducted each time participants left the
rapist as a member of the multidisciplinary hospice day care service at Yazz clinic facility.
team at a hospice day care service in Japan.
Results
Introduction
Data shows that a large majority of partici-
Because of the increasing population of ter- pants was interested in music therapy ses-
minally ill patients who want to spend their sions at the hospice day care service at Yazz
last moments with loved ones at home, hos- clinic.
pice day care is a very important service that
allows patients to maintain their quality of life Discussion
in their community. Music Therapy for termi-
nally ill patients in palliative care at hospice The analysis of questionnaire responses sup-
day care is a very new and challenging area ports further investigation into reasons why
for professional practitioners in Japan. the participants of the hospice day care ser-
vice at Yazz clinic preferred music activities,
Hospice Day Care Service at Yazz Clinic their expectations of music therapy, and their
feelings after participating in the hospice day
In April 2015, the hospice day care service at care service at Yazz clinic. This analysis reve-
Yazz clinic started providing support to termi- aled the role the music therapist plays as a
nally ill patients and patients with incurable member of the multidisciplinary team at the
diseases who choose to continue living at hospice day care service.
home. At this hospice day care service, there
is no scheduled program; References
however, participants are able to choose from Munro, S. (1984). Music therapy in palliative
a range of services depending on their indivi- /hospice care. St. Louis: MMB Music.
dual needs, such as counseling, spiritual care, Ninosaka, Y. (Eds.). (2007). Zaitaku hospice
relaxation and exercise, ceramic art, craft-ma- guide book -saigo no jikan wo ie de sugosu
king, painting, and music therapy. hito no tameni-. Fukuoka: Fukuoka-ken
zaitaku hospice wo susumeru kai.
Method Salmon, D. (1999). On wings of song -music
therapy at the end of life-. Beitel: Lazar Pro-
The authors investigated patient preferences ductions Inc.
593
Tanaka, J. (Eds.). (2014). Me kara uroko no on- About the Author

gaku katsudo. Tokyo: Miwa syoten.
Yazu, T. (Eds.). (2011). Tomoni naki waratte Yuko Yonekura, MME, RMT, instructor of Ku-
sasaeau kanwa care no jitsugen –hajime- rashiki Sakuyo University. She also works cli-
you day hospice-. Fukuoka: Yazz clinic nically as music therapist in palliative care.
kanwa care salon “Hotto hitoiki”. Email: yy_one2007@yahoo.co.jp
594
CAN SYNCHRONIZED MOVEMENTS BE A MARKER FOR SOCIAL

MOTOR SKILLS DEVELOPMENT?
Ga Eul Yoo
Ewha Womans University, Korea
Synchronizing one’s movement to external influenced by different social skills. These re-
cues or to movements of others is based on sults indicate that synchronization to external
precise timing perception and motor coordi- stimuli (rhythmic cueing and the timing of
nation. It has been proposed that this lower others’ movements) as an objective index for
level of sensorimotor coordination may be in- motor coordination in a social context can be
dicative of more complex social skills, in that incorporated into music therapy intervention
this perception and action process underlies for social skills development.
interaction with the environment and others
in real time. Previous studies documented that References
synchronized movement with others is asso-
ciated with liking, affiliation, prosocial beha- Demos, A. P., Chaffin, R., Begosh, K. T., Daniels,
vior, and cooperation. However, attempts to J. R., & Marsh, K. L. (2012). Rocking to the
demonstrate synchronization as a marker for beat: Effects of music and partner’s move-
social skills in adolescents are relatively elu- ments on spontaneous interpersonal coordi-
sive. Therefore, this study aimed to demons- nation. Journal of Experimental Psycho logy:
trate the underlying structure by which General, 141, 49-53. doi:10.1037/a00 23843
synchronization is explained in relation to so- Hove, M. J., & Risen, J. L. (2009). It’s all in the
cial skills in adolescents. Eight adolescents wi- timing: Interpersonal synchrony increases
thout neurological impairments participated affiliation. Social Cognition, 27(6), 949-961.
in this study. Each participant performed the doi:10.1521/soco.2009.27.6.949
tasks of (a) tapping an electronic drum at self- Marsh, K. L., Richardson, M. J., & Schmidt, R.
paced tempo, (b) tapping the drum matched C. (2009). Social connection through joint
to rhythmic auditory cueing, (c) tapping the action and interpersonal coordination. To-
drum in synchrony with another person, and pics in Cognitive Science, 1(2), 320-339.
(d) tapping the drum in synchrony with ano- doi:10.1111/j.1756-8765.2009.01022.x
ther person while rhythmic cueing was being
About the Author
provided. Cognitive and social skills measures
were used. An exploratory factor analysis was Ga Eul Yoo is a certified music therapist and a
computed to identify the underlying relations- senior researcher at Ewha Music Rehabilita-
hip among the measured variables. The results tion Center.
showed that four social skills factors influenced Email: bbird27@hotmail.com
rhythm playing parameters: self-regulation, so-
cial coordination, joint engagement, and infe- Notes
rential adjustment. Notably, the presence of
cueing, the involvement of another person, This study complied with the WFMT Ethical
and the tempo of cueing during playing were Practice Guidelines.
595
A STUDY OF MT FOR QOL OF BED-RIDDEN PERSON

WITH SEVERE DEMENTIA
Nanako Yumita
Japan
Abstract sory stimulations such as hand rubbing while

singing and talking to the client. The music
During the late stages of dementia, people was selected from Japanese folk songs and
often have difficulties communicating with music from her younger age.
others. However, interventions through music
and providing multi-sensory stimulations Outcomes
may potentially access their abilities to com-
municate. This case study reports how music The client's responses to the activities were
therapy sessions contributed to improve- inconspicuous at the first few sessions, and
ment in QOL of a non-verbal bed-ridden el- the music therapist carefully observed the
derly woman with severe dementia. The responses. The therapist found the following
sessions were aimed to access her hidden four responses.
communication abilities and provide oppor-
tunities to interact with others through sin- 1. During the hello song, as her name was ca-
ging, talking, and providing appropriate lled, her eyes which were usually tightly
sensory stimulations. closed, opened and made eye contact
with the music therapist.
Client 2. When her son joined a session and sang a
song, her eyes opened widely and facial
The client was a bed-ridden 89-year-old Ja- expression changed distinctly as if she re-
panese woman with severe dementia, who cognized her son.
lived in a nursing care facility. She lost the 3. She also responded to some visual stimu-
ability to talk and express needs, had no fa- lations such as pictures of Autumn leaves
cial expressions, interaction with others and while gentle music played from a tablet by
response to the environment. moving her eyes.
4. The interventions eventually elicited her
Music Therapy Interventions voice "Ah" while she exhaled, especially at
the end of the singing activities.
The music therapy sessions were conducted
twice a month for 20-30 minutes per session Discussion
for 7-month period with the aim to access
her hidden communication abilities and pro- According to Matsushita (2007), a signifi-
vide opportunities to interact with others, cant correlation was found between QOL
and improve her QOL. At each session, the and the seriousness of dementia, suggesting
music therapists provided appropriate sen- that the more serious a patient's dementia,
596
the more important the expression of posi- References

tive feeling or changes in facial expression
become as an important QOL factor. Additio- Feil, N. (2002). The validation breakthrough:
nally, the study has shown that, in severe de- Simple techniques for communicating with
mentia, lost functions themselves become people with 'Alzheimer's-type dementia.
reflected in QOL factors. Therefore, talking, Baltimore: Helath Professions Press.
reacting, and changes in facial expression Matsushita, F. (2007). Quality of Life in Pro-
appear to have significant meaning even if foundly Demented Patients: -Sensory inte-
there are no external changes in the patien- gration for Profoundly Demented Patients-.
t's activities. Japan
Nuki, M. (2010). The Annual of Music Psycho-
During this study, the music therapist found logy & Therapy, 39.
that the client's responses were becoming
more recognizable. The music therapy out- About the Author
comes indicate these interventions which
provided appropriate auditory/visual stimu- Nanako Yumita is a music therapist who
lations and sense of touch may access hid- works for people with dementia in Fukushima
den abilities of people with severe dementia, city, Japan.
and improve their QOL. Email: mt.arco.775@gmail.com
597
MUSIC THERAPISTS’ AND MUSICIANS’ PERCEPTION

OF ENVIRONMENTAL MUSIC THERAPY AND
ENVIRONMENTAL MUSIC IN A HOSPITAL SETTING
Jing-wen Zhang
China Rehabilitation Research Center, China
John Mahoney
State University of New York at New Paltz, U.S.
Mary Doherty
State University of New York at New Paltz, U.S.
Background were more specific with treatment goals, mu-

sicians consider their contributions as being
For the purposes of this study, Environmental beneficial to the environment and the emo-
Music Therapy (EMT) is an approach within tional states of individuals as well. Findings in-
the field of music therapy, utilized by trained, dicate music therapy and community music
licensed professionals utilizing live music to programs have value in this setting, often as-
address the physical, psychological, and cultu- sociated with anxiety and stress. Discussion
ral needs of patients, caregivers, and staff in includes considerations for collaborations bet-
the hospital environment. Environmental ween music therapists and musicians in the
Music (EM) is defined as live music performed hospital setting.
by musicians in public areas of hospitals typi-
cally on a volunteer basis. Keywords: music medicine, music and health,
environmental music in hospitals, environ-
Objective mental music therapy, community music, at-
tunement, deep listening.
This study examines the similarities and diffe-
rences between musicians’ and music thera- References
pists’ perception of the music-making process
and its impact on the sound environment, pa- Biglin, T., Ma, J., & Lin, Y. (2013). Confronting
tients, and caregivers. Method: Interviews a different great wall: Using environmental
were conducted with six musicians providing music therapy to provide psychoemotional
EM and five music therapists providing EMT. support for Asian and Asian- American pa-
Data were analyzed using a modified groun- tients in a radiation oncology waiting
ded theory approach. room. In J.F. Mondanaro & A.G. Sara (Eds.),
Music and Medicine: Integrative models in
Results the treatment of pain (pp. 451-468). New
York: Satchnote Press: The Louis Arms-
Results suggest that although music therapists trong Center for Music and Medicine.
598
Canga, B., Hahm, C., Lucido, D., Grossbard, M. lation of the pain experience. In J. F. Mon-
L., & Loewy, J. V. (2012). Environmental danaro & A. G. Sara (Eds.), Music and me-
music therapy: A pilot study on the effects dicine: Integrative models in the treat-
of music therapy in a chemotherapy infusion ment of pain (pp. 451-468). New York:
suite. Music and Medicine, 4(4), 221-230. Satchnote Press: The Louis Armstrong
Park, M., Kohlrausch, A., de Bruijn, W., de Center for Music and Medicine.
Jager, P., & Simons, K. (2014). Analysis of
the soundscape in an intensive care unit About the Authors
based on the annotation of an audio re-
cording. Journal of the Acoustical Society Jing-wen Zhang, M.S. MT-BC is a music thera-
of America, 135(4), 1875-86. pist at China Rehabilitation Research Center
Preti, C., & Welch, G. F. (2013a). The inherent and Mental Health Services in School of
challenges in creative musical perfor- Psychology at Beijng Normal University.
mance in a paediatric hospital setting. Email: Jingwen-zhang@hotmail.com
Psychology of Music, 41(5), 647-664.
Preti, C., & Welch, G. F. (2013b). Professional John Mahoney, Phd. MT-BC, LCAT is the direc-
identities and motivations of musicians tor of music therapy program at State Univer-
playing in healthcare settings: Cross-cul- sity of New York at New Paltz.
tural evidence from UK and Italy. Musicae
Scientiae, 17(4), 359-375. Mary Doherty, M.S. MT-BC graduated from
Rossetti, A., & Canga, B. (2013). Environmen- SUNY Newpaltz with a Masters in MT and now
tal music therapy: Rationale for ‘multi-in- passionately works in end-of-life care in the
dividual’ music psychotherapy in modu- Hudson Valley in New York State of U.S.
599

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Music Therapy

Suggested Citation of this Publication

Author A. A., Author B, B., & Author C. C. (2017). Title of arti-

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Cover and Graphic Design

Music Therapy Today, ISSN 1610-191X

CONGRESS ORGANIZER NOTE

CREATING CONNECTIONS: EXPLORING THE IMPACT OF THERAPEUTIC CAREGIVER

MUSICAL RECOVERY: REGAINING HEALTHY RELATIONSHIPS WITH MUSIC

A FUTURE OF MUSIC THERAPY RESEARCH AND PRACTICE IN THE TREATMENT

GENERATE INCOME AND SHARE YOUR EXPERTISE AS A MUSIC THERAPY

SUPPORTING HEALTHY AGEING AND MANAGEMENT OF AGE RELATED DISEASE

MUSICAL MEMORIES: CONNECTING PEOPLE WITH DEMENTIA AND THEIR FAMILY

CONSULTING THE FUTURE: THE VALUE OF SHORT-TERM PROGRAMS

COLLABORATIVE SONGWRITING WITH CHILDREN IN THE HOMELESSNESS

INTERNATIONAL PERSPECTIVES ON MUSIC THERAPY IN CHILD WELFARE ..... 52

LESSONS LEARNT IN PAEDIATRIC NEUROLOGICAL REHABILITATION ACROSS

USING MUSIC THERAPY RESEARCH TO PROMOTE SOCIAL EQUITY AND ACCESS

WHAT’S THAT SOUND? TELE-INTERVENTION MUSIC THERAPY

BRINGING CREATIVE ARTS AND NON-VERBAL KNOWINGS TO THE EXPERIENCE

THE COLLECTIVE MUSIC THERAPY PODCAST: INNOVATIVE APPROACHES

MECHANISMS OF CHANGE IN SELF-CONCEOT AND WELLBEING FOLLOWING

DIFFERENT LIVES DIFFERENT TRUTHS, A COLLABORATIVE MUSIC PROJECT

MUSIC AND ART THERAPY COLLABORATIONS IN ACUTE PAEDIATRICS ..... 68

THE EXPERIENCE OF SPEECH PATHOLOGISTS WORKING WITH MUSIC THERAPISTS

DIFFERENTIATED SELF AND INTEGRATED SELF IN IMPROVISATIONAL MUSIC THERAPY

THE BIG PICTURE: THE GLOBAL SOUNDTRACK TO GROWING MUSIC THERAPY

SINGING FOR WELLBEING IN A NEW ZEALAND SCHOOL SEVERELY AFFECTED BY

EFFICACY OF PARKINSONG GROUPS FOR IMPROVING

MUSIC THERAPY WITH YOUNG CHILDREN ON THE AUTISM SPECTRUM:

THE ONLINE CONFERENCE FOR MUSIC THERAPY:

THE EFFECTS OF MUSICAL ATTENTION CONTROL TRAINING (MACT)

CHILD MUSIC PSYCHOTHERAPY AS A CONTINUUM OF DEVELOPMENT:

MIXIS: A WEB PLATFORM TO DOCUMENT AND

MUSIC INTEGRATION GROUP FOR REFUGEE MOTHERS AND

MUSIC THERAPY IN GERIATRICS: A TARGET GROUP SPECIFIC NEEDS ANALYSES ..... 93

LULLABIES IN THE WORLD LINEAR ANALYSIS OF MELODY, RHYTHM AND

MUSIC THERAPY ACADEMIA AND PRACTICE IN ITALY ..... 97

EMBODIMENT AND PSYCHODYNAMIC MOVEMENT IN MUSIC THERAPY

“WIRED BY MUSIC” – A PILOT STUDY ON THE EFFECTIVENESS OF

HUMOUR IN MUSIC THERAPY: IMPROVISING CHANGE ..... 104

ENCOUNTERS ON STAGE: EXLORING EMBODIED EMPATHIC IMPROVISATION

STORYCOMPOSING IS ON A NEW PATH FOR PERSONS WITH DEMENTIA ..... 108

MUSIC THERAPY IN GERIATRICS:

MUSIC-THERAPEUTICAL VOCAL IMPROVISATION AS AN INTERVENTION FOR

‘HISTORY, METHOD AND EDUCATION’ OF TURKISH MUSIC THERAPY ..... 114

MUSIC THERAPY IN GERIATRICS: IMPLEMENTATION AND EVALUATION

LIFE LONG LEARNING PROCESSES IN COMMUNITY MUSIC THERAPY

MUSIC THERAPY: BORDERLINE PERSONALITY DISORDER AND

TINDERBOX PROJECT: PARTNERSHIP WORKING TO FACILITATE

THE IDENTIFICATION OF NEW MUSICAL GRIDS AND METHODS

AN EXPLORATION OF THE EXPERIENCES OF MUSIC THERAPISTS WORKING

IMPROVISATIONAL MUSIC THERAPY AND TRANSCULTURAL CHALLENGES

FROM SELF-CONSTRUCTION TO GROUP TOTEM: THE CREATED MUSICAL

BRINGING IT ALL BACK HOME ..... 130

VIOLIN AND MIND: AN UNUSUAL MUSIC THERAPY PROJECT WITH PERSONS

THE ROLE OF CAREGIVERS AND MUSIC THERAPISTS FOR WELL-BEING IN PERSONS

THE DEVELOPMENT OF PERSON ATTUNED MUSICAL INTERACTION (PAMI)

DESCRIPTIVE RESEARCH IN MUSIC THERAPY IN SPAIN ..... 138

COGAN SYNDROME: IMPROVEMENT OF PSYCHOMOTORIC ASPECTS

THE AQR-TOOL – ASSESSMENT OF THE QUALITY OF RELATIONSHIP –

PREMATURE FAMILY MUSIC THERAPY INTERVENTION (PFMI): A PROTOCOL

LEARNING FROM SERVICE EVALUATION: IDENTIFYING ‘IMPACT AREAS’

GROUP MUSIC THERAPY IN THE TREATMENT OF EATING DISORDERS ..... 152