Midterm Flashcards

You may prefer our related Brainscape-certified flashcards:
1
Q

What is Music Therapy?

A

1960 - National Association for Music Therapy (NAMT) defined music therapy as the “scientific application of the art of music to accomplish therapeutic aims. It is the use of music and the therapist’s self to influence changes in behavior”
American definition of music therapy was based on changing behavior
Current Day – American Music Therapy Association (AMTA) defines music therapy with these additions:
Music therapy involves the clinical and evidence-based use of music interventions to accomplish individualized goals
Research in music therapy indicates its effectiveness in overall physical rehabilitation and facilitating movement, increasing people’s motivation to become engaged in their treatment and providing emotional support for clients and their families.

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2
Q

Music Is

A

Music is a universal phenomenon
People of all ages and backgrounds can listen, perform, create, and enjoy it
Music is a flexible therapeutic medium
Many different styles
Variety of ways to get involved (composing, performing, listening etc.)
Music therapists use music and musical activities to facilitate therapeutic/health care goals
Therapy refers to assisting or helping a person

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3
Q

Musical improvising

A

Creating something with your voice/an instrument that has never been created before
Benefit: this can never be done incorrectly
MTAs facilitate improvising
Build confidence
Piano example: “you play only the black keys and I’ll play the white keys”

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4
Q

Why is Music Therapy effective?

A
Universality
Flexibility
Brain activation
The ONLY thing that can activate all the areas of the brain
Recognition
Emotion
Speech
Cognition
Memory
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5
Q

Music as a tool

A

Use within music therapy in order to achieve a variety of healthcare goals
Music has been found to alter mood/elicit relaxation responses
Can distract from physical pain
Evokes memories
Dementia – memories can be accessed through music even in individuals who struggle with accessing memories

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6
Q

Culture of music

A

Music therapy means different things to different people, shaped by cultural backgrounds, philosophy, values, training, clinical setting etc. - MTAs can refer to other MTAs that can better relate to certain cultures and backgrounds, this can be beneficial to the client (must recognize if this would beneficial based on cultural needs)

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7
Q

Music Therapy is NOT:

A

Special music education
Exclusively for people with musical backgrounds
Music lessons
Entertainment
Entertainers are not MTAs
While there is therapeutic value, the entertainer is not forming a relationship w/ the client and/or actively engaging the client in the music
The purpose is not for healthcare goals even if there is therapeutic value

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8
Q

Canadian Association of Music Therapists (CAMT)

A

CAMT is a federally-incorporated, self-regulated non-profit professional organization
It aims to create strong certified MTAs (Music Therapists) and to raise awareness surrounding professional music therapy services throughout Canada
Canadian definition: the use of music by an accredited music therapist to achieve health care goals
CAMT wants to encourage the practice of music therapy in clinical, educational, and community settings.

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9
Q

Boston Children’s Hospital

A

Allowing children to gain control over something again
Loud/quiet sounds
Choice of instrument
Singing
Empowering
Building confidence
Also to impact the family/parents
Watching their child engage in something they enjoy again
Encouraging healthy development (music is part of natural development) (rehabilitation)

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10
Q

Process to receive music therapy:

A
  1. Referral
    You DO NOT refer someone to MT because they have autism/cancer/ABI/dementia, these are diagnoses.
    Clients are referred for specific healthcare goals (social skills, speech, communication, self-expression, gross motor skills/fine motor skills)
  2. Assessment
    purpose: to tell you what the clients goals and objectives are, to inform the treatment plan
  3. Goals
    Based on observations/assessments
  4. Treatment plan (interventions)
  5. Reports & re-assessments
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11
Q

Framework of Music therapy session:

A

Hello Song
Interventions
Closing Song

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12
Q

Interventions

A
Pre Composed Music 
Singing
Listening
Instrument Playing
Improvising 
Composing
Lyric Analysis
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13
Q

Pre-composed music

A

can help with people with AD- may still have remember music from their past (able to remember lyrics)
sense of familiarity and safety
therapist must comprehend their knowledge of the client’s pre-composed music

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14
Q

Singing

A

Improves articulation, rhythm, and breath control
Improves intake of oxygen
Encourages reminiscence and discussions of the past, while reducing anxiety
Brain injuries such as ABI/aphasia - people can still sing even if they can’t speak
Once the brain is primed through singing, the patients are also able to answer questions – short term increase in speech fluency
Rehabilitation

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15
Q

Listening

A

Cognitive skills, attention span, memory

Opportunity for insight with client recordings

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16
Q

Instrument playing

A

Facilitates and improves range of motion, joint mobility/agility/strength, balance, coordination, gait consistency and relaxation
Rhythm and beat are important in priming the motor areas of the brain, in regulating breathing and heart rate, and maintaining motivation or activity level
Motor areas of the brain
Strong beats and catchy rhythms have been found to facilitate the initiation of movement with Parkinson’s patients

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17
Q

Improvising

A

Offers a creative, nonverbal means of expressing thoughts and feelings
Non-judgmental, easy to approach, and requires no previous musical training
Improvising can lead to expression of emotion – ex. “I don’t know how I’m feeling today…” After playing music, the client may be able to better articulate their feelings based on how they felt while playing the music or what they chose to play
Where words fail to communicate emotions, music can feel that void
Provides a safe opportunity to interact with feelings associated with trauma
Musical expression from client followed by musical response by MTA – I heard you, I’m here, I’m listening

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18
Q

Composing

A

For people with terminal illness, it is a vehicle of examining feelings surrounding feelings towards life/death and the meaning of life and death
Provides an opportunity to create a legacy/shared experience to caregiver/child/loved one prior to death
Familiar melody – you are my sunshine example

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19
Q

Lyric analysis

A

Lyric discussion can facilitate discussion surrounding trauma/abuse

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20
Q

With whom does a music therapist work?

A

In Canada, the majority of MTAs are working within long-term care with the elderly population, as the largest client-base is within the elderly population group + funding is available within long-term care facilities
Children with autism – funding is accessed for children with disabilities through passport funding
Children and elderly people have others advocating for them (their parents or their adult children)
Schools/school groups
Prisons
Mental health programs
Rehabilitation
Private practice

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21
Q

What are the personal qualifications of a music therapist?

A

Musician
Excellent functional musical skills
Broad knowledge of different musical styles
Uses music flexibly, creatively and in an aesthetically satisfying manner
Piano requirement for programs
Usually guitar as well
Therapist
Good physical and emotional stability
Sincere interest in helping others
Patience, tact and understanding
Reliable, genuine, ethical
Clinical objectivity
Learning to be a musician but ALSO a therapist, using music in a therapeutic way
As a pianist, you may excel at classical music but an MTA requires musical flexibility to be therapeutic

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22
Q

Educational preparation of a music therapist

A

University
1000-hour supervised internship
Certified board of music therapists (CBMT) exam
MTA certification
Continuing education – MTA must maintain their credential every 5 years through CAMT continuing education process

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23
Q

Piaget’s Developmental stages:

A

Sensorimotor (0-2)
Preoperational (2-7)
Concrete operational (7-11)
Formal operational (11+)

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24
Q

Sensorimotor (0-2)

A

Learning about their immediate environment through senses and motor activity
Although hearing is still developing, newborns are active listeners and can identify sound source
Newborns and infants are attracted it infant-directed speech, their mother’s voice and songs that contain characteristics of ID-speech
Following beat is innate to humans

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25
Q

Preoperational (2-7)

A

Rapid language and conceptual growth
Increased vocalization
The child (ages 2-3) may be able to improvise short, melodic patterns (old McDonald – E-I-E-I-O)
2-4 years – the child may show brief moments of brief synchrony to rhythmic music – but being able to maintain steady beat (beat competency) would require greater physical maturation
Rehab/ABI/Post-stroke
3-4: walking, galloping, jumping in musical games
4-5: the child does more accurate imitation of pitch patterns with greater vocal control
4-6: before this, parallel play is primary; at this bracket, children are more willing to share and cooperate

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26
Q

Concrete operational (7-11)

A

Think systematically and mentally solve problems related to immediate reality
Playing rules for music therapy improv (ex. Play only the black keys)
Music is used to foster social interactions, group interaction and motor functioning

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27
Q

Formal operational (11+)

A

Children develop abstract thinking skills
Religion, politics, fantasy, gaming
Metacognition (awareness of one’s own thought process)
*How can I make an impact on change? What is within my control, what is not?

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28
Q

The Musical Adolescent

A

Music is normal/natural – teens may participate in formal music organizations (band/choir) and informal (rock bands) or watch music videos and listen to recordings
Music is an outlet for feelings of rebellion and confusion that come with adolescence. As such, music therapy is a powerful therapeutic intervention for individuals of this age bracket

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29
Q

Musical Diversity

A

Style and cultural heritage
With such diversity, people can identify with at least one style
Music is a universal phenomenon, music itself can be found across the globe
BUT, music is NOT a universal language, as the same type of music does not communicate the same way across the globe
MTAs take into account which instrument to use – ex. Playing the same song, “You are my sunshine” is different on a piano vs. Guitar vs. Clarinet vs. Flute
Personal preferences of client
Benefits/health-care goals that can be achieved

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30
Q

Functions of Music

A

Auditory and tactile simulation of music can be helpful in evoking initial or more adaptive responses from nonresponsive individuals at a verbal level
Music serves as an effective mnemonic device
Communication
Emotions
Culture and society

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31
Q

congruity

A

is a phenomenon wherein a particular music selection or style is paired with a specific event. E.g. tearing up after hearing a song on the radio that was played at a funeral of a loved one

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32
Q

Isomorphism

A

refers to the use of music to convey human emotions and movements

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33
Q

Music in preliterate cultures

A

Members believe that music affects mental and physical well-being
“medicine men” used music in religious/healing rites to appease the gods
Healing choruses (a group effort)

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34
Q

Early Civilizations

A

The advent of agriculture 8,000-10,000 years ago led to civilization
Music played an important role

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35
Q

Ancient Egypt (c. 5000 BC):

A

Magical, religious and rational components of medicine coexisted
Priest-physicians often included chant therapies in their medical practice because they believed that music was the medicine for the soul
Hieroglyphics depict playing instruments
Music was considered emotional catharsis

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36
Q

Four cardinal humors

A
  1. Blood
  2. Phlegm
  3. Yellow bile
  4. Black bile
    These four cardinal humors influenced medicine for the next 2,000 years and was particularly important in the middle ages
37
Q

Middle Ages and Renaissance

A

Still based on four humors
Hymns were considered effective against certain unspecified respiratory diseases
During the renaissance, physicians prescribed music as a preventative medicine
Reactive healthcare VERSUS proactive healthcare
Baroque Period: Kircher suggested that certain personality characteristics were associated with certain styles of music
e.g. depressed people responded better to melancholy music
Today, MTAs recognize the preferences of the individual rather than prescribing music – there is no musical prescription!
The healer now had to consider which style of music to use for treatment
By the late 18th century, emphasis was placed on scientific explanations
At this time, music was relegated to special cases and only applied by physicians who views treatment with a holistic framework

38
Q

History/Development of MT

A

The earliest reference to Music Therapy as a profession in the US was in 1789
As early as the 1830s, MT was used in schools for the blind

39
Q

Early 20th Century Music Therapy

A

Hospital stays were longer (average of 13 days in 1923 to about 4 days today) and patients with intellectual or mental disabilities could be hospitalized for life
Cases for MT were presented in academic papers

40
Q

1950

A

MT became regulated in the US (AMTA today)
Today (in Canada), the majority of MTAs work with the elderly/people with Alzheimer’s but the foundation of MT started with working with children and mentally ill individuals CRPO - College of Registered Psychotherapists of Ontario
Music Therapists using the act of psychotherapy need to become a member of the CRPO (ONLY if using the act of psychotherapy)

41
Q

Music therapy involves

A

Developing identity
Self-expression
Qualities of music: Using rhythm, pitch, and form to support all individuals
Accessibility and inclusivity; support all individuals
Improvised music
Core of therapy - the therapeutic relationship
Individual relationship with music
Therapeutic relationship between client and MTA

42
Q

MT Enhances

A
Communication skills
Confidence
Self-awareness
Cognition
Memory
43
Q

Neuroscience model of MT

A

NMT uses the functional perception of all properties of music to retain brain behaviour function
Therapeutic application of music to cognitive, sensory, and motor functions

44
Q

Psychodynamic

A

Involves: Sensorimotor, speech and language, cognition

Music and functional changes in the brain

45
Q

NMT can be effective for:

A
Stroke
TBI
Parkinson's disease
Minimizing symptoms including tremors
Multiple sclerosis
Looking at the autoimmune disease and working to minimize symptoms
Dementia and Alzheimer's disease
Functional memory
Cognition
Emotional state
Daily activities (eating, dressing, medicating)
Cerebral palsy
Autism spectrum disorder
Social communication
Behavioural management
Repetitive behaviour
46
Q

Sensorimotor Skills

A

Patterned sensory enhancement - ex. Jenn pacing arm music to the music
Movement to the cue of music
Spatial
Pitch
Dynamic
Therapeutic instrumental music performance - ex. pacing hitting the drum to music
Client is actually playing an instrument to the music/beat
Rhythmic auditory stimulation - gait training video example
Rhythmic cues for gait training (walking)

47
Q

Melodic intonation therapy

A

Beating to and humming the prosody of speech/phrase - I want coffee example
Used commonly by SLPs - Vocal intonation therapy

48
Q

Speech and Language

A

Musical speech stimulation
Rhythmic speech cueing
Oral motor and respiratory exercises
Vocal intonation therapy
Therapeutic singing
Singing songs you enjoy while combining the techniques of accessing language and oral motor function
Tying together all the vocal
Developmental speech and language training through music
Symbolic communication training through music

49
Q

Cognition

A

Auditory perception
Emotion
Sensory function

50
Q

Music in Psychosocial Training and Counseling

A

Using social situations and group therapy
Group cohesion process
Using MPC as a warm-up to group therapy
Mood factoring
Drum example (musical wave)
More reflective than Associative Mood and Memory training

51
Q

Associative Mood and Memory training

A

Facilitate memory recall
Dementia and TBI memory loss
Associating mood with music to access memory
Live or recorded music
Henry example - excited about music, lighting up to his favourite songs and singing/remembering his old favourites
The goal here is to access the memory not the emotion

52
Q

3 domains

A
Sensorimotor
Pattern sensory enhancement
Rhythmic auditory situation
Speech and language
Melodic intonation therapy
Therapeutic singing
Cognition/dalcros
Associated mood and memory training
Music and psychological training and counseling
53
Q

Method

A

Certain organized and systematic way for conducting therapy
Philosophy
Beliefs and basic attitudes
Theory
Scientific explanation for behaviours
Model
Relationship between music and behaviour/healthcare goals

54
Q

Trends that have influenced the development of Music Therapy Approaches

A

Advances in scientific knowledge regarding health and illness
Biopsychosocial model of health and illness
Societal changes
Short-term health care
Multiculturalism
Research and clinical initiatives in the MT field
Continues to develop by researchers and clinicians

55
Q

Factors that influence Clinical choices

A

Developmental Age vs Chronological

Personal Attitudes and Values

56
Q

Orff-Schulwerk - elemental music

A
Holistic approach
Hearing before learning
Call and response
Chants
"hello" song, eye contact
57
Q

Dalcroze Eurhythmics

A

Using movement to enhance range of motion, motor skills etc.

58
Q

Kodaly Approach

A

Developmental in approach

Communication, socialization, fine and gross motor

59
Q

Nordoff-Robbins

A

Form of active music therapy
Music-centered
Conceptually and by definition using music as the primary method of therapy
The work is done within the music, no dialogue/verbal discussion, all music
Belief: music exists within everybody
Accessing Innate music ability
Finding the music child within
Two MTAs in the room, 1 on the piano continuously holding the musical space, the second works with the client to engage in music on another instrument or vocally
Music making, playing instruments, singing etc.
Techniques applicable to wide range of clients including those with developmental disabilities
Cont.
Self-actualization and the meaningfulness of human destiny
Within every human being is a musical self aka “musical child”, working to access that
Long-term engagement in music therapy
Improvisation is used often at the beginning
Index the session/indexing: document in a narrative style with attention to the client’s significant musical and non-musical responses, changes, musical relationships and teamwork (transcribing/recording minutes/seconds) documenting sessions
Apply separately to a Nordoff-Robbins MT degree, cannot become accredited additionally like NMT

60
Q

Bonny Method of Guided Imagery and Music

A

Can gain accreditation following MT accreditation/other field in addition
Guided imagery and music (GIM)
Bringing self-awareness by associating music with imagery
Therapeutic goals include:
Creativity
Self-exploration
Spiritual insight
Cognitive reorganization
Tapping in to the unconscious through imagery
Aiding in uncovering and working through negative thoughts, emotions and feelings
MTA is not meant to solve, but to help guide the client through the emotions/feelings

61
Q

Behavioural approach

A

Classical or operant conditioning
Example: Pavlov’s conditioning with the dogs and the bells
Behaviorism
Behavioral psychology
Applied behavioural analysis (ABA)
Purpose: to modify behaviors (through reinforcements or punishment)
MT example: client who hits his head on the ground, guiding him to redirect and hit a drum with his hands instead - more cathartic and safe for him
Reinforcing positive behaviour by offering the reward of drumming/cathartic experience

62
Q

Cognitive-Behavioural Music Therapy

A

Replacing undesirable, irrational thinking with healthier cognitive patterns
Can help people with emotional/social problems including anxiety, substance abuse, eating disorders, mood disorders, chronic pain and sleeping disorders
Example: I’m afraid of water
Reframing water to associate with life, with drinking water (necessity)

63
Q

Psychodynamic approach

A

Based on the belief that human behaviour is influenced by unconscious psychological processes (internal conflicts, impulses, desires, motives) which are largely unaware consciously

64
Q

Reflection of Biomedical models

A

How music impacts the release of hormones and neurotransmitters surrounding pain/feeling pain
Using MT to relax and reduce stress, reducing pain hormones and neurotransmitters
Music therapy and relationship with hormones

65
Q

Eclectic or Integrative Approach

A

Therapists use techniques from all types of therapy without necessarily accepting the theoretical frameworks involved
NO SINGLE THEORY is comprehensive enough to account for the complexities of human behaviours
Accepting that each theory has its strength and weaknesses, therapists that use an integrative approach have the opportunity to more closely match the needs and goals of individual clients

66
Q

Biopsychosocial Mode

A
Biological aspects (physical)
Psychological aspects (cognitive, emotions)
Social aspects (values, culture, family, community)
How all three work together and interact to impact your health
67
Q

Transference

A

Unconscious redirection of feelings from one person to another

68
Q

Countertransference

A

Initially something to get rid of

The emotional reaction of the therapist

69
Q

Primacy of Countertransference

A

“wounded healers” - extremely empathetic/sensitive therapists who can fall victim to countertransference
Therapist’s hook
The area of wounded-ness that allows the therapist to get caught in the client’s material
Musical hook
The moment when the music and or lyrics intersect with the therapist’s issues and trigger associations
Sharing countertransference - relates to disclosing countertransference feelings
Level of disclosure depends on each individual client
Reason for disclosure, therapeutic alliance, length and stage of treatment In VP, the transference can be heard in the voices (with or without)

70
Q

Psychological theories behind Vocal Psychotherapy:

A
Carl Yung's theories influence
Collective unconscious
Interpersonal relations
Object relations theory
Relationship with play and developing one's true self
Vocal improvisation
Vocal holding
Vocal improvisation in a safe environment can help clients find comfort in the environment
Trauma theory
Intersubjectivity
71
Q

Trauma theory

A

Three stages of healing
Safety
Remember, reminisce, mourn
Integration
Attachment trauma - the mother infant bond (or lack of) can set the stage for other forms of trauma
VP offers therapeutic regression and positive integration

72
Q

Natural sounds

A

Humming/toning/chanting can stimulate the Vagus nerve which encourages the release of neurotransmitter Nitric Oxide (NO)
Parasympathetic nervous system can be thought of as the “stress eraser” - putting us back in a state of balance
The power of the voice to affect physiology

73
Q

Toning

A

The conscious use of sustained vowel sounds for the purpose of restoring the body’s balance

74
Q

Vocal Holding

A

The intentional use of two chords in combination with the therapist’s voice in order to create a consistent and stable musical environment that facilitates improvised singing within the client-therapist relationship
Promote therapeutic regression
Helps clients who are afraid or not used to improvising
Relinquish some of the mind’s control to allow spontaneous singing and trance-like altered state and easier access to the world of the unconscious

75
Q

Vocal holding interventions

A

Unison singing
Therapist matches the client’s improvised notes
Harmony
Singing with client at the same rhythm but different notes (hopefully complimentary)
Harmony is ideally below the client’s singing in order to contain/support
Mirroring
Mirroring what the client just improvised
Grounding
The therapist sings a note below what the client is singing
These techniques can all be experienced differently for the client based on their experiences
Not necessarily feelings that we should avoid as they provide insight for reparative experience

76
Q

Free Associative Singing

A

Words enter the vocal holding process
Piano accompaniment (2 chords or more)
Based on Freud’s technique of free association
But the MTA is also singing

77
Q

Lyric creation

A
Guiding free brainstorming (example)
Freud and Jung
Freud : picking a word and seeing what word comes after and after, may not have any connection
Jung : specific word, relate it to another and then to the original and then another
Guiding original lyrics and music
Facilitating original lyrics
Selecting words from a list
Client self generates words
Client writes a poem
Open ended or direct questions
78
Q

Song writing techniques

A
FBT (fill in the blanks)
Song parody
Changing all the words rather than just certain ones like FBT
Song collage
Mashup of songs and changing lyrics
Pre-existing lyrics
Keeping lyrics of a song but changing melody
Once upon a time…
Age appropriate for children
Storytelling/predictability
79
Q

Techniques of music creation:

A
Improvisation
Instrumental sound effects
Using whole/parts pre-composed music
Improvised melody over the chord pattern
Client directed key/mood/etc.
80
Q

Song writing with TBI:

A
Motivation
Adjustment - identity establishment
Loss/depression
Coping with changes
Memory - melody
Concentration/attention
81
Q

Themes of song writing within TBI MTA:

A
Isolation
Dependency
Helplessness
Anger
Body image
Positive memories of relationships with significant others
Uncertainty
82
Q

No definitive answer about aging

A

There are stages of child development, broad but existent
There are not designated stages to aging
Stages for adolescence, lines of stages blur as older adulthood is approached

83
Q

Different types of ages:

A
Chronological age (number of years one has been alive)
Biological age (aging of the body physically)
Bone density, muscle strength
Change in weight
Stamina (loss of..)
Cellular, molecular, organ functions become less efficient with age
Psychological age
Ability to adapt
New situations, environment
Emotions
Learning
Recognizing that client may require consistent sessions, predictability, routine etc.
Psychosocial age
Cultural view and expectations
Negative portrayal (western culture)
High regard/wisdom (non-western)
Booming cosmetic industry
84
Q

Common Diagnosis:

A
Depression
Dementia
Alzheimer's disease (type of dementia)
Parkinson's disease
Post-stroke
Aphasia
ABI
Symptoms can be similar --> MTA healthcare goals can be similar
Speech
Orienting to environment
85
Q

Reasons for referral:

A

Decrease pacing, agitation, vocalizations (non-speech/non-communicative noise)
Increase eye contact, meaningful moments
Increase alertness, movement
Evoke positive memories, orientation to the “here and now”
Transition to facility, lessen confusion, decrease anxiety
Having dementia? No, that is a diagnosis, not a healthcare goal

86
Q

Music is validating

A

Sense of accomplishment for elderly people with memory loss
Remembering lyrics
Remembering melody

87
Q

Pre-composed music

A
Why pre-composed?
Familiarity/predictability (ABA)
Verse/chorus/verse/chorus/verse/chorus etc.
The way pre-composed songs are designed - predictability, security
Security
Empowering
Reassurance
Confidence (acknowledge ability)
Memory evoking
Stimulate dialogue/relationships
Why is it a powerful tool? (listening exercise)
Music timeline
88
Q

Dementia and Pre-composed music

A
Acquired decline of cognitive function
Memory and language impairment
Music abilities preserved - uses both hemispheres of the brain
Alzheimer's
Mini mental state exam and music therapy
MMSE asking questions through song?
Listening to story vs. music
Attempting music playing can highlight deterioration