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PubMed2005

Correlation between musical responsiveness and developmental age among early age children as assessed by the Non-Verbal Measurement of the Musical Responsiveness of Children.

BACKGROUND: The currently-available standardized music tests are not suitable for administration to young children and children with special needs because they are complicated and require verbal instructions and verbal responses. A test that was named the Non-Verbal Measurement of the Musical Responsiveness of Children, was developed to assess the musical responsiveness of young children. This test does not depend on verbal instructions, and is composed of two parts, Rhythm and Melody. MATERIAL/METHODS: Ninety-two children [age, range, 6-69 months; 36.39+/-17.61 (mean +/-standard deviation) months] who attended mainstream pre-schools were studied. Each child was tested to see whether the child correctly imitated 7 different patterns of rhythm and 6 different patterns of melody that were delivered by clapping of hands or the voice of the examiner, respectively. The examiner rated whether the child could imitate each pattern and the total score was the sum of successfully reproduced patterns. Two independent observers viewed videotapes of the testing sessions and assigned scores in a similar manner. The inter-rater reliability among the three raters was assessed. RESULTS: The total score in Melody (R=0.63, p<0.001) and the total score in Rhythm (R=0.81, p<0.001) were each correlated with developmental age. The inter-rater reliability was good (Melody: Kendall's W=0.78, Rhythm: Kendall's W=0.95). CONCLUSIONS: The degree of musical responsiveness of normal young children is correlated with general development. This measurement tool is valid and reliable for use in young children who lack sufficient verbal understanding to take standardized music tests. This test may also be administered to children with special needs.

Child Development↗
PubMed1998

The Effect of Music on Differences in Body Movement of College Music Majors, Dance Majors, and Survivors of Sexual Abuse.

The purpose of this study was to determine whether there would be differences between the mannerisms and body language of the three subject groups: music majors (n = 23), dance majors (n = 23), and victims of sexual abuse (n = 23). Each of the subjects moved to a variety of music selections individually in the experiment room. They then completed a self-report questionnaire pertaining to inhibition and relaxation experienced in responding to the three pieces. The experimenter videotaped their movement, and assessed specific movement patterns: how much of the body was used, how much tension the subject showed, whether or not the response was indirect or repeated patterns, and if the motions were of an outward or inward nature. Three-way analyses of variance were run on the results of the questionnaire and on movement characteristics. Results showed statistically significant differences in the interaction of subjects and music. The sexual trauma group was much less inhibited moving to the orchestral music than to reggae or jazz, as were the music students. The dance students reported feeling more relaxed with jazz.

Journal Article↗
PubMed1991

The contribution of music vs instructions in the Musical Mood Induction Procedure.

The relative contribution of the instructions and the music to the effects of the Musical Mood Induction Procedure (MMIP) were investigated. Using an experimental procedure which minimised covert experimenter bias, subjects performed under both elation and depression mood inductions in one of four conditions: music present or absent by mood change instructions present or absent, using a crossover design. Results indicated that instructions were both necessary and sufficient to produce change on mood sensitive measures. Mood change effects were reduced by controlling for the effect of subjects who responded so as not to 'louse-up' the experiment. The MMIP seems to be much less musical than the name implies. Further research is needed to determine which aspects of the instructions contribute most to the changes on mood sensitive measures.

Adult↗
PubMed1980

Research in music therapy: a survey of music therapists' attitudes and knowledge.

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

Attitude of Health Personnel↗
PubMed2006

Music: a strategy to promote health in rehabilitation? An evaluation of participation in a 'music and health promotion project'.

This study illuminates the role and significance of music listening in everyday life for the long-term ill. Twenty-two participants, aged 34-65 from Oslo and Akershus in Norway, were recruited as a strategic sample and took part in eight in-depth interviews over a 1-year period, from 2004 to 2005. Four double CD compilations from different genres, part of the project, were used as devices to discover whether participants could learn to use music as a 'technology' for self-help, with regard to health, healing and recovery, through exposure to and exchange of new musical materials and practices. A novel Participatory CD design was developed, and the beneficial experiences of taking part in the project resulted in an increase in self-awareness and self-consciousness. Listening to and discussing music was considered to be an important tool in the process of change, sense of agency and self-development, through enhancing well-being and 'wellness', a vital factor in the process of recovery and sustaining quality of life, despite of illness.

Adult↗
PubMed1985

Music psychopathology. III. Musical expression and psychiatric disease.

Musical expression of the instrumental playing of 61 mentally ill patients and 29 controls recorded several times was assessed by means of a short polarity profile. The performances were reversibly impaired in correlation with the psychopathology. Musical expression followed a systematic variation according to nosological classification. Endogenous-depressive patients could be clearly distinguished from neurotic-depressive patients due to weakened motoric qualities in their playing. In schizophrenia, motoricity did not seem to be so much involved, although the performances were altered in the dimension of musical logic and order. Maniform syndromes had the least effect on musical expression.

Adult↗
PubMedDate not supplied

Assessment of active music participation as an indication of subsequent music making engagement for persons with midstage dementia.

Persons with midstage dementia and in special care (N = 45) were assessed in groups by a music therapy practitioner to determine the level of engagement in a 15-minute protocol that included a five-minute segment for each of three music activity types--rhythm playing, exercising with music, and singing. Activity staff with little to no formal music training who were employed by the facility were taught to use the protocol to conduct eight subsequent activity sessions for small groups from which activity engagement data were collected for each subject. Results indicated the protocol was accessible and successful for indigenous activity staff, initial assessments were strong predictors of subsequent engagement, and participation levels were stable over time and across each of the three activities.

Attention↗
PubMed1980

[Study of the interaction between mood and music experience under its musical and clinical psychological aspects].

An exploratory, non-hypothesis-based experiment set out to discover to what extent the assessment of music is influenced by the basic mood (hypomanic versus depressive) of the listener. Distinct differences became apparent on all four dimensions extracted from a polarity list, independent of the structural nature of the piece of music assessed. This result was discussed primarily with regard to the necessity of making the construct "experience of music" empirically accessible to non-aesthetic lines of inquiry, for example in music therapy.

Affective Disorders, Psychotic↗
PubMed1980

Music while you wait. Patient acceptance of music in the preanesthetic period.

A series of 184 premedicated patients were studied to determine whether music could make the immediate waiting period before surgery more comfortable. Selected music at a known noise level was being played by a tape recorder in a waiting room with open doors within the operating department. After the operation patients were asked about their impressions. A favourable result was obtained in 96.8% of the patients, i.e. 52.2% positively satisfied, 22.3% neutral and 22.3% not noticing the music. The negative impressions were mostly emotional or perhaps due to an adverse reaction to a premedication constituent: dehydrobenzperidol. The authors recommend the use of music while you wait for surgery. (Acta anaesth. belg., 1980, 31, 61-67).

Adolescent↗
PubMedDate not supplied

[Description of musical expression and initial results of the Lübeck music therapy model].

In the Medical University of Lübeck (Germany), T. Maler developed a music group therapy, which was based on psychoanalytic theories. In the years from 1984-1991, the behavior of 200 patients in the music therapy was assessed by means of new constructed rating scales. The patients had different kinds of psychosomatic and psychiatric disorders. The results show significant changes in the music playing behavior after 10 sessions of music therapy. The patients playing was louder, more free in the improvisation and showed more plasticity. There were no differences between the different diagnostic groups in the study.

Female↗
PubMed1977

Effects of music-listening contingencies on arithmetic performance and music preference of EMR children.

A five-phase experiment was designed to investigate (a) whether contingent music-listening would act as a reinforcer to increase arithmetic performance of EMR children and (b) whether this contingent reinforcement would affect preference for that reinforcer. During the three baseline (no reinforcement) phases, subjects returned to their classrooms at the end of the arithmetic work period. During the two treatment phases, experimental subjects meeting criterion were permitted to remain and listen to either rock (high preference) or music classics (low preference). Statistical analyses revealed significant differences between the no-reinforcement and contingent-reinforcement conditions and between the control and four experiment groups during the contingent reinforcement phases. No differential effect between the more or less preferred contingencies was found. Analyses of the music-selection data indicated that the contingencies did not influence music preference.

Adolescent↗
PubMed1978

[On connection between music therapy and music pedagogics during childhood (author's transl)].

In this article is explained, that, in spite of existing communities between music therapy and cooperating remedial education on the one hand and music education on the other, we can separate with regard to the method music therapy as one form of psychotherapy from educational influence. But in practice at therapy of children with psychical disturbances we always must take into considerations the education object in view.

Child↗
PubMed2002

[Effect of information about hearing damage caused by loud music. For adolescents the music in discoteques is too loud despite loudness limits].

BACKGROUND: Information campaigns are regarded useful to prevent adolescents from hearing-damage due to loud music. This study examined whether adolescents who are informed on the risk of a hearing-damage, exhibit preventive behavior when attending discotheques. METHOD: 253 pupils (age 14 to 19 years) were interviewed about their disco attending habits and about their information on the risk associated with listening to loud music. RESULTS: About 85% of the sample were informed about the risk. Informed and uninformed pupils did not significantly differ in the frequency of disco attendance nor in the frequency of using ear-plugs. However, significantly more informed pupils experienced disco music as too loud (p < 0.05). CONCLUSIONS: Information influences the subjective appraisal of loudness perception, but has little effect on preventive behavior. Instead, experimental forms of educational campaigns may be more effective. Additional provisions (lowering sound levels in discotheques) are necessary.

Adolescent↗
PubMed1992

Creative musical behavior and sex hormones: musical talent and spatial ability in the two sexes.

Creative musical behavior, musical intelligence, and spatial ability were investigated in relation to salivary testosterone (T). In a cross-sectional study with 117 adults and in an 8-yr longitudinal study with 120 adolescents, composers, instrumentalists, and nonmusicians of both sexes were compared by analyses of variance. Results indicate that an optimal T range may exist for the expression of creative musical behavior. This range may be at the bottom of normal male T range and at the top of normal female T range. In addition, musicians were found to attain significantly higher spatial test scores than nonmusicians, both, in an 8-yr-period of adolescent development and in adulthood.

Adolescent↗
PubMed2003

Contemporary commercial music (CCM) survey: who's teaching what in nonclassical music.

Currently, there is an increasing interest in and demand for training in a wide variety of nonclassical music--contemporary commercial music (CCM)--and most particularly for music theater. A survey of singing teachers was completed to elucidate their training, education, and experience with and methods of teaching CCM. Teachers were at colleges, universities, and conservatories as well as in private studios, both nationally and in several foreign countries. A substantial percentage of those teaching CCM had neither formal education in teaching it nor professional experience. Many of the respondents indicated conflict between classical and CCM styles. Respondents were generally familiar with voice science and voice medicine as well as certain CCM terminology. Teachers expressed an interest in obtaining more information, with an emphasis on healthy vocal production. These results are discussed, as well as implications for the singing teacher who desires specific training to teach CCM.

Advertising↗
PubMed1979

A survey of clinical practice in music therapy. Part 1: The institutions in which music therapists work and personal data.

In the spring of 1978, 1,064 questionnaires were mailed to registered music therapists working in clinical settings. Part 1 of this paper reports on the types of institutions in which music therapists work, who employs them, and the salaries they earn. This section also deals with age, sex, religion, job satisfaction, job security, types of handicapped persons with whom music therapists prefer to work, work experience, and longevity.

Attitude of Health Personnel↗
PubMed2000

Music assisted progressive muscle relaxation, progressive muscle relaxation, music listening, and silence: a comparison of relaxation techniques.

The purpose of this study was to compare the effects of music assisted progressive muscle relaxation (M + PMR), progressive muscle relaxation (PMR), music listening, and silence/suggestion on measures of anxiety and perceived relaxation. The study also examined participant responses to a posttreatment questionnaire to identify relationships between musical and nonmusical elements in relaxation techniques. Sixty university students participated in the study. Fifteen participants were randomly assigned to each treatment condition. Subjects were tested individually using the same relaxation script for M + PMR and PMR conditions. One-way analyses of covariance were computed to compare pre and posttest differences among groups. Results of the ANCOVA revealed no differences among groups for the State Trait Anxiety Inventory (STAI) or the Visual Analog Scale (VAS). Analysis of variance, however, revealed each treatment condition to be equally effective in producing significant changes in anxiety and perceived relaxation from the pre to posttest period. Additionally, mean score differences revealed decreases for all conditions with M + PMR eliciting the greatest amount of change. A content analysis of posttreatment questionnaire items revealed detailed information about each participant's relaxation experience, state of mind, and use of self-generated relaxation techniques.

Adult↗
PubMed2006

Abnormal musical pacemaker in a patient with musical hallucinations.

Music creation requires a highly orchestrated temporal pattern. The study of a patient with repetitive musical hallucinations enabled us to examine temporal pacemakers in music production. Here, we show that the pattern of faster silent production of a chosen tune compared with its production aloud was reversed when the patient produced the hallucinatory tune. This observation might suggest the utilization of a pacemaker(s), which functions differentially during the disease.

Adult↗