Occupational Therapy and Arts Therapies
Permanent URI for this collectionhttps://eresearch.qmu.ac.uk/handle/20.500.12289/25
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Item “There has probably never been a more important time to be a music therapist”: Exploring how three music therapy practitioners working in adult mental health settings in the UK experienced the first year of the COVID-19 pandemic(2022-08-22) Chandler, George; Maclean, EmmaThe COVID-19 pandemic has had ramifications the world over, affecting many aspects of life, including mental health and music therapy practices. Due to the recency of COVID-19, there have been few studies exploring its influence on music therapy practice. This study aimed to explore the experiences of three music therapists based in the UK working in adult mental health settings during this period, to provide an in depth understanding of how both they and their practice have been affected. Interpretative phenomenological analysis (IPA) served as the methodology for this study, underpinning the method. Three music therapists participated in semi-structured interviews. Through data analysis, six common themes were identified: “Music therapists experienced initial impacts on their own mental health”, “Music therapists are adaptable”, “Online music therapy is meaningful”, “There may be barriers to online provision for service users”, “Feelings differ between music therapists about adopting extra work” and “Music therapy is more relevant now than ever”. These themes depict various challenges and opportunities experienced by music therapists, which may have implications for music therapy practice during this pandemic, practice in general, and in the event of future pandemics. With increased mental health challenges in the adult population, music therapy provision in adult mental health settings can play a crucial role.Item Developing a best-practice agenda for music therapy research to support informal carers of terminally ill patients pre- and post-death bereavement: a world café approach(BioMed Central, 2024-02-07) McConnell, Tracey; Gillespie, Kathryn; Potvin, Noah; Roulston, Audrey; Kirkwood, Jenny; Thomas, Daniel; McCullagh, Angela; Roche, Lorna; O’Sullivan, Marcella; Binnie, Kate; Clements-Cortés, Amy; DiMaio, Lauren; Thompson, Zara; Tsiris, Giorgos; Radulovic, Ranka; Graham-Wisener, LisaBackground: Informal carers of terminally ill patients play a vital role in providing palliative care at home, which impacts on their pre- and post-death bereavement experience and presents an up to 50% greater risk for mental-health problems. However, developing and implementing effective bereavement support remains challenging. There is a need to build the evidence base for music therapy as a potentially promising bereavement support for this vulnerable population. This study aimed to co-design an international best practice agenda for research into music therapy for informal carers of patients pre- and post-death bereavement. Methods: Online half day workshop using a World Café approach; an innovative method for harnessing group intelligence within a group of international expert stakeholders (music therapy clinicians and academics with experience of music therapy with informal carers at end-of-life). Demographics, experience, key priorities and methodological challenges were gathered during a pre-workshop survey to inform workshop discussions. The online workshop involved four rounds of rotating, 25-minute, small group parallel discussions using Padlet. One final large group discussion involved a consensus building activity. All data were analysed thematically to identify patterns to inform priorities and recommendations. Results: Twenty-two consented and completed the pre-event survey (response rate 44%), from countries representing 10 different time zones. Sixteen participated in the workshop and developed the following best practice agenda. The effectiveness of music therapy in supporting informal carers across the bereavement continuum should be prioritised. This should be done using a mixed methods design to draw on the strengths of different methodological approaches to building the evidence base. It should involve service users throughout and should use a core outcome set to guide the choice of clinically important bereavement outcome measures in efficacy/effectiveness research. Conclusions: Findings should inform future pre- and post-death bereavement support research for informal caregivers of terminally ill patients. This is an important step in building the evidence base for commissioners and service providers on how to incorporate more innovative approaches in palliative care bereavement services.Item Improvising the self(Egalitarian Publishing, 2021) Haire, NickyThis paper details an autoethnographic study through which intrapersonal and interpersonal aspects of improvisation are considered in relation to music therapy teaching and practice.Item Thinking through improvisation: How arts-based reflexivity can offer new knowing about music therapists’ experiences of humour in music therapy(University of Bergen and NORCE Norwegian Research Centre, 2021-06-29) Haire, Nicky; MacDonald, Raymond; McCaffrey, TríonaAs part of a larger research study investigating humour in music therapy with persons with dementia, this article details how music therapists perceive, embody and experience humour in their practice. Three focus groups with music therapists (N = 9) were organised and resulting data analysed through arts-based reflexive methods. Building on Schenstead’s (2012) articulation of arts-based reflexivity, two distinct and overlapping forms of thinking through improvisation are highlighted; self-reflexivity and collaborative-reflexivity. Finlay’s (2011) phenomenological lifeworld-oriented questions are used to explicate dimensions of experiences of humour and frame broad thematic reflections. Particular correspondence between improvisation as a way of being and humour in music therapy are explored performatively through a group improvisation involving the first author. The findings from this synthesis offer insight into how music therapists conceive of humour in their work as supportive of relational bonding, and also experience humour as distancing and defensive behaviour. Along with the perceived risks of humour in relational therapeutic work, an intricate balance between playfulness and professionalism surfaced as part of a music therapy identity. Improvisation, while seemingly taken for granted as a part of spontaneous humour, is also problematised through the perceived seriousness of learning how to improvise as a music therapist aligning with a psychodynamic approach. The consequences of these findings are discussed in relation to music therapy pedagogy and practice along with methodological implications of thinking through improvisation.Item Music therapy in Greece and its applications in dementia and end-of-life care(2020-10-17) Tsiris, Giorgos; Kalliodi, ChristinaIn this report we focus on music therapy in Greece and its applications in dementia and end-of-life care. Initially we offer an overview of music therapy in the country and outline key developments in terms of professionalisation, education, research and scholarship. Exploring these developments from a critical perspective, we acknowledge contemporary debates and their implications for the advancement of the field. This exploration offers a platform for understanding the current applications of music therapy in dementia and adult end-of-life care in Greece. We provide examples of recent projects and initiatives alongside broader considerations regarding the status of dementia and end-of-life care. We conclude by offering some perspectives for future potential developments in the field.Item Humour in music therapy: A narrative literature review(GAMUT, 2019-02-14) Haire, Nicky; MacDonald, RaymondIntroduction: Humour is a highly prevalent but little understood phenomenon. In music therapy, experiences of humour are not well documented yet anecdotally widespread. Method: A narrative literature review was conducted to identify, critically analyse and synthesise literature related to humour in music therapy. Literature was limited to accessible publications in the English language and sourced from multiple music therapy journals, bibliographic databases, electronic databases and books from the earliest available date until June 2018 using the key terms of humour/humor. Results: Two empirical research studies that focussed on humour in music therapy were identified and references to humour were found in over 130 articles. Humour in music therapy was evidently taken for granted as a phenomenon with relationship-building effects. In addition, references to humour came overwhelmingly from music therapists’ point of view. Despite one comprehensive research study exploring humour in music therapy, a lack of investigation into reciprocal experiences of humour and how this is “played out” through improvisation was identified. Discussion: This review surfaces a phenomenon that is ubiquitous yet under-researched in music therapy. In general, a kind of insider knowledge appears necessary for humour to be shared; yet the ambiguity inherent in humour means that music therapists can encounter risk in using or engaging with it in their work. These findings have led directly to further research into reciprocal embodied experiences of humour and improvisation in music therapy.Item Adding humour to the music therapist’s tool-kit: Reflections on its role in child psychiatry(SAGE, 2009-06-01) Haire, Nicky; Oldfield, AmeliaIn this article we reflect on the use of humour in music therapy on a children’s psychiatric unit. We review the current literature and, by providing detailed case vignettes, identify four characteristics of humour in music therapy in this context as well as listing the main functions of humour here. We find that humour is a highly subjective experience and that due consideration of the intention behind any use of humour by the music therapist is crucial. Awareness and attunement to one’s client are considered vital when dealing with such a powerful multi-faceted phenomenon.Item “Sounds good, but... what is it?” An introduction to outcome measurement from a music therapy perspective(2018-06-27) Spiro, Neta; Tsiris, Giorgos; Cripps, Charlotte“Sounds good, but... what is it?” This is a common reaction to outcome measurement by music therapy practitioners and researchers who are less familiar with its meanings and practices. Given the prevailing evidence-based practice movement, outcome measurement does ‘sound good’. Some practitioners and researchers, however, have a limited or unclear understanding of what outcome measurement includes; particularly with respect to outcome measures and related terminology around their use. Responding to the “what is it?” question, this article provides an introduction to such terminology. It explores what outcome measures are and outlines characteristics related to their forms, uses and selection criteria. While pointing to some debates regarding outcome measurement, including its philosophical underpinnings, this introduction seeks to offer a useful platform for a critical and contextual understanding of the potential use of outcome measures in music therapy.Item Music therapy and spirituality: An international survey of music therapists' perceptions(Taylor & Francis, 2016-10-17) Tsiris, GiorgosDespite various theoretical explorations regarding spirituality and music therapy, only a small number of empirical studies have been conducted in this area to date. This study aims to explore and provide a systematic overview of music therapists' reported perceptions of spirituality and its relevance (or irrelevance) to their music therapy practice. A pragmatic methodological stance informs this study. Data were collected through an online survey questionnaire which was open to qualified and trainee music therapists across the world. Descriptive statistics and thematic analysis were used to analyse the data. A total of 358 music therapists from 29 countries took part in this study. The survey findings provide an insight into music therapists' perceptions of spirituality including its place in their training, practice and professional life. Also, dilemmas that music therapists face, as well as their suggestions for future action regarding spirituality and music therapy, are explored. To date, this study is one of the largest international music therapy studies on spirituality. Its findings contribute to the growing evidence regarding a subject area that is considered as controversial by many professionals not only in music therapy, but also in other health-related professions.