Emerging Trends In Research and Clinical Applications

Transcription

1 MUSIC THERAPY SYMPOSIUM 2012 Emerging Trends In Research and Clinical Applications All Keyed Up by Susan Vassallo.com May 4 and 5, 2012 SEATTLE PACIFIC UNIVERSITY

2 Music Therapy Symposium 2012: Emerging Trends in Research and Clinical Applications Seattle Pacific University, May 4 and 5, 2012 Friday, May 4, 12 4pm (registration 11:30) Braintuning with Dr. Gardiner, Beegle Rm 1 4: 30 7:30: No-Host reception at Rock Salt, 1232 Westlake Ave., Seattle, (206) Saturday, May 5, 8:45 am Registration, Demaray Hall lobby Vendors open, Demaray Hall Lobby 9:30 11am Keynote address: Music Therapy: Science or Art Session 1 Cremona 102 Cremona 201 Cremona 202 Cremona :15a 12:30p Presenter: What is Music Therapy? Channing Shippen Download This: Self-Selected Music and Therapeutic Attunement Trisha Ready, PhD Music Therapy in Hospice and Palliative Care Jennifer Greene, MA, MT-BC Lunch 12:30p 1:45p Box lunches provided at the Gazebo in the Student Union Building Vendors open, Demaray Hall Lobby Neurologic Music Therapy for Treatment of the Effects from Stroke Jen Hastings, MA, MT-BC Session 2 Cremona 102 Cremona 201 Cremona 202 Cremona 203 1:45p 3:00p Adaptive Use Musical Instruments for the Clinic and Home Arts & Minds Early Memory Wellness Program: Establishing a Presenter: David Knott, MT- BC Music Therapy, At Risk Youth and the Adolescent Offender Karla Hawley, MT-BC Trend Jim Couture, MA, MT-BC The ABCs of NMT: The Foundation and Principles of Neurologic Music Therapy Patti Catalano, MT-BC Session 3 Cremona 102 Cremona 201 Cremona 202 Cremona 203 3:15p 4:30p Biomedical Music Therapy as Procedural Support Peace and Music Therapy in a Conflicted World What Music Can do for Healthy Aging Presenter: Olivia Swedberg Yinger, MME, MT-BC Barbara Dunn, PhD, LICSW, MT-BC Musetta Fu, MM, MT-BC, RN Shih-Yin Lin, MM, MT-BC Music Therapy Techniques to Improve Communication Skills in Persons with Autism Peggy Farlow, MAE, MT-BC 2

3 Definition and Quotes about Music Therapy from The American Music Therapy Association What is Music Therapy? Music Therapy is the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program. Music Therapy is an established health profession in which music is used within a therapeutic relationship to address physical, emotional, cognitive, and social needs of individuals. After assessing the strengths and needs of each client, the qualified music therapist provides the indicated treatment including creating, singing, moving to, and/or listening to music. Through musical involvement in the therapeutic context, clients' abilities are strengthened and transferred to other areas of their lives. Music therapy also provides avenues for communication that can be helpful to those who find it difficult to express themselves in words. Research in music therapy supports its effectiveness in many areas such as: overall physical rehabilitation and facilitating movement, increasing people's motivation to become engaged in their treatment, providing emotional support for clients and their families, and providing an outlet for expression of feelings. Oliver Sacks, M.D.: "I regard music therapy as a tool of great power in many neurological disorders - - Parkinson's and Alzheimer's -- because of its unique capacity to organize or reorganize cerebral function when it has been damaged." Barbara Crowe (past president of the National Association for Music Therapy): "(Music therapy) can make the difference between withdrawal and awareness, between isolation and interaction, between chronic pain and comfort -- between demoralization and dignity." Oliver Sacks, M.D. ("Awakenings"): Dr. Sacks reports that patients with neurological disorders who cannot talk or move are often able to sing, and sometimes even dance, to music. Its advocates say music therapy also can help ease the trauma of grieving, lessen depression and provide an outlet for people who are otherwise withdrawn. - ST. Louis Post Dispatch. Dr. Clive Robbins (Nordoff-Robbins Music Therapy Clinic): "Almost all children respond to music. Music is an open-sesame, and if you can use it carefully and appropriately, you can reach into that child's potential for development." Nordoff-Robbins uses music therapy to help 100 handicapped children learn and to relate and communicate with others. Mathew Lee (Acting Director, Rusk Institute, New York): "Music therapy has been an invaluable tool with many of our rehabilitation patients. There is no question that the relationship of music and medicine will blossom because of the advent of previously unavailable techniques that can now show the effects of music." 3

4 Friday, May 4, 12 4pm Mental Improvement Playshop Designed to Improve Attention, Memory, and Problem Solving, and Based on Research in Music Therapy and Neuroscience. During this fun day of training you will: Learn how attention to all aspects of our lives---physical, emotional, social, spiritual, mental, and daily living---can work together to improve mental abilities, Understand how attention Living in the here-and-now is part of the foundation for good mental functioning, Learn the principles and specific techniques for improving memory, Develop executive functioning skills to become more motivated, set goals, plan, execute plans, and make necessary adjustments in order to reach your objectives, Utilize the power of music to enrich your mental abilities and the abilities of your clients. 4

5 May 5, Keynote Address: Music Therapy: Science or Art? BrainTuning facilitator and Symposium Keynote Speaker: Dr. James Gardiner James C. Gardiner, PhD, ABN was raised on a cattle ranch in South Dakota. He completed degrees in religion (BA from Union College), speech (MA from the University of Nebraska & PhD from Michigan State University), and psychology (PhD from Utah State University). He is a licensed psychologist and board certified neuropsychologist. During his career he has served in mental health centers, hospitals (Veterans Affairs & Indian Health Services), clinics (neurology, psychology & psychiatry) and a brain injury rehabilitation center. Currently Dr. Gardiner is a neuropsychologist at Scovel Psychological & Counseling Services in Rapid City, South Dakota. He performs neuropsychological evaluations and psychotherapy, teaches wellness classes on improving mental skills, plays piano professionally, and leads community drumming circles. He has studied music therapy, conducted research on how music affects brain functioning, developed musical treatments for neurological injuries, and has taught music therapists how to use neurologic music therapy to improve cognitive skills. He lives in Rapid City and enjoys spending time with his family, traveling, ice-skating, and hiking in the Black Hills. 5

6 May 5 Concurrent sessions: Cremona Building SESSION 1 11:15a-12:30p Cremona 102 WHAT IS MUSIC THERAPY? CHANNING SHIPPEN is an intern at Whidbey General Hospital and completed her coursework at Berklee College of Music in Boston, MA Cremona 201 DOWNLOAD THIS: SELF-SELECTED MUSIC and THERAPEUTIC ATTUNEMENT Music has the capacity to help us express emotions in a socially bonding manner. Listening to music with an attuned professional can help acute psychiatric patients learn to briefly tolerate and share ineffable or unbearable emotions. We will explore scientific theories and therapeutic applications, featuring self-selected music on an ipod. TRISHA READY holds a PhD in Clinical Psychology from Pacifica Graduate Institute. She has done research on self-selected music for emotional containment and expression for psychiatric patients. She has articles published or forthcoming in the American Journal of Hospice and Palliative Medicine, Music and Medicine, and Psychoanalysis, Culture, and Society. Cremona 202 MUSIC THERAPY in HOSPICE and PALLIATIVE CARE What is hospice? What is palliative care? What is music therapy in hospice and palliative care? This combined lecture and live music demonstration-presentation will offer introduction and insight into the beauty of working with terminally ill patients and their families. JENNIFER GREENE, MA, MT-BC, has been providing music therapy services to hospice and palliative care patients since She completed her music therapy training at Lesley University in Cambridge, MA, and currently works with Highline Hospice and Providence Hospice of Seattle. 6

7 Cremona 203 NEUROLOGIC MUSIC THERAPY FOR TREATMENT of the EFFECTS FROM STROKE This presentation will address the use of Neurologic Music Therapy for treating the effects of stroke, including speech/communication, cognitive, and motor techniques. Participants will become more familiar with the research and will gain ideas for future music therapy sessions with survivors of stroke through experiential examples. JEN HASTINGS, MA, MT-BC, is currently working as a Fellow for Musician Corps at the San Francisco VA Lunch 12:30p-1:45p Student Union Gazebo SESSION :45-3:00p Cremona 102 ADAPTIVE USE MUSICAL INSTRUMENTS for the CLINIC and HOME The Adaptive Use Musical Instruments (AUMI) is a free, downloadable PC and Mac software program requiring only a computer and webcam that enables users with limited mobility (initially designed for individuals only able to turn their head slightly) to generate musical rhythms and improvise scale based melodic patterns. DAVID KNOTT, MT-BC, is a board-certified music therapist and a fellow in the Academy of Neurologic Music Therapy. He currently works at Seattle Children s Hospital

8 Cremona 201 MUSIC THERAPY, AT RISK YOUTH and THE ADOLESCENT OFFENDER Current findings regarding the neuroscience of the adolescent brain, risk factors that contribute to anti-social, deviant and offending behaviors in the adolescent all coupled with the socio-emotional development of the adolescent will provide insight into why Music Therapy is an appropriate supportive treatment method. KARLA C. HAWLEY is a Board-Certified Music Therapist in Portland, Oregon and founder of RAP IT Music Therapy Services: Specializing in the families/intimate community circle of the adjudicated, at risk and street youth Cremona 202 ARTS & MINDS EARLY MEMORY WELLNESS PROGRAM: ESTABLISHING A TREND Discover how Arts & Minds works - a successful, community-based memory wellness program for older adults that integrates music therapy and creative arts with the established Brookdale model. It s all about the power of music and application of evidenced-based research. Recipient of Clallam County Washington s Public Health Hero Award. JIM COUTURE, MA, MT-BC, is a Brookdale Foundation National Grant recipient currently facilitating an Early Memory Loss Program in Port Angeles, WA Cremona 203 The ABCs of NMT: THE FOUNDATION and PRINCIPLES of NEUROLOGIC MUSIC THERAPY Many people across the United States have seen neurologic music therapists working with Rep. Gabby Giffords. As a result, many prospective clients, their families, other health professionals, and other music therapists have questions regarding what NMT is and what it isn t. This presentation will address those questions and give examples of how NMT works. PATTI CATALANO, MT-BC, is Music Therapy Program Manager at MusicWorks NW in Bellevue, WA. 8

9 Session 3 3:15-4:30p Cremona 102 BIOMEDICAL MUSIC THERAPY as PROCEDURAL SUPPORT Benefits of procedural support music therapy have been documented for individuals undergoing various medical procedures. This presentation will describe a biomedical model of music therapy as procedural support. Neurological foundations of pain and anxiety, effects of music on these neurological processes, and implications for clinical practice will be discussed. OLIVIA SWEDBERG YINGER, MME, MT-BC, is a PhD candidate studying music therapy at the Florida State University. She previously coordinated the Tallahassee Memorial HealthCare music therapy program. Her research interests include the use of music therapy with premature infants, children and adults undergoing medical procedures, and individuals with Parkinson's disease Cremona 201 PEACE AND MUSIC THERAPY IN A CONFLICTED WORLD This workshop will explore conflict intervention strategies that incorporate music. It will look at various programs around the world that are addressing conflict through music and music therapy. It will include experiential learning and discussion of how the music therapy profession can address conflicts that lie beyond our clinic walls. BARBARA DUNN, PhD, LICSW, MT-BC has 28 years of experience in music therapy. She is also a clinical social worker and completed doctoral work on music and conflict transformation. She has a private psychotherapy/music therapy practice in Seattle and directs the music therapy program at Whidbey General Hospital. Additionally, she is the author of the new book More Than a Song: Exploring the Healing Art of Music Therapy

10 Cremona 202 WHAT MUSIC CAN DO FOR HEALTHY AGING We ll provide a theoretical framework of attributes to healthy aging (i.e. physical function, psychological wellbeing, cognitive function, social interaction, etc.). Music therapy techniques and clinical applications will be demonstrated and presented based on a literature review of current scientific studies. The participants will be encouraged to identify potential music techniques based on the theoretical framework and discuss how to create music interventions for geriatric populations. MUSETTA C. FU, MM, MT-BC, RN, is a practicing registered nurse and has experience providing music interventions in various inpatient settings as well as nursing homes and retirement communities. As a PhD student at the University of Washington School of Nursing, Musetta is currently researching music interventions for healthy aging in geriatric populations. SHIH-YIN LIN, MM, MT-BC, NMT, is from Denver, CO, and has a Masters in Music Therapy. She mainly provides music therapy services to seniors with Alzheimer s and healthy elders Cremona 203 MUSIC THERAPY TECHNIQUES to IMPROVE COMMUNICATION SKILLS in PERSONS with AUTISM A summary of research will be discussed regarding theories and methods used to address communication goals with children with autism. Specific music therapy techniques used to achieve intentional communication will be discussed and examples of music therapy activities used to improve communication goals will be demonstrated. The presentation will also include examples of communication successes the presenter has seen in her own music therapy practice when working with persons with autism. PEGGY A. FARLOW, MAE, MT-BC, is a Continuing Lecturer in Music Therapy at Indiana University Purdue University, Fort Wayne, IN. She also provides services to people with disabilities in individual and group settings in her private practice. 10

11 Channing Shippen Music Therapy Intern Whidbey General Hospital Coupeville, WA web site: What is Music Therapy? Want to know more about Music Therapy? Here are some great online and book resources to get you started. Online Resources American Music Therapy Association (AMTA) Music Therapy Association of Washington Western Region AMTA - Music Therapy at Whidbey General Hospital Music Therapy at Berklee College of Music Books Dunn, B. (2012). More than a song: Exploring the healing art of music therapy. Seattle, WA: University Book Store Press. Hanser, S. B. (1999). New music therapist's handbook. Boston, MA: Berklee Press. Davis, W. B., Gfeller, K. E., & Thaut, M. H. (2008). An introduction to music therapy: Theory and practice. Silver Spring, MD: American Music Therapy Association, Inc. 11

12 Download This: Self-selected music and therapeutic attunement Trisha Ready, Ph.D. Beebe, B., Rustin, J., Sorter, D., & Knoblauch, S. (2003). An expanded view of intersubjectivity in infancy and its application to psychoanalysis. Psychoanalytic Dialogues, 13(6), Bion, W. R. (1962). Second thoughts: Selected papers on psychoanalysis (pp ). London, UK: Heinemann. DeNora, T. (2001). Aesthetic agency and musical practice: New directions in the sociology of music and emotion. In P. N. Jusline & J. A. Sloboda (Eds.), Music and emotion: Theory and research (pp ). Oxford, UK; Oxford University Press. Dissanayake, E. (2009). Root, leaf, blossom, or bole: Concerning the origin and adaptive function of music. In C. Trevarthen & S. Malloch (Eds.) Communicative musicality: Exploring the basis of human companionship (pp ). Oxford, UK: Oxford University Press. Hargreaves, D. J., & North, A. (1999). The functions of music in everyday life: Redefining the social in music psychology. Psychology of Music, 27(1), Knoblauch, S. H. (2000). The musical edge of therapeutic dialogue. Hillsdale, NJ: The Analytic Press. Konecni, V. (2008). Does music induce emotion? A theoretical and methodological analysis. Psychology of Aesthetics, 2(2), doi: / Malloch, S & Trevarthen, C. (2009). Musicality: Communicating the vitality interests of life. In C. Trevarthen & S. Malloch (Eds.) Communicative musicality: Exploring the basis of human companionship (pp. 1-15). Oxford, UK: Oxford University Press. Mickel, E., & Mickel, C. (2002). Family therapy in transition: Choice theory and music. International Journal of Reality Therapy, 21(2), Retrieved from EBSCOhost Neilzén, S., & Cesarec, Z. (1981). On the perception of emotional meaning in music. Psychology of Music, 9(2), doi: / Panksepp, J & Trevarthen, C. (2009). The neuroscience of emotion in music. In C. Trevarthen & S. Malloch (Eds.) Communicative musicality: Exploring the basis of human companionship (pp ). Oxford, UK: Oxford University Press. 12

13 Peretti, P. O., & Swenson, K. (1974). Effects of music on anxiety as determined by physiological skin responses. Journal of Research in Music Education, 22(4), doi: / Schubert, E. (2010). Affective, evaluative, and collative responses to hated and loved music. Psychology of Aesthetics, Creativity, and the Arts, 4(1), doi: /a Schulkind, M. D., Hennis, L., & Rubin, D. C. (1999). Music, emotion, and autobiographical memory: They're playing your song. Memory & Cognition, 27(6), Retrieved from EBSCOhost Searles, H. F. (1979). Countertransference and related subjects. New York, NY: International Universities Press, Inc. Stern, D. N. (1985). The interpersonal world of the infant. New York: Basic Books. Stone, M. (2006). The analyst's body as tuning fork: Embodied resonance in countertransference. Journal of Analytical Psychology, 51(1), Retrieved from EBSCOhost Tekman, H. G., & Hortacsu, N. (2002). Music and social identity: Stylistic identification as a response to musical style. International Journal of Psychology, 37(5), doi: / Trevarthen, C., & Aitken, K. J. (1995). Brain development, infant communication and empathy disorders. Intrinsic factors in child mental health. Development and Psychopathology, 6, Trevarthen, C. & Malloch, S. (2000). The dance of wellbeing: Defining the musical therapeutic effect. Nordic Journal of Music Therapy,9(2), Trevarthen, C. (2005) Action and emotion in development of the human self, its sociability and cultural intelligence. Why infants have feelings like ours. In J. Nadel and D. Muir (Eds.) Emotional development (pp ). Oxford, UK: Oxford Unversity Press. Trehub, S. (2003). The developmental origins of musicality. Nature Neuroscience, 6(7), 669. Retrieved from EBSCOhost Tronick, E. & Cohn, J. (1989). Infant-mother face-to-face interaction: Age and gender differences in coordination and the occurance of miscoordination. Child Development, 60, Tustin, F. (1972). Autism and childhood psychosis. London, UK; Karnac Books. Winnicott, D. W. (1971). Playing and reality. London, UK: Routledge. 13

14 Music Therapy in Hospice and Palliative Care Jennifer Greene, MA, MT-BC Hospice and Palliative Care What is it? Hospes- (Latin): hospital, hospitality, hospice, hostel, host Hospice: 1: a health-care facility or program for people who are terminally ill 2: a lodging for travelers, especially one kept by a religious order 3: a focus on care, not cure Palliative: 1: anything used to alleviate pain, anxiety, etc. Palliative care: 1: to prevent and relieve suffering and to support the best possible quality of life 2: can be provided before patient has a prognosis leading to hospice referral Hospice Music Therapy Who (Music Therapist): music skills and counseling skills required Who (Clientele): varying ages, races, cultures, diagnoses, prognoses, family status, faith traditions, socio-economic levels, etc. Where: private homes, adult family homes, hospice units within hospitals, skilled nursing and/or rehabilitation facilities What and How: home-based; individual or group sessions; instrument/song choices Why: Goals of therapy may include: (1) Decrease pain, anxiety and/or agitation (2) Enhance quality of life (3) Provide support: emotional, spiritual, family (4) Relaxation (5) Elevate mood and ease depression (6) Other, client-specific goals (e.g., music lessons) Case Studies (names changed to honor confidentiality) Irene s Irish eyes John wishes you were here Jesus loves Rose Sheri s grace is amazing Mickey will let it be Rich is my sunshine Casey s eye is on the tiger Bach brings joy to Gerald s desiring Lucia is going home Fred s NY, NY news 14

15 Music Therapy in Hospice and Palliative Care American Music Therapy Association. Bruscia, K.E. (1998). Defining music therapy, 2nd ed. Gilsum, NH: Barcelona Publishers. Bruscia, K.E. (1991). Case studies in music therapy. Gilsum, NH: Barcelona Publishers. Center for Music Therapy in End of Life Care: Training Program for Hospice Music Therapists. Dileo, C. & Loewy, J.V. (Eds.) (2005). Music therapy at the end of life. Cherry Hill, NJ: Jeffrey Books. Hilliard, R.E. (2005). Hospice and palliative care music therapy: A guide to program development and clinical care. Cherry Hill, NJ: Jeffrey Books. Hilliard, R.E. (2005). Music therapy in hospice and palliative care: A review of the empirical data. Evid Based Complement Alternat Med June; 2(2): Kubler-Ross, E. (1969). On death and dying. New York: MacMillan Publishing Co. Levine, Stephen (2005). Unattended sorrow: Recovering from loss and reviving the heart. Rodale Press. National Hospice and Palliative Care Organization: Hospice Preamble and Philosophy. Providence Hospice of Seattle: Mission, Values, History and Services. Contact Info Jennifer Greene, MA, MT-BC Board-Certified Music Therapist Seattle, WA or jagreene3@gmail.com 15

16 The Use of Neurologic Music Therapy Techniques to Address Stroke Jen Hastings, MA, MT-BC Come learn about Neurologic Music Therapy (NMT) techniques for treating stroke. This presentation will be useful for music therapists who are interested in NMT as well as those who have taken the training and want more practice using the techniques. Come prepared for a mix of didactic and hands-on learning. Jen Hastings is a masters-level music therapist with more than 13 years in practice. She is currently working with veterans at the San Francisco VA hospital and in private practice, where she integrates both NMT and improvisational models into patient treatment. Here is a list of resources related to the presentation: Albert, M., Sparks, R., & Helm, N Melodic intonation therapy for aphasics. Archives of Neurology, 29, Belin, P., Van Eeckhout, P., Zilbovicius, M., Remy, P., Francois, C., Guillaume, S., Chain, F., Rancurel, G., & Sampson, Y Recovery from nonfluent aphasia after melodic intonation therapy. Neurology, 47, Gregory, D Music listening for maintaining attention of older adults with cognitive impairments. Journal of Music Therapy, 39 (4), Lamontagne, A. & Fung J Faster is better: Implications for speed-intensive gait training after stroke. Stroke, 35 (11), Luft, A.R., McCombe-Waller, S., Whitall, J., Forrester, L.W., Macko, R., Sorkin, J.D., Schulz, J.B., Goldberg, A.P., & Hanley, D.F Repetitive bilateral arm training and motor cortex activation in chronic stroke: A randomized controlled trial. JAMA, 292 (15), McCombe, W.S., Harris-Love, M., Liu, W., & Whitall, J Temporal coordination of the arms during bilateral simultaneous and sequential movements in patients with chronic hemiparesis. Experimental Brain Research, 168(3), Patel, A.D., Iversen, J.R., Wassenaar, M. & Hagoort, P Musical syntactic processing in agrammatic Broca s aphasia. Aphasiology, 22, Patel, A.D Rhythm in language and music: Parallels and differences. Annals of the New York Academy of Sciences, 999, Prassas, S.G., Thaut, M.H., McIntosh, G.C., & Rice, R.R Effect of auditory rhythmic cuing on gait kinematic parameters in stroke patients. Gait and Posture, 6, Schlaug, G., Marchina, S., & Norton, A From singing to speaking: Why singing may lead to recovery of expressive language function in patients with Broca s Aphasia. Music perception, 25,

17 Schlaug, G., Marchina, S. & Norton, A Evidence for plasticity in white-matter tracts of patients with chronic Broca s aphasia undergoing intense intonation-based speech therapy. Annals of the New York Academy of Sciences. Annals of the New York Academy of Sciences. 1169, Straube, T., Schulz, A., Geipel, K., Mentzel H.J., & Miltner, W.H Dissociation between singing and speaking in expressive aphasia: the role of song familiarity. Neuropsychologia, 46, Teasell, R.W., Bhogal, S.K., Foley, N.C., & Speechley, M.R Gait retraining post stroke. Topics in Stroke Rehabilitation, 10 (2), Thaut, M.H., Kenyon, G.P., Hurt, C.P., McIntosh, G.C., & Hoemberg, V Kinematic optimization of spatiotemporal patterns in paretic arm training with stroke patients. Neuropsychologia, 40, Thaut, M.H., Kenyon, G.P., Schauer, M.L., & McIntosh, G.C The connection between rhythmicity and brain function. IEEE Engineering in Medicine and Biology Magazine, 18 (2), Thaut, M.H., McIntosh, G.C., Prassas, S.G., & Rice, R.R The effect of auditory rhythmic cuing on stride and EMG patterns in hemiparetic gait of stroke patients. Journal of Neurologic Rehabilitation, 7, Thaut, M.H., McIntosh, G.C., & Rice, R.R Rhythmic facilitation of gait training in hemiparetic stroke rehabilitation. Journal of Neurological Sciences, 151, Thaut, M.H., McIntosh, G.C., Rice, R.R., & Prassas, S.G The effect of auditory rhythmic cuing on stride and EMG patterns in hemiparetic gait of stroke patients. Journal of Neurologic Rehabilitation, 7, Thaut, M.H., McIntosh, G.C., Rice, R.R., & Prassas, S.G Effect of auditory rhythmic cuing on temporal stride parameters and EMG patterns in hemiparetic gait of stroke patients. Journal of Neurologic Rehabilitation, 7, Thaut, M. H Neural basis of rhythmic timing networks in the brain. Annals of the New York Academy of Sciences, 999, Thaut, M. H Rhythm, music and the brain: Scientific foundations and clinical applications. Routledge: New York. Whitall, J., McCombe, Waller, S., Silver, K.H., & Macko, R.F Repetitive bilateral arm training with rhythmic auditory cueing improves motor function in chronic hemiparetic stroke. Stroke, 31 (10), Yoo, J The role of therapeutic instrumental music performance in hemiparetic arm rehabilitation. Music Therapy Perspectives, 27(1),

18 Adaptive Use Musical Instrument(AUMI): David Knott, MT-BC For the Clinic and the Home Seattle Children s Hospital AUMI is free, downloadable; PC & MAC platform software that enables users to generate musical rhythms and improvise scale based melodic patterns using very small movements. It was designed to enable users with limited volitional movement to participate in solo and ensemble music improvisation and composition. By using a computer s web camera, a target point is selected on the user (for example nose, or eyes) and tracked movements of that point trigger musical sounds. Four modes of play are possible and many sound options are available for the triggered sounds. Music benefits: aesthetics, rewarding, motivating, creating and developing relationships, deep personal connection and neural optimization: For more about clinical neuromusicology, visit the Center for Biomedical Research in Music at: Specific benefits of AUMI: greater access to active musicmaking, capitalizes on being screen based (but doesn t have to be), scalability Goals suited for application of the AUMI: > Facilitate engagement and participation > Practice improved posture > Functional movement objectives for the neck (flexion, extension and hyperextension; lateral extension and rotation) > As a motivator with newly diagnosed spinal cord injuries > Reinforcing words yes and no paired with head movements > Can be used to allow participants with limited mobility to participate in playing music with others. Individuals without use of their hands and arms but who retain some limited ability to move their head may be particularly motivated by the AUMI. Additionally, because of its availability and ease of use, AUMI can be used at home for recreational music play between siblings and caregivers. 18

19 Get started Go to: Fill out the required download form and proceed. If you are unable to provide any of the requested information, simply put N/A. Once downloaded and installed, select the AUMI How-to guide to help you get started. Helpful AUMI Tutorial videos are also available. Screen shot from the software depicting the control panel. Note location of ON&OFF and RECORD. Four Modes of Play BRIGHTNESS and CONTRAST can be widely adjusted to varying effects. Relative Movement Percussion movements Left, Right, Up and Down trigger four sounds; movement sensitivity can be adjusted so even small movements can create a rich, four-part sound field Split screen percussion - can set multiple splits so a movement across the screen can trigger numerous assignable sounds Quarter screen percussion center box can be scaled so the participant can rest cursor there without triggering any sounds Keyboard mode can change the target range so even very small movements can play a two-octave range Hints: Record for relatively brief passages, experiment with camera placement to maximize effectiveness of camera s tracking ability,.wav sound files can be placed in Sound Presets folder, slower movements are more easily tracked The Adaptive Use Musical Instrument is a project of Deep Listening Institute, Ltd. developed by Zane van Duzen and Zevin Polzin under the direction of Pauline Oliveros and Leaf Miller. 19

20 Music Therapy, At Risk Youth and the Adolescent Offender Professional Findings Music Therapy Tiered Interventions ( b r a i n = d e v e l o p m e n t a l / e x t e r n a l r e l a t i o n s h i p s = M u s i c T h e r a p y ) Tier Interventions based on Developmental Level Plan sessions beginning with Receptive interventions and progress towards Expressive: Receptive I: Music as TX: Receptive I - II: Music as TX to - Music in TX Expressive l: Music as TX to - Music in TX Expressive I - li: Music as TX to - Music in TX Expressive II: Music in TX Tier Role as a Music Therapist Facilitator Musician as Therapist - to Therapist - Therapist as Musician Tier Therapeutic Agent of Change Client Music Relationship - to Client - Music Therapist Tier the Sequence of interventions Facilitate movement from one stage to the next. May 5, 2012 Karla C. Hawley, M.Ed., MT-BC, MTWA Conference 1 Karla C. Hawley Karla O'Hagen-Hawley <karlaohagenhawley@gmail.com> 20

21 Arts and Minds Early Memory Wellness Program: Establishing a Trend Jim Couture, MA, MT-BC JCouture@olycap.org Director, Arts & Minds Memory Wellness Program, Port Angeles, WA Brookdale early memory loss model: At least weekly, four hours with meal Educational (learn skills such as stress management, relaxation, healthy lifestyle, cognitive games and experiences) Social (important to engage in enhancement experiences with others for peer support, camaraderie, cognitive stimulation) Exercise (maximize physical and cognitive functioning, increase blood flow, alertness, memory enhancement) Compensatory skill building (new learning, new brain pathways) Arts & Minds brain fitness model: Music-Based Evaluation of Cognitive Functioning Music and movement stretching (AIM or BrainDance) Reading aloud and singing (many song types and themes) Cognitive exercise (various visual, auditory, tactile) Arts process (dance, fine art, music, storytelling, poetry, drama) Lunch social (senior nutrition program) including ambient music Education and skill development (relaxation training, special interest, memory research, nutrition, health and related topics) Mobile community classes The BrainDance is a series of exercises comprised of eight fundamental movement patterns that we move through in the first year of life. Research has shown that these patterns are crucial to the wiring of our central nervous system. This "dance" is an excellent full body and brain warm-up for adults. Adventures In Movement (AIM) is a program designed to help individuals reach their highest potential through movement education. The method includes a series of exercises completed rhythmically in a consistent sequence, locomotor movements and creative activities, all with music as reinforcement. Artist-In-Residence Arts & Minds includes an artist-in residence training program to assist artists in the community learn about and access our underserved older adult population. Two volunteer staff have been with us since May 2010 when the program began. We met for four hours weekly for at least three months prior for education, training and program development. One is an artist enrolled in the Senior Community Service Employment (Title 21

22 V job skills training) Program and the other a professional School of American Ballet trained dancer (including study with George Balanchine and Mark Morris). Weekly program plans include opportunities for each to utilize modalities in a variety of ways. All experiences are tracked and the more successful ones are scheduled more often. Arts processes may include discussion and quizzes. These are some of the experiences that have been used. Other cognitive and educational experiences are also employed. Music Experiences Piano song medley (identify / recognize / recall theme or titles) Lyric reading aloud Music and Movement Sing along from memory (and complete song title) Identify / Recognize music recordings or video clips Music experiences related to a theme Music appreciation Drumming / creative expression Art Experiences Paper folding origami (simple to complex) 3D garden dioramas (plan and create) Matching brushes to outline or word, basic strokes, experiment, create Mixed media collage on a theme Locate local art galleries on a map Color mixing wheel (simple to complex) Build Life Map Mural (questionnaire, color coded pictures and events on timeline) Sculpting with bread dough Portrait and still-life painting at easel Basic shape drawing (simple to complex, intersecting; draw and identify object) Art Appreciation -present and discuss various artists, works, techniques, periods, themes, etc. (Norman Rockwell, WWII, sports, cowboys) Other: Mandalas, masks, flower arranging, hidden image artwork (Bev Doolittle) Dance/Movement Experiences Brain Dance follow basic categories of movement for the whole body Stretching and exercise routine to imprint on memory (add complexity and contributions) List types of dance, identify / recognize demonstrated dance, dance music Creative movement pattern/routine (choreographed to a specific piece, poem or story) Tying knots and swinging lariat Dance Appreciation -present and discuss specific dance stories, choreographers, dancers and films with audio-visual supplements Identify and express feelings (body and facial gestures, from pictures, role play) Mark Morris Dance for Parkinson s Disease Related Arts Experiences Timeslips storytelling (evocative picture/artwork and questions to stimulate response - touch, smell, taste, feel, hear, see, think) Poetry rhyming exercises, clap, tap, stomp, drum, recite entire word list together, link words into a chosen form (e.g. limericks) Photography show and discuss personal collections (wilderness, bubble art), create and match participant photos, view photos and videos of active engagement Improvisational acting exercises movement, facial and body gestures, emotion expression and identification, verbal and non-verbal styles 22

23 The ABCs of NMT: The Foundation and Principles of Neurologic Music Therapy Patti Catalano, MT-BC, Neurologic Music Therapy Fellow Music Therapy The clinical and evidence-based use of music interventions to accomplish individualized nonmusical goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program. Specialties within music therapy o Guided Imagery through Music (GIM) o Analytical Music Therapy o Nordoff-Robbins Creative Music Therapy o Behavioral Music Therapy o Neurologic Music Therapy o And others... Neurologic Music Therapy o The therapeutic application of music to cognitive, sensory, and motor dysfunctions due to neurologic disease of the human nervous system. o Based on a neuroscience model of music perception and production and the influence of music on functional changes in nonmusical brain and behavior functions (RSMM). o Treatment techniques are based on scientific research and are directed toward functional therapeutic goals (TDM). These techniques are standardized and applied to therapy as TMIs (Therapeutic Music Interventions) or TMEs. NMT Domains o Sensorimotor o Speech and Language o Cognition What s at work? o Shared Neural Networks o Optimization o Entrainment o Aesthetics o Research Model o Transformational Design Model Transformational Design Model o Assessment 23

24 o Goals & Objectives o Non-musical exercises -Isomorphic/Therapeutic Logic: same as general exercise -Scientific Logic: based on research evidence -Musical Logic: musically pleasing, using all powers of music o Therapeutic Music Experience or Intervention o Transfer to functional real-world applications Sensorimotor Speech and Language Cognition Rhythmic Auditory Stimulation (RAS) Rhythmic Speech Cuing (RSC) Musical Sensory Orientation Training (MSOT) Patterned Sensory Enhancement (PSE) Melodic Intonation Therapy (MITT Musical Attention Control Training (MACT) Therapeutic Instrumental Music Performance (TIMP) Who do NMTs work with? o All ages o All abilities Musical Speech Stimulation (MUSTIM) Oral Motor And Respiratory Exercise (OMREX) Therapeutic Singing (TS) Vocal Intonation Therapy (VIT) Developmental Speech and Language Training (DSLM) Symbolic Communication Training through Music (SYCOM) Musical Neglect Training (MNT) Auditory Perception Training (APT) Musical Mnemonics Training (MMT) Associative Mood and Memory Training (AMMT) Musical Executive Functioning Training (MEFT) Music Psychotherapy and Counseling (MPC) For more information see: Thaut, M. (2005) Rhythm, Music and the Brain: Scientific Foundations and Clinical Applications. New York: Routledge. Thaut, M. (1999) Training Manual for Neurologic Music Therapy. Colorado State University: Center for Biomedical Research in Music. Gabby Giffords Finding Voice through Music Therapy: Part 1) Part 2) Part 3) 24

25 Music therapy as procedural support: Understanding the effects of music therapy on pain and anxiety from a neurological perspective Olivia Swedberg Yinger, MME, MT-BC oliviaswedberg@gmail.com Procedural Support Music Therapy: The use of music and aspects of the therapeutic relationship to promote healthy coping and decrease distress in individuals undergoing medical procedures (Ghetti, 2011, p. 4) Neurological foundations of pain and anxiety Effects of music on pain and anxiety Research on music therapy as procedural support Biomedical theory for the use of music therapy as procedural support Areas for future research Music Therapy Techniques: Musical alternate engagement Music-assisted relaxation Integration Considerations Pediatric vs. Adult Non-invasive vs. Invasive First time vs. repeat procedure History of medical experiences 25

26 Characteristics of the music Elements of the therapeutic relationship What to say and what NOT to say during pediatric procedures: Adult coping-promoting behaviors: o Non-procedural talk/singing: What kind of animal did Old MacDonald have on his farm? o Humor directed at the child: The cow says, oink! o Commands to use coping strategies (deep breathing): Take a deep breath. Adult distress-promoting behaviors: o Making reassuring comments: It will be over soon. o Apologizing: I m sorry. o Making empathic statements: I know it hurts. o Giving control to the child: Tell me when you re ready to start. o Criticizing: Don t be such a baby. References Blount, R.L., Corbin, S.M., Sturges, J.W., Wolfe, V.W., Prater, J.M., & James, L.D. (1989). The relationship between adults behavior and child coping and distress during BMA/LP procedures: A sequential analysis. Behavior Therapy, 20, Ghetti, C. (2011). Music therapy as procedural support for invasive medical procedures: Toward development of music therapy theory. Nordic Journal of Music Therapy, DOI: / Taylor, D. (1997). Biomedical foundations of music as therapy. St. Louis: MMB Music, Inc. 26

27 Barbara Dunn, PhD, LICSW, MT-BC P.O. Box 842, Langley, WA 98260, Phone: Web site: Peace & Music Therapy in a Conflicted World Music Therapy Association of WA - Symposium Seattle, WA May 5, 2012 Introduction Examples of programs that use music to address conflict Conflict resolution/transformation strategies Music and mediation Experiential learning Discussion I Am Willing By Holly Near Hereford Music (ASCAP) chorus I am open and I am willing To be hopeless would seem so strange It dishonors those who go before us So lift me up to the light of change 27

28 Bibliography and Resources Crowe, B. J. (2004). Music and soulmaking: Toward a new theory of music therapy. Lanham, MD: Scarecrow Press. Dunn, Barbara M. (2008). Transforming conflict through music. Ph.D. dissertation, Union Institute and University, United States -- Ohio. (available through ProQuest - Publication No. AAT ). Fisher, R., Ury, W., & Patton, B. (1991). Getting to yes: Negotiating agreement without giving in (2nd ed.). New York: Houghton Mifflin. Hadley, S. (2006). Feminist Perspectives in Music Therapy. Gilsum, NH: Barcelona Press. Laurence, F. & Olivier, U., (Eds.). (2011). Peace & Policy, Music and Solidarity, volume 15. Transaction Publishers. Lederach, J. P. (2003). The little book of conflict transformation. Intercourse, PA: Good Books. Lederach, J. P. (2005). The moral imagination: The art and soul of peacebuilding. New York: Oxford University Press. Liebmann, M. (Ed.). (1996). Arts approaches to conflict. London: Jessica Kingsley. Rosenberg, M. (2005). Nonviolent communication: A language of life. Encinitas, CA: PuddleDancer Press. Stone, D., Patton, B., & Heen, S. (1999). Difficult conversations: How to discuss what matters most. New York: Penguin Books. Urbain, O. (Ed.). (2008). Music and conflict transformation: Harmonies and dissonances in geopolitics. London: I. B. Tauris. Web Sites/Organizations Alliance for Conflict Transformation. Association for Conflict Resolution. Build a Bridge. Create 4 Peace. Insight on Conflict. International Committee of Artists for Peace. Public Conversations Project. Music and Arts in Action. National Coalition for Dialogue & Deliberation. Playing for Change. Transcend: Arts and Peace Network. Voices: A World Forum for Music Therapy. 28

29 Music Therapy Techniques to Improve Communication Skills in Persons with Autism by Peggy A. Farlow, MAE, MT-BC Intentional communication involves coordinated attention to object, action or person. Coordinated attention is an early indicator of understanding others intentions and is a precursor to linguistic communication. Intentional communication includes use of gestures, eye gaze, verbal and non-verbal actions. Theory of Mind refers to the ability to conceptualize that what is going on in someone else s mind may not be the same as in one s own. Not understanding this concept excludes the possibility of understanding or joining in the subtleties of social interchange. Understanding the Theory of Mind concept helps the person understand the following. Ability to attribute mental status to self and others in order to understand and predict behavior Understanding that seeing, hearing and feeling can be directed selectively as attention Attention can be directed and shared by the act of pointing Directed attention and interests of another is an underlying motive behind all human communication Joint Attention is a precursor to understanding Theory of Mind and refers to the process of sharing one s experience of observing an object or event by following gaze or pointing gestures. Understanding joint attention is critical for social development, language acquisition and cognitive development. To create Joint Attention Follow the child s lead Talk about what the child is doing Imitate the child s utterances and actions Expand on the child s utterances Manipulate the environment to engage the child To provide Structure, yet Functional treatment the therapist must create interactive interventions that occur within predictable routines. The therapist must apply techniques of varied directiveness and pursue practical communication and language goals. Structure refers to the degree to which the therapist controls stimuli, response acceptability and response consequences Functionality refers to the degree to which the therapist uses natural events, objects and consequences in the pursuit of practical goals within typical routines 29

30 30 Structured, yet Functional techniques Once a child begins to anticipate turn-taking (routine), the therapist can 1. Delay with expectant waiting 2. Use novel objects or actions 3. Omit or forget a critical object needed 4. Sabotage materials so they do not work as expected

31 Acknowledgments Music Therapy Symposium 2012 was made possible with the generous support of: Music Therapy Association of Washington Seattle Pacific University Sigma Alpha Iota Music fraternity for women The Wilson Trust Music Therapy Project SPU Student Music Therapy Club MadRobin music & dance Carol Bitcom (music therapy pioneer) Estate 31

32 Resources For further information on music therapy visit: American Music Therapy Association ( The Academy of Neurologic Music Therapists ( Certification Board for Music Therapists ( Music Therapy Association of Washington ( Seattle Pacific University ( Western Region Music Therapy Association ( World Federation of Music Therapy ( 32