• Journal of Music and Human Behavior
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• v.11 no.2
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• pp.59-80
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• 2014

Helen Lindquist Bonny developed the Bonny Method of Guided Imagery and Music (BMGIM), a music oriented self-exploration of consciousness, with the influence of humanistic and client-centered approaches. BMGIM can help people manage pain, anxiety, relationship issues, depression, and other conditions through self-awareness and self-potential. The purpose of this biographical study was to explore Bonny's early life experiences and their contribution to the humanistic and transpersonal approach to music therapy. The study was organized in chronological order: Bonny's childhood and young adulthood; inspirations that led to development of BMGIM; and research and clinical events that helped solidify the development of BMGIM. An interview with Bonny and a review of the literature supported the significance of these periods. The years between 1972 and 1979 mark the development of the first series of BMGIM music programs, which Bonny said served as the base for many later GIM music programs developed. Bonny's contribution to the field of music therapy includes the provision of strong foundation for music therapy based on Maslow's and Rogerian approach, and the introduction of time-valued music to the music therapy field.

• Journal of Music and Human Behavior
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• v.20 no.1
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• pp.47-74
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• 2023

The purpose of this study was to develop a music teacher training program for global citizenship education and explore its effects on the participants' capacity for global citizenship. The program focused on multicultural education, including diversity and tolerance, among various topics in global citizenship education and consisted of practice to develop lesson plans for middle school music classes as well as theory about music in diverse sociocultural environments. The results showed that this program positively affected the participants' attitudes about a music teacher's role in the multicultural classroom. This program enabled participants to identify and reflect on any prejudice they may have against diversity and multiculturalism and to consider the role of music teachers in multicultural learning environments. The program also helped the participants develop greater self-efficacy as music teachers in multicultural environments and see music as a symbolic expression and a social and cultural product. Finally, the participants showed their positive attitude toward transformative pedagogy and considered various topics in global citizenship education beyond diversity and multiculturalism through multilateral understanding and exploration about music based on theory and practice in global citizenship education.

• Korean Journal of Childcare and Education
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• v.8 no.6
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• pp.257-274
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• 2012

The purpose of this study is to examine the reality of early childhood education and recognition of its teachers. The subjects of this study were 173 day care center teachers. They were surveyed by questionnaire and the results were tabulated using descriptive statistics. According to the result, 1) the majority answered that test cohort is two years children, number of subject is between 10 and 20 children, required time is 20-30 minutes, frequency is once a week, and teaching duration is more than a year. 2) It was reported that the education plan is usually submitted to day care center teachers and if it is not well linked, there are not many things that can be revised after consultation with teacher, even though it is well delivered. 3) Although they answered that the preparation of teaching materials for music activities were well used, the efficiency of the material towards children was reported as just normal. 4) There was a replacement of the music teacher during the specialized music education program.

• Journal of Hospice and Palliative Care
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• v.21 no.4
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• pp.109-114
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• 2018

The objective of this paper is to suggest plans to properly establish and promote the use of hospice music therapy by examining its necessity and how it is being used in Korea. Hospice music therapy is a clinical and evidence-based use of music interventions administered by a professional to alleviate total pains suffered by hospice patients and their families. While the effects of hospice music therapy have been reported by many studies, its meaning and value are still poorly understood in Korea, which explains the lack of related institutions in the nation. Recently policy-wise and legislative efforts have been made to promote hospice and palliative care, which in turn will likely fuel demand for hospice music therapy. Therefore, the meaning and role of hospice music therapy should be defined by major hospice and palliative care institutions and societies, followed by institutional and academic efforts as follows. First, a set of qualification criteria for hospice music therapists should be established to provide proven music therapy interventions to patients and their families. Second, a systematic program offering both theoretical and practical trainings needs to be developed to foster hospice music therapists. Last but not least, clinical studies should be promoted with development of a research road map for hospice music therapy and a standard protocol.

• Journal of Music and Human Behavior
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• v.10 no.2
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• pp.35-54
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• 2013

The purpose of this study was to examine how Korean music therapy students experience growth under clinical supervision. The investigator conducted in-depth qualitative interviews with 9 students from 3 different universities in Seoul who had at least three semesters of clinical supervision. Data was analyzed using a modified grounded theory approach to construct the growth experience of music therapy supervisees. Results suggest that growth can be understood in terms of both personal and professional domains and includes four types of experiences: growth hindering, fostering, mediating, and revealing. In the personal domain, hindering factors are defensiveness, narcissistic trauma, avoidance and anxiety whereas growth fostering and mediating factors include reflection on self, musical self, unconscious drives and conflicting issues as well as self-driven problem solving skills. As a result, growth in the personal domain is associated with increased self-acceptance and self-awareness. Growth in the professional domain is hindered by having trust issues, performance anxiety, identity crisis, and being hypersensitive to the judgment of others. On the other hand, growth is fostered and mediated by opening the self and interacting more with others, building trusting relationships with peers and supervisors, and establishing a new relationship with music, which leads to improved attitude, increased motivation, and more efficient and effective training.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.12
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• pp.597-607
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• 2019

In this study, we suggest a policy for setting the direction of Jeju Music Education with implications from the process of arranging philosophical theories related to music education and analyzing advanced cases. The philosophical theories of music education were examined by Schiller, Steiner, Dewey, Bourdieu, Reimer, and Elliotts. In addition, this study checked the lessons in music education programs in Germany, Venezuela, and Finland, and we make policy suggestions in four contexts to set the direction of music education in the Jeju community based on interviews with 10 experts. Suggestions for improving social awareness of music education, suggestions for music education in the elementary and secondary public school sectors, in the proposals for music education in the lifelong education sector, and the suggestions for institutional policy all included music education professionals recruited from among the culture and art sectors within the Jeju Special Self-Governing Province's Cultural Policy Division. Music advisors were also recruited from the music and sector music councils within the Jeju Special Self-Governing Province Council.

• Journal of Music and Human Behavior
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• v.3 no.1
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• pp.1-11
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• 2006

It has been passed more than 50 years of the history of music therapy on school aged children since there had been enforced the 'Education for All Handicapped Children Ace' in United states 1975, which had made an important role of music therapist augmented. In the case of South Korea, through reforming the law on March 2005 that therapist educator has to be allocated on the special class in general school, at least, patrol teacher is charged on that, which made possible to start music therapy as initial stage was realized in realistic way on the spot of school. This research has primary concerns as following. The one thing is intended that figuring the opinions of special educators and music therapists involved with the music therapy in elementary school. And the other thing is intended that making a investigation of actual condition on the spot of existing school, moreover, pinpointing at issue and suggesting the change for the better than now. In order to undertake theses intentions, I examined preceding researches and existing data, distributed the questionnaire involved the music therapy of elementary school to the people who are composed of special educators-65 persons and music therapists-30 persons from 18th October to second of November, and analyzed collected by descriptive statistics. According to the analyzed results, it says that special educator and music therapist know well about the necessity of music therapy in elementary school and its effectiveness is manifested in positive way. Moreover, in order to systemize and promote a program of music therapy, what is most urgent thing is the completion of instrument and music therapy room and there are needed strong supports at the level of nation and institution. It has become pervasive on the demand of therapy education by parents in all of the places involved with disabled children such as special school, special class, local welfare community, and early education. This research shows that how therapy and education was connected as music therapy on the spot of the elementary school, and the necessity of the education of music therapy.

• Journal of Music and Human Behavior
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• v.17 no.2
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• pp.101-117
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• 2020

This study aimed to investigate music and imagery (MI) experiences in group settings using a qualitative case study approach. For this purpose, a focus group interview was conducted with four professional music therapists, who participated in peer MI group sessions without a therapist. Data collected from the interview were analyzed by qualitative data analysis procedures. Results demonstrated that successful group music experiences in the early stages, such as sharing and selecting music together within the group or experiencing group support, leaded to developing trust towards music and the group in participants. Moreover, the trust built upon such basis was shown to facilitate expansions in emotional experiences, imageries, relational aspects, and music resources, which led to new personal insights. In addition, the participants recognized the supportive nature of the group played a role of encouraging participants to challenge new experiences during MI experiences. The results suggest that group as a therapeutic factor can promote expansive emotional experiences and insights. Furthermore, the findings may provide implications for music psychotherapy applications in group settings.

• Korean Association of Arts Management
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• no.57
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• pp.85-126
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• 2021

This study aims to examine the interaction between jazz musicians playing in domestic jazz clubs and audiences visiting jazz clubs in depth. This study conducted an in-depth interview, a qualitative research methodology, to find out the subjective views of jazz club musicians and audiences about jazz club performances, and analyzed the contents and presented the results. The results of this study are as follows: First, jazz musicians perceived jazz clubs as the center point of their musician careers, and from the perspective of the audience, jazz clubs were a place where jazz lovers gathered voluntarily, and where they could enjoy musical communication in a comfortable atmosphere. Second, jazz club performances gave jazz musicians the autonomy to play and considered them suitable for creating optimized sounds, and the audience recognized that jazz musicians could experience performances vividly on stage close to the audience. Third, the way jazz musicians interacted with the audience was active for musical communication with the audience, and the audience preferred the way that interaction could contribute to their performance, and the audience recognized the interaction through musical communication with the musician and the musician's consideration for the audience. Fourth, jazz musicians played a major role in realizing a performance in which interaction with the audience was complete, and audiences perceived interaction as a joy of improvisation, a bond with jazz musicians, and a special experience. This study confirmed the jazz club's status as a cultural space for the public's jazz enjoyment as well as a performance base that ultimately promotes the development and spread of jazz gods in Korea, and it is meaningful that it can serve as a guideline for jazz performance planning and jazz club operation from an art management perspective.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.8 no.1
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• pp.123-132
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• 1997

The purpose of this paper is to introduce the current trends of British Music Therapy and its effectiveness as a therapeutic intervention for the autistic children. This paper consists of two parts；Part one will provide a general picture of music therapy by looking at its fundamental concepts and therories. Part II(two case studies) will illustrate the actual processes of music therapy which can engender a therapeutic relationship between the therapist and the autistic child. Through the first case study of Charlie, a 3 year and 9 month non-verbal autistic boy, we shall see how music therapy facilitates both non-verbal and verbal communication and a form of pretend play. The second case of Mark, a 10 year old autistic boy with complex emotional, behavioural and learning difficulties who had been sexually abused in the past, presents how the therapist’ acceptance of the child’ being and the shared experience of music therapy enable the child to express his difficulties and to develop the awareness of self and others. By exploring both musical and interpersonal aspects of music therapy, this gives an in depth examination of therapeutic processes. In order to clarify clinical procedure, this paper is viewed in musical, developmental and psychodynamic perspectives. To ensure confidentiality, the clients will be referred to by alter-native forenames.