• Journal of Music and Human Behavior
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• v.14 no.2
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• pp.91-105
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• 2017

Community music therapy (CoMT) has been recently developed and expands the opportunities for music therapy. The concept of CoMT is introduced in this article, and its three attributes of community, music, and health are reviewed. This study specified each attribute of CoMT: a community (a group of people, a field where members of a group interact with each other), music (a substance of interaction, collective music-making), and health (motivation and goal of interaction, relational and social well-being). The application and interactions of the three attributes of CoMT are introduced as in the concept of community music, music and health, and community health. How CoMT can be applied to the field of music therapy is also detailed and based on the concept of CoMT and its relationship with the attributes, the CoMT was reconstructed as CoMuHeal in this study. Future studies are needed to propose how music therapy approaches can be developed to provide music for well-being and better health in the community and how CoMT can be applied in collaboration with other professional fields.

• Journal of Music and Human Behavior
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• v.13 no.1
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• pp.19-40
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• 2016

This study provides numerical data on the status of music therapy practices in 54 hospice and palliative care settings in Korea. Two different questionnaires for music therapists and coordinators were sent to 54 coordinators via email, and 47 (87%) hospitals and centers replied by email or post. The survey period was October 30 through December 5, 2014. Music therapists were asked to respond to 65 questionnaire items regarding working conditions, environment, session process, and personal competence. Coordinators were asked to complete 28 questionnaire items regarding the status of music therapy in their perspective setting. Twenty-two (46.8%) hospitals and centers were running music therapy programs with 28 music therapists, and 19 (67.9%) of these music therapists majored in music therapy. There was a significant difference between music therapists (M= 3.43, SD = 0.96) and coordinators (M= 2.73, SD = 0.77) regarding conditions and environment of music therapy sessions (p < .05). The circumstances and conditions for music therapy are inad quate for optimal implementation of music therapy practice. However, the perceived benefits of music therapy by coordinators suggest that music therapists do play an important role in hospice and palliative care. This research provides the first quantitative baseline data of music therapy status in hospice and palliative care settings in Korea.

• Journal of Music and Human Behavior
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• v.18 no.1
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• pp.103-122
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• 2021

The purpose of this study was to investigate music therapists' awareness of the music therapy national certification (MTNC). Online questionnaires were distributed to music therapists who voluntarily agreed to participate in this research and 143 completed surveys were collected for analysis. The questionnaire consisted of 37 questions (background information, awareness of the necessity for MTNC, expected effects of national certification, and qualification management). According to the collected data, music therapists reported that they were highly aware of the necessity for MTNC. The participants believed that excessive issueing of private licenses might deteriorate the quality of music therapy services and job opportunities. As alternatives to address private license-related issues, participants agreed with the establishment of national certification system. Given that participants did not have enough knowledge of MTNC and the MTNC may have both pros and cons, the results should be generalized with caution. Still, this study could provide basic information for further discussion on the establishment of MTNC.

• Journal of Music and Human Behavior
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• v.20 no.1
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• pp.99-115
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• 2023

Given the ongoing discussion regarding remote music therapy following the COVID-19 pandemic and the pivotal role of parental involvement in it, this study investigated parents' perceptions on their roles in a synchronous videoconferencing music therapy for their children with developmental disabilities. A total of 32 participants participated in an online survey comprising 68 questions. Descriptive statistics summarized the collected responses, and Pearson's correlation was conducted to examine the relationship between perceived parental roles, psychological burden, and willingness to participate in future remote music therapy. The findings showed that parents of children with developmental disabilities acknowledged the benefits of tele-music therapy and possessed substantial information about its implementation. Furthermore, they reported their roles of providing physical, participatory, and mediating support. As parents exhibited greater satisfaction with their role in supporting their children's participation or managing their off-task behaviors, they perceived reduced psychological burden. These findings hold significant implications for expansion of tele-music therapy strategies to address the unique needs of children with developmental disabilities and support their parents as immediate mediators for their children.

• 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.

• Journal of Music and Human Behavior
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• v.5 no.1
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• pp.19-45
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• 2008

The purpose of this study was to offer fundamental data to manage countertransference, and to research into countertransference management ability by aspects in therapists' experiences in countertransference and their professional characters. For the paper, a survey was conducted on 62 music therapists who provided professional music therapy after finishing graduate school of music therapy through clinical practice and internship, and the result was drawn as follows. Around 84% of participants answered that they had been in trouble by countertransference in the analysis of a questionnaire regarding experience in countertransference. 48% among them first experienced countertransference during the practice in graduate school. 27% and 14% respectively answered that they experienced it within 3 years after graduation and during internship. Also, the result showed that therapists usually had difficulty with adults with mental disease, and the second most difficult clients were children with developmental disabilities. 76% of participants who had difficulty by countertransference answered that they were able to manage it to some degree, and almost all who answered thought that research into countertransference and management were necessary. About the question as to how to manage countertransference, 54% suggested self-analysis and self-therapy. 33% answered that countertransference should be treated through supervision. Finally, 13% of participants answered that it should be handled in graduate school. In this paper, which empirically examined therapists' experience in countertransference and countertransference management ability had meaning in providing essential basic data for music therapists to apply and manage countertransference for therapists themselves, as well as for clients.

• Journal of Music and Human Behavior
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• v.9 no.2
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• pp.53-67
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• 2012

Improvisational music therapy is known to promote social engagement in children with autism. This study investigated salient features that characterize the engagement of the child with autism and the therapist in improvisational music therapy. Through video analysis of the children's behavior, this study sets out to investigate what engages children with autism into mutual play with the therapist in improvisational music therapy by measuring the shared musical elements between the child and the therapist during musical synchronicity episodes and the children's choice of instruments. A repeated measures, a crossover design was employed in two different conditions (n = 10). Children were randomly assigned into two groups; group 1 participated music therapy first, followed by play therapy second. Group 2 followed the reverse order. Specific target behaviors were analyzed in the selected sessions 1, 4, 8 and 12. As expected, improvisational music therapy produced markedly more and longer events of musical synchronicity in children with autism than the play sessions with toys (p < .001). Rhythm and dynamic appeared to be the two most salient elements during musical synchronicity events between the child and the therapist. Observational findings confirmed that horns and whistles were the most frequently selected instruments in music therapy, whereas a dollhouse set was in play therapy by children with autism. The clinical implications and the details of these findings are discussed further.

• Journal of Music and Human Behavior
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• v.8 no.1
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• pp.61-81
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• 2011

This study conducted a survey of 117 music therapy graduate students from four schools in their second through fifth semester who have sufficient clinical training experience to form a basis for satisfactory clinical training. The result shows that the respondents reported their highest satisfaction levels with their course and curriculum (3.78), followed by supervision (3.75) and clinical training (3.65). In general, students who did not major music as undergraduates showed higher satisfaction levels. The satisfaction level of students in the earlier stages of clinical training is generally high. However, it gradually decreases as they move to more advanced stages, and increases somewhat during the internship training period. The supervisor's role was a decisive factor in reported levels of satisfaction with supervision and clinical training, and the music therapy element was a decisive factor on the course and curriculum satisfaction level, This survey is meaningful as it paves the way for the development of more satisfactory clinical training, and offers important guidelines to students in terms of the kinds of talents and characteristics they should develop.

• Journal of Music and Human Behavior
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• v.10 no.1
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• pp.25-45
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• 2013

The purpose of this study is to explain experiences of non-music majors to changing their majors into music therapy and to provide the preliminary study for deriving a grounded theory. For that, in-depth interviews were performed targeting 5 students who did not major in music in their undergraduate courses selected from the graduate students who are majoring in music therapy at the colleges located in Seoul. Data was analyzed for the study by applying the modified grounded theory. The result of study showed that they selected the course of music therapy career as they were motivated by the realistic demand for future employment, career potentials and other realistic causes. These factors caused them to study the surrounding situations and conduct the detailed research on the possibility of music therapy. These factors were also dependent on the individual characteristics, external elements and music background. These experiences were connected to the self-integration and pursuit of growth by newly setting their relation to the 'Music Child'. In addition, the demand of being the meaningful existence in relationship also affected them to more specify their aspirations in the progress of career selection on a continual basis. This study is meaningful as it provides the actual information on them.

• 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.