• Journal of Music and Human Behavior
• /
• v.9 no.1
• /
• pp.21-36
• /
• 2012

The purpose of this study was to examine perceived supervisory satisfaction depending on the type of supervision. Twenty-six music therapy graduate students who enrolled in a practicum course participated in this study. All participants received four individual and four group supervision sessions over the course of the semester. After each supervision session, participants were asked to rate their satisfaction with supervision on the Supervisory Satisfactory Questionnaire(SSQ). Results showed that there was no significant difference in the mean ratings between individual and group supervision conditions, indicating that the type of supervision would not differently affect the perception of overall supervisory satisfaction. However, a detailed analysis of ratings for each questionnaire item and comments from the participants imply that while individual supervision would be perceived to meet supervisees' individual needs more effectively, satisfaction with group supervision would be less influenced by supervisor styles. This study would provide descriptive information of perceived satisfaction with supervision type as an initial trial toward suggesting the systematic approach to the music therapy supervision format. Further studies are needed to investigate how effective and culturally responsive supervision format would be structured to facilitate supervision process and maximize supervision outcome.

• Journal of Music and Human Behavior
• /
• v.11 no.2
• /
• pp.41-57
• /
• 2014

The purpose of this study was to analyze music therapy students' experience of peer supervision as supervisee. A total of 17 participants in a university in Seoul, participated two times in structured dyadic peer supervision with a different student. In-depth, semi-structured interviews with the students were conducted and content analysis was used for analyzing the data. The results showed that peer supervision was recognized as an important technique as students experienced an accepting and supportive emotional climate that increased their motivation in terms of their professional growth. However, the students also experienced anxiety and dissatisfaction when they could not get a definitive answer from their peer or their peer could not solve their problem. The structure of peer supervision could help the participants by facilitating the process, providing directions, and promoting interaction between peer. This study is significant that it provides actual content in music therapy students' experiences as a supervisee, and enables students to apply peer supervision to their professional growth.

• Journal of Music and Human Behavior
• /
• v.10 no.2
• /
• pp.35-54
• /
• 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 Music and Human Behavior
• /
• v.5 no.1
• /
• pp.19-45
• /
• 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
• /
• v.12 no.2
• /
• pp.37-60
• /
• 2015

The purpose of this study was to systematically review music intervention studies for patients with schizophrenia. The researcher searched nine electronic databases for clinical trials published since 2000, using combinations of keyword related to schizophrenia and music interventions. The initial search identified 272 studies, and fifteen studies were selected by reviewing the titles, abstracts and full articles, In addition, three articles were added by examining other review articles. Thus, a total of 18 articles were analyzed in terms of their general and intervention characteristics, and the PEDro scale was used to evaluate the methodological quality of the included studies. The results demonstrated that, due to the lack of randomization and blinding, the methodological qualities of the studies with high quality music interventions were often rated low. Eight Music interventions conducted by qualified music therapists included active music-making, therapeutic relationship, and supervision systems for improving intervention quality. In conclusion, the randomization, blinding, and the therapeutic rationale of intervention are recommended in future clinical trials for patients with schizophrenia.