• Journal of Hospice and Palliative Care
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• v.24 no.2
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• pp.85-96
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• 2021

Purpose: The aim of this study was to investigatecomplementary therapiesprovided at hospice palliative care facilities in South Koreaas designated by the Ministry of Health and Welfare. Methods: The survey was conducted via e-mail from September 2 to September 23, 2020, with responsesfrom 109 therapists and 59 managers from 55 different hospice care facilities. Results: Hospices provided an average of 3.67 different types of therapies, ranging from 1 to 7 different types. The most common types of therapies were horticultural therapy (81.4%), music therapy (79.7%), art therapy (76.3%), and aromatherapy (57.6%). The average frequency of sessions was once a week, the median duration was 60 minutes. Most therapists (96.3%) had qualifications, but the certification-issuing organizations and training intensiveness varied greatly. None of the therapists were employed on a full-time basis, and their average monthly income was KRW 270,000. Therapists and managers gave average scores of 8.90 and 8.38 out of 10, respectively, regarding the positive impact of complementary therapies on patients. Conclusion: In order for patients and their families to benefit from complementary therapiesat hospice care facilities, in addition tobetter terms of employment for therapists, evidence-based guidelines for different types of therapies are needed so that therapy sessions can be conducted according to the theoretical underpinnings and characteristics of the type of therapy. It is expected that the results of this study will be used for policy-making in support of therapy as an essential hospice service.

• 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.12 no.1
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• pp.65-94
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• 2015

The number of theoretical orientations and approaches in music therapy has risen sharply. This development of new theories may contribute to the advancement of specific therapeutic techniques; however, it can also lead to increased confusion for consumers and professionals for clinical and practical reasons. Due to these concerns, therapists often debate questions such as the following: what is the most effective therapeutic approach, what is the most ethical and professional course of action when clients do not appear to benefit from therapy, and is it possible to integrate ideas and techniques from multiple frameworks and theories in order to better serve the client? This paper describes a new way of thinking for music therapists called Integral Thinking in Music Therapy (ITMT), proposed by Kenneth Bruscia as a comprehensive approach to addressing the clinical needs of the client. ITMT is a way of thinking that embraces existing models and theories, suggests when a particular approach is indicated with its own value, and helps us to move away from one-way thinking to a more comprehensive approach in order to better serve our clients. This article illustrates the basic premise and clinical application as well as a hypothetical application of ITMT based on an actual case study.

• Journal of Music and Human Behavior
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• v.4 no.2
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• pp.106-114
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• 2007

Many scholars, clinicians and faculties of music therapy have dealt various issues on educational and clinical curricula for training music therapists. Depending on the philosophical orientations of educational institutes, the emphasis are different. The purpose of this paper is to examine and identify the areas for competency for gaining qualification in music therapy by reviewing the definitions of music therapy from the academic and professional perspectives; discipline-based, practice-based, and intrapersonal competency. The unique characteristics of music therapy as a professional discipline should be reflected in its curriculum and training content. Educational strategies need to be formulated to strengthen intrapersonal competency. The paper also discussed the consequential gains accordant with intrapersonal competency such as personal self-help skills using musical resources and coping with burnouts.

• Journal of Music and Human Behavior
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• v.20 no.2
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• pp.115-142
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• 2023

The purpose of this study was to analyze and evaluate music intervention research conducted with high-risk neonates in NICUs in both domestic and international settings. Seventeen music intervention studies were identified, and their characteristics, including type of music, music provider, and treatment frequency, and outcomes (i.e., neonatal vital signs) were reviewed and analyzed along with meta-analysis. For music interventions targeting high-risk neonates in NICUs, the effect sizes of the neonates' vital signs were classified as either medium or large. In addition, larger effect sizes were associated with a combination of live and recorded music, nonmusical therapists as the music providers, and treatment frequency of one to five sessions per week. These research findings verify the clinical value of music for high-risk neonates and provide insights into the selection of music elements, music delivery methods, and music providers in NICU music interventions.

• Journal of Music and Human Behavior
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• v.5 no.2
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• pp.41-66
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• 2008

This study investigated the effects of traditional percussion improvisation to hearing-impaired college students who are under stress. For the research, between 21 to 22 years old four hearing-impaired college students, who could do lip reading, were chosen. In quantity program, improved version of college student stress measuring method which invented by Gyoung-gu Jun and Gyo-hyeon Kim(1991) were applied, and graphs has been used for analysis. In quality program, for reliability, the researcher and two music therapists observed and analysed it. The period of research was from Dec 26, 2007 to Feb 21, 2008. There were total twenty sessions and two sessions were assigned for each week. One was 40 minutes individual session, and the other one was 50 minutes group session. Even though auditory function is critical in music playing or listening, this study showed the positive results of the therapeutic use of music on stress management for college students with hearing impairment. Future studies are important to continue to investigate the effectiveness of music therapy for hearing impaired clients who are under stress with various age range.

• Journal of Music and Human Behavior
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• v.15 no.1
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• pp.95-118
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• 2018

With the recent emphasis on evidence-based research and practice, the field of music therapy has called for rigorous reviews of the scientific data and for therapeutic rationales for research procedures. The purpose of this study was to review studies that used a rhythm task as a therapy intervention in terms of whether they provided a rationale for the components related to the intervention. The components included activity rationale, music rationale, intervention validity, intervention format (individual or group), intervention development (contour), duration, and intervention provider. A total of 41 studies were selected: 22 studies were implemented by music therapists and 19 by professionals in other related fields. In terms of seven assessment categories, only 10 studies were found to report more than four items which are related to a rationale of interventions. The 10 studies identified were further examined to determine if their intervention rationale differed depending on whether the study included a researcher-formulated intervention or an existing music therapy protocol. Of the 10 studies, six used a researcher-formulated rhythm intervention, and four used an existing music therapy protocol. Those studies that used an existing music therapy protocol also provided a clear rationale for music selection, whereas those that used a researcher-formulated rhythm task tended to provide an activity rationale. The results of this study suggest that researchers need to be clearer about their interventions and provide an evidence-based rationale for why and how they use a rhythm task.

• Journal of Music and Human Behavior
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• v.10 no.1
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• pp.47-66
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• 2013

This study aimed to develop a music teaching-learning program for secondary students with intellectual disabilities in special education settings based on music therapy approach. Designed lesson plans included three learning domains based on the guidelines from 2008 amendments to the special education music curriculum: Perception, expression, and appreciation. Within the domains, instruction topics and its corresponding contents were re-structured as considered more appropriate and effective for implementing music classes for this population. With consideration of therapeutic goals as well as educational goals, student activities and teacher activities were designed and the activities were presented at three levels depending on students' functional levels. Integrating these instructional components into an actual plan, this study presented yearly (for 20 hours of classes) and monthly lesson plans. The developed lesson plans were reviewed and verified by related professionals including special class teachers and music therapists. As systematic and well-organized lesson plans, the results from this study would provide basic music education resources for students with intellectual disabilities in special education settings. It would also enable the discussion on the music therapy-based teaching-learning program as new methodological and strategic ideas applicable to future special education.

• Journal of Music and Human Behavior
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• v.12 no.2
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• pp.37-60
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• 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.

• Journal of the Korea Convergence Society
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• v.8 no.9
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• pp.265-270
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• 2017

This study purposed to investigate harmonic compositions and progressions that are appropriate for emotion vocabulary. In study 1, eight(8) professional music therapists were asked to provide harmonic compositions and progressions reflecting the tonal characteristics of emotion vocabulary and the rationales. Various attributes of harmonic compositions and progressions were examined and the content analysis were administered. In study 2, the obtained data on study 1 were evaluated by 124 music therapy and music majors for the validity. In the first study, analyzed results showed that 'happy' vocabulary utilized major, tonic, consecutive chord changes, 'angry' vocabulary utilized minor, augmented, $9^{th}$, $11^{th}$, unsolved $7^{th}$ chord progression, 'sad' vocabulary utilized minor, diminish, chromatic chord progressions. In the second study, there was statistically significant difference with 'happy' vocabulary. These results can provide basic evidences for musical ideas of harmonic compositions and progressions to better communicate emotional aspects of lyrical messages when composing melody in a song.