Indigenous knowledge of music as therapy as it is understood in Nigeria has to do with the acquisition of information about the application of music for healing in traditional settings. There is no ...doubt that the use of music to educate, rehabilitate, and bring about healing in Nigerian indigenous societies is an age-long tradition. A survey of traditional music which was carried out through questionnaire and interview methods allude to the fact that most Nigerian cultures firmly believe in the therapeutic potency of music. From the perspectives of some selected Nigerian traditional communities (Esan, Urhobo, Itsekiri, Igbo, Yoruba, Hausa, Bini, and others) this study, therefore, reveals the various forms of manifestations of music healing traditions in different Nigerian communities. Potent as music may be in healing, if the indigenous must beget the modern, there remains a growing need to examine the indigenous understanding of music therapy. As a major aim of this study, we examined the Nigerian construct of illness; illness causation; and how Nigerian people understand music healing and its associated healing techniques. While this work reveals that music in therapy in Nigerian traditional societies has been in use over the ages, regrettably few incidences have been captured in literature. This suggests that this very important branch of music should be introduced into tertiary institutions as an academic field that should embrace cultural and clinical approaches.
Getting to “No” You Rafieyan, Roia
Voices : a world forum for music therapy,
11/2022, Letnik:
22, Številka:
3
Journal Article
Recenzirano
Nonspeaking autistic people frequently begin music therapy at the request of others. Typically, family or care systems are tasked with making decisions on their behalf and have decided this service ...will be of benefit. Consequently, music therapy is a given rather than a choice. For this paper I have used my own evolving understanding to explore the complexities and power dynamics related to nonspeaking people being able to say “no” to music therapy. Elements in this discussion include: (a) the ability, and safety, to say “no” in the context of a culture of compliance, (b) the complicated relationship between music therapists and the systems within which they work, and how this affects the therapy relationship, and (c) the role of music therapy practice standards. I advocate the following: (1) presume competence, (2) enter the therapy space with curiosity and openness, (3) be willing to “get to know,” (4) coping skills or communication attempts are not “behavior” in need of correction, and (5) learn how each nonspeaking person communicates “no.” Actively encouraging and respecting treatment refusal goes a long way toward building a respectful music therapy practice/relationship.
In this paper shares and discusses questions that arose from music therapy sessions with an adolescent with severe multiple disabilities, with people not directly involved in the case. In the early ...sessions with this client, I wondered, "How can I make music with this client?" I intuitively felt that this question was not confined to the dyadic relationship between the client and myself as therapist, but was connected to the larger social structure and the various values and relationships within it. To share this question with those not directly involved in the case, I organized a small dialogue event using the Philosophy Cafe method. Through this, participants got a taste of each other's differing views and discovered new viewpoints together, thus enabling them to create a shared image of the word. This could serve as an example of how clinical music therapy practice can connect with the community surrounding it, and open up the case to society. Such dialogue also enables careful examination of the words and concepts used in the field of music therapy. This could lead to a review of the use of these words and concepts which had been developed from a modern, Western-centric perspective.
•Music-based interventions integrate most of the principles of motor training and multimodal stimulation.•The use of music in rehabilitation can improve motor and cognitive functions of subacute and ...chronic stroke patients.•Music-based interventions lead to better mood and quality of life in stroke patients than conventional approaches.•Future studies should better address methodological aspects to improve the level of evidence of these interventions.
Music-based interventions have emerged as a promising tool in stroke motor rehabilitation as they integrate most of the principles of motor training and multimodal stimulation. This paper aims to review the use of music in the rehabilitation of upper extremity motor function after stroke. First, we review the evidence supporting current music-based interventions including Music-supported Therapy, Music glove, group music therapy, Rhythm- and music-based intervention, and Musical sonification. Next, we describe the mechanisms that may be responsible for the effectiveness of these interventions, focusing on motor learning aspects, how multimodal stimulation may boost motor performance, and emotional and motivational aspects related to music. Then, we discuss methodological concerns in music therapy research related to modifications of therapy protocols, evaluation of patients and study designs. Finally, we highlight clinical considerations for the implementation of music-based interventions in clinical settings.
What does it mean “playing music together”? Is this action guided by cognitive or pre-inferential skills? The aim of this paper is to unveil the different components that are implied in a collective ...action such as “playing music together”. The idea which will be supported is that embodiment and temporality are the main important structures that guide the subject. In the first part, we will emphasize the centrality of corporeality in the development of self-awareness and intercorporeal understanding. In particular, drawing on Merleau-Ponty’s work, we will argue that the cognitive layer of our consciousness and the pre-inferential one are simply the product of our being embodied. Another central structure for the development of selfhood and intersubjectivity is temporality: as we will show, our selfhood and our attunement with the world can be also described in terms of rhythm, whereby implicit body memory allows for the sedimentation of habits, and synchrony, when my bodily and temporalized self is able to automatically tune in with others. In the second part, we will show how these components are at stake in an action like “playing music together”: attending music therapy sessions with patients who suffer indeed from an (inter)corporeal detachment allowed us to observe the centrality of those components described in the first part of our work, that is, to show how pre-reflective features (such as implicit body memory, intercorporeality, rhythm and synchrony) are necessary for the development of higher social (and cognitive) abilities.In fact, first person reports collected through a qualitative interview applied to patients allow to support the priority of the pre-reflective, affective and (inter)bodily components over the reflective ones.
Community music-therapy (CMT) service evaluation in older adults’ care home communities is an important process to enhance the quality of therapists’ outputs and the development of client-centred ...approaches to meet the needs of residents and community. However, administrative limitations that could affect therapists’ contact time with clients may lead to the underestimation of service evaluation within the system. This study aims to explore community music therapists’ perceptions of the impact of their services in older adults’ care home communities using a qualitative approach based on semi-structured interviews. The therapists were asked to reflect on specific aspects of their community music therapy service, potential cognitive-behavioural and physiological effects of therapy, best-practices for assessment in MT and challenges experienced in this particular setting. Participants highlighted the unique value of CMT in care home communities. They demonstrated the ability to detect and assess impacts of CMT using clinical analysis methods, which can improve care plans for the residents. However, certain limitations, such as reduced hours, inadequate funding and a lack of recognition of CMT’s benefits by care home staff, were identified. Moreover, the analysis shed light on how COVID-19 impacted the CMT service in this context, emphasizing the need for adaptability and resilience in providing care. The implications of the results in an Italian community context are further analysed and discussed, stressing the importance of supporting CMT as a fundamental service in care home communities for older adults. By addressing the highlighted limitation and embracing the perspectives of community music therapists, care homes can optimize their services and enhance the well-being of their residents.
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