MUSIC 2MT3 Lecture 8: Lecture 8 Music Therapy and Mental Health
18 Jun 2018
School
Department
Course
Professor
What is mental health?
-
Why is music therapy effective in mental health?
-
Mental Health
When we talk about mental health and music therapy, we consider how mental
health impacts our entire well-being.
-
There is no health without mental health.
-
Health (WHO): a state of complete physical, mental and social well-being and
not merely the absence of disease or infirmity.
If you have physical health, but not mental health, you cannot go out into
the community and contribute.
○
Mental health is an integral part of this definition.
○
-
Mental health can be conceptualized as a state of well-being in which the
individual:
Realizes his or her own abilities
○
Can cope with the normal stresses of life
○
Can work productively and fruitfully
○
Is able to make a contribution to his or her community.
○
-
Themes in Mental Health
Intimacy/distance
-
Aggression/non-aggression
-
Dependence/non-dependence
-
Acting out / emptiness
-
Being present
-
Creating boundaries
-
Client Needs to Commit to Experience Results
If a client doesn't continue to commit to their mental health, they will not
experience results.
-
Weekly / regular sessions are important.
It requires regular commitment.
○
Sometimes it is difficult, but if you are willing and committed there will be
an outcome.
○
-
Ability to reflect verbally or musically
-
Articulate goals -- or have an opinion about suggested goals
-
Have a desire to enter an alliance to reach goals
-
Example: case study about woman with schizophrenia
Client committed to music therapy for 18 (?) weeks
○
Client's goals were brought up (e.g., not being able to think straight, being
confused)
○
-
Performance in Music Therapy Experiences in Five Dimensions
Purpose:
Allow clinician to describe, assess, analyze and evaluate the components
of what is happening both over time and in the moment.
○
Difficult to use the same language with client and team, so this issue
inspired this paper.
○
-
Intention:
To develop a language not only between therapists, but with clients.
○
(5 dimensions of performance in music therapy)
○
-
Outcome:
Language, "The Five Dimensions"
○
You could discuss goals and progress within the context of the 5
dimensions.
○
-
Background:
At the patient centre, there were a group of patients that were musicians
that would perform together at a local bar - The Baltic St. Band
○
There's also a music therapy group open to the residents.
○
There were also one-on-one music therapy groups.
○
There was an issue with the group therapy because the musicians would
come to the group and complain to each other so people who were not a
part of the band were exposed to all of this band-related banter.
Compromises
§
Different individual needs and abilities (musicians vs non-musicians,
even among musicians what they are capable of)
§
Facilitating processes (musicians vs non-musicians)
§
○
So they created a music therapy group specifically for the in-patients who
were playing in the band and performing (MTPG)
○
The issues that would come up for the musicians were representational of
their own issues in general life.
○
They identified 4 themes/issues
E.g., some of the musicians would choose songs to perform that
were completely out of their abilities - self-destructive behaviour.
They were able to talk about making these kinds of choices in
the group and about how they continually made these kinds
of choices in their lives - in recognizing this in the music, they
could recognize it in their lives.
□
§
○
-
Performing:
Music therapy goal isn't the performance, but the goals are dealt with in
working towards the performance.
○
It was simply a natural extension of their music making in MT.
○
Targeting insecurity through musical inhibition
○
-
Music therapy setting:
Replicates a performance setting (auditorium, spot lighted stage,
acoustic piano, MT used banjo, guitars, banjos, hand drums, bass
guitar, drum kit, singers, instrumentals)
§
It's very important that it evokes the feelings of being on the stage
while working through their issues.
§
-
Personality Profile:
Self image as a musician.
○
How relates to overall personality development.
○
Assessing parental/family attitudes about music (support/neglect, parents
musicians/abusive).
○
Performance - work through unresolved issues.
○
Recapitulate family dynamics within group.
○
Patterns behaviour/brought to forefront/self-reflection.
○
Allowed the researcher to get an idea of each individual's relationship to
music in the context of psychology.
○
-
Structure and Process:
Understanding relationships/self/audience/instruments/fellow musicians
○
Connectedness
○
Explorations (past performances/past life experiences while performing/
life on the road/ special audiences)
○
Discussions: drugs, money, jealousy, competitiveness, anxieties, self-
image, sexuality, hopes, dreams, etc.
○
Common fears: inattentive audience, anxieties, closeness through
working together.
○
Learning from each other (performance skills)
○
Performances analyzed by the group
○
Trust cohesion allowed for more risks (musically and verbally)
○
-
Communications/Transference:
Accountability for attendance
○
Multiple role of MT (1:1 sessions, MC performances, admin, supervisor,
instrumentalist/back up vocalist)
○
Complexities discussed within MTPG.
○
-
5 Dimensions:
Musician and music played.1.
Performance musicians and how they feel together on the stage.2.
Performer and audience.3.
Performer and his/her own thoughts while performing. 4.
The feeling state of the performer when all (1-4) are in maximum synergy =
peak experience (performance as epiphany).
5.
Goal of MT:
Identify conflicts within dimensions #1-4 and how they effect #.
○
Performance psychopathology - identifying patterns/disconnections
within dimensions.
○
Managing mental health symptoms.
○
-
Evaluation:
Perceiving changes in any one or more of the dimensions - changing goals
accordingly.
○
Highlighting strengths and needs.
○
Self reports.
○
First hand observations.
○
-
Dimension 1: Connecting within to the music
How does this connect with life choices, regulate life, spill over to other
dimensions.
○
-
Dimension 2: Performers connecting with each other
When you're playing in a group, it's important to be able to hear the other
people and for them to hear you. You can hear in the music when the
band members are not coordinating/cooperating.
○
Musicologist, Christopher Small, meaning of musicking found in the
creation of relationships formed through the act of playing together, not
in the sound they produce.
○
Shared experiences - communication, rebuilding experiences.
○
A new musical family - safe and heard.
○
-
Dimension 3: Connecting to the Audience
Practical skills
○
Applause - communicated success
If the audience doesn't give you applause, they seem disinterested
and can be devastating for individuals with unhealthy third
dimensions (might measure their own self-worth based off of the
response of the audience).
§
○
Stronger sense of self-worth
○
Goal: establish stable emotional conditions with the performer to
promote musical consistency in performance.
○
-
Dimension 4: Performer and his/her inner thoughts while performing
The audience within.
○
Understanding the origins of these thoughts is important.
○
Harness inner audience - landmark of creative health.
○
7/15 visual/auditory hallucinations - making music provided relief from
their psychosis.
○
-
Dimension 5: Overall
Totality of the performer's reactions.
○
-
Case Study: Trisha
History of abuse, sister was "preferred", has difficulty choosing songs.
-
Harsh self-criticism
E.g., "I have my mother's voice in my head all of the time."
○
Referred to music therapy to deal with self-worth.
○
-
D4 pathology (performer and his/her own thoughts)
-
Projecting her on criticisms to the audience D3
-
Extending to working with other musicians D2
Group members represented family members (transference)
○
-
Needed to work on D4 issues to restore her capacity for self-worth and the
other dimensions (D2 and D3).
-
Changes within dimensions occurred.
-
She received and gave herself a "standing ovation"
-
Self reflection/integration/acceptance (clear of any negativity)
-
Change in music performance was indicative of a change in self.
Self-worth and self-respect better understood.
○
-
Which model of music therapy is this?
Community music therapy: music therapy processes through performances in the
community in which they evoke social change.
Lecture 8: Music Therapy and Mental Health
Tuesday, June 5, 2018
1:03 PM
What is mental health?
-
Why is music therapy effective in mental health?
-
Mental Health
When we talk about mental health and music therapy, we consider how mental
health impacts our entire well-being.
-
There is no health without mental health.
-
Health (WHO): a state of complete physical, mental and social well-being and
not merely the absence of disease or infirmity.
If you have physical health, but not mental health, you cannot go out into
the community and contribute.
○
Mental health is an integral part of this definition.
○
-
Mental health can be conceptualized as a state of well-being in which the
individual:
Realizes his or her own abilities
○
Can cope with the normal stresses of life
○
Can work productively and fruitfully
○
Is able to make a contribution to his or her community.
○
-
Themes in Mental Health
Intimacy/distance
-
Aggression/non-aggression
-
Dependence/non-dependence
-
Acting out / emptiness
-
Being present
-
Creating boundaries
-
Client Needs to Commit to Experience Results
If a client doesn't continue to commit to their mental health, they will not
experience results.
-
Weekly / regular sessions are important.
It requires regular commitment.
○
Sometimes it is difficult, but if you are willing and committed there will be
an outcome.
○
-
Ability to reflect verbally or musically
-
Articulate goals -- or have an opinion about suggested goals
-
Have a desire to enter an alliance to reach goals
-
Example: case study about woman with schizophrenia
Client committed to music therapy for 18 (?) weeks
○
Client's goals were brought up (e.g., not being able to think straight, being
confused)
○
-
Performance in Music Therapy Experiences in Five Dimensions
Purpose:
Allow clinician to describe, assess, analyze and evaluate the components
of what is happening both over time and in the moment.
○
Difficult to use the same language with client and team, so this issue
inspired this paper.
○
-
Intention:
To develop a language not only between therapists, but with clients.
○
(5 dimensions of performance in music therapy)
○
-
Outcome:
Language, "The Five Dimensions"
○
You could discuss goals and progress within the context of the 5
dimensions.
○
-
Background:
At the patient centre, there were a group of patients that were musicians
that would perform together at a local bar - The Baltic St. Band
○
There's also a music therapy group open to the residents.
○
There were also one-on-one music therapy groups.
○
There was an issue with the group therapy because the musicians would
come to the group and complain to each other so people who were not a
part of the band were exposed to all of this band-related banter.
Compromises
§
Different individual needs and abilities (musicians vs non-musicians,
even among musicians what they are capable of)
§
Facilitating processes (musicians vs non-musicians)
§
○
So they created a music therapy group specifically for the in-patients who
were playing in the band and performing (MTPG)
○
The issues that would come up for the musicians were representational of
their own issues in general life.
○
They identified 4 themes/issues
E.g., some of the musicians would choose songs to perform that
were completely out of their abilities - self-destructive behaviour.
They were able to talk about making these kinds of choices in
the group and about how they continually made these kinds
of choices in their lives - in recognizing this in the music, they
could recognize it in their lives.
□
§
○
-
Performing:
Music therapy goal isn't the performance, but the goals are dealt with in
working towards the performance.
○
It was simply a natural extension of their music making in MT.
○
Targeting insecurity through musical inhibition
○
-
Music therapy setting:
Replicates a performance setting (auditorium, spot lighted stage,
acoustic piano, MT used banjo, guitars, banjos, hand drums, bass
guitar, drum kit, singers, instrumentals)
§
It's very important that it evokes the feelings of being on the stage
while working through their issues.
§
-
Personality Profile:
Self image as a musician.
○
How relates to overall personality development.
○
Assessing parental/family attitudes about music (support/neglect, parents
musicians/abusive).
○
Performance - work through unresolved issues.
○
Recapitulate family dynamics within group.
○
Patterns behaviour/brought to forefront/self-reflection.
○
Allowed the researcher to get an idea of each individual's relationship to
music in the context of psychology.
○
-
Structure and Process:
Understanding relationships/self/audience/instruments/fellow musicians
○
Connectedness
○
Explorations (past performances/past life experiences while performing/
life on the road/ special audiences)
○
Discussions: drugs, money, jealousy, competitiveness, anxieties, self-
image, sexuality, hopes, dreams, etc.
○
Common fears: inattentive audience, anxieties, closeness through
working together.
○
Learning from each other (performance skills)
○
Performances analyzed by the group
○
Trust cohesion allowed for more risks (musically and verbally)
○
-
Communications/Transference:
Accountability for attendance
○
Multiple role of MT (1:1 sessions, MC performances, admin, supervisor,
instrumentalist/back up vocalist)
○
Complexities discussed within MTPG.
○
-
5 Dimensions:
Musician and music played.1.
Performance musicians and how they feel together on the stage.2.
Performer and audience.3.
Performer and his/her own thoughts while performing. 4.
The feeling state of the performer when all (1-4) are in maximum synergy =
peak experience (performance as epiphany).
5.
Goal of MT:
Identify conflicts within dimensions #1-4 and how they effect #.
○
Performance psychopathology - identifying patterns/disconnections
within dimensions.
○
Managing mental health symptoms.
○
-
Evaluation:
Perceiving changes in any one or more of the dimensions - changing goals
accordingly.
○
Highlighting strengths and needs.
○
Self reports.
○
First hand observations.
○
-
Dimension 1: Connecting within to the music
How does this connect with life choices, regulate life, spill over to other
dimensions.
○
-
Dimension 2: Performers connecting with each other
When you're playing in a group, it's important to be able to hear the other
people and for them to hear you. You can hear in the music when the
band members are not coordinating/cooperating.
○
Musicologist, Christopher Small, meaning of musicking found in the
creation of relationships formed through the act of playing together, not
in the sound they produce.
○
Shared experiences - communication, rebuilding experiences.
○
A new musical family - safe and heard.
○
-
Dimension 3: Connecting to the Audience
Practical skills
○
Applause - communicated success
If the audience doesn't give you applause, they seem disinterested
and can be devastating for individuals with unhealthy third
dimensions (might measure their own self-worth based off of the
response of the audience).
§
○
Stronger sense of self-worth
○
Goal: establish stable emotional conditions with the performer to
promote musical consistency in performance.
○
-
Dimension 4: Performer and his/her inner thoughts while performing
The audience within.
○
Understanding the origins of these thoughts is important.
○
Harness inner audience - landmark of creative health.
○
7/15 visual/auditory hallucinations - making music provided relief from
their psychosis.
○
-
Dimension 5: Overall
Totality of the performer's reactions.
○
-
Case Study: Trisha
History of abuse, sister was "preferred", has difficulty choosing songs.
-
Harsh self-criticism
E.g., "I have my mother's voice in my head all of the time."
○
Referred to music therapy to deal with self-worth.
○
-
D4 pathology (performer and his/her own thoughts)
-
Projecting her on criticisms to the audience D3
-
Extending to working with other musicians D2
Group members represented family members (transference)
○
-
Needed to work on D4 issues to restore her capacity for self-worth and the
other dimensions (D2 and D3).
-
Changes within dimensions occurred.
-
She received and gave herself a "standing ovation"
-
Self reflection/integration/acceptance (clear of any negativity)
-
Change in music performance was indicative of a change in self.
Self-worth and self-respect better understood.
○
-
Which model of music therapy is this?
Community music therapy: music therapy processes through performances in the
community in which they evoke social change.
Lecture 8: Music Therapy and Mental Health
Tuesday, June 5, 2018 1:03 PM
Document Summary
When we talk about mental health and music therapy, we consider how mental health impacts our entire well-being. Health (who): a state of complete physical, mental and social well-being and not merely the absence of disease or infirmity. If you have physical health, but not mental health, you cannot go out into the community and contribute. Mental health is an integral part of this definition. Mental health can be conceptualized as a state of well-being in which the individual: Can cope with the normal stresses of life. Is able to make a contribution to his or her community. If a client doesn"t continue to commit to their mental health, they will not experience results. Articulate goals -- or have an opinion about suggested goals experience results. Sometimes it is difficult, but if you are willing and committed there will be an outcome. Articulate goals -- or have an opinion about suggested goals.
