Search

Whereas many research studies have discussed the impact of music programmes in a prison setting, few studies have investigated the impact of music programmes that take place outside the prison and are intended for formerly incarcerated individuals. The current study aims to fill this void by examining the experience of formerly incarcerated individuals who participated in a group music programme intended to assist them on their journey towards rehabilitation. Five formerly incarcerated individuals who participated in the Sounding Out Programme (SOP), a group music programme funded by the Irene Taylor Trust in London, were interviewed for this research. In addition, three programme staff members were interviewed in order to gain further perspective on the process. Content analysis of the interviews indicated the emergence of four central themes: improved social bonding, a sense of hope and life purpose, a sense of achievement, and transformation. These findings are discussed in light of the Good Lives Model (GLM). Accordingly, the SOP assisted both formerly incarcerated individuals and programme staff members in attaining the following GLM primary goods in life: community, relatedness, knowledge, spirituality, excellence in work and play, excellence in agency, and creativity. [ABSTRACT FROM AUTHOR]

Research literature deals extensively with treatment of children who experience ongoing trauma. However, this topic has received scant attention in music therapy research. This study is the first to explore the therapeutic methods music therapists use with children living under continuous war threat and offers a subsequent emergent theory. Using a constructivist grounded theory approach, the researcher conducted semi-structured interviews with 15 experienced music therapists working with Israeli children who experience continuous war threat in towns located near the Gaza Strip. The findings yielded three themes regarding the therapeutic use of songs. The first theme focuses on creating a playful and joyful space that emphasizes the importance of overcoming fear by "playing with it". The second theme, restoring a sense of control, focuses on the structured features of songs such as repetition of lyrics and melody in the chorus, use of rhyme, rhythm and fixed meter, all of which create an experience that provides a sense of control. The third theme, fostering resilience, relates to the ability of songs to represent the traumatic experience while conveying messages of strength and agency. The songs enabled the children to re-experience the fear of the trauma within a playful, controlled and resilient space. As a result, the traumatic memory was reframed and perceived as less threatening. The theory emerging from this therapeutic process was termed experiential reframing of trauma through songs (ERTS). [ABSTRACT FROM AUTHOR]

Introduction: Many studies have examined relational needs (RNs) of trauma victims in psychotherapy. However, this topic has received little attention in music therapy research. The current study is the first to focus on what music therapists working with trauma victims perceive as their clients' main RNs and how those RNs are musically addressed to enhance the therapeutic process. Method: This study used a constructivist grounded theory approach. Analysis of semi-structured interviews with 41 experienced music therapists working with trauma victims was conducted to identify themes in their perceptions of the main RNs of clients and how they address them musically. Results: Analysis of the interviews revealed seven RNs of trauma victims, which according to the music therapists, were addressed during therapy: need for recognition, acceptance, emotional witnessing, emotional responsiveness, safety, trust, and the need for someone to reach out. Discussion: Several significant concepts emerged in the process of addressing RNs of trauma victims. Musical validation highlights the ability of music to validate feelings aroused by traumatic memories and the clients' sense of presence and being. Emotional witnessing through music stresses the important holding role of music and its ability to organize traumatic experiences as meaningful and coherent narratives. Musical witnessing as a self-object is a process whereby the client becomes both the participant and observer in a two-part process of expression and reflection. Finally, attuned musical involvement is a process in which the therapist becomes musically attuned with the client, thus strengthening therapist-client relationship and facilitating the therapeutic process. [ABSTRACT FROM AUTHOR]

Music is an integral part of every subculture, including that of prisons. However, no research has yet examined the meaning of music for prisoners and prison staff. The present research examined the role of music in the world of prisoners in Israel and how prison staff experience it. Content analysis of interviews with 10 convicted prisoners and 9 prison staff members indicated four central themes: the different ways prisoners consume and are exposed to music; the role of music in provoking positive and negative feelings; the role of music in the relationships among inmates – closeness and conflicts; and the role of music in the relationships between prisoners and prison staff, particularly in terms of prison regulation of music consumption. [ABSTRACT FROM AUTHOR]

The present study depicts the experience of gambling in an illegal casino through a qualitative, phenomenological approach, in light of the criminal spin theory. Semi-structured interviews were conducted with 10 gamblers and 4 staff members. Qualitative analysis of the data reveals several major categories that describe the participants’ experiences: fears in the illegal casino; learning through experience and with the assistance of a mentor; strengthening the sense of potency; a tunnel vision perspective; the growing urge to gamble; losing control; harming the family; and finding a way out of gambling. The findings indicate that the illegal casino created a unique atmosphere for its attendees that fostered a gambling spin that coincides with the motives of spin theory. [ABSTRACT FROM PUBLISHER]

Musical presentation (MP) is a diagnostic and therapeutic music therapy tool which focuses on the participant's emotional exploration and awareness-insight development. Using this tool people present themselves through music of their choice and subsequently receive feedback from their peers. This study investigates MP as a tool for enhancing self-awareness in the context of a voluntary activity that was integrated in courses for undergraduate students in order to demonstrate its possible uses. Open-ended in-depth interviews with 15 MP presenters and focus-group interviews with 41 MP peers who listened to the presentations were conducted. The Johari Window, which is a cognitive psychological model used to help people better understand their interpersonal communication and relationships, served as a conceptual framework for this study. Qualitative analysis of the data showed that presenters' self-awareness was enhanced through the use of both music and words. As an accessible and creative tool, the MP can be used as a way for people in both therapeutic and non-therapeutic settings to present themselves via their music to a group and increase their self-awareness. [ABSTRACT FROM AUTHOR]